GARDENER OF TIME

Barry Conyngham at 75 CD two 1 To The Edge 11’32” Petrichor (13’07”) 1 Dry Spell 8’10” 2 Mallorca Serenade GARDENER 2 Deluge 3’14” (World premiere) 10’55” 3 Petrichor 1’42” CD one Ken Murray (guitar) OF TIME 4 Darwin: Comparing the Kangaroo Island: Barry Conyngham Eye to a Telescope 7’25” Concerto for double bass at 75 Linda Barcan and orchestra (19’34”) (mezzo-soprano and female voice) 3 Coastline – Seals – Visitors 4’03” 4 Flatland – Kangaroos – Roadkill 3’17” 5 Gardener of Time 14’40” 5 Caves – Bats – Wonders 3’59” 6 Treeline – Koalas – Survival 3’02” 6 Bushfire Dreaming 17’41” 7 Skyline – Bees – Captives 5’12” Robert Nairn (double bass)

The Ormond Ensemble – except Bushfire Dreaming: The Melbourne Conservatorium String Ensemble

Conducted by Richard Davis

P 2021 Move Records … move.com.au Celebrating with a Musical Bouquet

th This recording is the second flowering of a 2019 concert celebrating Barry Conyngham’s 75 birthday, featuring works composed since 2006. The concert was among the first events in Hanson Dyer Hall, the marvellous performing space at the heart of the spectacular Ian Potter Southbank Centre, which opened in 2019 as the new home of the Melbourne Conservatorium of Music and is one of Barry’s many significant accomplishments during a decade as Dean of the Faculty of Fine Arts and Music at the . With its ample use of wood and soft green fabrics, Hanson Dyer Hall feels like a sacred forest grove, a place where ordinary time stops, and musical time can flower. This live recording allows us to re- experience the concert and celebrate both Barry’s music and his close collaboration with the artistic staff and students of the Conservatorium. Several of these works were written specifically for Conservatorium colleagues, and all the works are performed here by staff and students playing together as members of the Ormond Ensemble, under the baton of Associate Professor Richard Davis. The excitement of the occasion and the setting will be palpable to the listener. This is a bouquet from the garden of Barry’s musical imagination, and indeed most of these works are infused with a vivid and specific sense of landscape, weather, and flora and fauna. These diverse landscapes, brought to life in sound, are also animated by a multitude of human energies, as the soloists and the ensemble move together with the vectored synergies that Barry imagined. This sound garden allows us to savour the world of colours, gestures, and resonances in Barry’s music, and the live recording conveys the sense of community and place that has always energised his creative passion and achievement. On behalf of the staff and students of the Conservatorium, I welcome you to this garden and the manyRichard wonders Kurth, it Director, offers. Melbourne Conservatorium of Music Faculty of Fine Arts and Music, University of Melbourne December 2020 The Composer, the Works, and the Performers over 50 recordings and videos containing performances by all the Australian orchestras and in London, the Netherlands, and New Zealand, as well as ensembles and Barry Conyngham has enjoyed a career in soloists in Poland, Japan, the UK, Europe, music of more than 50 years, as a composer, Russia and the USA, and many leading teacher, academic administrator and Australian musicians. cultural activator-activist. Within a university context, he is Many of these dimensions figure in this Emeritus Professor of the University of CDth which, with one exception,th contains Wollongong (1989) and of Southern Cross (musicBushfire performed Dreaming and recorded at a special University (2000) in Lismore where he was 75 birthday concert on 27 August 2019.st Foundation Vice-Chancellor and President had been performed at (1994-2000). He was the first composer to the official opening of the centre, on 1 June occupy the Chair of Australian Studies at 2019.) All the recordings were made in the (2000-2001). In 2011 he vibrant acoustic of the Hanson Dyer Hall of became the Dean of the Faculty of Fine Arts the Ian Potter Southbank Centre, the new and Music at the University of Melbourne home of the Melbourne Conservatorium of where he was appointed Redmond Barry Music. In a sense, the creation of Melbourne Distinguished Professor of Music inCala 2016. University’s new Conservatorium building Tuent Notable premieres of the past decade is Conyngham’s crowning achievement as have included the orchestral piece a university administrator, after a decade , performedKangaroo in Mallorca, Island, Hong Kong in Melbourne as Dean of the Faculty Europe, Russia and throughout Australia. and Brisbane, the concertoGardener for double of bass of Fine Arts and Music. Aside from his Among his many awards are a Churchill Timeand orchestra Symphony. and other extraordinary career as a world-renowned Fellowship (1970), a works for large Isaoorchestra, composer, history may view the new (1972-74), an Australia Council Fellowship and In October 2019, his Conservatorium building as Conyngham’s (1975) and a Senior Fulbright Fellowship violin concerto was premiered in St most tangible legacy to the musical life of (1982). For his compositions, he received Petersburg, Russia. the nation. an Aria Award (1986) and two Sounds On his retirement at the end of 2020, After studies with Australian awards (1988, 1989). In 1997 he he will continue to devote himself to (1965-69) in and with Toru became a Member of the Order of Australia compositionRansom, projects. Among these is a new Takemitsu (1970) in Tokyo, Conyngham (AM) ‘for services to music as a composer opera, his fourth, based on David Malouf’s established himself over the following and to music education and administration’. novel commissioned by Victorian decades as perhaps Australia’s most Over his long career as a composer, Opera. international composer, with premieres and Conyngham has published over 100 works In his compositions, Barry Conyngham performances of his works in Japan, North (mainly with Universal Edition Australia has often enjoyed using titles that convey and South America, the United Kingdom, and Hal Leonard) and his music figures on multiple meanings and suggest musical Ken Murray has developed a singular path as a guitarist combining performance, processes. Many of the titles embody composition, teaching and research. He the suffix ‘-ing’, suggesting something has championed and recorded Spanish unfinished, or in the process of unfolding. music from the early 20th century, worked To the Edge extensively with contemporary composers The name of the short concerto for and has been active as a performer of Brazilian chamber orchestra was and South American musical styles. As a inspired by Deakin Edge, the glass composer, he has written a variety of works for auditorium overlooking the Yarra River at guitar in solo and ensemble settings. Federation Square in central Melbourne.to the edge Ken Murray also has a strong commitment The multiple images suggestedto the by edge this to performing contemporary music and has title are invoked quite freely:to the edge performed in premiere performances of over of instrumental technique; of 100 works. In 2014 he was awarded a PhD in emotional expression; of pitch, Musicology, with a thesis entitled Spanish speed and dynamics. This ten-minute work Music and its Representations in London (1878- evolves through a continuous succession of 1930): From the Exotic to the Modern at the sections for individual instruments, or in University of Melbourne, where he is Associate pairs or groups. With piano and percussion Professor and Head of Guitar at the Melbourne as its base, the work ranges through seven Conservatorium of Music. sections,to theand edge… only in the final one do all the Toinstruments the Edge come together, rushing at speed was commissioned by the Pro Arte chamberth orchestra of Melbourne. Its first performance was directed by Jeffrey Crellin on 16 July 2006. atmospheres, somewhat reminiscent of Mallorca, inspirational times duringCala which Melbourne’s notorious ‘four-seasons-in-a- Tuenthe worked on several pieces, including one n several occasions, Barry day’ weather patterns. for folk instruments and orchestra Conyngham has visited Mallorca, the For many composers, the guitar is the (2008). Both dimensions of Spain, largest of Spain’s Ballearic islands musical personification of Spain. Thus, particularly references to folk-dancesMallorca in the Mediterranean, where his conductor when there was talk of a work for Ken Serenade,in triple time, alternate in the piece for friend Geoffrey Simon has a holiday home, Murray, the Head of Guitar at the Melbourne guitarth and chamber orchestra a restored olive-press dwelling above Conservatorium, Conyngham’s thoughts which Conyngham fashioned for the bay of Cala Tuent on the remote west turned to traditional Spanish imagery: his 75 birthday concert in August 2019. It coast of the island. According to Geoffrey, vivid sunsets, storms, bustling tourists, is heard here in its premiere performance Barry was captivated by the majestic vista busking guitarists. On the other side of this and recording with Ken Murray as soloist ofO mountains meeting the Mediterranean conventional imagery were recollections and the Ormond Ensemble conducted by as well as the constantly changing of the personal solitude and quiet on Richard Davis. Rob Nairn was appointed Associate Professor of Double Bass at the University of Melbourne Conservatorium of Music in 2017, having previously itself, its natural inhabitants and human taught on the faculties of the Juilliard School and history. Penn State University. He is past president of the The piece is performed by Robert Nairn, International Society of Bassists and hosted the Associate Professor of Double Bass at the Society’s 2009 Convention at Penn State. Nairn Melbourne Conservatorium from 2017-2020. received his Bachelor of Music with distinction Nairn commissioned the work in 2008 and from the Canberra School of Music and a post- gave the premiere performances in Boston graduate diploma from the Berlin Musikhochschule. and at State College, Pennsylvania, in His teachers have included Klaus Stoll, Tom early April 2009. The Boston performance Martin, and Max McBride. Nairn has lived and was accompanied by a digitally-realised worked in Germany, England, Australia and the ‘synthetic orchestra’, the Penn State USA, performing with numerous ensembles and performance by the State College Orchestra orchestras throughout the world. He has also played a few days later. in all seasons of the Australian World Orchestra. A Several decades earlier, initially in San specialist in historical performance, Rob has been Diego, Conyngham had written works for principal bassist with Boston’s Handel and Haydn the extraordinary contemporary bassist Society since 2003. He is also principal bass of the Bertram Turetzky, so he was familiar with Boston Early Music Festival and Juilliard Baroque. the capacity of “this wondrous member of He has commissioned and premiered more than the string family”, as he describes it. The forty new works for solo double bass and chamber present work, some three decades later, groups including concerti by Barry Conyngham relies less on the repertoire of Turetzky’s and Doug Balliett, and he has given solo recitals in distinctive vocabulary of techniques and Europe, Scandinavia, China, the United States, and Kangaroosounds. Island, Australia. He can be heard on over 60 commercial This later concerto, now entitled CDs. is in four sections, separated by brief pauses. It begins and ends with a theme from which all the music is derived. Together, the four movements reflect on the island’s various inhabitants,On K.I. slands have figured prominently in cast in the role of a person at odds with or human and natural, nativeCoastline and – introduced, Seals recalling the work’s original title: Conyngham’s imagination. Not just the viewed apart from theKangaroo larger environment. Island, the – Visitors, physical island but the the metaphorical But, in the case of a recent work for double The first section, th island. “No man is an island, entire of itself,” bass and orchestra, is launched with reflections John Donne wrote in 1624, “Every man title refers not simply to the somewhat on the earliest European visitors to the is a piece of the continent, a part of the wild physical dimensions of the island, off island, 18 century British sailors who main.” Often, particularly in Conyngham’s the coast of Adelaide in South Australia. It kidnapped Tasmanian Aboriginal women concertos,I the solo instrument will be is also a series of reflections on the island and brought them to the island for their Captives, Rain Spell nefarious purposes. For Conyngham, focusses on the Ligurianth bees Takemitsu (1982) for flute, visiting Kangaroo Island for the first time in which were introduced to the island by clarinet, harp, piano and vibraphone. 2004, this cast “a strange shadow of history Italian immigrants in the mid-19 century. Takemitsu’s work takes as its inception over the majesty and beauty of a first Naturally enough, the bees provide the the image of rain and its mesmeric effect sighting”. Among the present-day visitors inspiration for a variety of ‘buzzings’ in the on thought. As a companion piece for the are cantankerous sea lions and playful seals orchestra. Being far removed from mainland Takemitsu composition, Conygham used who congregate on the rocks or on sandy Australia, these bees have been genetically the same instruments, when both works beaches. In turn, these sea creatures attract isolated. The special quality of their honey, were performed together in Melbourne in a steady stream of (human)Caves tourists – Bats –with the purest Ligurian honey in the world, is September 2009. But, whereas Takemitsu Wonderstheir cars, and lethal pollution. another reminder of the benefits of diversity returned to his preoccupation with rain and The second section, and reinforces the notion of a ‘frozen-in- water, Conyngham inverted the association recalls the limestone caves on the time’ existence. Again, the fires of early by invoking the Australian idea of a dry south side of the island. These provide entry 2020 were devastating to this industry: over patch or drought that can last for several for a variety of visitors, a few tourists and 1,000 of the 4,000 Ligurian hives there were years. He describes it as “an imagined many wonderful shapes, colours and sounds consumed by flames. journey through parched and dry Australian conveyed in energetic string passages,Cello countryside and the emotionsDeluge that may flow Concertoreminders of the Conyngham’s signature from such an experience”. bustlingVast figures in works like the TPetrichorhe three movements of the work The ensuing movement was (1984) and the score for the dance which Conyngham has entitled composed as a companion piece – and work (1988). Again, another contrasting Petrichorwere ‘accumulated’ over the antidote! – to the parched emotions idea is presented: the caves – deep, damp decade 2008 to 2019. associated with a drought. Here, there and seemingly never-ending – are an The term was coined by two is exultation at the arrival of torrential inversion of the brilliantTreeline light and– Koalas vibrant – Australian researchers at the CSIRO in rainstorms that spell the welcome end of drynessSurvival, of the land above. NatureCanberra, Isabel Joy Bear, and Richard drought. The two-movement work was The third section, G. Thomas. In an article in the journal premiered andPetrichor recorded by the Austrian reflects on the life and fate of the (7 March 1964) they explained the group Ensemble Reconsil in Vienna. koala, that elusive marsupial which feasts characteristic smell of rain on the earth Although was intended for on the eucalypts once abundant on the after a very hot day. They suggested that oil performances in Japan to be conducted th island. But the koala has been consuming exuded by certain plants during dry spells by Conyngham’s friend, the composer and the eucalypts too quickly, thus over- is absorbed by soil and other surfaces, and concertoconductor Isao Isao Matsushita, who died on 16 populating the island, leaving itself prone to then released into the air after rain, along September 2018 (Conyngham’s recent violin diseases that might spell the demise of the with a compound emitted by wet soil, is dedicated to him),th the work species there altogether. The fires in January thus producing the distinctiveDry Spell smell every had to wait anotherth year for its premiere. 2020 killed an estimated 25,000 koalas, or Australian knows so well. This came at Conyngham’s 75 birthday over half the koala populationSkyline –of Bees Kangaroo – The first movement concert on 27 August 2019 heard on this Island. immediately suggests itself as a corollary recording. The fourth section, to the well-known chamber work by Lyric mezzo-soprano Linda Barcan trained Darwin at the Conservatorium of Newcastle, the Conyngham describes the commission Sydney Conservatorium of Music and the for (2009) as the most unusual National Institute of Dramatic Art (NIDA). he has ever received. It was part Early in her career, a French Government of world-wideth celebrations to mark the scholarship led to intensive studies in Lyon, bicentenary of the birth of CharlesOn the Darwin France and Cologne, Germany and to a two- Originand the of 150 Species. anniversary of the publication year engagement with the Opéra de Lyon. of his most important treatise, On her return, Linda performed for many For that year, a number of years with at the Sydney composers – including another Australian, Opera House and the Melbourne Arts Elliott Gyger, a former student at Harvard Centre. Her affinity for 20th and 21st century and now on the Melbourne Conservatorium opera resulted in premiere performances in composition staff – were commissioned Christina’s World (Sydney Chamber Opera), by Peter Godfrey-Smith, then Professor Abelard and Heloise (Opera Hunter), Pecan of the Philosophy of Science at Harvard. Summer (Short Black Opera) and The Emperor Conyngham selected as his text an extract of Atlantis (Lost & Found Opera). Her interest from the sixth edition of Darwin’s treatise in art song gave rise to studies with Graham (1862), a passage which comparedThe the Origin eye to Johnson and David Harper and to recital aCycle, telescope. opportunities in Australia, France, Germany The works were collated as and Asia, including frequent appearances settings for female voice and small in French cultural and diplomatic circles. ensemble. In October 2009, they were Linda is currently Lecturer in Music (Voice) performedth at Harvard University in Boston, at the Melbourne Conservatorium of Music, then at Stanford University in California. On with a special interest in lyric diction and 19 November, they were performed at the vocal pedagogy, especially the intersections Australian National University in Canberra between contemporary voice science and by Jane Sheldon and Ensemble Offspring, historical methods. conducted by Roland Peelman. (Godfrey- Smith had been on the faculties of all three institutions.)

Gardenern 2009 Barry of Time. Conyngham embarked on another large orchestral work, Symphony Orchestra (1974-1997), Iwaki was months in 1970. This was his memorial a champion of modern music, especially the In addition to music, Iwaki and to Hiroyuki Iwaki (1932-2006) who had music of Toru Takemitsu, his compatriot Takemitsu had much in common. Along premiered several of Conyngham’s works and great friend. Takemitsu was also Keikawith the Chugaku film director Akira Kurosawa, they in Australia and Japan. During his long teacher-mentor of Barry Conyngham who had attended the same high school in Tokyo, worked with him in Japan for several . Takemitsu wrote scores for tenureI as Chief Conductor of the Melbourne Hours are the leaves of life. And I am their gardener. over 100 movies, several for Kurosawa. Both Each hour falls down slow. were fans of the Hanshin Tigers baseball team. Under separate pen-names, they Miracles: Poems by Children of the English wrote crime and mystery novels. They also Speaking World, edited by Richard Lewis, 1966. loved ‘spaghetti westerns’ and JamesGardener Bond offilms. Time (Toko no entei) Conyngham’s 17-minute score, exists in two forms. Conyngham’s reflection on Takemitu’s As a work for large orchestra, it was essay begins with the image of the Japanese premieredth by the Melbourne Symphony composer gazing out over the foothills of Orchestra conducted by Tadaki Odaka on Nagano Prefecture in the centre of the island 18 November 2011. Its Japanese premiere of Honshu. “The wind begins. The mists was given by Ensemble Kochi conducted by lift...” His mind wanders: he reflects on life, Isao Matsushita in Tokyo in February 2016. on death, on nature, on composition. “I do A reduced versionth for chamber orchestrath not stop composing, because I cannot give was first performed in the concert for up being one of these gardeners cultivating Conyngham’s 75 birthday on 27 August infinite time.” Takemitsu’s essay ends, 2019,Gardener with the of Ormond Time Ensemble conducted “Moved by the view of those mountains, lost Plaque honouring Hiroyuki Iwaki, by Richard Davis. in thought, I found that time passed quickly outside the Iwaki Auditorium is a favourite piece, and the mountains were again covered by Rehearsal hall for the reflecting Conyngham’s friendships with clouds, lost from sight.” Melbourne Symphony Orchestra, two great Japanese mentors, Iwaki and Conyngham characterised his friend ABC Building, Southbank, Melbourne Takemitsu. It is launched with a timpani Hiroyuki Iwaki as another ‘gardener Photograph by Vincent Plush, solo – Iwaki was a timpanist – and features of time’. The dynamic maestro was “an th 12 September 2012 other instruments that were favourites of exciting, energetic, surprising, thoughtful, the conductor. It is a radiant and evanescent sensitive, and full-of-life person,’ score, recalling the harmonic lucidity and Conyngham wrote. “He would plan and melodic calmness of both Sculthorpe and shape each performance, allowing each Copland, as well as the plaintive solo violin piece to flower, and leaving behind colourful and oboe passages often found in their experiences that stay in the mind.” music. Bushfire Dreams The shape and mood of the work were arry Conyngham’s third string inspired by a short essay by Takemitsu. quartet, was That, in turn, owes its title to an image in commissioned in 2007 by the Swiss a haiku poem by the Australian schoolgirl Global Foundation for the Modigliani String Susan Morrison: Quartet. But the young French players did not play the piece; instead it was B premiered on a Tall Poppies CD (TP 263) by where I have to keep moving. It can the Ormond String Quartet of Melbourne involve physical danger, the need to get If in his ‘European-ness’ we see the University in December 2019. A few years away, to jump off something or someone. mechanism of feelings, it is in his later, Conyngham returned to the work, I force myself to wake from such dreams, ‘Japanese-ness’ that‘We we should find the listen in revising it for string ensemble. Except for a but they stick with me longer.Barry Conyngham, theconcept way weof time. walk Thethrough clue ancomes ornamental from a few string doublings and the addition of a liner notes for Bushfire Dreams garden’.surprising source: part for double bass doubling the cello line, – Tall Poppies TP 263, 2019 the two versions of theBushfire work areDreams largely Barry Conyngham, Sounds and Silences : identical. obituary for Toru Takemitsu The original title (The Guardian, 22 February 1996) suggests that the quartet could well have This composition draws on all three been narrative even pictorial.Bushfire Instead, Dreaming in kinds of dream, connected by images this work, re-titled in an almost Takemitsu- associated with a bushfire, the nightmare Sculthorpe amalgam as , of before, during and after the bushfire. In Japan, Barry Conyngham had learned to Conyngham has created something less Conyngham’s music evokes many perceive the difference between inner space tangible, something more evanescent and dimensions of that nightmare central to the and outer space. Takemitsu had taught dream-like. As they were for Takemitsu – Australian psyche: apprehension, terror, him about dimensionality. The physical and for Conyngham’s mentor in southern beauty, intense involvement and strange constraints of Japan induced a sense of California, the composer Pauline Oliveros objectivity, the need to escape, the sudden interior space, psychological and poetic, – this quartet draws on dreams, and three Bushfirewaking, theDreaming return. whereas the vast, open spaces of Australia kinds of dreams in particular, as Conyngham In its expanded form for string ensemble, created scope for an almost limitless canvas. explains: was premiered by st Takemitsu had imbued in Conyngham the Melbourne Conservatorium String this sense of dimensionality and place. The most enjoyable are the dreams Ensemble conducted by Richard Davis on 1 These have been key characteristics of where I am a character or a number June 2019. The occasion was the opening of Conyngham’s own music since the time of characters in a play or musical or the Ian Potter Southbank Centre as the new of his momentous first visit to Japan in opera. Strangely, these are the most home of the Melbourne Conservatorium 1970. Now, a half-century later, those same elusive – I can never hold onto the of Music. It was the embodiment and characteristics are evident in abundance in detail. Conundrum dreams place me in culmination of Conyngham’s ‘dreaming’ of a the music on this recording. Vincent Plush a confusing situation, such as a maze, new era for music in Melbourne. A sense of Melbourne, November 2020 or where I am lost in a particular place, place had emerged from the decade of his or trying to solve a problem, sometimes life in Melbourne. A special time in a very involving numbers or compositional particular place. elements. Such dreams are more often The “In Guardian the end,” Conyngham wrote in an remembered, at least for a while. Then obituary for Takemitsu which appeared in there are the running or journey dreams. in 1996, “music for Takemitsu Inevitably, these place me in a situation is a place, a place of time”: Richard Davis is Chief Conductor The Performers and Head of Orchestral Studies at the Melbourne Conservatorium of Music. * Conductor He regularly conducts orchestras such * Guitar soloist as the City of Birmingham Symphony, Richard Davis* ,Double Bass soloist the Queensland Symphony Orchestra Ken Murray , * Mezzo-Soprano soloist and the BBC Philharmonic in concerts, Robert Nairn , recordings, national radio broadcasts Linda Barcan , and on television. He has also directed The Ormond Ensemble operas and requiem masses with the BBC Singers. Recent conducting collaborations have also included working with Oscar-winning and Gravity The Ormond Ensemble at the Melbourne composer Steve Price, on a WW1 tribute Conservatorium of Music is named in Poppies for BBC television. Shown recognition of Francis Ormond, whose on Remembrance Day every year donation in 1887 established the Ormond across the BBC network, Poppies was Chair of Music, the first endowed chair at nominated for a BAFTA in 2015. Davis is the University of Melbourne. The Ormond an accomplished orchestral musician Ensemble includes Conservatorium staff and played as principal flute with the and students, and in this instance, guest BBC Philharmonic for over 30 years. He artists with the annual Mimir Chamber premiered flute concertos by Bernstein Violin:Music Festival. * + and Maxwell-Davies, recorded and + # # performed solo recitals many times on # Curt Thompson , #Stephen Rose , Jun # national and international broadcasts, Viola:Iwasaki , Willard Zhong , Amy+ You , Helen# and won 1st prize in several international Shen , Elizabeth# Scarlett , Sophia Kirsanova competitions. His 2004 book: Becoming Cello: Joan DerHovsepian+ , Jin Tong Long , * an Orchestral Musician – A Guide for Aidan Filshie # Aspiring Professionals (published by Double Brant Bass: Taylor , Svetlana* Bogosavljevic# , Faber) sells world-wide and has been Oscar Woinarski# described as ‘an unbeatable-value Flute: Robert* Nairn , Samuel Nock# , master class’ (Classical Music Magazine) EliOboe: Elliott * containing ‘Brilliance and honesty on Clarinet: Derek Jones , Adam* Richardson# every page’ (Pan Magazine) covering a Horn: Ben Opie * # ‘down-to-earth, informative introduction Trumpet: David Griffiths* , Tom D’Ath to life as a professional musician’ (Daily Trombone: Carla Blackwood ,* Natalia Edwards Telegraph). Bass Trombone: Geoff Payne # Dom Immel Elijah Cornish Guitar: * # Viola: , Percussion: * Ken# Murray , Sophie# Marcheff # Cello: Aidan Filshie Eugenie Lyons, Indyana Piano/Celeste: Peter Neville , Gemma# Kippin, Ely Ruttico, Kiara Kim Podbury , Yiang Shan Sng , Aditha Bhat Joseph Kelly, Oscar Woinarski, Caleb Coady Green DoubleWong, Veronika Bass: Reeves, Daniel Ng, Ceridwen The Melbourne McCooey, Chang Il Yoo, Chiara Anderson Conservatorium String * Ché Ioannou-Booth # # Ensemble + Conservatorium staff artists Conservatorium students Violin 1: Guest artists, Mimir Chamber Music Festival Willard Zhong (Concertmaster), Amy You, Nick Miceli, Louise May, Jose Luis ViolinTochon, 2: Kye Yim Loh, Emma Winestone, Lachlan Mclaren Helen Shen, Nathania Carmargo, Emma Amery, Daniel Yao, Nanda Hong, Jack Cross, Charlotte Strong, Jackie Wong Illustration of Ian Potter Southbank Centre: John Wardle Architects Liner notes: Vincent Plush Introduction (page 3): Richard Kurth Booklet design: Martin Wright

All recordings except Bushfire Dreaming licensed courtesy of the Australian Broadcasting Corporation and recorded live on 27 August 2019 at the Melbourne Conservatorium of Music, Faculty of Fine Arts and Music, in the Hanson Dyer Hall, The Ian Potter Southbank Centre, University of Melbourne. Producer for ABC: Jennifer Mills Engineer for ABC: Russell Thomson Photo of Richard Davis: Bushfire Dreaming recording Sav Schulman session 31 May 2019 in the Photo of Linda Barcan: Hanson Dyer Hall Sav Schulman Engineer: Haig Burnell Photo of Ken Murray: CD mastering: Martin Wright Pia Johnson (Move Records) Photo of Rob Nairn: unknown Portrait: Barry (2011) watercolour Rose McKinley 750mm x 1050mm Photo of Barry Conyngham: Deborah Conyngham Photos of Barry Conyngham on CD produced by Move Records Kangaroo Island: P 2021 Move Records Deborah Conyngham move.com.au