AMY DICKSON IN CIRCLES Digital Booklet Standard Master

Page Size: 11 x 8.264 inches (28 cm x 21 cm) Four-page minimum Horizontal presentation All FONTS are embedded RGB Color All images are full-bleed Final PDF must be no more the 10mb

Your background artwork must fill until the red guide line - Bleed 0.125” (3.175mm). Do not place logos, text, or essential images outside of the white space ÉMILE PESSARD 1843–1917 arr. JessicaDigital Wells Booklet Standard MANUEL DEMaster FALLA 1 Andalouse 2’42 w Nana (No. 5 from Siete canciones populares españolas) 2’32

PETER SCULTHORPE 1929–2014 WILLIAM BARTON born 1981 2 Djilile 3’52 e Kalkadunga Yurdu (Kalkadoon Man) 10’16 MANUEL DE FALLA 1876–1946 Page Size: 11 x 8.264 inches (28 cm x 21 cm)RALPH VAUGHAN WILLIAMS 1872–1958 3 Jota (No. 4 from Siete canciones populares españolas) 3’04 Six Studies in English Folk-Song [8’29] Four-page minimum r I. Adagio 1’36 JAMES MACMILLAN born 1959 t II. Andante sostenuto 1’18 4 Horizontal presentation From Galloway 3’27 y III. Larghetto 1’38 All FONTS are embedded u TRADITIONAL arr. Amy Dickson IV. Lento 1’35 i 5 She Moved through the Fair RGB Color 3’23 V. Andante tranquillo 1’32 All images are full-bleed o VI. Allegro vivace 0’51 JAMES MACMILLAN Saxophone Concerto Final PDF must[17’11] be no more the 10mb born 1943 p Dedicated to Amy Dickson Yanada 5’13 6 I. March, Strathspey and Reel 5’37 7 II. Gaelic Psalm 6’18 Amy Dickson 8 III. Jigs Your background5’10 artwork must fill until the red Soprano saxophone 3-e, p LIVE RECORDING guide line - Bleed 0.125” (3.175mm). Do not place Alto saxophone 1, 2, 9, r-o PERCY GRAINGER 1882–1961 arr. Jessica Wells logos, text, or essential images outside of the white 2 5 e p 9 Shepherd’s Hey 1’47 William Barton didgeridoo , , , space Daniel de Borah piano 1, 3, 0, w, r-o JOHANNES BRAHMS 1833–1897 arr. Joseph Joachim Adelaide Symphony Orchestra 6-8 0 Hungarian Dance No. 4 4’06 Nicholas Carter conductor 6-8

ANONYMOUS q Discovery 1’46 Digital Booklet Standard Master This album unapologetically celebrates folk music and the cyclical and repeated influence it has had on music around the world throughout history. Folk music continues to evoke a touchingly Page Size: 11 x 8.264 inches (28 cm x 21 cm) sincere national optimism and a patriotic passion Four-page minimum for its country of origin. Horizontal presentation Folk music breathes the very identity of a country and in troubled times can be a source of solace, All FONTS are embedded over and over again. This music inspires a more RGB Color egalitarian perspective and can even galvanize All images are full-bleed social change. Final PDF must be no more the 10mb In today’s frenetic digital age, folk music offers us a refuge: the enduring simplicity and nostalgia embodied in this music provides timeless sanctuary from the relentless surge of modernity. Your background artwork must fill until the red It serves as a reminder of the constancy of the seasons and the revolving patterns in our lives. guide line - Bleed 0.125” (3.175mm). Do not place At the core of folk music lies a beating heart logos, text, or essential images outside of the white of humanity to which we return again and space again: the creation itself of this music requires personal, family and social connections – in a word: kinship.

Amy Dickson

Amy Dickson and William Barton in the recording studio About the music the solo cello piece Threnody (1991) and the piano trio Dream Tracks (1992).’ It also features in the saxophone concerto Island Songs, which wrote for Amy. During the composition The Prix de Rome was the holy grail for young French composers of the 19th and 20th centuries. process, Peter shared his thoughts on how the melody should be performed; this version for alto Berlioz, Gounod, Bizet, Massenet and Debussy were among its laureates, but for most of those Digital Booklet Standardsaxophone and didgeridoo Master was inspired by those conversations. who received it, the Prix de Rome represented a brief moment in the spotlight before vanishing into obscurity. Such was the fate of the Parisian composer Émile Louis Fortuné Pessard, now remembered principally as Maurice Ravel’s harmony professor at the Paris Conservatoire. After his competition- In his native Spain, the 31-year-old Manuel de Falla was known as a third-rate composer of the popular winning cantata Delilah was performed at the Paris Opera in 1867, he composed another dozen or so musical spectaculars or zarzuelas. But lured to Paris in 1907 by the promise of a performance of his operettas but only one, the now entirely forgotten Captain Fracas, met with any notable success. His opera La vida breve after plans for the Spanish premiere fell through, Falla found a second home skill as a composer of songs, though, is attested by the story of a youngPage Debussy Size: copying 11 x out8.264 one ofinches (28 cmwhere x 21 he cm)was received with warmth and enthusiasm. Although intending to stay for just seven days, his mélodies by hand; when the ‘manuscript’ was discovered half a centuryFour-page later, it was minimum published as he remained for seven years, driven back to Spain only by the war, and it was in Paris in 1914 that he an early Debussy song... Horizontal presentation composed his Siete canciones populares españolas (Seven Spanish Folksongs). Pessard is probably best known today to students of the flute, for his Andalouse, now regularly Falla had a vision of a nationalism made universal, where the characteristics of traditional Spanish included on examination lists for that instrument. It was originally writtenAll in FONTS 1877 for piano are solo,embedded part music would be exploited with the techniques of the great ‘European’ tradition. In Siete canciones, he of a set of 25 salon pieces, several of which respond to the contemporary taste for the exotic: music RGB Color took as his raw material traditional songs and dances from all over Spain; the Jota has its origins in of foreign lands and/or former times. With its sinuous melodic line and strutting rhythms, Andalouse All images are full-bleed the Aragon region and is both a dance (as is clear in the lively piano introduction) and a song – in this references the flamenco music of Andalusia in southern Spain – seen through the prism of late case, a sung by a lover beneath the window of his beloved: ‘They say we’re not in love, since they 19th-century aesthetics of grace, wit and charm. Final PDF must be no more the 10mb never see us talking; let them ask your heart and mine!’

Peter Sculthorpe is generally acknowledged as the first Australian composer to create a distinctly Nana is a lullaby, with the hypnotic quality of the Moorish south. ‘Sleep, little one, sleep, little Australian sound, breaking away from the European musical models that had prevailed in this morning star.’ country until the 1950s. In doing this, he drew his inspiration from theYour Australian background landscape, from artwork must fill until the red the relationship between the land and its people – both Indigenous and non-Indigenous – and from guide line - Bleed 0.125” (3.175mm).James Do MacMillan’s not place music incorporates a broad range of styles, from medieval plainchant to ’s location, geographically and culturally, as part of the Pacific region. He first began to modernism, but perhaps his signature trait is the musical language of his native Scotland. (In his youth engage with Indigenous melodies in 1974 with The Song of Tailitnamalogos,; from the text, mid-1980s, or essential this images outside of the white he regularly played and sang in Scottish folk-clubs and pubs.) This can manifest as actual Scottish folk became a focus of his musical language, either quoting directly from Aboriginal and Torres Strait Island space tunes, whether woven into orchestral works or as settings of complete songs, or as folk-style, songs, or composing original melodies that reflected general characteristics of Indigenous musical From Galloway sources. quasi-improvisatory ornamentations and figurations. was written for John Cushing, Principal Clarinet of the Royal Scottish National Orchestra. Djilile was written in 1986; the composer described the work as ‘based upon an adaptation of an Aboriginal melody collected in northern Australia, in the late 1950s by A P Elkin and Trevor Jones. The title means “whistling-duck on a billabong”. I have a special fondness for this melody, having used it in the string work Port Essington (1977), and more recently in the orchestral work Kakadu (1988), She Moved through the Fair is widely claimed as a traditional melody – a ‘medieval-era fiddle tune’ the playing of the fiddler of the Bidford Morris Dancers, J. Mason (Stow on the Wold), W. Hathaway from County Donegal, according to some – but the details are sketchy. The tune was published (Cheltenham) and William Wells (Bampton). by Herbert Hughes, an Irish folksong collector and arranger (and the composer of The Salley Gardens), who is reported to have heard it in DonegalDigital in 1909, but whether Bookletit is a transcription or an Standard‘Morris Dances,’ Grainger Master goes on, ‘are still danced by teams of “Morris Men” decked out with bells arrangement or a completely new melody based on an authentic traditional air is not clear. and quaint ornaments to the music of the fiddle or “the pipe and tabor” (a sort of drum and fife) in several agricultural districts in . The tune of Shepherd’s Hey (which is akin to the North English air Keel Row) is very widely found throughout England. The word “Hey” denotes a particular figure in James MacMillan’s Saxophone Concerto is based on what he describes as ‘archetypes of Scottish Morris Dancing.’ traditional music’: Page Size: 11 x 8.264 inches (28 cmGrainger, x 21 cm)as was his wont, produced multiple versions of Shepherd’s Hey, including arrangements for The first movement follows the pattern of a medley of fast dance forms,Four-page each section minimum becoming military band, wind band, full orchestra and a ‘room-music twelve-some’ [12-part chamber ensemble] faster and faster. Nevertheless, the music moves into unexpected territory,Horizontal with markings presentation like of flute, clarinet, horn, concertina and strings. In this arrangement by Jessica Wells, Amy Dickson ‘feroce’, ‘strepitoso’ and ‘misterioso’. plays all five of the saxophone parts; Grainger, a pioneer in the use of new technologies (he designed All FONTS are embedded The second movement loosely follows the practice of singing Gaelic psalmody in the Scottish western and built several music-making machines), an enthusiastic recording artist (on piano rolls), and himself isles, where a cantor (in this case the saxophone soloist) leads with aRGB melodic Color line, to be followed by a skilled performer on the saxophone, would surely have been delighted. the congregation (the string orchestra) who weave a heterophonic textureAll imagesout of the arecanonic full-bleed flow of parts. The music settles eventually into a series of wispy fragments on the saxophone, accompanied Final PDF must be no more the 10mbThe Romantic age was fascinated by the ‘exotic’, and for the composers of western Europe, one of by pizzicato pluckings over a low B major chord. the most attractive manifestations of the exotic was the music of the ‘gypsies’, whose life on the The last movement is based on the simple compound rhythm of the jig, marked ‘giocoso’. The main move was perceived as deliciously wild and unencumbered. Composers from Haydn to Liszt were melody is thrown around between the different sections of the orchestra, all playing pizzicato. The enthralled by the bravura performances of Hungarian Roma, especially of the verbunkos dance and its tonality becomes unsettled when the soloist enters and gradually theYour music developsbackground into unexpected artwork must filldramatic until contrasts the red between soulful slow sections and fast passages of dazzlingly virtuosity. One of contexts. After a brief cadenza the music settles into a static, spectralguide chord with line ethereal - Bleed slidings 0.125” on (3.175mm).the most Do enthusiastic not place adopters of the Style hongrois (Hungarian style) was Johannes Brahms, thanks the cellos, under fading fragments on solo saxophone. (© James MacMillan 2018) largely to the influence of two Hungarian violinists: Eduard Reményi and Joseph Joachim. The Saxophone Concerto was written for Amy Dickson and commissionedlogos, by text,Perth Concert or essential Hall images outside of the white It was Reményi, exiled from his homeland for his involvement in the Hungarian Revolution of 1848, (Scotland), Adelaide Symphony Orchestra and the Aurora Orchestra.space It was first performed on 11 April 2018 at Perth Concert Hall by Amy Dickson and the Scottish Chamber Orchestra, conducted who introduced Brahms to the verbunkos style, and the two would later embark on a concert tour of by Joseph Swensen. This live recording was taken at premiere of the work in Adelaide Germany together. It was on that tour that Brahms, then just 19 years old, was introduced to Joachim on 18 August 2018. – already famous across Europe as one of the greatest violinists of his age – who would become one of his closest friends and musical collaborators, providing advice on violin technique, and performing and conducting Brahms’s works far and wide, to great acclaim. According to Percy Grainger’s notes on the score, Shepherd’s Hey is a setting for piano of an English Morris Dance Tune, using four variants collected by Cecil J. Sharp between 1906 and 1909: ‘from Brahms produced two sets of Hungarian Dances for piano duet, 21 in all. He thought of them No. 1: Lovely on the Water (Lovers reluctant to part exchange tokens as a guarantee of fidelity) as arrangements rather than original works, but he didn’t specify the tunes they were based on – No. 2: Spurn Point (The sinking of the ship ‘Industry’) possibly because he didn’t know himself, having picked them up from performances by Reményi and No. 3: Young Henry the Poacher (Also known as ‘Van Diemen’s Land’, as that was where others. The one performed here, from the first set,Digital published in 1869, has sinceBooklet been identified as Standard Master apprehended poachers were transported as convicts; Vaughan Williams would later set this tune to the tune Kalocsai emlék (Memory of Kalocsa), by Nándor Mérty; the tremolos in the piano part are the text ‘O God of Earth and Altar’ when he was editing the English Hymnal) intended to evoke the sound of the cimbalom, a Hungarian folk instrument. No. 4: She Borrowed Some of Her Mother’s Gold (Here Vaughan Williams took down only the tune, This version for soprano saxophone and piano is an adaptation of Joachim’s arrangement for violin not the words) and piano. Page Size: 11 x 8.264 inches (28 cmNo. x 5 21 The cm) Lady and the Dragoon (Also known as ‘The Pride of Kildare’) Four-page minimum No. 6: As I Walked over London Bridge (One of many variants commonly grouped together under the Discovery is of unknown origin. Horizontal presentation heading ‘Geordie’, telling of a ‘fair pretty maid’ lamenting for her lover Geordie, who has been hanged as a thief) All FONTS are embedded William Barton writes: It is widely quoted that Vaughan Williams’ aim in setting these songs was for them to be ‘treated RGB Color with love’. ‘I wrote the song Kalkadunga Yurdu (Kalkadoon Man) when I was 15All years images old as a arededication full-bleed to my people and culture. It’s about the passing of the culture from one generation to the next, sung in my Kalkadungu language of the Mount Isa region. The Kalkadoon men andFinal women PDF teaching must the bechildren no more the 10mb One of Australia’s best known and most performed composers, Ross Edwards has created a (billa billa) around the campfire in the night, and how they must listen, watch, learn and repeat the distinctive sound world based on deep ecology and an awareness of the need to reconnect music process of what they’ve been shown.’ with elemental forces and restore its traditional association with ritual. His music, universal in that it is concerned with age-old mysteries surrounding humanity, is at the same time connected to its Your background artwork must fillroots until in Australia, the red whose cultural diversity it celebrates, and from whose natural environment it draws Like Percy Grainger, Ralph Vaughan Williams was an active collector of British folk tunes, travelling all guide line - Bleed 0.125” (3.175mm).inspiration, Do not especially place birdsong and the mysterious patterns and drones of insects. over the country in the first half of the 20th century to rummage in the musical memories of the older generation of villagers and rural townspeople, documenting the songslogos, that the text,youngsters or essential had not images outsideYanada of was the created white for oboist ; the title means ‘moon’ in the Dharug language of been interested in having passed down to them. Vaughan Williams collectedspace more than 800 songs, the western region. This adaptation for saxophone and didgeridoo was made under Ross mostly noting them down by hand; this was to prove a rich resource for his own compositions, many Edwards’ guidance; Ross and Amy have had a close working relationship for many years, which has of which are infused with stylistic elements borrowed from folk music. already led to the creation of a number of important works for the saxophone, including a saxophone quintet, the concerto Full Moon Dances, and Frog and Star Cycle, a double concerto for saxophone In the case of these Six Studies in English Folk-Song, written in 1926 for cellist May Mukle, and percussion. Vaughan Williams never identified the tunes he had used as the basis for each movement – presumably because he wanted the melodies to stand on their own, without titles or text. All are Annotations by Natalie Shea tunes that Vaughan Williams had ‘collected’ in the field: Amy Dickson Twice nominated for a Grammy™ award, Amy Dickson made history by becoming the first saxophonist to win a Classic BRIT Award, as Breakthrough ArtistDigital of the Year. In January 2016Booklet she was named Standard Master Young Australian of the Year in the UK, and has since been acknowledged by BBC Music Magazine as one of the world’s six best classical saxophonists both past and present. Recognised for her remarkable, distinctive tone and exceptional musicality, she has performed throughout the world in such prestigious venues as The Wigmore Hall, , Royal Albert Hall, the Konzerthaus in Vienna and the Berliner Philharmonie.

Now based in London, Amy was born in Sydney, and began musical studiesPage atSize: the age 11 of x two, 8.264 taking inches (28 cm x 21 cm) her first saxophone lesson aged six. She made her concerto debut at Four-page16, and on her 18thminimum birthday made her first recording as soloist with the Sydney Symphony Orchestra. That year she moved to London to study at the Royal College of Music, and then at the AmsterdamHorizontal Conservatorium. presentation Previous accolades include the Gold Medal at the Royal Overseas League Competition,All FONTS and Symphony are embedded Australia Young Performer of the Year. No saxophonist had ever won either of RGBthese titles Color before. Passionate about music education, in 2017 she launched her own primaryAll schoolsimages program, are full-bleed ‘Take a Breath’, in the UK and in Australia, to help equip young children in their formative years with simple techniques to encourage them how to breathe properly – exercises whichFinal may PDF assist must them in be dealing no more the 10mb with stress in their teens.

As a Sony Classical recording artist, Amy Dickson has released seven albums, including the chart- topping Dusk and Dawn. Both of her previous albums on ABC Classic, Catch Me if You Can and Island Songs, were nominated for ARIA Awards. Your background artwork must fill until the red

A brilliant interpreter of contemporary music, she is equally devoted asguide a champion line of - establishedBleed 0.125” (3.175mm). Do not place saxophone repertoire, regularly performing the concertos of Glazunov,logos, Debussy, text, Villa Lobos,or essential Ibert, images outside of the white Larsson, Dubois and Milhaud, as well as those of Turnage, Adams, Higdon, Birtwistle, Williams, Glass, Sculthorpe, Torke and Kancheli. Deeply committed to the developmentspace of new repertoire for the saxophone, she has been a regular collaborator with today’s leading composers, including Sir James MacMillan, Matthew Hindson, Lachlan Skipworth, Huw Watkins, Steve Martland, Graham Fitkin, Brett Dean, Peter Sculthorpe, Ross Edwards and Tarik O’Regan.

Amy is honoured and delighted to be affiliated with the Australian Childrens’ Music Foundation in Australia, and Children & The Arts in the United Kingdom. William Barton Daniel de Borah

William Barton is widely recognised as one of Australia’s Daniel de Borah is firmly established as one of Australia’s leading didgeridooDigital players and composers. Booklet For two decades, Standard Masterforemost musicians, consistently praised for the grace, he has forged a peerless profile as a performer and composer finesse and imaginative intelligence of his performances. in the classical musical world, from the Philharmonic His busy performance schedule finds him equally at home Orchestras of London and Berlin to historic events at Anzac as concerto soloist, recitalist and chamber musician. Cove and the Beijing Olympics. With his prodigious musicality Since his prize-winning appearances at the 2004 Sydney and the quiet conviction of his Kalkadunga heritage, he has International Piano Competition, Daniel has given recitals on vastly expanded the horizons of the didgeridoo — and the Page Size: 11 x 8.264 inches (28 cm x 21 cm) four continents and toured extensively throughout the United culture and landscape that it represents. Four-page minimum Kingdom and Australia. As a concerto soloist he has appeared William grew up on a cattle station just outside Mt Isa in with the English Chamber Orchestra, London Mozart northwest Queensland, and startedHorizontal learning the presentation didgeridoo Players, Royal Philharmonic Orchestra, Australian Chamber from about the age of seven fromAll hisFONTS uncle, Arthur are Peterson,embedded Orchestra and the Sydney, Melbourne, Adelaide and Auckland an elder of the Wannyi, Lardil and Kalkadunga people. By the Symphony Orchestras. age of 12, William was sure enoughRGB ofColor his destiny to leave Daniel has partnered many leading soloists and ensembles school to concentrate on music.All images are full-bleed including Baiba Skride, Li-Wei Qin, Nicolas Altstaedt, Roderick At 17, William realised a lifelongFinal dream PDF when must he was be invited no more the 10mb Williams and the Navarra and Australian String Quartets. His to perform with the Queensland Symphony Orchestra. But the full, rapturous embrace of the classical festival appearances have included the Festival, Adelaide Festival, Huntington Estate music world came in 2004, when Tasmanian composer Peter Sculthorpe unveiled his Requiem with Music Festival and the Australian Festival of Chamber Music. the Adelaide Symphony Orchestra and guest soloist, William Barton. That night, William was invited During his studies Daniel won numerous awards including Third Prize at the 2004 Sydney International to join the orchestra in Japan, to perform Sculthorpe compositions EarthYour Cry andbackground Mangrove. Tours artwork to must fill until the red the USA and New Zealand followed, and the composer and didgeridoo artist cemented a firm creative Piano Competition, the 2001 Tbilisi International Piano Competition and the 2000 Arthur Rubinstein in partnership. guide line - Bleed 0.125” (3.175mm).Memoriam Do not Competition place in Poland. In 2005 he was selected for representation by the Young Classical Artists Trust, London. Daniel is also a past winner of the Australian National Piano Award and the As a wildly passionate electric guitarist and jazz-fusion enthusiast, Williamlogos, has appearedtext, or alongside essential images outsideRoyal Overseasof the white League Piano Award in London. Iva Davies’ Icehouse at the Sydney Cricket Ground, and in conservatoriumspace recital with concert pianist Simon Tedeschi. Born in Melbourne in 1981, Daniel studied at the Liszt Academy of Music in Budapest, the St Petersburg State Conservatory and the Royal Academy of Music, London. His teachers have included By the mid 2010s, despite a bare minimum of formal musical education, William had won an ARIA Zsuzsa Esztó, Mira Jevtic, Nina Seryogina, Tatiana Sarkissova and Alexander Satz. Daniel now lives in Award for his classical album Kalkadungu, composed a work for members of the Berlin Philharmonic, Brisbane where he serves on the faculty of the Queensland Conservatorium, Griffith University. who gave the world premiere at Sydney Opera House, and unveiled his first string quartet, Birdsong at Dusk, with the Kurilpa String Quartet and his mother – singer, songwriter and poet Delmae Barton – on vocals. Today he holds honorary doctorates from the Universities of Griffith and Sydney, and has released five albums on the ABC Classic label. Nicholas Carter Adelaide Symphony Orchestra Since his appointment as Principal Conductor of the Adelaide With a reputation for vitality and versatility, the internationally acclaimed Adelaide Symphony Symphony Orchestra in 2016 – the first Australian to be Orchestra (ASO) is South Australia’s largest performing arts organisation, established in 1936. The chosen asDigital Principal Conductor of an BookletAustralian orchestra StandardASO performs around Master100 concerts each year to audiences of over 100,000 people in Adelaide and in over 30 years – Nicholas Carter has established a regional South Australia. reputation as a conductor of exceptional versatility, equally at home in the concert hall and opera house, and fluent in Importantly, in addition to its own program, the ASO is a key foundational contributor to the arts in a diverse repertoire. Between 2011 and 2014, he served as South Australia – every year the ASO plays in many of Adelaide’s major festivals (Adelaide Festival, Kapellmeister to Simone Young in Hamburg, before moving DreamBIG Festival, Adelaide Cabaret Festival, Adelaide Guitar Festival) as well as supporting State on to a two-year engagementPage as Kapellmeister Size: 11 and x 8.264 Musical inches (28 cmOpera x 21 of cm) South Australia, The Australian Ballet and national and international touring artists. Assistant to Donald RunniclesFour-page at the Deutsche minimum Oper Berlin, The ASO’s own program, which runs all year from February to December at the Adelaide Town Hall, a house where he enjoys a rewardingHorizontal ongoing presentation association. Festival Theatre and Adelaide Entertainment Centre, includes a core repertoire of the great composers Newly appointed as Chief Conductor of the Stadttheater as well as family and popular entertainment. Klagenfurt and the Kärntner Sinfonieorchester,All FONTS areNicholas embedded will lead three new productions per season and appear regularly in the orchestra’s concert series. Significantly, the ASO’s Learning Program also reaches young people from toddlers through to tertiary RGB Color education, ensuring the long-term development of the artform and audiences in our community. In 2010, before embarking on his European career, his wide-ranging musicalAll imagesinterests led are him full-bleed to found a period orchestra in Sydney focusing on the music, instruments and historical performance practices of the early 19th century, and his three-year association with the SydneyFinal Symphony, PDF first must as Assistant be no more the 10mb Conductor, later as Associate Conductor, gave him the opportunity to work closely with Vladimir Ashkenazy and a number of the orchestra’s guest conductors. At the invitation of Donald Runnicles, he served as Associate Conductor of the Grand Teton Music Festival in Wyoming from 2010 to 2013. Highlights of recent seasons include debuts with Orchestre MétropolitainYour (Montreal), background MDR Leipzig, artwork must fill until the red Oregon Symphony, BBC Scottish Symphony Orchestra, BBC National guideOrchestra line of Wales, - Bleed Orchestre 0.125” (3.175mm). Do not place National de Lille, Deutsche Oper am Rhein (Don Pasquale) and Santa Fe Opera (Die Fledermaus), as well as returns to the Hong Kong Philharmonic, and to Deutsche Operlogos, Berlin text, (The Loveor essential for Three images outside of the white Oranges, The Marriage of Figaro, La bohème, La traviata and Hansel undspace Gretel). In Australia, his engagements have included concerts with the Melbourne, Sydney, West Australian, Queensland and Tasmanian Symphony Orchestras, with soloists such as Michelle de Young, Simon O’Neill, Alina Ibragimova, Alexander Gavrylyuk and James Ehnes; also galas with Maxim Vengerov and Anne Sofie von Otter. He led the 2018 Adelaide Festival’s acclaimed full staging of Brett Dean’s Hamlet. ABC Classic Executive Producer Hugh Robertson Recording Producer and Engineer Virginia Read Editing and Mastering Virginia Read Publications Editor Natalie Shea Digital Booklet Standard Master Booklet Design Imagecorp Pty Ltd Cover Image Olga Read Photography Christian Mushenko www.christianmushenko.com (Amy Dickson); Keith Saunders (Daniel de Borah), Douglas Kirkland (William Barton), Annette Koroll (Nicholas Carter), Shane Reid Photography (Adelaide Symphony Orchestra) Page Size: 11 x 8.264 inches (28 cm x 21 cm) 6-8 recorded live in concert by ABC Classic at the Adelaide Town Hall on 18 August 2018. All other tracks recorded 10–13 June 2018 in the Eugene Goossens Hall of theFour-page Australian Broadcasting minimum Corporation’s Ultimo Centre, Sydney. Producer and Engineer: Virginia Read. HorizontalPiano Technician: presentation Terry Harper. Jessica Wells’ arrangement of Émile Pessard’s Andalouse is Copyright Control. Djilile by Peter Sculthorpe is published by Faber Music. All FONTS are embedded From Galloway and the Saxophone Concerto by James MacMillan are publishedRGB by BooseyColor & Hawkes. Shepherd’s Hey by Percy Grainger is published by G. Schirmer Inc. Kalkadunga Yurdu by William Barton is published by Schirmer Australia. All images are full-bleed Six Studies in English Folk-Song by Ralph Vaughan Williams is published by FinalStainer & PDF Bell Ltd. must be no more the 10mb Yanada by Ross Edwards is published by the Australian Music Centre.

This album was conceived and recorded in the months immediately following the birth of our darling daughter Olivia and she has been a beautiful influence and inspiration throughout its genesis. At such a magical time of life, I could not have been more supported by my husband Jamie and all myYour Australian background and British family. artwork I feel must fill until the red enormous gratitude for the teams at ABC Classic and Sony Classical, especially Toby Chadd, Hugh Robertson, Natalie Shea, Sarah Thwaites, Karen Pitchford and of course our producer, Virginiaguide Read. line The - personBleed to 0.125”whom (3.175mm). Do not place I would love to dedicate this album is my great friend and manager, Vicky Corley-Smith - sharer and creator of dreams come true. logos, text, or– Amyessential Dickson images outside of the white

ABC Classic thanks Vicky Corley-Smith (VCS Management), Jane English andspace Nicole Roberts (Music Sales Group), Paola Niscioli (Adelaide Symphony Orchestra), Catherine Strutt, Toby Chadd, Fiona McAuliffe, Jo Lenart, Caleb Williamson, Camille Qurban and Natalie Waller.

P & © 2019 Australian Broadcasting Corporation under exclusive license to Sony Music Entertainment Distributed by Sony Music Entertainment · All trademarks and logos are protected · All rights reserved. Amy Dickson and William Barton in the recording studio with producer Virginia Read and composer Ross Edwards G010004059950Y Digital Booklet Standard Master

Page Size: 11 x 8.264 inches (28 cm x 21 cm) Four-page minimum Horizontal presentation All FONTS are embedded RGB Color All images are full-bleed Final PDF must be no more the 10mb

Your background artwork must fill until the red guide line - Bleed 0.125” (3.175mm). Do not place logos, text, or essential images outside of the white space