Brett Dean Conducts his piece ‘Carlo’ in ‘How She Gives Me Death’; an evening of music inspired by Gesualdo’s Moro Lasso at South Melbourne’s iconic St Ali Coffee Roasters.
Some of Melbourne’s finest singers, instrumentalists and conductors, come together in a program including Eötvös’s Comic Madrigals for twelve voices, Gesualdo madrigals arranged for brass quintet, and a new work for horn and electronics by Lachlan Hughes. This the first of three projects presented by horn player Georgia Ioakimidis-MacDougall as part of her Fellowship through the Australian National Academy of Music. She aims to connect musicians with local venues which offer new and interesting performance contexts. She will collaborate with some of Australia’s most creative and ambitious artists throughout 2014 to engage the community and explore the way we listen to music.
Wednesday 5th of March, 8pm.
St Ali South, 12-18 Yarra Pl. South Melbourne.
Tickets only at the door, bar open all evening.
Cost: $15/ $10 concession.
http://www.anam.com.au or call 96457911.
HILDEGARD ave, generosa
GESUALDO resta di darmi noia
LACORCIA o fra tanti sospir
EOTVOS moro lasso
GESUALDO gia piansi nel dolore
HILDEGARD o ierusalem
~ INTERVAL 20’ ~
HUGHES quando vaga
GESUALDO/LACORCIA arr. HUGHES | G’FROERER | TREWARTHA | IOAKIMIDIS-MACDOUGALL | FARAGHER | ANDERSON
EOTVOS LAWSON | WILLIAMS | MATHEW | DALTON | BRIGHT | BUTCHER | STOREY | GAMBOZ | CZUCHNOWSKI | HUGHES | JAKAB | PAULDING | BEDLOW
DEAN DEAN | JEVONS | WILLIAMS | BENNETTS | ALLAN | EVE | RAE | PICKETT | ROLLIN | YAP | CLARK | DANIEL | PARTRIDGE | PAYNE | PRICE | HEILBRON | ABELA
SAINT HILDEGARD OF BINGEN, (1098-1179) also known as Sibyl (oracle) of the Rhine was a German writer, composer, philosopher, Christian mystic, Benedictine abbess, visionary and polymath. Hildegard wrote theological, botanical and medicinal texts, letters, liturgical songs, poems, and supervised miniature illuminated manuscripts. She was known for her healing powers involving practical application of tinctures, herbs, and precious stones. She is said to have cured blindness using Rheinwater. Hildegard developed an alternative alphabet, revealed in the text of her writing and compositions as modified medieval Latin with many abridged, invented and conflated words.
‘O Jerusalem, your foundation is laid with burning stones, which are the tax-gatherers and sinners who were lost sheep, but discovered by the Son of God, they ran to you, and were placed in you. Thus your walls blaze with living stones, who with great efforts of good will have flown like clouds into the sky.’ ~ O Ierusalem
CARLO GESUALDO (1560-1613) ‘Prince of Venosa, was an esteemed composer of idiosyncratic and highly accomplished vocal music of the Mannerist style and perpetrator of one of the most heinous and widely publicized criminal acts of Italian society in the 16th Century, namely the murder in 1590 of his own wife Maria d´Avolos and her lover, Don Fabrizio Carafa, Duke of Andria. Not surprisingly, this Carlo character has been regarded as a fairly notorious figure ever since. Historians to the present day still seem undecided as to the true merits of Gesualdo the composer, unable to separate the characteristics of his compositions, with their harmonic extremities and surprises and their textural complexities, from the infamy of Gesualdo the murderer. There are, no doubt, numerous contemporaries of his whose music would be just as worthy of the kind of attention now given to Gesualdo, composers such as Marenzio and Luzzaschi who didn´t fan the flame of fame by butchering their spouses. But I believe that with Carlo Gesualdo one shouldn’t try to separate his music from his life and times. They are intrinsically interrelated.The texts of his later madrigals, thought to be written by Gesualdo himself, abound with references to love, death, guilt and self-pity.’ ~ Brett Dean, 1997
PETER EOTVOS (1962-) wrote Hochzeitsmadrigal for his own wedding and dedicated it to his then wife, Pi-hsien Chen. ‘“Wedding madrigal” is a song to the boundless joy of living. It shows four stages in the wedding ceremony: guests and relatives posing for photographs at the church-door – marching in and peal of bells…preparation for the bridal bed by candlelight, … private dialogue between the newly-weds (text medieval German love-song “thou art mine, I am thine…”) beneath the spying eyes of the relatives, who peep through the keyhole…’ . the second madrigal in the program Moro Lasso ‘1963/72 for the 350th anniversary of Gesualdo’s death. here, the piece – perhaps the best known of all Gesualdo’s madrigals – is shown in a rear perspective, as if it were being performed for a spectator watching in the wings: to the chimes of bells, the actors, coughing, growling, clearing their throats, slowly drop their masks of living people and let their true dead faces come to the fore’. – Peter Eötvös
LACHLAN HUGHES (1990-) Considering the bizarre individuality that Gesualdo achieved in his sixth book of madrigals (from which we’ve heard two examples tonight), one can only ponder the uncharted lands this murderous prince of Venosa might have discovered in his seventh book; this is the conjecture from which Quando vaga takes its cue. The piece references the only extant voice (all the others being lost) of the final madrigal of Gesualdo’s seventh book, expanding a small fragment into a heterophonous fug of sound, through which semi-ritualistic actions emerge at various intervals. The piece attempts to find some sort of contemporary stillness amid the exuberance of the surrounding music. – Lachlan Hughes, 2014
BRETT DEAN (1961-) ‘Carlo starts with pure Gesualdo…from a tape, one hears the opening chorale from Moro lasso, …Following the tragically sinking chromatic line of this opening, a pre-recorded vocal collage unfolds, the various quotes from the madrigal initially linking harmonically then going their own way, sometimes brighter and faster, at other points slower and more solemn. Gradually the orchestra becomes involved in this process, at first displacing the taped quotes from Moro lasso with other Gesualdo motives, and eventually leading us to altogether more 20th Century realms of sound. Occasionally the sampler or tape transport us momentarily back into the world of Gesualdo, only for the orchestra to embark on their own interpretation and re-working of this material. Throughout this journey between these two different time-zones, Gesualdo´s madrigals are eventually reduced to mere whisperings of his texts and nervous breathing sounds. These eventually also grow in dramatic intensity into what may be seen as an orchestral echo of that fateful night in Naples on the 26th October 1590.’ – Brett Dean, 1997
GEORGIA IOAKIMDIS-MACDOUGALL is a freelance horn player based in Melbourne. She works as a contract and casual musician for Melbourne Chamber Orchestra, Melbourne Symphony Orchestra, Orchestra Victoria and Sydney Symphony Orchestra. Georgia is a recent graduate of the Australian National Academy of Music where she was privileged to spend three years intensively studying, performing and collaborating.
Georgia is a 2014 Fellow at the Australian National Academy of Music under the mentorship of Genevieve Lacey, and will focus her fellowship projects on developing relationships between students, fellows, local composers and artists. Central to this is building relationships with new venues in South Melbourne. She volunteers at Conduit Arts Initiative, a bimonthly visual and performing arts venue.
Georgia recently travelled to Massachusetts to take part in Bang on a Can Summer Music Festival thanks to a Skills and Arts Development Grant from Australia Council. From this, several ongoing projects have emerged to be presented in 2014.
This year, Georgia will work with Peter de Jager in her commission of his song cycle to be premiered at the Melbourne Recital Centre’s Local Heroes series. She is currently working with Sydney composer Lachlan Hughes towards a premiere of a new work for horn and tape as part of her fellowship, and will co-curate Messiaen’s Des Canyons aux Etoiles at the National Gallery of Victoria in November with Jacob Abela. She is also very exciting to be joining Syzygy for a program later in the year.
Georgia holds a Bachelor of Music from the University of Melbourne and has recently completed her Master of Music research through Griffith University. She is currently studying a Graduate Diploma of Psychology through the University of Melbourne.
LACHLAN HUGHES is a composer and singer based in Sydney, Australia. In 2012 he graduated from the Sydney Conservatorium of Music at the top of his cohort, receiving a first class honours degree and the Horace Keats Memorial Prize for Composition. As a composer he has worked with the Orkest de Ereprijs (Apeldoorn), Halcyon, members of the Concorde Ensemble Dublin, the Museum of Contemporary Art (Sydney), as well as the Volta Collective of which he is a director.
Lachlan has also taken part in various festivals and composition-programmes including the 2010 ISCM Festival, the Irish Composition Summer School, the International Young Composers Meeting and the Australian Youth Orchestra’s 2014 National Music Camp.
As a performer, Lachlan has strong interests in early music as well as contemporary music and sings regularly with the Sydney Chamber Choir and the Choir of St. James Church, Sydney. From October 2014 Lachlan will be a choral scholar at The Queen’s College, Oxford University.
EVAN LAWSON (b.1989) completed his Bachelor of Music Performance (Hons.) at the Victorian College of the Arts in 2010 under Johanna Selleck (composition), Dr. David Kram and Benjamin Northey(conducting).
Evan will be attending the University of Melbourne in 2014, to commence a Masters of Music Research, Conducting.
Evan’s compositions have been performed by a wide variety of orchestral and chamber groups including the Chamber Strings of Melbourne (2007), VCA Symphony Orchestra (2009), Victorian Youth Symphony Orchestra 2009/12), Syzygy Ensemble (2011) and the Melbourne Symphony Orchestra (2011).
He has also been composer in residence for Camp Street Harp Camp (2012) and was commissioned by the Australian Children’s Choir (2012). His works have been performed at Melbourne Recital Centre (2011) and at the Australian National Academy of Music (2010).
Evan’s work plays with the flow and transfer of energy and is know for contrasting movement between static and hyperactive textures, written primarily for voice, solo line instruments or works for large forces (generally with one or more soloists in a concerto grosso style). Most works are written for specific performers and are informed strongly by ancient music and cross-disciplinary projects.
As a conductor, Evan was the first recipient of the Australian National Choral Association’s young conductor’s scholarship (2008) and has acted as guest conductor for the VCA Chamber Orchestra (2008), at the Australian National Academy of Music (2011), was assistant conductor for More than Opera’s La Traviata (2009) and on Titanic the Musical (2012) for 5 Angle Arts, Ballarat.
Evan was the inaugural conductor and musical director of the RMIT Symphony Orchestra (2008 – 09), is currently the artistic director and CEO of Forest Collective (2009 – present www.forestcollective.com) and was musical director for In Good Companies production of Carmen (2010).
In addition to this Evan has been musical director of various world premiers, including new opera Laugh Out Loud, by Nina Sofo (2010), compositions by May Lyon, Ricardo Vaglini, Luke Paulding, Johanna Selleck and many of his own work including a workshop of the one man opera, The Garden, with 3Mask (2012) and on his second opera Calypso with Forest Collective (Dec 2013).
BRETT DEAN – Australian composer and viola player Brett Dean studied in Brisbane before moving to Germany in 1984 where he was a permanent member of the Berlin Philharmonic Orchestra for fourteen years. Dean began composing in 1988 and has since been commissioned by the Berlin Philharmonic, Concertgebouw Orchestra, Los Angeles Philharmonic, BBC Proms, Lucerne Festival, Stockholm Philharmonic, Cologne Philharmonie, BBC Symphony, Melbourne Symphony and Sydney Symphony Orchestras among others.
Dean’s violin concerto The Lost Art of Letter Writing was premiered by Frank Peter Zimmermann and the Royal Concertgebouw Orchestra, conducted by Dean. This work has recently won Dean the world’s most prestigious composition prize, the 2009 Grawemeyer Award for Music Composition. Dean’s first opera Bliss is to be premiered by Opera Australia in 2010.
Brett Dean is currently Composer in Residence at the Australian National Academy of Music and continues a varied musical life as a performer alongside his composing, appearing widely as soloist, chamber musician and conductor.
EMMA WILLIAMS is completing a Bachelor of Music (Honours) at the Melbourne Conservatorium of Music, studying violin under Monica Curro. She has been involved in various orchestral and chamber programmes with the Australian Youth Orchestra, Darwin Youth and Symphony Orchestras, Arafura Ensemble, Melbourne Conservatorium Symphony Orchestra and led the University of Birmingham Symphony and Philharmonic Orchestras whilst on exchange in the UK in 2012.
Emma has a particular interest in early music, both as a Baroque violinist and singer. She learns Baroque violin with Rachael Beesley and Julia Fredersdorff in Melbourne and has studied with Adrian Butterfield in London and Croatia and with Kate Fawcett in Birmingham, UK. Emma performed in Belsize Baroque in London and as part of the Aestas Musica International Summer School in Varaždin, Croatia in 2012 and was an Ironwood Developing Artist in 2012. Emma is also a member of the Baroque Orchestra at Scot’s Church and the Bach Orchestra in Melbourne.
Emma has been a member of Gondwana Choirs since she was 11 and has studied with various teachers around Australia and Europe, including Emma Kirkby at the Dartington International Summer School (UK), Barbara Bonney at the Universität Mozarteum International Summer Academy (Salzburg, Austria), and with Mark Tucker and Alison Chamberlain in Birmingham, UK. She has also been a choral scholar with The Choir of Trinity College, University of Melbourne (2011-2013), where she became the N H M Forsyth Senior Choral Scholar in 2013, and currently sings casually at Trinity College and Christ Church South Yarra in Melbourne.
My heartfelt thanks to all those who have lovingly given their time to this concert and their support to me. Especially Matt, Lachlan, Evan, Tilman, Emma, Susie, Dec, Les, Jacob, Brett, Cal, Christine, Robin, and the staff at St Ali. Thankyou to each and every player and to all of you who have shared this evening with me. Each name on the program represents hours of work and a great deal of talent. xxx Georgia