Pleased to be able to share this video from our project last year. Special thanks to Jacob Abela, Fabian Russell, Tilman Robinson and Matt Hoy.
Pleased to be able to share this video from our project last year. Special thanks to Jacob Abela, Fabian Russell, Tilman Robinson and Matt Hoy.
Photo Credit: Agatha Yim
I am excited to present this concert of intimate duos and solos including works for singing viola, speaking cellist and the world premiere of a piece I had the great pleasure of commissioning for Callum G’Froerer – Liza Lim’s The Window for quarter tone flugal.
6pm, Saturday March 14, 2015
Australian Centre for Contemporary Art (ACCA)
111 Sturt St, Southbank VIC
$15/$10 at the door
SET ONE 36’ Callum G’Froerer, Matthias Schack-Arnott, Jenny Khafagi
LIZA LIM The Window – Quartertone Flugal Horn (World Premiere) 7’
LIZA LIM Philtre – Solo retuned violin 5’
LIZA LIM Love Letter – Solo percussion 5’
LIZA LIM Wild Winged One – Solo trumpet 9’
LIZA LIM Ehwaz – Trumpet and percussion 15’
SET TWO 30’ Katie Yap, Matthew Hoy, Michael Dahlenburg
BEN HJERTMANN Two Lines for Hannah – Singing violist (Australian Premiere) 1’
PETER EÖTVÖS Two Poems to Polly – Speaking cellist 9’
CALLUM G’FROERER Charcoals II – Viola and cello (World Premiere) 6’
MATTHEW LAING New The Paper Dolls – Singing violist (World Premiere) 3’
GIACINTO SCELSI Elegia per Thy – Viola and cello 11’
P R O G R A M N O T E S
P H I L T R E S
L I Z A L I M The Window 6’ (2014, World Premiere)
Solo quarter-tone flugelhorn
Commissioned for Callum G’Froerer
Based on The Window by Jalāl ad-Dīn Muhammad Rūmī *
L I Z A L I M Philtre 7’ (1997)
Solo Hardanger fiddle (Norwegian folk fiddle) or retuned violin (FCEB)
‘A philtre is a ‘love potion’. This piece for the Norwegian Hardanger fiddle exploits the instrument’s resonance strings (rather like an Indian sitar) and low-voiced tuning to weave texture and murmuring resonances. ‘ – Liza Lim, 1997
L I Z A L I M Wild Winged One 8’ (2007)
Solo trumpet with wacky whistle
‘Wild Winged One is a kind of ‘resetting’ of some fragments from my opera The Navigator written when I was living in Berlin in 2007. In the opera, the trumpet is especially associated with the ‘Angel of History’ a part-human, part-animal-bird, part-divine figure of prophecy and witness.’ ** –Liza Lim, 2007
L I Z A L I M Love Letter 6’ (2011)
Solo hand drum
L I Z A L I M Ehwaz (journeying) 13’ (2010)
Trumpet and percussion
‘Ehwaz is one of the Viking runes and is a symbol associated with communion, trance, shamanic energies and ecstatic searching.’ – Liza Lim, 2010
~ I n t e r v a l 1 5 ’ ~
B E N H J E R T M A N N Two lines for Hannah 1’ (2013, Australian Premiere)
Written at Bang on a Can Music Festival 2013, Massachusetts.
P E T E R E Ö T V Ö S Two Poems to Polly 6’ (1998)
Based on text by Lady Sharashina (born in Japan, 1908) – a dialogue between a man waiting for his deceased lover to return, and the voice that answers him.
C A L L U M G ’ F R O E R E R Charcoals II 9.30’ (2015, World Premiere)
Viola and Violoncello
M A T T H E W L A I N G The Paper Dolls 6’ (2015, World Premiere)
G I A C I N T O S C E L S I Elegia per Ty 11’ (1958/66)
Viola and Violoncello
Scelsi’s tender remembrance of his former wife Dorothy, nicknamed ‘Ty’.
B I O S
G e o r g i a I O A K I M I D I S – M A C D O U G A L L
Georgia is a freelance horn player and curator based in Melbourne. Recently, she has co-curated Messiaen’s Des Canyons aux Etoiles as part of her ANAM fellowship, played in Matthew Hoy’s Soft Soft Loud festival at Fremantle Arts Centre, and commissioned several works including a large-scale chamber song cycle from Peter de Jager which was premiered at the Melbourne Recital Centre. She shortly relocating to Berlin to freelance and continue her studies in psychology.
C a l l u m G ’ F R O E R E R
Callum is a trumpet player active in improvised and notated musical settings. He has just released his second album ‘Space Available’, and in 2014, performed with the Australian Chamber Orchestra, The Phonetic Orchestra, Ensemble Offspring and Brass Commons. He is shortly relocating to Europe where projects include playing Stockhausen’s Trumpetent with Marco Blaauw.
M a t t h i a s S C H A C K – A R N O T T
Matthias is a Melbourne based percussive artist working in the areas of performance, composition and improvisation. At the age of 21 Matthias was invited to be the Artistic Associate of Speak Percussion, with whom he has toured throughout Europe, Asia and the USA. Matthias’ solo practice explores meticulously realised percussive installations such as his recent large-scale performance installation, Fluvial, which was premiered at the 2014 Next Wave Festival.
J e n n y K H A F A G H I
Jenny has performed throughout Australia, Europe, Asia and Canada as an orchestral and chamber musician. She plays regularly with the Melbourne Symphony Orchestra and the Queensland Symphony Orchestra, and has also toured throughout regional Australia with ACO2. Jenny is a core member of Melbourne’s Syzygy Ensemble, a group committed to discovering, commissioning and presenting, new music
M a t t h e w H O Y
Matthew is program manager at the Australian National Academy of Music, and artistic director of Soft Soft Loud festival at Fremantle Arts Centre. A former cellist in the West Australian Symphony Orchestra, Matt conceives of and directs artistic collaborations which engage both musicians and audiences. This year, Matt brought together Finnish musician Tuomo Prättälä, his beat boxing compatriot Felix Zenger, Tilman Robinson, and a ten piece ensemble for a unique performance blending pop, soul and jazz.
M i c h a e l D A H L E N B U R G
Cellist and conductor Michael Dahlenburg performs regularly as a chamber musician, soloist and orchestral musician. He has performed as a soloist with the Melbourne Chamber Orchestra, Melbourne University Chamber Orchestra, Melbourne Youth Orchestra and Melbourne New Orchestra. He is a core player of the Melbourne Chamber Orchestra, and has performed with the Australian Chamber Orchestra, ACO2, Orchestra Victoria and the Melbourne Symphony Orchestra.
K a t i e Y A P
Katie has a passion for chamber music, and has just completed three years at the Australian National Academy of music. She has played in Mahler Chamber Orchestra, the Australian World Orchestra, the Australian Youth Orchestra, the Tasmanian Discovery Orchestra, the Bangalow Chamber Orchestra, the Ainola Quartet, and the Grawert Quartet. Katie will join Orchestra Victoria in 2015 as Associate Principal Viola.
**T H E N A V I G A T O R (excerpt)
the comet in its coma
sings of the erotic bathings
of a man inside a woman
inside a man who makes love
with water, sings of a woman
inside a man inside a woman
who makes love with a comet
sings of a comet inside a glacier
inside an engine whose twin aortas
deliver blood-rain or tide-blood
sings of a doubt so cold
it breeds ice
*T H E W I N D O W
-Jalāl ad-Dīn Muhammad Rūmī
There is some kiss we want with our whole lives,
The touch of spirit on the body.
Seawater begs the pearl to break its shell.
And the lily,
How passionately it needs some wild darling!
At night I open the window and ask the moon
to come and press its face against mine.
Breathe into me.
Close the language-door and open the love-window.
The moon won’t use the door,
Only the window.
Thankyou to Emma Anderson and the team at ACCA, Liza Lim, Matthew Hoy, Genevieve Lacey , Liam McManus, and the team at ANAM.
Photo Credit: Tristan Rebien
Through my fellowship at the Australian National Academy of Music, I am collaborating with Jacob Abela to present Messiaen’s Des canyons aux étoiles…. The upcoming Melbourne premiere marks the second performance of this epic work in Australia since its premiere by the Australian Chamber Orchestra in 1988 with Messiaen himself in the audience.
Des canyons aux étoiles… was premiered at Alice Tully Hall at the Lincoln Centre on November 20, 1974. Commissioned by Tully to celebrate the bicentenary of the United States Declaration of Independence, this 100 minute work is inspired by the birds, colour and landscape of Bryce Canyon in Utah. Guided by the solo piano and boasting augmented wind, brass and percussion, this work will be realised by some of Australia’s finest musicians including Sydney Symphony Orchestra’s principal horn Ben Jacks, and renowned Australian percussionist, Peter Neville under the baton of Fabian Russell.
Jacob Abela, piano
Ben Jacks, horn
Peter Neville percussion
Kaylie Melville percussion
ANAM students and special guests
WHEN: 5pm, Sunday November 23, 2014
Doors open 4:30, drinks available
WHERE: South Melbourne Town Hall,
210 Bank St, South Melbourne VIC
TICKETS: $28/$20 concession
Book online at trybooking.com/FYWL
$5 ANAMate tickets at the door
CONTACT: anam.com.au or phone: +61 3 9645 7911
P R O G R A M N O T E S
Olivier Messiaen French composer Olivier Messiaen was born in 1908 to a literary family – he believed that his mother’s sequence of poems The Budding Soul were prophetic of his future artistic career. Inspired by Ravel and Debussy, Messiaen studied piano, organ and composition, and was accepted in to the Paris Conservatoire in 1919 at age 11. In World War II, Messiaen was drafted into the French army as a medical auxiliary, but was captured and imprisoned at Stalag VIII-A. There he met a cellist, violinist and clarinettist for whom he wrote a trio which he incorporated into his Quartet for the End of Time, first performed to an audience of prisoners and prison guards. After his release in 1941, Messiaen was appointed professor of harmony at the Paris Conservatoire, where he compiled his modes of limited transposition – scales which fulfil criteria relating to interval repetition and symmetry. Messiaen described terms such as ‘tonal’, ‘modal’ and ‘serial’ as misleading analytical conveniences, for him there was simply music with or without colour. Messiaen’s students included Boulez, Stockhausen and Xenakis, who he urged to take advantage of his background in mathematics and architecture. Contrary to the increasing vogue of secularism in the mid 1900s, Messiaen drew on his Roman Catholic faith, explicitly so in several large-scale piano works and song cycles. Other works such as Turangalîla-Symphonie however, were an extended meditation on the joy of human union and love rather than divine love. In the 1960s, Messiaen’s love of ornithology featured heavily in his compositions, some of which comprise almost entirely of birdsong such as Réveil des oiseaux. Near the end of his life he wrote Éclairs sur l’au-delà… for the New York Philharmonic, which was premièred six months after his death in Paris in 1992.
Des canyons aux étoiles… Commissioned for the bicentenary of the founding of the United States, the cycle Des Canyons aux étoiles… for piano and orchestra was written from 1971 to 1974 following a trip Olivier Messiaen made to Utah. The canyons of Utah are the starting point for this monumental fresco described in twelve movements, and the music rises to the stars, encountering during this ascension several birdsongs dear to the composer. This is a geological work whose mission is to celebrate the landscape and birds found in America, yet it is also astronomical, and, as Messiaen’s music often is, frankly religious. This pursuit of the grandiose takes place within highly developed writing. A work of ‘sound-colour’, Des Canyons aux étoiles… innovates first of all with its orchestration. Written for only 44 instruments including a very complex percussion section that includes a wind machine and a geophone (an instrument Messiaen invented for this work), the piece produces incredible sound images due to its instrumental assembly. The solo piano either acts alone (in two of the twelve movements), or alternates with, or is superimposed on the orchestra. Its mainly timbral treatment manages to achieve a complexity of sound which emulates the entire orchestra. From a formal point of view, in the same sense as in visual art, this work reflects a ‘refusal of composition’. In other words, all the moments of musical progress appear equally important to listen to, and none of them demand attention at the expense of others.
Part I: Le désert (The desert) The desert is a symbol of the void of the soul that allows one to hear the inner call of the Spirit. That is, for Messiaen, the best way to begin this gradual journey to the stars. The theme played on the horn evokes a peaceful state; birds and desert wind (performed on the wind machine) define the vast silence of Creation.
Les Orioles First of the five movements consisting solely of birdsong. These are American troupials or orioles from the western United States. Most of these birds have an orange and black coat, and all of them are excellent singers. Birds are the perfect link between nature and music, between earth and sky.
Ce qui est écrit sur les étoiles ~ (What is written on the stars~) MENE (measured), TEKEL (weighed), PARASIN (divided). At the feast of Belshazzar, King of Babylon, who refused to recognise the existence of God, these words appeared in letters of fire. For Messiaen these words describe the order of the placement and movement of the stars in the universe. These words also have a musical equivalence as the letters that comprise them are translated into notes.
Le Cossyphe d’Heuglin (The white-browed robin-chat) For solo piano, and the second of five movements consisting solely of birdsong. Here, it is a South-African bird that sings.
Cedar Breaks et le don de crainte (Cedar Breaks and the gift of awe) In his preface to the score, Messiaen refers to Cedar Breaks as ‘a vast amphitheatre, sliding down towards a deep abyss,’ evoking a sense of awe at the overwhelming beauty in unspoiled nature and a symbol of the Divine Presence.
Part II: Appel interstellaire (Interstellar call) One of the main inspirations for this piece, Messiaen originally wrote this movement as a memorial to the young French composer, and student, Jean-Pierre Guézec. In the notes to this movement, the composer quotes from the bible: It is he that heals hearts and binds up their wounds; it is he that numbered the stars, calling each by name. (Book of Psalms) O earth, cover not thou blood, and let my cry have no place. (Book of Job)
Bryce Canyon et les rochers rouge-orange (Bryce Canyon and the Red-Orange Rocks) This is the central movement of the work. Bryce Canyon is a gigantic circus of fantastic formations of red, orange, and violet rocks. This movement attempts to reproduce all of these colours, and those of the Steller’s Jay (blue and black) while flying over the canyon.
Part III: Les ressuscités et le chant de l’étoile Aldebaran (The resurrected and the song of the Aldebaran star) Again, the book of Job furnished the inspiration: “the stars sing,” they possess their own natural sonority. The stars sing, the resurrected revolve around the stars.
Le moqueur polyglotte (The mockingbird) Second movement for piano solo, and the third of five movements consisting solely of birdsong. The sound suggests a large landscape, and through some inexplicable sleight-of-hand, implies something that is only realised at its departure. The mockingbird launches forth and dazzles with its tricks and imitations, accumulating momentum and bursting in a blaze of hot light.
La grive de bois (The wood-thrush) Fourth of the five movements consisting solely of birdsong. The song of the wood-thrush is a major arpeggio with a clear timbre. It is usually preceded by a pickup and followed by a lower rustling. This birdsong symbolises the archetype that God wanted, and that we realise in heavenly life.
Omao, Leiothrix, Elepaio, Shama Final movement consisting solely of birdsong. These birds from the Hawaiian islands, China, and India form the nucleus of this ‘long symphony of birds’.
Zion Park et la cité celeste (Zion Park and the celestial city) Nature and the divine fuse in this vision of paradise. Those who discover the walls, trees, and limpid river of Zion Park see it as a symbol of Paradise; the ultimate opportunity, in this work, to observe heaven on Earth.
JACOB ABELA – Co-Curator/Piano Jacob Abela is a Melbourne-based pianist and composer, currently studying with Timothy Young at the Australian National Academy of Music. In 2014, Jacob received an ArtStart grant from the Australia Council for the Arts. This grant has funded projects such as recordings of three commissioned works with American flautist Meerenai Shim and a tour of Lachlan Hughes’ extended work cadence loops which he commissioned. Jacob has performed at the 2012 Banff Summer Arts Festival (Canada), Steve Reich’s 2012 Sydney Opera House Residency with Synergy Percussion, 2012 Sydney Festival (in the Helpmann nominated show Anatomy of an Afternoon), 2011 Verge Festival, 2010 ISCM World New Music Days, and 2009 Stockhausen Licht Festival. Jacob frequently engages composers for new music, and performs their music regularly. His passion for and dedication to contemporary music led him to be chosen on two occasions, as one of two pianists worldwide, as a Fellow for the 2013 and 2014 Bang on a Can Summer Music Festivals. Jacob has also premiered a large number of new works with the Volta Collective – a group of composers and performers he co-founded in 2009.
GEORGIA IOAKIMIDIS-MACDOUGALL – Co-Curator/Horn Georgia Ioakimidis-MacDougall is a freelance artist based in Melbourne, and 2014 Fellow at the Australian National Academy of Music under the mentorship of Genevieve Lacey. She works as a contract and casual horn player with many of the state orchestras, and enjoys playing in a variety of chamber music settings. Georgia is a 2013 Bang on a Can Summer Music Festival Fellow. Highlights of this year include commissioning The Window from Liza Lim for quarter-tone flugelhorn, working with Brett Dean and Lachlan Hughes to present a sold out chamber music concert at iconic Melbourne coffee shop St. Ali, and co-presenting a project with composer and friend Peter De Jager at the Melbourne Recital Centre which included a major new commission. Georgia is currently studying a Graduate Diploma in Psychology and looks forward to moving to Berlin in 2015 after her final ANAM Fellowship concert in March.
FABIAN RUSSELL – Conductor Fabian Russell has been at the forefront of the Australian classical music industry over the last twenty five years as Conductor, Artistic Director, teacher and orchestral musician, holding positions with Sydney Symphony Orchestra, Orchestra Victoria and Melbourne Symphony Orchestra. In 2002 he founded The Orchestra Project for pre-eminent young musicians, and has conducted the Australian Youth Orchestra, Melbourne Symphony Orchestra, Sydney Symphony Sinfonia, and ANAM orchestra. In 2012 Fabian was appointed Principal Conductor at the Monash University Academy of the Performing Arts, and Artistic Director and Principal Conductor of the Tasmanian Discovery Orchestra. He made his opera debut in 2013 with Victorian Opera conducting John Adams Nixon in China. This year he conducted Melbourne Chamber Orchestra, AYO’s National Music Camp, and the Australian International Summer Orchestra Institute. Fabian was awarded the Sir Winston Churchill Fellowship in 2011, and is an international adviser to the London based Australian Music Foundation.
BEN JACKS – Horn Ben Jacks is one of Australia’s leading Horn Players, and holds the position of Principal Horn in the Sydney Symphony Orchestra. Outside of the orchestra, Ben has a busy solo and chamber music career, and is Head of Brass at the Australian National Academy of Music. Ben has studied with Dale Clevenger and Gail Williams in Chicago, Stefan Dohr in Berlin, Professor Erich Penzel in Cologne and Hector McDonald in Vienna. He has performed with every professional orchestra in Australia, and enjoys a career performing internationally as guest Principal Horn including his 2013 debut with with the London Symphony Orchestra under the direction of Valery Gergiev. Ben Jacks has a busy solo career performing with the Australian Brass Quintet, as a soloist and in chamber music recitals. Jacks has recently broken into the career of a recording artist with his debut CD “Rhapsodie” for the Melba label.
PETER NEVILLE – Glockenspiel Peter is Head of Percussion at the Melbourne Conservatorium of Music and at the Australian National Academy of Music. Whilst he works across the range of musical styles, he has a particular commitment to new music. As the percussionist of the ELISION Ensemble for twenty-eight years, he has been involved with practically all their concerts, recordings and international tours. Peter works regularly with Six Degrees, SPEAK Percussion, The Nick Tsiavos Ensemble, The David Chesworth Ensemble, BOLT Ensemble and The Raga Dolls Salon Orchestra and he has recorded and/or toured internationally with each of them. Peter has worked in orchestral and music-theatre settings, and his CD recordings range from pop albums by Peter Andre and Deborah Conway to soundtracks including “Words and Pictures” as well as numerous chamber music discs.
KAYLIE MELVILLE – Xylorimba Kaylie is a freelance percussionist based in Melbourne. She is in her second year at the Australian National Academy of Music where she is studying with Peter Neville. Kaylie has performed with the Melbourne Symphony Orchestra, Tasmanian Symphony Orchestra, West Australian Symphony Orchestra, Australian Youth Orchestra and Sydney Sinfonia, and has been selected as an Emerging Artist with Speak Percussion in 2010, 2012 and 2014. She has performed at festivals including the Metropolis New Music Festival, the Melbourne Festival, the Bendigo International Festival of Exploratory Music, the Salihara Festival (Indonesia) and the Percussive Arts Society’s International Convention (USA). Kaylie is particularly interested in percussion ensemble repertoire and has performed with Speak Percussion, Tetrafide, Quadraphonic Percussion and Defying Gravity. Kaylie’s passion for contemporary chamber music and Australian repertoire has lead her to found the Bricolage Collective, a contemporary percussion ensemble dedicated to championing and performing new Australian works.
VIOLINS | Victoria Bihun * | Isabel Hede | Ben Spiers
Hannah Walters | Hayato Simpson | Yena Choi
VIOLAS | Nelson Yarwood * | Matt Laing | Beth Condon
CELLI | Blair Harris * | Gemma Tomlinson | Eliza Sdraulig | BASS | Jonathon Coco*
FLUTES | Lina Andonovska * | Agatha Yim | Tamara Kohler Piccolo | David Shaw Alto
OBOES | Ben Opie* | Jasper Ly | David Reichelt Cor Anglais
CLARINETS | Alex Morris * | Paul Dean | Luke Carbon Bass| Nick Evans Eb
BASSOONS | Chris Haycroft * | Tom St John | Chris Martin Contra
HORNS | Ben Jacks * | Georgia Ioakimidis-MacDougall | Rachel Shaw
TRUMPETS | Callum G’Froerer * | Alison Wright | Josh Rogan Piccolo
TROMBONES | Iain Faragher * | Adrian King | Ben Anderson* Bass
PERCUSSION | Hamish Upton * | Matthew Horsley | Hugh Tidy
Madi Chwasta | Stefania Kurniawan (* denotes principal)
Thank-you to everyone who has made this project possible.
Thank-you to Fabian Russell for being so generous with his skills and mentorship. Thanks to the musicians of the orchestra, in particular our soloists, for donating their time and energy towards realising this project. My heartfelt thanks to Matt Hoy for creating a space for young artists to realise creative projects, and being most generous with his humour and expertise. Many rabbits, many hats. Thank-you to Genevieve Lacey for inspiring a generation of young musicians to be ambitious and giving so freely of her skills and thoughts. Thank-you to the team at ANAM, especially Les, Noe, Paul, Nick and Joan, and to tonight’s sound engineer, Tilman Robinson. Thanks to Tristan Rebien and Hannah Hughes for their photography and design work.
Program notes by:
Georgia Ioakimidis-MacDougall, Jacob Abela, Guy Lelong and Steven Lacoste.
Photo Credit: Agatha Yim
Two years ago, Peter and I sat together and dreamed up the concept for this special little concert. Thanks to the interest of the Melbourne Recital Centre and some fabulously talented local musicians, we have the pleasure of inviting you to share an evening of music with us.
DE JAGER Arianna Meandering – (solo horn, world premiere)
DEAN Night Window – (viola, clarinet and piano)
MONTEVERDI Lamento D’Arianna – (soprano, harp and cello)
DE JAGER Model Universes – (soprano, clarinet, bassoon, horn, viola, cello and harp, world premiere)
Taking as a starting point Monteverdi’s famous Lamento D’Arianna, the pivotal emotional moment and only surviving remnant of his second opera, we look inwards and outwards from this expression of personal human suffering. Inwards to the nocturnal terrors of Brett Dean’s Night Window; outwards to the overarching cosmic perspectives of Peter de Jager’s “Model Universes”, written especially for this occasion. This chamber song cycle blends microcosm and macrocosm, centred around the lone human voice, like Arianna, attempting to make sense of it all. Eight of Melbourne’s finest young musical personalities are brought together to collaboratively craft this musical exploration of the relationship of humanity to the seemingly unfeeling cosmos.
WHERE The Salon, Melbourne Recital Centre. Southbank.
WHEN October 21, 2014. 6pm
HOW MUCH $28/$38
TICKETS Melbourne Recital Centre box office +61 (0)3 9699 3333 or http://www.melbournerecital.com.au
SOPRANO Hana Crisp
PIANO Peter de Jager
CLARINET Lloyd Van’t Hoff
BASSOON Jack Schiller
VIOLA Alexina Hawkins
CELLO Anna Pokorny
HORN Georgia Ioakimidis-MacDougall
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