Pinchgut rounds off a spectacular year with Handel’s Theodora, a succession of dramatic arias and choruses that promise to be a profoundly moving and achingly beautiful experience.
In the last twenty years, Handel’s second last oratorio and his favourite work, Theodora, has come to be recognised as one of the baroque composer’s greatest masterpieces. Lindy Hume directs this tale of innocence, love, faith and courage in ancient Rome struck down by blind hatred and the thirst for power.
The beautiful young Theodora has inspired many to embrace the Christian faith – including the Roman officer Didymus, who has fallen deeply in love with her. When the order comes through that all Christians are to be arrested and executed, the two lovers find themselves locked in a battle to the death – each determined to sacrifice their own life to save the other.
An extraordinary company of international and Australian talent has been engaged to present this stunning, rarely performed opera.
Australian soprano Valda Wilson will perform the role of Theodora and mezzo-soprano Caitlin Hulcup is her devoted friend Irene. One of the world’s leading countertenors Christopher Lowrey will sing the role of Didymus, English tenor and Pinchgut audience favourite Ed Lyon performs the role of Septimius, with bass baritone Andrew Collis as Valens. Pinchgut’s official chorus Cantillation and the Orchestra of the Antipodes will complete the experience.
Pinchgut Opera focuses on new creations of rediscovered masterpieces, bringing the music of the seventeenth and eighteenth centuries to life with intelligence and passion. Pinchgut performances are presented in the intimate surroundings and superb acoustics of Sydney’s City Recital Hall.
When Auguste Bernadel applied the finishing polish to his violin in Paris in 1864 he couldn’t have known the same violin would one day grace the stages of the NSW Southern Highlands, “I fell in love with it immediately when it was shown to me and luckily, I’ve never needed to search for another instrument in over 25 years,” says Anne Harvey-Nagl, a Vienna based Australian violinist who will return home in November to perform in the Australian World Orchestra Chamber Music Festival in the Southern Highlands on 26th and 27th of that month.
The festival, now in its third year and curated by Artistic Director Christina Leonard, has built a solid reputation as a weekend event featuring fine music played by some of Australia’s most highly acclaimed classical musicians living at home and abroad, complimented by beautiful food and wine in the company of like-minded people.
The festival also aims to introduce works by Australia’s foremost living composers. In previous years the festival has hosted Mary Finsterer, George Palmer, Tim Dargaville, Andrew Ford, and Elena Kats-Chernin.
This year’s festival features the music of Australian composer Paul Stanhope who will introduce his works alongside others by Beethoven, Saint-Säens, Schumann, Ravel and Kodaly to name a few.
The three programs titled ‘My Song Is Love Unknown,’ ‘The Sweetest Nightingale’ and ‘Into The Sunset’ draw inspiration from Leonard’s experiences in the Southern Highlands.
“It’s such a spectacularly beautiful part of the world. For me, this natural beauty is something that inspires relaxation and creativity and makes it the perfect place to host a festival. I love the challenge of programming both cornerstones of the chamber music repertoire – well known music as well as music that is rarely heard, and also I really value the opportunity to introduce our audiences to the music of some of Australia’s nest living composers, as well as the composers themselves!” says Leonard.
Leonard, a saxophonist from Sydney who plays custom made instruments by Japanese instrument maker Yanagisawa, and the only ones of their kind in Australia, has a strong vision for this year’s Chamber Music Festival, “I’m looking forward to continuing to present concerts that showcase musicians from the AWO (Australian World Orchestra) in a really up-close-and-personal way and to enjoy beautiful food and delicious wines with interesting people, because I always meet so many of them after a concert! Festival-goers will enjoy the intimacy of chamber music, the skill of the performers and the beauty of their sounds. You always hear the mastery the players possess in chamber music repertoire.”
The musicians from the Australian World Orchestra are some of Australia’s finest– a unique orchestral initiative that brings Australian musicians from home and abroad to perform together under the one roof.
In its short 5 year history, the orchestra has attracted stellar conductors such as Maestro Zubin Mehta and Sir Simon Rattle.
Violinist Harvey-Nagl says, “Every single player is at the highest level of professionalism and expertise and it’s simply a wonderful experience to work with like-minded, open, friendly, funny Australians, many of whom I have known since my student days.”
As concertmaster of the Vienna Volksoper, the home orchestra to the Viennese Opera House of the same name, Harvey-Nagl is a seasoned international performer, “I am thrilled to be part of the Southern Highlands Chamber Music Festival, and to performsome of my favourite works with outstanding musicians. I’m especially looking forward to the diverse programmes, the opportunity to perform some Australian works, and to be working with these wonderful musicians in an intimate setting.”
Harvey-Nagl will be joined on stage by Leonard; violinist Lerida Delbridge, Assistant Concertmaster of the Sydney Symphony Orchestra; violist Lisa Grosman of Monash University and formerly of the Irish Chamber Orchestra; cellist Andrew Hines of the Australian Opera and Ballet Orchestra; clarinettist and Associate Principal of the Sydney Symphony Orchestra Frank Celata; and piano soloist Bernadette Harvey.
The festival is billed as a weekend of fine music, delicious food and uplifting experiences and will be presented at the Bowral Memorial Hall, St Jude’s, Bowral and Wombat Hollow, East Kangaloon.
Since their inception over twelve years ago, Nexas Quartet (Michael Duke, Andrew Smith, Nathan Henshaw and Jay Byrnes) have premiered countless new Australian works and collaborated with the finest musicians here and abroad. The culmination of all of this hard work and dedication is now being presented in their CD Current which is being launched at the Utzon Room at the Sydney Opera House. The CD is made up of all Australian works, including world premieres. Featuring the music of Elena Kats-Chernin, Matthew Hindson, Matthew Orlovich, Lachlan Skipworth and Daniel Rojas, Current is an eclectic recording showcasing the diverse nature of Australian music and the vibrant and engaging sound of the saxophone quartet.
Nexas first performed Elena Kats-Chernin’s From Anna Magdalena’s Notebook in Strasborg at the World Saxophone Congress. While it was originally written for string quartet, Kats-Chernin adapted it for Nexas. “This offers a fresh take on one of Elena’s most popular works and also explores new possibilities of timbre and enhanced dramatic effects,” says Andrew Smith. Nexas have a strong association with Elena Kats-Chernin, with Michael Duke premiering her saxophone concerto Macquarie’s Castle with the Sydney Conservatorium Orchestra earlier this year.
In 2014, Nexas teamed up with internationally renowned composer Matthew Hindson and presented a ballet version of Romeo and Juliet. Nexas loved the piece so much that they asked Hindson to turn it into a suite. The result, Scenes from Romeo and Juliet Suite was premiered earlier this year. “In this piece, I tried to use some aspects of Elizabethan dance forms mixed in with my more contemporary dance responses. It is still always classical music, however. My hope is that the music sounds very emotive of the drama and action implicit in the story,” Hindson says. Scenes from Romeo and Juliet Suite is divided into six movements, each depicting aspects of the characters and the drama of the narrative.
Byrnes, Henshaw and Smith tell me that Lachlan Skipworth wrote Dark Nebulae while he was based in Germany and this is very much removed from his typical musical style. “Dark Nebulae alludes to deep space and dark matter. That’s why the sound world for it is based upon multi phonics and these slowly evolving musical lines that emerge from nowhere and from within each other,” says Smith. “There is this cluster of sound. This is probably the most ‘out there’ piece on the recording”, Smith adds.
Also featured on the recording is Matthew Orlovich’s Slipstream, also written especially for Nexas. Orlovich’s saxophone music is making its mark on the world stage and he has become a prominent voice for contemporary saxophone music. “I’ve written this piece called Slipstream, in three movements, and the first movement is a fanfare introduction and an up-tempo lively feeling. The second movement is a ‘split personality’, with two types of character, which I have juxtaposed. There is a ‘funky’ character and a straight laced character. The third movement is a bit of a race to the finish line,” Orlovich explains.
“The jostling counterpoint and textural ideas in my score are inspired by the art of slipstreaming or drafting, as it is known in cycling parlance. Between the saxophone quartet world and the world of cycling, there are parallels to be found, not the least of which are the pursuit of precision teamwork and a love for “the thrill of the ride”, Orlovich writes about his work.
Daniel Rojas, known for his energetic and Latin American influenced music, demonstrates a tender and lyrical side to his compositional style in Little Serenade. He writes of his piece: “Little Serenade is my homage to our memories of childhood. The contrasting middle movement, Nostalgia, is a bittersweet tribute to an innocence that dissolved long ago; vague traces of those childhood joys and tears, however, are etched into the delicate fabric of adult life.” For this recording, the slow movement, Nostalgia has been arranged and adapted by Jay Byrnes. “The translation from strings to saxophone often works quite well, and this piece is quite effective for a saxophone quartet,” says Byrnes. “The biggest challenge in arranging this is capturing the harmonies and nuances from the eight parts of the string orchestra to only four parts for the quartet.”
“The pieces on this album are all substantial works that we feel very passionate about,” says Byrnes. “One of our aims is to bridge the divide between the intensely challenging contemporary works as well as the more accessible and nd a middle ground. So that there’s something in there for everyone,” adds Andrew Smith. “There’s a lot that goes into recording new works and putting them in a permanent manner,” he continues. “We’re hoping that this recording cements our reputation as leading saxophone quartet in Australia and the world stage,” he adds further.
The Concert Hall of the Sydney Opera House is a most dynamic venue; as Sydney’s stage, it hosts virtuoso pianists, rock musicians and HSC students – and that’s just in one week. In November it will morph into yet another guise – an opera theatre, as conductor David Robertson and director Mitchell Butel bring their vision of Porgy and Bess to life.
George Gershwin’s Porgy and Bess is inherently hybrid because musically, it blends jazz, African-American Spirituals and musical theatre while retaining the qualities of an opera. Through Robertson’s vision, its hybridity will extend beyond the music because his Australian orchestra Sydney Symphony (SSO) will be combined with an American cast. Opera will blend with concert. In technical terms, this is known as a ‘semi-staged’ performance. In layman’s understanding, this means a world of possibilities.
Before we turn to the 2016 production, it is interesting to peel back the layers and discover how Porgy and Bess came to be formed. Like Shakespeare, its intersection of ideas, characters and politics makes it quite timeless. George Gershwin was a product of New York of the early 1900s. Born Jacob Gershwine, he was the son of Russian- Ukrainian immigrants, a boy who cut his musical teeth in Yiddish theatre, learnt the art of classical music and then scored his first job writing popular songs on Tin Pan Alley. In his twenties, Gershwin began collaborating with his older brother, Ira, and together they produced over a dozen Broadway musicals and some of the most memorable songs of their generation.
Around this time, further down the Atlantic coast, a man by the name of DuBose Heyward was hard at work writing a novel, Porgy, a local tale that would reach the world. Set on the streets of Heyward’s hometown in Charleston, South Carolina, Porgy told the tale of a disabled African – American beggar and his efforts to rescue his beloved Bess, from the hands of both her lover Crown and a drug dealer by the name of Sporting Life.
For its time, Porgy was a brave work and indeed, it was the first novel to validate the experience of the African – American population. When Heyward’s wife, Dorothy, adapted the novel into a play it broke further ground and, in a bold move, the Heyward’s insisted upon an African-American cast and Dubose subsequently crediting them as collaborators who transformed the drama.
Back in New York, Gershwin read Heyward’s Porgy and decided it would make a great opera. The Heyward’s stage play was already underway in development, so Gershwin decided to name his project Porgy and Bess to distinguish between the two. He decided, however, that this would be a folk opera and as he explained to the New York Times, ‘Porgy and Bess is a folk tale. Its people naturally would sing folk music. When I first began work on the music I decided against the use of original folk material because I wanted the music to be all of one piece. Therefore I wrote my own spirituals and folksongs. But they are still folk music – and therefore, being in operatic form, Porgy and Bess becomes a folk opera.’ Seven years would pass before Gershwin and Heyward signed a contract with the Theatre Guild to write the opera but finally, in September 1935, the show opened at the Colonial Theatre.
Eighty years later, and an ocean away, staging Porgy and Bess is perhaps a timely reminder of how little the world has really changed. Fine Music spoke with soprano Nicole Cabell who will be performing the role of Bess in the SSO production. Upon being asked what the story means to her, Cabell responded, ‘Porgy and Bess is a story of love in the hardest of circumstances. Sometimes the characters triumph in love, and sometimes they fail, but the message always is of hope. The story is also an expression of joy when faced with unfair, heartbreaking circumstances. This small community in Catfish Row looks after one another, living and fighting through tragedy, always managing to come out stronger in the end. I can personally relate to some of the struggles expressed in this story, and can attest that it is only strong relationships that matter, that can get you through hard times.’
Cabell’s answer captures succinctly why the work remains so humanly and emotionally timeless. When asked what draws him to the work, Robertson provided an understandably musical answer. ‘The brilliance of invention of the melodies and the way in which Gershwin is so incredibly fecund in coming up with all of these brilliant tunes, is what makes it so appealing.’
As it is Cabell who will be voicing these tunes, it is interesting to try and understand how she relates to the character of Bess. Female characters in opera seem to exist somewhere on a spectrum of sweet to manipulative but as Bess sits on the crossroads, Fine Music asked Cabell which one she prefers to play.
‘Antithetically I actually have more fun playing the good girl,’ she replied.‘It’s more natural for me, I guess. That said, it’s also fun to play “bad” even though many of the rougher female characters in opera, such as Bess, have a heart of gold. I’ve come to embrace the challenge, to step outside my comfort zone, and it’s certainly becoming easier.’
From the way she describes Bess, it is clear she feels an emotional kinship with the character. ‘Bess is only a little manipulative,’ she defends, ‘and it’s really a survival tactic. Most of her hard exterior comes from pain and struggle, both of which she constantly fights to overcome. She wants to be sweet and loving, but has suffered a lot of abuse. You can see, watching the opera, that she has a wealth of love to give, but fights quite hard to tap that well. Her weaknesses are the weaknesses we all suffer, or would suffer, in her circumstances. Given the right circumstances, she can be, and is, very sweet.’ With this powerful evocation of the female lead, it is left to wonder in what way Porgy’s character provides a counterpart and it is Robertson, perhaps, who provides the answer when asked what audiences should take away from their night at the opera: ‘The resilience of hope within the human spirit.’ That’s Porgy, through and through.
Joining Cabell in Sydney will be Alfred Walker as Porgy, Eric Greene as Crown, Karen Slack as Serena, Julia Bullock as Clara, Leon Williams as Jake and Jermaine Smith as the acrobatic Sportin’ Life. Being a semi-staged production, there will be neither costumes nor set but as Cabell explains, this is far from a disadvantage. ‘When an audience isn’t given the full distraction of a set, lighting and costumes, they are encouraged to listen more closely to the music.’ And what music it is! As Robertson emphatically explains, ‘He thinks it is unlikely that there is an audience member alive on the planet who is unfamiliar with Gershwin’s music – they may just not know those beautiful melodies are associated with that particular composer. Gershwin is at once sophisticated and direct and very human.’
This directness and humanity is what permits the story to be told with only minimal dramatics. At the helm of those stage movements is Australian director, Mitchell Butel, who, much like Gershwin, has also explored the breadth of his field. Acting in everything from Romeo and Juliet to Oklahoma! and The Mikado, Butel turned his hand to directing in 2015. That same year he won Best Director of a Musical for his work in Violet performed at the Hayes Theatre. Butel is clearly well equipped to tackle this hybrid production and it is fascinating to try and imagine what he has in mind. Robertson is clearly pleased with the direction the collaboration is taking, saying he and Butel have ‘already had preliminary discussions and what he is putting forward is going to be an essential part of what I think will be a huge success.’
Robertson may be confident about his venture but it took a long time for Gershwin’s work to truly take off. Opinions were divided as to whether it was a racist work or an empowerment of race. As such, the opera fell into relative obscurity during the race riots of the 1960s. Its revival came at the hands of the Houston Grand Opera in 1976. For the first time the opera was being performed by an American opera company, rather than a Broadway production, and it secured the work in the opera repertory. Houston Grand Opera deservedly won a Tony award for the production.
From Cabell’s description, as would be hoped, it seems that today the work is seen as empowering, a foray into exploring race relations and manifesting aspects of humanity. Beneath the sails of the Sydney Opera House it is hoped that the opera will take people beyond the streets of Catfish Row and into their own hearts. This is the tale of two brothers, a husband and wife and two lovers brought together in a fusion of music and drama, popular and classical. It is a hybrid work for an ever re-incarnating hall. Come on down.
– Nicky Gluch
n music tells an amazing story, when every note has a deeper purpose, and listeners are transported to another world. These are the goals of Hush, an astounding collaboration between Australian children, young cancer patients and our nation’s most accomplished musical minds.
Hush 16: A Piece of Quiet is a new collection of original music featuring singer-songwriter Lior, composer Elena Kats-Chernin and The Idea of North. These are very bright musical stars indeed but the courageous children shine even brighter.
What exactly did the collaboration look like? The artists themselves posed questions to the children in a series of informal conversations about life. The remarkable answers they were given became an irresistible source of musical inspiration.
Each composition in Hush 16: A Piece of Quiet strives to express wonder and wisdom as only children can, uniting people of all ages in the joy of life. They may be ARIA winners, household names and regular fixtures at Fine Music FM but music like this can only arise from the minds and hearts of little ones.
Bruckner: Symphony no. 8
Australian World Orchestra
Sir Simon Rattle
What a task! Coupled with a great aspiration to present a gargantuan work by incoming international musicians who don’t normally act as a team, but with a ‘Manager’ who knows how to get the best out of his players. That is what we have on the table with Sir Simon Rattle conducting the Australian World Orchestra- ‘one of the great orchestras of the world’- in a recorded performance of Bruckner 8 in the Concert Hall of the Sydney Opera House. And no wonder that the performance was crowned ‘Best Orchestral Concert of the Year’ at the 2016 Helpmann Awards.
Bruckner began work on the Eighth Symphony– the last symphony the composer completed- and it was premiered under conductor Hans Richter in 1892 in Vienna, and dedicated to the Emperor in 1885.The 1890 premiere was twice scheduled to occur under the direction of the young Felix Weigartner, but each time he substituted another work at the last minute, eventually telling Bruckner that he was unable to undertake the performance because the work was too difficult and he did not have enough rehearsal time! In particular, the Wagner Tuba players in his orchestra did not have enough experience to cope with their parts. Did Sir Simon become affected by similar difficulties in his Sydney performance? I don’t think so! One anonymous writer described the symphony as ‘the crown of music in our time’ whilst Hugo Wolf wrote to a friend that the symphony was ‘the work of a giant that surpasses the other symphonies of the master in intellectual scope, awesomeness, and greatness.’ Need one say any more? Acquiring this recording could be a valuable memento of a great Australian musical occasion.
– Emyr Evans
The Seattle Recital
Works; Beethoven, Chopin, Proko ev, Debussy, Ravel & Bach
Emil Gilels, piano
DG 479 6288
Recently, I came across a web page listing the greatest 25 pianists of all time. Whilst the usual suspects were there, one was strangely absent. I found it incomprehensible that the Ukrainian virtuoso Emil Gilels would not be included and I immediately dismissed the list. This previously unreleased recording, a live recital from Seattle in 1964, dispels any theories that he is not up there with the very best concert pianists of all time.
The recital opens with a powerful and energetic reading of Beethoven’s Waldstein sonata. His recordings of the Beethoven sonatas are legendary and this is no exception. Whilst some of the intricacies of the work are lost (and I put this down to the recording equipment) his powerful surges in the outer movements are counterbalanced tremendously with moments of delicacy and serenity in the short slow movement which serves as more of an introduction to the finale.
Other highlights on this disc include a jaw dropping account of Prokofiev’s brief one movement Sonata No 3, and a brash, virtuosic account of Stravinsky’s popular Russian Dance from Petrushka. There is more Prokofiev, with excerpts from his Visions Fugitives, as well as shorter works from Debussy and Ravel. He finishes with a Bach Prelude in B Minor which displays his ability to encompass music from all periods of Western music. His account of Chopin’s rarely performed Variations on Là ci darem la mano evokes sensitivity combined with a majestic grandeur and sense of occasion. Whilst the music itself is spectacular, I feel as though DG could have done more to clean up this recording and remove more of the background noise, especially the incessant coughing from the audience. This was particularly noticeable towards the end of the first movement of the Waldstein Sonata.
This is an important release in the 100th anniversary of his birth. Connoisseurs of Gilels will be tripping over themselves to get hold of this. They won’t be disappointed.
– Frank Shostakovich
Richard Strauss: Symphonic Interludes from Intermezzo & Ein Heldenleben
Melbourne Symphony Orchestra
Sir Andrew Davis
ABC 481 2425
Coupling these two choice opuses from the pen of Richard Strauss is not coincidental. Their link is that they are semi- autobiographical….and before I am accused of being vague with words, let me just add that the incidental music from Intermezzo is based on a fictionalised version of what happened to Mr and Mrs Strauss’ relationship, while the longer Ein Heldenleben is Mr Strauss’ self-glorification in the role of hero. Strauss once told a friend: “I don’t see why I should not compose a symphony about myself. I find myself quite as interesting as Napoleon or Alexander.”
Initially, I should praise the Melbourne Symphony and Sir Andrew Davis for the way he has moulded this excellent orchestra. It has biff, bash, and no lack of bravado. As for Intermezzo, it is based on a misunderstanding on the supposed affair that Strauss had with a ‘pen- pal’ which almost led to divorce proceedings. Strauss, on his part, objected to his flirtatious wife having a dalliance with a younger singer. And so the plot (which Strauss was forced to write as he could find no collaborators) was born. The incidental music is light, frothy and highly appealing. Which, alas, is more than I can say for Ein Heldenleben. Strauss loved his brass and that has front-of-house status in this symphonic poem. Hopefully for me, it is like a hair shirt ……. an acquired habit!!
– Randolph Magri-Overend
Where and When:
Sydney 3 November, 7.30pm
North Sydney 13 November, 3pm
Blackheath 12 November 3pm
Newcastle 10 November, 7pm
Wollongong 6 November, 3pm
Booking and Information: phone 02 8272 9500 or click here
Glories stream from heaven afar – a sumptuous programme of carols with Georgian, Greek, and other connections. The traditional Christmas story is not just about one transfigured night in Bethlehem, but stretches from the Annunciation some nine months earlier, to the visit of the wise men and Herod’s subsequent attempt to wipe out the rival boy-King – by then possibly a year or two old.
Arvo Pärt and John Tavener’s music is well-known for its iconic beauty; that of Ivan
Moody and Artistic Director Antony Pitts also draws on the resonant solemnity of the Orthodox liturgy, while the more earthly and rousing carols bring the celebrations home. Program includes:
Arvo Pärt: Magni cat
Jonathan Pitts: Hark the Herald Angels sing!
Ivan Moody: The Manger: A Carol for Christmas
Antony Pitts: O Holy of Holies
John Sheppard: Reges Tharsis
John Tavener: The Lamb
plus a seasonal selection from The Naxos Book of Carols
Sydney University Graduate Choir, guest choir and orchestra
Music Director Christopher Bowen OAM
Soloists: soprano – Anita Kyle, alto – Tim Chung, tenor – Andrew Goodwin, bass – David Hidden
Where: Sydney Town Hall
When: 13 November, 3pm
Booking and Information: phone 02 9351 7940 or click here
The iconic Sydney Town Hall once against sets the scene for the Sydney University Graduate Choir’s performance of an equally iconic work, Handel’s Messiah. Composed in 1741 and premiered in Dublin just after Easter in 1742, Messiah has become one of the best-known and most frequently performed works in the choral repertoire.
With the words from the King James Bible and Psalms from the Book of Common Prayer, as adapted by librettist Charles Jennens, Messiah counterpoints rich choruses – ‘And the glory of the Lord’, ‘Hallelujah’, ‘Worthy is the Lamb’ – with glorious arias – ‘Rejoice greatly, O daughter of Zion’ (soprano), ‘Why do the nations so furiously rage together’ (bass), ‘O death, where is thy sting’ (alto and tenor).
The Sydney University Graduate Choir and Orchestra, under the leadership of music director Christopher Bowen OAM, will be joined by a large guest choir drawn from across the city of Sydney.
MOSMAN CONCERT SERIES’ PLEKTRA
Where: The Blessed Sacrament Church, Mosman
When: Sunday 6 November, 2.30pm
Tickets: At the door only; $25, seniors $20, children free. Includes afternoon tea and lucky door prizes
Information: click here
Mosman Concert Series’ annual presentation of Plektra, one of Sydney’s very finest plucked string ensembles, now enlarged to eight players to include an additional mandolin and a new player, Jacques Emery, on percussion, takes place in The Blessed Sacrament Church, 62 Bradley’s Head Road, at 2.30 on Sunday 6 November. Stephen Lalor, brilliant mandolinist and Plektra’s Director has chosen a fascinating program which includes Vivaldi’s Mandolin Concerto in C, two of his own suites with evocative titles and movements: Winter Collection – Overture – The Dancing Man of Kew – The Flight of the Magic Hat; World Music Suite – East-West – Atherton Tableland Waltz – Kolo Kolo, and numerous pieces which give Plektra its classic south eastern European flavour. Intriguing, relaxing, exciting and always enjoyable!
2016 AWO CHAMBER MUSIC FESTIVAL
Where: Various locations in the NSW Southern Highlands
When: Saturday 26 and Sunday 27 November 2016
Tickets: $60-$150 per concert or $266-$284 for festival pass; includes all 3 concerts and catering
Booking and Information: phone 8283 4527 or click here
Inspired by the iridescent music of this year’s composer-in-residence Paul Stanhope, the 2016 AWO Chamber Music Festival in the Southern Highlands promises to be an unforgettable weekend.
“My Song is Love Unknown”, “The Sweetest Nightingale” and “Into the Sunset” continue our philosophy of presenting beautiful music performed by musicians from the AWO complimented by ne wine, delicious food and the country hospitality that has become an integral part of the AWO’S Chamber Music Festival.
AWO chamber musicians at their best accompanied by a country morning tea at the Bowral Memorial Hall on Saturday 26th November; a canapé supper at St Jude’s Church hosted by Fine Music 102.5 on Saturday evening; and for the ultimate relaxing Sunday – a rustic lunch at Wombat Hollow on Sunday 27th November.
On the lower ground floor of Fine Music 102.5, tucked into Studio C, the Acacia Quartet are hard at work. Their name chosen to depict the wattle flower, it has, like them, evolved to represent a dedication to Australian music and composers. At the end of 2016, Fine Music will be bidding Acacia farewell as their time as Artist in Residence comes to an end. After three years, and a wonderful partnership, it is time for the quartet to spread their wings.
Though they had already been nominated for an ARIA and an APRA-AMCOS award, few people had heard of the Acacia Quartet in 2014. Bringing together a wealth of talent in the guise of violinists Lisa Stewart and Myee Clohessy, violist Stefan Duwe and cellist Anna Martin-Scrase, the quartet needed to find a way to have their voice heard. Fortunately Liz Terracini, then General Manager of Fine Music, stepped in and invited the quartet to have a ‘Media Package’. As Myee Clohessy explains, suddenly, Acacia went ‘from being a relatively unknown ensemble to being recognised as one of Australia’s leading ensembles’. Fine Music’s support combined with Acacia’s hard work and dedication allowed them to find their niche and unique voice.
Acacia’s dream was to have an Australian presence. Not only have they collaborated with musicians and composers such as Nick Russionello, Sally Whitwell and Elena Kats-Chernin (to name but a few) but they have also toured broadly throughout regional NSW. For Clohessy, this has meant a return to her roots. Having grown up in the Southern Highlands, Clohessy recalls how her Mum would look up the broadcast programme on radio and ‘record them, to let me listen to when I came home from school’. On the morning that she spoke to Fine Music, Clohessy had watched a 12-year-old girl play a Mozart violin concerto with her regional orchestra.‘It reminded me,’ Clohessy mused, ‘of opportunities that I got when I was young. Now (with Acacia) I want to give opportunities to young people for them to be exposed to top-quality music.’
This dedication to fostering a love for music across the generations is perhaps why Acacia have been selected for the Raphael Project. In May next year, they will travel to Berlin to record and perform three string quartets by the German composer, Günter Raphael. Though Berlin may seem a far cry from Bellingen, the origins of the project are closer to home. Lisa Stewart worked in Germany for many years and it is there that she met Fredrik Pachla, Raphael’s son-in-law. On hearing of the death of Pachla’s wife, solo violinist Christine Raphael, Stewart felt she needed to contact him. As she told Fine Music, ‘We began conversing with each other and talking about having lost such loved ones. Fredrik told me about the Christine Raphael Foundation and how it was an everlasting memory of her achievements promoting the overall presence of her father, Günter Raphael’s works. I was so touched by Fredrik’s love of both Christine and her father Günter Raphael that I was keen to know more. I told Fredrik of my life now in Acacia Quartet and said how I would love to hear Raphael’s music and was saddened to hear that Raphael’s music had been banned during the Nazi regime in Germany, and hoped that perhaps we could bring Günter Raphael’s music to Australia.’
Pachla agreed and sent over CDs of his wife playing her father’s music as well as scores of the works. The quartet fell in love with the music and after a couple of phone calls had an invitation to Berlin to record three (of Raphael’s six) quartets. As Stewart had hoped, they will also be performing these forgotten works at the Sydney Opera House and the Bowral Autumn Music Festival next year.
For a quartet to cross the world (with their precious instruments in tow) is not, however, an inexpensive undertaking. Acacia hope their craft can help them raise the necessary funds. On the 6th of November, they will be holding their annual fundraise at The Rose Room, Burradoo – combining country surrounds, great food and beautiful music, it is the Acacia Quartet epitomised.
Fine Music should be proud of what they have nurtured. They have helped an ensemble grow and, in the process, assisted new composers to become established while ensuring that old ones are not forgotten. The Acacia Quartet is now fully in bloom.
– Nicky Gluch
A word of thanks from Myee Clohessy:
Acacia would love to thank Fine Music for their vision in recognising the Quartet’s potential back in 2014. Since being Artists in Residence we have received such great support from the Directors at Fine Music. Behind the scenes there have been so many amazing volunteers and staff that have welcomed and supported us. In particular, Acacia would love to say a huge thank you to Program Coordinator Steve-Marc McCulloch. We wish next year’s Artist in Residence the best of luck with their musical journey and urge other ensembles to apply for this wonderful opportunity.