Ensemble Q - Musica Viva Australia
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Ensemble Q
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Virginia Taylor flute
Huw Jones oboe
Paul Dean clarinet
Peter Luff horn
David Mitchell bassoon
Trish Dean cello
Adelaide Perth
Adelaide Town Hall Perth Concert Hall
Thursday 26 August, 7.30pm Tuesday 10 August, 7.30pm
Canberra Sydney
Llewellyn Hall, City Recital Hall
ANU School of Music Saturday 14 August, 2pm
Recorded for delayed broadcast on
Tuesday 24 August, 7pm ABC Classic
Monday 23 August, 7pm
Melbourne Livestreamed
Elisabeth Murdoch Hall,
Melbourne Recital Centre
Tuesday 17 August, 7pm
Saturday 28 August, 7pm With special thanks to the Amadeus
Society for its support of Musica Viva’s
2021 Concert Season.
Newcastle
We also thank our Ensemble Patrons
Newcastle City Hall Ian & Caroline Frazer for their support
Friday 20 August, 7.30pm of this tour.
From the Artistic Director
When interviewing me for the launch of Musica Viva’s
2021 concert season, the novelist Andrea Goldsmith
asked rhetorically why no composer before Paul
Dean has thought to write a concerto for cello and
wind quintet. ‘It’s such a perfect fit!’ Andrea is right:
the sonorities of the combined instruments are
beautifully matched, and Paul has written a powerful
musical narrative in which the textural contrasts and
© Keith Saunders
overlaps of individual instruments are teased out in
compelling detail.
Great edifices are built on strong foundations, and
so it was with this program, the remainder of which
emerged in conversations with Paul and Trish Dean,
Co-Artistic Directors of Ensemble Q. The three of us
were energised by the idea of giving this concerto
and this ensemble a national showcase. As Paul said
at one stage, ‘I’ve always dreamed of doing a Musica
Viva national tour.’ (Let’s not tempt fate by dwelling
too long here on this noble aspiration...) In our chats
we discovered that we wished both to conform to the
expectations surrounding a wind quintet program –
Barber’s Summer Music, say, and to a lesser degree the
Ligeti Bagatelles – and confound them, which is where
Paul’s concerto and the works performed by different
subsets of the ensemble come in.
There is joy in virtuosity (Ligeti again), but greater
satisfaction in perfectly matched players coming
together to perform and tour music they love. COVID
silver linings are slim pickings just now, but the fact that
these perfectly matched players come from just up the
road – from a state, moreover, that has for decades now
prioritised music education in schools, as Musica Viva
does – is one such silver lining. I look forward to other
such conversations with these terrific musicians in
the years to come.
Paul Kildea
Artistic Director | Musica Viva Australia
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From the CEO
As I write, I am imagining the wonderful alchemy of
chamber music working wonders as you and the artists
of Ensemble Q spend time in each other’s company. Of
course, it is also entirely possible that the concert you’ve
come to enjoy will be have been cancelled.
Or maybe it won’t.
This is the uncertainty with which the artists, planners,
© Keith Saunders
fundraisers, marketeers and stage staff who make our
work possible have been living since COVID began.
You will also be familiar with this sense of stop and start
because, to varying degrees, we have all been living with
uncertainty since early 2020.
What sustains you during these odd, uncertain days?
For all of us at Musica Viva Australia, our strength and sustenance lie in our name – we
are a passionate group of people committed to bringing excellent live music to schools,
concert halls and homes in as many parts of the country as possible. This commitment
is strong enough to overcome (as best we can) the inevitable border closures and
restrictions we have all come to know as part of our current lives.
This inner strength also explains why we persevere – and why we are putting the final
touches to our plans for 2022, a season like no other which we will present to you soon.
Thank you for joining us on this journey through the uncertainties of 2021. I hope that
we are able to bring the exquisite impacts of live music to you as often as possible
during the remainder of this year and continue to do so far into the music-filled future
which beckons beyond these current, uncertain times.
Hywel Sims
Chief Executive Officer | Musica Viva Australia
Additional Activity
Ensemble Q will perform in Muswellbrook on Thursday 12 August as part of Musica Viva’s
Regional Touring Program.
Ensemble Q will present the following masterclasses as part of this tour:
Perth: Tuesday 10 August, University of Western Australia
Melbourne: Wednesday 18 August, Victorian College of the Arts Secondary School
Melbourne: Saturday 28 August, Australian National Academy of Music
Melbourne: Saturday 28 August, Monash University
Newcastle: Thursday 19 August, Newcastle Cathedral
Please see musicaviva.com.au/masterclasses for details.
The Masterclasses Giving Circle is a group of generous donors whose collective support will enable
the artistic development of the next generation of Australian chamber musicians: Nicholas Callinan ao
& Elizabeth Callinan, Caroline & Robert Clemente, Allan Myers ac qc & Maria Myers ac, The Patricia
H Reid Endowment Fund, Andrew Sisson ao & Tracey Sisson, and Anonymous (2).
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Meet the Artists
Ensemble Q Griffith University, and at the Australian
In 2015 two musical powerhouses National Academy in Melbourne. She
and workaholics joined forces, ran is also Artistic Director of the biennial
a couple of festivals together and in Australian Flute Festival.
2017 Ensemble Q was born. Out of
a desire to create an ensemble of Huw Jones oboe
exceptional players and wonderful Huw Jones has appeared with every
people, and to create pathways for major symphony orchestra in Australia
the most exciting young musicians in and New Zealand, as well as Guest
Australia, the enthusiasm and skill of Principal Oboe engagements with the
Co-Artistic Directors Paul Dean and Opera Australia Orchestra, Irish Chamber
Trish Dean quickly gained momentum Orchestra, Australian Chamber Orchestra
and attracted some of Australia’s and and Australian World Orchestra.
the world’s most exceptional musicians.
Huw graduated from the Sydney
Appointed Ensemble in Residence
Conservatorium of Music with First-
at the Queensland Conservatorium
Class Honours, and later moved to
Griffith University, Ensemble Q has
London to study at the Royal College
now performed in Brisbane, Sydney,
of Music. In 2013, he was appointed
Adelaide, and at the Georgetown
Section Principal Oboe of the
Festival in Penang, Malaysia. A growing
Queensland Symphony Orchestra. He is
crowd of fans and supporters have seen
also a faculty member of the University
the ensemble safely into the hands of
of Queensland School of Music and the
national audiences through this national
Queensland Conservatorium of Music.
tour for Musica Viva.
A groundbreaking mentorship program Paul Dean clarinet
shares this excitement with future Paul Dean is regarded as one of
generations of exceptional musicians, Australia’s foremost musicians in his
delighting audiences and guiding multiple capacities as soloist, chamber
emerging young musicians to greater musician, composer and artistic director.
heights.
He is currently Head of Winds at
Ensemble Q is proudly supported by Queensland Conservatorium, Griffith
Queensland Conservatorium Griffith University, Co-Artistic Director of
University, Philip Bacon Galleries and Ensemble Q and conductor of the
a wonderful group of private sponsors. Queensland Youth Orchestra 2 and
Virginia Taylor flute the Brisbane Symphony Orchestra.
He was the Artistic Director of the
Virginia Taylor has been described as one
Australian National Academy of Music
of the most exciting flautists to appear on
(ANAM) from 2010 to 2015 and is a
the concert platform in recent years. She
Principal Clarinet with the Australian
has received numerous illustrious awards,
World Orchestra. Between 1987 and
played with some of Australia’s finest
2000 he was Principal Clarinet with the
orchestras and toured extensively.
Queensland Symphony Orchestra, with
Virginia is currently Head of Flute at whom he has appeared as soloist on
Queensland Conservatorium, over 40 occasions.
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Paul has been Artistic Director of the David is currently Lecturer in Bassoon at
Four Winds Festival and the Tutti Beijing the Queensland Conservatorium Griffith
International Youth Music Festival and University and runs masterclasses and
was also the founder of the Southern bassoon courses around Australia.
Cross Soloists, Bangalow Music Festival,
Trish Dean cello
Coramba Chamber Music Festival and
Sunwater and Stanwell Winter Music Tasmanian-born cellist Trish Dean
School. (formerly O’Brien) is the Co-Artistic
Director and cellist of Ensemble Q.
He was the Melbourne Symphony
Orchestra’s 2019 Composer in She has been engaged as Acting
Residence, with world premieres Principal Cellist for the Sydney
of his Clarinet Concerto and Violin Symphony Orchestra and Guest
Concerto. His opera Dry River Run Principal for the Adelaide and
was commissioned by the Queensland Queensland Symphony Orchestras, and
Conservatorium Opera School, where held the position of Associate Principal
it was premiered in 2018, and he for the Sydney Symphony Orchestra
has recently completed a symphony, during the 1990s. In 2021 she performs
commissioned and premiered by the with the Australian World Orchestra.
Australian World Orchestra. Her Artistic Director positions include
Peter Luff horn a four-year contract with the Coffs
Harbour Regional Conservatorium,
Peter Luff is an Associate Professor at
where she founded and developed a
Queensland Conservatorium Griffith
chamber music academy, the Coramba
University. Formerly Associate Principal
Chamber Music Festival and a highly
Horn with the Queensland Symphony
successful concert series. Prior to that
Orchestra, he is Co-Artistic Director of the
she was Artistic Director of the Camden
Tyalgum Festival and holds the position
Haven Music Festival, which under
of Vice President of the International
her direction won an APRA Award for
Horn Society.
Outstanding Contribution to Australian
Peter currently lectures in horn Music in a Regional Area.
and brass studies at Queensland
Several Australian composers, including
Conservatorium Griffith University and
Paul Dean, Matthew Hindson and Elena
continues to pursue a busy career
Kats-Chernin, have written works for her,
performing, teaching and conducting.
and her Australian premiere performance
David Mitchell bassoon of the Myaskovsky Sonata no 2 for Cello
David Mitchell is the Associate Principal and Piano and Prokofiev’s Sonata for Solo
Bassoon in the Queensland Symphony Cello were broadcast on ABC Classic.
Orchestra. Before joining QSO in 2009, he Trish has presented masterclasses
was Section Principal Bassoon in the Hofer across Australia and has taught for
Symphoniker in Germany for five years. the Queensland Conservatorium
As a chamber musician, David has Griffith University, the Australian Youth
performed extensively with the Orchestra, Sydney Conservatorium
Atrium Quintet in Germany, at the of Music and for several regional
Schleswig-Holstein Music Festival and conservatoriums. She is passionate
with Southern Cross Soloists. Solo about creating opportunities for young
performances include Weber’s Bassoon musicians and is a driving force behind
Concerto, Strauss’ Duo Concertante and the Ensemble Q mentorship program.
Mozart Bassoon Concerto. This is Ensemble Q’s first national tour for
Musica Viva. 5
Program
Claude DEBUSSY (1862–1918)
Syrinx (1913) 4 min
Ludwig van BEETHOVEN (1770–1827)
Variations on Là ci darem la mano, WoO 28 (1795) 10 min
György LIGETI (1923–2006)
Six Bagatelles for Wind Quintet (1953) 13 min
I Allegro con spirito
II Rubato: Lamentoso
III Allegro grazioso
IV Presto ruvido
V Adagio: Mesto
VI Molto vivace: Capriccioso
Benjamin BRITTEN (1913–1976)
Ciaconna from Cello Suite no 2, op 80 (1967) 6 min
Samuel BARBER (1910–1981)
Summer Music, op 31 (1955) 12 min
I Slow and indolent
II Faster
III Lively, still faster
IV With motion, as before
V Joyous and flowing
VI Tempo I
Paul DEAN (b 1966)
Concerto for Cello and Wind Quintet (2018) 24 min
I New paths
II Under the canopy
III Homage to Les Six
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About the Music
Claude DEBUSSY (1862–1918) We might expect a work as omnipresent
Syrinx (1913) as Syrinx to have become stale over the
years; it is a mark of Debussy’s genius
It is almost impossible to find a classical that it has stayed as vibrant as the day it
flute player who hasn’t performed was composed. In terms of instrumental
Syrinx, or a music-lover who hasn’t writing, it is near perfect. Debussy
heard it. Claude Debussy’s four-minute keeps the flute in its low and middle
masterwork is widely acknowledged as registers throughout; the acoustics of
the most influential solo flute piece of those registers give the performer the
the 20th century. Its origins, however, greatest scope to play with the colour of
are charmingly humble. Debussy the notes. Phrases rise and fall naturally
wrote it in 1913 as incidental music with the breath and are combined in
to accompany Gabriel Mourey’s play such a way as to be grandly rhetorical,
Psyche, and called it La flûte de Pan. creating the impression of a freely
Fourteen years later, it was published improvised monologue, as waves of
under the title Syrinx – that ravishing colour wash over the listener’s ears.
nymph who, pursued by the lustful Debussy’s markings are obsessively
satyr Pan, is transformed into reeds. precise, but in their detail they provide
Heartbroken, the goatly god cuts them the performer with freedom and the
down and uses them as pipes, and plays ability to appear spontaneous. Perhaps
a lament to the object of his desires. it is this paradox that continues to
fascinate flute players and listeners the
world over, and allows Pan and Syrinx to
speak to us fresh across the years.
© Kiran Phatak 2021
Ludwig van BEETHOVEN (1770–1827)
Variations on Là ci darem la mano,
WoO 28 (1795)
Musical folklore casts Ludwig van
Beethoven as an immensely serious
figure, a mythical hero who struggled
against hearing loss, inner demons
and social isolation to create art of epic
scope and unmatched profundity. On
listening to his Variations on Là ci darem
la mano, however, it is hard to credit that
they came from the mind of the same
man who has glowered down at us from
Claude Debussy
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adjectives might sound in the same
breath as ‘Beethoven’, they suggest an
unexpected dimension to his life and
character.
© Kiran Phatak 2021
György LIGETI (1923–2006)
Six Bagatelles for Wind Quintet (1953)
I Allegro con spirito (Fast, spirited)
II Rubato: Lamentoso
(Flexible in tempo: Lamenting)
III Allegro grazioso
(Fast and graceful)
IV Presto ruvido
(Very fast and rough)
V Adagio: Mesto (Slow: Sad)
Ludwig van Beethoven
VI Molto vivace: Capriccioso
mantlepieces for the last 200 years. (Very fast and lively: Playful)
The Variations spring from a mostly
sunny period in Beethoven’s life. In The oppression and suffering György
early 1792 the fresh-faced 22-year-old Ligeti faced in his early years was so
came to Vienna to study with Joseph extreme as to be utterly inconceivable to
Haydn, the dominant musical figure most Australians today. By the time he
of the time. Beethoven then set about was 33, he had survived a Nazi regime
establishing himself as a composer, that took the life of every member of his
publishing several works in a variety of
different genres, theme and variations
being chief among them. That particular
form enabled him to take popular tunes
of the day and apply his own stamp,
showcasing his inventiveness and craft.
The Variations on Là ci darem la mano
were never published in Beethoven’s
lifetime. They are self-consciously,
unashamedly populist and were likely
composed for the Teimer brothers, a
trio of oboists who were very much
in vogue at the time. They are based
on an aria which was then, as now,
well-known, from Mozart’s opera Don
Giovanni. From the opening setting of
the theme, through the eight variations
that follow, the tone is wonderfully light,
frivolous and fun. Heretical as those
György Ligeti
8family save his mother, and a Stalinist
administration that ruthlessly policed
thought and artistic expression. That
he emerged from this turmoil as an
accomplished and skilful artist is wholly
remarkable; the fact that he pushed
against established creative boundaries
with works such as these Six Bagatelles
is even more so. In fact, the Bagatelles’
chromaticism was deemed so
‘dangerous’ by the Soviet authorities
that they censored its last movement
at its premiere.
Fresh and daring as they still sound,
the Six Bagatelles are hardly criminally
dangerous to modern ears. They were Benjamin Britten
arranged by Ligeti from his Musica
Ricercata for solo piano (1951–53), Benjamin BRITTEN (1913–1976)
a work that uses a very simple Ciaconna from Cello Suite no 2, op 80
organising principle: its first movement (1967)
is constructed using only two notes,
its second using three, and so on The chaconne and its sibling the
until the eleventh movement, which passacaglia are musical forms of weight
uses all twelve tones of the chromatic and power that first emerged in the
scale. The Six Bagatelles correspond 1600s. Their underlying structure is
to movements 3, 5, 7, 8, 9 and 10 of simple enough: continuous variations
Musica Ricercata; Ligeti chose to played over a repeating, ‘ground bass’
enhance them using the colours of the line. Such a structure creates a sense
wind quintet. The most striking example of slow-building inevitability that has
of this colouring comes at the end of the allowed composers to make some
second bagatelle: in barely ten seconds, of their most profound emotional
Ligeti takes the listener on a journey statements.
from a brooding unison through frenzied Chaconnes and passacaglias are at
dissonance to peaceful consonance the core of much of Benjamin Britten’s
by simply adding and subtracting output. His fondness for these forms
instruments. From the glittering echoes their appearance in the great
tapestry of the third bagatelle, where works of his English predecessor
glorious melodies soar over interlocking Henry Purcell, whom Britten greatly
septuplets, to the raucous, topsy-turvy admired. Purcell often used the ground
antics of the sixth, Ligeti’s endless bass in a way that was central to the
creativity and playfulness, miraculously musical drama he depicted, such as in
conjured from a life of such hardship, the heartbreaking ‘Lament’ from Dido
are on full display. and Aeneas; so too did Britten. In his
© Kiran Phatak 2021 opera Peter Grimes, Britten combines
a seven-note bass line with a haunting
9viola theme, then displaces them from
each other, signalling the eponymous
character’s descent into madness and
his impending death. Other examples
abound: the epic, multidimensional
‘Chacony’ of his second string quartet;
the dramatic, lamenting passacaglia
following Lucretia’s death in The Rape
of Lucretia; and the subject of this note:
the final movement of his Second
Cello Suite.
Entitled Ciaccona, the movement takes
as its theme a stumbling, tripping,
tumbling five-bar figure, whose rhythm
constantly changes and falls back in
on itself. This sets the tone for a series
of twelve variations which rapidly and
unexpectedly shift in character, then Samuel Barber
diverge into a section of development
and reflection, before the theme returns their rehearsals in New York to draw
in a stirring climax. Britten wrote this inspiration for a commission he had
work in 1967 for legendary virtuoso received a year earlier. It had been
Mstislav Rostropovich; accordingly, slumbering in the back of his mind,
he pushes the cello to its technical unwritten, but their playing had woken
limits. Extended passages of double it up. In the weeks that followed, Barber
stops fly over the fingerboard, notes sat with the players and absorbed their
jump between non-adjacent strings musical discipline, especially their
to create the effect of multiple voices, practice of playing the chordal studies
and sequences of trills and harmonics devised by the horn player, John Barrow,
race by – demonstrating once again the which were based on an extensive
innovative spirit Britten brought to this survey of the most challenging notes
ancient form. on each instrument. Eight months later,
Summer Music was complete.
© Kiran Phatak 2021
The finished work is extremely
technically demanding. The virtuosic
Samuel BARBER (1910–1981) opening flourishes in the flute and
Summer Music, op 31 (1955) clarinet require lightning-quick fingers;
the fast, tongued unison middle
In the summer of 1954, Samuel Barber passage must be precisely matched
attended a concert given by the by all players; and its juicy chords,
New York Wind Quintet in the sleepy clearly inspired by Barrow’s studies,
seacoast village of Bluehill, Maine. need delicate balancing. After the first
Immediately enamoured with the rehearsal, the New York Wind Quintet’s
sound and dynamism of the ensemble, flautist Samuel Baron wrote: ‘We were
Barber asked whether he might attend completely gassed!’ Critics of the time
10raved that Barber had created a piece with wind quintet exists, and now that
both fresh and modern in its ‘clever I have written it, I hope that others will
rhythmic shifts and sharp-sounding follow suit. The interplay between the
harmonies’, but still possessed of an solo string instrument and the mini
attractive, Romantic language. While orchestra of winds was enormous fun
not explicitly programmatic, the work to play with and I have often thought
channels an indolent, hazy summer that it wouldn’t be the last time I write
afternoon, particularly in the central for this combination.
oboe melody. But the spirit of the work
Much of my music has a theme or story
was best described by the composer
behind it, yet this piece is pure music
himself: ‘It’s supposed to be evocative
for music’s sake, and whilst it contains
of summer – summer meaning languid,
images of some of Trish’s and my
not killing mosquitos.’
favourite things, there is no underlying
© Kiran Phatak 2021 story behind the music.
The first movement, New paths, is a
Paul DEAN (b 1966) reflection of my compositional changes
Concerto for Cello and Wind Quintet following the time spent bunkered
(2018) down writing the opera. And I guess in
I New paths a subliminal way, it reflects Trish and
II Under the canopy I moving to Brisbane and finding new
III Homage to Les Six dog walks and the like. It’s dense and
exploratory in a way that such a new
The composer writes: combination deserves and highlights
The cello is without doubt my the virtuosity of all the players on stage.
favourite instrument – I even tried,
unsuccessfully, to learn it in high school
– so when that coincided with the fact
that it is played by my favourite person, it
was a no brainer that I wanted to write a
piece such as this.
I have written quite a few pieces that
feature the cello but this one was a
wholly different process and a work
of pure indulgence and love. Coming
straight after finishing my opera Dry
River Run, I found a new need for
melody and its reaction to the harmony
in my writing. There is nothing like
spending two years writing two hours
© Rohan Thomson
of libretto-based music to liven up your
sense of drama and cohesiveness and
learn about your harmonic language.
It is more than possible that no such
work of music as a concerto for cello Paul Dean
11The second movement basically just were also battling it out, Poulenc and
laid itself out in front of me one morning his friends made remarkable music
on our daily constitutional with our two that enticed, entertained and moved
dogs Mia and Bear. Over our local park audiences in a way so entirely their
there is a phenomenal collection of own that no other group or school
leopard trees and in the early light of of composers ever achieved. The
the Brisbane summer day, they create playfulness between the instruments
a canopy and explosion of light and and the complex and intricate rhythm
colour that takes my breath away every are central to the drama and humour
morning. As one of our favourite places, and virtuosity of the combination
my musical picture of that image had of friends on stage performing it
to appear in this piece. together (which is the true essence
of chamber music).
The third movement was my attempt
to write music that, while complex, was The work is, of course, dedicated
and is also fun to play and to listen to. to Trish Dean, the love of my life.
I have been obsessed with the music Her patience and encouragement
of Les Six for over three decades and throughout drove the course of the
in particular, the music of Francis drama and the mood. The piece is
Poulenc. Whilst the second Viennese a simple and honest gift of love and
School were strutting their stuff and the friendship and companionship.
post-Wagner and post-Debussy world © Paul Dean
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Family and Under 40s tickets are also available now.Interview with
Ensemble Q
Paul Dean says his concerto is ‘fierce, our first few months living together
beautiful, and fun – all at the same time’. in Brisbane.’
Sounds a bit like an opera, doesn’t it?
But while it may indulge Paul’s nostalgia
The Ensemble Q clarinettist composed
for their early romance, that’s not the
his Concerto for Cello and Wind Quintet
end of the story. Far from being overly
in 2018, having just wrapped up his
sentimental, the work is complex.
opera Dry River Run – about two hours’
Frenzied, even. ‘I remember having an
worth of musical drama. ‘It taught me
enormous amount of fun writing it – and
a lot about writing music,’ Paul says of
Trish had an enormous amount of pain
his work for the stage. ‘And I think my
learning it,’ Paul grins.
cello concerto was the success story of
the opera: I treat the cello as the central
The concerto is technically difficult.
character in its own little opera.’
It’s fast. There are very few patterns –
Paul’s cello concerto is about love, so players can’t easily rely on muscle
but unlike most operas, it ends with a memory to glide through a line. Trish is
happily-ever-after. The solo was written sent flying from the bottom of the cello
for his wife Trish Dean, Ensemble Q’s to the top with just a quarter of a beat
virtuosic cellist who co-founded the to spare – and she has ‘to nail it, and to
group in 2015. Composing for Trish was play it extremely loud’. ‘It’s very beautiful
an act of joy, Paul reflects. At the time, to play,’ Trish says. ‘There are just a few
they were soon to be married, so the bits where I will always look at Paul and
concerto became ‘a documentary of ask, why?!’
15The answer is simple: in-jokes. and knew it was a piece to be shared
with the rest of Australia.
‘I always try to be playful in the idea
of doing something different,’ Paul Arranging the concert from there was
says. Sometimes, he’ll include notes like a jigsaw puzzle: Trish sat down
for his musicians just to give them a with her husband (and a few glasses of
laugh. Perhaps it’s why he also chose wine), and dreamed about performing
to write for such a rare and imaginative the best wind quintets in the repertoire.
combination of instrumental voices. They wanted to make the most of the
Joining Trish and Paul are flautist chance to revisit the concerto, pairing
Virginia Taylor, horn player Peter Luff, it with works that would elevate each
bassoonist David Mitchell and oboist concert to the status of an ‘occasion’.
Huw Jones. Huw reckons the concerto They landed on Ligeti’s Six Bagatelles
is one of Paul’s best works – ‘a fabulous (‘hilarious and brilliant’, comments Paul
combination of sounds, textures and Dean), and Barber’s Summer Music
instruments. It’s a really virtuosic (‘the greatest example of homesickness
piece, which shows off Trish’s amazing in a piece of music other than the New
abilities as a cello soloist. There’s World Symphony’). Britten, Debussy
nowhere for her to hide,’ Huw says. and Beethoven are in good company
as they join this rousing collection.
It’s easy to be daring among friends,
which is how these players describe ‘Paul and I are naturally energetic,
the members of their group. Together passionate and crazy people – so what
they joke around, rather than take we do on stage is always engaging.
themselves too seriously. They’re And we tend to attract those kinds of
honest with each other. After all, there’s people as well,’ Trish says. ‘In these
no conductor, so they all lead the way. Musica Viva concerts, what we’re
Huw goes so far as to call this rehearsal really going to project is not just the
process ‘relaxing’. excitement of being on this tour – but
this sense of family, and this next level
‘There’s a healthy level of mutual respect
of energy we have created.’
between musicians,’ Huw says. From
his side of the rehearsal room, he A major source of Ensemble Q’s
particularly looks up to Paul and Peter – energy is the tour itself. Having scraped
both of whom tutored him through the through the pandemic of 2020, only to
Australian Youth Orchestra years ago. emerge into an unpredictable 2021, the
Adding to that, Paul is head of winds players aren’t able to conceal the fact
at Queensland Conservatorium Griffith that they’re overjoyed to be performing.
University, where Peter is an associate
‘Everybody has bonded and come
professor, Virginia is head of flute, David
to a whole new appreciation of what
lectures bassoon, Huw is a faculty
it is to play chamber music with each
member, and Trish has taught cello.
other,’ Trish says. ‘We nearly folded
Now, they share the stage as equals – as
Ensemble Q. There were moments
family – for this adventurous set of works.
we didn’t think we had a future. But
While the cello concerto marks the suddenly, there was this little Musica
grand finale of their program, it was also Viva star sitting on the calendar for
the starting point of their tour. Musica 2021. It’s given everybody an awful
Viva Artistic Director Paul Kildea lot of hope, so I think the electricity
had listened to Ensemble Q’s first surrounding that is going to be very
performance of the work on YouTube, clear to the audience.’
16 © Stephanie Eslake2 0 2 1
A
V
I
V
Goldner String Quartet
& Piers Lane
Legends of Australian chamber music, the Goldner Quartet and Piers Lane
show their polished expertise in magnificent works for piano and strings,
glowing with warmth and melody.
Touring: 22 Sep — 9 Oct 2021
musicaviva.com.au/piers-lane-goldner
Special thanks to our Ensemble Patrons the Berg Family Foundation for its support of this tour.
17Our Supporters
We thank the generous individuals and families who support us each year. Your gift ensures
that Musica Viva remains at the forefront of artistic excellence and that our award-winning
education program continues to reach children across Australia with the inspirational
experience of live music.
MUSICA VIVA CUSTODIANS
People who have notified us of their intention to leave a gift to Musica Viva in their will are
part of a special group of Musica Viva Custodians. A bequest to Musica Viva will enable
performances of the highest quality to be presented to the widest range of audiences across
Australia well into the future.
CUSTODIANS QLD LEGACY DONORS
Anonymous (3)
ACT NSW
Geoffrey & Margaret SA The late Charles Berg
Brennan Monica Hanusiak-Klavins & The late Janette Hamilton
Clive & Lynlea Rodger Martin Klavins The late Dr Ralph Hockin
Ruth Weaver Anonymous (5) in memory of Mabel
Anonymous Hockin
TAS The late Beryl Raymer
NSW Kim Paterson qc The late Kenneth W Tribe ac
Jennifer Bott ao
Catherine Brown-Watt psm & VIC QLD
Derek Watt Elizabeth & Anthony Brookes The late Sheila Gorman
Lloyd & Mary Jo Capps am Julian Burnside ao qc
Andrew & Felicity Corkill Ms Helen Dick SA
Peter Cudlipp Robert Gibbs & Tony The late John Lane Koch
Liz Gee Wildman The late D Radden
Suzanne Gleeson Helen Vorrath Anonymous
David & Christine Hartgill Anonymous (7)
Annie Hawker VIC
Elaine Lindsay WA The late David Bradshaw
Trevor Noffke Graham Lovelock In memory of Anita
Dr David Schwartz Anonymous (4) Morawetz
Ruth Spence-Stone The family of the late
Mary Vallentine ao Paul Morawetz
Deirdre Nagle Whitford The late Dr G D Watson
Richard Wilkins
Kim Williams am
Megan & Bill Williamson
Ray Wilson oam
Anonymous (10)
18AMADEUS SOCIETY
The Amadeus Society is a group of passionate music lovers and advocates in Sydney and
Melbourne who have joined together to support the extraordinary artistic initiatives of Musica Viva.
Julian Burnside ao qc Dr Di Bresciani oam Katherine & Reg Grinberg
(President, Melbourne) David Constable am & Jennifer Hershon &
& Kate Durham Dr Ida Lichter Russell Black
Ruth Magid & Bob Magid oam Ms Annabella Fletcher Penelope Hughes
Tony Berg am & Carol Berg am Liz Gee Dr Alastair Jackson am
Marc Besen ac & Eva Besen ao Dr Annette Gero Andrew Johnston
Ms Jan Bowen am Peter Griffin am & Michael & Frederique Katz
Tom Breen & Rachael Kohn ao Terry Swann Professor John Rickard
Ray Wilson oam
ENSEMBLE PATRONS
Our artistic vision for 2021 is made possible thanks to the extraordinary generosity of our
Ensemble Patrons, each of whom supports the presentation of an entire national tour for
our 2021 Season.
Australian Music Foundation – Diana Doherty & Streeton Trio
Berg Family Foundation – Goldner String Quartet & Piers Lane
Ian & Caroline Frazer – Ensemble Q
Eleanore Goodridge oam – Nicolas Fleury, Emily Sun & Amir Farid
Michele & Stephen Johns, and Anonymous – Chopin’s Piano with Aura Go
Perth Giving Circle: Michael Chaney ao, Bridget Faye am, Janet Holmes à Court ac,
Ros Kesteven, Mandy Loton oam, Alan Robson ao, Margaret Seares ao, and
Vivienne Stewart - Konstantin Shamray & ANAM Orchestra
CONCERT CHAMPIONS
The mainstage concerts of our 2021 Season are brought to life thanks to the generosity
of our Concert Champions around the country.
ADELAIDE Humphries Family Trust PERTH
Don & Veronica Aldridge Dr Sue Packer Deborah Lehmann ao &
Helen Bennetts & Tim Lloyd The Salon Society Michael Alpers ao
Robert Gibbs & Tony Wildman Malcolm & Lachlan Snow and Mrs Morrell
in memory of Barbara Gibbs Jo Ferguson Prichard Panizza Family
(nee Spencer) Ruth Weaver In memory of Stephanie
Elizabeth Ho oam & Quinlan
Michael Jacobs MELBOURNE David Wallace & Jamelia
In memory of Lesley Lynn Mary & Arnold Bram Gubgub
Dr Susan Marsden & Peter Griffin am & Valerie & Michael Wishart
Michael Szwarcbord Terry Swann
Anonymous Monica Lim & Konfir Kabo SYDNEY
Peter Lovell Priscilla Adey & Peter Ratcliffe
BRISBANE Rosemary & John MacLeod Darin Cooper Foundation
Friends of Brisbane Chamber The Morawetz Family in Pam Cudlipp
Music memory of Paul Morawetz Patricia Crummer
Ian & Cass George Musica Viva Victorian Dr Jennifer Donald &
Mr Stephen Burford
Andrea & Malcolm Hall-Brown Committee Charles Graham, in
Helen Kerr & John Ratcliffe Ray Turner & Jennifer acknowledgement
Andrew & Kate Lister Seabrook of his piano teacher,
Barry & Diana Moore Dr Victor Wayne & Sana Chia
The Hon Justice A Philippides Dr Karen Wayne oam Katherine & Reg Grinberg
Anonymous Gale Spalvins
NEWCASTLE Anthony Strachan
CANBERRA Gay Bookallil The Tribe Family
Musica Viva ACT Committee Robert & Lindy Henderson Kay Vernon
Andrew Blanckensee Newcastle Committee Kim Williams am &
Sue & Ray Edmondson Megan & Bill Williamson Catherine Dovey
19MASTERCLASSES GIVING CIRCLE
The Masterclasses Giving Circle is a group of generous donors whose collective
support will enable the artistic development of the next generation of Australian
chamber musicians.
Nicholas Callinan ao & Elizabeth Callinan
Caroline & Robert Clemente
Allan Myers ac qc & Maria Myers ac
Patricia H Reid Endowment Fund
Andrew Sisson ao & Tracey Sisson
Anonymous (2)
MAJOR GIFTS WA NSW
Anonymous The Barbarians Orchestra
$100,000+ Christine Bishop
$10,000 – $19,999 Jo & Barry Daffron
NSW Darin Cooper Foundation
The Berg Family Foundation ACT Daryl & Kate Dixon
Patrica H Reid Endowment R & V Hillman Gardos Family
Fund Mick & Margaret Toller Charles & Wallis Graham
Anonymous Robert & Lindy Henderson
$50,000 – $99,999 D R & K M Magarey
ACT NSW Hywel Sims
Marion & Michael Newman Michael & Margaret Ahrens David & Carole Singer
Anne & Terrey Arcus am Anonymous
NSW Neil Burns
J A Donald Family Hilmer Family Endowment QLD
Katherine & Reg Grinberg Nigel & Carol Price Barry & Diana Moore
Tom & Elisabeth Karplus Anthony Strachan Andrew & Kate Lister
$20,000 – $49,999 QLD SA
Anonymous Aldridge Family Endowment
NSW Galina Podgoretsky,
Tom Breen & Rachael Kohn ao SA in memory of Rodney
Ian Dickson & Reg Holloway Lang Foundation Crewther
Michael & Frederique Katz Marsden Szwarcbord
Vicki Olsson Foundation VIC
Anonymous (2) Dr Di Bresciani oam &
QLD Lino Bresciani
Ian & Caroline Frazer VIC Alastair &
Andrea & Malcolm Alexandra Clemens Sue Campbell
Hall-Brown Caroline & Robert Clemente Traudl Moon oam
The Hon. Justice A Roger Druce & Jane Bentley Greg Shalit & Miriam Faine
Philippides Mercer Family Foundation Shephen Shanasy
Lyn & David Munro Anonymous
SA in memory of Sylvie Trobe
Day Family Foundation WA
WA Deborah Lehmann ao &
VIC Team Legacy Michael Alpers ao
The Morawetz Family in In memory of Stephanie
memory of Paul Morawetz $5,000 – $9,999 Quinlan
Marjorie Nicholas oam Anonymous (3)
Anonymous ACT
Craig Reynolds
Anonymous
20COMMISSIONS
Musica Viva acknowledges and celebrates those individuals and collectives who have
generously committed to commissioning new music in 2020/21 to be enjoyed by us all:
Vicki Olsson Geoff Stearn
Andrew Blanckensee, friends and family West Australian Commissioning Circle
in memory of Anne & Alan Blanckensee ao Adelaide Commissioning Circle
Tom Breen & Rachael Kohn ao Musica Viva also thanks the Silo Collective,
Julian Burnside ao qc & Kate Durham the Ken Tribe Fund for Australian
Michael & Frederique Katz, in honour of Composition, and the Hildegard Project
Cecily Katz for their support in bringing new Australian
Graham Lovelock & Steve Singer works to life.
D R & K M Magarey
ANNUAL GIVING $1,000 – $2,499 Flora Weickhardt, Geoffrey
White oam & Sally White oam,
$2,500 – $4,999 Megan & Bill Williamson,
ACT
Odin Bohr & Anna Smet, Anonymous (9)
ACT
Dudley & Helen Creagh,
Kristin van Brunschot & John
Margaret & Peter Janssens, QLD
Holliday, Goodwin Crace
Margaret Oates, S Packer, George Booker & Denise
Concertgoers, Dr Andrew
Hannah Semler, Sue Terry & Bond, Jill Boughen, John &
Singer, Anonymous
Len Whyte, Anonymous (3) Denise Elkins, Robin Harvey,
Lynn & John Kelly, Jocelyn
NSW Luck, Debra & Patrick
NSW
ADFAS Newcastle, Penny Mullins, Barbara Williams
Priscilla Adey, Judith Allen,
Beran, Sarah & Tony & Jankees van der Have,
Gay Bookallil, Catherine
Falzarano, Mrs W G Keighley, Anonymous
Brown-Watt psm, Robert
Clare MacLean, Ruth Magid
Cahill & Anne Cahill oam,
& Bob Magid oam, In loving
Hon J C Campbell qc & Mrs SA
memory of Anne-Marie &
Campbell, Stefan Couani, Peter & Elaine Bailey, The
Francis Murphy, Opus 109
Patricia Crummer, Trish & late Peter Bailie & Ann-
Sub-Fund – Community
John Curotta, Thomas Dent, Maree O’Connor, Ivan &
Impact Foundation, Kay
John & Irene Garran, H2 Joan Blanchard, John &
Vernon, Josette Wunder
Cairns Foundation, Annie Libby Clapp, Peter Clifton,
Hawker, Lybus Hillman, Dr Elizabeth Ho oam in honour
SA Ailsa Hocking & Dr Bernard of the late Tom Steel, Mark
D J & E M Bleby, Ann & David Williams, Dorothy Hoddinott Lloyd & Elizabeth Raupach,
Matison, Ms Judy Potter & ao, Catharine & Robert Kench, Ruth Marshall & Tim
Dr George Potter, STARS Kevin & Deidre McCann, Muecke, H & I Pollard, Trish
Arthur & Elfreda Marshall, & Richard Ryan ao, Anne
VIC Dr Dennis Mather & John Sutcliffe, Anonymous (2)
Carrillo Gantner ac, Doug Studdert, Michael & Janet
Hooley, Ralph & Ruth Neustein, Paul O’Donnell, VIC
Renard, Maria Sola, Gai & Lynda O’Grady, Lesley & Joanna Baevski, Russ &
David Taylor, Helen Vorrath, Andrew Rosenberg, Margaret Jacqui Bate, Mrs Maggie
Lyn Williams Hicks, Geoff Stearn, Richard Cash, Alex & Elizabeth
& Beverley Taperell, Graham Chernov, Lord Ebury, Anne
WA Tribe am, Robert & Valerie Frankenberg & Adrian
Mrs Morrell, Prichard & Tupper, Mary Vallentine ao, McEniery, Lyndsey & Peter
Panizza Family, Anonymous (2) Dr Elizabeth Watson, John & Hawkins, Virginia Henry,
21Penelope Hughes, Helen & Lynlea Rodger, Dr Jenny SA
Imber, Janet McDonald, Stewart, Dr Douglas Sturkey Richard Blomfield, Beverley
Ruth McNair AM & Rhonda cvo am, Joan ten Brummelaar, A Brown oam, Terence &
Brown in memory of Patricia Ruth Weaver, Dr Paul & Dr Lel Caroline Donald, Lesley
Begg & David McNair, June K Whitbread, Anonymous (3) Haas-Baker, Daniel & Susan
Marks, Baillieu Myer ac, Lyn Hains, Robert Kenrick, The
& Gus Nossal, Barry Robbins, NSW Hon. Christopher Legoe ao
Murray Sandland, Wendy R David & Rae Allen, John Baird, qc & Mrs Jenny Legoe, Helga
Taylor, Bibi Wilkinson, Mark & K Becker, Denise Braggett, Linnert & Douglas Ransom,
Anna Yates, Anonymous (2) Lucia Cascone, Robin Diane Myers, Anonymous (6)
WA Cumming, Bronwyn Evans, Liz VIC
David & Minnette Ambrose, Gee, Kate Girdwood, Anthony Jann Begg, Pam Caldwell,
Dr S Cherian, Michael & Gregg, Rohan Haslam, Roland Elise Callander, Ted & Alison
Wendy Davis, Alan R. Dodge Hicks, Cynthia Kaye, Mathilde Davies, John & Margaret
am & Neil Archibald, In Kearny-Kibble, K P Kemp, Harrison, Dr Anthea Hyslop,
memory of Raymond Dudley, Bruce Lane, Graham & Sue Denbigh Morris, Greg J
Ms Helen Hollingshead & Lane, Trish Ludgate, Margot Reinhardt, Eda Ritchie am,
Mr John Hollingshead, Zoe Morgan, Donald Nairn, Dr Charles Su & Dr Emily
Lenard & Hamish Milne, Professors Robin & Tina Offler, Lo, Darren Taylor, Maureen
Mandy Loton oam, Marian Christina Pender, In memory Turner, Dr Victor Wayne & Dr
Magee & David Castillo, of Katherine Robertson, Dr Karen Wayne oam, Pera Wells,
Margaret & Roger Seares, John Rogers, Penny Rogers, Anonymous (5)
Elizabeth Syme, Robyn Tamke, Dr Lynette Schaverien,
David Wallace & Jamelia Kate Tribe, Richard Wilkins,
Anonymous (13) WA
Gubgub, Anonymous (4) Fiona Campbell, Joan Carney,
$500 – $999 Fred & Angela Chaney, Helen
QLD Dwyer, Dr Penny Herbert
ACT Prof Paul & Ann Crook, in memory of Dunstan
Geoffrey & Margaret Brennan, Janet Franklin, Prof Robert Herbert, Anne Last & Steve
Christopher Clarke, Christina G Gilbert, Diana Lungren, Scudamore, Graham Lovelock
Cook, Martin Dolan, Kingsley Timothy Matthies & Chris & Steve Singer, Paula Nathan
Herbert, Claudia Hyles Bonnily, Michelle Wade & ao & Yvonne Patterson, John
oam, Humphries Family James Sinclair, Jianxin Zhao & Overton, Vivienne Stewart,
Foundation, Margaret Lovell Faye Liu, Anonymous (2) Christopher Tyler, Helen
& Grant Webeck, Josephine Westcott, Peter & Cathy
McBride, Helen Rankin, Clive Wiese, Anonymous (3)
ARTIST FUND
Musica Viva wishes to acknowledge and thank all those generous patrons who have donated
the value of their cancelled concert tickets to our Artist Fund to support Australian artists
during this exceptional time.
Priscilla Adey, Beverly Allen, Judith Allen, D J & E M Bleby, Odin Bohr & Anna Smet,
David & Minnette Ambrose, Dr Warwick Gay Bookallil, George Booker & Denise Bond,
Anderson, Anne & Terrey Arcus am, The late Stephen Booth, Jennifer Bott ao, Jill Boughen,
Peter Bailie & Ann-Maree O’Connor, John Helen Brack, Denise Braggett, Tom Breen
Baird, Sue Barnard, Adrienne Basser, Sam & Rachael Kohn ao, Geoffrey & Margaret
Bateman, The Hon. Dr Annabelle Bennett Brennan, Dr David Brookman &
ao sc, Tony Berg am & Carol Berg, David Dr Stephanie Brookman, Beverley A Brown
Bernshaw, Marc Besen ac & Eva Besen ao, oam, Kristin van Brunschot & John Holliday,
Christine Bishop, Andrew Blanckensee, Susan Bryant, David Bullen, Anne Burgi &
22Kerin Carr, Christopher & Margaret Burrell, Lenard & Hamish Milne, Anne Levy, Andrew &
Pam Caldwell, Alison & John Cameron, Kate Lister, Margaret Lovell & Grant Webeck,
Alastair & Sue Campbell, Joan Carney, Yola Peter Lovell, Graham Lovelock & Steve Singer,
& Steve Center, Fred & Angela Chaney, Jocelyn Luck, Peter B Lyons, Kevin & Deidre
Catherine Cherry, Michael & Colleen McCann, Jan Mcdonald, Travis McDougall,
Chesterman, John & Libby Clapp, Caroline Barbara McKenzie, Vanessa & John Mack,
& Robert Clemente, Peter Clifton, David J & R MacLeod, D R & K M Magarey, Ruth
Constable am & Dr Ida Lichter, Rodney Magid & Bob Magid oam, Garth Mansfield
Constantine, David Cooke, Stefan Couani, oam, June Marks, Marsden Szwarcbord
Andrew & Felicity Corkill, Alison R Craswell, Foundation, Ruth Marshall & Tim Muecke,
Dudley & Helen Creagh, Prof Paul & Ann Ann & David Matison, Barbara Matthies,
Crook, Robin Cumming, Jennifer Darin & Stephanie Miller, Patricia Mitchell oam, Alan
Dennis Cooper, Olivier David & Dr Bennie & Rosemary Moore, Barry & Diana Moore,
Ng, Greta Davis, Thomas Dent, Daryl & Kate Carmel Morfuni, Mrs Morrell, Anne Morris,
Dixon, Lord Ebury, Susan Edmondson, John Debra & Patrick Mullins, Akira & Tomoko
& Denise Elkins, Dr Arno Enno & Dr Anna Nakayama, Mrs Mary O’Hara, Paula Nathan
Enno, Anton Enus & Roger Henning, Joanne ao & Yvonne Patterson, Michael & Janet
Etheridge, Vivien & Jack Fajgenbaum, Deirdre Neustein, Katherine Nye, Megan O’Connor,
Ferguson, Jo Ferguson & Malcolm Snow, Professors Robin & Tina Offler, Kim & Margie
Lesley Fisk, Sabina Flanagan & Wilfrid Prest, Ostinga, John Overton, S Packer, Diane Parks,
Jill Fleming, Ms Annabella Fletcher, Janet Nan & Jim Paterson, Margot Pearson & Brian
Franklin, Ian & Caroline Frazer, Cindy Gallois, Palfrey, D E Pidd, Galina Podgoretsky, D & J
John & Irene Garran, Monica Garrett, Liz Pollard, H & I Pollard, Mary Pollard, George &
Gee, Ian & Cass George, Geoffrey & Mary Judy Potter, Nigel & Carol Price, Helen Rankin,
Gloster, Brian Goddard, Christine Goode, Jenny & Rob Rattray, Greg J Reinhardt am,
Lois Goodin, Eleanore Goodridge oam, Mark Peter & Carolyn Rendit, Roslyn Renwick, Craig
D Gould, Charles & Wallis Graham, Dr Joan Reynolds , Prof. John Rickard, Dr John Rogers,
Grant, Robert Green, Peter Griffin am & Terry Penny Rogers, Lesley & Andrew Rosenberg,
Swann, Katherine & Reg Grinberg, Sue & Noeline Sandblom, Kerry Sanderson, Barbara
Ken Gunn, Susan & Daniel Hains, Andrea & Schmidt & Peter Cudlipp, Margaret & Roger
Malcolm Hall-Brown, Neil & Pamela Hardie, Seares, Tony Seymour, Greg Shalit & Miriam
John & Margaret Harrison, Rohan Haslam, Faine, Stephen Shanasy, Ms Vivienne Sharpe,
Sandra Haslam, Annie Hawker, Esther Jane Shellshear, Marian Simpson, Dr Andrew
Hayter, Judith Healy, Virginia Henry, Dr Penny Singer, Helen Smith, Maria Sola, Dr Jenny
Herbert in memory of Dunstan Herbert, Stewart, Dr Charles Su & Dr Emily Lo, Jane
Jennifer Hershon & Russell Black, Roland & Sullivan, Mrs Suzy & Dr Mark Suss, Elizabeth
Margaret Hicks, Fred & Claire Hilmer, John & Syme, Beverley & Richard Taperell, Gavin
Barbara Hirst, Dr Ailsa Hocking & Dr Bernard Taylor, Wendy Taylor, Philip Telford, Sue
Williams, Dorothy Hoddinott ao, Ken & Lenore Terry & Len Whyte, Anne E Thomas, Dr Jane
Hodgkinson, Ms Helen Hollingshead & Mr Thompson, Graham Tribe am, Kate Tribe,
John Hollingshead, Janice Horder, Jeannette Helen Tuckey, Robert & Valerie Tupper, Ray
Horne, Michael Horowitz, Penelope Hughes, Turner & Jennifer Seabrook, Christopher Tyler,
Mrs Claudia Hyles oam, Dr Anthea Hyslop, Nancy Underhill, Mary Vallentine ao, Kay
Helen Imber, Peter Ingram, Margaret & Peter Vernon, Herti Verge, Helen Vorrath, Thomas
Janssens, A C & B J Jennings, Nola Jennings, Waddell, W Wade, David Wallace & Jamelia
Ruth Jones, Rosie Jones, Tom & Elisabeth Gubgub, Mrs June Walpole, Dr Elizabeth
Karplus, John V Kaufman qc, Mathilde Kearny- Watson, Dr Victor & Dr Karen Wayne oam,
Kibble, Irene Kearsey & Michael Ridley, Leta Ruth Weaver, Andrew Wells am, Dr Paul &
Keens, Mrs W G Keighley, John & Lynn Kelly, Dr Lel Whitbread, Deirdre Whitford, Peter &
Catharine & Robert Kench, Dr Jean Kennedy, Cathy Wiese, Barbara Williams & Jankees
Kennedy Family Group, Hiroko Kikkawa, van der Have, Kim Williams am, Megan & Bill
Angela & Richard Kirsner, Peter & Barbara Williamson, Bibi Wilkinson, Jim & Ann Wilson,
Kolliner, Chaille Lansell, Anne Last & Steve Ann Woodroffe, Robert & Glenys Woolcock,
Scudamore, The Hon. Christopher Legoe ao Mark & Anna Yates, Pavel Zib, Anonymous (83)
qc & Mrs Jenny Legoe, Antonia Lehn, Zoe This list is complete as at 11 June 2021.
23Musica Viva
Concert Partners
SERIES AND TOUR PARTNERS
Perth Concert Series Premier Partner Sydney Morning Masters
Morning Masters Concert Series Concert Series
Wenkart
Foundation
BUSINESS PARTNERS
Law Firm Partner Chartered Accountants Partner Piano & Tuning Partner Media Partner
WINE PARTNERS HOTEL PARTNERS
STRIKE A CHORD CHAMPIONSHIP
Principal Partner Strategic Partners Key Philanthropic Partners Novice Section
Partners
Australian Music Examinations Board | Flinders Quartet | Bendigo Chamber Music Festival | Australian Strings Association
Victorian College of the Arts Seconday School | ABC Classic | Association of Music Educators | 3MBS Fine Music Melbourne
MELBOURNE INTERNATIONAL CHAMBER MUSIC COMPETITION
Principal Partner Strategic Partners Grand Prize Partner Prize Partner
GOVERNMENT PARTNERS FUTUREMAKERS PARTNERS
Lead Partner Residency Partner
Berg Family
Foundation
24Musica Viva
Education Partners
EDUCATION PARTNERS
National Partners
National Rural Schools
Program supported by
Marion & Mike Newman
STRATEGIC PARTNERS
WA
Legacy Unit Trust
AUSTRALIA
NSW Western Sydney & Melbourne
Mary Henderson Music Trust | Godfrey Turner Memorial Music Trust
The Fred P Archer Charitable Trust
SA
Aldridge Family Endowment | Carthew Foundation | Day Family Foundation
FWH Foundation | Lang Foundation | Marsden Szwarcbord Foundation
VIC
Marion & E.H. Flack Trust
In memory of Anita Morawetz | Ballandry (Peter Griffin Family) Fund
The Keith McKenzie Will Trust
ACT NT QLD
The Lionel &
Yvonne Spencer Trust
The Patrick Brennan Trust
Perpetual Foundation – Perpetual Foundation –
Alan (AGL) Shaw Endowment Alan (AGL) Shaw Endowment
25Stories to Inspire
Streeton Trio, MICMC entrants in 2011
Reflections on the Melbourne International
Chamber Music Competition
Emma Jardine violinist, Streeton Trio
After competing as the only Australian was at the VCA, having long conversations
ensemble in the Melbourne International with friends about which ensemble we
Chamber Music Competition (MICMC) liked best, and a bunch of us all going
in 2011, the Streeton Trio has gone along to watch the finals one year and
on to become one of Australia’s most being blown away by the incredibly
internationally successful piano trios. high quality of playing, and the amazing
Named after the Australian Impressionist communication between chamber music
painter Sir Arthur Streeton, the trio has partners. It was definitely always a goal for
received great acclaim for performances us while we were young students to one
in venues all around the world. With entries day be at a level where we were able to
now open for MICMC 2022, Musica Viva compete in MICMC ourselves.
caught up with the trio’s violinist, Emma
Jardine, to reflect on her own experiences How did you find your experience of
with the Competition and hear how it MICMC?
played a defining role in the ensemble’s I can very clearly remember the day we got
artistic development and success on the letter saying we’d been accepted into
the international stage. the Competition. We were living in Geneva
at the time, and we were literally jumping
What prompted you to enter the around the kitchen with excitement when
MICMC competition? we found out we were one of the eight
As an all-Australian trio, we had all grown piano trios from all over the world that had
up listening to MICMC and had been been accepted to compete in Melbourne.
very much inspired by the ensembles of It had been a long process – first we’d had
previous Competitions. I remember while I to send a DVD and lots of documentation
26just to be invited to audition, then for recorded in Geneva before we left, and it
the next round, we took a train to Paris was immediately picked up by ABC and all
(I remember it clearly because it was the other classical stations and received
snowing and SO cold!) and we did a live a lot of airplay leading up to the
audition. Then there were many weeks Competition. We have since gone on to
of nail-biting anticipation until we finally record another three CDs and each of
received our letter of acceptance! them has been featured a lot on the radio,
We were the only Australian ensemble to which has been great exposure for our
be accepted, in either the string quartet trio and has made our name known to
or the piano trio category, so we received audiences around Australia.
a lot of publicity, with articles in all the After all the publicity of MICMC, we started
major newspapers and lots of interviews to receive a lot of invitations to perform at
and photo shoots. It was really a great various festivals and music societies, and
launching pad for our trio, as we were we started return to Australia three times
relatively unknown in Australia until that a year for concert tours. Our reputation
point. There were many chamber music continued to grow, with success in other
enthusiasts listening to the Competition competitions, more CD releases and good
live who liked our playing, and the whole reviews from concerts. In 2014 we decided
Competition was broadcast live on ABC to move back to Australia, and since then
Classic, so for us it resulted in many we have been based back in Sydney and
invitations to perform at festivals and have continued to perform all around
music societies around Australia and Australia and New Zealand – we recently
New Zealand. completed a national tour for Musica Viva!
What were the highlights of your What sets MICMC apart from other
experience? chamber music competitions?
One of the best things for us was the It is a very well-run and generous
people we met through the Competition. competition. I know it was probably
MICMC had dozens of volunteers who the most sought-after one for all our
were absolutely devoted to supporting colleagues in Europe. Unlike other
chamber music and who were very international competitions, MICMC
generous with their time and energy. provides ensembles with flights to
Some of those supporters have become Australia, accommodation and dedicated
our very good friends and have been rehearsal spaces, and fosters genuine
wonderful supporters of our trio for collegiality amongst the competitors.
the past ten years. We also met young It really allows the musicians to focus
musicians from all around the world from completely on delivering their best
the other ensembles who were in exactly performances. This results in a really high
the same position as us – all completely standard of ensembles that apply, so I’d
devoted to chamber music and working say it is probably one of the highest level
as hard as they possibly could to achieve chamber music competitions in the world.
the highest standard possible. After
MICMC, we’d keep bumping into them
at various international competitions
around the world! To find out more about MICMC and
how you can help to give other young
What opportunities did the competition
chamber musicians the opportunity to
open up for you and the Trio?
become the musical leaders of tomorrow,
We decided to record a couple of CDs just please contact Jaci Maddern, Senior
around the time of the Competition – our Development Manager, on 03 9645 5088
first album, of Ravel and Brahms trios, was or at JMaddern@musicaviva.com.au.
27You can also read
