Here - Tyalgum Festival of Classical Music

It's a vintage year for music on the Tweed 

The Murwillumbah Festival of Performing Arts is 80 years old and the Tyalgum Festival of 

Classical Music celebrates its 20th anniversary. I can't believe so much time and music 

has flown by until I look at an old photograph of me dancing a highland fling with Judy 

Budd down the main street of Tyalgum to the drone of Les Peterkin's bagpipes. Many of 

us would still have the annual Tyalgum Festival coffee mugs crafted by Les each year. 

This year's Festival will be another celebration of music, art and dance in our 

incomparably beautiful valley. Many of you will remember some of this year's artists from 

previous festivals, especially Natasha Vlassenko and Oleg Stepanov who performed here 

in 1992! It says much for the reputation of our Festival that many of our favourite artists 

enjoy returning to join with exciting new performers making their Tyalgum debut. 

Margot Anthony AM, Patron 

So, welcome and thank you, our wonderful patrons, without whose enthusiasm and 

loyalty this milestone would not have been reached. What more can I say, but enjoy this 

special weekend! 

FESTIVAL HIGHLIGHTS 

Friday 2 September 

7.25 pm Official Opening 

7.30 pm C1 French Impressions 

Saturday 3 September 

9.30 am C2 The Young Virtuosi 

11 am Piano Masterclass 

11 am F1 The Phoenix Trio 

1.30 pm C3 The Lunaire Collective 

4.30 pm C4 Cello Orchestra 

7.30 pm C5 Steinway Concert 

Sunday 4 September 

10 am Essential Energy Community 

Spring Fair & Music Carnivale 

10.30 am C6 DALeCAÑA Flamenco Company 

10.30 am F2 Queensland Conservatorium 

Brass Ensemble 

2.30 pm C7 Camerata of St. John’s

Events & Table of Contents 

Welcome from Margot Anthony AM, Patron 

Festival Highlights 

Inside Front Cover 

Table of Contents 1 

Celebrating 20 Years 2 

The Festival Over the Years 4 

Festival Program in Detail 6 

About the Performers 8 

Concert Notes 15 

C1 French Impressions 15 

C2 The Young Virtuosi 18 

C3 Winds of Change, The Lunaire Collective 20 

C4 Cello Orchestra 22 

C5 Steinway Concert 24 

C6 Gerard Mapstone and The DALeCAÑA Flamenco Company 27 

C7 Camerata of St. John’s 28 

F1 The Phoenix Trio 31 

F2 Queensland Conservatorium Brass Ensemble 31 

AbaF (Australia Business Arts Foundation) Giving 17 

TyalgumFestival Committee, Past and Present 17 

Caldera Art Collaboration 27 

Essential Energy Community Spring Fair & Music Carnivale 32 

Festival Fringe Events 33 

Village Nature Walks 

Nature Talks 

Bright Sparks Music Program 

Tyalgum Illustrated Exhibition 

Acknowledgments and Raffle 34 

Booking Information Terms and Conditions 35 

Festival Supporters 36 

General Information 

Inside Back Cover 

Quick Reference Schedule Grid 

Inside Back Cover 

Dancing in the Streets: Judy Budd and 

Margot Anthony in 2000 

After the Mendelssohn (Brendan Joyce of the 

Camerata of St. John’s) by Alan Wain of 

Vibrant Imaging. Taken at the 2010 Tyalgum 

Festival, the portrait was accepted in the 

prestigious Olive Cotton Award for 

photographic portraiture. 

1

Music, Art & Nature in Australia’s Green Cauldron 

2

The Tyalgum Festival of Classical Music was first held in 

1991 after concert violinists, John Willison and Carmel 

Kaine, fell under the acoustic spell of the Tyalgum Literary 

Institute, otherwise known as the Tyalgum Hall. 

Held each year on the first weekend of September in this 

historic 1908 hall, the Festival has grown from a congenial 

gathering of colleagues to now be recognised as one of 

Australia’s premier classical events. 

Over the past two decades, it has brought a stellar cast of 

nationally and internationally renowned musicians to the 

tiny Tweed Valley village of Tyalgum in Northern NSW. 

Notable artists have included Roger Woodward, the 

Australian String Quartet, soloists from the London 

Symphony Orchestra, Russian pianist Tatiana Kolesova 

and Brisbane’s renowned chamber orchestra, the 

Camerata of St. John’s, led by charismatic violinist, 

Brendan Joyce. 

Celebrating 20 Years 

The Festival is also renowned as a performance platform 

for emerging artists who take their turn in the spotlight 

each year at the Young Virtuosi concert, as well as being 

invited to perform with seasoned professionals. 

The three-day concert program is complemented by an 

exhibition of Caldera Art, inspired by the environmental and 

cultural values of the Mt Warning Wollumbin Caldera, 

Tyalgum’s stunning backdrop. 

Concert-goers explore the village’s beautiful surroundings 

on guided walks and nature talks held throughout the 

Festival and Sunday’s free community fair will bring locals, 

visitors and musicians together. 

Above all, the Tyalgum Festival programming is inspired by 

the architecture of the old Tyalgum Hall with its acoustic 

bloom, the extraordinary geographical location in the 

caldera of an ancient volcano, the village setting and 

people, the loyal and passionate audience, and of course 

stellar musicians, both virtuoso and emerging. 

ABOVE LEFT: Carmel 

Kaine and John Willison 

ABOVE RIGHT: Jenni 

Hibbard, Music Director 

LEFT: John and Carmel’s 

last performance in 

Tyalgum Hall, the 

Schubert “Octet”, 2008 

FACING PAGE: Tatiana 

Kolesova, 2010 (also 

2008)

Hall in perfect harmony with artists 

CLASSICAL PAIRING: Violinist John Willison in the acoustically perfect Tyalgum Hall 

TOP: Guitar Trek, 2000 (left to right) Timothy 

Kain, Minh Le Hoang, Mark Norton, Daniel 

McKay ABOVE: Flinders Quartet, 2005 (also 

2006) (left to right) Erica Kennedy, Matthew 

Thomkins, Helen Ireland and Zoe Knighton 

RIGHT: Alison McKenzie, 2010 Young Virtuosi 

(also 2009 Church service) FAR RIGHT TOP: 

Anthony Garcia, 2003 (also 1998, 2004 and 

Desert Stars Dancing 2011) FAR RIGHT 

BOTTOM: David Pereira, 2010 (also 2002) 

4

LEFT: Queensland Conservatorium Brass Ensemble plays a 

fanfare from the Hall’s first floor windows, 2010. ABOVE: 

Guitarist Karin Schaupp, 2001 BELOW (1) Norman Appel 

introduces Tyalgum school children to the Steinway, 2010 (2) 

James Everard, Town Crier, 1998 (3) Les Peterkin, 2000 (4) 

Gerard Mapstone, 2002 Young Virtuosi (also 2005 and 2011 

with DALeCAÑA Flamenco) (5) Chinese harpist Jingjing Lu 

2003 Young Virtuosi (also 2004 and 2005) BOTTOM: Kelvin 

McIntosh and Matt Elliot from the Jazz Canaries, 2010 

➀ ➁ ➂ ➃ ➄ 

5

2011 FESTIVAL PROGRAM 

Friday 2 September Saturday 3 September 

Caldera Art Exhibition Tyalgum Hall 

Tyalgum Illustrated Exhibition Yasna Gallery 

7.25 pm Official Opening Tyalgum Hall 

7.30 pm CONCERT C1 Tyalgum Hall 

FRENCH IMPRESSIONS 

Rachel Smith – violin 

Patrick Murphy – cello 

Rianne Wilschut – clarinet 

Anna Grinberg – piano 

Liam Viney – piano 

Concert Notes page 15 

Available after the concert: selection from Madura Tea Estates, 

Zeta's Coffee, or enjoy a glass of Yalumba fine wine and 

locally produced delights from Tweed Valley Whey Farmhouse 

Cheeses and the Witch's Broomstick. 



Caldera Artists in Residence Tyalgum Village 


DoubleMask Performance Tyalgum Village 

8 am Nature Walk from Tyalgum Hall 

9.30 am CONCERT C2 Tyalgum Hall 

THE YOUNG VIRTUOSI 

Eleanor Hill – violin 

Winner of 2011 Tyalgum Festival Prize 

Murwillumbah Festival of Performing Arts 

Accompanied by Anna Grinberg 

Phillip Prendergast – tenor 


Ben Austin – piano 

Second Prizewinner and winner 

Best Performance of a Virtuoso Study 

(Tyalgum Festival Prize) 

2011 Lev Vlassenko Piano Competition 


Morning tea available after the concert. 

11 am Tyalgum Hall 

PIANO MASTERCLASS 

conducted by Natasha Vlassenko 

with guest student Ayesha Gough 

11 am CONCERT F1 St. John’s Anglican Church 

THE PHOENIX TRIO 

Maggie Ya-Chu Chen – Chinese flute 

Minnie Shen – Chinese guitar 

Na Wang – Chinese harp 

1 pm Nature Talk Tyalgum School 

The Wollumbin Caldera: Its Origin and 

Biodiversity Values 

Robert Price 

2 pm Bright Sparks Music Program 

St. John’s Anglican Church 


Parks are not enough: why local animals need to 

move and how we can help! 

Dr Ronda Green & Darren Green 


WINDS OF CHANGE 

The Lunaire Collective 

Patrick Nolan – flute 

Eve Newsome – oboe 


Lauren Manuel – French horn 

Nicole Tait – bassoon 

Stephen Emmerson - piano 

with special guest Asim Gorashi – whistler 


Afternoon tea available after the concert. 


CELLO ORCHESTRA 

Danielle Bentley, Dan Curro, Louise King, Patrick Murphy 

Katherine Philp, Andrew Shetliffe, Patrick Suthers 

Shannon Tobin – cellos 



6

2011 FESTIVAL PROGRAM 



STEINWAY CONCERT 

Oleg Stepanov – piano 

Natasha Vlassenko – piano 


Available after the concert: selection from Madura Tea Estates, 

Zeta's Coffee, or enjoy a glass of Yalumba fine wine and 

locally produced delights from Tweed Valley Whey Farmhouse 

Cheeses and the Witch's Broomstick. 



Caldera Artists in Residence Tyalgum Village 


DoubleMask Performance Tyalgum Village 

8 am Nature Walk from Tyalgum Hall 

8.30 am Morning Service St. John’s Anglican Church 

Conducted by Rev. Graeme Hodgkinson and 

featuring the Tweed Small Schools Choir conducted 

by Vikki Armour, with Phillip Prendergast, winner of 

the Alton Budd Memorial Prize, 2010 Murwillumbah 

Festival of Performing Arts. 

Accompanied by Jenni Hibbard 

10 am Tyalgum School 

COMMUNITY SPRING FAIR & 

MUSIC CARNIVALE 

Full Spring Fair Schedule page 32 


10.30 am CONCERT C6 Tyalgum Hall 

DALeCAÑA FLAMENCO COMPANY 

Gerard Mapstone – guitar 

Sylvia Arroyo – dancer 

Shenton Gregory – violin/mandolin 

Will Eager and Alex Fidel – percussion 

and guest palmeros – Stacey and Ryan 


10.30 am CONCERT F2 St. John’s Anglican Church 

QUEENSLAND CONSERVATORIUM 

BRASS ENSEMBLE 

Conducted by Greg Aitken 

and including Campbell McInnes – French horn 

winner of the 2011 Tyalgum Festival Prize, Queensland Young 

Conservatorium, Griffith University 

12 noon Nature Talk Tyalgum School 

Conservation Challenges in a Changing Caldera 

Dr Mark Kingston 

12 noon Bright Sparks Music Program 

St. John’s Anglican Church 


The diversity of wildlife in the Tweed district 



CAMERATA OF ST. JOHN'S 

With Camerata soloists and special guests: 

Kacey Patrick – soprano 

Philip Prendergast – tenor 



Afternoon tea available after the concert. 

Picnic in the Park 2008 

St. John’s Anglican Church, Tyalgum 

7

ABOUT THE PERFORMERS 

Sylvia Arroyo is one of Australia’s most prized dancers. She has also featured at the National Folk Festival, 

Queensland Multicultural Festival, Woodford Folk Festival, was a guest with the Kelvin Grove Wind Orchestra at the 

Queensland Old Museum as well as collaboration with the Camerata of St John’s in 2008. Sylvia Arroyo was a part of 

1+1 in 2/4 Time – Conversations between makers of dance and makers of music for the Queensland Music Festival 

alongside choreographer’s Francois Klaus (Queensland Ballet), Natalie Weir, Lisa O’Neil and Gavin Webber. 

C6 Sunday 4 September 10.30 am 

Danielle Bentley, cello, has worked extensively in both classical and popular music. She has performed with the 

Paris Opera Ballet, Opera Queensland, Opera Australia, Australian Ballet, Queensland Symphony Orchestra and 

Camerata of St John’s. Danielle has recorded and performed with some of Australia’s and the world’s most popular 

stars including Pete Murray, Harry Connick Jnr, Missy Higgins, Xavier Rudd, Kate Miller-Heidke, Luciano Pavarotti, 

Nigel Kennedy, Il Divo, Jerry Lewis, Hugh Jackman, Kate Ceberano and Rolf Harris – to name a few! 

C4 Saturday 3 September 4.30 pm 

Camerata of St John’s was re-created in 2005 by its founder, Elizabeth 

Morgan, who perceived that Queensland was ready to have its own 

outstanding chamber orchestra. The original Camerata, formed at St 

John’sCathedral in Brisbane in 1987, was an innovative educational 

experiment that created an opportunity for emerging artists to develop 

self-reliance and group ownership by rehearsing and performing without 

a conductor. 

Camerata is now a point of attraction for players who have established 

careers overseas and wish to return to Australia, as well as for those who 

wish to build an international career based in Brisbane. The new 

Camerata has a strengthened partnership with the St John’sCathedral 

community and performs the chamber orchestra classics but it also 

embraces adventurous programming and performing styles. In addition 

to its major concert series, Camerata’s other activities include performing 

for special liturgical services and events at St John's Cathedral, invitation 

performances and corporate events. 

C7 Sunday 4 September 2.30 pm 

Ann Carr-Boyd, composer, obtained the first Bachelor of Music degree from the University of Sydney, with First 

Class Honours, and followed this with a Master of Arts, presenting a thesis on the first hundred years of European 

musical development in Australia. Her first formal composition studies took place in London with Peter Racine Fricker 

and Alexander Goehr, as recipient of the Sydney Moss Scholarship from the University of Sydney. 

In the world of vocal and string music some special landmarks for her have been the creation of a song cycle, 

Museum Garden, which was premiered in a series of concerts in the United States, in memory of Australian musician 

Maxwell Shepherd, who lived and worked in Connecticut and a Violin Concerto composed for Alexandra Loukianova, 

premiered by her with the Wollongong Symphony Orchestra in 2010. 

“Tyalgum Dawn” world premiere C7 Sunday 4 September 2.30 pm 

Recognised as a remarkable pianist and flautist, Maggie Ya-Chu Chen has been invited to perform both solo and 

with orchestras in Australia, China, Germany, Hong Kong, Singapore, Taiwan and Vienna. From the age of seven, 

Maggie has won many prestigious scholarships, awards and competitions. At the young age of sixteen, she was 

accepted into the Queensland Conservatorium, Griffith University. Maggie now holds double master degrees in both 

piano and flute. Apart from being a soloist, Maggie is also an active chamber musician where she is the director and 

co-founder of the Volteggiando Piano Duo and the Phoenix Trio of Chinese authentic instruments. 

F1 Saturday 3 September 11 am St John’s Anglican Church 

Dan Curro was Principal Cello of the Queensland Youth Symphony for four years and toured with them to Japan, 

Korea, Austria, Germany and Italy. At the Queensland Conservatorium, Griffith University he studied contemporary 

improvisation under John Rogers and Ken Edie. He has also played baroque cello in many groups including the 

Australian Brandenburg Orchestra. In 2005 Dan was invited to play in the Sydney Festival's 12 Angry Cellos concert 

in which he performed alongside some of the country's most highly regarded cellists. Dan has also worked 

extensively with the Queensland Philharmonic Orchestra and The Queensland Orchestra. 


8


T h e D A L e C A Ñ A F l a m e n c o 

Company was formed in 2007 by 

Australian guitarist Gerard Mapstone 

and flamenco dancer Sylvia Arroyo. 

Together with a collective of musicians 

they created a multicultural blend of 

gypsy music using flamenco as the base 

of their inspiration. 

DALeCAÑA (put your back into it!) have 

sold out the Brisbane Powerhouse 

Theatre twice and have featured in 

festivals across Australia including 

Woodford Folk Festival, Queensland 

Multicultural Festival, Queensland Music 

Festival, National Folk Festival (Canberra), 

Falls Festival (Victoria) and Blues Fest at 

the QPAC Concert Hall. 


Will Eager, percussion, is a graduate of the Queensland Conservatorium, Griffith University and has studied in Serbia 

focusing on Balkan gypsy music and in Spain studying flamenco rhythms with some of Andalucia’s finest Cajon 

players. He is a founding member of the renowned Doch Gypsy Orchestra, a 27 piece group of Russian, Serbian, 

Bulgarian and Hungarian singers, brass, percussion, strings and guitarists playing Balkan gypsy music. Recently he 

has released an album with group Laique and performs with Little Creatures, Timothy Carroll, Zenos and supported 

the Buena Vista Social Club with Gerard Mapstone. 


Stephen Emmerson studied at University of Queensland and at New College Oxford where he received M. Phil. and 

D. Phil. degrees. He has been on full-time staff at the Queensland Conservatorium, Griffith University since 1987 

where he teaches various music literature and performance related courses. As a pianist, he has performed widely 

around Australia, New Zealand, Asia and the Pacific. The focus of his performance career in recent years has been 

within various chamber ensembles including the Griffith Trio and Dean Emmerson Dean, with whom he has toured 

internationally. 

C3 Saturday September 1.30 pm 

Alex Fidel’s professional performing career began his career performing The Hard Rock Café circuit in Jakarta, Bali 

and Indonesia. Since studying percussion and drums at the University of The Philippines, Alex has worked with iconic 

singers and groups, and was nominated as best jazz drummer for the Katha Music Awards on an album with Aya 

Yuson. Recognised as one of the finest drummers in the Philippines, Alex is now based in Brisbane and performs 

with the Daisie May Band, Rhiannon Hart & The UMM-AHH’s, and flamenco guitarist, Gerard Mapstone. 


Asim Gorashi has a background as both an educator and artist. He received his Bachelor degree in music from the 

University of Sudan where he majored in composition. He has arranged more than twenty Sudanese folkloric songs in 

ten different local languages and participated in numerous festivals. Asim plays the oud (Arabic lute), violin, 

keyboards, Sudanese traditional tambour, mandolin and viola, and also sings. In 2009, Asim represented Australia in 

an international whistling competition in North Carolina, United States, achieving first place in Allied Arts. 


Ayesha Gough auditioned for the Young Conservatorium, Griffith University, in 2007. After her successful audition 

Ayesha began lessons with Oleg Stepanov in 2008. She has also received lessons from the Australian composer, 

Gerard Brophy, whose tutelage assisted her in achieving first place in the MTAQ Composers’ Competition in 2010. 

Ayesha is a past winner of the Tyalgum Festival Prize awarded to the Most Promising Classical Instrumentalist at the 

Murwillumbah Festival of Performing Arts and has performed on the Tyalgum stage in the Festival’s Young Virtuosi 

program in 2009 and 2010. This year, Ayesha will compete in the renowned Lev Vlassenko Piano Competition for the 

first time. 

Piano Masterclass with Natasha Vlassenko Saturday 3 September 11 am 

9


Thomas Green has a reputation in Brisbane as a versatile composer whose focus is to bridge the space between 

musical areas like 'pop' and 'classical' or 'high and low art'. He is a prizewinner in national composition competitions, 

and has travelled internationally to pursue his interest in modern music. Over the last fifteen years Thomas has been 

involved with and composed music for a number of groups in Brisbane pioneering new music; these include The 

Seventh Chapter, The Trickster Project, and Sympatico. Thomas has been chosen as one of the resident composers 

for the newly formed Brisbane based Lunaire Collective. Presently Tom works at home in his composition studio 

completing a PhD in composition, under Robert Davidson at University of Queensland, as well as freelance jobs for 

local artists. 

“Element” world premiere C3 Saturday 3 September 1.30 pm 

Emma Gregan is currently completing her second year in Advanced Performance French Horn at Queensland 

Conservatorium, Griffith University, studying with Ysolt Clark and Peter Luff. In 2007 and 2009, she received the 

Queensland ‘Musically Outstanding Students’ (MOST) Biannual State High School Program Scholarship. In 2008, in 

the Australian Concerto and Vocal Competition, Emma won third place for the Young Performers Soloists. In October 

2011, she took part in the Ironwood Developing Artists Program, and performs with the Queensland Symphony 

Orchestra. 

F2 Sunday 4 September 10.30 am St John’s Anglican Church 

Shenton Gregory has performed as a multi-instrumentalist, composer, arranger, music director and actor in all 

manner of professional productions nationally and overseas. His performances with two-times Aria award winners 

Monsieur Camembert have seen him perform at the Montreaux Jazz Festival, Paris, Hong Kong, Singapore and major 

festivals across Australia. Shenton continues to be at the top of his field in jazz, rock and world music styles not just 

on violin but also on viola, bass, gypsy jazz guitar and mandolin. 


Anna Grinberg is Performance Research Fellow at University of Queensland, School of Music. Born in the former 

Soviet Union, and later becoming an Israeli citizen, Anna’s engagements include concerts in the United States, 

Australia, Israel, England, Italy, Germany, Belgium and solo and chamber music performances at Royce Hall, Los 

Angeles and New York's Weil Recital Hall at Carnegie Hall. Anna was awarded America-Israel Cultural Foundation 

Scholarships and was supported in a year of study at the Royal Conservatory of Brussels. Anna was twice a major 

prizewinner in the Connecticut Young Artists Piano Competition. 

C1 Friday 2 September 7.30 pm 

C2 Saturday 3 September 9.30 am 


Eleanor Hill began learning the violin at age five. She learns from Emin Tagiev in Brisbane. In recent years she has 

enjoyed playing as a soloist and in an orchestra in renown venues such as the Sydney Opera House, QPAC, Darling 

Harbour, Brisbane City Hall, Sydney Town Hall and Sydney Conservatorium of Music. She is currently the leader of 

the second violins in the Brisbane based Tagiev Chamber Orchestra, and is the lead violinist in two string quartets. 

Eleanor is the 2011 Murwillumbah Festival of Performing Arts winner of the Tyalgum Festival Prize “Most Promising 

Classical Musician”. 


Louise King is an award winning graduate of the Royal Colleges of Music in London and Manchester. Louise studied 

with Emma Ferrand, Leonid Gorokhov, William Bruce, and the baroque cello with Richard Boothby. Louise has 

worked with the Australian Chamber Orchestra, Topology, The Queensland Orchestra, and Southern Cross Soloists, 

as a tutor for the Australian Youth Orchestra and with many of Australia’s early music specialists on her much loved 

baroque cello. Her performing life embraces solo and chamber music concerts, new Australian works, backing for 

Katie Noonan, Il Divo, Boccelli, Josh Groban and recording for ABC classics and Naxos. 


Tyalgum Hall circa 

1930’s and present 

10


Paul Kopetz, composer, is a graduate of the University of Melbourne, the Victorian College of the Arts and the 

Rotterdam Conservatorium. Over the years he has worked as a freelance bass clarinettist (Melbourne Symphony 

Orchestra, Tasmanian Symphony Orchestra and the Queensland Symphony Orchestra), arranger (over 120 pieces for 

various combinations of instruments and skill levels), composer, conductor and educator. His original works and 

arrangements have been performed internationally in the United States, Hong Kong, Japan, Holland and Poland. His 

current style of composition aims at the fusion of Pop music styles with traditional and contemporary Classical music 

focusing on exploration of rhythm and contrapuntal textures. He is particularly interested in programmatic chamber 

music and is currently working towards the release of his first CD featuring original chamber music compositions. 

“Armadillo” world premiere C3 Saturday 3 September 1.30 pm 


Lauren Manuel, French horn, at age 17 was awarded a Single Studies scholarship from the Elder Conservatorium of 

Music, University of Adelaide and the Ross McDonald prize for excellence in brass playing. After completing her 

Bachelor of Music with honours, Lauren was regularly employed as a casual horn with the Adelaide Symphony 

Orchestra before moving to Melbourne to undertake her Masters degree in Music at Melbourne University, under the 

tutelage of Geoff Collinson and Barry Tuckwell. Previous to her appointment in late 2009 with the Queensland 

Symphony Orchestra, Lauren freelanced successfully in Melbourne and has played with most of the Australian and 

New Zealand orchestras including the Melbourne Symphony, Orchestra Victoria, Sydney Symphony, Adelaide 

Symphony and New Zealand Symphony Orchestras. 


Gerard Mapstone, guitar, as a teenager won the Queensland Conservatorium, Griffith University classical guitar 

prize, and in 2011 was nominated for the classical Freedman Fellowship. From Brisbane he moved to Spain in 2004 

and lived in Jerez de la Frontera where he studied with Jose Ignacio Franco, a renowned flamenco guitarist in 

Andalucía. He continued studying in London with Carlos Bonell, guitar professor at the Royal College of Music. 

Mapstone guested on two recordings by flautist Philippe Barnes and All Jigged Out, and DADGAD guitar virtuoso Lee 

Westwood. 


Oscar McDonald, trombone, began his musical career playing piano at the age of 3, and began learning the 

trombone as his second instrument at the age of 10. He obtained his A.mus.A for piano in 2007 and trombone in 

2008, and his L.mus.A for trombone in 2010. Oscar is now aged 20 and in his third year at Queensland 

Conservatorium, Griffith University. In 2010 Oscar became Principal Trombonist of the Queensland Youth Orchestra 

and has just completed an internship with the Queensland Symphony Orchestra and is second trombonist with the 

Australian Youth Orchestra. 


Campbell McInnes is a Year 12 student from John Paul College. Over the past six years, he has progressed from his 

school orchestra, the State Honours Ensemble Program, the Young Conservatorium Brass Ensemble, and the 

Queensland Youth Orchestra to the point where he is now a member of the Queensland Youth Symphony. 

Campbell’s greatest musical achievement to date has been attending the Australian Youth Orchestra’s National Music 

Camp in January 2011. He received the position of Principal Horn for the Australian Youth Orchestra’s Young 

Symphonists program in 2011 and won the Tyalgum Festival Prize for Outstanding Musician, Young Conservatorium 

(Queensland Conservatorium, Griffith University). Campbell’s goal is to pursue music as his career, and after 

completing Undergraduate study at the Queensland Conservatorium, Griffith University in 2014 hopes to further his 

studies in Germany. 


Elise Mills started learning tuba at age 13. Upon graduating high school, Elise enrolled in the Bachelor of Applied 

Science degree at the Queensland University of Technology. Elise commenced playing with the Conservatorium Brass 

Band with a year of study at Queensland University of Technology still outstanding, eventually enrolling in the Bachelor 

of Music (Performance) degree. During her time at the Conservatorium, Elise has played in a wide range of 

ensembles, playing tuba in the Symphony Orchestra, Wind Orchestra and Brass band, as well as smaller ensembles, 

various brass quintets and the Tuba/Euphonium Ensemble. Elise is currently completing the fourth year requirements 

of the Bachelor of Music (Performance) degree at the Queensland Conservatorium, Griffith University of Music, under 

tutelage of Thomas Allely. 


11


Patrick Murphy holds the position of Performance Fellow in the School of Music at the University of Queensland. 

Currently on staff at the Hobart Conservatorium he also teaches cello and chamber music at the Sydney 

Conservatorium of Music. He has performed extensively with the Sydney Symphony Orchestra and the Australian 

Opera and Ballet Orchestra. Murphy has toured throughout Europe, Japan and Canada, where he was an Artist in 

Residence at the Banff Centre for the Arts with the Halcyon Quartet. 



Eve Newsome has performed in many different capacities including Principal Oboe with the Queensland 

Philharmonic, tutti oboe with the Melbourne Symphony and most recently Principal Cor Anglais with Orchestra 

Victoria. She has toured internationally with the Australian Chamber Orchestra and the Melbourne and Adelaide 

Symphony Orchestras performing in the United States, China, Korea, Russia and throughout Europe. She has 

performed as guest Principal Oboe with the Melbourne Symphony, Sydney Symphony, Queensland Orchestra, 

Adelaide Symphony and Orchestra Victoria. 


Patrick Nolan was Principal Flautist with the Queensland Philharmonic Orchestra (1987-2000) and the Queensland 

Orchestra (2001-2006) and has presented numerous concerti with both orchestras. He was widely praised for his 

artistic direction of the highly successful Tenth Australian Flute Convention held at the Queensland Conservatorium, 

Griffith University in 1999 and his co-ordination of the 1999 Australian National Academy of Music Flute Program. 

Patrick currently teaches flute at the University of Queensland, Marist College and Mount Saint Michael’s College. 


Kacey Patrick, soprano, formed the acclaimed duo stringmansassy in 1996 with guitarist Aaron Hopper which has 

evolved into one of Australia’s leading performance duos. Kacey toured extensively as “Sassy” throughout Australia, 

Germany, South East Asia and Japan. The duo was invited to perform at the World EXPO 2010 in Shanghai and 

performed in China for the first time. Kacey made her solo debut at the QPAC Playhouse in September 2003 when 

she was invited to join the cast of Women in Voice 11. A highlight of the Brisbane music calendar, Women in Voice 

annually showcases both local and nationally renowned female performers. Kacey has since performed with some of 

Australia’s leading musicians both in a jazz and world music context. 


Katherine Philp, cello, has been the recipient of numerous awards and prizes including the Vada Jeffries Bach Prize 

and the 4MBS Chamber Music Competition. As a chamber musician Katherine has performed and toured widely 

throughout Queensland and New South Wales, performed in the finals of the Australian Chamber Music Competition, 

collaborated with didgeridoo soloist William Barton and with Australian composers Elena Kats-Chernin, Matthew 

Hindson, Timothy Constable and Peter Sculthorpe. Katherine recently undertook an Asialink residency (supported by 

Arts Queensland and Australia Council) at the Tibetan Institute of Performing Arts in Dharamshala, India, where she 

studied Tibetan classical and folk music. 


Phillip Prendergast, tenor, has competed in various eisteddfods and was awarded Vocal Champion at the 2008 

Toowoomba Eisteddfod. Phillip has appeared at various concerts, cantatas/oratorios and musical productions in 

Toowoomba over the last five years. He is now a member of the Opera Queensland chorus and is continuing vocal 

studies in the various styles of classical music with his teacher James Christenson. He was a finalist at the 2010 

Dame Joan Sutherland Award and won the Murwillumbah Festival of Performing Arts Alton Budd Memorial bursary in 

2010. 


Sunday Morning Service 4 September 8.30 am 


Selena Rasmussen, trumpet, moved to Brisbane in 2009 to continue her passion for music. She began playing 

cornet at an early age before taking up the trumpet and a number of other instruments. Currently she is in her third 

year of a Bachelor of Music at the Queensland Conservatorium, Griffith University. She has been a member of various 

orchestras and ensembles for many years; including the Queensland Youth Symphony, Brisbane Brass Band and 

various Conservatorium orchestras. Since early 2010 she has been a member of the Conservatorium Brass Quintet. 

In early 2011 she undertook an internship with the Queensland Symphony Orchestra to further her performing career 

and experience. 


12


Specialising in Pipa (the Chinese guitar), Minnie Shen was born in 1986 to a musical family in Shanghai and 

developed a passion for traditional Chinese music. Minnie has been learning Pipa with many well known teachers 

since 1998 and has participated in numerous performances and competitions. Apart from playing the Pipa, Minnie 

has also received training for dancing and singing. Minnie moved to Australia in 2003 and since then has been 

expanding new repertoire with tradition and modernism. 

F1 Saturday 3 September 11 am St John’sAnglican Church 

Andrew Shetliffe, cello, has a Masters degree from the Queensland Conservatorium, Griffith University. In 1995, he 

was awarded scholarships to attend the Aspen Music Festival where he studied with Alan Harris. He completed his 

studies in Detmold, Germany, with Karine Georgian. Andrew lived a number of years in Scotland where he worked 

extensively with the Scottish Chamber Orchestra. He also performed with the Scottish Ensemble and the Royal 

Scottish National Orchestra. A former member of Elision ensemble and Perihelion, Andrew has performed as 

chamber musician at festivals and venues throughout Australia and Europe. Andrew last performed at the Tyalgum 

Festival in 1998, and is pleased to make his long awaited return. 


Rachel Smith has been a member of the Queensland Symphony Orchestra since 1997 and as Principal First Violin 

since January 2008. She has performed with the Scottish Chamber Orchestra, Australian Chamber Orchestra and 

Tasmanian Symphony Orchestra. A graduate of Queensland Conservatorium, Griffith University, Rachel completed 

her Masters degree at Northwestern University, Chicago. From 2001-2004 she was violinist with the Iven Street Trio, 

who performed extensively in Australia and overseas, including acclaimed performances at the Osaka International 

Chamber Music Competition and the Melbourne International Chamber Music Competition. She has been the 

director of the Stradbroke Chamber Music Festival since its inception in 2007. 


Oleg Stepanov, piano, was born in Riga, Latvia and completed his undergraduate and postgraduate studies at the 

Moscow Tchaikovsky Conservatory under Professor Lev Vlassenko. His teaching career began at the Moscow 

Tchaikovsky Conservatory, where he was invited to join the piano department. Oleg has been teaching at the 

Queensland Conservatorium, Griffith University, since 1992 and currently is a Coordinator of the Young 

Conservatorium Piano Program. Many of his students have won major national and international piano competitions 

and scholarships. Oleg with his wife, Natasha Vlassenko, is co-founder of the Lev Vlassenko Piano Competition. 


Patrick Suthers graduated from the Australian National University in 2007 with First Class Honours and the 

University Medal in Music, completing his studies with David Pereira and Julian Smiles. In 2008, he was the Sydney 

Symphony Orchestra Fellowship cellist, and then worked as Associate Principal Cello with the Queensland Symphony 

Orchestra during 2009-2010. Patrick has worked regularly with the Sydney Symphony Orchestra and as Guest 

Principal and Associate with the Canberra Symphony Orchestra. Patrick’s other chamber achievements include 

invited string quartet performances in Dubai and at the Australian Festival of Chamber Music (Townsville), guest artist 

performances in the Brisbane Chamber Collective and the University of Queensland Sunday Concert Series. 


Nicole Tait, bassoon, obtained a Bachelor of Music degree at the University of Western Australia. Upon completion 

of her undergraduate studies, she moved to Tasmania to fulfil a contract position as Principal Bassoon with the 

Tasmanian Symphony Orchestra. She continued to freelance extensively with orchestras including the Australian 

Chamber Orchestra, Melbourne Symphony Orchestra, Adelaide Symphony Orchestra and the Sydney Symphony 

Orchestra. She was appointed Principal Bassoon, Queensland Symphony Orchestra, in 2002. 


Ryan Tierney, trumpet, is in his fourth year of study at the Queensland Conservatorium, Griffith University. He has 

played Principal Trumpet with the 2nd Queensland Youth Orchestra for two years and Second Trumpet with the 

Queensland Youth Symphony. Ryan has played Holst’s Planets Suite, Mahler’s Sixth Symphony and William Walton’s 

Belshazzar's Feast as a casual trumpeter with the Queensland Symphony Orchestra. He is currently under the 

tutelage of Iaan Wilson (BBC Symphony Orchestra and The Royal Opera) and is going to Salzburg, Austria, at the 

end of next year to audition for future study and performance opportunities. 


13


Shannon Tobin, a freelance cellist and teacher in Brisbane, performs regularly with Camerata of St John’s and was a 

member of the chamber music group Collusion touring with the Musica Viva in Schools Program and Musica Viva 

Country Wide. Shannon has recorded with Camerata of St John’s, Collusion and Locana. She has performed with 

the Luzerner Symphony Orchestra, Aarth Operetta Orchestra, Queensland Symphony Orchestra, Luzern International 

Music Ensemble, Queensland Pops Orchestra, Tyalgum Festival Chamber Orchestra, Bangalow Festival Chamber 

Orchestra and various musical seasons in Brisbane. 


Pianist Liam Viney has performed at festivals and as soloist with orchestras in the United States and Australia. With 

his piano duo partner Anna Grinberg he has toured Israel, California and the east coast of the United States. Liam 

has won prestigious competitions in Australia and the United States. He has taught at the California Institute of the 

Arts and at Yale University. He completed a DMA at Yale University, studying with Boris Berman and now leads the 

piano department at the University of Queensland. 



Natasha Vlassenko, piano, was born in Moscow and graduated from Moscow Central Music School and Moscow 

Conservatory under Professor Jakob Flier and pursued postgraduate studies with her father, Professor Lev 

Vlassenko. As a student she was awarded the prestigious Tchaikovsky Scholarship. Before coming to Australia, 

Natasha taught in the Central Music School of Moscow Conservatory and is now head of piano and senior lecturer at 

the Queensland Conservatorium, Griffith University. In 1999 Natasha and husband Oleg Stepanov became the 

founders and artistic directors of the Lev Vlassenko Piano Competition, which has become the most significant 

national piano competitions in Australia. 

Piano Masterclass Saturday 3 September 11 am 


Na Wang started music training from a young age, where she began learning the GuZheng with Professor Han at the 

Shandong College of Arts. Na graduated with a Bachelor of Music degree from the East Shandong University where 

she also taught traditional Chinese instruments. Na is a committee member of the Institute of Musicology in 

GuZheng, and is regularly invited to perform in solo concerts and festivals, including her most recent appearance in 

Korea. Na is renowned for her stylish playing and is celebrated for her vibrant tone, vivid characters and musical 

treatments. Na is currently teaching GuZheng in her own studio after migrating to Australia in 2004. 

F1 Saturday 3 September 11 am St John’s Anglican Church 

Rianne Wilschut began her clarinet studies at the Conservatorium of Music in Zwolle, Holland with Oscar Ramspek; 

obtained a postgraduate degree in Music Performance with the Flemish clarinettist Walter Boeykens, followed by a 

higher Diploma in Chamber Music. During her career Rianne has won several awards and competitions including The 

Young Soloist Competition in Rotterdam. Since her arrival in Australia she has been in demand as a freelance player, 

working with the Queensland Symphony Orchestra, Melbourne Symphony Orchestra, Orchestra Victoria, Chamber 

Made Opera, contemporary music ensemble, Libra, and Operalive. 



Dr Jean-Marc Hero 

conducts a 

Sunday morning 

Nature Walk 

in 2006 

14

CONCERT C1 

FRENCH IMPRESSIONS 

Friday 2 September 7.30 pm 

Rachel Smith – violin 

Patrick Murphy – cello 



Liam Viney – piano 

Milhaud 

Ravel 

Francaix 

Debussy 

Ravel 

Suite for violin, clarinet and piano 

Sonata for violin and piano 

Theme and Variations for clarinet and piano 

Sonata in D minor for cello and piano 

Rapsodie Espagnole for piano (four hands) 

Suite for violin, clarinet and piano 

Darius Milhaud (1892-1974) 

Ouverture: Vif et gai 

Divertissement: Animé 

Jeu: Vif 

Introduction et Finale: Modéré 

Milhaud's Suite for violin, clarinet and piano relies on the concept of the traditional instrumental suite, with its multiple 

movements of contrasting topics or moods. 

The first movement immediately establishes a piquant Latin feel. The strong underlying syncopation is punctuated by 

aggressive articulations, such as rolled chords on the piano and strident bowings on the violin. 

The second movement uses intricate and playful imitative textures. The violin and clarinet begin with an imitative duet largely 

based on a single rising and falling motif; after their initial duet, they alternate in gentle duets with the piano before playing in 

tandem in a "call and response" fashion. 

The third movement is a boisterous folk dance based on a hearty and relentless rhythm. The movement is an exercise in 

caricature – on the one hand, the violin happily juxtaposes with gritty, foreground fiddling (complete with squealing attacks and 

intonational inflections) against the clarinet's secondary line. The two instruments then swap – one hears violin strumming 

behind the clarinet's lead melody. 

The fourth movement, Introduction et final: Modéré begins with a sombre introductory passage held in check by the 

intermittent tolling of a repeated octave in the lowest register of the piano. The lucidity and regularity of this last section, of 

course, is occasionally thrown slightly off kilter with odd harmonic swerves and the kind of so-called "wrong-note" polytonal 

writing for which Milhaud is famous, finally culminating in a kind of jazzy cowboy tune that brings the movement and the Suite 

to a close. 

Sonata for violin and piano 

Maurice Ravel (1875-1937) 

Allegretto 

Blues: Moderato 

Perpetuum mobile: Allegro 

The Sonata for violin and piano was a rather late composition in Ravel's life. The work progressed slowly as a result of ill health 

and took four years to complete (1923-1927). By this time, Ravel had moved on from Impressionism so it was no longer a 

prominent characteristic of his compositions; yet the style was so deeply ingrained in him that his Violin Sonata has many 

clearly impressionistic moments. 

The first movement, Allegretto, is in traditional classical form. It opens with a piano solo evoking the atmosphere of gentle 

swaying winds imbued with a romantic hue. Elegant, poised, and sensual, the movement never stops, as if in a continual 

sweep. The violin and piano alternate in presenting the main musical ideas. The gentle momentum is punctuated by 

occasional, memorable countermotives that reappear later in the work. 

Concert C1 continued next page 

15

The second movement, Blues: Moderato, incorporates the technique of bitonality but takes its strongest inspiration from the 

Blues, as suggested by the title. The Blues style component adds a melancholy character. In particular, Ravel utilised the 

melodic figures prominent in 1920s Blues. The theme whines like a saxophonist in a slide or a crooner cooing. On the violin, a 

slow ascent to a note creates a certain nasal-ness, and the prolonged reach to the set note becomes quite exotic. 

The brilliant last movement, Perpetuum mobile: Allegro, tests the limits of the violinist's virtuosity. Musical ideas from the first 

movement, particularly the countermotive, shine through the propulsive, uninterrupted sixteenth notes, which drive the work 

relentlessly to a blazing, elated end. 

Ravel dedicated the Sonata to Hélène Jourdan-Morhange, a violinist of great merit. She had originally asked Ravel to write her 

a concerto but he composed this Sonata instead. Unfortunately, by the time the work was completed in 1927, Jourdan- 

Morhange's severe arthritis prevented her performing it. The premiere was undertaken in Paris in May 1927 by the great 

Romanian composer and violinist, Georges Enescu, with Ravel himself at the piano. 

Theme and Variations for clarinet and piano 

Jean Françaix (1912-1997) 

Jean Françaix composed his Tema con Variazioni (Theme and Variations) for clarinet and piano in 1974 on a commission from 

the Paris Conservatoire. Françaix dedicated the piece to his grandson, Olivier. 

The theme is soberly stated in a tempo marked Largo, and this is followed by a florid and impressive set of six variations. The 

piece is generally cheerful, jazzy in feeling and its appeal is immediate, rather unlike what you would expect from a 

contemporary composer in Françaix' time. His decision to hold out against current trends paid off in the long run, as this is one 

of only a few chamber works of the 1970s to enter the standard repertoire. The Tema con Variazioni has been recorded many 

times and may be found listed as a required work in many collegiate level clarinet courses. 

In 1978, Françaix recast the Tema con Variazioni for clarinet and string orchestra but this version has enjoyed nowhere near the 

popularity of the original clarinet and piano scoring. 

Sonata in D minor for cello and piano 

Claude Debussy (1862-1948) 

Prologue: Lent, sostenuto e molto risoluto 

Sérénade 

Finale: Animé 

The Cello Sonata was the first of a group of six anticipated sonatas for various instrumental combinations. However, Debussy 

was only able to compose three of the works before dying of cancer. After his death, the common belief was that Debussy's 

late works were the products of deteriorating inspiration and a reliance on thin attributes. 

The Cello Sonata evokes an eighteenth century that existed only in the poems of Verlaine and the paintings of Watteau. It is 

said that the Cello Sonata was originally to be titled "Pierrot fâchè avec la lune" (Pierrot angry with the moon). The Pierrot 

mentioned is a French Pantomime character; a sad, love-sick clown with a white face and white floppy clothes. 

This brief work is marked by the clarity and concision one has come to expect from French composers – from Rameau and 

Couperin to Debussy and Ravel. It is modelled on the Baroque sonata, rather than the complex, large-scale works of 

Romantics such as Beethoven and Schubert. The overall mood is sad, yet ironic. 

The Cello Sonata and two other sonatas were dedicated to the composer's daughter, Emma Claude-Debussy. 

Rapsodie Espagnole for piano (four hands) 

Maurice Ravel (1875-1937) 

Prélude à la nuit: Très modéré 

Malagueña: Assez vif 

Habanera 

Feria 

Ravel composed this music in 1907, but did not orchestrate it until just before the premiere on 15 March 1908, with Edouard 

Colonne conducting "his" orchestra at one of "his" Paris concerts. This symphonic suite in four related movements derives 

from his Basque mother's memories of Madrid, where she spent much of her childhood. 

In the Prélude à la nuit: Très modéré two octaves apart, muted violins and violas play a descending four-note motif that repeats 

over and over, never louder than mezzo-forte throughout. A six-measure theme interrupts, in effect a cadenza for clarinets and 

later bassoons, before the music evanesces on a chord in the high strings. Ravel's own description was "voluptuously drowsy 

and ecstatic". 


16

The Malagueña: Assez vif begins in 3/4 with an open key, but later changes to 2/4 and B major. Originally a Spanish courting 

dance, this quick-moving evocation of Málaga is a long crescendo that begins very quietly with an ostinato motif in the bass, 

until a muted solo trumpet plays the main theme with tambourine accompaniment. The tempo slows for a new melody of 

Moorish cast, sung plaintively by the English horn, following which the opening motif from the first movement returns. 

Ravel subtitled the Habanera "Au pays parfumé que le soleil caresse" (In the fragrant land that the sun caresses) in his twopiano 

original of 1895 with minor-second dissonances in the accompaniment and triplet-spiced themes. 

The Feria, a high-spirited holiday scene, came several years after Debussy's Fêtes movement in Trois Nocturnes, but predated 

a similar fiesta finale in Debussy's Ibéria, the second Image pour orchestre. Ravel interrupts his celebration with a languorous 

interval, soft as suede, played by the English horn and solo clarinet, followed by the four-note motif from movement one, 

before the merriment resumes in even more frenzied brilliance. 

Celebrate the Festival’s 20th Anniversary with a TAX DEDUCTIBLE donation to the 

Australia Business Arts (AbaF) Australia Foundation Cultural Fund 

The Australia Cultural Fund was established by Australia Business Arts Foundation (AbaF) to encourage 

people to donate to the arts and to enable not-for-profit groups like the Tyalgum Festival to benefit from this 

generosity. In the past ten years more than $8.2 million has been donated to AbaF, which has been 

granted in full to more than 4,000 artists and cultural organisations 

It’s a testament to the hard work of the Committee and the passion of our audiences that we celebrate the Festival’s 20th 

Anniversary this year! A tax deductible donation to AbaF is an excellent way to honour the Festival with a commemorative gift. 

AbaF will consider your preferences when allocating grants and your tax deductible gift to the Tyalgum Festival will help ensure that 

we can continue to present wonderful concerts beyond the next 20 years. 

Please visit the Friends or Supporters pages on the Festival website for more information and to download a donation form. Post 

the form directly to AbaF, who will then provide a receipt and take your preference – for the Tyalgum Festival – into consideration 

when allocating grants. The Festival Committee, volunteers, performers and sponsors, thank you for your support and generosity. 

FORMER 

TYALGUM FESTIVAL 

COMMITTEE MEMBERS 

Connie Amoore 

Debbie Angus 

Jean Brewer 

Peter Brown 

Michael Dafnis 

Robert Franzos 

Jennifer Garcia 

William Gill 

Neville Hibbard 

Vivienne Hibbard 

Pauline Hibbard 

Carmel Kaine 

Hilary Langford 

Glen Latham 

David Lowe 

Graeme Mills 

Sue Mohun 

Jeff Mohun 

Ian Oliver 

Margarita Rickard 

Greg Rooney 

John Schrameyer 

John Tyman 

John Willison 

David Wilkinson 

Dierdre Wybrew 

Edward Wybrew 

2011 FESTIVAL COMMITTEE 

President 

VIce President/Music Director 

Festival Co-ordinator 

Committee 

Virginia Mason 

Jenni Hibbard 

Alexsandra Wilkinson 

Catherine Brown 

Randy Edwards 

Finola Horlin 

Jennifer Slattery 

Ian Wilkinson 

LEFT: Heidi Chan, winner of the 2010 Tyalgum Festival Prize, Young Conservatorium 

with Festival president Virginia Mason RIGHT: Former Festival Committee members 

Hilary Langford (left) and Dierdre Wybrew with Patron Margot Anthony (centre) in 2002 

17

CONCERT C2 

THE YOUNG VIRTUOSI 

Saturday 3 September 9.30 am 

Eleanor Hill – violin 


Chopin arr. Sarasate Nocturne in E flat major, Opus 9 No 2 

Vieuxtemps 

Souvenir d'Amerique 

Nocturne in E flat major, Opus 9 No 2 

Frédéric Chopin (1810-1849) arr. Sarasate (1844-1908) 

In the early twentieth century, the practice of arranging Chopin's piano music – particularly his Nocturnes – became very 

popular among many great composer/violinists, such as Sarasate. One violin scholar stated that "the violin, with its intrinsic, 

melodic legato-qualities, matches Chopin's lyricism so perfectly that one is tempted to say the Nocturnes are even more 

wonderful on the violin". 

The Nocturne in E flat major, Opus 9 No 2, is very possibly the most famous work ever penned by the composer. Of the three 

pieces in Opus 9, this is the one most heavily indebted to John Field, both in terms of its direct phrase structure and its 

generally rather simple atmosphere. Cast in the kind of two-part song formula beloved of nineteenth century salon musicians, 

the Nocturne in E flat major Opus 9 No 2, is one of the most brief of the Nocturnes. There is little space indeed for sloppy 

sentimentality, even within the striking little cadenza that concludes the work. 

Souvenir d'Amerique 

Henri Vieuxtemps (1820-1881) 

Souvenir d'Amerique is Vieuxtemps' popular variations on Yankee Doodle, which he wrote to impress American audiences on 

his first tour (1843-1844) and brought with him thereafter. It is a virtuosic piece with many impressive bow techniques. 

Vieuxtemps wrote a variety of salon music and was a virtuosic violinist until a paralytic stroke disabled his arm. Through his 

own concertos and promotion of concertos of Beethoven and Mendelssohn, he added a more classical dimension to the violin 

repertoire which had tended towards technically brilliant, but often shallow variations and fantasies on operatic themes. 

Vieuxtemps never indulged in sheer virtuosity for its own sake, like some of his predecessors. 

Phillip Prendergast – tenor 


Mozart 

Handel 

Massenet 

Romberg 

'Dies Bildnis' from The Magic Flute 

'Care Selve' from Atalanta 

'Ah! Fuyez, douce image' from Manon 

'Serenade' from The Student Prince 

'Dies Bildnis' from The Magic Flute 

Wolfgang Amadeus Mozart (1756-1791) 

Dies Bildnis is bezaubernd schön (this image is enchantingly lovely) is an aria from the 1791 opera The Magic Flute. The aria 

comes from Act One, Scene One, of the opera. Prince Tamino has just been presented by the Three Ladies with an image of 

Princess Pamina and instantly falls in love with her. Mozart's musical setting mostly follows the scheme of Schikaneder's 

poem. The accompaniment, for the most part, plays a discreet addition to the soloist. There is a demi-semi-quaver motif, 

evoking Tamino's surging emotions, in the third section. 


18

'Care Selve' from Atalanta 

George Frideric Handel (1685-1759) 

Atalanta was composed in honour of the wedding between Prince Frederick of Wales and the Princess of Saxe-Gotha. The 

opera is a pastoral work crowned with the spectacle of the god Mercury descending from the heavens as a messenger of Jove 

to honour the newlyweds. The speech he gives the couple in the opera was written to honour the Prince of Wales and his new 

spouse. The climax celebrates the wedding of Atalanta, the Princess of Arcadia, and the King of Etolia. Here trumpets blare, 

drums are beaten, and fireworks and bonfires are lit. The work was deeply appreciated by the prince, who forthwith 

abandoned his Opera of the Nobility and reinstated his father's favourite as his own best composer. 

'Ah! Fuyez, douce image' from Manon 

Jules Massenet (1842-1912) 

Manon (1884) is Massenet's most popular and famous work and a veritable paradigm of French opera. Based on L'histoire du 

chevalier des Grieux et de Manon Lescaut by the Abbé Prévost, it follows the original more closely than most other operas on 

the same topic. 

It tells the tale of two adolescents – an attractive young girl on her way to a convent and a provincial nobleman who has fallen 

madly in love with her – who elope to Paris, where life's harsh realities uncover their true characters. Manon is ambitious and 

yearns for comfort and luxury to the point of betraying her lover and prostituting herself. The weak, ingenuous Des Grieux, on 

the other hand, falls into a milieu of gambling and violence. In the novel Manon is deported to Louisiana and dies there in the 

arms of her repentant lover; in the opera this episode is reduced to Des Grieux' bid to free her on the quayside at Le Havre, 

where she expires from exhaustion. 

Massenet skillfully translates the different social groups and variegated atmospheres of Manon into music, depicting each with 

the appropriate colour. The form of the opéra-comique offers him a multiplicity of styles and manners – speech and song, 

recitative and arioso, Neo-classicism and Romantic expressiveness – which fragment the work and make it unusually 

attractive. 

'Serenade' from The Student Prince 

Sigmund Romberg (1887-1951) 

The Student Prince, a musical play with book and lyrics by Dorothy Donnelley and music by Sigmund Romberg, remains one 

of America's all-time musical theatre classics. The musical opened in New York City's Jolson Theater on 2 December 1924, 

and ran for six hundred and eight performances. After that, it toured extensively throughout the United States, and even 

entered the international repertoire. 

The story is singular in the history of the early American theater, for it offers the audience no happy ending or fanfare 

conclusion; instead of dancing girls and light hearted comedy, it uses an all-male chorus of Heidelberg University students. 

Romberg filled the musical with memorable tunes, including both romantic ballads and vigorous set pieces. A poignant 

youthful romance, a university setting in Old Heidelberg, royalty and humbleness, all gave Romberg food for musical variety 

and inventiveness. 'Golden Days', 'Drinking Song' and 'Serenade’ are just a few songs of enduring popularity. The Student 

Prince is perhaps Romberg's finest masterpiece. 

LEFT: Jagged Rose Trio, Raphael Ebermann, violin; Ayesha Gough, piano; Julien Rosendahl, cello 2010 RIGHT: Jayson Gillham 

with Ayesha Gough, winner of Tyalgum Festival Prize, Murwillumbah Festival of Performing Arts 2006 

19

CONCERT C3 

WINDS OF CHANGE 

Saturday 3 September 1.30 pm 

The Lunaire Collective 

Patrick Nolan – flute 

Eve Newsome – oboe 


Lauren Manuel – French horn 

Nicole Tait – bassoon 

Stephen Emmerson - piano 

with special guest Asim Gorashi – whistler 

Mozart 

Quintet for piano and winds K452 

Debussy 

Syrinx for solo flute 

Thomas Green 

Element for winds and whistler 

WORLD PREMIERE 

Paul Kopetz 

Armadillo for wind quintet 


Poulenc Sextet for piano and winds Opus 100 

Quintet for piano and winds K452 

Wolfgang Amadeus Mozart (1756-1791) 

Largo: Allegro moderato 

Larghetto 

Rondo: Allegretto 

By 1784, Mozart's career, and indeed his life, was in full bloom. His next successful opera – Figaro – and his next great 

symphony – the 38th – were still at least two years off and he had instead turned, in this period, to the piano concerto. 

In some respects, Mozart's Quintet reflects his ongoing preoccupation with the piano concerto, as the piano's role in the piece 

is, at times, disproportionate. However, it is undoubtedly a chamber work. Opening with an extended Largo: Allegro moderato, 

the first movement, in particular, is concerto-like, with the piano either in charge or very near the surface throughout. The 

writing is open and insistent, rather than forceful, and charm prevails. 

The second movement is a gentle and lightly textured Larghetto in which the wind instruments, at last, emerge with passages 

of their own and the balance of the piece is here more chamber-like. 

The five-minute Rondo: Allegretto finale, once again, appears to be a miniature piano concerto, although cadenza-like 

passages for the various instruments appear at several points. 

Syrinx for solo flute 

Claude Debussy (1862-1948) 

Asked by his frequent correspondent, the poet and dramatist Gabriel Mourey, to provide a score for his adaptation of the 

Psyche myth, Debussy expressed his reluctance thus: "What kind of genius is required to revive this ancient myth from which 

all the feathers of the wings of love have been plucked?” In the end, however, the composer sufficiently mustered his creative 

powers to produce a short incidental work for Mourey's play. 

Although Syrinx (1913) may seem relatively uncomplicated on the surface, especially since it calls only for a lone flute, its 

modest appearance belies its substance. In its simplicity of utterance and highly emotive language, Syrinx immediately recalls 

Debussy's Prelude à l'après midi d'un faune (1892-1894), and, likewise, evokes that work's sensual Symbolist resonances, 

inspired by the poetry of Mallarmé 

In Syrinx, Debussy de-emphasises, even dispenses with, conventional tonal centres; much of the work's potency instead 

derives from its delicate, fragmentary melodies and highly seductive timbral effects. Scholar Edward Lockspeiser believes that 

"it is as exquisitely and lovingly designed as the flute solo for Mallarmé's mythological faun. It was the one project that was not 

allowed nebulously to float about in Debussy's mind during his long friendship with Mourey" 


20

Element for winds and whistler 


Thomas Green (b. 1976) 

Composer's notes: 

"When this ensemble asked me to write for their quintet and a professional whistler, it sounded like an interesting challenge. 

This is not a standard ensemble of instruments by any means. 

The thought occurred to me that whistling, though an advanced thing when performed by an accomplished musician like Asim, 

must be an ancient means of musical expression and probably something that people do just about everywhere. So I decided 

to write music which, while exploiting Asim's capabilities, also captures a simplicity which I hope hints at this universality. 

The piece is one of moods and evocations rather than technique and specifications. Nonetheless it has its adventurous 

moments, so perhaps it could even be thought of as a sort of journey. After all, whistling is something many of us do while we 

are travelling! 

The piece is titled Element, for the way I have used an initial musical gesture – heard right at the start with the flute and oboe – 

and created the rest of the piece from this." 

Armadillo for wind quintet 


Paul Kopetz (b.1968) 


"As with many of my recently completed compositions, Armadillo is an example of programmatic chamber music. The word 

"armadillo" is Spanish for "little armoured one" and this piece attempts to portray this normally rather awkward looking but 

cute animal in a light hearted manner. Although the armadillo has short legs and carries an armour on its body, it can move 

quickly as it forages for food and digs burrows. My "cool and funky" armadillo would rather cruise the streets of Harlem in 

search of fun and mischief than fight for survival in a South American desert. 

In my compositions I attempt to reconcile the seemingly disparate languages of Classical and Pop music by looking for the 

right balance between the more conventional elements of Classical music, such as counterpoint, form and harmonic 

progression, and the simplicity and immediacy of Pop music. 

I would like to thank The Lunaire Collective for making Armadillo come to life." 

Sextet for piano and winds Opus 100 

Francis Poulenc (1899-1963) 

Allegro Vivace 

Divertissement 

Finale 

The Sextet has earned a place in Poulenc's canon as one of his most popular works, and in the right interpretive hands the 

work exudes French wit as well as a degree of emotional depth. Poulenc wrote the three-movement work in 1932, scoring it for 

flute, clarinet, oboe, bassoon, horn, and piano; he revised it in 1939. The piece offers a mix of elegant, deceptively simple 

motives, rhythmic vitality, and playful harmonic turns in a virtuosic framework. 

The first movement opens with a fast, toccata-like statement that is obviously indebted to Stravinsky's neo-Classicism. The 

second movement, marked Andantino, begins with an oboe melody that is passed off to other instruments and developed 

before returning to the oboe at the conclusion. This symmetry is matched by a slow-fast-slow classical structure. The 

prestissimo Finale is a modified rondo in which rhythmic and lyrical sections are present in equal measure, with an intense 

conclusion. The Sextet was first performed in Paris in December 1940. 

Vivienne Collier-Vickers, Ian O’Brien and Lauren Manuel, 2010 

Friends’ Concert 

Sayo Lipman who performed with her husband, harpist 

Sebastien Lipman, 2009 

21

CONCERT C4 

CELLO ORCHESTRA 


Danielle Bentley, Dan Curro, Louise King, Patrick Murphy, Katherine Philp, Andrew Shetliffe 

Patrick Suthers, Shannon Tobin – cellos 


Palestrina 

Surge illuminare Jerusalem 

Hodie Christus Natus Est 

Popper Requiem Opus 66 

Piazzolla 

Le Grand Tango 

Bruch Kol Nidrei Opus 47 

Gubaidulina 

Fata Morgana: Die tanzende Sonnee 

(Mirage: The Dancing Sun) 

Villa-Lobos Bachianas Brasileiras No 1 

Surge illuminare Jerusalem 

Hodie Christus Natus Est 

Giovanni Pierluigi da Palestrina (1525-1594) 

Giovanni Pierluigi da Palestrina was born in the small town in Italy from which he took his name. From choirboy to choirmaster 

at the Basilica of St Peter in Rome, he lived his entire life in that city. From his post as Composer of the Papal Chapel, he 

became the greatest champion of polyphony of the Counter-reformation. Palestrina was tasked with revising liturgical books to 

enact changes made by the Council of Trent, changes intended to purge the Roman Catholic Church music of "barbarisms, 

obscurities, contrarieties, and superfluities". He is, in fact, credited with saving Western music as we know it, as the Council of 

Trent nearly banned polyphony in worship because they feared it obscured the text. 

Palestrina's approach gives the listener a strong sense of chordal harmony, which became the basis of Western classical 

music from the Baroque to the twentieth century. His music exemplifies the stile antico, a conservative style for its time, 

embracing the clarity of individual melodic lines. 

These two short eight part antiphons, Surge Illuminare Jerusalem and Hodie Christus Natus Est, are from "Motettorum Book 

3" (first published in 1575). 

Requiem Opus 66 

David Popper (1843-1913) 

David Popper was an Austrian cellist/cello composer who wrote many studies and warm-ups for the cello. He is famous for his 

"High School of Cello Playing (Opus 73)", a book of cello etudes that is used almost universally by advanced cello students. 

His shorter showpieces were written to highlight the unique sound and style native to the cello extending the instrument's 

range to heights with pieces such as Spinnlied (Spinning Song), Gnomentanz (Dance of the Gnomes), or the Ungarische 

Rhapsodie (Hungarian Rhapsody). An old edition of the "Grove Dictionary of Music and Musicians" described him thus: "His 

tone is large and full of sentiment; his execution highly finished, and his style classical". 

Popper's most famed work is his Requiem, which was originally written for three cellos and orchestra (1891). 

Le Grand Tango 

Astor Piazzolla (1921-1992) 

Tempo di tango 

Meno mosso: libero e cantabile 

Piu mosso: Giocoso 

Le Grand Tango was composed by the great Argentinean bandoneónist and composer Astor Piazzola as a commission for the 

Russian cellist, Mstislav Rostropovich. Piazzolla composed tangos of such melodic and rhythmic complexity that both worlds, 

Classical and Popular, claim him as their own. Studying composition under the tutelage of Nadia Boulanger, Piazzolla at first 

tried to hide both his tanguero past and his bandoneón work, it was only when Nadia insisted that she hear Piazzolla in the 

compositions did the composer play her a tango, to which Nadia responded "Astor, your classical pieces are well written, but 

the true Piazzolla is here, never leave it behind". 

22

Le Grand Tango in its original form for piano and cello, was premiered in 1990 by Rostropovich, and is arranged in three 

distinctive sections. 

The first section Tempo di tango combines strong rhythmic elements with modern dissonances and popular song-like 

melodies. The second Meno mosso: libero e cantabile is an eloquent but melancholic dialogue, while the final section Piu 

mosso: Giocoso is a fiery, rhythmic dance-like tour de force for the cello and piano. 

Kol Nidrei Opus 47 

Max Bruch (1838-1920) 

German composer Max Bruch subtitled his Kol Nidrei "An Adagio on Hebrew Themes for Cello and Orchestra". Composed in 

1881, the work is based on two Jewish themes that Bruch described as "first-class". 

"The first is an age-old Hebrew song of atonement, the second (D major) is the middle section of a moving and truly 

magnificent song O Weep for Those That Wept on Babel's Stream – setting words by the English poet Byron – equally very old. 

I got to know both melodies in Berlin, where I had much to do with the children of Israel in the Choral Society", wrote the 

composer. However, as has been pointed out by Jewish musicians and scholars since the work's premiere, Bruch's secular 

treatment of the themes hardly qualifies his Kol Nidrei as a piece of Jewish music. In both works, Bruch treated the themes as 

folk tunes that he took as themes for art music compositions. Bruch was, nevertheless, a master at transforming his "folk 

tunes" into art music, but still retaining their folk elements. The combination of Bruch's late Romantic expressive harmonies 

and his Jewish themes created a work of great power and beauty that has maintained its place in the repertoire. 

Fata Morgana: Die tanzende Sonnee 

(Mirage: The Dancing Sun) 

Sofia Gubaidulina (b. 1931) 

Gubaidulina was born in Chistopol, in the Tatar ASSR. In her youth she would spend much time praying in the fields near her 

home that she might one day become a composer. She studied composition and piano at the Kazan Conservatory, graduating 

in 1954. 

In Moscow she undertook further studies at the Conservatory with Nikolay Peyko until 1959, and then with Shebalin until 1963. 

Her music was deemed "irresponsible" during her studies in Soviet Russia, due to its exploration of alternative tunings. She 

was supported, however, by Dmitri Shostakovich, who in evaluating her final examination encouraged her to continue down 

her "mistaken path". In the mid-1970s Gubaidulina founded Astreja, a folk-instrument improvisation group with fellow 

composers Viktor Suslin and Vyacheslav Artyomov. 

Bachianas Brasileiras No 1 

Heitor Villa-Lobos (1887-1959) 

Introdução: Embolada 

Prelúdio: Modinha 

Fuga: Conversa 

Villa-Lobos returned to Brazil in 1930, after several years in Paris. Appealing to Brazilian national pride, he announced that he 

saw great similarities between Brazilian national melody and the melody-style of Johann Sebastian Bach, and began to write 

his series of works called Bachianas Brasileiras, meant to display this dual nature of Brazilian music. 

The first of these works was for a new form of chamber ensemble: a group of eight cellos. Villa-Lobos also used this ensemble 

for some transcriptions of Bach works, so by including this work on programs with these transcriptions he could reinforce his 

contention about Brazilian music. 

Bachiana Brasileira No 1 is in three movements. In accordance with what would become his usual practice Villa-Lobos gave 

each movement two titles, a "Bachian" one and a Brazilian one. 

Introdução: Embolada : an embolada is a kind of perpetuum mobile from northeastern Brazilian traveling musicians. It is a 

rapid and rhythmic invention with a two-section melody. 

Prelúdio: Modinha: this section has the most Bachian melody of the work, a flowing and lovely tune. Formally, it serves as the 

first part of a "prelude and fugue" pair. A Modinha is a type of Brazilian song. 

Fuga: Conversa: the Brazilian title, Conversation denotes the flavour of the work, which is a fugue written so that the 

interchanges between parts resemble the improvised musical "conversation" of a chôros ensemble. 

Dr. Clyde Wilde led the Village Nature Walks from 

1992 to 2001. Clyde passed the baton to Naomi 

Doak in 2002; the Festival's current Nature Walk 

leader, Dr Jean-Marc Hero, took over in 2005 

23

CONCERT C5 

STEINWAY CONCERT 


Oleg Stepanov – piano 

Schubert 

Fantasia for piano in C (Grazer Fantasie) D605a 

Liszt 

Nocturne in A flat major 'Liebesträume' 

Liszt Hungarian Rhapsody No 12 

Fantasia for piano in C (Grazer Fantasie) D605a 

Franz Schubert (1797-1828) 

Schubert probably composed the Grazer Fantasie in 1818. It was found in 1962 and published for the first time in 1971. The 

concept of a "Fantasy", where the improvisational character is the dominant force was accomplished in an original way. From 

the dream-like beginning to a Weber style polonaise and virtuosic passage work, it contains the whole range of musical 

improvisation. Schubert creates musical coherence by taking the opening phrase and using its rhythmic and melodic patterns 

throughout. The Grazer Fantasie is an important document of early Schubert and an interesting variation to the Wanderer 

Fantasie. 

Nocturne in A flat major 'Liebesträume' 

Franz Liszt (1811-1886) 

There are three Liebesträume (Dreams of Love), and the third is by far the most popular. Each is a transcription of a song Liszt 

had written about three years before. The song upon which the third of the Liebesträume is based is "O Lieb, so lang du lieben 

kannst", a setting of the poem by Ferdinand Freiligrath. 

A more purely Lisztian creation would be hard to imagine than the passionate, sentimental melody that is clearly behind the 

work's popularity. It has a sweetness and directness at the outset and then grows impassioned in the middle section. After a 

climax that features some bravura writing, the melody returns to its more tranquil opening mood, though now more reflective 

and sadder. While this is undeniably a simple formula, it is nonetheless an effective one that Liszt makes the most of in the five 

minutes or so of music. 

Hungarian Rhapsody No 12 


Expressing both electrifyingly patriotic and more gentle familial feelings, this piece also presents elements (such as variations 

on gestural fragments and presaging of themes) of Liszt's unique one-movement form. The work opens with a powerfully 

dramatic statement in octaves of a Maestoso theme in C sharp minor. The melody is played with that same kind of doublestroke 

or fanfare-like gesture, a grace note to the primary tone on the same pitch, which Liszt employed in the Hungarian 

Rhapsody cycle. A low rumbling tremolo, which crescendos from piano to fortissimo, follows the first phrase. The second 

phrase answers the first a fifth higher. An ascending theme, surrounded by accented arpeggio offbeats, builds the excitement. 

After a held chord, a furious descending fanfare passage leads to a roaring bass trill and fast scale run introducing an even 

more dramatic descending passage in double-stroke chords. 

The theme is then stated again, but is harmonised this time, creating a more tragic air. A passage, alternating between E major 

and its relative C sharp minor, provides a mix of reflection and regret that concludes with a dolce passages ending in a 

staccato chord as if the player is abandoning the thought before becoming lost in a lyrical sadness. In fact, the music 

immediately returns to the dramatic theme stated with full chords above a roaring chromatic bass. This passage also 

concludes with a staccato chord plus a long pause allowing the feeling of pathos to fade away. 

Completely changing the mood, but seeming to be a development of the previous few major-key measures, is an Allegro 

zingarese, a fast, lively tune in a gypsy violin style, played in the high treble. But the previous minor drama remains silent in the 

background to re-emerge briefly in the minor cadences at the end of each statement of the lively tune. A high treble variation, 

quasi campanelle (like bells), over busy and buoyant Alberti figures, concludes, however, with a bright C sharp major (Picardy 

third) chord. 

A second subject, played dolce con grazia (sweetly with grace), alternating between A major and F sharp minor follows. 

Rondo-like, the initial dramatic subject returns with chromatic on-rushing bass octaves with right-hand tremolos above. The 

previous major passage is now played quasi Marcia (like a march), and the descending double-stroke chords are extended in a 

commanding strepitoso (clamorous) passage. 

24

A second lively, joking Allegro giocoso theme in the enharmonic key of D flat major enters. A bell-like variation is again made 

on the theme, ending in a bright cascade. A vivace stretto, employing a Wagnerian modulation between D flat major and 

A major between alternating phrases, enters, and develops from tuneful to bell-like to concerto-like gestures. The coda is a 

wild statement of the D flat theme at a fortississimo dynamic, suddenly interrupted by the ominous opening theme. A 

stupendous Presto with a combined Wagnerian/Classical progression (F sharp minor, D flat major, G flat major, D flat major) 

concludes the work. 

Natasha Vlassenko – piano 

Liszt 

Sposalizio (Marriage) from Années de Pèlerinage Book II: Italy 

Liszt 

Transcendental Etude No 12 'Chasse Neige' 

Liszt Hungarian Rhapsody No 11 

Sposalizio (Marriage) from Années de Pèlerinage Book II: Italy 


Liszt completed and published the second set of his "Years of Pilgrimage" pieces in 1848. Ten years in the making, the 

collection contains some of his finest works for piano solo. The set holds seven pieces each inspired by various masterworks 

of the Italian Renaissance: a painting by Raphael, a Michelangelo statue, a song of Salvator Rosa, sonnets from Petrarch, and 

Dante's "Divine Comedy". 

Inspired by Raphael's painting "Marriage of the Virgin", Sposalizio is a work of great tenderness, devotion and love. Raphael's 

graceful image shows the moment when the High Priest unites the hands of St Joseph and the Virgin Mary, as he places the 

wedding ring on her finger. Liszt evokes numerous religions' allusions, such as an organum-like theme recalling the plain chant 

of monks, a 'sighing' motive of the Virgin, and a quiet prayer-like section. 

Transcendental Etude No 12 'Chasse Neige' 


Transcendental Etude No 12 by Franz Liszt has the programmatic title Chasse-Neige, (literally "snowplow") and is the twelfth 

and last of the Transcendental Etudes. The etude is a study in tremolos but contains many other difficulties like wide jumps and 

fast chromatic scales, and it requires a very gentle and soft touch in the beginning. The piece gradually builds up to a powerful 

climax. It is one of the more difficult Transcendental Etudes. 

Ferruccio Busoni stated that this is the greatest, most accurate example of program music, or "poetised" music. He described 

the work as "a sublime and steady fall of snow which gradually buries landscape and people". 

Hungarian Rhapsody No 11 


This is one of the shorter Hungarian Rhapsodies, but is still up to six minutes. It is quite colourful in its suggestion of the 

sonorities of the cimbalom, a Hungarian instrument similar to the dulcimer. Liszt also attempted to conjure its exotic sounds in 

No 8 in this set and, as here, he generally succeeded. 

This Rhapsody has four continuous sections, the first two being slow, marked Lento a capriccio and Andante sostenuto, 

respectively, and the last two quite lively, marked Vivace assai and Prestissimo. The piece opens with an introduction of trilllike 

quivering chords that eventually lead to morsels of a playful, jaunty theme. Soon, the music turns more animated, despite 

the slower marking, and the theme clearly emerges, all the while accumulating more colour from Liszt's deft ornamentation 

and other keyboard effects. 

In the Vivace assai section, the writing mimics the aforementioned cimbalom sonorities in lively, delicate music. In the final 

section, notes race as the mood turns rollicking and festive, and if Liszt seems to pour on the bombast here, he does not 

short-change the listener in excitement and thrills. In the end, this must be assessed a colourful, light effort that is more 

memorable for its dazzle than its themes. 


25

Natasha Vlassenko and Oleg Stepanov – piano 

Sketches (four hands) 

Valery Gavrilin (1939-1999) 

Troika 

Reminiscent Waltz 

Marsh 

Small Clock 

Tarantella 

Dreaming 

With the Coachman 

Natasha and Oleg first played Gavrilin's Sketches in 1993 in Australia. They have since played them around the world and 

everywhere audiences have been entranced and delighted by these pieces. 

Russian folksong is one of the clearest sources of inspiration for Gavrilin, clearly evident in this work which has become 

popularly (though incorrectly) known as Gavrilin's Russian Suite. 

The jingling chordal layers of Troika support a bright and optimistic melody. Dazzling figuration appears before a joyous 

farewell concludes. The heavy, singing rhythm of the Reminiscent Waltz combines with a sentimental melody whose polite 

exterior seems to hide an inner wildness. 

The lightly-stepping rhythms of the March become increasingly jangly. A fuller texture develops, but is rudely interrupted before 

a final assertion ends the piece. The Small Clock is suggestive of Beethoven's Moonlight Sonata in its softly revolving phrases. 

A series of harmonic turns lead to a more flowing region, which concludes the work with a smile. 

The Tarantella sees a dotted melody prancing, followed by nimble figures with clamourous phrase ends. Abrupt harmonic shifts 

lead back to the first texture, which crashes to a close. 

An expressive melody derived from the notes of the triad establishes a sombre mood at the outset of Dreaming. Harmonic 

ambiguity creeps, leading to a region which is somewhat more positive, although the piece is never wholly free of melancholy. 

The final piece, With the Coachman, presents urgent melodic figures riding above a demonic ostinato. Glissandos pierce the 

texture. Sparkling, scampering figuration enlivens the inner voices before the piece thunders to a stop 

Adam Herd, Tyalgum Festival opening piano recital, First Prizewinner Lev Vlassenko Piano Competition 2009 

26

CONCERT C6 

DALeCAÑA FLAMENCO COMPANY 

Sunday 4 September 10.30 pm 

Journey to the heart of Spain! Experience the passion of flamenco and one of Australiaʼs finest classical and flamenco guitarists, 

Gerard Mapstone and The DALeCAÑA Flamenco Company. 

Internationally acclaimed guitarist Gerard Mapstone who has supported the likes of the Buena Vista Socila Club and flamenco 

guitarist Tomatito brings the DALeCAÑA Flamenco Company to Tyalgum to share this explosive group for this year's World 

Music showcase. With Seville trained dancer, Sylvia Arroyo, and musicians trained in Jerez de la Frontera, be prepared for a 

group that will transport you to Spain! 

Formed in 2007 by Mapstone and flamenco dancer Sylvia Arroyo, the Company has had much success since their debut selling 

out the Brisbane Powerhouse Theatre twice and being featured at many festivals across Australia. For their Tyalgum Festival 

performance, The DALeCAÑA Flamenco Company will feature: 


Sylvia Arroyo – dancer 

Shenton Gregory – violin/mandolin 

Will Eager and Alex Fidel – percussion 

and guest palmeros – Stacey and Ryan 

Repertoire will be drawn from the very best of flamenco composers, including Sevillanas, Franco, Corea, Barrios, Amigo, 

Monton, Dyens, Paco, Albeniz and Gerard Mapstone's own compositions Candela, Granaina y Solea and Nacer - Come into 

Being. 

Caldera Artists-in-Residence Pauline Johnson (left) and 

Barbara Suttie will be available to discuss their work as 

they each create an extraordinary canvas during the 

Festival weekend. Pauline will be found working on her 

art near Tyalgum Hall and at Sunday's Essential Energy 

Community Spring Fair & Music Carnivale at Tyalgum 

School. She says “Art is my journey where I find peace, 

solitude, completeness, excitement.” 

Barbara will be working on her latest creations at 

Flutterbucks Coffee Lounge. 

The Tyalgum Festival's collaboration with Caldera Art is in 

its second year. The Festival sponsors a prize in the 

annual Caldera Artfest which is generously supported by 

Limpinwood Lodge. 

27

CONCERT C7 

CAMERATA OF ST. JOHN'S 

Sunday 4 September 2.30 pm 

With Camerata soloists and special guests: 

Kacey Patrick – soprano 

Philip Prendergast – tenor 


Grieg Holberg Suite Opus 40 

Tchaikovsky 

‘A Legend' from Songs for Children 

Arensky 

Variations on a Theme of Tchaikovsky Opus 35a 

Tavener 

Dhyana for solo violin and strings 

Davidson 

‘Elegy' from A Short Hour Unseen Suite 

Mexican trad. 

Mariachi music selections 

Kodály arr. G. Aitken Adagio for solo viola and strings 

Ann Carr-Boyd 

Tyalgum Dawn for soprano and string orchestra 


Sollima 

Violoncelles, Vibrez! 

Holberg Suite Opus 40 

Edvard Grieg (1843-1907) 

Praeludium 

Sarabande 

Gavotte 

Aria 

Rigaudon 

Despite the fact that Ludvig Holberg (1684-1754) lived most of his life in Denmark and was considered the father of Danish 

literature, his birthplace was Bergen, Norway and on the bicentenary of his birth, Norwegians heartily celebrated. Even as a 

resident of Denmark, Holberg recalled his childhood in his works and celebrated the time he spent there. Besides more than a 

dozen successful plays (several of them comedies), he wrote a history of his adopted country and published a collection of 

philosophical treatises. 

Notwithstanding his stronger relationship to Denmark, Norwegians were pleased to acknowledge Holberg, and Grieg, also a 

Bergen native, was one of those who directed the planning for the event. As early as 1878, he contributed a fee from his 

publisher toward the construction of a Holberg statue in Bergen. Further, he wrote two works, the first for male voices, Cantata 

for the Unveiling of the Holberg Memorial, and a second (of more lasting consequence) entitled From Holberg's Time: Suite in 

Olden Style. Grieg himself premiered the piano suite just days after the dedication of the memorial. Its great success led Grieg 

to score it for string orchestra the following year, and both versions enjoy enduring popularity. 

The suite in five sections was intended by Grieg to recall the dance suites that might have been heard during Holberg's 

lifetime, which roughly corresponded to the period of the late Baroque. The first section, marked Praeludium is of such simple 

radiance that it unforgettably imprints itself on the listener's consciousness. Its predominant cadence, a gently skipping motif, 

is heard in clusters of three, the second and third each descending a whole tone. The contrasting Sarabande moves soberly, 

reflectively, and with unfailing elegance. The Gavotte that forms the third section beguilingly trips over the course of its three 

minutes, yielding to the Andante religioso tempo of the Aria. The final section, a Rigaudon, returns the listener to the buoyant 

mood of the beginning prelude. 

Through each of the five sections, the level of invention is matched by a refinement and purity of feeling that marks this as 

among the most cherished short works of the late nineteenth century. 

'A Legend' from Songs for Children 

Pyotr Ilyich Tchaikovsky (1840-1893) 

The first fifteen songs in this collection were composed in 1883, while the last was written two years earlier. The first fourteen 

come from a collection of poetry entitled "Snowdrop", by Alexei Plesheyev, a good if lesser-known Russian poet. 

The song A Legend tells of the Christ-child being crowned with a wreath of thorns by children who have "levelled all the 

flowers to the ground" in his garden. The music here is much more serious than in the previous songs, featuring a theme both 

noble and sad. 

28

Variations on a Theme of Tchaikovsky Opus 35a 

Anton Arensky (1861-1906) 

Theme: Moderato 

Variation I: Un poco più mosso 

Variation II: Allegro non troppo 

Variation III: Andantino tranquillo 

Variation IV: Vivace 

Variation V: Andante 

Variation VI: Allegro con spirito 

Variation VII: Andante con moto 

Coda: Moderato 

Although composer Anton Arensky studied under Rimsky-Korsakov, his heartfelt and deeply lyrical music owes more to 

Tchaikovsky. In the slow movement of his String Quartet No 2, Opus 35 from 1894, Arensky wrote a tribute to the recently 

deceased Tchaikovsky in a set of variations based on a theme taken from Tchaikovsky's children's song 'A Legend', Opus 

54/5. But the slow movement proved so popular at the string quartet's premiere that Arensky transcribed it later that same 

year for string orchestra as his Variations on a Theme of Tchaikovsky Opus 35a, and it has been his most popular piece ever 

since. The work is, like all of Arensky's music, essentially lyrical. After a statement of the theme, Moderato, the piece moves 

through seven variations and a coda that alternate between fast and slow music. 

While not the deepest work of the Russian Silver Age, Arensky's Tchaikovsky Variations offer well-composed and affecting 

music 

Dhyana for solo violin and strings 

John Tavener (1944) 

Dhyana (Meditation) and Song for Athene were both written in 2007, and both suggest a world of repose and contemplation. 

Both pieces are odes to the spiritual world, yet different by design if you like. 

Dhyana opens in an appropriately calm manner and arrives at a melodious conclusion. In this beautiful arrangement, the 

strings must demonstrate Tavener's immense ability to generate an atmosphere and mood by apparently spare and simple 

means. This piece is thoroughly satisfying, if rather short. 

'Elegy' from A Short Hour Unseen Suite 

Robert Davidson (b. 1956) 

Australian composer, Robert Davidson studied composition with Terry Riley in 1995 following studies with Philip Bračanin at 

the University of Queensland. Since 1996, Davidson has directed the post classical quintet Topology, with whom he plays 

double bass. His works focus on relationships between speech and music, often including video elements. Honours include a 

Young Australian Achiever Award (1997), a Nadia Boulanger Scholarship (1998), and a Helpmann Family Scholarship (2004). 

Commissioned by The Australian Youth Orchestra, A Short Hour Unseen celebrates music's way of keeping us in the present. 

The music switches between ethereal, floating textures and grounded, pop-influenced heavy chord progressions. It is inspired 

by the Henry David Thoreau poem 'Sic Vita' that includes the line, "And here I bloom for a short hour unseen". 'Elegy' forms 

the second movement of this three movement Suite. 

Mariachi music selections 

Mexican trad. 

To come close to being a real Mexican mariachi band, it is generally agreed that the group must include at least two types of 

guitars, the high-pitched vihuela and the deeper bass guitar, the guitarron. Mariachi bands also typically contain trumpets and 

at least 10 violins. Mariachi musicians dress in silver studded suits (churros) and wide-brimmed hats (sombreros). 

So, Camerata's Tyalgum performances are a nod to the emotion, fun and even pathos of Mariachi music rather than being an 

authentic portrayal of the soundworld or performance style. Mariachi bands commonly play at weddings and dates like 

Mother's Day and formal occasions, with many nowadays being paid professional entertainers. The musical tradition 

apparently goes back several centuries, with the tunes having been handed down aurally over the years. 

Adagio for solo viola and strings 

Zoltán Kodály (1882-1967) 

Zoltán Kodály is one of the great Hungarian composers of the twentieth century, sharing that space with the more famous Béla 

Bartók. Both are well known for their interests in the folk music of their nation, indeed collecting and cataloguing some 

100,000 folk songs and inadvertently starting the musical discipline of ethnomusicology. Their true craft and creativity is seen 

in the effortless and inspired way in which they have managed to weave this authentic material of their homeland into their 

compositions, creating unique soundworlds that are a joy to hear and perform. 

29

The Adagio heard today is an early work from 1905, at a time when Kodály was rather more influenced by the lyricism and 

expressiveness that were hallmarks of the Romantic era in music history; he was yet to begin his work in the field of collecting 

folk music and weaving it into his compositions. 

Originally written in versions for viola with piano or cello and piano, the version heard today is a wonderful arrangement for 

viola and strings made by a founding member of the Camerata of St John's, Gail Aitken, who is Principal Second Violin in the 

Queensland Symphony Orchestra. 

Tyalgum Dawn for soprano and string orchestra 


Ann Carr-Boyd 


"Tyalgum Dawn was commissioned by the Tyalgum Festival Commitee for the 20th Anniversary of the Festival. The poem, to 

which the music is set, was written by today's soloist, Kacey Patrick-Bare. The words centre around the importance of Mt 

Warning to the district which it dominates in such a magical way. Especially, the words focus on the sight of Mt Warning as it 

becomes visible in the morning light and the way in which the landscape emerges around it as the morning unfurls. As a 

totally committed lover of the Australian landscape I have often composed music inspired by different regions of the country 

ranging from the Sydney Opera House and surrounds – The Bells of Sydney Harbour for the opening of the Opera House organ 

– to the misty surrounds of Hobart – Grasstree Hill for harp and string orchestra. It has been a memorable experience for me 

to discover, in greater depth, the area surrounding Murwillumbah and Tyalgum. 

Writing Tyalgum Dawn for such a varied palate of styles and musical conventions has been interesting, to say the least. That is 

to say, an orchestra composed of classical string instruments, a singer who crosses all boundaries, and a poem containing so 

many beautiful images. My focus has not been centred on creating a particular musical style, so much as trying to evoke the 

spirit of the poem – so maybe the result is a mix of style and genre. 

We associate the string orchestra with many of the truly wonderful works of the Classical and Romantic eras – mix this with an 

Australian setting and a unique voice such as Kacey's and you have something that belongs very much to this century. The 

opening is calm, as many dawn scenes are, and voice and violas evoke the first stirring of the day – and incidentally this 

section employs some of my favourite seventh chords. The morning gets under way with a change of mood, and the sort of 

rhythmic movement that Kacey depicts so well. After this, a return to the original mood, and a reminder that Mt Warning is the 

first land in Australia to greet the morning sun. 

The poem divides naturally into two sections. Section Two commences with energetic scale passages for the cellos and a 

lilting rhythm which divides 4/4 time into groups of three/three/two quavers. In contrast to the 

(mostly) calmer mood of Section One, there is more movement here; a definite feeling of moving onwards. Against this 

rhythmic setting, Kacey's voice is free to move and improvise as a free spirit as well as display her wonderful and unique ability 

to create the sounds of Australian birds. Moving to the final minutes of the music, the scale passages of the opening become 

ostinato – a musical form which should create a feeling of inevitability and solidity – and then, a reminder of the very opening of 

the piece which brings the music full circle." 

Violoncelles, Vibrez! 

Giovanni Sollima (1962) 

Giovanni Sollima is part of a new breed of living composers and players that bear testament to the idea of the return of the 

"composer-performer" – a type of musician rarely seen since the nineteenth century. As a cellist with an international solo and 

chamber music career, Sollima has performed with some of the great artists and conductors of our time, including as part of 

Yo-Yo Ma's renowned Silk Road Project. Solima's compositions, including the highly virtuosic and brilliant Violoncelles Vibrez! 

heard today, reflect the composer's interest in finding a synergy between pop and classical music, and in creating music that is 

entertaining to listen to, humorous, expressive and enjoyable to learn and perform. 

Camerata of St. John's with soloists 

Brendan Joyce and Tatiana Kolesova 

2010 grand finale concert 

30

CONCERT F1 

THE PHOENIX TRIO 

Saturday 3 September 11 am 

Maggie Ya-Chu Chen – Chinese flute 

Minnie Shen – Chinese guitar 

Na Wang – Chinese harp 

The Phoenix Trio is a dynamic group of young Chinese musicians who blend the sounds and rhythms of traditional Chinese 

instruments. This performance will be introduced by Joanna Boileau who will present a brief survey of the history of the 

Chinese in the Tweed Valley. 

Each piece of Chinese classical music has a story behind it, thus forming a specific aesthetic and spiritual enjoyment. Begin this 

journey and immerse yourself in the unique charm of traditional Chinese music and instruments. 

The Trio's repertoire will be drawn from ancient and more modern folk songs including Happiness; The Butterfly Lovers; The 

Horseman; The Dance of the Youth; Chasing the Colourful Cloud; Crossing the River; The Golden Snake Dance; The Jasmine 

Flower; My Heart is Like the Moon, A Laughter from the Seas; and Mountain with the Running Horses. 

Joanna Boileau is a local historian and heritage consultant. She has written two books on the history of the Tweed Valley, 

Caldera to the Sea, a general history of the Tweed Valley, and Families of Fortune, a history of the Chinese in the region. The 

Tyalgum Festival is broadening its scope to include contributions of the many different cultural groups who have made their 

homes in the Tweed, and who are representative of Australiaʼs diverse multicultural society. 

CONCERT F2 

QUEENSLAND CONSERVATORIUM BRASS ENSEMBLE 

Sunday 4 September 10.30 am 

Selena Rasmussen, Ryan Tierney – trumpets 

Emma Gregan – French horn 

Oscar McDonald – trombone 

Elise Mills – tuba 

with guests: Greg Aitken –euphonium, Head of Brass, Queensland Conservatorium, Griffith University 

Campbell McInnes – French horn, winner of the 2011 Tyalgum Festival Prize “Outstanding Musician, Young Conservatorium, 

Queensland Conservatorium, Griffith University” 

The ensemble comprises five senior students from the Queensland Conservatorium Brass Department. All players are active 

members of the Queensland Youth Symphony Orchestra and have a wide range of playing experience for such a youthful 

ensemble. 

In its third year since inception, the quintet has performed at several events in and around Brisbane including schools, weddings 

and the Brisbane Festival 2010. They are also regular performers within the Conservatorium and make a welcome return to the 

Tyalgum Festival after their triumphant performance in 2010. 

The Queensland Conservatorium, Griffith University Brass Department is one of the largest tertiary schools in Australia and 

boasts a range of fine ensembles including Brass Ensemble; Horn Ensemble; Trombone Ensemble; Trumpet Ensemble; Brass 

Band and Tuba/Euphonium Ensemble. 

Always a favourite at the Festival, and a great friend, Greg Aitken is 

Head of Brass Studies and lecturer in euphonium at the 

Queensland Conservatorium, Griffith University. He also directs the 

brass band at that institution and lectures in trombone at the 

University of Queensland. Greg is also a founding member of Buzz 

and a life member of the Australian Trombone Association. 

31

Laser Skirmish 

Indigo Collins-Cook 

Essential Energy 

Community Spring Fair & Music Carnivale 

Schedule 

10.00 – 10.30 TSC Tyalgum Village "Plastic Bag Free" Launch 

10.30 – 10.45 DoubleMask Performance 

10.45 – 11.00 Indigo Collins-Cook 

11.00 – 11.30 Rob Fitches & Carl Moore, 15 Minutes of Fame 

11.30 – 12.00 DoubleMask Performance 

12.00 – 12.20 Tweed Small Schools Choir 

12.20 – 12.40 Kalyani Ellis 

12.40 – 1.00 Apsara Lifestyle Fashion Parade 

1.00 – 2.15 Suavemente 

Nature Talks 

12.00 – 1.00 Dr Mark Kingston 

1.00 – 2.00 Dr Ronda Green & Darren Green 

Kids' Activities 

10 am – 2 pm Laser Skirmish, Bruce Bartrim Cricket Oval 

12 noon – 1 pm Hoopla Circus 

A Spring Fair highlight will be a fashion parade by designer 

Chandra Ellis from Apsara Lifestyle. Chandra uses a 

blend of contemporary Indian textiles with vintage linens 

and laces. This is Chandra’s second fashion show since 

opening Aspara, and she will again present a 

choreographed theatrical show with models who will keep 

the audience spellbound. Chandra comes from a family of 

entertainers: Her daughter, Kalyani Ellis, will provide a 

soulful voice accompaniment to the fashion show. 

DoubleMask performance brings a touch of Italian street theatre 

to Tyalgum with their "Commedia Del Arte" troupe, complete 

with authentic commedia masks and costumes! 

32

FESTIVAL FRINGE EVENTS 

Village Nature Walks with Dr Jean-Marc Hero & John Pumpurs 

Saturday & Sunday, 4 & 5 September Depart Tyalgum Hall 8 am 

Dr Hero has been establishing long term ecological research sites in the Amazon 

for measuring and monitoring climate change adaptation. He is an ecologist and 

associate professor at Griffith University on the Gold Coast, and a pioneer 

authority on global amphibian decline. Marc will be joined on the walks this year 

by John Pumpurs, who has been photographing frogs since 1994. He 

frequently consults locally on frog identification and the provision of habitats to 

help with the survival of frogs in disturbed areas. 

Dr Jean-Marc Hero 

TOP: John Pumpurs 

Visit The Frog Prints 

at Tyalgum School on Sunday. 

Further information about Dr Hero, frogs and biodiversity can be found at 

www.frogresearch.org, www.savethefrogs.com and Griffith University 

www.gu.edu.au. Visit John Pumpurs’ The Frog Prints here: 

www.thefrogprints.com.au. 

Bright Sparks new to this year’s Festival 

This year’s inaugural Bright Sparks Music 

Program is expected to become an annual 

part of the Tyalgum Festival of Classical 

Music. 

The purpose of the program is to provide 

young students an opportunity to perform. 

The Brights Sparks students are not yet on 

the international trail, but rather, they are 

local students who work consistently, are 

comfortable in their technique, are excited 

by music and are eager to perform. The 

young musicians can be just starting their 

studies, or further advanced, but the key to 

an invitation is that they are all working hard 

and have a passion for music. 

The two Bright Sparks concerts will be held 

in St John's Anglican Church, corner 

W o l l u m b i n S t r e e t a n d C a r r a b o i 

Terrace, Tyalgum during the Festival: 

Saturday 3 September 2 pm – 3 pm 

Sunday 4 September 12 noon – 1 pm 

Entry via gold coin donation. 

The Tyalgum Festival is generously 

supported by Theme & Variations Piano 

Services. They provide the Festival both 

the Model D Steinway concert grand piano 

for the Tyalgum Hall concerts, as well as a 

Steinway-designed Boston UP126 piano 

for the Bright Sparks concerts. 

Tyalgum Festival – Nature Talks 

Tyalgum School, Coolman Street, Tyalgum 

Saturday 3 September 1 pm 

The Wollumbin Caldera: Its Origin and 

Biodiversity Values 

Robert Price (TOP LEFT) 

Saturday 3 September 3 pm 

Parks are not enough: why local animals need 

to move and how we can help! 

Dr Ronda Green (TOP RIGHT) 

Darren Green (BOTTOM LEFT) 

Sunday 4 September 12 noon 

Conservation Challenges in a 

Changing Caldera 

Dr Mark Kingston (BOTTOM RIGHT) 

The diversity of wildlife in the Tweed district 


Sunday 4 September 1 pm 

33

ACKNOWLEDGMENTS 

WIN WITH THE RAFFLE 

Sincere thanks to the many people who contribute to this very 

special Festival in a myriad of ways! 

Rebecca Allman, Graham & Annette Baglin, Bruce & Auriel 

Bartrim, Kate Binder, Edan Binder, David Braumann, Celia 

Bray, Trish Byrnes, Emma Cao, Dayman, Joan Eccleshare, 

Tina Kuiper, Amy More, Jodi Morse, Andy Murphy, Fran 

O'Hara, Keith Pellatt, Kerry Turner, Ian Wilkinson, Natalia 

Wolowska, Rose Wright, and two amazingly patient and 

tolerant children, Andrew and Natalie Wilkinson, for coping so 

well (most of the time) with their very preoccupied mother 

during "Festival time". 

All Saints Anglican Church, Murwillumbah 

Revd. Graeme & Mrs Wendy Hodgkinson 

Angela Hibbard & Arun Ketsirat 

Austral Café, Murwillumbah 

Barking Toad Creative Advertising 

Dennis Scanlon 

Friends of the Tweed River Art Gallery 

Greenhills on Tweed 

Mobile Coffee To Go 

Murwillumbah District Business Chamber 

Murwillumbah Festival of Performing Arts ~ Arthur Holmes 

Our Home Hosts 

Perfect Move Removals ~ Wally Lawrie 

Stokers Siding Fifteen Minutes of Fame 

Stokers Siding Pottery 

Sunbeam Solar Systems 

The Daily News & Border Mail 

The Piano Works ~ Norman Appel 

The Print People 

The Print Spot 

The Tweed Shire Echo 

Tweed Sun & Gold Coast Bulletin 

Tweed Valley Banana Festival ~ Carol Mudge 

Tweed Valley Cake Decorators 

Tweed Valley Jazz Club 

Tweed Valley Weekly 

Tyalgum Park Trust 

Tyalgum Hall Committee 

Tyalgum Primary School 

Principal Peter Meadows and Staff 

P&C Association 

Tyalgum Rural Fire Service 

Uki Guesthouse 

Ukitopia Arts Collective 

The following individuals and businesses have generously 

donated prizes for the annual Festival Raffle. The Festival 

Committee sincerely thanks them for their support. 

First Prize 

Asia Travel Experts www.ASIATRAVELEXPERTS.com 

Additional Prizes 

Barbara Goodrich ~ Tyalgum Illustrated 

Caldera Art Gallery 

Caldera Artist ~ Barbara Suttie 

Caldera Artist ~ Pauline Johnson 

Chantilly Lace Boutique 

Flutterbies Cottage Café & The Little Shop Next Door 

Flutterbucks ~ Even Up The Score 

House of Canelli 

Kenita's Decorative Arts 

Mavis's Kitchen 

Paddington of Tyalgum 

Rock On Gallery 

Thin Green Line 

Tiny Shoppe of Memories 

Tweed Valley Art Co-operative, Tyalgum 

Tyalgum Hotel 

Tyalgum is my Tuscany 

Vibrant Imaging ~ Alan & Perri Wain 

Yalumba Fine Wines 

Winners will be announced during afternoon tea following 

Concert C7 on Sunday 4 September. 

ABOVE RIGHT: Kitchen Ladies in 2001 (standing left to right) 

June Norman, Heather Alexander, Sybil Turgeon, Betty Hamill, 

Mavis Gallard (sitting left to right) Dot Francis, Auriel Bartrim 

RIGHT: Current committee member Finola Horlin (left) and 

Jodi Morse set up for the 2010 Saturday night concert 

34

Tyalgum Festival Co-ordinator Alexsandra Wilkinson with 

graphic designer Hetti McDonald. 

BOOKING INFORMATION 

Terms and Conditions 

The Tyalgum Festival Committee reserves the right to 

change the program without notice. 

All bookings are subject to availability. 

Tickets are non-refundable and must be presented at 

the door. 

Only one printed ticket is valid per ticket purchased. 

Tickets are not to be duplicated for the purpose of 

falsifying entry. 

All tickets are General Admission; seating is not 

numbered or reserved. 

On-line tickets are created and managed using the 

TryBooking site, and are also subject to the Terms 

and Conditions of TryBooking.com 

Your TryBooking.com e-mail ticket is your TAX 

INVOICE, for the Tyalgum Festival Committee Inc 

ABN 49 542 606 242 and is inclusive of GST. 

Tickets cannot be on-sold by any means at a price 

greater than the purchase price of the ticket. Scalped 

tickets may be cancelled, and the ticket holder may 

not be permitted entry. 

The event organiser and / or performers have all 

rights to film, photographic and video production of 

this event. 

Any data collected for marketing purposes from this 

event will be strictly in accordance with the Privacy of 

Information Act. 

35

We appreciate the generous support of 

OUR SUPPORTERS 

Program design by KirbysDad 

The Tyalgum festival Committee would like to thank 

for providing the concert grand piano for this year’s 

Festival. Theme & Variations Piano Services are the 

exclusive dealers for Steinway & Sons and Boston 

pianos in both NSW and QLD. Enquiries, please call: 

Sydney 02 9958 9888 Brisbane 07 3666 0650 

Email: steinway@themeandvariations.com or visit 

www.themeandvariations.com.au 

36

GENERAL INFORMATION 

Tickets will be on sale at the door one hour before 

concerts unless sold out. 

As the Festival program is very full, and as a courtesy to 

performers and patrons, concerts must start punctually. 

Doors will open 30 minutes before the concert start 

time. In the case of unavoidable delays, we appreciate 

your patience. Latecomers will be asked to wait for a 

suitable break to enter the Hall. 

The only reserved seating is for patrons with Special 

Needs at the front left-hand side of the Hall (facing the 

stage). If you are sight or hearing impaired, or require 

wheelchair or walking frame access, please see Cath 

Brown or Trish Byrnes on arrival at the Hall who will 

endeavour to seat you accordingly. 

Children 8 years of age and over are welcome to attend 

concerts, provided they have an allocated seat and do 

not disturb the enjoyment of others. Children under 8 

years of age are not admitted to Hall concerts without 

prior arrangement with, and at the discretion of, the 

Tyalgum Festival Committee. 

Recording of concerts and taking of photographs by 

patrons during a performance is not permitted without 

prior arrangement. It is extremely important that flash 

photography be minimised during performances. 

Official event photographers, Alan & Perri Wain of 

Vibrant Imaging, will have images from this year’s 

Festival available to view and purchase from a dedicated 

gallery on their website, www.vibrantimaging.com.au. 

As a courtesy to the artists and other members of the 

audience during the concerts, please minimise noise and 

movement as much as possible. Audience members 

having bottled water and cough suppressants (prewrapped 

in cling wrap) close to hand will help 

enormously! 

Tyalgum has limited mobile telephone coverage. We ask 

that you please ensure mobile telephones are turned off 

before each concert. 

Refreshments will be available after concerts C1, C2, 

C3, C5 and C10. Your gold coin donations are 

appreciated. Red and white wine will be available for 

purchase after the evening concerts on Friday and 

Saturday. Your gold coin donations are appreciated for 

non-alcoholic refreshments. 

Programs, raffle tickets, books, CD recordings and other 

items are available at our Administration desk at the rear 

of the Hall. 

Announcement of the raffle winners will be made 

following the Camerata of St John's concert at afternoon 

tea. 

The Tyalgum Festival Committee and Volunteers are 

wearing badges and we are happy to be of assistance at 

all times. If something needs our attention please let us 

know! 

Should First Aid be required, please see Tyalgum Festival 

volunteers, Cath Brown and/or Trish Byrnes.

First Program Cover 1991 

Tyalgum Festival of Classical Music 2011 

Celebrating 20 Years 

Tyalgum Festival Committee Inc. 

PO Box 78 Tyalgum NSW 2484 

02 6679 2244 

www.tyalgumfestival.com.au

Here - Tyalgum Festival of Classical Music

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?