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CONCERT C3 WINDS OF CHANGE Saturday 3 September 1.30 pm The Lunaire Collective Patrick Nolan – flute Eve Newsome – oboe Rianne Wilschut – clarinet 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 WORLD PREMIERE 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" Concert C3 continued next page 20
Element for winds and whistler WORLD PREMIERE 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 WORLD PREMIERE Paul Kopetz (b.1968) Composer's notes: "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
Page 2 and 3: It's a vintage year for music on th
Page 4 and 5: Music, Art & Nature in Australia’
Page 6 and 7: Hall in perfect harmony with artist
Page 8 and 9: 2011 FESTIVAL PROGRAM Friday 2 Sept
Page 10 and 11: ABOUT THE PERFORMERS Sylvia Arroyo
Page 12 and 13: ABOUT THE PERFORMERS Thomas Green h
Page 14 and 15: ABOUT THE PERFORMERS Patrick Murphy
Page 16 and 17: ABOUT THE PERFORMERS Shannon Tobin,
Page 18 and 19: The second movement, Blues: Moderat
Page 20 and 21: CONCERT C2 THE YOUNG VIRTUOSI Satur
Page 24 and 25: CONCERT C4 CELLO ORCHESTRA Saturday
Page 26 and 27: CONCERT C5 STEINWAY CONCERT Saturda
Page 28 and 29: Natasha Vlassenko and Oleg Stepanov
Page 30 and 31: CONCERT C7 CAMERATA OF ST. JOHN'S S
Page 32 and 33: The Adagio heard today is an early
Page 34 and 35: Laser Skirmish Indigo Collins-Cook
Page 36 and 37: ACKNOWLEDGMENTS WIN WITH THE RAFFLE
Page 38 and 39: We appreciate the generous support
Page 40: First Program Cover 1991 Tyalgum Fe

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