Van Diemen's Band Program Guide | April & May 2022

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VAN
DIEMEN’S BAND

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Take flight in our boundless new vision.
A Winter’s Journey
Allan Clayton
& Kate Golla
Copyright Gary Heery
Z.E.N. Trio
—
Avi Avital &
Giovanni Sollima
musicaviva.com.au/2022
Signum
Saxophone Quartet
& Kristian Winther
Find out more:

Musica Viva Australia acknowledges the Traditional Custodians of the many lands on
which we meet, work, and live, and we pay our respects to their Elders past and present –
people who have sung their songs, danced their dances and told their stories
on these lands for thousands of generations, and who continue to do so.
VAN DIEMEN’S BAND
Julia Fredersdorff Artistic Director & violin
Simone Slattery Violin & recorder
Katie Yap Viola
Laura Vaughan Bass viol
Anton Baba Bass viol & cello
Donald Nicolson Harpsichord
A D E L A I D E
Adelaide Town Hall
Thursday 28 April, 7.30pm
Recorded for delayed broadcast on ABC Classic
B R I S B A N E
Conservatorium Theatre,
Griffith University, South Bank
Thursday 5 May, 7pm
Steven Kinston Tribute Concert
C A N B E R R A
Llewellyn Hall, ANU School of Music
Thursday 12 May, 7pm
N E W C A S T L E
Newcastle City Hall
Tuesday 10 May, 7.30pm
P E R T H
Perth Concert Hall
Tuesday 26 April, 7.30pm
S Y D N E Y
City Recital Hall
Monday 9 May, 7pm
Saturday 30 April, 2pm
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M E L B O U R N E
Elisabeth Murdoch Hall,
Melbourne Recital Centre
Tuesday 3 May, 7pm
Saturday 14 May, 7pm
Pre-concert talks for this tour will be
made available online. Please see
musicaviva.com.au for details.
With special thanks to Ensemble Patrons Ian Dickson & Reg Holloway for their support of this tour,
and to the Producers’ Circle and Amadeus Society for their support of the 2022 Concert Season.

FROM THE ARTISTIC DIRECTOR
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© Keith Saunders
In June last year, reprogramming the 2022
mainstage season as quickly as I had had to
reprogram 2021, I had a stimulating conversation
with Julia Fredersdorff about a potential tour.
We threw ideas around (Julia is as brilliant
a conversationalist as she is a player) and I
followed up with a quick email. ‘Was just listening
to Beethoven’s first piano concerto and thought
that the idea of borders is not simply geographic;
there’s something about composers who occupy
the border between stylistic/epochal change that
remains ever fascinating. I throw that into your
hat!’
It remained there not long. ‘I am a big fan of
“themes” based on words which can have many
different connotations,’ she replied with indecent
speed. ‘This word “border” or “borderlands”
is exactly that. Borders are pertinent in the
COVID era in Australia, and I think we can
also incorporate the idea of music from the
“extremities” (geographically/stylistically/
epochal). The idea of extremity also ties in nicely
with the fact that we (being Tasmanian) are from
an island at the extremity of Australia...’
And so this delicious program was born. Of
course, such borderlands are now loaded
with more geopolitical significance than it is
possible to bear. The duties and responsibilities
of those who live alongside other nations could
not be more potently articulated than they
are at present, nor so wilfully ignored. In all
the composers and works Julia has threaded
together so beautifully in this program, I hope
your thoughts dwell for a moment on the creative
potential of proximity and the enduring soft
diplomacy of exquisite art.
Paul Kildea
Artistic Director
Musica Viva Australia

PROGRAM
‘ BORDERLANDS’
Dietrich BECKER (1623–1679)
Sonata No. 5 in F Major (1674)
7 min
Borderlands Suite (assembled by Julia Fredersdorff)
Samuel SCHEIDT (1587–1654)
Galliard Battaglia (1621)
3 min
Dietrich BECKER (1623–1679)
Paduan
5 min
Jean de SAINTE-COLOMBE (1640–1700)
Les Pleurs
Samuel SCHEIDT (1587–1654)
Courant
Philipp Heinrich ERLEBACH (1657–1714)
Chaconne from Ouverture No. 2 (1693)
Tomaso ALBINONI (1671–1751)
Sonata II in C Major, Op. 2 No. 3 from Sinfonia à 5 (1700)
3 min
2 min
3 min
11 min
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INTERVAL
Georg MUFFAT (1653–1704)
Sonata No. 1 in D Major from Armonico Tributo (1682)
María Huld Markan SIGFÚSDÓTTIR (b 1980)
Clockworking (2013)
ANONYMOUS (attr. Biber or Schmelzer)
Sonata Jucunda
Donald NICOLSON (b 1979)
Spirals (2022)
World premiere performances
14 min
8 min
7 min
6 min

MEET THE ARTISTS
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Van Diemen’s Band
Based in Tasmania, ‘Australia’s Baroque
supergroup’ Van Diemen’s Band is a
collective of some of the country’s most
highly respected early music specialists,
who between them have worked with
leading ensembles around the world
such as Les Arts Florissants, Les Talens
Lyriques, Ensemble Pygmalion, Il Pomo
d’Oro, Orchestre des Champs-Élysées,
The English Concert, Academy of Ancient
Music, Orchestra of the Eighteenth
Century, Le Parlement de Musique and the
Amsterdam Baroque Orchestra.
Founded in 2016 by violinist Julia
Fredersdorff, Van Diemen’s Band varies
in size from chamber group to a larger
mid-18th-century orchestra, working
with regular guest directors including the
French Baroque specialist Martin Gester
in exploring the creativity and freedom of
expression in music of the Baroque while
deferring to historical sources on style and
instrumentation.
Van Diemen’s Band’s 2017 debut album
Cello Napoletano featured soloist
Catherine Jones in the cello concertos
of Nicola Fiorenza and was released
internationally the following year to
critical acclaim. Since then, the group has
appeared in concerts and festivals in its
home state and around mainland Australia,
establishing itself as one of the most
distinguished new groups on the scene.
The group’s recording of Bach Bass
Cantatas with soloist David Greco
appeared on the ABC Classic label in 2020
and its first project for the prestigious
Swedish recording label BIS, the Concerti
grossi Opus 3 by Handel, was released in
May 2021, attracting worldwide attention
for its ‘innate musicality ... impeccable
preparation and spontaneity’ (Early Music
Review [UK] 2021).

Melbourne-born violinist Julia
Fredersdorff studied Baroque violin with
Lucinda Moon at the Victorian College
of the Arts, before travelling to the
Netherlands to study with Enrico Gatti at
the Royal Conservatorium in The Hague.
Based in Paris for close to a decade,
Julia freelanced with some of the finest
European ensembles, such as Les Talens
Lyriques, Les Folies Françoises, Le Concert
d’Astrée, Le Parlement de Musique,
Ensemble Matheus, Les Paladins,
Il Complesso Barocco, New Dutch
Academy, Ensemble Aurora and Bach
Concentus.
Now resident again in Australia, Julia is
the founder and Artistic Director of Van
Diemen’s Band. She is also a founding
member of the chamber ensemble
Ironwood and the twice ARIA-nominated
Baroque trio Latitude 37, and founder
and former Artistic Director of the annual
Peninsula Summer Music Festival on the
Mornington Peninsula. Julia has appeared
in major arts festivals around Australia and
New Zealand and has toured extensively
across Europe, from Reykjavík to Wrocław,
Madeira and Venice.
Julia has participated in nearly 40
international recordings for the labels BIS,
Virgin Classics, Deutsche Grammophon,
Accent, Accord, Naïve, Erato, Passacaille,
Ambronay, ABC Classic, Vexations840 and
Tall Poppies.
Australian violinist Simone Slattery
is one of the country’s most versatile
young musicians and performers, with
a passion for music from a wide range
of eras. Her performances nationally
and internationally, on both modern and
Baroque violin, have received critical
acclaim. Simone has appeared as
soloist, recitalist and chamber musician
throughout Australia and overseas, and
performs with ensembles including
L’Arpeggiata, Netherlands Bach Society,
Australian Brandenburg Orchestra,
Melbourne Chamber Orchestra, Orchestra
of the Antipodes, Australian Haydn
Ensemble, Ironwood and the Adelaide
Symphony Orchestra.
Simone began her formal violin studies
at the University of Adelaide Elder
Conservatorium of Music, before moving
to Melbourne to study at the Australian
National Academy of Music. She has also
received training in the USA, Canada and
Europe, and has been a Banff Centre
Creative Resident and Britten-Pears
Emerging Artist. She is the recipient of
awards from the Ian Potter Cultural Trust,
the Thomas Elder Overseas Fund, the
Australian String Quartet and the Elder
Conservatorium of Music. Simone recently
completed PhD studies at the University of
Adelaide, and was a 2019 Churchill Fellow.
Melbourne-based modern and Baroque
violist Katie Yap plays with Australia’s
finest ensembles including the Australian
World Orchestra, Australian Brandenburg
Orchestra and Melbourne Chamber
Orchestra, and has joined groups such as
the Academy of Ancient Music overseas.
She is a founding member of Croissants
& Whiskey, the Chrysalis Harp Trio and
Wattleseed Ensemble.
Katie is fascinated by music’s ability to tell
stories and bring people together. As a
finalist in the 2019 Freedman Fellowship,
she developed a concert called HOME
for Wattleseed Ensemble. Her vision for
that project is to address climate change
in a way that brings people together, by
focusing on the concept of home through
diverse music, spanning 1000 years and
including a commission of a new work by
Melbourne-based composer Matt Laing.
Katie has a particular interest in the
breadth and depth of music outside the
canon, particularly by female composers –
and she is able to share this as the Artistic
Director of the 3MBS festival Music, She
Wrote, a celebration of women in music.
In her spare time, she likes to explore a
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wide range of musical contexts, including
folk music and improvising. She has a
notoriously sweet tooth and a penchant for
stress-baking, which sometimes makes for
delicious rehearsal breaks!
Melbourne-based viola da gamba
specialist Laura Vaughan is a dynamic
and well-recognised member of the early
music scene in Australia. Having studied
at Melbourne Conservatorium with Miriam
Morris, and with Wieland Kuijken and
Philippe Pierlot at the Royal Conservatory
of The Hague, she has established an
active performing career encompassing a
wide range of solo and chamber repertoire
across Australasia.
Passionate about the unique sound of
the viol, Laura is committed to bringing
its exquisite repertoire from the 17th and
18th centuries to life. She is also one of
the few exponents of the rare lirone. Laura
records regularly as a soloist and chamber
musician and appears on numerous
CD recordings. She can often be heard
performing with most major Australian
early music groups and is a founding
member of the trio Latitude 37.
Harpsichordist, organist and pianist
Donald Nicolson is a prominent figure in
performance and research of the music of
17th- and 18th-century Europe, and in high
demand as a keyboardist, composer and
arranger. Born in Wellington, New Zealand,
he commenced harpsichord studies with
Douglas Mews at Victoria University, and
subsequently studied with Ton Koopman
at the Royal Conservatory of The Hague.
Since 2011, Donald has been based in
Melbourne maintaining a busy performing
schedule in the early music scene and on
the orchestral platform. A sought-after
continuo player, Donald is co-founder
of Latitude 37 and frequently performs
with Pinchgut Opera and the Sydney and
Melbourne Symphony Orchestras. He
has directed numerous performances
from the harpsichord for the MSO and the
Australian Chamber Orchestra. Donald
is also a key member of Anja & Zlatna,
an ensemble which performs the folk
music of the Balkans and infuses it with
the improvisational practices of the 17th
century.
Donald graduated with a PhD in
Musicology from the University of
Melbourne in 2018, submitting a thesis
that focussed on the relationship between
17th-century French social history and the
keyboard preludes of Louis Couperin. He
teaches historically informed performance
practice at the University of Melbourne.
Born in Australia, Anton Baba studied
Classical cello at the Eastman School of
Music (USA, 2006) after his initial studies
in Perth. He completed postgraduate
studies on the Baroque cello at the Royal
Conservatory of The Hague (2013), where
he simultaneously undertook studies in
viola da gamba.
Anton has worked as a skilled viola da
gamba and Baroque cello player in the
most experienced Baroque ensembles
of Europe including Amsterdam Baroque
Orchestra and Vox Luminis. Since returning
to Australia in 2018, Anton has been
a regular member of Orchestra of the
Antipodes (Pinchgut Opera), Australian
Romantic and Classical Orchestra and
Australian Brandenburg Orchestra.
Anton is also a dedicated educator and a
member of the ACO Foundations team,
providing music lessons and fostering
creative skills for students at St Mary’s
North Public School. When he is not
playing the cello, Anton enjoys knitting and
throwing a frisbee in his local park.

ABOUT THE MUSIC
‘Borders? I have never seen one.
But I have heard they exist in the
minds of some people.’
THOR HEYERDAHL
The world has changed dramatically
in the months between Van Diemen’s
Band’s devising of this program and
the performance you’re about to hear,
freighting the term ‘borderlands’ with
renewed and disturbing resonance. But
hearing this Baroque music at a time of
present-day geopolitical stress is to have
a kinship with the circumstances of its
composers, many of whom experienced
first hand the tensions of 17th-century
Europe; in particular, within the German
states of the Holy Roman Empire riven by
the Thirty Years War that ended in 1648.
For Van Diemen’s Band Artistic Director
Julia Fredersdorff, the German music
of this post-war period written by the
generations preceding Johann Sebastian
Bach is an endlessly fertile and innovative
legacy.
The trading city of Hamburg was
completing its fortifications against the
War when composer Dietrich Becker was
born there in 1623. Initially an organist
before switching to violin, his playing
career took him to other states such as
Schleswig-Holstein and Saxony, and as far
afield as Stockholm, before returning to his
home town in 1662, where he ultimately
became a Cantor in the city’s cathedral.
His Musicalische Frühlings-Früchte
(Musical Spring Fruits) was published in
1668 and dedicated to Hamburg’s city
council in gratitude for the granting of a
full-time job after years as a freelancer.
The F major Sonata from this collection
is an example of Becker’s acquaintance
with other national styles beyond the
border, notably the Italianate contrasting
of fast and slow sections, and the French
predilection of the time for writing in five
instrumental parts. (Elsewhere in the
series, he appears to be the first composer
ever to use the sequence of French
dances Allemande-Courante-Sarabande-
Gigue in successive movements, setting a
precedent for J.S. Bach and others.)
Fredersdorff has assembled a
Borderlands Suite from works whose
combined effect suggests to her a
trajectory of emotions stemming from war
and its aftermath. The opening Galliard
Battaglia, with its evocation of opposing
trumpet calls on the field of war, comes
from a three-volume set of instrumental
works by Halle’s court Kapellmeister
Samuel Scheidt in
the 1620s. War and
plague would later
take away Scheidt’s
employment and all
four of his surviving
children, as well as
half of Halle’s entire
population.
Funeral ritual is described by a Paduan (or
pavane) from Becker’s aforementioned
‘Spring Fruits’, while the tears of grief in
Les Pleurs by the still-mysterious French
viol master Jean de Sainte-Colombe from
a vast collection of 67 ‘Concerts’ for viola
da gamba duet were shed to a worldwide
audience in the 1991 film Tous les matins
du monde. A Courant from Scheidt’s
first volume of instrumental Ludi musici
(1621) suggests to Fredersdorff a feeling
of resentment in its spiky, argumentative
running figures; the dance itself requiring
swift footwork. Finally, a 1693 Chaconne
resolves these abject feelings in a tripletime
dance of beneficent healing as was
customary in many an opera and suite of
the time; in this instance, by the German
Philipp Heinrich Erlebach, the longserving
Kapellmeister at the Thuringian
court of Rudolstadt. The post there
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consumed both his entire working life,
and then his estate’s complete collection
of music in a fire some 20 years after his
death.
Tomaso Giovanni
Albinoni is truly
an inhabitant
of various
borderlands:
geographically, a
Venetian born in
a city well past its
peak as a powerful
trading centre; and professionally, as a
self-declared dilettante who was spared
the necessity of seeking paid work at
church or court by his prosperous middleclass
family’s finances. Even his early
musical style is something of a bridge
between the five-part string writing of
the previous century (the Opus 2 was
published in 1700) and the more overt
virtuosity of his near-contemporaries
Vivaldi and Locatelli. Albinoni was enough
of a contrapuntist to be admired by the
faraway J.S. Bach, and the technique is
employed in both of the faster movements
of this C major Sonata from the set. But
it’s in the two slow movements with their
ravishing melodies that the fanciful listener
can hear the singing from La Serenissima’s
canals, or at least proof that Albinoni was
above all an opera composer with some 80
stage works to his credit.
The remarkable Georg Muffat’s life and
work represents a traversal of borders
in every sense. Descended from Scots,
born French, part-educated in Paris
(with Lully) and Italy, driven by the threat
of war to Vienna, Prague, Salzburg and
Passau, he ultimately considered himself
a German. His early violin sonata (1677) is
an enharmonic masterpiece, wandering
through the keys like a browser in an opshop.
It was in Italy that Muffat made the
acquaintance of his exact contemporary
Arcangelo Corelli, whose then unpublished
concerti grossi inspired the visitor to try
his hand at the fledgling form with his
Armonico Tributo, published in Salzburg
in 1682; Corelli’s totemic Opus 6 set
would not hit the printing presses until
30 years later. The set displays Muffat’s
cosmopolitan influences in the Lullian
five-part string writing (casually stated as
‘suitable for few or many instruments’) and
the Corellian alternation of tutti and solo
passages – a concerto grosso hallmark.
There are also the forms from either side
of the borderlands, mixing abstract Grave
movements with courtly dances from
France.
Living on the edge
of the Arctic Circle,
Icelandic composer
and violinist María
Huld Markan
Sigfúsdóttir is
best known as a
member of the
indie band amiina,
that has released several albums since
1999. Like her fellow countryman Ólafur
Arnalds, Sigfúsdóttir not only mixes music
genres with impressive commercial
success: she consigns their classifications
to irrelevance. Clockworking (2013) is a
prime example, scored for Baroque string
trio and pre-recorded tape, a deliberate
fusion of the ‘antique’ sound of gut strings
with modern electronics in the slowmotion
incantation of a pre-Industrial
Revolution work song. Singing as an aid
to repetitive manual labour was and is
common as both distraction and impetus
(the device even features in the Spinning
Chorus from Wagner’s opera
The Flying Dutchman), and here the
Baroque instruments play with varied
rhythmic values to suggest the different
sizes of interlocking cogs in a sort of
mechanistic lullaby.
It’s tempting to think there must be
a ‘program’ driving the effects and
derivations of the Sonata Jucunda – the
croaking of frogs, sounds of drones, and
folk-band imitations that presumably give
the work its ‘joking’ title – but impossible

to prove, because the composer is
unknown. It’s been suggested that
Heinrich Ignaz Franz von Biber might
have been responsible by virtue of
the work’s descriptive elements; Biber
also composed a vivid Battalia in 1673,
and the Sonata Jucunda manuscript is
housed in the same present-day Czech
Republic’s Kroměříž collection as the
bulk of Biber’s work. The violin flourishes
that fizz through the score would seem a
typical stroke from a composer who was
deemed by his contemporaries to be the
outstanding virtuoso of the 17th century,
stretching technical demands of the
player to absolute limits as well as those
made upon the instrument itself, resorting
to alternative tunings (scordatura) for
dramatic colours, and even arranging
strings between neck and bridge to
visually depict the Cross in his series of
Rosary Sonatas.
Donald Nicolson’s
Spirals (2022),
commissioned by
Van Diemen’s Band
specifically for
this program, is an
attempt to refract
an observation of
the present day
through ancient materials and musical
form. Taking the passacaglia, a repeated
descending bassline that throughout
the 17th and 18th centuries frequently
connoted loss or grief (think of ‘When I am
laid in earth’ at the conclusion of Purcell’s
Dido and Aeneas), Nicolson weaves in the
melody of a Slavonic Orthodox lament, well
known throughout that religion’s Eastern
diaspora: Dusha moya pregreshnaya
(My sinful soul/Why don’t you weep?).
The constant rotation of the passacaglia
symbolises the circularity of human travail,
history repeating. Nicolson points out that
‘this paradoxical progression never finds
resolution, inviting us to lose ourselves for
a minute within itself.’
The events of 2022 have again made
borders the trigger for armed conflict,
and border security the raison d’être and
campaign slogan of governments. Borders
bring both protection and obstruction,
but they also erase much on either side,
creating a place of absence, terra nullius of
the spirit along the ribbon of their physical
space. Not so in this program, where
the ‘borderland’ of geography, history
or imagination is the stepping stone to
adventure and discovery, a longed-for
portal, the place where the ‘other’ can be
met, embraced and shared. These days
we see too many borders. In the minds of
these composers, they didn’t exist.
© CHRISTOPHER LAWRENCE, 2022
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Paul Grabowsky
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National Tour: 11–25 June
musicaviva.com.au/grabowsky-lam
1800 688 482
—
Pianist Andrea Lam performs Bach’s miraculous
Goldberg Variations, before Paul Grabowsky plays his
own jazz-inflected interpretation of this eternal theme.

INTERVIEW
BY STEPHANIE ESLAKE
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For an artist of the 17th century, Georg
Muffat certainly got around. The Baroque
composer of Scottish descent was born in
Savoy, lived in Vienna, travelled to Prague,
and studied in Rome. He crafted German
suites in a French style, and concerti grossi
in an Italian style.
What might borders have meant to this
composer who crossed them in the name
of music?
Baroque violinist Julia Fredersdorff
considers Muffat a “true musical polyglot”.
The composer was at the forefront of her
mind when she sat down with Musica
Viva Australia Artistic Director Paul
Kildea. Together, they imagined a concert
program that could go on tour – music
they could share across Australia’s own
state borders, which for so long had been
locked.
“Paul and I realised this idea of borders
had suddenly become much more of a
talking point, and that exploring the idea
of borders or lack thereof – in a musical
sense, a compositional sense, as well as
a human sense – made for very fertile
ground,” Julia says.
Borderlands came to life: together, Musica
Viva Australia and Van Diemen’s Band
would reconnect Australia through live
performance.
Julia founded Van Diemen’s Band in
Tasmania. Though her home state has no
land borders, the violinist has also spent
time in Europe. She would travel from
France to the Netherlands for lessons with
an Italian teacher, experiencing a continent
with “so many radically different cultures
jammed in right next to each other”.
So when the pandemic prevented her from
travelling across the states of Australia, it
felt like a “shock to the system”.
“The pandemic certainly did highlight
the feeling of geographical division –
something we weren’t used to here.”
We can contemplate division and
togetherness through this program. While
Muffat was an “obvious choice” to include,
other composers – such as Becker, Sainte-
Colombe and Albinoni – reflect the theme
philosophically.
“The 17th century was a time of great
instability in Europe. The geopolitical
situation would have had a huge impact
on the way composers worked, and the
context in which their music was written,”
Julia explains.
“Each of the composers in this program
comes from the extremity of a country – or
a port town or land border, or a land which
was particularly isolated from the rest of
the world.”
Some even “push the extremities of
their own art form”. María Huld Markan
Sigfúsdóttir crosses genre and era in her
2013 piece Clockworking. Baroque strings
are set to electronic backing, creating a
soundscape “as isolated as the geography
of her home country of Iceland”.
It’s impossible to overlook the impact
of conflict on the evolution of borders.
Much of this program traces war and its

© Albert Comper
aftermath; moments that have challenged
or strengthened relationships between
countries and cultures.
Julia feels major events, such as war
and the pandemic, “amplify the need for
music”.
“This is a salient reminder that music –
especially right now – is the ultimate tool
for survival. It gives us a reason to keep
going, and it reminds us of our common
humanity.”
For this program, harpsichordist Donald
Nicolson composed a new work, Spirals.
In light of events in Ukraine, Donald made
a “last-minute change” to the piece,
weaving an Orthodox prayer into the
structure of his composition.
In the composer’s words, it’s an update
that “acknowledges the conflicts that we
are living through or reading about right
now”.
“The concept of Borderlands has suddenly
become pertinent as we scroll through our
newsfeeds,” Donald says.
Spirals also embeds a musical connection
to the theme: Donald was inspired by
the passacaglia, a musical form used in
European cultures in the 17th and 18th
centuries.
“I visualised that bassline as maintaining
an ever-presence in our musical
consciousness.
“Whether now, or 400 years ago – here
in the Southern Hemisphere, or in the
countrysides of the European boundaries
– the passacaglia has always existed, and
continues to exist beyond us.
“Spirals allows us to step away from our
immediate surroundings – to pause, to
think, to allow our mind to wander, or not;
to contemplate or be transported.”
Ahead of its world premiere, Donald
recalls how Julia was “clear from the
outset” that she wanted original Australian
music on this global program. The pair
have a history of collaboration; Donald is
also a harpsichordist and organist who
has crafted other arrangements for Van
Diemen’s Band.
In exploring music of the Baroque era, as
well as the remarkable characteristics of
its instruments, Donald feels Van Diemen’s
Band is “creating a whole new legacy of
original music and sounds”.
“True to the concept, these are the new
borderlands of the early music movement.
And Julia’s assembly of artists presents us
with a unique opportunity to hear these
musicians performing on the same stage.”
As for crossing local borders on their
Musica Viva Australia tour, Julia feels
“a sense of hope and joy”.
“This is something a little Tassie band
could never have taken the risk on without
the support of Musica Viva Australia, and
we are so grateful for this opportunity to
spread our wings after a long period on the
ground!”
—
2022
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PATRONS
CUSTODIANS
ACT Geoffrey & Margaret Brennan, Clive & Lynlea
Rodger, Ruth Weaver, Anonymous (4)
NSW Jennifer Bott AO, Catherine Brown-Watt PSM
& Derek Watt, Lloyd & Mary Jo Capps AM, Andrew
& Felicity Corkill, Peter Cudlipp, Liz Gee, Suzanne
Gleeson, David & Christine Hartgill, Annie Hawker,
Elaine Lindsay, Trevor Noffke, Dr David Schwartz, Ruth
Spence-Stone, Mary Vallentine AO, Deirdre Nagle
Whitford, Richard Wilkins, Kim Williams AM, Megan &
Bill Williamson, Ray Wilson OAM, Anonymous (12)
QLD Anonymous (2)
SA Monica Hanusiak-Klavins & Martin Klavins,
Anonymous (5)
TAS
Kim Paterson QC, Anonymous
VIC Elizabeth & Anthony Brookes, Julian Burnside
AO QC, Ms Helen Dick, Robert Gibbs & Tony Wildman,
Helen Vorrath, Anonymous (8)
WA Graham Lovelock, Anonymous (4)
LEGACY DONORS
NSW The late Charles Berg, The late Janette Hamilton,
The late Dr. Ralph Hockin in memory of Mabel Hockin,
The late Beryl Raymer, The late Kenneth W Tribe AC,
QLD The late Steven Kinston, Anonymous
SA
The late Edith Dubsky, The late John Lane Koch
VIC The late Raymond Brooks, In memory of Anita
Morawetz, The family of the late Paul Morawetz,
The late Dr G D Watson
ENSEMBLE PATRONS
Our artistic vision for 2022 is made possible thanks to the
extraordinary generosity of our Ensemble Patrons, each
of whom supports the presentation of an entire national
tour for our 2022 Season.
Ian Dickson & Reg Holloway (Van Diemen’s Band)
Anonymous (Paul Grabowsky & Andrea Lam)
Peter Griffin AM & Terry Swann as part of
The Travellers - Giving Circle (A Winter’s Journey)
Australian Music Foundation (Z.E.N. Trio)
Eleanore Goodridge OAM (Avi Avital & Giovanni Sollima)
CONCERT CHAMPIONS
Adelaide Joan & Ivan Blanchard, Helen Fulcher, Helen
Bennetts & Tim Lloyd, The late Lesley Lynn, Dr Susan
Marsden & Michael Szwarcbord, Leonie Schmidt &
Michael Davis, Anonymous (2)
Brisbane Ian & Cass George, Andrew & Kate Lister,
Barry & Diana Moore, The Hon Justice A Philippides,
Anonymous
Canberra ACT Committee and Ruth Weaver, Andrew
Blanckensee Music Lover, Humphries Family Trust,
Malcolm Gillies and David Pear, Dr Sue Packer, Sue
Terry & Len Whyte, Anonymous
Melbourne Alexandra Clemens, Continuo Syndicate,
Peter Griffin AM & Terry Swann, Monica Lim & Konfir
Kabo, Peter Lovell, Rosemary & John MacLeod, The
Morawetz Family in memory of Paul Morawetz, Greg
Shalit & Miriam Faine (2), Dr Michael Troy, The Musica
Viva Victorian Committee
Newcastle Megan & Bill Williamson, Newcastle
Committee
Perth Deborah Lehmann AO & Michael Alpers AO,
In memory of Stephanie Quinlan (2),
Valerie & Michael Wishart
Sydney Patricia Crummer, Pam Cudlipp, Dr Jennifer
Donald & Mr Stephen Burford, Charles Graham – in
acknowledgement of his piano teacher, Sana Chia,
Katherine & Reg Grinberg, Anthony Strachan, Kay
Vernon, Kim Williams AM & Catherine Dovey (2), Ray
Wilson OAM
PRODUCERS’ CIRCLE
Darin Cooper Foundation, Stephen & Michele Johns
AMADEUS SOCIETY
Tony Berg AM & Carol Berg, Marc Besen AC & Eva
Besen AO dec., Ms Jan Bowen AM, Tom Breen &
Rachael Kohn AO, Dr Di Bresciani OAM, Julian Burnside
AO QC (President, Melbourne) & Kate Durham, David
Constable AM & Dr Ida Lichter, Dr Helen Ferguson, Ms
Annabella Fletcher, Dr Annette Gero, Peter Griffin AM
& Terry Swann, Katherine & Reg Grinberg, Jennifer
Hershon & Russell Black, Penelope Hughes, Dr Alastair
Jackson AM, Michael & Frederique Katz, Ruth Magid
(Chair, Sydney) & Bob Magid OAM, Prof. John Rickard,
Andrew Rosenberg, Ray Wilson OAM
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MASTERCLASSES
GIVING CIRCLE
The Masterclasses Giving Circle is a group of generous
donors whose collective support will enable the artistic
development of the next generation of Australian
chamber musicians.
Nicholas Callinan AO & Elizabeth Callinan, Caroline &
Robert Clemente, Ian & Caroline Frazer, Allan Myers
AC QC & Maria Myers AC, Patricia H. Reid Endowment
Fund, Andrew Sisson AO & Tracey Sisson, Mick and
Margaret Toller, Anonymous (2)
COMMISSIONS
Musica Viva acknowledges and celebrates those
individuals and collectives who have generously
committed to commissioning new music in 2021/22
to be enjoyed by us all.
In loving memory of Jennifer Bates; Julian Burnside
AO QC & Kate Durham; The Barry Jones Birthday
Commission; Michael & Frederique Katz, in honour of
Cecily Katz; Graham Lovelock & Steve Singer; DR & KM
Magarey; Vicki Olsson; Tribe family in honour of Doug
Tribe’s 75th birthday
Musica Viva also thanks the Silo Collective, the Ken Tribe
Fund for Australian Composition, and the Hildegard
Project for their support in bringing new Australian works
to life.
B A R R Y J O N E S
BIRTHDAY COMMISSION
$500+
Steve Bracks AC & Terry Bracks AM, Dr George
Deutsch OAM & Kathy Deutsch, Carrillo Gantner
AC & ZiYin Gantner, Professor Margaret Gardner
AC & Professor Glyn Davis AC, Naomi & George
Golvan QC, Hon David Harper AM, Ellen Koshland
& James McCaughey, Miles Lewis, Barry McGaw,
Jeannette McHugh, Fiona McLeod AO SC, Peter &
Ruth McMullin, Julie & Ian Macphee, peckvonhartel
architects, Anne & Robert Richter QC, Gianna Rosica,
Joy Selby Smith, Maureen & Tony Wheeler, Lyn
Williams, Dr Robyn Williams AO, Bob, Robyn, Annie &
Nick, Anonymous (3)
We thank all our audience members
who donated the value of their
cancelled tickets towards the Artist
Fund and sincerely appreciate the
generous support we receive from
our incredible community.
We encourage you to scan the QR
code to see a full list of donors over
$500 to Musica Viva Australia.
MAJOR GIFTS
$100,000+
NSW The Berg Family Foundation,
Patricia H. Reid Endowment Fund
$50,000–$99,999
ACT Marion & Michael Newman
NSW J A Donald Family, Katherine Grinberg,
Tom & Elisabeth Karplus
$20,000–$49,999
NSW Tom Breen & Rachael Kohn AO, Ian Dickson
& Reg Holloway, Michael & Frederique Katz,
Vicki Olsson
QLD Ian & Caroline Frazer, Andrea & Malcolm Hall-
Brown, The Hon Justice A Philippides
VIC The Morawetz Family in memory of Paul
Morawetz, Marjorie Nicholas OAM, Anonymous
WA
Anonymous
$10,000–$19,999
ACT R & V Hillman, Anonymous
NSW Anne & Terrey Arcus AM, Gardos Family,
Hilmer Family Endowment, Nigel & Carol Price,
Anthony Strachan
QLD Anonymous
SA
Anonymous
VIC Roger Druce & Jane Bentley, Mercer Family
Foundation, Greg Shalit & Miriam Faine, Anonymous
WA
Team Legacy
$5,000–$9,999
ACT Goodwin Crace Concertgoers, Craig Reynolds,
Sue Terry & Len Whyte
NSW Jo & Barry Daffron, Liz Gee, Iphygenia
Kallinikos, DR & KM Magarey, Hywel Sims, David &
Carole Singer, Diane Sturrock, Kim Williams AM &
Catherine Dovey
QLD Andrew & Kate Lister
SA Aldridge Family Endowment, Jennifer & John
Henshall, Galina Podgoretsky in memory of Rodney
Crewther, Anonymous
VIC In memory of Kate Boyce, Dr Di Bresciani OAM
& Lino Bresciani, Alastair & Sue Campbell, Alexandra
Clemens, Robert Gibbs & Tony Wildman, Andrew
Johnston, Stephen Shanasy, Anonymous
WA Deborah Lehmann AO & Michael Alpers AO,
Anonymous

ANNUAL GIVING
$2,500–$4,999
ACT Kristin van Brunschot & John Holliday,
Dr Andrew Singer, Ruth Weaver, Anonymous
NSW ADFAS Newcastle, Sarah & Tony Falzarano,
Mrs W G Keighley, Andrew Rosenberg, Jo Strutt
SA DJ & EM Bleby, Peter Clifton, Ms Judy Potter
& Dr George Potter, STARS
VIC Jan Begg, Anne Frankenberg & Adrian
McEniery, Lyndsey & Peter Hawkins, Doug Hooley,
Ralph & Ruth Renard, Maria Sola, Gai & David Taylor,
Helen Vorrath, Lyn Williams
WA David Cooke, Mrs Morrell, Vivienne Stewart,
Anonymous
$1,000–$2,499
ACT The Breen/Dullo Family, Dudley & Helen
Creagh, Martin Dolan, Olivia Gesini, Malcolm Gillies
AM, Kingsley Herbert, Margaret & Peter Janssens,
Garth Mansfield, Teresa Neeman, Margaret Oates,
S Packer, Clive & Lynlea Rodger, Hannah Semler,
Anonymous (2)
NSW Judith Allen, David & Rae Allen, Maia
Ambegaokar & Joshua Bishop, Dr Warwick Anderson,
Stephen Booth, Catherine Brown-Watt PSM, Neil
Burns, Hon J C Campbell QC & Mrs Campbell, Lloyd
& Mary Jo Capps AM, Stefan Couani, Robin & Wendy
Cumming, Thomas Dent, Nancy Fox AM & Bruce
Arnold, John & Irene Garran, Charles & Wallis Graham,
H2 Cairns Foundation, Annie Hawker, Margaret
Hicks, Lybus Hillman, Dr Ailsa Hocking & Dr Bernard
Williams, Dorothy Hoddinott AO, Catharine & Robert
Kench, Kevin & Deidre McCann, Arthur & Elfreda
Marshall, Dr Dennis Mather & John Studdert, Michael
& Janet Neustein, Paul O’Donnell, In memory of
Katherine Robertson, Dr Robyn Smiles, Geoff Stearn,
Richard & Beverley Taperell, Graham & Judy Tribe,
Mary Vallentine AO, Dr Elizabeth Watson, John & Flora
Weickhardt, Richard Wilkins, Megan & Bill Williamson,
Anonymous (4)
QLD George Booker & Denise Bond, Jill Boughen,
Prof. Paul & Ann Crook, John & Denise Elkins, Robin
Harvey, Lynn & John Kelly, Dr Helen Kerr and Dr John
Ratcliffe, Jocelyn Luck, Barry & Diana Moore, Debra
& Patrick Mullins, Barbara Williams & Jankees van der
Have
SA The late Peter Bailie & Ann-Maree O’Connor,
Ivan & Joan Blanchard, Richard Blomfield, Max & Ionie
Brennan, John & Libby Clapp, Dr Iwan Jensen, The
Hon. Christopher Legoe AO QC & Mrs Jenny Legoe,
Fiona MacLachlan OAM, Dr Leo Mahar, Ann & David
Matison, Diane Myers, H & I Pollard, Trish & Richard
Ryan AO, Anne Sutcliffe, Anonymous (2)
VIC Joanna Baevski, Russ & Jacqui Bate, Peter
Burch AM BM, Alison & John Cameron, Mrs Maggie
Cash, Alex & Elizabeth Chernov, Lord Ebury, Virginia
Henry, Dr Anthea Hyslop, Helen Imber, John V
Kaufman QC, Angela & Richard Kirsner, Ann Lahore,
Janet McDonald, Ruth McNair AM & Rhonda Brown
in memory of Patricia Begg & David McNair, June
K Marks, Mr Baillieu Myer AC, Sir Gustav Nossal,
Barry Robbins, Murray Sandland, Darren Taylor &
Kent Stringer, Wendy R. Taylor, Mark & Anna Yates,
Anonymous
WA David & Minnette Ambrose, Michael & Wendy
Davis, In memory of Raymond Dudley, Helen Dwyer,
Dr Penny Herbert in memory of Dunstan Herbert,
Ms Helen Hollingshead & Mr John Hollingshead,
Anne Last & Steve Scudamore, Zoe Lenard & Hamish
Milne, Mandy Loton OAM, Marian Magee & David
Castillo, John Overton, Elizabeth Syme, Robyn Tamke,
Anonymous (4)
$500–$999
ACT Geoffrey & Margaret Brennan, A & P Chalmers,
Christopher Clarke, Christina Cook, Peter Cumines,
Lesley Fisk, Robert Hefner, Mary Elspeth Humphries,
Claudia Hyles OAM, Margaret Lovell & Grant Webeck,
Dr Louise Moran, Robert Orr, Helen Rankin, Dr Jenny
Stewart, Dr Douglas Sturkey CVO AM, Joan ten
Brummelaar, Dr Paul & Dr Lel Whitbread, Anonymous
NSW Jock Baird in memoriam Annette McClure,
Barbara Brady, Denise Braggett, Vicki Brooke,
Alexandra Bune AM, Robert Cahill & Anne Cahill OAM,
Lucia Cascone, Michael & Colleen Chesterman, Zoë
Cobden-Jewitt & Peter Jewitt, Rhonwen Cuningham,
Trish & John Curotta, Professor Zoltan Endre, Dr
Arno Enno & Dr Anna Enno, Bronwyn Evans, Kate
Girdwood, Anthony Gregg, Rohan Haslam, Megan
Jones, In honour of Michael Katz, Cynthia Kaye,
Mathilde Kearny-Kibble, KP Kemp, Bruce Lane, Olive
Lawson, Trish Ludgate, Dr Colin MacArthur, Laura
McDonald, Dr V Jean McPherson, Alan & Rosemary
Moore, Margot Morgan, Donald Nairn, Professors
Robin & Tina Offler, Kim & Margie Ostinga, Dr John
Rogers, Penny Rogers, Professor Lyndall Ryan AM, Dr
Lynette Schaverien, Anonymous (14)
QLD Janet Franklin, Prof Robert G Gilbert, Marie
Isackson, M F Lejeune, Timothy Matthies & Chris
Bonnily, Anthony Simmonds, Jianxin Zhao & Faye Liu,
Anonymous (4)
SA Lesley Haas-Baker, Terence & Caroline Donald,
Daniel & Susan Hains, Elizabeth Ho OAM, in honour of
the late Tom Steel, Helga Linnert & Douglas Ransom,
Joan Lyons, Ruth Marshall & Tim Muecke, Linda
Sampson, Anonymous (5)
VIC David Bernshaw & Caroline Isakow, Helen
Brack, Pam Caldwell, Elise Callander, Ted & Alison
Davies, Beverley Douglas, Professor Denise Grocke
AO, Alan Gunther, Irene Kearsey & Michael Ridley,
Jane Lazarevic, Monica Lim & Konfir Kabo, Greg J
Reinhardt AM, Eda Ritchie AM, Dr Charles Su & Dr
Emily Lo, Pera Wells, Anonymous (7)
WA Fiona Campbell, Joan Carney, Fred & Angela
Chaney, Jennifer L Jones, Paula Nathan AO & Yvonne
Patterson, Lindsay & Suzanne Silbert, Ruth Stratton,
Christopher Tyler, Peter & Cathy Wiese, Anonymous (2)
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CONCERT PARTNERS
Perth Concert Series
Sydney Morning Masters Series
Law Firm
Chartered Accountants
Piano & Tuning
Media
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Wines
Hotels
National Government
Musica Viva Australia is a not-for-profit organisation endorsed
by the Australian Taxation Office as a Deductible Gift Recipient
and registered with the Australian Charities and Not-for-profits
Commission (ACNC).

Journey into the Chamber of Musical Curiosities
Hosted by Artistic Director Paul Kildea, the Chamber of
Musical Curiosities is a podcast exploring the world of music
in and around Musica Viva Australia. During the episodes,
guests reflect upon creativity, their careers, and their passion
for chamber music.
Episode 15: Paul Grabowsky
In this episode, Paul Grabowsky sits down to talk about his
upbringing, his life through music and how that journey has
left him coming full circle to his current musical project.
Listen on Spotify, Apple Podcasts or our website
to come with us inside the Chamber of Musical
Curiosities and explore a collection of musical
marvels.
musicaviva.com.au/podcast
A WINTER’S
JOURNEY
ALLAN CLAYTON & KATE GOLLA
National Tour: 12–27 July | Barbican, London: 12 December
musicaviva.com.au/a-winters-journey | 1800 688 482 | barbican.org.uk/whats-on
—
Tenor Allan Clayton and pianist Kate Golla perform Schubert’s immortal songs of love
and loss, newly reinterpreted for Australia through Lindy Hume’s direction
and Fred Williams’ wondrous landscape paintings.
This tour is generously supported by Peter Griffin AM & Terry Swann.
Copyright Gary Heery

TRIBUTE
Steven Kinston (1908–1996)
The concert in Brisbane on 5 May is presented in memory of Dr Steven Kinston.
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A dental practitioner and a fine pianist,
Dr Steven Kinston was one of a number of
European immigrants whose contribution
to Australia’s artistic life in the 1950s and
1960s helped transform the soul and face
of the nation.
When he and his younger brother, Paul,
arrived in Brisbane in 1938 as Jewish
refugees, they found a place where the
arts were struggling to gain a foothold
in a relatively new nation. Over the
next decade, Dr Kinston contributed
substantially to the development of
Brisbane’s artistic life, founding the
Brisbane branch of Musica Viva Australia.
Born in 1908 in the small town of Kolomea,
Romania, Steven Kinston grew up in
Czernowicz (Cernăutį), where anti-
Semitism and discrimination marred his
childhood. Although possessing high
intelligence and musical ability, he was
barred entrance to any local university. He
travelled to Italy, where anti-Jewish feeling
was less pronounced, and was welcomed
into both the University of Florence and,
simultaneously, that city’s Luigi Cherubini
Conservatorium of Music. In 1933 he
graduated with an unprecedented
two degrees: one in medicine, with a
speciality in dentistry, and another from
the Conservatorium, where he also won a
national piano competition.
At this time it became obvious to
Dr Kinston that his family needed to
find a new life and a new country if they
were to survive Mussolini’s alliance with
Hitler. He was granted refugee status by
Australia, and before emigrating, returned
to Romania to say farewell to his parents.
The Romanian government immediately
conscripted Dr Kinston into the army and
prevented his leaving the country. Only
a series of undercover arrangements
allowed him and his brother to cross the
border to freedom.
After his arrival in Brisbane he auditioned
for the ABC and was accepted on its
roster of soloists. He also established a
successful dental practice.
When business and personal commitments
necessitated the family’s move to Sydney
many years later, Dr Kinston remained a
passionate supporter of Musica Viva and
of the arts in general. His achievements
were made possible through the support
and encouragement of his wife, Lena.
Throughout their 53 years together, he
was intensely devoted to her and to their
two children.
His lifetime commitment to his adopted
country was epitomised by one of his
favourite sayings: ‘The soul of a country is
expressed in its art.’
DAVID COLVILLE

Music brings us together
At Musica Viva Australia we are proud to share
exceptional music with audiences of every age, location
and circumstance — it’s what we have always done,
and what we will always strive to do.
With your contribution, we can support our professional
musicians, introduce children to live music in schools,
commission new works, create innovative and engaging
online content, and develop future generations of artists.
Scan the QR code to give today.
Contact us on philanthropy@musicaviva.com.au