Signum Saxophone Quartet & Kristian Winther Program Guide

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Musica Viva Australia acknowledges the Traditional Custodians of the many lands on which we

meet, work and live. 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.





Soprano Saxophone



Alto Saxophone



Tenor Saxophone



Baritone Saxophone


Adelaide Town Hall

Thursday 10 November, 7:30pm

Recorded for broadcast by ABC Classic

• Pre-concert talk: 6:45pm,

Prince Alfred Room

• Meet the Artists after the concert


Conservatorium Theatre,

Griffith University, South Bank

Thursday 24 November, 7pm

• Pre-concert talk: 6:15pm,

Boardroom, Qld Conservatorium,

Griffith University


Llewellyn Hall,

ANU School of Music

Thursday 17 November, 7pm

• Pre-concert talk: 6:15pm,

Larry Sitsky Room

• Meet the Artists after the concert


Elisabeth Murdoch Hall,

Melbourne Recital Centre

Saturday 12 November, 7pm

• Pre-concert talk: 6:15pm,

Salzer Suite, Level 2

Tuesday 22 November, 7pm

Milan and Anne Kantor Tribute Concert

• Pre-concert talk: 6:15pm,

Salzer Suite, Level 2

• Meet the Artists after the concert


Newcastle City Hall

Tuesday 8 November, 7:30pm

• Pre-concert talk: 6:45pm,

Mulubinba Room

• Meet the Artists after the concert


Perth Concert Hall

Monday 14 November, 7:30pm

• Pre-concert talk: 6:45pm,

Corner Stage Riverside, Terrace Level

• Meet the Artists after the concert


City Recital Hall

Saturday 19 November, 2pm

• Pre-concert talk: 1:15pm,

Function Room

Monday 21 November, 7pm

This concert will be livestreamed

• Pre-concert talk: 6:15pm,

Function Room

• CD Signing after the concert

With special thanks to the Producers’ Circle

and Amadeus Society for their support

of the 2022 Concert Season.

Cover photo: Copyright Gary Heery








© Keith Saunders

Kurt Weill was that rarest of 20th-century

beasts, simultaneously the creator of hugely

popular theatrical works and the composer

of a slew of distinctive art-music scores. His

Violin Concerto is the product of his concert

persona, with barely a nod to his theatrical life

– a gritty work, with a dark beauty that befits

its times. (It was written in 1924 in a matter of

weeks.) ‘The work is inspired by the idea –

one never carried out before – of juxtaposing

a single violin with a chorus of winds,’

Weill told his publisher. It is played all too

infrequently, which is why we commissioned

this arrangement from Jessica Wells for the

outstanding violinist Kristian Winther and the

phenomenal Signum Saxophone Quartet, the

latter making its Australian debut.

Though perhaps Weill wasn’t that rare: by

happenstance the century produced a worthy

successor to him – the composer, conductor,

pianist and pedagogue Leonard Bernstein.

What a drab century it would have been

without Bernstein! He burst onto the scene in

1943 and remained there until his death 49

years later. Symphonies, ballets, Broadway

shows, operettas poured out of him. His

Symphonic Dances from West Side Story have

taken on a life every bit the equal of the show

itself, and here are a vehicle for the Signum’s

breathtaking style and virtuosity.

And then there was Gershwin, Weill’s elder

by two years. He too had a foot in each camp

– his piano concerto is a work of genius –

though he’s arguably better known for his

jazz. How satisfying, then, to welcome this

crack ensemble to the country with these three

giants of the 20th century, and to pair it with

such a great Australian soloist. Buckle up!

Paul Kildea

Artistic Director

Musica Viva Australia


Johann Sebastian BACH (1685–1750)

Italian Concerto, BWV971 (1735, transcr. Katsuki Tochio)

I Allegro (Fast)

II Andante (At an easy walking pace)

III Presto (Quick)

12 min

Kurt WEILL (1900–1950)

Concerto for Violin and Wind Orchestra, Op. 12

(1924, arr. Jessica Wells) 28 min

Arrangement commissioned for Musica Viva Australia under the auspices of the Hildegard Project






Andante con moto (At a walking pace, moving along)

Notturno (Nocturne)


Serenata (Serenade)

Allegro molto un poco agitato (Very fast, a little agitated)


George GERSHWIN (1898–1937)

Three Preludes (1926, arr. Signum Saxophone Quartet)

I Allegro ben ritmato e deciso (Fast, very rhythmic and decisive)

II Andante con moto e poco rubato

(At a walking pace, moving along with a little give and take)

III Allegro ben ritmato e deciso (Fast, very rhythmic and decisive)

8 min




Leonard BERNSTEIN (1918–1990)

Symphonic Dances from West Side Story (1961, arr. Sylvain Dedenon) 18 min


Something’s Coming





I Feel Pretty


Chick COREA (1941–2021)

Spain (1971, arr. Izidor Leitinger)

5 min


Experience Wonder. Full.

Ovolo Nishi


Signum Saxophone Quartet and Kristian Winther

will perform at Macquarie Conservatorium in Dubbo, NSW

on Sunday 6 November as part of Musica Viva Australia’s

Regional Touring Program.

For further details visit:



Signum Saxophone Quartet and Kristian Winther will

present the following masterclasses as part of this tour:

• Saturday 5 November: Dubbo

Macquarie Conservatorium

• Monday 14 November: Perth

Western Australian Academy of Performing Arts (WAAPA)

Kristian Winther

• Thursday 17 November: Canberra

Marist College

Kristian Winther (closed to public)

• Friday 18 November: Sydney

Sydney Conservatorium of Music

Signum Saxophone Quartet

• Wednesday 23 November: Melbourne

Australian National Academy of Music (ANAM)

Kristian Winther

• Wednesday 23 November: Brisbane

Queensland Conservatorium, Griffith University

Signum Saxophone Quartet (closed to public)

• Thursday 24 November: Brisbane

Queensland Conservatorium, Griffith University

Kristian Winther (closed to public)




For further details visit:


Musica Viva Australia’s Masterclass program is supported by:

Nicholas Callinan AO & Elizabeth Callinan, Caroline &

Robert Clemente, Allan Myers AC QC & Maria Myers AC,

The Patricia H Reid Endowment Fund, Andrew Sisson AO

& Tracey Sisson, Mick & Margaret Toller, Anonymous (2)

Musica Viva Australia Masterclasses in Western Australia

are supported by Wesfarmers Arts.






The four musicians Blaž Kemperle, Hayrapet

Arakelyan (replaced for this tour by new

member Jacopo Taddei), Alan Lužar and

Guerino Bellarosa met in Cologne where

they founded the Signum Saxophone Quartet

in 2006. The saxophonists have studied in

Cologne, Vienna and Paris; they have been

influenced and inspired by Quatuor Ébène, the

Artemis Quartet and Gábor Takács-Nagy.

An award winner at international competitions

including Lugano and Berlin, Signum

nowadays plays in concert halls and at

festivals all over Europe. In 2013 the ensemble

made its debut in New York’s Carnegie Hall.

Selected for the European Concert Hall

Organisation (ECHO) Rising Stars series

in 2014/2015, Signum performed in such

prestigious concert halls as the Barbican

Centre in London, the Vienna Konzerthaus,

Amsterdam’s Concertgebouw, Palais des

Beaux-Arts in Brussels, the Gulbenkian

Foundation in Lisbon, Baden-Baden’s

Festspielhaus and Philharmonie Luxembourg.

Recently Signum was named Best Ensemble

at the Mecklenburg-Vorpommern Festival in


Signum is constantly searching for new ideas,

ground-breaking challenges and intriguing

artistic encounters, creating extraordinary

programs and inspiring soundscapes

that reflect the quartet’s sheer joy and

experimental versatility. Recent collaborations

have included Starry Night with percussionist

Alexej Gerassimez, BACHianas with cellists

Tanja Tetzlaff and Konstantin Manaev;

Rhapsody in Blue with pianist Lukas Geniušas,

Goldberg Nights with Kai Schumacher on

piano and prepared piano, and a new project

with violinist Daniel Hope. Signum also

continues to perform with orchestras, including

Philip Glass’s Concerto for Orchestra and

Saxophone Quartet and Bob Mintzer’s The

Rhythm of the Americas with the Mozarteum

Orchestra Salzburg, Münster Symphony

Orchestra and with the Duisburg Philharmonic,

with whom Signum has recently completed

a season as Artist in Residence. Signum also

cares deeply about the audience of tomorrow,

and has devised its own educational family

concert SIGNUM4kids.

Following its first two albums, Debut

(2011) and Balkanication (2014), Signum

Saxophone Quartet released its first

Deutsche Grammophon album, ECHOES, in

2021. Featuring inventive arrangements by

composers from Dowland, Fauré and Albinoni

to Peter Gregson, as well as Guillermo Lago’s

Sarajevo, an original work for saxophone

quartet, the album also includes standout

tracks by Max Richter and Joep Beving.

© Andrej Grilc


Kristian Winther is widely recognised for his

ability to perform both as a virtuosic violin

soloist and as an energetic and brilliant

chamber musician, seeking musical challenges

performing classic, contemporary and rare


As violin soloist, Kristian has appeared with the

Sydney, Melbourne, Queensland, Christchurch

and Tasmanian Symphony Orchestras, the

Melbourne Chamber Orchestra, Orchestra

Victoria, Auckland Philharmonic, Gruppo

Montebello and Orchestra Romantique. He

has performed under the batons of conductors

including Jessica Cottis, Olli Mustonen, Miguel

Harth-Bedoya, Marcus Stenz, Oleg Caetani,

David Robertson and Fabian Russell.

In the role of leader / director, he has

performed as Guest Concertmaster of the

Mahler Chamber Orchestra, the Melbourne

and West Australian Symphony Orchestras,

and as leader / director of ACO Collective.

A devoted chamber musician, Kristian was

formerly violinist in the Tinalley String Quartet,

winning first prize at the Banff International

String Quartet Competition, which was

followed by tours of the USA, Canada and

Europe. He has also performed chamber music

with Anthony Romaniuk, Daniel de Borah,

Anne Sofie von Otter, Angela Hewitt, Steven

Osborne, Anna Goldsworthy, Richard Tognetti,

Brett and Paul Dean, Konstantin Shamray,

Hue Blanes and Joe Chindamo. As an original

musician of the Play On series since 2016,

Kristian has performed music from the 16th to

the 21st centuries at diverse venues including

an underground car park in Melbourne’s

Collingwood and a night club in Berlin. Other

recent solo / chamber music highlights include

performing all of JS Bach’s unaccompanied

sonatas and partitas at the Canberra Festival

in a single day, the complete Schumann String

Quartets in one concert on raw gut strings, and

Reger’s monumental Violin Concerto at the

Orlando Festival in the Netherlands.

Committed to performing new repertoire,

Kristian gave the world premiere of Olli

Mustonen’s Sonata for Violin and Orchestra

(with the composer conducting the Melbourne

Symphony Orchestra), as well as the

Australian premieres of works by Andriessen,

Knussen, Kurtág, Salonen, Rihm, Widmann,

Kelly-Marie Murphy and numerous Australian

composers. Kristian also gave the Australian

premiere of John Adams’ concertante work

for string quartet and orchestra Absolute Jest

with the Sydney Symphony Orchestra, and

the Australian and New Zealand premieres

of Brett Dean’s violin concerto The Lost Art of

Letter Writing.

Kristian performs on a violin crafted by

Jean-Baptiste Vuillaume, Paris, 1859, on

generous loan from UKARIA Cultural Centre.

© Anthony Browell








Jessica Wells is a versatile composer,

orchestrator and arranger for concerts,

films, theatre and album recordings.

Since obtaining her Master of Music in

Composition (Sydney Conservatorium

of Music) and Master of Arts in Screen

Composition (Australian Film Television

and Radio School), her career has gone

from strength to strength. Her business of

over 15 years, Jigsaw Music, provides music

preparation services for clients all over the

country and overseas.

Jessica has orchestrated over 70 films and

wrote the theme for ABC TV’s Q&A program –

which makes her kids think she’s famous. Her

orchestral music and arrangements have been

performed by many of the major Australian

orchestras, including the Sydney, Melbourne,

Tasmanian, West Australian and Queensland

Symphony Orchestras. She was commissioned

to write two pieces for Victorian Opera’s Seven

Deadly Sins project, which was performed in

2015 featuring seven singers and full orchestra,

and acclaimed as a highlight of the year in

Melbourne’s art scene.

She was a finalist in the 2017 APRA Art Music

Awards in the category of Instrumental

Work of the Year for her piece Moon Fire, for

the National Carillon and electronic track.

Jessica was previously nominated for an Art

Music Award in 2001 for her orchestral work


From 2017 to 2020 she was the Musical Director

of the APRA Screen Music Awards, and she

is the current Vice President of the Music

Arrangers Guild of Australia.






4–11 FEBRUARY 2023

Join Wagner expert Professor Heath Lees on Hayllar Music Tours’ exclusive trip to Dresden

in February 2023 for Wagner’s complete Ring Cycle at the historic Semperoper.

Wagner specialist and legendary German conductor Christian Thielemann leads an all-star

cast including Lise Lindstrom, Andreas Schager, John Lundgren and Christa Mayer.

Learn more about this remarkable operatic work with four exclusive private talks from

Tour Leader Professor Heath Lees and enjoy private guided tours of the Dresden Royal Palace,

the Semperoper Dresden and the Old Masters Gallery located in the Zwinger Palace.

www.hayllarmusictours.com/dresden 02 9669 9181





When Adolphe Sax began experimenting

with adaptations to his bass clarinet, he was

not looking for the ultimate jazz instrument;

his intention was to augment the timbral

possibilities of classical music. He wanted to

develop something with the projection of a

brass instrument and the agility of a woodwind

instrument. The result was the saxophone,

a keyed brass horn (like a trumpet) with a

single-reed mouthpiece (like a clarinet). In

1846 he applied, successfully, for a patent for

14 different versions of the new instrument –

E-flat and B-flat models each in seven sizes

from basso to sopranino.

Soon after that the saxophone began to

appear in orchestral scores: Bizet wrote for

saxophone in L’Arlésienne, Delibes included

a part for saxophone in Sylvia, and Richard

Strauss, Mussorgsky, Glazunov and Ravel

all experimented with its versatile timbre.

However, the saxophone did not achieve

widespread popularity until the advent of

vaudeville, dance band music and jazz.

So where does the saxophone fit best?

Within notated classical and dance music, or

improvised jazz, or none of the above? For the

four musicians of Signum Saxophone Quartet

the question is irrelevant. None of the works

on this program were originally written for

saxophone but the Signums have made all of

them their own.


JS Bach

The music of JS Bach has been the subject of

countless transcriptions, arrangements and

improvisations (not least, Paul Grabowsky’s

recent Goldberg Variations). Katsuki Tochio’s

arrangement of Bach’s Italian Concerto here

is an arrangement of a work which is already

a version of a version. Strictly speaking,

Bach’s Italian Concerto is neither Italian nor a

concerto. In its original form Bach’s Concerto

nach italienischen Gusto, ‘in the Italian style’,

is the first half of his 1735 Clavier-Übung, a

book of keyboard exercises for double manual

keyboard. ‘In the Italian style’ is a nod to the

orchestral concertos of Vivaldi, many of which

Bach arranged for keyboard, and whose

characteristic fast-slow-fast pace he uses here.

The outer movements, two spritely ritornellos,

wrap around the stark beauty of an arioso in

the relative minor key.


Kurt Weill

Kurt Weill’s musical output during the ‘Golden

Twenties’ in post-World War One Berlin was

heavily influenced by his teacher Ferruccio

Busoni, a sought-after pianist and teacher

of composition who had connections with

Stravinsky, Varèse and Schoenberg. Busoni’s

own compositions had moved well towards

atonality, and this is reflected in Weill’s 1924

Concerto for Violin and Wind Orchestra.

Weill composed this concerto in a lull after

working on the opera Der Protagonist with

playwright Georg Kaiser, which opened in

1926 to great acclaim and set him on the

path towards becoming a well-established

composer of songs and stage works. ‘I am

working on a concerto for violin and wind

orchestra that I hope to finish within two or

three weeks,’ Weill wrote to Universal. ‘The

work is inspired by the idea – one never

carried out before – of juxtaposing a single

violin with a chorus of winds.’

Indeed this ensemble was completely unique

for its time and even almost a century later

very few works for this instrumentation exist.

Weill expects the winds and brass to perform

at an extraordinary level of dexterity, and uses

percussion such as xylophone, snare drum

and bass drum to punctuate the incessant

rhythms of the score. The violin soloist must

wrangle with ever-morphing arpeggios,

difficult double-stops and explore the extreme

high register of the instrument, as well as

characterising quirky waltz or march-like

passages interrupted with constant meter


Creating a new arrangement of the concerto

utilising a saxophone quartet rather than a

wind orchestra presented many challenges

and obstacles to be overcome in order to

preserve the character of the work and open

up the music to a new angle of interpretation.

Double bass (though not a wind instrument)

was used throughout Weill’s score to give

a pizzicato accompaniment, to which the

staccato baritone saxophone was well-suited

as a substitute. Xylophone and snare drum

hits were translated into pitched rhythms, and

when faced with a heavily voiced chord of

more than four notes, many hours were spent

listening and deciding which four-note voicing

would best suit the character of the harmony,

or whether adding tremolos or trills could

realise the chord more fully, adding texture

and depth.

The unique quality of saxophone tone colours

and techniques allowed a large range of

dynamics to be achieved, and each size of

saxophone paired with the violin created

timbres different from the original oboe,

trumpet and flute pairings the composer used

in the centre movements.

Overall this incredibly detailed and

challenging work is a thrilling showpiece,

showing off the virtuosic capabilities of all

the performers and bringing a new light to a

century-old gem.


George Gershwin

On a wintry morning in New York early last

century George Gershwin sat down at his

desk with a new manuscript book and wrote at

the top of the first page, ‘Preludes, Jan 1925’.

He then sketched out the first eleven bars of

what was to be a major piano work, a set of

24 preludes, in the grand tradition. The book

still exists but the front four pages are torn out

and the remaining scribbles are workings for

his Cuban Overture. So much for New Year’s


Gershwin only ever published three preludes

but, as you will hear, they turned out to be

three fragments of explosive brilliance, played

here in the quartet’s own arrangement. The

first, Allegro ben ritmato e deciso, opens

with a provocation, answered by a question,

prompting a playful back and forth. The

second, Andante con moto e poco rubato,

could be the soundtrack to a clandestine

rendezvous in a smoky downtown bar. The

third, again Allegro ben ritmato e deciso, is

like a brief but dazzling star turn before the

curtain goes down.


Like the music of JS Bach, the plays of William

Shakespeare have been adapted, reworked

and reimagined innumerable times, and

none more so than Romeo and Juliet. Jerome

Robbins’ 1957 version, West Side Story, recasts

the Montagues and the Capulets as rival

street gangs who fight and dance and fall

in love to the music of Leonard Bernstein.

In 1960 Bernstein created a nine movement

suite, Symphonic Dances from West Side

Story, expanding the forces on stage from the

original 31-piece pit band to a full symphony

orchestra. The arrangement you’ll hear tonight







packs Bernstein’s symphonic scoring plus

some bonus hit songs from the musical into a

20-minute showcase for saxophone quartet.

The appeal of the music of Leonard Bernstein,

says Alan Lužar of the Signum Saxophone

Quartet, is that he can combine a jazz and

classical aesthetic simultaneously: West

Side Story is full of jazz and Latin-American

inspired dance rhythms, and yet it is driven

by sublime arias, leitmotifs and counterpoint.

This meeting of musics makes it the perfect

playground for a cross-genre group like


Their choice of numbers from the suite and

the musical is designed to show off the

expressive range of their instruments. It

does, however, remain at all times faithful to

Bernstein’s score. Listen out, for example for

the distinctive tritone figure of C–F-sharp–G,

instantly recognisable as the opening of the

song Maria, but appearing, like a persistent

echo, throughout. As Bernstein later wrote:

‘The three notes pervade the whole piece,

inverted, done backwards. I didn’t do all this

on purpose. It seemed to come out in Cool

and as the gang whistle [in the Prologue]. The

same three notes.’

Leonard Bernstein

Signum’s West Side Story begins with the

Prologue, an edgy scene-setter. Something’s

Coming introduces the idealistic Tony, our

romantic hero. Tonight is Tony’s duet with

Maria in the musical’s equivalent of the play’s

balcony scene. The next number is driven

by the irresistible rhythmic pattern of (I like

to be in) America. Cool shows off Bernstein

at his genre-hopping best, taking fragments

of melody and winding them into a complex

fugue which is, simultaneously, a classical

dance. Sylvain Dedenon’s arrangement

follows this with Somewhere, Maria and Tony’s

hopeful but, ultimately, tragic love duet. The

dazzling tour of West Side Story ends with

Maria’s ebullient I Feel Pretty.


Chick Corea

Chick Corea was a titan of the jazz world and

is widely considered to be one of the foremost

jazz pianists of all time. Across a recording

and performing career that spanned nearly

60 years (and more than 60 Grammy

nominations), Corea wrote several jazz

standards, of which Spain is undoubtedly his

most recognisable.

First appearing on Corea’s 1973 album Light

as a Feather, Spain was inspired by Miles

Davis’s recording of Concierto de Aranjuez

– an arrangement of Joaquín Rodrigo’s work

for guitar and orchestra, and the first track of

Davis’s tremendously influential 1960 album

Sketches of Spain. Corea had recorded and

toured briefly with Davis’s band, replacing

Herbie Hancock in 1968, and Davis’s influence

on Corea’s music cannot be overstated.

Spain opens with an arrangement of the

Adagio from the Concierto de Aranjuez,

before breaking into an energetic samba

denoted by the main theme, based on the

chord progression from the same movement.

Spain has been covered by several notable

artists since its release including Béla Fleck,

Jaco Pastorius, Stevie Wonder and James

Galway. The version you will hear today was

arranged for saxophone quartet by Izidor





Fresh from triumphant seasons as Hamlet (The Met) and Peter Grimes (Covent Garden),

tenor Allan Clayton joins pianist Kate Golla for Schubert’s immortal songs of love and loss.

Director Lindy Hume and video designer David Bergman weave a magical

Australian setting from Fred Williams’ wondrous landscapes.




1800 688 482

(Australian Book Review)

(Limelight Magazine)

(The Age)






A good team meeting will start with a hot

cup of coffee – and it’s no different for the

members of Signum Saxophone Quartet.

Except once they’ve sipped their final drop,

they don’t sit around a boardroom table with

pen and paper in hand. They pick up their

instruments and dive straight into rehearsal,

preparing the music they’ll perform at

Carnegie Hall, at an international competition

– or on their Musica Viva Australia tour.

‘What I love most about rehearsing together

is that four strong and different opinions keep

the rehearsal exciting,’ Alan Lužar shares. He

plays tenor saxophone alongside his fellow

ensemble members Blaž Kemperle (soprano),

Jacopo Taddei (alto) and Guerino Bellarosa


Through caffeine-fuelled gatherings, the

young saxophonists indulge in music and

conversation, conjuring the creative vision that

has landed them record deals with labels as

big as Deutsche Grammophon.

This Australia tour is no less substantial: it’s

the first time an arts organisation has brought

Signum Saxophone Quartet to the country.

Alan describes this Musica Viva Australia

opportunity as ‘an enormous pleasure’. To him,

the brightest drawcard is playing beautiful

music for people he’s never met – and ‘having

a lot of fun’ along the way.

Signum was founded in Cologne back in

2006; not a decade later, the players were

named Rising Stars by the European Concert

Hall Organisation – an award that sent

them touring through the continent’s most

prestigious venues. The group may be closeknit

behind the scenes, but with open arms

(and trademark charisma), these players

welcome audiences to join them as they

‘discover secret messages that music is full of.’

The versatile saxophone has proven capable

of playing almost any genre of music since

its creation. It’s old, in the sense that it was

invented in the 1840s. It’s also new, having

been designed centuries later than most other

instruments you’d typically find in a chamber

ensemble. As such, it’s a desirable outcast of

the music world: it’s rarely invited to sit with an

orchestra, yet it’s often given the solo on the

rare occasion it’s composed into a symphonic

work. It’s remained popular through the eras of

jazz, rock and K-pop, and it’s equally accepted

among art music crowds who meditate through

the repetition of a Philip Glass composition.

With Musica Viva Australia, the saxophone will

fly through music from composers as diverse

as Bach and Gershwin, Bernstein and Chick

Corea. Few instruments could so effortlessly

combine such an extraordinary range of works

into a single program.

Alan describes the saxophone as a

‘chameleon of music’ capable of awe-inspiring

tonal colours. Multiply its potential by the

players of his quartet – who sing through

soprano or boom through baritone – and

you arrive at ‘limitless possibilities to express

emotions through sound’.

‘Chameleon of music’

It’s enough to fuel the passion of these four

instrumentalists, and to attract audiences who

may be curious to hear the saxophone in a

classically inspired concert. It’s also drawn the

interest of Australian composer Jessica Wells,

who crafted a new arrangement of Kurt Weill’s

1924 Violin Concerto – reimagining the sound

of an entire wind orchestra and giving all its

themes to the saxophone family.

‘This was an opportunity to be creatively put to

the test, and I relished that,’ Jessica says.

‘Replacing a high flute part with soprano sax,

and a pizzicato double bass with a staccato

baritone sax, seemed like obvious choices.

But what to do with a snare drum? All of the

creative choices were actually rather fun to

work out!’

Musica Viva Australia commissioned her

arrangement under the auspices of the

Hildegard Project. Jessica reckons it’s been

an ‘unusual project’: an orchestra has tens of

players, and this ensemble has four. Luckily,

those four can ‘pack a punch and be brassy,

or can be mellow and round.’

‘Dynamic control allows for a huge range of

tones and timbres,’ Jessica says. ‘This all adds

to the excitement of exploring how to present

the contrasting movements of this work.’

Alan adds: ‘You can imagine what a great job

an arranger has to do – that four instruments

not only replace a whole orchestra, but also

give new, unknown colours to the piece.’

Through Jessica’s skilful arrangement, just

one instrument takes the same role it played

in Weill’s original – the violin. And Canberraborn

soloist Kristian Winther is tasked with

performing it.

In the past, this award-winning violinist has

taken to the stage with major orchestras – the

Melbourne, Tasmanian, Sydney and West

Australian among others. Naturally, Jessica

predicts ‘audiences are going to be really

wowed by this performance.’

‘I’m super excited to be working with Signum

and Kristian Winther to bring this score to

life… It requires virtuosity and high levels of

electricity between the musicians on stage,’

she says.

‘I’m thrilled to be giving some pre-concert

talks on this tour for Musica Viva Australia,

and seeing the audience’s reaction to this

incredible work from a century ago being

brought back to the concert stage with a new


Alan is bursting with similar enthusiasm,

revealing the group ‘cannot wait to play for


So let’s hear them!




Musica Viva Australia’s Amadeus Society is

a small philanthropic circle of passionate music

lovers who help us to realise our bold artistic vision

and bring acclaimed international and local artists

to our stages throughout the country.

Since 2007, the Amadeus Society has enabled

Musica Viva Australia to further extraordinary

artistic initiatives and in 2022 will continue to do

so by celebrating the wealth and diversity of

Australian musical talent.

Annual membership of the Society includes

intimate private house concerts with our

mainstage artists, currently held in

Melbourne and Sydney.

If you are interested in joining the Amadeus Society or would like more information please contact:


Caroline Davis, Individual Giving Manager

02 8394 6636 | cdavis@musicaviva.com.au


Zoë Cobden-Jewitt, Director of Development

1800 688 482 | zcobden-jewitt@musicaviva.com.au



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)


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)


NSW The late Charles Berg, The late Janette Hamilton,

The late Dr Ralph Hockin in memory of Mabel Hockin,

The late Kenneth W Tribe AC


The late Steven Kinston, Anonymous

SA The late Edith Dubsky, The late John Lane Koch,

The late Lesley Lynn

VIC The late Raymond Brooks, In memory of Anita

Morawetz, The family of the late Paul Morawetz,

The late Dr G D Watson


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 AM & Reg Holloway (Van Diemen’s Band)

Anonymous (Paul Grabowsky & Andrea Lam)

Peter Griffin AM & Terry Swann, Susie Dickson,

and Ms Felicity Rourke & Justice François Kunc

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)


Adelaide Helen Bennetts & Tim Lloyd, Joan & Ivan

Blanchard, Helen Fulcher, 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 The Musica Viva Australia ACT Committee

& Ruth Weaver, Andrew Blanckensee Music Lover,

Humphries Family Trust, Malcolm Gillies & David Pear in

memory of Stewart Gillies, Dr Sue Packer, Sue Terry

& Len Whyte, Anonymous

Melbourne Alexandra Clemens, Continuo Collective,

Peter Griffin AM & Terry Swann, Monica Lim & Konfir Kabo,

Peter Lovell, Rosemary & John MacLeod, The Morawetz

Family in memory of Paul Morawetz, Allan Myers QC AC in

honour of the 90th birthday of Barry Jones AC, Greg Shalit &

Miriam Faine (2), Dr Michael Troy, The Musica Viva Australia

Victorian Committee, Anonymous

Newcastle Megan & Bill Williamson, Gay Bookallil &

the Musica Viva Australia Newcastle Committee

Perth Dr Robert Larbalestier AO, Deborah Lehmann AO &

Michael Alpers AO, In memory of Stephanie Quinlan (2),

David Wallace & Jamelia Gubgub, 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


Darin Cooper Foundation, Stephen & Michele Johns


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, Dr Helen Ferguson,

Ms Annabella Fletcher, Dr Annette Gero, Peter Griffin AM &

Terry Swann, Katherine & Reg Grinberg, Jennifer Hershon &

Russell Black, Penelope Hughes, Michael & Frederique Katz,

Ruth Magid & Bob Magid OAM, Prof. John Rickard,

Andrew Rosenberg, Ray Wilson OAM









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, Patricia H. Reid

Endowment Fund, Andrew Sisson AO & Tracey Sisson,

Mick & Margaret Toller, Anonymous (1)


Musica Viva Australia is proud to support the creation

of new Australian works through The Ken Tribe Fund

for Australian Composition and The Hildegard Project.

We are grateful to the following individuals and

collectives for their generous support of this work:

In loving memory of Jennifer Bates, Christine Bollen &

Friends, Julian Burnside AO QC & Kate Durham, The Barry

Jones Birthday Commission, Michael & Fréderique Katz

in honour of Cecily Katz, Graham Lovelock & Steve Singer,

D R & K M Magarey, Vicki Olsson, The Silo Collective,

Tribe family in honour of Doug Tribe’s 75th birthday,

WA Commissioning Circle

The Barry Jones 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,

Ralph & Ruth Renard, Anne & Robert Richter QC, Gianna

Rosica, Joy Selby Smith, Smith Family, 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.



NSW The Berg Family Foundation,

Patricia H. Reid Endowment Fund


ACT Marion & Michael Newman

NSW J A Donald Family, Katherine & Reg Grinberg,

Tom & Elisabeth Karplus


NSW Tom Breen & Rachael Kohn AO,

Michael & Fréderique Katz, Vicki Olsson


Ian & Caroline Frazer, Andrea & Malcolm Hall-Brown

VIC The Morawetz Family in memory of Paul Morawetz,





ACT R & V Hillman, Anonymous

NSW Anne & Terrey Arcus AM, Gardos Family,

Gresham Partners, Hilmer Family Endowment,

Nigel & Carol Price, Anthony Strachan




Jennifer & John Henshall, Anonymous

VIC Roger Druce & Jane Bentley, Peter Griffin AM

& Terry Swann, Mercer Family Foundation, Monica Lim

& Konfir Kabo, Peter Lovell, Marjorie Nicholas OAM,


WA Team Legacy, Deborah Lehmann AO

& Michael Alpers AO


ACT Goodwin Crace Concertgoers, Craig Reynolds,

Sue Terry & Len Whyte

NSW Christine Bishop, Patricia Crummer,

Jo & Barry Daffron, Sarah & Tony Falzarano,

Iphygenia Kallinikos, Mrs W G Keighley,

D R & K M Magarey, Hywel Sims, David & Carole Singer,

Diane Sturrock, Kim Williams AM & Catherine Dovey



Andrew & Kate Lister, The Hon Justice A Philippides

Aldridge Family Endowment, Anonymous

VIC In memory of Kate Boyce, Robert Gibbs &

Tony Wildman, Doug Hooley, Andrew Johnston,

Joy Selby Smith, Greg Shalit & Miriam Faine,

Stephen Shanasy, Anonymous

WA Anonymous (2)



ACT Kristin van Brunschot & John Holliday,

Dr Andrew Singer, Ruth Weaver, Anonymous

NSW Penny Beran, Susan Burns, ADFAS Newcastle,

Andrew Rosenberg, Jo Strutt



Greyhound Australia

DJ & EM Bleby, Peter Clifton

VIC Jan Begg, Alastair & Sue Campbell,

Anne Frankenberg & Adrian McEniery, Lyndsey &

Peter Hawkins, Ralph & Ruth Renard, Maria Sola,

Helen Vorrath, Igor Zambelli

WA David Cooke, Ros Kesteven, Zoe Lenard &

Hamish Milne, Mrs Morrell, Anonymous


ACT Andrew Blanckensee, The Breen/Dullo Family,

Odin Bohr & Anna Smet, Dudley & Helen Creagh, Martin

Dolan, Liz & Alex Furman, Olivia Gesini, Malcolm Gillies

AM, Kingsley Herbert, Margaret & Peter Janssens, Garth

Mansfield, Teresa Neeman, Margaret Oates, S Packer,

Clive & Lynlea Rodger, Hannah Semler, Anonymous (3)

NSW Judith Allen, David & Rae Allen, Maia Ambegaokar

& Joshua Bishop, Dr Warwick Anderson, Stephen Booth,

Vicki Brooke, Neil Burns, Hugh & Hilary Cairns, Hon J C

Campbell QC & Mrs Campbell, Lloyd & Mary Jo Capps AM,

Robin & Wendy Cumming, Thomas Dent, Nancy Fox AM &

Bruce Arnold, John & Irene Garran, H2 Cairns Foundation,

Annie Hawker, Robert & Lindy Henderson, 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, Mora Maxwell, Michael &

Janet Neustein, Paul O’Donnell, In memory of Katherine

Robertson, Ms Vivienne Sharpe, Dr Robyn Smiles, Tom &

Dalia Stanley, Geoff Stearn, Richard & Beverley Taperell,

Graham & Judy Tribe, Dr Elizabeth Watson, John & Flora

Weickhardt, Richard Wilkins, Megan & Bill Williamson,

Anonymous (6)

QLD George Booker & Denise Bond, Prof. Paul & Ann

Crook, John & Denise Elkins, Robin Harvey, Lynn & John

Kelly, Dr Helen Kerr & Dr John Ratcliffe, Jocelyn Luck, Barry

& Diana Moore, Keith Moore, Debra & Patrick Mullins,

Barbara Williams & Jankees van der Have, Anonymous

SA The late Peter Bailie & Ann-Maree O’Connor,

Ivan & Joan Blanchard, Richard Blomfield, Max & Ionie

Brennan, John & Libby Clapp, The Hon. Christopher Legoe

AO QC & Mrs Jenny Legoe, Joan Lyons, Fiona MacLachlan

OAM, Dr Leo Mahar, Geoff & Sorayya Martin, Ann & David

Matison, Diane Myers, H & I Pollard, Trish & Richard Ryan

AO, Anne Sutcliffe, Anonymous

VIC Joanna Baevski, Russ & Jacqui Bate, Marlyn Bancroft,

Peter Burch AM BM, Alison & John Cameron, Alex &

Elizabeth Chernov, Lord Ebury, Dr Glenys & Dr Alan French,

Virginia Henry, Dr Anthea Hyslop, Helen Imber, John V

Kaufman QC, Angela Kayser, Angela & Richard Kirsner,

Ann Lahore, Janet McDonald, Ruth McNair AM & Rhonda

Brown in memory of Patricia Begg & David McNair, June K

Marks, Christopher Menz & Peter Rose, Traudl Moon OAM,

The Myer Foundation, Sir Gustav Nossal, Barry Robbins,

Murray Sandland, Gary Singer & Geoffrey Smith, Darren

Taylor & Kent Stringer, Wendy R. Taylor, Ray Turner &

Jennifer Seabrook, Dr Victor Wayne & Dr Karen Wayne

OAM, Mark & Anna Yates, Anonymous

WA David & Minnette Ambrose, Dr S Cherian, Michael

& Wendy Davis, In memory of Raymond Dudley, Dr Penny

Herbert in memory of Dunstan Herbert, Anne Last & Steve

Scudamore, Hugh & Margaret Lydon, Olivier David &

Dr Bennie Ng, Mandy Loton OAM, Marian Magee & David

Castillo, John Overton, Margaret & Roger Seares, Vivienne

Stewart, Robyn Tamke, Anonymous (4)


ACT Geoffrey & Margaret Brennan, Christopher Clarke,

Peter Cumines, Jill Fleming, Robert Hefner, Mary Elspeth

Humphries, Claudia Hyles OAM, Margaret Lovell &

Grant Webeck, Margaret Millard, Robert Orr, Helen Rankin,

Dr Paul & Dr Lel Whitbread, Anonymous (2)

NSW Jock Baird in memoriam Annette McClure, Barbara

Brady, K Becker, Denise Braggett, Christopher & Margaret

Burrell, 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, Anthony

Gregg, Roland & Margaret Hicks, David & Sarah Howell,

Alicia Howlett, David & Jennifer Jacobs, Megan Jones, In

honour of Michael Katz, Cynthia Kaye, K P Kemp, Mathilde

Kearny-Kibble, Graham & Sue Lane, Olive Lawson, Dr Colin

MacArthur, Ian & Pam McGaw, Laura McDonald, Dr V Jean

McPherson, Robert McDougall, Alan & Rosemary Moore,

Donald Nairn, Professors Robin & Tina Offler, Kim & Margie

Ostinga, Christina Pender, Dr John Rogers, Penny Rogers,

Peter & Heather Roland, Professor Lynne Selwood, Andrew

Wells AM, Margaret Wright OAM, Anonymous (10)

QLD Geoffrey Beames, Janet Franklin, Marie Isackson,

Diana Lungren, Timothy Matthies & Chris Bonnily,


SA Daniel & Susan Hains, Elizabeth Ho OAM in honour

of the late Tom Steel, Dr Iwan Jensen, Helga Linnert &

Douglas Ransom, Ruth Marshall & Tim Muecke,

Linda Sampson, Tony Seymour, Anonymous (5)



VIC David Bernshaw & Caroline Isakow, Helen Brack,

John & Chris Collingwood, John & Mandy Collins, Ted &

Alison Davies, Beverley Douglas, Mary-Jane Gething, John

& Margaret Harrison, Irene Kearsey & Michael Ridley, Jane

Lazarevic, Eda Ritchie AM, Maureen Turner, Anonymous (5)

WA Joan Carney, Fred & Angela Chaney, Rachel & Bruce

Craven, Helen Dwyer, Jennifer L Jones, Paula Nathan AO &

Yvonne Patterson, Lindsay & Suzanne Silbert, Father Richard

Smith, Ruth Stratton, Christopher Tyler, Anonymous (6)





Perth Concert Series Sydney Morning Masters Series Commissioning Partner


Chartered Accountants

Piano & Tuning

Media Partner

Wine Partners

Hotel Partners





Strike A Chord

Principal Partner

Strike A Chord

Strategic Partner

Strike A Chord

University Partner

Strike A Chord

Key Philanthropic Partner

Strike A Chord Partner


Lead Partner


Residency Partner

Key Philanthropic Partner


Musica Viva Australia is assisted by the

Commonwealth Government through the

Australia Council, its arts funding and advisory body.

Musica Viva Australia

is supported by the

NSW Government

through Create NSW.

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).



J A Donald Family

Marion & Mike Newman


• Legacy Unit Trust


• Margaret Henderson Music Trust


• Godfrey Turner Memorial Music Trust

Western Sydney & Melbourne




• The Benjamin Fund • The Marion & E.H. Flack Trust

• In memory of Anita Morawetz • Keith McKenzie Will Trust


• Aldridge Family Endowment • Carthew Foundation • Day Family Foundation

• FWH Foundation • Jennifer & John Henshall • Lang Foundation • Marsden Szwarcbord Foundation




Perpetual Foundation –

Alan (AGL) Shaw


Perpetual Foundation –

Alan (AGL) Shaw




Jazz Masterclass with Paul Grabowsky at the Queensland Conservatorium, Griffith University.





‘I’m extremely thankful that I was able

to move past any nervousness during the

class, and just enjoy the music-making –

Konstantin Shamray was such an engaging

communicator of his musical ideas, and

he offered so much new information that

I am eager to apply.’

– Participant, Konstantin Shamray Masterclass

The Musica Viva Australia 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. Through their

vision, our masterclasses provide an essential

opportunity for young musicians around

the country to encounter new ideas and

approaches to music-making.

Musica Viva Australia masterclasses support

emerging artists around the country to learn

from world-class musicians. In many ways,

mentoring through masterclasses is at the

heart of what Musica Viva Australia does.

Hosted in partnership with a national network

of high schools, universities and industry

partners, masterclasses allow Australian and

international artists to share their knowledge

with young musicians. A national network

of hosts means that we can deliver on our

commitment to free, world-class professional

development for emerging Australian

musicians, regardless of their geography or


‘Being a cellist and cello teacher in Perth,

I was thrilled that Narek Hakhnazaryan

presented his masterclass in my city. Again, it

was phenomenal. I have participated in and

attended very many masterclasses during my

career, both in Australia and overseas, and

rank this as one of the best. Narek’s advice

to the young cellists was very considered,

articulate and helpful.’

– Dr Rebecca Meegan-Lowe, Narek Hakhnazaryan

(Z.E.N. Trio) Masterclass audience member

During a Musica Viva Australia Masterclass,

outstanding artists from national concert series

tours work with advanced students and early

career musicians in front of a live audience.

‘There’s a river that elite musicians must

cross to succeed. On one bank there is their

musical education. They’ve reached the point

where our education programs have delivered

everything they can. On the other bank lie

their career paths as successful even

pre-eminent musicians. Musica Viva

Australia’s masterclasses are unique in this

country in that they offer elite musicians

an opportunity to rub shoulders musically

with not only the best Australian musicians

but the best the world can offer too. To

audit a masterclass is to watch a musical

transformation in real time. I have seen

again and again wonderful young musicians

improve their interpretation out of sight

by following the advice of their teachers in


– Rob Clemente, Masterclass Giving Circle

Teachers, performers and listeners take

a deep dive into the music as a collective

experience, discovering not only new ways to

play but new ways to teach and new ways to


Students specifically note that the expert

advice is beneficial as they are supported to

understand the relevance and application of

the feedback to their individual development.

‘Jean had a lot of helpful advice especially for

stylistic changes and interpretation. He also

gave us advice in just all areas of music, for

example he talked a bit on how to control

nerves and be a more confident performer.’

– Participant, NEVERMIND Masterclass

Through the support of our Masterclass

Giving Circle, young musicians come to

understand their place within a community

of global performers and music educators.

They value differences as well as similarities,

feel connected to others, accept and embrace

their own musical traditions, and become

empowered to change those things that should

be changed and embrace new perspectives.

You can experience the impact and joy of a

Musica Viva Australia Masterclass in person or

through our livestream events.





Narek Hakhnazaryan with students at the University

of Western Australia, Conservatorium of Music.

In 2021 the Musica Viva Australia Masterclass

Giving Circle supported 13 live and digital

masterclasses with ten inspiring artists

including Konstantin Shamray, Diana Doherty,

Dene Olding and Julian Smiles, which reached

728 people.

‘As young musicians we all benefit hugely

from the teaching and mentorship of our

elders, which is why when we become those

elders we are all hugely passionate about

returning the favour. That’s the joy – indeed

the fuel – of masterclasses.’

– Paul Kildea, Artistic Director, Musica Viva Australia

To support the next generation of

Australian musicians through our Musica

Viva Australia Masterclass Giving Circle,

please contact Zoë Cobden-Jewitt,

Director of Development


1800 688 482




Performing nationally in Adelaide, Brisbane,

Canberra, Melbourne, Newcastle,

Perth and Sydney.

Karin Schaupp & Flinders Quartet

Among the Birds and the Trees

Garrick Ohlsson

Chopin’s Piano

Silk, Metal, Wood

Vision String Quartet

Wildschut & Brauss

+ The Cage Project,

Morning Masters, Viva Edge,

Masterclasses & more





1800 688 482

As Australia’s flagship music education and non-profit

touring company, we continuously strive to provide more

for all music lovers – more music education and teacher

professional development opportunities to help feed

young imaginations everywhere; more exceptional artists

on stage performing on metropolitan and regional stages

and online to bring audiences together across the country;

and more creative projects to promote a continuously

evolving and vibrant music sector.

Help us to continue to keep doing more so that everyone,

regardless of age, location or circumstance, can access

and share the very best live music.

For more information contact our Individual Giving Manager:

Caroline Davis, cdavis@musicaviva.com.au

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