Signum Saxophone Quartet & Kristian Winther Program Guide | November 2022

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SIGNUM<br />




Musica Viva Australia acknowledges the Traditional Custodians of the many lands on which we<br />

meet, work and live. We pay our respects to their Elders past and present – people who have<br />

sung their songs, danced their dances and told their stories on these lands<br />

for thousands of generations, and who continue to do so.<br />



B L A Ž<br />


Soprano <strong>Saxophone</strong><br />

JACOPO<br />

TADDEI<br />

Alto <strong>Saxophone</strong><br />

ALAN<br />

LUŽAR<br />

Tenor <strong>Saxophone</strong><br />



Baritone <strong>Saxophone</strong><br />


Adelaide Town Hall<br />

Thursday 10 <strong>November</strong>, 7:30pm<br />

Recorded for broadcast by ABC Classic<br />

• Pre-concert talk: 6:45pm,<br />

Prince Alfred Room<br />

• Meet the Artists after the concert<br />


Conservatorium Theatre,<br />

Griffith University, South Bank<br />

Thursday 24 <strong>November</strong>, 7pm<br />

• Pre-concert talk: 6:15pm,<br />

Boardroom, Qld Conservatorium,<br />

Griffith University<br />


Llewellyn Hall,<br />

ANU School of Music<br />

Thursday 17 <strong>November</strong>, 7pm<br />

• Pre-concert talk: 6:15pm,<br />

Larry Sitsky Room<br />

• Meet the Artists after the concert<br />


Elisabeth Murdoch Hall,<br />

Melbourne Recital Centre<br />

Saturday 12 <strong>November</strong>, 7pm<br />

• Pre-concert talk: 6:15pm,<br />

Salzer Suite, Level 2<br />

Tuesday 22 <strong>November</strong>, 7pm<br />

Milan and Anne Kantor Tribute Concert<br />

• Pre-concert talk: 6:15pm,<br />

Salzer Suite, Level 2<br />

• Meet the Artists after the concert<br />


Newcastle City Hall<br />

Tuesday 8 <strong>November</strong>, 7:30pm<br />

• Pre-concert talk: 6:45pm,<br />

Mulubinba Room<br />

• Meet the Artists after the concert<br />

PERTH<br />

Perth Concert Hall<br />

Monday 14 <strong>November</strong>, 7:30pm<br />

• Pre-concert talk: 6:45pm,<br />

Corner Stage Riverside, Terrace Level<br />

• Meet the Artists after the concert<br />

SYDNEY<br />

City Recital Hall<br />

Saturday 19 <strong>November</strong>, 2pm<br />

• Pre-concert talk: 1:15pm,<br />

Function Room<br />

Monday 21 <strong>November</strong>, 7pm<br />

This concert will be livestreamed<br />

• Pre-concert talk: 6:15pm,<br />

Function Room<br />

• CD Signing after the concert<br />

With special thanks to the Producers’ Circle<br />

and Amadeus Society for their support<br />

of the <strong>2022</strong> Concert Season.<br />

Cover photo: Copyright Gary Heery<br />

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© Keith Saunders<br />

Kurt Weill was that rarest of 20th-century<br />

beasts, simultaneously the creator of hugely<br />

popular theatrical works and the composer<br />

of a slew of distinctive art-music scores. His<br />

Violin Concerto is the product of his concert<br />

persona, with barely a nod to his theatrical life<br />

– a gritty work, with a dark beauty that befits<br />

its times. (It was written in 1924 in a matter of<br />

weeks.) ‘The work is inspired by the idea –<br />

one never carried out before – of juxtaposing<br />

a single violin with a chorus of winds,’<br />

Weill told his publisher. It is played all too<br />

infrequently, which is why we commissioned<br />

this arrangement from Jessica Wells for the<br />

outstanding violinist <strong>Kristian</strong> <strong>Winther</strong> and the<br />

phenomenal <strong>Signum</strong> <strong>Saxophone</strong> <strong>Quartet</strong>, the<br />

latter making its Australian debut.<br />

Though perhaps Weill wasn’t that rare: by<br />

happenstance the century produced a worthy<br />

successor to him – the composer, conductor,<br />

pianist and pedagogue Leonard Bernstein.<br />

What a drab century it would have been<br />

without Bernstein! He burst onto the scene in<br />

1943 and remained there until his death 49<br />

years later. Symphonies, ballets, Broadway<br />

shows, operettas poured out of him. His<br />

Symphonic Dances from West Side Story have<br />

taken on a life every bit the equal of the show<br />

itself, and here are a vehicle for the <strong>Signum</strong>’s<br />

breathtaking style and virtuosity.<br />

And then there was Gershwin, Weill’s elder<br />

by two years. He too had a foot in each camp<br />

– his piano concerto is a work of genius –<br />

though he’s arguably better known for his<br />

jazz. How satisfying, then, to welcome this<br />

crack ensemble to the country with these three<br />

giants of the 20th century, and to pair it with<br />

such a great Australian soloist. Buckle up!<br />

Paul Kildea<br />

Artistic Director<br />

Musica Viva Australia


Johann Sebastian BACH (1685–1750)<br />

Italian Concerto, BWV971 (1735, transcr. Katsuki Tochio)<br />

I Allegro (Fast)<br />

II Andante (At an easy walking pace)<br />

III Presto (Quick)<br />

12 min<br />

Kurt WEILL (1900–1950)<br />

Concerto for Violin and Wind Orchestra, Op. 12<br />

(1924, arr. Jessica Wells) 28 min<br />

Arrangement commissioned for Musica Viva Australia under the auspices of the Hildegard Project<br />

I<br />

IIa<br />

b<br />

c<br />

III<br />

Andante con moto (At a walking pace, moving along)<br />

Notturno (Nocturne)<br />

Cadenza<br />

Serenata (Serenade)<br />

Allegro molto un poco agitato (Very fast, a little agitated)<br />


George GERSHWIN (1898–1937)<br />

Three Preludes (1926, arr. <strong>Signum</strong> <strong>Saxophone</strong> <strong>Quartet</strong>)<br />

I Allegro ben ritmato e deciso (Fast, very rhythmic and decisive)<br />

II Andante con moto e poco rubato<br />

(At a walking pace, moving along with a little give and take)<br />

III Allegro ben ritmato e deciso (Fast, very rhythmic and decisive)<br />

8 min<br />

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Leonard BERNSTEIN (1918–1990)<br />

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

Prologue<br />

Something’s Coming<br />

Tonight<br />

America<br />

Cool<br />

Somewhere<br />

I Feel Pretty<br />

Mambo<br />

Chick COREA (1941–2021)<br />

Spain (1971, arr. Izidor Leitinger)<br />

5 min

ovolohotels.com<br />

Experience Wonder. Full.<br />

Ovolo Nishi


<strong>Signum</strong> <strong>Saxophone</strong> <strong>Quartet</strong> and <strong>Kristian</strong> <strong>Winther</strong><br />

will perform at Macquarie Conservatorium in Dubbo, NSW<br />

on Sunday 6 <strong>November</strong> as part of Musica Viva Australia’s<br />

Regional Touring <strong>Program</strong>.<br />

For further details visit:<br />

musicaviva.com.au/regional<br />


<strong>Signum</strong> <strong>Saxophone</strong> <strong>Quartet</strong> and <strong>Kristian</strong> <strong>Winther</strong> will<br />

present the following masterclasses as part of this tour:<br />

• Saturday 5 <strong>November</strong>: Dubbo<br />

Macquarie Conservatorium<br />

• Monday 14 <strong>November</strong>: Perth<br />

Western Australian Academy of Performing Arts (WAAPA)<br />

− <strong>Kristian</strong> <strong>Winther</strong><br />

• Thursday 17 <strong>November</strong>: Canberra<br />

Marist College<br />

− <strong>Kristian</strong> <strong>Winther</strong> (closed to public)<br />

• Friday 18 <strong>November</strong>: Sydney<br />

Sydney Conservatorium of Music<br />

− <strong>Signum</strong> <strong>Saxophone</strong> <strong>Quartet</strong><br />

• Wednesday 23 <strong>November</strong>: Melbourne<br />

Australian National Academy of Music (ANAM)<br />

− <strong>Kristian</strong> <strong>Winther</strong><br />

• Wednesday 23 <strong>November</strong>: Brisbane<br />

Queensland Conservatorium, Griffith University<br />

− <strong>Signum</strong> <strong>Saxophone</strong> <strong>Quartet</strong> (closed to public)<br />

• Thursday 24 <strong>November</strong>: Brisbane<br />

Queensland Conservatorium, Griffith University<br />

− <strong>Kristian</strong> <strong>Winther</strong> (closed to public)<br />

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For further details visit:<br />

musicaviva.com.au/masterclasses<br />

Musica Viva Australia’s Masterclass program is supported by:<br />

Nicholas Callinan AO & Elizabeth Callinan, Caroline &<br />

Robert Clemente, Allan Myers AC QC & Maria Myers AC,<br />

The Patricia H Reid Endowment Fund, Andrew Sisson AO<br />

& Tracey Sisson, Mick & Margaret Toller, Anonymous (2)<br />

Musica Viva Australia Masterclasses in Western Australia<br />

are supported by Wesfarmers Arts.


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The four musicians Blaž Kemperle, Hayrapet<br />

Arakelyan (replaced for this tour by new<br />

member Jacopo Taddei), Alan Lužar and<br />

Guerino Bellarosa met in Cologne where<br />

they founded the <strong>Signum</strong> <strong>Saxophone</strong> <strong>Quartet</strong><br />

in 2006. The saxophonists have studied in<br />

Cologne, Vienna and Paris; they have been<br />

influenced and inspired by Quatuor Ébène, the<br />

Artemis <strong>Quartet</strong> and Gábor Takács-Nagy.<br />

An award winner at international competitions<br />

including Lugano and Berlin, <strong>Signum</strong><br />

nowadays plays in concert halls and at<br />

festivals all over Europe. In 2013 the ensemble<br />

made its debut in New York’s Carnegie Hall.<br />

Selected for the European Concert Hall<br />

Organisation (ECHO) Rising Stars series<br />

in 2014/2015, <strong>Signum</strong> performed in such<br />

prestigious concert halls as the Barbican<br />

Centre in London, the Vienna Konzerthaus,<br />

Amsterdam’s Concertgebouw, Palais des<br />

Beaux-Arts in Brussels, the Gulbenkian<br />

Foundation in Lisbon, Baden-Baden’s<br />

Festspielhaus and Philharmonie Luxembourg.<br />

Recently <strong>Signum</strong> was named Best Ensemble<br />

at the Mecklenburg-Vorpommern Festival in<br />

Germany.<br />

<strong>Signum</strong> is constantly searching for new ideas,<br />

ground-breaking challenges and intriguing<br />

artistic encounters, creating extraordinary<br />

programs and inspiring soundscapes<br />

that reflect the quartet’s sheer joy and<br />

experimental versatility. Recent collaborations<br />

have included Starry Night with percussionist<br />

Alexej Gerassimez, BACHianas with cellists<br />

Tanja Tetzlaff and Konstantin Manaev;<br />

Rhapsody in Blue with pianist Lukas Geniušas,<br />

Goldberg Nights with Kai Schumacher on<br />

piano and prepared piano, and a new project<br />

with violinist Daniel Hope. <strong>Signum</strong> also<br />

continues to perform with orchestras, including<br />

Philip Glass’s Concerto for Orchestra and<br />

<strong>Saxophone</strong> <strong>Quartet</strong> and Bob Mintzer’s The<br />

Rhythm of the Americas with the Mozarteum<br />

Orchestra Salzburg, Münster Symphony<br />

Orchestra and with the Duisburg Philharmonic,<br />

with whom <strong>Signum</strong> has recently completed<br />

a season as Artist in Residence. <strong>Signum</strong> also<br />

cares deeply about the audience of tomorrow,<br />

and has devised its own educational family<br />

concert SIGNUM4kids.<br />

Following its first two albums, Debut<br />

(2011) and Balkanication (2014), <strong>Signum</strong><br />

<strong>Saxophone</strong> <strong>Quartet</strong> released its first<br />

Deutsche Grammophon album, ECHOES, in<br />

2021. Featuring inventive arrangements by<br />

composers from Dowland, Fauré and Albinoni<br />

to Peter Gregson, as well as Guillermo Lago’s<br />

Sarajevo, an original work for saxophone<br />

quartet, the album also includes standout<br />

tracks by Max Richter and Joep Beving.<br />

© Anna Tena


<strong>Kristian</strong> <strong>Winther</strong> is widely recognised for his<br />

ability to perform both as a virtuosic violin<br />

soloist and as an energetic and brilliant<br />

chamber musician, seeking musical challenges<br />

performing classic, contemporary and rare<br />

works.<br />

As violin soloist, <strong>Kristian</strong> has appeared with the<br />

Sydney, Melbourne, Queensland, Christchurch<br />

and Tasmanian Symphony Orchestras, the<br />

Melbourne Chamber Orchestra, Orchestra<br />

Victoria, Auckland Philharmonic, Gruppo<br />

Montebello and Orchestra Romantique. He<br />

has performed under the batons of conductors<br />

including Jessica Cottis, Olli Mustonen, Miguel<br />

Harth-Bedoya, Marcus Stenz, Oleg Caetani,<br />

David Robertson and Fabian Russell.<br />

In the role of leader / director, he has<br />

performed as Guest Concertmaster of the<br />

Mahler Chamber Orchestra, the Melbourne<br />

and West Australian Symphony Orchestras,<br />

and as leader / director of ACO Collective.<br />

A devoted chamber musician, <strong>Kristian</strong> was<br />

formerly violinist in the Tinalley String <strong>Quartet</strong>,<br />

winning first prize at the Banff International<br />

String <strong>Quartet</strong> Competition, which was<br />

followed by tours of the USA, Canada and<br />

Europe. He has also performed chamber music<br />

with Anthony Romaniuk, Daniel de Borah,<br />

Anne Sofie von Otter, Angela Hewitt, Steven<br />

Osborne, Anna Goldsworthy, Richard Tognetti,<br />

Brett and Paul Dean, Konstantin Shamray,<br />

Hue Blanes and Joe Chindamo. As an original<br />

musician of the Play On series since 2016,<br />

<strong>Kristian</strong> has performed music from the 16th to<br />

the 21st centuries at diverse venues including<br />

an underground car park in Melbourne’s<br />

Collingwood and a night club in Berlin. Other<br />

recent solo / chamber music highlights include<br />

performing all of JS Bach’s unaccompanied<br />

sonatas and partitas at the Canberra Festival<br />

in a single day, the complete Schumann String<br />

<strong>Quartet</strong>s in one concert on raw gut strings, and<br />

Reger’s monumental Violin Concerto at the<br />

Orlando Festival in the Netherlands.<br />

Committed to performing new repertoire,<br />

<strong>Kristian</strong> gave the world premiere of Olli<br />

Mustonen’s Sonata for Violin and Orchestra<br />

(with the composer conducting the Melbourne<br />

Symphony Orchestra), as well as the<br />

Australian premieres of works by Andriessen,<br />

Knussen, Kurtág, Salonen, Rihm, Widmann,<br />

Kelly-Marie Murphy and numerous Australian<br />

composers. <strong>Kristian</strong> also gave the Australian<br />

premiere of John Adams’ concertante work<br />

for string quartet and orchestra Absolute Jest<br />

with the Sydney Symphony Orchestra, and<br />

the Australian and New Zealand premieres<br />

of Brett Dean’s violin concerto The Lost Art of<br />

Letter Writing.<br />

<strong>Kristian</strong> performs on a violin crafted by<br />

Jean-Baptiste Vuillaume, Paris, 1859, on<br />

generous loan from UKARIA Cultural Centre.<br />

© Anthony Browell<br />

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Jessica Wells is a versatile composer,<br />

orchestrator and arranger for concerts,<br />

films, theatre and album recordings.<br />

Since obtaining her Master of Music in<br />

Composition (Sydney Conservatorium<br />

of Music) and Master of Arts in Screen<br />

Composition (Australian Film Television<br />

and Radio School), her career has gone<br />

from strength to strength. Her business of<br />

over 15 years, Jigsaw Music, provides music<br />

preparation services for clients all over the<br />

country and overseas.<br />

Jessica has orchestrated over 70 films and<br />

wrote the theme for ABC TV’s Q&A program –<br />

which makes her kids think she’s famous. Her<br />

orchestral music and arrangements have been<br />

performed by many of the major Australian<br />

orchestras, including the Sydney, Melbourne,<br />

Tasmanian, West Australian and Queensland<br />

Symphony Orchestras. She was commissioned<br />

to write two pieces for Victorian Opera’s Seven<br />

Deadly Sins project, which was performed in<br />

2015 featuring seven singers and full orchestra,<br />

and acclaimed as a highlight of the year in<br />

Melbourne’s art scene.<br />

She was a finalist in the 2017 APRA Art Music<br />

Awards in the category of Instrumental<br />

Work of the Year for her piece Moon Fire, for<br />

the National Carillon and electronic track.<br />

Jessica was previously nominated for an Art<br />

Music Award in 2001 for her orchestral work<br />

Ainulindale.<br />

From 2017 to 2020 she was the Musical Director<br />

of the APRA Screen Music Awards, and she<br />

is the current Vice President of the Music<br />

Arrangers Guild of Australia.<br />






4–11 FEBRUARY 2023<br />

Join Wagner expert Professor Heath Lees on Hayllar Music Tours’ exclusive trip to Dresden<br />

in February 2023 for Wagner’s complete Ring Cycle at the historic Semperoper.<br />

Wagner specialist and legendary German conductor Christian Thielemann leads an all-star<br />

cast including Lise Lindstrom, Andreas Schager, John Lundgren and Christa Mayer.<br />

Learn more about this remarkable operatic work with four exclusive private talks from<br />

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

the Semperoper Dresden and the Old Masters Gallery located in the Zwinger Palace.<br />

www.hayllarmusictours.com/dresden 02 9669 9181

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When Adolphe Sax began experimenting<br />

with adaptations to his bass clarinet, he was<br />

not looking for the ultimate jazz instrument;<br />

his intention was to augment the timbral<br />

possibilities of classical music. He wanted to<br />

develop something with the projection of a<br />

brass instrument and the agility of a woodwind<br />

instrument. The result was the saxophone,<br />

a keyed brass horn (like a trumpet) with a<br />

single-reed mouthpiece (like a clarinet). In<br />

1846 he applied, successfully, for a patent for<br />

14 different versions of the new instrument –<br />

E-flat and B-flat models each in seven sizes<br />

from basso to sopranino.<br />

Soon after that the saxophone began to<br />

appear in orchestral scores: Bizet wrote for<br />

saxophone in L’Arlésienne, Delibes included<br />

a part for saxophone in Sylvia, and Richard<br />

Strauss, Mussorgsky, Glazunov and Ravel<br />

all experimented with its versatile timbre.<br />

However, the saxophone did not achieve<br />

widespread popularity until the advent of<br />

vaudeville, dance band music and jazz.<br />

So where does the saxophone fit best?<br />

Within notated classical and dance music, or<br />

improvised jazz, or none of the above? For the<br />

four musicians of <strong>Signum</strong> <strong>Saxophone</strong> <strong>Quartet</strong><br />

the question is irrelevant. None of the works<br />

on this program were originally written for<br />

saxophone but the <strong>Signum</strong>s have made all of<br />

them their own.<br />


JS Bach<br />

The music of JS Bach has been the subject of<br />

countless transcriptions, arrangements and<br />

improvisations (not least, Paul Grabowsky’s<br />

recent Goldberg Variations). Katsuki Tochio’s<br />

arrangement of Bach’s Italian Concerto here<br />

is an arrangement of a work which is already<br />

a version of a version. Strictly speaking,<br />

Bach’s Italian Concerto is neither Italian nor a<br />

concerto. In its original form Bach’s Concerto<br />

nach italienischen Gusto, ‘in the Italian style’,<br />

is the first half of his 1735 Clavier-Übung, a<br />

book of keyboard exercises for double manual<br />

keyboard. ‘In the Italian style’ is a nod to the<br />

orchestral concertos of Vivaldi, many of which<br />

Bach arranged for keyboard, and whose<br />

characteristic fast-slow-fast pace he uses here.<br />

The outer movements, two spritely ritornellos,<br />

wrap around the stark beauty of an arioso in<br />

the relative minor key.<br />


Kurt Weill<br />

Kurt Weill’s musical output during the ‘Golden<br />

Twenties’ in post-World War One Berlin was<br />

heavily influenced by his teacher Ferruccio<br />

Busoni, a sought-after pianist and teacher<br />

of composition who had connections with<br />

Stravinsky, Varèse and Schoenberg. Busoni’s<br />

own compositions had moved well towards<br />

atonality, and this is reflected in Weill’s 1924<br />

Concerto for Violin and Wind Orchestra.<br />

Weill composed this concerto in a lull after<br />

working on the opera Der Protagonist with<br />

playwright Georg Kaiser, which opened in<br />

1926 to great acclaim and set him on the<br />

path towards becoming a well-established<br />

composer of songs and stage works. ‘I am<br />

working on a concerto for violin and wind<br />

orchestra that I hope to finish within two or<br />

three weeks,’ Weill wrote to Universal. ‘The

work is inspired by the idea – one never<br />

carried out before – of juxtaposing a single<br />

violin with a chorus of winds.’<br />

Indeed this ensemble was completely unique<br />

for its time and even almost a century later<br />

very few works for this instrumentation exist.<br />

Weill expects the winds and brass to perform<br />

at an extraordinary level of dexterity, and uses<br />

percussion such as xylophone, snare drum<br />

and bass drum to punctuate the incessant<br />

rhythms of the score. The violin soloist must<br />

wrangle with ever-morphing arpeggios,<br />

difficult double-stops and explore the extreme<br />

high register of the instrument, as well as<br />

characterising quirky waltz or march-like<br />

passages interrupted with constant meter<br />

changes.<br />

Creating a new arrangement of the concerto<br />

utilising a saxophone quartet rather than a<br />

wind orchestra presented many challenges<br />

and obstacles to be overcome in order to<br />

preserve the character of the work and open<br />

up the music to a new angle of interpretation.<br />

Double bass (though not a wind instrument)<br />

was used throughout Weill’s score to give<br />

a pizzicato accompaniment, to which the<br />

staccato baritone saxophone was well-suited<br />

as a substitute. Xylophone and snare drum<br />

hits were translated into pitched rhythms, and<br />

when faced with a heavily voiced chord of<br />

more than four notes, many hours were spent<br />

listening and deciding which four-note voicing<br />

would best suit the character of the harmony,<br />

or whether adding tremolos or trills could<br />

realise the chord more fully, adding texture<br />

and depth.<br />

The unique quality of saxophone tone colours<br />

and techniques allowed a large range of<br />

dynamics to be achieved, and each size of<br />

saxophone paired with the violin created<br />

timbres different from the original oboe,<br />

trumpet and flute pairings the composer used<br />

in the centre movements.<br />

Overall this incredibly detailed and<br />

challenging work is a thrilling showpiece,<br />

showing off the virtuosic capabilities of all<br />

the performers and bringing a new light to a<br />

century-old gem.<br />


George Gershwin<br />

On a wintry morning in New York early last<br />

century George Gershwin sat down at his<br />

desk with a new manuscript book and wrote at<br />

the top of the first page, ‘Preludes, Jan 1925’.<br />

He then sketched out the first eleven bars of<br />

what was to be a major piano work, a set of<br />

24 preludes, in the grand tradition. The book<br />

still exists but the front four pages are torn out<br />

and the remaining scribbles are workings for<br />

his Cuban Overture. So much for New Year’s<br />

resolutions…<br />

Gershwin only ever published three preludes<br />

but, as you will hear, they turned out to be<br />

three fragments of explosive brilliance, played<br />

here in the quartet’s own arrangement. The<br />

first, Allegro ben ritmato e deciso, opens<br />

with a provocation, answered by a question,<br />

prompting a playful back and forth. The<br />

second, Andante con moto e poco rubato,<br />

could be the soundtrack to a clandestine<br />

rendezvous in a smoky downtown bar. The<br />

third, again Allegro ben ritmato e deciso, is<br />

like a brief but dazzling star turn before the<br />

curtain goes down.<br />


Like the music of JS Bach, the plays of William<br />

Shakespeare have been adapted, reworked<br />

and reimagined innumerable times, and<br />

none more so than Romeo and Juliet. Jerome<br />

Robbins’ 1957 version, West Side Story, recasts<br />

the Montagues and the Capulets as rival<br />

street gangs who fight and dance and fall<br />

in love to the music of Leonard Bernstein.<br />

In 1960 Bernstein created a nine movement<br />

suite, Symphonic Dances from West Side<br />

Story, expanding the forces on stage from the<br />

original 31-piece pit band to a full symphony<br />

orchestra. The arrangement you’ll hear tonight<br />

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packs Bernstein’s symphonic scoring plus<br />

some bonus hit songs from the musical into a<br />

20-minute showcase for saxophone quartet.<br />

The appeal of the music of Leonard Bernstein,<br />

says Alan Lužar of the <strong>Signum</strong> <strong>Saxophone</strong><br />

<strong>Quartet</strong>, is that he can combine a jazz and<br />

classical aesthetic simultaneously: West<br />

Side Story is full of jazz and Latin-American<br />

inspired dance rhythms, and yet it is driven<br />

by sublime arias, leitmotifs and counterpoint.<br />

This meeting of musics makes it the perfect<br />

playground for a cross-genre group like<br />

<strong>Signum</strong>.<br />

Their choice of numbers from the suite and<br />

the musical is designed to show off the<br />

expressive range of their instruments. It<br />

does, however, remain at all times faithful to<br />

Bernstein’s score. Listen out, for example for<br />

the distinctive tritone figure of C–F-sharp–G,<br />

instantly recognisable as the opening of the<br />

song Maria, but appearing, like a persistent<br />

echo, throughout. As Bernstein later wrote:<br />

‘The three notes pervade the whole piece,<br />

inverted, done backwards. I didn’t do all this<br />

on purpose. It seemed to come out in Cool<br />

and as the gang whistle [in the Prologue]. The<br />

same three notes.’<br />

Leonard Bernstein<br />

<strong>Signum</strong>’s West Side Story begins with the<br />

Prologue, an edgy scene-setter. Something’s<br />

Coming introduces the idealistic Tony, our<br />

romantic hero. Tonight is Tony’s duet with<br />

Maria in the musical’s equivalent of the play’s<br />

balcony scene. The next number is driven<br />

by the irresistible rhythmic pattern of (I like<br />

to be in) America. Cool shows off Bernstein<br />

at his genre-hopping best, taking fragments<br />

of melody and winding them into a complex<br />

fugue which is, simultaneously, a classical<br />

dance. Sylvain Dedenon’s arrangement<br />

follows this with Somewhere, Maria and Tony’s<br />

hopeful but, ultimately, tragic love duet. The<br />

dazzling tour of West Side Story ends with<br />

Maria’s ebullient I Feel Pretty.<br />


Chick Corea<br />

Chick Corea was a titan of the jazz world and<br />

is widely considered to be one of the foremost<br />

jazz pianists of all time. Across a recording<br />

and performing career that spanned nearly<br />

60 years (and more than 60 Grammy<br />

nominations), Corea wrote several jazz<br />

standards, of which Spain is undoubtedly his<br />

most recognisable.<br />

First appearing on Corea’s 1973 album Light<br />

as a Feather, Spain was inspired by Miles<br />

Davis’s recording of Concierto de Aranjuez<br />

– an arrangement of Joaquín Rodrigo’s work<br />

for guitar and orchestra, and the first track of<br />

Davis’s tremendously influential 1960 album<br />

Sketches of Spain. Corea had recorded and<br />

toured briefly with Davis’s band, replacing<br />

Herbie Hancock in 1968, and Davis’s influence<br />

on Corea’s music cannot be overstated.<br />

Spain opens with an arrangement of the<br />

Adagio from the Concierto de Aranjuez,<br />

before breaking into an energetic samba<br />

denoted by the main theme, based on the<br />

chord progression from the same movement.<br />

Spain has been covered by several notable<br />

artists since its release including Béla Fleck,<br />

Jaco Pastorius, Stevie Wonder and James<br />

Galway. The version you will hear today was<br />

arranged for saxophone quartet by Izidor<br />

Leitinger.<br />




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

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

Director Lindy Hume and video designer David Bergman weave a magical<br />

Australian setting from Fred Williams’ wondrous landscapes.<br />



musicaviva.com.au/a-winters-journey-online<br />

1800 688 482<br />

(Australian Book Review)<br />

(Limelight Magazine)<br />

(The Age)



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A good team meeting will start with a hot<br />

cup of coffee – and it’s no different for the<br />

members of <strong>Signum</strong> <strong>Saxophone</strong> <strong>Quartet</strong>.<br />

Except once they’ve sipped their final drop,<br />

they don’t sit around a boardroom table with<br />

pen and paper in hand. They pick up their<br />

instruments and dive straight into rehearsal,<br />

preparing the music they’ll perform at<br />

Carnegie Hall, at an international competition<br />

– or on their Musica Viva Australia tour.<br />

‘What I love most about rehearsing together<br />

is that four strong and different opinions keep<br />

the rehearsal exciting,’ Alan Lužar shares. He<br />

plays tenor saxophone alongside his fellow<br />

ensemble members Blaž Kemperle (soprano),<br />

Jacopo Taddei (alto) and Guerino Bellarosa<br />

(baritone).<br />

Through caffeine-fuelled gatherings, the<br />

young saxophonists indulge in music and<br />

conversation, conjuring the creative vision that<br />

has landed them record deals with labels as<br />

big as Deutsche Grammophon.<br />

This Australia tour is no less substantial: it’s<br />

the first time an arts organisation has brought<br />

<strong>Signum</strong> <strong>Saxophone</strong> <strong>Quartet</strong> to the country.<br />

Alan describes this Musica Viva Australia<br />

opportunity as ‘an enormous pleasure’. To him,<br />

the brightest drawcard is playing beautiful<br />

music for people he’s never met – and ‘having<br />

a lot of fun’ along the way.<br />

<strong>Signum</strong> was founded in Cologne back in<br />

2006; not a decade later, the players were<br />

named Rising Stars by the European Concert<br />

Hall Organisation – an award that sent<br />

them touring through the continent’s most<br />

prestigious venues. The group may be closeknit<br />

behind the scenes, but with open arms<br />

(and trademark charisma), these players<br />

welcome audiences to join them as they<br />

‘discover secret messages that music is full of.’<br />

The versatile saxophone has proven capable<br />

of playing almost any genre of music since<br />

its creation. It’s old, in the sense that it was<br />

invented in the 1840s. It’s also new, having<br />

been designed centuries later than most other<br />

instruments you’d typically find in a chamber<br />

ensemble. As such, it’s a desirable outcast of<br />

the music world: it’s rarely invited to sit with an<br />

orchestra, yet it’s often given the solo on the<br />

rare occasion it’s composed into a symphonic<br />

work. It’s remained popular through the eras of<br />

jazz, rock and K-pop, and it’s equally accepted<br />

among art music crowds who meditate through<br />

the repetition of a Philip Glass composition.<br />

With Musica Viva Australia, the saxophone will<br />

fly through music from composers as diverse<br />

as Bach and Gershwin, Bernstein and Chick<br />

Corea. Few instruments could so effortlessly<br />

combine such an extraordinary range of works<br />

into a single program.<br />

Alan describes the saxophone as a<br />

‘chameleon of music’ capable of awe-inspiring<br />

tonal colours. Multiply its potential by the<br />

players of his quartet – who sing through<br />

soprano or boom through baritone – and<br />

you arrive at ‘limitless possibilities to express<br />

emotions through sound’.

‘Chameleon of music’<br />

It’s enough to fuel the passion of these four<br />

instrumentalists, and to attract audiences who<br />

may be curious to hear the saxophone in a<br />

classically inspired concert. It’s also drawn the<br />

interest of Australian composer Jessica Wells,<br />

who crafted a new arrangement of Kurt Weill’s<br />

1924 Violin Concerto – reimagining the sound<br />

of an entire wind orchestra and giving all its<br />

themes to the saxophone family.<br />

‘This was an opportunity to be creatively put to<br />

the test, and I relished that,’ Jessica says.<br />

‘Replacing a high flute part with soprano sax,<br />

and a pizzicato double bass with a staccato<br />

baritone sax, seemed like obvious choices.<br />

But what to do with a snare drum? All of the<br />

creative choices were actually rather fun to<br />

work out!’<br />

Musica Viva Australia commissioned her<br />

arrangement under the auspices of the<br />

Hildegard Project. Jessica reckons it’s been<br />

an ‘unusual project’: an orchestra has tens of<br />

players, and this ensemble has four. Luckily,<br />

those four can ‘pack a punch and be brassy,<br />

or can be mellow and round.’<br />

‘Dynamic control allows for a huge range of<br />

tones and timbres,’ Jessica says. ‘This all adds<br />

to the excitement of exploring how to present<br />

the contrasting movements of this work.’<br />

Alan adds: ‘You can imagine what a great job<br />

an arranger has to do – that four instruments<br />

not only replace a whole orchestra, but also<br />

give new, unknown colours to the piece.’<br />

Through Jessica’s skilful arrangement, just<br />

one instrument takes the same role it played<br />

in Weill’s original – the violin. And Canberraborn<br />

soloist <strong>Kristian</strong> <strong>Winther</strong> is tasked with<br />

performing it.<br />

In the past, this award-winning violinist has<br />

taken to the stage with major orchestras – the<br />

Melbourne, Tasmanian, Sydney and West<br />

Australian among others. Naturally, Jessica<br />

predicts ‘audiences are going to be really<br />

wowed by this performance.’<br />

‘I’m super excited to be working with <strong>Signum</strong><br />

and <strong>Kristian</strong> <strong>Winther</strong> to bring this score to<br />

life… It requires virtuosity and high levels of<br />

electricity between the musicians on stage,’<br />

she says.<br />

‘I’m thrilled to be giving some pre-concert<br />

talks on this tour for Musica Viva Australia,<br />

and seeing the audience’s reaction to this<br />

incredible work from a century ago being<br />

brought back to the concert stage with a new<br />

perspective.’<br />

Alan is bursting with similar enthusiasm,<br />

revealing the group ‘cannot wait to play for<br />

you.’<br />

So let’s hear them!<br />

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15<br />


Musica Viva Australia’s Amadeus Society is<br />

a small philanthropic circle of passionate music<br />

lovers who help us to realise our bold artistic vision<br />

and bring acclaimed international and local artists<br />

to our stages throughout the country.<br />

Since 2007, the Amadeus Society has enabled<br />

Musica Viva Australia to further extraordinary<br />

artistic initiatives and in <strong>2022</strong> will continue to do<br />

so by celebrating the wealth and diversity of<br />

Australian musical talent.<br />

Annual membership of the Society includes<br />

intimate private house concerts with our<br />

mainstage artists, currently held in<br />

Melbourne and Sydney.<br />

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

SYDNEY<br />

Caroline Davis, Individual Giving Manager<br />

02 8394 6636 | cdavis@musicaviva.com.au<br />


Zoë Cobden-Jewitt, Director of Development<br />

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



ACT Geoffrey & Margaret Brennan, Clive & Lynlea Rodger,<br />

Ruth Weaver, Anonymous (4)<br />

NSW Jennifer Bott AO, Catherine Brown-Watt PSM & Derek<br />

Watt, Lloyd & Mary Jo Capps AM, Andrew & Felicity Corkill,<br />

Peter Cudlipp, Liz Gee, Suzanne Gleeson, David & Christine<br />

Hartgill, Annie Hawker, Elaine Lindsay, Trevor Noffke,<br />

Dr David Schwartz, Ruth Spence-Stone, Mary Vallentine AO,<br />

Deirdre Nagle Whitford, Richard Wilkins, Kim Williams AM,<br />

Megan & Bill Williamson, Ray Wilson OAM, Anonymous (12)<br />

QLD Anonymous (2)<br />

SA Monica Hanusiak-Klavins & Martin Klavins,<br />

Anonymous (5)<br />

TAS<br />

Kim Paterson QC, Anonymous<br />

VIC Elizabeth & Anthony Brookes, Julian Burnside AO QC,<br />

Ms Helen Dick, Robert Gibbs & Tony Wildman,<br />

Helen Vorrath, Anonymous (8)<br />

WA Graham Lovelock, Anonymous (4)<br />


NSW The late Charles Berg, The late Janette Hamilton,<br />

The late Dr Ralph Hockin in memory of Mabel Hockin,<br />

The late Kenneth W Tribe AC<br />

QLD<br />

The late Steven Kinston, Anonymous<br />

SA The late Edith Dubsky, The late John Lane Koch,<br />

The late Lesley Lynn<br />

VIC The late Raymond Brooks, In memory of Anita<br />

Morawetz, The family of the late Paul Morawetz,<br />

The late Dr G D Watson<br />


Our artistic vision for <strong>2022</strong> is made possible thanks to the<br />

extraordinary generosity of our Ensemble Patrons, each of<br />

whom supports the presentation of an entire national tour<br />

for our <strong>2022</strong> Season.<br />

Ian Dickson AM & Reg Holloway (Van Diemen’s Band)<br />

Anonymous (Paul Grabowsky & Andrea Lam)<br />

Peter Griffin AM & Terry Swann, Susie Dickson,<br />

and Ms Felicity Rourke & Justice François Kunc<br />

as part of The Travellers – Giving Circle<br />

(A Winter’s Journey)<br />

Australian Music Foundation (Z.E.N. Trio)<br />

Eleanore Goodridge OAM<br />

(Avi Avital & Giovanni Sollima)<br />


Adelaide Helen Bennetts & Tim Lloyd, Joan & Ivan<br />

Blanchard, Helen Fulcher, The late Lesley Lynn,<br />

Dr Susan Marsden & Michael Szwarcbord, Leonie Schmidt<br />

& Michael Davis, Anonymous (2)<br />

Brisbane Ian & Cass George, Andrew & Kate Lister, Barry<br />

& Diana Moore, The Hon Justice A Philippides, Anonymous<br />

Canberra The Musica Viva Australia ACT Committee<br />

& Ruth Weaver, Andrew Blanckensee Music Lover,<br />

Humphries Family Trust, Malcolm Gillies & David Pear in<br />

memory of Stewart Gillies, Dr Sue Packer, Sue Terry<br />

& Len Whyte, Anonymous<br />

Melbourne Alexandra Clemens, Continuo Collective,<br />

Peter Griffin AM & Terry Swann, Monica Lim & Konfir Kabo,<br />

Peter Lovell, Rosemary & John MacLeod, The Morawetz<br />

Family in memory of Paul Morawetz, Allan Myers QC AC in<br />

honour of the 90th birthday of Barry Jones AC, Greg Shalit &<br />

Miriam Faine (2), Dr Michael Troy, The Musica Viva Australia<br />

Victorian Committee, Anonymous<br />

Newcastle Megan & Bill Williamson, Gay Bookallil &<br />

the Musica Viva Australia Newcastle Committee<br />

Perth Dr Robert Larbalestier AO, Deborah Lehmann AO &<br />

Michael Alpers AO, In memory of Stephanie Quinlan (2),<br />

David Wallace & Jamelia Gubgub, Valerie &<br />

Michael Wishart<br />

Sydney Patricia Crummer, Pam Cudlipp, Dr Jennifer<br />

Donald & Mr Stephen Burford, Charles Graham – in<br />

acknowledgement of his piano teacher, Sana Chia,<br />

Katherine & Reg Grinberg, Anthony Strachan, Kay Vernon,<br />

Kim Williams AM & Catherine Dovey (2), Ray Wilson OAM<br />


Darin Cooper Foundation, Stephen & Michele Johns<br />


Tony Berg AM & Carol Berg, Marc Besen AC & Eva Besen<br />

AO dec., Ms Jan Bowen AM, Tom Breen & Rachael Kohn AO,<br />

Dr Di Bresciani OAM, Julian Burnside AO QC (President,<br />

Melbourne) & Kate Durham, Dr Helen Ferguson,<br />

Ms Annabella Fletcher, Dr Annette Gero, Peter Griffin AM &<br />

Terry Swann, Katherine & Reg Grinberg, Jennifer Hershon &<br />

Russell Black, Penelope Hughes, Michael & Frederique Katz,<br />

Ruth Magid & Bob Magid OAM, Prof. John Rickard,<br />

Andrew Rosenberg, Ray Wilson OAM<br />

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17<br />


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18<br />

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The Masterclasses Giving Circle is a group of generous<br />

donors whose collective support will enable the artistic<br />

development of the next generation of Australian<br />

chamber musicians.<br />

Nicholas Callinan AO & Elizabeth Callinan, Caroline &<br />

Robert Clemente, Ian & Caroline Frazer, Patricia H. Reid<br />

Endowment Fund, Andrew Sisson AO & Tracey Sisson,<br />

Mick & Margaret Toller, Anonymous (1)<br />


Musica Viva Australia is proud to support the creation<br />

of new Australian works through The Ken Tribe Fund<br />

for Australian Composition and The Hildegard Project.<br />

We are grateful to the following individuals and<br />

collectives for their generous support of this work:<br />

In loving memory of Jennifer Bates, Christine Bollen &<br />

Friends, Julian Burnside AO QC & Kate Durham, The Barry<br />

Jones Birthday Commission, Michael & Fréderique Katz<br />

in honour of Cecily Katz, Graham Lovelock & Steve Singer,<br />

D R & K M Magarey, Vicki Olsson, The Silo Collective,<br />

Tribe family in honour of Doug Tribe’s 75th birthday,<br />

WA Commissioning Circle<br />

The Barry Jones Birthday Commission ($500+)<br />

Steve Bracks AC & Terry Bracks AM, Dr George Deutsch<br />

OAM & Kathy Deutsch, Carrillo Gantner AC & Ziyin Gantner,<br />

Professor Margaret Gardner AC & Professor Glyn Davis AC,<br />

Naomi & George Golvan QC, Hon David Harper AM, Ellen<br />

Koshland & James McCaughey, Miles Lewis, Barry McGaw,<br />

Jeannette McHugh, Fiona McLeod AO SC, Peter & Ruth<br />

McMullin, Julie & Ian Macphee, peckvonhartel architects,<br />

Ralph & Ruth Renard, Anne & Robert Richter QC, Gianna<br />

Rosica, Joy Selby Smith, Smith Family, Maureen & Tony<br />

Wheeler, Lyn Williams, Dr Robyn Williams AO, Bob, Robyn,<br />

Annie & Nick, Anonymous (3)<br />

We thank all our audience<br />

members who donated<br />

the value of their cancelled<br />

tickets towards the Artist<br />

Fund and sincerely<br />

appreciate the generous<br />

support we receive from our<br />

incredible community.<br />

We encourage you to scan<br />

the QR code to see a full<br />

list of donors over $500 to<br />

Musica Viva Australia.<br />


$100,000+<br />

NSW The Berg Family Foundation,<br />

Patricia H. Reid Endowment Fund<br />

$50,000–$99,999<br />

ACT Marion & Michael Newman<br />

NSW J A Donald Family, Katherine & Reg Grinberg,<br />

Tom & Elisabeth Karplus<br />

$20,000–$49,999<br />

NSW Tom Breen & Rachael Kohn AO,<br />

Michael & Fréderique Katz, Vicki Olsson<br />

QLD<br />

Ian & Caroline Frazer, Andrea & Malcolm Hall-Brown<br />

VIC The Morawetz Family in memory of Paul Morawetz,<br />

Anonymous<br />

WA<br />

Anonymous<br />

$10,000–$19,999<br />

ACT R & V Hillman, Anonymous<br />

NSW Anne & Terrey Arcus AM, Gardos Family,<br />

Gresham Partners, Hilmer Family Endowment,<br />

Nigel & Carol Price, Anthony Strachan<br />

QLD<br />

SA<br />

Anonymous<br />

Jennifer & John Henshall, Anonymous<br />

VIC Roger Druce & Jane Bentley, Peter Griffin AM<br />

& Terry Swann, Mercer Family Foundation, Monica Lim<br />

& Konfir Kabo, Peter Lovell, Marjorie Nicholas OAM,<br />

Anonymous<br />

WA Team Legacy, Deborah Lehmann AO<br />

& Michael Alpers AO<br />

$5,000–$9,999<br />

ACT Goodwin Crace Concertgoers, Craig Reynolds,<br />

Sue Terry & Len Whyte<br />

NSW Christine Bishop, Patricia Crummer,<br />

Jo & Barry Daffron, Sarah & Tony Falzarano,<br />

Iphygenia Kallinikos, Mrs W G Keighley,<br />

D R & K M Magarey, Hywel Sims, David & Carole Singer,<br />

Diane Sturrock, Kim Williams AM & Catherine Dovey<br />

QLD<br />

SA<br />

Andrew & Kate Lister, The Hon Justice A Philippides<br />

Aldridge Family Endowment, Anonymous<br />

VIC In memory of Kate Boyce, Robert Gibbs &<br />

Tony Wildman, Doug Hooley, Andrew Johnston,<br />

Joy Selby Smith, Greg Shalit & Miriam Faine,<br />

Stephen Shanasy, Anonymous<br />

WA Anonymous (2)


$2,500–$4,999<br />

ACT Kristin van Brunschot & John Holliday,<br />

Dr Andrew Singer, Ruth Weaver, Anonymous<br />

NSW Penny Beran, Susan Burns, ADFAS Newcastle,<br />

Andrew Rosenberg, Jo Strutt<br />

QLD<br />

SA<br />

Greyhound Australia<br />

DJ & EM Bleby, Peter Clifton<br />

VIC Jan Begg, Alastair & Sue Campbell,<br />

Anne Frankenberg & Adrian McEniery, Lyndsey &<br />

Peter Hawkins, Ralph & Ruth Renard, Maria Sola,<br />

Helen Vorrath, Igor Zambelli<br />

WA David Cooke, Ros Kesteven, Zoe Lenard &<br />

Hamish Milne, Mrs Morrell, Anonymous<br />

$1,000–$2,499<br />

ACT Andrew Blanckensee, The Breen/Dullo Family,<br />

Odin Bohr & Anna Smet, Dudley & Helen Creagh, Martin<br />

Dolan, Liz & Alex Furman, Olivia Gesini, Malcolm Gillies<br />

AM, Kingsley Herbert, Margaret & Peter Janssens, Garth<br />

Mansfield, Teresa Neeman, Margaret Oates, S Packer,<br />

Clive & Lynlea Rodger, Hannah Semler, Anonymous (3)<br />

NSW Judith Allen, David & Rae Allen, Maia Ambegaokar<br />

& Joshua Bishop, Dr Warwick Anderson, Stephen Booth,<br />

Vicki Brooke, Neil Burns, Hugh & Hilary Cairns, Hon J C<br />

Campbell QC & Mrs Campbell, Lloyd & Mary Jo Capps AM,<br />

Robin & Wendy Cumming, Thomas Dent, Nancy Fox AM &<br />

Bruce Arnold, John & Irene Garran, H2 Cairns Foundation,<br />

Annie Hawker, Robert & Lindy Henderson, Margaret Hicks,<br />

Lybus Hillman, Dr Ailsa Hocking & Dr Bernard Williams,<br />

Dorothy Hoddinott AO, Catharine & Robert Kench, Kevin<br />

& Deidre McCann, Arthur & Elfreda Marshall, Dr Dennis<br />

Mather & John Studdert, Mora Maxwell, Michael &<br />

Janet Neustein, Paul O’Donnell, In memory of Katherine<br />

Robertson, Ms Vivienne Sharpe, Dr Robyn Smiles, Tom &<br />

Dalia Stanley, Geoff Stearn, Richard & Beverley Taperell,<br />

Graham & Judy Tribe, Dr Elizabeth Watson, John & Flora<br />

Weickhardt, Richard Wilkins, Megan & Bill Williamson,<br />

Anonymous (6)<br />

QLD George Booker & Denise Bond, Prof. Paul & Ann<br />

Crook, John & Denise Elkins, Robin Harvey, Lynn & John<br />

Kelly, Dr Helen Kerr & Dr John Ratcliffe, Jocelyn Luck, Barry<br />

& Diana Moore, Keith Moore, Debra & Patrick Mullins,<br />

Barbara Williams & Jankees van der Have, Anonymous<br />

SA The late Peter Bailie & Ann-Maree O’Connor,<br />

Ivan & Joan Blanchard, Richard Blomfield, Max & Ionie<br />

Brennan, John & Libby Clapp, The Hon. Christopher Legoe<br />

AO QC & Mrs Jenny Legoe, Joan Lyons, Fiona MacLachlan<br />

OAM, Dr Leo Mahar, Geoff & Sorayya Martin, Ann & David<br />

Matison, Diane Myers, H & I Pollard, Trish & Richard Ryan<br />

AO, Anne Sutcliffe, Anonymous<br />

VIC Joanna Baevski, Russ & Jacqui Bate, Marlyn Bancroft,<br />

Peter Burch AM BM, Alison & John Cameron, Alex &<br />

Elizabeth Chernov, Lord Ebury, Dr Glenys & Dr Alan French,<br />

Virginia Henry, Dr Anthea Hyslop, Helen Imber, John V<br />

Kaufman QC, Angela Kayser, Angela & Richard Kirsner,<br />

Ann Lahore, Janet McDonald, Ruth McNair AM & Rhonda<br />

Brown in memory of Patricia Begg & David McNair, June K<br />

Marks, Christopher Menz & Peter Rose, Traudl Moon OAM,<br />

The Myer Foundation, Sir Gustav Nossal, Barry Robbins,<br />

Murray Sandland, Gary Singer & Geoffrey Smith, Darren<br />

Taylor & Kent Stringer, Wendy R. Taylor, Ray Turner &<br />

Jennifer Seabrook, Dr Victor Wayne & Dr Karen Wayne<br />

OAM, Mark & Anna Yates, Anonymous<br />

WA David & Minnette Ambrose, Dr S Cherian, Michael<br />

& Wendy Davis, In memory of Raymond Dudley, Dr Penny<br />

Herbert in memory of Dunstan Herbert, Anne Last & Steve<br />

Scudamore, Hugh & Margaret Lydon, Olivier David &<br />

Dr Bennie Ng, Mandy Loton OAM, Marian Magee & David<br />

Castillo, John Overton, Margaret & Roger Seares, Vivienne<br />

Stewart, Robyn Tamke, Anonymous (4)<br />

$500–$999<br />

ACT Geoffrey & Margaret Brennan, Christopher Clarke,<br />

Peter Cumines, Jill Fleming, Robert Hefner, Mary Elspeth<br />

Humphries, Claudia Hyles OAM, Margaret Lovell &<br />

Grant Webeck, Margaret Millard, Robert Orr, Helen Rankin,<br />

Dr Paul & Dr Lel Whitbread, Anonymous (2)<br />

NSW Jock Baird in memoriam Annette McClure, Barbara<br />

Brady, K Becker, Denise Braggett, Christopher & Margaret<br />

Burrell, Robert Cahill & Anne Cahill OAM, Lucia Cascone,<br />

Michael & Colleen Chesterman, Zoë Cobden-Jewitt & Peter<br />

Jewitt, Rhonwen Cuningham, Trish & John Curotta, Professor<br />

Zoltan Endre, Dr Arno Enno & Dr Anna Enno, Anthony<br />

Gregg, Roland & Margaret Hicks, David & Sarah Howell,<br />

Alicia Howlett, David & Jennifer Jacobs, Megan Jones, In<br />

honour of Michael Katz, Cynthia Kaye, K P Kemp, Mathilde<br />

Kearny-Kibble, Graham & Sue Lane, Olive Lawson, Dr Colin<br />

MacArthur, Ian & Pam McGaw, Laura McDonald, Dr V Jean<br />

McPherson, Robert McDougall, Alan & Rosemary Moore,<br />

Donald Nairn, Professors Robin & Tina Offler, Kim & Margie<br />

Ostinga, Christina Pender, Dr John Rogers, Penny Rogers,<br />

Peter & Heather Roland, Professor Lynne Selwood, Andrew<br />

Wells AM, Margaret Wright OAM, Anonymous (10)<br />

QLD Geoffrey Beames, Janet Franklin, Marie Isackson,<br />

Diana Lungren, Timothy Matthies & Chris Bonnily,<br />

Anonymous<br />

SA Daniel & Susan Hains, Elizabeth Ho OAM in honour<br />

of the late Tom Steel, Dr Iwan Jensen, Helga Linnert &<br />

Douglas Ransom, Ruth Marshall & Tim Muecke,<br />

Linda Sampson, Tony Seymour, Anonymous (5)<br />

TAS<br />

Anonymous<br />

VIC David Bernshaw & Caroline Isakow, Helen Brack,<br />

John & Chris Collingwood, John & Mandy Collins, Ted &<br />

Alison Davies, Beverley Douglas, Mary-Jane Gething, John<br />

& Margaret Harrison, Irene Kearsey & Michael Ridley, Jane<br />

Lazarevic, Eda Ritchie AM, Maureen Turner, Anonymous (5)<br />

WA Joan Carney, Fred & Angela Chaney, Rachel & Bruce<br />

Craven, Helen Dwyer, Jennifer L Jones, Paula Nathan AO &<br />

Yvonne Patterson, Lindsay & Suzanne Silbert, Father Richard<br />

Smith, Ruth Stratton, Christopher Tyler, Anonymous (6)<br />

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19<br />



Perth Concert Series Sydney Morning Masters Series Commissioning Partner<br />

Legal<br />

Chartered Accountants<br />

Piano & Tuning<br />

Media Partner<br />

Wine Partners<br />

Hotel Partners<br />

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Strike A Chord<br />

Principal Partner<br />

Strike A Chord<br />

Strategic Partner<br />

Strike A Chord<br />

University Partner<br />

Strike A Chord<br />

Key Philanthropic Partner<br />

Strike A Chord Partner<br />

FutureMakers<br />

Lead Partner<br />

FutureMakers<br />

Residency Partner<br />

Key Philanthropic Partner<br />


Musica Viva Australia is assisted by the<br />

Commonwealth Government through the<br />

Australia Council, its arts funding and advisory body.<br />

Musica Viva Australia<br />

is supported by the<br />

NSW Government<br />

through Create NSW.<br />

Musica Viva Australia is a<br />

Not-for-profit Organisation endorsed<br />

by the Australian Taxation Office<br />

as a Deductible Gift Recipient and<br />

registered with the Australian<br />

Charities and Not-for-profits<br />

Commission (ACNC).


National<br />

J A Donald Family<br />

Marion & Mike Newman<br />

WA<br />

• Legacy Unit Trust<br />

NSW<br />

• Margaret Henderson Music Trust<br />

VIC<br />

• Godfrey Turner Memorial Music Trust<br />

Western Sydney & Melbourne<br />

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• The Benjamin Fund • The Marion & E.H. Flack Trust<br />

• In memory of Anita Morawetz • Keith McKenzie Will Trust<br />

SA<br />

• Aldridge Family Endowment • Carthew Foundation • Day Family Foundation<br />

• FWH Foundation • Jennifer & John Henshall • Lang Foundation • Marsden Szwarcbord Foundation<br />

ACT<br />

NT<br />

QLD<br />

Perpetual Foundation –<br />

Alan (AGL) Shaw<br />

Endowment<br />

Perpetual Foundation –<br />

Alan (AGL) Shaw<br />




Jazz Masterclass with Paul Grabowsky at the Queensland Conservatorium, Griffith University.<br />

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‘I’m extremely thankful that I was able<br />

to move past any nervousness during the<br />

class, and just enjoy the music-making –<br />

Konstantin Shamray was such an engaging<br />

communicator of his musical ideas, and<br />

he offered so much new information that<br />

I am eager to apply.’<br />

– Participant, Konstantin Shamray Masterclass<br />

The Musica Viva Australia Masterclasses<br />

Giving Circle is a group of generous donors<br />

whose collective support will enable the<br />

artistic development of the next generation of<br />

Australian chamber musicians. Through their<br />

vision, our masterclasses provide an essential<br />

opportunity for young musicians around<br />

the country to encounter new ideas and<br />

approaches to music-making.<br />

Musica Viva Australia masterclasses support<br />

emerging artists around the country to learn<br />

from world-class musicians. In many ways,<br />

mentoring through masterclasses is at the<br />

heart of what Musica Viva Australia does.<br />

Hosted in partnership with a national network<br />

of high schools, universities and industry<br />

partners, masterclasses allow Australian and<br />

international artists to share their knowledge<br />

with young musicians. A national network<br />

of hosts means that we can deliver on our<br />

commitment to free, world-class professional<br />

development for emerging Australian<br />

musicians, regardless of their geography or<br />

circumstances.<br />

‘Being a cellist and cello teacher in Perth,<br />

I was thrilled that Narek Hakhnazaryan<br />

presented his masterclass in my city. Again, it<br />

was phenomenal. I have participated in and<br />

attended very many masterclasses during my<br />

career, both in Australia and overseas, and<br />

rank this as one of the best. Narek’s advice<br />

to the young cellists was very considered,<br />

articulate and helpful.’<br />

– Dr Rebecca Meegan-Lowe, Narek Hakhnazaryan<br />

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

During a Musica Viva Australia Masterclass,<br />

outstanding artists from national concert series<br />

tours work with advanced students and early<br />

career musicians in front of a live audience.<br />

‘There’s a river that elite musicians must<br />

cross to succeed. On one bank there is their<br />

musical education. They’ve reached the point<br />

where our education programs have delivered<br />

everything they can. On the other bank lie<br />

their career paths as successful even<br />

pre-eminent musicians. Musica Viva<br />

Australia’s masterclasses are unique in this<br />

country in that they offer elite musicians<br />

an opportunity to rub shoulders musically<br />

with not only the best Australian musicians<br />

but the best the world can offer too. To<br />

audit a masterclass is to watch a musical<br />

transformation in real time. I have seen<br />

again and again wonderful young musicians<br />

improve their interpretation out of sight<br />

by following the advice of their teachers in<br />

masterclasses.’<br />

– Rob Clemente, Masterclass Giving Circle<br />

Teachers, performers and listeners take<br />

a deep dive into the music as a collective<br />

experience, discovering not only new ways to<br />

play but new ways to teach and new ways to<br />

listen.<br />

Students specifically note that the expert<br />

advice is beneficial as they are supported to<br />

understand the relevance and application of<br />

the feedback to their individual development.<br />

‘Jean had a lot of helpful advice especially for<br />

stylistic changes and interpretation. He also<br />

gave us advice in just all areas of music, for<br />

example he talked a bit on how to control<br />

nerves and be a more confident performer.’<br />

– Participant, NEVERMIND Masterclass<br />

Through the support of our Masterclass<br />

Giving Circle, young musicians come to<br />

understand their place within a community<br />

of global performers and music educators.<br />

They value differences as well as similarities,<br />

feel connected to others, accept and embrace<br />

their own musical traditions, and become<br />

empowered to change those things that should<br />

be changed and embrace new perspectives.<br />

You can experience the impact and joy of a<br />

Musica Viva Australia Masterclass in person or<br />

through our livestream events.<br />

musicaviva.com.au/masterclasses<br />

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Narek Hakhnazaryan with students at the University<br />

of Western Australia, Conservatorium of Music.<br />

In 2021 the Musica Viva Australia Masterclass<br />

Giving Circle supported 13 live and digital<br />

masterclasses with ten inspiring artists<br />

including Konstantin Shamray, Diana Doherty,<br />

Dene Olding and Julian Smiles, which reached<br />

728 people.<br />

‘As young musicians we all benefit hugely<br />

from the teaching and mentorship of our<br />

elders, which is why when we become those<br />

elders we are all hugely passionate about<br />

returning the favour. That’s the joy – indeed<br />

the fuel – of masterclasses.’<br />

– Paul Kildea, Artistic Director, Musica Viva Australia<br />

To support the next generation of<br />

Australian musicians through our Musica<br />

Viva Australia Masterclass Giving Circle,<br />

please contact Zoë Cobden-Jewitt,<br />

Director of Development<br />

zcobden-jewitt@musicaviva.com.au<br />

1800 688 482

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Performing nationally in Adelaide, Brisbane,<br />

Canberra, Melbourne, Newcastle,<br />

Perth and Sydney.<br />

Karin Schaupp & Flinders <strong>Quartet</strong><br />

Among the Birds and the Trees<br />

Garrick Ohlsson<br />

Chopin’s Piano<br />

Silk, Metal, Wood<br />

Vision String <strong>Quartet</strong><br />

Wildschut & Brauss<br />

+ The Cage Project,<br />

Morning Masters, Viva Edge,<br />

Masterclasses & more<br />


BEFORE 27 NOV TO<br />

SAVE AN EXTRA 20%<br />

musicaviva.com.au<br />

1800 688 482

As Australia’s flagship music education and non-profit<br />

touring company, we continuously strive to provide more<br />

for all music lovers – more music education and teacher<br />

professional development opportunities to help feed<br />

young imaginations everywhere; more exceptional artists<br />

on stage performing on metropolitan and regional stages<br />

and online to bring audiences together across the country;<br />

and more creative projects to promote a continuously<br />

evolving and vibrant music sector.<br />

Help us to continue to keep doing more so that everyone,<br />

regardless of age, location or circumstance, can access<br />

and share the very best live music.<br />

For more information contact our Individual Giving Manager:<br />

Caroline Davis, cdavis@musicaviva.com.au

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