Garrick Ohlsson Program Guide | June 2023

Garrick Ohlsson

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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. 

GARRICK OHLSSON 

piano 

ADELAIDE 

Adelaide Town Hall 

Thursday 8 June, 7.30pm 

• Pre-concert talk: 6.45pm, 

Prince Alfred Room 

BRISBANE 

Conservatorium Theatre, 

Griffith University, South Bank 

Thursday 1 June, 7pm 

• Pre-concert talk: 6.15pm, Boardroom, 

Qld Conservatorium, Griffith University 

• Meet the Artist after the concert 

CANBERRA 

Llewellyn Hall, 

ANU School of Music 

Thursday 15 June, 7pm 


Larry Sitsky Recital Room 


MELBOURNE 

Elisabeth Murdoch Hall, 

Melbourne Recital Centre 

Saturday 3 June, 7pm 

Recorded for broadcast by ABC Classic 


Salzer Suite, Level 2 

Tuesday 13 June, 7pm 


Salzer Suite, Level 2 


NEWCASTLE 

City Hall 

Saturday 10 June, 7.30pm 


Mulubinba Room 

PERTH 

Perth Concert Hall 

Monday 19 June, 7.30pm 


Corner Stage Riverside, Terrace Level 


SYDNEY 

City Recital Hall 

Monday 5 June, 7pm 


Function Room, Level 1 

• Meet the Artist after the concert, 

Concert Hall 

Saturday 17 June, 2pm 


Function Room, Level 1 

• CD signing after the concert, 

Main Foyer 

— 

With special thanks to the Producers’ Circle 

and Amadeus Society for their support 

of the 2023 Concert Season. 

01

Hear the Future 

ABEO QUARTET | AFFINITY QUARTET | ALBÉNIZ TRIO 

BALOURDET QUARTET | TRIO BOHÉMO | TRIO DELYRIA 

DIOR QUARTET | TRIO GAIA | MILA QUARTET | TRIO ORELON 

TRIO PANTOUM | RISUS QUARTET | TERRA STRING QUARTET | TRIO UNIO 

musicaviva.com.au/micmc 

Competition Producer 

Principal Partner 

Strategic Partner 

Grand Prize Partner

From the Artistic Director 

© Darren Leigh Roberts 

In recent correspondence about this and that 

with the wonderful young Perth pianist Jude 

Holland, we inevitably landed on Garrick 

Ohlsson. ‘I went a couple of years ago to hear 

him – his Chopin was mesmerising,’ Jude 

wrote. Indeed it was – as it was over 50 years 

ago when he picked up First Prize in the 1970 

Chopin Competition, five years after Martha 

Argerich had done the same. Those competition 

performances launched a dazzling career that 

has defined Garrick as one of the great pianists 

of the 20th and 21st centuries. 

Those who attended Garrick’s tour for Musica 

Viva Australia in February/March 2020 – ill 

winds almost upon us – responded pretty much 

as Jude did. We didn’t know then how much 

we’d be starved of such artistry in the years to 

come, yet even so we recognised the magic in 

the air. I really wanted to cauterize those years 

of misfortune; bookending them with tours by 

Garrick seemed the best way of doing so. 

I jokingly told Garrick that Liszt’s B minor Sonata 

was a young man’s game, when he said he’d 

like to program it; he quickly raised me one by 

saying that he’d also like to program Samuel 

Barber’s Piano Sonata, another punishing 

mountain to climb. Pairing him with the young 

Australian composer Thomas Misson for a new 

work commissioned by Stephen Johns in honour 

of his wife Michele’s birthday has been the icing 

on this rich, exquisite cake! 

Paul Kildea 

Artistic Director 

Musica Viva Australia 

03

Brisbane | Canberra | Melbourne (Saturday) | Newcastle | Sydney (Monday) 

Program 1 

Franz SCHUBERT (1797–1828) 

Impromptu in C minor, Op. 90, No. 1 (1827) 

10 min 

Franz LISZT (1811–1886) 

Piano Sonata in B minor, S.178 (1853) 

30 min 

INTERVAL 

Thomas MISSON (b 1992) 

Convocations (2023) 

World premiere performances. 

Commissioned for Musica Viva Australia by Stephen Johns for his wife, Michele. 

10 min 

Alexander SCRIABIN (1872–1915) 

Étude in C-sharp minor, Op. 2, No. 1 (1887) 

Étude in D-flat major, Op. 8, No. 10 (1894) 

Étude in C-sharp minor, Op. 42, No. 5 (1903) 

Two Poems, Op. 32 (1903) 

I Andante cantabile (F-sharp major) 

Piano Sonata No. 5, Op. 53 (1907) 

3 min 

2 min 

3 min 

4 min 

12 min 

— 

Please ensure that mobile phones are turned to silent before the performance. 

Please save photography for the final applause only. 

04

Adelaide | Melbourne (Tuesday) | Perth | Sydney (Saturday) 


Claude DEBUSSY (1862–1918) 

Suite bergamasque, L. 75 (1905) 

I Prélude 

II Menuet 

III Clair de lune (Moonlight) 

IV Passepied 

Samuel BARBER (1910–1981) 

Piano Sonata in E-flat minor, Op. 26 (1949) 

I Allegro energico (Fast and energetic) 

II Allegro vivace e leggero (Fast, lively and light) 

III Adagio mesto (Slow and sad) 

IV Fuga: Allegro con spirito (Fugue: Fast and spirited) 

20 min 

19 min 

INTERVAL 

Thomas MISSON (b 1992) 

Convocations (2023) 

World premiere performances. 

Commissioned for Musica Viva Australia by Stephen Johns for his wife, Michele. 

10 min 

Frédéric CHOPIN (1810–1849) 

Variations brillantes, Op. 12 (1833) 

I Introduction. Allegro maestoso (Fast and majestic) 

II Thème. Allegro moderato (Moderately fast) 

III Variation 1 

IV Variation 2. Scherzo (Light-hearted) 

V Variation 3. Lento (Slow) 

VI Variation 4. Scherzo vivace (Light-hearted and lively) 

Piano Sonata No. 1 in C minor, Op. 4 (1828) 

III Larghetto (A little slowly) 

Scherzo No. 2 in B-flat minor, Op. 31 (1837) 

8 min 

4 min 

11 min 

05


The death of Beethoven in early 1827 deeply 

affected the 30-year-old Franz Schubert, 

who himself only had 18 months to live, and 

perhaps spurred him to even greater creative 

heights. That same year Schubert wrote the 

monumental song cycle Winterreise, the 

magnificent last three piano sonatas, the two 

piano trios and other extraordinary works 

including the Impromptus for piano. The 

C minor Impromptu is a work of haunting 

beauty. The melancholy opening theme is 

immediately captivating, its brooding minor 

restlessness giving way to a lyrical, more 

soothing version of the theme but now in A-flat 

major. The transition from minor to major keys 

is an important feature of Schubert’s music, 

both for harmonic colour and also for the 

implied change in emotional inflection. After 

a series of variations alternating between 

major and minor versions of the themes and 

culminating in a powerful climax, the 

opening melody returns, but now finally in 

C major, signalling a sense of acceptance 

and resolution. 

Franz Liszt and Franz Schubert could not 

have been more different in personality and 

in their engagement with society. Schubert 

was shy and introverted, kept a small circle 

of close friends and rarely ventured out in 

public. Liszt, on the other hand, was a highly 

charismatic extrovert, a flamboyant showman 

who travelled extensively. Nonetheless, Liszt 

was strongly influenced by Schubert’s music. 

He transcribed dozens of Schubert’s songs for 

solo piano and arranged Schubert’s extended 

piano work Wanderer Fantasy as a concerto 

for piano and orchestra. 

Liszt’s Sonata in B minor has some striking 

similarities with the Wanderer Fantasy. Both 

works are played straight through without a 

break yet are internally subdivided into four 

movements. Furthermore, in both works, the 

musical material is based on themes heard at 

the beginning which are transformed or varied 

as the piece unfolds, creating a sense of unity 

within the larger structure. In the Liszt sonata 

four musical ideas form the basis for the whole 

work. We hear the first three immediately – a 

descending scale, a leaping octave passage 

and a low-register gruff theme based on 

repeated notes. The fourth, a chorale-like 

theme, appears around three minutes in. 

Liszt’s transformations and variations of 

these ideas is masterly. One of the most 

striking occurs in the sonata’s slow movement 

where the opening low gruff theme becomes 

an elegant and dreamy melody, singing 

beautifully in the treble register. Immediately 

after this section, the leaping octave theme 

serves as the basis for a powerful and 

extended fugal passage. 

The sonata was not universally well received 

at first. Its uncompromising sound world, 

musical and technical complexity, and 

06

perhaps even its lack of a Romantic title or 

programmatic references, set it apart from 

much of Liszt’s other piano music for which he 

was so celebrated. Nowadays, the sonata is 

universally acknowledged as a pinnacle of the 

repertoire and revered for its brilliant, at times 

exhilarating, piano writing and its captivating 

sense of musical journey. 

Thomas Misson is a composer, pianist and 

music journalist from Hobart. He graduated 

from the University of Tasmania with Honours 

in Composition under the tutelage of Maria 

Grenfell, Russell Gilmour and Don Kay. 

Misson’s compositions are inspired by the 

extremes of the human condition and its 

omnipresent imperfections. 

His music was highly commended in the 

national Jean Bogen Youth Prize, and has 

been heard on ABC Classic and Making 

Waves. He has been commissioned by 

artists including the Tasmanian Symphony 

Orchestra, MATTRA, and the ACO Collective, 

as featured on the album Hush 18: Collective 

Wisdom. During 2019 he was selected for the 

composition stream of the AYO National Music 

Camp, and Ensemble Offspring’s Hatched 

Academy. An experienced solo pianist and 

accompanist, he holds an LMusA (Distinction), 

the Nelle Ashdown Memorial Award, and 

has toured with Virtuosi Tasmania. When not 

composing, Misson maintains a busy schedule 

as an accompanist, composition teacher and 

music critic for The Mercury. 

The composer writes: 

In 2021, I was approached by Paul Kildea from 

Musica Viva Australia to write a piece for 

Garrick Ohlsson for his 2023 Australian tour. 

He would be playing works by Liszt, Barber, 

Schubert, Scriabin, and Chopin (of whose 

music Garrick is a famous interpreter). 

While researching and reflecting on how my 

creative voice could complement the program, 

I stumbled on a description of Garrick’s 

playing that described him as possessing a 

‘calmly commanding presence’. 

I decided I would channel a piece by Liszt 

which evokes the same descriptors for me, 

Sposalizio from Années de pèlerinage (Years 

of Pilgrimage). In this work, Liszt describes 

Raphael’s high-Renaissance painting 

Sposalizio (The Marriage of the Virgin) in 

musical form. Though some of the motivic 

and structural scaffolding draws on the Liszt, 

conceptually and stylistically the piece has 

come to resemble something more pluralistic 

than a marriage. Convocations combines 

the unlikely and disparate elements of the 

Romantic piano giants, modernist styles, an 

Australian tour, a Tasmanian composer, and 

an American concert pianist in a congregation 

that aims to give life to a spiritual soundworld. 

THOMAS MISSON © 2023 

Alexander Scriabin was originally hailed 

as the Russian Chopin. In his collections of 

preludes, études, mazurkas and nocturnes for 

piano, he paid homage to Chopin’s legacy 

both in genre and in his richly Romantic, 

voluptuous musical style. The three études 

(studies) we will hear in this performance 

certainly owe a debt to Chopin’s groundbreaking 

studies as well as those of Liszt. 

The simplicity of the beguiling melody in the 

first C-sharp minor study gives way to some 

fiendishly difficult piano writing in the following 

two works. 

07

in Rome but this was an important time for 

the composer in gaining confidence with his 

emerging unique musical voice. He had also 

recently discovered the music of Wagner and 

heard for the first time Javanese Gamelan, 

and both experiences were to influence his 

compositional development. 

In his Two Poems, Scriabin moves away from 

the Romantic gestures of the studies, creating a 

more forward-looking exploration of melody, 

texture and harmony which would evolve into 

his mature style. Also around this time, we see 

the development of his aesthetic to embrace a 

mystical, transcendental conception of music. 

While the first Poem is languid, rhythmically 

fluid and melodically focused, the second is 

an explosive, rhythmically driven piece full of 

extrovert energy. 

The Piano Sonata No. 5, written four years 

later, takes these extreme moods even further. 

This is an intensely volatile piece, languid and 

dreamy one moment, then suddenly frenzied 

and excited. Scriabin often juxtaposes these 

states without preparation, resulting in a form 

that feels episodic rather than organic but 

never ceases to surprise and excite. 

ANNOTATIONS BY MARK COUGHLAN © 2023 

Debussy began writing the Suite bergamasque 

around 1890 although it was not until 1905 

that it was revised and published. The work 

pays homage in part to the Baroque keyboard 

music that Debussy greatly admired, especially 

that of Couperin. The opening Prélude has an 

improvisatory quality alternating between 

bold and elegant. The following Menuet 

has a slightly wistful character, playful and 

delicate, its vigorous dance rhythms somewhat 

restrained. Clair de lune is a work of ethereal 

beauty and one of the most celebrated of all 

piano pieces with its ravishing textures and 

seductive harmonies. The final Passepied 

bubbles along to the gently driving left-hand 

rhythm, drawing this charming set to a close. 


In the late 1880s Claude Debussy returned to 

Paris having spent a couple of unfulfilling years 

at the Villa Medici in Rome, a residency that 

resulted from his winning the prestigious Prix 

de Rome in 1884. He was disappointed with the 

company, the food and the accommodation 

Samuel Barber is regarded as one of 

America’s finest composers. Born in 1910 into 

a musical family, he studied composition, 

voice and piano and for a number of years 

was a student at the celebrated Curtis Institute 

in Philadelphia. He decided early on that 

music would be his chosen career, writing to 

his mother at the age of nine to declare his 

intention to become a composer and asking 

her not to force him to play football. By the age 

of seven he had written his first piano piece, 

08

at ten his first operetta and he was appointed 

church organist when he was 12. Much of 

Barber’s music conveys a sense of post- 

Romantic lyricism, his gift for singing informing 

an often expressive melodic style. 

Barber’s Piano Sonata has an extraordinary 

pedigree, being commissioned by two of the 

great American song writers, Irving Berlin 

and Richard Rodgers, and premiered by the 

legendary pianist Vladimir Horowitz. This 

monumental work shows the more modern 

dimension of Barber’s writing, employing 

techniques such as 12-tone rows – arranging 

all of the notes within an octave (both the black 

and the white notes, on a piano keyboard) 

into a fixed order – and bitonality. In the 

first movement the writing is often gritty and 

angular with passages of thunderous virtuosity 

contrasted with moments of wistful lyricism. 

The delightful second movement creates 

a sense of lighthearted playfulness with its 

sparkling textures, alternating beat patterns 

and unexpected turns. By contrast, the slow 

third movement is a concentrated, somewhat 

mournful piece of sustained intensity. Barber’s 

interest in Bach’s keyboard music seems to be 

an influence in this movement, as well as in 

the finale which begins in a highly-charged, 

fugal style with virtuosic toccata-like writing 

throughout. 

For Thomas Misson’s Convocations, 

see page 07. 

From the moment he arrived in Paris in 1831 

Frédéric Chopin became a regular at the 

opera. He was particularly drawn to the 

operas of Rossini, Bellini and Donizetti, and 

much of his melodic writing reflects their 

ornamented lyricism. In May 1833 Chopin 

attended a performance of Ferdinand Hérold’s 

opera Ludovic. As was common practice in the 

Parisian salons, he subsequently wrote a set of 

Variations brillantes on one of the arias. After 

an introduction and simple statement of the 

lilting theme, there is a series of variations: the 

first elegantly flowing, then a jaunty dance, a 

lyrical variation in the style of a nocturne and 

a bravura scherzo that brings the piece to an 

exciting conclusion. 

Chopin’s first piano sonata was written while 

he was still a student in Warsaw, and was not 

published during the composer’s lifetime. The 

serene Larghetto movement foreshadows his 

enormous success writing nocturnes. The piece 

is written with five beats per bar, creating for 

the listener a subtle disorientation around 

the phrasing, but this was not an experiment 

Chopin ever repeated. 

In contrast to these rarely heard works, the 

Scherzo No. 2 is one of Chopin’s most popular 

compositions. It is full of drama and pianistic 

flair with striking contrasts between explosive 

virtuosity, long lyrical melodies and a quietly 

elegiac middle section. The excitement builds 

with gripping intensity throughout the coda, 

propelling the music towards a thrilling 

conclusion. 

ANNOTATIONS BY MARK COUGHLAN © 2023 

09

© Pier Andrea Morolli 

Garrick Ohlsson 

Garrick Ohlsson is acclaimed worldwide as 

a musician of magisterial interpretive and 

technical prowess. Although long regarded 

as one of the world’s leading exponents of the 

music of Frédéric Chopin, he commands an 

enormous repertoire which ranges over the 

entire piano literature. A student of the late 

Claudio Arrau, Garrick Ohlsson has come to 

be noted for his masterly performances of the 

works of Mozart, Beethoven and Schubert, as 

well as the Romantic repertoire. To date he 

has at his command more than 80 concertos, 

ranging from Haydn and Mozart to works 

of the 21st century, many commissioned 

for him. In the 2018/19 season he launched 

an ambitious project spread over multiple 

seasons exploring the complete solo piano 

works of Brahms in four programs to be 

heard in New York, San Francisco, Montreal, 

Los Angeles, London and a number of cities 

across North America. 

A frequent guest with orchestras in New 

Zealand and Australia, Garrick Ohlsson 

accomplished a seven-city recital tour 

across Australia just prior to the closure of 

the concert world due to COVID-19. Since 

that time and as a faculty member of San 

Francisco Conservatory of Music he kept 

music alive for a number of organisations 

with live or recorded recital streams. Since the 

re-opening of concert activity in 2021 he has 

appeared with the orchestras of Indianapolis, 

Atlanta, Dallas, Seattle, Toronto and 

Cleveland, and in recital in San Francisco, 

Los Angeles, Houston, at the Ravinia and 

Tanglewood summer festivals and on a 

US tour with colleague Kirill Gerstein. The 

2022/23 season includes appearances with 

orchestras in Boston, Detroit, Minneapolis, 

San Diego, Spain, Poland and Czech 

Republic. 

10

Brahms piano variations, the Granados 

Goyescas, music of Charles Tomlinson 

Griffes, Scriabin’s complete Poèmes, 

Smetana’s Czech Dances and études by 

Debussy, Bartók and Prokofiev; for Bridge 

Records, the complete Scriabin sonatas, 

Close Connections – a recital of 20th-century 

works, and two CDs of works by Liszt; live 

recordings of both Brahms concertos with 

the Melbourne Symphony Orchestra and 

Tchaikovsky’s Second Piano Concerto with 

the Sydney Symphony Orchestra; and 

Dvořák’s Piano Concerto, featured in the 

Czech Philharmonic’s complete set of the 

composer’s symphonies and concertos. 

In recognition of the Chopin bicentenary 

in 2010, Garrick Ohlsson was featured 

in the documentary The Art of Chopin, 

co-produced by Polish, French, British and 

Chinese television stations. 

An avid chamber musician, Garrick Ohlsson 

has collaborated with the Cleveland, 

Emerson, Tokyo and Takács string quartets 

and began the 2022/23 season with a US tour 

with Poland’s Apollon Musagète Quartet. 

Passionate about singing and singers, 

Garrick Ohlsson has appeared in recital with 

such legendary artists as Magda Olivero, 

Jessye Norman and Ewa Podleś. 

Garrick Ohlsson can be heard on the 

Arabesque, RCA Victor Red Seal, Angel, 

BMG, Delos, Hänssler, Nonesuch, Telarc, 

Hyperion and Virgin Classics labels. His 

ten-disc set of the complete Beethoven 

sonatas, for Bridge Records, has garnered 

critical acclaim, including a GRAMMY® for 

Vol. 3. Other highlights in his discography 

include Rachmaninoff’s Concerto No. 3 

with the Atlanta Symphony Orchestra and 

Robert Spano; for Hyperion, a 16-disc set 

of the complete works of Chopin, all the 

A native of White Plains, NY, Garrick 

Ohlsson began his piano studies at the age 

of eight at the Westchester Conservatory of 

Music; at 13 he entered The Juilliard School, 

in New York City. His musical development 

has been influenced in completely different 

ways by a succession of distinguished 

teachers, most notably Claudio Arrau, Olga 

Barabini, Tom Lishman, Sascha Gorodnitzki, 

Rosina Lhévinne and Irma Wolpe. Although 

he won First Prizes at the 1966 Busoni 

Competition in Italy and the 1968 Montréal 

Piano Competition, it was his 1970 triumph 

at the International Chopin Competition in 

Warsaw, where he won the Gold Medal – he 

remains the single American to have done 

so – that brought him worldwide recognition 

as one of the finest pianists of his generation. 

Since then he has made nearly a dozen 

tours of Poland, where he retains immense 

personal popularity. Garrick Ohlsson was 

awarded the Avery Fisher Prize in 1994 and 

received the 1998 University Musical Society 

Distinguished Artist Award in Ann Arbor, MI. 

He was the 2014 recipient of the Jean Gimbel 

Lane Prize in Piano Performance from the 

Northwestern University Bienen School of 

Music, and in August 2018 the Polish Deputy 

Culture Minister awarded him the Gloria 

Artis Gold Medal for cultural merit. He is a 

Steinway Artist and makes his home in San 

Francisco. 

11

Meet the Artist 

BY PHIL BROWN 

He’s here to play but let’s hope we also get 

to hear some words from Garrick Ohlsson. 

The loquacious American pianist who is 

sometimes known as ‘The Chopin Guy’ (for 

obvious reasons) likes to chat to his audience, 

sometimes about Chopin, sometimes about 

Scriabin (both of whom feature strongly in this 

Music Viva Australia tour program) or other 

composers and music in general. 

Ohlsson is an erudite and entertaining man 

who loves to background his performances. In 

particular, hearing him talk about Alexander 

Scriabin (1872–1915), the enigmatic Russian 

pianist, is a treat. Garrick is fascinated with 

Scriabin, whom he describes as ‘canonical yet 

relatively rarely heard because all his music is 

for piano solo’. 

‘I like to talk about Scriabin because very often 

the concert-going audience doesn’t have a 

handle on who he is,’ Garrick offers. ‘He starts 

out as a Chopin obsessive but by the end of his 

life he is very much an individual. I love talking 

to the audience about him because he is so out 

there. He was also obsessed with Chopin as a 

child. He was this neurasthenic, hypersensitive 

teenager who slept with Chopin’s music under 

his pillow.’ 

Scriabin, he explains, is ‘one of the strangest 

and most interesting composers’. He was also 

a philosopher and even a bit of a mystic with 

an interest in theosophy, a man who ‘wanted 

to save the world through his art’. 

Scriabin’s powerful, impressionistic music is an 

ideal match for Garrick Ohlsson’s authoritative 

playing. He’s a physically imposing figure 

whose playing style has been described as 

projecting an ‘Olympian serenity’. 

He adores Barber and Schubert, Debussy 

and Liszt too, choosing this Australian tour 

for his first performance in many years of the 

latter’s Sonata in B minor. His program also 

features a new work commissioned through 

Musica Viva Australia for Garrick to premiere: 

Convocations, by the Australian composer 

Thomas Misson, a musician from Hobart. It 

was commissioned by Musica Viva Australia 

donor Stephen Johns as a birthday gift for his 

wife, Michele, and Garrick enjoys the fact that 

playing the piece will be a rather unique way 

of saying ‘Happy Birthday’. 

Of course, there will be some Chopin in the 

program – how could there not be? 

The foundation of Garrick’s long and successful 

career is Chopin’s music and he has that in 

common with Scriabin. 

Garrick Ohlsson burst onto the international 

scene in 1970 when, at the age of 22, he won 

first prize in the International Chopin Piano 

Competition, the first American to have done 

so. In an interview with Calvin Dotsey for the 

Houston Symphony, Garrick acknowledged 

the effect the prize had on his life: ‘It really 

put my name on the front page of the 

world’s major newspapers. So in a way the 

competition and Chopin’s music really were the 

decisive turning point in my having a career. 

It gave me my first step everywhere and 

Chopin’s music has been with me my whole 

life. I’ve played so much Chopin. In fact, I’ve 

recorded it all.’ 

The San Francisco-based musician describes 

himself as ‘a wandering minstrel’ who says 

travel is ‘boring and tedious. But I’ve become 

good at it,’ he says. 

12

Garrick Ohlsson has visited Australia on a 

number of occasions. ‘I guess you could say 

that I’m a semi-regular visitor,’ he says. ‘Last 

time I was there was in 2020 just after all the 

terrible bushfires.’ 

He believes that music is ‘a tonic and a balm 

for the soul in all aspects. Music makes you feel 

things that almost bypass consciousness.’ That 

sounds like something Scriabin might have 

said or at least agreed with. But as much as he 

likes to talk about music and the composers 

he loves, Garrick Ohlsson doesn’t want to 

explain away the magical elements of classical 

music. The mystique should remain intact, he 

suggests. 

To that end he tells a favourite story about 

a woman who, hearing the young and then 

relatively unknown Beethoven play, was a bit 

mystified by this new music. 

‘She asked him what the piece he had just 

played meant,’ Ohlsson says, and there was 

only one way for Beethoven to answer. ‘He sat 

down and played it again.’ Point taken. 

‘A tonic and 

a balm for the soul’ 

13

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ACT 

The late Geoffrey Brennan 

NSW The late Charles Berg, The late Stephen Center, 

The late Janette Hamilton, The late Dr. Ralph Hockin in 

memory of Mabel Hockin, The late Kenneth W Tribe AC 

QLD 

The late Steven Kinston 

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

The late Lesley Lynn 

VIC In memory of Anita Morawetz, The family of 

the late Paul Morawetz, The late Dr G D Watson 

WA 

Anonymous 

CONCERT CHAMPIONS 

The mainstage concerts of our 2023 Season are brought 

to life thanks to the generosity of our Concert Champions 

around the country. 

Adelaide Helen Bennetts & Tim Lloyd, The late Lesley Lynn, 

Dr Susan Marsden & Michael Szwarcbord, Leonie Schmidt & 

Michael Davis, Anonymous (2) 

Brisbane Ian & Cass George, Andrea & Malcolm Hall-Brown, 

Andrew & Kate Lister, Barry & Diana Moore, Anonymous (2) 

Canberra Andrew Blanckensee Music Lover, Sue & Ray 

Edmondson, Malcolm Gillies & David Pear in memory 

of Stewart Gillies, Humphries Family Trust, Claudia 

Hyles, Margaret Lovell & Grant Webeck, Ruth Weaver & 

Anonymous, Dr Suzanne Packer, Sue Terry & Len Whyte, 

Anonymous 

Melbourne Alexandra Clemens & Bibi Aickin, Penelope 

Hughes, Peter Lovell, The Morawetz Family in memory of 

Paul Morawetz, Dr John Tang, Dr Michael Troy, Ray Turner 

& Jennifer Seabrook, The late Dr G D Watson, 

Dr Victor Wayne & Dr Karen Wayne OAM, Igor Zambelli 

Newcastle Judith Bennett, Gabrielle Bookallil, 

Megan & Bill Williamson 

Perth Dr Robert Larbalestier AO, Deborah Lehmann AO 

& Michael Alpers AO, Prichard Panizza Family (2), 

For Stephanie Quinlan (2), Valerie & Michael Wishart 

Sydney Judith Bennett, 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, Tribe Family, 

Kay Vernon, Kim Williams AM & Catherine Dovey (2) 

PRODUCERS’ CIRCLE 

Darin Cooper Foundation, Peter Griffin AM & Terry Swann 

ENSEMBLE PATRONS 

Our artistic vision for 2023 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 2023 Season. 

Ian & Caroline Frazer (Karin Schaupp & Flinders Quartet) 

Ian Dickson AM & Reg Holloway and Anonymous 

(The Cage Project) 

Stephen & Michele Johns & Anonymous (Chopin’s Piano) 

Eleanore Goodridge OAM (Wildschut & Brauss) 

AMADEUS SOCIETY 

Tony Berg AM & Carol Berg, Marc Besen AC & Eva Besen 

AO dec., Ms Jan Bowen AM, Tom Breen & Rachael Kohn AO, 

Dr Di Bresciani OAM, Dr Helen Ferguson, Ms Annabella 

Fletcher, Dr Annette Gero, Katherine & Reg Grinberg, 

Jennifer Hershon & Russell Black, Penelope Hughes, 

Michael & Frédérique Katz, Ruth Magid & Bob Magid OAM, 

Dr Hadia Mukhtar, Prof. John Rickard, Philip Robinson, 

Andrew Rosenberg, Ray Wilson OAM 

17

MASTERCLASSES 

GIVING CIRCLE 

The Masterclasses Giving Circle is a group of generous 

donors whose collective support will enable the artistic 

development of the next generation of Australian 

chamber musicians. 

Nicholas Callinan AO & Elizabeth Callinan, Caroline & 

Robert Clemente, Patricia H. Reid Endowment Fund, 

Andrew Sisson AO & Tracey Sisson, Mick and Margaret 

Toller, Anonymous (1) 

COMMISSIONS 

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, The Barry Jones Birthday Commission, 

DR & KM Magarey, Naomi Milgrom Foundation & 

Ian Dickson AM & Reg Holloway, Playking Foundation, 

Tribe Family in honour of Doug Tribe’s 75th Birthday, 

Adelaide Commissioning Circle, Perth Commissioning Circle 

The Barry Jones Birthday Commission ($500+) 

Steve Bracks AC & Terry Bracks AM, Dr George Deutsch 

OAM & Kathy Deutsch, Carrillo Gantner, Professor Margaret 

Gardner AC & Professor Glyn Davis AC, Naomi & George 

Golvan QC, Hon David Harper AM, Ellen Koshland & James 

McCaughey, Miles Lewis, Julie & Ian Macphee, Barry McGaw, 

Jeannette McHugh, Fiona McLeod AO SC, Peter & Ruth 

McMullin, 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) 

MAJOR GIFTS 

$100,000+ 

NSW The Berg Family Foundation, 

Patricia H. Reid Endowment Fund, Anonymous 

$50,000–$99,999 

ACT 

Marion & Michael Newman 

NSW J A Donald Family, Katherine & Reg Grinberg, 

Tom & Elisabeth Karplus 

$20,000–$49,999 

NSW Tom Breen & Rachael Kohn AO, 

Michael & Frédérique Katz, Vicki Olsson 

QLD 

Ian & Caroline Frazer, Andrea & Malcolm Hall-Brown 

VIC The Morawetz Family in memory of Paul Morawetz, 

Anonymous 

WA 

Anonymous 

$10,000–$19,999 

ACT 

R & V Hillman, Anonymous 

NSW Gardos Family, Gresham Partners, Hilmer Family 

Endowment, Anthony Strachan, Jo Strutt, Ray Wilson OAM 

QLD 

SA 

Anonymous 

Stoneglen Foundation, Anonymous 

VIC Roger Druce & Jane Bentley, Peter Griffin AM 

& Terry Swann, Monica Lim & Konfir Kabo, Peter Lovell, 

In Memory of Dr Ian Marks, Mercer Family Foundation, 

Marjorie Nicholas OAM 

WA Team Legacy, Deborah Lehmann AO 

& Michael Alpers AO 

$5,000–$9,999 

ACT Goodwin Crace Concertgoers, Craig Reynolds, 

Sue Terry & Len Whyte, Anonymous 

NSW Christine Bishop, Patricia Crummer, 

Sarah & Tony Falzarano, Mrs W G Keighley, Hywel Sims, 

David & Carole Singer, Diane Sturrock, Kim Williams AM 

& Catherine Dovey 

SA 

Aldridge Family Endowment, Anonymous 

VIC In memory of Kate Boyce, Dr Di Bresciani OAM 

& Lino Bresciani, William J Forrest AM, Doug Hooley, 

Andrew Johnston, Joy Selby Smith, Greg Shalit & 

Miriam Faine, Musica Viva Australia Victorian Committee 

MICMC Prize, Anonymous 

WA Zoe Lenard & Hamish Milne, Anonymous (2) 

18

ANNUAL GIFTS 

$2,500–$4,999 

ACT Kristin van Brunschot & John Holliday, 

Dr Andrew Singer, Anonymous 

NSW ADFAS Newcastle, Penny Beran, Susan Burns 

QLD 

SA 

Greyhound Australia 

DJ & EM Bleby 

VIC Jan Begg, Alastair & Sue Campbell, 

Anne Frankenberg & Adrian McEniery, 

Lyndsey & Peter Hawkins, Ralph & Ruth Renard, 

Maria Sola, Igor Zambelli 

WA 

Ros Kesteven, Mrs Morrell, Anonymous 

$1,000–$2,499 

ACT Andrew Blanckensee, The Breen/Dullo Family, 

Odin Bohr & Anna Smet, Dudley & Helen Creagh, 

Martin Dolan, Liz & Alex Furman, Malcolm Gillies AM, 

Kingsley Herbert, Margaret & Peter Janssens, 

Margaret Oates, S Packer, Clive & Lynlea Rodger, 

Hannah Semler, Anonymous (3) 

NSW Judith Allen, David & Rae Allen, Maia Ambegaokar 

& Joshua Bishop, Stephen Booth, Jennifer Bott AO & 

Harley Harwood, Vicki Brooke, Neil Burns, Hugh and Hilary 

Cairns, Hon J C Campbell QC & Mrs Campbell, Lloyd & 

Mary Jo Capps AM, Opus 109 Sub-fund, Community Impact 

Foundation, Robin & Wendy Cumming, Thomas Dent, 

Nancy Fox AM & Bruce Arnold, John & Irene Garran, 

Charles & Wallis Graham, H2 Cairns Foundation, Annie 

Hawker, Robert & Lindy Henderson, Lybus Hillman, 

Dr Ailsa Hocking & Dr Bernard Williams, 

Dorothy Hoddinott AO, Catharine & Robert Kench, 

Kevin & Deidre McCann, DR & KM Magarey, Arthur & 

Elfreda Marshall, Dr Dennis Mather & John Studdert, 

Mora Maxwell, Michael & Janet Neustein, Paul O’Donnell, 

Laurie Orchard, Ms Vivienne Sharpe, Dr Robyn Smiles, 

Tom & Dalia Stanley, Geoff Stearn, Richard & Beverley 

Taperell, Graham & Judy Tribe, John & Flora Weickhardt, 

Richard Wilkins, Megan & Bill Williamson, Anonymous (4) 

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

Crook, Robin Harvey, Lynn & John Kelly, Jocelyn Luck, 

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

Barbara Williams & Jankees van der Have, Anonymous (2) 

SA Ivan & Joan Blanchard, Richard Blomfield, Max & 

Ionie Brennan, Joan Lyons, Fiona MacLachlan OAM, 

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

Matison, Diane Myers, Anne Sutcliffe, Anonymous 

TAS 

Dianne O’Toole 

Adrian Nye, Resonance Fund – Michael Cowen & Sharon 

Nathani, Murray Sandland, Marshall Segan & Ylana Perlov 

in memory of his late parents, 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 (2) 

WA David & Minnette Ambrose, Dr S Cherian, 

Michael & Wendy Davis, In memory of Raymond Dudley, 

Dr Penny Herbert in memory of Dunstan Herbert, 

Ms Helen Hollingshead, Anne Last & Steve Scudamore, 

Hugh & Margaret Lydon, Olivier David & Dr Bennie Ng, 

Marian Magee & David Castillo, John Overton, 

Margaret & Roger Seares, Robyn Tamke, Anonymous (4) 

$500–$999 

ACT Christopher Clarke, Peter Cumines, Susan 

Edmondson, Jill Fleming, Claudia Hyles OAM, 

Margaret Millard, Helen Rankin, Dr Paul & Dr Lel 

Whitbread, Anonymous (2) 

NSW Denise Braggett, Christopher & Margaret Burrell, 

Robert Cahill and Anne Cahill OAM, Lucia Cascone, 

Trish & John Curotta, Dr Arno Enno & Dr Anna Enno, 

Anthony Gregg, The Harvey Family, Roland & 

Margaret Hicks, David & Sarah Howell, Alicia Howlett, In 

honour of Michael Katz, Cynthia Kaye, KP Kemp, Mathilde 

Kearny-Kibble, Dr Colin MacArthur, Robert McDougall, 

Ian & Pam McGaw, Frances Muecke, Kim & Margie Ostinga, 

Dr John Rogers, Penny Rogers, Peter & Heather Roland, 

Professor Lynne Selwood, Kathie & Reg Grinberg - In 

honour of Dalia Stanley’s birthday, Andrew Wells AM, 

Anonymous (8) 

QLD Geoffrey Beames, Janet Franklin, Timothy Matthies 

& Chris Bonnily 

SA Zoë Cobden-Jewitt & Peter Jewitt, Daniel & Susan 

Hains, Elizabeth Ho OAM, in honour of the late Tom Steel, 

Dr Iwan Jensen, Helga Linnert & Douglas Ransom, Julie 

Mencel & Michael McKay, Tony Seymour, Anonymous (5) 

TAS 

Anonymous 

VIC David Bernshaw & Caroline Isakow, Pam Caldwell, 

John & Mandy Collins, John & Chris Collingwood, 

Mary-Jane Gething, John & Margaret Harrison, 

Eda Ritchie AM, Maureen Turner, Lyn Williams, 

Anonymous (5) 

WA Jennifer Butement, Joan Carney, Fred & Angela 

Chaney, Rachel & Bruce Craven, Helen Dwyer, 

Dr Barry Green, Paula Nathan AO & Yvonne Patterson, 

Lindsay & Suzanne Silbert, Father Richard Smith, 

Ruth Stratton, Christopher Tyler, Anonymous (5) 

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

Alison & John Cameron, Alex & Elizabeth Chernov, 

Lord Ebury, Dr Glenys & Dr Alan French, Virginia Henry, 

Helen Imber, Angela Kayser, Angela & Richard Kirsner, 

Angela Li, Janet McDonald, Ruth McNair AM & Rhonda 

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

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

19

Concert Partners 

Perth Concert Series Sydney Morning Masters Series Musica Viva Australia at The Edge Series 

Commissioning Partner (The Cage Project) 

Rehearsal Partner (The Cage Project) 

Project Partner (The Cage Project) 

Legal 

Chartered Accountants 

Piano & Tuning 

Media Partner Wine Partner act, nsw, qld, sa, vic Wine Partner wa 

Hotel Partner 

Hotel Partner 

Government Partners 

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). 

Emerging Artists Partners 

Melbourne International Chamber Music Competition 

Principal Partner 

Strategic Partner 

Grand Prize Partner 

Key Philanthropic Partner 

FutureMakers Lead Partner FutureMakers Residency Partner Key Philanthropic Partner 

20

Education Partners 

Government Partnerships & Support 

National Education Supporters 

J A Donald Family 

Marion & Mike Newman 

Musica Viva Australia In Schools & Professional Development 

• Aldridge Family Endowment • Godfrey Turner Memorial Music Trust • In Memory of Anita Morawetz 

• Keith MacKenzie Will Trust • Margaret Henderson Music Trust • Marsden Szwarcbord Foundation 

• Perpetual Foundation - Alan (AGL) Shaw Endowment • Scully Foundation 

National Music Residency Program 

The 

Benjamin 

Fund 

Day Family 

Foundation 

The Marion & 

E.H. Flack Trust 

• Aldridge Family Endowment • Carthew Foundation • Foskett Foundation • FWH Foundation 

• John & Rosemary McLeod • Joy Selby Smith • Klein Foundation • Legacy Unit Trust 

• Lipman Karas • Seeley International • Anonymous Donors (3) 

21

Stories to inspire 

BY CAROLINE DAVIS 

HOW DOES 

MUSIC SPEAK TO YOU? 

When music speaks, it transcends words alone, 

and is a powerful form of communication that 

brings us together as humans, enabling us to 

interact, celebrate, mourn and connect. 

The universality of music as a language is its 

strength, allowing us to express ourselves when 

the spoken word alone might be a barrier. 

This year, our annual giving campaign shines 

a spotlight on the different ways that music 

speaks to us all - audiences and musicians 

alike. 

Our Musica Viva Australia In Schools 

ensembles are experts at showcasing how 

music can speak to even our youngest 

audiences. 

We recently spoke with Jenny Eriksson, viola 

da gamba player for Musica Viva Australia In 

Schools ensemble Da Vinci’s Apprentice, and 

Susie Bishop, violinist and vocalist for Da Vinci’s 

Apprentice and Lost Histories, about how 

music speaks to them. 

Unsurprisingly, for both musicians, music has 

resonated deeply in their lives since childhood. 

Recounting her earliest musical memory, 

Susie recalls ‘watching the TV when I was four 

years old, and seeing this little boy who was 

the same age as me playing zippy bluegrass 

on a fiddle, and saying to my parents, “Why 

can’t I do that?” And that’s why I got my violin. 

Music for me is that pure channelling of your 

emotional terrain. When you’re playing it 

you can experience a release that maybe 

you haven’t been able to have when you talk 

even to friends and family. It communicates 

something that words can’t.’ 

22

Similarly, Jenny remembers a great yearning 

to play music as a child: ‘My earliest musical 

memory is of the recorder band at my primary 

school when I was five. I was dying to be in 

this recorder band and I managed to get into 

it when I was six. The recorder band used to 

march everybody into school after assembly 

every day.’ For Jenny, music is a practical tool 

for self-expression: ‘Music is something that’s 

very special to me. For me, speaking is not that 

easy and to be able to play an instrument and 

to express myself playing music, it just gives 

me freedom to express what I feel.’ 

There are so many ways through which Musica 

Viva Australia seeks to foster a music-rich 

future, harnessing this power across our 

myriad programs. We nurture the futures 

of our emerging artists in our FutureMakers 

program, as they learn to develop the 

unique way that music speaks to them while 

incorporating their personal connections to 

music in their performances and creations. 

FutureMaker Katie Yap says that music speaks 

to her ‘in many voices. It speaks to the head 

and to the heart, and to the body as well: 

thinking, feeling, dancing.’ Music education 

has played an important role in her life: 

‘When it is in a group situation, it can be an 

incredibly powerful way of connecting on 

a visceral, emotional level.’ Katie, it seems, 

commenced her music journey at the youngest 

possible age: ‘There’s a story of me in utero 

when my parents went to see the Bach B minor 

Mass – apparently I loved it so much that I was 

knocking poor Mum from left to right in her 

chair!’ 

For Paul Kildea, our Artistic Director, music 

represents a journey of learning from an 

early age: ‘My earliest musical memory, as 

a performer, is linking all the notes I had 

steadfastly been collecting on my schoolallocated 

tenor horn – aided by A Tune a Day 

– into a song: Home on the Range. I’m glad 

that piano lessons began a year or so later!’ 

Nowadays for Paul, music produces powerful 

musical moments. ‘Music has a profound 

and overwhelming effect on me – both 

in the moment of a (good) performance, 

and somehow also cumulatively, linking 

performances of any particular work over 

40 years of concert-going.’ 

A key objective at Musica Viva Australia is to 

spark creativity through our music education 

programs, but music education does not end 

with formal schooling. In fact, it is the start 

of what we hope will be a life-long journey, 

fostering connection, encouraging innovation 

and engaging communities; a process that we 

hope all our audiences can take with them. 

For Paul, ‘it’s commonplace to say that music 

education helps children learn team skills, coordination, 

socialisation etc. I love it because it 

opens up an entirely new and wonderful world 

of the mind and imagination to those lucky 

enough to be exposed.’ 

Music is a journey and speaks to us all 

differently. Help us to find more ways to 

enable music to speak to more Australians 

by making a gift to Musica Viva Australia this 

financial year. Every gift makes a difference. 

If you would like to support our annual giving campaign, go to musicaviva.com.au/support-us 

or contact Caroline Davis, Individual Giving Manager, 

cdavis@musicaviva.com.au | 0421 375 358 

23

Performing nationally in Adelaide, Brisbane, 

Canberra, Melbourne, Newcastle, 

Perth and Sydney. 

Chopin’s Piano 

Silk, Metal, Wood 

Vision String Quartet 

Wildschut & Brauss 

3–9 July: 

Melbourne International 

Chamber Music Competition 2023 

musicaviva.com.au 

1800 688 482

© James Grant 

Chopin’s Piano 

AURA GO & JENNIFER VULETIC 

In this captivating staging by Richard Pyros and with the complete Preludes as its backbone, 

pianist Aura Go and actor Jennifer Vuletic tell the story of this singular instrument, 

the works composed on it and the artist who created them. From the book by Paul Kildea. 

NATIONAL TOUR: 8–26 JULY 

musicaviva.com.au/chopins-piano 

1800 688 482

la música habla 

:”( 

nagsasalita ang musika 

η μουσική μιλάει 

âm nhac nói . 

:-D 

... 

;-)) :o 

ਸੰਗੀਤ ਬੋਲਦਾ ਹੈ 

LA MUSICA PARLA 

mizik la ka palé 

音乐说话 

:-) 

waiata korero 

The language of music is universal; 

it transcends borders and unites us as people. 

At Musica Viva Australia we believe that music 

makes the world a better place. 

It’s our ongoing mission to create unforgettable experiences for audiences 

across the country: from a child in a classroom seeing live music for the first time, 

through to the seasoned concertgoer discovering new work. 

Help us to continue our work so that everyone, regardless 

of age, location or circumstance, can access and 

share the very best live music. 

For more information: 

Caroline Davis | cdavis@musicaviva.com.au | 0421 375 358

Garrick Ohlsson Program Guide | June 2023

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