Musica Viva Australia Season Brochure | 2024

Difference ignites creativity in Musica Viva Australia's 2024 Concert Season. Listen to new voices as Artistic Director Paul Kildea puts outstanding artists, diverse genres and multifaceted music in counterpoint. Subscribe today https://www.musicaviva.com.au/

Difference ignites creativity in Musica Viva Australia's 2024 Concert Season. Listen to new voices as Artistic Director Paul Kildea puts outstanding artists, diverse genres and multifaceted music in counterpoint. Subscribe today https://www.musicaviva.com.au/


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2 4

We acknowledge the Traditional Custodians of the many lands<br />

on which we meet, work and live and we pay our respects to<br />

Elders past and present – people who have sung their songs,<br />

danced their dances and told their stories on these lands for<br />

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

04<br />

Long Lost Loves<br />

(and Grey Suede Gloves)<br />

06<br />

Esmé Quartet<br />

08<br />

Kirill Gerstein<br />

12<br />

The Choir of King’s College,<br />

Cambridge<br />

14<br />

Pekka Kuusisto & Gabriel Kahane<br />

16<br />

Ensemble Q & William Barton<br />

18<br />

<strong>Musica</strong> Alchemica<br />

20<br />

Concert dates<br />

22<br />

Meet our commissioned<br />

composers<br />

24<br />

Sydney Morning Masters<br />

26<br />

The Edge, Melbourne<br />

28<br />

Subscriber benefits<br />

30<br />

Choose your subscription<br />

32<br />

Frequently asked questions<br />

33<br />

Experience <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong><br />

36<br />

Support <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong><br />

Welcome<br />


Welcome to <strong>Season</strong> 2O24<br />

A child looking through a kaleidoscope<br />

will turn the lens quickly, impatient for the<br />

transformation, greedy for the image that<br />

sits at the farthest point from the original.<br />

An adult will savour the subtlest shift, able to<br />

keep the two images in mind long enough to<br />

marvel at the refractions.<br />

I went into planning for <strong>2024</strong> thinking about<br />

such subtle refractions. What happens if<br />

we make our great love, chamber music,<br />

the focus as we turn ever so slightly the<br />

kaleidoscopic lens aimed at it?<br />

By pure chance, in sitting down to write<br />

this introduction I read a blog post from<br />

the American composer and songwriter<br />

Gabriel Kahane, whose national tour for us<br />

in August/September <strong>2024</strong>, with the brilliant<br />

and charismatic violinist Pekka Kuusisto is<br />

a cherished component of our season. He<br />

was writing about a concert he curated<br />

some months back: ‘The basic conceit of the<br />

evening is to present a series of collages,<br />

mosaics, jump-cuts, and juxtapositions that<br />

occur within, as well as across, multiple<br />

works.’ Sometimes it’s thrilling to look at<br />

familiar works sideways, Gabriel seemed to<br />

be saying.<br />

So, choose your image or analogy; I’m happy<br />

with either kaleidoscope or mosaic. To bring<br />

the Choir of King’s College, Cambridge<br />

back to <strong>Australia</strong> is a privilege, but to have<br />

it perform great twentieth-century religious<br />

works alongside a commissioned work<br />

from Damian Barbeler and Judith Nangala<br />

Crispin, is an intimate way for the choir to<br />

engage with <strong>Australia</strong>n history.<br />

Photo by Ben Fon.<br />

Kirill Gerstein is an astonishing performer,<br />

and here undertakes a new work by Liza Lim<br />

in an already distinctive program. There’s<br />

similar bounty in the tour of Lina Tur Bonet, a<br />

Baroque violinist visiting <strong>Australia</strong> for the first<br />

time with her ensemble <strong>Musica</strong> Alchemica.<br />

The songs of William Bolcom have always<br />

been close to my heart, with their hints<br />

of Brecht and Bernstein; here they are<br />

assembled into a touching show by director<br />

Con Costi, performed by Anna Dowsley with<br />

Michael Curtain on piano.<br />

The tour by Ensemble Q is an opportunity<br />

to hear the world’s oldest wind instrument<br />

alongside <strong>Australia</strong>’s best wind players in a<br />

new commission from William Barton. And<br />

how great to include the young prize-winning<br />

Esmé Quartet, whose Mendelssohn you just<br />

have to hear.<br />

I look forward to seeing you in concert halls<br />

throughout the country!<br />

Paul Kildea, Artistic Director<br />

With special thanks to the MVA Director’s Circle and<br />

the Amadeus Society for their support of <strong>Musica</strong> <strong>Viva</strong><br />

<strong>Australia</strong>’s <strong>2024</strong> Concert <strong>Season</strong>.<br />


20 Feb.–10 Mar.<br />

Adelaide, Brisbane, Canberra,<br />

Melbourne, Newcastle,<br />

Perth and Sydney<br />

Photo by Jasmin Simmons, courtesy of Pinchgut Opera.<br />

Program<br />

Selections from<br />

William BOLCOM Cabaret Songs<br />

Lyrics by Arnold WEINSTEIN<br />

Concept by Ian Dickson and<br />

Paul Kildea<br />

Artists<br />

ANNA DOWSLEY mezzo-soprano<br />



and director<br />


lighting design<br />


‘Anna Dowsley’s luxuriant mezzo has an<br />

almost infinite range of shades . . .’<br />

Concerto Net<br />

Long Lost Loves<br />

(and Grey Suede<br />

Gloves)<br />

Join mezzo-soprano Anna Dowsley and pianist Michael<br />

Curtain for an evening of storytelling over the piano, inspired<br />

by the work of Pulitzer Prize-winning composer William<br />

Bolcom, devised by Paul Kildea and Ian Dickson, and written<br />

and directed by Constantine Costi.<br />

William Bolcom, who just celebrated his 85th birthday,<br />

occupies a unique place in the repertoire. Not quite art song,<br />

not quite cabaret, his settings of Arnold Weinstein’s deliciously<br />

dry lyrics continue a grand tradition stretching from Schubert<br />

to Sondheim of making words dance, fly and sing.<br />

Hear some of their best-loved songs, from Amor to At the last<br />

lousy moments of love, woven into a poignant meditation on<br />

life, love and living in the moment.<br />

‘[Bolcom’s songs are] colourful, brash.<br />

dreamy, light, sassy, catchy, overwrought,<br />

ethereal, folksy, soothing and sometimes<br />

several of these things at once.’<br />

Classical Net<br />

With special thanks to Ensemble Patrons Peter Griffin AM and Terry Swann<br />

for their support of this tour, with additional support from Ms Felicity Rourke<br />

and Justice François Kunc. Presented in association with Adelaide Festival.<br />

‘Long Lost Loves (and Grey Suede Gloves) is almost a metaphor for the<br />

season – an examination of interior and exterior worlds, represented here<br />

by offstage and onstage. It’s a program in which the brilliant songs of<br />

William Bolcom are juxtaposed to create a funny and profound story of a<br />

young woman’s life and loves.’<br />

Paul Kildea<br />


‘The lyricism and airy limpidity of the<br />

four performers give these movements a<br />

profundity and unexpected allure.’<br />

Diapason<br />

Esmé Quartet<br />

Eloquent. Spellbinding. Monumental. Exquisite. How else<br />

can we describe the Esmé Quartet? Based in Germany, this<br />

ensemble launched its international career by winning first<br />

prize at the 2018 International String Quartet Competition at<br />

London’s Wigmore Hall. The ensemble then embarked on<br />

a whirlwind year of concerts in North America, Hong Kong<br />

and Japan.<br />

For their <strong>Australia</strong>n debut the musicians play works which are<br />

the epitome of youth: an early work of Webern overflows with<br />

romantic invention, while Mendelssohn’s second String Quartet<br />

blazes with the heart-on-sleeve emotion of a teenage<br />

genius; and emerging <strong>Australia</strong>n composer Jack Frerer’s<br />

Spiral Sequences is an exhilarating roller-coaster ride. Add<br />

to this Claude Debussy’s only string quartet, brimming with<br />

rhythmic and harmonic exuberance.<br />

Esmé comes from the medieval French word for ‘beloved’. Be<br />

among the first to discover why everyone loves Esmé.<br />

‘The quartet has such tenderness, such virtuosity, such musicality, that I have<br />

tried to keep them as a strictly traditional offering – except that I’ve asked<br />

them to include a piece by <strong>Australia</strong>n composer Jack Frerer which is fast,<br />

furious and then gentle, a wonderful way for the quartet to engage with<br />

<strong>Australia</strong>n music and audiences.’<br />

Paul Kildea<br />


29 April–14 May<br />

Adelaide, Brisbane, Canberra,<br />

Melbourne, Newcastle,<br />

Perth and Sydney<br />

Photo courtesy of Tongyeong International Music Festival.<br />

Program<br />

WEBERN Langsamer Satz<br />

(‘Slow Movement’)<br />

MENDELSSOHN String Quartet<br />

No. 2 in A minor, Op. 13<br />

FRERER Spiral Sequences<br />

DEBUSSY String Quartet in<br />

G minor, Op. 10<br />

Artists<br />

WONHEE BAE violin<br />

YUNA HA violin<br />


YEEUN HEO cello<br />


11–23 June<br />

Adelaide, Brisbane, Canberra,<br />

Melbourne, Newcastle,<br />

Perth and Sydney<br />

Photo by Marco Borggreve.<br />

Program<br />

CHOPIN Polonaise-Fantaisie in<br />

A-flat major, Op. 61<br />

FAURÉ Nocturne No. 13 in B minor,<br />

Op. 119<br />

POULENC Three Intermezzi,<br />

FP71/118<br />

LISZT Polonaise in E major, S. 223<br />

No. 2<br />

SCHUMANN Carnival of Vienna,<br />

Op. 26<br />

LIZA LIM Transcendental Etude<br />

(2023)*<br />

GODOWSKY Symphonic<br />

Metamorphoses, No.2:<br />

Die Fledermaus<br />

*World premiere performances.<br />

Commissioned for <strong>Musica</strong> <strong>Viva</strong><br />

<strong>Australia</strong> with funds from the<br />

Hildegard Project, championing<br />

the work of female composers.<br />

Artist<br />



‘A peerless performer, with so much to express’<br />

Guardian<br />

‘Uncanny delicacy in one episode and<br />

gnashing power the next’<br />

The New York Times<br />

Kirill Gerstein<br />

Kirill Gerstein is a showman, a philosopher, and a poet of the<br />

piano. He grew up playing jazz, switched to classical and won<br />

the Arthur Rubinstein International Piano Master Competition<br />

at just 22. Since then he has carved out a formidable<br />

reputation as a fearless artist who makes the impossible<br />

sound easy.<br />

For this seven-city solo recital tour he is scaling new heights<br />

of virtuosity: Liszt’s powerhouse Polonaise in E, Schumann’s<br />

Viennese romp, Carnival of Vienna, and the wildly difficult,<br />

wildly entertaining transcriptions of eccentric piano nerd,<br />

Leopold Godowsky. In the same program, he dives deep into<br />

the profundity of Chopin’s Polonaise-Fantaisie, and gives the<br />

world premiere of Transcendental Etude, a new commission<br />

from <strong>Australia</strong>n Liza Lim.<br />


The Choir of<br />

King’s College,<br />

Cambridge<br />

Every year on Christmas Eve listeners around the world tune in<br />

to hear The Choir of King’s College, Cambridge celebrate the<br />

Festival of Nine Lessons and Carols in a glorious display of the<br />

British choral tradition. Now this unique and precious sound<br />

returns to <strong>Australia</strong>.<br />

The Choir will perform soaring anthems and sacred works<br />

alongside two touchstones of the choral repertoire: Stravinsky’s<br />

Mass for choir and double wind quintet (ten of <strong>Australia</strong>’s best<br />

instrumentalists); and Maurice Duruflé’s magnificent Requiem,<br />

a radiant meditation on life and death for choir and organ.<br />

It’s not all top hats and heavenly voices: just as boys grow<br />

up and voices break, the Choir’s work evolves across the<br />

generations. Which is why Daniel Hyde, Director since 2019,<br />

asked us what The Choir of King’s College, Cambridge might<br />

learn from us. Integral to their performance is a new work<br />

commissioned from <strong>Australia</strong>n composer Damian Barbeler,<br />

working with a text by Judith Nangala Crispin (a descendent<br />

of the Bpangerang people), which weaves a new tapestry from<br />

the threads of history.<br />

With special thanks to Ensemble Patrons Ian Dickson AM and Reg Holloway<br />

for their support of this tour.<br />

Photo by Leon Hargreaves.<br />


21 July–5 August<br />

Adelaide, Brisbane, Canberra,<br />

Melbourne, Perth and Sydney<br />

Program<br />

HANDEL Zadok the Priest<br />

BAINTON And I saw a<br />

new Heaven<br />

DURUFLÉ Requiem, Op. 9<br />

Damian BARBELER (music) &<br />

Judith Nangala CRISPIN (poem)<br />

Charlotte (2023)*<br />

OR<br />

GABRIELI O magnum mysterium<br />

BULL Almighty God, which by the<br />

leading of a star<br />

TALLIS Videte miraculum<br />

WEIR Vertue<br />


Damian BARBELER (music) &<br />

Judith Nangala CRISPIN (poem)<br />

Charlotte (2023)*<br />

Artists<br />

DANIEL HYDE director of music<br />



*World premiere performances.<br />

Commissioned for <strong>Musica</strong> <strong>Viva</strong><br />

<strong>Australia</strong> by Richard Wilkins.<br />

‘“Where did you go girl, with your<br />

made-up history, your ever whiter<br />

babies?” I say to her – Charlotte,<br />

Grandmother of my Grandfather,<br />

I am Judith, and these are<br />

my scars.’<br />

On finding Charlotte in the<br />

Anthropological Record<br />


6–17 August<br />

Adelaide, Canberra, Melbourne,<br />

Newcastle and Sydney<br />

Photo by Sam Gehrke.<br />

Program to include<br />

Traditional Scandinavian folk<br />

music; works by KUUSISTO<br />

and KAHANE; Nico MUHLY;<br />

J. S. BACH; and others.<br />

Artists<br />

PEKKA KUUSISTO violin, electric<br />

violin, loops, piano, vocals<br />

GABRIEL KAHANE piano, electric<br />

guitar, keyboards, vocals<br />

*Co-commissioned by <strong>Musica</strong><br />

<strong>Viva</strong> <strong>Australia</strong>, San Francisco<br />

Performances, Chamber Music<br />

Northwest, Schubert Club, and<br />

The 92nd St Y New York<br />


‘Pekka Kuusisto . . . surely has the most<br />

personal sound of any classical violinist<br />

now alive.’<br />

The Telegraph<br />

‘Kahane’s work . . . is, first and foremost, an<br />

exercise in lyric beauty. He sings in a warm,<br />

resonant, melancholic baritone, which coasts<br />

upward into a plaintive falsetto. He plays the<br />

piano with a poetic touch . . . and his music<br />

is suffused with idiosyncratic, enriched tonal<br />

harmony . . . he is one of the finest, most<br />

searching songwriters of the day.’<br />

The New Yorker<br />

Pekka Kuusisto &<br />

Gabriel Kahane<br />

Pekka Kuusisto is an acclaimed violinist. Gabriel Kahane is a<br />

composer, singer and multi-instrumentalist. Both classically<br />

trained, both comfortable inside and outside the box, they<br />

wander those sometimes strange, sometimes quirky, but<br />

always beautiful borderlands where creativity thrives.<br />

They come together in a new collaboration, commissioned for<br />

recording and performance by an international partnership<br />

including <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong>. The relaxed, intimate evening<br />

is an exploration of what it means to be artists in the 21st<br />

century; artists for whom honouring a classical heritage is as<br />

important as chasing the new. Be fascinated, entertained,<br />

moved and changed by what they make.<br />


‘The possibilities are extraordinary.<br />

[William Barton] is a great man. He radiates.’<br />

Sir Simon Rattle<br />

‘[Ensemble Q was] quite possibly the best<br />

performance I’ve seen all year, and an<br />

astonishing feat of music-making . . . Frankly,<br />

this was a jaw-dropping performance.’<br />

Limelight<br />

Ensemble Q<br />

& William Barton<br />

What are the sonic possibilities when the oldest wind<br />

instrument in the world – the didgeridoo – teams up with<br />

instruments that found their final form only two centuries ago?<br />

And who better to explore them than distinguished artist and<br />

composer William Barton?<br />

Ensemble Q is a group powered by the passion and fizz of<br />

curiosity and underpinned by the virtuosic integrity of some<br />

of <strong>Australia</strong>’s finest musicians. It might just be the perfect<br />

playground for making music. Their ear-catching program<br />

includes works by William Barton and Paul Dean alongside<br />

hand-picked masterpieces by Brahms and Ligeti which<br />

promise to wrap audiences in a multi-faceted kaleidoscope<br />

of sound.<br />

With special thanks to Ensemble Patrons Ian and Caroline Frazer for their<br />

support of this tour.<br />


30 Sept.–12 Oct.<br />

Adelaide, Brisbane, Canberra,<br />

Melbourne, Newcastle,<br />

Perth and Sydney<br />

Photo by Lyndon Mechielsen.<br />

Program<br />

WILLIAM BARTON New work<br />

(<strong>2024</strong>)*<br />

BRAHMS Cello Sonata No. 1 in<br />

E minor, Op. 38 (arr. Breuer)<br />

LIGETI Six Bagatelles<br />

Paul DEAN Concerto for Cello and<br />

Wind Quintet<br />

Artists<br />

Ensemble Q<br />


HUW JONES oboe<br />

PAUL DEAN co-artistic director<br />

and clarinet<br />

DAVID MITCHELL bassoon<br />

PETER LUFF horn<br />

TRISH DEAN co-artistic director<br />

and cello<br />

PHOEBE RUSSELL double bass<br />

WILLIAM BARTON didgeridoo /<br />

composer<br />

*World premiere performances.<br />

Comissioned by <strong>Musica</strong> <strong>Viva</strong><br />

<strong>Australia</strong> with the support of the<br />

Hon Anthe Philippides SC.<br />

Alison Mitchell, Huw Jones, David<br />

Mitchell and Phoebe Russell<br />

appear courtesy of Queensland<br />

Symphony Orchestra<br />


9–23 November<br />

Adelaide, Brisbane, Canberra,<br />

Melbourne, Newcastle,<br />

Perth and Sydney<br />

Photo by Klaus Feichtenberg.<br />

Program<br />

BIBER Sonata No. 1 in D minor<br />

‘The Annunciation’<br />

CIMA Sonata à 2<br />

SCHMELZER Sonata Quarta in<br />

D major<br />

MUFFAT Passacaglia in G minor<br />

for harpsichord<br />

BIBER Sonata No. 10 in G minor<br />

‘The Crucifixion’<br />

CORELLI Violin Sonata in G minor,<br />

Op. 5 No. 5<br />

TELEMANN Sonata for Cello in<br />

D major, TWV 41:D6<br />

PICCININI Toccata<br />

WESTHOFF Imitazione del liuto<br />

CORELLI Violin Sonata in D minor,<br />

Op. 5 No. 12 ‘La Folia’<br />

Artists<br />

LINA TUR BONET artistic director<br />

& baroque violin<br />

MARCO TESTORI baroque cello<br />


theorbo<br />

KENNETH WEISS harpsichord<br />


‘Bonet and her musicians capture it all:<br />

the lightness and gravity, the wit and the<br />

seriousness, the ardency and the soul.’<br />

Gramophone<br />

<strong>Musica</strong> Alchemica<br />

Introducing Lina Tur Bonet, a fearless musical imaginista, and<br />

her crack team of period-instrument professionals.<br />

Regarded as one of the most exciting violinists of her<br />

generation, Tur Bonet has delighted and fascinated fans<br />

across Europe with her performances of repertoire ranging<br />

from Bach to Messiaen. Now she makes her <strong>Australia</strong>n debut<br />

with <strong>Musica</strong> Alchemica, her hand-picked ensemble who bring<br />

honesty, and joyful sense of discovery to these works by Corelli,<br />

Telemann, Biber and other jewels of the Baroque.<br />

‘Lina Tur Bonet – the Kate Bush of early music – is a ferociously good player,<br />

but there is additionally a wonderful lustre to her presentation of works she<br />

inhabits so singularly and convincingly.’<br />

Paul Kildea<br />


2O24<br />

Concert Dates<br />

Adelaide Brisbane Canberra<br />

7.30pm<br />

unless indicated<br />

7pm<br />

7pm<br />

8 concerts<br />

Adelaide Town Hall<br />

6 concerts<br />

Brisbane Powerhouse<br />

QPAC<br />

Conservatorium<br />

7 concerts<br />

Playhouse Theatre<br />

Llewellyn Hall<br />

Long Lost Loves<br />

(and Grey Suede Gloves)<br />

Thu 7 March<br />

Thu 22 February<br />

Powerhouse<br />

Fri 1 March<br />

Playhouse<br />

Esmé Quartet Wed 1 May Mon 13 May Fri 10 May<br />

Kirill Gerstein Thu 20 June Wed 19 June<br />

QPAC<br />

Thu 13 June<br />

The Choir of King’s College,<br />

Cambridge<br />

Wed 31 July<br />

Lesley Lynn<br />

Tribute Concert<br />

Thu 25 July<br />

QPAC<br />

Sat 3 August<br />

Thu 1 Aug, 1pm<br />

Pekka Kuusisto &<br />

Gabriel Kahane<br />

Sat 17 August<br />

Thu 15 August<br />

Ensemble Q<br />

& William Barton<br />

Thu 3 October<br />

Sat 12 October<br />

Steven Kinston<br />

Tribute Concert<br />

Sat 5 October<br />

<strong>Musica</strong> Alchemica Mon 18 November Wed 20 November Sat 9 November<br />


Melbourne Newcastle Perth Sydney<br />

7pm<br />

unless indicated<br />

7.30pm<br />

7.30pm<br />

unless indicated<br />

7pm<br />

unless indicated<br />

9 concerts<br />

Melbourne Recital Centre<br />

Hamer Hall,<br />

Arts Centre Melbourne<br />

6 concerts<br />

Newcastle City Hall<br />

6 concerts<br />

Perth Concert Hall<br />

*Venue TBC,<br />

dates confirmed<br />

8 concerts<br />

City Recital Hall<br />

Concert Hall,<br />

Sydney Opera House<br />

Tue 5 March Tue 20 February Sun 10 March, 6.30pm Mon 4 March<br />

Tue 14 May<br />

Graeme Watson<br />

Tribute Concert<br />

Tue 7 May Mon 29 April Mon 6 May<br />

Ken Tribe<br />

Tribute Concert<br />

Tue 11 June Fri 14 June Sun 23 June, 6.30pm Mon 17 June<br />

Charles Berg<br />

Tribute Concert<br />

Sun 21 July, 5pm<br />

Hamer Hall<br />

Tue 23 July, 7pm<br />

Melbourne Recital Centre<br />

Mon 5 August<br />

Sun 28 July, 5pm<br />

CIty Recital Hall<br />

Mon 29 July, 7pm<br />

Sydney Opera House<br />

Tue 6 August Wed 14 August Mon 12 August<br />

Tue 8 October Thu 10 October Mon 30 September<br />

*Venue TBC<br />

Mon 7 October<br />

Tue 12 November<br />

Sat 23 November, 5pm<br />

Paul Morawetz<br />

Tribute Concert<br />

Thu 21 November<br />

Fri 15 November<br />

*Venue TBC<br />

Mon 11 November<br />


Liza Lim Damian Barbeler Judith Nangala Crispin<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> is passionate about bringing you the<br />

best new <strong>Australia</strong>n music. Learn more about the composers<br />

whose works will be premiered in <strong>2024</strong>.<br />

LIZA LIM<br />

Liza Lim is a composer, educator<br />

and researcher whose music<br />

focusses on collaborative<br />

and transcultural practices.<br />

Beauty, rage & noise, ecological<br />

connection, and female spiritual<br />

lineages are at the heart of recent<br />

works such as Sex Magic (2020)<br />

for Claire Chase; the orchestral<br />

cycle, Annunciation Triptych:<br />

Sappho, Mary, Fatimah (2019–22),<br />

and the piano concerto World as<br />

Lover, World as Self (2021). Her<br />

large-scale cycle Extinction Events<br />

and Dawn Chorus (2018) has<br />

found especially wide resonance<br />

internationally and highlights<br />

ecological listening to more-thanhuman<br />

realms.<br />

Commissioned for <strong>Musica</strong> <strong>Viva</strong><br />

<strong>Australia</strong> by the Hildegard Project,<br />

supporting female composers.<br />

Liza Lim’s new work will be<br />

premiered by Kirill Gerstein on our<br />

national tour.<br />

Photo by Maria Sturm.<br />


Damian Barbeler is an <strong>Australia</strong>n<br />

composer and multimedia<br />

artist whose works have been<br />

performed and broadcast around<br />

the world. He is recognised for his<br />

lush, emotional creations inspired<br />

by the natural environment.<br />

His work frequently explores<br />

our personal relationship and<br />

connection to the landscape,<br />

through an awakening to elements<br />

of texture, light, and colour. He<br />

often hikes and travels in the bush<br />

for inspiration. Damian regularly<br />

collaborates with colleagues<br />

from diverse fields including film,<br />

architecture, media arts, and<br />

dance, and often incorporates his<br />

own visual, sculptural and lighting<br />

elements in musical projects.<br />

The new work with music by<br />

Damian Barbeler and words<br />

by Judith Nangala Crispin is<br />

commissioned for <strong>Musica</strong> <strong>Viva</strong><br />

<strong>Australia</strong> by Richard Wilkins and<br />

will be premiered by The Choir of<br />

King’s College, Cambridge on our<br />

national tour.<br />


Judith Nangala Crispin is a<br />

Canberra-based poet and visual<br />

artist, with a background in music.<br />

She has published two collections<br />

of poetry, and a book of images<br />

and poems made while living<br />

with the Warlpiri people. She is a<br />

member of Oculi photographic<br />

collective and was <strong>Musica</strong> <strong>Viva</strong><br />

<strong>Australia</strong>’s Artist in Residence<br />

from 2021. Her work includes<br />

themes of displacement and<br />

identity loss, a reflection on her<br />

own lost Aboriginal ancestry,<br />

but primarily it is centred on<br />

the concept of connection with<br />

Country. She traces her ancestry<br />

to the Bpangerang people of<br />

North-Eastern Victoria and the<br />

NSW Riverina; and to Ghana,<br />

the Ivory Coast, France, Ireland<br />

and Scotland.<br />

Photo by Kerrie Brewer.<br />

Commissions<br />


William Barton Owen Elsley Alice Chance<br />


For two decades, William Barton<br />

has forged a peerless profile as<br />

a performer and composer in<br />

the classical music world, from<br />

working with the Philharmonic<br />

Orchestras of London and<br />

Berlin to appearances at<br />

historic events at Westminster<br />

Abbey for Commonwealth Day<br />

2019, to Anzac Cove and the<br />

Beijing Olympics.<br />

His awards include Winner of Best<br />

Original Score for a Mainstage<br />

Production at the 2018 Sydney<br />

Theatre Awards and Winner of<br />

ARIA Best Classical Album for<br />

Kalkadungu in 2012. With his<br />

prodigious musicality and the<br />

quiet conviction of his Kalkadunga<br />

heritage, he has vastly expanded<br />

the horizons of the didgeridoo –<br />

and the culture and landscape<br />

that it represents.<br />

Commissioned by <strong>Musica</strong> <strong>Viva</strong><br />

<strong>Australia</strong> with the support of<br />

the Hon Anthe Philippides SC,<br />

William Barton will be premiering<br />

his work with Ensemble Q on our<br />

national tour.<br />

Photo by Keith Saunders.<br />


Owen is an <strong>Australia</strong>n singer,<br />

composer, conductor, and pianist<br />

currently based in Cambridge, UK.<br />

His music has been performed by<br />

ensembles including the Vienna<br />

Boys’ Choir; Gondwana Choirs;<br />

the Song Company; the Choir<br />

of St James’ Church, Sydney<br />

and the Choir of Trinity College,<br />

Melbourne.<br />

Owen has been a Choral Scholar<br />

and then Lay Clerk with the Choir<br />

of King’s College, Cambridge,<br />

where he was also <strong>Musica</strong>l<br />

Director of The King’s Men. He<br />

has sung as an ensemble member<br />

and soloist with professional<br />

groups around the world including<br />

Voces8; the Amsterdam Baroque<br />

Orchestra and Choir; The Song<br />

Company; the Armonico Consort;<br />

Pinchgut Opera; and Cantillation.<br />

Owen’s new work will be<br />

premiered by The Choir<br />

of St James, King Street at<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong>’s Sydney<br />

Morning Masters.<br />


Alice Chance’s works span<br />

contemporary classical music,<br />

musical theatre and sound art. She<br />

grew up on the lands of the Darug<br />

people of the Eora Nation, where<br />

she has worked with ensembles<br />

including the Sydney Symphony<br />

Orchestra, Ensemble Offspring,<br />

Gondwana Choirs, Moorambilla<br />

Voices, and the Barangaroo<br />

Delivery Authority.<br />

A three-time finalist in the APRA<br />

AMC Art Music Awards, Alice is<br />

also original music director of the<br />

musical Fangirls, and wrote vocal<br />

arrangements for the Amazon<br />

Prime series Deadloch. Alice’s<br />

works have been performed<br />

in venues including the Sydney<br />

Opera House, Kennedy Center,<br />

City Recital Hall and Trinity<br />

Church, Wall St, New York City.<br />

Her music is also performed in<br />

sheds, paddocks, and showers all<br />

around <strong>Australia</strong>.<br />

Alice’s new work will be<br />

premiered by Affinity Quartet for<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong>’s Sydney<br />

Morning Masters.<br />


SYDNEY<br />



The Choir of St<br />

James’, King Street<br />

Wed 20 March<br />

Life ever after<br />

TAVERNER The Lamb<br />

TALLIS Videte miraculum<br />

Heather PERCY Holy Innocents<br />

BYRD Infelix ego<br />



BYRD Domine quis habitabit<br />

Owen ELSLEY New work (<strong>2024</strong>)*<br />

*World premiere performances<br />

commissioned by<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong><br />

<strong>Australia</strong>n Haydn<br />

Ensemble<br />

Wed 22 May<br />

MOZART Flute Quartet in D major,<br />

K.285<br />

HAYDN Symphony No 104 in<br />

D major ‘London’ (arr Salomon)<br />

Artists<br />

SKYE MCINTOSH artistic director<br />

and violin<br />

MELISSA FARROW flute<br />

MATTHEW GRECO violin<br />

KARINA SCHMITZ viola<br />

DANIEL YEADON cello<br />

Photo by (from left to right):<br />

Chris Shain; Oliver Miller; Jolanta Morgan;<br />

Anna Boychev; James Grant.<br />

Artists<br />


director<br />




Sydney Morning Masters is our concert series<br />

dedicated to connoisseurs — of music, of<br />

course, but also of good coffee and great<br />

company. Come away from the crowds and<br />

into the beautiful setting of the Concourse to<br />

enjoy complimentary morning tea followed<br />

by an hour of music and lively conversation<br />

with some of Sydney’s finest artists.<br />

The Choir of St James was formed in the earliest<br />

days of the colony of New South Wales and is one of<br />

<strong>Australia</strong>’s longest serving church choirs. They will give<br />

performances of ravishing a capella works from Byrd,<br />

Tallis and Vaughan Williams which might just stop time.<br />

Next up the <strong>Australia</strong>n Haydn Ensemble, Sydney’s<br />

bravura Classical-era specialists, perform Mozart’s<br />

Flute Quartet and Haydn’s ‘London’ Symphony in an<br />

intimate display of historically-informed performance.<br />

Audience favourite Andrea Lam presents ‘Fantasia’, an<br />

exquisite bouquet of piano music by Chopin, Liszt and<br />

Beethoven, alongside Gustave Le Gray, an intriguing<br />

work described by composer Caroline Shaw as ‘a multilayered<br />

portrait of [Chopin’s Mazurka] Op. 17 No. 4<br />

using some of Chopin’s ingredients overlaid and hinged<br />

together with my own’.<br />

Finally, winners of the Monash University Grand Prize<br />

in 2023’s Melbourne International Chamber Music<br />

Competition, the Affinity Quartet, bring their winning<br />

interpretation of Schubert’s glorious ‘Death and the<br />

Maiden’ quartet to Sydney.<br />

Make time for brilliant music at Sydney Morning Masters.<br />

Sydney Morning Masters is generously supported by the<br />

Wenkart Foundation.<br />

Jonathan Békés, Principal Cellist of the Tasmanian<br />

Symphony Orchestra, has been performing with<br />

Sydney pianist Ying Ho for over ten years. They bring<br />

their enduring musical friendship to cello sonatas by<br />

Beethoven and Shostakovich.<br />

Jonathan Békés &<br />

Ying Ho<br />

Wed 3 July<br />

BEETHOVEN Cello Sonata No. 3 in<br />

A major, Op. 69<br />

SHOSTAKOVICH Cello Sonata in<br />

D minor, Op. 40<br />

Artists<br />

JONATHAN BÉKÉS cello<br />

YING HO piano<br />

Andrea Lam<br />

Wed 4 September<br />

BEETHOVEN Piano Sonata No. 14<br />

‘Moonlight’<br />

CHOPIN Mazurka Op. 17 No. 4<br />

Caroline SHAW Gustave Le Gray<br />

LISZT Après une lecture du Dante:<br />

Fantasia quasi sonata<br />

Artist<br />

ANDREA LAM piano<br />

Affinity Quartet<br />

Wed 23 October<br />

Alice CHANCE New work (<strong>2024</strong>)*<br />

SCHUBERT String Quartet No. 14<br />

in D minor, D.810 ‘Death and<br />

the Maiden’<br />

*World premiere performances<br />

commissioned by<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong><br />

Artists<br />

JOSEPHINE CHUNG violin<br />

NICHOLAS WATERS violin<br />

RUBY SHIRRES viola<br />

MEE NA LOJEWSKI cello<br />




<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> at The Edge is<br />

Melbourne’s secret music treat, an always<br />

surprising, always lively series of three morning<br />

concerts, and a perfect prelude to lunch at<br />

Melbourne’s vibrant Fed Square.<br />

Guitarist Ken Murray treads a multi-faceted path as<br />

a performer, composer, educator and researcher,<br />

specialising in Spanish music from the early 20th-century<br />

and South American music styles. He has many treasures<br />

to share ranging from the Spanish Baroque to Paraguay’s<br />

irresistible Zamba to striking new work from First Nations<br />

composer Christopher Sainsbury.<br />

Next up, we welcome back Trio Bohémo, the charismatic<br />

ensemble from the Czech Republic that captured the<br />

audience’s heart at the 2023 Melbourne International<br />

Chamber Music Competition. And what better work<br />

to include than Dvořák’s ‘Dumky’ Trio, written as a<br />

love letter to his Czech homeland on the eve of his big<br />

American adventure?<br />

The Penny Quartet is no stranger to The Edge, but this time<br />

they’ve brought a friend. Jess Hitchcock is an Indigenous<br />

singer-songwriter who has stirred up the <strong>Australia</strong>n music<br />

scene as a genre-defying force. Experience her gorgeous<br />

mezzo voice and uncanny knack for storytelling as she<br />

performs her own songs, arranged for voice, guitar and<br />

string quartet.<br />


Ken Murray<br />

Tue 21 May<br />

Program<br />

Spanish Baroque music by<br />

Gaspar Sanz, and selections<br />

by Falla, Barrios, Tárrega,<br />

Christopher Sainsbury and more.<br />

Artist<br />

KEN MURRAY guitar<br />

Photo by (from left to right):<br />

Pia Johnson; James Grant;<br />

Tessa Thames; WILK.<br />

Trio Bohémo<br />

Tue 24 September<br />

Program<br />

CHRISTOU Dvořák in Cyprus<br />

DVOŘÁK Piano Trio No. 4 in<br />

E minor ‘Dumky’<br />

Artists<br />

MATOUŠ PĚRUŠKA violin<br />


JAN VOJTEK piano<br />

Jess Hitchcock &<br />

Penny Quartet<br />

Tue 29 October<br />

Program<br />

Includes a variety of Jess’s original<br />

songs, specially arranged for<br />

string quartet, paired with music<br />

by Eleanor Alberga for the<br />

Quartet alone.<br />

Artists<br />

JESS HITCHCOCK vocals<br />

AMY BROOKMAN violin<br />



JACK WARD cello<br />

Arrangements funded by<br />

the <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong><br />

Hildegard Project supporting<br />

female composers<br />


Why subscribe?<br />


Our <strong>2024</strong> <strong>Season</strong> makes the bold offer of creative innovation<br />

alongside tradition. We’re confident our range of work across<br />

the year will delight, inspire and enthrall.<br />

This is your chance to design your own <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong><br />

experience.<br />

What’s not to like?<br />

Choose three or more concerts in <strong>2024</strong>, get your diary<br />

organised, make savings of up to 19% and benefit from splitting<br />

your payments.<br />

The best seats in the house<br />

Secure the best seats possible for the best<br />

price for each performance, with Gold<br />

subscribers retaining the same seats<br />

each year.<br />

The best price making<br />

great savings<br />

Subscribers save up to 19% off the cost<br />

of single tickets, with Gold subscribers<br />

receiving the most savings. If you’re under<br />

40 or have a concession card, you enjoy<br />

additional discounts.<br />

Split payments<br />

As a subscriber you can split the cost of<br />

your subscription over 4 instalments with<br />

our payment plan. Simply pay the first<br />

instalment at the time of purchase and the<br />

balance will automatically be deducted<br />

from the same card in three further<br />

installments on 19 January, 8 March and<br />

19 April. Please ensure that your credit<br />

card is valid through April <strong>2024</strong>.<br />

Priority booking<br />

As a subscriber you have a priority<br />

booking period from 17 October before<br />

single tickets go on sale on 23 November,<br />

excluding the Choir of Kings College<br />

Cambridge which goes on sale<br />

26 March <strong>2024</strong>, ensuring you get the<br />

best seats available.<br />

Flexibility<br />

We understand that sometimes plans<br />

change. As a subscriber you have access<br />

to unlimited free ticket exchanges if you<br />

can no longer make a performance.<br />

Ticket exchanges are available from<br />

23 November and can be made up to<br />

48 hours before the concert, subject<br />

to availability.<br />

Share the love<br />

Share your concert experience with your<br />

friends and family with a 10% discount on<br />

each additional ticket you purchase.<br />

Exclusive partner offers<br />

Enjoy a range of offers and discounts<br />

from other cultural organisations.<br />

Seven reasons to subscribe<br />


Choose your<br />

subscription<br />

Gold subscription<br />

Become a Gold Subscriber to<br />

enjoy all 7 concerts (6 in Brisbane,<br />

Newcastle and Perth) and receive<br />

the best benefits.<br />

Save 19% on single ticket prices<br />

Retain the same seats every year,<br />

for each concert<br />

Access free exchanges on tickets if<br />

your plans change<br />

Choose subscriptions<br />

You can access the performances<br />

you don’t want to miss with our<br />

Choose Subscriptions. Take<br />

your pick from the 3, 4, 5 or 6<br />

performances and you can<br />

tailor your perfect <strong>2024</strong> <strong>Season</strong>,<br />

while making big savings on<br />

single ticket prices.<br />

Sydney Morning Masters<br />

Subscribe to all 5 concerts and<br />

save on tickets. Plan out your year<br />

of sublime daytime concerts and<br />

access a range of other benefits.<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> at<br />

The Edge<br />

Take time out to enjoy a morning<br />

concert series at The Edge in<br />

Federation Square, Melbourne.<br />

Surrounded by great food and<br />

drink options, a concert at The<br />

Edge is a perfect pre-lunch treat,<br />

with convenient transport options<br />

close at hand. Plan ahead, choose<br />

up to three concerts and save<br />

on tickets.<br />

Subscribing is easy<br />

Post<br />

Simply complete your subscription<br />

booking form and return to:<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong><br />

Subscriptions<br />

Gadigal Country<br />

PO Box 1687<br />

Strawberry Hills NSW 2012<br />

Please note: Renewing Gold<br />

Subscribers are requested to<br />

return booking forms prior to<br />

midnight on 22 November.<br />

Other subscription applications<br />

posted to <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong><br />

must be mailed at least two<br />

weeks prior to the date of the<br />

first concert in your package to<br />

allow us sufficient time to process<br />

your request.<br />

Online<br />

Subscribe securely at<br />

musicaviva.com.au/subscribe<br />

Phone<br />

Subscribe over the phone by<br />

calling our friendly Box Office<br />

team on 1800 688 482 (Monday–<br />

Friday, 9am–5pm AEDT).<br />


Additional Information<br />

Concession Discounts<br />

Full-time students, means-tested <strong>Australia</strong>n<br />

pensioners (Aged, Disability, Veterans’<br />

Affairs and Supporting Parent) and Health<br />

Care Card holders are eligible to receive<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong>’s Concession prices.<br />

Seniors Card holders are not eligible. To<br />

claim a concession, please provide proof of<br />

eligibility when purchasing your subscription.<br />

Under 40s<br />

Save up to 65% on ticket prices if you are<br />

aged under 40. Proof of age must be<br />

supplied when booking and may be required<br />

prior to admission to each concert.<br />

Single Tickets / General Booking<br />

Single tickets / general booking for the <strong>2024</strong><br />

<strong>Season</strong> go on sale on 23 November with the<br />

exception of The Choir of King’s College,<br />

Cambridge. General bookings for these<br />

concerts opens on Tuesday 26 March <strong>2024</strong>.<br />

Tickets are subject to availability.<br />

Group Discounts<br />

Enjoy a 10% discount on group bookings<br />

of 10 or more people (excluding Under 40<br />

and Concession prices). Remember that<br />

subscribing is the ultimate way to pay the<br />

lowest prices for the best seats!<br />

Group bookings are only available over the<br />

phone on 1800 688 482.<br />

Family Tickets<br />

Introduce your family to classical music with<br />

our affordable family tickets, available for<br />

selected concerts throughout the year.<br />

To learn more, visit<br />

musicaviva.com.au/family‐tickets<br />

Gift Vouchers<br />

Give the gift of music with our gift vouchers!<br />

Redeemable for any of our concerts, gift<br />

vouchers can be purchased at musicaviva.<br />

com.au/gifts or through the Box Office on<br />

1800 688 482 (Monday–Friday, 9am–5pm<br />

AEDT).<br />


Frequently Asked Questions<br />

How do I get tickets for The Choir of King’s College,<br />

Cambridge?<br />

We’re expecting high demand for these performances,<br />

as they sold out the last time they performed in<br />

<strong>Australia</strong>. The best way of securing tickets for The Choir<br />

of King’s College, Cambridge is to book a subscription<br />

(a minimum of three and up to seven concerts).<br />

This means your seats are guaranteed, you make<br />

great savings and can plan your concert-going across<br />

the year.<br />

General booking for The Choir of King’s College,<br />

Cambridge opens on Tuesday 26 March <strong>2024</strong>.<br />

Do subscribers get priority seating?<br />

Yes. All subscribers have access to a priority<br />

booking period before single tickets go on sale.<br />

Gold subscribers are allocated seats first, followed by<br />

Choose subscribers.<br />

Can I pay for my subscription in instalments?<br />

Yes. You can pay for your <strong>2024</strong> subscription in 4 equal<br />

instalments:<br />

– 25% is due when subscribing<br />

– 25% due 19 January<br />

– 25% due 18 March<br />

– 25% due 19 April<br />

Can I have the same seats as 2023?<br />

Gold subscribers from 2023 can renew their<br />

subscription for the same seats with the exception of<br />

weekend subscribers in both Melbourne and Sydney<br />

(who have been advised of changes).<br />

Are there concession subscriptions and tickets?<br />

Yes. You are eligible for these tickets if you currently<br />

hold a means-tested <strong>Australia</strong>n pension (Aged,<br />

Disability, Veteran’s Affairs, Supporting Parent and<br />

Health Care Card holders). Seniors Card holders are<br />

not eligible for a concession price.<br />

When will I receive my tickets?<br />

Tickets will be sent to subscribers prior to<br />

Christmas 2023.<br />

Can I purchase accessible seating?<br />

Yes. To book accessible seating (such as wheelchair<br />

accessible seating) please contact our friendly Box<br />

Office team.<br />

What if I can no longer attend a concert I’ve purchased<br />

a ticket to?<br />

Subscribers can access flexible exchanges on concert<br />

tickets available up to 48 hours before a concert,<br />

subject to availability. To exchange your ticket, please<br />

contact the Box Office.<br />

What if I don’t feel well on concert day?<br />

If you do not feel well on concert day we strongly advise<br />

you to remain at home for the safety and wellbeing<br />

of yourself and our audience. To discuss your options,<br />

please contact our Box Office.<br />

How can I contact the Box Office?<br />

Our Box Office team can be reached by calling<br />

1800 688 482 Monday-Friday, 9am-5pm AEDT.<br />

Terms & Conditions<br />

We will confirm receipt of your subscription by email,<br />

allocate your tickets based on your seating preference<br />

and availability, and post them to you along with any<br />

additional information relevant to your subscription.<br />

Renewing Gold subscribers need to book by<br />

22 November to retain their current seats. New Gold<br />

and Choose packages are allocated seats in date order<br />

of receipt.<br />

Important Information<br />

Tickets sold to <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> performances are<br />

subject to conditions of sale. To see the full conditions,<br />

visit musicaviva.com.au/terms. By forwarding a<br />

subscription application, it is understood that you have<br />

read and accepted the full terms and conditions.<br />

If you purchase tickets on behalf of someone else, you<br />

will be deemed to have agreed to the terms on their<br />

behalf as an agent for them.<br />

Ticket exchanges<br />

Ticket exchanges are only available for subscribers and<br />

are subject to availability. Tickets can be exchanged<br />

from 23 November. Simply return your ticket(s) to<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> at least 48 hours before the<br />

concert. For more information on our ticket exchange<br />

policy, visit musicaviva.com.au/terms.<br />

Misplaced tickets<br />

If you misplace your ticket(s), please call <strong>Musica</strong> <strong>Viva</strong><br />

<strong>Australia</strong>’s Box Office on 1800 688 482. Alternatively,<br />

visit the <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> VIP Desk at the venue<br />

on the day of your concert for a Ticket Replacement<br />

Voucher at no charge.<br />

Privacy policy<br />

Your personal details will be treated confidentially<br />

in accordance with the appropriate legislation and<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong>’s Privacy Policy.<br />

Visit musicaviva.com.au/privacy-policy/<br />

for more information.<br />

Disclaimer<br />

The information in this brochure was correct at the time<br />

of printing. <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> reserves the right to<br />

change dates, times, venues, prices, artists or repertoire<br />

as necessary.<br />

Further assistance<br />

If you have any questions about subscribing to<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong>, please call the Box Office on<br />

1800 688 482 or email boxoffice@musicaviva.com.au.<br />


Hands up!<br />

…if you know over 90% of <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> audiences are under 15?<br />

—<br />

Every year we present over 1,000 performances<br />

to more than 150,000 students live in schools across <strong>Australia</strong>.<br />

—<br />

Throughout <strong>2024</strong> there will be drumming, dancing and musical fun for students,<br />

supported by online resources and a parallel program of<br />

Professional Development for teachers.<br />

If you or someone you know is interested in finding out more<br />

about <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> In Schools:<br />

or<br />

VISIT<br />

SIGN-UP<br />


<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong>’s national chamber music competition for high<br />

school musicians is back in <strong>2024</strong>. Do you know any secondary school<br />

students who have a passion for music? The Strike A Chord competition<br />

provides training and performing opportunities to young performers<br />

of all levels to develop their ensemble skills, fostering participation<br />

and a lifelong love of music. It’s more fun playing together!<br />


A stunning<br />

interpretation<br />

THE TIMES (UK)<br />

<strong>Musica</strong> <strong>Viva</strong> has imaginatively<br />

looked beyond a stand‐and‐deliver<br />

presentation and opened up a<br />

fascinating vista of artistic and<br />

emotional discovery.<br />


A Winter’s Journey<br />

THE AGE<br />



A recital with Ohlsson is always like a<br />

conversation with a wise and kind master –<br />

gentle, despite his towering stature<br />


Garrick Ohlsson<br />

Nothing short of a triumph of<br />

virtuosity and technical mastery.<br />

— ARTSHUB<br />

. . . one of those rare occasions where creative<br />

programming produces an arresting experience<br />

encompassing a world of harmony, style<br />

and musicianship.<br />


THE AGE<br />


Queyras’ presentation of<br />

Britten’s Cello Suite No. 1<br />

alone was worth the price<br />

of admission<br />

— THE AGE<br />

Ferociously talented, the kind of<br />

musicians who make it look easy.<br />


Silk, Metal, Wood<br />

BRAVO<br />


AGAIN<br />






— SEESAW<br />

This was real Festival fare – a bold<br />

experiment that produced an engrossing<br />

experience. John Cage would have loved it.<br />

And the rapt attention of the audience<br />

suggested that we have progressed in the<br />

past half century.<br />



The Cage Project<br />

When the final moment of the work arrived, several hundred<br />

people sat in a moment of inner peace and tranquility we<br />

seldom find in this always busy modern world.<br />


<strong>Musica</strong> <strong>Viva</strong> can be relied upon to present the uncommon, and<br />

the combination of flute, viola and harp is about as uncommon<br />

as it gets. Put together three young international artists who are<br />

at the very top of their game, throw in infrequently performed<br />

repertoire, and you have the makings of an evening of<br />

exceptional music making; and remarkable it was.<br />


The Birds and the Trees<br />

THE AGE<br />

<strong>Musica</strong> <strong>Viva</strong> is to be applauded<br />

for its efforts to explore innovative<br />

ideas for the presentation of<br />

classical music.<br />


Chopin’s Piano<br />

This is a major<br />

achievement<br />


If theatres and concert halls are to lure audiences<br />

from their screens, this type of cross‐genre<br />

storytelling is certainly one way to try it.<br />

— ARTSHUB<br />


Support <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong><br />

What makes <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> different?<br />

Is it our nearly 80 years’ experience of presenting the finest musicians from<br />

<strong>Australia</strong> and around the world? Is it the way we’ve sought for decades to<br />

ignite that spark of creativity in our youngest audiences? Or perhaps it’s our<br />

commitment to nurturing the artists of the future?<br />

It’s thanks to our donors and partners that we are able to do and be all these<br />

things – and more. And if you’re not part of our donor family – yet – we invite<br />

you to join us.<br />

A donation to <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> will ensure we can continue to present<br />

the finest artists, support the next generation of talent and provide awardwinning<br />

education programs to students of all ages, from all backgrounds<br />

and in all states and territories.<br />

Creating, producing and presenting great art takes courage and vision. It<br />

also takes the vision – and generosity – of our donors and partners, without<br />

whom none of our programs would exist. If you would like to help bring our<br />

work to life, we would love to hear from you.<br />

Your gift will make a difference.<br />

For more information about donating to <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong>, please<br />

contact the Philanthropy team at philanthropy@musicaviva.com.au.<br />

Learn more about<br />

supporting us<br />

ACN<br />

000 111 848<br />

ABN<br />

94 504 497655<br />


Patron<br />


Chairman<br />


Chief Executive Officer<br />


Artistic Director<br />

—<br />

Contact<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> House<br />

Gadigal Country<br />

757 Elizabeth Street,<br />

Zetland NSW 2017<br />

Photo by Bradbury Photography.<br />

Photo by Tony McDonough.<br />

<strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong><br />

Gadigal Country<br />

PO Box 1687<br />

Strawberry Hills NSW 2012<br />

1800 688 482 (toll free)<br />

Monday–Friday, 9am–5pm.<br />

musicaviva.com.au<br />

boxoffice@musicaviva.com.au<br />

—<br />

Follow<br />

Facebook @<strong>Musica</strong><strong>Viva</strong><strong>Australia</strong><br />

X/Instagram @<strong>Musica</strong><strong>Viva</strong>AU<br />

—<br />

<strong>Brochure</strong> Design<br />

Frost*collective<br />

—<br />

<strong>Season</strong> Photography<br />

Shelley Horan<br />

—<br />

All shells pictured in this season<br />

brochure are sustainably and<br />

ethically sourced.<br />

Shell species (pg.)<br />

01 Lambis millepeda<br />

04 Lambis millepeda<br />

06 Tonna tessellata<br />

08 Guildfordia yoka<br />

12 Fusinus forceps<br />

14 Fusinus colus<br />

16 Conus leopardus<br />

18 Spondylus regius<br />

24 Placamen choloroticum<br />

26 Turbo petholatus<br />


Thank you<br />

Government Partners<br />

Assisted by the <strong>Australia</strong>n Government through<br />

Creative <strong>Australia</strong>, its principal arts investment<br />

and advisory body.<br />

Supported by the NSW Government<br />

through Create NSW.<br />

MVA is a Not-for-profit Organisation<br />

endorsed by the <strong>Australia</strong>n Taxation Office<br />

as a Deductible Gift Recipient and<br />

registered with the <strong>Australia</strong>n Charities and<br />

Not‐for‐profits Commission (ACNC).<br />

Concert Partners<br />

Perth Concert Series Sydney Morning Masters Series <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong> at The Edge Series<br />

Commissioning Partner Rehearsal Partner Project Partner<br />

Legal Chartered Accountants Piano & tuning<br />

Hotel Partner: VIC Hotel Partner: ACT Wine Partner<br />

Media Partner<br />

Emerging Artists Partners<br />

Competitions<br />

Principal Partner Strategic Partner Strategic Partner<br />

University Partner Key Philanthropic Partner Key Philanthropic Partner<br />

Patricia H Reid<br />

Endowment<br />

FutureMakers<br />

Lead Partner<br />

Residency Partner<br />

To learn more about partnering with <strong>Musica</strong> <strong>Viva</strong> <strong>Australia</strong>, please contact Zoë Cobden-Jewitt at<br />

zcobden-jewitt@musicaviva.com.au or Mathew Jordan at mjordan@musicaviva.com.au

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