Wildschut & Brauss Guide | November 2023

Wildschut
& Brauss

2

We acknowledge the Traditional Custodians of the many lands on which we meet,
work and live, and we pay our respects to 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.
NOA WILDSCHUT & ELISABETH BRAUSS
violin
piano
ADELAIDE
Adelaide Town Hall
Wednesday 15 November, 7.30pm
• Pre-concert talk: 6.45pm,
Prince Alfred Room
NEWCASTLE
City Hall
Tuesday 21 November, 7.30pm
• Pre-concert talk: 6.45pm,
Mulubinba Room
BRISBANE
Conservatorium Theatre,
Griffith University, South Bank
Thursday 23 November, 7pm
• Pre-concert talk: 6.15pm, Boardroom,
Qld Conservatorium, Griffith University
CANBERRA
Llewellyn Hall,
ANU School of Music
Monday 27 November, 7pm
• Pre-concert talk: 6.15pm,
Larry Sitsky Room
• Meet the Artists after the concert
MELBOURNE
Elisabeth Murdoch Hall,
Melbourne Recital Centre
Saturday 25 November, 7pm
• Pre-concert talk: 6.15pm,
Salzer Suite, Level 2
• Meet the Artists after the concert
Tuesday 28 November, 7pm
• Pre-concert talk: 6.15pm,
Salzer Suite, Level 2
PERTH
Perth Concert Hall
Monday 13 November, 7.30pm
• Pre-concert talk: 6.45pm,
Corner Stage Riverside, Terrace Level
SYDNEY
City Recital Hall
Saturday 18 November, 2pm
• Pre-concert talk: 1.15pm,
Function Room, Level 1
• CD signing after the concert,
Main Foyer
Monday 20 November, 7pm
Recorded for broadcast by ABC Classic
• Pre-concert talk: 6.15pm,
Function Room, Level 1
• Meet the Artists after the concert,
Concert Hall
—
With special thanks to Eleanore Goodridge OAM for her support of this tour,
and to the Producers’ Circle and Amadeus Society for their support of the 2023 Concert Season.
01

From the Artistic Director
Most people can recall milestone recordings
at the point in which they entered their lives.
I can remember buying a double LP of Wagner
overtures and preludes in my teens and
consuming it whole. Same with Sviatoslav Richter
playing Bach’s 48 Preludes and Fugues – perhaps
not the most obvious partnership between
composer and executant, but anything either
man did was fine by me.
© Darren Leigh Roberts
The same goes with milestone performances.
Simon Rattle doing Sibelius 7 at the Proms in the
mid-1990s. Ann Murray singing Schubert at the
Wigmore Hall a few years later. I could probably
even tell you what I was wearing.
I had a similar response hearing Noa Wildschut
and Elisabeth Brauss in 2019. It was online, alas,
and I didn’t know what was just round the corner,
but I was mesmerised by their performance of
the Franck Violin Sonata. This is such a revealing
piece. Is there stillness in the opening movement?
Heart in the Recitativo-Fantasia? A cumulatively
rhapsodic character in the Finale? There was all
of this and more in their performance; I had a new
favourite pairing. How brilliant that my invitation
for them to tour Australia back then is finally
bearing fruit.
I could say the same thing about May Lyon whose
commissioned work for violin and piano, Forces
of Nature, will receive its premiere performances
on this tour. I marvelled at May’s work Opal,
a concerto for two horns, performed by the
Melbourne Symphony Orchestra two years ago,
and determined there and then that Musica Viva
Australia would commission new music from this
composer. It’s a lovely fit, as Noa and Elisabeth
agreed when hearing some of May’s music, and a
real pleasure for Musica Viva Australia to facilitate
the creation of a new piece of the repertory,
generously supported by Christine Bollen, Peter
Cumines, Elizabeth Dooley, Annabel Wheeler,
and Elizabeth and Rod King.
Paul Kildea
Artistic Director
02

Program
Robert SCHUMANN (1810–1856)
Violin Sonata No. 1 in A minor, Op. 105 (1851)
I Mit leidenschaftlichem Ausdruck (Passionately expressive)
II Allegretto (Fairly fast)
III Lebhaft (Lively)
18 min
Olivier MESSIAEN (1908–1992)
Thème et variations (1932)
Claude DEBUSSY (1862–1918)
Sonata for Violin and Piano in G minor (1917)
I Allegro vivo (Fast and lively)
II Intermède: Fantasque et léger (Intermezzo: Whimsical and light)
III Finale: Très animé (Very animated)
8 min
15 min
INTERVAL
May LYON (b 1979)
Forces of Nature (2023)
World premiere performances.
Commissioned for Musica Viva Australia by Christine Bollen, Peter Cumines,
Elizabeth Dooley, Annabel Wheeler, and Elizabeth and Rod King.
In memory of Ian Bollen and in memory of Iris Mara.
12 min
Program 1 only | Adelaide, Canberra, Melbourne (Saturday), Perth, Sydney (Monday)
George ENESCU (1881–1955)
Violin Sonata No. 3 in A minor, Op. 25 (1926)
I
II
III
Moderato malinconico (Moderately fast, melancholy)
Andante sostenuto e misterioso
(Moving along at a walking pace; sustained and mysterious)
Allegro con brio, ma non troppo mosso
(Lively and energetic, but not too fast)
24 min
Program 2 only | Brisbane, Melbourne (Tuesday), Newcastle, Sydney (Saturday)
César FRANCK (1822–1890)
Sonata in A major for Violin and Piano (1886)
I Allegretto ben moderato (Fairly fast, at a very moderate pace)
II Allegro (Fast)
III Ben moderato (At a very moderate pace): Recitativo-Fantasia
IV Allegretto poco mosso (Fairly fast, moving along a little)
27 min
Please ensure that mobile phones are turned to silent.
Photography and video recording are not permitted during the performance.
03

Hands up!
…if you know over 90% of Musica Viva Australia audiences are under 15?
—
Every year we present over 1,000 performances
to more than 150,000 students live in schools across Australia.
—
Throughout 2024 there will be drumming, dancing and musical fun for students,
supported by online resources and a parallel program of
Professional Development for teachers.
If you or someone you know is interested in finding out more
about Musica Viva Australia In Schools:
or
VISIT
SIGN UP
STRIKE A CHORD 2O24
Musica Viva Australia’s national chamber music competition for high
school musicians is back in 2024. Do you know any secondary school
students who have a passion for music? The Strike A Chord competition
provides training and performing opportunities to young performers
of all levels to develop their ensemble skills, fostering participation
and a lifelong love of music. It’s more fun playing together!
DETAILS

Regional Touring
As part of Musica Viva Australia‘s Regional
Touring Program, Noa and Elisabeth will
perform a concert for Coffs Harbour Music
Society on Thursday 30 November, 7.30pm
at the Coffs Harbour Education Campus,
Lecture Theatre D.
—
For further details visit:
musicaviva.com.au/regional
Masterclasses
Musica Viva Australia creates opportunities
for Australian and internationally acclaimed
artists to share their experience and
expertise with talented early-career artists
and young music students, creating an
enriching learning experience.
Vision String Quartet in Tyalgum during their recent regional tour
© Sean Moloney
The following masterclasses are
presented as part of this tour:
NOA WILDSCHUT
• Tuesday 14 November: Perth
Western Australian Academy
of the Performing Arts
ELISABETH BRAUSS
• Wednesday 22 November: Brisbane
Queensland Conservatorium,
Griffith University
Florian Willeitner with finalists of Strike A Chord 2022
© Musica Viva Australia
—
For further details visit:
musicaviva.com.au/masterclasses
Musica Viva Australia’s Masterclass
program is supported by:
Nicholas Callinan AO & Elizabeth Callinan
Caroline & Robert Clemente
Ian Frazer AM & Caroline Frazer
Patricia H Reid Endowment Fund
Andrew Sisson AO & Tracey Sisson
Mick & Margaret Toller
Anonymous (2)
Musica Viva Australia Masterclasses in Western
Australia are supported by Wesfarmers Arts.
Timothy Ridout at Sydney Conservatorium of Music
© Sean Moloney
05

© Marco Borggreve
Noa Wildschut
Dutch violinist Noa Wildschut is only 22 years
old, but has already gained her place in the
international classical music scene. At the age
of six she appeared live on Dutch national
television at Amsterdam’s Prinsengracht
youth concert. Aged seven, she made her
debut in the Main Hall of the Amsterdam
Concertgebouw at the ‘Night of the Promising’
concert. In September 2016 she became an
exclusive recording artist for Warner Classics.
Noa has built a considerable reputation
and is regularly invited for festivals, recitals
and solo performances with orchestras,
both in her home country and abroad. She
has collaborated with such artists as Janine
Jansen, Anne-Sophie Mutter, Menahem
Pressler and Igor Levit, and performed as a
duo with pianists Yoram Ish-Hurwitz and, since
2018, Elisabeth Brauss.
She has worked with the Pittsburgh Symphony
Orchestra, Royal Scottish National Orchestra,
Royal Liverpool Philharmonic, Rotterdam
Philharmonic Orchestra, Residentie
Orkest, Netherlands Radio Philharmonic
Orchestra, Netherlands Philharmonic
Orchestra, Netherlands Chamber Orchestra,
Concertgebouw Chamber Orchestra,
Camerata Salzburg, Kremerata Baltica,
Konzerthausorchester Berlin, Gürzenich
Orchester Köln, Lucerne Symphony Orchestra,
Sinfonieorchester Basel, Orquestra Sinfônica
de João Pessoa in Brazil and Orquesta
Sinfónica de Guayaquil in Ecuador.
Noa won numerous awards at a young age,
including First Prize at the International Violin
Competition Louis Spohr in Weimar (at the
age of nine), First Prize at the Iordens Violin
Competition in The Hague (at the age of 10),
the Concertgebouw Young Talent Award (aged
11) and the Anton Kersjes Violin Prize (aged 16).
She received the WEMAG Soloist Award at the
2018 Mecklenburg-Vorpommern Festival, and
was selected as an ECHO Rising Star for the
2019/20 season by the European Concert Hall
Organisation.
From 2014 to 2019 Noa was a member of
Mutter Virtuosi, a string ensemble led by
Anne-Sophie Mutter, and from 2015 to 2019
Noa held an official scholarship from the
Anne-Sophie Mutter Foundation – their
youngest ever member.
The Dutch public service broadcaster NTR
produced the documentary Noa11, which
was broadcast in November 2012. In 2017 the
documentary A Family Quartet, about Noa
and her family, was screened in many Dutch
theaters and was broadcast on TV.
Noa’s bow is a beautiful Dominique Peccatte,
mid-19th-century, kindly on loan from the
Dutch Musical Instruments Foundation from
the Tettelaar collection. Noa plays a 1750
violin by Giovanni Battista Guadagnini,
previously performed on by violinist Joshua
Bell, generously loaned by a patron through
the Tarisio Trust.
06

© Monika Lawrenz
Elisabeth Brauss
Pianist Elisabeth Brauss has been praised by
Gramophone magazine for the ‘maturity and
sophistication of her thoughtful interpretations’
which would be ‘the pride of any pianist twice
her age’. Born in Hannover in 1995, Elisabeth
is quickly establishing herself as one of the
most exciting and versatile musicians of her
generation.
As a member of the BBC New Generation
Artist (NGA) scheme, Elisabeth has many solo,
chamber and concerto engagements across
the UK, including her debut at the BBC Proms,
performing Mozart with the BBC Philharmonic
Orchestra in 2021. In a new partnership
between this scheme and the Hallé Orchestra,
she received the 2021 Terence Judd-Hallé
Award, given to an NGA graduate considered
to be on the cusp of a major international
career.
Elisabeth has appeared with the Hallé
Orchestra and the BBC Symphony,
BBC Scottish Symphony and BBC Ulster
Orchestras, in addition to dates with Deutsche
Kammerphilharmonie Bremen, NDR
Radiophilharmonie Hannover, Frankfurt Radio
Symphony Orchestra, Staatsphilharmonie
Nürnberg and Göttinger Symphonie
Orchester in her native Germany.
During the 2021/22 season her solo
performances included enagements in
Cologne, London (Wigmore Hall) and
Hamburg, where she took part in Max Richter’s
Reflektor Festival at the Elbphilharmonie.
She enjoys playing chamber music and has
appeared with Noa Wildschut throughout
Europe, including the Concertgebouw in
Amsterdam and Philharmonie Halls in
both Paris and Cologne, as well as the San
Francisco Symphony’s Young Artists Series.
Elisabeth also works regularly with the trumpet
player Simon Höfele, with whom she has
recently released the album New Standards.
In May 2017, her debut CD, featuring works by
Beethoven, Prokofiev, Chopin and Denhoff,
was released by OehmsClassics. It received
critical acclaim and was named Editor’s Choice
by Gramophone magazine. Since then, she
has also appeared on CD with cellist Valentino
Worlitzsch (works by Beethoven, Ysaÿe,
Schumann and Britten) and with the Beethoven
Orchester Bonn for an album featuring
compositions by Max Richter to commemorate
Beethoven’s 250th anniversary.
In addition to winning first prize at the
International Steinway Competition in
Hamburg and the International Grotrian
Steinweg Piano Competition in Braunschweig,
Elisabeth was awarded the Praetorius Music
Prize by the state of Niedersachsen in 2012.
Further accolades include the main and
audience awards at the 2013 TONALi Grand
Prix in Hamburg and First Prize at the 2016
Kissinger KlavierOlymp.
07

About the music
as it is obsessive. The unusual Allegretto in
place of a slow movement has a rhetorical
quality in which Schumann’s feeling for the
intersection between music and language
is particularly apparent; Schumann scholar
Joan Chissell has described this movement
as coming ‘as near to human speech as music
ever can’.
© PHILIP MURRAY 2019
Robert Schumann’s three violin sonatas
date from the early 1850s, a period of his
life when signs of the mental illness that
would eventually overwhelm his final years
were already beginning to appear. Some
commentators have chosen to interpret certain
qualities of the music of this period, such as
perceived lapses in instrumental writing and
formal craft, and an obsessive use of repetitive
rhythmic motives, as evidence of mental
disturbance. It is perhaps for this reason
that Schumann’s violin sonatas have not
traditionally shared the popularity of those of
Beethoven and Brahms.
Schumann himself apparently was not entirely
satisfied with his first attempt, the Sonata in A
minor, Op. 105, which we are hearing in this
concert, and it is true that aspects of octave
registration and doubling can cause issues
of balance between the instruments. In an
attempt to solve these problems, British pianist
Harold Bauer published a recomposed version
in 1945, which achieved a brief popularity.
More recent appraisals, however, have tended
towards a greater appreciation of the ways
Schumann’s unique musical sensibility finds
expression in this work. If understood as ‘true’
chamber music, designed for performance in a
small space to an intimate audience, many of
the problems of balance resolve themselves.
While imbued with a melancholy restlessness,
the first movement Mit leidenschaftlichem
Ausdruck (Passionately expressive)
nevertheless possesses a formal tightness;
and the rhythmic energy of the last movement,
Lebhaft (Lively), is as sparklingly effervescent
Olivier Messiaen wrote his Thème et
Variations in 1932, only two years after
finishing his studies at the Paris Conservatoire,
for his first wife, the violinist Claire Delbos.
Other works prompted by his feelings for
her included the song cycles Poèmes pour Mi
(1936) and Chants de terre et de ciel (1938).
The pair gave Thème et Variations its first
performance, playing their respective parts at
a concert arranged by the Société Nationale
de Musique.
Writing about Messiaen’s music often leads
to metaphors of stained-glass windows. He
was a cathedral organist, and a synaesthete
(perceiving sound also visually, as colour).
More ephemerally, in this piece he takes an
established format, gives it his own modern
and distinctive voice, and allows us to hear/
see his theme from different angles in the
variations, just as light comes through a
window at different times of day.
The theme is a slow expressive melody for the
violin laid out in asymmetrical phrases, with
chromatic shifts in the piano part that provide
08

us with a changing view of its implications.
Variation 1 essentially speeds up the theme
in quaver values, a procedure echoed in the
exuberantly chromatic patterns for piano.
Variation 2 gives the quavers a persistent
triplet rhythm and Variation 3 takes the
process of diminution a stage further, shrinking
the theme through the use of semiquavers.
Variation 4 returns to longer note-values,
increasingly through repetitions of successive
notes in triplet rhythms, leading to a final
slow variation in which the theme’s original
statement is lengthened and broadened, its
values augmented, and its resonance and
dynamics greatly enlarged.
ADAPTED FROM A NOTE © AUSTRALIA ENSEMBLE
In the Violin Sonata, the first movement,
Allegro vivo, is in conventional sonata-form
– its theme returns to make an introduction to
the finale. The slow intermezzo, ‘whimsical and
light‘, evokes the figure of Harlequin (just as
the slow movement of the Cello Sonata evokes
Pierrot), with touches of melancholy as well
as dancing lightness. The Finale contains an
exuberant rondo on a theme recalling Iberia;
according to Debussy, this theme ‘is subjected
to the most curious deformations and
ultimately leaves the impression of an idea
turning back upon itself, like a snake biting its
own tail‘. Throughout, the sonata is remarkable
for the beauties and subtleties of string tone
and effect which Debussy has exploited with
great sensitivity.
© MUSICA VIVA AUSTRALIA
The Sonata for Violin and Piano in G minor,
completed in 1917, was Claude Debussy‘s
last work. In 1915 he had set out to write a
series of six sonatas for various instrumental
combinations, but ill-health and general
depression, accentuated by the World War
whose approach he had gloomily foretold,
slowed his work. He completed only three of
the six: for cello and piano, for flute, viola and
harp, and this sonata, for violin and piano.
These works show a trend away from
Debussy‘s ‘impressionistic‘ style; here the
melodies, harmonies and rhythms are much
more clear-cut. They anticipate the 1920s
movement of neo-classicism, but rather than
going back to Bach they show influences of the
early French masters such as Couperin and
Rameau.
Composed in the leafy outer east of
Melbourne, May Lyon’s music explores deep
human emotions, representations of nature
and mathematical concepts, as well as the
lighter side of life. Stylistically eclectic, Lyon’s
compositions move from dramatic and intense,
to quirky.
Lyon was a finalist for the 2023 Art Music
Awards’ Work of the Year: Dramatic for the
ballet Precious Bedeviller aka One Person
Watching, commissioned by The Australian
Ballet and choreographed by Timothy
Coleman. Lyon is the 2023 Ensemble Offspring
Noisy Women Commission Recipient and
is currently studying for a Doctor of Musical
Arts at the University of Sydney as part of the
Composing Women Program.
09

PROGRAM 1 ONLY
Previously, Lyon’s music has been performed
by the Melbourne Symphony Orchestra,
Tasmanian Symphony Orchestra, Tasmania
University Orchestra, National Capital
Orchestra, Sydney Dance Company Pre-
Professional Year with the Sydney Symphony
Orchestra Fellows, Ensemble Goldentree, and
Forest Collective.
The composer writes:
Forces of Nature evokes two polar opposites:
the summer melt of ice sheets, and an erupting
volcano. The ethereal opening solo violin
line offers suggestions of shimmering light
refracting off ice and near freezing water.
As the piano enters, the water’s depth and
slow undulation is introduced, transitioning to
harsher ice caps, cracking, and a sharp cold.
Light persists until falling deep beneath the
waves. The second section starts with a slow
agitation, a bubbling of air escaping beneath
the sea bed. The lines quickly increase into
a wild intensity, with jagged leaps heralding
the start of the volcanic eruption, bursting
into a fiery dance for the piano. Both violin
and piano move from fast intensity to gentler
gestures then back again, using the extremes
of both instruments’ ranges and dynamics. As
the volcano continues to erupt, the hot lava,
while sometimes cooling over briefly, always
breaks again to show its searing glow.
While divided into two movements, there is no
pause in this work other than for musical effect.
© MAY LYON 2023
According to the Spanish cellist Pablo Casals,
Romanian musician George Enescu was ‘the
greatest musical phenomenon since Mozart’.
His talents as a violinist saw him graduate from
the Vienna Conservatory at the age of ten.
After performing in orchestras in Vienna, he
studied composition at the Paris Conservatoire
under Maurice Ravel, Jules Massenet and
Gabriel Fauré. Enescu described himself
foremost as a composer, yet he maintained a
busy performing schedule in Paris, splitting his
time between the French capital and Bucharest
for much of his life. Like his Eastern European
contemporaries Bartók and Janáček, Enescu
was inspired by folk song, which he suffused
with the rich harmonies of fin-de-siècle French
music.
His Violin Sonata No. 3, composed in 1926,
exemplifies this melding of styles. Enescu uses
the doina, an ornamented Eastern European
dance style, to create a characteristic folk
sound through chromaticism and rapid shifts
in range. Enescu himself connected doina
with the music he experience in childhood.
At the same time, the work retains the usual
three-movement, fast – slow – faster structure
of late-Romantic sonatas. Rich chords
and countermelodies abound in the first
movement. The mysteriousness denoted by
the second movement’s title develops from the
persistent piano pulse and hauntingly high
violin strains. The swirling rhythms and everchanging
timbres of the finale bring the work
to a mesmerising close.
© CHAMBER MUSIC NEW ZEALAND
10

PROGRAM 2 ONLY
Back in 1858, he had in fact written at least
a significant part of a violin sonata for the
then-Cosima Liszt (later Cosima Wagner).
Just how much of that abandoned work was
then recycled into the 1886 sonata is unclear,
but by the age of 62 when the new/old sonata
emerged, Franck was at the height of his
creative powers.
In late September 1886, the violinist Eugène
Ysaÿe married Louise Bourdau in the town of
Arlon in Belgian Luxembourg. As befitting
31-year-old Ysaÿe’s stature as the emerging
celebrity violinist of his era, a who’s-who of
classical music VIPs attended.
But the French composer César Franck was
not among them, having found himself
unavoidably detained in Paris. So in his place,
Franck sent his friend Charles Bordes and his
pianist sister-in-law Léontine Bordes-Pène.
They carried with them a wedding present
from Franck, the manuscript of a violin sonata
that the great French composer had written in
honour of Ysaÿe and Louise’s nuptials.
After a hasty rehearsal, Ysaÿe and Bordes-
Pène played it at the wedding breakfast, to
stunned guests who recognised it instantly as
a masterpiece. Two months later, the same
two artists gave its first public performance in
Brussels to a rapturous reception, and then it
was on to Paris where one reviewer described
it as the sort of thing ‘that Bach might have
written had he lived in our 19th century’. And
history has justified that early praise. Ysaÿe
championed its cause for decades all over the
world, and to this day the Franck Violin Sonata
remains the most revered violin sonata ever
composed by a Frenchman.
Whether or not Franck had originally intended
it for Ysaÿe, though, remains a matter of
conjecture.
The theme of the first movement is gentle but
sweeping. Ysaÿe played it faster than Franck
had originally intended but such was its impact
on listeners that Franck later adopted Ysaÿe’s
tempo rather than his own in the published
score, telling a friend that, from the moment
he heard it, he couldn’t imagine it being
interpreted any other way. ‘Don’t worry,’ he
said, ‘it is he, Ysaÿe, who is right.’
Things turn turbulent in the second movement
(considered by some to be the ‘real’ first
movement), while the third is free-structured
like a fantasy. The finale is a rondo with the
engaging main theme constantly re-emerging
in canon, the one voice repeating the other
in one of the true showpieces of the chamber
music repertoire.
© MARTIN BUZACOTT 2018

Meet the Artists/Interview
BY STEPHANIE ESLAKE
… the music emerged
How do you prepare for your first tour to
Australia?
With a piece of new Australian music, of
course.
Violinist Noa Wildschut and pianist Elisabeth
Brauss have embarked on their debut tour
of this country, and they’ve been practising
a new work written just for them. Melbourne
composer May Lyon crafted an original piece
of music called Forces of Nature, and the
name of this Musica Viva Australia commission
is matched to the strength of its soloists and
writer alike.
May says it all began when Musica Viva
Australia’s Artistic Director Paul Kildea found
himself listening to some snippets of Opal – a
double horn concerto May had written for the
Melbourne Symphony Orchestra back in 2021.
With brass instruments glistening like precious
gems, Paul was so drawn into its magical
atmosphere that he asked May if he could
hear an extended recording of the work, in all
its beauty.
From this listening experience would come an
entirely new piece of music, for two entirely
different instruments.
‘He really loved the work, which I was very
flattered by, after which he asked to catch
up,’ May said of the composer’s burgeoning
musical friendship with Paul. They had a ‘great
meeting’ – and it kicked off the commission for
Wildschut and Brauss.
‘We had discussed that it was important that
composers and performers are the right
match,’ May shares. And the pressure is on
when you’re tasked with contributing to a
string of successful Musica Viva Australia
commissions. This year alone, Australian
composer Jakub Jankowski wrote for koto and
cello (in the event Silk, Metal, Wood), while
Carl Vine’s music for guitar and string quartet
was premiered by Karin Schaupp and Flinders
Quartet.
May, Noa and Elisabeth may not be a close
geographical fit, but they are certainly wellmatched
in talent: May has been awarded
commissions with the most prestigious
Australian arts organisations from Musica Viva
Australia to The Australian Ballet. Noa is a
recording artist with Warner Classics and has
starred in a documentary about her musical
life (A Family Quartet), while Elisabeth was
part of the BBC New Generation Artist Scheme
and often plays in Wigmore Hall.
So when it comes to figuring out whether or not
they’d be a good match, May says: ‘It was an
easy decision for me. They are both brilliant,
and an extremely dynamic duet. A little while
later, I was extremely pleased to hear they also
wanted me to write a piece for them.’
Then the work began. Watching online
recordings of their performances, the
composer would analyse the players’ gestures.
May observed Noa’s spirited body language;
the violinist ‘closing her eyes and leaning into
the music in sublime happiness’.
12

straight from the heart
For Elisabeth, May imagined creating music
that would allow space for this pianist to
convey the full gamut of musical expression –
from the delicate to the thunderous. ‘Elisabeth
has a focus and intensity in her playing that
sometimes reminded me of a gymnast: precise
and strong, yet always artistic and poised.’
May’s interpretations of the performers –
watching and listening to them intensely, yet
at a distance – would prove an essential tool
in forging Forces of Nature. As the artists’
schedules were packed to the brim, May says
the three of them were unable to chat about
the composition – a step you’d expect to be
part and parcel of such a joint project. Instead,
the music emerged straight from the heart:
through improvisation.
The composer turned ideas into modes –
sequences of notes that help conjure a certain
feeling. One mode was allocated to Noa,
another to Elisabeth. But Forces of Nature is
not a piece that requires you to have a degree
in musicology to enjoy. Beyond the technical
skills embedded into the writing, May also
paints a musical picture of nature’s wildest
forces – fire and ice.
You’ll hear ‘ice sheets, the reflecting sunlight
on the freezing water, and cracking ice; the
bubbling of an underwater volcano in its early
stages; and the searing heat of a fiery volcano,
with leaping lava as well as its descent down
the side.’
Whoa.
In a musical sense, Noa’s violin solo hints at
the light shining on the ice and piercing the
water. Over the course of the piece, Elisabeth
also plays a fugue that sounds like a ‘bubbling’
texture, then the threat of the volcano
emerges.
‘Once we get to the volcano, the piano is
driving and rhythmic with rolling lines across
the range of the piano,’ May explains. ‘The
violin is soaring over the top, or moving in fast
racing patterns. This section is designed to get
the heart pumping.’
You’d generally expect to hear these epic
soundscapes in a large-scale orchestral
work: the forces of nature are at work in
the thunderstorm of Beethoven’s Pastoral
Symphony, and the waves that crash in
Mendelssohn’s Hebrides Overture. The
challenge for May was to realise and
communicate visions of the natural world
using just two instruments – but when Noa and
Elisabeth are playing them, it becomes less of
a limitation and more of a benefit.
‘To be composing for artists of this calibre, I felt
confident that what I had on the page would
not only be brought out, but enhanced,’ May
says. ‘Simple lines can have so much detail,
and then when given to a talented performer,
a single note can hold a whole auditorium.
Being able to be part of this is an absolute gift
and why writing this piece was such a joy.
‘I know what Noa and Elisabeth make of this
piece will be wonderful.’
13

© Priscilla du Preez
HELP BUILD OUR MUSICAL FUTURE
A bequest to Musica Viva Australia is a generous investment in the
future of Australian music – whether through education programs,
world-class concert series or nurturing the artists of tomorrow.
For nearly 80 years, we have established ourselves as the bedrock
of Australia’s cultural firmament with a presence in every state
and territory and have grown to become the world’s busiest
chamber music organisation.
Be confident that your gift to Musica Viva Australia
will resonate with the largest possible audiences
of all ages and locations for years to come.
For information about our bequests program, please visit:
musicaviva.com.au/support-us/planned-giving
or contact Zoë Cobden-Jewitt, Director of Development
zcobden-jewitt@musicaviva.com.au | 0409 340 240

Patrons
CUSTODIANS
ACT Margaret Brennan, Clive & Lynlea Rodger,
Ruth Weaver, Anonymous (4)
NSW Catherine Brown-Watt PSM & Derek Watt,
Jennifer Bott AO, Lloyd & Mary Jo Capps AM, Andrew &
Felicity Corkill, Peter Cudlipp, Liz Gee, Suzanne Gleeson,
David & Christine Hartgill, Annie Hawker, Elaine Lindsay,
Trevor Noffke, Dr David Schwartz, Ruth Spence-Stone,
Mary Vallentine AO, Deirdre Nagle Whitford, Richard
Wilkins, Kim Williams AM, Megan & Bill Williamson,
Ray Wilson OAM, Anonymous (12)
QLD Anonymous (2)
SA Monica Hanusiak-Klavins & Martin Klavins,
Anonymous (4)
TAS
Kim Paterson QC, Anonymous
VIC Elizabeth & Anthony Brookes, Julian Burnside AO
QC, Ms Helen Dick, Robert Gibbs & Tony Wildman, Helen
Vorrath, Anonymous (8)
WA Graham Lovelock, Anonymous (4)
LEGACY DONORS
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 Geraldine Kenway,
The late Kenneth W Tribe AC
QLD
The late Steven Kinston
SA The late Edith Dubsky, In memory of Helen Godlee,
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, Professor
Malcolm Gillies & Dr David Pear, Sue & Ray Edmondson,
Claudia Hyles, Margaret Lovell & Grant Webeck,
Ruth Weaver & Anonymous, Dr Suzanne Packer,
Sue Terry & Len Whyte
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, Mark & Suzy Suss in memory of
Dr James Pang, The late Dr G D Watson, Dr Victor Wayne &
Dr Karen Wayne OAM, Igor Zambelli, Anonymous
Newcastle Judith Bennett, Gabrielle Bookallil &
The Musica Viva Australia Newcastle Committee,
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, Tom Breen & Rachael Kohn AO,
Dr Di Bresciani OAM, Ms Annabella Fletcher, Dr Annette
Gero, Katherine & Reg Grinberg, Jennifer Hershon, Fred &
Claire Hilmer, Penelope Hughes, Michael & Frédérique Katz,
Ruth Magid & Bob Magid OAM, Dr Hadia Mukhtar,
Philip Robinson, Andrew Rosenberg, Ray Wilson OAM
15

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 & Margaret
Toller, Anonymous
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, Stephen Johns for his wife Michele,
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, WA Commissiong 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+
ACT
Marion & Michael Newman
NSW J A Donald Family, Katherine & Reg Grinberg,
Elisabeth Hodson & the late Dr Thomas Karplus
$20,000+
NSW Michael & Frédérique Katz, Vicki Olsson
QLD
Ian & Caroline Frazer, Andrea & Malcolm Hall-Brown
VIC The Morawetz Family in memory of Paul Morawetz,
Marjorie Nicholas OAM, Anonymous
WA
$10,000+
ACT
Anonymous
R & V Hillman, Mick & Margaret Toller, Anonymous
NSW Gardos Family, Gresham Partners, Hilmer Family
Endowment, Ian Dickson & Reg Holloway, Mrs W G
Keighley, Anthony Strachan, Jo Strutt, Ray Wilson OAM in
Memory of James Agapitos OAM
QLD
Anonymous
SA Jennifer & John Henshall, Stoneglen Foundation,
Anonymous
VIC Roger Druce & Jane Bentley, Peter Lovell,
In Memory of Dr Ian Marks, Mercer Family Foundation
WA Legacy Unit Trust, Deborah Lehmann AO
& Michael Alpers AO
$5,000+
ACT Goodwin Crace Concertgoers, Craig Reynolds,
Sue Terry & Len Whyte
NSW Christine Bishop, Tom Breen & Rachael Kohn AO,
Patricia Crummer, Sarah & Tony Falzarano, Katherine &
Reg Grinberg, David & Carole Singer, Diane Sturrock,
Richard Wilkins, Kim Williams AM & Catherine Dovey
QLD
SA
Anonymous
Aldridge Family Endowment, Anonymous
VIC In memory of Kate Boyce, Dr Di Bresciani OAM
& Lino Bresciani, Julian Burnside AO KC & Kate Durham,
William J Forrest AM, Leanne Menegazzo, Joy Selby Smith,
Greg Shalit & Miriam Faine, Musica Viva Australia Victorian
Committee MICMC Prize, Bruce Missen, Anonymous
WA
David Wallace & Jamelia Gubgub, Anonymous
16

ANNUAL GIFTS
$2,500+
ACT Kristin van Brunschot & John Holliday,
Dr Andrew Singer, Anonymous
NSW ADFAS Newcastle, Penny Beran, Susan Burns,
Hon. Professor Ross Steele AM
SA
DJ & EM Bleby
VIC Jan Begg, Alastair & Sue Campbell, Anne
Frankenberg & Adrian McEniery, Sing Off – Genazzano
& surrounding schools, Lyndsey & Peter Hawkins, Michael
Nossal & Jo Porter, Ralph & Ruth Renard, Maria Sola,
Wendy R. Taylor, Helen Vorrath, Igor Zambelli
WA Ros Kesteven, Zoe Lenard & Hamish Milne,
Mrs Morrell, Anonymous
$1,000+
ACT Andrew Blanckensee, The Breen/Dullo Family,
Odin Bohr & Anna Smet, Martin Dolan, Liz & Alex Furman,
Kingsley Herbert, Margaret & Peter Janssens, Margaret
Oates, S Packer, Clive & Lynlea Rodger, Anonymous (3)
NSW Judith Allen, David & Rae Allen, Maia Ambegaokar
& Joshua Bishop, Dr Warwick Anderson, Jennifer Bott AO,
Vicki Brooke, Neil Burns, Hugh and Hilary Cairns,
Hon J C Campbell QC & Mrs Campbell, Lloyd &
Mary Jo Capps AM, Richard Cobden SC, Opus 109
Sub-fund, Community Impact Foundation, Robin & Wendy
Cumming, Trish & John Curotta, Thomas Dent, Nancy Fox
AM & Bruce Arnold, John & Irene Garran, Charles & Wallis
Graham, Kate Girdwood, 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, Professor Craig Moritz,
Michael & Janet Neustein, Paul O’Donnell, Laurie Orchard,
Ms Vivienne Sharpe, Dr Robyn Smiles, Tom & Dalia Stanley,
Geoff Stearn, Graham & Judy Tribe, Kate Tribe, Dr Elizabeth
Watson, John & Flora Weickhardt, Megan & Bill Williamson,
Anonymous (4)
QLD George Booker & Denise Bond, Prof. Paul & Ann
Crook, Stephen Emmerson, Robin Harvey, Lynn &
John Kelly, Andrew & Kate Lister, Jocelyn Luck, Barry &
Diana Moore, Keith Moore, Barbara Williams &
Jankees van der Have, Anonymous (2)
SA Ivan & Joan Blanchard, Richard Blomfield,
Max & Ionie Brennan, Peter Clifton, Elizabeth Ho OAM, in
honour of the late Tom Steel, Joan Lyons, Fiona MacLachlan
OAM, Dr Leo Mahar, Ruth Marshall & Tim Muecke, Geoff &
Sorayya Martin, Ann & David Matison, Diane Myers,
Leon Pitchon, Jennie Shaw, Anne Sutcliffe, Anonymous (3)
TAS
Dianne O’Toole
VIC Joanna Baevski, Russ & Jacqui Bate, Marlyn Bancroft,
Marc Besen AC & the late Eva Besen AO, Jannie Brown,
Alison & John Cameron, Mrs Maggie Cash, Alex & Elizabeth
Chernov, Kathy & George Deutsch OAM, Dhar Family,
Lord Ebury, Dr Gelnys & Dr Alan French, Naomi Golvan &
George Golvan KC, John & Margaret Harrison,
Virginia Henry, Doug Hooley, Helen Imber, The Hon.
Dr Barry Jones AC & Ms Rachel Faggetter, 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, D & F Nassau, Adrian Nye,
Resonance Fund – Michael Cowen & Sharon Nathani, Barry
Robbins, Murray Sandland, Ms Thea Sartori, Marshall
Segan & Ylana Perlov in memory of his late parents, Gary
Singer & Geoffrey Smith, Darren Taylor & Kent Stringer,
Ray Turner & Jennifer Seabrook, Dr Victor Wayne & Dr
Karen Wayne OAM, Lyn Williams, Mark & Anna Yates,
Anonymous (3)
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, Prof Robyn
Owens AM, Margaret & Roger Seares, Robyn Tamke,
Anonymous (3)
$500+
ACT Margaret Brennan, Christine Bollen, Christopher
Clarke, Peter Cumines, Susan Edmondson, Jill Fleming,
Robert Hefner, Claudia Hyles OAM, Margaret Millard,
Helen Rankin, Ruth Weaver, Dr Paul & Dr Lel Whitbread
NSW Denise Braggett, Christopher & Margaret Burrell,
Robert Cahill and Anne Cahill OAM, Lucia Cascone,
Howard Dick, Dr Arno Enno & Dr Anna Enno, Bronwyn
Evans, Anthony Gregg, The Harvey Family, Roland &
Margaret Hicks, David & Sarah Howell, Alicia Howlett, In
honour of Michael Katz, Cynthia Kaye, Mathilde Kearny-
Kibble, Bruce Lane, Graham & Sue Lane, Olive Lawson,
Trish Ludgate, Dr Colin MacArthur, Ian & Pam McGaw, Dr V
Jean McPherson, Frances Muecke, Kim & Margie Ostinga,
Christina Pender, Trish Richardson in memory of Andy Lloyd
James, Dr John Rogers, Penny Rogers, Peter & Heather
Roland, Christopher Sullivan & Jim Lennon, Kathie & Reg
Grinberg – In honour of Dalia Stanley’s birthday, Beverley &
Richard Taperell, Kay Vernon, Andrew Wells AM, Margaret
Wright OAM, Anonymous (15)
QLD Geoffrey Beames, Noela Billington, Janet Franklin,
Timothy Matthies & Chris Bonnily, Anonymous
SA Zoë Cobden-Jewitt & Peter Jewitt, Daniel & Susan
Hains, Elizabeth Hawkins, Dr Iwan Jensen, The Hon.
Christopher Legoe AO QC & Mrs Jenny Legoe,
Helga Linnert & Douglas Ransom, Julie Mencel &
Michael McKay, Trish Ryan & Richard Ryan AO,
Tony Seymour, Anonymous (3)
VIC David Bernshaw & Caroline Isakow, Coll & Roger
Buckle, Pam Caldwell, John & Mandy Collins, John & Chris
Collingwood, Ted & Alison Davies, Mary-Jane Gething,
Dr Anthea Hyslop, Eda Ritchie AM, Professor Lynne
Selwood, Maureen Turner, Anonymous (8)
WA Jennifer Butement, Fred & Angela Chaney, Rachel &
Bruce Craven, Helen Dwyer, Dr Barry Green, Russell Hobbs
& Sue Harrington, Paula Nathan AO & Yvonne Patterson,
Lindsay & Suzanne Silbert, Father Richard Smith,
Ruth Stratton, Christopher Tyler, Anonymous (2)
17

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
Print Partner
Hotel Partner
Hotel Partner
Government Partners
Musica Viva Australia is assisted by
the Australian Government through Creative Australia,
its principal arts investment 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
18

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
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 MacLeod • Joy Selby Smith • Legacy Unit Trust
• Lipman Karas • Seeley International • Anonymous Donors (3)
19

Stories to inspire
BY ZOË COBDEN-JEWITT
Leaving a lasting gift –
making memories
for future generations
Perhaps a stirring string quartet or a
passionate piano performance? Whatever
springs to mind, it’s the joy of music and the
way it makes us feel that make us return to it
time and again.
This love of music and appreciation for
musicians is why leaving a gift in your will
to Musica Viva Australia is one of the most
significant acts you can carry out in your
lifetime. It celebrates passion for music and
can enable music for future generations of
audiences and artists alike. Such an important
contribution brings the performing arts and
community together in a shared cultural
future for everyone. A bequest to Musica
Viva Australia is a generous investment in the
future of Australian music – whether through
education programs, world-class concert
series or nurturing the artists of tomorrow.
Musica Viva Australia donor and Custodian,
Richard Wilkins, has made provision for
Musica Viva Australia in his will:
Music is the most important thing in
my life, and really has been since I
started to learn the piano at age 5. I
have been a Musica Viva Australia
subscriber for over 20 years and have
greatly enjoyed the breadth of repertoire
and range of performers that the
company has presented. I have donated
to Musica Viva Australia in most years
recently; however, when preparing my
will I wanted to make much larger gifts
to those groups of most importance to
me. I have therefore happily included
a bequest to Musica Viva Australia in
my will. Its three main activities are all
vital to the musical life of Australia, in
different ways. I was very fortunate
to have a good musical education
from an early age: the work of Musica
Viva In Schools is a fundamental part
of learning, especially for children
who might otherwise not be exposed
to the stimulus and enjoyment of
performing and listening to music in
their formative years. I am very pleased
to support Musica Viva Australia in all
these goals.
20

Former Musica Viva Australia CEO
Mary Jo Capps has also made provision
for MVA in her will:
In my two decades at Musica Viva
Australia, I witnessed first-hand how
a bequest could be transformative,
especially when it was framed as a
percentage of the estate. The actual
percentage did not need to be huge to
open the door for important projects…
The more open the terms of the
bequest, the greater the impact, as it is
impossible to know today what might
be critical in the future. Lloyd and
I know our bequest will be carefully
stewarded and, hopefully, will enable
Musica Viva Australia to continue to
flourish into the future.
Z.E.N. Trio rehearsing in the Janette Hamilton Studio at
Musica Viva House. The Janette Hamilton Studio and Steinway
were only possible thanks to a generous bequest from this
long-term donor and music lover, as well as donations from
Eleanor Goodridge OAM and Bob and Ruth Magid.
© Darren Leigh Roberts
Every gift, no matter how big or small, makes
a tangible difference to what Musica Viva
Australia can achieve, and all planned gifts
become an integral part of our financial
strength and sustainability. By making the
decision to support Musica Viva Australia in
your will, your legacy becomes inextricably
linked with ours, and the knowledge that
you have helped to ensure we can continue
inspiring audiences of all ages across
Australia, and providing musicians with
opportunities, for years to come, is a special
thing indeed.
Musica Viva Australia CEO
Anne Frankenberg explains:
MVA was able to weather the
challenges of the global pandemic,
while maintaining important programs
and ensuring support for the artistic
community we are a part of, thanks
to the vision of carefully stewarded
past legacies. We recognise that the
decision to leave a bequest represents
an extraordinary level of trust in the
work that we do, and feel a deep sense of
accountability and gratitude towards
those who have taken this step.
If you would like to know more about leaving a bequest to Musica Viva Australia, we invite you
to start a conversation with us. Please contact Director of Development Zoë Cobden-Jewitt or
your local State Manager.
musicaviva.com.au/support-us/planned-giving
21

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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.
To make a gift:
musicaviva.com.au/support-us
For more information:
Caroline Davis | cdavis@musicaviva.com.au | 0421 375 358

2 O 2 4
Embrace the difference.
Feel the joy.
24 of the world’s best artists.
7 national tours across 6 states.
Long Lost Loves (and Grey Suede Gloves)
Esmé Quartet
Kirill Gerstein
The Choir of King’s College, Cambridge
Pekka Kuusisto & Gabriel Kahane
Ensemble Q & William Barton
Musica Alchemica
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