Esmé Quartet | April 2024

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<strong>Esmé</strong> <strong>Quartet</strong>


We acknowledge the Traditional Custodians of the many lands on which we meet,<br />

work and live, and we pay our respects to Elders past and present – people who<br />

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

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



violin I<br />

YUNA HA<br />

violin II<br />


viola<br />


cello<br />



Wednesday 1 May, 7.30pm<br />

Recorded for broadcast by ABC Classic<br />

• Pre-concert talk: 6.45pm,<br />

Prince Alfred Room<br />




Monday 13 May, 7pm<br />

Recorded for broadcast by 4MBS Classic FM<br />

• Pre-concert talk: 6.15pm,<br />

Boardroom, Qld Conservatorium,<br />

Griffith University<br />

• Meet the Artists after the concert<br />




Friday 10 May, 7pm<br />

• Pre-concert talk: 6.15pm,<br />

Larry Sitsky Room<br />

• Meet the Artists after the concert<br />




Tuesday 14 May, 7pm<br />

• Pre-concert talk: 6.15pm,<br />

Salzer Suite, Level 2<br />



Tuesday 7 May, 7.30pm<br />

• Pre-concert talk: 6.45pm,<br />

Mulubinba Room<br />

• Meet the Artists after the concert<br />

PERTH<br />


Monday 29 <strong>April</strong>, 7.30pm<br />

• Pre-concert talk: 6.45pm,<br />

Corner Stage Riverside, Terrace Level<br />

SYDNEY<br />


Monday 6 May, 7pm<br />

• Pre-concert talk: 6.15pm,<br />

Function Room, Level 1<br />

With special thanks to Bruce & Charmaine Cameron for their support of this tour,<br />

and to the Directors’ Circle and Amadeus Society for their support of the <strong>2024</strong> Concert Season.<br />


From the Artistic Director<br />

There are certain works I turn to when checking<br />

out new artists or ensembles. For a pianist<br />

I’ll listen to Chopin’s Nocturne, Op. 48 No. 1.<br />

A violinist has nowhere to hide – and plenty<br />

of opportunity to shine – in the Franck Sonata<br />

or a Bach solo Partita. For string quartets, it’s<br />

Mendelssohn No. 6 or Schubert’s Death and<br />

the Maiden, each a perfect essay in form and<br />

voicing.<br />

© Darren Leigh Roberts<br />

It was therefore a joy some years ago to<br />

stumble across the <strong>Esmé</strong> <strong>Quartet</strong> playing this<br />

Mendelssohn; I didn’t have to go digging to<br />

find these young players in this most exposing<br />

piece. Immediately I was struck by the quartet’s<br />

compelling combination of tenderness and<br />

steeliness, of the infinite care each player took<br />

over phrasing, of the beautiful sound of the<br />

whole.<br />

It’s therefore a delight to welcome the quartet to<br />

Australia for the first time and in such a gorgeous<br />

program including an earlier Mendelssohn<br />

quartet. Webern’s progenitor in Langsamer<br />

Satz was more Brahms than Mendelssohn, but<br />

this exquisite miniature sits happily alongside<br />

both Mendelssohn and Debussy, composed only<br />

twelve years after the latter.<br />

Down a rabbit hole similar to the one in which<br />

I found the <strong>Esmé</strong> <strong>Quartet</strong>, I stumbled across<br />

the music of the young Australian composer<br />

Jack Frerer. His orchestral scores for New York<br />

City Ballet and the Kennedy Center Opera<br />

Orchestra are a riotous exploration of sonority<br />

and virtuosity. It was a real pleasure to introduce<br />

Spiral Sequences to the <strong>Esmé</strong> <strong>Quartet</strong>, which<br />

they took on with alacrity. The piece is the perfect<br />

gateway to a composer we will hear much from<br />

for years to come.<br />

Paul Kildea<br />

Artistic Director<br />


Program<br />

Anton WEBERN (1883–1945)<br />

Langsamer Satz (Slow Movement) (1905)<br />

9 min<br />

Felix MENDELSSOHN (1809–1847)<br />

String <strong>Quartet</strong> No. 2 in A minor, Op. 13 (1827)<br />

I<br />

II<br />

III<br />

IV<br />

Adagio (Slow) – Allegro vivace (Fast and lively)<br />

Adagio non lento (Slow but not too slow)<br />

Intermezzo: Allegretto con moto (A little quickly, moving along)<br />

– Allegro di molto (Very fast)<br />

Presto (Quick) – Adagio non lento (Slow but not very slow)<br />

31 min<br />


Jack FRERER (b 1995)<br />

Spiral Sequences (2018)<br />

I Wildly intense, with pulse and momentum<br />

II Legato (Smooth), tender<br />

14 min<br />

Claude DEBUSSY (1862–1918)<br />

String <strong>Quartet</strong> in G minor, Op. 10 (1893)<br />

I<br />

II<br />

III<br />

IV<br />

Animé et très décidé (Fast and very determined)<br />

Assez vif et bien rythmé (Quite quick and very rhythmic)<br />

Andantino, doucement expressif<br />

(Moving along at an easy walking pace, gently expressive)<br />

Très modéré (At a very moderate pace) – En animant peu à peu<br />

(Gradually getting faster) – Très mouvementé et avec passion<br />

(Very lively and with passion)<br />

25 min<br />

Please ensure that mobile phones are turned to silent and onto flight mode before the performance.<br />

Photography and video recording are not permitted during the performance.<br />


2 O24<br />

Unleash your potential in the national chamber music competition for Australian school students.<br />

COMPETITION ENTRIES OPEN: 1– 30 MAY <strong>2024</strong><br />

musicaviva.com.au/strikeachord<br />




2 O 2 4<br />

Experience music to delight and inspire<br />

from international + Australian artists<br />

including Ensemble Q & William Barton,<br />

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

Musica Alchemica and more!<br />

Tickets available from $62<br />

musicaviva.com.au 1800 688 482

Masterclasses<br />

Musica Viva Australia creates opportunities<br />

for Australian and internationally acclaimed<br />

artists to share their experience and<br />

expertise with talented early-career artists<br />

and young music students, creating an<br />

enriching learning experience.<br />

The following masterclasses are<br />

presented as part of this tour:<br />

• Tuesday 30 <strong>April</strong>: Perth<br />

The University of Western Australia<br />

— Yeeun Heo<br />

• Monday 6 May: Sydney<br />

Sydney Conservatorium of Music,<br />

The University of Sydney<br />

— <strong>Esmé</strong> <strong>Quartet</strong><br />

• Monday 13 May: Brisbane<br />

The University of Queensland<br />

— Yeeun Heo<br />

Yeeun Heo will give Cello Masterclasses in Perth and Brisbane, and<br />

is joined by her colleagues for a <strong>Quartet</strong> Masterclass in Sydney.<br />

© Jeremy Visuals<br />

Musica Viva Australia’s Masterclass<br />

program is supported by:<br />

Nicholas Callinan AO & Elizabeth Callinan<br />

Caroline & Robert Clemente<br />

Ian Frazer AM & Caroline Frazer<br />

Patricia H Reid Endowment Fund<br />

Andrew Sisson AO & Tracey Sisson<br />

Mick & Margaret Toller<br />

Anonymous (2)<br />

Musica Viva Australia Masterclasses in Western<br />

Australia are supported by Wesfarmers Arts.<br />

—<br />

For further details visit:<br />

musicaviva.com.au/masterclasses<br />

Satsuki Odamura’s Masterclass in Melbourne, 2023.<br />

© Musica Viva Australia<br />

Regional Touring<br />

As part of Musica Viva Australia’s Regional<br />

Touring Program, the <strong>Esmé</strong> <strong>Quartet</strong> will<br />

perform a concert for Musica Viva Tasmania<br />

on Friday 3 May, 7.30pm at Hobart Town<br />

Hall.<br />

—<br />

For further details visit:<br />

musicaviva.com.au/regional<br />

Elisabeth Brauss’ Masterclass in Brisbane, 2023.<br />

© Janet McKay<br />


Q<br />

<strong>Esmé</strong><br />

© Jeremy Visuals<br />


uartet<br />

9<br />

Praised for its warm sound and powerful<br />

stage presence, the <strong>Esmé</strong> <strong>Quartet</strong> was<br />

formed in 2016 at the Hochschule für Musik<br />

in Cologne, Germany by four musicians<br />

who had been friends since their youth. It<br />

takes its name ‘<strong>Esmé</strong>’ from the old French<br />

word for ‘beloved.’<br />

The <strong>Quartet</strong> has rapidly gained a<br />

worldwide reputation as a chamber<br />

ensemble of exceptional artistry and<br />

achievement. In 2018, the <strong>Quartet</strong> won<br />

First Prize as well as sweeping four special<br />

prizes at the prestigious Wigmore Hall<br />

International String <strong>Quartet</strong> Competition<br />

in London, and in the same year it became<br />

HSBC Laureate of the Académie du Festival<br />

d’Aix. This recognition followed prizes at<br />

the Trondheim International Chamber<br />

Music Competition and the 55th Possehl<br />

Music Prize of the Lübeck College of<br />

Music. In October 2020, the <strong>Quartet</strong> was<br />

awarded the inaugural Hans Gál Prize by<br />

the Academy of Sciences and Literature<br />

Mainz and Villa Musica Rheinland-Pfalz,<br />

and in the 2020–21 season it was Artist<br />

in Residence at the Lotte Concert Hall in<br />

Seoul, South Korea.<br />

Recent performances include appearances<br />

at the Lucerne Festival, Wigmore Hall,<br />

the Flagey Musiq3 Festival in Brussels,<br />

L’Auditori in Barcelona, Opéra de Lille,<br />

McGill International String <strong>Quartet</strong><br />

Academy in Montreal, the Heidelberg<br />

String <strong>Quartet</strong> Festival, Classic Esterházy<br />

in Eisenstadt and as quartet in residence at<br />

the Aix-en-Provence Festival.<br />

In 2022 the <strong>Quartet</strong> made its highly<br />

acclaimed debut tour of the United States<br />

and Canada, followed by its debut tour<br />

of Japan. Recent highlights include a tour<br />

of Italy, and return engagements to the<br />

Musiq3 Festival and Wigmore Hall, along<br />

with concerts in Germany and Portugal.<br />

The <strong>Esmé</strong> <strong>Quartet</strong> performed John<br />

Adams’ Absolute Jest with the Hong Kong<br />

Philharmonic in February 2023, with the<br />

Gyeonggi Philharmonic at the Seoul Arts<br />

Center in <strong>April</strong> 2023, and mostly recently<br />

with the Tokyo Metropolitan Orchestra,<br />

with the composer conducting, in January<br />

this year. It performed Michel van der Aa’s<br />

The Book of Water with British actor Samuel<br />

West at the Hong Kong Arts Festival in<br />

February 2023, and has recently completed<br />

a US tour with 2017 Van Cliburn gold<br />

medallist Yekwon Sunwoo.<br />

The <strong>Quartet</strong> has released two CDs on the<br />

Alpha Classics label: To Be Loved, featuring<br />

works by Beethoven, Unsuk Chin and Frank<br />

Bridge, and named one of the best classical<br />

CDs of 2020 by WQRX Public Radio in New<br />

York City, and Yessori: Sound from the Past,<br />

with works by Mozart, Tchaikovsky and Soo<br />

Yeon Lyuh.<br />

Belgian-American violist Dimitri Murrath<br />

joined the Esme <strong>Quartet</strong> in <strong>April</strong> 2023.

About the music<br />

The seeds of Modernism were sown in<br />

Enlightenment soil and the fruits they would<br />

eventually bear would be stranger than<br />

anyone could have foreseen. In a letter of 1810<br />

from Bettina von Arnim to Goethe, Beethoven<br />

is reported as saying: ‘Music is a higher<br />

revelation than all wisdom and philosophy,<br />

it is the wine of a new procreation, and I am<br />

Bacchus who presses out this glorious wine for<br />

men and makes them drunk with the spirit.’<br />

Brahms and Schoenberg would drink deep<br />

draughts from this brew. However, Anton<br />

Webern would experience his own epiphany<br />

under its intoxicating influence.<br />

with his 16-year-old cousin Wilhelmine Mörtl,<br />

whom he would marry six years later. While<br />

vying with Brahms in its soulful yearning,<br />

it inhabits a graceful space all its own. In<br />

traditional ternary (A–B–A) form and rooted<br />

in E major, this lyrical slow movement features<br />

impressively elegant manipulation of its widely<br />

arching themes, pointing both backward (to<br />

his doctoral thesis on the music of Heinrich<br />

Isaac) and forward (to his later atonal and<br />

serial masterpieces). Although performed<br />

privately at the time, it was not published until<br />

1961, since when it has been much performed<br />

and recorded.<br />



‘My object,’ Webern wrote early in his career<br />

to Berg, ‘is the deep, bottomless, inexhaustible<br />

meaning in it all.’ He was describing his<br />

fascination with flowers. ‘I got to know a<br />

tiny plant, a little like a lily-of-the-valley,<br />

homely, humble, hardly noticeable, but<br />

for me it contains all tenderness, emotion,<br />

depth, purity…’ Much the same could be<br />

said of his approach to music. As late as<br />

1927, having written his first entirely twelvetone<br />

composition, the String Trio, Webern<br />

admitted to Schoenberg that he needed ‘time<br />

to understand what I have written’, the effort<br />

of composition ultimately depending upon, to<br />

borrow Dylan Thomas’s words, ‘the force that<br />

through the green fuse drives the flower’.<br />

The Langsamer Satz (Slow Movement) for<br />

string quartet was composed shortly after<br />

the 22-year-old Webern became the first<br />

of Schoenberg’s students. It was apparently<br />

inspired by a five-day walk through the<br />

picturesque southern Austrian countryside<br />

In the year that he composed his first<br />

acknowledged masterpieces, the String Octet<br />

and the Overture to A Midsummer Night’s<br />

Dream, the 16-year-old Felix Mendelssohn’s<br />

family moved from the centre of Berlin out onto<br />

the periphery, on the Leipzigerstrasse. Set in<br />

park-like surrounds, the house was palatial,<br />

and Felix’s father Abraham Mendelssohn<br />

enjoyed the privilege of being lord of the<br />

manor, inviting many of Europe’s greatest<br />

minds in literature, science, philosophy and of<br />

course music to come and enjoy the famous<br />

Mendelssohn family hospitality.<br />

As might be expected given that his afterdinner<br />

conversations were not so much<br />

about Goethe and Schiller but in fact with<br />

Goethe and Schiller themselves, young Felix<br />

Mendelssohn was already more than willing<br />


to mix it with the masters. And that meant<br />

that in chamber music, his attention turned to<br />

Beethoven, and in particular to the great man’s<br />

at that time brand-new final string quartets.<br />

That in itself was remarkable because the<br />

general attitude at the time to these musical<br />

behemoths was that expressed most succinctly<br />

by Louis Spohr who described them as works<br />

of ‘indecipherable, uncorrected horror’.<br />

But just as with Bach, Mendelssohn simply<br />

‘got’ Beethoven long before any of his<br />

contemporaries did, and so with all the<br />

optimism, self-confidence and naked ambition<br />

of youth, the 18-year-old set out to create a<br />

string quartet of similar gravitas. That was<br />

terrible news for Mendelssohn’s mother, who<br />

kept pleading with her brilliant son to write<br />

bright and breezy piano music that the family’s<br />

guests could appreciate at first hearing. But<br />

encouraged by his sister Fanny, Mendelssohn<br />

was writing fugues of deliberately elaborate<br />

construction and then there emerged what<br />

would eventually become known as his String<br />

<strong>Quartet</strong> No. 2 in A minor, Op. 13, but which in<br />

chronological terms was actually his first such<br />

quartet.<br />

In the introduction, Mendelssohn quotes his<br />

own song ‘Ist es wahr?’ (Is it true?), which could<br />

equally be an echo of Beethoven’s ‘Muss en<br />

sein?’ from the Op. 135 <strong>Quartet</strong>. And from<br />

there the late-Beethoven references proceed<br />

apace, especially to the A minor <strong>Quartet</strong>,<br />

Op. 132 but also the Cavatina of Op. 130, with<br />

passing references to the Choral Symphony<br />

and the Archduke Trio along the way.<br />

While it would perhaps be unrealistic to<br />

expect quartets from a teenager from a<br />

privileged background to match the sheer<br />

transcendence-through-suffering that<br />

permeates Beethoven’s late quartets, there’s<br />

no doubting the intensity of the opening<br />

movement that Mendelssohn created, pausing<br />

only momentarily for breath and leading<br />

to a stormy coda. The slow movement with<br />

its unusual marking of Adagio non lento<br />

[both ‘Adagio’ and ‘Lento’ meaning ‘slow’,<br />

though ‘Lento’ is generally taken to be slower<br />

than ‘Adagio’] is perhaps the most striking<br />

illustration of the young composer aiming for<br />

the profundity of emotion of his Beethoven<br />

model.<br />

But if the late Beethoven had the monopoly on<br />

slow movements, the intermezzo which follows<br />

is pure Mendelssohn, once more on home turf<br />

with a lilting lyricism and a characteristically<br />

elfin middle section. And then, in textbook<br />

structure, the finale revisits themes from the<br />

earlier movements, and in particular the<br />

opening ‘Ist es wahr?’ motif.<br />


© Julie Skarratt<br />

Described as ‘exciting … combining boomcrash<br />

orchestration with woozy portamenti and<br />

jazz elegance’ by the New York Times, and ‘a<br />

force to be reckoned with’ by Observer.com,<br />

the music of Australian composer Jack Frerer<br />

has been commissioned and performed by the<br />

New York City Ballet, the Albany, Nashville,<br />

Sarasota and New Jersey Symphony<br />

Orchestras, the Kennedy Center Opera<br />

Orchestra, the Australian Youth Orchestra,<br />

the Tanglewood Music Center, and the wind<br />

ensembles of University of Texas Austin,<br />

University of North Texas, Michigan and<br />

Cornell, among others. Jack is the recipient of<br />

a Charles Ives Scholarship from the American<br />

Academy of Arts and Letters, a Morton Gould<br />

Composers Award from ASCAP, the Suzanne<br />

and Lee Ettelson Composers Award, and the<br />

Brian Israel Prize from the Society for New<br />

Music. He has been a fellow at the Tanglewood<br />

Music Center, and Composer-in-Residence<br />

with the Arapahoe Philharmonic.<br />


The composer writes:<br />

Spiral Sequences is a string quartet performed<br />

in two movements. The first, the shorter of<br />

the two, is frantic and pulse-driven, carried<br />

by momentum generated by spiraling<br />

semiquaver patterns and repeated ostinatos. It<br />

presents fragments of a sequence-like pattern,<br />

which is played in its complete form at the<br />

beginning of a longer, introspective second<br />

movement. The first movement presents an<br />

inward spiral, constantly tightening. The<br />

second works to unravel it.<br />

© JACK FRERER 2018<br />

The idea of a string quartet by Claude<br />

Debussy could have a sense of ‘odd couple’<br />

peculiarity about it. We think of Debussy<br />

as a poet of musical colours and perfumes,<br />

who achieved a decisive liberation from<br />

the regulated structural conventions of the<br />

German musical hegemony, a hegemony<br />

that is strongly, proudly represented in the<br />

tradition of string quartets.<br />

Debussy’s String <strong>Quartet</strong> has a significant<br />

place in the composer’s career, and in the<br />

process of his liberation from German musical<br />

domination. Aged 30, Debussy was influenced<br />

at this time by César Franck (a Frenchman<br />

who was an apostle of German music), and<br />

was beginning to shake off his enthusiasm for<br />

Wagner. It is through the mediation of Franck<br />

that the shadow of Beethoven hovers over<br />

Debussy’s String <strong>Quartet</strong> – Beethoven’s late<br />

string quartets represented a musical ideal<br />

for Franck. Indeed, the second performance<br />

of Debussy’s <strong>Quartet</strong> was given in a series<br />

organised by Franck’s supporters, the Société<br />

Nationale de Musique, in programs heavily<br />

featuring Beethoven’s quartets. This second<br />

performance actually did more to raise<br />

Debussy’s stature in Parisian artistic circles than<br />

the premiere had.<br />

The <strong>Quartet</strong> shows Debussy striving to develop<br />

his own take on a ‘Beethovenian’ language<br />

but, as you’d expect, the differences are more<br />

telling than the similarities. Reaching back to<br />

Beethoven via Franck (and Franck’s influential<br />

student Vincent d’Indy), Debussy borrowed the<br />

idea of ‘cyclic form’, which basically required<br />

the repeated development or reinvention of<br />

the same thematic material throughout each<br />

movement of a piece. While the String <strong>Quartet</strong><br />

is, as a result, more integrated in terms of the<br />

structure of its themes than Debussy’s later<br />

work would be, Debussy is highly flexible<br />

and variable in the way he treats his melodic<br />

‘subjects’. There are elements of traditional<br />

sonata form’s thematic processes in the first<br />

movement, but Debussy plays so liberally with<br />

his themes that the formal aspects become<br />

quite secondary. He applies his notion of<br />

the melodic arabesque (the tendril-like<br />

elaboration of melodic lines) with splendid<br />

originality, making any ‘requirement’ for<br />

thematic cohesion almost irrelevant.<br />

On the harmonic plane, Debussy also<br />

emulates some of the ways in which Beethoven<br />

applied the relationships between keys<br />

as a means to forge an extended musical<br />

argument. But here again, the similarity<br />

becomes elusive: Debussy’s harmony<br />

was already heavily inspired by a modal<br />

conception, which doesn’t lend itself to the<br />

tensions of chromatic key relationships. The<br />

sonorous effect of harmonic movement within<br />

the <strong>Quartet</strong> is more important for Debussy.<br />

The String <strong>Quartet</strong> is one of the last pieces<br />

in which Debussy felt compelled to tangle<br />

with conventional forms. Afterwards, he<br />

pursued a far more liberated and individual<br />

sense of musical architecture, employing<br />

the discoveries made through the process of<br />

composing the String <strong>Quartet</strong>.<br />



‘Uncanny delicacy in one<br />

episode and gnashing<br />

power the next’<br />

The New York Times<br />

Kirill<br />

Kirill Gerstein<br />

Gerstein<br />

Discover the art of the impossible when<br />

Kirill Gerstein, poet of the piano, scales new<br />

heights of virtuosity. From delicate nocturnes<br />

to bravura polonaises this philosopher showman<br />

takes us from much-loved landscapes to<br />

mysterious worlds where few dare to go.<br />

11–23 June musicaviva.com.au/gerstein<br />

1800 688 482 (no booking fees)

Interview<br />


Claude Debussy was only 31 when he<br />

composed his first (and only) string<br />

quartet in 1893. Anton Webern composed<br />

Langsamer Satz for string quartet in 1905<br />

when he was 22. And Mendelssohn was<br />

just 18 years old when he composed his<br />

String <strong>Quartet</strong> No. 2 in A minor. In fact,<br />

every composer in this program was<br />

under 35 years old when they crafted<br />

these beautiful chamber works.<br />

For cellist Yeeun Heo, it’s a rare treat to<br />

perform the music of young composers who<br />

would evolve into the world’s most famous.<br />

‘For me, one of the joys of playing and<br />

listening to a famous composer’s early<br />

works is that I can reminisce about my past,’<br />

Yeeun says. Born in 1992, the virtuoso was in<br />

her early 20s when she embarked upon her<br />

own impressive career venture – the launch<br />

of <strong>Esmé</strong> <strong>Quartet</strong>. Founded in Germany in<br />

2016, the young group would quickly grow<br />

into a world-class chamber ensemble,<br />

marked by a global touring schedule and<br />

multiple competition wins.<br />

Three of <strong>Esmé</strong>’s founding players were<br />

born in Korea – Yeeun Heo, and violinists<br />

Yuna Ha and Wonhee Bae. Noting their<br />

shared backgrounds, Wonhee says they<br />

formed a special bond while studying<br />

together in Germany, before entering the<br />

music industry as a ‘young all-Asian female<br />

group to begin our career together’. In<br />

2018, they would become the first allwoman<br />

group to win the International<br />

String <strong>Quartet</strong> Competition at London’s<br />

Wigmore Hall.<br />

In 2023, the ensemble welcomed Belgian-<br />

American violist Dimitri Murrath, who<br />

recalls ‘From the first note playing together,<br />

it felt as if I had been playing with this<br />

group for many years.’<br />

‘There is really something about how<br />

all four of us can breathe together and<br />

seem to be on the same wavelength,’<br />

Dimitri says.<br />

Yeeun and Wonhee describe their<br />

connection in a similar way, saying<br />

their group feels like a family. And it’s a<br />

family in which meals are cooked and<br />

shared together, arm-wrestling matches<br />

are commonplace (Yeeun loses), and a<br />

good story yields a roaring laugh (even if<br />

Dimitri’s jokes fly under the radar).<br />

To Yuna, this closeness means that each<br />

player knows what the other is trying to<br />

communicate – ‘just by looking at each<br />

other, without having to say anything’.<br />

‘Every moment spent with these people<br />

has been special,’ Yuna says.<br />

These musicians have developed<br />

international reputations in such a short<br />

number of years, much like the composers<br />

on their program. Wonhee says they’ve<br />

always been interested in exploring<br />

composers’ ‘fresh take’ on the string<br />

quartet; their 2020 debut album<br />

To Be Loved featured some of the earliest<br />

music that Beethoven, Unsuk Chin and<br />

Frank Bridge had composed for this<br />

configuration. Now, as they present<br />

© Jeremy Visuals<br />


a young Mendelssohn’s string quartet, they<br />

are taken aback by the ‘range of emotions<br />

and the refinement of his craft’, according<br />

to Dimitri.<br />

Langsamer Satz is also ‘youthful in its<br />

romanticism’; Webern was in his early 20s<br />

when he wrote it, two decades before he<br />

would start incorporating the new 12-tone<br />

technique in his works. Dimitri speculates:<br />

‘Perhaps this program brings out different<br />

sides of being young – sometimes being<br />

bold, energised, but also at times unsure<br />

and trying to find yourself, like Webern<br />

was.’<br />

In addition to the Webern and<br />

Mendelssohn, the group performs the<br />

String <strong>Quartet</strong> in G minor by a 31-yearold<br />

Debussy (the only piece he completed<br />

in this form), and Spiral Sequences from<br />

composer Jack Frerer, who was born in<br />

1995.<br />

Jack, who grew up in Sydney, says he’s<br />

‘most excited about having a work featured<br />

by an Australian organisation – something<br />

that’s not a common occurrence for me.’<br />

Jack travelled to the United States close<br />

to a decade ago, pursuing a career that<br />

would see his music performed by the New<br />

York City Ballet among many American<br />

orchestras. With his work programmed in<br />

<strong>Esmé</strong>’s tour, Jack says, ‘It’s incredible to me<br />

that my music is now finding its way back<br />

home to Australia.’<br />

As Jack explains, Spiral Sequences focuses<br />

on ‘a chord progression that follows a<br />

specific pattern – one that eventually circles<br />

back to where it started’. But these patterns<br />

don’t always reach the destination you<br />

might expect. ‘Just as you’re getting into<br />

some sort of predictable pattern, the music<br />

takes a hard left. I really love that feeling as<br />

a listener,’ he says.<br />

Jack says Mendelssohn is a particularly<br />

noticeable influence in his music, which<br />

is based on ‘traditional Western classical<br />

idioms’. Yet Spiral Sequences is also<br />

scattered and chaotic, representing the<br />

bustling modern-day life of its composer.<br />

‘This piece evokes the feeling of a big city<br />

for me: patterns of streets and buildings,<br />

jarring juxtapositions, surprises around<br />

every corner.’<br />

Though he composed it for some stringplaying<br />

friends in New York (one of whom<br />

lived on the same floor of his Juilliard<br />

dormitory), Jack has been looking<br />

forward to <strong>Esmé</strong>’s take on his technically<br />

challenging work. ‘I feel a lot of excitement,<br />

and a great deal of trust in their work<br />

and artistry,’ Jack says. ‘This group can<br />

truly play anything, though. They always<br />

find that balance between virtuosity and<br />

emotionality, which is a balance I was<br />

striving for in this piece.’<br />

It’s a piece worthy of <strong>Esmé</strong>’s momentous<br />

Australian debut spanning eight cities.<br />

‘We are particularly grateful to Musica<br />

Viva Australia for organising this tour,’<br />

Wonhee says. ‘Organisations dedicated<br />

to presenting chamber music are rare<br />

and precious in this world.’<br />




+<br />



For nearly 80 years Musica Viva Australia has delivered tours of the highest calibre<br />

in concert halls throughout the country. At the heart of our touring program are our<br />

generous Ensemble Patrons and Concert Champions, whose extraordinary vision<br />

of supporting the finest possible Australian and international artists has<br />

enriched the lives of music lovers through live performance and online.<br />

Thank you for everything you do.<br />

For information about our Ensemble Patrons and Concert Champions programs, please contact:<br />

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

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

0409 340 240

Patrons<br />


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

Ruth Weaver, Anonymous (3)<br />

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

Jennifer Bott AO, Lloyd & Mary Jo Capps AM, Andrew &<br />

Felicity Corkill, Peter Cudlipp, Liz Gee, Suzanne Gleeson,<br />

David & Christine Hartgill, Annie Hawker, Elaine Lindsay,<br />

Trevor Noffke, Dr David Schwartz, Ruth Spence-Stone,<br />

Mary Vallentine AO, Deirdre Nagle Whitford, Richard<br />

Wilkins, Kim Williams AM, Megan & Bill Williamson,<br />

Ray Wilson OAM, Anonymous (12)<br />

QLD Anonymous (2)<br />

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

Anonymous (4)<br />

TAS<br />

Kim Paterson QC, Anonymous<br />

VIC Elizabeth & Anthony Brookes,<br />

Julian Burnside AO QC, Ms Helen Dick, Robert Gibbs<br />

& Tony Wildman, Helen Vorrath, Anonymous (8)<br />

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


NSW The late Charles Berg, The late Stephen Center,<br />

The late Janette Hamilton, The late Dr Ralph Hockin in<br />

memory of Mabel Hockin, The late Geraldine Kenway,<br />

The late Kenneth W Tribe AC<br />

QLD<br />

The late Steven Kinston<br />

SA The late Edith Dubsky,<br />

In memory of Helen Godlee, The late Lesley Lynn<br />

VIC In memory of Anita Morawetz, The family of<br />

the late Paul Morawetz, The late Dr G D Watson<br />

WA<br />

Anonymous<br />



To support the work of our 14 teaching ensembles<br />

which deliver childhood music education programs,<br />

Musica Viva Australia would like to acknowledge our<br />

Education Ensemble Patrons.<br />

Music in my Suitcase<br />

Valerie & Michael Wishart<br />

Game Day!<br />

Anonymous<br />


Our artistic vision for <strong>2024</strong> is made possible thanks to<br />

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

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

tour for our <strong>2024</strong> Season.<br />

Long Lost Loves (and Grey Suede Gloves)<br />

Peter Griffin AM & Terry Swann,<br />

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

Susie Dickson (supporting Anna Dowsley)<br />

<strong>Esmé</strong> <strong>Quartet</strong><br />

Bruce & Charmaine Cameron<br />

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

Ensemble Patrons Ian Dickson AM & Reg Holloway<br />

Other Tour Support Kim Williams AM & Catherine Dovey<br />

Commissioning Donor Richard Wilkins<br />

Organ Scholar Patrons Ian & Cass George<br />

The Choristers’ Circle We thank all members for their<br />

support of each chorister<br />

Pekka Kuusisto & Gabriel Kahane<br />

Australian Music Foundation<br />

Ensemble Q & William Barton<br />

Ian & Caroline Frazer<br />


The mainstage concerts of our <strong>2024</strong> Season are brought to life<br />

thanks to the generosity of our Concert Champions around the<br />

country.<br />

Brisbane Andrea & Malcolm Hall-Brown,<br />

Andrew & Kate Lister, Barry & Diana Moore,<br />

The Hon. Anthe Philippides SC, Anonymous (2)<br />

Canberra Andrew Blanckensee & Anonymous,<br />

Dr Ray Edmondson OAM & Sue Edmondson,<br />

Dr Suzanne Packer, Sue Terry & Len Whyte<br />

Melbourne Peter Lovell & Michael Jan, In memory of<br />

Paul Morawetz, Mark & Suzy Suss, The late Dr G D Watson,<br />

Youth Music Foundation Australia, Igor Zambelli<br />

Perth Jan James in memory of her sister Anne Wilding<br />

& Anonymous, Dr Robert Larbalestier AO,<br />

Deborah Lehmann AO & Michael Alpers AO,<br />

For Stephanie Quinlan (2), Valerie & Michael Wishart<br />

Sydney Pam Cudlipp, Jennifer Darin & Dennis Cooper,<br />

Dr Jennifer Donald & Mr Stephen Burford,<br />

Katherine & Reg Grinberg, Alison & Geoff Kerry,<br />

Ray Wilson OAM<br />

Taking Shape<br />

Ray Wilson OAM<br />

Da Vinci’s Apprentice<br />

Kay Vernon<br />



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


Tony Berg AM & Carol Berg, Tom Breen & Rachael<br />

Kohn AO, Dr Di Bresciani OAM, Ms Annabella Fletcher,<br />

Dr Annette Gero, Katherine & Reg Grinberg, Jennifer<br />

Hershon, Fred & Claire Hilmer, Penelope Hughes,<br />

Michael & Frédérique Katz, Dr Hadia Mukhtar,<br />

Philip Robinson, Andrew Rosenberg, Ray Wilson OAM<br />



The Emerging Artists Giving Cricle is a group of<br />

generous donors whose collective support will enable<br />

the artistic development of the next generation of<br />

Australian chamber musicians.<br />

Nicholas Callinan AO & Elizabeth Callinan,<br />

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

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

Mick & Margaret Toller, Anonymous<br />


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

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

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

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

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

Alison & Geoff Kerry, D R & K M Magarey,<br />

The Hon. Anthe Philippides SC, Playking Foundation,<br />

Richard Wilkins<br />

Musica Viva Australia also thanks the Adelaide<br />

Commissioning Circle, the WA Commissioning Circle,<br />

and the Silo Collective for their support in bringing<br />

new Australian works to life.<br />


$100,000+<br />

NSW The Berg Family Foundation,<br />

Patricia H. Reid Endowment Fund, Anonymous<br />

QLD<br />

$50,000+<br />

ACT<br />

Ian & Caroline Frazer<br />

Marion & Michael Newman<br />

NSW Ian Dickson AM & Reg Holloway,<br />

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

Elisabeth Hodson & the late Dr Thomas Karplus<br />

$20,000+<br />

NSW Gardos Family, Michael & Frédérique Katz,<br />

Vicki Olsson, Kim Williams AM & Catherine Dovey<br />

QLD<br />

Andrea & Malcolm Hall-Brown<br />

VIC Mercer Family Foundation, The Morawetz Family<br />

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

memory of Anita Morawetz, Marjorie Nicholas OAM,<br />

Anonymous<br />

$10,000+<br />

ACT<br />

Craig Reynolds, Mick & Margaret Toller, Anonymous<br />

NSW Gresham Partners, Mrs W G Keighley,<br />

Anthony Strachan, Jo Strutt, Ray Wilson OAM in memory of<br />

James Agapitos OAM<br />

QLD<br />

SA<br />

Anonymous<br />

Jennifer & John Henshall<br />

VIC Dr Di Bresciani OAM & Lino Bresciani, Peter Lovell,<br />

In memory of Dr Ian Marks, Joy Selby Smith,<br />

Mark & Anna Yates<br />

WA Legacy Unit Trust, Deborah Lehmann AO<br />

& Michael Alpers AO, Prichard Panizza Family<br />

$5,000+<br />

ACT Goodwin Crace Concertgoers,<br />

Sue Terry & Len Whyte<br />

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

Sarah & Tony Falzarano, Robert & Lindy Henderson,<br />

Robert & Lindy Henderson, David & Carole Singer,<br />

Diane Sturrock, Richard Wilkins<br />

QLD<br />

Anonymous<br />

SA Aldridge Family Endowment,<br />

Fiona MacLachlan OAM<br />

VIC Julian Burnside AO KC & Kate Durham,<br />

William J Forrest AM, Leanne Menegazzo, Bruce Missen,<br />

Greg Shalit & Miriam Faine, Youth Music Foundation<br />

Australia, Anonymous<br />

18<br />

WA<br />

David Wallace & Jamelia Gubgub


$2,500+<br />

ACT Andrew Blanckensee, Kristin van Brunschot<br />

& John Holliday, Dr Andrew Singer, Anonymous<br />

NSW ADFAS Newcastle, Judith Allen, Maia Ambegaokar<br />

& Joshua Bishop, Susan Burns, Hon J C Campbell KC &<br />

Mrs Campbell, Thomas Dent, Dr Robyn Smiles,<br />

Hon. Professor Ross Steele AM, Dr Elizabeth Watson<br />

QLD<br />

SA<br />

Jocelyn Luck, Barry & Diana Moore<br />

DJ & EM Bleby<br />

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

Roger Druce & Jane Bentley, Anne Frankenberg &<br />

Adrian McEniery, Sing Off – Genazzano & surrounding<br />

schools, Lyndsey & Peter Hawkins, Angela &<br />

Richard Kirsner, Michael Nossal & Jo Porter, Ralph &<br />

Ruth Renard, Barry Robbins, Murray Sandland,<br />

Maria Sola, Wendy R Taylor, Helen Vorrath<br />

WA Dr Bennie Ng & Olivier David, Zoe Lenard<br />

& Hamish Milne, Mrs Morrell, Robyn Tamke<br />

$1,000+<br />

ACT The Breen/Dullo Family, Odin Bohr & Anna Smet,<br />

Liz & Alex Furman, Kingsley Herbert, Margaret &<br />

Peter Janssens, S Packer, Clive & Lynlea Rodger,<br />

Ruth Weaver, Anonymous (3)<br />

NSW Judith Allen, David & Rae Allen, Dr Warwick<br />

Anderson, Vicki Brooke, Hugh & Hilary Cairns,<br />

Richard Cobden SC, Trish & John Curotta, Thomas Dent,<br />

Nancy Fox AM & Bruce Arnold, John & Irene Garran,<br />

Charles & Wallis Graham, Kate Girdwood, Annie Hawker,<br />

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

Dorothy Hoddinott AO, Mathilde Kearny-Kibble,<br />

Catharine & Robert Kench, Kevin & Deidre McCann,<br />

Professor Craig Moritz, Michael & Janet Neustein,<br />

Laurie Orchard, In memory of Katherine Robertson,<br />

Geoff Stearn, Graham & Judy Tribe, Kate Tribe, John<br />

& Flora Weickhardt, Anonymous (5)<br />

QLD Prof. Paul & Ann Crook, Stephen Emmerson,<br />

Robin Harvey, Lynn & John Kelly, Andrew & Kate Lister,<br />

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

SA Ivan & Joan Blanchard, Richard Blomfield,<br />

Peter Clifton, Elizabeth Ho OAM in honour of the late<br />

Tom Steel, Dr Leo Mahar, Ruth Marshall & Tim Muecke,<br />

Geoff & Sorayya Martin, Ann & David Matison,<br />

Diane Myers, Leon Pitchon, Jennie Shaw, Anne Sutcliffe,<br />

Robert & Glenys Woolcock, Anonymous (2)<br />

Resonance Fund – Michael Cowen & Sharon Nathani,<br />

Ms Thea Sartori, Darren Taylor & Kent Stringer,<br />

Lyn Williams, Anonymous (2)<br />

WA Dr S Cherian, Michael & Wendy Davis, In memory<br />

of Raymond Dudley, Anne Last & Steve Scudamore,<br />

Hugh & Margaret Lydon, Marian Magee & David Castillo,<br />

Prof. Robyn Owens AM, Margaret & Roger Seares,<br />

Ruth Stratton, Christopher Tyler, Anonymous (4)<br />

$500+<br />

ACT Margaret Brennan, Christine Bollen,<br />

Christopher Clarke, Peter Cumines, Lesley Fisk, Jill Fleming,<br />

Robert Hefner, R & V Hillman, Margaret Lovell &<br />

Grant Webeck, Margaret Oates, Helen Rankin,<br />

Diana Shogren & Anne Buttsworth, Dr Paul &<br />

Dr Lel Whitbread, Anonymous<br />

NSW Alexandra Bune AM, Christopher & Margaret<br />

Burrell, Neil Burns, Robert Cahill & Anne Cahill OAM,<br />

Lloyd & Mary Jo Capps AM, Lucia Cascone, Robin &<br />

Wendy Cumming, Howard Dick, Dr Arno Enno &<br />

Dr Anna Enno, Bronwyn Evans, Anthony Gregg,<br />

The Harvey Family, David & Sarah Howell, Bruce Lane,<br />

Olive Lawson, Dr Colin MacArthur, D R & K M Magarey,<br />

Paul O’Donnell, Professors Robin & Tina Offler, Kim &<br />

Margie Ostinga, Trish Richardson in memory of<br />

Andy Lloyd James, Dr John Rogers, Penny Rogers,<br />

Peter & Heather Roland, Christopher Sullivan & Jim Lennon,<br />

Kathie & Reg Grinberg – In honour of Dalia Stanley’s<br />

birthday, Kay Vernon, Andrew Wells AM,<br />

Margaret Wright OAM, Anonymous (6)<br />

QLD Geoffrey Beames, Noela Billington, George Booker<br />

& Denise Bond, Janet Franklin, Prof. Robert G Gilbert,<br />

Timothy Matthies & Chris Bonnily, Anonymous (2)<br />

SA Max & Ionie Brennan, Zoë Cobden-Jewitt &<br />

Peter Jewitt, Elizabeth Hawkins, Dr Iwan Jensen,<br />

The Hon. Christopher Legoe AO QC & Mrs Jenny Legoe,<br />

Helga Linnert & Douglas Ransom, Trish Ryan &<br />

Richard Ryan AO, Tony Seymour, Anonymous (5)<br />

VIC David Bernshaw & Caroline Isakow,<br />

Coll & Roger Buckle, Pam Caldwell, Mary-Jane Gething,<br />

Dr Anthea Hyslop, Eda Ritchie AM, Maureen Turner,<br />

Anonymous (6)<br />

WA David & Minnette Ambrose, Jennifer Butement,<br />

Fred & Angela Chaney, Rachel & Bruce Craven,<br />

Russell Hobbs & Sue Harrington, Dr Penny Herbert<br />

in memory of Dunstan Herbert, Paula Nathan AO &<br />

Yvonne Patterson, John Overton, Lindsay & Suzanne Silbert,<br />

Anonymous (2)<br />

VIC Joanna Baevski, Russ & Jacqui Bate, Jan Begg,<br />

the late Marc Besen AC & the late Eva Besen AO,<br />

Jannie Brown, Alison & John Cameron, Mrs Maggie Cash,<br />

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

Dr Alan French, Naomi & George Golvan KC, John &<br />

Margaret Harrison, Virginia Henry, Doug Hooley,<br />

Helen Imber, The Hon. Dr Barry Jones AC & Ms Rachel<br />

Faggetter, Angela Kayser, Angela Li, Janet McDonald,<br />

Ruth McNair AM & Rhonda Brown in memory of<br />

Patricia Begg & David McNair, June K Marks,<br />

Christopher Menz & Peter Rose, D & F Nassau,<br />


Concert Partners<br />

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

Major Project Partner<br />

Legal<br />

Chartered Accountants<br />

Piano & Tuning<br />

Media Partners<br />

Print Partner<br />

Wine Partner (act, nsw, qld, vic) Wine Partner (sa) Wine Partner (wa)<br />

Hotel Partner<br />

Hotel Partner<br />

Government Partners<br />

Musica Viva Australia is assisted by the<br />

Australian Government through Creative Australia,<br />

its principal arts investment and advisory body.<br />

Musica Viva Australia is supported<br />

by the NSW Government through<br />

Create NSW.<br />

Musica Viva Australia is a Not-for-profit Organisation<br />

endorsed by the Australian Taxation Office as a<br />

Deductible Gift Recipient and registered with the<br />

Australian Charities and Not-for-profits Commission<br />

(ACNC).<br />

Emerging Artists Partners<br />

Competitions<br />

Principal Partner<br />

Strategic Partner<br />

University Partner<br />

FutureMakers Lead Partner<br />

Key Philanthropic Partner<br />

Key Philanthropic Partner<br />

FutureMakers Residency Partner<br />


Education Partners<br />

Government Partnerships & Support<br />

National Education Supporters<br />

Anthony & Sharon Lee Foundation<br />

J A Donald Family<br />

Marion & Mike Newman<br />

In Schools Performance, Education & Professional Development<br />

• Aldridge Family Endowment • Godfrey Turner Memorial Music Trust<br />

• In memory of Anita Morawetz • Margaret Henderson Music Trust • Marsden Szwarcbord Foundation<br />

• Perpetual Foundation – Alan (AGL) Shaw Endowment • Grieve Family Fund<br />

National Music Residency Program<br />

The<br />

Benjamin<br />

Fund<br />

The Marian &<br />

E.H. Flack Trust<br />

Day Family<br />

Foundation<br />

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

• FWH Foundation • John & Rosemary MacLeod • Joy Selby Smith • Legacy Unit Trust<br />

• Lipman Karas • Seeley International • Anonymous Donors (3)<br />


Tributes<br />

Kenneth W Tribe<br />

(1914–2010)<br />

Kenneth Wilberforce Tribe was born<br />

in Sydney in 1914, the second of three<br />

children born to Cecil and Elizabeth<br />

Tribe. Having attended St Andrew’s<br />

Cathedral Choir School, Ken won<br />

scholarships to Sydney Church of<br />

England Grammar School (Shore), then<br />

to the University of Sydney to study Law,<br />

graduating in 1937 (music not being<br />

regarded as a viable occupation during<br />

that time of the Great Depression).<br />

Despite family responsibilities and an<br />

extremely demanding professional life,<br />

Ken soon began a pattern of engaging<br />

in activities outside of his profession; the<br />

most significant and long-standing of<br />

these associations was with Musica Viva<br />

Australia. In 1949 Ken joined Musica Viva<br />

Australia as Chairman of the executive<br />

and in 1966 took on the role of Artistic<br />

Director, which amalgamated with that<br />

of President in 1973. It was Ken’s initiative<br />

that created Musica Viva Australia’s<br />

National Board in 1980–81.<br />

Through the 1970s and 1980s Ken’s<br />

influence in Australian cultural life was<br />

far-reaching. He served on boards<br />

and committees for organisations<br />

including the Australia Council for<br />

the Arts, Canberra School of Music,<br />

Sydney College of the Arts, the NSW<br />

Arts Advisory Council, the Australian<br />

Opera and the Australian Broadcasting<br />

Commission, as it was then known.<br />

With apparently endless energy Ken<br />

also worked on the boards of a number<br />

of trusts, funds and in different capacities<br />

with a large number of arts bodies. Much<br />

of Ken’s value to the community over the<br />

years was ‘behind the scenes’ support,<br />

always pro bono.<br />

Ken retired from the Presidency of<br />

Musica Viva Australia in 1986 and was<br />

Patron until his death in July 2010. He<br />

maintained a visionary commitment<br />

to commissioning new music from<br />

Australian composers and his support<br />

has enabled new works by luminary<br />

composers including the late Richard<br />

Meale, the late Peter Sculthorpe, Ross<br />

Edwards, Carl Vine and Nigel Westlake.<br />

This commitment will continue to be<br />

honoured by Musica Viva Australia<br />

through the Ken Tribe Commemorative<br />

Fund for Australian Composers.<br />

It would be impossible to overstate Ken’s<br />

impact on the arts in Australia and on<br />

music especially. Our lives have been<br />

enriched because of his unique capacity<br />

to combine plain hard work with a vision<br />

of what things might be. As part of<br />

Musica Viva Australia for more than<br />

60 years, Ken’s influence was enormous.<br />

© GWEN BENNETT &<br />


The concert on Monday 6 May in Sydney<br />

celebrates Ken Tribe’s contribution to Musica Viva Australia.<br />


Dr Graeme D Watson<br />

(1936–2004)<br />

Graeme Douglas Watson was born in<br />

England on 25 January 1936, the only<br />

child of Australian parents, Douglas and<br />

Jean Watson. He grew up in Adelaide,<br />

where he attended Scotch College<br />

and demonstrated outstanding ability,<br />

becoming dux of his school in humanities<br />

subjects, and topping the State in French<br />

at both Leaving and Leaving Honours<br />

levels.<br />

From 1953 to 1956 Graeme was a student<br />

at the University of Adelaide, graduating<br />

with first-class honours in French and<br />

German, and winning a PhD scholarship<br />

to the University of Paris. At the Sorbonne<br />

from 1957 to 1960, supervised by Pierre<br />

Moreau, he worked on the novels of<br />

Romain Rolland, and his defence of<br />

his thesis earned him a mention très<br />

honorable.<br />

Upon graduation, Graeme joined the<br />

French Department of Britain’s University<br />

of Birmingham and was soon promoted<br />

to lecturer. Then in 1964 he returned to<br />

Australia, to take up a lectureship in the<br />

Department of French at the University<br />

of Melbourne. There he became a senior<br />

lecturer in 1967, and there spent the rest<br />

of his academic career, until ill health<br />

curtailed it in 1989, ending it some years<br />

later.<br />

A brilliant scholar and gifted linguist,<br />

with Italian as well as French and<br />

German, Graeme Watson served for<br />

some years on the editorial board of the<br />

Australian Journal of French Studies.<br />

His own publications, though not many,<br />

conveyed acute insights. Graeme also<br />

had a wry sense of humour and a sharp<br />

wit; but the opportunities for others to<br />

relish these were rare, for throughout<br />

his life he was always extremely shy<br />

and self-effacing, and in his latter years<br />

became almost a recluse.<br />

Graeme Watson’s attachment to France<br />

and its culture embraced the works of<br />

French composers. His love of music<br />

had begun early, with piano study that<br />

made him an able pianist, and regular<br />

attendance at Musica Viva Australia<br />

concerts in Adelaide. His quiet support of<br />

Musica Viva Australia continued during<br />

his years in Melbourne and, at his death<br />

on 8 November 2004, his will bestowed<br />

upon Musica Viva Australia a munificent<br />

bequest for its lasting benefit.<br />



The concert on Tuesday 14 May in Melbourne<br />

is dedicated to the memory of Dr Graeme Douglas Watson.<br />


Stories to inspire<br />


Strike A Chord <strong>2024</strong><br />

It is with great delight that Musica Viva<br />

Australia presents Strike A Chord for its<br />

fourth iteration in <strong>2024</strong>. Returning after<br />

a year’s hiatus following the Melbourne<br />

International Chamber Music Competition,<br />

the national chamber music competition<br />

forms an integral part of Musica Viva<br />

Australia’s education and emerging artist<br />

pipelines.<br />

Strike A Chord encourages school-aged<br />

musicians to discover and develop the<br />

joy of playing in small ensembles, with all<br />

levels of experience welcomed. Interested<br />

groups of 3 to 8 musicians from far corners of<br />

Australia can submit their entries online, with<br />

applicants also able to apply for a free onehour<br />

coaching session with one of Musica<br />

Viva Australia’s expert chamber musicians.<br />

Many past participants and prize winners<br />

of Strike A Chord continue to delight and<br />

wow audiences around the nation, using<br />

the competition as a springboard for<br />

their emerging artistic careers. Beatrice<br />

Colombis, part of the winning ensemble for<br />

the inaugural 2020 Competition, along with<br />

her brother and cousins, is currently studying<br />

violin at the Sydney Conservatorium of Music<br />

under Professor Goetz Richter. After winning<br />

the Sydney Conservatorium String Concerto<br />

Competition in 2022, Beatrice performed<br />

the Tchaikovsky Violin Concerto with the<br />

Conservatorium Symphony Orchestra last<br />

year and will be joining the Australian<br />

Chamber Orchestra as an Emerging Artist<br />

for a second time in <strong>2024</strong>.<br />

Beatrice reflected on the impact Strike A Chord<br />

had on her musical aspirations:<br />

‘I grew up playing with Dylan, Hanna and<br />

Jamie. Coming together [as Cousin <strong>Quartet</strong>]<br />

for Strike A Chord was the first time we played<br />

together as a quartet, and my first serious<br />

quartet experience. Preparing for Strike A<br />

Chord and all the opportunities that emerged<br />

afterwards have absolutely fuelled my love<br />

of chamber music – I’ve since played in many<br />

string quartets with various groups, and I<br />

would say that it is my favourite thing to do as<br />

a violinist, and has developed my musicianship<br />

more than anything else.’<br />

To any budding participants for this year’s<br />

competition, Beatrice has the following words<br />

of wisdom: ‘Performance opportunities are<br />

so valuable to young musicians and chamber<br />

music competitions are not a common<br />

occurrence in Australia, so I would encourage<br />

people to make the most of it! Even the process<br />

of putting together an audition is a really great<br />

experience. More than anything, remember<br />

that chamber music at its heart is fun and a<br />

wonderful chance to make music with your<br />

friends!’<br />

—<br />

It is through the generosity of our benefactors<br />

that Musica Viva Australia can continue to<br />

inspire and reward excellence, enthusiasm<br />

and engagement in the chamber music space<br />

for school students in Australia. If you are<br />

interested in supporting Strike A Chord, or<br />

making a more general gift toward our work,<br />

we would be delighted to hear from you.<br />

Please contact Strike A Chord Competitions<br />

Lead Irene Ryder at iryder@musicaviva.com.au<br />

for more information.<br />

Your support makes this work possible.<br />

Thank you.<br />


‘It’s so heartening to see our Strike A Chord<br />

alumni going on to other exciting musical<br />

achievements like specialist tertiary studies,<br />

success in competitions, and development<br />

programs like Australian Youth Orchestra,<br />

Australian Chamber Orchestra and others.<br />

We are thrilled that Musica Viva Australia’s<br />

Strike A Chord has played a part in so many<br />

students’ musical journeys, and hope that<br />

this inspires future participants to reach for<br />

the (musical) stars!’<br />



The Cousin <strong>Quartet</strong> with Beatrice Colombis, second from right.<br />

© Keith Saunders<br />




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Joyful, anxious, excited, melancholy… we present<br />

music to tens of thousands of people, of every age<br />

and walk of life, each year. Each performance<br />

produces an emotion, a feeling. And these feelings<br />

can spark memories to last a lifetime.<br />

From Brisbane to Broken Hill, Geelong to Geraldton,<br />

Riverina to Riverland, we want people everywhere<br />

to feel the music and benefit from its healing<br />

properties. Together, we can build a vibrant cultural<br />

future, where outstanding music performances<br />

profoundly enrich lives in so many ways.<br />

Your support ensures audiences, artists,<br />

children and teachers feel the music<br />

for generations to come.<br />



The Choir of<br />

King’s College,<br />

Cambridge<br />

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

returns to put the glorious sound of the<br />

British choral tradition in dialogue with<br />

one of the oldest cultures on earth.<br />

Hear soaring hymns and mighty anthems<br />

alongside a new work from Australian<br />

composer Damian Barbeler inspired by the<br />

questing writings of Judith Nangala Crispin.<br />

Sun 21 July<br />

Tue 23 July<br />

Thu 25 July<br />

Sun 28 July<br />

Mon 29 July<br />

Wed 31 July + Thu 1 Aug<br />

Sat 3 August<br />

Mon 5 August<br />

Melbourne, Hamer Hall<br />

Melbourne Recital Centre<br />

Brisbane, QPAC<br />

Sydney, City Recital Hall<br />

Sydney Opera House<br />

Adelaide Town Hall<br />

Canberra, Llewellyn Hall<br />

Perth Concert Hall<br />

musicaviva.com.au/kings<br />

1800 688 482 (no booking fees)

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