Musica Alchemica | November 2024

Musica Alchemica

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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.
MUSICA ALCHEMICA
LINA
TUR BONET
artistic director
& baroque violin
M ARCO
TESTORI
baroque cello
GIANGIACOMO
PINARDI
archlute
KENNETH
WEISS
harpsichord
ADELAIDE
ADELAIDE TOWN HALL
Monday 18 November, 7.30pm
• Pre-concert talk: 6.45pm,
Prince Alfred Room
NEWCASTLE
CITY HALL
Thursday 21 November, 7.30pm
• Pre-concert talk: 6.45pm,
Mulubinba Room
BRISBANE
CONSERVATORIUM THEATRE,
GRIFFITH UNIVERSITY, SOUTH BANK
Wednesday 20 November, 7pm
Recorded for broadcast by 4MBS Classic FM
• Pre-concert talk: 6.15pm,
Boardroom
CANBERRA
LLEWELLYN HALL,
ANU SCHOOL OF MUSIC
Saturday 9 November, 7pm
• Pre-concert talk: 6.15pm,
Larry Sitsky Room
MELBOURNE
ELISABETH MURDOCH HALL,
MELBOURNE RECITAL CENTRE
Tuesday 12 November, 7pm
• Pre-concert talk: 6.15pm,
Eva & Marc Besen Suite
• Meet the Artists after the concert
Saturday 23 November, 5pm
Paul Morawetz Tribute Concert
• Pre-concert talk: 4.15pm,
Eva & Marc Besen Suite
PERTH
PERTH CONCERT HALL
—
Friday 15 November, 7.30pm
• Pre-concert talk: 6.45pm,
Corner Stage Riverside, Terrace Level
• Meet the Artists after the concert
SYDNEY
CITY RECITAL HALL
Monday 11 November, 7pm
Recorded for broadcast by ABC Classic
• Pre-concert talk: 6.15pm,
Function Room, Level 1
• Meet the Artists after the concert
With special thanks to our Concert Champions
for their support of this tour within their state.
We also thank the Directors’ Circle and
Amadeus Society for their support of the
2024 Concert Season.
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From the Artistic Director
© Darren Leigh Roberts
Heinrich Biber completed his 15 Rosary Sonatas in
the 1670s, after which violin music was never quite
the same. Dividing the sonatas into three groups
– Joyful Mysteries, Sorrowful Mysteries, Glorious
Mysteries (plus a Passacaglia coda) – Biber charts
the story of Jesus’s life, from annunciation to
crucifixion and then ascension. They are deeply
meditative works in which Biber’s technical mastery
is given free rein. Scordatura passages – in which
the violin is tuned differently from normal – create
an otherworldly sound, befitting the narrative arc
and contributing to a string vocabulary way ahead
of its time. The rediscovery of the pieces at the
beginning of the 20th century planted them firmly
in the repertory, the perfect vehicle for the most
imaginative virtuosi.
Lina Tur Bonet is just such a violinist. I’ve loved her
playing for a long time – the restraint as much
as the casual brilliance. She makes Corelli sound
easy and Biber as though it was a story thought up
only yesterday. It’s a pleasure to welcome her to
Australia with the musicians from her ensemble,
Musica Alchemica.
Paul Kildea
Artistic Director
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Program
Heinrich Ignaz Franz BIBER (1644–1704)
Sonata No. 1 in D minor ‘The Annunciation’ (c. 1674)
I
II
III
Preludium
Aria and Variations
Finale
Giovanni Paolo CIMA (c. 1570–1630)
Sonata à 2 (1610)
Johann Heinrich SCHMELZER (c. 1620–1680)
Sonata Quarta in D major (1664)
Georg MUFFAT (1653–1704)
Passacaglia in G minor for harpsichord (1690)
(from his collection Apparatus musico-organisticus)
Heinrich Ignaz Franz BIBER
Sonata No. 10 in G minor ‘The Crucifixion’ (c. 1674)
6 min
5 min
12 min
8 min
10 min
INTERVAL
Arcangelo CORELLI (1653–1713)
Violin Sonata in G minor, Op. 5 No. 5 (1700)
Georg Philipp TELEMANN (1681–1767)
Sonata for Cello in D major, TWV 41:D6 (1728–9)
I
II
III
IV
Lento (Slow)
Allegro (Fast)
Largo (Slow, broad)
Allegro (Fast)
Alessandro PICCININI (1566–1638)
Toccata
Johann Paul von WESTHOFF (1656–1705)
Imitazione del liuto (Imitation of the lute)
Arcangelo CORELLI
Violin Sonata in D minor, Op. 5 No. 12 ‘La Folia’ (1700)
12 min
26 min
5 min
3 min
12 min
Please ensure that mobile phones are turned onto flight mode before the performance.
Photography and video recording are not permitted during the performance.
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INTRODUCING THE 2025
MUSICA VIVA AUSTRALIA
EDUCATION PROGRAM
Packed with exciting new shows, professional development workshops,
and comprehensive teaching resources for every classroom,
our program is sure to inspire teachers and students alike.
Head to our website to discover the full lineup and book now!
musicaviva.com.au/education

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.
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
Rosemary & John MacLeod
Patricia H Reid Endowment Fund
Andrew Sisson AO & Tracey Sisson
Mick & Margaret Toller
David Wallace & Jamelia Gubgub
Anonymous (1)
Musica Viva Australia Masterclasses in Western
Australia are also supported by Wesfarmers Arts.
Masterclass with William Barton and Paul Dean at
Queensland Conservatorium, Griffith University.
© Janet McKay
—
Masterclass with Paul Dean at WAAPA.
© Riley McCallion
We won a medal!
Ray Jordan’s 2024 Top 100 Reds
A
B
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B. The Collection Cabernet Merlot 2022
Order yours today at driftwoodwines.com.au

Meet the artists
Lina Tur Bonet
Hailed by the international press for her
virtuosity (‘Fiery virtuoso’: The Strad;
‘True devil violinist’: Bayerische Rundfunk;
‘Superbement joué’: Diapason) combined
with rare musicality (‘Honest and heartfelt
music-making’: Gramophone; ‘The violinist
of the soul’: Sankei Shinbun) and her energy
on stage (‘The small wonder, Lina Tur Bonet
shines’: San Diego Union Tribune; ‘We love her
sound, her presence’: Classica), Lina Tur Bonet
has developed a versatile and unique career.
Tur Bonet regularly performs at the Wigmore
Hall in London, Bach Festival Leipzig, the
Concertgebouw in Amsterdam, Musashino
Hall in Tokyo, St Petersburg’s Early Music
Festival, the Styriarte festival in Graz,
Musik Before 1800 in New York, the Vienna
Musikverein and Konzerthaus, and across
South America.
She has recently conducted, among others,
Tafelmusik Toronto, Haydn Philharmonie
Eisenstadt, Jerusalem Baroque Orchestra,
Barokkanerne Oslo and the Chamber
Orchestra of Toulouse.
Her recordings have been praised as ‘Best
version’ by the BBC and Radio France
Musique, ‘Referential’ by Gramophone, and
‘Recommended – 5 star’ by all the German
radio stations, and have received several
Diapason d’Or awards, Choc de la Musique
(Classica), and Best CD of 2022 in Japan.
Tur Bonet has recorded and performed
previously unreleased music by Vivaldi,
Pisendel, Matteis, Boccherini, Reynaldi,
Montali, Brunetti, Wranitzky and Mendelssohn,
as well as contemporary pieces written for
her. She plays violin concertos from Vivaldi to
Bartók.
She currently holds Professor positions at
Escuela Reina Sofía Madrid and at the Franz
Liszt Music Academy in Weimar, and performs
as concertmaster of Jordi Savall’s Le Concert
des Nations.
Marco Testori
Marco Testori obtained his bachelor diplomas
in organ, organ composition and in cello
at the Verdi Conservatory in Milan. After
attending advanced courses with Johannes
Goritzky, Michael Flaksman and Enrico Bronzi,
he began to specialise in early music at the
Schola Cantorum Basilensis with Christophe
Coin.
In the course of his career he has collaborated
with ensembles I Barocchisti, La Divina
Armonia, Atalanta Fugiens, Il Suonar Parlante
and Ensemble 1700, recording for Decca,
Divox, Opus 111, Naxos, Passacaille, Hyperion,
Arts, Dynamic, Naïve, Amadeus and Sony. For
Passacaille and Fuga Libera he has recorded
concertos and sonatas by Fiorenza, Graziani
and other composers from the second half of
the 18th century. As a chamber musician he has
recorded the complete Beethoven chamber
works alongside Costantino Mastroprimiano,
and the Ravel duo with Lina Tur Bonet.
From 1994 to 2004 he was first cello at
Il Giardino Armonico, participating in all the
major international festivals and recording
exclusively for Teldec. A member of Quartetto
Altemps, he also devotes himself to the study of
the Classical and Romantic quartet repertoire
on original instruments.
Testori is regularly invited to be a member of
the jury in several international competitions.
He collaborates with the Reina Sofia
Conservatory in Madrid, since 2022 has taught
at the summer courses of the Accademia
Chigiana in Siena, and from October 2013
has been Professor of Baroque Cello at the
Universität Mozarteum Salzburg.
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Giangiacomo Pinardi
After studying guitar with Costantino Amiti,
Giangiacomo Pinardi specialised in early
plucked string instruments with Massimo
Lonardi at the Music Institute in Pavia, Italy,
later attending the annual classes at the
Venice School of Early Music.
As a collaborator with several ensembles
devoted to Renaissance and Baroque
repertoires (I Barocchisti, Balthasar Neumann
Ensemble, Cappella Mediterranea, Zefiro,
Odhecaton, Concerto Romano, Alessandro
Stradella Consort, Arte Resoluta, Fantazyas
and others), his concert career has intensively
and extensively covered Europe and abroad.
He was recruited by Fabio Biondi in 2001 to
play in the ensemble Europa Galante, and
has since performed regularly with them
at the most renowned opera seasons and
music events all over Europe, the USA, South
America, China, Korea, Hong Kong, Japan
and Australia.
Pinardi appears in more than 70 recordings for
EMI-Virgin, Sony, Decca, Opus 111, Harmonia
Mundi, Glossa, Naxos, Brilliant, Chandos,
Amadeus, Tactus, Dynamic, Bongiovanni,
Stradivarius, Orfeo, ASV and Claves as well as
on many European and American radio and
TV programs.
A teacher at several masterclasses and
summer courses, Pinardi has been the Lute
Professor at the Rossini Conservatory in
Pesaro, Italy. He has also edited the critical
edition of the works of Francesco Corbetta.
Kenneth Weiss
Kenneth Weiss has worked as a soloist,
conductor, chamber musician and teacher for
several decades. Born in New York City, he
attended the High School of Performing Arts,
later studying at the Oberlin Conservatory and
with Gustav Leonhardt in Amsterdam.
His recordings for Satirino records have
been widely acclaimed. They include Bach’s
Goldberg Variations, The Art of Fugue and
the Well-Tempered Clavier, a recording of
Rameau opera and ballet transcriptions, two
Scarlatti albums, and two CDs devoted to
Elizabethan keyboard music: A Cleare Day
and Heaven & Earth.
Weiss has been Professor of Harpsichord at
the Juilliard School (2007–11) and the Haute
École de Musique in Geneva (2015–21) and is
currently Professor of Chamber Music at the
Paris Conservatoire, a position he has held
since 1996.
Highlights of the 2024/25 season include
performances of Bach’s Brandenburg
Concertos with the Chamber Music Society
of Lincoln Center, plus engagements with the
Berkshire Bach Society, the Bridgehampton
Chamber Music Festival, the Orchestre
National Avignon-Provence and the North
County Chamber Players. Also this season he
makes his debut at the prestigious Music@
Menlo in Atherton, California and performs
solo recitals of Bach’s The Art of Fugue in Paris,
San Francisco, Saintes, Santander and the
Palau de la Música in Barcelona. The season
also sees the release of a new recording
with flutist Sooyun Kim, and the debut of a
new recital program celebrating keyboard
ingenuity and innovations with works spanning
from the Renaissance to Stride piano.
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About the music
Playing Baroque – A view from the (violin) bridge
It began its existence on the streets. Slung
over a shoulder between gigs, strung entirely
from the gut of sheep or cows, with a shorter,
straighter neck than now, and a simple sticklike
bow – the tool of the itinerant fiddler.
Not until 1592 did the violino da brazzo
begin to assume more credibility as a solo
instrument, when Milan-based Riccardo
Rognoni published a collection of formulaic
Passaggi, similar to today’s jazz licks,
designed to literally ‘walk around’ simple
melodies, making decorated versions of
popular madrigals of the day by Cipriano
da Rore, Palestrina and others. This led to a
technical turning point for the violin, starting it
on the path to the virtuosity we associate with
today’s version of the instrument.
Some of the earliest examples of music
specifically written ‘for’ the violin include
Monteverdi’s Vespers of 1610 in Venice. His
Milanese contemporary Giovanni Paolo
Cima’s Concerti ecclesiastici, published
the same year, revealed the violin’s full
expressive range for the first time, full of
fast-running passages and gestural rhetorical
phrases that came to be known as stylus
fantasticus.
If we imagine the instrument that Cima might
have played, we must first consider the way
in which it was played. Back then, violins had
none of the aids of the modern school. The
chin rest was not invented until two centuries
later – well after the composition of all the
music in this program – and the shoulder rest
another century after that. Early treatises
indicate the instrument may have been
played well below the shoulder, with some
players even resting the instrument at belly
height: a boon for the beer-swillers among
virtuosi.
For us in the modern era, learning to play a
violin the way Cima and his contemporaries
intended requires not only a completely
different technique, but also a rebooted
stylistic approach. To some extent, the
instrument forces us to do this, the gut strings
themselves leaving us with little choice but to
re-appraise our method for extracting sound.
The seamless consistency and responsiveness
of a steel string is like skiing on perfect freshly
fallen snow. By comparison, drawing the
bow on gut feels, at first, like rough terrain.
It requires a sensitive, even caressing touch,
with the friction of the bow’s rosin activating
the vibration, and the perfect amount of
pressure and movement to keep the sound
going while achieving a round, sweet and
ringing tone. It is this, amongst other things,
that gives these strings their fragile, high
maintenance, yet beautifully fallible appeal
– so worth it for the unique humanity of the
sound.
Schmelzer
The rapid development of the technical
capacity of the violin throughout the 17th
century was led by violinist-composers.
While the Italian school of violin playing was
flourishing, the Austrian violinist Johann
Heinrich Schmelzer was developing his
own unique language for the violin; his 1664
10

collection Sonatae unarum fidium (Sonatas
for One Violin) was the first Germanic
publication for the instrument. The sonatas
take some elements of the Italian style and
combine them with German rhetorical
ideas, developing the stylus fantasticus to
new technical heights, and paving the way
for a new generation of virtuoso violinists in
Europe.
Biber
One of the most influential of these was
Heinrich Ignaz Franz Biber, believed to
have been one of Schmelzer’s students.
Biber’s innovative experimentation, filled
with imagination and symbolism, took the
instrument to places it had never been
before, especially in pitch range, with
fingers placed closer to the bridge, in what
we call fifth and sixth position, for those
stratospherically (at least at that time) high
notes. Biber employed sophisticated and
technically complex bowing techniques, and
incorporated the extensive use of doubleand
triple-note chords (known as double and
triple stops). This enabled him to incorporate
multiple voices (polyphony) into what, up until
then, was considered to be solely a melodic
instrument.
Then there is his use of scordatura – a nonstandard
tuning that changes the sound
colour or timbre of the instrument by altering
the sympathetic vibrations of the strings.
The most extensive example of this appears
in the collection of sonatas he dedicated
to his employer Prince-Archbishop Max
Gandolf von Kuenburg. The front page of the
collection is no longer extant, so the collection
(which was only re-discovered and published
in the early 20th century) is now known as
the Rosary Sonatas or Mystery Sonatas
because of the carefully cut-out engravings
from a devotional volume of fifteen episodes
in the life and death of Jesus Christ, one
in front of each sonata. Biber’s absolute
devotion to his Catholic faith emerges clearly
in these pieces of music, but what makes
them so extraordinary is his ingenious use
of scordatura: each of the fifteen sonatas
requiring a different tuning, inspired
programmatically by its narrative.
The collection starts in standard tuning,
G-D-A-E, for The Annunciation. Here, Biber
masterfully evokes the fluttering of wings in
the introduction, followed by the gentle storytelling
of an aria with variations that feel like
a premonition of things to come. From this
starting point, Biber employs joyful and opensounding
tunings that gradually become
increasingly tortured, sonata by sonata, as
the story unfolds. The central five ‘sorrowful
mysteries’ pass through increasingly
discordant tunings, but the most complicated
and unusual tuning in the set is reserved
for The Resurrection (the eleventh sonata),
where the two middle strings are symbolically
crossed behind the bridge of the instrument,
forming a literal and visual Cross.
The tenth sonata, The Crucifixion, is tuned
G-D-A-D, giving the instrument a mournful
resonating quality reminiscent of the viola
d’amore, a result of the two D strings vibrating
11

sympathetically. This sonata fluctuates
between sorrow and outright violence, with
an aria and variations characterised by
mournful laments and hymn-like chords
juxtaposed against hammering three-note
chords and string crossings, exploiting the
unusual tuning to great effect.
For the violinist tackling these challenging
works, and indeed for anybody reading the
score, the added ‘mystery’ of interpreting
Biber’s scordatura is the fact that he writes the
notes as if the instrument is tuned in standard
tuning. This means that the score does not
represent the sounds that will come out of
the instrument. It feels a little bit like trying
to sing with earphones on, in that there is a
disconnect between the sound produced and
the motor skills used to produce them, with
an element of surprise when the notes come
out! Only by tuning the instrument as Biber
instructs can the notes be decoded and the
mystery revealed.
Tuning is something that you hear a lot in
concerts featuring Baroque instruments. Gut
strings require constant adjustments. They
are a wholly organic product, after all; they
seem to have a ‘memory’ and like to return
to the tuning they have previously been in,
depending on temperature and humidity.
They are both stubborn and temperamental.
It’s believed that the toccata was therefore
not only a way to introduce a particular key
or tonality in a performance; it may also
have allowed the player to warm up (tocco
meaning ‘touch’ in Italian) their hands, and
for other instruments to discreetly check their
tuning. Concerts in those days didn’t have
today’s big-venue formality about them – and
this was a neat way of preventing awkward
silences! Many of us would associate toccatas
with the keyboard, but Alessandro Piccinini,
one of the earliest-known composers for the
theorbo (or bass lute), wrote many beautiful
examples.
A little-known contemporary of Biber based
in Dresden, Johann Paul von Westhoff,
made important technical and compositional
advances on the violin. While Biber’s solo
passacaglia (the final work in the Rosary
Sonatas collection) is one of the first largescale
solo unaccompanied works for the
instrument, Westhoff was the first to write
a set of six unaccompanied Partitas. These
were said to have directly influenced Johann
Sebastian Bach, prompting him to compose
his solo suites for cello, and sonatas and
partitas for violin.
Westhoff’s Imitazione del liuto, from his
Violin Sonata No. 2 in A minor, displays a
fascination not only with the lute, but also with
Italian music. Although pizzicato (plucking
the strings) on the violin is nothing new to
us today, its deployment in the 17th century
was audacious, to say the least. This playful
movement attempts to imitate the sound of a
lute or theorbo, instruments that were widely
used as part of the basso continuo or bass
group, the sonic and harmonic drivers in
music of the time.
Corelli
Around the same time as Biber’s Rosary
collection appeared, a young Bolognese
violinist-composer, Arcangelo Corelli, was
establishing himself in Rome, very quickly
becoming one of the most highly respected
violinists in Europe, renowned for his beautiful
lyrical sound. Although he did not use the full
range of the instrument (famously refusing
to play in fifth position in a performance
12

of Handel’s Triumph of Time and Truth),
students of the instrument flocked from all
over Europe to learn with him, and his legacy
is the framework upon which most Baroque
violinists of today base their approach.
In 1700, ‘Il Bolognese’ (as Corelli was known)
published his Opus 5 collection of twelve
violin sonatas, which was to become one
of the most influential for the instrument; so
popular that it has never gone out of print
to this day. The sonatas are published in
their simple un-ornamented form, allowing
for the interpreter to come up with their
own extensive ornamentation in the slower
movements. In the course of the 18th century
these ornamentations became increasingly
galant in style. Printed examples from the
time were so busily decorated towards the
middle of the century that the continuo
players reportedly complained about having
to play the pieces at ridiculously slow tempi so
that the violinist could fit in all the notes!
Nowadays, specialist Baroque violinists can
use the countless contemporary published
versions of these ornamentations to inform
their own, giving the player the freedom
to express their individuality within the
parameters set by Corelli himself, and to
bring their own character to the pieces.
The music of Opus 5 is incredibly well crafted.
The first six sonatas are sonatas da chiesa
(for the church) and the second six are da
camera (secular). The final sonata of the set
stands on its own, being a one-movement
theme with variations based on the popular
La Folia theme from Spain. This tune was one
of the best-known and most often arranged
tunes of the day, and Corelli’s version includes
23 variations on the original theme, exploiting
his extensive technical capacities on the
instrument. Then and now, this piece remains
one of the most popular works in standard
violin repertoire. Even though Corelli’s
compositional output was not large, his
works were a huge influence on some of the
giants of the Baroque era, including Handel,
Telemann and Bach.
Telemann
The show-stopping difficulties posed by
these pieces for both the ear and the fingers
give the lie to the ‘evolutionary’ view of art
in sound: that the supposed ‘low-tech’ to
high-tech development of the instruments
themselves enforced an ever-increasing
sophistication from composers, that
‘contemporary’ music, whenever that music
was written, somehow represents an endpoint
to all that has gone before, and that the
old violono da brazzo’s journey from street
to court, and on to regal status as the leader
of the modern symphony orchestra, was an
indicator of the worthiness of its repertoire
along the way. Performers who specialise
in Baroque music today do so not because
that repertoire offers a safe haven from
the pyrotechnical demands made by later
composers, or because the music presents
some sort of antique naïveté that is refreshing
to the ear-shredded 21st-century listener.
Quite the opposite: many of the harmonic
innovations in this program display an
adventurism that would not be revisited until
Mozart’s ‘Jupiter’ Symphony more than a
hundred years later. This is dangerous, knifeedge
music; ‘baroque’ in the true sense of the
term. It also emerges as strangely modern
when played on the version of the instrument
for which it was designed. And as for the
supreme technical skill and intense musicality
required to realise it – well, in this concert that
will speak for itself.
© 2024 JULIA FREDERSDORFF
13

Image Source. National Archives of Australia.

The Cage Project
—
MATTHIAS SCHACK-ARNOTT
& CÉDRIC TIBERGHIEN
Canberra
Sydney
Melbourne
Fri 31 January
Thu 23, Fri 24, Sat 25 January
Tue 4 February
Tickets from $65
1800 688 482 | musicaviva.com.au/the-cage-project
Jess Hitchcock
& Penny Quartet
26 February–6 March
Perth, Adelaide, Brisbane and Newcastle
Tickets from $65
1800 688 482 | musicaviva.com.au/hitchcock-penny

Interview
BY MEGAN STELLER
Lina Tur Bonet is busy. When we speak,
early on a Sunday morning, her energy
is electric. I have caught her in a moment
between two musical worlds: the first, playing
with and leading Le Concert des Nations,
Jordi Savall’s acclaimed period instrument
orchestra, at the Salzburg Festspiele; the
second, making a new recording in Toulouse.
It is, perhaps, an obvious question but, still
wiping the sleep from my eyes, I ask her
what the secret is to working at such a pace.
Laughing, she tells me: ‘The only secret is to
work, and to love it, really love it.’
‘My temperament is – and has always been
– very right for the violin,’ she explains. ‘It is
very alive, and very adaptable. It allows you
to do so much.’
I’m curious about the two instruments she
plays – the historic and the modern – and
the connection she finds between the two.
It is a rare instrumentalist that can move so
deftly between both modalities of playing,
considering the stark differences between
the instruments (even though, to the naked
eye, they appear so similar). But to Lina, the
difficulties have nothing on the joy of the
challenge, of creating something so dynamic
The Unstoppable
Unlike me, Lina has been up for hours.
‘I began today by speaking with an expert
in Romantic music, working through a new
manuscript. I love it, truly, I enjoy the time, I
enjoy the projects: if I didn’t like it, I wouldn’t
do it!’
For a violinist working at the level Lina
operates at, her path is perhaps unusual.
She did not start learning the violin at an
early age, as many of her contemporaries
do. Instead, her understanding of music
and rhythm developed away from any
instrument.
‘I began to dance at 3, and at the same time,
started taking lessons in reading music and
singing with my father.’ The instrument came
later, with formal violin lessons starting as
Lina became a teenager but, once the violin
arrived, she left everything else behind. The
connection is obvious: watching Lina perform
is to observe the invisible string connecting
her with her violin, whether it be a period
instrument or a modern one.
and new for an audience, who become, as
the instrument is an extension of her, an
extension of the performance.
‘My professors in Vienna [Lina studied at
the prestigious Musikhochschule Wien]
were initially surprised when I expressed an
interest in historical performance, but I love
the challenge of learning new things: I like
being in uncomfortable situations that push
me further.’
The transition was truly uncomfortable:
‘I went from playing the Tchaikovsky concerto
to not being able to play a long note!’ She
chuckles: ‘How do I do it? I had no clue. That
was exciting.’
While diving headfirst into the world of
historical performance practice, Lina did
not put down her modern violin, still doing
exams, still playing Brahms and Ravel. She
knew she wanted both, and wasn’t willing to
give up either, in spite of the fact there were
no models of people doing the same to look
to for encouragement.
16

‘Then, I could find very few people playing
both instruments at a high level. It’s
completely different now, which is great, and
I encourage my students to do both if they
want to, but when I was studying, my Baroque
teacher wanted me to give up modern, and
vice versa.’
When I ask about how playing one
instrument influences and impacts playing
the other, Lina draws a comparison between
musicians and actors.
‘This ensemble is my dream come true.
Each player is my favourite musician. With
these people, you can improvise: our way
of playing together is one that keeps things
free. Of course, the music itself gives us the
opportunity to stay creative, but you do have
to find the right colleagues to make it truly
come alive.’
One of the great joys of their repertoire,
which for Lina’s Australian tour includes
works by Biber, Corelli and Telemann,
amongst others, is that not everything is
spelled out on the score.
Lina Tur Bonet
‘You do, of course, direct things you learn
from one to the other, but they are two very
different instruments. The way of thinking
and playing are so different. You approach
them as you would characters, roles: we are
actors in the music world; we don’t write the
music, but we interpret it.’
When she moves from her period
instrument to her modern violin, she adopts
a new persona, as a player would in a
Shakespearean drama. You see her intrinsic
self shine through, but there is a different
edge depending on what she is playing, and
how she is playing it.
Like an actor, Lina also knows that as a
performer, you must stay fluid to the way that
the musicians around you move and change
from concert to concert. The joy, she tells
me, of playing with her ensemble, Musica
Alchemica, is that they can encounter the
same music again and again, and it never
feels staid or overdone.
‘It’s like jazz. I love the way jazz musicians
play.’
Initially, she tells me, she thought jazz was
completely improvised, and began speaking
to musicians to find out more about the way
they created their sound.
‘There is so much technique and virtuosity,
but the magic is when you keep things open,
when you listen to one another.’
That is what is so special about Lina, what
keeps her so active despite the long days,
the punishing travel schedule, the constant
switching between modern and Baroque
violin: the listening. We could speak for many
more hours, but we say goodbye as Lina
prepares herself for the train to Toulouse.
‘The listening,’ she tells me as we sign off,
‘keeps everything alive.’
—
Megan Steller is an artist manager, writer,
speaker, and producer based in London.
17

ENSEMBLE
PATRONS
+
CONCERT
CHAMPIONS
For nearly 80 years Musica Viva Australia has delivered tours of the highest calibre
in concert halls throughout the country. At the heart of our touring program are our
generous Ensemble Patrons and Concert Champions, whose extraordinary vision
of supporting the finest possible Australian and international artists has
enriched the lives of music lovers through live performance and online.
Thank you for everything you do.
For information about our Ensemble Patrons and Concert Champions programs, please contact:
Zoë Cobden-Jewitt, Director of Development
zcobden-jewitt@musicaviva.com.au
0409 340 240

THANK YOU TO OUR WONDERFUL DONORS!
It's the generosity of our donor family that brings our work to life. Their support enables us to continue
to create, produce and present, year after year – for almost 80 years – showcasing the finest artists;
supporting the next generation of talent; and providing industry-leading education programs to
students of all ages, right across the country. We can't thank you enough.
DIRECTOR’S CIRCLE
Thank you to these committed donors who support the
vision of Artistic Director, Paul Kildea, and the work of
Musica Viva Australia across the entire season.
Darin Cooper Foundation
ENSEMBLE PATRONS
Our artistic vision for 2024 is made possible thanks
to the extraordinary generosity of our Ensemble Patrons,
each of whom supports the presentation of an entire
national tour for this season.
Long Lost Loves (and Grey Suede Gloves)
Peter Griffin AM & Terry Swann,
Ms Felicity Rourke & Justice François Kunc,
Susie Dickson (supporting Anna Dowsley)
Esmé Quartet
Bruce & Charmaine Cameron
The Choir of King’s College, Cambridge
Ensemble Patrons Ian Dickson AM & Reg Holloway
Other Tour Support Kim Williams AM &
Catherine Dovey
Commissioning Donor Richard Wilkins
Organ Scholar Patrons Ian & Cass George
The Choristers’ Circle We thank all members for their
support of each chorister
Pekka Kuusisto & Gabriel Kahane
Chamber Music Foundation
Ensemble Q & William Barton
Ian & Caroline Frazer
MVAIS ENSEMBLE PATRONS
MVAIS Ensemble Patrons support the exceptional ensembles
which deliver childhood music education programs for
Musica Viva Australia In Schools.
Colours of Home
Anthony Strachan
Da Vinci’s Apprentice
Kay Vernon
El Camino
Ray Wilson OAM
Game Day!
Anonymous
Music in my Suitcase
Valerie & Michael Wishart
EMERGING ARTISTS PATRONS
The collective support of our Emerging Artists Patrons enables
the artistic development of the next generation of Australian
chamber musicians via our Masterclasses, Strike A Chord and
FutureMakers programs.
Nicholas Callinan AO & Elizabeth Callinan, Caroline &
Robert Clemente, Rosemary & John MacLeod, Patricia H.
Reid Endowment Fund, Andrew Sisson AO & Tracey Sisson,
Mick & Margaret Toller, David Wallace & Jamelia Gubgub,
Anonymous (3)
CONCERT CHAMPIONS
The mainstage concerts of our 2024 Season are brought
to life thanks to the generosity of our Concert Champions
around the country.
ACT Andrew Blanckensee & Anonymous,
Dr Ray Edmondson OAM & Sue Edmondson,
Malcolm Gillies AM & Dr David Pear, Dr Sue Packer,
Sue Terry & Len Whyte, Anonymous
NSW Patricia Crummer, Pam Cudlipp, The Darin Cooper
Foundation, Dr Jennifer Donald & Mr Stephen Burford,
Charles Graham in acknowledgement of his piano teacher
Sana Chia, Katherine & Reg Grinberg, Alison & Geoff Kerry,
Ray Wilson OAM
QLD Andrea & Malcolm Hall-Brown, Andrew & Kate Lister,
Barry & Diana Moore, The Hon Anthe Philippides SC,
Anonymous (2)
SA Don & Veronica Aldridge, The late Lesley Lynn,
Dr Susan Marsden & Michael Szwarcbord
VIC Bibi Aickin & Alexandra Clemens, Peter Lovell &
Michael Jan, In memory of Paul Morawetz, Presented by
friends in memory of Dr James Pang, Dr Michael Troy,
The late Dr G D Watson, Dr Victor Wayne &
Dr Karen Wayne OAM, Igor Zambelli, Anonymous (2)
WA Jan James in memory of her sister Anne Wilding
& Anonymous, Dr Robert Larbalestier AO, For Stephanie
Quinlan (2), Deborah Lehmann AO & Michael Alpers AO,
Valerie & Michael Wishart
AMADEUS SOCIETY
The Amadeus Society is a group of passionate music lovers
and advocates in Sydney and Melbourne, who have joined
together to support the extraordinary artistic initiatives of
Musica Viva Australia.
Tony Berg AM & Carol Berg AM, Tom Breen &
Rachael Kohn AO, Dr Annette Gero, Katherine &
Reg Grinberg, Jennifer Hershon, Fred & Claire Hilmer,
Penelope Hughes, Stephen & Michele Johns, Michael &
Frederique Katz, Philip Robinson, Andrew Rosenberg,
Ray Wilson OAM
19

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:
Carrillo Gantner AC & Ziyin Gantner, Alison & Geoff Kerry,
D R & K M Magarey, The Hon. Anthe Philippides SC,
Playking Foundation, Richard Wilkins
Musica Viva Australia also thanks the Adelaide
Commissioning Circle, the WA Commissioning Circle,
and the Silo Collective for their support in bringing
new Australian works to life.
LASTING GIFTS
We are deeply appreciative of those who have chosen to leave
a bequest to Musica Viva Australia in their will, to make a lasting
impact that not only celebrates their passion for music but
enables music for future generations of audiences and artists
alike. Your legacy will live on through our work.
LEGACY DONORS
We proudly honour the generous legacies of those donors who
are no longer with us, and the impact their support still has today.
NSW The late Charles Berg, The late Stephan Center,
The late Janette Hamilton, The late Dr Ralph Hockin in
memory of Mabel Hockin, The late Geraldine Kenway,
The late Judith Osborne Finalson, The late Elizabeth Varley,
The late Kenneth W Tribe AC
QLD
The late Steven Kinston
SA The late Edith Dubsky,
In memory of Helen Godlee, 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
CUSTODIANS
We thank those who have notified us of their intention
to leave a gift to us in their will.
ACT Margaret Brennan, Clive & Lynlea Rodger,
Ruth Weaver, Anonymous (3)
NSW Catherine Brown-Watt PSM & Derek Watt, Graham
Blazey, Jennifer Bott AO, Lloyd & Mary Jo Capps AM, Andrew
& Felicity Corkill, Peter Cudlipp, Liz Gee, Suzanne Gleeson,
David & Christine Hartgill, Annie Hawker, Dorothy Hoddinott
AO, Mathilde Kearny-Kibble, 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 (14)
QLD John Nightingale & Leslie Martin, Anonymous (2)
SA Monica Hanusiak-Klavins & Martin Klavins,
Anonymous (4)
TAS
Kim Paterson KC, Anonymous
VIC Elizabeth & Anthony Brookes, Julian Burnside AO KC,
Ms Helen Dick, Robert Gibbs & Tony Wildman,
Penelope Hughes, Helen Vorrath, Anonymous (8)
ANNUAL DONORS
We’re thankful to our annual donors who support our work where
it’s needed most and for all they enable us to do – both on and
off the stage – for Australian musicians, artists and music lovers,
including our extensive education and outreach programs.
MAJOR GIFTS
NSW The Berg Family Foundation,
Patricia H. Reid Endowment Fund, Anonymous
QLD
ACT
Ian & Caroline Frazer
Marion & Michael Newman
$100,000+
$50,000+
NSW J A Donald Family, Katherine & Reg Grinberg,
Elisabeth Hodson & the late Dr Thomas Karplus
NSW
QLD
Michael & Frédérique Katz, Vicki Olsson
Andrea & Malcolm Hall-Brown
$20,000+
VIC The Morawetz Family in memory of Paul Morawetz,
The Morawetz Family in memory of Anita Morawetz,
Marjorie Nicholas OAM, Rosemary & John MacLeod
ACT
Mick & Margaret Toller, Anonymous
NSW Gresham Partners, Nigel & Carol Price,
Richard Wilkins
QLD
Anonymous
SA Jennifer & John Henshall,
Hugh & Fiona MacLachlan OAM
VIC Peter Lovell & Michael Jan, In memory of
Dr Ian Marks, Joy Selby Smith, Mark & Anna Yates,
Anonymous
WA
ACT
Legacy Unit Trust
Craig Reynolds, Sue Terry & Len Whyte
$10,000+
$5000+
NSW Judith Allen, Maia Ambegaokar & Joshua Bishop,
Thomas Dent, Sarah & Tony Falzarano,
Robert & Lindy Henderson, Catharine & Robert Kench,
Ruth Magid & Bob Magid OAM, Lynda O’Grady,
David & Carole Singer, Diane Sturrock,
Kim Williams AM & Catherine Dovey
QLD
SA
Ian & Cass George, Anonymous
Aldridge Family Endowment
VIC Joanna Baevski, Mr Carrillo Gantner AC,
Linda Herd, Myer Family Foundation, Ralph & Ruth Renard,
Greg Shalit & Miriam Faine, Anonymous (2)
WA Rodney Constantine, Jace Foundation,
Deborah Lehmann AO & Michael Alpers AO,
Zoe Lenard & Hamish Milne
20
WA Janice Dudley, Anne Last, Graham Lovelock,
Robyne Tamke, Anonymous (3)

ANNUAL GIFTS
$2500+
ACT Liz & Alex Furman, Goodwin Crace Concertgoers,
Dr Andrew Singer
NSW D Barbeler & K Kemp, Christine Bishop,
Gay Bookallil, Tom Breen & Rachael Kohn AO,
Catherine Brown-Watt PSM, Susan Burns, Hon J C Campbell
KC & Mrs Campbell, Dr James Gillespie & Ms Deena Shiff,
Charles & Wallis Graham, Kevin & Deidre McCann,
Andrew Rosenberg, Geoffrey White OAM & Sally White OAM
QLD Jocelyn Luck, Barry & Diana Moore,
Barbara Williams & Jankees van der Have
SA
DJ & EM Bleby, Ann & David Matison
VIC Alastair & Sue Campbell, Dhar Family,
Anne Frankenberg & Adrian McEniery, Kingsley Gee,
Angela & Richard Kirsner, Bruce Missen, Michael Nossal &
Jo Porter, Prof. John Rickard, Murray Sandland, Maria Sola,
Sing Off – Genazzano & surrounding schools,
Wendy R. Taylor, Helen Vorrath
WA Anne Last & Steve Scudamore, Mrs Morrell,
Robyn Tamke
$1000+
ACT Andrew Blanckensee, The Breen/Dullo Family,
Christopher Clarke, Dr Jean Finnegan, Claudia Hyles OAM,
Margaret & Peter Janssens, Clive & Lynlea Rodger, Odin Bohr
& Anna Smet, Kristin van Brunschot & John Holliday,
Ruth Weaver, Anonymous (3)
NSW David & Rae Allen, Dr Warwick Anderson, Hugh &
Hilary Cairns, Robin & Wendy Cumming, Nancy Fox AM &
Bruce Arnold, John & Irene Garran, Bryan Havenhand &
Anna Kaemmerling, Annie Hawker, Lybus Hillman,
Dr Ailsa Hocking & Dr Bernard Williams, Dorothy Hoddinott
AO, Mathilde Kearny-Kibble, Mrs W G Keighley, Ms Kathryn
Magarey, Prof. Craig Moritz, Paul O’Donnell, Trish Richardson
in memory of Andy Lloyd James, Dr Robyn Smiles, Geoff
Stearn, Hon. Prof. Ross Steele AM, Graham & Judy Tribe,
Dr Liz Watson & Mr Ben Skerman, John & Flora Weickhardt,
Andrew Wells AM, Megan & Bill Williamson, Anonymous (3)
QLD George Booker & Denise Bond, Prof. Paul &
Ann Crook, Stephen Emmerson, Prof. Robert G Gilbert,
Robin Harvey, Lynn & John Kelly, Keith Moore
SA Ivan & Joan Blanchard, Richard Blomfield,
Zoë Cobden-Jewitt & Peter Jewitt, Mrs Mary Handley,
Elizabeth Ho OAM in honour of the late Tom Steel, Joan Lyons,
Ruth Marshall & Tim Muecke, Geoff & Sorayya Martin,
Diane Myers, Leon Pitchon, Jennie Shaw, Anne Sutcliffe, Colin
& Sandra Taylor, Robert & Glenys Woolcock, Anonymous (6)
VIC Russ & Jacqui Bate, Jan Begg, David Bernshaw &
Caroline Isakow, Alison & John Cameron, Mrs Maggie Cash,
Alex & Elizabeth Chernov, Dr Glenys & Dr Alan French,
Mary-Jane Gething, Naomi & George Golvan KC, John &
Margaret Harrison, Lyndsey & Peter Hawkins, Virginia Henry,
Doug Hooley, House for Music, Angela Kayser,
Peter Kingsbury, June K Marks, Janet McDonald, Ruth McNair
AM & Rhonda Brown in memory of Patricia Begg & David
McNair, Christopher Menz and Peter Rose, D & F Nassau,
Barry Robbins, Ms Thea Sartori, Mr Charles Tegner, Ray
Turner & Jennifer Seabrook, Lyn Williams, Anonymous (1)
WA Dr S Cherian, Michael & Wendy Davis, In memory
of Raymond Dudley, Dr Barry Green, Dr Penny Herbert in
memory of Dunstan Herbert, Hugh & Margaret Lydon, Marian
Magee & David Castillo, Dr Bennie Ng & Olivier David, Prof.
Robyn Owens AM, Margaret & Roger Seares, Ruth Stratton,
Philip Thick & Paula Rogers, Christopher Tyler, Anonymous (3)
$500+
ACT Prof. Michael Bessell, Margaret Brennan,
Peter Cumines, Jill Fleming, Marjorie Gilby, Robert Hefner,
R & V Hillman, Janet Kay, Margaret Lovell & Grant Webeck,
Margaret Oates, Robert Orr, Helen Rankin, Diana Shogren &
Anne Buttsworth, Dr Paul & Dr Lel Whitbread, Anonymous (3)
NSW Dinah Beeston, Alexandra Bune AM, Neil Burns,
Christopher Burrell AO & Margaret Burrell, Robert Cahill &
Anne Cahill OAM, Lucia Cascone, Lyn Casey, Richard Cobden
SC, Mrs Susan Collins & Mr Angus Collins, Pam Cudlipp,
Howard Dick, James Graham AM & Helen Graham, Anthony
Gregg, The Harvey Family, The Hon. Donald Harwin, David
& Sarah Howell, Megan Jones, Jocelyn Kelty, Dr Bridget
Mabbutt, Dr Colin MacArthur, Michael & Janet Neustein,
Stephen O’Doherty OAM, Profs. Robin & Tina Offler,
Laurie Orchard, Christina Pender, In memory of Katherine
Robertson, John & Sue Rogers, Penny Rogers, Peter & Heather
Roland, Matthew Westwood, Mrs Jenny Williams, Mrs
Margaret Wright, Anonymous (8)
QLD Janet Franklin, Timothy Matthies & Chris Bonnily,
Mr Jeffrey Willmer, Anonymous (2)
SA Max Brennan, Elizabeth Hawkins, Dr Iwan Jensen,
The Hon. Christopher Legoe AO QC & Mrs Jenny Legoe,
Julie Mencel & Michael McKay, Trish & Richard Ryan AO,
Tony Seymour, Dr Lesley Smith, Anonymous (2)
VIC Coll & Roger Buckle, Pam Caldwell, Kate Cherry,
Andrea Goldsmith, Prof. Denise Grocke AO, Dr Anthea
Hyslop, Nancy James, Dr Jerry Koliha, Traudl Moon OAM,
Eda Ritchie AM, Prof. Lynne Selwood, Darren Taylor &
Kent Stringer, Maureen Turner, Ian Watts OAM, Tony Way,
The Australian Strings Association (AUSTA), Anonymous (6)
WA Mr Harry Anstey, Jennifer Butement, Fred & Angela
Chaney, Russell Hobbs & Sue Harrington, Graham Lovelock
& Steve Singer, Paula Nathan AO & Yvonne Patterson,
NevarcInc, Lindsay & Suzanne Silbert, Peter & Cathy Wiese,
Anonymous (3)
THANK YOU
We are grateful to our donors at all levels,
including those who contribute up to $500.
Every gift really makes a difference.
21

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).
CONCERT PARTNERS
Perth Concert Series Sydney Morning Masters Series MVA at The Edge Series Major Project Partner
Project Partner 2O24 Season Partner Legal Chartered Accountants
Piano & Tuning Media Partner Hotel Partner Hotel Partner
Print Partner Wine Partner (act, nsw, qld, vic) Wine Partner (sa) Wine Partner (wa)
EMERGING ARTISTS PARTNERS
Competitions
Principal Partner
Strategic Partner
University Partner
FutureMakers Lead Partner
Key Philanthropic Partner
Key Philanthropic Partner
FutureMakers Residency Partner
22

EDUCATION PARTNERS
Government Partnerships & Support
National Education Supporters
Anthony & Sharon Lee
Foundation
J A Donald Family
Marion & Mike Newman
In Schools Performance, Education & Development Program
• Gardos Family • Godfrey Turner Memorial Music Trust • In memory of Anita Morawetz
• Margaret Henderson Music Trust • Marsden Szwarcbord Foundation
• Perpetual Foundation – Alan (AGL) Shaw Endowment • Grieve Family Fund
National Music Residency Program
The
Benjamin
Fund
The Marian &
E.H. Flack Trust
Day Family
Foundation
• Aldridge Family Endowment • Carthew Foundation • Foskett Foundation
• Jennifer & John Henshall • Legacy Unit Trust
23

Stories to inspire
BY ZOË COBDEN-JEWITT
As Musica Viva Australia approaches its
80th birthday in 2025, it has been a time for
reflection on our past, but also on our future
as part of a vibrant and exciting cultural
sector.
Founded on the dual principles of wonderful
chamber music and philanthropy, the
support of Musica Viva Australia’s concert
programs through the Concert Champions
and Ensemble Patrons models has been
transformational since the programs were
launched in 2020. This direct and tangible
support brings concerts by the finest
Australian and international musicians to life,
enabling tens of thousands of Australians of
all ages and walks of life to share in the joy
of live music around this vast country every
year.
Ensemble Patron or Concert Champion?
Ensemble Patrons have the chance to
support an entire national tour, while Concert
Champions can choose to support an
individual concert (or concerts!) in their city.
And while we remain incredibly grateful for
this generosity, we know from those donors
who support the programs that it brings them
enormous satisfaction, too:
Reg and I are long-term supporters of
the arts, so it stands to reason that we
would support Musica Viva Australia
which has a long history of introducing
chamber music to Australian audiences.
We especially like Musica Viva’s
expansion of the definition of chamber
music, as exemplified by The Cage
Project which we are happy to sponsor.
— IAN DICKSON AM,
MUSICA VIVA AUSTRALIA ENSEMBLE PATRON
Many of Musica Viva Australia’s donors
have commented on their joy at supporting
something that feels tangible, while also
being able to choose one (or sometimes
more) concerts and ensembles that really
speak to them directly. From string quartets
and piano trios to concert pianists, there truly
is something for everyone!
Underpinning the Art
As we reflect on the significant role our
generous donors have played in the life
and evolution of Musica Viva Australia
over the last 80 years, it has never been
more important to ensure that we have
philanthropic programs on offer that
underpin the Company’s artistic and concert
programs and also align with the passions of
our incredible donors:
It has been humbling, and indeed a
privilege, to work not only with Musica
Viva Australia’s donors to ‘match’ them
and their personal passions with the
incredible tours, but also with my State
Manager colleagues around the country
to do the same. We remain indebted to
this group of donors whose generosity
and connection to our work means that
together, we can keep delivering national
tours featuring the finest artists for
audiences of all ages and backgrounds to
enjoy across Australia. Thank you!
— ZOË COBDEN-JEWITT,
DIRECTOR OF DEVELOPMENT
24

Ensemble Patrons and Concert Champions:
VITAL SUPPORT
BRINGING OUR CONCERTS TO LIFE
Would you like to know more?
Zoë or your local State Manager would be
delighted to share more information with
you about becoming an Ensemble Patron or
Concert Champion – and about our exciting
2025 80th anniversary season! Please don’t
hesitate to contact them to learn more about
these crucial programs.
What do I love about the support of the
concert program? I love being part of the
passion, enthusiasm and commitment of
the Musica Viva Australia people. I love
seeing the creative process blending with
the music. I love being part of the concert
program, which involves me more closely
with both the artists and the Musica
Viva Australia creative process, taking
the whole experience to another level.
Finally, I also love helping to provide
support for music programs in schools.
— VALUED CONCERT CHAMPION,
FOR STEPHANIE QUINLAN
Thank you
Musica Viva Australia would like to take this
opportunity to thank all our current Ensemble
Patrons and Concert Champions (and all
donors!) for their ongoing generosity towards
these and so many more of our programs.
Every gift makes a difference. We truly can’t
do it without you.
_
Valued Musica Viva Australia supporter with
The Cage Project artist Matthias Schack-Arnott.
For more information, please contact Zoë Cobden-Jewitt
zcobden-jewitt@musicaviva.com.au
musicaviva.com.au/support-us/individual-giving
25

Tribute
The concert in Melbourne
on Saturday 23 November
commemorates Paul
Morawetz’s contribution to
Musica Viva Australia.
A GENUINE LOVE FOR MUSIC
Paul Morawetz
(1914–2001)
Paul Morawetz was born in Austria in 1914,
and died in Melbourne in April 2001. His love
of music, and chamber music in particular,
led him to become involved with Musica Viva
Australia at the time of its founding in 1945.
Upon his arrival in Australia, the public
performance of chamber music was in its
infancy, but Paul’s European background laid
the foundation for a major role in bringing
chamber music to the wider Melbourne
community.
Paul took a leading role in arranging
chamber music concerts in Melbourne,
eventually becoming Musica Viva Australia’s
Victorian Vice-President for several years.
He was central to the organisation’s
fundraising efforts, and managed to
successfully find sponsors at a time when
Musica Viva Australia was struggling to
stay afloat.
Paul also took particular pleasure in
supporting young musicians, often helping
them to gain public recognition and
furthering their talents.
Paul would never miss a Musica Viva
Australia concert when in Melbourne, and
held a genuine love for music throughout his
entire life. He is greatly missed by the Musica
Viva Australia community, and it is with great
pleasure that we honour him with this concert.
26

WELCOME TO A NEW WORLD.
WELCOME HOME.
15 international artists | 11 Australian artists | 3 new Australian commissions
Join us in our 80th Anniversary year in Adelaide, Brisbane,
Canberra, Melbourne, Newcastle, Perth and Sydney
the future of chamber music is in great hands
GLAM ADELAIDE, ESMÉ QUARTET
SUBSCRIBE AND SAVE
musicaviva.com.au/2025 | 1800 866 482

Joyful, anxious, excited, melancholy… we present
music to tens of thousands of people, of every age
and walk of life, each year. Each performance
produces an emotion, a feeling. And these feelings
can spark memories to last a lifetime.
From Brisbane to Broken Hill, Geelong to Geraldton,
Riverina to Riverland, we want people everywhere
to feel the music and benefit from its healing
properties. Together, we can build a vibrant cultural
future, where outstanding music performances
profoundly enrich lives in so many ways.
Your support ensures audiences, artists,
children and teachers feel the music
for generations to come.
MAKE A GIFT
musicaviva.com.au/support-us