Stephen Hough

Stephen Hough piano
ADELAIDE
THURSDAY 14 APRIL, 7.30PM
ADELAIDE TOWN HALL
CD signing after concert
BRISBANE
TUESDAY 26 APRIL, 7PM
CONSERVATORIUM THEATRE
GRIFFITH UNIVERSITY, SOUTH BANK
Recorded for broadcast on 4MBS FM
Meet the Artist after concert
CANBERRA
THURSDAY 28 APRIL, 7PM
LLEWELLYN HALL,
ANU SCHOOL OF MUSIC
CD signing after concert
MELBOURNE
TUESDAY 19 APRIL, 7PM
ELISABETH MURDOCH HALL,
MELBOURNE RECITAL CENTRE
Meet the Artist after concert,
with Glen Riddle (Salon)
NEWCASTLE
THURSDAY 21 APRIL, 7.30PM
HAROLD LOBB CONCERT HALL,
NEWCASTLE CONSERVATORIUM OF MUSIC
Recorded for broadcast on 2NUR
Meet the Artist after concert (Onstage)
PERTH
MONDAY 2 MAY, 7.30PM
PERTH CONCERT HALL
Meet the Artist after concert
SYDNEY
SATURDAY 16 APRIL, 2PM
CITY RECITAL HALL
Recorded for broadcast on Fine Music FM
Meet the Artist after concert (Function Room)
MONDAY 18 APRIL, 7PM
CITY RECITAL HALL
Direct broadcast on ABC Classic FM
CD signing after concert
SATURDAY 30 APRIL, 7PM
ELISABETH MURDOCH HALL,
MELBOURNE RECITAL CENTRE
CD signing after concert
Musica Viva is assisted by the Commonwealth Government
through the Australia Council, its arts funding and advisory body.
Musica Viva is assisted by the NSW Government through Arts NSW.

FROM THE ARTISTIC DIRECTOR
Recitals by Stephen Hough are invariably
distinguished by a surprising blend of the
cerebral and the visceral – music that engages
the heart as well as the mind, and that is
delivered with precise yet entirely organic
artistry.
© KEITH SAUNDERS
On this concert tour Stephen’s program
focuses on a trinity of his favourite composers,
Schubert, Franck and Liszt. Schubert’s A minor
Sonata D784 is in three movements – another
trinity – as is Franck’s Prelude, Chorale and
Fugue, and these two works form for Hough
a linked musical journey from darkness to
light.
It is easy to forget the seminal influence
that Liszt’s music had on the evolution of
compositional technique in the 19th century.
Like Hough, Liszt was a remarkable pianist
as well as an extraordinary composer, and his
music has inspired Stephen as a committed
advocate of its performance, as well as by the
craftsmanship of its structure.
The program is bound together by Stephen’s
own Piano Sonata III Trinitas, inspired by the
importance of the number three within his
CARL VINE ao
ARTISTIC DIRECTOR
MUSICA VIVA AUSTRALIA
Catholic faith, and how ‘trinity’ in the church
might also possibly relate to 12-tone serialism
in music. As one should always expect with this
surprising musician, matters of the intellect
are bound to resonate with the emotional and
the personal in his perpetual search for the
transcendental.
ADDITIONAL ACTIVITY
Stephen Hough will perform in Hobart Town Hall on Saturday 23 April at 8pm and at the
Coffs Harbour Education Campus on Friday 6 May at 8pm as part of Musica Viva Australia’s
CountryWide program.
Stephen Hough will present the following masterclasses during this tour:
Sydney: Friday 15 April, 4–6pm, Sydney Conservatorium of Music
Melbourne: Friday 29 April, 4–6pm, Australian National Academy of Music
For further details, please go to www.musicaviva.com.au/masterclasses
The Musica Viva Masterclass program is supported by Lyn Hamill & Ian Dover (Queensland),
Wesfarmer Arts (Western Australia) and Mary Turner oam (Newcastle).
2

FROM THE CHIEF EXECUTIVE OFFICER
In our capital city recital venues, one could
easily forget how different one’s experience
might be in regional centres across the country.
Children and adults alike are often starved for
the sort of musical experiences available daily in
the larger cities.
Stephen Hough is just one of our many
international touring artists who appreciates
this and, as a result, has made time during his
busy tour in Australia to include centres less
frequented by performers of his international
stature. The sheer physical toll on touring
artists is often enormous, so why do they make
it even more so by extending their capital city
tours? Each one of them would respond that
the impact of regional touring on both performer
and audiences is profound, and something that
offers a unique joy to all the participants.
Beyond the concert hall, we are developing
CountryWide to embrace more residencies,
building capacity in regional centres through
workshops, masterclasses and directly
working in classrooms. Naturally, that enables
CountryWide to work even more closely with
our Education program, the latter putting some
of Australia’s finest musicians into classrooms
as collaborators with teachers to bring every
child the joy of live music.
We have been extremely fortunate in having
the support of foundations such as the Vincent
MARY JO CAPPS
CHIEF EXECUTIVE OFFICER
MUSICA VIVA AUSTRALIA
Fairfax Family, Farrell Family, Tim Fairfax Family
and Godfrey Turner Trust to help us reach out
to these far-flung areas, underpinned by the
national sponsorship of Rio Tinto.
So next time you are contemplating the
sheer size of our country, consider that Musica
Viva, with the help of its many supporters,
large and small, ensures that fine music can
be part of every point on that map. Visit
www.musicaviva.com.au/regional to see a
sampling of these events under our CountryWide
banner in 2016.
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3

MEET THE ARTIST
STEPHEN HOUGH
Stephen Hough is regarded as a renaissance
man of his time. Over the course of his
career he has distinguished himself as a true
polymath, securing a reputation not only as
a uniquely insightful concert pianist, but also
as a writer and composer. He is commended
for his mastery of the instrument along with
an individual and inquisitive mind which has
earned him a multitude of prestigious awards
and a long-standing international following.
In 2001 Stephen Hough was the first classical
performing artist to win a MacArthur Foundation
Fellowship. He was awarded Northwestern
University’s 2008 Jean Gimbel Lane Prize in
Piano, won the Royal Philharmonic Society
Instrumentalist Award in 2010 and in
January 2014 was made a Commander of
the Order of the British Empire (CBE). He has
appeared with most of the major European
and American orchestras, and plays recitals
regularly in major halls and concert series
around the world. His recent engagements
include recitals in Chicago, Hong Kong,
London, Paris, New York’s Carnegie Hall and
Lincoln Center, Boston, San Francisco and
Washington's Kennedy Center; performances
with the Czech and London Philharmonic
Orchestras, the New York Philharmonic, the
Chicago, Boston, Pittsburgh, Detroit, Dallas,
Atlanta and Toronto Symphony Orchestras,
the San Francisco Symphony and St Louis
Symphony, the National Symphony Orchestra,
the Philadelphia and Minnesota Orchestras,
Budapest Festival Orchestra and the Russian
National Orchestra; and a performance televised
worldwide with the Berlin Philharmonic and
Sir Simon Rattle. He is also a regular guest at
festivals such as Aldeburgh, Aspen, Blossom,
Edinburgh, Hollywood Bowl, Mostly Mozart,
Salzburg, Tanglewood, Verbier, Chicago’s Grant
Park and the BBC Proms, where he has made
over 20 concerto appearances, including
playing all Tchaikovsky’s works for piano and
orchestra over the summer of 2009, a series
he later repeated with the Chicago Symphony.
His 2015/16 season began with an extensive
tour to Australasia, which included complete
Beethoven concerto cycles in Australia and
Singapore, followed by recitals in Beijing,
Taipei and Tokyo. That season continued
4

with return appearances with the Cleveland
Orchestra, Los Angeles Philharmonic, San
Francisco Symphony, Houston Symphony
and the Montreal, Vancouver and New Jersey
Symphony Orchestras among others in
North America, as well as re-engagements
with the London Philharmonic Orchestra
and the Finnish Radio Symphony Orchestra
in Europe; and recitals at New York’s 92nd
Street Y, London’s Barbican Centre, and in
Quebec, Kansas City and at Dartmouth and
Northwestern University.
Many of Stephen Hough’s catalogue of over
50 albums have garnered international prizes
including the Deutsche Schallplattenpreis,
Diapason d’Or, Monde de la Musique, several
Grammy nominations, eight Gramophone
Awards including ‘Record of the Year’ in 1996
and 2003, and the Gramophone ‘Gold Disc’
Award in 2008, which named his complete
Saint-Saëns Piano Concertos as the best
recording of the past 30 years. His 2012
recording of the complete Chopin waltzes
received the Diapason d’Or de l’Année, France’s
most prestigious recording award. His 2005
live recording of the Rachmaninoff piano
concertos was the fastest-selling recording in
Hyperion’s history, while his 1987 recording of
the Hummel concertos remains Chandos’ bestselling
disc to date. His most recent releases,
all for Hyperion, include Grieg’s Lyric Pieces;
a recording of his own mass, Missa Mirabilis,
with the Colorado Symphony and Andrew
Litton; a recital disc with Steven Isserlis
including Stephen Hough’s Sonata for cello
and piano Les Adieux; a solo recital of Scriabin
and Janáček; and the Dvořák and Schumann
concertos with the City of Birmingham
Symphony Orchestra and Andris Nelsons.
Stephen Hough is also the featured artist in an
iPad app about the Liszt Piano Sonata, which
includes a fully filmed performance and was
released by the cutting-edge, award-winning
company Touch Press.
Published by Josef Weinberger, Stephen
Hough has composed works for orchestra,
choir, chamber ensemble and solo piano.
His Mass of Innocence and Experience
and Missa Mirabilis were respectively
commissioned by and performed at London’s
Westminster Abbey and Westminster
Cathedral. In 2012, the Indianapolis
Symphony Orchestra commissioned
and performed Stephen Hough’s own
orchestration of Missa Mirabilis, which
was subsequently performed by the BBC
Symphony as part of his residency with the
orchestra. He has also been commissioned
by the musicians of the Berlin Philharmonic,
London’s National Gallery, Wigmore Hall,
Le Musée du Louvre and Musica Viva Australia,
among others, and he has performed his
first two piano sonatas, Sonata no 1 broken
branches and Sonata no 2 notturno luminoso,
in recital programs in London, New York, St Paul
and Chicago.
A noted writer, Stephen Hough regularly
contributes articles for The Guardian, The
Times, The Tablet, Gramophone and BBC
Music Magazine and was invited by the
Telegraph in London in 2008 to start a blog
that has become one of the most popular
and influential forums for cultural discussion.
His book The Bible as Prayer was published
by Continuum and Paulist Press in 2007.
Stephen Hough resides in London, where he
is a visiting professor at the Royal Academy
of Music, and holds the International Chair
of Piano Studies at his alma mater, the Royal
Northern College in Manchester. He is also
a member of the faculty at The Juilliard
School.
www.stephenhough.com
This is Stephen Hough’s third national solo
recital tour for Musica Viva. His previous tours
were in 2011 and 2007, and in 2002 he toured
with Steven Isserlis.
5

PROGRAM
Franz SCHUBERT (1797–1828)
Piano Sonata no 14, D784 (1823)
I Allegro giusto (Just as fast as necessary)
II Andante (At a walking pace)
III Allegro vivace (Fast and lively)
21 mins
César FRANCK (1822–1890)
Prelude, Chorale and Fugue (1884)
18 mins
INTERVAL
Stephen HOUGH (b 1961)
Piano Sonata III Trinitas (2015)
I Lento (Slow): Bold, stark
II Allegro (Fast): Punchy, jazzy
III Andante (At a walking pace): Majestic, proud
16 mins
Franz LISZT (1811–1886)
Valses oubliées (Forgotten Waltzes), S215
(1881–84)
No 1 Allegro (Fast)
No 2 Allegro vivace (Fast and lively)
9 mins
Franz LISZT
Études d’exécution transcendante
(Transcendental Studies), S139 (1852)
15 mins
No 11 Harmonies du soir (Evening Harmonies)
No 10 [untitled] Allegro agitato molto (Fast and very agitated)
6

ABOUT THE MUSIC
Franz SCHUBERT (1797–1828)
Piano Sonata no 14, D784 (1823)
I Allegro giusto (Just as fast as
necessary)
II Andante (At a walking pace)
III Allegro vivace (Fast and lively)
Schubert composed almost 20 more-or-less
complete piano sonatas besides individual
pieces or fragments that were probably
conceived as movements for sonatas he
never finished. A few, such as those in
A major (D664) and in B flat major (D960),
are both well known and highly regarded; the
remainder, at least until recent decades, and
despite advocacy by legendary performers
such as Alfred Brendel, Eduard Erdmann,
Wilhelm Kempff and Artur Schnabel, have
been overshadowed by those of Beethoven.
The case has not been helped by the confused
state of Schubert’s manuscripts, the composer’s
often indistinct handwriting, and the myriad
errors in various posthumous editions.
(Only three sonatas were published during
the composer’s lifetime.) Some performers
have found these works off-putting because
Schubert requires the exposition sections
to be repeated, in already lengthy opening
movements. But this is crucial to the music,
because the expositions often have a different
ending the first time through, before the
repeat, and those first-time endings contain
important musical material. Also, in general,
the sonatas contain many musical innovations
and pose significant technical challenges.
Schubert often seems to have had other
concerns than those of his Classical
predecessors. For Mozart and Beethoven,
sonata form can be regarded as a vehicle
for musical development; Schubert tends
to treat it more as a framework for the
exploration of melodic and harmonic
possibilities. The decline of the sonata as a
medium for Romantic expression, despite
outstanding examples by Brahms, Chopin and
Liszt, places Schubert’s essays in a unique
position somewhere between the ‘fantasysonatas’
of Beethoven, which bridge the
Classical–Romantic divide, and other forms
(character pieces, dances, études, nocturnes,
preludes, and the like) which were of more
interest to the later Romantics, although
Schumann was an enthusiastic advocate
of Schubert’s sonatas, deeming them
more idiosyncratic to the instrument than
Beethoven’s.
Overall, Schubert’s piano sonatas may
be grouped into three main periods. More
than half were composed between 1815
and 1818 while Schubert came to grips
with the sonata. Four on a grander scale
followed in 1825–26: the unfinished C major
Sonata (D840), and sonatas in A minor
(D845), D major (D850) and G major (D894).
Three more – in C minor (D958), A major
(D959) and B flat major (D960) – were
written in 1828, a few weeks short of his
death. Two sonatas fall outside this scheme:
one in A major (D664), probably from 1819,
and the A minor Sonata (D784) in tonight’s
program, which was written in February
1823.
On 8 May of that year, Schubert penned
a distressed poem in which he longed for
death. Mein Gebet (My Prayer) was probably
written in response to the first symptoms
of the syphilis that would claim him only
a few years later. Convalescing in hospital
during the summer, he also composed
a number of songs from Die schöne Müllerin
7

ABOUT THE MUSIC
(The Beautiful Miller-Maid), a cycle whose
theme was love betrayed. It’s possible that
Schubert’s despair also found expression
in the A minor Sonata, which has been
described as ‘at once the bleakest and most
anguished of his sonatas’.
Adapted from a note © Stephen Schafer
Stephen Hough writes:
The Sonata in A minor, D784, is the first
of Schubert’s fully mature works in this
form, and was almost certainly written
at the time that Schubert first learned of
the seriousness of his illness. The chilling
desolation of its first movement’s first
subject seems to be a direct response to that
tragic news, the ‘strong–weak’ appoggiatura
in bar 2 sighing wearily or angrily throughout
the entire movement in both melody and
accompaniment. However, as in so much of
Schubert’s work, it is the moments of major
tonality which seem the saddest. Perhaps
only Mozart equals Schubert in this ability
to transform the sunshine of a major key into
a mood of heartbreak and pain.
The second movement is strangely
unsettling for three reasons: because of
the almost enforced normality of its theme
after the bittersweet bleakness of the first
movement; because this theme is doubled in
the tenor voice, a claustrophobic companion
seeming to drag it down; and because of
the constant, murmuring interjections (ppp)
between the theme’s statements. The
helter-skelter finale introduces a note of
panic, as triplets trip over themselves in their
scurrying counterpoint. Here, as in the first
movement, the glorious second subject, in
the major, seems unsure whether to laugh or
cry, calling to mind Rückert’s poem Lachen
und Weinen (Laughing and Crying) which
Schubert set as a song the same year.
César FRANCK (1822–1890)
Prelude, Chorale and Fugue (1884)
It is a strange paradox that while organists
comment how Franck wrote for the organ like
a pianist, pianists point out how ‘organ-like’ his
piano music is. Both of these opinions have a
certain validity, however, because although he
spent most of his mature years of creativity
in the organ loft, Franck began his musical
life as a pianist, taking up his first organ
position as a means to supplement a meagre
living teaching the piano. It was only when
he was appointed organist at Ste-Clotilde
in 1858 that he began seriously to study the
use of the pedals – he had a Pleyel practice
pedal-board delivered to his home to help
him to use this ‘third hand’ with greater ease.
César-Auguste-Jean-Guillaume-Hubert
Franck was born in Liège in 1822 and began
his musical studies at Liège Conservatoire
at the age of eight. Franck’s father saw
the burgeoning talent of his son as pianist
and composer and, being not unaware
of the lucrative possibilities for a young
virtuoso at the time, decided to take him on
a small concert tour of Belgium. This was
the beginning of a period of irresponsible
exploitation by a ruthlessly ambitious father
which was to last well into the 1840s. Franck
was forced to compose party pieces for
superficial salon gatherings – everything
was 'brilliant' or 'grand', but the rhinestone
roulades show up as fake in the innocent light
of Franck’s shyness and humility.
8

In 1835 the family moved to Paris, and a year
later Franck entered the Conservatoire there.
He began teaching classes at the family home
and also visiting numerous private pupils. His
gruelling journeys all over Paris, in addition to
his studies and salon performances, were to
prove an intolerable strain on the young man
over the following years. His father would
calculate the travel time between pupils with
a cruel exactitude to maximize his son’s earning
capacity and to make sure that he returned
home as quickly as possible to continue his
piano practice: ‘If you are disobedient, you
know it is your mother who suffers for it.’
This endless round of teaching continued
along with the giving of concerts, but when
Franck’s health began to break in 1844, the
father reluctantly settled on a teaching life
for him. It was around this time that Franck
began to teach Félicité Desmousseaux, who
was to become his wife; the Desmousseaux
family gave him the support and courage he
needed to finally leave his paternal home.
For the next 40 years Franck wrote almost
nothing more for solo piano, which is hardly
surprising considering the life of drudgery
and pain which the piano had represented.
To be a pianist in 19th-century France meant
being a virtuoso, and the piano was the
archetypal vehicle for the most superficial
kind of musical expression. It was with relief
that Franck set aside the perfume and pearls
of the salon for the incense and icons of
the Church, and it was not until 1884, with
the confidence and experience of passing
years, that he turned again to the solo piano
and wrote what was to be the most deeply
felt and serious work for the instrument to
come out of France in the 19th century: the
Prelude, Chorale and Fugue.
Franck’s original plan, according to his
pupil Vincent d’Indy, was to write a plain
Prelude and Fugue, the venerable form
made immortal by Bach and neglected since
Mendelssohn, a visibly serious alternative to
the plethora of virtuoso pieces which were
so popular at the time. After almost four
decades writing mainly organ music and
works inspired by sacred texts, the example
of Bach was an affirmation that secular
music could still retain a spiritual identity
in an abstract form. In fact it is significant
that the further Franck moved away from
specifically sacred music (his liturgical works
are particularly lifeless) the clearer and more
pure his spiritual vision seemed to become.
The decision to include a central section,
separate from, yet linking, the Prelude and
Fugue, came later (again according to d’Indy).
Perhaps Bach was the influence, with the
poignant slow interludes of his Clavier
Toccatas, to say nothing of the very word
‘chorale’ which was eventually used. In the
event, however, this central section became
the emotional core of the work, its ‘motto’
theme used as a symbol of redemption, and
as a unifying principle at the climax of the
Fugue.
When Saint-Saëns made a tart observation
about the piece – that the ‘Chorale is not
a chorale and the Fugue is not a fugue’ – he
was completely missing the point. The forms
here have become symbolic, the apotheosis
of their academic counterparts. Furthermore,
pianist Alfred Cortot described the Fugue in
the context of the whole work as ‘emanating
from a psychological necessity rather than
from a principle of musical composition’. It is
as if a ‘fugue’, as a symbol of intellectual
rigour, was the only way Franck could find a
voice to express fully the hesitant, truncated
sobs of the Prelude and the anguished,
syncopated lament of the Chorale. Not that
the Fugue solves the problem – this is the
function of the ‘motto’ theme; but the rules
of counterpoint have given the speaker a
format in which the unspeakable can be
spoken.
There are two motivic ideas on which the
whole three-part work is based: one, a falling,
9

ABOUT THE MUSIC
sighing motif used in all three sections and
generally chromatic in tonality; the other, a
criss-crossing motif in staggered descending
fourths (the ‘motto’ theme) which appears
first in the Chorale section, and then again as
a balm at the point where the Fugue reaches
its emotional crisis. The first motivic idea is
clearly related to the Bach Cantata ‘Weinen,
Klagen, Sorgen, Zagen’, and also to the
‘Crucifixus’ from the B minor Mass; the other
idea appears as the ‘bell motif’ in Wagner’s
Parsifal.
Adapted from a note © Stephen Hough
Stephen HOUGH (b 1961)
Piano Sonata III Trinitas (2015)
I Lento (Slow): Bold, stark
II Allegro (Fast): Punchy, jazzy
III Andante (At a walking pace):
Majestic, proud
Serialism: A system for composing, based
on use of a series of intervals (note-row)
involving in turn all 12 notes of the chromatic
scale in any order selected by the composer.
In its strictest application, no note should be
repeated until the other 11 have appeared
and the order of the series remains unaltered
throughout the work, with certain permitted
modifications.
– Excerpted from Michael Kennedy, The
Oxford Dictionary of Music
The composer writes:
Writing a piece today using a 12-note row
seems almost like stepping back into a period
drama – a bygone age with very different
fashions. But serialism is a technique, with
rules to be learned, used or, if desired,
rejected. In this piece it is also a symbol of
dogma, rules which can liberate or enslave.
The sonata (my third, in three sections, with
a row using connecting major and minor
thirds) is all about threes; and as it was
commissioned by The Tablet, a Catholic
magazine, I decided to include a religious
subtitle: Trinitas, Latin for Trinity, another
dogma, a theological ordering with numbers.
Twelve-note pieces are made to be analysed,
strictly speaking every bar can be picked
apart; but suffice to say that the row used
here has many tonal implications, not least
each time the G major of notes 10, 11 and
12 resolve to the C major of notes 1 and 2,
a constantly recurring perfect cadence.
In the first two sections the row is used
in a strict, traditional manner, but halfway
through the piece, the music lands on a
screeching C major chord at the top of the
piano and from here onwards, the start of
the third section, it begins a more eclectic
journey.
Firstly the row is used as the harmonic
foundation for a chaconne, then it is
splintered into hammering, repetitive loops
in G sharp minor, then it underpins with a
discordant shadow a familiar hymn tune
(Nicea, a setting of the Trinitarian text ‘Holy,
Holy, Holy’), then it disrupts the flow with a
recurring, passionate mantra. Finally, on the
last page, it appears vertically as a series
of 12 six-part chords, played as short and
as soft as possible, each chord leaving one
note hanging in the air and forming a new
12-note row in the closing seconds of the
piece. An arpeggio flourish is a reminder of
the loop music (and happens to introduce yet
another new row) as the music descends to
rest on the same C and E chord with which
the piece began.
© Stephen Hough
10

Franz LISZT (1811–1886)
Valses oubliées (Forgotten Waltzes),
S215 (1881–84)
No 1 Allegro (Fast)
No 1 Allegro vivace (Fast and lively)
Études d’exécution transcendante
(Transcendental Studies), S139 (1852)
No 11 Harmonies du soir (Evening
Harmonies)
No 10 [untitled] Allegro agitato molto
(Fast and very agitated)
Franz Liszt is perhaps best remembered as
the greatest piano virtuoso of the Romantic
era, whose dazzling technical precision
and histrionic personality as a performer
were capable of catapulting his adulating
audiences into a state of hysterical frenzy
(a veritable medical condition which came
to be described as ‘Lisztomania’). As a
conductor, composer and teacher Liszt
also strove tirelessly for the preservation
of the musical gems of the past, especially
Beethoven, whose complete symphonies
he transcribed for solo piano in an effort to
demonstrate the expressive and textural
depth available to the modern instrument,
as well as to shed new light on the genius
of Beethoven for a contemporary audience.
His forward-thinking approach to harmony
and to the capabilities of the piano, paired
with his own miraculous pianistic ability
(Liszt’s hand span meant he was able to
reach an interval of a tenth with little effort)
and championing of composers old and new
make Liszt one of the most seminal figures
of the 19th century and a vital ‘bridge’ into
the 20th.
Pianists of the 21st century still revere the
music of Liszt, for its thoughtful architecture
as much as for its well of technical
resources. A key example is the set of 12
Transcendental Études, ultimately developed
from a set composed in 1826 when Liszt
was just 15 and under the tutelage of Carl
Czerny. Their second iteration, the ‘Twelve
Grand Studies’ of 1837, elaborated on the
original set and took the form of a devilish
set of studies famously extolled by Robert
Schumann as being too difficult for anyone
other than Liszt to play. When they were
finally re-published as the Transcendental
Études in 1852, Liszt toned down the
technical demands, ‘rescuing,’ as pianist
Leslie Howard describes, ‘the musical intent
and poetry of the pieces.’
Typical of Liszt, the Études are bursting
with harmonic tension and transgression,
pushing the piano to its limits. Étude no 11,
Harmonies du Soir (Evening Harmonies), a
study in layered chords, interlocking hands
and rapid octave jumps, is initially pastoral
and tranquil in character, expanding its
distinctly orchestral sonic palette and
‘impressionistic' tonal ambiguity to the
extreme lower and upper reaches of the
keyboard as Liszt grandly disseminates the
Étude’s themes.
Étude no 10 is perhaps the best-known of
the set and bears a much more agitated
personality (captured in its performance
marking of Allegro agitato molto). Explosions
of detailed passagework and an iconic series
of octave D flats, insistently hammered
out by the right hand, lie at the core of this
dramatic study.
Liszt’s Valses oubliées (Forgotten Waltzes)
appeared much later in the composer’s
life, over a period of four years in his early
seventies. Having produced very little music
11

ABOUT THE MUSIC
in dance forms during the preceding 40 years,
the waltzes are inevitably imbued with a
sense of introspection and wistfulness, albeit
within the framework of modern harmonic
language and delivered with a knowing
(perhaps even sardonic) wink. The first and
best known of the set, no 1 in F sharp major,
juxtaposes a jittery opening theme with a
charming legato waltz subject, revelling in
the danceable thrust of its time signature
and coloured with grace-note ornaments
and subtly jarring chromaticism. Having
expended its mischievous energy, the waltz
concludes in an almost comically ambiguous
fashion.
Waltz no 2 is more cryptic, relentlessly
dedicated to establishing an air of
playfulness through its ‘up again, down
again’ sequential figures and lurching oompah-pah
bass, only to suddenly settle into a
more expansive chorale-like mid-section.
Stephen Hough writes of the Valses
oubliées:
'Liszt, no stranger to French salons, wrote
his Valses oubliées later in his life when he
had left the world of swishing, sparkling
gowns, and these waltzes draw back
a curtain on a world of mysticism and
the supernatural. The Forgotten Waltz
(or, perhaps, half-remembered waltz)
explores a deeply disturbing world of faulty
recall: could it be the partner from long
ago who has slipped the mind rather than
the music?'
Luke Iredale © 2016
12

FURTHER EXPLORATION
Stephen Hough Discography
On Chandos:
Hummel: Piano Concerto no 3 in B minor,
op 89 / Piano Concerto no 2 in A minor, op 85
(English Chamber Orchestra)
On Virgin Classics:
Stephen Hough: Liszt
The Piano Album 1 (Originally released
on Musicmasters as My Favorite Things:
Virtuoso Encores)
The Piano Album 2
Brahms: Piano Concertos nos 1 and 2
(BBC Symphony Orchestra)
On Hyperion:
Xaver Scharwenka: Piano Concerto no 4 in
F minor / Emil von Sauer: Piano Concerto no 1
in E minor (City of Birmingham Symphony
Orchestra / Lawrence Foster)
Piano Music by York Bowen
Piano Music by Federico Mompou
New York Variations
Stephen Hough’s New Piano Album
Saint-Saëns: The Complete Works for
Piano and Orchestra (City of Birmingham
Symphony Orchestra)
Stephen Hough’s English Piano Album
Hummel: Piano Sonatas
Rachmaninoff: Piano Concertos nos 1, 2, 3
and 4 / Rhapsody on a Theme of Paganini
(Dallas Symphony Orchestra / Andrew
Litton)
The Stephen Hough Piano Collection
Liszt: Années de pèlerinage – Première
année: Suisse
Stephen Hough’s Spanish Album
George Tsontakis: Man of Sorrows for
piano and orchestra
A Mozart Album
Stephen Hough in Recital
Chopin: Late Masterpieces
Tchaikovsky: Complete music for piano and
orchestra
Chopin: Complete Waltzes
Liszt / Grieg: Piano Concertos
Stephen Hough’s French Album
Brahms: Piano Concertos nos 1 and 2
(Mozarteum Orchestra Salzburg)
Stephen Hough: In the Night (includes
Schumann’s Carnaval and Hough’s own
Sonata no 2 notturno luminoso)
Grieg: Lyric Pieces
Scriabin & Janáček: Sonatas & Poems
On BIS:
Stephen Hough: broken branches
A full catalogue of works, discography and
biographical information can be found on
Stephen’s website: www.stephenhough.com
13

INTERVIEW WITH STEPHEN HOUGH
Stephen Hough is a familiar visitor to
Australia’s concert halls – and this muchloved
British pianist has a fascinating
story to tell about his own Antipodean
roots. But then, everything about Hough
is fascinating. He explores a vast range
of repertoire, records prolifically for the
Hyperion label and enjoys lively chamber
music relationships with such artists as
the cellist Steven Isserlis, with whom he
has toured for Musica Viva. His artistic
activities extend to composition, painting
and writing – he has been named one of
’20 Living Polymaths’ by The Economist –
and he is now working on a novel. Indeed,
he has evolved almost accidentally into the
modern-day equivalent of the great ‘golden
age’ composer–pianists of the past.
Far from finding his intense travel schedule
as a performer a hindrance to creativity,
Hough seems to thrive on it. ‘I find being
on the road is actually more creative
than being at home,’ he says. ‘I might get
musical ideas while warming up backstage.
And often there is more time on tour:
for instance, with American orchestras if
I have three concerts in a week, the second
and third nights I have nothing to do until
the evening concert except practise. If
I have a piece to write I assemble sketches
throughout the year, all the time; finally
comes the moment when I sit down and
put it all together.’
Hough’s program for his Musica Viva tour
includes his own latest piano work, the
Sonata III Trinitas – which follows in his
output hot on the heels of two other sonatas,
the first of which was co-commissioned by
Musica Viva, the Wigmore Hall in London
and the Louvre in Paris.
© KEITH SAUNDERS
14

Initially, he says, he had not been eager
to write music to perform himself – but
gradually this outlook has altered. ‘What’s
funny is that I hadn’t been planning to do
that,’ he says. ‘But the commission of the
Sonata no 1 started me off, and I think I
got over that point.’ He enjoys the fact that
other pianists are playing his works now,
but he also likes ‘having control over the
performance myself’.
The Sonata III qualifies as an Australian
piece, he half-jokes, because he has an
Australian passport. He grew up in Cheshire
in the north of England and discovered
his Australian connection relatively late.
‘My father was born in Australia,’ he
explains. ‘His parents were married in
India, where they were involved in the steel
business; they then went to Newcastle,
New South Wales, where the Australian
steel industry was based. My father was
born in 1926, and then my grandmother
took him back to India after a few months.
He never saw his father again. His father
tried to correspond with him, but his mother
intercepted the letters and they did not
make contact until much later.
‘I found that I was already Australian
by law, because if someone was born
here before 1947, it made their children
automatically Australian. Getting an
Australian passport seemed a nice way
to tie together the loose ends of a slightly
tragic story.’
In the new sonata, commissioned jointly by
the Catholic magazine The Tablet and the
Barbican Centre, Hough – whose Catholic
faith is a driving force in his creativity – has
been inspired by the symbolism of the
number three and what he sees as the
parallel dogmas of the Trinity in the church
and of 12-tone serialism in music.
It forms part of a program that begins with
Schubert’s A minor Sonata, D784, one of
the composer’s most concentrated and
tragic piano works. ‘The whole first half is a
progression from darkness to light,’ Hough
says. ‘In the Schubert there almost isn’t
any light at all. Even when it goes into the
major, it’s more heart-breaking than it is in
the minor. Then the Franck Prelude, Chorale
and Fugue is an incredible, deep-suffering
piece that, at the end, has an amazing
opening-out: you really do come out of the
darkness.
‘There’s a triptych idea behind this as
well: the three-movement Schubert, the
Franck in three parts, and my sonata being
the Trinitas. Then there is Liszt: I feel
a very strong connection myself with Liszt
because I play so much of his music, but
also between Liszt and Schubert because
Liszt’s transcriptions brought Schubert’s
song literature to a wider audience.’
And so the program comes full circle –
rather like Hough’s Australian connection.
‘I love coming to Australia,’ he remarks.
‘I love the quality of the light and the
space – not just geographical, but also
artistic. The traditions here are much less
lengthy and ‘stuck’. There’s room to feel
that you can bring this music and it’s fresh
and new.’
Jessica Duchen © 2015
15

SHARON RASCHKE (1938–2016)
The Newcastle concert on 21 April is presented in memory of
Sharon Raschke.
The early days of Musica Viva Australia
were dominated by extraordinary women.
Of course there were men who provided
inspiration and motivation, but it was women
like Regina Ridge in Sydney and Edith Dubsky
in Adelaide who were the public face of the
organisation.
Among this group of passionately
committed and idiosyncratic organisers was
Sharon Raschke in Newcastle. It was her
enthusiastic initiative that brought the first
Musica Viva touring groups to perform here
in 1962: the pre-eminent Hungarian Quartet,
followed by the equally celebrated Budapest
Quartet.
There were Musica Viva concerts at that
time in several state capitals, but Newcastle
remains the only non-capital branch of the
now national organisation.
Sharon Raschke was a promising young
Melbourne-trained concert pianist who
was committed to bringing chamber music
of the highest order to her newly adopted
home. With a growing family of five young
children, she found time to introduce full
concert seasons: nurturing subscriptions,
negotiating the printing of brochures, tickets
and programs, booking halls and hotels as
well as generating publicity and balancing
the books.
She was supported by a committee, but on
concert days she met the artists’ train, took
them to rehearse, cooked a post-concert
dinner, wrote the review for the next day’s
newspaper and later took the artists, already
firm friends, to catch the train back to Sydney.
On one occasion the children found and ate
the dessert for the Hungarian Quartet’s
supper. But famous musicians were generally
delighted to be included in the life of a real
family.
It was Sharon’s uncompromising musical
intelligence, life-enhancing enthusiasm and
sensitive awareness of the needs of music
and musicians which held it all together and
made her many friends.
When she retired from Musica Viva activities
in 1976 to pursue her own career, she left
the well-grounded organisation we recognise
today.
Perhaps things became less exciting, with
no last-minute move of a whole concert to
the cathedral on a wet night, when Benny
and the Jets unexpectedly struck up in the
City Hall supper room directly below the
stage where the Pražák Quartet was about
to perform. Those were stirring days.
Sharon was brilliant, a primal force.
Her legacy lives on.
Jill Stowell, 20 January 2016
16

DR STEVEN KINSTON (1908–1996)
The Brisbane concert on 26 April is presented in memory of
Dr Steven Kinston.
A dental practitioner and a fine pianist,
Dr Steven Kinston was one of a number of
European immigrants whose contribution
to Australia’s artistic life in the 1950s and
1960s helped transform the soul and face of
the nation.
When he and his younger brother, Paul,
arrived in Brisbane in 1938 as Jewish
refugees, they found a place where the
arts were struggling to gain a foothold in a
relatively new nation. Over the next decade,
Dr Kinston contributed substantially to
the development of Brisbane’s artistic life,
founding the Brisbane branch of Musica Viva
Australia.
Born in 1908 in the small town of Kolomea,
Romania, Steven Kinston grew up in
Czernowicz (Cernăuți) where anti-Semitism
and discrimination marred his childhood.
Although possessing high intelligence and
musical ability, he was barred entrance
to any local university. He travelled to
Italy, where anti-Jewish feeling was less
pronounced, and was welcomed into both the
University of Florence and, simultaneously,
that city’s Luigi Cherubini Conservatorium
of Music. In 1933 he graduated with an
unprecedented two degrees: one in medicine,
with a speciality in dentistry, and another
from the Conservatorium, where he also won
a national piano competition.
At this time it became obvious to Dr Kinston
that his family needed to find a new life
and a new country if they were to survive
Mussolini’s alliance with Hitler. He was
granted refugee status by Australia and
before emigrating, returned to Romania to
say farewell to his parents. The Romanian
government immediately conscripted
Dr Kinston into the army and prevented
his leaving the country. Only a series of
undercover arrangements allowed him and
his brother to cross the border to freedom.
After his arrival in Brisbane he auditioned
for the ABC and was accepted on its roster
of soloists. He also established a successful
dental practice.
When business and personal commitments
necessitated the family’s move to Sydney
many years later, Dr Kinston remained a
passionate supporter of Musica Viva and
of the arts in general. His achievements
were made possible through the support
and encouragement of his wife, Lena.
Throughout their 53 years together, he was
intensely devoted to her and to their two
children.
His lifetime commitment to his adopted
country was epitomised by one of his
favourite sayings: ‘The soul of a country is
expressed in its art.’
David Colville
17

String Quartet
The sparkling and joyous Enso String Quartet bring performances of
bold Spanish flavours, beloved classics, and a brand new work written
just for them, in music by Ginastera, Beethoven, Ravel and Broadstock.
TOURING
30 May – 18 June
musicaviva.com.au/Enso
1800 688 482

We’re passionate about
the same things as you
Dixon Advisory are proud partners of
Musica Viva and passionate supporters of
the 2016 International Concert Season.
We are also passionate about helping
Australians and for more than 30 years
we’ve supported Australian families to
achieve a better retirement outlook.
If you’re looking to partner with someone
who is passionate about the same things
as you are visit dixon.com.au or call
1300 883 158
Daryl Dixon
Executive Chairman
Nerida Cole
Managing Director,
Financial Advisory

MUSICA VIVA PATRONS
We thank the generous individuals and families who make an important contribution to our
activities each year. Every gift is important, ensuring that Musica Viva remains at the forefront of
artistic excellence and that our award-winning education program continues to reach children
who would otherwise have no access to the inspirational experience of live music. To make a gift
to Musica Viva, please contact Hywel Sims on (02) 8394 6672 or hsims@musicaviva.com.au
MUSICA VIVA CUSTODIANS
People who have notified us of their intention to leave a gift to Musica Viva in their will are part of a
very special group of Musica Viva Custodians. A bequest to Musica Viva will enable Musica Viva to
continue presenting performances of the highest quality to the widest range of audiences across
Australia, well into the future. To discuss, in confidence, a bequest gift, please contact Hywel Sims.
ACT
Geoffrey & Margaret Brennan
The late Ernest Spinner
NSW
The late Sibilla Baer
The late Dr Anthony J Bookallil
The late Charles Berg
Lloyd & Mary Jo Capps
The late Moya Jean Crane
Liz Gee
Suzanne Gleeson
The late Margaret Hedvig
The late Suzanne Meller
Art Raiche
The late John Robson
Dr David Schwartz
The late Kenneth W Tribe ac
Deirdre Nagle Whitford
Kim Williams am
Ray Wilson oam
The late Elisabeth Wynhausen
Anonymous (4)
QLD
The late Miss A Hartshorn
The late Steven Kinston
SA
The late
Ms K Lillemor Andersen
The late Edith Dubsky
Mrs G Lesley Lynn
Anonymous (1)
TAS
Trevor Noffke
Kim Paterson qc
VIC
Julian Burnside ao qc
In memory of Anita Morawetz
The family of the late
Paul Morawetz in his memory
The late Mrs Catherine Sabey
The late Mrs Barbara Shearer
Mary Vallentine ao
The late Dr G D Watson
Anonymous (2)
WA
Dr W B Muston
Anonymous (2)
AMADEUS SOCIETY
The Amadeus Society exists to help bring the excitement and inspiration of the world’s most
extraordinary musicians to Australian audiences. In 2015, the Society provided significant support
for the Tafelmusik and Maxim Vengerov national tours. This year, the Society has been proud to
support the world premiere and national tour of Voyage to the Moon. To learn more about the
Amadeus Society and how you can help bring some of the world’s leading international artists to
Australia, please contact Hywel Sims on (02) 8394 6672 or hsims@musicaviva.com.au
Ruth Magid (Chair, Sydney) &
Bob Magid
Julian Burnside ao, qc
(President, Melbourne) &
Kate Durham
The Hon. Justice Annabelle
Bennett ao
Tony Berg am & Carol Berg
Marc Besen ac & Eva Besen ao
Ms Jan Bowen am
Tom Breen & Rachael Kohn
20
David Constable am &
Dr Ida Lichter
Dr Cyril Curtain
Jennifer Darin & Dennis Cooper
Daryl & Kate Dixon
Dr Helen Ferguson
Ms Annabella Fletcher
William J Forrest am
Eleanore Goodridge
Alan Goldberg ao, qc &
Rachel Goldberg
Reg & Kathie Grinberg
Jennifer Hershon & Russell
Black
Penelope Hughes
Jacqueline Huie
Michael & Frederique Katz
Peter Lovell
The Hon. Jane Mathews ao
Paul Nisselle am
Professor John Rickard
Ray Wilson oam

MUSICA VIVA PATRONS
MAJOR GIFTS
ACT
$10,000 +
Anonymous (1)
NSW
$100,000 +
The Berg Family Foundation
Katherine Grinberg, in honour
of the late Adrienne Nagy &
Yolanda (Nagy) Daniel
$20,000 – $99,999
Geoff Ainsworth am &
Johanna Featherstone
Anne & Terrey Arcus
Reg & Katherine Grinberg
Tom & Elisabeth Karplus
Michael & Frederique Katz
The Hon. Jane Mathews ao
Geoff Stearn
Ray Wilson oam
$10,000 – $19,999
Tom Breen & Rachael Kohn
David Constable am &
Dr Ida Lichter
Jennifer Darin & Dennis Cooper
Daryl & Kate Dixon
Jennifer Hershon &
Russell Black
Jacqueline Huie
Stephen Johns & Michele
Bender
Ruth & Bob Magid
Vicki Olsson
David & Carole Singer
Anthony Strachan
John & Jo Strutt
Anonymous (1)
$5,000 – $9,999
The Hon. Justice Annabelle
Bennett ao
Ms Jan Bowen am
Neil & Sandra Burns
Christine Davis
Eleanore Goodridge
Hilmer Family Endowment
Warren & Verity Kinston
Andrew & Lesley Rosenberg
Andy Serafin
Godfrey Turner Memorial
Music Trust
Anonymous (2)
QLD
$10,000 +
Ian & Caroline Frazer
The MacNichol Family
Justice Anthe Philippides
Anonymous (1)
$5,000 – $9,999
Andrea & Malcolm Hall-Brown
SA
$20,000 +
Day Family Foundation
Marsden Szwarcbord
Foundation
$5,000 – $19,999
Aldridge Family Endowment
Lang Foundation
Anonymous (2)
VIC
$50,000 +
Julian Burnside ao qc
$40,000 – $49,999
Anonymous (1)
$20,000 – $39,999
Newman Family Foundation
$10,000 – $19,999
Marc Besen ac & Eva
Besen ao
Grosvenor Foundation
Greg Shalit & Miriam Faine
$5,000 – $9,999
Esther & Brian Benjamin
Dr Cyril Curtain
Dr Helen Ferguson
William J Forrest am
Penelope Hughes
Peter Lovell
Dr Paul Nisselle am
Professor John Rickard
Stephen Shanasy
Tony Wheeler ao & Maureen
Wheeler ao
Anonymous (1)
WA
$10,000 – $19,999
Linda Matthews & Robin
Budden
$5,000 – $9,999
David Cooke
Anonymous (2)
KEN TRIBE FUND FOR AUSTRALIAN COMPOSITION
Friends of Peter Burch
Julian Burnside ao qc
The Huntington Estate Music Festival Collective
The Silo Collective
John & Jo Strutt
Kim Williams am
THE HILDEGARD PROJECT in support of women in composition
This project is made possible by a generous gift from Katherine Grinberg in honour of the
late Adrienne Nagy and her sister Yolanda (Nagy) Daniel.
MASTERCLASSES
The Musica Viva Masterclass program is supported by Lyn Hamill & Ian Dover (Queensland),
Wesfarmers Arts (Western Australia) and Mary Turner oam (Newcastle).
21

MUSICA VIVA PATRONS
VIRTUOSI
ACT
$2,500 – $4,999
Kristin van Brunschot
& John Holliday
Dr Seng Thiam Teh
Anonymous (1)
$1,000 – $2,499
Geoffrey & Margaret
Brennan
Claudins van der
Busserl
Dr Marian Hill
Kerrie Nogrady
Margaret Oates
Helen O’Neil &
Stephen Mills
Sue Packer
Craig Reynolds
Penny Rogers
Dr Andrew Singer
Arn Sprogis & Margot
Woods
Robert & Valerie Tupper
Janice C Tynan
Anonymous (2)
$500 – $999
Susan Edmondson
Christine Goode
Margaret Goode
Mr Rohan Haslam
Kingsley Herbert
Roger & Vivien
Hillman
Elspeth Humphries
Claudia Hyles
Margaret & Peter
Janssens
Margaret Lovell &
Grant Webeck
In memory of
Tony McMichael
Helen Rankin
Clive & Lynlea Rodger
Sue Terry & Len Whyte
Margaret Vincent
Theanne Walters
Dr Paul &
Dr Lel Whitbread
Ann Woodroffe
NSW
$2,500 – $4,999
Michael & Margaret
Ahrens
Baiba Berzins
Catherine Brown-Watt
& Derek Watt
Lloyd &
Mary Jo Capps
Iven & Sylvia Klineberg
Kevin McCann am &
Deidre McCann
Robert McDougall
Patricia H. Reid
Endowment Pty Ltd
Paul Salteri am &
Sandra Salteri
Mary Turner oam
Kay Vernon
Anonymous (3)
$1,000 – $2,499
David & Rae Allen
Dr Warwick Anderson
Andrew Andersons ao
& Sara Bennett
Mrs Kathrine Becker
Mr & Mrs N K
Brunsdon
Robert Cahill &
Anne Cahill oam
Yola & Steve Center
Patricia Curotta
Sarah & Tony
Falzarano
Mr Douglas Farrell
Lothar & Helen Fulde
John & Irene Garran
Dr David & Mrs Jenny
Goldstein
Sian Graham
Fay Grear
In loving memory of
Jose Gutierrez
Miss Janette Hamilton
Mrs Lindy &
Mr Robert Henderson
Gerald Hewish
Dorothy Hoddinott ao
Dr Beatrice Janssen
Mathilde Kearny-Kibble
Leta Keens
Mrs W G Keighley
Penny Le Couteur &
Greg Dickson
Helen Lyons
Liz & Craigie Macfie
D M & K M Magarey
Suzanne & Tony
Maple-Brown
A & E Marshall
Alexandra Martin
Michael & Janet
Neustein
Paul O’Donnell
William Orme
Beryl Raymer
Roslyn Renwick
Sue & John Rogers
John Sharpe & Claire
Armstrong
Caroline Sharpen &
Andrew Parker
Hywel Sims
Aveen & Ashley
Stephenson
Dr Elizabeth Watson
John & Flora
Weickhardt
Michael & Mary
Whelan Trust
Christopher Whitehead
& Peter Wilson
Edward Wills and the
late Yvonne E Wills
Anonymous (9)
$500 – $999
Judith Allen
Jennifer Arnold
Mr & Mrs W R Arnott
Kees Boersma
Gay Bookallil
Denise Braggett
Maxine Brodie
Hilary & Hugh Cairns
Donald Campbell &
Stephen Freiberg
Lucia Cascone
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Chesterman
John & Rosemary
Clarke
Phillip Cornwell
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Peter Cudlipp &
Barbara Schmidt
Robin Cumming
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Kate Girdwood
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Graham
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Hicks
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David & Jennifer
Jacobs
Dr Esther Janssen
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Kench
Geraldine Kenway
John & Genevieve King
Graham & Sue Lane
Margaret Lederman
Dr Deborah Lloyd
The Macquarie Group
Foundation
Timothy Matthies &
Chris Bonnily
Music Teachers’
Association of NSW,
Newcastle Branch
Liz Nielsen
Professor Robin Offler
Diane Parks
Christina Pender
Dagmar & Robin Pidd
Dr Lynette Schaverien
Carl Segal
Ms Anita Semler
Mr Shane Simpson am
Jonathan Tapp &
Kate Steinbeck
Philippa Strutt
Janet Tepper
Ruth & Dennis Tighe
Evan Williams am &
Janet Williams
Megan & Bill
Williamson
Peter Wilton
Michael Zolker
Anonymous (8)
QLD
$2,500 – $4,999
Lyn Hamill & Ian Dover
Dr Amanda Hume
22

$1,000 – $2,499
Janet Franklin
John & Lynn Kelly
Andrew & Kate Lister
Jocelyn Luck
B & D Moore
Anonymous (1)
$500 – $999
A & E Grant
Jankees van der Have
Marie Isackson
Diana Lungren
Dr James MacKean
John Martin
Debra & Patrick Mullins
Michelle Wade &
James Sinclair
Anonymous (2)
SA
$2,500 – $4,999
The Hon D J &
Mrs E M Bleby
Anonymous (1)
$1,000 – $2,499
Ivan & Joan Blanchard
Beverley A Brown
David & Kate Bullen
John & Libby Clapp
Josephine Cooper
Jacqueline Cornell
Dr E H & Mrs A Hirsch
Brian L Jones oam
Bronwen L Jones
Jenny & Christopher
Legoe
Mark Lloyd &
Elizabeth Raupach
Skye McGregor
Fiona MacLachlan oam
H & I Pollard
Trish & Richard Ryan ao
Tony & Joan Seymour
Emma Trengove
Robert & Glenys
Woolcock
Anonymous (3)
$500 – $999
In honour of the late
Janice Ann Argue
Professor Judith Brine
Rosie Burn
Chris & Margaret Burrell
Dr Judy Davey
Dr Michael Drew
Lorraine Drogemuller
Roger Goldsworthy
Carolyn Grantskalns
Elizabeth Ho oam, in
honour of the late
Tom Steel
Ruth Marshall &
Tim Muecke
Dr S Marsden &
Mr M Szwarcbord
David & Ann Matison
P M Menz
Ms Judy Potter
Margaret Sando
Bridget Throsby
June Ward
William Wells qc
Jim & Ann Wilson
Anonymous (3)
VIC
$2,500 – $4,999
Tom Cordiner
The Goodman Family
Foundation
Lyndsey & Peter
Hawkins
Jenefer & Marston
Nicholas
Ralph & Ruth Renard
Helen Vorrath
$1,000 – $2,499
Dr William Abud
Beth Brown & Tom
Bruce am
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Chernov & Mrs
Elizabeth Chernov
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Clemente
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Kirsner
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Barbara Kolliner
David & Deborah
Lauritz
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Mrs Myer
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Nossal ac kt cbe &
Lady Nossal
Robert Peters
Greg J Reinhardt
Jacques & Susan Rich
Eda Ritchie am
Murray Sandland
Cameron Smith
Maria Sola
Dinos Toumazos
Mary Vallentine ao
Anonymous (4)
$500 – $999
Adrienne Basser
Jan Begg
Dr David Bernshaw
Wendy & Michael
Bertram
Mrs Maggie Cash
Vivien & Jack
Fajgenbaum
The Giglia Family
Brian Goddard
The Hon. George
Hampel am qc & Judge
Felicity Hampel sc
Ian Hogarth & Peter
Larsen
John V Kaufman qc
Angela Kayser
Irene Kearsey &
Michael Ridley
The Hon Ron Merkel qc
Lady Potter ac
Adele Schonhardt
Berek & Marysia Segan
Dr Mark Suss
Alex Tseng
Sefton Warner
Dr Victor & Dr Karen
Wayne
Anonymous (2)
TAS
$500 – $999
Gerard & Elizabeth
McShane
Rosalind O’Connor
Susanne Oldham
WA
$2,500 – $4,999
Maryanne Bell
Alan & Anne
Blanckensee
Bridget Faye am
Jamelia Gubgub &
David Wallace
Anne Last & Steve
Scudamore
Mrs Frances Morrell
$1,000 – $2,499
Christina Davies
Alan Dodge &
Neil Archibald
In memory of
Raymond Dudley
Judith Hugo
Freda & Jim Irenic
M E M Loton oam
Graham Lovelock &
Steve Singer
Diane Smith-Gander
Elizabeth Syme
Robyn Tamke
Lola Wilson
Anonymous (4)
$500 – $999
In Memory of
Flora Bunning
The Honourable
Fred Chaney ao &
Mrs Angela Chaney
Robert Da Prato
Michael & Wendy
Davis
Dr Nerida Dilworth am
Dr Penny Herbert,
in memory of
Dunstan Herbert
Helen Hollingshead
Megan Lowe
Johanna Majzner
Colleen Mizen
John Overton
Jane Rankine
Dr Anthony
Richardson
Ellie Steinhardt
Ms Diana Warnock oam
Anonymous (1)
If you have any
questions about this list,
please contact Claire
Burrell-McDonald on
(02) 8394 6636 or
cburrellmcdonald@
musicaviva.com.au
This list is complete as
at 29 March 2016.
23

MUSICA VIVA CONCERT PARTNERS
SERIES AND TOUR PARTNERS
Perth Concert Series
Coffee Concert Series
BUSINESS PARTNERS
Law Firm Partner
Chartered Accountants Partner
Digital Innovation Partner
Piano Partner
HOTEL PARTNERS
MEDIA PARTNER COSTUME PARTNER ARTS & HEALTH PARTNER
National Media Partner
GOVERNMENT PARTNERS
Musica Viva is assisted by the Commonwealth Government
through the Australia Council, its arts funding and advisory body.
Musica Viva is assisted by the NSW Government through Arts NSW.
24 32

MUSICA VIVA EDUCATION PARTNERS
MUSICA VIVA IN SCHOOLS
National
National Education Partner
NSW
WA
Godfrey Turner
Memorial Trust
Funded by the Perpetual
Foundation – Alan (AGL)
Shaw Endowment
National Education Partner
VIC
QLD
In memory of
Anita Morawetz
Hamer Family Fund
The Marian &
E H Flack Trust
SA
TAS
Day Family
Foundation
Marsden
Szwarcbord
Foundation
ACT
NT
ARTS & HEALTH PARTNER
25

STORIES TO INSPIRE
Making New Connections
Musicians from Musica Viva In Schools’
ensemble Shrewd Brass are agile in
their ability to make significant impact in
vastly different situations. Last year their
performances in new contexts ranged from
lunch-time street music in Brookfield’s
Southern Cross Lane in Melbourne, through
to performances for Emerson School, a
P–12 specialist school in Dandenong, Victoria,
catering for students with intellectual
processing disabilities.
Two groups, the Arcadia Quintet and
Shrewd Brass, performed in December
for lunch-time crowds in Southern Cross
Lane, bringing live music making into the
Brookfield-owned space. Enjoyment was
palpable.
Shrewd Brass in Southern Cross Lane, Melbourne.
26

For Emerson School, Shrewd Brass performed
two concerts, with accompanying Musica
Viva In Schools education resources to
match the school’s aims of providing an
expansive curriculum, a stimulating learning
environment and encouraging students’
independence and creativity in developing
their full potential. This was a first visit to
Emerson School by Musica Viva In Schools.
One of their students, Taleah, wrote about
the visit, sending the photo below:
‘The first thing they played was Jericho
Rock and that was a really good beat and
amazing. All the Middle School teachers
and students were at the concert…There
were Trumpets, (French) Horn, Trombone,
and my favourite instrument, the Tuba.
They explained about all the instruments
they know and played music from the
Olympics, ANZAC ceremonies, and
The Simpsons.’
Shrewd Brass at Emerson School.
Musica Viva’s mission is to give all Australian
children access to quality music education,
and the generous philanthropic funding of
the Equal Music program enabled these
concerts. Our ensembles bring valuable
musical experiences to school communities,
reflected in this Emerson School teacher’s
response:
‘I thought they were remarkable. I thought
it could be disastrous for the kids with
autism, but the musicians were so engaging
from the very beginning that there were no
noise issues at all!! Apart from being superb
musicians they were also superb engagers.
They were tuned into our students and kept
them involved and loving it the whole time.
I was really sorry to see it end.’
If you are interested in learning more about how you can support our work, please contact
Hywel Sims (02) 8394 6672 or hsims@musicaviva.com.au
27

FOR YOUR CONCERT ENJOYMENT
GIVE THIS CONCERT YOUR BEST PERFORMANCE…
WE OFFER THESE SUGGESTIONS IN THE KNOWLEDGE THAT YOU WANT TO
ENJOY EVERY MUSICA VIVA AUSTRALIA CONCERT TO THE FULL. SO PLEASE…
ARRIVE IN PLENTY OF TIME. In most venues,
staff will not admit latecomers until a suitable
break in the performance. Musica Viva and venue
management reserve the right of refusing admission.
SWITCH OFF YOUR MOBILE PHONE before the
concert commences. Patrons expecting emergency
calls should leave their seat numbers with the
House Manager.
ACCESSIBILITY. Musica Viva concert venues are
committed to providing the best possible services
for patrons with disabilities. Please let the staff
know of your special requirements at the time of
booking or when you arrive.
For hearing-impaired patrons, most halls provide
a hearing induction loop you may access. In order
to do this, please switch your hearing aid to the
“T” position.
NOTE THE LOCATION OF THE CLOSEST EXIT
SIGN. In the unlikely event of an emergency,
please listen carefully to the staff’s instructions.
Venue staff are trained in emergency procedures
and will assist and direct you should such an
occasion arise.
DO NOT TAKE PHOTOGRAPHS, VIDEO OR
SOUND RECORDINGS OF THE PERFORMANCE.
Most venues strictly prohibit this, and it may also
breach copyright.
RESERVE APPLAUSE UNTIL THE
CONCLUSION OF EACH WORK. A good rule
of thumb is to show your appreciation at the
conclusion of a work – then you can clap as long
and loudly as you like!
WAIT UNTIL THE PERFORMERS HAVE TAKEN
THEIR FINAL BOW BEFORE LEAVING THE
HALL. It’s difficult to squeeze past other seated
patrons, and you might just miss an unforgettable
encore.
Smoking is not permitted in this venue.
Musica Viva Australia reserves the right to alter
without notice programs, performers, dates, times,
venues and/or prices as may become necessary.
…FELLOW PATRONS WILL APPRECIATE YOUR THOUGHTFULNESS AND COURTESY
28
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THE WAGNER GALA
FROM THE SEMPEROPER DRESDEN
Principal Conductor Christian Thielemann,
joined by superstar tenor Jonas Kaufmann.
SUNDAY 22ND MAY AT 9PM AEDT
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