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<strong>Stephen</strong> <strong>Hough</strong> piano<br />
ADELAIDE<br />
THURSDAY 14 APRIL, 7.30PM<br />
ADELAIDE TOWN HALL<br />
CD signing after concert<br />
BRISBANE<br />
TUESDAY 26 APRIL, 7PM<br />
CONSERVATORIUM THEATRE<br />
GRIFFITH UNIVERSITY, SOUTH BANK<br />
Recorded for broadcast on 4MBS FM<br />
Meet the Artist after concert<br />
CANBERRA<br />
THURSDAY 28 APRIL, 7PM<br />
LLEWELLYN HALL,<br />
ANU SCHOOL OF MUSIC<br />
CD signing after concert<br />
MELBOURNE<br />
TUESDAY 19 APRIL, 7PM<br />
ELISABETH MURDOCH HALL,<br />
MELBOURNE RECITAL CENTRE<br />
Meet the Artist after concert,<br />
with Glen Riddle (Salon)<br />
NEWCASTLE<br />
THURSDAY 21 APRIL, 7.30PM<br />
HAROLD LOBB CONCERT HALL,<br />
NEWCASTLE CONSERVATORIUM OF MUSIC<br />
Recorded for broadcast on 2NUR<br />
Meet the Artist after concert (Onstage)<br />
PERTH<br />
MONDAY 2 MAY, 7.30PM<br />
PERTH CONCERT HALL<br />
Meet the Artist after concert<br />
SYDNEY<br />
SATURDAY 16 APRIL, 2PM<br />
CITY RECITAL HALL<br />
Recorded for broadcast on Fine Music FM<br />
Meet the Artist after concert (Function Room)<br />
MONDAY 18 APRIL, 7PM<br />
CITY RECITAL HALL<br />
Direct broadcast on ABC Classic FM<br />
CD signing after concert<br />
SATURDAY 30 APRIL, 7PM<br />
ELISABETH MURDOCH HALL,<br />
MELBOURNE RECITAL CENTRE<br />
CD signing after concert<br />
Musica Viva is assisted by the Commonwealth Government<br />
through the Australia Council, its arts funding and advisory body.<br />
Musica Viva is assisted by the NSW Government through Arts NSW.
FROM THE ARTISTIC DIRECTOR<br />
Recitals by <strong>Stephen</strong> <strong>Hough</strong> are invariably<br />
distinguished by a surprising blend of the<br />
cerebral and the visceral – music that engages<br />
the heart as well as the mind, and that is<br />
delivered with precise yet entirely organic<br />
artistry.<br />
© KEITH SAUNDERS<br />
On this concert tour <strong>Stephen</strong>’s program<br />
focuses on a trinity of his favourite composers,<br />
Schubert, Franck and Liszt. Schubert’s A minor<br />
Sonata D784 is in three movements – another<br />
trinity – as is Franck’s Prelude, Chorale and<br />
Fugue, and these two works form for <strong>Hough</strong><br />
a linked musical journey from darkness to<br />
light.<br />
It is easy to forget the seminal influence<br />
that Liszt’s music had on the evolution of<br />
compositional technique in the 19th century.<br />
Like <strong>Hough</strong>, Liszt was a remarkable pianist<br />
as well as an extraordinary composer, and his<br />
music has inspired <strong>Stephen</strong> as a committed<br />
advocate of its performance, as well as by the<br />
craftsmanship of its structure.<br />
The program is bound together by <strong>Stephen</strong>’s<br />
own Piano Sonata III Trinitas, inspired by the<br />
importance of the number three within his<br />
CARL VINE ao<br />
ARTISTIC DIRECTOR<br />
MUSICA VIVA AUSTRALIA<br />
Catholic faith, and how ‘trinity’ in the church<br />
might also possibly relate to 12-tone serialism<br />
in music. As one should always expect with this<br />
surprising musician, matters of the intellect<br />
are bound to resonate with the emotional and<br />
the personal in his perpetual search for the<br />
transcendental.<br />
ADDITIONAL ACTIVITY<br />
<strong>Stephen</strong> <strong>Hough</strong> will perform in Hobart Town Hall on Saturday 23 April at 8pm and at the<br />
Coffs Harbour Education Campus on Friday 6 May at 8pm as part of Musica Viva Australia’s<br />
CountryWide program.<br />
<strong>Stephen</strong> <strong>Hough</strong> will present the following masterclasses during this tour:<br />
Sydney: Friday 15 April, 4–6pm, Sydney Conservatorium of Music<br />
Melbourne: Friday 29 April, 4–6pm, Australian National Academy of Music<br />
For further details, please go to www.musicaviva.com.au/masterclasses<br />
The Musica Viva Masterclass program is supported by Lyn Hamill & Ian Dover (Queensland),<br />
Wesfarmer Arts (Western Australia) and Mary Turner oam (Newcastle).<br />
2
FROM THE CHIEF EXECUTIVE OFFICER<br />
In our capital city recital venues, one could<br />
easily forget how different one’s experience<br />
might be in regional centres across the country.<br />
Children and adults alike are often starved for<br />
the sort of musical experiences available daily in<br />
the larger cities.<br />
<strong>Stephen</strong> <strong>Hough</strong> is just one of our many<br />
international touring artists who appreciates<br />
this and, as a result, has made time during his<br />
busy tour in Australia to include centres less<br />
frequented by performers of his international<br />
stature. The sheer physical toll on touring<br />
artists is often enormous, so why do they make<br />
it even more so by extending their capital city<br />
tours? Each one of them would respond that<br />
the impact of regional touring on both performer<br />
and audiences is profound, and something that<br />
offers a unique joy to all the participants.<br />
Beyond the concert hall, we are developing<br />
CountryWide to embrace more residencies,<br />
building capacity in regional centres through<br />
workshops, masterclasses and directly<br />
working in classrooms. Naturally, that enables<br />
CountryWide to work even more closely with<br />
our Education program, the latter putting some<br />
of Australia’s finest musicians into classrooms<br />
as collaborators with teachers to bring every<br />
child the joy of live music.<br />
We have been extremely fortunate in having<br />
the support of foundations such as the Vincent<br />
MARY JO CAPPS<br />
CHIEF EXECUTIVE OFFICER<br />
MUSICA VIVA AUSTRALIA<br />
Fairfax Family, Farrell Family, Tim Fairfax Family<br />
and Godfrey Turner Trust to help us reach out<br />
to these far-flung areas, underpinned by the<br />
national sponsorship of Rio Tinto.<br />
So next time you are contemplating the<br />
sheer size of our country, consider that Musica<br />
Viva, with the help of its many supporters,<br />
large and small, ensures that fine music can<br />
be part of every point on that map. Visit<br />
www.musicaviva.com.au/regional to see a<br />
sampling of these events under our CountryWide<br />
banner in 2016.<br />
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musicaviva.com.au<br />
3
MEET THE ARTIST<br />
STEPHEN HOUGH<br />
<strong>Stephen</strong> <strong>Hough</strong> is regarded as a renaissance<br />
man of his time. Over the course of his<br />
career he has distinguished himself as a true<br />
polymath, securing a reputation not only as<br />
a uniquely insightful concert pianist, but also<br />
as a writer and composer. He is commended<br />
for his mastery of the instrument along with<br />
an individual and inquisitive mind which has<br />
earned him a multitude of prestigious awards<br />
and a long-standing international following.<br />
In 2001 <strong>Stephen</strong> <strong>Hough</strong> was the first classical<br />
performing artist to win a MacArthur Foundation<br />
Fellowship. He was awarded Northwestern<br />
University’s 2008 Jean Gimbel Lane Prize in<br />
Piano, won the Royal Philharmonic Society<br />
Instrumentalist Award in 2010 and in<br />
January 2014 was made a Commander of<br />
the Order of the British Empire (CBE). He has<br />
appeared with most of the major European<br />
and American orchestras, and plays recitals<br />
regularly in major halls and concert series<br />
around the world. His recent engagements<br />
include recitals in Chicago, Hong Kong,<br />
London, Paris, New York’s Carnegie Hall and<br />
Lincoln Center, Boston, San Francisco and<br />
Washington's Kennedy Center; performances<br />
with the Czech and London Philharmonic<br />
Orchestras, the New York Philharmonic, the<br />
Chicago, Boston, Pittsburgh, Detroit, Dallas,<br />
Atlanta and Toronto Symphony Orchestras,<br />
the San Francisco Symphony and St Louis<br />
Symphony, the National Symphony Orchestra,<br />
the Philadelphia and Minnesota Orchestras,<br />
Budapest Festival Orchestra and the Russian<br />
National Orchestra; and a performance televised<br />
worldwide with the Berlin Philharmonic and<br />
Sir Simon Rattle. He is also a regular guest at<br />
festivals such as Aldeburgh, Aspen, Blossom,<br />
Edinburgh, Hollywood Bowl, Mostly Mozart,<br />
Salzburg, Tanglewood, Verbier, Chicago’s Grant<br />
Park and the BBC Proms, where he has made<br />
over 20 concerto appearances, including<br />
playing all Tchaikovsky’s works for piano and<br />
orchestra over the summer of 2009, a series<br />
he later repeated with the Chicago Symphony.<br />
His 2015/16 season began with an extensive<br />
tour to Australasia, which included complete<br />
Beethoven concerto cycles in Australia and<br />
Singapore, followed by recitals in Beijing,<br />
Taipei and Tokyo. That season continued<br />
4
with return appearances with the Cleveland<br />
Orchestra, Los Angeles Philharmonic, San<br />
Francisco Symphony, Houston Symphony<br />
and the Montreal, Vancouver and New Jersey<br />
Symphony Orchestras among others in<br />
North America, as well as re-engagements<br />
with the London Philharmonic Orchestra<br />
and the Finnish Radio Symphony Orchestra<br />
in Europe; and recitals at New York’s 92nd<br />
Street Y, London’s Barbican Centre, and in<br />
Quebec, Kansas City and at Dartmouth and<br />
Northwestern University.<br />
Many of <strong>Stephen</strong> <strong>Hough</strong>’s catalogue of over<br />
50 albums have garnered international prizes<br />
including the Deutsche Schallplattenpreis,<br />
Diapason d’Or, Monde de la Musique, several<br />
Grammy nominations, eight Gramophone<br />
Awards including ‘Record of the Year’ in 1996<br />
and 2003, and the Gramophone ‘Gold Disc’<br />
Award in 2008, which named his complete<br />
Saint-Saëns Piano Concertos as the best<br />
recording of the past 30 years. His 2012<br />
recording of the complete Chopin waltzes<br />
received the Diapason d’Or de l’Année, France’s<br />
most prestigious recording award. His 2005<br />
live recording of the Rachmaninoff piano<br />
concertos was the fastest-selling recording in<br />
Hyperion’s history, while his 1987 recording of<br />
the Hummel concertos remains Chandos’ bestselling<br />
disc to date. His most recent releases,<br />
all for Hyperion, include Grieg’s Lyric Pieces;<br />
a recording of his own mass, Missa Mirabilis,<br />
with the Colorado Symphony and Andrew<br />
Litton; a recital disc with Steven Isserlis<br />
including <strong>Stephen</strong> <strong>Hough</strong>’s Sonata for cello<br />
and piano Les Adieux; a solo recital of Scriabin<br />
and Janáček; and the Dvořák and Schumann<br />
concertos with the City of Birmingham<br />
Symphony Orchestra and Andris Nelsons.<br />
<strong>Stephen</strong> <strong>Hough</strong> is also the featured artist in an<br />
iPad app about the Liszt Piano Sonata, which<br />
includes a fully filmed performance and was<br />
released by the cutting-edge, award-winning<br />
company Touch Press.<br />
Published by Josef Weinberger, <strong>Stephen</strong><br />
<strong>Hough</strong> has composed works for orchestra,<br />
choir, chamber ensemble and solo piano.<br />
His Mass of Innocence and Experience<br />
and Missa Mirabilis were respectively<br />
commissioned by and performed at London’s<br />
Westminster Abbey and Westminster<br />
Cathedral. In 2012, the Indianapolis<br />
Symphony Orchestra commissioned<br />
and performed <strong>Stephen</strong> <strong>Hough</strong>’s own<br />
orchestration of Missa Mirabilis, which<br />
was subsequently performed by the BBC<br />
Symphony as part of his residency with the<br />
orchestra. He has also been commissioned<br />
by the musicians of the Berlin Philharmonic,<br />
London’s National Gallery, Wigmore Hall,<br />
Le Musée du Louvre and Musica Viva Australia,<br />
among others, and he has performed his<br />
first two piano sonatas, Sonata no 1 broken<br />
branches and Sonata no 2 notturno luminoso,<br />
in recital programs in London, New York, St Paul<br />
and Chicago.<br />
A noted writer, <strong>Stephen</strong> <strong>Hough</strong> regularly<br />
contributes articles for The Guardian, The<br />
Times, The Tablet, Gramophone and BBC<br />
Music Magazine and was invited by the<br />
Telegraph in London in 2008 to start a blog<br />
that has become one of the most popular<br />
and influential forums for cultural discussion.<br />
His book The Bible as Prayer was published<br />
by Continuum and Paulist Press in 2007.<br />
<strong>Stephen</strong> <strong>Hough</strong> resides in London, where he<br />
is a visiting professor at the Royal Academy<br />
of Music, and holds the International Chair<br />
of Piano Studies at his alma mater, the Royal<br />
Northern College in Manchester. He is also<br />
a member of the faculty at The Juilliard<br />
School.<br />
www.stephenhough.com<br />
This is <strong>Stephen</strong> <strong>Hough</strong>’s third national solo<br />
recital tour for Musica Viva. His previous tours<br />
were in 2011 and 2007, and in 2002 he toured<br />
with Steven Isserlis.<br />
5
PROGRAM<br />
Franz SCHUBERT (1797–1828)<br />
Piano Sonata no 14, D784 (1823)<br />
I Allegro giusto (Just as fast as necessary)<br />
II Andante (At a walking pace)<br />
III Allegro vivace (Fast and lively)<br />
21 mins<br />
César FRANCK (1822–1890)<br />
Prelude, Chorale and Fugue (1884)<br />
18 mins<br />
INTERVAL<br />
<strong>Stephen</strong> HOUGH (b 1961)<br />
Piano Sonata III Trinitas (2015)<br />
I Lento (Slow): Bold, stark<br />
II Allegro (Fast): Punchy, jazzy<br />
III Andante (At a walking pace): Majestic, proud<br />
16 mins<br />
Franz LISZT (1811–1886)<br />
Valses oubliées (Forgotten Waltzes), S215<br />
(1881–84)<br />
No 1 Allegro (Fast)<br />
No 2 Allegro vivace (Fast and lively)<br />
9 mins<br />
Franz LISZT<br />
Études d’exécution transcendante<br />
(Transcendental Studies), S139 (1852)<br />
15 mins<br />
No 11 Harmonies du soir (Evening Harmonies)<br />
No 10 [untitled] Allegro agitato molto (Fast and very agitated)<br />
6
ABOUT THE MUSIC<br />
Franz SCHUBERT (1797–1828)<br />
Piano Sonata no 14, D784 (1823)<br />
I Allegro giusto (Just as fast as<br />
necessary)<br />
II Andante (At a walking pace)<br />
III Allegro vivace (Fast and lively)<br />
Schubert composed almost 20 more-or-less<br />
complete piano sonatas besides individual<br />
pieces or fragments that were probably<br />
conceived as movements for sonatas he<br />
never finished. A few, such as those in<br />
A major (D664) and in B flat major (D960),<br />
are both well known and highly regarded; the<br />
remainder, at least until recent decades, and<br />
despite advocacy by legendary performers<br />
such as Alfred Brendel, Eduard Erdmann,<br />
Wilhelm Kempff and Artur Schnabel, have<br />
been overshadowed by those of Beethoven.<br />
The case has not been helped by the confused<br />
state of Schubert’s manuscripts, the composer’s<br />
often indistinct handwriting, and the myriad<br />
errors in various posthumous editions.<br />
(Only three sonatas were published during<br />
the composer’s lifetime.) Some performers<br />
have found these works off-putting because<br />
Schubert requires the exposition sections<br />
to be repeated, in already lengthy opening<br />
movements. But this is crucial to the music,<br />
because the expositions often have a different<br />
ending the first time through, before the<br />
repeat, and those first-time endings contain<br />
important musical material. Also, in general,<br />
the sonatas contain many musical innovations<br />
and pose significant technical challenges.<br />
Schubert often seems to have had other<br />
concerns than those of his Classical<br />
predecessors. For Mozart and Beethoven,<br />
sonata form can be regarded as a vehicle<br />
for musical development; Schubert tends<br />
to treat it more as a framework for the<br />
exploration of melodic and harmonic<br />
possibilities. The decline of the sonata as a<br />
medium for Romantic expression, despite<br />
outstanding examples by Brahms, Chopin and<br />
Liszt, places Schubert’s essays in a unique<br />
position somewhere between the ‘fantasysonatas’<br />
of Beethoven, which bridge the<br />
Classical–Romantic divide, and other forms<br />
(character pieces, dances, études, nocturnes,<br />
preludes, and the like) which were of more<br />
interest to the later Romantics, although<br />
Schumann was an enthusiastic advocate<br />
of Schubert’s sonatas, deeming them<br />
more idiosyncratic to the instrument than<br />
Beethoven’s.<br />
Overall, Schubert’s piano sonatas may<br />
be grouped into three main periods. More<br />
than half were composed between 1815<br />
and 1818 while Schubert came to grips<br />
with the sonata. Four on a grander scale<br />
followed in 1825–26: the unfinished C major<br />
Sonata (D840), and sonatas in A minor<br />
(D845), D major (D850) and G major (D894).<br />
Three more – in C minor (D958), A major<br />
(D959) and B flat major (D960) – were<br />
written in 1828, a few weeks short of his<br />
death. Two sonatas fall outside this scheme:<br />
one in A major (D664), probably from 1819,<br />
and the A minor Sonata (D784) in tonight’s<br />
program, which was written in February<br />
1823.<br />
On 8 May of that year, Schubert penned<br />
a distressed poem in which he longed for<br />
death. Mein Gebet (My Prayer) was probably<br />
written in response to the first symptoms<br />
of the syphilis that would claim him only<br />
a few years later. Convalescing in hospital<br />
during the summer, he also composed<br />
a number of songs from Die schöne Müllerin<br />
7
ABOUT THE MUSIC<br />
(The Beautiful Miller-Maid), a cycle whose<br />
theme was love betrayed. It’s possible that<br />
Schubert’s despair also found expression<br />
in the A minor Sonata, which has been<br />
described as ‘at once the bleakest and most<br />
anguished of his sonatas’.<br />
Adapted from a note © <strong>Stephen</strong> Schafer<br />
<strong>Stephen</strong> <strong>Hough</strong> writes:<br />
The Sonata in A minor, D784, is the first<br />
of Schubert’s fully mature works in this<br />
form, and was almost certainly written<br />
at the time that Schubert first learned of<br />
the seriousness of his illness. The chilling<br />
desolation of its first movement’s first<br />
subject seems to be a direct response to that<br />
tragic news, the ‘strong–weak’ appoggiatura<br />
in bar 2 sighing wearily or angrily throughout<br />
the entire movement in both melody and<br />
accompaniment. However, as in so much of<br />
Schubert’s work, it is the moments of major<br />
tonality which seem the saddest. Perhaps<br />
only Mozart equals Schubert in this ability<br />
to transform the sunshine of a major key into<br />
a mood of heartbreak and pain.<br />
The second movement is strangely<br />
unsettling for three reasons: because of<br />
the almost enforced normality of its theme<br />
after the bittersweet bleakness of the first<br />
movement; because this theme is doubled in<br />
the tenor voice, a claustrophobic companion<br />
seeming to drag it down; and because of<br />
the constant, murmuring interjections (ppp)<br />
between the theme’s statements. The<br />
helter-skelter finale introduces a note of<br />
panic, as triplets trip over themselves in their<br />
scurrying counterpoint. Here, as in the first<br />
movement, the glorious second subject, in<br />
the major, seems unsure whether to laugh or<br />
cry, calling to mind Rückert’s poem Lachen<br />
und Weinen (Laughing and Crying) which<br />
Schubert set as a song the same year.<br />
César FRANCK (1822–1890)<br />
Prelude, Chorale and Fugue (1884)<br />
It is a strange paradox that while organists<br />
comment how Franck wrote for the organ like<br />
a pianist, pianists point out how ‘organ-like’ his<br />
piano music is. Both of these opinions have a<br />
certain validity, however, because although he<br />
spent most of his mature years of creativity<br />
in the organ loft, Franck began his musical<br />
life as a pianist, taking up his first organ<br />
position as a means to supplement a meagre<br />
living teaching the piano. It was only when<br />
he was appointed organist at Ste-Clotilde<br />
in 1858 that he began seriously to study the<br />
use of the pedals – he had a Pleyel practice<br />
pedal-board delivered to his home to help<br />
him to use this ‘third hand’ with greater ease.<br />
César-Auguste-Jean-Guillaume-Hubert<br />
Franck was born in Liège in 1822 and began<br />
his musical studies at Liège Conservatoire<br />
at the age of eight. Franck’s father saw<br />
the burgeoning talent of his son as pianist<br />
and composer and, being not unaware<br />
of the lucrative possibilities for a young<br />
virtuoso at the time, decided to take him on<br />
a small concert tour of Belgium. This was<br />
the beginning of a period of irresponsible<br />
exploitation by a ruthlessly ambitious father<br />
which was to last well into the 1840s. Franck<br />
was forced to compose party pieces for<br />
superficial salon gatherings – everything<br />
was 'brilliant' or 'grand', but the rhinestone<br />
roulades show up as fake in the innocent light<br />
of Franck’s shyness and humility.<br />
8
In 1835 the family moved to Paris, and a year<br />
later Franck entered the Conservatoire there.<br />
He began teaching classes at the family home<br />
and also visiting numerous private pupils. His<br />
gruelling journeys all over Paris, in addition to<br />
his studies and salon performances, were to<br />
prove an intolerable strain on the young man<br />
over the following years. His father would<br />
calculate the travel time between pupils with<br />
a cruel exactitude to maximize his son’s earning<br />
capacity and to make sure that he returned<br />
home as quickly as possible to continue his<br />
piano practice: ‘If you are disobedient, you<br />
know it is your mother who suffers for it.’<br />
This endless round of teaching continued<br />
along with the giving of concerts, but when<br />
Franck’s health began to break in 1844, the<br />
father reluctantly settled on a teaching life<br />
for him. It was around this time that Franck<br />
began to teach Félicité Desmousseaux, who<br />
was to become his wife; the Desmousseaux<br />
family gave him the support and courage he<br />
needed to finally leave his paternal home.<br />
For the next 40 years Franck wrote almost<br />
nothing more for solo piano, which is hardly<br />
surprising considering the life of drudgery<br />
and pain which the piano had represented.<br />
To be a pianist in 19th-century France meant<br />
being a virtuoso, and the piano was the<br />
archetypal vehicle for the most superficial<br />
kind of musical expression. It was with relief<br />
that Franck set aside the perfume and pearls<br />
of the salon for the incense and icons of<br />
the Church, and it was not until 1884, with<br />
the confidence and experience of passing<br />
years, that he turned again to the solo piano<br />
and wrote what was to be the most deeply<br />
felt and serious work for the instrument to<br />
come out of France in the 19th century: the<br />
Prelude, Chorale and Fugue.<br />
Franck’s original plan, according to his<br />
pupil Vincent d’Indy, was to write a plain<br />
Prelude and Fugue, the venerable form<br />
made immortal by Bach and neglected since<br />
Mendelssohn, a visibly serious alternative to<br />
the plethora of virtuoso pieces which were<br />
so popular at the time. After almost four<br />
decades writing mainly organ music and<br />
works inspired by sacred texts, the example<br />
of Bach was an affirmation that secular<br />
music could still retain a spiritual identity<br />
in an abstract form. In fact it is significant<br />
that the further Franck moved away from<br />
specifically sacred music (his liturgical works<br />
are particularly lifeless) the clearer and more<br />
pure his spiritual vision seemed to become.<br />
The decision to include a central section,<br />
separate from, yet linking, the Prelude and<br />
Fugue, came later (again according to d’Indy).<br />
Perhaps Bach was the influence, with the<br />
poignant slow interludes of his Clavier<br />
Toccatas, to say nothing of the very word<br />
‘chorale’ which was eventually used. In the<br />
event, however, this central section became<br />
the emotional core of the work, its ‘motto’<br />
theme used as a symbol of redemption, and<br />
as a unifying principle at the climax of the<br />
Fugue.<br />
When Saint-Saëns made a tart observation<br />
about the piece – that the ‘Chorale is not<br />
a chorale and the Fugue is not a fugue’ – he<br />
was completely missing the point. The forms<br />
here have become symbolic, the apotheosis<br />
of their academic counterparts. Furthermore,<br />
pianist Alfred Cortot described the Fugue in<br />
the context of the whole work as ‘emanating<br />
from a psychological necessity rather than<br />
from a principle of musical composition’. It is<br />
as if a ‘fugue’, as a symbol of intellectual<br />
rigour, was the only way Franck could find a<br />
voice to express fully the hesitant, truncated<br />
sobs of the Prelude and the anguished,<br />
syncopated lament of the Chorale. Not that<br />
the Fugue solves the problem – this is the<br />
function of the ‘motto’ theme; but the rules<br />
of counterpoint have given the speaker a<br />
format in which the unspeakable can be<br />
spoken.<br />
There are two motivic ideas on which the<br />
whole three-part work is based: one, a falling,<br />
9
ABOUT THE MUSIC<br />
sighing motif used in all three sections and<br />
generally chromatic in tonality; the other, a<br />
criss-crossing motif in staggered descending<br />
fourths (the ‘motto’ theme) which appears<br />
first in the Chorale section, and then again as<br />
a balm at the point where the Fugue reaches<br />
its emotional crisis. The first motivic idea is<br />
clearly related to the Bach Cantata ‘Weinen,<br />
Klagen, Sorgen, Zagen’, and also to the<br />
‘Crucifixus’ from the B minor Mass; the other<br />
idea appears as the ‘bell motif’ in Wagner’s<br />
Parsifal.<br />
Adapted from a note © <strong>Stephen</strong> <strong>Hough</strong><br />
<strong>Stephen</strong> HOUGH (b 1961)<br />
Piano Sonata III Trinitas (2015)<br />
I Lento (Slow): Bold, stark<br />
II Allegro (Fast): Punchy, jazzy<br />
III Andante (At a walking pace):<br />
Majestic, proud<br />
Serialism: A system for composing, based<br />
on use of a series of intervals (note-row)<br />
involving in turn all 12 notes of the chromatic<br />
scale in any order selected by the composer.<br />
In its strictest application, no note should be<br />
repeated until the other 11 have appeared<br />
and the order of the series remains unaltered<br />
throughout the work, with certain permitted<br />
modifications.<br />
– Excerpted from Michael Kennedy, The<br />
Oxford Dictionary of Music<br />
The composer writes:<br />
Writing a piece today using a 12-note row<br />
seems almost like stepping back into a period<br />
drama – a bygone age with very different<br />
fashions. But serialism is a technique, with<br />
rules to be learned, used or, if desired,<br />
rejected. In this piece it is also a symbol of<br />
dogma, rules which can liberate or enslave.<br />
The sonata (my third, in three sections, with<br />
a row using connecting major and minor<br />
thirds) is all about threes; and as it was<br />
commissioned by The Tablet, a Catholic<br />
magazine, I decided to include a religious<br />
subtitle: Trinitas, Latin for Trinity, another<br />
dogma, a theological ordering with numbers.<br />
Twelve-note pieces are made to be analysed,<br />
strictly speaking every bar can be picked<br />
apart; but suffice to say that the row used<br />
here has many tonal implications, not least<br />
each time the G major of notes 10, 11 and<br />
12 resolve to the C major of notes 1 and 2,<br />
a constantly recurring perfect cadence.<br />
In the first two sections the row is used<br />
in a strict, traditional manner, but halfway<br />
through the piece, the music lands on a<br />
screeching C major chord at the top of the<br />
piano and from here onwards, the start of<br />
the third section, it begins a more eclectic<br />
journey.<br />
Firstly the row is used as the harmonic<br />
foundation for a chaconne, then it is<br />
splintered into hammering, repetitive loops<br />
in G sharp minor, then it underpins with a<br />
discordant shadow a familiar hymn tune<br />
(Nicea, a setting of the Trinitarian text ‘Holy,<br />
Holy, Holy’), then it disrupts the flow with a<br />
recurring, passionate mantra. Finally, on the<br />
last page, it appears vertically as a series<br />
of 12 six-part chords, played as short and<br />
as soft as possible, each chord leaving one<br />
note hanging in the air and forming a new<br />
12-note row in the closing seconds of the<br />
piece. An arpeggio flourish is a reminder of<br />
the loop music (and happens to introduce yet<br />
another new row) as the music descends to<br />
rest on the same C and E chord with which<br />
the piece began.<br />
© <strong>Stephen</strong> <strong>Hough</strong><br />
10
Franz LISZT (1811–1886)<br />
Valses oubliées (Forgotten Waltzes),<br />
S215 (1881–84)<br />
No 1 Allegro (Fast)<br />
No 1 Allegro vivace (Fast and lively)<br />
Études d’exécution transcendante<br />
(Transcendental Studies), S139 (1852)<br />
No 11 Harmonies du soir (Evening<br />
Harmonies)<br />
No 10 [untitled] Allegro agitato molto<br />
(Fast and very agitated)<br />
Franz Liszt is perhaps best remembered as<br />
the greatest piano virtuoso of the Romantic<br />
era, whose dazzling technical precision<br />
and histrionic personality as a performer<br />
were capable of catapulting his adulating<br />
audiences into a state of hysterical frenzy<br />
(a veritable medical condition which came<br />
to be described as ‘Lisztomania’). As a<br />
conductor, composer and teacher Liszt<br />
also strove tirelessly for the preservation<br />
of the musical gems of the past, especially<br />
Beethoven, whose complete symphonies<br />
he transcribed for solo piano in an effort to<br />
demonstrate the expressive and textural<br />
depth available to the modern instrument,<br />
as well as to shed new light on the genius<br />
of Beethoven for a contemporary audience.<br />
His forward-thinking approach to harmony<br />
and to the capabilities of the piano, paired<br />
with his own miraculous pianistic ability<br />
(Liszt’s hand span meant he was able to<br />
reach an interval of a tenth with little effort)<br />
and championing of composers old and new<br />
make Liszt one of the most seminal figures<br />
of the 19th century and a vital ‘bridge’ into<br />
the 20th.<br />
Pianists of the 21st century still revere the<br />
music of Liszt, for its thoughtful architecture<br />
as much as for its well of technical<br />
resources. A key example is the set of 12<br />
Transcendental Études, ultimately developed<br />
from a set composed in 1826 when Liszt<br />
was just 15 and under the tutelage of Carl<br />
Czerny. Their second iteration, the ‘Twelve<br />
Grand Studies’ of 1837, elaborated on the<br />
original set and took the form of a devilish<br />
set of studies famously extolled by Robert<br />
Schumann as being too difficult for anyone<br />
other than Liszt to play. When they were<br />
finally re-published as the Transcendental<br />
Études in 1852, Liszt toned down the<br />
technical demands, ‘rescuing,’ as pianist<br />
Leslie Howard describes, ‘the musical intent<br />
and poetry of the pieces.’<br />
Typical of Liszt, the Études are bursting<br />
with harmonic tension and transgression,<br />
pushing the piano to its limits. Étude no 11,<br />
Harmonies du Soir (Evening Harmonies), a<br />
study in layered chords, interlocking hands<br />
and rapid octave jumps, is initially pastoral<br />
and tranquil in character, expanding its<br />
distinctly orchestral sonic palette and<br />
‘impressionistic' tonal ambiguity to the<br />
extreme lower and upper reaches of the<br />
keyboard as Liszt grandly disseminates the<br />
Étude’s themes.<br />
Étude no 10 is perhaps the best-known of<br />
the set and bears a much more agitated<br />
personality (captured in its performance<br />
marking of Allegro agitato molto). Explosions<br />
of detailed passagework and an iconic series<br />
of octave D flats, insistently hammered<br />
out by the right hand, lie at the core of this<br />
dramatic study.<br />
Liszt’s Valses oubliées (Forgotten Waltzes)<br />
appeared much later in the composer’s<br />
life, over a period of four years in his early<br />
seventies. Having produced very little music<br />
11
ABOUT THE MUSIC<br />
in dance forms during the preceding 40 years,<br />
the waltzes are inevitably imbued with a<br />
sense of introspection and wistfulness, albeit<br />
within the framework of modern harmonic<br />
language and delivered with a knowing<br />
(perhaps even sardonic) wink. The first and<br />
best known of the set, no 1 in F sharp major,<br />
juxtaposes a jittery opening theme with a<br />
charming legato waltz subject, revelling in<br />
the danceable thrust of its time signature<br />
and coloured with grace-note ornaments<br />
and subtly jarring chromaticism. Having<br />
expended its mischievous energy, the waltz<br />
concludes in an almost comically ambiguous<br />
fashion.<br />
Waltz no 2 is more cryptic, relentlessly<br />
dedicated to establishing an air of<br />
playfulness through its ‘up again, down<br />
again’ sequential figures and lurching oompah-pah<br />
bass, only to suddenly settle into a<br />
more expansive chorale-like mid-section.<br />
<strong>Stephen</strong> <strong>Hough</strong> writes of the Valses<br />
oubliées:<br />
'Liszt, no stranger to French salons, wrote<br />
his Valses oubliées later in his life when he<br />
had left the world of swishing, sparkling<br />
gowns, and these waltzes draw back<br />
a curtain on a world of mysticism and<br />
the supernatural. The Forgotten Waltz<br />
(or, perhaps, half-remembered waltz)<br />
explores a deeply disturbing world of faulty<br />
recall: could it be the partner from long<br />
ago who has slipped the mind rather than<br />
the music?'<br />
Luke Iredale © 2016<br />
12
FURTHER EXPLORATION<br />
<strong>Stephen</strong> <strong>Hough</strong> Discography<br />
On Chandos:<br />
Hummel: Piano Concerto no 3 in B minor,<br />
op 89 / Piano Concerto no 2 in A minor, op 85<br />
(English Chamber Orchestra)<br />
On Virgin Classics:<br />
<strong>Stephen</strong> <strong>Hough</strong>: Liszt<br />
The Piano Album 1 (Originally released<br />
on Musicmasters as My Favorite Things:<br />
Virtuoso Encores)<br />
The Piano Album 2<br />
Brahms: Piano Concertos nos 1 and 2<br />
(BBC Symphony Orchestra)<br />
On Hyperion:<br />
Xaver Scharwenka: Piano Concerto no 4 in<br />
F minor / Emil von Sauer: Piano Concerto no 1<br />
in E minor (City of Birmingham Symphony<br />
Orchestra / Lawrence Foster)<br />
Piano Music by York Bowen<br />
Piano Music by Federico Mompou<br />
New York Variations<br />
<strong>Stephen</strong> <strong>Hough</strong>’s New Piano Album<br />
Saint-Saëns: The Complete Works for<br />
Piano and Orchestra (City of Birmingham<br />
Symphony Orchestra)<br />
<strong>Stephen</strong> <strong>Hough</strong>’s English Piano Album<br />
Hummel: Piano Sonatas<br />
Rachmaninoff: Piano Concertos nos 1, 2, 3<br />
and 4 / Rhapsody on a Theme of Paganini<br />
(Dallas Symphony Orchestra / Andrew<br />
Litton)<br />
The <strong>Stephen</strong> <strong>Hough</strong> Piano Collection<br />
Liszt: Années de pèlerinage – Première<br />
année: Suisse<br />
<strong>Stephen</strong> <strong>Hough</strong>’s Spanish Album<br />
George Tsontakis: Man of Sorrows for<br />
piano and orchestra<br />
A Mozart Album<br />
<strong>Stephen</strong> <strong>Hough</strong> in Recital<br />
Chopin: Late Masterpieces<br />
Tchaikovsky: Complete music for piano and<br />
orchestra<br />
Chopin: Complete Waltzes<br />
Liszt / Grieg: Piano Concertos<br />
<strong>Stephen</strong> <strong>Hough</strong>’s French Album<br />
Brahms: Piano Concertos nos 1 and 2<br />
(Mozarteum Orchestra Salzburg)<br />
<strong>Stephen</strong> <strong>Hough</strong>: In the Night (includes<br />
Schumann’s Carnaval and <strong>Hough</strong>’s own<br />
Sonata no 2 notturno luminoso)<br />
Grieg: Lyric Pieces<br />
Scriabin & Janáček: Sonatas & Poems<br />
On BIS:<br />
<strong>Stephen</strong> <strong>Hough</strong>: broken branches<br />
A full catalogue of works, discography and<br />
biographical information can be found on<br />
<strong>Stephen</strong>’s website: www.stephenhough.com<br />
13
INTERVIEW WITH STEPHEN HOUGH<br />
<strong>Stephen</strong> <strong>Hough</strong> is a familiar visitor to<br />
Australia’s concert halls – and this muchloved<br />
British pianist has a fascinating<br />
story to tell about his own Antipodean<br />
roots. But then, everything about <strong>Hough</strong><br />
is fascinating. He explores a vast range<br />
of repertoire, records prolifically for the<br />
Hyperion label and enjoys lively chamber<br />
music relationships with such artists as<br />
the cellist Steven Isserlis, with whom he<br />
has toured for Musica Viva. His artistic<br />
activities extend to composition, painting<br />
and writing – he has been named one of<br />
’20 Living Polymaths’ by The Economist –<br />
and he is now working on a novel. Indeed,<br />
he has evolved almost accidentally into the<br />
modern-day equivalent of the great ‘golden<br />
age’ composer–pianists of the past.<br />
Far from finding his intense travel schedule<br />
as a performer a hindrance to creativity,<br />
<strong>Hough</strong> seems to thrive on it. ‘I find being<br />
on the road is actually more creative<br />
than being at home,’ he says. ‘I might get<br />
musical ideas while warming up backstage.<br />
And often there is more time on tour:<br />
for instance, with American orchestras if<br />
I have three concerts in a week, the second<br />
and third nights I have nothing to do until<br />
the evening concert except practise. If<br />
I have a piece to write I assemble sketches<br />
throughout the year, all the time; finally<br />
comes the moment when I sit down and<br />
put it all together.’<br />
<strong>Hough</strong>’s program for his Musica Viva tour<br />
includes his own latest piano work, the<br />
Sonata III Trinitas – which follows in his<br />
output hot on the heels of two other sonatas,<br />
the first of which was co-commissioned by<br />
Musica Viva, the Wigmore Hall in London<br />
and the Louvre in Paris.<br />
© KEITH SAUNDERS<br />
14
Initially, he says, he had not been eager<br />
to write music to perform himself – but<br />
gradually this outlook has altered. ‘What’s<br />
funny is that I hadn’t been planning to do<br />
that,’ he says. ‘But the commission of the<br />
Sonata no 1 started me off, and I think I<br />
got over that point.’ He enjoys the fact that<br />
other pianists are playing his works now,<br />
but he also likes ‘having control over the<br />
performance myself’.<br />
The Sonata III qualifies as an Australian<br />
piece, he half-jokes, because he has an<br />
Australian passport. He grew up in Cheshire<br />
in the north of England and discovered<br />
his Australian connection relatively late.<br />
‘My father was born in Australia,’ he<br />
explains. ‘His parents were married in<br />
India, where they were involved in the steel<br />
business; they then went to Newcastle,<br />
New South Wales, where the Australian<br />
steel industry was based. My father was<br />
born in 1926, and then my grandmother<br />
took him back to India after a few months.<br />
He never saw his father again. His father<br />
tried to correspond with him, but his mother<br />
intercepted the letters and they did not<br />
make contact until much later.<br />
‘I found that I was already Australian<br />
by law, because if someone was born<br />
here before 1947, it made their children<br />
automatically Australian. Getting an<br />
Australian passport seemed a nice way<br />
to tie together the loose ends of a slightly<br />
tragic story.’<br />
In the new sonata, commissioned jointly by<br />
the Catholic magazine The Tablet and the<br />
Barbican Centre, <strong>Hough</strong> – whose Catholic<br />
faith is a driving force in his creativity – has<br />
been inspired by the symbolism of the<br />
number three and what he sees as the<br />
parallel dogmas of the Trinity in the church<br />
and of 12-tone serialism in music.<br />
It forms part of a program that begins with<br />
Schubert’s A minor Sonata, D784, one of<br />
the composer’s most concentrated and<br />
tragic piano works. ‘The whole first half is a<br />
progression from darkness to light,’ <strong>Hough</strong><br />
says. ‘In the Schubert there almost isn’t<br />
any light at all. Even when it goes into the<br />
major, it’s more heart-breaking than it is in<br />
the minor. Then the Franck Prelude, Chorale<br />
and Fugue is an incredible, deep-suffering<br />
piece that, at the end, has an amazing<br />
opening-out: you really do come out of the<br />
darkness.<br />
‘There’s a triptych idea behind this as<br />
well: the three-movement Schubert, the<br />
Franck in three parts, and my sonata being<br />
the Trinitas. Then there is Liszt: I feel<br />
a very strong connection myself with Liszt<br />
because I play so much of his music, but<br />
also between Liszt and Schubert because<br />
Liszt’s transcriptions brought Schubert’s<br />
song literature to a wider audience.’<br />
And so the program comes full circle –<br />
rather like <strong>Hough</strong>’s Australian connection.<br />
‘I love coming to Australia,’ he remarks.<br />
‘I love the quality of the light and the<br />
space – not just geographical, but also<br />
artistic. The traditions here are much less<br />
lengthy and ‘stuck’. There’s room to feel<br />
that you can bring this music and it’s fresh<br />
and new.’<br />
Jessica Duchen © 2015<br />
15
SHARON RASCHKE (1938–2016)<br />
The Newcastle concert on 21 April is presented in memory of<br />
Sharon Raschke.<br />
The early days of Musica Viva Australia<br />
were dominated by extraordinary women.<br />
Of course there were men who provided<br />
inspiration and motivation, but it was women<br />
like Regina Ridge in Sydney and Edith Dubsky<br />
in Adelaide who were the public face of the<br />
organisation.<br />
Among this group of passionately<br />
committed and idiosyncratic organisers was<br />
Sharon Raschke in Newcastle. It was her<br />
enthusiastic initiative that brought the first<br />
Musica Viva touring groups to perform here<br />
in 1962: the pre-eminent Hungarian Quartet,<br />
followed by the equally celebrated Budapest<br />
Quartet.<br />
There were Musica Viva concerts at that<br />
time in several state capitals, but Newcastle<br />
remains the only non-capital branch of the<br />
now national organisation.<br />
Sharon Raschke was a promising young<br />
Melbourne-trained concert pianist who<br />
was committed to bringing chamber music<br />
of the highest order to her newly adopted<br />
home. With a growing family of five young<br />
children, she found time to introduce full<br />
concert seasons: nurturing subscriptions,<br />
negotiating the printing of brochures, tickets<br />
and programs, booking halls and hotels as<br />
well as generating publicity and balancing<br />
the books.<br />
She was supported by a committee, but on<br />
concert days she met the artists’ train, took<br />
them to rehearse, cooked a post-concert<br />
dinner, wrote the review for the next day’s<br />
newspaper and later took the artists, already<br />
firm friends, to catch the train back to Sydney.<br />
On one occasion the children found and ate<br />
the dessert for the Hungarian Quartet’s<br />
supper. But famous musicians were generally<br />
delighted to be included in the life of a real<br />
family.<br />
It was Sharon’s uncompromising musical<br />
intelligence, life-enhancing enthusiasm and<br />
sensitive awareness of the needs of music<br />
and musicians which held it all together and<br />
made her many friends.<br />
When she retired from Musica Viva activities<br />
in 1976 to pursue her own career, she left<br />
the well-grounded organisation we recognise<br />
today.<br />
Perhaps things became less exciting, with<br />
no last-minute move of a whole concert to<br />
the cathedral on a wet night, when Benny<br />
and the Jets unexpectedly struck up in the<br />
City Hall supper room directly below the<br />
stage where the Pražák Quartet was about<br />
to perform. Those were stirring days.<br />
Sharon was brilliant, a primal force.<br />
Her legacy lives on.<br />
Jill Stowell, 20 January 2016<br />
16
DR STEVEN KINSTON (1908–1996)<br />
The Brisbane concert on 26 April is presented in memory of<br />
Dr Steven Kinston.<br />
A dental practitioner and a fine pianist,<br />
Dr Steven Kinston was one of a number of<br />
European immigrants whose contribution<br />
to Australia’s artistic life in the 1950s and<br />
1960s helped transform the soul and face of<br />
the nation.<br />
When he and his younger brother, Paul,<br />
arrived in Brisbane in 1938 as Jewish<br />
refugees, they found a place where the<br />
arts were struggling to gain a foothold in a<br />
relatively new nation. Over the next decade,<br />
Dr Kinston contributed substantially to<br />
the development of Brisbane’s artistic life,<br />
founding the Brisbane branch of Musica Viva<br />
Australia.<br />
Born in 1908 in the small town of Kolomea,<br />
Romania, Steven Kinston grew up in<br />
Czernowicz (Cernăuți) where anti-Semitism<br />
and discrimination marred his childhood.<br />
Although possessing high intelligence and<br />
musical ability, he was barred entrance<br />
to any local university. He travelled to<br />
Italy, where anti-Jewish feeling was less<br />
pronounced, and was welcomed into both the<br />
University of Florence and, simultaneously,<br />
that city’s Luigi Cherubini Conservatorium<br />
of Music. In 1933 he graduated with an<br />
unprecedented two degrees: one in medicine,<br />
with a speciality in dentistry, and another<br />
from the Conservatorium, where he also won<br />
a national piano competition.<br />
At this time it became obvious to Dr Kinston<br />
that his family needed to find a new life<br />
and a new country if they were to survive<br />
Mussolini’s alliance with Hitler. He was<br />
granted refugee status by Australia and<br />
before emigrating, returned to Romania to<br />
say farewell to his parents. The Romanian<br />
government immediately conscripted<br />
Dr Kinston into the army and prevented<br />
his leaving the country. Only a series of<br />
undercover arrangements allowed him and<br />
his brother to cross the border to freedom.<br />
After his arrival in Brisbane he auditioned<br />
for the ABC and was accepted on its roster<br />
of soloists. He also established a successful<br />
dental practice.<br />
When business and personal commitments<br />
necessitated the family’s move to Sydney<br />
many years later, Dr Kinston remained a<br />
passionate supporter of Musica Viva and<br />
of the arts in general. His achievements<br />
were made possible through the support<br />
and encouragement of his wife, Lena.<br />
Throughout their 53 years together, he was<br />
intensely devoted to her and to their two<br />
children.<br />
His lifetime commitment to his adopted<br />
country was epitomised by one of his<br />
favourite sayings: ‘The soul of a country is<br />
expressed in its art.’<br />
David Colville<br />
17
String Quartet<br />
The sparkling and joyous Enso String Quartet bring performances of<br />
bold Spanish flavours, beloved classics, and a brand new work written<br />
just for them, in music by Ginastera, Beethoven, Ravel and Broadstock.<br />
TOURING<br />
30 May – 18 June<br />
musicaviva.com.au/Enso<br />
1800 688 482
We’re passionate about<br />
the same things as you<br />
Dixon Advisory are proud partners of<br />
Musica Viva and passionate supporters of<br />
the 2016 International Concert Season.<br />
We are also passionate about helping<br />
Australians and for more than 30 years<br />
we’ve supported Australian families to<br />
achieve a better retirement outlook.<br />
If you’re looking to partner with someone<br />
who is passionate about the same things<br />
as you are visit dixon.com.au or call<br />
1300 883 158<br />
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We thank the generous individuals and families who make an important contribution to our<br />
activities each year. Every gift is important, ensuring that Musica Viva remains at the forefront of<br />
artistic excellence and that our award-winning education program continues to reach children<br />
who would otherwise have no access to the inspirational experience of live music. To make a gift<br />
to Musica Viva, please contact Hywel Sims on (02) 8394 6672 or hsims@musicaviva.com.au<br />
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People who have notified us of their intention to leave a gift to Musica Viva in their will are part of a<br />
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continue presenting performances of the highest quality to the widest range of audiences across<br />
Australia, well into the future. To discuss, in confidence, a bequest gift, please contact Hywel Sims.<br />
ACT<br />
Geoffrey & Margaret Brennan<br />
The late Ernest Spinner<br />
NSW<br />
The late Sibilla Baer<br />
The late Dr Anthony J Bookallil<br />
The late Charles Berg<br />
Lloyd & Mary Jo Capps<br />
The late Moya Jean Crane<br />
Liz Gee<br />
Suzanne Gleeson<br />
The late Margaret Hedvig<br />
The late Suzanne Meller<br />
Art Raiche<br />
The late John Robson<br />
Dr David Schwartz<br />
The late Kenneth W Tribe ac<br />
Deirdre Nagle Whitford<br />
Kim Williams am<br />
Ray Wilson oam<br />
The late Elisabeth Wynhausen<br />
Anonymous (4)<br />
QLD<br />
The late Miss A Hartshorn<br />
The late Steven Kinston<br />
SA<br />
The late<br />
Ms K Lillemor Andersen<br />
The late Edith Dubsky<br />
Mrs G Lesley Lynn<br />
Anonymous (1)<br />
TAS<br />
Trevor Noffke<br />
Kim Paterson qc<br />
VIC<br />
Julian Burnside ao qc<br />
In memory of Anita Morawetz<br />
The family of the late<br />
Paul Morawetz in his memory<br />
The late Mrs Catherine Sabey<br />
The late Mrs Barbara Shearer<br />
Mary Vallentine ao<br />
The late Dr G D Watson<br />
Anonymous (2)<br />
WA<br />
Dr W B Muston<br />
Anonymous (2)<br />
AMADEUS SOCIETY<br />
The Amadeus Society exists to help bring the excitement and inspiration of the world’s most<br />
extraordinary musicians to Australian audiences. In 2015, the Society provided significant support<br />
for the Tafelmusik and Maxim Vengerov national tours. This year, the Society has been proud to<br />
support the world premiere and national tour of Voyage to the Moon. To learn more about the<br />
Amadeus Society and how you can help bring some of the world’s leading international artists to<br />
Australia, please contact Hywel Sims on (02) 8394 6672 or hsims@musicaviva.com.au<br />
Ruth Magid (Chair, Sydney) &<br />
Bob Magid<br />
Julian Burnside ao, qc<br />
(President, Melbourne) &<br />
Kate Durham<br />
The Hon. Justice Annabelle<br />
Bennett ao<br />
Tony Berg am & Carol Berg<br />
Marc Besen ac & Eva Besen ao<br />
Ms Jan Bowen am<br />
Tom Breen & Rachael Kohn<br />
20<br />
David Constable am &<br />
Dr Ida Lichter<br />
Dr Cyril Curtain<br />
Jennifer Darin & Dennis Cooper<br />
Daryl & Kate Dixon<br />
Dr Helen Ferguson<br />
Ms Annabella Fletcher<br />
William J Forrest am<br />
Eleanore Goodridge<br />
Alan Goldberg ao, qc &<br />
Rachel Goldberg<br />
Reg & Kathie Grinberg<br />
Jennifer Hershon & Russell<br />
Black<br />
Penelope Hughes<br />
Jacqueline Huie<br />
Michael & Frederique Katz<br />
Peter Lovell<br />
The Hon. Jane Mathews ao<br />
Paul Nisselle am<br />
Professor John Rickard<br />
Ray Wilson oam
MUSICA VIVA PATRONS<br />
MAJOR GIFTS<br />
ACT<br />
$10,000 +<br />
Anonymous (1)<br />
NSW<br />
$100,000 +<br />
The Berg Family Foundation<br />
Katherine Grinberg, in honour<br />
of the late Adrienne Nagy &<br />
Yolanda (Nagy) Daniel<br />
$20,000 – $99,999<br />
Geoff Ainsworth am &<br />
Johanna Featherstone<br />
Anne & Terrey Arcus<br />
Reg & Katherine Grinberg<br />
Tom & Elisabeth Karplus<br />
Michael & Frederique Katz<br />
The Hon. Jane Mathews ao<br />
Geoff Stearn<br />
Ray Wilson oam<br />
$10,000 – $19,999<br />
Tom Breen & Rachael Kohn<br />
David Constable am &<br />
Dr Ida Lichter<br />
Jennifer Darin & Dennis Cooper<br />
Daryl & Kate Dixon<br />
Jennifer Hershon &<br />
Russell Black<br />
Jacqueline Huie<br />
<strong>Stephen</strong> Johns & Michele<br />
Bender<br />
Ruth & Bob Magid<br />
Vicki Olsson<br />
David & Carole Singer<br />
Anthony Strachan<br />
John & Jo Strutt<br />
Anonymous (1)<br />
$5,000 – $9,999<br />
The Hon. Justice Annabelle<br />
Bennett ao<br />
Ms Jan Bowen am<br />
Neil & Sandra Burns<br />
Christine Davis<br />
Eleanore Goodridge<br />
Hilmer Family Endowment<br />
Warren & Verity Kinston<br />
Andrew & Lesley Rosenberg<br />
Andy Serafin<br />
Godfrey Turner Memorial<br />
Music Trust<br />
Anonymous (2)<br />
QLD<br />
$10,000 +<br />
Ian & Caroline Frazer<br />
The MacNichol Family<br />
Justice Anthe Philippides<br />
Anonymous (1)<br />
$5,000 – $9,999<br />
Andrea & Malcolm Hall-Brown<br />
SA<br />
$20,000 +<br />
Day Family Foundation<br />
Marsden Szwarcbord<br />
Foundation<br />
$5,000 – $19,999<br />
Aldridge Family Endowment<br />
Lang Foundation<br />
Anonymous (2)<br />
VIC<br />
$50,000 +<br />
Julian Burnside ao qc<br />
$40,000 – $49,999<br />
Anonymous (1)<br />
$20,000 – $39,999<br />
Newman Family Foundation<br />
$10,000 – $19,999<br />
Marc Besen ac & Eva<br />
Besen ao<br />
Grosvenor Foundation<br />
Greg Shalit & Miriam Faine<br />
$5,000 – $9,999<br />
Esther & Brian Benjamin<br />
Dr Cyril Curtain<br />
Dr Helen Ferguson<br />
William J Forrest am<br />
Penelope Hughes<br />
Peter Lovell<br />
Dr Paul Nisselle am<br />
Professor John Rickard<br />
<strong>Stephen</strong> Shanasy<br />
Tony Wheeler ao & Maureen<br />
Wheeler ao<br />
Anonymous (1)<br />
WA<br />
$10,000 – $19,999<br />
Linda Matthews & Robin<br />
Budden<br />
$5,000 – $9,999<br />
David Cooke<br />
Anonymous (2)<br />
KEN TRIBE FUND FOR AUSTRALIAN COMPOSITION<br />
Friends of Peter Burch<br />
Julian Burnside ao qc<br />
The Huntington Estate Music Festival Collective<br />
The Silo Collective<br />
John & Jo Strutt<br />
Kim Williams am<br />
THE HILDEGARD PROJECT in support of women in composition<br />
This project is made possible by a generous gift from Katherine Grinberg in honour of the<br />
late Adrienne Nagy and her sister Yolanda (Nagy) Daniel.<br />
MASTERCLASSES<br />
The Musica Viva Masterclass program is supported by Lyn Hamill & Ian Dover (Queensland),<br />
Wesfarmers Arts (Western Australia) and Mary Turner oam (Newcastle).<br />
21
MUSICA VIVA PATRONS<br />
VIRTUOSI<br />
ACT<br />
$2,500 – $4,999<br />
Kristin van Brunschot<br />
& John Holliday<br />
Dr Seng Thiam Teh<br />
Anonymous (1)<br />
$1,000 – $2,499<br />
Geoffrey & Margaret<br />
Brennan<br />
Claudins van der<br />
Busserl<br />
Dr Marian Hill<br />
Kerrie Nogrady<br />
Margaret Oates<br />
Helen O’Neil &<br />
<strong>Stephen</strong> Mills<br />
Sue Packer<br />
Craig Reynolds<br />
Penny Rogers<br />
Dr Andrew Singer<br />
Arn Sprogis & Margot<br />
Woods<br />
Robert & Valerie Tupper<br />
Janice C Tynan<br />
Anonymous (2)<br />
$500 – $999<br />
Susan Edmondson<br />
Christine Goode<br />
Margaret Goode<br />
Mr Rohan Haslam<br />
Kingsley Herbert<br />
Roger & Vivien<br />
Hillman<br />
Elspeth Humphries<br />
Claudia Hyles<br />
Margaret & Peter<br />
Janssens<br />
Margaret Lovell &<br />
Grant Webeck<br />
In memory of<br />
Tony McMichael<br />
Helen Rankin<br />
Clive & Lynlea Rodger<br />
Sue Terry & Len Whyte<br />
Margaret Vincent<br />
Theanne Walters<br />
Dr Paul &<br />
Dr Lel Whitbread<br />
Ann Woodroffe<br />
NSW<br />
$2,500 – $4,999<br />
Michael & Margaret<br />
Ahrens<br />
Baiba Berzins<br />
Catherine Brown-Watt<br />
& Derek Watt<br />
Lloyd &<br />
Mary Jo Capps<br />
Iven & Sylvia Klineberg<br />
Kevin McCann am &<br />
Deidre McCann<br />
Robert McDougall<br />
Patricia H. Reid<br />
Endowment Pty Ltd<br />
Paul Salteri am &<br />
Sandra Salteri<br />
Mary Turner oam<br />
Kay Vernon<br />
Anonymous (3)<br />
$1,000 – $2,499<br />
David & Rae Allen<br />
Dr Warwick Anderson<br />
Andrew Andersons ao<br />
& Sara Bennett<br />
Mrs Kathrine Becker<br />
Mr & Mrs N K<br />
Brunsdon<br />
Robert Cahill &<br />
Anne Cahill oam<br />
Yola & Steve Center<br />
Patricia Curotta<br />
Sarah & Tony<br />
Falzarano<br />
Mr Douglas Farrell<br />
Lothar & Helen Fulde<br />
John & Irene Garran<br />
Dr David & Mrs Jenny<br />
Goldstein<br />
Sian Graham<br />
Fay Grear<br />
In loving memory of<br />
Jose Gutierrez<br />
Miss Janette Hamilton<br />
Mrs Lindy &<br />
Mr Robert Henderson<br />
Gerald Hewish<br />
Dorothy Hoddinott ao<br />
Dr Beatrice Janssen<br />
Mathilde Kearny-Kibble<br />
Leta Keens<br />
Mrs W G Keighley<br />
Penny Le Couteur &<br />
Greg Dickson<br />
Helen Lyons<br />
Liz & Craigie Macfie<br />
D M & K M Magarey<br />
Suzanne & Tony<br />
Maple-Brown<br />
A & E Marshall<br />
Alexandra Martin<br />
Michael & Janet<br />
Neustein<br />
Paul O’Donnell<br />
William Orme<br />
Beryl Raymer<br />
Roslyn Renwick<br />
Sue & John Rogers<br />
John Sharpe & Claire<br />
Armstrong<br />
Caroline Sharpen &<br />
Andrew Parker<br />
Hywel Sims<br />
Aveen & Ashley<br />
<strong>Stephen</strong>son<br />
Dr Elizabeth Watson<br />
John & Flora<br />
Weickhardt<br />
Michael & Mary<br />
Whelan Trust<br />
Christopher Whitehead<br />
& Peter Wilson<br />
Edward Wills and the<br />
late Yvonne E Wills<br />
Anonymous (9)<br />
$500 – $999<br />
Judith Allen<br />
Jennifer Arnold<br />
Mr & Mrs W R Arnott<br />
Kees Boersma<br />
Gay Bookallil<br />
Denise Braggett<br />
Maxine Brodie<br />
Hilary & Hugh Cairns<br />
Donald Campbell &<br />
<strong>Stephen</strong> Freiberg<br />
Lucia Cascone<br />
Anna Cerneaz<br />
Michael & Colleen<br />
Chesterman<br />
John & Rosemary<br />
Clarke<br />
Phillip Cornwell<br />
Pamela Cudlipp<br />
Peter Cudlipp &<br />
Barbara Schmidt<br />
Robin Cumming<br />
Charles Davidson<br />
Alan Donald<br />
Dr Bronwyn Evans<br />
Jane & Peter Garling<br />
Kate Girdwood<br />
Charles & Wallis<br />
Graham<br />
Catherine Gray<br />
Mr Robert Green<br />
Leonard Groat<br />
Neil & Pamela Hardie<br />
Roland & Margaret<br />
Hicks<br />
Helen & John Hookey<br />
Helen & Ray Hyslop<br />
David & Jennifer<br />
Jacobs<br />
Dr Esther Janssen<br />
Catherine & Robert<br />
Kench<br />
Geraldine Kenway<br />
John & Genevieve King<br />
Graham & Sue Lane<br />
Margaret Lederman<br />
Dr Deborah Lloyd<br />
The Macquarie Group<br />
Foundation<br />
Timothy Matthies &<br />
Chris Bonnily<br />
Music Teachers’<br />
Association of NSW,<br />
Newcastle Branch<br />
Liz Nielsen<br />
Professor Robin Offler<br />
Diane Parks<br />
Christina Pender<br />
Dagmar & Robin Pidd<br />
Dr Lynette Schaverien<br />
Carl Segal<br />
Ms Anita Semler<br />
Mr Shane Simpson am<br />
Jonathan Tapp &<br />
Kate Steinbeck<br />
Philippa Strutt<br />
Janet Tepper<br />
Ruth & Dennis Tighe<br />
Evan Williams am &<br />
Janet Williams<br />
Megan & Bill<br />
Williamson<br />
Peter Wilton<br />
Michael Zolker<br />
Anonymous (8)<br />
QLD<br />
$2,500 – $4,999<br />
Lyn Hamill & Ian Dover<br />
Dr Amanda Hume<br />
22
$1,000 – $2,499<br />
Janet Franklin<br />
John & Lynn Kelly<br />
Andrew & Kate Lister<br />
Jocelyn Luck<br />
B & D Moore<br />
Anonymous (1)<br />
$500 – $999<br />
A & E Grant<br />
Jankees van der Have<br />
Marie Isackson<br />
Diana Lungren<br />
Dr James MacKean<br />
John Martin<br />
Debra & Patrick Mullins<br />
Michelle Wade &<br />
James Sinclair<br />
Anonymous (2)<br />
SA<br />
$2,500 – $4,999<br />
The Hon D J &<br />
Mrs E M Bleby<br />
Anonymous (1)<br />
$1,000 – $2,499<br />
Ivan & Joan Blanchard<br />
Beverley A Brown<br />
David & Kate Bullen<br />
John & Libby Clapp<br />
Josephine Cooper<br />
Jacqueline Cornell<br />
Dr E H & Mrs A Hirsch<br />
Brian L Jones oam<br />
Bronwen L Jones<br />
Jenny & Christopher<br />
Legoe<br />
Mark Lloyd &<br />
Elizabeth Raupach<br />
Skye McGregor<br />
Fiona MacLachlan oam<br />
H & I Pollard<br />
Trish & Richard Ryan ao<br />
Tony & Joan Seymour<br />
Emma Trengove<br />
Robert & Glenys<br />
Woolcock<br />
Anonymous (3)<br />
$500 – $999<br />
In honour of the late<br />
Janice Ann Argue<br />
Professor Judith Brine<br />
Rosie Burn<br />
Chris & Margaret Burrell<br />
Dr Judy Davey<br />
Dr Michael Drew<br />
Lorraine Drogemuller<br />
Roger Goldsworthy<br />
Carolyn Grantskalns<br />
Elizabeth Ho oam, in<br />
honour of the late<br />
Tom Steel<br />
Ruth Marshall &<br />
Tim Muecke<br />
Dr S Marsden &<br />
Mr M Szwarcbord<br />
David & Ann Matison<br />
P M Menz<br />
Ms Judy Potter<br />
Margaret Sando<br />
Bridget Throsby<br />
June Ward<br />
William Wells qc<br />
Jim & Ann Wilson<br />
Anonymous (3)<br />
VIC<br />
$2,500 – $4,999<br />
Tom Cordiner<br />
The Goodman Family<br />
Foundation<br />
Lyndsey & Peter<br />
Hawkins<br />
Jenefer & Marston<br />
Nicholas<br />
Ralph & Ruth Renard<br />
Helen Vorrath<br />
$1,000 – $2,499<br />
Dr William Abud<br />
Beth Brown & Tom<br />
Bruce am<br />
Jennifer Brukner<br />
The Honourable Alex<br />
Chernov & Mrs<br />
Elizabeth Chernov<br />
Caroline & Robert<br />
Clemente<br />
John & Mandy Collins<br />
Lord & Lady Ebury<br />
Carrillo Gantner ao<br />
Robert Gibbs &<br />
Tony Wildman<br />
Peter Griffin am &<br />
Terry Griffin<br />
Dr Anthea Hyslop<br />
Richard & Angela<br />
Kirsner<br />
Peter Kolliner oam &<br />
Barbara Kolliner<br />
David & Deborah<br />
Lauritz<br />
June K Marks<br />
Mr Baillieu Myer ac &<br />
Mrs Myer<br />
Sir Gustav<br />
Nossal ac kt cbe &<br />
Lady Nossal<br />
Robert Peters<br />
Greg J Reinhardt<br />
Jacques & Susan Rich<br />
Eda Ritchie am<br />
Murray Sandland<br />
Cameron Smith<br />
Maria Sola<br />
Dinos Toumazos<br />
Mary Vallentine ao<br />
Anonymous (4)<br />
$500 – $999<br />
Adrienne Basser<br />
Jan Begg<br />
Dr David Bernshaw<br />
Wendy & Michael<br />
Bertram<br />
Mrs Maggie Cash<br />
Vivien & Jack<br />
Fajgenbaum<br />
The Giglia Family<br />
Brian Goddard<br />
The Hon. George<br />
Hampel am qc & Judge<br />
Felicity Hampel sc<br />
Ian Hogarth & Peter<br />
Larsen<br />
John V Kaufman qc<br />
Angela Kayser<br />
Irene Kearsey &<br />
Michael Ridley<br />
The Hon Ron Merkel qc<br />
Lady Potter ac<br />
Adele Schonhardt<br />
Berek & Marysia Segan<br />
Dr Mark Suss<br />
Alex Tseng<br />
Sefton Warner<br />
Dr Victor & Dr Karen<br />
Wayne<br />
Anonymous (2)<br />
TAS<br />
$500 – $999<br />
Gerard & Elizabeth<br />
McShane<br />
Rosalind O’Connor<br />
Susanne Oldham<br />
WA<br />
$2,500 – $4,999<br />
Maryanne Bell<br />
Alan & Anne<br />
Blanckensee<br />
Bridget Faye am<br />
Jamelia Gubgub &<br />
David Wallace<br />
Anne Last & Steve<br />
Scudamore<br />
Mrs Frances Morrell<br />
$1,000 – $2,499<br />
Christina Davies<br />
Alan Dodge &<br />
Neil Archibald<br />
In memory of<br />
Raymond Dudley<br />
Judith Hugo<br />
Freda & Jim Irenic<br />
M E M Loton oam<br />
Graham Lovelock &<br />
Steve Singer<br />
Diane Smith-Gander<br />
Elizabeth Syme<br />
Robyn Tamke<br />
Lola Wilson<br />
Anonymous (4)<br />
$500 – $999<br />
In Memory of<br />
Flora Bunning<br />
The Honourable<br />
Fred Chaney ao &<br />
Mrs Angela Chaney<br />
Robert Da Prato<br />
Michael & Wendy<br />
Davis<br />
Dr Nerida Dilworth am<br />
Dr Penny Herbert,<br />
in memory of<br />
Dunstan Herbert<br />
Helen Hollingshead<br />
Megan Lowe<br />
Johanna Majzner<br />
Colleen Mizen<br />
John Overton<br />
Jane Rankine<br />
Dr Anthony<br />
Richardson<br />
Ellie Steinhardt<br />
Ms Diana Warnock oam<br />
Anonymous (1)<br />
If you have any<br />
questions about this list,<br />
please contact Claire<br />
Burrell-McDonald on<br />
(02) 8394 6636 or<br />
cburrellmcdonald@<br />
musicaviva.com.au<br />
This list is complete as<br />
at 29 March 2016.<br />
23
MUSICA VIVA CONCERT PARTNERS<br />
SERIES AND TOUR PARTNERS<br />
Perth Concert Series<br />
Coffee Concert Series<br />
BUSINESS PARTNERS<br />
Law Firm Partner<br />
Chartered Accountants Partner<br />
Digital Innovation Partner<br />
Piano Partner<br />
HOTEL PARTNERS<br />
MEDIA PARTNER COSTUME PARTNER ARTS & HEALTH PARTNER<br />
National Media Partner<br />
GOVERNMENT PARTNERS<br />
Musica Viva is assisted by the Commonwealth Government<br />
through the Australia Council, its arts funding and advisory body.<br />
Musica Viva is assisted by the NSW Government through Arts NSW.<br />
24 32
MUSICA VIVA EDUCATION PARTNERS<br />
MUSICA VIVA IN SCHOOLS<br />
National<br />
National Education Partner<br />
NSW<br />
WA<br />
Godfrey Turner<br />
Memorial Trust<br />
Funded by the Perpetual<br />
Foundation – Alan (AGL)<br />
Shaw Endowment<br />
National Education Partner<br />
VIC<br />
QLD<br />
In memory of<br />
Anita Morawetz<br />
Hamer Family Fund<br />
The Marian &<br />
E H Flack Trust<br />
SA<br />
TAS<br />
Day Family<br />
Foundation<br />
Marsden<br />
Szwarcbord<br />
Foundation<br />
ACT<br />
NT<br />
ARTS & HEALTH PARTNER<br />
25
STORIES TO INSPIRE<br />
Making New Connections<br />
Musicians from Musica Viva In Schools’<br />
ensemble Shrewd Brass are agile in<br />
their ability to make significant impact in<br />
vastly different situations. Last year their<br />
performances in new contexts ranged from<br />
lunch-time street music in Brookfield’s<br />
Southern Cross Lane in Melbourne, through<br />
to performances for Emerson School, a<br />
P–12 specialist school in Dandenong, Victoria,<br />
catering for students with intellectual<br />
processing disabilities.<br />
Two groups, the Arcadia Quintet and<br />
Shrewd Brass, performed in December<br />
for lunch-time crowds in Southern Cross<br />
Lane, bringing live music making into the<br />
Brookfield-owned space. Enjoyment was<br />
palpable.<br />
Shrewd Brass in Southern Cross Lane, Melbourne.<br />
26
For Emerson School, Shrewd Brass performed<br />
two concerts, with accompanying Musica<br />
Viva In Schools education resources to<br />
match the school’s aims of providing an<br />
expansive curriculum, a stimulating learning<br />
environment and encouraging students’<br />
independence and creativity in developing<br />
their full potential. This was a first visit to<br />
Emerson School by Musica Viva In Schools.<br />
One of their students, Taleah, wrote about<br />
the visit, sending the photo below:<br />
‘The first thing they played was Jericho<br />
Rock and that was a really good beat and<br />
amazing. All the Middle School teachers<br />
and students were at the concert…There<br />
were Trumpets, (French) Horn, Trombone,<br />
and my favourite instrument, the Tuba.<br />
They explained about all the instruments<br />
they know and played music from the<br />
Olympics, ANZAC ceremonies, and<br />
The Simpsons.’<br />
Shrewd Brass at Emerson School.<br />
Musica Viva’s mission is to give all Australian<br />
children access to quality music education,<br />
and the generous philanthropic funding of<br />
the Equal Music program enabled these<br />
concerts. Our ensembles bring valuable<br />
musical experiences to school communities,<br />
reflected in this Emerson School teacher’s<br />
response:<br />
‘I thought they were remarkable. I thought<br />
it could be disastrous for the kids with<br />
autism, but the musicians were so engaging<br />
from the very beginning that there were no<br />
noise issues at all!! Apart from being superb<br />
musicians they were also superb engagers.<br />
They were tuned into our students and kept<br />
them involved and loving it the whole time.<br />
I was really sorry to see it end.’<br />
If you are interested in learning more about how you can support our work, please contact<br />
Hywel Sims (02) 8394 6672 or hsims@musicaviva.com.au<br />
27
FOR YOUR CONCERT ENJOYMENT<br />
GIVE THIS CONCERT YOUR BEST PERFORMANCE…<br />
WE OFFER THESE SUGGESTIONS IN THE KNOWLEDGE THAT YOU WANT TO<br />
ENJOY EVERY MUSICA VIVA AUSTRALIA CONCERT TO THE FULL. SO PLEASE…<br />
ARRIVE IN PLENTY OF TIME. In most venues,<br />
staff will not admit latecomers until a suitable<br />
break in the performance. Musica Viva and venue<br />
management reserve the right of refusing admission.<br />
SWITCH OFF YOUR MOBILE PHONE before the<br />
concert commences. Patrons expecting emergency<br />
calls should leave their seat numbers with the<br />
House Manager.<br />
ACCESSIBILITY. Musica Viva concert venues are<br />
committed to providing the best possible services<br />
for patrons with disabilities. Please let the staff<br />
know of your special requirements at the time of<br />
booking or when you arrive.<br />
For hearing-impaired patrons, most halls provide<br />
a hearing induction loop you may access. In order<br />
to do this, please switch your hearing aid to the<br />
“T” position.<br />
NOTE THE LOCATION OF THE CLOSEST EXIT<br />
SIGN. In the unlikely event of an emergency,<br />
please listen carefully to the staff’s instructions.<br />
Venue staff are trained in emergency procedures<br />
and will assist and direct you should such an<br />
occasion arise.<br />
DO NOT TAKE PHOTOGRAPHS, VIDEO OR<br />
SOUND RECORDINGS OF THE PERFORMANCE.<br />
Most venues strictly prohibit this, and it may also<br />
breach copyright.<br />
RESERVE APPLAUSE UNTIL THE<br />
CONCLUSION OF EACH WORK. A good rule<br />
of thumb is to show your appreciation at the<br />
conclusion of a work – then you can clap as long<br />
and loudly as you like!<br />
WAIT UNTIL THE PERFORMERS HAVE TAKEN<br />
THEIR FINAL BOW BEFORE LEAVING THE<br />
HALL. It’s difficult to squeeze past other seated<br />
patrons, and you might just miss an unforgettable<br />
encore.<br />
Smoking is not permitted in this venue.<br />
Musica Viva Australia reserves the right to alter<br />
without notice programs, performers, dates, times,<br />
venues and/or prices as may become necessary.<br />
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