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Wildschut & Brauss Guide | November 2023

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<strong>Wildschut</strong><br />

& <strong>Brauss</strong>


2


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

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

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

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

NOA WILDSCHUT & ELISABETH BRAUSS<br />

violin<br />

piano<br />

ADELAIDE<br />

Adelaide Town Hall<br />

Wednesday 15 <strong>November</strong>, 7.30pm<br />

• Pre-concert talk: 6.45pm,<br />

Prince Alfred Room<br />

NEWCASTLE<br />

City Hall<br />

Tuesday 21 <strong>November</strong>, 7.30pm<br />

• Pre-concert talk: 6.45pm,<br />

Mulubinba Room<br />

BRISBANE<br />

Conservatorium Theatre,<br />

Griffith University, South Bank<br />

Thursday 23 <strong>November</strong>, 7pm<br />

• Pre-concert talk: 6.15pm, Boardroom,<br />

Qld Conservatorium, Griffith University<br />

CANBERRA<br />

Llewellyn Hall,<br />

ANU School of Music<br />

Monday 27 <strong>November</strong>, 7pm<br />

• Pre-concert talk: 6.15pm,<br />

Larry Sitsky Room<br />

• Meet the Artists after the concert<br />

MELBOURNE<br />

Elisabeth Murdoch Hall,<br />

Melbourne Recital Centre<br />

Saturday 25 <strong>November</strong>, 7pm<br />

• Pre-concert talk: 6.15pm,<br />

Salzer Suite, Level 2<br />

• Meet the Artists after the concert<br />

Tuesday 28 <strong>November</strong>, 7pm<br />

• Pre-concert talk: 6.15pm,<br />

Salzer Suite, Level 2<br />

PERTH<br />

Perth Concert Hall<br />

Monday 13 <strong>November</strong>, 7.30pm<br />

• Pre-concert talk: 6.45pm,<br />

Corner Stage Riverside, Terrace Level<br />

SYDNEY<br />

City Recital Hall<br />

Saturday 18 <strong>November</strong>, 2pm<br />

• Pre-concert talk: 1.15pm,<br />

Function Room, Level 1<br />

• CD signing after the concert,<br />

Main Foyer<br />

Monday 20 <strong>November</strong>, 7pm<br />

Recorded for broadcast by ABC Classic<br />

• Pre-concert talk: 6.15pm,<br />

Function Room, Level 1<br />

• Meet the Artists after the concert,<br />

Concert Hall<br />

—<br />

With special thanks to Eleanore Goodridge OAM for her support of this tour,<br />

and to the Producers’ Circle and Amadeus Society for their support of the <strong>2023</strong> Concert Season.<br />

01


From the Artistic Director<br />

Most people can recall milestone recordings<br />

at the point in which they entered their lives.<br />

I can remember buying a double LP of Wagner<br />

overtures and preludes in my teens and<br />

consuming it whole. Same with Sviatoslav Richter<br />

playing Bach’s 48 Preludes and Fugues – perhaps<br />

not the most obvious partnership between<br />

composer and executant, but anything either<br />

man did was fine by me.<br />

© Darren Leigh Roberts<br />

The same goes with milestone performances.<br />

Simon Rattle doing Sibelius 7 at the Proms in the<br />

mid-1990s. Ann Murray singing Schubert at the<br />

Wigmore Hall a few years later. I could probably<br />

even tell you what I was wearing.<br />

I had a similar response hearing Noa <strong>Wildschut</strong><br />

and Elisabeth <strong>Brauss</strong> in 2019. It was online, alas,<br />

and I didn’t know what was just round the corner,<br />

but I was mesmerised by their performance of<br />

the Franck Violin Sonata. This is such a revealing<br />

piece. Is there stillness in the opening movement?<br />

Heart in the Recitativo-Fantasia? A cumulatively<br />

rhapsodic character in the Finale? There was all<br />

of this and more in their performance; I had a new<br />

favourite pairing. How brilliant that my invitation<br />

for them to tour Australia back then is finally<br />

bearing fruit.<br />

I could say the same thing about May Lyon whose<br />

commissioned work for violin and piano, Forces<br />

of Nature, will receive its premiere performances<br />

on this tour. I marvelled at May’s work Opal,<br />

a concerto for two horns, performed by the<br />

Melbourne Symphony Orchestra two years ago,<br />

and determined there and then that Musica Viva<br />

Australia would commission new music from this<br />

composer. It’s a lovely fit, as Noa and Elisabeth<br />

agreed when hearing some of May’s music, and a<br />

real pleasure for Musica Viva Australia to facilitate<br />

the creation of a new piece of the repertory,<br />

generously supported by Christine Bollen, Peter<br />

Cumines, Elizabeth Dooley, Annabel Wheeler,<br />

and Elizabeth and Rod King.<br />

Paul Kildea<br />

Artistic Director<br />

02


Program<br />

Robert SCHUMANN (1810–1856)<br />

Violin Sonata No. 1 in A minor, Op. 105 (1851)<br />

I Mit leidenschaftlichem Ausdruck (Passionately expressive)<br />

II Allegretto (Fairly fast)<br />

III Lebhaft (Lively)<br />

18 min<br />

Olivier MESSIAEN (1908–1992)<br />

Thème et variations (1932)<br />

Claude DEBUSSY (1862–1918)<br />

Sonata for Violin and Piano in G minor (1917)<br />

I Allegro vivo (Fast and lively)<br />

II Intermède: Fantasque et léger (Intermezzo: Whimsical and light)<br />

III Finale: Très animé (Very animated)<br />

8 min<br />

15 min<br />

INTERVAL<br />

May LYON (b 1979)<br />

Forces of Nature (<strong>2023</strong>)<br />

World premiere performances.<br />

Commissioned for Musica Viva Australia by Christine Bollen, Peter Cumines,<br />

Elizabeth Dooley, Annabel Wheeler, and Elizabeth and Rod King.<br />

In memory of Ian Bollen and in memory of Iris Mara.<br />

12 min<br />

Program 1 only | Adelaide, Canberra, Melbourne (Saturday), Perth, Sydney (Monday)<br />

George ENESCU (1881–1955)<br />

Violin Sonata No. 3 in A minor, Op. 25 (1926)<br />

I<br />

II<br />

III<br />

Moderato malinconico (Moderately fast, melancholy)<br />

Andante sostenuto e misterioso<br />

(Moving along at a walking pace; sustained and mysterious)<br />

Allegro con brio, ma non troppo mosso<br />

(Lively and energetic, but not too fast)<br />

24 min<br />

Program 2 only | Brisbane, Melbourne (Tuesday), Newcastle, Sydney (Saturday)<br />

César FRANCK (1822–1890)<br />

Sonata in A major for Violin and Piano (1886)<br />

I Allegretto ben moderato (Fairly fast, at a very moderate pace)<br />

II Allegro (Fast)<br />

III Ben moderato (At a very moderate pace): Recitativo-Fantasia<br />

IV Allegretto poco mosso (Fairly fast, moving along a little)<br />

27 min<br />

Please ensure that mobile phones are turned to silent.<br />

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

03


Hands up!<br />

…if you know over 90% of Musica Viva Australia audiences are under 15?<br />

—<br />

Every year we present over 1,000 performances<br />

to more than 150,000 students live in schools across Australia.<br />

—<br />

Throughout 2024 there will be drumming, dancing and musical fun for students,<br />

supported by online resources and a parallel program of<br />

Professional Development for teachers.<br />

If you or someone you know is interested in finding out more<br />

about Musica Viva Australia In Schools:<br />

or<br />

VISIT<br />

SIGN UP<br />

STRIKE A CHORD 2O24<br />

Musica Viva Australia’s national chamber music competition for high<br />

school musicians is back in 2024. Do you know any secondary school<br />

students who have a passion for music? The Strike A Chord competition<br />

provides training and performing opportunities to young performers<br />

of all levels to develop their ensemble skills, fostering participation<br />

and a lifelong love of music. It’s more fun playing together!<br />

DETAILS


Regional Touring<br />

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

Touring Program, Noa and Elisabeth will<br />

perform a concert for Coffs Harbour Music<br />

Society on Thursday 30 <strong>November</strong>, 7.30pm<br />

at the Coffs Harbour Education Campus,<br />

Lecture Theatre D.<br />

—<br />

For further details visit:<br />

musicaviva.com.au/regional<br />

Masterclasses<br />

Musica Viva Australia creates opportunities<br />

for Australian and internationally acclaimed<br />

artists to share their experience and<br />

expertise with talented early-career artists<br />

and young music students, creating an<br />

enriching learning experience.<br />

Vision String Quartet in Tyalgum during their recent regional tour<br />

© Sean Moloney<br />

The following masterclasses are<br />

presented as part of this tour:<br />

NOA WILDSCHUT<br />

• Tuesday 14 <strong>November</strong>: Perth<br />

Western Australian Academy<br />

of the Performing Arts<br />

ELISABETH BRAUSS<br />

• Wednesday 22 <strong>November</strong>: Brisbane<br />

Queensland Conservatorium,<br />

Griffith University<br />

Florian Willeitner with finalists of Strike A Chord 2022<br />

© Musica Viva Australia<br />

—<br />

For further details visit:<br />

musicaviva.com.au/masterclasses<br />

Musica Viva Australia’s Masterclass<br />

program is supported by:<br />

Nicholas Callinan AO & Elizabeth Callinan<br />

Caroline & Robert Clemente<br />

Ian Frazer AM & Caroline Frazer<br />

Patricia H Reid Endowment Fund<br />

Andrew Sisson AO & Tracey Sisson<br />

Mick & Margaret Toller<br />

Anonymous (2)<br />

Musica Viva Australia Masterclasses in Western<br />

Australia are supported by Wesfarmers Arts.<br />

Timothy Ridout at Sydney Conservatorium of Music<br />

© Sean Moloney<br />

05


© Marco Borggreve<br />

Noa <strong>Wildschut</strong><br />

Dutch violinist Noa <strong>Wildschut</strong> is only 22 years<br />

old, but has already gained her place in the<br />

international classical music scene. At the age<br />

of six she appeared live on Dutch national<br />

television at Amsterdam’s Prinsengracht<br />

youth concert. Aged seven, she made her<br />

debut in the Main Hall of the Amsterdam<br />

Concertgebouw at the ‘Night of the Promising’<br />

concert. In September 2016 she became an<br />

exclusive recording artist for Warner Classics.<br />

Noa has built a considerable reputation<br />

and is regularly invited for festivals, recitals<br />

and solo performances with orchestras,<br />

both in her home country and abroad. She<br />

has collaborated with such artists as Janine<br />

Jansen, Anne-Sophie Mutter, Menahem<br />

Pressler and Igor Levit, and performed as a<br />

duo with pianists Yoram Ish-Hurwitz and, since<br />

2018, Elisabeth <strong>Brauss</strong>.<br />

She has worked with the Pittsburgh Symphony<br />

Orchestra, Royal Scottish National Orchestra,<br />

Royal Liverpool Philharmonic, Rotterdam<br />

Philharmonic Orchestra, Residentie<br />

Orkest, Netherlands Radio Philharmonic<br />

Orchestra, Netherlands Philharmonic<br />

Orchestra, Netherlands Chamber Orchestra,<br />

Concertgebouw Chamber Orchestra,<br />

Camerata Salzburg, Kremerata Baltica,<br />

Konzerthausorchester Berlin, Gürzenich<br />

Orchester Köln, Lucerne Symphony Orchestra,<br />

Sinfonieorchester Basel, Orquestra Sinfônica<br />

de João Pessoa in Brazil and Orquesta<br />

Sinfónica de Guayaquil in Ecuador.<br />

Noa won numerous awards at a young age,<br />

including First Prize at the International Violin<br />

Competition Louis Spohr in Weimar (at the<br />

age of nine), First Prize at the Iordens Violin<br />

Competition in The Hague (at the age of 10),<br />

the Concertgebouw Young Talent Award (aged<br />

11) and the Anton Kersjes Violin Prize (aged 16).<br />

She received the WEMAG Soloist Award at the<br />

2018 Mecklenburg-Vorpommern Festival, and<br />

was selected as an ECHO Rising Star for the<br />

2019/20 season by the European Concert Hall<br />

Organisation.<br />

From 2014 to 2019 Noa was a member of<br />

Mutter Virtuosi, a string ensemble led by<br />

Anne-Sophie Mutter, and from 2015 to 2019<br />

Noa held an official scholarship from the<br />

Anne-Sophie Mutter Foundation – their<br />

youngest ever member.<br />

The Dutch public service broadcaster NTR<br />

produced the documentary Noa11, which<br />

was broadcast in <strong>November</strong> 2012. In 2017 the<br />

documentary A Family Quartet, about Noa<br />

and her family, was screened in many Dutch<br />

theaters and was broadcast on TV.<br />

Noa’s bow is a beautiful Dominique Peccatte,<br />

mid-19th-century, kindly on loan from the<br />

Dutch Musical Instruments Foundation from<br />

the Tettelaar collection. Noa plays a 1750<br />

violin by Giovanni Battista Guadagnini,<br />

previously performed on by violinist Joshua<br />

Bell, generously loaned by a patron through<br />

the Tarisio Trust.<br />

06


© Monika Lawrenz<br />

Elisabeth <strong>Brauss</strong><br />

Pianist Elisabeth <strong>Brauss</strong> has been praised by<br />

Gramophone magazine for the ‘maturity and<br />

sophistication of her thoughtful interpretations’<br />

which would be ‘the pride of any pianist twice<br />

her age’. Born in Hannover in 1995, Elisabeth<br />

is quickly establishing herself as one of the<br />

most exciting and versatile musicians of her<br />

generation.<br />

As a member of the BBC New Generation<br />

Artist (NGA) scheme, Elisabeth has many solo,<br />

chamber and concerto engagements across<br />

the UK, including her debut at the BBC Proms,<br />

performing Mozart with the BBC Philharmonic<br />

Orchestra in 2021. In a new partnership<br />

between this scheme and the Hallé Orchestra,<br />

she received the 2021 Terence Judd-Hallé<br />

Award, given to an NGA graduate considered<br />

to be on the cusp of a major international<br />

career.<br />

Elisabeth has appeared with the Hallé<br />

Orchestra and the BBC Symphony,<br />

BBC Scottish Symphony and BBC Ulster<br />

Orchestras, in addition to dates with Deutsche<br />

Kammerphilharmonie Bremen, NDR<br />

Radiophilharmonie Hannover, Frankfurt Radio<br />

Symphony Orchestra, Staatsphilharmonie<br />

Nürnberg and Göttinger Symphonie<br />

Orchester in her native Germany.<br />

During the 2021/22 season her solo<br />

performances included enagements in<br />

Cologne, London (Wigmore Hall) and<br />

Hamburg, where she took part in Max Richter’s<br />

Reflektor Festival at the Elbphilharmonie.<br />

She enjoys playing chamber music and has<br />

appeared with Noa <strong>Wildschut</strong> throughout<br />

Europe, including the Concertgebouw in<br />

Amsterdam and Philharmonie Halls in<br />

both Paris and Cologne, as well as the San<br />

Francisco Symphony’s Young Artists Series.<br />

Elisabeth also works regularly with the trumpet<br />

player Simon Höfele, with whom she has<br />

recently released the album New Standards.<br />

In May 2017, her debut CD, featuring works by<br />

Beethoven, Prokofiev, Chopin and Denhoff,<br />

was released by OehmsClassics. It received<br />

critical acclaim and was named Editor’s Choice<br />

by Gramophone magazine. Since then, she<br />

has also appeared on CD with cellist Valentino<br />

Worlitzsch (works by Beethoven, Ysaÿe,<br />

Schumann and Britten) and with the Beethoven<br />

Orchester Bonn for an album featuring<br />

compositions by Max Richter to commemorate<br />

Beethoven’s 250th anniversary.<br />

In addition to winning first prize at the<br />

International Steinway Competition in<br />

Hamburg and the International Grotrian<br />

Steinweg Piano Competition in Braunschweig,<br />

Elisabeth was awarded the Praetorius Music<br />

Prize by the state of Niedersachsen in 2012.<br />

Further accolades include the main and<br />

audience awards at the 2013 TONALi Grand<br />

Prix in Hamburg and First Prize at the 2016<br />

Kissinger KlavierOlymp.<br />

07


About the music<br />

as it is obsessive. The unusual Allegretto in<br />

place of a slow movement has a rhetorical<br />

quality in which Schumann’s feeling for the<br />

intersection between music and language<br />

is particularly apparent; Schumann scholar<br />

Joan Chissell has described this movement<br />

as coming ‘as near to human speech as music<br />

ever can’.<br />

© PHILIP MURRAY 2019<br />

Robert Schumann’s three violin sonatas<br />

date from the early 1850s, a period of his<br />

life when signs of the mental illness that<br />

would eventually overwhelm his final years<br />

were already beginning to appear. Some<br />

commentators have chosen to interpret certain<br />

qualities of the music of this period, such as<br />

perceived lapses in instrumental writing and<br />

formal craft, and an obsessive use of repetitive<br />

rhythmic motives, as evidence of mental<br />

disturbance. It is perhaps for this reason<br />

that Schumann’s violin sonatas have not<br />

traditionally shared the popularity of those of<br />

Beethoven and Brahms.<br />

Schumann himself apparently was not entirely<br />

satisfied with his first attempt, the Sonata in A<br />

minor, Op. 105, which we are hearing in this<br />

concert, and it is true that aspects of octave<br />

registration and doubling can cause issues<br />

of balance between the instruments. In an<br />

attempt to solve these problems, British pianist<br />

Harold Bauer published a recomposed version<br />

in 1945, which achieved a brief popularity.<br />

More recent appraisals, however, have tended<br />

towards a greater appreciation of the ways<br />

Schumann’s unique musical sensibility finds<br />

expression in this work. If understood as ‘true’<br />

chamber music, designed for performance in a<br />

small space to an intimate audience, many of<br />

the problems of balance resolve themselves.<br />

While imbued with a melancholy restlessness,<br />

the first movement Mit leidenschaftlichem<br />

Ausdruck (Passionately expressive)<br />

nevertheless possesses a formal tightness;<br />

and the rhythmic energy of the last movement,<br />

Lebhaft (Lively), is as sparklingly effervescent<br />

Olivier Messiaen wrote his Thème et<br />

Variations in 1932, only two years after<br />

finishing his studies at the Paris Conservatoire,<br />

for his first wife, the violinist Claire Delbos.<br />

Other works prompted by his feelings for<br />

her included the song cycles Poèmes pour Mi<br />

(1936) and Chants de terre et de ciel (1938).<br />

The pair gave Thème et Variations its first<br />

performance, playing their respective parts at<br />

a concert arranged by the Société Nationale<br />

de Musique.<br />

Writing about Messiaen’s music often leads<br />

to metaphors of stained-glass windows. He<br />

was a cathedral organist, and a synaesthete<br />

(perceiving sound also visually, as colour).<br />

More ephemerally, in this piece he takes an<br />

established format, gives it his own modern<br />

and distinctive voice, and allows us to hear/<br />

see his theme from different angles in the<br />

variations, just as light comes through a<br />

window at different times of day.<br />

The theme is a slow expressive melody for the<br />

violin laid out in asymmetrical phrases, with<br />

chromatic shifts in the piano part that provide<br />

08


us with a changing view of its implications.<br />

Variation 1 essentially speeds up the theme<br />

in quaver values, a procedure echoed in the<br />

exuberantly chromatic patterns for piano.<br />

Variation 2 gives the quavers a persistent<br />

triplet rhythm and Variation 3 takes the<br />

process of diminution a stage further, shrinking<br />

the theme through the use of semiquavers.<br />

Variation 4 returns to longer note-values,<br />

increasingly through repetitions of successive<br />

notes in triplet rhythms, leading to a final<br />

slow variation in which the theme’s original<br />

statement is lengthened and broadened, its<br />

values augmented, and its resonance and<br />

dynamics greatly enlarged.<br />

ADAPTED FROM A NOTE © AUSTRALIA ENSEMBLE<br />

In the Violin Sonata, the first movement,<br />

Allegro vivo, is in conventional sonata-form<br />

– its theme returns to make an introduction to<br />

the finale. The slow intermezzo, ‘whimsical and<br />

light‘, evokes the figure of Harlequin (just as<br />

the slow movement of the Cello Sonata evokes<br />

Pierrot), with touches of melancholy as well<br />

as dancing lightness. The Finale contains an<br />

exuberant rondo on a theme recalling Iberia;<br />

according to Debussy, this theme ‘is subjected<br />

to the most curious deformations and<br />

ultimately leaves the impression of an idea<br />

turning back upon itself, like a snake biting its<br />

own tail‘. Throughout, the sonata is remarkable<br />

for the beauties and subtleties of string tone<br />

and effect which Debussy has exploited with<br />

great sensitivity.<br />

© MUSICA VIVA AUSTRALIA<br />

The Sonata for Violin and Piano in G minor,<br />

completed in 1917, was Claude Debussy‘s<br />

last work. In 1915 he had set out to write a<br />

series of six sonatas for various instrumental<br />

combinations, but ill-health and general<br />

depression, accentuated by the World War<br />

whose approach he had gloomily foretold,<br />

slowed his work. He completed only three of<br />

the six: for cello and piano, for flute, viola and<br />

harp, and this sonata, for violin and piano.<br />

These works show a trend away from<br />

Debussy‘s ‘impressionistic‘ style; here the<br />

melodies, harmonies and rhythms are much<br />

more clear-cut. They anticipate the 1920s<br />

movement of neo-classicism, but rather than<br />

going back to Bach they show influences of the<br />

early French masters such as Couperin and<br />

Rameau.<br />

Composed in the leafy outer east of<br />

Melbourne, May Lyon’s music explores deep<br />

human emotions, representations of nature<br />

and mathematical concepts, as well as the<br />

lighter side of life. Stylistically eclectic, Lyon’s<br />

compositions move from dramatic and intense,<br />

to quirky.<br />

Lyon was a finalist for the <strong>2023</strong> Art Music<br />

Awards’ Work of the Year: Dramatic for the<br />

ballet Precious Bedeviller aka One Person<br />

Watching, commissioned by The Australian<br />

Ballet and choreographed by Timothy<br />

Coleman. Lyon is the <strong>2023</strong> Ensemble Offspring<br />

Noisy Women Commission Recipient and<br />

is currently studying for a Doctor of Musical<br />

Arts at the University of Sydney as part of the<br />

Composing Women Program.<br />

09


PROGRAM 1 ONLY<br />

Previously, Lyon’s music has been performed<br />

by the Melbourne Symphony Orchestra,<br />

Tasmanian Symphony Orchestra, Tasmania<br />

University Orchestra, National Capital<br />

Orchestra, Sydney Dance Company Pre-<br />

Professional Year with the Sydney Symphony<br />

Orchestra Fellows, Ensemble Goldentree, and<br />

Forest Collective.<br />

The composer writes:<br />

Forces of Nature evokes two polar opposites:<br />

the summer melt of ice sheets, and an erupting<br />

volcano. The ethereal opening solo violin<br />

line offers suggestions of shimmering light<br />

refracting off ice and near freezing water.<br />

As the piano enters, the water’s depth and<br />

slow undulation is introduced, transitioning to<br />

harsher ice caps, cracking, and a sharp cold.<br />

Light persists until falling deep beneath the<br />

waves. The second section starts with a slow<br />

agitation, a bubbling of air escaping beneath<br />

the sea bed. The lines quickly increase into<br />

a wild intensity, with jagged leaps heralding<br />

the start of the volcanic eruption, bursting<br />

into a fiery dance for the piano. Both violin<br />

and piano move from fast intensity to gentler<br />

gestures then back again, using the extremes<br />

of both instruments’ ranges and dynamics. As<br />

the volcano continues to erupt, the hot lava,<br />

while sometimes cooling over briefly, always<br />

breaks again to show its searing glow.<br />

While divided into two movements, there is no<br />

pause in this work other than for musical effect.<br />

© MAY LYON <strong>2023</strong><br />

According to the Spanish cellist Pablo Casals,<br />

Romanian musician George Enescu was ‘the<br />

greatest musical phenomenon since Mozart’.<br />

His talents as a violinist saw him graduate from<br />

the Vienna Conservatory at the age of ten.<br />

After performing in orchestras in Vienna, he<br />

studied composition at the Paris Conservatoire<br />

under Maurice Ravel, Jules Massenet and<br />

Gabriel Fauré. Enescu described himself<br />

foremost as a composer, yet he maintained a<br />

busy performing schedule in Paris, splitting his<br />

time between the French capital and Bucharest<br />

for much of his life. Like his Eastern European<br />

contemporaries Bartók and Janáček, Enescu<br />

was inspired by folk song, which he suffused<br />

with the rich harmonies of fin-de-siècle French<br />

music.<br />

His Violin Sonata No. 3, composed in 1926,<br />

exemplifies this melding of styles. Enescu uses<br />

the doina, an ornamented Eastern European<br />

dance style, to create a characteristic folk<br />

sound through chromaticism and rapid shifts<br />

in range. Enescu himself connected doina<br />

with the music he experience in childhood.<br />

At the same time, the work retains the usual<br />

three-movement, fast – slow – faster structure<br />

of late-Romantic sonatas. Rich chords<br />

and countermelodies abound in the first<br />

movement. The mysteriousness denoted by<br />

the second movement’s title develops from the<br />

persistent piano pulse and hauntingly high<br />

violin strains. The swirling rhythms and everchanging<br />

timbres of the finale bring the work<br />

to a mesmerising close.<br />

© CHAMBER MUSIC NEW ZEALAND<br />

10


PROGRAM 2 ONLY<br />

Back in 1858, he had in fact written at least<br />

a significant part of a violin sonata for the<br />

then-Cosima Liszt (later Cosima Wagner).<br />

Just how much of that abandoned work was<br />

then recycled into the 1886 sonata is unclear,<br />

but by the age of 62 when the new/old sonata<br />

emerged, Franck was at the height of his<br />

creative powers.<br />

In late September 1886, the violinist Eugène<br />

Ysaÿe married Louise Bourdau in the town of<br />

Arlon in Belgian Luxembourg. As befitting<br />

31-year-old Ysaÿe’s stature as the emerging<br />

celebrity violinist of his era, a who’s-who of<br />

classical music VIPs attended.<br />

But the French composer César Franck was<br />

not among them, having found himself<br />

unavoidably detained in Paris. So in his place,<br />

Franck sent his friend Charles Bordes and his<br />

pianist sister-in-law Léontine Bordes-Pène.<br />

They carried with them a wedding present<br />

from Franck, the manuscript of a violin sonata<br />

that the great French composer had written in<br />

honour of Ysaÿe and Louise’s nuptials.<br />

After a hasty rehearsal, Ysaÿe and Bordes-<br />

Pène played it at the wedding breakfast, to<br />

stunned guests who recognised it instantly as<br />

a masterpiece. Two months later, the same<br />

two artists gave its first public performance in<br />

Brussels to a rapturous reception, and then it<br />

was on to Paris where one reviewer described<br />

it as the sort of thing ‘that Bach might have<br />

written had he lived in our 19th century’. And<br />

history has justified that early praise. Ysaÿe<br />

championed its cause for decades all over the<br />

world, and to this day the Franck Violin Sonata<br />

remains the most revered violin sonata ever<br />

composed by a Frenchman.<br />

Whether or not Franck had originally intended<br />

it for Ysaÿe, though, remains a matter of<br />

conjecture.<br />

The theme of the first movement is gentle but<br />

sweeping. Ysaÿe played it faster than Franck<br />

had originally intended but such was its impact<br />

on listeners that Franck later adopted Ysaÿe’s<br />

tempo rather than his own in the published<br />

score, telling a friend that, from the moment<br />

he heard it, he couldn’t imagine it being<br />

interpreted any other way. ‘Don’t worry,’ he<br />

said, ‘it is he, Ysaÿe, who is right.’<br />

Things turn turbulent in the second movement<br />

(considered by some to be the ‘real’ first<br />

movement), while the third is free-structured<br />

like a fantasy. The finale is a rondo with the<br />

engaging main theme constantly re-emerging<br />

in canon, the one voice repeating the other<br />

in one of the true showpieces of the chamber<br />

music repertoire.<br />

© MARTIN BUZACOTT 2018


Meet the Artists/Interview<br />

BY STEPHANIE ESLAKE<br />

… the music emerged<br />

How do you prepare for your first tour to<br />

Australia?<br />

With a piece of new Australian music, of<br />

course.<br />

Violinist Noa <strong>Wildschut</strong> and pianist Elisabeth<br />

<strong>Brauss</strong> have embarked on their debut tour<br />

of this country, and they’ve been practising<br />

a new work written just for them. Melbourne<br />

composer May Lyon crafted an original piece<br />

of music called Forces of Nature, and the<br />

name of this Musica Viva Australia commission<br />

is matched to the strength of its soloists and<br />

writer alike.<br />

May says it all began when Musica Viva<br />

Australia’s Artistic Director Paul Kildea found<br />

himself listening to some snippets of Opal – a<br />

double horn concerto May had written for the<br />

Melbourne Symphony Orchestra back in 2021.<br />

With brass instruments glistening like precious<br />

gems, Paul was so drawn into its magical<br />

atmosphere that he asked May if he could<br />

hear an extended recording of the work, in all<br />

its beauty.<br />

From this listening experience would come an<br />

entirely new piece of music, for two entirely<br />

different instruments.<br />

‘He really loved the work, which I was very<br />

flattered by, after which he asked to catch<br />

up,’ May said of the composer’s burgeoning<br />

musical friendship with Paul. They had a ‘great<br />

meeting’ – and it kicked off the commission for<br />

<strong>Wildschut</strong> and <strong>Brauss</strong>.<br />

‘We had discussed that it was important that<br />

composers and performers are the right<br />

match,’ May shares. And the pressure is on<br />

when you’re tasked with contributing to a<br />

string of successful Musica Viva Australia<br />

commissions. This year alone, Australian<br />

composer Jakub Jankowski wrote for koto and<br />

cello (in the event Silk, Metal, Wood), while<br />

Carl Vine’s music for guitar and string quartet<br />

was premiered by Karin Schaupp and Flinders<br />

Quartet.<br />

May, Noa and Elisabeth may not be a close<br />

geographical fit, but they are certainly wellmatched<br />

in talent: May has been awarded<br />

commissions with the most prestigious<br />

Australian arts organisations from Musica Viva<br />

Australia to The Australian Ballet. Noa is a<br />

recording artist with Warner Classics and has<br />

starred in a documentary about her musical<br />

life (A Family Quartet), while Elisabeth was<br />

part of the BBC New Generation Artist Scheme<br />

and often plays in Wigmore Hall.<br />

So when it comes to figuring out whether or not<br />

they’d be a good match, May says: ‘It was an<br />

easy decision for me. They are both brilliant,<br />

and an extremely dynamic duet. A little while<br />

later, I was extremely pleased to hear they also<br />

wanted me to write a piece for them.’<br />

Then the work began. Watching online<br />

recordings of their performances, the<br />

composer would analyse the players’ gestures.<br />

May observed Noa’s spirited body language;<br />

the violinist ‘closing her eyes and leaning into<br />

the music in sublime happiness’.<br />

12


straight from the heart<br />

For Elisabeth, May imagined creating music<br />

that would allow space for this pianist to<br />

convey the full gamut of musical expression –<br />

from the delicate to the thunderous. ‘Elisabeth<br />

has a focus and intensity in her playing that<br />

sometimes reminded me of a gymnast: precise<br />

and strong, yet always artistic and poised.’<br />

May’s interpretations of the performers –<br />

watching and listening to them intensely, yet<br />

at a distance – would prove an essential tool<br />

in forging Forces of Nature. As the artists’<br />

schedules were packed to the brim, May says<br />

the three of them were unable to chat about<br />

the composition – a step you’d expect to be<br />

part and parcel of such a joint project. Instead,<br />

the music emerged straight from the heart:<br />

through improvisation.<br />

The composer turned ideas into modes –<br />

sequences of notes that help conjure a certain<br />

feeling. One mode was allocated to Noa,<br />

another to Elisabeth. But Forces of Nature is<br />

not a piece that requires you to have a degree<br />

in musicology to enjoy. Beyond the technical<br />

skills embedded into the writing, May also<br />

paints a musical picture of nature’s wildest<br />

forces – fire and ice.<br />

You’ll hear ‘ice sheets, the reflecting sunlight<br />

on the freezing water, and cracking ice; the<br />

bubbling of an underwater volcano in its early<br />

stages; and the searing heat of a fiery volcano,<br />

with leaping lava as well as its descent down<br />

the side.’<br />

Whoa.<br />

In a musical sense, Noa’s violin solo hints at<br />

the light shining on the ice and piercing the<br />

water. Over the course of the piece, Elisabeth<br />

also plays a fugue that sounds like a ‘bubbling’<br />

texture, then the threat of the volcano<br />

emerges.<br />

‘Once we get to the volcano, the piano is<br />

driving and rhythmic with rolling lines across<br />

the range of the piano,’ May explains. ‘The<br />

violin is soaring over the top, or moving in fast<br />

racing patterns. This section is designed to get<br />

the heart pumping.’<br />

You’d generally expect to hear these epic<br />

soundscapes in a large-scale orchestral<br />

work: the forces of nature are at work in<br />

the thunderstorm of Beethoven’s Pastoral<br />

Symphony, and the waves that crash in<br />

Mendelssohn’s Hebrides Overture. The<br />

challenge for May was to realise and<br />

communicate visions of the natural world<br />

using just two instruments – but when Noa and<br />

Elisabeth are playing them, it becomes less of<br />

a limitation and more of a benefit.<br />

‘To be composing for artists of this calibre, I felt<br />

confident that what I had on the page would<br />

not only be brought out, but enhanced,’ May<br />

says. ‘Simple lines can have so much detail,<br />

and then when given to a talented performer,<br />

a single note can hold a whole auditorium.<br />

Being able to be part of this is an absolute gift<br />

and why writing this piece was such a joy.<br />

‘I know what Noa and Elisabeth make of this<br />

piece will be wonderful.’<br />

13


© Priscilla du Preez<br />

HELP BUILD OUR MUSICAL FUTURE<br />

A bequest to Musica Viva Australia is a generous investment in the<br />

future of Australian music – whether through education programs,<br />

world-class concert series or nurturing the artists of tomorrow.<br />

For nearly 80 years, we have established ourselves as the bedrock<br />

of Australia’s cultural firmament with a presence in every state<br />

and territory and have grown to become the world’s busiest<br />

chamber music organisation.<br />

Be confident that your gift to Musica Viva Australia<br />

will resonate with the largest possible audiences<br />

of all ages and locations for years to come.<br />

For information about our bequests program, please visit:<br />

musicaviva.com.au/support-us/planned-giving<br />

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

zcobden-jewitt@musicaviva.com.au | 0409 340 240


Patrons<br />

CUSTODIANS<br />

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

Ruth Weaver, Anonymous (4)<br />

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

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

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

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

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

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

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

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

QLD Anonymous (2)<br />

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

Anonymous (4)<br />

TAS<br />

Kim Paterson QC, Anonymous<br />

VIC Elizabeth & Anthony Brookes, Julian Burnside AO<br />

QC, Ms Helen Dick, Robert Gibbs & Tony Wildman, Helen<br />

Vorrath, Anonymous (8)<br />

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

LEGACY DONORS<br />

ACT<br />

The late Geoffrey Brennan<br />

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

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

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

The late Kenneth W Tribe AC<br />

QLD<br />

The late Steven Kinston<br />

SA The late Edith Dubsky, In memory of Helen Godlee,<br />

The late John Lane Koch, The late Lesley Lynn<br />

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

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

WA<br />

Anonymous<br />

CONCERT CHAMPIONS<br />

The mainstage concerts of our <strong>2023</strong> Season are brought<br />

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

around the country.<br />

Adelaide Helen Bennetts & Tim Lloyd, The late Lesley Lynn,<br />

Dr Susan Marsden & Michael Szwarcbord, Leonie Schmidt<br />

& Michael Davis, Anonymous (2)<br />

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

Andrew & Kate Lister, Barry & Diana Moore, Anonymous (2)<br />

Canberra Andrew Blanckensee Music Lover, Professor<br />

Malcolm Gillies & Dr David Pear, Sue & Ray Edmondson,<br />

Claudia Hyles, Margaret Lovell & Grant Webeck,<br />

Ruth Weaver & Anonymous, Dr Suzanne Packer,<br />

Sue Terry & Len Whyte<br />

Melbourne Alexandra Clemens & Bibi Aickin, Penelope<br />

Hughes, Peter Lovell, The Morawetz Family in memory of<br />

Paul Morawetz, Dr John Tang, Dr Michael Troy, Ray Turner<br />

& Jennifer Seabrook, Mark & Suzy Suss in memory of<br />

Dr James Pang, The late Dr G D Watson, Dr Victor Wayne &<br />

Dr Karen Wayne OAM, Igor Zambelli, Anonymous<br />

Newcastle Judith Bennett, Gabrielle Bookallil &<br />

The Musica Viva Australia Newcastle Committee,<br />

Megan & Bill Williamson<br />

Perth Dr Robert Larbalestier AO, Deborah Lehmann AO<br />

& Michael Alpers AO, Prichard Panizza Family (2),<br />

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

Sydney Judith Bennett, Patricia Crummer, Pam Cudlipp,<br />

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

– in acknowledgement of his piano teacher, Sana Chia,<br />

Katherine & Reg Grinberg, Anthony Strachan, Tribe Family,<br />

Kay Vernon, Kim Williams AM & Catherine Dovey (2)<br />

PRODUCERS’ CIRCLE<br />

Darin Cooper Foundation, Peter Griffin AM & Terry Swann<br />

ENSEMBLE PATRONS<br />

Our artistic vision for <strong>2023</strong> is made possible thanks to<br />

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

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

national tour for our <strong>2023</strong> Season.<br />

Ian & Caroline Frazer (Karin Schaupp & Flinders Quartet)<br />

Ian Dickson AM & Reg Holloway and Anonymous<br />

(The Cage Project)<br />

Stephen & Michele Johns & Anonymous (Chopin’s Piano)<br />

Eleanore Goodridge OAM (<strong>Wildschut</strong> & <strong>Brauss</strong>)<br />

AMADEUS SOCIETY<br />

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

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

Gero, Katherine & Reg Grinberg, Jennifer Hershon, Fred &<br />

Claire Hilmer, Penelope Hughes, Michael & Frédérique Katz,<br />

Ruth Magid & Bob Magid OAM, Dr Hadia Mukhtar,<br />

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

15


MASTERCLASSES<br />

GIVING CIRCLE<br />

The Masterclasses Giving Circle is a group of generous<br />

donors whose collective support will enable the artistic<br />

development of the next generation of Australian<br />

chamber musicians.<br />

Nicholas Callinan AO & Elizabeth Callinan, Caroline &<br />

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

Andrew Sisson AO & Tracey Sisson, Mick & Margaret<br />

Toller, Anonymous<br />

COMMISSIONS<br />

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

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

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

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

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

In loving memory of Jennifer Bates, Christine Bollen &<br />

Friends, Stephen Johns for his wife Michele,<br />

The Barry Jones Birthday Commission, DR & KM Magarey,<br />

Naomi Milgrom Foundation & Ian Dickson AM &<br />

Reg Holloway, Playking Foundation, Tribe Family<br />

in honour of Doug Tribe’s 75th Birthday, Adelaide<br />

Commissioning Circle, WA Commissiong Circle<br />

The Barry Jones Birthday Commission ($500+)<br />

Steve Bracks AC & Terry Bracks AM, Dr George Deutsch<br />

OAM & Kathy Deutsch, Carrillo Gantner, Professor<br />

Margaret Gardner AC & Professor Glyn Davis AC,<br />

Naomi & George Golvan QC, Hon David Harper AM,<br />

Ellen Koshland & James McCaughey, Miles Lewis, Julie &<br />

Ian Macphee, Barry McGaw, Jeannette McHugh, Fiona<br />

McLeod AO SC, Peter & Ruth McMullin, peckvonhartel<br />

architects, Ralph & Ruth Renard, Anne & Robert Richter<br />

QC, Gianna Rosica, Joy Selby Smith, Smith Family,<br />

Maureen & Tony Wheeler, Lyn Williams, Dr Robyn<br />

Williams AO, Bob, Robyn, Annie & Nick, Anonymous (3)<br />

MAJOR GIFTS<br />

$100,000+<br />

NSW The Berg Family Foundation,<br />

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

$50,000+<br />

ACT<br />

Marion & Michael Newman<br />

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

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

$20,000+<br />

NSW Michael & Frédérique Katz, Vicki Olsson<br />

QLD<br />

Ian & Caroline Frazer, Andrea & Malcolm Hall-Brown<br />

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

Marjorie Nicholas OAM, Anonymous<br />

WA<br />

$10,000+<br />

ACT<br />

Anonymous<br />

R & V Hillman, Mick & Margaret Toller, Anonymous<br />

NSW Gardos Family, Gresham Partners, Hilmer Family<br />

Endowment, Ian Dickson & Reg Holloway, Mrs W G<br />

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

Memory of James Agapitos OAM<br />

QLD<br />

Anonymous<br />

SA Jennifer & John Henshall, Stoneglen Foundation,<br />

Anonymous<br />

VIC Roger Druce & Jane Bentley, Peter Lovell,<br />

In Memory of Dr Ian Marks, Mercer Family Foundation<br />

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

& Michael Alpers AO<br />

$5,000+<br />

ACT Goodwin Crace Concertgoers, Craig Reynolds,<br />

Sue Terry & Len Whyte<br />

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

Patricia Crummer, Sarah & Tony Falzarano, Katherine &<br />

Reg Grinberg, David & Carole Singer, Diane Sturrock,<br />

Richard Wilkins, Kim Williams AM & Catherine Dovey<br />

QLD<br />

SA<br />

Anonymous<br />

Aldridge Family Endowment, Anonymous<br />

VIC In memory of Kate Boyce, Dr Di Bresciani OAM<br />

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

William J Forrest AM, Leanne Menegazzo, Joy Selby Smith,<br />

Greg Shalit & Miriam Faine, Musica Viva Australia Victorian<br />

Committee MICMC Prize, Bruce Missen, Anonymous<br />

WA<br />

David Wallace & Jamelia Gubgub, Anonymous<br />

16


ANNUAL GIFTS<br />

$2,500+<br />

ACT Kristin van Brunschot & John Holliday,<br />

Dr Andrew Singer, Anonymous<br />

NSW ADFAS Newcastle, Penny Beran, Susan Burns,<br />

Hon. Professor Ross Steele AM<br />

SA<br />

DJ & EM Bleby<br />

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

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

& surrounding schools, Lyndsey & Peter Hawkins, Michael<br />

Nossal & Jo Porter, Ralph & Ruth Renard, Maria Sola,<br />

Wendy R. Taylor, Helen Vorrath, Igor Zambelli<br />

WA Ros Kesteven, Zoe Lenard & Hamish Milne,<br />

Mrs Morrell, Anonymous<br />

$1,000+<br />

ACT Andrew Blanckensee, The Breen/Dullo Family,<br />

Odin Bohr & Anna Smet, Martin Dolan, Liz & Alex Furman,<br />

Kingsley Herbert, Margaret & Peter Janssens, Margaret<br />

Oates, S Packer, Clive & Lynlea Rodger, Anonymous (3)<br />

NSW Judith Allen, David & Rae Allen, Maia Ambegaokar<br />

& Joshua Bishop, Dr Warwick Anderson, Jennifer Bott AO,<br />

Vicki Brooke, Neil Burns, Hugh and Hilary Cairns,<br />

Hon J C Campbell QC & Mrs Campbell, Lloyd &<br />

Mary Jo Capps AM, Richard Cobden SC, Opus 109<br />

Sub-fund, Community Impact Foundation, Robin & Wendy<br />

Cumming, Trish & John Curotta, Thomas Dent, Nancy Fox<br />

AM & Bruce Arnold, John & Irene Garran, Charles & Wallis<br />

Graham, Kate Girdwood, H2 Cairns Foundation, Annie<br />

Hawker, Robert & Lindy Henderson, Lybus Hillman, Dr Ailsa<br />

Hocking & Dr Bernard Williams, Dorothy Hoddinott AO,<br />

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

KM Magarey, Arthur & Elfreda Marshall, Dr Dennis Mather<br />

& John Studdert, Mora Maxwell, Professor Craig Moritz,<br />

Michael & Janet Neustein, Paul O’Donnell, Laurie Orchard,<br />

Ms Vivienne Sharpe, Dr Robyn Smiles, Tom & Dalia Stanley,<br />

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

Watson, John & Flora Weickhardt, Megan & Bill Williamson,<br />

Anonymous (4)<br />

QLD George Booker & Denise Bond, Prof. Paul & Ann<br />

Crook, Stephen Emmerson, Robin Harvey, Lynn &<br />

John Kelly, Andrew & Kate Lister, Jocelyn Luck, Barry &<br />

Diana Moore, Keith Moore, Barbara Williams &<br />

Jankees van der Have, Anonymous (2)<br />

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

Max & Ionie Brennan, Peter Clifton, Elizabeth Ho OAM, in<br />

honour of the late Tom Steel, Joan Lyons, Fiona MacLachlan<br />

OAM, Dr Leo Mahar, Ruth Marshall & Tim Muecke, Geoff &<br />

Sorayya Martin, Ann & David Matison, Diane Myers,<br />

Leon Pitchon, Jennie Shaw, Anne Sutcliffe, Anonymous (3)<br />

TAS<br />

Dianne O’Toole<br />

VIC Joanna Baevski, Russ & Jacqui Bate, Marlyn Bancroft,<br />

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

Alison & John Cameron, Mrs Maggie Cash, Alex & Elizabeth<br />

Chernov, Kathy & George Deutsch OAM, Dhar Family,<br />

Lord Ebury, Dr Gelnys & Dr Alan French, Naomi Golvan &<br />

George Golvan KC, John & Margaret Harrison,<br />

Virginia Henry, Doug Hooley, Helen Imber, The Hon.<br />

Dr Barry Jones AC & Ms Rachel Faggetter, Angela Kayser,<br />

Angela & Richard Kirsner, Angela Li, Janet McDonald,<br />

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

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

Peter Rose, Traudl Moon OAM, D & F Nassau, Adrian Nye,<br />

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

Robbins, Murray Sandland, Ms Thea Sartori, Marshall<br />

Segan & Ylana Perlov in memory of his late parents, Gary<br />

Singer & Geoffrey Smith, Darren Taylor & Kent Stringer,<br />

Ray Turner & Jennifer Seabrook, Dr Victor Wayne & Dr<br />

Karen Wayne OAM, Lyn Williams, Mark & Anna Yates,<br />

Anonymous (3)<br />

WA David & Minnette Ambrose, Dr S Cherian,<br />

Michael & Wendy Davis, In memory of Raymond Dudley,<br />

Dr Penny Herbert in memory of Dunstan Herbert,<br />

Ms Helen Hollingshead, Anne Last & Steve Scudamore,<br />

Hugh & Margaret Lydon, Olivier David & Dr Bennie Ng,<br />

Marian Magee & David Castillo, John Overton, Prof Robyn<br />

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

Anonymous (3)<br />

$500+<br />

ACT Margaret Brennan, Christine Bollen, Christopher<br />

Clarke, Peter Cumines, Susan Edmondson, Jill Fleming,<br />

Robert Hefner, Claudia Hyles OAM, Margaret Millard,<br />

Helen Rankin, Ruth Weaver, Dr Paul & Dr Lel Whitbread<br />

NSW Denise Braggett, Christopher & Margaret Burrell,<br />

Robert Cahill and Anne Cahill OAM, Lucia Cascone,<br />

Howard Dick, Dr Arno Enno & Dr Anna Enno, Bronwyn<br />

Evans, Anthony Gregg, The Harvey Family, Roland &<br />

Margaret Hicks, David & Sarah Howell, Alicia Howlett, In<br />

honour of Michael Katz, Cynthia Kaye, Mathilde Kearny-<br />

Kibble, Bruce Lane, Graham & Sue Lane, Olive Lawson,<br />

Trish Ludgate, Dr Colin MacArthur, Ian & Pam McGaw, Dr V<br />

Jean McPherson, Frances Muecke, Kim & Margie Ostinga,<br />

Christina Pender, Trish Richardson in memory of Andy Lloyd<br />

James, Dr John Rogers, Penny Rogers, Peter & Heather<br />

Roland, Christopher Sullivan & Jim Lennon, Kathie & Reg<br />

Grinberg – In honour of Dalia Stanley’s birthday, Beverley &<br />

Richard Taperell, Kay Vernon, Andrew Wells AM, Margaret<br />

Wright OAM, Anonymous (15)<br />

QLD Geoffrey Beames, Noela Billington, Janet Franklin,<br />

Timothy Matthies & Chris Bonnily, Anonymous<br />

SA Zoë Cobden-Jewitt & Peter Jewitt, Daniel & Susan<br />

Hains, Elizabeth Hawkins, Dr Iwan Jensen, The Hon.<br />

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

Helga Linnert & Douglas Ransom, Julie Mencel &<br />

Michael McKay, Trish Ryan & Richard Ryan AO,<br />

Tony Seymour, Anonymous (3)<br />

VIC David Bernshaw & Caroline Isakow, Coll & Roger<br />

Buckle, Pam Caldwell, John & Mandy Collins, John & Chris<br />

Collingwood, Ted & Alison Davies, Mary-Jane Gething,<br />

Dr Anthea Hyslop, Eda Ritchie AM, Professor Lynne<br />

Selwood, Maureen Turner, Anonymous (8)<br />

WA Jennifer Butement, Fred & Angela Chaney, Rachel &<br />

Bruce Craven, Helen Dwyer, Dr Barry Green, Russell Hobbs<br />

& Sue Harrington, Paula Nathan AO & Yvonne Patterson,<br />

Lindsay & Suzanne Silbert, Father Richard Smith,<br />

Ruth Stratton, Christopher Tyler, Anonymous (2)<br />

17


Concert Partners<br />

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

Commissioning Partner (The Cage Project)<br />

Rehearsal Partner (The Cage Project)<br />

Project Partner (The Cage Project)<br />

Legal<br />

Chartered Accountants<br />

Piano & Tuning<br />

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

Print Partner<br />

Hotel Partner<br />

Hotel Partner<br />

Government Partners<br />

Musica Viva Australia is assisted by<br />

the Australian Government through Creative Australia,<br />

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

Musica Viva Australia is supported<br />

by the NSW Government through<br />

Create NSW.<br />

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

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

Gift Recipient and registered with the Australian Charities<br />

and Not-for-profits Commission (ACNC).<br />

Emerging Artists Partners<br />

Melbourne International Chamber Music Competition<br />

Principal Partner<br />

Strategic Partner<br />

Grand Prize Partner<br />

Key Philanthropic Partner<br />

FutureMakers Lead Partner FutureMakers Residency Partner Key Philanthropic Partner<br />

18


Education Partners<br />

Government Partnerships & Support<br />

National Education Supporters<br />

J A Donald Family<br />

Marion & Mike Newman<br />

Musica Viva Australia In Schools & Professional Development<br />

• Aldridge Family Endowment • Godfrey Turner Memorial Music Trust • In Memory of Anita Morawetz<br />

• Keith MacKenzie Will Trust • Margaret Henderson Music Trust • Marsden Szwarcbord Foundation<br />

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

National Music Residency Program<br />

The<br />

Benjamin<br />

Fund<br />

Day Family<br />

Foundation<br />

The Marion &<br />

E.H. Flack Trust<br />

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

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

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

19


Stories to inspire<br />

BY ZOË COBDEN-JEWITT<br />

Leaving a lasting gift –<br />

making memories<br />

for future generations<br />

Perhaps a stirring string quartet or a<br />

passionate piano performance? Whatever<br />

springs to mind, it’s the joy of music and the<br />

way it makes us feel that make us return to it<br />

time and again.<br />

This love of music and appreciation for<br />

musicians is why leaving a gift in your will<br />

to Musica Viva Australia is one of the most<br />

significant acts you can carry out in your<br />

lifetime. It celebrates passion for music and<br />

can enable music for future generations of<br />

audiences and artists alike. Such an important<br />

contribution brings the performing arts and<br />

community together in a shared cultural<br />

future for everyone. A bequest to Musica<br />

Viva Australia is a generous investment in the<br />

future of Australian music – whether through<br />

education programs, world-class concert<br />

series or nurturing the artists of tomorrow.<br />

Musica Viva Australia donor and Custodian,<br />

Richard Wilkins, has made provision for<br />

Musica Viva Australia in his will:<br />

Music is the most important thing in<br />

my life, and really has been since I<br />

started to learn the piano at age 5. I<br />

have been a Musica Viva Australia<br />

subscriber for over 20 years and have<br />

greatly enjoyed the breadth of repertoire<br />

and range of performers that the<br />

company has presented. I have donated<br />

to Musica Viva Australia in most years<br />

recently; however, when preparing my<br />

will I wanted to make much larger gifts<br />

to those groups of most importance to<br />

me. I have therefore happily included<br />

a bequest to Musica Viva Australia in<br />

my will. Its three main activities are all<br />

vital to the musical life of Australia, in<br />

different ways. I was very fortunate<br />

to have a good musical education<br />

from an early age: the work of Musica<br />

Viva In Schools is a fundamental part<br />

of learning, especially for children<br />

who might otherwise not be exposed<br />

to the stimulus and enjoyment of<br />

performing and listening to music in<br />

their formative years. I am very pleased<br />

to support Musica Viva Australia in all<br />

these goals.<br />

20


Former Musica Viva Australia CEO<br />

Mary Jo Capps has also made provision<br />

for MVA in her will:<br />

In my two decades at Musica Viva<br />

Australia, I witnessed first-hand how<br />

a bequest could be transformative,<br />

especially when it was framed as a<br />

percentage of the estate. The actual<br />

percentage did not need to be huge to<br />

open the door for important projects…<br />

The more open the terms of the<br />

bequest, the greater the impact, as it is<br />

impossible to know today what might<br />

be critical in the future. Lloyd and<br />

I know our bequest will be carefully<br />

stewarded and, hopefully, will enable<br />

Musica Viva Australia to continue to<br />

flourish into the future.<br />

Z.E.N. Trio rehearsing in the Janette Hamilton Studio at<br />

Musica Viva House. The Janette Hamilton Studio and Steinway<br />

were only possible thanks to a generous bequest from this<br />

long-term donor and music lover, as well as donations from<br />

Eleanor Goodridge OAM and Bob and Ruth Magid.<br />

© Darren Leigh Roberts<br />

Every gift, no matter how big or small, makes<br />

a tangible difference to what Musica Viva<br />

Australia can achieve, and all planned gifts<br />

become an integral part of our financial<br />

strength and sustainability. By making the<br />

decision to support Musica Viva Australia in<br />

your will, your legacy becomes inextricably<br />

linked with ours, and the knowledge that<br />

you have helped to ensure we can continue<br />

inspiring audiences of all ages across<br />

Australia, and providing musicians with<br />

opportunities, for years to come, is a special<br />

thing indeed.<br />

Musica Viva Australia CEO<br />

Anne Frankenberg explains:<br />

MVA was able to weather the<br />

challenges of the global pandemic,<br />

while maintaining important programs<br />

and ensuring support for the artistic<br />

community we are a part of, thanks<br />

to the vision of carefully stewarded<br />

past legacies. We recognise that the<br />

decision to leave a bequest represents<br />

an extraordinary level of trust in the<br />

work that we do, and feel a deep sense of<br />

accountability and gratitude towards<br />

those who have taken this step.<br />

If you would like to know more about leaving a bequest to Musica Viva Australia, we invite you<br />

to start a conversation with us. Please contact Director of Development Zoë Cobden-Jewitt or<br />

your local State Manager.<br />

musicaviva.com.au/support-us/planned-giving<br />

21


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la música habla<br />

:”(<br />

nagsasalita ang musika<br />

η μουσική μιλάει<br />

âm nhac nói .<br />

:-D<br />

...<br />

;-)) :o<br />

ਸੰਗੀਤ ਬੋਲਦਾ ਹੈ<br />

LA MUSICA PARLA<br />

mizik la ka palé<br />

音 乐 说 话<br />

:-)<br />

waiata korero<br />

The language of music is universal;<br />

it transcends borders and unites us as people.<br />

At Musica Viva Australia we believe that music<br />

makes the world a better place.<br />

It’s our ongoing mission to create unforgettable experiences for audiences<br />

across the country: from a child in a classroom seeing live music for the first time,<br />

through to the seasoned concertgoer discovering new work.<br />

Help us to continue our work so that everyone, regardless<br />

of age, location or circumstance, can access<br />

and share the very best live music.<br />

To make a gift:<br />

musicaviva.com.au/support-us<br />

For more information:<br />

Caroline Davis | cdavis@musicaviva.com.au | 0421 375 358


2 O 2 4<br />

Embrace the difference.<br />

Feel the joy.<br />

24 of the world’s best artists.<br />

7 national tours across 6 states.<br />

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

Esmé Quartet<br />

Kirill Gerstein<br />

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

Pekka Kuusisto & Gabriel Kahane<br />

Ensemble Q & William Barton<br />

Musica Alchemica<br />

SUBSCRIBE AND SAVE<br />

musicaviva.com.au<br />

1800 688 482

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