Esmé Quartet | April 2024

Esmé Quartet

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We acknowledge the Traditional Custodians of the many lands on which we meet,
work and live, and we pay our respects to Elders past and present – people who
have sung their songs, danced their dances and told their stories on these lands
for thousands of generations, and who continue to do so.
ESMÉ QUARTET
WONHEE BAE
violin I
YUNA HA
violin II
DIMITRI MURRATH
viola
YEEUN HEO
cello
ADELAIDE
ADELAIDE TOWN HALL
Wednesday 1 May, 7.30pm
Recorded for broadcast by ABC Classic
• Pre-concert talk: 6.45pm,
Prince Alfred Room
BRISBANE
CONSERVATORIUM THEATRE,
GRIFFITH UNIVERSITY, SOUTH BANK
Monday 13 May, 7pm
Recorded for broadcast by 4MBS Classic FM
• Pre-concert talk: 6.15pm,
Boardroom, Qld Conservatorium,
Griffith University
• Meet the Artists after the concert
CANBERRA
LLEWELLYN HALL,
ANU SCHOOL OF MUSIC
Friday 10 May, 7pm
• Pre-concert talk: 6.15pm,
Larry Sitsky Room
• Meet the Artists after the concert
MELBOURNE
ELISABETH MURDOCH HALL,
MELBOURNE RECITAL CENTRE
Tuesday 14 May, 7pm
• Pre-concert talk: 6.15pm,
Salzer Suite, Level 2
NEWCASTLE
CITY HALL
Tuesday 7 May, 7.30pm
• Pre-concert talk: 6.45pm,
Mulubinba Room
• Meet the Artists after the concert
PERTH
PERTH CONCERT HALL
Monday 29 April, 7.30pm
• Pre-concert talk: 6.45pm,
Corner Stage Riverside, Terrace Level
SYDNEY
CITY RECITAL HALL
Monday 6 May, 7pm
• Pre-concert talk: 6.15pm,
Function Room, Level 1
With special thanks to Bruce & Charmaine Cameron for their support of this tour,
and to the Directors’ Circle and Amadeus Society for their support of the 2024 Concert Season.
3

From the Artistic Director
There are certain works I turn to when checking
out new artists or ensembles. For a pianist
I’ll listen to Chopin’s Nocturne, Op. 48 No. 1.
A violinist has nowhere to hide – and plenty
of opportunity to shine – in the Franck Sonata
or a Bach solo Partita. For string quartets, it’s
Mendelssohn No. 6 or Schubert’s Death and
the Maiden, each a perfect essay in form and
voicing.
© Darren Leigh Roberts
It was therefore a joy some years ago to
stumble across the Esmé Quartet playing this
Mendelssohn; I didn’t have to go digging to
find these young players in this most exposing
piece. Immediately I was struck by the quartet’s
compelling combination of tenderness and
steeliness, of the infinite care each player took
over phrasing, of the beautiful sound of the
whole.
It’s therefore a delight to welcome the quartet to
Australia for the first time and in such a gorgeous
program including an earlier Mendelssohn
quartet. Webern’s progenitor in Langsamer
Satz was more Brahms than Mendelssohn, but
this exquisite miniature sits happily alongside
both Mendelssohn and Debussy, composed only
twelve years after the latter.
Down a rabbit hole similar to the one in which
I found the Esmé Quartet, I stumbled across
the music of the young Australian composer
Jack Frerer. His orchestral scores for New York
City Ballet and the Kennedy Center Opera
Orchestra are a riotous exploration of sonority
and virtuosity. It was a real pleasure to introduce
Spiral Sequences to the Esmé Quartet, which
they took on with alacrity. The piece is the perfect
gateway to a composer we will hear much from
for years to come.
Paul Kildea
Artistic Director
4

Program
Anton WEBERN (1883–1945)
Langsamer Satz (Slow Movement) (1905)
9 min
Felix MENDELSSOHN (1809–1847)
String Quartet No. 2 in A minor, Op. 13 (1827)
I
II
III
IV
Adagio (Slow) – Allegro vivace (Fast and lively)
Adagio non lento (Slow but not too slow)
Intermezzo: Allegretto con moto (A little quickly, moving along)
– Allegro di molto (Very fast)
Presto (Quick) – Adagio non lento (Slow but not very slow)
31 min
INTERVAL
Jack FRERER (b 1995)
Spiral Sequences (2018)
I Wildly intense, with pulse and momentum
II Legato (Smooth), tender
14 min
Claude DEBUSSY (1862–1918)
String Quartet in G minor, Op. 10 (1893)
I
II
III
IV
Animé et très décidé (Fast and very determined)
Assez vif et bien rythmé (Quite quick and very rhythmic)
Andantino, doucement expressif
(Moving along at an easy walking pace, gently expressive)
Très modéré (At a very moderate pace) – En animant peu à peu
(Gradually getting faster) – Très mouvementé et avec passion
(Very lively and with passion)
25 min
Please ensure that mobile phones are turned to silent and onto flight mode before the performance.
Photography and video recording are not permitted during the performance.
5

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Masterclasses
Musica Viva Australia creates opportunities
for Australian and internationally acclaimed
artists to share their experience and
expertise with talented early-career artists
and young music students, creating an
enriching learning experience.
The following masterclasses are
presented as part of this tour:
• Tuesday 30 April: Perth
The University of Western Australia
— Yeeun Heo
• Monday 6 May: Sydney
Sydney Conservatorium of Music,
The University of Sydney
— Esmé Quartet
• Monday 13 May: Brisbane
The University of Queensland
— Yeeun Heo
Yeeun Heo will give Cello Masterclasses in Perth and Brisbane, and
is joined by her colleagues for a Quartet Masterclass in Sydney.
© Jeremy Visuals
Musica Viva Australia’s Masterclass
program is supported by:
Nicholas Callinan AO & Elizabeth Callinan
Caroline & Robert Clemente
Ian Frazer AM & Caroline Frazer
Patricia H Reid Endowment Fund
Andrew Sisson AO & Tracey Sisson
Mick & Margaret Toller
Anonymous (2)
Musica Viva Australia Masterclasses in Western
Australia are supported by Wesfarmers Arts.
—
For further details visit:
musicaviva.com.au/masterclasses
Satsuki Odamura’s Masterclass in Melbourne, 2023.
© Musica Viva Australia
Regional Touring
As part of Musica Viva Australia’s Regional
Touring Program, the Esmé Quartet will
perform a concert for Musica Viva Tasmania
on Friday 3 May, 7.30pm at Hobart Town
Hall.
—
For further details visit:
musicaviva.com.au/regional
Elisabeth Brauss’ Masterclass in Brisbane, 2023.
© Janet McKay
7

Q
Esmé
© Jeremy Visuals
8

uartet
9
Praised for its warm sound and powerful
stage presence, the Esmé Quartet was
formed in 2016 at the Hochschule für Musik
in Cologne, Germany by four musicians
who had been friends since their youth. It
takes its name ‘Esmé’ from the old French
word for ‘beloved.’
The Quartet has rapidly gained a
worldwide reputation as a chamber
ensemble of exceptional artistry and
achievement. In 2018, the Quartet won
First Prize as well as sweeping four special
prizes at the prestigious Wigmore Hall
International String Quartet Competition
in London, and in the same year it became
HSBC Laureate of the Académie du Festival
d’Aix. This recognition followed prizes at
the Trondheim International Chamber
Music Competition and the 55th Possehl
Music Prize of the Lübeck College of
Music. In October 2020, the Quartet was
awarded the inaugural Hans Gál Prize by
the Academy of Sciences and Literature
Mainz and Villa Musica Rheinland-Pfalz,
and in the 2020–21 season it was Artist
in Residence at the Lotte Concert Hall in
Seoul, South Korea.
Recent performances include appearances
at the Lucerne Festival, Wigmore Hall,
the Flagey Musiq3 Festival in Brussels,
L’Auditori in Barcelona, Opéra de Lille,
McGill International String Quartet
Academy in Montreal, the Heidelberg
String Quartet Festival, Classic Esterházy
in Eisenstadt and as quartet in residence at
the Aix-en-Provence Festival.
In 2022 the Quartet made its highly
acclaimed debut tour of the United States
and Canada, followed by its debut tour
of Japan. Recent highlights include a tour
of Italy, and return engagements to the
Musiq3 Festival and Wigmore Hall, along
with concerts in Germany and Portugal.
The Esmé Quartet performed John
Adams’ Absolute Jest with the Hong Kong
Philharmonic in February 2023, with the
Gyeonggi Philharmonic at the Seoul Arts
Center in April 2023, and mostly recently
with the Tokyo Metropolitan Orchestra,
with the composer conducting, in January
this year. It performed Michel van der Aa’s
The Book of Water with British actor Samuel
West at the Hong Kong Arts Festival in
February 2023, and has recently completed
a US tour with 2017 Van Cliburn gold
medallist Yekwon Sunwoo.
The Quartet has released two CDs on the
Alpha Classics label: To Be Loved, featuring
works by Beethoven, Unsuk Chin and Frank
Bridge, and named one of the best classical
CDs of 2020 by WQRX Public Radio in New
York City, and Yessori: Sound from the Past,
with works by Mozart, Tchaikovsky and Soo
Yeon Lyuh.
Belgian-American violist Dimitri Murrath
joined the Esme Quartet in April 2023.

About the music
The seeds of Modernism were sown in
Enlightenment soil and the fruits they would
eventually bear would be stranger than
anyone could have foreseen. In a letter of 1810
from Bettina von Arnim to Goethe, Beethoven
is reported as saying: ‘Music is a higher
revelation than all wisdom and philosophy,
it is the wine of a new procreation, and I am
Bacchus who presses out this glorious wine for
men and makes them drunk with the spirit.’
Brahms and Schoenberg would drink deep
draughts from this brew. However, Anton
Webern would experience his own epiphany
under its intoxicating influence.
with his 16-year-old cousin Wilhelmine Mörtl,
whom he would marry six years later. While
vying with Brahms in its soulful yearning,
it inhabits a graceful space all its own. In
traditional ternary (A–B–A) form and rooted
in E major, this lyrical slow movement features
impressively elegant manipulation of its widely
arching themes, pointing both backward (to
his doctoral thesis on the music of Heinrich
Isaac) and forward (to his later atonal and
serial masterpieces). Although performed
privately at the time, it was not published until
1961, since when it has been much performed
and recorded.
ADAPTED FROM A NOTE
© STEPHEN SCHAFER
‘My object,’ Webern wrote early in his career
to Berg, ‘is the deep, bottomless, inexhaustible
meaning in it all.’ He was describing his
fascination with flowers. ‘I got to know a
tiny plant, a little like a lily-of-the-valley,
homely, humble, hardly noticeable, but
for me it contains all tenderness, emotion,
depth, purity…’ Much the same could be
said of his approach to music. As late as
1927, having written his first entirely twelvetone
composition, the String Trio, Webern
admitted to Schoenberg that he needed ‘time
to understand what I have written’, the effort
of composition ultimately depending upon, to
borrow Dylan Thomas’s words, ‘the force that
through the green fuse drives the flower’.
The Langsamer Satz (Slow Movement) for
string quartet was composed shortly after
the 22-year-old Webern became the first
of Schoenberg’s students. It was apparently
inspired by a five-day walk through the
picturesque southern Austrian countryside
In the year that he composed his first
acknowledged masterpieces, the String Octet
and the Overture to A Midsummer Night’s
Dream, the 16-year-old Felix Mendelssohn’s
family moved from the centre of Berlin out onto
the periphery, on the Leipzigerstrasse. Set in
park-like surrounds, the house was palatial,
and Felix’s father Abraham Mendelssohn
enjoyed the privilege of being lord of the
manor, inviting many of Europe’s greatest
minds in literature, science, philosophy and of
course music to come and enjoy the famous
Mendelssohn family hospitality.
As might be expected given that his afterdinner
conversations were not so much
about Goethe and Schiller but in fact with
Goethe and Schiller themselves, young Felix
Mendelssohn was already more than willing
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to mix it with the masters. And that meant
that in chamber music, his attention turned to
Beethoven, and in particular to the great man’s
at that time brand-new final string quartets.
That in itself was remarkable because the
general attitude at the time to these musical
behemoths was that expressed most succinctly
by Louis Spohr who described them as works
of ‘indecipherable, uncorrected horror’.
But just as with Bach, Mendelssohn simply
‘got’ Beethoven long before any of his
contemporaries did, and so with all the
optimism, self-confidence and naked ambition
of youth, the 18-year-old set out to create a
string quartet of similar gravitas. That was
terrible news for Mendelssohn’s mother, who
kept pleading with her brilliant son to write
bright and breezy piano music that the family’s
guests could appreciate at first hearing. But
encouraged by his sister Fanny, Mendelssohn
was writing fugues of deliberately elaborate
construction and then there emerged what
would eventually become known as his String
Quartet No. 2 in A minor, Op. 13, but which in
chronological terms was actually his first such
quartet.
In the introduction, Mendelssohn quotes his
own song ‘Ist es wahr?’ (Is it true?), which could
equally be an echo of Beethoven’s ‘Muss en
sein?’ from the Op. 135 Quartet. And from
there the late-Beethoven references proceed
apace, especially to the A minor Quartet,
Op. 132 but also the Cavatina of Op. 130, with
passing references to the Choral Symphony
and the Archduke Trio along the way.
While it would perhaps be unrealistic to
expect quartets from a teenager from a
privileged background to match the sheer
transcendence-through-suffering that
permeates Beethoven’s late quartets, there’s
no doubting the intensity of the opening
movement that Mendelssohn created, pausing
only momentarily for breath and leading
to a stormy coda. The slow movement with
its unusual marking of Adagio non lento
[both ‘Adagio’ and ‘Lento’ meaning ‘slow’,
though ‘Lento’ is generally taken to be slower
than ‘Adagio’] is perhaps the most striking
illustration of the young composer aiming for
the profundity of emotion of his Beethoven
model.
But if the late Beethoven had the monopoly on
slow movements, the intermezzo which follows
is pure Mendelssohn, once more on home turf
with a lilting lyricism and a characteristically
elfin middle section. And then, in textbook
structure, the finale revisits themes from the
earlier movements, and in particular the
opening ‘Ist es wahr?’ motif.
© MARTIN BUZACOTT
© Julie Skarratt
Described as ‘exciting … combining boomcrash
orchestration with woozy portamenti and
jazz elegance’ by the New York Times, and ‘a
force to be reckoned with’ by Observer.com,
the music of Australian composer Jack Frerer
has been commissioned and performed by the
New York City Ballet, the Albany, Nashville,
Sarasota and New Jersey Symphony
Orchestras, the Kennedy Center Opera
Orchestra, the Australian Youth Orchestra,
the Tanglewood Music Center, and the wind
ensembles of University of Texas Austin,
University of North Texas, Michigan and
Cornell, among others. Jack is the recipient of
a Charles Ives Scholarship from the American
Academy of Arts and Letters, a Morton Gould
Composers Award from ASCAP, the Suzanne
and Lee Ettelson Composers Award, and the
Brian Israel Prize from the Society for New
Music. He has been a fellow at the Tanglewood
Music Center, and Composer-in-Residence
with the Arapahoe Philharmonic.
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The composer writes:
Spiral Sequences is a string quartet performed
in two movements. The first, the shorter of
the two, is frantic and pulse-driven, carried
by momentum generated by spiraling
semiquaver patterns and repeated ostinatos. It
presents fragments of a sequence-like pattern,
which is played in its complete form at the
beginning of a longer, introspective second
movement. The first movement presents an
inward spiral, constantly tightening. The
second works to unravel it.
© JACK FRERER 2018
The idea of a string quartet by Claude
Debussy could have a sense of ‘odd couple’
peculiarity about it. We think of Debussy
as a poet of musical colours and perfumes,
who achieved a decisive liberation from
the regulated structural conventions of the
German musical hegemony, a hegemony
that is strongly, proudly represented in the
tradition of string quartets.
Debussy’s String Quartet has a significant
place in the composer’s career, and in the
process of his liberation from German musical
domination. Aged 30, Debussy was influenced
at this time by César Franck (a Frenchman
who was an apostle of German music), and
was beginning to shake off his enthusiasm for
Wagner. It is through the mediation of Franck
that the shadow of Beethoven hovers over
Debussy’s String Quartet – Beethoven’s late
string quartets represented a musical ideal
for Franck. Indeed, the second performance
of Debussy’s Quartet was given in a series
organised by Franck’s supporters, the Société
Nationale de Musique, in programs heavily
featuring Beethoven’s quartets. This second
performance actually did more to raise
Debussy’s stature in Parisian artistic circles than
the premiere had.
The Quartet shows Debussy striving to develop
his own take on a ‘Beethovenian’ language
but, as you’d expect, the differences are more
telling than the similarities. Reaching back to
Beethoven via Franck (and Franck’s influential
student Vincent d’Indy), Debussy borrowed the
idea of ‘cyclic form’, which basically required
the repeated development or reinvention of
the same thematic material throughout each
movement of a piece. While the String Quartet
is, as a result, more integrated in terms of the
structure of its themes than Debussy’s later
work would be, Debussy is highly flexible
and variable in the way he treats his melodic
‘subjects’. There are elements of traditional
sonata form’s thematic processes in the first
movement, but Debussy plays so liberally with
his themes that the formal aspects become
quite secondary. He applies his notion of
the melodic arabesque (the tendril-like
elaboration of melodic lines) with splendid
originality, making any ‘requirement’ for
thematic cohesion almost irrelevant.
On the harmonic plane, Debussy also
emulates some of the ways in which Beethoven
applied the relationships between keys
as a means to forge an extended musical
argument. But here again, the similarity
becomes elusive: Debussy’s harmony
was already heavily inspired by a modal
conception, which doesn’t lend itself to the
tensions of chromatic key relationships. The
sonorous effect of harmonic movement within
the Quartet is more important for Debussy.
The String Quartet is one of the last pieces
in which Debussy felt compelled to tangle
with conventional forms. Afterwards, he
pursued a far more liberated and individual
sense of musical architecture, employing
the discoveries made through the process of
composing the String Quartet.
© JAMES KOEHNE
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‘Uncanny delicacy in one
episode and gnashing
power the next’
The New York Times
Kirill
Kirill Gerstein
Gerstein
Discover the art of the impossible when
Kirill Gerstein, poet of the piano, scales new
heights of virtuosity. From delicate nocturnes
to bravura polonaises this philosopher showman
takes us from much-loved landscapes to
mysterious worlds where few dare to go.
11–23 June musicaviva.com.au/gerstein
1800 688 482 (no booking fees)

Interview
BY STEPHANIE ESLAKE
Claude Debussy was only 31 when he
composed his first (and only) string
quartet in 1893. Anton Webern composed
Langsamer Satz for string quartet in 1905
when he was 22. And Mendelssohn was
just 18 years old when he composed his
String Quartet No. 2 in A minor. In fact,
every composer in this program was
under 35 years old when they crafted
these beautiful chamber works.
For cellist Yeeun Heo, it’s a rare treat to
perform the music of young composers who
would evolve into the world’s most famous.
‘For me, one of the joys of playing and
listening to a famous composer’s early
works is that I can reminisce about my past,’
Yeeun says. Born in 1992, the virtuoso was in
her early 20s when she embarked upon her
own impressive career venture – the launch
of Esmé Quartet. Founded in Germany in
2016, the young group would quickly grow
into a world-class chamber ensemble,
marked by a global touring schedule and
multiple competition wins.
Three of Esmé’s founding players were
born in Korea – Yeeun Heo, and violinists
Yuna Ha and Wonhee Bae. Noting their
shared backgrounds, Wonhee says they
formed a special bond while studying
together in Germany, before entering the
music industry as a ‘young all-Asian female
group to begin our career together’. In
2018, they would become the first allwoman
group to win the International
String Quartet Competition at London’s
Wigmore Hall.
In 2023, the ensemble welcomed Belgian-
American violist Dimitri Murrath, who
recalls ‘From the first note playing together,
it felt as if I had been playing with this
group for many years.’
‘There is really something about how
all four of us can breathe together and
seem to be on the same wavelength,’
Dimitri says.
Yeeun and Wonhee describe their
connection in a similar way, saying
their group feels like a family. And it’s a
family in which meals are cooked and
shared together, arm-wrestling matches
are commonplace (Yeeun loses), and a
good story yields a roaring laugh (even if
Dimitri’s jokes fly under the radar).
To Yuna, this closeness means that each
player knows what the other is trying to
communicate – ‘just by looking at each
other, without having to say anything’.
‘Every moment spent with these people
has been special,’ Yuna says.
These musicians have developed
international reputations in such a short
number of years, much like the composers
on their program. Wonhee says they’ve
always been interested in exploring
composers’ ‘fresh take’ on the string
quartet; their 2020 debut album
To Be Loved featured some of the earliest
music that Beethoven, Unsuk Chin and
Frank Bridge had composed for this
configuration. Now, as they present
© Jeremy Visuals
14

a young Mendelssohn’s string quartet, they
are taken aback by the ‘range of emotions
and the refinement of his craft’, according
to Dimitri.
Langsamer Satz is also ‘youthful in its
romanticism’; Webern was in his early 20s
when he wrote it, two decades before he
would start incorporating the new 12-tone
technique in his works. Dimitri speculates:
‘Perhaps this program brings out different
sides of being young – sometimes being
bold, energised, but also at times unsure
and trying to find yourself, like Webern
was.’
In addition to the Webern and
Mendelssohn, the group performs the
String Quartet in G minor by a 31-yearold
Debussy (the only piece he completed
in this form), and Spiral Sequences from
composer Jack Frerer, who was born in
1995.
Jack, who grew up in Sydney, says he’s
‘most excited about having a work featured
by an Australian organisation – something
that’s not a common occurrence for me.’
Jack travelled to the United States close
to a decade ago, pursuing a career that
would see his music performed by the New
York City Ballet among many American
orchestras. With his work programmed in
Esmé’s tour, Jack says, ‘It’s incredible to me
that my music is now finding its way back
home to Australia.’
As Jack explains, Spiral Sequences focuses
on ‘a chord progression that follows a
specific pattern – one that eventually circles
back to where it started’. But these patterns
don’t always reach the destination you
might expect. ‘Just as you’re getting into
some sort of predictable pattern, the music
takes a hard left. I really love that feeling as
a listener,’ he says.
Jack says Mendelssohn is a particularly
noticeable influence in his music, which
is based on ‘traditional Western classical
idioms’. Yet Spiral Sequences is also
scattered and chaotic, representing the
bustling modern-day life of its composer.
‘This piece evokes the feeling of a big city
for me: patterns of streets and buildings,
jarring juxtapositions, surprises around
every corner.’
Though he composed it for some stringplaying
friends in New York (one of whom
lived on the same floor of his Juilliard
dormitory), Jack has been looking
forward to Esmé’s take on his technically
challenging work. ‘I feel a lot of excitement,
and a great deal of trust in their work
and artistry,’ Jack says. ‘This group can
truly play anything, though. They always
find that balance between virtuosity and
emotionality, which is a balance I was
striving for in this piece.’
It’s a piece worthy of Esmé’s momentous
Australian debut spanning eight cities.
‘We are particularly grateful to Musica
Viva Australia for organising this tour,’
Wonhee says. ‘Organisations dedicated
to presenting chamber music are rare
and precious in this world.’
15

ENSEMBLE
PATRONS
+
CONCERT
CHAMPIONS
For nearly 80 years Musica Viva Australia has delivered tours of the highest calibre
in concert halls throughout the country. At the heart of our touring program are our
generous Ensemble Patrons and Concert Champions, whose extraordinary vision
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Thank you for everything you do.
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Patrons
CUSTODIANS
ACT Margaret Brennan, Clive & Lynlea Rodger,
Ruth Weaver, Anonymous (3)
NSW Catherine Brown-Watt PSM & Derek Watt,
Jennifer Bott AO, Lloyd & Mary Jo Capps AM, Andrew &
Felicity Corkill, Peter Cudlipp, Liz Gee, Suzanne Gleeson,
David & Christine Hartgill, Annie Hawker, Elaine Lindsay,
Trevor Noffke, Dr David Schwartz, Ruth Spence-Stone,
Mary Vallentine AO, Deirdre Nagle Whitford, Richard
Wilkins, Kim Williams AM, Megan & Bill Williamson,
Ray Wilson OAM, Anonymous (12)
QLD Anonymous (2)
SA Monica Hanusiak-Klavins & Martin Klavins,
Anonymous (4)
TAS
Kim Paterson QC, Anonymous
VIC Elizabeth & Anthony Brookes,
Julian Burnside AO QC, Ms Helen Dick, Robert Gibbs
& Tony Wildman, Helen Vorrath, Anonymous (8)
WA Graham Lovelock, Anonymous (4)
LEGACY DONORS
NSW The late Charles Berg, The late Stephen Center,
The late Janette Hamilton, The late Dr Ralph Hockin in
memory of Mabel Hockin, The late Geraldine Kenway,
The late Kenneth W Tribe AC
QLD
The late Steven Kinston
SA The late Edith Dubsky,
In memory of Helen Godlee, The late Lesley Lynn
VIC In memory of Anita Morawetz, The family of
the late Paul Morawetz, The late Dr G D Watson
WA
Anonymous
EDUCATION
ENSEMBLE PATRONS
To support the work of our 14 teaching ensembles
which deliver childhood music education programs,
Musica Viva Australia would like to acknowledge our
Education Ensemble Patrons.
Music in my Suitcase
Valerie & Michael Wishart
Game Day!
Anonymous
ENSEMBLE PATRONS
Our artistic vision for 2024 is made possible thanks to
the extraordinary generosity of our Ensemble Patrons,
each of whom supports the presentation of an entire national
tour for our 2024 Season.
Long Lost Loves (and Grey Suede Gloves)
Peter Griffin AM & Terry Swann,
Ms Felicity Rourke & Justice François Kunc,
Susie Dickson (supporting Anna Dowsley)
Esmé Quartet
Bruce & Charmaine Cameron
The Choir of King’s College, Cambridge
Ensemble Patrons Ian Dickson AM & Reg Holloway
Other Tour Support Kim Williams AM & Catherine Dovey
Commissioning Donor Richard Wilkins
Organ Scholar Patrons Ian & Cass George
The Choristers’ Circle We thank all members for their
support of each chorister
Pekka Kuusisto & Gabriel Kahane
Australian Music Foundation
Ensemble Q & William Barton
Ian & Caroline Frazer
CONCERT CHAMPIONS
The mainstage concerts of our 2024 Season are brought to life
thanks to the generosity of our Concert Champions around the
country.
Brisbane Andrea & Malcolm Hall-Brown,
Andrew & Kate Lister, Barry & Diana Moore,
The Hon. Anthe Philippides SC, Anonymous (2)
Canberra Andrew Blanckensee & Anonymous,
Dr Ray Edmondson OAM & Sue Edmondson,
Dr Suzanne Packer, Sue Terry & Len Whyte
Melbourne Peter Lovell & Michael Jan, In memory of
Paul Morawetz, Mark & Suzy Suss, The late Dr G D Watson,
Youth Music Foundation Australia, Igor Zambelli
Perth Jan James in memory of her sister Anne Wilding
& Anonymous, Dr Robert Larbalestier AO,
Deborah Lehmann AO & Michael Alpers AO,
For Stephanie Quinlan (2), Valerie & Michael Wishart
Sydney Pam Cudlipp, Jennifer Darin & Dennis Cooper,
Dr Jennifer Donald & Mr Stephen Burford,
Katherine & Reg Grinberg, Alison & Geoff Kerry,
Ray Wilson OAM
Taking Shape
Ray Wilson OAM
Da Vinci’s Apprentice
Kay Vernon
17

DIRECTOR’S CIRCLE
Darin Cooper Foundation, Stephen & Michele Johns
AMADEUS SOCIETY
Tony Berg AM & Carol Berg, Tom Breen & Rachael
Kohn AO, Dr Di Bresciani OAM, Ms Annabella Fletcher,
Dr Annette Gero, Katherine & Reg Grinberg, Jennifer
Hershon, Fred & Claire Hilmer, Penelope Hughes,
Michael & Frédérique Katz, Dr Hadia Mukhtar,
Philip Robinson, Andrew Rosenberg, Ray Wilson OAM
EMERGING ARTISTS
GIVING CIRCLE
The Emerging Artists Giving Cricle is a group of
generous donors whose collective support will enable
the artistic development of the next generation of
Australian chamber musicians.
Nicholas Callinan AO & Elizabeth Callinan,
Caroline & Robert Clemente, Patricia H. Reid Endowment
Fund, Andrew Sisson AO & Tracey Sisson,
Mick & Margaret Toller, Anonymous
COMMISSIONS
Musica Viva Australia is proud to support the creation
of new Australian works through The Ken Tribe Fund
for Australian Composition and The Hildegard Project.
We are grateful to the following individuals and
collectives for their generous support of this work:
Alison & Geoff Kerry, D R & K M Magarey,
The Hon. Anthe Philippides SC, Playking Foundation,
Richard Wilkins
Musica Viva Australia also thanks the Adelaide
Commissioning Circle, the WA Commissioning Circle,
and the Silo Collective for their support in bringing
new Australian works to life.
MAJOR GIFTS
$100,000+
NSW The Berg Family Foundation,
Patricia H. Reid Endowment Fund, Anonymous
QLD
$50,000+
ACT
Ian & Caroline Frazer
Marion & Michael Newman
NSW Ian Dickson AM & Reg Holloway,
J A Donald Family, Katherine & Reg Grinberg,
Elisabeth Hodson & the late Dr Thomas Karplus
$20,000+
NSW Gardos Family, Michael & Frédérique Katz,
Vicki Olsson, Kim Williams AM & Catherine Dovey
QLD
Andrea & Malcolm Hall-Brown
VIC Mercer Family Foundation, The Morawetz Family
in memory of Paul Morawetz, The Morawetz Family in
memory of Anita Morawetz, Marjorie Nicholas OAM,
Anonymous
$10,000+
ACT
Craig Reynolds, Mick & Margaret Toller, Anonymous
NSW Gresham Partners, Mrs W G Keighley,
Anthony Strachan, Jo Strutt, Ray Wilson OAM in memory of
James Agapitos OAM
QLD
SA
Anonymous
Jennifer & John Henshall
VIC Dr Di Bresciani OAM & Lino Bresciani, Peter Lovell,
In memory of Dr Ian Marks, Joy Selby Smith,
Mark & Anna Yates
WA Legacy Unit Trust, Deborah Lehmann AO
& Michael Alpers AO, Prichard Panizza Family
$5,000+
ACT Goodwin Crace Concertgoers,
Sue Terry & Len Whyte
NSW Christine Bishop, Tom Breen & Rachael Kohn AO,
Sarah & Tony Falzarano, Robert & Lindy Henderson,
Robert & Lindy Henderson, David & Carole Singer,
Diane Sturrock, Richard Wilkins
QLD
Anonymous
SA Aldridge Family Endowment,
Fiona MacLachlan OAM
VIC Julian Burnside AO KC & Kate Durham,
William J Forrest AM, Leanne Menegazzo, Bruce Missen,
Greg Shalit & Miriam Faine, Youth Music Foundation
Australia, Anonymous
18
WA
David Wallace & Jamelia Gubgub

ANNUAL GIFTS
$2,500+
ACT Andrew Blanckensee, Kristin van Brunschot
& John Holliday, Dr Andrew Singer, Anonymous
NSW ADFAS Newcastle, Judith Allen, Maia Ambegaokar
& Joshua Bishop, Susan Burns, Hon J C Campbell KC &
Mrs Campbell, Thomas Dent, Dr Robyn Smiles,
Hon. Professor Ross Steele AM, Dr Elizabeth Watson
QLD
SA
Jocelyn Luck, Barry & Diana Moore
DJ & EM Bleby
VIC Jan Begg, Alastair & Sue Campbell, Dhar Family,
Roger Druce & Jane Bentley, Anne Frankenberg &
Adrian McEniery, Sing Off – Genazzano & surrounding
schools, Lyndsey & Peter Hawkins, Angela &
Richard Kirsner, Michael Nossal & Jo Porter, Ralph &
Ruth Renard, Barry Robbins, Murray Sandland,
Maria Sola, Wendy R Taylor, Helen Vorrath
WA Dr Bennie Ng & Olivier David, Zoe Lenard
& Hamish Milne, Mrs Morrell, Robyn Tamke
$1,000+
ACT The Breen/Dullo Family, Odin Bohr & Anna Smet,
Liz & Alex Furman, Kingsley Herbert, Margaret &
Peter Janssens, S Packer, Clive & Lynlea Rodger,
Ruth Weaver, Anonymous (3)
NSW Judith Allen, David & Rae Allen, Dr Warwick
Anderson, Vicki Brooke, Hugh & Hilary Cairns,
Richard Cobden SC, Trish & John Curotta, Thomas Dent,
Nancy Fox AM & Bruce Arnold, John & Irene Garran,
Charles & Wallis Graham, Kate Girdwood, Annie Hawker,
Lybus Hillman, Dr Ailsa Hocking & Dr Bernard Williams,
Dorothy Hoddinott AO, Mathilde Kearny-Kibble,
Catharine & Robert Kench, Kevin & Deidre McCann,
Professor Craig Moritz, Michael & Janet Neustein,
Laurie Orchard, In memory of Katherine Robertson,
Geoff Stearn, Graham & Judy Tribe, Kate Tribe, John
& Flora Weickhardt, Anonymous (5)
QLD Prof. Paul & Ann Crook, Stephen Emmerson,
Robin Harvey, Lynn & John Kelly, Andrew & Kate Lister,
Keith Moore, Barbara Williams & Jankees van der Have
SA Ivan & Joan Blanchard, Richard Blomfield,
Peter Clifton, Elizabeth Ho OAM in honour of the late
Tom Steel, Dr Leo Mahar, Ruth Marshall & Tim Muecke,
Geoff & Sorayya Martin, Ann & David Matison,
Diane Myers, Leon Pitchon, Jennie Shaw, Anne Sutcliffe,
Robert & Glenys Woolcock, Anonymous (2)
Resonance Fund – Michael Cowen & Sharon Nathani,
Ms Thea Sartori, Darren Taylor & Kent Stringer,
Lyn Williams, Anonymous (2)
WA Dr S Cherian, Michael & Wendy Davis, In memory
of Raymond Dudley, Anne Last & Steve Scudamore,
Hugh & Margaret Lydon, Marian Magee & David Castillo,
Prof. Robyn Owens AM, Margaret & Roger Seares,
Ruth Stratton, Christopher Tyler, Anonymous (4)
$500+
ACT Margaret Brennan, Christine Bollen,
Christopher Clarke, Peter Cumines, Lesley Fisk, Jill Fleming,
Robert Hefner, R & V Hillman, Margaret Lovell &
Grant Webeck, Margaret Oates, Helen Rankin,
Diana Shogren & Anne Buttsworth, Dr Paul &
Dr Lel Whitbread, Anonymous
NSW Alexandra Bune AM, Christopher & Margaret
Burrell, Neil Burns, Robert Cahill & Anne Cahill OAM,
Lloyd & Mary Jo Capps AM, Lucia Cascone, Robin &
Wendy Cumming, Howard Dick, Dr Arno Enno &
Dr Anna Enno, Bronwyn Evans, Anthony Gregg,
The Harvey Family, David & Sarah Howell, Bruce Lane,
Olive Lawson, Dr Colin MacArthur, D R & K M Magarey,
Paul O’Donnell, Professors Robin & Tina Offler, Kim &
Margie Ostinga, Trish Richardson in memory of
Andy Lloyd James, Dr John Rogers, Penny Rogers,
Peter & Heather Roland, Christopher Sullivan & Jim Lennon,
Kathie & Reg Grinberg – In honour of Dalia Stanley’s
birthday, Kay Vernon, Andrew Wells AM,
Margaret Wright OAM, Anonymous (6)
QLD Geoffrey Beames, Noela Billington, George Booker
& Denise Bond, Janet Franklin, Prof. Robert G Gilbert,
Timothy Matthies & Chris Bonnily, Anonymous (2)
SA Max & Ionie Brennan, Zoë Cobden-Jewitt &
Peter Jewitt, Elizabeth Hawkins, Dr Iwan Jensen,
The Hon. Christopher Legoe AO QC & Mrs Jenny Legoe,
Helga Linnert & Douglas Ransom, Trish Ryan &
Richard Ryan AO, Tony Seymour, Anonymous (5)
VIC David Bernshaw & Caroline Isakow,
Coll & Roger Buckle, Pam Caldwell, Mary-Jane Gething,
Dr Anthea Hyslop, Eda Ritchie AM, Maureen Turner,
Anonymous (6)
WA David & Minnette Ambrose, Jennifer Butement,
Fred & Angela Chaney, Rachel & Bruce Craven,
Russell Hobbs & Sue Harrington, Dr Penny Herbert
in memory of Dunstan Herbert, Paula Nathan AO &
Yvonne Patterson, John Overton, Lindsay & Suzanne Silbert,
Anonymous (2)
VIC Joanna Baevski, Russ & Jacqui Bate, Jan Begg,
the late Marc Besen AC & the late Eva Besen AO,
Jannie Brown, Alison & John Cameron, Mrs Maggie Cash,
Alex & Elizabeth Chernov, Lord Ebury, Dr Glenys &
Dr Alan French, Naomi & George Golvan KC, John &
Margaret Harrison, Virginia Henry, Doug Hooley,
Helen Imber, The Hon. Dr Barry Jones AC & Ms Rachel
Faggetter, Angela Kayser, Angela Li, Janet McDonald,
Ruth McNair AM & Rhonda Brown in memory of
Patricia Begg & David McNair, June K Marks,
Christopher Menz & Peter Rose, D & F Nassau,
19

Concert Partners
Perth Concert Series Sydney Morning Masters Series Musica Viva Australia at The Edge Series
Major Project Partner
Legal
Chartered Accountants
Piano & Tuning
Media Partners
Print Partner
Wine Partner (act, nsw, qld, vic) Wine Partner (sa) Wine Partner (wa)
Hotel Partner
Hotel Partner
Government Partners
Musica Viva Australia is assisted by the
Australian Government through Creative Australia,
its principal arts investment and advisory body.
Musica Viva Australia is supported
by the NSW Government through
Create NSW.
Musica Viva Australia is a Not-for-profit Organisation
endorsed by the Australian Taxation Office as a
Deductible Gift Recipient and registered with the
Australian Charities and Not-for-profits Commission
(ACNC).
Emerging Artists Partners
Competitions
Principal Partner
Strategic Partner
University Partner
FutureMakers Lead Partner
Key Philanthropic Partner
Key Philanthropic Partner
FutureMakers Residency Partner
20

Education Partners
Government Partnerships & Support
National Education Supporters
Anthony & Sharon Lee Foundation
J A Donald Family
Marion & Mike Newman
In Schools Performance, Education & Professional Development
• Aldridge Family Endowment • Godfrey Turner Memorial Music Trust
• In memory of Anita Morawetz • Margaret Henderson Music Trust • Marsden Szwarcbord Foundation
• Perpetual Foundation – Alan (AGL) Shaw Endowment • Grieve Family Fund
National Music Residency Program
The
Benjamin
Fund
The Marian &
E.H. Flack Trust
Day Family
Foundation
• Aldridge Family Endowment • Carthew Foundation • Foskett Foundation
• FWH Foundation • John & Rosemary MacLeod • Joy Selby Smith • Legacy Unit Trust
• Lipman Karas • Seeley International • Anonymous Donors (3)
21

Tributes
Kenneth W Tribe
(1914–2010)
Kenneth Wilberforce Tribe was born
in Sydney in 1914, the second of three
children born to Cecil and Elizabeth
Tribe. Having attended St Andrew’s
Cathedral Choir School, Ken won
scholarships to Sydney Church of
England Grammar School (Shore), then
to the University of Sydney to study Law,
graduating in 1937 (music not being
regarded as a viable occupation during
that time of the Great Depression).
Despite family responsibilities and an
extremely demanding professional life,
Ken soon began a pattern of engaging
in activities outside of his profession; the
most significant and long-standing of
these associations was with Musica Viva
Australia. In 1949 Ken joined Musica Viva
Australia as Chairman of the executive
and in 1966 took on the role of Artistic
Director, which amalgamated with that
of President in 1973. It was Ken’s initiative
that created Musica Viva Australia’s
National Board in 1980–81.
Through the 1970s and 1980s Ken’s
influence in Australian cultural life was
far-reaching. He served on boards
and committees for organisations
including the Australia Council for
the Arts, Canberra School of Music,
Sydney College of the Arts, the NSW
Arts Advisory Council, the Australian
Opera and the Australian Broadcasting
Commission, as it was then known.
With apparently endless energy Ken
also worked on the boards of a number
of trusts, funds and in different capacities
with a large number of arts bodies. Much
of Ken’s value to the community over the
years was ‘behind the scenes’ support,
always pro bono.
Ken retired from the Presidency of
Musica Viva Australia in 1986 and was
Patron until his death in July 2010. He
maintained a visionary commitment
to commissioning new music from
Australian composers and his support
has enabled new works by luminary
composers including the late Richard
Meale, the late Peter Sculthorpe, Ross
Edwards, Carl Vine and Nigel Westlake.
This commitment will continue to be
honoured by Musica Viva Australia
through the Ken Tribe Commemorative
Fund for Australian Composers.
It would be impossible to overstate Ken’s
impact on the arts in Australia and on
music especially. Our lives have been
enriched because of his unique capacity
to combine plain hard work with a vision
of what things might be. As part of
Musica Viva Australia for more than
60 years, Ken’s influence was enormous.
© GWEN BENNETT &
MUSICA VIVA AUSTRALIA
The concert on Monday 6 May in Sydney
celebrates Ken Tribe’s contribution to Musica Viva Australia.
22

Dr Graeme D Watson
(1936–2004)
Graeme Douglas Watson was born in
England on 25 January 1936, the only
child of Australian parents, Douglas and
Jean Watson. He grew up in Adelaide,
where he attended Scotch College
and demonstrated outstanding ability,
becoming dux of his school in humanities
subjects, and topping the State in French
at both Leaving and Leaving Honours
levels.
From 1953 to 1956 Graeme was a student
at the University of Adelaide, graduating
with first-class honours in French and
German, and winning a PhD scholarship
to the University of Paris. At the Sorbonne
from 1957 to 1960, supervised by Pierre
Moreau, he worked on the novels of
Romain Rolland, and his defence of
his thesis earned him a mention très
honorable.
Upon graduation, Graeme joined the
French Department of Britain’s University
of Birmingham and was soon promoted
to lecturer. Then in 1964 he returned to
Australia, to take up a lectureship in the
Department of French at the University
of Melbourne. There he became a senior
lecturer in 1967, and there spent the rest
of his academic career, until ill health
curtailed it in 1989, ending it some years
later.
A brilliant scholar and gifted linguist,
with Italian as well as French and
German, Graeme Watson served for
some years on the editorial board of the
Australian Journal of French Studies.
His own publications, though not many,
conveyed acute insights. Graeme also
had a wry sense of humour and a sharp
wit; but the opportunities for others to
relish these were rare, for throughout
his life he was always extremely shy
and self-effacing, and in his latter years
became almost a recluse.
Graeme Watson’s attachment to France
and its culture embraced the works of
French composers. His love of music
had begun early, with piano study that
made him an able pianist, and regular
attendance at Musica Viva Australia
concerts in Adelaide. His quiet support of
Musica Viva Australia continued during
his years in Melbourne and, at his death
on 8 November 2004, his will bestowed
upon Musica Viva Australia a munificent
bequest for its lasting benefit.
DR ANTHEA HYSLOP &
PROF COLIN NETTELBECK
The concert on Tuesday 14 May in Melbourne
is dedicated to the memory of Dr Graeme Douglas Watson.
23

Stories to inspire
BY JESSICA NEGUS
Strike A Chord 2024
It is with great delight that Musica Viva
Australia presents Strike A Chord for its
fourth iteration in 2024. Returning after
a year’s hiatus following the Melbourne
International Chamber Music Competition,
the national chamber music competition
forms an integral part of Musica Viva
Australia’s education and emerging artist
pipelines.
Strike A Chord encourages school-aged
musicians to discover and develop the
joy of playing in small ensembles, with all
levels of experience welcomed. Interested
groups of 3 to 8 musicians from far corners of
Australia can submit their entries online, with
applicants also able to apply for a free onehour
coaching session with one of Musica
Viva Australia’s expert chamber musicians.
Many past participants and prize winners
of Strike A Chord continue to delight and
wow audiences around the nation, using
the competition as a springboard for
their emerging artistic careers. Beatrice
Colombis, part of the winning ensemble for
the inaugural 2020 Competition, along with
her brother and cousins, is currently studying
violin at the Sydney Conservatorium of Music
under Professor Goetz Richter. After winning
the Sydney Conservatorium String Concerto
Competition in 2022, Beatrice performed
the Tchaikovsky Violin Concerto with the
Conservatorium Symphony Orchestra last
year and will be joining the Australian
Chamber Orchestra as an Emerging Artist
for a second time in 2024.
Beatrice reflected on the impact Strike A Chord
had on her musical aspirations:
‘I grew up playing with Dylan, Hanna and
Jamie. Coming together [as Cousin Quartet]
for Strike A Chord was the first time we played
together as a quartet, and my first serious
quartet experience. Preparing for Strike A
Chord and all the opportunities that emerged
afterwards have absolutely fuelled my love
of chamber music – I’ve since played in many
string quartets with various groups, and I
would say that it is my favourite thing to do as
a violinist, and has developed my musicianship
more than anything else.’
To any budding participants for this year’s
competition, Beatrice has the following words
of wisdom: ‘Performance opportunities are
so valuable to young musicians and chamber
music competitions are not a common
occurrence in Australia, so I would encourage
people to make the most of it! Even the process
of putting together an audition is a really great
experience. More than anything, remember
that chamber music at its heart is fun and a
wonderful chance to make music with your
friends!’
—
It is through the generosity of our benefactors
that Musica Viva Australia can continue to
inspire and reward excellence, enthusiasm
and engagement in the chamber music space
for school students in Australia. If you are
interested in supporting Strike A Chord, or
making a more general gift toward our work,
we would be delighted to hear from you.
Please contact Strike A Chord Competitions
Lead Irene Ryder at iryder@musicaviva.com.au
for more information.
Your support makes this work possible.
Thank you.
24

‘It’s so heartening to see our Strike A Chord
alumni going on to other exciting musical
achievements like specialist tertiary studies,
success in competitions, and development
programs like Australian Youth Orchestra,
Australian Chamber Orchestra and others.
We are thrilled that Musica Viva Australia’s
Strike A Chord has played a part in so many
students’ musical journeys, and hope that
this inspires future participants to reach for
the (musical) stars!’
WILMA SMITH, ARTISTIC DIRECTOR OF COMPETITIONS,
MUSICA VIVA AUSTRALIA
The Cousin Quartet with Beatrice Colombis, second from right.
© Keith Saunders
25

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Joyful, anxious, excited, melancholy… we present
music to tens of thousands of people, of every age
and walk of life, each year. Each performance
produces an emotion, a feeling. And these feelings
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From Brisbane to Broken Hill, Geelong to Geraldton,
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The Choir of
King’s College,
Cambridge
The Choir of King’s College, Cambridge
returns to put the glorious sound of the
British choral tradition in dialogue with
one of the oldest cultures on earth.
Hear soaring hymns and mighty anthems
alongside a new work from Australian
composer Damian Barbeler inspired by the
questing writings of Judith Nangala Crispin.
Sun 21 July
Tue 23 July
Thu 25 July
Sun 28 July
Mon 29 July
Wed 31 July + Thu 1 Aug
Sat 3 August
Mon 5 August
Melbourne, Hamer Hall
Melbourne Recital Centre
Brisbane, QPAC
Sydney, City Recital Hall
Sydney Opera House
Adelaide Town Hall
Canberra, Llewellyn Hall
Perth Concert Hall
musicaviva.com.au/kings
1800 688 482 (no booking fees)