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1341_WESF - Arts Sponsorship Campaign 2014 - Musica Viva_Ad 2015_240x150_V2_UPDATE 03.02.15.indd 1 3/02/15 9:51 AM

1341_WESF - Arts Sponsorship Campaign 2014 - Musica Viva_Ad 2015_240x150_V2_UPDATE 03.02.15.indd 1 3/02/15 9:51 AM

Musica Viva is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. Musica Viva is assisted

by the NSW Government through Arts NSW.

ADELAIDEADELAIDE TOWN HALL THURSDAY 15 JUNE, 7.30PM Pre-concert talk, 6.45pm (Prince Alfred Room) Meet the Artists after concert

CANBERRALLEWELLYN HALL, ANU SCHOOL OF MUSIC TUESDAY 20 JUNE, 7PMPre-concert talk, 6.15pm (Athenaeum [foyer])CD signing after concert

MELBOURNEELISABETH MURDOCH HALL, MELBOURNE RECITAL CENTRE TUESDAY 13 JUNE, 7PMRecorded for delayed broadcast on ABC Classic FM Pre-concert talk, 6.15pm (Boardroom, Level 2)Meet the Artists after concert

SATURDAY 17 JUNE, 2PMRecorded for delayed broadcast on ABC Classic FM Pre-concert talk, 1.15pm (Boardroom, Level 2)Meet the Artists after concert

NEWCASTLEHAROLD LOBB CONCERT HALL, NEWCASTLE CONSERVATORIUM OF MUSIC THURSDAY 22 JUNE, 7.30PMRecorded for delayed broadcast on 2NUR-FM. Pre-concert talk, 6.45pm (Room 118 – entry via foyer)CD signing after concert

PERTHPERTH CONCERT HALL SUNDAY 11 JUNE, 7.30PMPre-concert talk, 6.45pm (Corner Stage, Riverside, Terrace Level)Meet the Artists after concert

SYDNEYCITY RECITAL HALL SATURDAY 24 JUNE, 2PMPre-concert talk, 6.15pm (Function Room, Level 1)CD signing after concert

MONDAY 26 JUNE, 7PMPre-concert talk, 6.15pm (Function Room, Level 1). CD signing after concert

Masumi Per Rostad viola Brandon Vamos cello

Simin Ganatra violin Sibbi Bernhardsson violin

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ADDITIONAL ACTIVITY

The Pacifica Quartet will present the following masterclasses during this tour:

Adelaide: Wednesday 14 June, 6pm–8pm, Elder Conservatorium

Sydney: Friday 23 June, 5.30pm–7pm, Green Square Library

The Musica Viva Masterclass program is supported by principal patrons Stephen Johns & Michele Bender, the Sydney Conservatorium Association (NSW), Lyn Hamill & Ian Dover (QLD), Wesfarmers Arts (WA) and Mary Turner oam (Newcastle).

FROM THE ARTISTIC DIRECTOR

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CARL VINE aoARTISTIC DIRECTOR MUSICA VIVA AUSTRALIA

The Pacifica Quartet hasn’t been in Australia since its exhilarating performances at the 2013 Musica Viva Festival, and it is a thrill to be able to share them now with the rest of the country. Resident quartet at the Jacobs School of Music in Indiana, and resident performing artists at the University of Chicago, the group won the 2009 Grammy for Best Chamber Music Performance and maintains a hectic concert schedule throughout North America and Europe. It has an impressive discography including recordings with artists such as Marc-André Hamelin and Menahem Pressler, and is renowned for presenting the complete quartet cycles of Beethoven, Mendelssohn, Carter and Shostakovich.

The first program of this concert tour starts with Haydn’s 60th work in the form, op 76 no 1, the confident work of an absolute master who by this time (1797) had forged the string quartet into the enduring form that we still celebrate today. The program closes with Mendelssohn’s String Quartet no 2, written when the composer was just 18 years old, and bearing all the hallmarks of the child prodigy who, a full two years earlier, completed his peerless String Octet.

The second program features Beethoven’s 16th and last quartet, op 135, which is also the last major work he completed. The program ends with the Third String Quartet of Shostakovich, premiered in 1946 by the

Beethoven String Quartet who reported that the only time they ever saw Dmitri visibly moved by his own music was while they were rehearsing this piece, during which the composer was said to be ‘so open and defenceless’.

At the heart of both programs is the Second String Quartet of Nigel Westlake, a masterful work of sinuous invention that was commissioned in 2005 for Musica Viva Australia by the late Kenneth W Tribe ac, and premiered by the Goldner String Quartet.

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FROM THE CHIEF EXECUTIVE OFFICERIn the previous concert guide, I wrote about our masterclass program and the enormous impact it has on our emerging artists – something made especially apparent at April’s Musica Viva Festival. Masterclasses are part of our broader Artist Development activities, which have expanded in the past two years to embrace the FutureMakers program, funded by the Berg Family Foundation, and the Melbourne International Chamber Music Competition.

This holistic approach to artist development is central to our passion for connecting musicians and audiences with the great inspiration of chamber music. In FutureMakers, under Artistic Director Genevieve Lacey, we focus on the musical leaders of the future – not just creating excellent performers, but also honing the full range of skills that develop collaboration, entrepreneurship, innovation and communication. Visit www.musicaviva.com.au/futuremakers to read more about this program, and how you can become involved.

Similarly, with the Melbourne International Chamber Music Competition – now open for applications for the July 2018 Competition – the program’s Artistic Director Wilma Smith aims to provide a unique platform for young string quartets and piano trios to benchmark themselves, to forge international musical friendships

MARY JO CAPPSCHIEF EXECUTIVE OFFICER MUSICA VIVA AUSTRALIA

and, importantly, receive focused attention and feedback from some of the greatest international artists and agents, who make up the jury. For more information on MICMC, and how you might be able to support it, please have a look on our website at www.musicaviva.com.au/competition

Most importantly, being part of the ‘connecting’ by being an active member of the audience is the greatest gift of all. The future of chamber music is looking very bright indeed!

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MEET THE ARTISTS

PACIFICA QUARTET

2009 received the Grammy Award for Best Chamber Music Performance.

Formed in 1994, the Pacifica Quartet quickly won chamber music’s top competitions, including the 1998 Naumburg Chamber Music Award. In 2002 the ensemble was honoured with Chamber Music America’s Cleveland Quartet Award and an appointment to Lincoln Center’s CMS Two, and in 2006 it was awarded a prestigious Avery Fisher Career Grant, becoming only the second chamber ensemble so honoured in the grant’s long history. In 2009, the Quartet was named ‘Ensemble of the Year’ by Musical America.

Recognised for its virtuosity, exuberant performance style, and often daring repertory choices, the Pacifica Quartet has over the past two decades gained international stature as one of the finest chamber ensembles performing today. It tours extensively throughout the United States, Europe, Asia and Australia, performing regularly in the world’s major concert halls. Named the quartet-in-residence at Indiana University’s Jacobs School of Music in March 2012, the Pacifica was also the quartet-in-residence at the Metropolitan Museum of Art (2009–2012) – a position that has otherwise been held only by the Guarneri String Quartet – and in

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Highlights of the 2015–16 season included a performance at New York’s 92nd Street Y, the beginning of a two-season residency at the Isabella Stewart Gardner Museum in Boston, a ten-day residency for the Arizona Friends of Chamber Music in Tucson, and return visits to the major series in New Orleans, San Francisco and Portland. In addition, the Quartet toured Europe and Japan.

The Pacifica Quartet has carved a niche for itself as the preeminent interpreter of string quartet cycles, harnessing the group’s singular focus and incredible stamina to portray each composer’s evolution, often over the course of just a few days. It has

given highly acclaimed performances of the complete Elliott Carter cycle (San Francisco, New York, Chicago and Houston), the Mendelssohn cycle (New York, Napa, Pittsburgh and Australia), the Beethoven cycle (New York, Denver, St Paul, Chicago, Napa, and Tokyo, in an unprecedented five concerts in three days at Suntory Hall), and the monumental Shostakovich cycle (Chicago, New York, Montreal and at London’s Wigmore Hall). The Quartet has been widely praised for these cycles, with critics calling the concerts ‘brilliant’, ‘astonishing’, ‘gripping’ and ‘breathtaking’.

An ardent advocate of contemporary music, the Pacifica Quartet commissions and performs many new works from composers including Keeril Makan, in partnership with the Celebrity Series of Boston and the Great Lakes Chamber Music Festival, and Shulamit Ran, in partnership with the Music Accord consortium, London’s Wigmore Hall and Tokyo’s Suntory Hall. Ran’s quartet Glitter, Doom, Shards, Memory had its New York debut as part of the Chamber Music Society at Lincoln Center series.

In 2008 the Pacifica Quartet released its Grammy Award-winning recording of Carter’s Quartets nos 1 and 5 on the Naxos label; the 2009 release of Quartets nos 2, 3 and 4 completed the two-CD set. Cedille Records recently released the entire Shostakovich cycle, along with other contemporary Soviet works, to rave reviews: ‘The playing is nothing short of phenomenal’ (Daily Telegraph, London). Recent recording projects include Leo Ornstein’s rarely heard Piano Quintet with Marc-André Hamelin, with an accompanying tour; the Brahms Piano Quintet with pianist Menahem Pressler; and the Clarinet Quintets of Brahms and Mozart with the Metropolitan Opera’s Principal Clarinetist Anthony McGill.

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The members of the Pacifica Quartet live in Bloomington, Indiana, where they serve as quartet-in-residence and full-time faculty members at the Jacobs School of Music. Prior to this appointment, the Quartet was on the faculty of the University of Illinois at Champaign-Urbana from 2003 to 2012. The Pacifica Quartet also serves as resident performing artist at the University of Chicago.

The Pacifica Quartet is endorsed by D’Addario and proudly uses their strings.

www.pacificaquartet.com

The Pacifica Quartet performed at the 2013 Musica Viva Festival. This is the Quartet’s first national tour for Musica Viva Australia.

“The Langham Afternoon Tea with Wedgwood”

Served in Langham rose crockery with tailor-made creations.

Innovative high tea events including

popular children’s high teas.

1 Southgate Avenue Southbank T 1800 641 107ariabar.com.au

Flavours of the World. Grazing Buffet.Bountiful Seafood. Sushi Station

Classic Carvery. Turbo Woks. Char Grill.Italian Pastas. Chinese Dumplings.

Farmhouse Cheeses. Decadent Desserts.Chocolate Fountain. Cadbury Candy Bar.

Connoisseur Ice Cream.

Lunch & Dinner Dailymelbarestaurant.com.au Melba Restaurant RESTAURANT

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PROGRAMSPROGRAM 1(Canberra, Melbourne 13 June, Perth, Sydney 26 June)

PROGRAM 2(Adelaide, Melbourne 17 June, Newcastle, Sydney 24 June)

Joseph HAYDN (1732–1809)

String Quartet in G major, op 76 no 1 (1796–97) 25 min

I Allegro con spirito (Fast and

spirited)

II Adagio sostenuto (Slow and

sustained)

III Menuetto & Trio: Presto (Quick)

IV Finale: Allegro ma non troppo

(Fast, but not too fast)

Nigel WESTLAKE (b 1958)

String Quartet no 2 (2005) 24 min In four movements

I N T E R VA L

Felix MENDELSSOHN (1809–1847)

String Quartet no 2 in A minor, op 13 (1827) 29 min

I Adagio (Slow) – Allegro vivace

(Fast and lively)

II Adagio non lento (Slow, but not

too slow)

III Intermezzo: Allegro con moto

(Fast, moving along) – Allegro

di molto (Very fast)

IV Presto (Quick) – Adagio non lento

(Slow, but not too slow)

Nigel WESTLAKE (b 1958)String Quartet no 2 (2005) 24 min In four movements

Ludwig van BEETHOVEN (1770–1827)

String Quartet no 16, op 135 (1826) 26 min

I Allegretto (Fairly fast)

II Vivace (Lively)

III Lento assai, cantante e tranquillo

(Very slow, lyrical and calm)

IV Der schwer gefaßte Entschluß

(The Difficult Decision):

Grave, ma non troppo tratto

(Very slow, but not too drawn out)–

Allegro (Fast)

I N T E R VA L

Dmitri SHOSTAKOVICH (1906–1975)

String Quartet no 3, op 73 (1946) 32 min

I Allegretto (Moderately fast)

II Moderato con moto (At a moderate

speed, moving along)

III Allegro non troppo (Fast but not

too fast)

IV Adagio (Slow)

V Moderato (At a moderate speed)

“The Langham Afternoon Tea with Wedgwood”

Served in Langham rose crockery with tailor-made creations.

Innovative high tea events including

popular children’s high teas.

1 Southgate Avenue Southbank T 1800 641 107ariabar.com.au

Flavours of the World. Grazing Buffet.Bountiful Seafood. Sushi Station

Classic Carvery. Turbo Woks. Char Grill.Italian Pastas. Chinese Dumplings.

Farmhouse Cheeses. Decadent Desserts.Chocolate Fountain. Cadbury Candy Bar.

Connoisseur Ice Cream.

Lunch & Dinner Dailymelbarestaurant.com.au Melba Restaurant RESTAURANT

8

ABOUT THE MUSICmusic and especially religious works, he had little interest in Haydn as a composer of anything but masses, and no interest whatsoever in his chamber music. For that, and especially for string quartets, Haydn was reliant on commissions from other patrons. So, just around the time that Baron van Swieten and a consortium of aristocrats were funding Haydn’s great oratorio The Creation, the Hungarian count Joseph Georg von Erdody stumped up the cash to commission six new string quartets from Haydn.

Haydn worked on what would become his set of six op 76 string quartets from 1796 into 1797, and they proved to be masterpieces, seamlessly merging the confessional nature of his earlier works with the more outgoing style of his London quartets, and effectively paving the route that Beethoven would begin following in his op 18 set, just a year or two later.

In the end, all but two of Haydn’s op 76 quartets were given nicknames – ‘Fifths’, ‘Emperor’, ‘Sunrise’ and ‘Largo’ – but the first and the last missed out. Though these attributions were made long after the event, and not by Haydn himself, they helped in making sense of string quartets that were seen at the time as wildly ambitious, expanding on the principle of sonata form, and with an almost organic sense of thematic development throughout the works as a whole.

The first in the series, in G major, begins with one of those engaging Haydn themes that works its way up through the strings on its first statement and is then developed in a sonata form so loose that it might really be called a set of variations. The deeply felt slow second movement is such a lyrical ‘aria’ that it could easily have been incorporated into one of the masses that Haydn was writing concurrently. The brief Minuet which nominally forms the third movement is a prototypical Beethoven-style scherzo in all but name, with a lovely serenade at its centre. The Finale is also novel, in that it’s largely in G minor, not major, throughout – a reminder that its composer

PROGRAM 1 (Canberra, Melbourne 13 June, Perth, Sydney 26 June)

Joseph HAYDN (1732–1809) String Quartet in G major, op 76 no 1 (1796–97)

I Allegro con spirito (Fast and spirited) II Adagio sostenuto (Slow and sustained) III Menuetto & Trio: Presto (Quick) IV Finale: Allegro ma non troppo (Fast, but not too fast)

In 1794–95, Haydn’s second visit to London proved an outstanding commercial success, and artistically too, he came back to Vienna having just done something revolutionary. There, in England, for the first time in musical history, Haydn had composed string quartets explicitly for public consumption, not private drawing rooms. His op 71 and op 74 sets were conceived for London’s paying public, and musically speaking, that required a dramatic mind-shift on the part of the composer. These were works designed for groups of brilliant professional players led by the likes of Salomon, Viotti and Schuppanzigh and creating a compelling public spectacle for paying strangers. London critics noticed the change of style, and these latest Haydn quartets were described as much more ‘symphonic’ than the works with which Haydn had effectively invented the genre in his earlier years.

But back in Vienna, while Haydn’s new patron Nicolaus II showed enthusiasm for choral

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may have been the jovial ‘Papa Haydn’ of the popular imagination, but he also, more than any other composer, introduced the world of music to the emotional extremes of Sturm und Drang (‘storm and stress’).

Martin Buzacott © 2017

Nigel WESTLAKE (b 1958)

String Quartet no 2 (2005)

In four movements

Nigel Westlake is one of Australia’s favourite composers, rising to international prominence as a composer for screen and film, with credits including Miss Potter, both of the Babe movies, Paper Planes and IMAX films such as Antarctica and Solarmax. He was Composer-in-Residence for the 2012 Australian Festival of Chamber Music. His musical tribute to his son, Missa solis: Requiem for Eli, was the winner of the 2013 Paul Lowin Prize, the 2011 Limelight Award for Best New Composition, and Orchestral Work of the Year at the 2012 APRA/AMC Art Music Awards.

The composer writes:

In four movements, my String Quartet no 2 was composed for the Goldner String Quartet to commemorate the 90th birthday of one of Australia’s most prominent musical philanthropists, Kenneth Tribe ac, and is dedicated to him.

Leaning towards more traditional forms of structure, the work is divided into four contrasting movements that encompass a wide range of emotional expression. The musical language is simply based on the building of musical

resonances, melodic contours and rhythmic impetus.

The compositional process can be difficult to quantify, and frequently operates on a subliminal level. My past experience with the members of the Goldner String Quartet (we all played together in the Australia Ensemble from 1987 to 1992) served as a touchstone in the writing of this work, this knowledge in some ways informing certain decisions during the compositional process.

The first movement opens with a series of fragmented gestures fluctuating in tempo and dynamic, the music taking a moment to find its feet before settling into a driving exploration of changing metres, polyrhythms, displaced accents and percussive devices. It ends with a free-form viola solo that is underpinned by an accompaniment of repeated cello semiquavers and displaced violin pizzicato ostinati (repeated motifs).

Predominantly in a lilting feel of five beats to the bar, the second movement acts as a short interlude of whimsical character, separating the serious determination of the first movement and the subdued lyricism of the third.

In contrast to the rest of the quartet, the third movement consists of music of a slow and sustained nature. It is characterised by long extended melodies that gather momentum, reaching a peak of intensity about halfway through, then subsiding and fading to nothing over an unresolved sustain.

A ‘pre-amble’ marked ‘freely with expression – quasi improvisatorial’ opens the fourth movement and serves as a bridging mechanism. A series of free-form violin phrases are echoed by muted cello, supported by a sustained drone of the middle voices. The mood is broken by the sudden launch of the final section of the work, a manic and unrelenting scherzo characterised by feverish semiquaver activity, percussive string writing and rhythmic invention.

© Nigel Westlake

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But just as he did 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 es 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 ‘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 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, on home turf with a lilting lyricism and a characteristically elfin middle section. The finale revisits themes from the earlier movements, in particular the opening ‘Ist es wahr’ motif.

Martin Buzacott © 2017

Felix MENDELSSOHN (1809–1847) String Quartet no 2 in A minor, op 13 (1827) I Adagio (Slow) – Allegro vivace (Fast and lively) II Adagio non lento (Slow, but not too slow) III Intermezzo: Allegro con moto (Fast, moving along), Allegro di molto (Very fast) IV Presto (Quick) – Adagio non lento (Slow, but not too slow)

In the year that he composed his first acknowledged masterpieces, the String Octet and the overture A Midsummer Night’s Dream, the 16-year-old 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 after-dinner 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 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 Ludwig Spohr, who described them as works of ‘indecipherable, uncorrected horror’.

ABOUT THE MUSIC

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PROGRAM 2 (Adelaide, Melbourne 17 June, Newcastle, Sydney 24 June)

Nigel WESTLAKE (b 1958) String Quartet no 2 (2005)

In four movements

See page 9.

Ludwig van BEETHOVEN (1770–1827)String Quartet no 16, op 135 (1826)

I Allegretto (Fairly fast) II Vivace (Lively) III Lento assai, cantante e tranquillo (Very slow, lyrical and calm) IV Der schwer gefaßte Entschluß (The Difficult Decision): Grave, ma non troppo tratto (Very slow, but not too drawn out) – Allegro (Fast)

Like its four predecessors in the so-called ‘late quartets’, Beethoven’s String Quartet no 16 in F major, op 135 owes its existence to a young Russian nobleman named Prince Nikolas Galitzin who visited Vienna in 1822 and later commissioned three string quartets from Beethoven. Unable to stop at three, and with other commissioners offering the prospect of additional payments, Beethoven set out to do what his one-time mentor Haydn had done in his op 76 set – namely, to transport the genre of the string quartet into a dramatically new dimension. The final quartet, op 135, was the only one in the traditional four–movement form, and the only one that seemed to bear any resemblance to the Haydn-esque op 18 quartets with which Beethoven had started his career.

Its composition in 1826 came at a dire time in Beethoven’s life, his deafness total, his nephew Karl having just tried to commit suicide, Beethoven’s relations so strained with his own brother Johann that he stormed out of Johann’s country retreat – and while waiting for a coach back to Vienna in bitter weather contracted pneumonia and never really recovered, bouts of jaundice and dropsy sending him to bed for the last three months of his life. There, 13-year-old Gerhard von Breuning ran errands for him, bringing him scores by Handel and books by Schiller. But it was all too late. The F major quartet would prove to be the last that Beethoven ever composed.

It begins with a questioning motif on the viola, to which the other instruments respond in amiable fashion, devoid of the hand-of-fate drama that’s prevalent elsewhere in so much of Beethoven’s later work. With sparseness of texture, this Allegretto in a march-like 2/4 time always seems ready to break stride and start dancing instead.

The second movement has an even more quixotic rhythmic pulse, as if each instrument is locked in its own unique metre, trying to wrench the others out of theirs. The melody of this mercurial scherzo is equally strange, upward scales ushering in an eruption in which the first violin goes into some kind of manic orbit while the lower strings swirl around in search of a suitably eccentric bass line.

Then its purpose is revealed, the madness giving way in the slow movement to one of those hymn-like prayers so typical of the late quartets. So rapt is the treatment that one scarcely notices the structure, which is essentially a theme and variations.

The finale has always left musicologists scratching their heads, owing to its subtitle Der schwer gefaßte Entschluß (The Difficult Decision) and the inscription over the slow introduction, ‘Muss es sein?’ (Must it be?) and the answering ‘Es muss sein!’ (It must be!) as the Allegro enters.

For much of the movement, the treatment of this Hamlet-like riddle is superficially buoyant

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and joyful, but struggle is never far away, as if Beethoven at the end of his life was grappling one last time with some profound philosophical dilemma. Many theories have been proposed about the exact meaning of these phrases but perhaps the most obvious is that described by Beethoven himself in the letter sent to his publisher with the Quartet’s score: ‘Here, my dear friend, is my last quartet. It will be my last, and indeed it has given me much trouble, for I could not bring myself to compose the last movement. But as your letters were reminding me of it, in the end I decided to compose it. And that is the reason I have written this motto. ‘The decision taken with difficulty. Must it be? It must be!’

Martin Buzacott © 2017

Dmitri SHOSTAKOVICH (1906–1975) String Quartet no 3, op 73 (1946)

I Allegretto (Moderately fast) II Moderato con moto (At a moderate speed, moving along) III Allegro non troppo (Fast but not too fast) IV Adagio (Slow) V Moderato (At a moderate speed)

In 1946, things were looking ominous again for creative artists in the Soviet Union. For Shostakovich it had been a decade since the authorities' spectacular denunciation of his opera Lady Macbeth of Mtsensk and the beginnings of his fraught journey toward rehabilitation. But now, writers were being targeted again, theatrical and cinema artists too were coming in for special attention from Stalin’s feared

culture minister Andrei Zhdanov, and it was only a matter of time before composers too returned to the ranks of the denounced.

Shostakovich’s immediate response was to go to ground, and in that entire year of 1946 he produced only one composition, his Third String Quartet, dedicated to his longtime colleagues the Beethoven Quartet, premiered by them on their namesake’s 176th birthday, and then almost immediately withdrawn from public performance. It was a judicious move, for in 1948 the heat duly fell on composers, and works of such striking originality as the Third Quartet came in for particular attention.

Composed as it was in the immediate aftermath of the Second World War, Shostakovich’s String Quartet no 3 has some of the playfulness of the Symphony no 9 that preceded it, but the buoyant good humour is now juxtaposed with music of profound depth, especially in the slow fourth movement, which consciously evokes the spirit of Beethoven.

There are five movements in all, the finale helping itself to excerpts from all four of its predecessors, and the sense of inspiration throughout is palpable. Shostakovich himself later came to regard it as one of his favourite works. It was as if, through this most profound and yet intimate outlet of chamber music, the composer was intentionally seeking transcendence beyond the grimness and hardship of life in the post-War Soviet Union. Nervousness, bitterness and depression here manifest themselves in music of mingled elation, beauty and poise.

Shostakovich originally gave titles to each of the five movements but, presumably because of the fear of giving too much away, he retracted them immediately after the premiere. There’s sarcasm in the first movement’s good humour, typified by its original title ‘Calm unawareness of the future cataclysm’. The second movement, ‘Rumblings of unrest and anticipation’, shows truth in advertising, the quartet veering into a dark

ABOUT THE MUSIC

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In 2009, the 200th anniversary of Haydn’s death and Mendelssohn’s birth resulted in several valuable recording and book projects. Perhaps the most impressive was the door-stopping 200 CD Haydn Edition featuring his complete works.

Then there was Mendelssohn: His Life and Works, a multimedia biography by Neil Wenborn, while an excellent earlier monograph is R. Larry Todd’s Mendelssohn: A Life in Music (Oxford University Press, 2003).

For classic performances of Beethoven’s late quartets from the golden age of recording, try the cycles by the Yale or Guarneri

FURTHER EXPLORATIONQuartets, while the Takács Quartet are regarded as among the modern masters of late Beethoven. For a marvellous home-grown version, consider the Goldner String Quartet's cycle on ABC Classics.

Despite its dubious authenticity, Testimony, the purported memoirs of Shostakovich, remains a must-read for anyone wishing to understand the social context of his career, while if you want to explore other Shostakovich string quartets, a good place to start is no 8.

Martin Buzacott © 2017

and even sinister mood with a twisted waltz and awkward, spiky melodic leaps. Then it’s all action with propulsive rhythm and massive chords as Shostakovich depicts ‘The forces of war unleashed’. The Adagio fourth movement points the way to the famous Eighth String Quartet with its haunting, desolate landscape,

in a lament first headed ‘Homage to the dead’. And then, in an explicit reference to Beethoven’s final Quartet op 135, the finale was titled ‘The eternal question. Why? And for what?’

Martin Buzacott © 2017

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INTERVIEW WITH PACIFICA QUARTET

Indiana University at Bloomington, USA, is home to one of the biggest and most celebrated music departments in the world, the Jacobs School of Music, which boasts some 2,000 students. Among its faculty members are the four string players of the Pacifica Quartet, who settled there in 2012. The ensemble has climbed steadily to the top of the international chamber music tree, ever since Gramophone magazine in 2005 picked them as ‘one of the five new quartets you should know about’, their image gracing the front cover. But their story goes back much further, as their cellist, Brandon Vamos, explains: indeed, some of them have been playing together since their school days.

Vamos’s parents – one of Hungarian background, the other Russian – were both string players and teachers at Oberlin College, Ohio; it was thanks to them that

Vamos took to the world of chamber music. ‘Simin Ganatra and Sibbi Bernhardsson, our two violinists, were both studying with my parents,’ he says, ‘so we knew each other as teenagers and we used to go to summer courses at music festivals together. I went away to college, but in the vacations we’d meet, play chamber music, spend time together – and it was a dream to play in a string quartet.

‘When we were finishing school, that’s basically what happened. We moved to Chicago and tried to make it work. Chamber music had really started to grow in this country at the time, beginning maybe five or ten years before: quartets were forming and it was becoming an option. In Chicago we had a very small residency, we could almost pay the rent, and we just put all our eggs in one basket and really committed to it.’ Masumi Per

15

Rostad, their current violist, joined the quartet seven years later.

It was in 2002 that things began to accelerate. The group embarked on its first worldwide tour, featuring the complete string quartets of Elliott Carter; they were also named winners of Chamber Music America’s Cleveland Quartet Award. In 2004 they made their debut at the Wigmore Hall in London, and the following year released their recording of the complete Mendelssohn quartets, to high praise.

‘It’s a scary thing at first, because it’s much easier to take auditions and try to get a paying job,’ says Vamos. ‘I think we were young enough and committed enough to stick out those tough early years. It’s been challenging, but really satisfying and it’s great to be able to make a living like this. Who gets to go and visit Australia two or three times in a lifetime – hopefully, more?’

The group brings two programs to Musica Viva, both uniting the String Quartet no 2 by Australian composer Nigel Westlake with favourite quartets, in one line-up by Haydn and Mendelssohn, and in the other by Beethoven and Shostakovich.

‘The Haydn op 76 no 1 was one of the first pieces we ever played, as was the Mendelssohn op 13,’ Vamos says. ‘We were thinking partly about what pieces we could do from our early times that are really special to us.’ The Mendelssohn is a great favourite of his, and was much influenced by Beethoven: ‘He was 17 or 18 when he wrote it and it contains a lot of Beethovenian drama. In the late Haydn quartet, everybody has a lot to do and say, and it has an incredibly beautiful slow movement. I think the two works complement each other well.’

In the second program, the Westlake work opens the proceedings and is followed by

Beethoven’s final string quartet, op 135 and Shostakovich’s Quartet no 3. ‘We’ve enjoyed performing Shostakovich and Beethoven cycles, so we often like to program the quartets because we’ve lived with both languages for so long,’ says Vamos. ‘They are two of the greatest quartet cycles – both composers wrote mammoth quartets, on so many levels, and we love all of them. The last quartet that Beethoven ever wrote has such lightness about it; and then this huge work of Shostakovich’s is full of emotion and depth – they also complement each other well. And we’re excited about the Westlake: I find it very interesting.’

They are all very happy to be back in Australia. ‘I love it,’ Vamos enthuses. ‘Last time Simin and I took our children along and on our days off we had so many options for things to do. I haven’t seen enough of the country yet, and this tour will be a chance for the Quartet to really experience it.’

Jessica Duchen © 2016

If you would like to support Music Education in your state, it’s not too late to make a difference. Please consider making

a gift before 30 June.

musicaviva.com.au/donate or call 1300 786 186

With the support of generous donors, last year, Musica Viva travelled more than 122 000 kilometres around Australia, opening up a world of discovery and creativity to over 280 000 children through

unparalleled music experiences.

We thank all our donors for their support.

Your support goes a long way!

Experience the thrill of the Sitkovetsky Trio and be swept up by their charm and artistry as they perform works by Shostakovich, Rachmaninoff, Mendelssohn and Lachlan Skipworth.

6 – 24 JULY musicaviva.com.au/sitkovetsky1800 688 482 (No booking fee)

“COMPELLING… WITH A PALPABLE SENSE OF ELATION”GRAMOPHONE

17

If you would like to support Music Education in your state, it’s not too late to make a difference. Please consider making

a gift before 30 June.

musicaviva.com.au/donate or call 1300 786 186

With the support of generous donors, last year, Musica Viva travelled more than 122 000 kilometres around Australia, opening up a world of discovery and creativity to over 280 000 children through

unparalleled music experiences.

We thank all our donors for their support.

Your support goes a long way!

18

MUSICA VIVA PATRONSWe thank the generous individuals and families who make an important contribution to our activities each year. Every gift is important, ensuring that Musica Viva remains at the forefront of artistic excellence and that our award-winning education program continues to reach children who would otherwise have no access to the inspirational experience of live music. To make a gift to Musica Viva, please contact Callum Close on (02) 8394 6636 or cclose@musicaviva.com.au

ACTGeoffrey & Margaret BrennanThe late Ernest Spinner

NSWThe late Sibilla BaerThe late Charles BergThe late Dr Anthony J BookallilCatherine Brown-Watt psm & Derek WattLloyd & Mary Jo CappsThe late Moya Jean CraneLiz GeeSuzanne GleesonThe late Janette HamiltonDavid & Christine HartgillThe late Margaret HedvigThe late Dr Ralph Hockin, in memory of Mabel HockinThe late Irwin ImhofElaine Lindsay

The late Joyce MarchantThe late Suzanne MellerArt RaicheThe late Michael RobinsonThe late John RobsonDr David SchwartzThe late Alison TerryThe late Kenneth W Tribe ac

Mary Vallentine ao

Deirdre Nagle WhitfordKim Williams am

Ray Wilson oam

The late Elisabeth WynhausenAnonymous (4)

QLDThe late Miss A HartshornThe late Steven Kinston

SAThe late Ms K Lillemor AndersenThe late Patricia Baker

The late Edith DubskyMrs G Lesley LynnAnonymous (1)

TASTrevor NoffkeKim Paterson qc

VICJulian Burnside ao qc

Ms Helen DickIn memory of Anita MorawetzThe family of the late Paul Morawetz in his memoryThe late Mrs Catherine SabeyThe late Mrs Barbara ShearerThe late Dr G D WatsonAnonymous (3)

WAThe late Dr Andrew StewartAnonymous (2)

People who have notified us of their intention to leave a gift to Musica Viva in their will are part of a very special group of Musica Viva Custodians. A bequest to Musica Viva will enable us to continue presenting performances of the highest quality to the widest range of audiences across Australia, well into the future. To discuss, in confidence, a bequest gift, please contact Amelia Morgan-Hunn on (02) 8394 6616 or amorgan-hunn@musicaviva.com.au

MUSICA VIVA CUSTODIANS

Julian Burnside ao qc (President, Melbourne) & Kate DurhamRuth Magid (Chair, Sydney) & Bob MagidThe Hon. Dr Annabelle Bennett ao sc

Tony Berg am & Carol BergMarc Besen ac & Eva Besen ao

Ms Jan Bowen am

Tom Breen & Rachael KohnDavid Constable am & Dr Ida LichterDr Cyril CurtainJennifer Darin & Dennis CooperDaryl & Kate DixonDr Helen FergusonMs Annabella FletcherEleanore GoodridgeReg & Katherine Grinberg

Jennifer Hershon & Russell BlackPenelope HughesJacqueline HuieMichael & Frederique KatzThe Hon. Jane Mathews ao

Isobel Morgan oam

Professor John RickardBarbara RowleyRay Wilson oam

The Amadeus Society exists to help bring the excitement and inspiration of the world’s most extraordinary musicians to Australian audiences. In 2016, the Society provided significant support for the world premiere and national tour of Voyage to the Moon. This year, the Society is proud to support the national tours of Eighth Blackbird and the Orchestra of the Age of Enlightenment & Rachel Podger. To learn more about the Amadeus Society and how you can help bring some of the world’s leading international artists to Australia, please contact Amelia Morgan-Hunn on (02) 8394 6616 or amorgan-hunn@musicaviva.com.au

AMADEUS SOCIETY

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MUSICA VIVA PATRONS

NSW$100,000 +The Berg Family FoundationKatherine Grinberg in honour of Adrienne Nagy & Yolanda (Nagy) Daniel

$20,000 – $99,999David Constable am & Dr Ida Lichter Jennifer Hershon & Russell Black Tom & Elisabeth Karplus Vicki OlssonJohn & Jo Strutt

$10,000 – $19,999Geoff Ainsworth am & Johanna FeatherstoneAnne & Terrey Arcus am

Ruth Armytage am

Tom Breen & Rachael KohnJennifer Darin & Dennis Cooper Daryl & Kate Dixon Eleanore GoodridgeMichael & Frederique KatzKatz Family FoundationRuth & Bob MagidThe Hon. Jane Mathews ao David & Carole Singer Geoff Stearn Anthony StrachanGeoffrey White oam & Sally White oam

Kim Williams am

Ray Wilson oam

Anonymous (1)

$5,000 – $9,999The Hon. Dr Annabelle Bennett ao sc Ms Jan Bowen am

Christine DavisGardos FamilyCharles & Wallis Graham Hilmer Family Endowment Warren Kinston & Verity GoiteinProf Iven Klineberg am rfd & Mrs Sylvia KlinebergLesley & Andrew Rosenberg Andy Serafin Anonymous (2)

QLD$20,000 – $99,999Ian & Caroline Frazer The Hon. Justice A Philippides

$10,000 – $19,999Andrea & Malcolm Hall-Brown The MacNichol family Anonymous (1)

$5,000 – $9,999Lynn Hamill & Ian DoverNoosa Federation of the Arts Inc.

SA$20,000 – $99,999Anonymous (1)

$10,000 – $19,999Aldridge Family EndowmentDay Family FoundationLang FoundationMarsden Szwarcbord FoundationP M Menz

VIC$20,000 – $99,999Anonymous (1)

$10,000 – $19,999Marc Besen ac & Eva Besen ao

Stephen Shanasy

$5,000 – $9,999Di Bresciani oam & Lino BrescianiJulian Burnside ao qc Dr Cyril Curtain Dr Helen Ferguson William J Forrest am

Doug & Ross Hooley, in memory of Beryl Hooley Penelope Hughes Isobel Morgan oam

Professor John Rickard Barbara RowleyGreg Shalit & Miriam Faine Wendy TaylorAnonymous (1)

MAJOR GIFTS

THE HILDEGARD PROJECT in support of women in compositionThis project is made possible by a generous gift from Katherine Grinberg in honour of the late Adrienne Nagy and her sister Yolanda (Nagy) Daniel.

MASTERCLASSESMusica Viva’s Masterclass program is supported by principal patrons Stephen Johns & Michele Bender, the Sydney Conservatorium Association (NSW), Lyn Hamill & Ian Dover (QLD), Wesfarmers Arts (WA) and Mary Turner oam (Newcastle).

Friends of Peter Burch am bm

Julian Burnside ao qc

Carnegie Hall

The Huntington Estate Music Festival CollectiveSeattle Commissioning Club

The Silo CollectiveJohn & Jo StruttKim Williams am

KEN TRIBE FUND FOR AUSTRALIAN COMPOSITION

MELBOURNE INTERNATIONAL CHAMBER MUSIC COMPETITION$20,000 + $5.000 – $9,999Beth Brown & Tom Bruce am Joanna Baevski Peter Lovell

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ACT

$2,500 – $4,999Dr Seng Thiam Teh Kristin van Brunschot & John Holliday

$1,000 – $2,499Gudrun GeneeMargaret & Peter JanssensGarth Mansfield oam & Margaret Mansfield oam S G & K L Nogrady Margaret Oates Sue Packer Craig Reynolds Dr Andrew Singer Sue Terry & Len Whyte Claudins van der Busserl Anonymous (2)

$500 – $999Christine Bollen Geoffrey & Margaret Brennan Anthony CashmanLesley Fisk Margaret Goode Kingsley Herbert Dr Marian Hill Roger & Vivien Hillman Elspeth Humphries Claudia Hyles Margaret Lovell & Grant WebeckClive & Lynlea Rodger Michael & Kiri Sollis Arn Sprogis & Margot Woods Robert & Valerie Tupper Janice C Tynan Dr Paul & Dr Lel Whitbread Anonymous (2)

NSW

$2,500 – $4,999Lloyd & Mary Jo Capps Brian Cohen, in memory of Sue CohenMartin family, in memory of Lloyd Martin am

Patricia ReidKay Vernon

$1,000 – $2,499David & Rae Allen Dr Warwick Anderson

Andrew Andersons ao & Sara Bennett Penny BeranBaiba Berzins Catherine Brown-Watt psm & Derek Watt Mr & Mrs N K Brunsdon Yola & Steve Center In memoriam Glendon CoultonPatricia Curotta Sarah & Tony Falzarano John & Irene Garran Robert & Lindy Henderson Dorothy Hoddinott ao

Angela Isles Mrs W G Keighley Kevin McCann am & Deidre McCann Robert McDougall The Macquarie Group Foundation D M & K M Magarey Dr Dennis Mather & Mr John StuddertMichael & Mary Whelan TrustMichael & Janet Neustein Paul O’Donnell Professors Robin & Tina OfflerHelen O’Neil & Stephen MillsSue & John Rogers Caroline Sharpen & Andrew Parker Andrea SimpsonMary Turner oam

Charles Wade John & Flora Weickhardt Evan Williams am & Janet Williams Anonymous (5)

$500 – $999Judith AllenDr Jennifer ArnoldMrs Kathrine Becker Gay Bookallil Denise BraggettMaxine Brodie Diana Brookes Neil & Sandra Burns Robert Cahill & Anne Cahill oam Hilary & Hugh CairnsLucia CasconeMichael & Colleen Chesterman

Callum Close & James TolhurstPamela Cudlipp Robin CummingGreg Dickson & Penny Le Couteur Catherine Ellis & Alexander DrakeKate GirdwoodMichael & Lianne Graf Cathy GrayMr Robert Green Anthony GreggNeil & Pamela Hardie Hope HanksSandra HaslamRoland & Margaret Hicks Dr Alisa Hocking & Dr Bernie WilliamsMarcus Hodgson David & Jennifer Jacobs Jacqueline Jago Owen James Leta KeensCatherine & Robert KenchGraham & Sue LaneA & E Marshall Robyn Martin-Weber Timothy Matthies & Chris BonnilyDonald NairnDiane ParksMerry & Robert Pearson Christina Pender Beryl Raymer Penny RogersCarl Segal Aveen & Ashley StephensonJanet Tepper Christopher Whitehead & Peter WilsonRichard WilkinsMegan & Bill Williamson Anonymous (6)

QLD

$2,500 – $4,999Andrew & Kate Lister

$1,000 – $2,499Roslyn Carter John & Lynn KellyJocelyn Luck

VIRTUOSI

MUSICA VIVA PATRONS

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B & D MooreDr Nita Vasilescu Anonymous (2)

$500 – $999Marion AlfordWilliam EdwardsA A & A Grant Dr Amanda Hume Marie Isackson Elizabeth LovellDebra & Patrick Mullins Joanne RennickJankees van der Have & Barbara Williams Michelle Wade & James Sinclair Dr Karen Watson Anonymous (1)

SA

$2,500 – $4,999Mark Lloyd & Elizabeth RaupachH & I Pollard

$1,000 – $2,499Ivan & Joan Blanchard The Hon. D J & Mrs E M Bleby Beverley A Brown David & Kate Bullen Geoffrey Day Brian L Jones oam Bronwen L Jones Jenny & Christopher Legoe Skye McGregor Ruth Marshall & Tim Muecke Ms Judy PotterTony & Joan Seymour Roderick Shire & Judy HargraveSTARSAnn WoodroffeRobert & Glenys Woolcock Anonymous (3)

$500 – $999Richard BlomfieldJohn & Libby Clapp Josephine Cooper Jacqueline CornellCarolyn Grantskalns Raymond & Jenny GreetRichard Hawkes Dr E H & Mrs A Hirsch Elizabeth Ho oam, in honour of the late Tom SteelAlison Kinsman am Dr Peter & Mrs Jenny Last

Robert & Delysia LawsonAndrew & Virginia LigertwoodMarie ReichsteinTrish & Richard Ryan ao

June Ward Jeffrey Whitford Dr Richard Willis & Gretta Willis Jim & Ann Wilson Anonymous (4)

VIC

$2,500 – $4,999Alastair & Sue Campbell Jianguo Pty LtdRalph & Ruth Renard Maria SolaHelen Vorrath

$1,000 – $2,499Dr William Abud Dr David Bernshaw Alison & John Cameron Caroline & Robert Clemente Tom Cordiner Dhar Family Virginia HenryDr Anthea Hyslop Helen Imber & Ian Proctor Dorothea JosemJohn V Kaufman qc Irene Kearsey & Michael Ridley June K Marks Mr Baillieu Myer ac & Mrs MyerMurray Sandland Hywel Sims Ray Turner & Jennifer SeabrookDr Victor & Dr Karen Wayne Bibi & David WilkinsonAnna & Mark Yates Anonymous (5)

$500 – $999Helena AndersonSuzie & Harvey Brown Mrs Maggie CashJohn & Mandy Collins Lord & Lady Ebury Vivien & Jack Fajgenbaum Geoffrey & Mary Gloster Brian Goddard Judy GordonHannah & Larry Neff Robert Peters Margaret Plant Greg J Reinhardt

Mrs Suzy & Dr Mark SussJuliet Tootell Sefton WarnerJennifer WhiteheadAnonymous (1)

WA

$2,500 – $4,999Alan & Anne Blanckensee David CookeJamelia Gubgub & David WallaceRobyn TamkeAnonymous (1)

$1,000 – $2,499Mrs Susan Bogle Michael & Wendy Davis Alan Dodge & Neil Archibald Anne Last & Steve Scudamore M E M Loton oam Mrs Frances Morrell Prichard Panizza Family Elizabeth Syme Anonymous (4)

$500 – $999Harry AnsteyThe Honourable Fred Chaney ao & Mrs Angela Chaney In memory of Raymond Dudley Dr Penny Herbert (in memory of Dunstan Herbert)Freda & Jim Irenic Mr Graham Lovelock & Mr Steve Singer Megan LoweJenny Mills, in memory of Flora Bunning Colleen Mizen John Overton Lindsay Silbert Diane Smith-GanderEllie Steinhardt Margaret WallaceHelen WestcottAnonymous (1)

If you have any questions about this list, please contact Vennisa Santoro on 1300 786 186 or vsantoro@musicaviva.com.au

This list is complete as at 29 May 2017.

22

MUSICA VIVA CONCERT PARTNERS

NSW & QLD WINE PARTNER ACT WINE PARTNER WA WINE PARTNERS

BUSINESS PARTNERS

Law Firm Partner Chartered Accountants Partner

Digital Innovation Partner Piano Partner

HOTEL PARTNERS COSTUME PARTNER

GOVERNMENT PARTNER FUTUREMAKERS PARTNERS

Musica Viva is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

Musica Viva is assisted by the NSW Government through Arts NSW.

MEDIA PARTNER MICMC

National Media Partner Melbourne International Chamber Music Competition Grand Prize Partner

SERIES AND TOUR PARTNERS

Perth Concert Series Coffee Concert Series Pacifica Quartet Tour

ARTS & HEALTH PARTNER ORATORIO PARTNER CHAMPAGNE PARTNER

23

MUSICA VIVA EDUCATION PARTNERS

ARTS & HEALTH PARTNER

MUSICA VIVA IN SCHOOLS

National

ACT NT

NSW WA

Godfrey Turner Memorial Trust

VIC QLD

The Marian & E H Flack Trust

Hamer Family Fund In memory of Anita Morawetz

M S Newman Family Foundation

Day Family Foundation

Lang Foundation

Marsden Szwarcbord Foundation

SA TAS

FWH Foundation Carthew Foundation Aldridge Family Endowment

24

STORIES TO INSPIRE

When gifted mathematics teacher and passionate music lover Glendon ‘Glen’ Coulton passed away last year, aged 80, friends and colleagues whose lives Glen had touched decided to honour him in a very special way.

A long time Musica Viva subscriber and supporter, Glen had moved from Sydney to Newcastle in the early 2000s and furthered his passion for education through involvement in the local branches of the University of the Third Age. He became a popular musical director, as displayed in his work with a variety of recorder groups and community choirs around Newcastle and Lake Macquarie. Glen was interested in all ‘things’ and would sit listening and talking, believing that one can always learn something from another, and that all people are entitled to contribute to the conversation.

Above all else, Glen valued the importance of sharing music within a community, and it is this passion and belief that we celebrate.

‘Glen (Dad) loved music as a way of bringing everyone together, independent of their background, social status or level of education,’ says his daughter, Marnie. ‘Despite a lack of formal training, his inherent musicality enabled him to influence and enrich the lives of many people via his various musical pursuits, particularly in his retirement.’

When Glen passed away suddenly in 2016, around 35 people, from Sydney to Port Macquarie, who had learnt from and been inspired by his passion for music, decided that a gift to the Musica Viva In Schools program was an appropriate memorial for him. In 2017, this gift will be used to support the delivery of our music education programs to schools in the Newcastle

Honouring Glen Coulton with the gift of music

25

region – a fitting tribute that Glen would be proud to be a part of.

Through its renowned national education program, Musica Viva aims to foster an increased enjoyment and understanding of music, provide support for teachers to deliver music education in the classroom, and engage children in live music making – an aspect that is particularly important for students who face barriers to engagement in school life.

With the help of generous individuals such as Glen’s friends, and the support of Port Waratah Coal Services, in 2017, over 3,800 primary school students in the Newcastle region will have access to high-quality music education through Musica Viva In Schools.

If you, too, are interested in gifting music

to young people and/or honouring a

special person through music, please

contact Alice Enari 1300 786 186 or

aenari@musicaviva.com.au

Top: The late Glen Coulton.

Bottom: Primary school students enjoying a live

music performance.

26

PRE-CONCERT INSIGHTS

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Pre-Concert Insights is Musica Viva’s program of events, resources and concert information that will enhance your concert experience. At every International Concert Season concert, we present Pre-Concert Talks (45 minutes prior to each concert), as well as a selection of CD signings, Meet the Artists, and a variety of other interactive events and experiences. Details are published in the weeks leading up to the start of each tour.

Visit musicaviva.com.au/insights

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Visit our blog for the latest concert news, artist interviews and behind-the-scenes videos at musicaviva.com.au/blog

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