conversation

issue two 2012

We’re only up to Issue 2 of Conversation, but life at the Con is already very much in full swing. Many groups and ensembles have performed their first concerts for the year. The week-long intensive exchange between the Con’s jazz department and visiting members from the Princeton University jazz department has come and been. And not to mention Karl Kramer is to begin his tenure as Dean of the Conservatorium this month. Exciting times!

Naturally, Issue 2 has the dis-tinction of being the first is-sue of Conversation for 2012 to include apologies and cor-rections regarding the previ-ous issue. It should be noted that the scheduled screenings of Wagner’s Ring Cycle and the Con Christian Group have no affiliation – it may

have simply seemed that way due to the layout scheme of Issue 1. Also, apologies for the misspelling of contribu-tor Charlotte Fetherston’s surname as Featherston (it happens all the time, appar-ently).

You can check out Charlotte’s thoughts on practise room etiquette on pages 12 and 13. We also have an article on the Strathfield Symphony Orchestra (“the other SSO”, page 4-7), reviews, columns, a controversial crossword and more for you to enjoy. We hope you like it!

Cameron Barnett

Editor

editor’s report

While it may not have a regular gig at the Sydney Opera House, Strath-

field Symphony Orchestra is certainly known as a community orchestra on the rise. This year, with the appoint-ment of Sadaharu Muramatsu as Principal Conductor and Artistic Di-rector, Strathfield Symphony is look-ing forward to a year full of challenge, excitement and spectacular music. With concerts to include works such as Prokofiev’s Romeo and Juliet, Sibe-lius Symphony No. 1 and Ravel’s Bo-lero, the 60-piece ‘Orchestra of the In-ner West’ certainly has their work cut out for them.The year started on a high, with a

sold out, highly praised performance of Beethoven’s Ninth Symphony, with four soloists and the Wesley Insti-tute Choir making the fourth move-ment just that little bit more ‘joyful’. The Ninth Symphony is a glorious yet challenging piece of work, with deli-cious musical moments across the or-chestra throughout the entire piece. The opening of the first movement de-mands immaculate rhythmic precision

across the orchestra, the scherzo can fly along so quickly you could blink and miss it. The glory of the third movement lies in the musicality and control of the woodwind, and the fourth movement seeks to stretch all who play and sing. While Strathfield Symphony may only be a communi-ty orchestra, the musical standard of the performers, the friendly rehearsal atmosphere and the inspiring nature of Sada’s conducting make rehears-ing, as well as performing, an incred-ibly enjoyable experience.

Paul Pokorny, Strathfield Sympho-ny’s Concertmaster, has been with the Orchestra for 8 years. While he

also plays with other ensembles around Sydney, including The Metropolitan Orchestra and Balmain Sinfonia, he keeps coming back to Strathfield. This is because “it’s really the friendliest orchestra in which I have played. It’s welcoming to all, non-pretentious, but yet ambitious and we generally have wonderful conductors. Each concert is a journey.”Like a lot of the musicians who play

in community orchestras, Paul is not strictly a violinist by profession – he plays because he loves to and because he enjoys the music he is able to create with such an ensemble. However, it is his talent and understanding of the nuances of the violin that make him an excellent concertmaster and section leader, a position which Paul says re-quires the following qualities: “a sec-tion leader must be confident, reliable, technically able and be able to commu-nicate non-verbally behind one’s back,

the other SSO

by one’s body language and move-ment of the bow and instrument. A leader must also be especially aware of the other section leaders and work together and listen during perfor-mance and rehearsals. The Conduc-tor’s first musical resource in terms of part playability and what is pos-sible is often the section leader. As Concertmaster, one has to be able to play all the notes (you can’t hide), be absolutely at one with the conduc-tor, rhythmically and musically, and be capable of conveying some broad rhythmic guidance visually with body, bow and instrument. In addi-tion, the concertmaster should have an acute awareness of all that is hap-pening orchestrally.” His advice to aspiring concertmasters? “The first thing is to keep playing and trying to improve, but think about your own playing. Seek inspiration from a vio-linist’s sound you admire. Orchestras are great for sight-reading!”

“It’s really the friendliest orchestra in which I have played. It’s welcoming to all, non-pretentious, but yet ambitious and we generally have wonderful conductors.”

Following Strathfield’s first con-cert for the year, entitled Joy, Princi-pal Conductor Sadaharu Muramatsu, more commonly known as Sada, is now gearing up to begin rehearsals for their next concert, Triumph. Born in Aichi, Japan, Sada has studied at the Royal Northern College of Music in Manchester, the Sydney Conserva-torium of Music and has received an Honorary Doctorate in Music from Anglia Ruskin University in the UK. I asked Sada, who has studied conduct-ing with maestros all over the world including Imre Pallo, Kurt Masur and Gianandrea Noseda, about music, Strathfield and his advice for young conductors.What was your first ever con-

ducting gig?It was when I was 14 years old and I

conducted “Superman”.

You’ve studied with several conductors around the world. Who would you say has been your greatest inspiration?I cannot choose one because all of

the Maestros are great!How would you describe your

conducting style?My style? Well, I always think about

‘input’ and ‘output’. My body moves as the score requires, but my body also reacts to the sound that appears. It means I am in a constant state of awareness.What is your dream piece to

conduct?It’s so hard to choose one. There are

many dream pieces. One of them is St Matthew’s Passion by Bach.

How have you enjoyed work-ing with Strathfield Symphony Orchestra?The standard of the orchestra is

high. When I ask for a certain sound, they understand and react very well. I would describe the Strathfield Sym-phony Orchestra as a “Happy Orches-tra”. Because when I conduct the or-chestra, everyone looks happy and of course I am happy, too.What would you like to have

achieved in five years’ time?I try to achieve success at every sin-

gle rehearsal and concert, with the idea that then an even higher level of achievement will naturally follow. Five years ago I could not imagine what I would be doing right at this point! All I can do now and in the future is to put all of my energy in every rehearsal and concert.Do you have any advice for

young, burgeoning conduc-tors?I believe I am also a ‘young’ conduc-

tor (ha ha)! I am trying to keep my ear open all the time.

Strathfield Symphony Orches-tra’s next concert is Triumph, a fam-ily friendly concert which will feature such works as Smetana’s The Moldau, Mendelssohn’s Hebrides Overture and the perennial favourite, Proko-fiev’s Peter and The Wolf. Perfor-mance are on the 23rd and 24th of June. If you think you would like to be playing rather than just listening, contact the Orchestral Manager at manager@strathfieldsymphony.org.au to get more details. For more details, visit their website: strathfieldsympho-ny.org.au

By Rachel White

Here is the first of many musicological

ramblings which Eileen Wright hopes to

contribute regularly to Conversation…

eileen

wright

My role here at Conversa-tion is to boost the aca-demic standard of this

magazine, and indeed of the Con-servatorium, by writing short re-ports on my latest research projects.

Do not fear my dear reader! Your education is in safe hands. My pa-pers are published on my website www.eileenwright.com and I am invited regularly to give lectures in the coma ward at Westmead Hos-pital. While other musicologists tend to ‘specialise’, which is just an excuse to stop reading widely, my area of expertise is the entire history of music from the earliest

notations (see my paper Mam-moths or Symphonies: Playing the Cave Paintings of Southern France) to the very latest trends in contemporary composition (see also my paper I See Dead People: Hurel’s Spectral Music).

Most recently, I have been investi-gating the ritual music of the Piss-u-Take temple on the East coast of the upper-most regions of Southern Japan. I came across this strangely under-investigated topic when my good friend Janine told me that the taiko drum patterns that she heard in that temple reminded her of the bossa nova music of Brazil.

This brought to my mind an article that I had once read on Wikipedia about the migration of the Great Phalse Whale from the shores of South America to the Japanese archipelago. It is my belief that a

particular pattern of flipper move-ment observed by sailors from both ends of the whale’s migration path was absorbed into local folk song and, as is in the case in the Piss-u Take temple, into sacred music.

In order to establish the accuracy of this hypothesis I will do some close underwater observation of the Phalse Whale and compare its flipper beats with those of the taiko drummers in Janine’s holiday foot-age and the rhythmic patterns dis-cernible in the Latin Ballroom class at Petersham RSL club. I will report my findings to you in due course.

That is all I have for you this week my dear students. In the next issue of Conversation,I will present to you my research on the aural perception of Debussy’s La Mer and how it is affected by the consumption of Parmesan cheese.

Eileen Wright

“Do not fear my dear reader! Your education is in safe hands.”

practise room

Charlotte Fetherston gives her opinions,

feelings and suggestions regarding one of

the Con’s hottest topics…

I thought I would write a little fea-ture on this subject because the lack of etiquette and consideration

for others using the practice rooms irks me a bit. I know that this issue affects most of us here at the Con, and not just performance majors: other students enrolled here have a right to use these rooms as well.

I believe there to be around 400 stu-dents here entitled to make use of the seventy or so practice rooms, yielding a ratio of about 6:1. If you divide the day into normal working hours, we would all be entitled to use the rooms for one-and-a-half hours per day. This is really not sufficient practice time for music students; we need from 3

to 6 hours, depending on a range of things. So how do we cope with this limited supply versus demand?

Formal rules or good etiquette? You’ve all seen the rules poster in-side practice rooms. It’s very long. Many of the rules are justified, such as not using the rooms for private teaching, and not eating in them (odours!!). However, the standin-grule that a person can be kicked out of a room on the hour, “irre-spective of how long you have been in the room” seems to me like ab-solute nonsense. You’re not going to kick someone out just because you didn’t get there in enough time to get a room. Especially not if they

etiquetteare working hard! I really feel that the use ofthe Con practice rooms is a matter of ‘first in first served’ – and that’s sort of how life works as well. You need to put the effort in to get where you want to go, and take op-portunities (is that an empty prac-tice room I spy?) when they come by.

The time when people get grumpy about practice rooms is when some-one has set up camp in a room and is blatantly off doing other things. I’ve talked to people who get to the Con for a lecture, dump their stuff in a practice room, pop off to the lecture, and then are upset when the room has been overtaken in their absence…?

Here is my suggestion as to how we could go about solving practice room angst.This year, the system is

set so that the air conditioning and the lights switch off automatically, on the hour, every hour. I propose that if your practice room lights are still off after ten minutes past the hour (e.g., 12.10pm), someone wanting a room is more than entitled to it. At my under-graduate university this was called the 10-minute rule, and it worked well. Of course, contention was encountered at times, but everyone was aware of this guideline, and saw the positive in it.

I don’t want to sound like a moaner, but I know that many of you feel the same way. Please try to be courte-ous of other students. We all need to practice, and if everybody is respect-ful, we will all get enough time to do the practice we need to during the day. Charlotte Fetherston

“So how do we cope with this limited supply versus demand?”

REVIEWS

FITZROY ENSEMBLE: Copland’s Appalachian Spring & Mendelssohn’s Octet

April 1

On Sunday I was lucky enough to see the premiere concert of the newly formed Fitzroy Ensemble.

The core members were all chosen for the prestigious Sydney Symphony Fellowship program last year, and this prior experi-ence of working together was evident in what was a stunning performance of Co-pland’s ballet music Appalachian Spring and Mendelssohn’s Octet.

The ensemble work was precise under the leadership of guest Rebecca Chan (ACO). The ethereal opening of the Copland was poised and showed true control, while the powerful sound of the forte belied their numbers. The solos from the winds were beautifully played, perfectly evoking the lonely wilderness of the American North. The group’s sense of structure carried the ballet ef-fortlessly through the eight continu-ous movements, capturing the different character of each; from the rustic Shaker melody to the soaring and evocative chorale of the coda.Avid readers of this fine publication

will note that the Mendelssohn Octet was reviewed in the last edition, as per-formed by the ACO. This performance not only matched the ACO’s but also, in some respects, surpassed it. The youthful vitality of the group was unrestrained, their attention to both harmonic nu-ance and melodic shape impeccable. The compositional depth of the piece shone through the wax and wane of their ten-sion, the softest pianissimos matched by thunderous crescendos. The exuberant opening movement abounded with joy, followed by the most tranquil lullaby in the second. The scherzo skimmed along

“The ethereal opening of the Copland was poised and showed true control, while the powerful sound of the forte belied their numbers.”

OPERA AUSTRALIALa Traviata – Sydney Harbour

March 31

Not since a bedazzled drag queen cut a long silk swathe through the Australian outback, miming Sem-

pre Libera atop a bus, has there been such an ostentatious rendition of the aria from La Traviata as is currently on show in Syd-ney Harbour. As spectacles go, this one takes the pastries. Like an operatic Jesus, the show is staged on a giant silver platter suspended above the water opposite Mrs. Macquarie’s Chair, over which hangs a gi-ant chandelier, a fabulous Sword of Da-mocles. The dancing matadors, sultry gypsies

and free-wheelin’ carnival folk all appear in sumptuous attire, and the rollicking Brindisi was crowned with a dazzling fire-works display. There was a distinct thrill in seeing this sort of extravaganza outdoors. While passing ferries offered occasional (and curiously atonal) contributions in the form of foghorns, the balmy sea breeze

and sprawling city scene presented an amazing setting. There were, however, in-consistencies in the performance. Rachelle Durkin as Violetta (she is sharing the role with the more notable Emma Matthews) was dramatically and technically solid as the doomed lead, but her tone quality was inversely proportionate to register; mezzo mutton dressed as soprano lamb in other words. Gianluca Terranova ( Ji-Min Park is his opposite) was, vocally, truly impres-sive as Alfredo; his De Miei Bollenti Spir-iti in the second act was a highlight. The acting, however, was as wooden as a long-ship; a shame, given Durkin’s moving por-trayal. The orchestra, under the excellent Brian Castles-Onion, was in (mostly) fine form.

Their overture glistened, the balance was perfect throughout, and their dramatic support was admirable. In all, given the setting, it’s definitely worth seeing this production (especially if Matthews is per-forming that night). Otherwise, just be sure not to listen to your favourite record-ing beforehand.

Daniel Butler

“There was a distinct thrill in seeing this sort of extravaganza outdoors.”

with controlled vibrancy, and the spirited finale brought the concert to a thorough-ly rousing close.

Comprised mostly of ex and current Con’s, the Fitzroy Ensemble is a shin-ing example of making your own work within the arts. See this group: it has the makings of a premier new ensemble.

ENSEMBLE OFFSPRING ‘New Radicals’Sydney Opera House

March 30 – April 1

Kicking off their 2012 concert sea-son at the Sydney Opera House’s Utzon Room, Ensemble Off-

spring (led by Artistic directors Claire Ed-wards and Damien Ricketson) offered a program consisting entirely of Australian and World Premieres, bringing delightful new music to eager ears as they have long done.

Beginning the evening with Breakdown by UK-based composer and turntablist Matthew Wright, the performers almost violently sprang to life. Electric piano stomped out stabilizing rhythmic mark-ers within a surrounding sound world of ecstatic slices and flicks by flute, clarinet, percussion, violin and cello. The work gen-erated a fascinating mood, mixing a diz-zyingly complex staccato polyphony with a solid core of dance-like groove.

Next was New Zealand composer Mi-chael Norris’ Save Yourself, a work special-ly commissioned by Ensemble Offspring.

Though the gestural structure of the over-all work was effective, a floating texture of soft-synth laden “colour fields” (from con-cert program notes –Damien Ricketson) contrasted against aggressive string, accor-dion and woodwind layers, the real-time listening experience was somewhat dis-tracted – the middle section of the work risked losing its interest and direction.

Closing the first half was the mesmer-izing Neon Forest Space by Norwegian composer Øyvind Torvund, a truly radi-cal exploration of a traditional folk tune from his country. A colourful ensemble of clarinet, electric guitar, cello, electronics and unusual percussion galore (including Velcro, zippers, combs and an electric milk frother) travelled through a series of spec-tacular musical tableau, each dipped in the airy lyricism of the folk tune. One of the most striking effects created in the piece was a dreamy antiphony between the on-stage instruments and a pre-recorded ver-sion of themselves, this underscored by an idyllic electro-acoustic track of spacious birdsong.

The second half began with a work for solo percussion by Istanbul born Austra-lian composer Ekrem Mülayim entitled ‘and we chart the topography of a mo-

REVIEWSment’, featuring a pair of knitted gloves donning small cymbals on each of the ten fingers. The work was filled with an air of ceremony and sombreness, one which was well sustained throughout – the composer’s background in visual arts and theatre were well infused with a solid musical intuition. Claire Edwards, who performed the solo, dweserves spe-cial mention for her serious and pains-taking realization.

Zeimbekiko 1918 by Yannis Kyria-kides, who is currently based in the Netherlands, combined acoustic and electronic mediums to create a poignant musical dialogue between the musical past and present. The electronic material evoked the empty sighs and scratches of an old record player, whilst the electric guitar spiralled out melancholic chords in accompaniment to the coloratura melodies of the violin.

The final work, ‘on and off and to and fro’ by Danish composer Simon Steen-Andersen, brought many unheard (and likely unimagined) sounds to life. Three megaphones were used to selectively amplify the acoustic instruments within the ensemble of clarinet, vibraphone and cello. They soon, however, broke from

this auxiliary role and rose to musical dominance, “generating their own mate-rial in a cadenza of sirens, foghorns and feedback” (from concert program notes –Damien Ricketson). The megaphone sirens were rather exciting when they ar-rived... Though this work was filled with unconventional sound sources (in addition to the megaphones) they were always used with sure purpose and sincere musical aims.

Matthew Gambrill

OPERA AUSTRALIATurandot - Sydney Opera House January 17 – March 19

When I think about the early 90s, I picture a wasteland of style. Flo-ral leggings worn with sneakers

and turtle neck sweaters, denim jackets carefully paired with Hawaiian shirts and those weird shoes that the Spice Girls wore. Which is why I was astonished to learn that Graeme Murphy’s production of Puccini’s Turandot is 22 years old. It is one that is wonderfully choreographed, timeless and brilliantly stylish, whose mo-mentous sets designed by the late Kristian Fedrikson create spectacular drama.Our very own Anke Hoeppner made a for-midable Princess Turandot, whose stun-ning tonal quality and perfect articulation terrified her subjects and her audience into submission. Tenor Carlo Barricelli

“...the performers almost violently sprang to life.”

OPERA AUSTRALIA Così fan tutte Sydney Opera House

March 8 – 26

In contrast to the ‘timeless’ Turandot, Opera Australia’s production of Così fan tutte is very ‘now’. In endeavoring

to make Mozart’s comedy accessible to a broader audience, director Jim Shar-man has somehow brought the theme

created a heroic but sensitive Calaf, per-forming a commendable interpretation of the much anticipated Nessun Dorma, but perhaps not to the acclaim that his prede-cessor Rosario La Spina received. How-ever, it was soprano Hyeseoung Kwon, as the faithful slave-girl Liu, who stole the show. Her devotion and selflessness, far from the forbidding Turandot, made her the audience favourite. Kwon’s exquisite purity and delicate phrasing, particularly in her tender performance of Tu che di gel sei cinta, eventuates in a suicide so distressing that every person within a five kilometre radius was most likely in tears. Most impressive too was the huge chorus that was as exciting in its chilling fortissimo eruptions as it was stirring in its whispered reflections, as well as the orchestra’s stylistic accompaniment under the guidance of conductor Arvo Volmer.

What struck me most about the produc-tion, however, was its ability to remain relevant and timeless 20 years after its original conception. I read something in a recent issue of ABC’s Limelight magazine questioning the relevance of classical mu-sic in today’s world. It came to the conclu-sion that classical music is never relevant, nor is it irrelevant. It doesn’t need to be. Turandot remains as artistically masterful as it was 90 years ago, and will continue to be recognised well into the future. Simi-larly, Murphy’s interpretation of the opera is so inspired, considered and artistic that I wouldn’t be surprised if it is reawakened again 2 decades from now. Meggie Morris

“It is one that is wonder-fully choreographed, timeless and brilliantly stylish, whose momentous sets designed by the late Kristian Fedrikson create spectacular drama.”

REVIEWSof ‘fiancé-swapping’ into the modern world using an English translation by Jeremy Sams. The set, designed by Ralph Myers, is both simple and inventive; making use of slopes and angles to offer distorted and unusual perspectives to the audience.Despite my initial misgivings, Shar-man’s Così fan tutte was hilarious. Stephen Smith and Samuel Dundas, as Ferrando and Guglielmo respec-tively, make a delightful pair of trou-ble-makers. Both voices were well-matched and their ‘swagger’, as the young people call it, was both enter-taining and strangely charming. Sha-ron Prero and Sian Pendry also made a great double act as betrothed sisters Fiordiligi and Dorabella. But perhaps it was the pairing of the mischievous Despina and meddling Don Alfonso that encouraged the mischief and waywardness that provided the most entertainment.

The trio Soave sia il vento was beauti-fully balanced, and though it sounded slightly peculiar in English it was the sombre highlight of a mostly comi-

cal opera. Vocally, Prero was the standout, displaying flexibility, power and emotional connectivity that sometimes left her col-leagues behind. Commendation must also go to the Australian Opera and Ballet Or-chestra who, under the direction of con-ductor Benjamin Northey, were polished and seamless.As entertaining as the production was, there was also something slightly disturb-ing about watching opera singers perform in swimsuits. There were also some gim-micks fashioned to bring the opera into the modern world, but distracted from the work itself. The most off-putting of these was a wedding videographer filming mem-bers of the audience, whose surprised (and side-tracked) faces were projected onto the stage. Instead of watching whomever was performing at that time (point made), I was preoccupied with praying that my face wouldn’t pop up in all its zoomed-in glory. I came out of the production both amused and confused. I didn’t understand why a production had to be so forced into the modern world. My opera-going com-patriot asked me if I had noticed that there were unlikely to be more than 10 under-30s there. I understand that Sharman is pushing the boundaries of pre-conceived notions about what an opera should be, and that he is attempting to open the doors of the Sydney Opera House to a younger generation, but I’m not convinced his production of Mozart’s Così fan tutte will be performed again in 22 years. Meggie Morris

“Both voices were well-matched and their ‘swagger’, as the young people call it, was both entertaining and strangely charming.”

april 4

april 16

april 18

april 11

LUNCHBREAK CONCERT - STRING UNIT1.10pm Verbrugghen Hall (by donation)

COCKTAIL HOURLet’s Dance!Louise Johnson (harp) and Louise Dellit (flute)6pm Recital Hall West

JAZZ IN THE CAFÉCraig Scott & Friends7.30pm Music Café

LUNCHBREAK CONCERTJazz Unit1.10pm Verbrugghen Hall (by donation)

ALUMNI AND STUDENT PERFORMANCE SERIESPiano Contrasts 2: Stuart & Sons + Steinway pianos6.30pm Recital Hall West (free)

what’s onat the con

april 20

april 23

april 19

ALFRED HOOK LECTURE SERIESDr Neil McEwan AMThe Mysteries of Gregorian Chant Revealed4pm Recital Hall East (free)

CONDUCTORS’ SERIESJohn Cage Centenary – SCM Modern Music EnsembleDaryl Pratt (director)6pm Music Workshop

CONSERVATORIUM OPEN ACADEMYRising stars11am Recital Halls East and West (free)

COCKTAIL HOURComplete Beethoven Sonatas for Violin and Piano – 1Evgeny Sorkin (violin) and Gerard Willems (pia-no)6pm Recital Hall West

COCKTAIL HOURThe Fairer SaxMichael Duke (saxophone), David Howie (piano), Alison Mitchell (flute) and Anna Duke (saxophone)7:30pm Recital Hall West

CROSSWORD1. Archetypal violin virtuoso who was reputed to have strung his instrument with a wife’s intestines2. German operatic composer who is frequently referred to as being anti-semitic5. The most controversial violinist in the world today7. Comments made by this com-poser about the 9/11 attacks being a ‘work of art’ were, surpris-ingly, taken badly out of context10. Composer of 4’33”, also wrote for prepared piano and cactuses amongst other projects12. Infamous opera by Strauss on a play by an infamous dandy14. Musicologist and originator of the ‘Beethoven Rape’ controversy15. The cover of a recent album by this composer, featuring a pho-to of the 9/11 attacks, induced a furore16. Punk rocker whose perfor-mances famously included nudity and bodily functions

1. Con Ex-Dean Kim Walker was publicly accused of this several times3. This album by Prince sets the tone for the rest of the crossword4. This French singer released a single entitled ‘Lemon Incest’, a duet with his daughter6. This conductor’s performance of a section from ‘Tristan and Isolde’ in Israel provoked both cheers and boos8. Opera by John Adams about the hijacking of an ocean liner, ‘The Death of....’9. The riotous premiere of this work by Stravinsky luckily didn’t escalate into a mas-11. This Orff work has, in the past, been associated with beer and fascism13. Violinist whose racy debut al-bum cover was apparently justified by the Bach solo works within

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