AU ST R A L I A – C H I N A – N E W Z E A L A N D – AU ST R I A – S I N G A P O R E

PROGRAM 2012

Welcome to the International Space Time Concerto Competition. The University of Newcastle is proud to present this unique event.

We would like to extend our sincere gratitude to Jennie Thomas, the primary sponsor for the competition. Jennie’s generosity and commitment to future generations is an inspiration,and her passion for supporting emerging talent has resulted in this pioneering event.

Over the decades, many fine musicians from the Hunter have gone on to make their mark on the world stage. The University of Newcastle Conservatorium of Music has played an important role in that success story. From education and professional training of musicians through to community engagement, the Conservatorium has long been an incubator of ideas that explore beyond conventional boundaries of musical thought.

The International Space Time Concerto Competition is a great example of the Conservatorium’s innovation. The two concerts featured in the competition showcase world-class talent in performance, creativity and production.

Through this competition, we are fortunate to be part of an ambitious blend of technology and talent that will deliver a remarkable music experience. I do hope you enjoy the performances in the International Space Time Concerto Competition.

Professor Caroline McMillenVice-Chancellor and President

MeSSage froM The VC

ConTenTS

Message from the VC 2

Overview of event 4

Artistic Director’s Vision 5

Background of event 6

About Networked Music Performance 7

Jennie Thomas 8

Conceptual and Research Focus 10

How to vote 12

friday 30 november 14

Networked Music Performance 15

Conductor for Nov 30th 16

Performance Program 17

Finalists 18

International Telematic Ensemble 21

Sunday 2 December 23

Conductor for 2 Dec 24

Performance Program 25

Finalists 26

Historical and Innovative Orchestra 34

Judges 35

Project Team 383

oVerVIew of eVenT

The International Space Time Concerto Competition was launched earlier this year. Some of our fantastic group of selected finalists will perform concerti with a full orchestra, while several others will play live with an international internet-linked ensemble spanning five countries.

The first concert on Friday, 30 November at the Newcastle Conservatorium of Music is an international live performance event. Showcasing the Networked Music Performance category finalists, the concert presents cutting-edge creativity, technology and global communication as well as an amazing collection of international works demonstrating the future possibilities of the concerto form.

The second concert on 2 December will house the historical and innovation categories. This concert also celebrates the concerto form by combining history and innovation with soloists performing alongside a symphonic orchestra.

Both concerts will be broadcast live online to a worldwide audience.

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arTISTIC DIreCTor’S VISIonThe International Space Time Concerto Competition

The International Space Time Concerto Competition takes the concerto competition form and turns it on its head into a living contemporary genre. Whereas most concerto competitions predominantly use compositions from the late 18th and 19th centuries and the occasional 20th century work, the International Space Time Concerto Competition transforms the concerto competition format from being historically locked to a dynamic modern form. This is why there are two categories: the historical and the innovative. The past is rejuvenated by the new in vibrant and surprising ways.

The celebrated composer and conductor Leonard Bernstein was accurate in referring to Albert Einstein’s famous discovery that space and time are interdependent. And this is why we call our competition The International Space Time Concerto Competition. Music performances exist in time, multiple times and occur in a space, many spaces. These spaces can be concert halls, church balconies or virtual spaces such as iPods and the internet. Through music we can experience multiple approaches to time and space. Giovanni Gabrielli’s famous work ‘In Ecclesiis’, composed in the 1590s to explore the spaces of Saint Mark’s Cathedral in Venice, is one example of composing for multiple spaces.

The fast moving exchanges between a pianist and orchestra in a nineteenth century piano concerto exemplifies continual shifts in focus from the piano to the orchestra. This shifting of focus is what you will hear be it in Prokofiev’s violin concerto, Dvorak’s cello concerto or any of the new innovative compositions written for the competition.

As well as showing recent developments in music making the International Space Time Concerto Competition explores new ways of performance regarding research and innovation. The Innovative category of the competition explores contemporary themes such as remix, re-contextualisation, networked music performance and new modes of presentation. For example, the internet provides the opportunity to have musicians from different spaces around the world perform together in real time. This makes it an exciting collaborative research platform with expert international researchers who are exploring recent trends in music performance such as the utilization of music in online learning and multiple locations.

The International Space Time Concerto Competition reflects the innovative and exciting music program being taught and the research undertaken at the University of Newcastle Conservatorium of Music. The competition promotes Newcastle Conservatorium of Music as ‘cutting edge’ in new modes of performance and the teaching of high-quality standards in the professional training of musicians.

richard VellaarTISTIC DIreCTor ProfeSSor anD ChaIr of MuSIC

“any great art work... readapts time and space”

- Leonard Bernstein

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In 2009, our incredibly generous benefactor, Jennie Thomas, wanted to help promote the Conservatorium’s newly introduced Bachelor of Music degree, one which embraces the future while celebrating musical traditions. as the university of newcastle Chamber Choir in that year had just won Channel Seven’s Battle of the Choirs competition, it was decided to do something bigger than that. and so, the innovative International Space Time Concerto competition was born: a competition that would also help celebrate the newcastle Conservatorium’s 60th birthday in 2012.

In April 2012, musicians and composers were invited to audition via YouTube to compete for prize money worth over $50 000 in one of two categories: The Historical Category, featuring concerto music from the Baroque era (1650-1750), Classical/Romantic era (1750-1900) and

Modern/Postmodern era (1900-1990s) and an Innovative Category (1990s-2012), featuring novel approaches to the visualization of concerti, the use of digital resources (including modern remixes of traditional compositions), the use of non-traditional instrumentation and the mixing of musical genres.

After a gruelling short listing process consisting of over one hundred applicants, eleven finalists were chosen for both categories in June. The finalists will be performing in one of the two concerts on 30 November (to be performed over five international locations) and 1 December in the Harold Lobb concert hall of the Newcastle Conservatorium of Music. The winners will be announced at the end of the concert on December 2.

BaCkgrounD of eVenT

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aBouT neTworkeD MuSIC PerforManCe

Networked music performance involves the performance of music via the internet and is an example of telematic communication. Telematics is the sending and storage of data via networks using telecommunications (wireless, satellite) and informatics. There are several kinds of innovative technology at work in making these telematic performances possible. A key component of course are the fibre optic cables that enable packets of data to be sent around the world at the speed of light. This is typically around 180,000 to 200,000 km/s, resulting in 5.0 to 5.5 microseconds of latency per km. Thus the round-trip delay time for 1000 km is around 11 milliseconds. Some of the paths the information takes are unusual. For instance, while Singapore is geographically the closest site to Newcastle, in terms of fibre optics it is the furthest as the data travels between them via the United States. These delays are called latencies. Latencies are not always entirely consistent which means that the technology used adds its own textural characteristics to the music.The Space Time Concerto Competition concerts are using two different types of

software. The first is Polycom’s video-conferencing software which has been generously donated for the event by Polycom International. With Polycom, the sound is delayed and packaged with the more data intensive video feed, enabling simultaneity of sight and sound, with a slightly greater latency between locations in terms of performance. The other software is called Jack Trip, an open-source software used for creating high-quality audio network performances over the internet. The concert on November has combined both systems to produce what we believe an innovative use of technologies and visual communication.This can be seen with the use of sub-conductors in each location all of whom need to align with the main conductor in Linz, Austria. This involves a complicated mixture of visual cuing, delay, using Polycom and Jack Trip in parallel, and virtual and real time conducting. It’s a tactic that truly embodies the concerto’s key creative tension between concord and contest.

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JennIe ThoMaS

For several years I have sponsored a scholarship for talented students studying classical keyboard performance at the University of Newcastle. Times change and our Conservatorium of Music now encourages innovation, composition, creative musicianship, contemporary musical styles as well as the proficient performance and understanding of classical music.

When Professor Richard Vella proposed that we find a way to encourage students to engage in this creative facet of music education via a competition, I admit I had my doubts. But as he and his staff began to develop the idea further and to tap into some of the very latest that technology has to offer, I was won over. I was happy to divert money from my Perpetual Keyboard Scholarship to sponsor this new venture.

The Competition provides not just a venue for performers and composers

to showcase their work, but it’s also an important research initiative. Universities are all about pushing the boundaries of knowledge; of encouraging students to think, to reason, to put knowledge to the test and expand their horizons; to be innovative; to collaborate with others both locally and globally. This competition ticks all those boxes.

In music, we need to understand the way previous musicians thought and created their works – Mozart’s music, so well known today, was new and innovative in his time, as was the music of Beethoven, Dvorák, Schumann and Prokofiev in theirs. Even the piano was once a new invention.

We also need to look forward to the future, to the possibilities that new technologies provide for the musician as creator of the music art form.

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aBouT The unIVerSITY of newCaSTLe founDaTIon

Being part of this music competition as a spectator is just one way that people can become involved in the University of Newcastle. Joining the “Friends of the University” is another.

I’d also like to encourage people to support the Universities scholarship program through the University of Newcastle Foundation. These can be in any faculty the donor desires. My own scholarships are in Art, Music, Environment and my “Dreams Can Come True’ Scholarships for the winning student’s chosen faculty. I’ve also had the privilege of sponsoring various Medical Research Ph.D. scholars through HMRI (Hunter Medical Research Institute) of which I’m proud to be Life Governor.

One very special Fund to which anyone and everyone can make a donation, large or small, is the Foundation’s “Shaping Futures Fund”. It provides grants for selected students as they proceed from Open Foundation studies to full University courses. Our University has the best program in Australia for helping students bridge the gap between their previous school years and University education. But many of these students have financial hurdles to cross along the way. This fund aims to help them. Each year, we have a great many more applications for assistance than we can presently fund. So even small tax deductible amounts add up, providing still more grants to help more students realise their dreams. The benefits are seen by all of us as these students go on to contribute in many ways to our community.

CLaSSICaL anD InnoVaTIVe

for this reason, the Competition is divided into two parts:

It’s a positive way to encourage excellence in performance of classical music forms.

It’s a positive way in which we can encourage creativity in this age of technology.

It’s also a way that we can showcase the University of Newcastle and its conservatorium.

It’s a way that we can encourage creative students to take up their studies in Newcastle.

It’s a way we can showcase the city of Newcastle as a great place to live and to study.

It’s a world first and it’s in Newcastle! I’m very excited to be able to contribute to a venture that should, and I believe will, have so many positive outcomes.

I encourage everyone to be part of this very special experience – in the auditorium, or in the park, or via the internet if being in Newcastle that weekend is not possible.

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It’s difficult to understand the evolution of things without also understanding their history. In naming a musical form, the Italian word “concerto” brought with it two contradictory meanings: “agreement” (as in the english “in concert with”) and “contesting,” (from the Latin “concerto,” to contend).

The concerto has embodied this creative tension between concord and contest ever since. In the early Baroque era, concerto grosso often pitted two ensembles against each other. Giovanni Gabrieli’s In Ecclesiis for instance was designed for two choral ensembles located in the multiple spaces of St Mark’s Cathedral in Venice.

Space and time have always been key considerations in the creation and performance of concerti. The many spaces of the Baroque cathedral encouraged composers to explore multiple ensembles such as Giovanni Gabrielli’s In Ecclesiis (approximately 1596) thereby immersing the audience in the music. The baroque was also the period when composers began to write idiomatically for specific instruments. Against a cultural backdrop of the growing individualism caused by the spreading Reformation and European Enlightenment, it was this feature that came to dominate the concerto for the following centuries. The concerto grosso of two ensembles lapsed in favour of the concerto solo, in which solo singers or instrumentalists were pitted against an orchestra.

ConCePTuaL anD reSearCh foCuS

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At the same time, the spaces in which music was being performed changed. The classical era with its orchestras increasingly growing in size needed bigger spaces. This resulted with the concert hall space delineating the audience from the performer. The audience listened and watched a concert in front of them. Harmonic space was delineated using aural textures to create an effect analogous to the way light, shade and colour convey the idea of space in the two dimensions of painting. The textures tended to be more clearly partitioned and hierarchical than the baroque; Mozart, say, as opposed to Handel.

Romantic concerti further emphasised the tension between the soloist and the orchestra. It served as an analogy for the individual’s internal subjectivity in conflict with the external impositions of society. The soloist became the romantic hero, fighting against the world, and composers pushed the technical skills of those virtuosi who played their concerti to the limits.

The early to mid 20th century saw the brilliant late romantic concerto jostle with the modern concerto that returned to the plural spaced performances of the baroque period. Musical experiments with new textures, atonality and dissonance explored a world where innovation, idealism and individualism collided with the mass social forces of war, totalitarianism and industrial production. Elliott Carter’s Double Concerto for Piano, Harpsichord and Two Chamber Orchestras (1961) is a tour de force in its manipulation of time and colliding textures while Rachmaninoff’s virtuosic Piano Concerto No. 2 in C

minor (premiered in 1901) is a haunting reminder of the receding Romantic era.

With developments in technology and the internet, the possibilities for the concerto in time and space have changed dramatically. Fibre-optic cable can move music around the world in milliseconds. The latency, or delay, between music played in Europe and Australia, for instance, can be between a second, roughly the same time as the reverberation in a nineteenth century concert hall. This is revolutionizing the potential for new collaborations in performance (and rehearsal). The opening piece in the Space-Time Concerto Competition’s 30 November concert is a telematic adaptation of Gabrieli’s In Ecclesiis, for a choir in Newcastle and brass ensemble in Linz, Austria. You might think that the concerto has come full circle, yet it’s a far bigger circle with immense possibilities, for which the Space-Time Concerto Competition is a showcase. A pipe organ in Newcastle contests the musical space with Beijing-based Chinese erhus, strings in Austria and Singapore on a score triggered by hitting the start button on an ipad simultaneously in five different locations around the world. Sixty four ipods, fitted with a pocket gamelan app, form an ensemble for a chamber concerto. In other performances, the music and performer’s gestures are interpreted by software to generate stunning visual effects that redefine the drama of the virtuoso against orchestra that has long been a feature of the concerto. The Space-Time Concerto Competition takes a traditional form into a new musical realm where the frontiers are yet to be fully imagined.

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You can vote via sms and twitter: details are below. If you are attending the Concert Hall on the night of the performance, you will also be able to submit a paper ballot.

on friday, 30 november

PEOPLE’S CHOICE AWARD – Networked Music Performance Category worth $3500

on Sunday, 2 December

PEOPLE’S CHOICE AWARD – Historical Category worth $3500

PEOPLE’S CHOICE AWARD – Innovative Music Performance Category worth $3500

how To VoTe

You can vote in the Friends of the University of Newcastle People’s Choice Awards

The Friends of the University of Newcastle have kindly donated over $10,000 for the popular performer in each of three categories.

The friends of the university of newcastle People’s Choice award Best networked

Music Performance

Text a CoDe to +61429883481 Tweet @poll and a CoDe

Jun Yan Chow and Lonce wyse 452809

greg Schiemer 452810

Cat hope 452811

Total results: 0

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The friends of the university of newcastle People’s Choice award Best

historical Performance

Text a CoDe to +61429883481 Tweet @poll and a CoDe

Sonja Schebeck 450373

Mathisha Panagoda 450374

Colin Prichard 450375

Liesl Scheman 450377

Total results: 0

The friends of the university of newcastle People’s Choice award Best

Innovative Performance

Text a CoDe to +61429883481 Tweet @poll and a CoDe

Mary Mainsbridge 451481

robert Jarvis 451482

orbis Tertius 451483

John Burgess 451484

Total results: 0

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FRIDAY 30TH NOVEMBER

AROUND THE WORLD IN 8O MILLISECONDS

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neTworkeD MuSIC PerforManCe: arounD The worLD In 80 MILLISeConDS

Tonight’s concert is the culmination of two years research with collaborating partners, international researchers in telematics, students from participating institutions, sponsors, Newcastle City Council, Newcastle Now and staff from the Newcastle Conservatorium of Music, Fine Art and the University of Newcastle. It truly is a fantastic example of an idea that has enthused the world. We are also grateful to the Friends of the University who have kindly donated prize money for this event.

We have selected different works to showcase the possibilities of Networked Music performance (NMP). Gabrielli’s In Ecclesiis is a homage to one of the very first works based on the concerto principle in the way it spatialised soloists and choir in St Marks, Venice. The soloist and accompanist in Grieg’s Piano Concerto in A minor, Opus 54, have been separated to show the inherent spatialisation of the work. Absence by Richard Vella has been re-orchestrated for three ensembles in Linz, Beijing and Newcastle. Ian Whalley’s Fragile Vows is a duet between the flautist in Newcastle and a shakuhachi player in Waikato New Zealand.

Tracy Redhead’s song One Drop of Water for Chinese erhu, string ensemble, guitar and voice to explore layers of melodies to form overlapping textures. Students from the Central Conservatory of Beijing and Newcastle Conservatorium

have developed an improvisation based on a traditional Chinese folk song.

We are excited with the role of visualisation in the concert. Traditional concerti are visually very theatrical events. The soloist or soloists are in dialogue with the backing ensemble. The relationship between the ensemble and soloists can be supportive, in conflict or even independent to each other. We have incorporated recent developments in video mapping to transform the concert hall into a visual feast.

Polycom International, AARNET (Australian Academic and Research Network) , and the research leaders from each of the telematics hubs (Singapore, Beijing, Waikato, Linz and Newcastle) have worked hard to ensure the concert will be a success. The complexity of such an event could not have been achieved without their support. Numerous tests were undertaken to ensure we had the best solution for the musical performance. In most concerts involving NMP a particular approach to musical organisation is often used due to the inherent latency. This results with music based on textures and layers where these is no overall beat structure and the delay is not an issue. However through numerous experiments we devised a solution that enables us to have beats and textures together.

There are many implications as a result of this research. No longer will international musicians need to travel to rehearse in the same location in preparation for a concert. Rehearsals can take place at the hubs with the final rehearsal done at the same location. This reduces travel costs and the telematic rehearsal becomes a “normal” rehearsal. So when you see the conductor give the first downbeat for Gabrielli’s In Ecclesiis from Linz, and hear the chamber choir sing in Newcastle at the same time, you will be experiencing music history in the making.

ConDuCTor for noV 30Th

DanIeL LInTon-franCe

The Australian pianist and conductor Daniel Linton-France is currently a member of

the conducting staff at the opera house in Linz upper Austria. Here he has conducted

works such as “Die Meistersinger von Nürnberg” by R. Wagner, “La Bohéme” and

“Madame Butterfly” by Puccini, “Cosi fan tutte” by W.A. Mozart, “The cunning little

Vixen” by Janacek and many others. Previously he has been engaged at the “State

Theatre, Braunschweig” and at the “Nordharzerstädtebund Theater” in Germany. Prior

to this he worked as a vocal coach and conducting assistant in Italy and at the “Tyrolean

Festival” where he covered almost the complete Opera repertoire of R. Wagner. After

attending the Conservatorium Highschool in Sydney he moved to Salzburg in Austria,

where he completed studies in Piano performance and Conducting at the University

“Mozarteum”.

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PrograMorder of performance

‘In ecclesiis’, giovanni gabrieli, 1596, abridged version Featuring the University of Newcastle Chamber Choir (newcastle and Linz)

‘er Quan Yin Yue’, a Bing 1939 (newcastle and Beijing)

‘Sensai na Chikai (fragile Vows)’, Ian whalley 2012Featuring Sally Walker (new Zealand and newcastle)

Piano Concerto in a minor, op. 16, edvard grieg, 1868, 1st movement Featuring Shaista Poonawalla (newcastle)

‘one Drop of water’, Tracy redhead, 2012 Featuring Georgie Rose Davies-Kefecek (newcastle and Beijing)

INTERMISSION

‘absence’, richard Vella, 2003 (newcastle, Linz and Beijing)

Introduction to the competition, Richard Vella

‘for all Intents’, Jun Yan Chow and Lonce wyse (newcastle and Singapore)

‘Black emperor’, Cat hope (newcastle, Linz, Singapore and Beijing)

‘Transposed Dekany’, greg Schiemer (newcastle, Linz, Singapore and Beijing)

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Jun Yan Chow recently graduated with First Class Honours from the Yong Siew Toh Conservatory of Music (YSTCM) Singapore, studying Composition under Professor Ho Chee Kong and Computer Music under Professor Steven Miller. Jun Yan undertook a student exchange program to the Peabody Conservatory of Music where he studied under Dr Oscar Bettison. Over the past few years he has participated in master classes with Chaya Czernowin, Liza Lim, Hans Thomalla, Mark Andre, Manos Tsangaris and Yuval Shaked. ‘For All Intents’ is a piece for a pair of remotely located electronic music performers and one computer

“agent” performer. It is a structured improvisation that explores a novel form of communication based on planning and coordination through constantly sharing upcoming musical intentions.

what inspired you to choose/compose this piece?

With the help of technology, we can perform a new style of music that is no longer within a closed and formed work. I wish to create an open work that consists of indeterminacy where performers can add their creativity to the music with live improvisation and processing.

Jun Yan Chow anD LonCe wYSe ‘for all Intents’ (2012)

fInaLISTS

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Cat Hope is a multidisciplinary artist based in Perth, whose work is grounded in sound. Trained as a classical flautist, she later moved to bass playing, noise improvisation, rock, video art, composition and installation and is currently the CREATEC Post Doctoral Research Fellow at WAAPA, Edith Cowan University (ECU). She is a passionate performer and researcher with an active international touring schedule, as a soloist in her groups Abe Sada and Decibel, and the sound art collective Metaphonica. Her research interests include low frequency sound, film music, WA new music, archiving and the relationship between acoustic and electronic instruments. In 2010 she completed her Ph.D. at ECU on The Possibility of Infrasonic Music. She won the 2011 Australian Music Centre/ APRA Inaugural Award for Excellence in

Experimental Music and was a finalist in the Citizen of the Year awards for the Art and Entertainment category. Her piece In The Cut (2009) is one of five selected to represent Australia in the 2013 International Society of Contemporary Music showcase and she has been commissioned by the Kronos Quartet, Atticus Quartet, Decibel, Austin Buckett, Golden Fur and Callum G’Froer.

what inspired you to compose this piece?

A recent visit to the Newcastle Conservatorium involved a visit to the hall where the concerto concert was planned – it has a beautiful organ. I also have some great organist friends who always amaze me with their playing. And Ligeti’s ‘Volumina’ is one of my favourite works of all time.

CaT hoPe ‘Black emperor’ (2012)for two pipe organs, string orchestra and laptops

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greg SChIeMer ‘Transposed Dekany’ (2012)

A graduate from the University of Sydney with a Ph.D. from Macquarie University in electronics Greg Schiemer is an Australian electronic music composer and musical instrument designer. Since the early 1970s his work has involved the design of new interactive analogue and digital instruments, much of it in collaboration with dance. During the ‘80s and ‘90s, he produced public radio events involving live audience interaction such as the ‘Concert on Bicycles’, where audience members rode bicycles during a radio broadcast in order to experience the effect of multiple moving sound sources, and ‘The Talk Back Piano’, where a computer-controlled piano responds to sounds made by members of a large national radio audience during a live broadcast. ‘The Pocket Gamelan’, developed with support from the Australian Research Council, is a network of java phones programmed to play music using tunings found in many parts of the world. Greg has been director of the Sonic Arts Research Network at the University of Wollongong, Visiting Associate Research Fellow at the Interactive and Digital Media Institute

at the National University of Singapore, Australia Council Composition Fellow at CSIRO Division of Radiophysics and Lecturer in Composition and Music Technology at the Sydney Conservatorium of Music.

what inspired you to choose/compose this piece?

For me composing involves building electronic instruments. These need to be easy to play, quick to learn and offer musicians a user experience as rich as the microtonal instruments created by composer and instrument-builder Harry Partch. In this chamber concerto I wanted to continue to develop a new genre of music for mobile instruments. Using some of the first software instruments developed at Bell Labs by Risset, I have adapted ubiquitous generic technology in the hope that contemporary performers and listeners experience something of the diversity of the world’s tuning systems. The tuning used in ‘Transposed Dekany’ is a microtonal scale devised by one of Partch’s colleagues, the contemporary tuning theorist Erv Wilson.

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InTernaTIonaL TeLeMaTIC enSeMBLe

Conductor

Daniel Linton France (Austria)

newcastle Conductor Ben Lambert

Musicians

‘In ecclesiis’, giovanni gabrieli university of

newcastle Chamber Choir

Soloist - Bernadette Lannen

Soloist - Rob Dennis

Soloist - Christopher Allan

Pipe Organ - Callum Close

Pipe Organ - Phillip Matthias

Linz (from Bruckner University, Linz)

Trumpet - Bettina Baumschlager

Trumpet - Maximilian Matschedolnig

Trumpet - Harald Eitzinger

Trombone - Peter Schimpl

Trombone - Eva Schiffler

Trombone - Klaus Feichtenschlager

‘er Quan Yin Yue’, a Bing 1939

Violin - Ni Ya

(from Central Conservartory Beijing)

Violin - Chen Peiyuan

(from Central Conservatory Beijing)

Beijing

(From Central Conservartory Beijing)

Erhu - Yang Huimin

Erhu - Yan Yan

‘Sensai na Chikai (fragile Vows)’, Ian whalley 2012 hamilton Alto Fluter - Sally Walker Ian Whalley – Shakuhachi Flute

Piano Concerto in a minor, op. 16, edvard grieg, 1868, 1st movement Piano - Shaista Poonawalla (soloist) Piano - Marylin Wilson (accompanist)

‘one Drop of water’, Tracy redhead, 2012 Voice - Georgie Rose Davies-Kefecek Guitar - Tracy Redhead Violin - Claudia Cox Violin -Hannah Nunn Violin -Ben Lambert Viola - Kin Chung Wong (From Yong Siew Toh Conservatory) Viola - Tammi Low Cello - Miranda Scott

Beijing Erhu - Yang Huimin (From Central Conservartory Beijing) Erhu - Yan Yan (From Central Conservartory Beijing)

‘absence’, richard Vella, 2003 Violin - Miranda Arrighi Violin - Claudia Cox Violin - Hannah Nunn Violin - Ben Lambert Violin - Michael McCabe Viola - Kin Chung Wong (From Yong Siew Toh Conservatory) Viola - Tammi Low Cello - Miranda Scott Violin - Ni Ya (From Central Conservartory Beijing) Violin - Chen Peiyuan (From Central Conservatory Beijing) Flute - Tobias Genet Soprano Sax - Liam Hodge Clarinet - Bronwynne Anderson Bassoon - Andrew Hermon French Horn - Hannah Murray Trombone - Nicholas Milwain Trumpet - Stuart StHill Trumpet - Alison Tonkin

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Linz Violin - Vitalij Regensperger Violin -Marianne Brandstettner Viola - Vladimir Bonovic Cello - Cornelia Perwein Double Bass - Paul Salomon French Horn -Lehner Franziska Trumpet - Bettina Baumschlager Trumpet - Maximilian Matschedolnig Trumpet - Harald Eitzinger Trombone - Peter Schimpl Trombone - Eva Schiffler Trombone - Klaus Feichtenschlager

‘for all Intents’, Jun Yan Chow and Lonce wyse Tablet and processing - Jun Yan Chow (Finalist) Violin - Monique Lapins (From Yong Siew Toh Conservatory)

Singapore Tablet and processing- Yeo Chow Shern Cello - Thomas Marlin

‘Black emperor’, Cat hope Violin - Ben Lambert Violin - Miranda Arrighi Violin - Claudia Cox Violin - Hannah Nunn Violin - Ben Lambert Violin - Michael McCabe Viola - Kin Chung Wong (From Yong Siew Toh Conservatory) Viola - Tammi Low Cello - Miranda Scott Violin - Ni Ya (From Central Conservartory Beijing) Violin - Chen Peiyuan (From Central Conservatory Beijing) Violin - Monquie Lapins (From Yong Siew Toh Conservatory) Pipe Organ - Callum Close Beijing Erhu - Yang Huimin Erhu - Yan Yan Pipe Organ – Hui Zi Linz Violin - Vitalij Regensperger Violin -Marianne Brandstettner Viola - Vladimir Bonovic Cello - Cornelia Perwein Double Bass - Paul Salomon Singapore Violin - Duan Jing Viola - Jonathan Lee Cello - Thomas Marlin

Double Bass - Nuttaphon Lerswanuswong

Transposed Dekany’, Greg Schiemer 2012

International Iphone ensemble - newcastle, Linz, Beijing and Singapore Iannix Interactions #1 by Ken Fields 2012 Beijing Ken Fields (Beijing / Calgary)

around the world in 80 Milliseconds - The Team Telematic Team Project Manager - Tracy Redhead Telematic Manager - Nathan Scott Event Producer - Jon Drummond Ken Fields (Calgary/Beijing) Daniel Linton France (Austria) Kristefan (Austria) George Hess (Singapore) Ian Whalley (New Zealand) Lynnette Whitfield (Polycom)

Technical Support Team James Vidler (Associate Director - UoN IT) Bruce Hodge (Team Leader - UoN IT) Danielo Pati (Sound) Lloyd Cathers (Polycom) Lynnette Whitfield (Polycom) Ben Maclean (AARNET VC Support) Maggie Luczynska (AARNET VC Service) Brett Rosolen (AARNET eResearch) Jason Bordujenko (AARNET National VC Manager)

Visualisation Team Project Manager – Tracy Redhead Visual Director - Kris Smith Jonathan Rutherford Brett Coxon (Your Vision) Danielo Pati

Sound and Lighting Team Danielo Pati Jonathan Rutherford Natasha Coughlan

Stage Management Stage Manager - Ben Cantwell Suzanne Bancroft Ben Pittman Stuart St Hill 22

SUNDAY 2ND DECEMBER

HISTORY MEETS INNOVATION

eDwarD PrIMroSehistory Meets Innovation - Conductor

Sunday 2 Dec

Since studying conducting with ezra rachlin and debuting with La Belle helene (Canberra opera, 1979), edward has become a regular orchestral recording conductor specialising in recording to image.

In 1997 he conducted a series of recordings with the Melbourne Symphony Orchestra. He was the founding Artistic Director of Camera Camerata (orchestral music for film recording project) in 1998, with the Australian Youth Orchestra and incorporating four teams of filmmakers

and composers. In 2000, he conducted the Sydney Symphony Orchestra in recordings of works for the Opening Ceremony of the Sydney Olympic Games. He is a composer of numerous orchestral, chamber and electroacoustic works for concert, theatre, dance, radio and film and has taught composition, especially music for film, at a number of universities and film schools in Australia and overseas. Edward is also a judge for the concert on December 2.

ConDuCTor

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PrograMorder of performance

Robert Jarvis‘Concerto for Light Sculpture’ (2012)

Colin PrichardFantasy for Trombone Op. 42 (1947), Paul Creston

John Burgess‘En Aranjuez con tu amor’ (1939), Joaquín Rodrigo, adapted for electric double bass

Mathisha PanagodaCello Concerto in B minor, Op. 104, (1895), Antonín Dvorák, 1st movement

INTERMISSION

Mary Mainsbridge‘Code-centric Motion’ (2012), for voice, gesturally controlled digital instrument and orchestra

Liesl SchemanPiano Concerto Op. 54 (1845), Robert Schumann, 1st movement

Sonja SchebeckViolin Concerto no. 1 in D major, Op. 19 (1917), Sergei Prokofiev, 2nd and 3rd movements

Orbis Tertius (Warwick Lynch / Tim Wickham / Nicholas Ng / Kieran Smits)‘Trial of the Ignorant Truth’ (2012)

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roBerT JarVIS‘Concerto for Light Sculpture’ (2012)

Robert Jarvis is a Melbourne based, audio-visual artist. Specializing in Jazz Bass he completed his Bachelor of Music (Hons) at the Elder Conservatorium, Adelaide, in 2006. Since then he has worked in the fields of music, video production and software development. Robert has made two records of experimental indietronica pop music under the pseudonym Zeal; the latest, With the Moon Alongside Racing Us Home, was Sydney community radio station 2FBi’s album of the week. His animated music videos for bands have shown at The St Kilda Film Festival, The Future Film Festival and Portable Film Festival. He also develops software for music and video performance and in 2009 released Axis, a tool for enabling a Guitar Hero controller to be played as an expressive musical

instrument. ‘VIZZable’, his suite of video performance plugins for the music performance software Ableton Live, has been downloaded over 10,000 times and has attracted a strong community of performers and developers. He is currently studying his Masters in Computer Science at RMIT as well as producing an animated music video for the Sydney duo Agnes Kain.

what inspired you to compose this piece?

Musically, the piece is inspired by much of Steve Reich’s work, in particular, ‘Music for 18 Musicians’ and ‘Music for Large Ensemble’. Visually, the piece is about data visualization, the mutual re-enforcing of musical and visual patterns and the emerging art forms arising from augmented reality.

fInaLISTS

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A graduate of the University of Newcastle with a Bachelor of Music, Colin is currently studying for a Master of Music at Sydney Conservatorium. His competition successes include winning the National Junior Trombone Champion in 2007, 2008 and 2009 and the National Open Trombone Championship in 2009. Colin has performed as concerto soloist with the SBS Youth Orchestra, Newcastle Festival Opera Orchestra and the University of Newcastle String Orchestra. Additionally he has played Principal Trombone with the SBS Youth Orchestra, the Sydney Youth Orchestra, at the Bishop Orchestra National Music Camp, Australian Youth Orchestra (Season One). He is the recipient of a Tasmanian

Symphony Orchestra Wind Brass and Percussion Fellowship and has been part of the Melbourne Symphony Orchestra Career Development programme.

what inspired you to choose/compose this piece?

There was a time where the trombone was considered an unusual instrument for which to write a solo work. As a consequence, some pieces for trombone are rather “light-hearted” in nature. When choosing repertoire these days I try to find pieces that use the trombone voice to say something more serious musically. In my opinion Creston’s Fantasy for Trombone and Orchestra is one such piece, along with others like the concerto by Christopher Rouse.

CoLIn PrICharD‘fantasy for Trombone op. 42’ Paul Creston (1947)

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A graduate of the Australian National University’s School of Music, John is a Canberra-based bassist and composer, primarily focused on original solo works for the electric bass. While he plays acoustic double bass and bass guitar, the electric double has become his primary instrument and it features in many of his compositions. John performs at local festivals and events and has been a regular performer at Canberra’s Floriade Festival. John was a soloist with the international YouTube Symphony Orchestra, which performed at the Sydney Opera House in March 2011. Conducted by Michael Tilson Thomas, John performed his own solo in a new orchestral composition by

Mason Bates. It was streamed live to a worldwide audience over YouTube and attracted 33 million viewers.

what inspired you to choose/compose this piece?

En Aranjuez con tu amor’ is based on the Adagio from ‘Concierto de Aranjuez’ because I have experimented with the piece over a number of years in an open-form improvised way, particularly inspired by the bassist Miroslav Vitous and his interpretation of the piece. Even when following the original orchestral accompaniment, there is a large amount of freedom in what the soloist can add or modify in the piece, making it an ideal piece to incorporate improvisational elements.

John BurgeSS‘en aranjuez con tu amor’Joaquín rodrigo (1939), adapted for electric double bass

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A graduate of the Sydney Conservatorium, Mathisha Panagoda is also the founder of the Sydney Camerata, an ensemble with a focus on Australian music and finding innovative ways to bring music to new audiences. He was a member of the 2011 YouTube Symphony Orchestra that performed at the Sydney Opera House, and in 2012 was a resident artist at The Banff Centre in Canada. He was also selected to play with the Aldeburgh World Orchestra at the London 2012 Cultural Olympiad and BBC Proms. Mathisha is a casual cellist with the Sydney, Queensland and Melbourne Symphony Orchestras and has toured with artists including the

Hilltop Hoods, Tina Arena and Angus & Julia Stone. He writes a regular online blog for ABC Limelight Magazine.

what inspired you to choose this piece?

It was my final recital at the Sydney Conservatorium and I wrote my thesis on its interpretation over the past four decades. I’ve taken masterclasses on it all over the world, and changed my own interpretation as I’ve gained a deeper understanding. It’s a great example of how music adapts to time and space. Every time I perform it, I hope to be creating something new.

MaThISha PanagoDa Cello Concerto in B minor, op. 104antonín Dvorák. (1895), 1st movement.

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For voice, gesturally controlled digital instrument and orchestra

A graduate of Macquarie University, NSW, Mary Mainsbridge is a new media artist whose work encompasses composition, video art and painting. She has performed in a range of bands, and has toured extensively throughout Europe as an electronic musician. Mary is the keyboardist, vocalist and main songwriter of live audio-visual act, Deprogram. Currently she is undertaking a Ph.D. at the University of Technology, Sydney, which examines the use of

movement-based systems in audio-visual performance and composition.

what inspired you to choose/compose this piece?

The piece is inspired by improvisations with movement detection technology such as Kinect and other computer vision systems. The aim is to enhance expression by mapping sound parameters to intuitive gestures. This technology offers a way to bridge the crossover between electronic and acoustic sources.

MarY MaInSBrIDge ‘Code-centric Motion’ (2012)

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LIeSL SCheMan Piano Concerto op. 54robert Schumann (1845), 1st movement

Liesl recently graduated from the

University of Newcastle with a BMus

(with distinction) with a double major in

piano & violin performance (plus pipe

organ in the final year) from the University

of Newcastle. In 2012, she completed

an Honours in Music at the University of

Newcastle, with supervisor/teacher Ian

Munro. Liesl regularly performs on both

piano and violin.

what inspired you to choose this piece? My piano mentor Ian Munro thought it would really suit me, and I absolutely love it!

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SonJa SCheBeCkViolin Concerto no. 1 in D major, op. 19 Sergei Prokofiev (1917), 2nd and 3rd movements

Entranced by the violin at one of the Sydney Symphony Orchestra’s baby proms, Sonja began studying the Suzuki method when she was three. She graduated from the Sydney Conservatorium in 2009 and is currently is studying in Vienna with Professor Florian Zwiauer (1st Konzertmeister, Wiener Symphoniker). Since 2010, Sonja has performed across Europe as a member of Nigel Kennedy’s Orchestra of Life and the Nigel Kennedy Quintet. She has special interests in new music, twentieth-century Russian music (particularly Sergei Prokofiev) and the circus art of fire performance. She works closely with Australian composer, Chloé Charody, and has premiered many of her compositions, including as guest solo violinist with the Dutch National

Ballet for the opera-ballet Magdalene. They co-direct Charody Productions (founded 2010) with a focus on fusing new classical music with circus. Their current project, Charody’s circus-opera The Carnival, appeared at the Melbourne Fringe Festival and on London’s West End in 2011 with tours of Australia and Europe/UK planned in 2012 and beyond.

what inspired you to choose this piece?

It is my favourite concerto. I identify very strongly with it, maybe in part because of my Russian background. The melodies are lyrical but not too sentimental and mischief is never far below the surface. I just feel like I can be totally myself when playing it, like what I want to express and what is written are in parallel.

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Warwick Lynch / Tim Wickham / Nicholas Ng / Kieran Smits

Orbis Tertius, latin for “World Three” is named after the Jorge Luis Borges short story ‘Tlön, Uqbar, Orbis Tertius’. Karl Popper, the Austrian philosopher, described these worlds as:

World 1: The world of physical objects & events, including biological entities.

World 2: The world of mental objects & events.

World 3: Objective knowledge.

Orbis Tertius is the realm of the

imagination, a collective vision, and an

ensemble that attempts to play music

with no fixed physical location.

what inspired you to compose

this piece?

Timing, Philosophy, Friends.

orBIS TerTIuS‘Trial of the Ignorant Truth Concerto’ (2012)

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Conductor - edward Primrose

historical and Innovative orchestra Conductor – Edward Primrose Conductors Assistant – Andrew Hermon Flute1 Sally Walker Flute 2 Carla Thackrah Oboe 1 Huw Jones Oboe 2 Anna Rodger Clarinet 1 Marge Smith Clarinet 2 Ian Sykes Bass Clarinet Shane Landry Bassoon 1 Melissa Woodroffe Bassoon 2 Rob Llewellyn Horn 1 Gergely Malyusz Horn 2 Lisa Malyusz Horn 3 Abbey Eddlin Horn 4 Hannah Murray Trumpet 1 James Blunt Trumpet 2 John Kellaway Trombone 1 Michael Wyborn Trombone 2 Richard Shirley Trombone 3 Colin Burrows Tuba Liam Acheson Harp Azumi Lehmann Violin 1 Maria Lindsay (Principal) Violin 1 Dan Russell Violin 1 Rebecca Irwin Violin 1 Domenique Guerbois Violin 1 Romano Crivici Violin 1 Claudia Cox Violin 1 Ni Ya Violin 1 Monique Helen Lapins Violin 2 (Principal) Narine Melconian Violin 2 Catrina Hughes Violin 2 Bridget Crouch Violin 2 Debbie Scholem Violin 2 Olga Solar Violin 2 Liisa Pallandi Violin 2 Hannah Nunn Violin 2 Chen Peiyuan Violin 2 Miranda Arrighi Viola Angela Lindsay (Principal) Viola Luke Spicer Viola Stefan Duwe Viola Dan Williams Viola Jamie Pollock Viola Benjamin Wong Cello Anna Rex (Principal) Cello Georgie Ostenfeld Cello Rachel Valentine Cello Michael Bardon Cello David Robertson Double Bass Dorit Herskovits (prinicpal)

Double Bass Ian Esplin Percussion 1 David Lockeridge (Principal) Perc 2 Charissa Ferguson Drum Kit Toby Hall Drum Kit Jonathan Harding Clark

Electric Bass Peter Gray Percussion 3 Andrew Hermon

history Meets Innovation – The Team

finalist’s accompanist during rehearsals Marylin Wilson Max Reeder Helen English Ian Munro Helen Smith

Sound and Lighting Team Danielo Pati Jonathan Rutherford Natasha Coughlan

Stage Management Stage Manager - Ben Cantwell Suzanne Bancroft Ben Pittman Stuart St Hill

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STePhen aDaMS Stephen Adams is Producer, Australian Music Unit for ABC Classic FM. This includes commissioning and producing recordings and other special Australian music projects, producing the network’s Australian Music website and weekly podcast (http://www.abc.net.au/classic/australianmusic/) and producing content for the New Music Up Late program (http://www.abc.net.au/classic/newmusic/).

Stephen is active as a composer and performer across a number of genres, from choral music to music theatre, contemporary improvisation and studio works. He studied music composition with Peter Sculthorpe and is a represented composer at the Australian Music Centre (http://www.amcoz.com.au/composers/). His music has been performed regularly in Australia, Europe, North America and Asia, and broadcast on Australian radio.

anDY ranTZenAndy Rantzen is an ARIA Award-winning Sydney-based electronic music producer, writer and one-time tutor and publisher in the philosophy of psychology at the University of Sydney.

Since 1985 he has released 15 albums on a wide range of labels around the world, from Ministry of Sound to Detroit’s Generator Records. His collaborations include Kim Cascone, Pelican Daughters, Alan Oldham (former member of Underground Resistance), The Wiggles, Cherry2000, Kamahl, Severed Heads and INXS.

A sporadic remixer, he is, along with his long time musical partner Paul Mac, with whom he records and DJs under the name Itch-E & Scratch-E, the holder of the best selling Australian remix of all time.

His new album, ‘The Master Drummer’, has just been released on 4-4-2 Music, the Sydney label gradually re-releasing his back catalogue.

JuDgeS

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John CrawforD

John is currently Live Music Director

with ABC Classic FM, carrying the

responsibility of the client relationship

and staff management for what is

the largest music production house

in Australia, over 550 professional

recordings each year. After studying at

LaTrobe University, John, who is originally

from Tasmania, produced and presented

the program New Music Australia for

twelve years, where nearly 10,000 radio

premieres of Australian compositions

were presented. John has made many

feature and special programs including

the first Opera in the Outback broadcast

in 1988 with the Adelaide Symphony

Orchestra and Kiri Te Kanawa. From

2001 to 2008, he was station manager

of ABC Classic FM, with overall

responsibility for editorial content,

budgets and personnel management.

John DaVISJohn Davis is the CEO of the Australian Music Centre, the service organisation for Australian composers, which represents Australia in the International Association of Music Information Centres (IAMIC), and acts as the Australian Member Section of the International Society for Contemporary Music (ISCM).

He has an extensive knowledge of contemporary music, and has worked as a performer (jazz and classical), composer, and administrator. Through his role with the Australian Music Centre, he has developed strong relationships with composers, performers, ensembles, music institutions and organisations. He has also been very active in international networks, serving as Vice-President of the International Association of Music Information Centres (IAMIC) from 1998 to 2002, and Vice-President of the International Society for Contemporary Music (ISCM) from 1999 to 2003. He currently serves as President of the ISCM’s Executive Committee, having been elected to the position in 2008, and re-elected for a second term in 2011.

eLIZaBeTh DrakeElizabeth trained as a classical pianist and studied in Melbourne, Siena and London. She won the ABC Concerto and Vocal competition and has performed as a soloist with ABC Orchestras and the Australian Youth Orchestra. Her piano group, Two Pianos, has performed at the Perth International Arts Festival and in Adelaide as part of the Australian Performing Arts Market. This year they performed at WOMADelaide and in October performed Steve Reich’s Piano Phase, Simeon ten Holt’s Canto Ostinato. As a composer her feature film credits include Road to Nhill and Japanese Story, which won the AFI Award for Best Original Music Score for a Feature Film, the Film Critics Circle Award for Best Music Score and the coveted APRA-AGSC Award for Best Feature Film Score. Other feature film credits include Breathing Underwater for which she won the AGSC Award for Best Sound Design and My Life without Steve.

MarIa LInDSaY MarIa (orCheSTra LeaDer)Maria Lindsay has an active career as soloist, chamber musician, artistic director, ensemble leader and teacher. She has held positions with the Vienna Chamber Orchestra, Sydney Symphony and Australian Chamber Orchestra, also performing as Guest Principal Second Violin. With these orchestras, she has toured extensively in Australia, North and South America, Europe and Asia. Maria has appeared as soloist and guest concertmaster with several other Sydney orchestras. Maria is currently involved with the establishment of the Lurline Chamber Orchestra. The Lurline Chamber Orchestra was established in 2009, by Maria & Angela Lindsay who are Co-Artistic Directors. Maria graduated from Sydney Conservatorium of Music with High Distinction and as Student of the Year. She received the Queen Elizabeth II Silver Jubilee Trust Award to further her studies in Vienna. There she was the recipient of the annual Alban Berg Quartet Foundation Award.

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ProJeCT TeaM

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artistic Director –richard Vella Project Manager – Tracy redhead

Project Support Team Logistics Coordinator – Kirrily Hull Orchestra Logistics Coordinator - Julie Duncan Assistant to the Artistic Director– Michael Fitzgerald

Project Initiation Committee John Rostas - Chair Jennie Thomas Libby Rogers McPhee Helen English John Kellaway

Logistics Team Susanne Butterworth Kirrily Hull Julie Duncan Jodie Hadden Barry Nancarrow Kaitlyn Bowman Jamie Metzger

Donations & Sponsorship Libby Rodgers-Mcphee

Publicity Team Monique Rothstein (Positive Feedback) Melissa Murat (Positive Feedback) Maryanne Church (University Foundations)

Marketing Eve McKenzie Jacqui Reid Barry Nancarrow Nodding Dog Anthony Line Kirrily Hull

web Team and graphic Design Mr Snow (House of Laudanum) Zina Kaye (House of Laudanum) Anthony Line Nodding Dog Kaitlyn Bowman Jamie Metzger Bounce Design

Copywriter / editor Ed Wright Amy De Lore

Production Team Nathan Scott Danielo Pati Ben Cantwell Brett Coxon Jonathan Rutherford

ThankYouSpecial Thank you to Jennie Thomas – The event would not have happened without you

also special thanks to; Friends of the University of Newcastle Prof. Caroline McMillen Vice Chancellor University of Newcastle Prof. John Germov Pro Vice Chancellor (Faculty of Education and Arts) School of Drama Fine, Arts and Music University of Newcastle Foundation All the staff from the University of Newcastle who have contributed to this event.

Thanks to our event partner Polycom

Horst Hoertner (Director Future Lab Ars Electronica) The Telematic Hub Leaders - Ken Fields, Kristefan Minski, George Hess, Ian Whalley

our international Collaborators including;

• Ars Electronica – Linz • Bruckner University - Linz • Central Conservatory of Music – Beijing • Yong Siew Toh Conservatory of Music – Singapore • Waikato University

Thanks to Newcastle Now and LiVESITES for the Live Broadcast in Civic Park

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other important sponsors include;

• Newcastle Now • Livesites • The Newcastle City Council • AARNET (Australian Academics Research Network) • Blue Star Catering • Stuart and Sons Pianos • The Depot • B7 Honey Suckle apartments • Nodding Dog • Newcastle Coaches • Your Vision • NBN

Thank you To everyone that has helped on the project. Central UoN Marketing Team Central UoN Public Relations Team The University of Newcastle International Office The University of Newcastle Legal Office The University of Newcastle Alumni Office Enigma Confucius Institute NACTMUS – National Council of Tertiary Music Schools Kris Smith Alan Chauner Kate Robinson Michael Cowen Geoff Turkington – Newcastle City Council Red Gaffa Paul Tibbles - Livesites Evelyn King – Newcastle Now Colin Spiers Helen English Carla Thakrah Peter Gray Phil South Jeremy Borthwick Jon Drummond Martin Kaye Linda Walsh Jim Chapman Ros Halton John Kellaway Phillip Matthias Maria Lindsay Anthea Scott Mitchell Bradly Kunda

SPACETIMECONCERTO.COMa BIg Thank You To our ParTnerS anD SPonSorS…