Schaupp - Spain

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SpJOAQUN RODRIGO190

Concierto de Aranjuez

1 I. Allegro con spirito

2 II. Adagio

Solo cor anglais: Din

3 III. Allegro gentile Tasmanian Symphony O

Benjamin Northeycondu

MARIO CASTELNUOVO

Romancero gitano (Gyp4 I. Baladil la de los tres

5 II. La guitarra (The Gu

6 III. Pual (Dagger)

7 IV. Procesion (Process

8 V. Memento (Eulogy)

9 VI. Baile (Dance)

0 VII. Crtalo (Castanet)

Cantillation

Philip Chuconductor

SALVADOR BACARISSE

Concertino for guitar a

! I. Allegro

@ II. Romanza (Andante) III. Scherzo (Allegretto)

$ IV. Rondo (Allegro ben

Tasmanian Symphony O

Benjamin Northeycondu

Ka


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4

and Turina. It is an imaginary instrument th

might be said to possess the wings of the

the heart of the grand piano and the soul o

guitarIt would be unjust to expect stron

sonorities from this Concierto; they woul

falsify its essence and distort an instrume

made for subtle ambiguities. Its strength

be found in its very lightness and in the int

of its contrasts. TheConcierto de Aranjuez

meant to sound like the hidden breeze tha

the treetops in the parks, and it should be

as strong as a butterfly and as dainty as a

veronica. [Veronicais the name given in Sp

a particularly deft pass in bullfighting, name

after the veil with which StVeronica is said

have wiped Christs brow as he carried his

TheConcierto de Aranjuezis in three

movements.The first has the character of

dance. Its dominating force is rhythm, wit

patterns of shifting accentuation giving it

piquancy; Rodrigo referred to these

syncopations as insistent rhythmic surges

melody darts between flamenco idioms (o

which, a cello solo, recalls a saetaor arrowsong) and modern harmonies.

The haunting and bittersweet slow movem

(familiar to some as the 1960s pop song

Aranjuez mon amour) is the epitome of el

appeal. Music of profound tenderness,

vulnerability and depth of feeling, it is Rodr

prayer for the recovery of his wife, who ha

Concierto de AranjuezIt is unlikely that when Rodrigo composed his

Concierto de Aranjuezhe envisaged it would oneday be transcribed for flugelhorn solo with brass

band accompaniment and used in a smash-hit

movie (Brassed Off). Nor would he haveexpected it to form the basis of an array of

popular and jazz classics, or even television

advertisements! TheConcierto de Aranjuezisarguably one of classical musics most famous

concertos and definitely the most universally

popular work ever composed for guitar.

The work was composed in Paris in 1939 during

a particularly bleak period in Spanish history the Civil War was barely over and the Second

World War had barely begun. Rodrigo dedicated

the concerto to the Spanish guitarist ReginoSainz de la Maza, who gave the first

performance in Madrid in 1940.

Despite his fame as the composer of that

concerto, Rodrigos oeuvre comprises over 60vocal and choral works, including major songcycles, as well as a vast number of other

instrumental works. As Rodrigos daughter

Cecilia once commented: The music [my father]wrote for guitar is so famous that it

overshadowed everything else. It is not fair, but

then life is not fair it happened to Ravel and hisBoleroand to Bernstein with West Side Story.

Joaqun Rodrigo was born in Sagunto (Valencia)

in 1901. As a result of an epidemic of diphtheria,

he lost his eyesight completely at the age of

three. For some, such a sensory deprivation may

have precluded many creative pursuits; it simply

made Rodrigo more determined to excel at

music. His first compositions date from about

1923. He wrote in braille and then dictated his

scores afterwards to a copyist. His wife, the

pianist Victoria Kamhi, whom he married in 1933,

was his copyist and most important musical

collaborator until her death in 1997.

TheConcierto de Aranjuezshows Rodrigo to be

a member of the group of Spanish composers of

the generation following Falla, who followed the

lead of that composers later works in recovering

for contemporary music some of the old

traditions of Spanish music, notably in the

Baroque and Rococo styles. In the case of the

Concierto de Aranjuez, Rodrigo was particularly

inspired by the spirit of the palace which gives

his concerto its name, and the music which was

played there in the 18th century, but its

references transcend that, and comment on theessence of Spanishness in music, as the

composer explains:

Throughout the veins of Spanish music, a

profound rhythmic beat seems to be diffused bya strange phantasmagoric, colossal and

multiform instrument an instrument idealised in

the fiery imagination of Albniz, Granados, Falla


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Romancero gitanoGypsy Ballads, claims the title, and the music

doesnt disappoint, with its flamenco flourishes

and soulful vocal lines. Its perhaps ironic, then,

that neither the music nor the words can claim

any genuine gypsy blood: the piece was written

in the United States by an Italian composer; the

poetry is most certainly Spanish Andalusian,

indeed but its author, Federico Garca Lorca,

was from a land-owning family and universityeducated. The poems of his Romancero gitano

collection, however, rang so true that many of

his Spanish readers believed him to be a gypsy

himself. Similarly, composer Mario Castelnuovo-

Tedesco, though neither Spanish nor a guitarist,

was able with his very first pieces for the

instrument to so impress the great Spanish

virtuoso Andrs Segovia that he exclaimed,

It is the first time I have met a musician who

understands immediately how to write for

the guitar!

Until his meeting with Segovia, Castelnuovo-Tedesco had never even thought of composing

for the guitar. He had written an opera,

Mandragora, which had found favour with hisfriend Puccini (who in turn showed Castelnuovo-

Tedesco his current work-in-progress,Turandot);

his piano music was being performed by WalterGieseking; Jascha Heifetz had taken his

Concerto italianointo his concert repertory; and

his piano quintet was on the program of the

1932 International Festival of Venice. Segovia

was at the Festival and admired the quintet; hemet Castelnuovo-Tedesco several times but it

was not until the last day that he made the

suggestion via Castelnuovo-Tedescos wifeClara, during a vaporettoride to the Lido: Ive

never dared to ask your husband for anything,

but I would be delighted if he were willing towrite a piece for me.

The message relayed, Castelnuovo-Tedescoreplied warmly that he would be delighted, but I

must confess that I dont know your instrument

and havent the remotest idea how to compose

for it. Segovia sent him a note explaining how a

guitar is tuned, and two pieces which would

show what the instrument is capable of: Sors

Variations on a theme by Mozartand Ponces

Variations and Fugue on La Folia. Armed with

nothing more, Castelnuovo-Tedesco threw

himself into the project and discovered an

affinity for the instrument which would see him

create one of the largest and most important

bodies of work for the modern guitar, includingwhat he believed to be the first guitar concerto of

the 20th century, preceding RodrigosConcierto

de Aranjuezby several months. (In fact, there had

been one earlier concerto, by the Mexican

composer Rafael Adame, nine years before, in

1930. But Segovia considered Castelnuovo-

Tedescos the main work which proved that it was

possible to balance guitar and orchestra.)

Castelnuovo-Tedesco had spent time in Sp

a young man his visit there had been a

graduation present in 1913 and the coun

made a profound impression on him, espe

Granada. (When the great Spanish compo

Manuel de Falla, who had recently adopte

Granada as his home town, visited Casteln

Tedesco in Florence in 1920, the two spen

much of their time together admiring each

others cities.) His Romancero gitanois m

Spanish in its guitar writing unsurprising

since flamenco song is music for the solo not for a four-part chorus, and its almost ri

freedom of expression would become a ch

free-for-all if extended to the medium of c

The choral writing is more Romantic than r

though with a madrigalesque clarity in the

lines that reminds us of Castelnuovo-Tede

deep affection for the musical traditions of

That said, the imitative entries which featu

throughout the work generally the upper

voices echoed by the lower are perhaps

the subtlest of homages to the flamenco

performance tradition where the singer is

answered with cries of encouragement aadmiration from the listeners.

The guitar writing has less of the dramatic

rasgueadostrumming than traditional flamand is at times quite pictorial. (Only a year

before composing the Romancero gitano,

Castelnuovo-Tedesco wrote that musics

expressive power was such that everythin


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Siegfried Behrend and the RIAS Chorus in

Castelnuovo-Tedesco was however fond o

saying that Lorcas lines When I die, bury

with my guitar under the sand among the

orange trees and the peppermint should s

as his epitaph, as their melancholy sweetn

so perfectly encapsulated his love for Spai

for the instrument at its heart the guitar.

Natali

melismas of flamenco to convey the agony

inflicted by the guitarists five fingers. In Pual,

however, the violence is laid bare right from the

start, with the guitars aggressive introduction

(marked ferociously fast) and the heavily

accented entries from the choir.

Procesion takes us to a different world with

three poems inspired by the public processions

that traditionally (and still to this day) form part

of the Holy Week observances in many Spanish

towns. The unicorns of the first poem are thepenitents in their tall, pointed hoods, who seem

to belong to a strange medieval fantasy world of

wizards and knights-errant. In Paso, the guitar

gives us the slow, steady pacing of the men

carrying an enormous statue of the Virgin Mary.

Saeta means arrow, and is the name of a

particular genre of cante jondoin which

individual worshippers, overwhelmed by the

emotion of the event, suddenly launch into song,

expressing their feelings and prayers in music.

The Christ who inspires this saeta is dark-

skinned, burnt by the scorching sun of the south

one with the very landscape of Andalusia.

Memento is atango andaluz the flamenco

tango which may have influenced the

Argentinian tango, though the two are quite

different in style. The Andalusian tango in turn

seems to have grown out of the habanera, the

slow Cuban dance with its distinctive rhythmic

pattern of triplets and duplets. There is a

whimsical quality about Castelnuovo-Tedescos

setting which matches the shifting mood of the

poem, from stately dignity to what seems like

throw-away humour though the image of the

weathervane is one which Lorca used elsewhere

to express alienation and abandonment, so

perhaps the last stanza is not meant to be quite

as absurd as it seems.

Baile is a seguidilla; this time Castelnuovo-

Tedesco has used the non-flamenco Castilian

dance as his model, rather than the flamencosiguiriyas. Both are traditionally performed with

castanets, however, and Castelnuovo-Tedesco

has the women of the choir filling in the castanet

part with the sound of their consonants.

Castanets feature again in the final movement,

Crtalo. There is something onomatopoeic

about the word (which, incidentally, means

rattlesnake as well as castanets), and the

rhythmic energy of the piece brings out both the

sound of the instrument and the sinister tone of

Lorcas poem.

Castelnuovo-Tedesco was living in the US in

1951, when he composed the Romancero

gitano: far from both his beloved native Florence

and his spiritual home Granada. Its not clear

what prompted him to write the work his only

composition for this unusual medium and it

was premiered some years after its composition,

not by Segovia, but by the German guitarist

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La guitarra

5 Empieza el llanto de la guitarra. Se rompen las copas de la madrugada. Empieza el llanto de la guitarra. Es intil callarla. Es imposible callarla. Llora montona

como llora el agua, como llora el viento sobre la nevada. Es imposible callarla. Llora por cosas lejanas. Arena del Sur caliente que pide camelias blancas. Llora flecha sin blanco, la tarde sin maana, y el primer pjaro muerto sobre la rama Oh guitarra! Corazn malherido

por cinco espadas.

Pual

6 El pual entra en el corazn, como la reja del arado en el yermo.

No. No me lo claves.

No.

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Baladilla de los tres rios Song of theThree Rivers

4 El ro Guadalquivir The river Guadalquivirva entre naranjos y olivos. flows through orange and olive groves.Los dos ros de Granada The two rivers in Granadabajan de la nieve al trigo. descend from snow to wheat.Ay, amor Ow, love,que se fue y no vino! that left and did not return!

El ro Guadalquivir The river Guadalquivir

tiene las barbas granates. has a garnet-coloured beard.

Los dos ros de Granada, The two rivers of Granada,

uno llanto y otro sangre. one tears, the other blood.

Ay, amor Ow, love,que se fue por el aire! that vanished into thin air!

Para los barcos de vela, For sailing shipsSevilla tiene un camino; Seville has a passage;por el agua de Granada through the waters of GranadaSlo reman los suspiros. only sighs row.Ay, amor Ow, love,que se fue y no vino! that left and did not return!

Guadalquivir, alta torre Guadalquiv ir, high towery viento en los naranjales. and wind in the orange groves.Dauro y Genil, torrecillas Dauro and Genil, little towersmuertas sobre los estanques. dead above the ponds.Ay, amor Ow, love,que se fue por el aire! that vanished into thin air!

Quin dir que el agua lleva Who can tell that the water carriesun fuego fatuo de gritos! will-o-the-wisp cries!

Ay, amor Ow, love,

que se fue y no vino! that left and did not return!

Lleva azahar, lleva olivas, It carries orange blossom, it carries olives,

Andaluca, a tus mares. Andalusia, to your seas.

Ay, amor, Ow, love,

Que se fue por el aire! that vanished into thin air!


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3. Saeta

Cristo moreno pasa de lirio de Judea a clavel de Espaa. Miradlo, por dnde viene!

De Espaa.

Cielo limpio y oscuro,

tierra tostada,

y cauces donde corre

muy lenta el agua.

Cristo moreno, con las guedejas quemadas,

los pmulos salientes

y las pupilas blancas.

Miradlo, por dnde va!

Memento

8 Cuando yo me muera enterradme con mi guitarra bajo la arena. Cuando yo me muera, entre los naranjos y la hierbabuena. Cuando yo me muera, enterradme si queris

en una veleta. Cuando yo me muera!

Baile

9 La Carmen est bailando

por las calles de Sevilla.

Tiene blancos los cabellos

y brillantes las pupilas.

Nias,

corred las cortinas!

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El pual, The dagger,

como un rayo de sol, like a ray of sun,

incendia las terribles sets the terrible

hondonadas. hollows alight.

No. No.

No me lo claves. Dont stab me.

No. No.

Procesin Procession

1. Procesin Procession

7 Por la calle vienen Down the street

extraos unicornios. strange unicorns come.

De qu campo, From what field,de qu bosque mitolgico? what mythical forest?

Ms cerca, Closer,

ya parecen astrnomos. they resemble astronomers.

Fantsticos Merlines Fantastic Merlins

y el Ecce Homo, and the Ecce Homo,

Durandarte encantado, Enchanted Durandarte,

Orlando furioso. The Frenzy of Orlando.

2. Paso 2. Processional Float

Virgen con miriaque, Virgin with crinoline,

virgen de la Soledad, Virgin of Solitude,

abierta como un inmenso open like an immense

tulipn. tulip.

En tu barco de luces In your ship of lights

vas you sailpor la alta marea the high tide

de la ciudad, of the city,

entre saetas turbias between turbid hymns

y estrellas de cristal. and glass stars.

Virgen con miriaque Virgin with crinoline

t vas you sail

por el ro de la calle, the river of the street

!hasta el mar! to the sea!


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Concertino for guitarand orchestraSalvador Bacarisse Chinoria was born in Ma

12 September 1898 and died in Paris on 5 A

1963. Composer, music critic and conductorhe belonged to the so-called Generation of

Republic, and was one of the most prolific

members of the Group of Eight of Madrid.

Bacarisses middle-class origins he was tson of a French merchant established in M allowed him to pursue a tertiary educatio

Abiding by his fathers wishes, he studied

well as philosophy and letters at the Univeof Madrid, before deciding to major in pian

the Madrid Conservatorium with Manuel

Fernndez Alberti. He also studied harmoncomposition with Conrado del Campo, alo

his friends Julin Bautista and Fernando

Remacha, two other members of the Grou

In March 1923 his symphonic poemLa na

Ulises(Ulysses Ship, 1919) for choir andorchestra, strongly influenced by the third

Debussys Nocturnes, Sirnes, won the Na

Music Competition, though the musiciansOrquesta Filarmnica who were due to pe

it later that year refused to do so after the

rehearsal, labelling it as too progressive. Tled to a crisis that prevented Bacarisse fro

composing for several years, although a fe

En su cabeza se enrosca In her head coils

una serpiente amarilla, a yellow serpent,

y va soando en el baile and she dreams while dancing

con galanes de otros das. about courtiers from days gone by.

Nias, Girls,

corred las cortinas! draw the curtains!

Las calles estn desiertas The streets are deserted,

y en los fondos se adivinan and in the shadows one glimpses

corazones andaluces Andalusian hearts

buscando viejas espinas. seeking old thorns.

Nias, Girls,

corred las cortinas! draw the curtains!

Crtalo Castanet

0 Crtalo. Castanet.

Crtalo. Castanet.

Crtalo. Castanet.

Escarabajo sonoro. Clattering beetle.

En la araa In the spider

de la mano of the hand

rizas el aire you curl the

clido, warm air,

y te ahogas en tu trino and suffocate in your

de palo. wooden trill.

Crtalo. Castanet.

Crtalo. Castanet.

Crtalo. Castanet.

Escarabajo sonoro. Clattering beetle.

Translation: Miguel A. Iglesias and PedroTellera

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Concerto, Op. 88 (1953), among others, al

dating from the same period.

The exquisite first-movement cadenza seehave been an afterthought, as the autograpscore, which is conserved, together with o

works and documents relating to the compat the Biblioteca de Msica EspaolaContempornea of the Fundacin Juan Ma

Madrid, only contains the cadenza found infourth movement. Separate cadenzas for b

the first and fourth movements can also bfound in another source held at this Spanismusic library.The movement ends with a some critics have likened to a motif from

Smetanas symphonic poemThe Moldau.

A stronger, more Spanish flavour marks th

famous Romanza, which opens with thesuggestive and melancholic melody in the

overpianissimosustained notes in the stri

while the short, lightly scored Scherzois bon a repetitive, amalgamated rhythm in 2/

3/8. The final movement, a classicRondo,

with a statement of the main theme in the

guitar, immediately repeated by the wholeorchestra and systematically elaborated an

ornamented until the cadenza and the thre

tuttichords, bringing the work to a satisfyi

brilliant conclusion.

Yolanda

Spanish artists and performers including the

harpist Nicanor Zabaleta, the pianist Leopoldo

Querol and the guitarist Narciso Yepes, for

whom he composed the Concertino in A minor

in 1952.

At the time, Yepes had just given his debut

recital in Paris at the Salle Gaveau and was at

the height of his success after his European tour

with RodrigosConcierto de Aranjuez. In a recent

interview with his widow Marysia

Szumlakowska, published inRoseta, the journalof the Spanish Guitar Society (issue number 2,

2009), she recalled accompanying the guitarist

to Bacarisses home on many occasions during

the early 1950s, where the composer was trying

out his latest works, seated at the piano. In

response to his inquiries as to whether or not

they could be played on the guitar, Narciso

replied: You compose what comes from your

soul, and Ill play it. And although, ironically, in

an interview by RTF for the program A propsito

de Salvador Bacarisse (About Salvador

Bacarisse) broadcast after the composers death,

Yepes alleged that Bacarisse hated the guitar,such were the circumstances surrounding the

creation of the Concertino, arguably his most

popular work today.

Inspired by Joaqun Rodrigos famous Concierto

de Aranjuez, the Concertino is one of Bacarisses

most exceptional works, especially its emotive

second movement, the lyricalRomanza.

Although there has been much confusion

surrounding the works date of composition,

according to the German musicologist and

Bacarisse expert Christiane Heine, it was

completed on 12 April 1952 and dedicated to

Yepes, who premiered it with the French

National Orchestra conducted by Ataulfo Argenta

on 15 October 1953 at theThtre des Champs-

lyses in Paris.The concert, which also

featured works by Geminiani, Hindemith and

Richard Strauss, was rebroadcast by RTF on

22 October and widely praised by French music

critics, who highlighted its spontaneity and

charm. The Spanish premiere of the work took

place at the Teatro Principal in Palma de Majorca

on 23 March 1955. Once again, the guitar soloist

was Narciso Yepes, with Pich Santasusana

conducting the Orquesta Sinfnica.

The main theme of the first movement, Intrada,

is marked by its clarity and reverential tone, a

galantstyle recalling Gabrielis fanfares and

trumpets and the slow dance movements of the

18th century. Heine has identified this theme in

many of Bacarisses works written in exile. Itsorigin dates back to the first and third of the Tres

movimientos concertantes(Three Concertante

Movements), Op. 18 for orchestra and solo

violin, viola and cello (1934), and it subsequently

reappears (in a modified form) in theThird Piano

Concerto, Op. 74 (1952); the Ballade in D minor

for guitar, Op. 82 (1953), and the Fourth Piano

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Karin SchauppKarin Schaupp performs widely on the

international stage as a recitalist, concerto

soloist and festival guest, and has givencountless recitals in Australia, Europe, Asi

North America and Mexico. Her playing re

the highest acclaim from critics and audien

alike and her unique stage presence andmagical, passionate playing have inspired

composers to write works especially for h

Karin Schaupps guitar training began at thof five and she first performed in public thfollowing year. While still in her teens she prizes at international competitions inLagonegro, Italy and Madrid, Spain, wherewas also awarded the special competition for the Best Interpretation of Spanish Mus

Taught almost exclusively by her guitarist

mother, Isolde Schaupp, she completed hetertiary music studies atThe University of

Queensland with first class honours and a

Masters degree, and was the recipient of

University Medal. In 2003 she was awardeMusic Council of Australia Freedman Fello

in recognition of her achievements.

Karin Schaupp has released five solo albumSoliloquy, Leyenda, Evocation, DreamsandLottes Gift.Orchestral releases include theaward-winning world premiere recording oEdwards Concerto for Guitar and Strings a

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Choirs, Chorusmaster of the Willoughby

Symphony Orchestra and Choir, and Music

Director of the Eminence Symphony Orch

He has also appeared as guest conductor

Cantillation, the Australian Brandenburg

Orchestra, Sydney Chamber Choir and the

SydneyYouth Orchestra, and made his deb

with the Tokyo Philharmonic Orchestra in 2

His recordings includeExaltate Dominum

RiverSymphony, both on ABC Classics, an

Echoes of Warwith Blizzard Entertainmen

Tasmanian SymphonyOrchestraA leader in music of the Classical and early

Romantic periods, the Tasmanian Sympho

Orchestra (TSO) enjoys a high profile natio

and internationally through its world-wide

broadcasts and award-winning recordings.

Winner of back-to-back Best Classical

RecordinglimelightAwards in 2007 and 2

the TSO is the only Australian orchestra to

released recordings of the complete sympof Beethoven and Schumann.

The TSO also champions music by Austral

composers, and the Australian Music Progfounded in 2003, is one of the TSOs key

initiatives. To date, theTSO has released 1

on the ABC Classics label featuring works Australian composers ranging from Peter

CantillationCantillation is a chorus of professional singers

an ensemble of fine voices with the speed,

agility and flexibility of a chamber orchestra.

Formed in 2001 by Music Director Antony

Walker and Manager Alison Johnston, it has

since been busy in the concert hall, opera

theatre and the recording studio.

Performances have included John Adams

Harmoniumand On the Transmigration of Souls,Ross Edwards Symphony No. 4Star Chant,

Haydns Nelson Massand Jonathan Mills

SandakanThrenody(all with the Sydney

Symphony), concerts with Andrea Bocelli,

touring to regional centres around NSW (part

of Musica Vivas CountryWide program), and

performances with Emma Kirkby in Sydney and

Melbourne, also for Musica Viva.

Recordings for ABC Classics include great choral

masterpieces of the Renaissance, a collection of

contemplative 20th-century sacred works

entitledPrayer for Peace, Faurs Requiem,OrffsCarmina burana, HandelsMessiah, a

Christmas disc, Silent Night, a CD of folk songs

entitledYe Banks and Braes,Magnificatwith

Emma Kirkby and an album of Baroque

choruses, Hallelujah!

Recent engagements have included concertswith the Sydney Symphony The Shock of the

New, Symphony at the Movies,Play! A Video

Symphony, RavelsDaphnis and Chloe,RachmaninoffsThe Bells, Brahms German

Requiem, Vaughan Williams Sinfonia Antartica

and the Australian premiere of GelmettisCantata della Vita and numerous recording

projects, including Mozarts Requiem and an

album of pop and jazz covers for ABC Classics,film scores forThe December Boysand

Daybreakers, and recording and filming Jonathan

Mills operaThe Eternity Man. Cantillation has

appeared as the chorus in all of Pinchgut Operasproductions to date.

Sopranos Belinda Montgomery, Alison Morgan*,

Anna Sandstrom, Elizabeth ScottAltos Jo Burton*, Anne Farrell, Natalie SheaTenors Andrei Laptev*, Eric Peterson,Dan Walker, Raff WilsonBassesCorin Bone, Craig Everingham*,David Greco*

*soloist

Philip ChuBorn in Hong Kong, Philip Chu has completed aMasters degree in conducting with Imre Pallo at

the Sydney Conservatorium of Music. In 2006

he was selected as one of eight conductorsfrom around the world to participate in Jorma

Panulas conducting masterclass in St

Petersburg. His appointments have includedAssistant Chorusmaster of Sydney Philharmonia

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Executive ProducersMartin Buzacott, Lyle C

Robert Patterson

Recording ProducersBrooke Green1-3, Vi

Read 4-0, Stephen Snelleman and

Andr Shrimski !-$

Recording EngineersVeronika Vincze 1-3,!

Virginia Read4-0

EditingBrooke Green and Veronika Vincze 1-

Virginia Read and Andr Shrimski 4-0, Andr

Shrimski and Veronika Vincze !-$

Mastering Virginia Read

Editorial and Production ManagerHilary Sh

Publications EditorNatalie SheaBooklet Design Imagecorp Pty Ltd

PhotographyGeorge Favios

Make-upAbigael Johnston

Language CoachingMiguel Iglesias

Karin Schaupp dressed by www.sachadrake.c

For theTasmanian Symphony Orchestra

Managing DirectorNicholas Heyward

Manager,Artistic PlanningSimon Rogers

Australian Music Program Director Lyndon T

Concertmaster JunYi Ma

For Cantillation

Music DirectorAntony WalkerManagerAlison Johnston

Benjamin NortheyAward-winning conductor Benjamin Northey is in

constant demand as a guest conductor of the

Australian state symphony orchestras and iscurrently Principal Conductor of the Melbourne

Chamber Orchestra. In addition to his extensive

symphonic repertoire, Benjamin Northeys

professional experience spans opera, ballet andcontemporary music.

Winner of the 2001 Symphony Australia YoungConductor of the Year competition, Benjamin

Northey studied under John Hopkins at the

University of Melbourne and then with LeifSegerstam at the Sibelius Academy and with

Jorma Panula at the Stockholm Royal Academy

of Music. He was selected from an internationalfield to participate in the prestigious International

Conductors Academy of the Allianz Cultural

Foundation for the 2007/08 season.This eliteprogram involved a year-long mentorship with

the London Philharmonic Orchestra and the

Philharmonia Orchestra and conductors

Christoph von Dohnnyi and Vladimir Jurowsky,culminating in a critically acclaimed performance

of StravinskysSymphony in Cin June 2008 atLondons Royal Festival Hall.

Benjamin Northey has participated ininternational conducting mastercourses with the

Finnish Radio Symphony Orchestra, the Moscow

Symphony Orchestra and in Israel with the Haifa

Symphony Orchestra. He made his European

debut in 2005 with the Mozarteum Orchestra

Salzburg; in 2006 he conducted the FuturumEnsemble Sinfonietta in a concert of music by

Salvatore Sciarrino for the Stockholm New

Music Festival and toured Sweden with theSdra Hlsinglands Orchestral Society. He has

assisted Leif Segerstam in Latvia with the

Leipaja Symphony Orchestra and in Austria withthe Graz Symphony Orchestra.

In 2007 Benjamin Northey was awarded thelimelightmagazine award for best newcomer in

any field of classical music; in 2008 he won

limelights Best Classical Recording award forthe albumBaroque Guitar Concertoswith Slava

and Leonard Grigoryan and the Tasmanian

Symphony Orchestra, released on ABC Classics.His latest album, Just Classics II The GoldCollection, with the West Australian Symphony

Orchestra, was released early in 2009.

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