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Musica VivaInternational Concert Season 2019
ZOFO
ADELAIDEADELAIDE TOWN HALL THURSDAY 23 MAY, 7.30PM Pre-concert talk, 6.45pm (Prince Alfred Room) CD signing after concert
BRISBANECONSERVATORIUM THEATRE, GRIFFITH UNIVERSITY, SOUTH BANK THURSDAY 9 MAY, 7PM Recorded for delayed broadcast on ABC ClassicMeet the Artists after concert
CANBERRALLEWELLYN HALL, ANU SCHOOL OF MUSIC TUESDAY 28 MAY, 7PMPre-concert talk, 6.15pm (Athenaeum [foyer])Meet the Artists after concert
MELBOURNEELISABETH MURDOCH HALL, MELBOURNE RECITAL CENTRE TUESDAY 7 MAY, 7PMPre-concert talk, 6.15pm (Boardroom, Level 2)CD signing after concert
SATURDAY 11 MAY, 7PM Pre-concert talk, 6.15pm (Boardroom, Level 2)Meet the Artists after concert
NEWCASTLEHAROLD LOBB CONCERT HALL, NEWCASTLE CONSERVATORIUM THURSDAY 16 MAY, 7.30PMRecorded for delayed broadcast on 2NUR-FMPre-concert talk, 6.45pm (Room 118 – entry via foyer)Meet the Artists after concert
PERTHPERTH CONCERT HALL TUESDAY 21 MAY, 7.30PMPre-concert talk, 6.45pm (Corner Stage Riverside, Terrace Level) Meet the Artists after concert
SYDNEYCITY RECITAL HALL MONDAY 13 MAY, 7PMPre-concert talk, 6.15pm (Function Room, Level 1)Meet the Artists after concert
SATURDAY 25 MAY, 2PMPre-concert talk, 1.15pm (Function Room, Level 1)CD signing after concert
Eva-Maria Zimmermann and Keisuke Nakagoshi piano four-hands
Musica Viva is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. Musica Viva is assisted by the NSW Government through Create NSW.
ZOFO
1341_WESF - Arts Sponsorship Campaign 2014 - Musica Viva_Ad 2015_240x150_V2_UPDATE 03.02.15.indd 1 3/02/15 9:51 AM
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ADDITIONAL ACTIVITYZOFO will present the following masterclasses as part of this tour:Melbourne: Friday 10 May, 6–7.30pm, Music Auditorium, Monash UniversitySydney: Friday 24 May, 6–8pm, Sydney Conservatorium of Music
For further details, please visit musicaviva.com.au/masterclasses
The Musica Viva Masterclass program is supported by principal patrons Stephen Johns & Michele Bender, Wesfarmers Arts (WA), Anonymous Donor (SA), Caroline & Robert Clemente (VIC) and the late Mary Turner oam (Newcastle).
FROM THE ARTISTIC DIRECTORZOFO, the ‘20-Finger Orchestra’, is a pair of exceptional pianists whose incredible skill is perfectly balanced by the uncanny ability to play piano duet music as if they possessed a single, merged mind. Eva-Maria Zimmermann and Keisuke Nakagoshi have a combined artistry and inventiveness that would be exceptional in one person, but is dazzling and almost supernatural when emerging from two complementary brains.
Their creativity extends well beyond the shared keyboard, exemplified in the performance we are now touring around Australia, ZOFOMOMA – a musical tour through a virtual museum of modern art.
ZOFO commissioned new music from 15 composers around the globe, asking each to select a painting from his or her culture that they found especially inspiring, to accompany the performance. The paintings themselves form a brilliant moving backdrop to the concert, reinforcing the unique character and aesthetic of each composer. This kaleidoscope of sound and vision is united by a ‘Promenade Theme’ arranged by Keisuke with a distinct nod to the Promenade from Mussorgsky’s famed piano work, Pictures at an Exhibition. The result is a rich tapestry of sight and sound reflecting the vast cultural, musical and artistic diversity of the world.
CARL VINE aoARTISTIC DIRECTOR MUSICA VIVA AUSTRALIA
This is a rare concert experience in which visual elements are not only intrinsic to the performance, but are responsible for its very creation. I applaud ZOFO for their vision and commitment to bring this project to fruition, and the Van Dyke Family Foundation for making it possible.
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FROM THE CHIEF EXECUTIVE OFFICEROn a recent visit to Canberra, a Musica Viva subscriber handed me a program from a 1991 tour by the Emerson String Quartet. The program had been lovingly preserved and looked almost brand new; the subscriber presented it to me as a gift for our archives, where it now rests safely.
Though I was interested in the contents of the program – the donors (some of whom still support us today), the artists (who continue to be regarded as amongst the world’s best) and the staff (one of whom, Michael Dewis, left us recently after a remarkable 34 years) – I was most struck by the care with which the program had been stored and the memories it evoked for its owner. As we spoke about the concert, it was as if 1991 had come alive again.
Music has a unique ability to remind us of times past. Music can also transport us to places as yet unknown, help us deal with life’s tragedy or joy, and enliven us.
In so many ways, music makes us human.
So we’re creating a future where music flourishes. This year, we’ll work with more than 170 Australian artists, hold masterclasses for thousands of students, present international virtuosi, and bring live music to more than 300,000 school children. All in a day’s work for our team, and all inspired by our vision of a culture based on creativity and imagination which values the importance of music.
Your presence at this concert completes the perfect circle formed by chamber music, often described as a conversation between the artist, the composer – and you.
Thank you for joining us.
HYWEL SIMSCHIEF EXECUTIVE OFFICER MUSICA VIVA AUSTRALIA
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MEET THE ARTISTS
Since joining forces as a professional duo in 2009, internationally acclaimed solo pianists Eva-Maria Zimmermann and Keisuke Nakagoshi – ZOFO – have electrified audiences from Carnegie Hall to Tokyo with their dazzling artistry and outside-the-box thematic programming for one-piano-four-hands. This Grammy-nominated, prize-winning Steinway Artist Ensemble, one of only a handful of duos worldwide devoted exclusively to piano duets, is blazing a bold new path for piano four hands groups by focusing on 20th- and 21st-century repertoire and by commissioning new works from noted composers each year.
ZOFO
ZOFO, which is shorthand for 20-Finger Orchestra (ZO=20 and FO=Finger Orchestra), also perform heart-pumping duet arrangements of famous orchestral pieces such as Stravinsky’s The Rite of Spring, exploring the realms in which many composers first experienced their symphonic visions. They believe that the piano duet is the most intimate form of chamber music, with two musicians playing individual parts on one instrument in a complex, often beautiful choreography of four hands.
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ZOFO’s concert programs often incorporate a unifying theme that connects the works both musically and historically. Several of these thematic programs have been released worldwide as critically acclaimed commercial CDs under their multi-disc recording contract with Sono Luminus Records. Their 2013 debut CD, Mind Meld, was nominated for two Grammy Awards, for Best Chamber Music / Small Ensemble Performance and for Producer of the Year.
ZOFO made their Carnegie Hall debut in 2010, the same year they won the Bradshaw & Buono International Piano Competition. They were the only piano duo to be elevated to the final round in the 2011 Osaka International Chamber Music Competition. ZOFO have performed at a wide variety of concert venues across the US, Europe and Japan, including intimate, informal spaces, colleges and universities, and major concert venues such as the Tokyo Opera Recital Hall and Tonhalle Zurich.
Committed to contemporary music, ZOFO have commissioned more than 30 works by noted composers including Pulitzer Prize-winner William Bolcom, Gabriela Lena Frank, Terry Riley, Akira Nishimura, Carl Vine, Paweł Mykietyn and Franghiz Ali-Zadeh.
Their innovative and inspired performances have garnered national media attention, and ZOFO has been featured on American Public Media’s Performance Today, WFMT Chicago’s Impromptu, and KING Seattle’s Second Inversion, among many others.
This is ZOFO’s first national tour for Musica Viva and their Australian debut performances.
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TRIBUTEIn loving memoryThe concert in Sydney on Monday 13 May commemorates Charles J Berg’s contribution to the development of Musica Viva Australia
No history of Musica Viva could be written without paying tribute to a man whose enthusiasm for chamber music was unbounded, and who worked tenaciously to see it grow and flourish in Australia – the late Charles J Berg am obe.
Charles Berg was born in Berlin in 1917, son of an orchestral conductor who was a champion of the works of Richard Strauss and Alban Berg. Charles studied violin, piano and composition, developing a deep love of music from an early age. A growing tide of anti-semitism, however, became an overwhelming influence in his teenage years, and he was forced to leave his studies at the age of 16 to undertake an accountancy apprenticeship in Berlin with a heavy industry firm owned by a Jewish family. It was this that took him to London in 1937, where he became fluent in English.
In September 1937, Charles Berg came to Australia with £200: £50 of his own and £150 borrowed. After a short period in Melbourne, he went to Sydney where he decided to stay, selling his beloved violin for £30 to help finance his new life. While working full time he studied accountancy at night, and he established his own accountancy practice in 1945.
On 8 December 1945, Charles attended the first Musica Viva concert at the NSW Conservatorium, never dreaming (he admitted later) that he would be involved with the organisation for so much of his life. Two years later he joined the Committee of the fledgling organisation.
Difficult economic circumstances forced the organisation into recess from 1951 to 1954, in which year Charles and a number of his local colleagues (including Musica Viva’s former Patron, the late Kenneth Tribe) each gave £100 as a guarantee against loss to reinstate chamber music presentations by visiting overseas artists. Charles acted as Committee Secretary, keeping a watchful eye on finances as the organisation began to thrive again.
Musica Viva branches were quickly established by enthusiastic volunteers in Melbourne and Adelaide, and the organisation’s impressive national network began to grow. It did so under Charles Berg’s watchful, often conservative (but never timid) direction. He was President of the Musica Viva Society from 1962. In 1973, Charles stepped down from his Musica Viva office to take up another arts challenge – the Chairmanship of The Australian Opera (now Opera Australia), which he took up in 1974. He served with great personal commitment in that voluntary capacity for a record 12 years, weathering with grace the often tumultuous upheavals inherent in any artistic organisation’s growth to depth and maturity.
Throughout his years at the Opera, and after his retirement as Chairman, Charles continued to exhibit a keen interest in, and concern for, Musica Viva Australia. His death in 1988 was a loss not only to Musica Viva, but to the Australian arts community as a whole.
Charles Berg’s son, Tony Berg am, was Chairman of Musica Viva Australia from 1986 to 1999 and is now the organisation’s Patron.
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PROGRAMZOFOMOMAIntroduction
Gilles SILVESTRINI (b 1961, France) Le Bassin d’Argenteuil (The Argenteuil Basin) Artist: Claude Monet (1840–1926)
Promenade 1
Carl VINE (b 1954, Australia) The Arrival of Implacable Gifts Artist: James Gleeson (1915–2008)
Promenade 2
Avner DORMAN (b 1975, Israel) Dancing with the Torah at Mount Meron Artist: Reuven Rubin (1893–1974)
Promenade 3
Paweł MYKIETYN (b 1971, Poland) SM 34 Artist: Wojciech Fangor (1922–2015)
Promenade 4 (for Sara)
Franghiz ALI-ZADEH (b 1947, Azerbaijan) Spring Morning in Baku
Artist: Sattar Bahlulzade (1909–1974)
Promenade 5
Lei LIANG (b 1972, China) Will You Come to My Dream? Artist: Huang Binhong (1864–1955)
Promenade 6
Jonathan RUSSELL (b 1979, USA)
Untitled Skeleton Artist: Stormie Mills (b 1969)
Promenade 7
I Wayan Gde YUDANE (b 1964, Indonesia) Street Solace Artist: I Made Budhiana (b 1959
Promenade 8
Kenji OH (b 1981, Japan) Sacred Chichibu Peaks at Spring Dawn Artist: Yokoyama Taikan (1868–1958)
Promenade 9
Cécile MARTI (b 1973, Switzerland) Wendung (Turn) Artist: Verena Marti-Buchmann (b 1943)
Promenade 10
Sahba AMINIKIA (b 1981, Iran) Inspector’s Scrutiny Artist: Nicky Nodjoumi (b 1942)
Promenade 11
Gabriel PROKOFIEV (b 1975, UK) Untitled Etching 3 Artist: Robert Fry (b 1980)
Promenade 12
Samuel ADAMS (b 1985, USA) Night Sea (for Agnes) Artist: Emily Davis Adams (b 1984)
Promenade 13
Pablo ORTIZ (b 1958, Argentina) Paisaje (Landscape) Artist: Eduardo Stupía (b 1951)
Promenade 14
Keyla OROZCO (b 1969, Cuba)Viajeros (Travellers) Artist: Douglas Pérez Castro (b 1972)
Introduction and Promenades composed by Keisuke Nakagoshi, inspired by Modest Mussorgsky.
This project has been made possible through generous funding and support from the Van Dyke Family Foundation.
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ABOUT THE MUSICThe ZOFOMOMA Live Concert Experience unfolds as an aurally and visually stunning walking tour through a virtual museum of modern art. Against an ever-changing backdrop of contemporary paintings, 15 new ZOFO-commissioned duet compositions are revealed throughout the 75-minute continuous performance. And in a nod to Mussorgsky, this 21st-century ‘Pictures at an Exhibition’ leads viewers from one gallery to the next accompanied by a new Promenade Theme arranged by ZOFO’s Keisuke Nakagoshi.
For this cutting-edge project ZOFO solicited new works from top composers around the globe, and requested each to select a painting representative of his or her culture as a springboard to the creative process. The result is a rich tapestry of sights and sounds reflecting the cultural, musical and artistic diversity of our world community.
Gilles SILVESTRINI (b 1961) Le Bassin d’Argenteuil (The Argenteuil Basin) (2016)Painting: Le Bassin d’Argenteuil (1872) by Claude Monet (1840–1926), Musée d’Orsay, Paris
The composer writes:
This piece is inspired by Monet’s eponymous painting. What moves me most in this early work of the painter is the mixture of refinement and simplicity. I endeavoured to express the water, the light and the space that bathe this Argenteuil Basin, while remaining truthful to this spirit of refinement and simplicity.
After early studies at the Conservatoire in Reims, Gilles Silvestrini was admitted to the Paris Conservatoire, where he was awarded a premier prix for oboe in the class of Pierre Pierlot, and at the École Normale de Musique in Paris, where he received another
premier prix in film music composition. From 1990 to 1996 he served as Principal Oboist of the Orchestre Symphonique Français. He was artist in residence at the Casa de Velázquez in Madrid from 2000 to 2002 and at the Abbaye de La Prée between 2002 and 2004. Gilles Silvestrini’s compositions include symphonic works, chamber music and many pieces for oboe, solo or with orchestra. He teaches oboe in Paris.
Carl VINE (b 1954)The Arrival of Implacable Gifts (2017)Painting: The Arrival of Implacable Gifts (1985) by James Gleeson, courtesy of the Art Gallery of New South Wales (Australia) and the Gleeson O’Keefe Foundation
The composer writes:
I have always been drawn to surrealist art, and especially to the paintings of Sydney artist James Gleeson. For the cover of my second CD of chamber music (Tall Poppies Records TP120) I chose James’ painting Storm Signals. James sadly passed away in 2008, and choosing one of his paintings for ZOFOMOMA was my first priority to pay homage to this amazing artist.
Carl Vine ao was born in Perth, Western Australia. He has written 25 scores for classical dance, eight symphonies, twelve concertos and a wide range of chamber music as well as music for film, television and theatre. His music is available on more than 60 commercial recordings and is performed frequently around the world.
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Avner DORMAN (b 1975) Dancing with the Torah at Mount Meron (2017) Painting: Dancing with the Torah at Mount Meron (c 1924) by Reuven Rubin (1893–1974), courtesy of the Rubin Museum, Tel Aviv
The composer writes:
I have always deeply admired the works of Israeli painter Reuven Rubin. When ZOFO asked me to write a piece inspired by a painter’s work, I naturally looked through some of Rubin’s paintings and was particularly struck by Dancing with the Torah at Mount Meron. It captures an undeniable essence of Jewish culture and tradition; the dancers’ faces are quite melancholic and even painful in their expressions, and yet they exhibit so much devotion and love for the Torah. The painting also embodies the ecstatic nature of Jewish dancing, while presenting a beautiful sketch of the landscape of the area around Mount Meron. My piece is a reaction to this painting – an interpretation of the image in sound. I did not try to portray any specific visual elements in the music, but rather to capture the mood, the energy, the joy, the tears, and the love I see in this picture. The form takes some of its inspiration from traditional Jewish song and dance, starting slowly and mournfully, gaining momentum over time, until ultimately reaching an ecstatic state.
Avner Dorman writes music of intricate craftsmanship and rigorous technique, expressed with a soulful and singular voice. A native of Israel now living in the United States, Dorman draws on a variety of cultural and historical influences in composing, resulting in music that affects an emotional impact while exploring new territories. His works utilise an exciting and complex rhythmic vocabulary,
as well as unique timbres and colours in orchestral, chamber and solo settings. The world’s finest orchestras, conductors and soloists regularly perform Dorman’s music, and many of his compositions have become contemporary staples in the repertoire. Dorman’s music is championed by conductors including Zubin Mehta, Riccardo Chailly and Andris Nelsons, and by soloists Gil Shaham, Martin Grubinger and Hilary Hahn.
Dorman is also active as a conductor, and is currently music director of CityMusic Cleveland Chamber Orchestra. He holds a doctorate in composition from the Juilliard School and serves as Associate Professor of Music Theory and Composition at the Sunderman Conservatory of Music at Gettysburg College.
Paweł MYKIETYN (b 1971)SM 34 (2016) Painting: SM 34 (1974) by Wojciech Fangor (1922–2015), courtesy of Galeria Stefan Szydłowski, Warsaw
The composer writes:
In the past few years I have been working on creating a composition technique consisting of the permanent acceleration of the musical tempo. This technique was founded on an algorithm using a formula for uniform acceleration of that tempo.
Born in 1971, Polish composer Paweł Mykietyn graduated in 1991 in the class of W. Koton ski at the Chopin Music Academy in Warsaw. He has created symphonic music, chamber music, vocal music, electronic music, music for theatre and film music; since 1996 he has composed music for most of the productions by theatre director Krzysztof Warlikowski. He has also written soundtracks for movies by Andrzej Wajda and Jerzy Skolimowski.
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Franghiz ALI-ZADEH (b 1947) Spring Morning in Baku (2017)Painting: Spring Morning in Baku (1959) by Sattar Bahlulzade (1909–1974), courtesy of the Azerbaijan National Museum of Art, Baku
The composer writes:
My favorite Azerbaijani artist is Sattar Bahlulzade. He paints the most impressive landscapes of Azerbaijan, in impressionistic style, unusually ethereal, romantic and incredibly beautiful. I chose Spring Morning in Baku for the ZOFOMOMA project, feeling especially attracted by the painting’s aura: the breath of a new day, the coming bliss, the chirping of the birds, and the breeze from the Caspian Sea.
Franghiz Ali-Zadeh studied piano and composition with Kara Karayev at the Baku Conservatory; she then spent four years as Karayev’s assistant before taking up a teaching position in music history at the Conservatory, where she became Professor of Contemporary Music and the History of Orchestral Styles in 1990. Since 1999 she has primarily lived in Germany. As a pianist she has been indefatigably committed to the works of contemporary composers of the former Soviet Union and of the Second Viennese School.
Franghiz Ali-Zadeh’s compositional style moves between the traditional music of her homeland of Azerbaijan and the (at times also experimental) music of the present day. Two forces are at work in her, she once said, and the new results from the contradiction between them: a bold synthesis of Eastern modal thinking and Western constructive elements.
Lei LIANG (b 1972)Will You Come to My Dream? (2017) Painting: Detail from Landscapes (1952) by Huang Binhong (1864-1955), album leaf on loan through the courtesy of Elna Tsao with support from the Mozhai Foundation.
The composer writes:
I was fascinated with the Chinese landscape painter Huang Binhong, particularly with the albums the artist painted when he was nearly blind from cataracts. The image that inspired this composition was a detail taken from the painting. The detail was reconstructed by high-resolution scanning, and it reveals an intricate world hidden within the painting’s brushstrokes. It draws us into the landscape of microscopic elements – a fiber in the rice paper, or the trace left by a single hair in the brush. Will You Come to My Dream? is about discovering such a world, and the moment when we lose ourselves in the landscape together.
Chinese-born American composer Lei Liang is the winner of the Rome Prize, the recipient of a Guggenheim Fellowship, a Koussevitzky Foundation Commission, two National Endowment for the Arts grants and a Creative Capital Award. His concerto for saxophone and orchestra Xiaoxiang was a finalist for the Pulitzer Prize in Music in 2015, and his commissions have included a work for the New York Philharmonic. His six portrait discs are released on Naxos, New World, Mode and Bridge Records. He has edited and co-edited four books and editions, and published more than 20 articles.
Lei Liang studied composition with Harrison Birtwistle, Robert Cogan, Chaya Czernowin and Mario Davidovsky at the New England Conservatory of Music and Harvard University. He serves as Professor of Music and Chair of the Composition Area at the University of California, San Diego. His catalogue is published exclusively by Schott.
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Jonathan RUSSELL (b 1979)Untitled Skeleton (2017) Painting: ‘Untitled’ (Skeleton) by Stormie Mills (b 1969), Shoreditch, September 2016
The composer writes:
Shoreditch, East London, where I lived for the past four years, is one of the premier neighbourhoods in the world for street art. I therefore decided quite quickly that I wanted to select a piece of street art for this project. Stormie’s ‘untitled skeleton’ spoke to me as soon as I saw it on a construction panel on Great Eastern Street – despite its simplicity, there was a real pathos and sorrow to the figure that I found striking. What I pictured, and what I tried to evoke in my composition, was this forlorn, decrepit figure trying to make his way from the underworld up to East London’s hip, busy streets. A gradually rising and accelerating progression of chords in one piano part represents this attempted ascent, while the other pianist stands behind, stubbornly alternating between stuttering high and low clusters that gradually ascend as well – causing the second pianist to literally lope unsteadily back and forth as I picture the skeleton doing.
Jonathan Russell is a London-based composer, clarinettist and bass clarinettist. His orchestral and chamber music is performed widely, and he is especially known for his innovative bass clarinet and clarinet ensemble compositions. As a performer, he makes frequent appearances as a soloist and as a member of the Sqwonk bass clarinet duo. He was also a longtime member of the legendary heavy metal-inspired Edmund Welles bass clarinet quartet. He has degrees from Harvard University and San Francisco Conservatory, and is currently a PhD candidate at Princeton University.
I Wayan Gde YUDANE (b 1964)Street Solace (2016) Painting: Street Solace (2000) by I Made Budhiana (b 1959)
The composer writes:
As the day starts in Bali, life and driving along the street weave together in a way that’s friendly, social and also erratic. Even if the sign says to turn right, the traffic turns left; goes the wrong way up a one-way street; pavement hops; u-turns; circles in on itself. But there are times in the day when motorcycles and pedestrians slow down and merge as people stop for a quick chat in the middle of the street or are offered coffee by a friend sitting along the pavement. You need to read body language but also use feelings and intuition to join the street life of Bali.
I Wayan Gde Yudane has garnered a reputation for his breathtakingly diverse music, cutting across Balinese gamelan, Western string ensembles, electro-acoustic performances, choir, film, art installation and theatre. He has created pieces for ensembles as diverse as the New Zealand Trio, New Zealand String Quartet, Australian Art Orchestra and gamelan ensembles such as Gamelan Wrdhi Swaram. His compositions embrace an open exploration of new ideas, crossing musical and cultural boundaries and referencing both eastern and western traditions.
Born in Denpasar, Yudane has composed, performed and taught for many years in Indonesia, Europe and New Zealand. He has travelled widely, including a term as Artist in Residence at the International Institute for Electro-Acoustic Music (IMEB) in Bourges, France in 2004 and touring with groups such as the New Zealand Trio. Recordings of Yudane’s works include Laughing Water, Sita, Terra-Incognita, Arak, Flourish, House in Bali and Water.
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Kenji OH (b 1981) Sacred Chichibu Peaks at Spring Dawn (2017) Painting: Sacred Chichibu Peaks at Spring Dawn (1928) by Yokoyama Taikan (1868–1958), The Museum of the Imperial Collections, Sannomaru Sh-oz-okan, Tokyo
The composer writes:
When I stood in front of the picture Sacred Chichibu Peaks at Spring Dawn, I felt as if I was standing in the mountains. The sun seemed really going to rise if you stared at the picture and waited. The piece expresses a growing excitement for the sunrise while drawing the moment of the dawn into the sunrise with gestures of the mountain ridges, fogs, and lights.
Kenji Oh is a Japanese composer of contemporary classical and media music, based out of San Francisco and Los Angeles. His music illustrates vivid images as though the sound carves out a sculpture or paints a scroll. Oh has received various awards and honours for his orchestral, choral and chamber music. He earned his Master of Music Degree in Composition from the San Francisco Conservatory of Music, where he studied with David Garner.
In addition to concert music, Oh composes music for a range of media including film, theatre, TV, video games, and also for the women’s gymnastics floor exercise, being a gymnast himself. The films he has scored have been screened at numerous film festivals, including B/W Foxes and the Cave of Light at the 2012 Montreal World Film Festival, and Born With It at the 2015 NBCUniversal Short Film Festival, where it won the Best Film Award.
Cécile MARTI (b 1973) Wendung (Turn) (2016) Painting: Wendung (2011) by Verena Marti-Buchmann (b 1943)
The composer writes:
Wendung was composed on the basis of a picture painted by my mother in 2011. It is part of a series of pictures, where she was concerned with the theme of opposite-perspective. What inspired me is that the development of a thought becomes visible in one picture. A development is bound to time, which can be experienced directly in music – the art of time. I tried, for example, to transform a developing element in the picture into music: the square, ascending to the rhombus. This was musically mirrored by chords framing perfect fourths which gradually expand to dense clusters of octaves.
Cécile Marti studied composition with Dieter Ammann, Georg Friedrich Haas, Julian Anderson and Kaija Saariaho. Her first orchestral work won the international composition competition at the Ninth Weimar Spring Festival in 2008; shortly after, her Violin Concerto was premiered at Lucerne Festival. In 2011 she was awarded the City of Zurich’s ‘Werkjahr’ annual stipend; this was followed by a six-month residency in London, supported by a scholarship from the Landis & Gyr Foundation. She has been commissioned by a range of ensembles and orchestras, with performances in Germany, Austria, Finland, the UK and the USA. Her 80-minute orchestral work Seven Towers was premiered in Switzerland in 2016.
Marti completed her doctorate at the Guildhall School of Music and Drama in London in 2017, and is currently undertaking postdoctoral research at King’s College, London.
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Sahba AMINIKIA (b 1981)Inspector’s Scrutiny (2017) Painting: Inspector’s Scrutiny (2012) by Nicky Nodjoumi (b 1942), Taymour Grahne Gallery, New York
The composer writes:
Iranian-American artist Nicky Nodjoumi looks at politics, religion and human interactions from a dark, mythological and humorous perspective which is very similar to my perception of world affairs and how people are manipulated by politics. Nicky, who is himself in exile and unable to return to Iran, looks at the political scene of his homeland and finds the root of the problem; by looking at it from a global standpoint, he creates a certain dark beauty which is comprehensible by all persecuted citizens of the world. I was born a few generations after Nicky but my generation (born after the Islamic revolution in Iran) is still struggling with the same issues that Nicky’s generation was dealing with. And this makes me believe that we might be dealing with a broader issue: the nature of human beings rather than any specific ideology, nation or people. But the similarity I see between our generations is looking back at our homeland where we can no longer return, exploring every inch of its beauty in its darkest of moments and sharing it with our fellow human beings here on the other side of the oceans.
Born in 1981 in Tehran, Sahba Aminikia studied under renowned Iranian pianists Nikan Milani, Safa Shahidi and Gagik Babayan but was perhaps most influenced by work with his first teacher, Dr Mehran Rouhani, a graduate of Royal Academy of Music and former student of Michael Tippett. He went on to study at the St Petersburg State Conservatory under Boris Ivanovich Tishchenko, a post-graduate student of Dimitri Shostakovich. Aminikia also holds degrees from the San Francisco Conservatory of Music, where he studied with Dan Becker, David Garner and David Conte.
Aminikia has received commissions from theatre troupes, Persian traditional music groups, film scores, jazz bands and contemporary classical ensembles, including the Kronos Quartet, Symphony Parnassus, San Francisco Conservatory of Music New Music Ensemble, Mobius Trio, Delphi Trio and Living Earth Show.
Gabriel PROKOFIEV (b 1975)Untitled Etching 3 (2017) Painting: Untitled Etching 3 (2005) by Robert Fry (b 1980)
The composer writes:
I think Robert Fry is one of the most interesting painters/etchers around at the moment. Perhaps it’s because we are both from the same generation and both Londoners that I have a feeling of connection to his work? His art is full of energy, mystery, questions and darkness… Untitled Etching 3 is particularly rich with character and intrigue. I found it really enjoyable and inspiring to explore with music. The calm, thoughtful, slightly stern protagonist, with his devilish reflection/alter-ego; the empty minimalist room; the clean lines disrupted by little scribbles… Secret thoughts and actions hidden behind a serious demeanour (a touch of Jekyll & Hyde even!).
Gabriel Prokofiev creates music that both embraces and challenges Western classical traditions. A London-based composer, producer, DJ and founder of the Nonclassical record label and club night, he has emerged at the forefront of a new approach to classical music in the UK, informed by his background as a producer of hip-hop, grime and electro records, as well as his earlier involvement in electroacoustic music at York and Birmingham Universities, with a residency at the Bourges International Electroacoustic Music Competition in 1998.
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Prokofiev’s Concerto for Turntables was performed at the BBC Proms in August 2011 to critical acclaim. Other recent works include a poly-stylistic ‘orchestral remix’ of Beethoven’s Ninth Symphony, performed to sold-out concert halls in Angers and Nantes; a Third String Quartet, premiered by the Ruysdael Kwartet at the Wigmore Hall; import/export/a percussion suite for Global Junk, toured in the UK and the USA by Joby Burgess’s Powerplant; and a book for solo piano recorded by Russian virtuoso GéNIA.
Samuel ADAMS (b 1985) Night Sea (for Agnes) (2017) Painting: Night Sea (for Agnes) (2019) by Emily Davis Adams (b 1984)
The composer writes:
Unlike the other works in ZOFOMOMA, the music here came before the image. After composing a quiet, gently rocking lullaby for my newborn niece, I asked her mother, Emily Adams, to create a painting in response. Both the image and the music incorporate aspects of ‘artificiality’ into their surfaces. In the case of the image, what we see is a highly representational painting based on photographs of constructions created out of colored paper and fluorescent light. In the case of the music, what we hear is the sustained digital resonance of transducer speakers buzzing against the strings of the piano. Night Sea (for Agnes) is dedicated to Agnes Adams.
Samuel Adams is a composer whose works draw from noise, digital culture and traditional forms. He is currently Composer-in-Residence with the Chicago Symphony Orchestra and curates the CSO’s contemporary music series MusicNOW. Current projects include works for Esa Pekka Salonen, violinist Karen Gomyo, Spektral Quartet and the Australian Chamber Orchestra, and collaborations with cellist Katinka Kleijn and pianist Conor Hanick.
Pablo ORTIZ (b 1958) Paisaje (Landscape) (2016) Painting: Paisaje (2005) by Eduardo Stupía (b 1951)
The composer writes:
I have known and admired Eduardo Stupía since we were both teenagers, and I always loved the intricate counterpoint characteristic of his paintings and drawings. I thought it would be fun to try to reproduce some of these textures in a piece for piano four hands, where, by the nature of the medium, the performers are always in danger of being affected by the physical intricacies of playing around each other. Towards the end of the piece, which is based on rather abstract tango idioms, I include an allusion to the imaginary Great Gates of Buenos Aires.
Pablo Ortiz has been teaching Composition at the University of California, Davis since 1994. He holds degrees from the Universidad Católica Argentina and Columbia University. He has composed chamber, orchestral, vocal, choral and electroacoustic music, as well as music for theatre and film. In 1993 he was a Fellow at the John Simon Guggenheim Memorial Foundation. In 2008 he received an Academy Award from the American Academy of Arts and Letters.
Recent premieres include Suomalainen Tango, for orchestra, by the Orquestra Nacional de Catalunya; Tango Futurista, for intonarumori, conducted by Luciano Chessa; Trois tangos en marge by the Zebra Trio at the Museo Nacional Reina Sofia in Madrid; Gallos y Huesos (Roosters and Bones), an hour-long secular oratorio for five female voices, baritone and harp, Martín Fierro, for four guitars and three sopranos, and Maizal del Gregoriano, for SATB choir and celesta, all commissioned by and premiered at the Centro Experimental Teatro Colon in Buenos Aires, Argentina; and a Concerto for Bandoneon, commissioned by the Santa Rosa Symphony Orchestra.
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Keyla OROZCO (b 1969)Viajeros (Travellers) (2017) Painting: Viajeros (2008) by Douglas Pérez Castro (b 1972), von Christierson Collection, London
The composer writes:
I tried to represent in music my impressions of this painting, which do not necessarily match the idea of the artist when he conceived it. For me, the painting shows the drama of Cubans after the Revolution, feeling locked in their own country, not been able to travel abroad, and dreaming of that possibility which is within reach of most people in other countries.
One of the strongest details I find in the painting are the Russian Matryoshka dolls all over the place, which for me represent the influence the Soviet Union had in our country from 1959 till the early 90s. To my eyes, we were like a little Soviet Union island in the Caribbean Sea. It is impossible for our generation to forget Russian cartoons, Russian songs learned at school, played on the radio and everywhere else, Russian teachers who served in Cuba within many special fields. Our music education system was and still is shaped by the Russian school. Because of all these reasons I have chosen the motif of a famous Russian song we used to hear as children, to develop the main theme of this piece. The Polka-like theme interacts and alternates with Cuban traditional music elements, as well as with a more jazz-like session in the middle, which represents the obsession of many Cubans wanting to leave the country (and others who have already left) to purchase their American Dream.
Cuban composer and pianist Keyla Orozco moved to the US in 2013, after living and working in the Netherlands as an independent artist for over 18 years. Her work has been acknowledged with the Guggenheim Fellowship, Cintas Fellowship, and a MacDowell Residence Fellowship, and in 2016 she received a composition grant from the FROMM Music Foundation from Harvard University.
During her years in the Netherlands, Orozco received numerous commissions to write for internationally acclaimed Dutch ensembles and soloists such as the Netherlands Chamber Choir, Netherlands Flute Orchestra, Netherlands Wind Ensemble, Asko Ensemble, Nieuw Ensemble and many others. Her works are published by Donemus, in the Netherlands.
Orozco graduated in Composition from the Higher Institute of Arts in Havana. Later, she pursued advanced composition studies at the Royal Conservatory in The Hague and the Amsterdam Conservatory.
ZOFO would like to express their gratitude to:
– the composers who participated in this project
– the artists, collectors, museums, and galleries for granting us the rights to project the images
– the Van Dyke Family Foundation for making this project possible.
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INTERVIEW WITH ZOFO
It’s every pianist’s nightmare. Unexpectedly, the door of a freight elevator closes, and your right hand is caught in it, crushing the bones in your fingers.
It happened to Japanese-born pianist Keisuke Nakagoshi, just as he was preparing for a series of concerts in his adopted home town of San Francisco.
As the surgeons went to work, putting a titanium plate into one of his fingers, his concerts were hastily reprogrammed, with new pianists filling in for Keisuke, who nevertheless volunteered to turn pages for his substitute artists. And at one of these events, featuring the Australian violinist Graeme Jennings, the replacement pianist was a young woman, originally from Bern in Switzerland but now based in San Francisco.
Her name was Eva-Maria Zimmermann, and that night as she played a tortuously difficult piece by Julia Wolfe, her page-turner Keisuke was stunned by her ability to cross over her hands to play in the extreme registers demanded by the piece. ‘I thought, that’s just so cool that she can cross her arms
like that,’ Keisuke recalls, ten years after the event. ‘Visually, it was just so striking, so impressive.’
And as for Eva, ‘I was really impressed with his page-turning technique!’
It was a fateful encounter for Eva, who’d followed her American then-husband to San Francisco, and Keisuke, who originally went to the Bay City to learn English and never left. By chance, they lived barely a block from one another.
That very night they started thinking about performing together as a piano duet. But there remained one slight problem. They only had three working hands between them.
Surprisingly, though, the bad news that Keisuke was a pianist for whom a mangled hand was a potential career death-sentence was tempered by a curious benefit too. ‘It was unlucky because I was a pianist of course,’ Keisuke says, ‘but the surgeon told me that, because I was a pianist, the bones in my hand are so strong that he had a hard time putting the screws into them.’
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And that sped his recovery. Four or five months later, he began to feel like he might be able to play again. And so he and Eva set up a rehearsal.
‘When we had that first rehearsal together,’ Eva recalls, ‘Keisuke had only just started to use both of his hands again, and he could hardly play. But we started with The Rite of Spring!’
And that, in itself, probably says all that needs to be said about the spirit of their duo named ZOFO, a visual-semantic play on ‘20 Finger Orchestra’, whose musical adventurism, virtuosity and sheer joie-de-vivre were there right from the outset, as was their mutual interest in contemporary music.
‘I think it's great to watch a composer at work,’ Eva says, ‘to be so close to the creation of a piece, and even to be part of it. And I always enjoyed the concept of kind of introducing audiences to new pieces rather than just trying to play a traditional work better than anybody else, although we still play the classical repertoire too.’
‘It changes your appreciation of the traditional classics if you play a lot of contemporary music,’ Keisuke adds.
Neither of them had two pianos in their apartments, so they decided to stick with just a single piano four hands, alternating their seating positions depending on how they felt about each piece.
Audiences almost immediately began to take notice. According to Eva, ‘At the start, Keisuke kept saying that we should play together with no pressure, just for our own enjoyment. So we did that for awhile. But then I think about six months later we played our first concert together, and we've had pressure on us ever since then!’
That was a decade ago now, and on the eve of their first Australian tour, ZOFO are still pushing the boundaries, with their remarkable concert experience called
ZOFOMOMA. Think of it as a latter-day Pictures at an Exhibition in which 15 composers, including Australia’s Carl Vine, have written new music inspired by paintings from their own culture.
‘We’ve always tried to expand the piano repertoire for four hands by commissioning as many composers as we can,’ says Keisuke. ‘But the trouble is that once we give the premiere of those pieces, it's really hard to re-program them for a concert again.’
For Eva, ‘if a new work isn’t embedded into some sort of program, it's harder for the audience to deal with it. So we thought, if we had a theme and also some visual inspiration for the audience, it would be easier for them to digest.’
Then, as ZOFOMOMA began to take shape, they found a sponsor in the Van Dyke Family Foundation, and the imaginative visual-musical experience started to become a reality.
‘Some of the composers would send us their chosen painting first,’ Eva says, ‘but others sent both the score and the painting all at once. It was like Christmas for us for a whole year!’
‘The presents just kept coming!’ laughs Keisuke, who added his own arrangements of 14 ‘Promenades’, based on Mussorgsky’s originals, that intersperse the performance. ‘Those promenades are played by just one person, because we switch around our positions, piece by piece,’ he adds. ‘So during the promenade, one person just stands up and walks around to change the position as if they’re walking in a museum. They’re arrangements, but in a way, I composed more music for ZOFOMOMA than any of the composers!’
Martin Buzacott © 2019
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MUSICA VIVA PATRONSWe thank the generous individuals and families who make an important contribution to our activities each year. Every gift is important, ensuring that Musica Viva remains at the forefront of artistic excellence and that our award-winning education program continues to reach children who would otherwise have no access to the inspirational experience of live music. To make a gift to Musica Viva, please contact the philanthropy team on (02) 8394 6619 or [email protected]
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People who have notified us of their intention to leave a gift to Musica Viva in their will are part of a very special group of Musica Viva Custodians. A bequest to Musica Viva will enable us to continue presenting performances of the highest quality to the widest range of audiences across Australia, well into the future. To discuss, in confidence, a bequest gift, please contact Jaci Maddern on (03) 9645 5088 or [email protected]
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STORIES TO INSPIRE
students was very positive and I hope to build on these workshops and conduct more in the future,’ says Aura.
To date, hundreds of music students have participated in music activities with Aura and Matthias, where they have the opportunity to receive feedback from the artists and to ask questions about their own performance practice and challenges.
Professor Cat Hope, Head of the Sir Zelman Cowen School of Music, says, ‘The FutureMakers partnership exposes our students to musicians in the mid-career stage and offers the opportunity for them to see how new works develop over a long period of time – from the beginning of the idea, to working it through, right up to premiere. They also bring a fresh voice to guest lectures and workshops, offering something quite different from more established artists.”
As part of this partnership, Musica Viva’s Deputy Chief Executive Officer, Anne Frankenberg, and Adele Schonhardt, Media and Public Affairs Manager, each gave a lecture for arts administration students this April.
“After a varied career of multiple immensely satisfying roles in the arts, the chance to share insights and learnings from my own journey with students who might want to take the same path is an opportunity for reflection. I’m thinking about what I wish someone had told me at a similar stage and can’t wait to hear from students who are contemplating this path,” says Anne.
To learn more about FutureMakers and how you can support emerging musicians, please visit: musicaviva.com.au/about-us/futuremakers/
FutureMakers artists take residency at Monash University
Musica Viva’s current FutureMakers artists Aura Go and Matthias Schack-Arnott are offering Monash music students an open door into their individual artistic practice as part of a two-year education partnership between Musica Viva and Monash University.
Launched in 2015, FutureMakers is Musica Viva’s ambitious artist-leadership initiative, designed to nurture Australia’s musical leaders of tomorrow. The chosen musicians work alongside FutureMakers Artistic Director Genevieve Lacey to each create a career-defining new performance work. Their artistic projects are underpinned by a tailored professional development curriculum focussed on artistic leadership, entrepreneurial capabilities and shaping the sector’s future.
Through the FutureMakers at Monash initiative, Aura and Matthias have been resident at the Sir Zelman Cowen School of Music since May 2018, where they have access to rehearsal spaces, instruments and audio equipment to work on their own projects.
As part of the residency, the pair have been leading seminars and lectures on performance practice and composition, as well as offering practical music workshops for Monash University students and academic staff, and lunchtime performances at the Monash Academy of Performing Arts for the wider community.
‘This is an invaluable opportunity for me to develop the pedagogical aspect of my artistic research and work closely with tertiary-aged students on aspects of practice and performance that are not usually addressed in mainstream training. Feedback from the
2018–19 Futuremakers Aura Go and Matthias Schack-Arnott
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COMPOSING CUTTING-EDGE LEGAL SOLUTIONS IN AUSTRALIA AND ACROSS THE GLOBE.
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PIANO SALES | TUNING | REPAIRS | RESTORATIONS | HIRE | TUITION
THE PIANO SPECIALISTS
Established and owned by internationally renowned concert piano technician Ara Vartoukian, Theme & Variations Piano Services are the piano specialists.
With a welcoming showroom filled with quality upright and grand pianos there is something to suit all budgets from beginners through to accomplished pianists.
Our services extend to a team of experienced technicians who are available for onsite piano tunings, repairs and valuations. We also offer full restoration services and major
repairs for even the most unique pianos at our fully equipped workshop.
Contact us for all your piano needs on 02 9958 9888 or visit us at 451 Willoughby Road, Willoughby
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All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. 18572 — MVA 189 — 07/05/19
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Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 Email: [email protected] Website: www.playbill.com.au
Head Office: Suite A, Level 1, Building 16, Fox Studios Australia,
Park Road North, Moore Park NSW 2021
PO Box 410 Paddington NSW 2021
Chairman Brian Nebenzahl OAM RFD
Managing Director Michael Nebenzahl
Editorial Director Jocelyn Nebenzahl
Connect with us online for more chamber music news!
At every International Concert Season concert, we present Pre-Concert Talks as well as a selection of CD signings, Meet the Artists, and a variety of other interactive events and experiences.
musicaviva.com.au/insights
@MusicaVivaAU@MusicaVivaAustralia
When performance is your passion
Queensland Conservatorium continues to produce performing arts professionals of the highest calibre.
Find your place on the world stage.
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