CONCERT ONE
4 – 13 March 2014
Welcome
Welcome to the Australian String Quartet’s first national concert of our 2014 season! We launched into the year in February with the Australian premiere of John Adams’ Absolute Jest as soloists with the Sydney Symphony Orchestra. 94 players on stage together was an exhilarating experience and now we are looking forward to presenting our first complete season together as four. This concert spans an enormous range of genre, timbre and instrumental extremes – from the raw purity of the Boccherini and Brahms on gut strings to Stephen Whittington’s rusty Windmill and the electrified extended techniques, gong-smashing and maraca-shaking of Black Angels. Boccherini’s quartet was written in the same era as the Quartet’s Guadagninis were made, and it is a rare treat to play this music with strings very similar to those used in that period. Given the different tension and greater thickness of the raw gut strings, the nature of bowing and also fingering is different to that of the steel strings used today. Both the Boccherini and Brahms therefore, are performed in a different manner than they would be on modern strings. No ‘indulgent’ vibrato is needed, and the use of different bow speed and weight is required. It has been a very refreshing, enjoyable and informative process! (L TO R): KRISTIAN WINTHER, IOANA TACHE, STEPHEN KING, SHARON DRAPER.
On the flip-side, there is Crumb’s Black Angels. This composer’s response to the Vietnam War is haunting, shocking, and confronting, as well as in some moments ironically amusing and stunningly beautiful. The Quartet’s multi-tasking is stretched to its limits in this piece as we switch in rapid succession from our instruments to bowing gongs, wine glasses, vocalising whilst shaking maracas, and even playing our instruments upsidedown. The work is based around tritones (the devil’s interval – an augmented 4th), the numbers 7 and 13, quotes from Tartini’s Devil’s Trill, the Dies Irae from Mozart’s Requiem and Schubert’s Death and the Maiden. Arguably the crux of the piece is the 10th movement God Music, where the violins and viola bow a wineglass ‘choir’ whilst the cello plays a plaintive distant melody at the very top of its register. This movement, similar in concept to the 5th movement in Messiaen’s Quartet for the End of Time is a haunting and timeless interruption to the devilry of its surrounding movements. Kristian, Ioana, Stephen and Sharon
Elder Conservatorium of Music
1620-3
Delivering over 130 years of music excellence The Elder Conservatorium of Music is one of Australia’s oldest and most distinguished tertiary music schools. For more than a century, staff at the Conservatorium have educated and inspired generations of performers, composers, teachers and leaders in the arts. Home to the ASQ—our quartet in residence, the Conservatorium hosts a vibrant community of talented musicians and provides a supportive environment that encourages creativity, independence and excellence in music.
Staff and students of the Conservatorium are committed to the artistic, educational and community experience of music, and they share their passion and expression with the public through regular performances and concerts. Visit our website to learn more about the program of events, and comprehensive range of undergraduate and postgraduate degrees available in a wide variety of specialisations.
music.adelaide.edu.au
Program String Quartet in G minor op 32 no 5 String Quartet in C minor op 51 no 1
BOCCHERINI BRAHMS
Interval Windmill Black Angels
STEPHEN WHITTINGTON GEORGE CRUMB
Dates BRISBANE
Conservatorium Theatre, South Bank Tuesday 4 March SYDNEY
City Recital Hall Angel Place Thursday 6 March PERTH
Perth Concert Hall Monday 10 March ADELAIDE
Adelaide Town Hall Tuesday 11 March MELBOURNE
Melbourne Recital Centre, Southbank Thursday 13 March Presented in association with
Don’t miss our next National Tour Speechless 21 – 30 May 2014
Guadagnini Quartet Project
The members of the Australian String Quartet are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite instruments were brought together through the vision of Ulrike Klein, founder of Ngeringa Arts. The instruments are currently on loan to the Australian String Quartet from Ulrike Klein, Maria Myers and Ngeringa Arts. In order to secure the instruments for future generations, Ngeringa Arts has launched the Guadagnini Quartet Project. Its aim is to acquire all four instruments for future generations of Australian musicians and music lovers. Once complete, it will be the only matched set of Guadagnini instruments in the world and Ngeringa Arts will hold it in perpetuity.
Already, through the generosity of its donors, Ngeringa Arts has acquired the viola and the Board would particularly like to thank and acknowledge the following patrons who have each made a significant contribution: Lyndsey & Peter Hawkins Joan Lyons Hartley Higgins Mrs F.T. MacLachlan OAM Jari & Bobbie Hryckow Diana McLaurin Klein Family Foundation Anonymous (1)
History-making endeavors like the Guadagnini Quartet Project are born from passion. To succeed, Ngeringa Arts needs the involvement of visionaries who also recognise the significant cultural value in a collection of this calibre. Please join Ngeringa Arts in building this extraordinary musical legacy and be part of the donor circle that is committed to acquiring the cello. To donate go to www.ngeringaarts.com For more information contact Alison Beare, General Manager, Ngeringa Arts, P: (08) 8227 1277 E: Alison@ngeringaarts.com
Australian String Quartet With a rich history spanning 28 years, the Australian String Quartet (ASQ) has established a strong national profile as an Australian chamber music group of excellence, performing at the highest international level. From its home base at the University of Adelaide, Elder Conservatorium of Music, the ASQ delivers a vibrant annual artistic program encompassing performances, workshops, commissions and education projects across Australia and abroad. One of Australia’s finest music exports, the ASQ has appeared at international music festivals and toured extensively throughout the United Kingdom, Europe, New Zealand and Asia in recent years. The Quartet is frequently broadcast on ABC Classic FM and records regularly for public release. The Quartet’s performance calendar for 2014 comprises its National Season featuring four unique concert programs presented in Adelaide, Brisbane, Melbourne, Perth and Sydney; its own flagship festivals in the Southern Grampians and Margaret River; regional touring and prestigious invitations to collaborate with leading artists and organisations including their recent performance with the Sydney Symphony Orchestra premiering John Adams’ Absolute Jest at the Sydney Opera House.
As advocates for Australian music, the Quartet delivers an annual forum for emerging composers and regularly commissions, showcases and records new Australian work. Its education program extends beyond workshops and masterclasses to include the Quartet Project – a national mentoring program for emerging quartets. The members of the ASQ are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite Italian instruments were brought together through the vision of Ulrike Klein. The instruments are on loan to the ASQ for their exclusive use through the generosity of Ulrike Klein, Maria Myers and a group of donors who have supported Ngeringa Arts to acquire the viola. Kristian Winther plays a 1784 Guadagnini Violin, Turin Ioana Tache plays a 1748-49 Guadagnini Violin, Piacenza Stephen King plays a 1783 Guadagnini Viola, Turin Sharon Draper plays a c.1743 Guadagnini Violoncello, Piacenza, ‘Ngeringa’.
Luigi Boccherini Luigi Boccherini (1745-1805) String Quartet in G minor, op 32 no 5 Allegro comodo Andantino Minuetto con moto Allegro giusto - Capriccio ad libitum Born in the Italian city of Lucca, Boccherini was educated in music at first by his father, a singer and bass-player, and then by a prominent cellist; by his 20s, he had established himself as both cellist and composer. With his friend, violinist Filippo Manfredi, he undertook a concert tour in 1766, travelling to Genoa, Nice, Paris and, in 1769, Madrid, where he settled. In 1770 he was engaged as ‘chamber composer and virtuoso’ by the King’s brother Don Luis at the palace of Aranjuez; when Luis married a much-younger commoner and was effectively exiled to the provinces, Boccherini (as part of a considerable music staff) went too, and like Haydn at Esterhazy, found in isolation the perfect environment for composition. Like Haydn, too, he was a prolific composer of chamber music, with a catalogue of over 100 string quartets alone. He was unkindly derided as ‘Haydn’s wife’ by one contemporary, and indeed Boccherini’s works seldom aspire to the kind of fusion of comic wit and intricate sophistication that we find in Haydn. In fact, as Stanley Sadie has noted, ‘the directions “soave”, “con grazia” and “dolce” or “dolcissimo” are among the commonest in his music’; Boccherini’s work places great value on grace and elegance, though not at the expense of emotional richness.
The G minor work, one of six composed in Spain in 1780 and published in Vienna and Paris soon after, begins with an expansive sonata-allegro movement. It is not overly fast, allowing the music to elaborate the melancholic themes in often rich chromatic harmony, and to display the technical prowess of all the musicians in Don Luis’ in-house quartet. The Andantino is, likewise, not overly slow. While in E flat major, it maintains something of the sober atmosphere of the first movement with lots of sonorous parallel phrases in the lower registers, though a recurrent figure of grace-notes has a Haydnish humour. The minor/major contrast is starkest in the minuet, in a brooding C minor, with a central trio in extroverted C major. The final movement returns to G minor, with the sort of angular thematic shapes that we find in Mozart when writing in that key, and a reminiscence of the grace note motif from the Andantino. But the most celebrated feature is the section marked capriccio ad libitum which offer the first violinist an opportunity for an extravagant display of virtuosity. © Gordon Kerry 2013
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Johannes Brahms Johannes Brahms (1833-1897) String Quartet no.1 in C minor, op 51 no 1 Allegro Romanze: poco adagio Allegretto molto moderato e comodo – Un poco più animato Allegro In 1866 Brahms made the first of several concert tours with the violinist Joseph Joachim, a partnership of inestimable value to both. Brahms’ piano tone is said to have been influenced by Joachim’s superb sound, and his knowledge of the technique of string playing increased dramatically. This bore fruit not just in the sonatas and concerto written with Joachim in mind, but in the chamber music for string ensembles, including the three string quartets. And Brahms needed something to boost his confidence. His diffidence – especially in genres where he heard Beethoven’s ‘footsteps behind him’ – meant that his first official string quartets, opus 51, only appeared when he was 40. In fact he had reputedly written and destroyed some 20 string quartets, and the two quartets, opus 51 were, like Mozart’s ‘Haydn’ Quartets, the ‘fruit of long and laborious study’. There is some evidence to suggest that he began writing them as early as 1865; there were some rehearsals in 1869 after which Brahms again tinkered with the scores before, eventually, ‘finishing’ the works in 1873 and allowing them to be published. As he said at the time, ‘I always take great pains, hoping to come up with something
great and terribly weighty, but they always turn out small and pitiful. But I can’t wait for better’. In 1872, Brahms became director of Vienna’s choral/orchestral society, the Gesellschaft der Musikfreunde, but his duties there left him precious little time. During his three-year tenure, composing had to be concentrated during the spring and summer months, and Brahms almost always left town (usually without a forwarding address). In the summer of 1873 he found himself at Tutzing on the Starnbergersee in Bavaria where, in good spirits and overwhelmed by the scenery, he completed the opus 51 quartets, which he dedicated to his friend, surgeon Theodor Billroth. The first is in C minor – a key in which Beethoven composed significant, often ‘tragic’ works, and there is a certain muscularity to the outer movements which recall the older composer. (Scholar Karl Geiringer goes so far as to point to a ‘sombre passion and sullen determination’ in the piece.) More to the point, Brahms’ thematic invention is, like Beethoven’s, amazingly economical: many of his themes stress the stepwise interval of the second, and indeed part of the main melodies of the second and final movements can be traced to the opening theme of the first. © Gordon Kerry 2009
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Stephen Whittington Stephen Whittington (born 1953) Windmill Stephen Whittington is Head of Sonic Arts at the Elder Conservatorium of Music, University of Adelaide. As a pianist and composer he has appeared in recitals and at festivals in Australia, the United States, Canada, China, Malaysia, South Korea, Sweden, France, Austria, Italy and Great Britain. His interest in the relationship between music and other art forms has led to the creation of a series of one-man multimedia performances, including The Last Meeting of the Satie Society (Adelaide Festival, 2000), Mad Dogs and Surrealists (Art Gallery of SA, 2004), Rhythmus 09 (Adelaide International Film Festival, 2009) and The Music of Light (Adelaide International Film Festival, 2011). On 5 September 2012, he directed John Cage Day, a commemoration of the 100th anniversary of the birth of American composer and interdisciplinary artist John Cage, which included Stephen’s eight-hour long performance of ASLSP (As SLow aS Possible) on the Elder Hall organ. He has written music in many different forms, including three string quartets: Windmill (1991), …from a thatched hut (2010), and Music for Airport Furniture (2011).
The composer writes: Windmill (1991) was my first work for string quartet. It was composed as a result of encouragement from Australian violinist Brenton Langbein, without whose support I would probably not have attempted something as odd (or so it seemed at the time) as deliberately causing a string quartet to sound like a piece of rusty machinery. The result was a work that evokes a distinctive marker of human habitation found throughout rural and outback Australia, the windmill. It turns in the wind, pumping up life-giving water in a lonely and often desolate landscape. If you get close enough to it you can hear its distinctive sound, creaking and squeaking away, stopping occasionally, resuming as the breeze picks up. That is the sound I tried to evoke in Windmill. Apart from its functional aspect, the windmill is also a symbol of the human determination to survive in an inhospitable climate, a symbol of hope, of courage, and of despair. © Stephen Whittington 1991
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Savour the moment Escape to the truly magical surrounds of Dunkeld in the Southern Grampians of Victoria or the Margaret River region in Western Australia for three days of exquisite chamber music, indulgent dining and fine wines. The ASQ’s flagship regional festivals present the Quartet alongside leading guest artists in a diverse program of chamber music. Set in charming regional venues and complemented by the regions finest fare, these festival events are a highlight in the Australian String Quartet’s calendar. Make an ASQ festival part of your travel plans for 2014 and savour the music.
D U N K E L D F E S T I VA L O F M U S I C
Fri 11 – Sun 13 April 2014 (SOLD OUT) Sun 13 – Tue 15 April 2014
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Fri 3 – Sun 5 October 2014
For more information and bookings visit asq.com.au or call on 1800 040 444
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George Crumb George Crumb (born 1929) Black Angels: Thirteen Images From the Dark Land I. Departure 1. Threnody I: Night of the Electric Insects 2. Sounds of Bones and Flutes 3. Lost Bells 4. Devil-music 5. Danse Macabre II. Absence 6. Pavana Lachrymae 7. Threnody II: Black Angels! 8. Sarabanda de la Muerte Oscura 9. Lost Bells (Echo) III. Return 10. God-music 11. Ancient Voices 12. Ancient Voices (Echo) 13. Threnody III: Night of the Electric Insects George Crumb is one of the most frequently performed composers in today’s world, and the winner of Grammy and Pulitzer Prizes. Crumb’s music often juxtaposes contrasting styles, ranging from music of the western tradition, to hymns and folk music, to non-Western musics. Many works include programmatic, symbolic, mystical and theatrical elements. Crumb retired from his teaching position at the University of Pennsylvania after more than 30 years of service, and makes his home in Pennsylvania, in the same house where he and his wife of more than 60 years raised their three children. George Crumb’s music is published by C.F. Peters and an ongoing series of ‘Complete Crumb’ recordings, supervised by the composer, is being issued on Bridge Records. Black Angels, inspired by the Vietnam War, draws from an arsenal of sounds including
shouting, chanting, whistling, whispering, gongs, maracas, and crystal glasses. The score bears two inscriptions: ‘in tempore belli’ (in time of war) and ‘Finished on Friday the Thirteenth, March, 1970.’ Crumb has written that ‘things were turned upside down. There were terrifying things in the air… they found their way into Black Angels.’ In his own words, Crumb describes the work: Black Angels was conceived as a kind of parable on our troubled contemporary world. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption). The numerological symbolism of Black Angels, while perhaps not immediately perceptible to the ear, is nonetheless quite faithfully reflected in the musical structure. These ‘magical’ relationships are variously expressed: e.g., in terms of length, groupings of single tones, durations, patterns of repetition, etc. ... There are several allusions to tonal music: a quotation from Schubert’s Death and the Maiden quartet; an original Sarabanda; the sustained B-major tonality of GodMusic; and several references to the Latin sequence Dies Irae (day of wrath). The work abounds in conventional musical symbolisms such as the diabolus in musica (the interval of the tritone) and the trillo di Diavolo (the Devil’s Trill, after Tartini). © George Crumb 1970
Donors
The Australian String Quartet would like to acknowledge and sincerely thank the following donors for their ongoing support along with those donors whose very important contribution remains anonymous. The following donations reflect cumulative donations made from 2008 onwards. The ASQ is registered as a tax deductible recipient. Donations can be made by phoning the ASQ on 1800 040 444.
$350,000+ Allan Myers AO & Maria Myers AO $250,000+ Klein Family Foundation $50,000+ Clitheroe Foundation Lyndsey & Peter Hawkins Hunt Family Foundation The Ian Potter Foundation Michael Lishman $30,000+ Nicholas & Elizabeth Callinan Richard & Tess Harvey AM Janet & Michael Hayes Norma Leslie Thyne Reid Foundation $20,000+ David & Pam McKee Peter & Pamela McKee $15,000+ Mr Philip Bacon $10,000+ Josephine Dundon Joan Lyons Macquarie Group Foundation Mrs Diana McLaurin $5,000+ Berg Family Foundation John Clayton Angela Flannery Hilmer Family Foundation M & F Katz Family Foundation Mr Robert Kenrick The Robert Salzer Foundation Kevin Long Skye McGregor
P. M. Menz The Late Elisabeth Murdoch AC DBE John O’Halloran Mrs Jane Porter Tony & Joan Seymour Peter & Melissa Slattery $2,000+ Don & Veronica Aldridge Bernard & Jackie Barnwell Graham & Charlene Bradley Alexandra & Julian Burt Hillier Carter Properties Ric Chaney and Chris Hair John & Libby Clapp Geoff Clark Dr Peter Clifton David Constable AM Maurice & Tess Crotti Dr Neo Douvartzidis Michael J Drew Margaret Flatman John Funder & Val Diamond Dr E.H & Mrs A. Hirsch Anita Poddar & Peter Hoffmann Janet Holmes à Court AC Keith Holt & Anne Fuller Mr S Johns Renata & Andrew Kaldor Kevin & Barbara Kane Michael & Susan Kiernan The Hon Christopher Legoe QC & Jenny Legoe Dr Robert Marin Simon Marks-Isaacs Helen and Phil Meddings Susan & Frank Morgan Mrs Frances Morrell
Mrs Jenny Perry (in memory of John) Patricia H Reid Susan M Renouf Trish & Richard Ryan AO Paul & Margarita Schneider Vivienne Sharpe Andrew Sisson Keith & Dianne Smith Dr Nigel & Mrs Chris Steele Scott OAM Elizabeth Syme Gary & Janet Tilsley Mr Eng Seng Toh Ian Wallace & Kay Freedman Marjorie White Lyn Williams AM Janet Worth Annie & Philip Young $1,000+ David & Liz Adams Peter Allan John & Angela Arthur John & Mary Barlow Philip Barron Dianne Barron-Davis Simon Bathgate Jean & Geoff Baulch Alison Beare Candy Bennett Ms Baiba Berzins BHP Billiton’s Matched Giving Program Heather Bonnin OAM Stephen & Caroline Brain Thomas Breen David & Kate Bullen Pam Caldwell Captain & Mrs D P Clarke David Cooke
Colin & Robyn Cowan Robin Crawford & Judy Joye Marie Dalziel Jiri & Pamela Fiala Philip Griffiths Architects Professor Keith Hancock Dr Penny Herbert in memory of Dunstan Herbert Higgins Coatings Pty Ltd Jim & Freda Irenic Kevin & Barbara Jarry Lynette and Gregory Jaunay Brian L Jones OAM Rod & Elizabeth King Hon Diana Laidlaw AM Keith & Sue Langley David & Anne Marshall HE & RJ McGlashan Mrs Inese Medianik Victor & Barbara Mulder Donald Munro AM & Jacquelyn Munro Jonathan Nicholson & Jennifer Stafford Ken Nielsen Ellen & Marietta Resek John & Etelka Richards Chris & Fran Roberts Jill Russell Jeanette SandfordMorgan OAM Michael & Chris Scobie Dick and Caroline Simpson Pamela and Tony Slater Carl Vine Ted & Robyn Waters Pamela Yule Fay Zaikos
$500+ David & Elaine Annear Terrey & Anne Arcus Prof. Margaret Arstall Dr Reiko Atsumi Mrs J Beare Tony and Carol Berg GC Bishop & CM Morony Stephen Block John & Christine Chamberlain Caroline & Robert Clemente Mary Rose & Tim Cooney Alan Fraser Cooper Rae De Teliga Ron Dyer Martin Dykstra Dr & Mrs G C Hall Tim & Irena Harrington Graeme Harvey Mary Haydock Mr Hartley Higgins Dr Anthony & Emily Horton Prof Alan T James Andrew & Fiona Johnston Rose Kemp Stephen & Kylie King David Leece Edwina Lehmann Ms Rose McAleer Alison McIntyre John McKay and Claire Brittain James McLeod Ian & Margaret Meakin Dr Colin E Moore Jenny Nicol Terry & Pauline O’Brien Leon & Moira Pericles Basil Phillips Graham & Robyn Reaney Peter Rush Deborah Schultz Antony & Mary Lou Simpson Sandra Stuart James Syme Nicholas Warden Peter Wilkinson Jenny Wily & Adrian Hawkes Pat & Rosslyn Zito
$100+ Marion R Allen Julie Almond Bill Anderson Susan Armitage Sylvia Bache Merrawyn Bagshaw John Baldock Patricia Barker Joy Barrett-Lennard Mrs Jillian Beare Mr & Mrs Peter & Alison Beer Wendy Birman Michael Bland Professor John Bradley David Bright Max & Elizabeth Bull Pip Burnett Chris & Margaret Burrell Alastair & Sue Campbell Tim & Lyndie Carracher Don Carroll Mrs Ann Caston Richard and Lina Cavill Max and Stephanie Charlesworth Greg Coulter & Carolyn Polson Mrs Margaret Daniel OAM Susan Davidson Mrs Daphne Davies Bruce Debelle Mary Draper Graham Dudley Dr H Eastwell Mrs Alexandra Elliott Mrs Charlotte England Susan Fallaw Philip & Barbara Fargher Mrs Judy Flower Helen Forrester Mr John Forsyth Pamela Foulkes Bill & Penny Fowler Richard Frolich Christopher Fyfe Prof. Robert Gilbert Margrette Glynn Jan Grant Dieter Grant-Frost H.P. Greenberg Mrs Helen Greenslade Margaret Gregory
Angela Grutzner Des Gurry Jean Hadges Alison Harcourt Charlie Harrison Geoff Hashimoto Ann Hawker Mrs Helen Healy Laurie & Philippa Hegvold Mr Trevor Henry Mr Dennis Henschke Dudley and Julie Hill David Hilyard Emily Hunt Iain Berriman Anthony Ingersent Vernon Ireland Robin Isaacs Ms Nola Jennings Joan Jones Mr Martin Keith Angus & Gloria Kennedy Wayne & Victoria Laubscher Anne Levy Susan Litchfield Grant Luxton Margaret & Cameron MacKenzie Greg Mackie OAM Jean Matthews Helen McBryde John & Jill McEwin Alison McIntyre Duncan McKay Mrs Janice E Menz Richard & Frances Michell Mr & Mrs I Mill Ms Elizabeth Morris Florence Morrow Robert & Heather Motteram Hughbert Murphy John & Gay Naffine Derrick Nicholas Edward Nuffield Mrs Mary O’Hara John Overton Lee Palmer Josie Penna Sabine Pfuhl Colin A Physick Mr William Pick
J & P Pincus Janice Pleydell J & M Poll Mr Franz Pribil The Rev’d Dr Philip Raymont Ian & Gabrielle Reece Dr James Robinson Ms Chloe Roe Mrs Clare Rogers Lesley Russell Jenny Salmon Meredyth Sarah AM The Late Judith Schroder Adrienne Shaw Mrs Angela Skinner Judy Sloggett Mr Michael Steele Barbara Stodart David & Jo Tamblyn Robyn Tamke Jolanta Targownik JJ & AL Tate Mrs A.N.Robinson & Dr M.G.Tingay Roger & Cherry Trengove Sue Tweddell Ms Jill Uhr Mr Ian Underwood Brian & Robyn Waghorn Professor Ray Wales Mr David Young Sarah Yu Silvana Zerella
MUSIC LIBRARY FUND The ASQ greatly appreciates the support of the following patrons who have generously contributed to the acquisition of musical works to establish and build the ASQ’s own music library. Mr RS Divall Carole & John Grace Roz Greenwood & Marg Phillips Janet & Michael Hayes Mrs Diana McLaurin Gary & Janet Tilsley
The gift of music The Australian String Quartet’s annual program of activity delivers world-class musical performances to audiences in Australia and abroad. Through the generous support of our valued donors, we are privileged to be able to share our passion for musical excellence with diverse audiences ranging from international festivals, to regional and remote Australian communities, from the concert stage to intimate school performances and tertiary masterclasses. In partnership with our donors, the ASQ proudly invests in the future of Australian music through our new work commissioning fund, which supports the ASQ to commission, premiere and showcase new Australian works both nationally and internationally. Through the generosity of our donors, the ASQ gifts in excess of 100 student subscriptions annually and its Quartet Project provides further opportunities for music lovers to support the next generation of Australian music makers. We invite you to share our passion by making a tax deductible donation or gifting a student subscription. To make a donation freecall 1800 040 444, or complete the enclosed booking form.
Own your own part of the ASQ The lush visual images presented in the ASQ’s National Season 2014 brochure are the work of Australian visual artist, Sue Ninham and were commissioned by the ASQ. You have opportunity to own your own part the Season by purchasing an exclusive Sue Ninham artwork and part proceeds will go towards supporting the Quartet. Sue paints primarily in oil on canvas and watercolour on paper through abstraction. Through constant experimentation with these materials and techniques, her work is continuously enriched through abandonment and exploration. Winner of the Adelaide Fringe Poster 2012, Sue is represented by BMGART and has work held in collections nationally and internationally. Sue’s inspiration for the collection was drawn from conversations with the musicians. She writes “The connection between music and my art practice has always been strong. Throughout the process of making these works I listened to musical recordings that were given to me by a quartet member relating specifically to the themes of the ASQ’s 2014 program, for inspiration and interpretation. The resulting paintings with their colours, sweeping marks and movement of
forms are snapshots capturing my physical and emotional responses to those beautiful pieces..” www.sueninham.com www.bmgart.com.au Information about the paintings Continuum, 2013 Acrylic on canvas 2m x 1.5m Speechless, 2013 Acrylic on canvas 2m x 1.5m Boundless, 2013 Acrylic on canvas 2m x 1.5m Relativity, 2013 Acrylic on canvas 2m x 1.5m For more information, call the ASQ on 1800 040 444.
Sue Ninham PHOTO BY MATT TURNER, ADELAIDE NOW
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ASQ BOARD
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Quartet-in-Residence The University of Adelaide SA 5005 Australia T 1800 040 444 (Freecall) F +61 8 8313 4389 E asq@asq.com.au W asq.com.au Facebook.com/AustralianStringQuartet Twitter.com/ASQuartet