con ver sat
ion issue five 2012
editor’s report O
n the whole, it feels like it’s been a stellar semester at the Con. Lots of good classes, great concerts, Paragon jam sessions and even a spot of yoga. Here’s looking forward to Semester Two, with plans for the famous/ infamous Con Ball well under way (see the CSA report for more details). However, the ending of Semester One also brings the ending of my time as editor of Conversation, for a variety of reasons. I’d like to thank all the people who have worked with me over the last year or so in making Conversation. Special mentions to Martin Carroll for his help with the printing process, Sarah Wielgosz
for her laborious graphic design work, and the contributors: Milo, Matt, Rachel, Charlotte, Eavan, Daniel… the list goes on. Without the selfless efforts of these people, Conversation would simply cease to be. Thanks, guys, for making my job a lot easier!
much more. So please enjoy, and remember, if you’d like to become part of the Conversation, don’t hesitate to contact us – details are below. Thank you and goodnight! Cameron Barnett Editor
The last issue for semester (and my last issue as editor!) is packed with heaps of stuff to keep you appropriately distracted during this vital time of the tertiary year. I had a chat with our new Dean and Principal, Karl Kramer, a while back, and you can read that conversation on pages 6-8. We have features on the North West Wind Ensemble, Miranda Musical Society, an update on the progress at ANU and much,
conconversation@hotmail.com www.issuu.com/con-conversation www.facebook.com/#!/ConversationSydneyConservatoriumOfMusic
CSA
Report Hi all, With exams and recitals looming, now is the time to start thinking about CON BALL THEMES! But seriously, start thinking, because on Thursday June 14th at 1pm we are holding a General Meeting to
and practising (a.k.a. coffee time). Don’t forget October 13th is the date of the Con Ball so put it in your diary/phone and KEEP IT FREE!
1. Discuss and vote on Ball themes
Enjoy your holidays and try not to let the instruments get too rusty and dusty :)
2. Nominate and vote in a new Student Welfare Officer for Semester Two
Kate Proctor
If you have ideas for the Ball and want a say in how it’s run this year, or if you’re interested in nominating yourself/someone you know for the position of Student Welfare Officer, please come along. Sadly, we say farewell to Aleisha Kahn, who is leaving on a jet plane for some time away from student life to travel the globe. I must say I’m a tad jealous and will miss working with her! Thanks Aleisha! Keep an eye out as we will be announcing the location of the meeting soon. Spots for the newly-established yoga classes at the Con have been disappearing fast! If you’re interested, come to the stall on Thursday (12-2pm) in the foyer. Thanks to James Kortum for taking the sessions, and all feedback has been very positive. The classes will continue through Semester Two so make sure you take advantage of this amazing offer (only $5 per class!!!). Good luck with the studying (a.k.a. Facebook time)
Student Welfare Officer yourcsa@hotmail.com
Magical Musical for
Sydney’s South Miranda Musical Society presents Pippin June 1524 at Sutherland Memorial School of Arts .
F
ollowing up Miranda’s sensational Anything Goes, the five-time Tony Awardwinning musical PIPPIN is an electrifying, tongue-in-cheek fairy tale that dazzles audiences with a kaleidoscope of sights and sounds. Prince Pippin, son of Charlemagne, embarks upon a quest for true fulfilment, seeking his own ‘corner of the sky’. He relishes the glories of the battlefield, savours the temptations of the flesh and embroils himself in political intrigues. But neither war, sex, revolution nor domesticity can satisfy him – or so he thinks! Stephen Schwartz’s energetic pop-influenced score bursts with one show-stopping number after another, from soaring ballads to infectious dance numbers. Cynical & poetic at the same time, PIPPIN is a sharp and insightful
look at the struggle of every person’s journey to find contentment in life.
of Pippin with a more seductive role for a female Leading Player (played by Emma Paull).
Directed by Gavin Leahy with musical director Dean Turner and choreographer Kira Nelson, the production stars Emma Paull as The Leading Player, Rory Chatterton as Pippin, James Jonathon as Lewis, Garth Saville as Charles, Jennifer Parbery as Catherine, Melissa Lammers as Fastrada, Robyn Lassman as Berthe and 11-year-old Daniel Simpson as Theo.
“The story of following a ‘leader’ on a path to self-fulfilment is very relevant today,” says Leahy. “So is the balance between theatricality and reality in this age of celebrity obsession and so-called ‘reality’ TV. What is real? What is truly valuable? And who or what is worth following?”
Nicole Butler, Lisa Eastman, Joanne Furnari, Tyler Hoggard, Ellie McAdams, Temujin Tera, Stephanie Westbrook, James Swain and Tim Wotherspoon are the Players. Director Leahy says this is a very ‘playful’, less cynical rendering
Miranda Musical Society presents PIPPIN, by Stephen Schwartz, book by Roger E Hirson Sutherland Memorial School of Arts, East Parade Sutherland 15-24 June - Wed, Fri, Sat 8pm Sat and Sun 2pm Tickets $30 / $25 concession Bookings (02) 8814 5825 www.mirandamusicalsociety.com.au
Performances at the Sutherland Memorial Friday June 15th, Saturday 16th, Wednesday 20th, Friday 22nd, Saturday 23rd at 8pm, plus 2pm matinees on Saturdays 16th & 23rd, Sundays 17th & 24th at 2pm
Media: For more information, cast details, images, interviews etc, contact Geoff Sirmai, Watchdog Communications t: 9345 0360 m: 0412 669 272 or e: geoff@watchdog.com.au
The
Dean
Having taken time out of his hectic schedule as our newly-appointed Dean, Dr Karl Kramer chatted to Cameron Barnett about his experience, aspirations and how dangerous his jazz tuba skills are…
What was your experience with the Australian music scene before starting as Dean of the Sydney Con? Did it shape your decision to come here? To be perfectly honest, I wasn’t all that familiar with the Australian music scene, apart from a few isolated composers. I mean, I knew that Sydney’s a worldclass city, and I’d certainly heard that the Sydney Con was a world-class school, but I didn’t know the scene itself particular well. However, I’ve managed to fit in exploring and ‘checking out the scene’ since starting here as Dean. My decision to come here from the University of Illinois, where I’d been director of music for ten years, was shaped by my desire for a new challenge as well as having always wanted to live abroad. Basically, the timing was perfect, and timing is everything – as you’re no doubt aware!
that’s what i mean by the complete musician – someone who can walk out the door with a synthesis of skills that allow them to be successful in the real world.
Absolutely! You’ve been the director of a number of music institutions – any outside of the U.S.A? None, apart from Miami (laughs) - that’s an American in-joke…
In the same way that Australians might joke about Tasmania not being part of Australia? That’s it.
What are some of the most successful approaches that you’ve taken to keep things running smoothly in these institutions? I’ve found that if everyone keeps three things in mind, the place seems to run smoothly, and I constantly try to reinforce these. The main reason that we’re here is for the students; the second reason we’re here is for the school as a whole; and the third reason we’re here is for our own personal artistic agendas. We need to deal with students on an individual level because we’re human beings and we all have different needs and idiosyncrasies. However, we need to simultaneously keep in mind what’s best for the school as a whole – students,
The
Dean staff members and departments.
takes time.
You have been quoted in The Australian as saying that “students must aspire to be the complete musician”. Could you expand on that? What exactly do you mean by that?
Is it most classical music that you’ll be checking out, or...
What instrument do you play?
No, I’m very much into jazz, too – I’ll definitely be checking out some of the local jazz performances soon enough.
Clarinet.
Do you play much jazz on the tuba?
Well, if the only thing that you learnt after four years at this institution was to play the clarinet really well, we would have failed you. However, if you could walk out of here after four years and know how to play jazz, play classical music, have great ears, know what the business is like out there and have the courage to think about things that you mightn’t have thought about doing before, then that would be succeeding. That’s what I mean by the complete musician – someone who can walk out the door with a synthesis of skills that allow them to be successful in the real world. But don’t get me wrong – if you don’t develop into a technically stellar instrumentalist, we would have failed you too. It’s not enough to play the clarinet really well, but you do need to be able to play it really well.
A little bit… not a ton, but enough to be dangerous.
Lastly, as both a Dean and a musician, is there anything you’re particularly looking forward to this year? Experiencing all of the students and faculty groups here, checking out the opera, lots of things – it all takes time, though. As a child of the 70s, I love instant gratification, but I recognise that it all
A.N.U
continued
In the last Conversation, I wrote about the planned changes to the ANU School of Music, the most drastic of which were the removal of one-on-one lessons and harmony lectures, along with many staff redundancies. These were apparently made up for by tutelage via video link from major American institutions (namely the Manhattan School of Music). The reason cited in the press was that the ANU was in deficit by $2.7 million dollars annually, and the cuts would allow the university to absolve around $1.3 million of that debt.
In my article, I cited influential director Ernest Llewellyn, who always ensured that he had high-level staff and maintained strong focus on the training of individuals in performance. Alongside this, he also developed the Canberra-based National Symphony Orchestra (established in 1950) and used the music school as a feeding-pool into the orchestra. The removal of vital aspects to this music school (teachers and lessons) seemed to be taking the institution, and also more widely Canberra’s music scene, down a path of destruction.
the removal of vital aspects to this music school seemed to be taking the institution, and also more widely anberra’s music scene, down a path of destruction.
Since our last print, many things have happened. On May 13, the students of ANU began a 24-hour ‘Protest Jam’, which was a marathon musical concert, streamed live.This was followed by a march through the University. Soon after, it emerged that the School of Music Foundation Board had not been informed about the cuts before they were announced, which had caused them great concern. Apparently, last time the music school was in financial trouble, the board was informed and the
c
A.N.U
continued
Foundation helped to fix the problem. A former chairman, Chris Peters, who is the ACT Chamber of Commerce chief executive, resigned from the board upon hearing the changes, and suggested that the University of Canberra take over from ANU. Soon after that, Arts Minister Joy Burch met with the ANU to discuss the funding it currently gives the School of Music and Canberra Symphony Orchestra (CSO), and how that will need to be addressed. Currently, there is funding for outreach ventures and so forth, which may not be possible if other opportunities are closed. On May 15, ABC published an article stating that the ANU had backed away from plans to cut 32 staff positions at the school, and ‘instead agreed to union demands to use traditional redundancy provisions.’ This basically means that ANU changed the wording of their proposal slightly, but that the job losses themselves are still certainly happening.
lt almost seems like the problem is becoming more tangled and confusing.
the school’s financial future through long-term fundraising and an application for higher government funding for the CSO. This was viewed through an ABC video link from an ACT news story, but I have struggled to find any more evidence of this being assured: on May 25, the ANU Council went ahead with their overhaul discussion meeting, despite such strong community protest. And, as seen on May 28, the Manhattan School of Music’s Vice President for Academics and Performance, Marjorie Merryman, wrote a letter addressed to her colleagues informing them that the ANU’s use of the MSM name was not allowed, agreed upon or perhaps even discussed: the MSM does not support these measures at all. Merryman also wrote to Ian Young, saying: 1. We have had no knowledge of any restructuring at ANU; it was never discussed with us. 2. We do not agree with their idea as an educational model; we support one-on-one live studio teaching. 3. Educationally and philosophically, we could not endorse ANU’s new model for college-level music study. 4. We have no arrangement with ANU to provide the services they describe. 5.We strongly object to being associated with a plan that would eliminate faculty positions.
On May 18, the ACT chamber of commerce offered to throw the ANU a lifeline to help secure
6. We strongly object to our name being used or to any implication that we endorse this restructuring.
Apparently Ian Young assured Merryman and the MSM that their name had not been used: but one simply needs to listen to the press conference to discover that that is not true. Well, this is the update on the progress in the last two weeks. It does not provide any sort of conclusions to us. It almost seems like the problem is becoming more tangled and confusing. Can the ANU survive this? Charlotte Fetherston
References: All ABC articles and media from: http://www.abc.net.au/news/topic/australian-national-university-0200, MSM letter by Merryman from: http://the-riotact.com/manhattan-school-of-music-unleashes-the-truth-of-anu-school-of-music-plans/73757
chance
take a
G
orgeous Gamba Girl, Alice Chance, wished me luck in writing this article saying “there’s nothing interesting about me” - she is doing an Arts degree combining philosophy, and music studies in composition. However, she has always taken an interest in film making. According to Alice, you have to be a very patient person to be seriously into film making, and the fiendish HSC caused her to hate it, as it became “such torment.” She converted her prior love for film into a long term relationship with music, specifically composition. This all began in her year 11 choir days. Alice now considers herself a “Passionate Chorister”
despite her quite horrific adventure with chamber choir in Spain. She was overcome by a sickness caught off her right-hand-woman, Hannah Buckley [pictured right], who was hospitalized.Alice now has a “permanent stomach problem,” but still thoroughly enjoyed her travels and music remains a highly valued aspect of her life. This could be because of the phrase she lives by – “It’s all good,” which she “says all the time, even when it’s not true.” Her compositional and song writing endeavours have always been an “outside pleasure”, and she is “interested in combining music with words.” The first song she ever wrote was a love dedication to
the beautiful Andrew Hanson, from The Chaser’s War on Everything. “Oh Andrew” is a tender tune in D minor, beginning: “I see you every Wednesday night, but you can’t see me – You’re just a picture on a screen.” Another flashback of Alice’s eleven-year-old self comes with the poem dedicated to aforementioned Hannah Buckley. Fondly, she remembers the first line and recites: “Ever since the day I met her, everything I could do, she could do better.” Generally, Alice enjoys writing poems and has a fascination for puns, which hold an important part in her life, poetry and Aural Perception homework.
because “it’s just great” and now says “I consider walking between campuses a sport”, along with taking the stairs instead of escalators and various other strenuous activities. So, what’s next for Alice Chance? She’s a part of Aurora Australis, a woman’s barbershop choir that recently came third in a competition in Canberra, and the USYD madrigal society. The Australian Youth Choir is singing one of her compositions in November, and on Christmas she’ll be singing in Carols on Norton. There is also the wonderful first year’s composition performance night onWednesday the 30th of May at 6pm, entitled “Dal Niente”. Mary Osborn
she converted her
prior love for film into a long term relationship with music, specifically composition. Alice is inspired greatly by Nigel Westlake, South Park, Chris Lilley and The Chaser’s War on Everything. On top of this are her muses in life: her two dogs Millie and Pompom who “are like little ugg boots”, her “famjam” and friends, specifically Hannah Buckley. This inspiration sadly doesn’t translate into Alice’s physical health. She used to do Zumba
NWWE Claims Fourth Australian Title C
ASTLE HILL, NSW (April 17, 2012) - The Castle Hill RSL North West Wind Ensemble (NWWE) has returned from the National Band Championships in Melbourne with more silverware, bringing home the Prime Minister’s Trophy for the fourth time in its short nine year history. Performing for 50 minutes, the ensemble presented four pieces:Ave Maria,Concerto for Band,Florentiner March and Music of the Spheres – an A Grade brass band work composed in 2004 which has since been transcribed for wind ensemble.
“The amazing musical performance after months of dedicated rehearsal and extraordinary commitment was very rewarding,” said Musical Director and Kellyville resident, Mr James Brice, immensely proud of the 50 piece NWWE. Established in 2003, the Castle Hill RSL North West Wind Ensemble is a community wind band based in Sydney’s Hills District. Formed by graduated members of the Castle Hill RSL Youth Wind Orchestra who wished to continue playing music of the highest standard, NWWE attracts musicians from across Sydney.
Competing against three other A Grade Concert Bands over the Easter long weekend, Australia’s premier community wind band scored 493/500, the highest total by any wind band in Australian Championship history.
www.nwwe.info
Esteemed adjudicator Mr Graham Lloyd, also composer of the test piece, singled out the performance as being the only one that “got it,” adding that the complete program was “absolutely stunning.”
Email: events@nwwe.org
facebook.com/northwestwinds Contact: Denbigh Morris
what’s at the con 6 June @ 1.10pm - 2.00pm Lunchbreak Concert - Conservatorium High School Students from the Conservatorium High School perform a 50-minute lunchtime concert.
6 June @ 4.00pm - 5.00pm Musicology Colloquium Series - Anna Reid - “Creativity, Creation and Contrasts – actions and perceptions” Musicians, and others, have implicit understandings of the role of creative thinking and activity for their practice. For some a person is deemed creative, for others it is a product that is so deemed, and for others it is the process through which the product is formed.
what’s at the con
6 June @ 6.00pm - 8.00pm Dal Niente: A concert of new works by first year composers Dal Niente is a concert 22 new works by first year composition students, for various instruments and forms of stylistic writing. Works are performed by Con students of different backgrounds.
7 June @ 6.00pm - 8.00pm Postgraduate Conducting Recital SCM Chamber Orchestra -- Music of Beethoven and Haydn, Jacky Wong and Edward McKnight, conductors
9 June @ 4.00pm - 5.30pm Conductors’ Series - Early Music Ensemble SCM Early Music Ensemble; Neal Peres Da Costa, director -- Music of Bach
13 June @ 1.10pm - 2.00pm Lunchbreak Concert - Conservatorium High School Students from the Conservatorium High School perform a 50-minute lunchtime concert.
16 June @ 11.00am - 12.00pm Conservatorium Open Academy – Rising Stars Our gifted Rising Stars students present works they have been preparing with their teachers. The concerts feature a broad range of instruments and children are particularly welcome to attend.
20 June @ 1.10pm - 2.00pm Lunchbreak Concert - Conservatorium High School Students from the Conservatorium High School perform a 50-minute lunchtime concert.
23 June @ 11.00am - 12.00pm Conservatorium Open Academy – Rising Stars Our gifted Rising Stars students present works they have been preparing with their teachers. The concerts feature a broad range of instruments and children are particularly welcome to attend.
27 June @ 6.30pm - 7.30pm Alumni & Student Performance Series - Sydney’s Indigenous music and the Stuart & Sons piano Kevin Hunt, piano -- Program to be advised.
(on back page)
across 3. Johann who pioneered the symphonic four-movement form (7) 8. Organist Charles-Marie who wrote ten ‘Organ Symphonies’ (5)
32. Matteo most famous for his guitar etudes (8) 39. Jacques who wrote ‘The Tales of Hoffmann’ (9)
ry Widow’ (5) 70. George who wrote two ‘Romanian Rhapsodies’ (6) 72. Robert, or Clara (8)
42. Nikolai who was a member of The Five (6-8)
11. Havergal who wrote 32 symphonies (5)
73. Friedrich nicknamed the ‘Beethoven of the flute’ (6)
44. Erik who wrote the ‘Gymnopedies’ and ‘Gnossiennes’ (5)
74. Richard, or Johann, even (7)
13. Last name of two unrelated French vocal composers(11)
45. Cesar who was a member of the ‘Mighty Handful’ (3)
14. Famed Florent whose ‘Salome’ inspired Stravinsky’s ‘Sacre’ (7)
46. Catalan Spanish pianist-composer, Federico _____ (6)
16. Anton who inspired variations by 36 down (8)
48. Australian Percy who wrote ‘Country Gardens’ (8)
18. Composer-Cellist Luigi _____, most known for his Cello Concerto (10)
50. Russian composer who wrote a song cycle on poems by Baudelaire (11)
19. Polish Frederic, a frequent choice of pianists (6)
51. Girolamo who wrote the earliest variations on an original theme (11)
20. Leopold who wrote studies on etudes by 19 across (8) 22. Operatic composer who wrote ‘Manon Lescaut’, Daniel _____ (5) 23. Anton whose Opus 1 Passacaglia is unrepresentative of his later style (6) 24. Franz, or Ferenc, who developed the symphonic poem (5) 25. Charles who wrote ‘The Unanswered Question’ (4) 27. Jacques who wrote an orchestral ‘Divertissement’ (5) 31. Pianist-Composer who is most known for his piano sonatas and ‘Skazki’, Nikolai _____ (7)
52.Thomas, or his son Michael (4) 53. His most famous work is the ‘New World’ symphony (6) 58. Gioachino who wrote ‘Guillaume Tell’ (7) 60. Russian composer and chemist who wrote ‘Prince Igor’ (7) 61. Pietro who composed ‘Cavalleria rusticate’ (8) 63. ‘English impressionist’ John _____ (7) 66. English Samuel often confused with a similarly named author (96) 69. Franz, composer of ‘The Mer-
75. Cyril who wrote a tone poem on the sinking of the Titanic (5) 76. Nikolai who wrote 27 symphonies (10) 79. Ferruccio who wrote the ‘Fantasia Contrappuntistica’ (6) 81. Irish composer who originated the nocturne, John _____ (5) 84. Frederick who composed ‘A Song of Summer’ via an amanuensis (6) 85. Czech musical family including Franz and Georg (5) 86. Luigi who was well-regarded by Beethoven (9) 88. Anatoly who wrote ‘The Enchanted Lake’ (6) 89. Composer of the ‘Ritual Fire Dance’, Manuel de ___ (5) 90. Viennese Hugo who wrote many lieder (4) 91. Renaissance Guillaume who composed music for keyboard (8) 92. Johannes who wrote the ‘Missa prolationum’ (8) 93. Dieterich whose oratorios inspired Bach (9)
down 1. Visionary composer most known for her ‘Ordo Virtutum’ (10)
gero _____ (11)
his ‘Hebrew Melody’ (6)
30. Virtuoso pianist-composer, Carl _____ (6)
59. Bedrich who composed ‘Ma vlast’ (7)
2. Antonio who wrote the ‘Four Seasons’ (7)
33. Bohuslav who wrote a choral ‘Epic of Gilgamesh’ (7)
4. English composer and church musician, Thomas _____ (6)
34. German composer who invented the violin chin rest, Louis ____ (5)
62. Russian Alexander whose last work is a Saxophone Concerto, then rare (8)
5. Cecile whose most popular piece is the Flute Concertino (9) 6. Scott who composed ‘The Entertainer’ (6)
35. American Amy who wrote the opera ‘Cabildo’ (5)
65. American Edward who wrote the ‘Woodland Sketches’ (9)
36. Ludwig Van himself (9)
67. Late Renaissance composermurderer (8)
7. Georg Frideric who wrote ‘Messiah’ (6)
37. Edouard who wrote the ‘Symphonie espagnole’ (4)
9. Alexander who is most known for his opera, ‘The Stone Guest’ (12)
38. Ralph whose style is considered ‘characteristically English’ (7, 7)
10. Ottorino most known for his ‘Roman trilogy’ (8)
40. Cesar whose Symphony in D minor is his only effort in the genre (6)
12. Jean-Philippe who wrote an early ‘Treatise on Harmony’ (6) 13. Austrian pianist-composer now most known for his etudes, Carl ______ (6) 15. Spanish composer-guitarist Francisco ______ (7) 17. English York who wrote four Piano Concertos (5) 21. Austrian Felix who wrote seven Symphonies (11) 26. Guiseppe whose ‘Requiem’ was recently performed at the Con (5)
64. Danish Carl who wrote a ubiquitous Wind Quintet (7)
41. Composer of ‘Hansel und Gretel’, also evidently not a Eurovision favourite (11) 43. John Philip who wrote many marches (5) 47. Sergei who composed ‘Peter and the Wolf’ (9) 49. Carl most known for his ‘Undine’ flute sonata (8) 54. Hungarian Leopold who was a famed violinist and teacher (4) 55. Gaetano who wrote ‘Don Pasquale’ (9)
28. Most famed composer of the ars antiqua style (7)
56. Arcangelo whose concerti grossi are popular (7)
29. Composer of ‘Pagliacci’, Rug-
57. Joseph who is well-known for
68. Danish composer of ‘Drot og Marsk’, Peter Arnold ____ (5) 71. Johann who inspired Schumann and Chopin (6) 73. Hungarian Zoltan who created an eponymous Method, (6) 77. Erich today most known for his soundtracks (8) 78. Reynaldo most known for his songs (4) 79. Bela who wrote the ‘Music for Strings, Percussion and Celesta’ (6) 80. Czech Jan who extended the size of the piano (6) 82. Wolfgang Amadeus, or, alternatively, Leopold (6) 83. Joachim who composed the ‘Lenore’ Symphony (4) 87. Alban who ‘Wozzeck’ (4)
composed