Conservatorium Wind Orchestra presents
Winds Friday 13 May 2022 7.30 pm
Change
Conducted by Peter Morris In collaboration with Composition, Music Technology and Acting students and guests from the Young Conservatorium.
queenslandconservatorium.com.au
PROGRAM Young Conservatorium Wind Orchestra
Conservatorium Wind Orchestra
Erika Svanoe Haunted Carousel
Joseph Schwantner And the Mountains Rising Nowhere
Eric Whitacre Goodnight Moon
Catherine Likhuta Home Away from Home
Michael Markowski Midnight on a Moonless Night
Bachelor of Acting Students
Conducted by Stefanie Smith
Conducted by Peter Morris
WW Jacobs The Monkey’s Paw A new version by Jacqui Somerville
Bachelor of Acting Students Jake Lofven Sophie’s Turn A new version by Jacqui Somerville
Conservatorium Wind Orchestra
Conservatorium Saxophone Ensemble
Conducted by Peter Morris Andrew David Perkins Horror Vacui*
Joel Love Three Images for Sax Octet (ii. The Golden Hour & iii. Bed Monsters)
*Australian Premiere Performance
Combined Young Conservatorium and Conservatorium Wind Orchestras
Conducted by Peter Morris John Barnes Chance Incantation and Dance Interval
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FROM THE PODIUM It is with great excitement that I welcome you to tonight’s Winds of Change concert… a concert series re-imagining what one might expect from a typical evening at the concert hall. It’s Friday the 13th, and there’s certainly a spooky and slightly sinister excitement the air. Luckily, we’re joined tonight by a supernatural team of collaborators, ensuring we make it through (mostly) unscathed… I welcome back the students in the Young Conservatorium Wind Orchestra, and conductor Stefanie Smith, for our seventh annual combined concert event. This collaboration has proven to be a tremendous success, with ongoing benefits to students, parents, educators, the Conservatorium and the wider community. Also joining us are a mighty troop of third-year Bachelor of Acting students, and their fearless leader, Jacqui Somerville, who graciously accepted my offer to join us for some suspenseful thrills and chills. The actors have collaborated with a team of Composition and Creative Music Technology students who have enhanced the performances with original music and sound design. Change is in the wind, and on behalf of everyone involved, thank you for coming along for the wild ride! Associate Professor Peter Morris
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PROGRAM NOTES Erika Svanoe
Haunted Carousel (2014) Program notes by Stefanie Smith The Haunted Carousel was conceived as a piece for band utilising the sound of a theremin, an electronic instrument often used in old science fiction and horror movies. It reminds me of a 1950’s film with a girl sitting on an old, rundown carousel that suddenly turns on and eventually she spins to her death—“She fell off the carousel”. Our performance will feature students from the Young Conservatorium Music Technology class on theremin.
Eric Whitacre
Goodnight Moon (2012) Featuring Jolanta Kudra Program notes by Stefanie Smith
Goodnight Moon is an American children’s picture book written by Margaret Wise Brown and illustrated by Clement Hurd. It was published on 3 September 1947 and is a highly acclaimed example of a bedtime story. This is a beautiful book we have read in our house since our daughter was a baby and we now read it to our son. They also adore Whitacre’s choral arrangement at bedtime and I am sure they will enjoy tonight’s performance featuring Jolanta Kidra, a Classical Voice student at the Queensland Conservatorium.
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Michael Markowski
Midnight on a Moonless Night (2012) Program notes by composer Midnight on a Moonless Night might be best described as music to a dark, Lynchian film with the spirit of adventure and mystery found in John Barry’s James Bond scores or classic 1950s film noir. The musical landscape is a stark black and white; jazz clichés confused with swung and straight time, chromatic walking bass lines that walk in circles, major chords perched on top of minor chords, double-time fighting with common-time, and even some femme fatale flutes all help to define the world in an abstract, seductive and contradictory way. If David Lynch ever choreographed a ballet in a small red room, I hope this would be the music accompanying it.
Jake Lofven
Sophie’s Turn (2017) A new version by Jacqui Somerville Before she can join the cool girls, sweet little Sophie must sacrifice a piece of herself to a mysterious demonic force in the woods. Jacqui Somerville’s live adaptation of the 2017 short film brings all the horror of the original to the stage.
John Barnes Chance
Incantation and Dance (1960) Program notes by Band Music Notes Incantation and Dance by John Barnes Chance has stood the test of time as one of the masterpieces of concert band literature. The title of this piece suggests a religious orientation, but not towards any of the established religions of Western or Eastern culture. Incantations are uttered in rituals of magic, demonic rites, the conjuring up of spirits evil and benign. And when the spirit comes and the worshipper is possessed, there is dancing wild and abandoned. The Incantation, full of mystery and expectation, serves as a formal introduction. The Dance also begins quietly but grows wilder and more frenzied finally reaching a shattering climax of exultation.
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Joseph Schwantner
And the Mountains Rising Nowhere (1977) Program notes by composer And The Mountains Rising Nowhere (1977) draws its title and inspiration from a line in a poem written by my friend, poet, and writer Carol Adler: SEPIA MOONBEAMS AN AFTERNOON SUN BLANKED BY RAIN AND THE MOUNTAINS RISING NOWHERE THE SOUND RETURNS THE SOUND AND THE SILENCE CHIMES While the work is not specifically programmatic, the poem nevertheless acted as the creative impetus for the composition and provided, for me, an enigmatic, complex, and powerful imagery creating a wellspring of musical ideas and feelings in sympathetic resonance with the poem. The instrumentalists of the wind ensemble, besides playing in a traditional manner, are also required to sing and whistle, plus play glass crystals, water-gongs, bow antique cymbals, vibraphones, and tam-tams, among other instruments and techniques.
Joel Love
Three Images for Sax Octet (ii. The Golden Hour & iii. Bed Monsters) (2016) Program notes by composer These three movements all explore their own sound worlds. The Golden Hour is a meditation on the image of the sun setting (or rising). In photography, the term “the golden hour” refers to the time just before and after sunrise/sunset, during which daylight is reddish and soft. The final movement, Bed Monsters is an unbridled rondo that is evocative of someone or something being chased by a predator.
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Catherine Likhuta
Home Away From Home (2019) Program notes by composer Catherine Likhuta is a Ukrainian-Australian composer, pianist and recording artist based in Brisbane, Australia. Her music exhibits high emotional charge, programmatic nature, rhythmic complexity and Ukrainian folk elements. Home Away from Home was commissioned for the Columbia University Wind Ensemble. I started thinking about the university freshmen students for whom I was writing the piece, who just left their parents’ nest and were finding their home away from home and their new life and community on campus. It is an exciting yet emotional time for them, and I wanted to reflect that in the piece. The opening section of the work represents the initial excitement associated with the new beginning. The melancholic section that follows is a moment of reflection, inspired by the experience of visiting a house where your loved ones used to live, for the first time after they are gone. The next section is desperate and determined, building the tension and bringing the listener to the gutsy climax inspired by Ukrainian folk music, before returning to the original youthful, optimistic and funky opening material.
WW Jacobs
The Monkey’s Paw (1902) A new version by Jacqui Somerville The Monkey’s Paw is a horror short story by author W. W. Jacobs, first published in England in the collection The Lady of the Barge in 1902. In the story, three wishes are granted to the owner of The Monkey’s Paw, but the wishes come with an enormous price for interfering with fate. Jacqui Somerville’s new version of the original story brings a haunting live-action thrill to the stage.
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Andrew David Perkins Horror Vacui (2020)
Program notes by composer The Latin ‘horror vacui’ (fear of empty spaces) is a concept that has been expressed in visual art as the filling of the entire surface of a space or a work with detail. In physics, horror vacui reflects Aristotle’s idea that “nature abhors a vacuum”. Horror Vacui for concert band interprets the concept both literally and conceptually; with dense, busy orchestration, and as a metaphor for the fear of isolation and death. Stylistically, the work alludes to the many classic sci-fi and horror film scores of mid-century American cinema, the subjects of which were often aliens, vampires, werewolves, ghosts, monsters, zombies, and demons. The melodramatic and absurd aesthetic of these films made them both terrifying, yet comical, giving the audience an experience that was both horrific and laughable.
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Conservatorium Wind Orchestra Peter Morris, conductor Piccolo
Braden Simm*
Flute 1
Vittoria von Caemmerer* Aaryn Wong Bonnie Gibson
Flute 2
Sophie Schafer* Neve Randall
Oboe
Liam Robinson* Tina Gallo Joshua Cass
Bassoon
Henry Stone* Layni Cameron Sam Battock Chris Buckley
Contrabassoon Layni Cameron*
Clarinet 1
Josh Rosen* Hinata Nishimura Libby Prentice Thom Fletcher
Key:
Clarinet 2
Trumpet 1
Kristina Newton* Tom Cunningham Amy Kubler
Cooper Williams* Tennyson Hall
Trumpet 2
Clarinet 3
Trombone
Alto Saxophone 1
Tate Cassels* Todd Markham Jay Ghodke William Pipe
Catherine Edwards*
Bass Clarinet
Lewis Blanchard*
Bass Trombone
Contrabass Clarinet
Ethan Parfoot*
Nathanael Duffy*
String Bass
Sophia Buchanan
Piano
Phuong Do* French Horn Jude Austen Kaupe Alec Berg Emma Rolfe Hannah Waterfall
Tuba
Daniel Kirakovski* Jack Gawith-Waling
Euphonium
Riley Mansfield* Jacob Carter
*Section leader 9
Percussion
Callum Heard* Melissa Davies
Trumpet 3
Alto/Contra Alto Clarinet
Dara Williams* Aidan Carey* Emma Skegg Connor Dinneen Matthew Conway Jess Postle Steven Bryer Andrew Udal
Emma Enright* Rachel Redlich
Josephine Daniels* Hugo Anaya Partida Hamish Cassidy Angus Hall
Timpani
Sean Thompson* Abbey Schumacher*
Alto Saxophone 2 Claire Challender* Isaac Reed*
Tenor Saxophone Ryan Park* Emily Booii*
Baritone Saxophone Nina Lane* Ryan Taylor*
Conservatorium Wind Orchestra (continued) Associate Professor Peter Morris Conductor
Associate Professor Peter Morris is Head of Ensembles and Deputy Director (Engagement) at the Queensland Conservatorium Griffith University, in addition to leading the orchestral conducting program. He regularly conducts the Conservatorium Wind Orchestra, Symphony Orchestra, Musical Theatre pit orchestras and other interesting ensemble projects that arise. Prior to immigrating to Australia in 2002, Peter performed in the US and internationally on trumpet and as a conductor in a wide variety of genres, from Baroque orchestras to commercial session work in Los Angeles for film and television. Over the past 20 years in Australia, he has worked across a wide variety of modes, from primary, secondary, tertiary, community and professional settings. Peter is an advocate for commissioning new works and re-imagining existing musical structures and has an enthusiasm for exploring exciting collaborations to create performances that matter.
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Young Conservatorium Wind Orchestra Piccolo
~Keisha Neale*
Flute
~Nathan Smith* Matthew Ilii Thomas Mallet Grace Jin Gloria Shen+ Aurora Salmon Poppy Kidd Jaehee Lee
Oboe
B flat Clarinet
~Bianca Cassiano^* Yilin Zeng Jan Rybka Kairyo Searle ~Hannah Schwantes+ Isabel Airlie Jethro Caitens Paris Hill Katrina Wan+ Andy Luong Liora Vunderink Ashleigh Rasenberger
Elliott Cardinal * Liam Robinson =
Alto Clarinet
Bassoon
Bass Clarinet
~Val Yip*
E flat Soprano Clarinet
Monica Harrison*
Alto Saxophone Miles Le Goullon* Anthan Mai Fiona Espiner+ Abby Simons
Tenor Saxophone Harmony Parker* Alexis Parrish
Baritone Saxophone
~Nicholas Massouras* Stella Tomkins
Contrabass Clarinet
~Emily Beutel*
Key:
^Concertmaster
*Section leader
+Part leader 11
Claire Darmadjaja* Isabella Bartley
Tuba
Trumpet
Double Bass
~Dylan Jones* Jacob Duncan Flynn Gardiner Hannah Waterfall =
Angus Bryer*
Euphonium
~Abby Holmes*
French Horn
Soprano Saxophone
Annalize de Wet* ~Dana Day* Abby Patterson
~Nicholas Ironside* Cadence Ivers ~Joshua Sephton
~Andrew Schwantes* ~Mitchell Stewart Brandon Ivers Joseph Rorke+ ~Ethan Kircher Robert Coles+ Conrad Voss Emma Hobson
Bridie Brunckhorst*
Trombone
=QCGU guest player
Jessica Clarke*
Percussion
Ethan Lin* Sarah Darmadjaja* Zachary Chan ~Grant Dolbel Caelen Quint Mark Stewart Sana Rane
Piano
Therese Daley =
~Incantation and Dance
Young Conservatorium Wind Orchestra (continued) Stefanie Smith Conductor
Stefanie Smith is a Freelance conductor and educator based in Brisbane where she works regularly with Queensland Symphony Orchestra undertaking a broad range of duties, Brisbane Philharmonic Orchestra and Brisbane Symphony Orchestra as well as other ensembles across the state. Stefanie has acted as assistant conductor for the Opera Beatrice and Benedict and as a sessional academic at the Queensland Conservatorium Griffith University where she assists with conducting duties with the Symphony Orchestra and Wind Orchestra and teaches the undergraduate conducting courses. She is the founder and conductor of the ensemble Consorte Eclettica, which supports emerging local artists in South-East Queensland, premiering and performing chamber orchestra works in collaboration with other art forms. She is also the Young Conservatorium Ensemble Coordinator where she conducts the Symphony Orchestra, Wind Orchestra, and Woodwind Ensemble and teaches Chamber Music.
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Bachelor of Acting students Goodnight Moon Stella Petersen, Tyrone Crowe Midnight on a Moonless Night Ethan Waters, Tyrone Crowe, Isabelle Berlese Sophie’s Turn (based on the short film by Jake Löfvén) Sophie—Ruby Michelle—Elle Katie—Georgia The Monkey’s Paw by W W Jacobs (a new version by Jacqui Somerville) Mr White—Brendan Kater Mrs White—Stella Peterson Herbert—Tyrone Crowe Serjeant-Major Morris—Alex Swanston Miss Sampson—Isabella Berlese Special thanks to Conservatorium Creative Music Technology and Composition students and teachers for their collaboration with the Bachelor of Acting students, providing sound effects and scoring for the short plays. Creative Music Technology Dr John Ferguson, Head of Creative Music Technology Matt Sorenson, Academic Joseph Cross, Olivia Gadenne, Luka Ison, William Nye and Justine Reabow - CMT students Composition Dr Gerardo Dirie, Head of Composition Zachary Miezio, student composer Lighting Design Keith Clark
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Bachelor of Acting students (continued) Jacqui Somerville Director
Jacqui is the Program Director for the Bachelor of Acting at QCGU. She has previously worked as an actor, theatre director, writer and producer for more than twenty years in the UK before coming to Brisbane. Jacqui has led educational projects for Royal Shakespeare Company, Out of Joint, Royal Court, Shakespeare’s Globe, Oxford Stage Company, Headlong and has taught and directed at RADA, East 15, Guildford, Bretton Hall, LIPA and Rose Bruford College. Jacqui joined QCGU from Mountview Academy of Theatre Arts, London, where she was the Head of Postgraduate Studies and Head of Acting & Musical Theatre. Her other positions held include Associate Director at Donmar Warehouse London with Declan Donnellan; Resident Assistant Director at the RSC (working closely with Cicely Berry and John Barton).
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SPECIAL THANKS Special thanks to Queensland Conservatorium supporters and donors. Philanthropy plays a vital role at Queensland Conservatorium. Only through your support can our students experience valuable learning opportunities through productions such as this one. To invest in the future of music and performance in Queensland, contact us on +61 (0)7 5552 7218 or email giving@griffith.edu.au. Queensland Conservatorium thanks our generous donors and supporters. We would like to acknowledge our instrument bank donors supporting the students in tonight’s performance.
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Queensland Conservatorium Director | Professor Bernard Lanskey
Queensland Conservatorium Griffith University
Deputy Director (Engagement) | Associate Professor Peter Morris
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Deputy Director (Research) | Dr Alexis Kallio
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Operations Administrator | Clare Wharton
Queensland Conservatorium Griffith University acknowledges the Traditional Custodians of the lands on which we work, and pays respect to the Elders past, present and emerging.
Ensembles Administrator | Daniel Fossi Technical Officers | Keith Clark, Amy Hauser, Len McPherson Venue Officer | Alexander Penca
Correct at time of print.
CRICOS No. 00233E