Autumn–Winter 2023

Photo: Dylan Henderson

UKARIA honours our First Nations by fostering a shared sense of respect for this land, and we acknowledge and pay our respects to the Peramangk, traditional custodians of the land on which the Cultural Centre stands.

CALENDAR

Saturday 15 April

Chris Stout

Catriona McKay

James Crabb

Saturday 6 May

Meow Meow

Paul Grabowsky

Saturday 13–Sunday 14 May

Schumann Quartett

Saturday 27 May

The Necks

Sunday 28 May

Natsuko Yoshimoto

Umberto Clerici

Daniel de Borah

Saturday 3–Sunday 4 June

Australian Chamber Orchestra

Saturday 1 July

Jo Lawry

Sam Anning

Ben Vanderwal

Sunday 9 July

Li-Wei Qin

Kristian Chong

Sunday 16 July

Sjaella

Friday 28–Sunday 30 July

Musicians from the Leipzig Gewandhaus Orchestra

ANAM

WELCOME

It’s been wonderful to see the concert hall come alive again with the return of international artists and the recent launch of our new Steinway D-274 piano. This Autumn–Winter 2023 digital release takes us through to the end of July, supplementing our printed Early Release brochure with an additional seven concerts. You’ll find all the details of these inside this new brochure, along with a few previously announced concerts for which we still have tickets available.

A highlight of this release is the Leipzig-based a cappella ensemble Sjaella, who are coming to Australia for Hobart’s Festival of Voices. We’re also particularly excited to present the iconic Australian trio The Necks at UKARIA for the first time. Several of our most popular artists also make a welcome return, including James Crabb, Meow Meow, Paul Grabowsky, Natsuko Yoshimoto, Umberto Clerici, Daniel de Borah, Li-Wei Qin and Kristian Chong.

Tickets are still available for two of our major events this year: the Australian Chamber Orchestra’s inaugural UKARIA Festival (3–4 June) and The Relevance of Cultural Tradition – a monumental four-concert weekend (28–30 July) featuring musicians from the Leipzig Gewandhaus Orchestra and the Australian National Academy of Music, curated by Tahlia Petrosian. We do hope you can join us for these special performances.

Ulrike Klein AO Alison Beare Founder CEO

Photo: Randy Larcombe

AUTUMN

‘There’s blue in the sky, and there’s blue in the sea, And a blue mist is veiling the mountains from me. A blue wren is calling his mate from the bower, And there is the butterfly over the flower. There is gold in the sunshine and gold in the sand; And gold in the poppy I have in my hand.

The golden-red leaves lie thick-strewn on the mould, For Autumn has come with its blue and its gold.’

– Frida Allen Phillips, The Sydney Morning Herald

(26 May 1928)

Photo: Dylan Henderson

CHRIS STOUT AND CATRIONA MCKAY WITH JAMES CRABB

SATURDAY 15 APRIL 7.30PM

‘Stout’s tonal range and bow mastery […] and McKay’s sense of enquiry and harmonic strumming and shape-forming are as breathtaking as they are excitingly, gorgeously, emotionally satisfying.’

– The Scottish Herald

Awarded Best Duo at the BBC Folk Music Awards for their album Bare Knuckle in 2018, Chris Stout (Shetland fiddle) and Catriona McKay (Scottish harp) have performed, explored and sculpted their musical identities together for almost thirty years. Catriona was born in Dundee on the east coast of Scotland; Chris is from Fair Isle, one of the Shetland Islands. They’ve brought the traditional and contemporary into fruitful dialogue with folk, jazz and classical idioms, charting a rhythmic and harmonic terrain that is all their own. The result is a dynamic and intrepidly adventurous sound that transcends genre yet remains immovably tethered to place.

Alongside his career-defining performances of the music of Astor Piazzolla, transcriptions and newly written music for his chosen instrument, classical accordion virtuoso James Crabb (who was also born in Dundee) is internationally renowned for capturing the essence of ‘the Scottish sound’. Traditional folk tunes such as ‘Mary Scott, The Flower of Yarrow’ and ‘Cuckold Come Out of the Amrey’ are staples in James’s repertoire, often performed as encores. Leading contemporary

composer Sally Beamish’s concerto Seavaigers (2012) was co-created with Chris and Catriona; James’s haunting arrangement of this beautiful work (with Genevieve Lacey) appears on the celebrated ABC Classic album Heard This and Thought of You.

In April 2023 Chris and Catriona perform as a duo at the Melbourne Recital Centre and the Sydney Opera House, before their three-week tour of Australia culminates with a residency at UKARIA with James. They’ll craft new repertoire and arrangements together, before giving their first ever public performance as a trio. What better place to witness the birth of a new sound world and watch it set sail?

Photo: Kris Kesiak

Photo: Magnus Hastings

MEOW MEOW AND PAUL GRABOWSKY

SATURDAY 6 MAY 7.30PM

‘With her heroic auto-choreography and nailbiting flouting of generally accepted rules of engagement, Meow Meow’s performances are the stuff of legend. She is both cabaretiste and chanteuse, enchantress and clear-and-presentdanger, but these things are all but aspects of the great artist who inhabits this diva of controlled chaos. Meow is a wonderful singer, and her creatrix has an encyclopaedic knowledge of the many currents that inform her work. Together we will explore what makes a song into a great song, and how these songs define the many characters within the kaleidoscopic gestalt called Meow Meow.’

– Paul Grabowsky

TICKETS

Adult $65 | Concession $60

SCHUMANN QUARTETT

SATURDAY 13–SUNDAY 14 MAY

‘With no ifs or buts, the “Schumanns” are among the best quartets in the world’

– Süddeutsche Zeitung

Brothers Erik, Ken, and Mark Schumann, with Veit Hertenstein, are the Schumann Quartett. Their exhilarating performances have won international acclaim and their six albums have accrued awards from BBC Music Magazine, an Opus Klassik, and a Jahrespreis der deutschen Schallplattenkritik. This band of brothers have been the Quartet-in-Residence at Wigmore Hall, made guest appearances at festivals and concert series across Europe, and continue to tour extensively in the USA. As critics predicted, ‘the future belongs to them.’

They are in our region for performances in Singapore, and as this will be the only opportunity to hear the quartet in Australia, we have dedicated a weekend to them. Experience masterpieces of the repertoire with one of the great quartets of the world.

Erik Schumann

Violin

Ken Schumann

Violin

Veit Hertenstein

Viola

Alexey Stadler*

Cello

* Alexey is guest cellist for this tour so Mark Schumann can be with his family for the birth of his first child.

CONCERT ONE

SATURDAY 13 MAY 6.00PM

Wolfgang Amadeus Mozart

String Quartet No. 16 in E flat, K. 428

Charles Ives

String Quartet No. 1 From the Salvation Army

Felix Mendelssohn

String Quartet No. 4 in E minor, Op. 44 No. 2

POST-CONCERT DINNER 8.00PM

CONCERT TWO

SUNDAY 14 MAY 2.30PM

Robert Schumann

String Quartet No. 1 in A minor, Op. 41

Leoš Janáček

String Quartet No. 1 Kreutzer Sonata

Johannes Brahms

String Quartet No. 3 in B flat, Op. 67

TICKETS

Weekend Package (2 concerts and dinner)

Adult $197 | Concession $188

Individual Concerts

Adult $65 | Concession $60 | Student $35

Post-Concert Dinner | $80

Complimentary afternoon tea served during interval on Sunday only

Photo: Harald Hoffmann

THE NECKS

SATURDAY 27 MAY 7.30PM

‘[The Necks] are sometimes categorised as a jazz trio – which is fine as long as this is immediately qualified by adding that they’ve completely reconceived the idea of the jazz trio.’

– Geoff Dyer, Working the Room

Named ‘one of the greatest bands in the world’ by the New York Times and ‘one of the most important bands Australia has ever produced’ by Rolling Stone Australia, The Necks have been an evergreen mainstay of the contemporary music scene for over thirty-five years. Credited with creating ‘a new genre – let’s call it “textural jazz”’ – by The Australian, this trio build their musical structures from the ground up afresh in every show, brick by sonic brick.

They’ve improvised with a symphony orchestra down a Polish salt mine, performed a double bill with the Art Ensemble of Chicago, received the Richard Gill Award for Distinguished Services to Australian Music, opened for Nick Cave, played on album releases by Underworld and Swans, and performed in a Finnish church carved out of solid rock. Their unpremeditated, telepathic ensemble playing has been described as ‘a postjazz, post-rock, post-everything sonic experience that has few parallels or rivals’ (Guardian). There is never a program for this trio. The only sure thing is spontaneity and inventive bliss.

Chris Abrahams Piano

Tony Buck Drums

Lloyd Swanton Bass

TICKETS

Adult $65 |

Concession $60

Photo: Camille Walsh

NATSUKO YOSHIMOTO, UMBERTO CLERICI AND DANIEL DE BORAH

SUNDAY 28 MAY 2.30PM

Natsuko Yoshimoto (violin), Umberto Clerici (cello) and Daniel de Borah (piano) are among the finest musicians of their generation currently residing in Australia. Their connection to UKARIA spans almost a decade.

During her twelve years as Concertmaster of the Adelaide Symphony Orchestra (2008–2020), Natsuko Yoshimoto forged a deep connection with local audiences. Now Concertmaster of the Queensland Symphony Orchestra (QSO), her ties to South Australia continue through her custodianship of ‘The Adelaide’ Guadagnini violin (c. 1753–7), currently on loan from UKARIA.

With a career spanning more than twenty years as a gifted cello soloist, orchestral musician, and now conductor, Umberto Clerici has gained international renown as an artist of diverse and multifaceted talents. In 2022 Umberto was announced as the new Chief Conductor of the QSO and, as a result, his affinity with Natsuko and the many extraordinary musicians residing in Brisbane has never been stronger.

Head of Chamber Music at the Queensland Conservatorium at Griffith University, Daniel de Borah is among the nation’s most in-demand pianists, appearing in an impressive array of chamber music festivals and weekends each year. Frequently invited to perform as a concerto soloist with the QSO, his versatility, grace and sensitivity are consistently captivating.

György Kurtág

Varga Bálint Ligaturája (The Ligatura of Bálint Varga) for Piano Trio

Zoltán Kodály

Duo for Violin and Cello, Op. 7

INTERVAL

Johannes Brahms

Piano Trio No. 2 in C, Op. 87

TICKETS

Adult $65

Concession $60

Student $35

Photo: Claudio Raschella

Photo: Dylan Henderson

AUSTRALIAN CHAMBER ORCHESTRA UKARIA FESTIVAL

SATURDAY 3–SUNDAY 4 JUNE

‘… if there’s a better chamber orchestra in the world today, I haven’t heard it.’

– Guardian

The Australian Chamber Orchestra and their Artistic Director Richard Tognetti make a much-anticipated return to UKARIA with a three-program weekend festival showcasing their world-renowned energy and vitality. The concerts feature repertoire from the Baroque to the Contemporary, with virtuosic solos from Richard, Principal Violin Satu Vänskä and guest soprano Cathy-Di Zhang, and a rare opportunity to hear the extraordinary string masterpiece From the Monkey Mountains by Pavel Haas.

Richard Tognetti

Director and Violin

Australian Chamber Orchestra

TICKETS

Weekend Package (3 concerts and 2 meals)

Adult $520 | Concession $490

Concerts Only (3 concerts)

Adult $360 | Concession $330

Single-ticket details overleaf

Photo: Nic Walker

AUSTRALIAN CHAMBER ORCHESTRA

UKARIA FESTIVAL

WANDERERS OF THE NIGHT

SATURDAY 3 JUNE 4.00PM

‘Tognetti has transformed the ACO into a genuine Australian cultural icon, routinely voted one of the best orchestras of its kind on the planet.’

– Australian Financial Review

In much the same way that a landscape is never the same twice, a piece of music is illuminated in new and unpredictable ways as it interacts with the environment in which it is heard. To open their inaugural UKARIA festival, the ACO weave a crepuscular tapestry of music from the Baroque to the present day, as the light recedes over the Mount Barker Summit.

Rising-star soprano Cathy-Di Zhang (who recently made her mainstage debut with Opera Australia in Mozart’s Don Giovanni) joins the ACO as soloist in works by Osvaldo Golijov and Richard Strauss. The achingly beautiful ‘Morgen!’, together with selections from Haydn’s Sunrise Quartet (Op. 74 No. 4), concludes the program, celebrating the renewal of light and life.

John Williams

‘Blood Moon’ from Images

Tarquinio Merula

Hor ch’è tempo di dormire

Thomas Adès

‘Nightfalls’ from The Four Quarters, Op. 28

Juan Arañés

Chacona: a la vida bona

Johann Sebastian Bach

Selections from Goldberg Variations, BWV 988 (arr. Bernard Labadie)

Osvaldo Golijov

‘Lúa Descolorida’ from Three Songs

Béla Bartók

Selections from 44 Duos for Two Violins, Sz. 98

Richard Strauss

‘Morgen!’, Op. 27 No. 4 (arr. strings)

Joseph Haydn

Selections from String Quartet in B flat, Op. 76 No. 4 Sunrise

TICKETS

Adult $120 | Concession $110

Photo: Nic Walker

AUSTRALIAN CHAMBER ORCHESTRA

UKARIA FESTIVAL

THE MONKEY MOUNTAINS

SATURDAY 3 JUNE 6.00PM

In 1941 Pavel Haas was deported to the Theresienstadt concentration camp, where he joined several other Moravian-Jewish composers, including Viktor Ullman and Gideon Klein – all of whom were later executed in Auschwitz-Birkenau. ‘Our will to create art has always been as strong as our will to survive,’ Haas once said, but indeed it was Klein who managed to coax Haas out of his despair and back into composition.

Haas’s String Quartet No. 2 From the Monkey Mountains (1925) is today considered one of the masterpieces of the twentieth century. Inspired by the Czech highlands near Brno, its four programmatic movements are reminiscences of times spent there during a summer vacation: ‘Whether it is the rhythm of a broad landscape and birdsong, or the irregular movement of a rural vehicle; be it the warm song of a human heart or the cold silent stream of moonlight […] it is always movement that governs everything,’ the composer wrote. In this special arrangement, the original string-quartet instrumentation is expanded to provide the perfect showpiece for the glorious forces of an eleven-piece ACO. In the first half, Richard Tognetti appears as soloist in Mozart’s popular Turkish Violin Concerto (No. 5).

Gideon Klein

‘Allegro’ from Partita for String Orchestra (arr. Vojtech Saudek)

Wolfgang Amadeus Mozart

Violin Concerto No. 5 in A Turkish (arr. strings)

INTERVAL

Pavel Haas

String Quartet No. 2, Op. 7 From the Monkey Mountains (arr. Richard Tognetti)

Post-Concert Dinner 7.30PM

TICKETS

Adult $120 | Concession $110

Photo: Georges Antoni

AUSTRALIAN CHAMBER ORCHESTRA

UKARIA FESTIVAL

FRANCK’S VIOLIN SONATA

SUNDAY 4 JUNE 2.30PM

‘It was a rare privilege to hear the ACO play at UKARIA, where it made the room resound like never before […] the clarity of the acoustics put their playing under the microscope, revealing subtleties that would be lost in a large hall.’

– The Advertiser

Written as a wedding present for the 28-year-old Belgian virtuoso Eugène Ysaÿe, César Franck’s Sonata in A for Piano and Violin was first performed publicly from memory in almost total darkness at the Musée Modern de Peinture in Brussels (no artificial sources of light were permitted by the gallery authorities). Today it is celebrated not only as one of the most treasured works of the chamber repertoire, but also as one of the finest examples of cyclical form ever written.

In a French-focussed program exclusive to this festival, the ACO concludes the weekend with music by Rameau, Debussy, Ravel, and Boulanger, culminating with Franck’s magnificent sonata, featuring Principal Violinist Satu Vänskä as soloist in the ultra-high-definition acoustics of UKARIA.

Jean-Philippe Rameau

‘Danse des Sauvages’ from Les Indes Galantes ‘Sommeil’ from Dardanus

Claude Debussy

‘La sérénade interrompue’ from Préludes, Book I (arr. Richard Tognetti)

Maurice Ravel

‘Kaddisch’ from Deux Mélodies hébraïques

Lili Boulanger

D’un matin du printemps (arr. strings)

Georges Boulanger

Avant de mourir (arr. strings)

Pizzicato Waltz (arr. strings)

César Franck

Violin Sonata in A (arr. Richard Tognetti)

Pre-Concert Lunch 12.30PM

TICKETS

Adult $120 |

Concession $110

Photo: Georges Antoni

JO LAWRY WITH SAM ANNING AND BEN VANDERWAL ACROBATS

SATURDAY 1 JULY 7.30PM

‘Singer of dazzling self-possession’

– New York Times

Jo Lawry grew up on an almond farm in Willunga, South Australia and, after a brief flirtation with operatic study, began her formal instruction in jazz at the University of Adelaide. She honed her craft at the New England Conservatory of Music in Boston, before reaching the semi-finals of the 2004 Thelonious Monk International Jazz Competition. Over the ensuing 17 years living in New York, she forged an impressive solo career with a global fan base, earning deep respect as a ‘musician’s singer’ both within and beyond jazz circles. She has collaborated with some of the most recognisable artists of recent memory – Sting, Paul Simon and Peter Gabriel among them – and is the vocalist for the Fred Hersch Pocket Orchestra. She has worked extensively with Carnegie Hall as a featured artist in their ‘Musical Connections’ program, and now divides her time between London and Sydney.

DownBeat included her 2008 debut album I Want to Be Happy in their ‘Best CDs of the Decade’, and her two subsequent releases – Taking Pictures (2014) and The Bathtub and the Sea (2018) – have reinforced this sterling reputation as singer, songwriter and bandleader. Her new album Acrobats (available in February 2023) dispenses

with the chordal staples of piano and guitar to showcase the purity of her celebrated voice over the propulsive play of bass and drums. The result is an energetic and spacious collection of standards, modern classics, and works from contemporary writers.

This special performance at UKARIA will see the venue transformed into a jazz club with cabaretstyle seating for unparalleled intimacy. Joining Jo is the talented bassist Sam Anning (who recently performed at UKARIA with Kristin Berardi) and one of Australia’s most in-demand jazz drummers, Ben Vanderwal.

Jo Lawry Vocals / Guitar

Sam Anning Bass

Ben Vanderwal Drums

TICKETS

Adult $65 | Concession $60

Photo: Sandrine Lee

LI-WEI QIN AND KRISTIAN CHONG THE ROMANTIC CELLO

‘Qin and Chong … searing intensity and vivid colours’

– The Age

Of cellist Li-Wei Qin’s many gifts, the New York Times highlighted ‘a meltingly beautiful tone, flawlessly centred intonation and an ironclad technique’. Appearing as soloist and chamber musician the world over, Li-Wei performed at both the 2008 Beijing and the 2012 London Olympic Games, and has twice featured as soloist at the BBC Proms.

Classic Melbourne described Kristian Chong as being ‘not only one of Australia’s busiest and most versatile pianists, he is also one of its finest’. A consummate chamber musician, he has performed with artists including Natsuko Yoshimoto, Sophie Rowell, Dale Barltrop, and Teddy Tahu Rhodes, with whom he recorded on the ABC Classic label. As a concerto soloist he has performed in Australia, the UK, New Zealand, and China.

Li-Wei and Kristian reunite at UKARIA to continue their musical double act. This time they surmount groundbreaking cello repertoire of the Romantic era by Mendelssohn, Paganini, Fauré and Chopin. Replete with the exuberance of discovery, this music exemplifies the cello’s rise as a solo instrument in the nineteenth century.

SUNDAY 9 JULY 2.30PM TICKETS

PROGRAM

Felix Mendelssohn

Sonata for Cello and Piano No. 2 in D, Op. 58

Niccolò Paganini

Introduction and Variations on One String on a Theme from Rossini’s Moses in Egypt (arr. Pierre Fournier)

INTERVAL

David Popper

Spinning Song, Op. 55 No. 1

Gabriel Fauré

Romance, Op. 69

Fryderyk Chopin

Sonata for Cello and Piano in G minor, Op. 65

Photo: Hans Goh

SJAELLA AMONG THE BRANCHES

SUNDAY 16 JULY 2.30PM

‘These women have something special together that comes out in every tone […], in every look that they exchange. […] An ensemble that has really found itself.’

– Leipziger Volkszeitung

Named after a Scandinavian word meaning ‘soul’, Leipzig-based vocal sextet Sjaella was formed in 2005, when its members were still in their early teens. Still retaining their ‘child-like experience of the world’ but now very much a fixture on the international vocal scene, their appearances in renowned music festivals (such as Rheingau Musik Festival, Budapest International Choral Celebration, and the Festival of Flanders) and concert tours around the world (to destinations as diverse as Jordan, Azerbaijan, Hungary, South Africa, Belgium, Spain and Norway) are testament to their reputation as one of the most outstanding and captivating a cappella ensembles of our time. Uniform yet individual, gentle yet robust, precise yet free-flowing, their voices have soared through the vaults of the Mozarteum Salzburg, the Wiener Musikverein, the Berlin Philharmonie, and the Palace of Arts (Müpa) in Budapest.

In this program Sjaella explores natural phenomena and mythological stories uniting early and contemporary music with folk songs from northern Europe. A selection of picturesque Baroque arias from Henry Purcell’s semi-opera The Fairy-Queen forms the basis of the first half. In the second half, Sjaella merges different cultures with their own

and explores what connects people to the songs of their homeland. Stories of supernatural beings, Nordic landscapes, love, loss, and reunion come together in folk songs from Latvia, Norway, Ireland, Germany, Iceland, and Finland. Characteristic arrangements, vocal variations, and the sound of early spoken languages reveal the mysteries of each culture.

Viola Blache

Soprano

Marie Fenske

Soprano

Franziska Eberhardt

Soprano

Marie Charlotte Seidel

Mezzo Soprano

Luisa Klose

Alto

Helene Erben

Alto

Photo: Lara Müller

MUSICIANS FROM THE LEIPZIG GEWANDHAUS ORCHESTRA & AUSTRALIAN NATIONAL ACADEMY OF MUSIC THE RELEVANCE OF CULTURAL TRADITION

FRIDAY 28–SUNDAY 30 JULY

Yun-Jin Cho

Violin

Karl Heinrich Niebuhr

Violin

Tahlia Petrosian

Curator and Viola

Axel von Huene

Cello

Burak Marlali

Double Bass

Edgar Hesske

Clarinet

Axel Benoit

Bassoon

Simen Fegran

Horn

Musicians from the Leipzig Gewandhaus Orchestra and the Australian National Academy of Music (ANAM) come together for a weekend of concerts curated by violist and member of the Gewandhaus Orchestra, Tahlia Petrosian. Performing repertoire that explores ‘The Relevance of Cultural Tradition in the 21st Century’, this aptly named festival brings musicians from the world’s oldest symphony orchestra together on stage with the next generation of Australian performers, and promises a weekend of exhilarating performances, exchanges and discussions.

The theme of this festival is particularly significant to our Founder, Ulrike Klein AO, who established UKARIA to inspire people through culture. In 2023 she celebrates 40 years in Australia and her 80th birthday in June. These concerts also serve to honour her magnificent contribution to music.

Proudly supported by

TICKETS

Weekend Package (4 concerts and 2 meals)

Adult $413 | Concession $395

Concerts Only (4 concerts)

Adult $284 | Concession $266

Single-ticket details overleaf

Musicians from the Leipzig Gewandhaus Orchestra

Photo: Iona Dutz

MUSICIANS FROM THE LEIPZIG GEWANDHAUS ORCHESTRA & AUSTRALIAN NATIONAL ACADEMY OF MUSIC

THE RELEVANCE OF CULTURAL TRADITION

CONCERT ONE

FRIDAY 28 JULY 7.30PM

‘Musicians from the Leipzig Gewandhaus Orchestra open the weekend with the music of Franz Schubert. The Gewandhaus Orchestra’s 2022 Deutsche Grammophon recording of Schubert’s late symphonies was widely acclaimed, the unique sound of this orchestra is an ideal match for Schubert’s crystalline musical language. Schubert’s Octet is a masterpiece for this ensemble of instruments, which represents a cross-section of the symphony orchestra. It is paired here with his Six Moments Musicaux for solo piano, in a new arrangement for octet by composer Hans Abrahamsen, created especially for this performance.’

– Tahlia Petrosian

TICKETS

Adult $79 |

Concession $74

Student $35

Photo: Iona Dutz

MUSICIANS FROM THE LEIPZIG GEWANDHAUS ORCHESTRA & AUSTRALIAN NATIONAL ACADEMY OF MUSIC THE RELEVANCE OF CULTURAL TRADITION

CONCERT TWO

SATURDAY 29 JULY 2.30PM

‘Johann Sebastian Bach is inextricably tied to the city of Leipzig, where he was Cantor of the St Thomas School from 1723 until his death in 1750, during which time he led performances of his own cantatas each Sunday. Musicians from the Leipzig Gewandhaus Orchestra continue this tradition to this day, performing Bach cantatas with the St Thomas Choir in the St Thomas Church Leipzig every week.

Mozart’s Serenade in C minor was composed shortly before the composer travelled to Leipzig to perform in the Gewandhaus in 1789. The defiantly dark and mysterious character of this work for wind octet introduces Richard Strauss’s contemplative study, Metamorphosen. Originally for 23 solo strings and performed here in the version for string septet, Strauss, who regularly conducted the Gewandhaus Orchestra in performances of his own operas from 1915 onwards, explores the idea of metamorphosis in this dramatic and moving work, composed in the aftermath of World War II.’

– Tahlia Petrosian

Musicians from the Leipzig Gewandhaus Orchestra & ANAM

Johann Sebastian Bach Ricercar a 6 from Musikalisches Opfer, BWV 1079

Wolfgang Amadeus Mozart

Serenade in C minor, K. 388

Richard Strauss

Metamorphosen (arr. for string septet by Rudolf Leopold)

Panel Discussion 4.30pm

TICKETS

Adult $79 | Concession $74 | Student $35

Photo: Iona Dutz

MUSICIANS FROM THE LEIPZIG GEWANDHAUS ORCHESTRA & AUSTRALIAN NATIONAL ACADEMY OF MUSIC THE RELEVANCE OF CULTURAL TRADITION

CONCERT THREE

SATURDAY 29 JULY 6.30PM

‘Felix Mendelssohn Bartholdy’s celebrated tenure as conductor and musical director of the Gewandhaus Orchestra began in 1835. The composer’s Scottish Symphony and Violin Concerto were both premiered in the Gewandhaus, and the Gewandhaus Orchestra’s sound identity is indelibly linked with the music of Mendelssohn. The Piano Sextet was composed when Mendelssohn was just fifteen years old, one year before he completed his beloved String Octet.

In singling out which composers had influenced him, Czech composer Antonín Dvořák recalled mainly German names, including Felix Mendelssohn. He composed his Serenade for Winds, Cello and Double Bass in 1878, having been impressed by a performance of Mozart’s Wind Serenade in Vienna. The work was also undoubtedly influenced by the two Serenades of Johannes Brahms, the first of which was composed twenty years before Dvořák’s Serenade and just after Brahms had suffered the humiliation of the first performance in Leipzig of his Piano Concerto No. 1 being jeered off stage.’

– Tahlia Petrosian

Musicians from the Leipzig Gewandhaus Orchestra & ANAM

Felix Mendelssohn

Piano Sextet in D, Op. 110

Antonín Dvořák

Serenade for Winds in D minor, Op. 44

Post-Concert Dinner 7.30pm

TICKETS

Adult $79 |

Concession $74 |

Student $35

Photo: Laura Manariti

MUSICIANS FROM THE LEIPZIG GEWANDHAUS ORCHESTRA & AUSTRALIAN NATIONAL ACADEMY OF MUSIC THE RELEVANCE OF CULTURAL TRADITION

CONCERT FOUR

SUNDAY 30 JULY 2.30PM

‘The first performance anywhere in the world of the complete cycle of Beethoven symphonies took place during the composer’s lifetime in 1825, performed by the Gewandhaus Orchestra. Around thirty years prior, Beethoven had composed his Sextet in E flat for horn duo and string quartet. An early composition in Beethoven’s oeuvre, the Sextet’s virtuosic horn parts foreshadow the prominent role the composer would assign to the instrument in his symphonies.

The horn also features prominently in the Kleine Kammermusike, Op. 24 No. 2, for wind quintet, the second in a collection of eight chamber music compositions entitled “Kammermusik” written by Hindemith in the 1920s for various ensembles. The first ever recording of Kleine Kammermuisk Op. 24 No. 2 was by the Leipzig Gewandhaus Wind Quintet in 1925, released at the time on two 78-rpm records.

Before succeeding Mendelssohn as music director of the Gewandhaus Orchestra, Danish composer Niels Gade conducted the premiere of Mendelssohn’s Violin Concerto with soloist Ferdinand David and the Gewandhaus Orchestra

in 1845. Gade’s Octet was composed shortly after Mendelssohn’s death, and it might well be a tribute to his friend and mentor, as Mendelssohn’s influence is instantly recognisable.’

– Tahlia Petrosian

Ludwig van Beethoven

Sextet in E flat, Op. 81b

Paul Hindemith

Kleine Kammermusik for Wind Quintet, Op. 24 No. 2

Niels Gade

String Octet in F, Op. 17

Masterclass 11.00am

Pre-Concert Lunch 12.30pm

TICKETS

Adult $79 | Concession $74 | Student $35

Photo: Pia Johnson

DINING IN THE GARDEN TERRACE

The Garden Terrace is a magnificent gathering place and a welcoming setting for augmenting your concert-going experience.

For your convenience, the dining options on offer for concerts in the Autumn–Winter 2023 Season are listed here. Please pre-book your choice when you book your tickets or contact us at info@ukaria.com.au or on (08) 8227 1277. In order to finalise numbers for catering, all pre-bookings close forty-eight hours prior to the date of the applicable concert, except for two-course dinner bookings, which close one week prior to the concert.

You can also enjoy a glass of wine or barista coffee before concerts or during intervals. A range of sweets is also available. The bar is open ninety minutes before each performance.

Pre-booking required via www.ukaria.com/lightmeals or by phone on (08) 8227 1277.

Please Note | All dining options are in addition to the cost of the concert – you require two separate bookings (one for the concert, another booking for your meal option) in each instance.

Photo:Dylan Henderson

DATE EVENT

Saturday 15 April | 7.30pm Chris Stout and Catriona McKay with James Crabb

DINING OPTION PRICE

Antipasti Platter (serves two) $30

Saturday 6 May | 7.30pm Meow Meow and Paul Grabowsky Antipasti Platter (serves two) $30

Saturday 13 May | 6.00pm Schumann Quarttet – Concert One Post-Concert Dinner $80 per person

Sunday 14 May | 2.30pm Schumann Quartett – Concert Two Ploughman’s Lunch (serves two) $30

Saturday 27 May | 7.30pm The Necks Antipasti Platter (serves two) $30

Sunday 28 May | 2.30pm Natsuko Yoshimoto, Umberto Clerici and Daniel de Borah Ploughman’s Lunch (serves two) $30

Saturday 3 June | 7.30pm The Monkey Mountains (Australian Chamber Orchestra: UKARIA Festival)

Sunday 4 June | 12.30pm Franck’s Violin Sonata (Australian Chamber Orchestra: UKARIA Festival)

Post-Concert Dinner $80 per person

Pre-Concert Lunch $80 per person

Saturday 1 July | 7.30pm Jo Lawry with Sam Anning and Ben Vanderwal Antipasti Platter (serves two) $30

Sunday 9 July | 2.30pm Li-Wei Qin and Kristian Chong

Hearty Soup with Hot Crusty Bread $15 per person

Sunday 16 July | 2.30pm Sjaella Hearty Soup with Hot Crusty Bread $15 per person

Friday 28 July | 6.00pm Concert One: Musicians from the Leipzig Gewandhaus Orchestra & ANAM

Saturday 29 July | 7.30pm Concert Three: Musicians from the Leipzig Gewandhaus Orchestra & ANAM

Sunday 30 July | 12.30pm Concert Four: Musicians from the Leipzig Gewandhaus Orchestra & ANAM

Antipasti Platter (serves two) $30

Post-Concert Dinner $80 per person

Pre-Concert Lunch $49 per person

UKARIA FOUNDATION

The UKARIA Foundation was established in July 2018. Its aim is to support UKARIA’s cultural program in perpetuity. Musicians from across Australia and around the world have established UKARIA as a South Australian cultural icon. Join us in creating its future by making a donation to the UKARIA Foundation.

GIVING TO THE ENDOWMENT FUND

Your gift will build the corpus and the investment income will support the cultural program in perpetuity. It will enable us to engage great artists, commission new work and develop the residency program.

GIVING TO THE MUSIC PROGRAM

Your donation will be used to support outstanding artists in the forthcoming season.

LEAVING A BEQUEST

Your legacy can be directed to the Endowment Fund or a special project.

Donate online or when purchasing your tickets

www.ukaria.com/donate

Or phone (08) 8227 1277

Donations of $2 or more are tax deductible and the UKARIA Foundation is able to receive distributions from private and public ancillary funds.

Thank you for considering a donation to support great artists, live performance and new works.

David McKee AO Chair UKARIA Foundation

Photo: Dylan Henderson

TICKETS

YOU CAN PURCHASE TICKETS: 1. ONLINE

www.ukaria.com/events

Our website offers the easiest and most convenient way to book tickets twenty-four hours a day. There are no booking fees. You will receive a digital copy of your tickets delivered immediately to your nominated email address. If you misplace your ticket confirmation, you can log in to your UKARIA account at any time using your email and password and view your tickets, and consolidate your bookings into one list if you purchased on multiple different dates.

2. BY PHONE

(08) 8227 1277

Our office is open Monday to Friday, from 9.00am to 5.00pm, except on holidays.

On performance days, please phone the Cultural Centre directly: (08) 8391 0986.

TICKET DELIVERY

You will receive an email confirming your ticket purchase. If you do not receive this, please check your junk folder or log in to your UKARIA account via our website (it’s in the top right-hand corner of the home page of our website) and you can view your bookings.

There is no need to print your tickets. On the day of the concert, your name will be on a list with the front-of-house team and they will check you off before entering the concert hall.

QUERIES

(08) 8227 1277

info@ukaria.com.au

If you have a query on the day of a performance, please phone the Cultural Centre directly on (08) 8391 0986.

WAITING LIST

Due to the intimacy of the venue, concerts regularly sell out, so we keep a waiting list. Please note that due to the nature of cancellations, tickets often only become available at short notice. To add your name to the waiting list, please sign up via the links on our website, or contact us on (08) 8227 1277 or at info@ukaria.com.au.

CONCESSIONS

Concessions are available for students, pensioners and health care cardholders, including senior’s health care cardholders.

Photo: Dylan Henderson

TERMS AND CONDITIONS

GENERAL CONDITIONS

• Management reserves the right to refuse admission or reject from the venue any person if it believes their presence is likely to cause a nuisance, disturbance or threat to other patrons, the venue, or its artists and employees.

• Any person under the age of fifteen attending ticketed events must be accompanied by an adult.

• If a person under the age of fifteen causes a disturbance or distraction to other patrons, staff may request that the accompanying adult remove the child from the venue.

• The use of cameras or any other recording devices are not permitted inside the auditorium. Mobile phones must be switched off at all times.

• Latecomers will only be admitted when there is a suitable break in the performance.

• Concession cards must be produced on request.

• Large bags and backpacks must not be brought into the auditorium. Patrons who must keep their belongings with them for medical or personal reasons may bright their bags into the auditorium if they are visually inspected by a front-of-house officer and do not cause an obstruction to venue safety.

COVID-19 SPECIFIC CONDITIONS OF ENTRY

You should not attend the venue or the event if:

• You are required to be in isolation as a result of COVID-19 diagnosis or pending test result;

• You are experiencing any of the symptoms of COVID-19.

You and your booking party may be refused entry or required to leave the venue or event if you or they:

1. Are exhibiting symptoms of COVID-19, as notified or as assessed by venue staff. These include: fever, chills or sweats, cough, sore throat, shortness of breath, runny nose or loss of sense of smell.

2. Are required to be in isolation as a result of COVID-19 diagnosis/pending test result or have been directed to be in quarantine because of close contact with a person with COVID-19.

In these circumstances, tickets will not be exchanged or refunded unless required by law (including the Australian Consumer Law).

We ask that you and each member of your booking party make a reasonable assessment of your health status before attending our venue or the event. To avoid doubt, you will not be entitled to a refund if you or a member of your booking party attends our venue or event despite exhibiting COVID-19 symptoms and if you or they are then refused entry or asked to leave the venue or event.

CONDITIONS OF SALE

VARIATIONS TO PERFORMANCES OR EVENTS

UKARIA reserves the right to change artists, programs, venue opening and/or performance times should this become necessary.

TRANSFERS AND CREDITS

Your ticket is transferable and can be given to friends or family if you are unable to attend.

If we have capacity, you may exchange your ticket to an event of equal value within the same calendar year by contacting UKARIA on (08) 8227 1277 during office hours, or at info@ukaria.com. We are also happy to offer a credit that can be used within a three-year period. Requests for ticket exchanges or credit must be received with at least seven days’ notice if you are unable to attend an event.

If you are in isolation as a result of COVID-19 diagnosis or pending test result, or if you are experiencing any of the symptoms of COVID-19, please contact UKARIA on (08) 8227 1277 (Monday–Friday, 9am–5pm) or info@ukaria.com and explain the situation so that we can issue a credit.

REFUNDS

We not offer refunds unless the following circumstances arise:

• An artist unexpectedly withdraws from the performance.

• A Catastrophic Fire Danger Warning is in place for the Mt Lofty Ranges, and the performance is cancelled.

• We receive at least seven days’ notice that you are unable to attend a performance, and we are able to resell your ticket(s) to a patron on our waiting list. This also applies to any meals and platters ordered.

• The performance is cancelled due to COVID-19 venue or travel restrictions, and an alternative date is unable to be secured.

TRANSPORT

UKARIA will offer a bus service from the Adelaide CBD to the Cultural Centre for the following performances:

Schumann Quartett – Concert One

Saturday 13 May 6.00pm

Followed by dinner at 8.00pm

Bus arrives at pick-up point at 4.15pm Bus departs at 4.30pm Bus to return after dinner

Schumann Quartett – Concert Two

Sunday 14 May 2.30pm

Bus arrives at pick-up point at 12.45pm Bus departs at 1.00pm

Natsuko Yoshimoto, Umberto Clerici and Daniel de Borah

Sunday 28 May 2.30pm

Bus arrives at pick-up point at 12.45pm Bus departs at 1.00pm

Australian Chamber Orchestra: UKARIA Festival

Saturday 3 June 4.00pm (Wanderers of the Night)

Saturday 3 June 6.00pm (The Monkey Mountains)

followed by dinner at 7.30pm

Bus arrives at pick-up point at 2.15pm

Bus departs at 2.30pm

Bus to return after dinner following The Monkey Mountains

Australian Chamber Orchestra: UKARIA Festival

Sunday 4 June 2.30pm (Franck’s Violin Sonata)

preceded by lunch at 12.30pm

Bus arrives at pick-up point at 11.30am Bus departs at 11.45am to arrive in time for lunch

Li-Wei Qin and Kristian Chong

Sunday 9 July 2.30pm

Bus arrives at pick-up point at 12.45pm Bus departs at 1.00pm

Sjaella

Sunday 16 July 2.30pm

Bus arrives at pick-up point at 12.45pm Bus departs at 1.00pm

Musicians from the Leipzig Gewandhaus Orchestra & ANAM

Saturday 29 July 2.30pm (Concert Two)

Saturday 29 July 6.30pm (Concert Three)

followed by dinner at 7.30pm

Bus arrives at pick-up point at 12.45pm

Bus departs at 1.00pm

Bus to return after dinner following Concert Three

Sunday 30 July 2.30pm (Concert Four)

preceded by lunch at 12.30pm

Bus arrives at pick-up point at 11.30am

Bus departs at 11.45am to arrive in time for lunch

COST

• Bus fares are $30 per person return (see terms and conditions overleaf)

PARKING

• There is ample and unrestricted parking along South Terrace on Sundays.

DEPARTURE TIMES

• The bus will arrive at the corner of South Terrace and Hutt Street ninety minutes prior to the start time of the performance. Upon returning to the CBD after the event, the bus will return to the pick-up point, or drop patrons at the nearest taxi rank.

• The size of the bus will vary depending on the number of bookings. If there are less than five, the bus will be replaced by a car.

• The driver will display an A-frame sign next to their vehicle, so look out for the red UKARIA logo.

HOW TO BOOK BUS TRANSPORT

1. Online

www.ukaria.com/busservice

A UKARIA account is required. To set one up, simply add your email and password, and fill in the contact details.

Whenever you add a concert to your cart online, you will be prompted with the option to add the bus service (if applicable). If at the time of your booking you don’t add a bus fare but decide you require one later, you can add it to your booking at any time (up until seven days before the date of the performance).

You can also visit www.ukaria.com/transfers to bring up a full list of the applicable concerts.

2. By Phone

(08) 8227 1277

Our office is open Monday to Friday, from 9.00am to 5.00pm, except on holidays.

Terms and Conditions

• The cost of the ticket is a flat fee of $30 return.

• We do not offer a reduced price for one-way travel.

• If you arrive after the departure time and miss the bus, your concert and bus ticket are non-refundable.

• Tickets for the bus service will be taken off sale on the Wednesday before the date of each applicable concert.

Please contact us on (08) 8227 1277 or at info@ukaria.com if you have any further queries.

VENUE

UKARIA CULTURAL CENTRE

119 Williams Road, Mount Barker Summit

The UKARIA Cultural Centre is located just 40kms from the Adelaide CBD and is an easy drive on the South Eastern Freeway, which takes approximately 40 mins. Take the Nairne/ Bald Hills Road exit (after the Mount Barker exit). UKARIA Cultural Centre is 1km from the junction of Williams Road. Please drive slowly as Williams Road is unsealed. Once you enter the car park observe the 20kmph speed limit.

PARKING

There is ample parking on site and multiple entry points from the car park through the garden to the building on paved paths.

DISABLED ACCESS

There are multiple disabled parking bays at the top right of the Cultural Centre. Head straight up the driveway on your righthand side, where you will see ‘Disabled Parking’ signs near the Garden Terrace.

The concert hall is wheelchair friendly. Please see a staff member before the performance and we will make sure to accommodate you. Alternatively, you can email info@ukaria.com to let us know in advance.

OPENING HOURS

UKARIA is open ninety minutes before each performance. For access outside of concert hours, please email info@ukaria.com.

SEATING

For events presented by UKARIA, seating is unreserved. Doors to the concert hall generally open thirty minutes before the commencement of a performance. Please note events presented at UKARIA by other organisations may have allocated seating.

FILMING AND PHOTOGRAPHY

We welcome photography inside the main hall before or after the concert, or at interval if applicable. During performances, all unauthorised photography and recording of the artists is strictly prohibited.

WI-FI

The UKARIA Cultural Centre has free Wi-Fi for guests. Please ask a staff member for the password if you require access.

ACKNOWLEDGEMENTS

The Autumn–Winter 2023 Season is proudly presented by

Season Partner:

Photo: Dylan Henderson

UKARIA Cultural Centre 119 Williams Road, Mount Barker Summit SA 5251 Australia

UKARIA Head Office & Postal 911, Level 9, 147 Pirie Street Adelaide SA 5000 Australia

P +61 8 8227 1277

E info@ukaria.com

www.ukaria.com

Cover Photo: Dylan Henderson