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DTSTART;TZID=Australia/Melbourne:20241020T150000
DTEND;TZID=Australia/Melbourne:20241020T163000
DTSTAMP:20260501T084118
CREATED:20240930T235046Z
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SUMMARY:ANAM: Concerto Competition Melbourne Final
DESCRIPTION:The ANAM Concerto Competition is a vital part of performance training\, giving musicians the experience and insight needed to perform solo with an orchestra. It began in Semester One\, when 34 musicians submitted a 20-minute recording of a concerto or solo work of their choice. From there a Faculty panel selected 11 musicians to progress to Round 2\, performing to an expert panel. \nNow\, three finalists Angus Pace (bass trombone)\, Emica Taylor (flute)\, and Max Wung (cello) are set to compete in the final in Hobart performing with the Tasmanian Symphony Orchestra on Friday 8 November. To celebrate their achievements please join us for a Melbourne performance with their Associate Faculty. \nAngus Pace (VIC) bass trombone\nDaniel SCHNYDER SubZERO Bass Trombone Concerto\nLeigh Harrold (ANAM Associate Faculty) piano \nEmica Taylor (NZ) flute\nJacques IBERT Flute Concerto\nLouisa Breen (ANAM Associate Faculty) piano \nMax Wung (WA) cello\nPyotr Ilyich TCHAIKOVSKY Variations on a Rococo Theme\nLouisa Breen (ANAM Associate Faculty) piano \nThe ANAM Concerto Competition is a partnership between ANAM and the Tasmanian Symphony Orchestra\, and is generously supported by Lady Potter\, AC. \nSunday 20 Oct 2024\, 3 PM\nAbbotsford Convent\, Rosina Auditorium\, 1 St Heliers St\, ABBOTSFORD VIC \nTICKETS: Suggested Price $15.00; Minimum Price $2.00
URL:https://classicmelbourne.com.au/event/anam-concerto-competition-melbourne-final/
LOCATION:Rosina Auditorium\, Abbotsford Convent\, 1 St Heliers St\, Abbotsford\, Melbourne\, 3067\, Australia
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DTSTART;TZID=Australia/Melbourne:20241016T110000
DTEND;TZID=Australia/Melbourne:20241016T120000
DTSTAMP:20260501T084118
CREATED:20241015T101505Z
LAST-MODIFIED:20241015T101505Z
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SUMMARY:ANAM: Mostly Mozart – Sinfonia Concertante
DESCRIPTION:Enjoy a morning of diverse repertoire that transcends time and musical boundaries.\nIn this mesmerising morning\, musicians from the Australian National Academy of Music (ANAM) unite with Principal Horn of the Royal Concertgebouw Orchestra\, Katy Woolley\, for a captivating exploration of different musical styles and eras. \nOriginally commissioned in celebration of Carnegie Hall’s 100th anniversary\, American composer Joan Tower’s Fanfare for the Uncommon Woman Part III features a double brass quintet and was written in tribute to ‘women who are adventurous and take risks’; those who have shattered conventions and made a significant impact on society. \nFollowing this celebration of female strength and resilience\, the ethereal beauty of Morten Lauridsen O Magnum Mysterium is on full display in an arrangement by Phillip Littlemore\, and Samuel Barber’s Mutations from Bach re-works Bach’s timeless melodies through the lens of contemporary interpretation. \nFinally\, Katy Woolley and her ‘evocative French horn’ (ArtsHub) lead the ANAM Orchestra through Mozart’s Sinfonia Concertante for Wind Quartet. This elegant work with its unusual instrumentation spotlights the oboe\, clarinet\, horn\, and bassoon alongside the orchestra to create a unique\, and rich listening experience. \nMorning Tea\nJoin us for coffee plus sweet and savory treats from 10am in the ground floor foyer. \n\nWednesday 16 October 2024 11am;  MRC Elisabeth Murdoch Hall \nDuration: 1 hour 15 mins (no interval) Please note\, running times are approximate and subject to change. \n\n\n\n\nTICKETS: Standard $49 ($42 Concession) \n\n\n\n 
URL:https://classicmelbourne.com.au/event/anam-mostly-mozart-sinfonia-concertante/
LOCATION:Elisabeth Murdoch Hall\, Melbourne Recital Centre
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Australia/Melbourne:20241011T190000
DTEND;TZID=Australia/Melbourne:20241011T212000
DTSTAMP:20260501T084118
CREATED:20241011T030713Z
LAST-MODIFIED:20241011T072421Z
UID:10016482-1728673200-1728681600@classicmelbourne.com.au
SUMMARY:ANAM: Brahms the Progressive
DESCRIPTION:Two composers who\, in terms of pure sound\, you might think belong on different aesthetic planes\, yet who were both deeply pre-occupied by the musical tradition they inherited\, and sought in their own way to absorb and renew it; this program brings them together in a fascinating evening of complementarity and juxtaposition.In his essay Brahms the Progressive\, Schoenberg described his predecessor as ‘a great innovator in the realm of musical language\,’ and in Brahms’ Op. 56 Variations you hear him ringing the changes on a theme attributed to Haydn\, a composer he deeply revered. But Brahms had a special affection for Schubert\, and once told a friend: ‘My love for Schubert is a very serious one\, probably just because it is not a fleeting fancy. Where is genius like his\, which soars aloft so boldly and surely?’ The sequence of little waltzes you hear in this concert – also for four hands at one piano – takes the spirit of the Schubertiade by the hand\, sometimes tenderly\, sometimes boisterously\, on a journey to some unexpected harmonic locations.  If it seems odd to you that Brahms would write waltzes at all\, the dedicatee of Op.39\, the critic Eduard Hanslick\, thought so too\, and said: ‘The earnest\, taciturn Brahms\, the true disciple of Schumann\, the North German\, as protestant and as unworldly as Schumann\, composing waltzes? The solution to the riddle is given in one word: Vienna.’ \nWhile\, in his technique – in which form and material are often modified by variation – Schoenberg showed himself to be a successor to Brahms in particular and the Viennese tradition in general\, there can also be uncanny synchronicities of mood between the two composers\, as you’ll hear in the second half of this concert\, in which two keyboard masterworks are presented in parallel. Schoenberg’s Suite Op. 25 helped revolutionise the language of music\, yet it contains many references to its musical past and even\, at times\, a gentle romantic yearning. \nJohannes BRAHMS Sixteen Waltzes\, op.39 (1866)\nJohannes BRAHMS Fantasies\, op.116 (1892)\nJohannes BRAHMS Variations on a Theme by Haydn for 2 pianos\, op.56b\, ‘St. Antoni Chorale’ (1873)\nArnold SCHOENBERG Suite\nArnold SCHOENBERG Drei Klavierstücke  \nANAM Pianists \nThis performance will last approximately 2 hours including a 20 minute interval. \nFriday 11 October 2024\, 7 PM\nAbbotsford Convent\, Rosina Auditorium\, 1 St Heliers St\, ABBOTSFORD VIC \nView Map \nTICKETS: A Little Extra $60.00; Standard $40.00; A Little Less $20.00 \n 
URL:https://classicmelbourne.com.au/event/anam-brahms-the-progressive/
LOCATION:Rosina Auditorium\, Abbotsford Convent\, 1 St Heliers St\, Abbotsford\, Melbourne\, 3067\, Australia
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BEGIN:VEVENT
DTSTART;TZID=Australia/Melbourne:20240824T190000
DTEND;TZID=Australia/Melbourne:20240824T210000
DTSTAMP:20260501T084118
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SUMMARY:ANAM ORCHESTRA WITH BRETT DEAN AND STEFANIE FARRANDS
DESCRIPTION:Brett Dean is a giant figure in Australia’s musical landscape\, as composer\, conductor\, instrumentalist and artistic director. His opera Hamlet has conquered the stages of Glyndebourne\, the Adelaide Festival\, New York’s Metropolitan Opera and the Bavarian State Opera; and his orchestral music is in the repertoire of some of the greatest orchestras on the planet\, including the Berlin Philharmonic and the BBC Symphony. ANAM’s Artistic Director between 2006-2010\, this concert marks his first return to ANAM since 2018. \nCrafted specifically to showcase Brett’s many musical gifts\, this program begins with Music of Memory\, an in memoriam for four extraordinary people: Yodit Tekle\, an Eritrean who migrated to the UK as a refugee from her homeland’s harsh internal politics; the self-styled ‘girl photographer’ Betty Freeman\, in her photo session with the Hungarian composer György Ligeti\, and the British conductor Richard Hickox. This will be the work’s Australian premiere\, in which Brett will conduct ANAM musicians. \nThen a work created during the depths of lockdown. But despite (or perhaps because of) its desolate origins\, his piano quartet Imaginary Ballet is – in Brett’s description – ‘buoyant\, bullish and effervescent\, full of both driving\, reassuring repetitions and abrupt changes of tack\, of surging waves of quasi-orchestral energy and slivers of sneaky secrecy.’ \nFinally\, Brett collaborates with the ANAM orchestra and one of Australia’s leading violists\, Stefanie Farrands (ANAM alum 2008) in Berlioz’ epic re-imagining of Byron’s poem Childe Harold’s Pilgrimage. Like so much of the French composer’s music\, this extravagantly romantic work is almost unclassifiable: part concerto\, part symphony\, it chronicles the wanderings of Byron’s melancholy hero in music of lavish pictorial splendour. \nBrett DEAN Music of Memory (Australian Premiere)\nBrett DEAN Imaginary Ballet\nHector BERLIOZ Harold in Italy \nBrett Dean director/viola\nStefanie Farrands* viola (ANAM alum)\nANAM Orchestra \nSaturday August 24\, 7pm \nSt Kilda Town Hall\, 99a Carlisle St\, ST KILDA VIC \nView Map \nTICKETS: A Little Extra $70.00; Standard $50.00; A Little Less $30.00
URL:https://classicmelbourne.com.au/event/anam-orchestra-with-brett-dean-and-stefanie-farrands/
LOCATION:St Kilda Town Hall
END:VEVENT
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DTSTART;TZID=Australia/Melbourne:20240809T110000
DTEND;TZID=Australia/Melbourne:20240809T121500
DTSTAMP:20260501T084118
CREATED:20240806T140842Z
LAST-MODIFIED:20240806T140920Z
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SUMMARY:Mostly Mozart – Magnificent Minor
DESCRIPTION:Experience the transcendent power of two musical titans on full display.\nIn this mid-winter Mostly Mozart\, violinists Jakub Jakowicz and Sophie Rowell join musicians from the Australian National Academy of Music for a morning of 18th-century masterworks. \nJourneying back to the heart of the Baroque era with J.S. Bach’s Concerto for Two Violins\, the overlapping\, intertwining dialogue between the two soloists and the ensemble showcases the glory of the era. With Polish-born Jakub Jakowicz’ career of chamber music artistry and one of Australia’s most-treasured musicians\, Sophie Rowell\, at the helm\, Bach’s combination of rhythmic power and sustained songfulness leaps across centuries to bring delight to a troubled world. \nWritten in a blaze of inspiration in the summer of 1788\, Mozart’s Symphony No.40 defies the descriptors of ‘powerful’ and ‘dramatic’. With the fiery urgency of the opening\, the graceful serenity of the second movement\, and finally\, the spirited finale\, Mozart’s emotional rollercoaster of melodies showcases the energetic power of the ANAM Orchestra. \nMorning Tea: Join us for coffee plus sweet and savory treats from 10am in the ground floor foyer. \nFriday 9 August 2024 11am\nDuration: 1 hour 15 mins (no interval) Please note\, running times are approximate and subject to change. \nMelbourne Recital Centre\, Elisabeth Murdoch Hall \nTICKETS: Standard $49 ($42 Concession)
URL:https://classicmelbourne.com.au/event/mostly-mozart-magnificent-minor/
LOCATION:Elisabeth Murdoch Hall\, Melbourne Recital Centre
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BEGIN:VEVENT
DTSTART;TZID=Australia/Melbourne:20240806T190000
DTEND;TZID=Australia/Melbourne:20240806T210000
DTSTAMP:20260501T084118
CREATED:20240801T075931Z
LAST-MODIFIED:20240801T075931Z
UID:10014255-1722970800-1722978000@classicmelbourne.com.au
SUMMARY:Australian National Academy of Music: Sublime String Quintets
DESCRIPTION:How to explain Schubert’s genius when his music reveals it so readily? His string quintet is an epic of the chamber music world – visionary\, long-breathed\, novelistic – yet it’s also often serenely songful. It may be built to a grand design\, but it can also sound miraculously spontaneous.   \nSchubert’s warm-hearted masterwork is that rare string quintet featuring two cellos rather than two violas. It’s bookended in this concert by a work written for the same forces; but where Schubert’s Quintet is acknowledged as one of the greatest of all chamber works\, Maliszewski’s magnificent Quintet is a major rediscovery.  Born in the Ukraine\, Maliszewski helped found the Odessa Conservatory\, which nurtured the talents of some of the 20th century’s great instrumentalists. His Quintet\, impassioned and lyrical\, is inflected with the folk music of his homeland – and once you’ve heard it played by ANAM musicians you’ll wonder why it’s not better known.  \nLutosławski was one of Maliszewski’ students. At first\, this Polish composer’s music was supressed by his Russian masters\, but by the end of his life he’d become an iconic musical figure of his time. The four vignettes in this program chart the journey from his delicate dance with the authorities (‘I wrote as I was able\, since I could not yet write as I wished\,’ he later said) to full-blown expressive freedom.  \nIt’s hard to imagine a greater advocate for this program than Polish violinist Jakub Jakowicz\, an exemplary chamber musician\, teacher and soloist. \nWitold MALISZEWSKI String Quintet in D minor\nWitold LUTOSŁAWSKI Subito\nWitold LUTOSŁAWSKI Epitaph\nWitold LUTOSŁAWSKI Bukoliki\nWitold LUTOSŁAWSKI Dance Preludes\nFranz SCHUBERT String Quintet \nJakub Jakowicz director/violin\nANAM Musicians \nTuesday 06 Aug 2024\, 7 PM\nAbbotsford Convent\, Rosina Auditorium\, 1 St Heliers St\, ABBOTSFORD VIC\nTICKETS:\nA Little Extra $60.00\nStandard $40.00\nA Little Less $20.00
URL:https://classicmelbourne.com.au/event/australian-national-academy-of-music-sublime-string-quintets/
LOCATION:Rosina Auditorium\, Abbotsford Convent\, 1 St Heliers St\, Abbotsford\, Melbourne\, 3067\, Australia
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Australia/Melbourne:20240416T110000
DTEND;TZID=Australia/Melbourne:20240416T121500
DTSTAMP:20260501T084118
CREATED:20240331T061408Z
LAST-MODIFIED:20240331T061408Z
UID:10013323-1713265200-1713269700@classicmelbourne.com.au
SUMMARY:Mostly Mozart – Glass Harmonica
DESCRIPTION:Revel in this performance of musical risk-taking.\nA morning of musical experimentation awaits as percussionists and their piano contemporaries from the Australian National Academy of Music (ANAM) perform a selection of works by Mozart and Hungarian-Austrian composer György Ligeti. \nFor as long as there has been music\, there have been composers experimenting and taking risks throughout their creative process. In the case of Mozart\, many of his works deemed ‘experimental’ have stood the test of time. In his Adagio for Glass Harmonica\, Mozart uses the instrument’s unique timbres to create an otherworldly sound – a sound Paganini hailed as a ‘celestial voice’. \nInvented by Benjamin Franklin in the 18th century\, the glass harmonica requires virtuosic precision and gentle care from the performers as they rub their wet fingers on the edges of glass bowls to produce ethereal and haunting tones. \nHighly celebrated for his avant-garde music-making\, the genius of György Ligeti bookends this performance of Mozart’s most demanding repertoire. First\, the boundaries of classical music are pushed to the limits with the intricate melodies and unconventional harmonies of his Chamber Concerto. Rounding out the hour-long performance is the seventh movement of his Musica Ricercata – a collection of pieces in which Ligeti attempted to build a compositional style from the ground up – this time arranged for percussion. \n\nTuesday 16 April 2024 11am; MRC\, Elisabeth Murdoch Hall \nDuration: 1 hour 15 mins (no interval) Please note\, running times are approximate and subject to change. \n\n\n\n\nTICKETS: Standard $49 ($42 Concession)
URL:https://classicmelbourne.com.au/event/mostly-mozart-glass-harmonica/
LOCATION:Elisabeth Murdoch Hall\, Melbourne Recital Centre
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BEGIN:VEVENT
DTSTART;TZID=Australia/Melbourne:20240405T190000
DTEND;TZID=Australia/Melbourne:20240405T210000
DTSTAMP:20260501T084118
CREATED:20240402T012921Z
LAST-MODIFIED:20240402T012921Z
UID:10013336-1712343600-1712350800@classicmelbourne.com.au
SUMMARY:ANAM: Musica Ricercata
DESCRIPTION:icercare: To search out\, seek explore\, study. This Italian verb gave its name to a complex instrumental composition that you might most readily associate with Bach’s The Musical Offering. One of the most far-reaching examples of this genre is the work by the Italian composer of the late Renaissance\, Girolamo Frescobaldi\, which opens this concert – and casts its long shadow over everything that follows. \nThis concert looks down the centuries at one of the most inquisitive branches of the musical tradition. What are the limits of piano technique? Does some music need to be seen as well as heard? Can you listen to music in ways that have nothing to do with traditional Western ways of engagement? Is a work in which most or all the tonal elements have been removed still music or should we call it something else? Are there limits to the sounds composers and performers can extract from a piano? \nExploring these powerful questions with the ANAM piano cohort will be the new ‘Ambassador for New Music’ (The Ottawa Citizen)\, pianist Claudia Chan. A dazzlingly gifted and eloquent advocate for contemporary composers\, she was recently Artist-in-Residence of the contemporary music department at the famed Fondation Royaumont in France\, where she organized and presented concerts\, interdisciplinary projects\, and gave a series of lecture-recitals on new piano music. \nGirolamo FRESCOBALDI Ricercare cromatico post il Credo\nHelmut LACHENMANN Wiegenmusik\nHelmut LACHENMANN Guero\nLIGETI Études (selections)\nVassos NICOLAOU Études (selections)\nUnsuk CHIN Six Piano Études (selections)\nGyörg KURTÁG Játékok (selections)\nFrancesco FILIDEI Preludio\nFrancesco FILIDEI Garibaldi’s Little Rock\nFrancesco FILIDEI For Claudia\nFrancesco FILIDEI Toccata\nGyörg LIGETI Musica Ricercata  \nClaudia Chan director/piano  ANAM Pianists  \nFriday 05 April 2024\, 7 PM\nAbbotsford Convent\, Rosina Auditorium\, 1 St Heliers St \nTICKETS: A Little Extra $60.00; Standard $40.00; A Little Less $20.00 \nBuy now
URL:https://classicmelbourne.com.au/event/anam-musica-ricercata/
LOCATION:Abbotsford Covent\, Melbourne\, 3134\, Australia
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BEGIN:VEVENT
DTSTART;TZID=Australia/Melbourne:20240327T150000
DTEND;TZID=Australia/Melbourne:20240327T155000
DTSTAMP:20260501T084118
CREATED:20240324T025408Z
LAST-MODIFIED:20240324T025408Z
UID:10013312-1711551600-1711554600@classicmelbourne.com.au
SUMMARY:ANAM: Brave New Worlds: Liberté\, Égalité\, Fraternité
DESCRIPTION:Musical works act as aural records of turning points in the human story. This concert series offers a number of the most celebrated works of the canon\, some reflecting major developments in thought and philosophy\, and others showing the before and after of cataclysm. \nAcross four performances\, the faculty and musicians of ANAM explore the breadth of political upheaval in music\, from the enlightenment utopias of Mozart to the music born out of world war\, to music birthed from revolution and protest\, join us for this revolutionary journey to Brave New Worlds. \nIn one of the most loved musical anecdotes\, a fourteen-year-old Mozart arrives in Rome\, hears the Vatican choir sing Allegri’s famous Miserere and rushes back to his lodgings to write it out from memory. Allegri’s motet was a novel artefact from the hierarchical old world ruled by church dogma. Just 10 years later Mozart would write his ‘Gran’ Partita for winds\, a sonic expression of the new world guided be Enlightenment values: reason\, equality\, and the pursuit of individual happiness. Translated into music that meant a musical language that was less complex that the learned older styles. We’ve entered a brave new world. \nGregorio ALLEGRI Miserere mei\, Deus\nWolfgang Amadeus MOZART Serenade no. 10\, Gran Partita K.361 \nDavid Thomas (ANAM Faculty\, Head of Woodwind and Clarinet) director/clarinet\nANAM Musicians \nWednesday 27 Mar 2024\, 3 PM\nThe Good Shepherd Chapel (next to Abbotsford Convent)1 St Heliers St\, ABBOTSFORD VIC View Map \nTICKETS: A Little Extra $60.00; Standard $40.00; A Little Less $20.00
URL:https://classicmelbourne.com.au/event/anam-brave-new-worlds-liberte-egalite-fraternite/
LOCATION:Abbotsford Covent\, Melbourne\, 3134\, Australia
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