From the Artistic Chair

Our programs for 2008 contain more concerts distinguished by themes or imaginative labels than in any previous year. We hear, for example, several examples of the creative influence of birdsong on highly developed scores for the concert hall. Another program brings together acts of homage, three of them wholly instrumental, to the writings of major literary authors and, in one case, to the important influence of a writer-administrator. We spread a series of works with a strong sense of place and period across two concerts at the end of the year; and in one program, Voices of Apocalypse, we assemble pieces that begin by looking at the dark side of things in a rather ‘gothic’ manner and end by seeking transfiguration and sublimity.

In Australia Ensemble planning, in any case, we try to make sure that the content of individual programs meets our ideal of presenting a completely satisfying concert, without relying on extra-musical labels. A themed program may make it possible to put some works unexpectedly side by side, but only to the extent that these works make a valid point of contrast or companionship. You will see that we have not allowed themes to become all-pervasive, except in our ‘gothic’ program. In four out of six concerts there are major works that do not conform to a particular label and in one program, the very first, there is no label at all.

Of two centenaries noted in the 2008 series, one is the 100th anniversary of the birth of Olivier Messiaen. The other seems almost certain to be not only the 100th anniversary of the birth of the current doyen of American composers, Elliott Carter, but his actual 100th birthday. Carter is still composing, perhaps beyond the active creative years of any previous composer known to history, and still refusing to become docile and predictable in his old age, as conventional views of ageing expect him to do.

As always, we try to offer a balance of novelty and the familiar. New scores have been commissioned from Stuart Greenbaum and Roger Smalley. Brahms, Beethoven, Schubert, Mozart and Ravel offer styles and achievements that have earned the high expectation with which our audiences look forward to them. Some composers of recent times and the present are no less likely to win affection. Peter Sculthorpe’s Small Town contains a deliciously buoyant melody that many listeners will want to remember; and the former elder figure of American music, Aaron Copland offers in the original scoring of his ballet Appalachian Spring a magical and extended essay in celebrating the life and loves of a pioneering mountain community. Music written con amore transcends the limitations of old and new. There is plenty of it for you to discover or revisit in our 2008 series. Please give yourself that pleasure.

Another dose of shameless pleasure Harriet Cunningham - Sydney Morning Herald, April 2007

All Saturday evening concerts commence at 8pm. The venue is the Sir John Clancy Auditorium, UNSW.