Solo works for piano and electronics inspired by the narrative of the colonial piano in Australia
Works by Elena Kats Chernin, Luke Harrald, David Harris, Cathy Milliken, Jon Rose, James Rushford
Pianist Gabriella Smart
The colonial pianos chosen for Of Broken Trees and Elephant Ivories offer a kaleidoscopic view of Australia’s history including famous artists, Afghan cameleers, Aboriginal genocide, and morse code. The chosen pianos still exist in various locations around Australia, and their cultural and historical narratives have inspired new works by Australian and German composers. Smart commissioned composers from Australia and Germany to write new works inspired by the narratives of seven colonial pianos still extant in various parts of the country. They belonged to famous artists such as Robert Louis Stevenson, Percy Grainger and Hans Heysen, or contained intriguing narratives, such as the first piano to arrive in Alice Springs on the back of a camel from Oodnadata.
Wednesday July 4 7pm Elder Hall, University of Adelaide, North Tce, Adelaide
Activate Seminar Series “GENDER EQUALITY AND PRIVILEGE IN MUSIC”
With Cat Hope, Professor of Music and Head of school, Sir Zelman Cowen School of Music, Monash University
Wednesday 4 July 4pm – 5pm.
Elder Hall, University of Adelaide, North Tce, Adelaide
Inspired by Anne Summers’ ‘Women’s Manifesto’ released in 2017, which is intended as a blueprint for equality for women in Australia, Tura New Music, Monash University, Soundstream and Decibel New Music Ensemble have launched The Summers Night Project. The project has been established to support and mentor emerging composers who identify as women to create a composition for performances in Perth, Adelaide and Melbourne, with the aim of growing the gender diversity of composers in music programs Australia-wide.
The three composers chosen from a national call-out are Olivia Davies (WA), Rachel Bruerville (SA) and Carmen Chan Schoenborn (VIC). They will compose works for a chamber ensemble comprised of members of Decibel New Music Ensemble and Soundstream. Each composer has been allocated a lead mentor from their home state and has access to all performer mentors each possessing different areas of expertise.
Mentor and initiator of the project, Professor Cat Hope (pictured), Head of the Sir Zelman Cowan School of Music at Monash University, has been planning the project for some time, and the project gained momentum after participating as a mentor in Soundstream’s Emerging Composers Forum in 2016.
“Artistic Director of Soundstream, Gabriella Smart and I decided that teaming up to support composers was a good idea, and that focusing on composers identifying as women – irrespective of their musical style, age or level of experience – was an important focus for a mentorship project at this time. I reached out to Anne Summers, whose work in support and recognition of women in Australia has been an enormous inspiration to me, with the name idea – and so with her approval, and Tura’s facilitation, the project is finally underway,” Professor Hope said.
A recent report published by Sydney University’s Business School in 2017, Skipping a Beat, identified that “[w]omen represent only one-fifth of songwriters and composers registered with the Australasian Performing Rights Association despite making up 45 percent of qualified musicians and half of those studying music.” This is backed up by data on radio programming, festivals line-ups and board member, senior and strategic roles in national music industry peak bodies where women are overwhelmingly under-represented.
Drawing from this report, Professor Hope states, “I believe that we need to support and nurture composers who are fighting to be visible. Recent statistics show us that on average, music created by women is programmed and performed less often than that by men, and that is why we have made this project to support composers who are not men in their endeavours as composers. Mentoring builds confidence in a unique way that I really believe adds something important to the development and presentation of new creative work.”
The composer mentors are Professor Cat Hope (VIC), from Monash University and artistic director of Decibel New Music Ensemble, Rebecca Erin Smith (WA), who recently mentored young composers from WAAPA to compose fanfares for the 2018 Perth Festival, and instigator of the inaugural Composing Women’s Festival in Adelaide, Becky Llewellyn (SA). Composers will have access to performance mentors Stuart James (WA) electronics, piano and percussion, Derek Pascoe (SA) saxophone, Tristen Parr (WA) cello, Gabriella Smart (SA) piano and Cat Hope (VIC) flutes.
Composers are given the choice to write for as many or as few of the following instruments as they desire; percussion, cello, flute, saxophone, electronics and piano, and will take part in a two-day rehearsal intensive in Perth on 30 June and 1 July 2018. This rehearsal period will be followed by concerts in the three host states; Monday 2 July at the Subiaco Arts Centre (WA), Wednesday 4 July at Elder Hall, University of Adelaide (SA), and Friday 6 July at the Music Auditorium, Sir Zelman Cowen School of Music, Monash University (VIC) as part of the Gender Diversity in Music Making Conference being held there.
The Summers Night Project is presented by Tura New Music, Soundstream and Monash University, and acknowledges the support of APRA AMCOS, the Australia Music Centre and Decibel New Music Ensemble.
Sunday, JUNE 24, 5-7pm
Beaumont House, 631 Glynburn Rd., Beaumont
Derek Pascoe and Gabriella Smart have been an improvising duo for three years. Ahead of their European tour, they delve into what they love to do most – stretching the boundaries of listening through improvisation in sound and technique. Featuring a new work written for Pascoe and Smart by Leah Blankendaal, and solos including an Australian premiere for solo piano by Annie Hui-Hsin Hsieh.
Tickets Full $25 Concession $15
Prelude is a national network of residencies for Australian composers, housed in historic buildings and providing time and space to create new work. It is a collaboration between the Peggy Glanville-Hicks Composers Trust, National Trust of Western Australia, National Trust of South Australia, National Trusts of Australia, APRA AMCOS, Arts South Australia, Helpmann Academy and Bundanon Trust.Prelude is assisted by the Australian government through the Australia Council for the Arts.
Soundstream’s Artistic Director, Gabriella Smart, was awarded the first residency for 2018 which include a performance series below:
May 13: Beaumont House (Blue Touch Concert series):
Gabriella Smart and Derek Pascoe perform with guest artist Jon Rose
June 17: Beaumont House (Blue Touch Concert series):
Gabriella Smart performs Inner Cities by Alvin Curran, a 5 hour piano cycle
July 15: (TBC) Performance and talk by Gabriella Smart, 2018 Prelude Beaumont House residency recipient (in collaboration with National Trust of South Australia, National Trusts of Australia, APRA AMCOS, Arts South Australia, Helpmann Academy and Bundanon Trust. Prelude is assisted by the Australian government through the Australia Council for the Arts)
August 7/8: (Date TBC) Titjikala Choir in concert and art exhibition at Ayers House (collaboration between NTSA, JM Coetzee Centre for Creative Practice University of Adelaide, The Art Bus, Renewal SA)
Other performances by Gabriella Smart during her Residency:
April 5: Performance in Two Horizons: Australian Association for Pacific Studies Conference, Adelaide University: works by Cathy Milliken, David Harris (WP) and Jon Rose
April 9: Gabriella imrpovises ‘Grand Silence’ with Derek Pascoe (saxophone) and Luke Harrald (guitar, electronics) at COMA, Wheatsheaf Hotel, Adelaide
April 13: World premiere of new work by Erkki Veltheim (60’) at the Adelaide Central School of Art
April 22: Solo concert at Monash University, works by Erkki Veltheim and Cat Hope
June 29: Solo concert in Perth, part of TURA concert series
June 30-July 6: Summer Nights Project, Mentoring women composers from VIC, SA and WA in a 2-day workshop and concerts in Perth, Adelaide and Melbourne. (Partnership between TURA, Soundstream and Monash University)
6-8 July: Performance in the Gender Diversity in Music Making Conference, Monash University, Melbourne, Australia.
August 18: 8 pianos concert, Joan Penrith Centre, NSW, with Tamara Anna Cislowska
August 21: Gabriella curates the APRA AMCOS Art Music Awards, City Recital Hall, Sydney
August 25: Solo concert in Extended Play, City Recital Hall, as part of a 12 hour new music festival (TBC)
Soundstream proudly presents, with Tura New Music
and the National Trust of SA:
at Z Ward: 25 Conyngham St, Glenside
As part of South Australia’s History Festival
‘The unifying factor is Devenish’s breathtakingly deft delivery, her artistic interpretation of the material, her sculptor-like attention to detail.’ Cool Perth Night
The sparkling sound world of glockenspiel and vibraphone and the deep resonance of gongs are extended by electronic processing, samples and sub woofers in a collection of works by Andrián Pertout, Stuart James, Cat Hope and Kate Moore. This collection of sparkling and resonant Australian works for metallic percussion is complemented by interactive visual projection mapping on the instruments by New York based artist Ross Karre.
Louise Devenish’s music for percussion and electronics national tour is presented by Tura as part of the Tura National Program.
ANDRIÁN PERTOUT | Exposiciones (2007)
for glockenspiel and fixed media
STUART JAMES | Kinabuhi | Kamatayon (2015)
for Balinese bossed gongs and electronic processing
CAT HOPE | Tone Being (2016)
for tam-tam and subwoofer
KATE MOORE | Coral Speak (2016)
for vibraphone and stereo tracks
“There’s not much Rose doesn’t know about the violin. The rest, he has invented.”
Jon Rose takes up residence with Gabriella Smart in Beaumont House, the two of them colluding to bring you a special in-house improvisatory performance on Sunday May 13 at 5pm. Enjoy a glass of wine at sunset at one of Australia’s most sublime locations.
Gabriella Smart performs the world premiere of ‘Two New Proposals…’ by Erkki Veltheim:
Adelaide at the Adelaide Central School of Art (13th April @ 7pm, also featuring ‘Picnic at Broken Hill’ by Jon Rose)BOOK HERE
Melbourne at Monash University as part of the MLIVE Series in Robert Blackwood Hall (22nd April @ 5pm, also featuring ‘Kaps Freed’ by Cat Hope with Stuart James, electronics) INFO HERE
2 new works by Jon Rose and Erkki Veltheim Friday April 13,
Adelaide Central School of Art – Glenside Cultural Precinct, 7 Mulberry Road, Glenside SA 5065
Tickets $25/$15 BOOK HERE
Picnic at Broken Hill by Jon Rose – Video Installation in Studio 2 from 7pm.
Two New Proposals… in Studio 1 at 8pm.
reflecting our universal obsession with trivia.
“Ellen DeGeneres on Twitter_ “If only Bradley’s arm was longer. Best photo ever”
Two New Proposals for an Overland Telegraph Line from Port
Darwin to Port Augusta, from the Perspective of Alice Springs (World premiere, 58’) For detuned colonial piano and electronics by Erkki Veltheim, written for and performed by Gabriella Smart. Electronic music that distills new music and history, embodied through the first piano to arrive in Alice Springs via Oodnadata by camel. Morse code played on colonial piano spells out the world’s most retweeted tweet of January 2015, reflecting our
universal obsession with trivia.
“Ellen DeGeneres on Twitter_ “If only Bradley’s arm was longer. Best photo ever”
Picnic at Broken Hill …a musical transcription for solo piano of suicide letters Rose’s work Picnic at Broken Hill was inspired by a true story that took place in Broken Hill with two Afghan ex-cameleers. On New Year’s Day in 1915, a picnic train carrying 1200 miners and their families was attacked by the two Afghans in protest against the invasion by the western allies of Turkey. Knowing they would die as a result, they both wrote suicide letters in Urdu. Picnic at Broken Hill is a musical transcription for solo piano of these suicide letters.
Presented by Adelaide Central School Of Art in association with Soundstream New Music
Summer Sundays at Beaumont House, March 18, 12 – 4pm Soundstream presents Secret Garden
Enjoy live music, food, entertainment and wine on the shady lawns of Beaumont House, treat yourself to a Devonshire tea on the veranda and browse our exclusive market and vintage stalls.
Cost: $10 at the gate (National Trust Members $8, children under 12 free).
In Secret Garden, Soundstream curates a musical adventure in the unique gardens of Beaumont House from 12pm to 4pm on Sunday March 18! Featuring:
Frank Yamma, one of Australia’s most significant Indigenous songwriters. Frank has the gift to cross cultural and musical boundaries – a love song sung in Pitjantjatjara will make your heart sing in whatever language you speak.
Saxophonist Derek Pascoe is the pied piper, leading children of all ages on an exploratory journey through the gardens
Gabriella Smart creates a pop up toy piano performance
Young composer and sound artist Jesse Budel explores the resonance of a ruined colonial piano through transducer, improvisation and new settings of old bush ballads.
You are invited to a unique event:
Soundstream’s 2018 Blue Touch series launches in the beautiful ballroom of Beaumont House, with pianists Gabriella Smart and Dan Thorpe, and cellist Rachel Bruerville workshopping new pieces by composers Rachel Bruerville, Jesse Budel and Dylan Crismani.
Where: Beaumont House, 631 Glynburn Rd., Beaumont
When: Sunday February 25, 5-7pm
Seats are strictly limited, so be sure to book your place
$5 Donation towards refreshments.
Composers: Jesse Budel, Rachel Bruerville and Dylan Crismani
Long Island by Jesse Budel
Written for piano four-hands and electronics, Long Island is named after the eponymous island on the Murray River at Murray Bridge, and provides a visceral journey of the area’s terrestrial and aquatic soundscape, investigating the impact of motorboat noise on aquatic environments.
You can hear a shorter electronic version of the work, premiered at Michigan Tech University in December 2017, here < https://soundcloud.com/jesse-budel/long-island>.
Jesse is currently in his final year of PhD research at Elder Conservatorium, and was awarded an 2017 Carclew Fellowship to undertake a professional development of the US and Canada.
Under the Fig Tree by Rachel Breuer
Adelaide-based Rachel Bruerville is a composer, arranger, cellist, singer, and writer, whose main performing activity is singing alto with the Adelaide Chamber Singers, as well as playing cello with her band, Minority Tradition. She finished her B.Mus in 2015, and all things going to plan, she will complete her Honours year in composition at the Elder Conservatorium in July this year.
The first version of her work Under the Fig Tree was originally written for solo classical guitar in 2014, and now in 2018, the piece will be reimagined for cello and piano. The title was inspired by Rachel’s grandma’s musical synesthesia, where B major is reddish-brown (figs), and E major is green (leaves). Oh, the serenity!
To find out more about Rachel and her work, please visit www.facebook.com/rachelbruerville <http://www.facebook.com/rachelbruerville> music, or www.rachelbruerville.com <http://www.rachelbruerville.com>
The un-tempered pianos by Dylan Crismani
The un-tempered pianos is an extended minimalist work for two pianos and one pianist in just intonation. The piece explores a tuning in just intonation based on the prime numbers 3, 5, and 7. It also explores the concept of critical bands through the syntonic comma – 81:80. The composer of the piece is Dylan Crismani who is a PhD candidate at the University of Adelaide, his PhD focuses on a theory of music based in geometry and symmetrical patterns of shapes and numbers.
The un-tempered pianos explores the following concepts:
Modes of Synthesised Inversional Symmetry (MOSIS)
Harmonic Clouds and dyadic harmony
People Process, Repetition Process, and Mathematical ProcesS
MOSIS is the acronym for Modes of Synthesised Inversional Symmetry, and MOSIS are part of Dylan Crismani’s contribution to knowledge as a PhD candidate. The concept can be compared to transposition in musical terminology, where 1 set of pitches is the inverse of another set of pitches. This kind of transposition and inversion is possible in regular tempered piano tuning, but it limited to 12 notes only, or two sets of 6 and lower. The un-tempered pianos explores this idea in a 24/48-pitch micro-tonal system. Another way to think of this concept is in terms of geometry, where the charateristics of a certain shape – i.e. the length of sides, and degree of angles, can be replicated, or translated from one place to another, in a number of dimensions, including the theoretical fourth dimension. The un-tempered pianos explores a number of these geometrically conceived modes throughout all nine movements of the un-tempered pianos.
Harmonic clouds, and static dyadic harmony are ideas borrowed from avant-garde American minimalist La Monte Young. Harmonic clouds are cluster chords played with a rapid, and indeterminate tremolo. Dyadic harmony is harmony based on two pitches only, this is also a borrowed concept from La Monte Young’s well-tuned piano.
Critical bands can be likened to the visual arts where an artist can access unlimited shades of the primary and secondary colours, the only limit being that of human perception. The same is true in music, where musicians can explore unlimited shades of the main 12 musical pitches, this is a widely accepted idea in Indian classical music. The un-tempered pianos explores different shades of the same pitches through two pianos, and through the syntonic comma, which creates the kind of beautiful dissonance reminiscent of the inharmonicity of Javanese Gamelan instruments.
Polyrhythm is the juxtaposition of one rhythmic pattern against another. This idea is explored in the final movements of the un-tempered pianos. This is implemented through various finger patterns which create accents at different times, creating a back and forth echo between the two pianos.
People process is used in this piece. The meaning behind this is that the performer is instructed to move through the composition at their own pace. Repetition process is the process where movement in the music is created solely through extended repetitions. Mathematical process is also used in this piece whereby short repeated patterns evolve into longer patterns through the process of addition.
The aim behind the entire piece is to explore a new world of sounds not through the traditional mechanisms of melody and motif, but through relatively modern approaches to composition, a new approach to piano tuning.
The use of Beaumont House is generously provided by the National Trust of South Australia as part of Gabriella’s Prelude Composer Residency. Prelude is a national network of residencies for Australian composers, housed in historic buildings and providing time and space to create new work. It is a collaboration between the Peggy Glanville-Hicks Composers Trust , National Trust of Western Australia , National Trust of South Australia , , APRA AMCOS , Arts South Australia , The Helpmann Academy and Bundanon Trust.