That Which Remains 
UnPiano Trio creates a unique sensory experience at sunset in Z Ward
Wednesday May 8, 6pm-7pm
Z Ward, 63 Conyngham St, Glenside, SA
Ticket price/s $20/$40
The Z Ward, with its generous musical acoustic, is as beautiful on the outside as it is chillingly grim within.” The Advertiser
UnPiano performs in Glenside’s notorious Z Ward, as part of the SA History Festival. Originally home to the criminally insane for 80 years, the empty cells and gardens of Z Ward are transformed into extraordinarily resonant performance spaces, taking the audience on a unique narrative journey. The trio will use the natural resonance and architecture of Z Ward to connect to its restless and turbulent past.

UnPiano is Derek Pascoe (saxophone) UK/Australia, Johannes S. Sistermanns (electronics, voice) Germany, and Gabriella Smart (synthesizer) Australia. The Trio was established in 2017 by three musicians from diverse backgrounds who are united by their love of freely improvised music. By exploring acoustic and manipulated sounds to create a narrative that explores emotional boundaries, they create an intimate connection to their immediate performance space. UnPiano have performed in Poland, Berlin and around Australia, including forthcoming performances at MONA.
Presented by Soundstream in partnership with the National Trust of South Australia as part of the History Festival of SA
Artist Biographies:
 Gabriella Smart
 Pianist Gabriella Smart is one of the leading advocates of new music in Australia – through performance, improvisation, collaborative composition, commissioning and curation. She is the recipient of two prestigious awards in 2019: The Australia Council for the Arts Paris Residency, and a South Australian Government Creative Fellowship. In she was awarded a Prelude Composer Residency and a UNESCO City of Music residency in Katowice, Poland. Gabriella received a Churchill Fellowship in 2010, and a Helpmann Award in 2009. As an improviser she has collaborated and performed with such luminaries as Lisa Gerrard, Brian Ritchie, Alvin Curran, Cat Hope, Derek Pascoe and Johannes Sistermanns as part of their Blue Touch Trio, and Paul Grabowsky. With a background as a multi-award winning pianist specialising in classical and new music, Gabriella has performed extensively in Australia and internationally, premiering over forty new works for solo piano by Australian and international composers in Australia, Europe and China, and collaborating with musicians as diverse as Brett Dean, Elena Kats Chernin, Erik Griswold, Erkki Veltheim, Jon Rose, and Tamara Anna Cislowska.
Gabriella’s performance of Alvin Curran’s solo For Cornelius on 9/8/17 was described as ‘meltingly beautiful’ and ‘mesmerising’ (The Australian). She has performed widely as a soloist throughout Australia, and internationally, promoting the works of Australian composers. Gabriella has performed in the Melbourne and Adelaide International Festivals, MONA MOFO, TURA (Perth) and in Europe and China. In 2010 she represented Australia at the World Expo in Shanghai. Gabriella has given numerous live and recorded broadcasts for ABC Classic FM.
Gabriella is Artistic Director of Soundstream Collective, the University of Adelaide’s New Music Ensemble-in-Residence, which received an SA Premier’s Award for Best Event in 2009, and was recognized nationally in 2013 through the APRA/AMCOS Award for Excellence by an Organisation. Soundstream established the Emerging Composers’ Forum in 2012, a national Forum creating opportunities for emerging composers through supporting the creation, workshopping, performance and recording of their works.
Derek Pascoe
Derek Pascoe has been playing saxophone professionally for over 40 years including regular TV, radio broadcasts and studio recordings across a range of genres. He was a member of acclaimed pop group Flintlock, who produced 5 albums and were featured weekly on UK national television including Top of the Pops and Tomorrow’s People. Pascoe has played at many of London’s prestigious Jazz venues including Ronnie Scott’s, Bass Clef and the Jazz Cafe. He has toured extensively throughout Europe, Japan and most recently in Australia with The Commitments.
In 1998 Pascoe moved to Australia from London. He completed a Master of Music at the Elder Conservatorium Adelaide in 2010, exploring performance and spontaneous improvisation techniques. Since 2000, he has lectured in Jazz theory and Improvisation across the Jazz, Classical and Contemporary disciplines at the Elder Conservatorium in Adelaide.
Pascoe has an extensive recording, arranging and composing history that includes the National Youth Jazz Orchestra UK, Jacqueline Dankworth UK, Shaolin Afronauts, the Zeitgeist Orchestra, John Aue and the Yearlings. His work in film includes improvised performance for the film documentary These Heathen Dreams, with music composed by Mike Darren and directed by Ann Tsoulis. In 2016 he composed and performed the music to accompany the silent masterpiece The Crowd as part of the APRA Silent Remasters series. In 2014, Pascoe composed music to Dylan Thomas’s Under Milk Wood, which received its world premiere in the Elder Hall Lunchtime Series in Adelaide. A subsequent CD recording was released in 2015 by Finepoets. Recent live performances include regular appearances at Creative Original Music Adelaide and Elder Hall Lunchtime Series concerts. Pascoe is currently composing music to the text from James Joyce’s Ulysses.
Johannes S Sistermanns
Dr. JOHANNES S. SISTERMANNS stages his compositions as electroacoustic, SoundPlastic exhibition, music theatre, urban environment, and radiophonic sound plays. He studied the “Tao of Voice” method with Stephen Cheng in New York and classical North Indian singing at the Banares Hindu University. From 1976 to 1984, he studied piano, Rhythmik, and new music theatre with Mauricio Kagel at the Cologne Conservatory of Music. Performances, exhibitions, teachings, and fellowships have taken him to Japan, China, Australia, and the USA. He has been a guest artist at many international festivals, including the Knitting Factory in New York (1995), Melbourne Festival (1997), EXPO 2000 in Hanover, Adelaide Festival (2000), Donaueschinger Musiktage (1996, 1999, 2005, 2016), Electroacoustic Music Festival in Shanghai (2006), ISCM World New Music Days Switzerland (2004)/Stuttgart (2006)/Sydney (2010), Experimental Intermedia in New York (2007), ZKM Karlsruhe Sound Dome (2010) Musicarama Hong Kong (2011)MONA MOFO Festival Tasmania 2015. Sistermanns lectured at the International Summer Courses for New Music in Darmstadt (2004, 2006), and worked as the Artistic Director of Experimental Music Theatre in Hellerau/Dresden (2010/11). He has received numerous prizes and awards including the 2015 FOREVER NOW Competition [Aphids, Melbourne]: the ‚Golden Record’ with 65 selected sound and audiovisual artworks shot in and spin through outer space, Prix PRESQUE RIEN/Luc Ferrari Paris 2015 and 1. Prize Leibniz Harmonies 2016 Hanover and the ‚GERMAN SOUNDART AWARD 2008’.

Grand Silence is an improvised response by UnPiano to the soundscape of the same name created by Sean Williams from the landmark recordings of Jonty Semper (UK), Kenotaphion (2001, Locus+). Semper collected all surviving recordings of the two-minute silences at the Armistice Day and Remembrance Sunday ceremonies at the Cenotaph in London from 1929 to 2000. Grand Silence is an improvised threnody of this remarkable memorial.
UnPiano (Derek Pascoe, saxophone (UK/Aus), Johannes S. Sistermanns, exciter, voice, (GER), and Gabriella Smart, synthesizer, (AUS)) have performed Grand Silence in Poland and Berlin. It is a poignant commemoration to the people who have lost their lives in War.
Presented by Soundstream in partnership and the Samstag Museum of Art
Thursday April 25 at 6pm. 45 minutes duration, no interval
Samstag Museum of Art
University of South Australia
55 North Terrace, Adelaide SA 5000
Tickets: $15/$30 TRYBOOKING:

The Wire’s Top 50 for 2005,
hit of the 2018 Sacrum Profanum Festival Krakow
Performed by Cat Hope and Kasper T Toeplitz
Sunday March 17, 4pm. 90 minutes duration with interval
Ayers House, 288 North Terrace, Adelaide SA 5000
Tickets: $20/$40
A student of Pierre Schaeffer and Pierre Henry, Radigue’s is a unique musical voice of the 21st Century. Toeplitz’s performance was a hit of the 2018 Sacrum Profanum Festival, Krakow, and Hope’s acclaimed performance was premiered in 2018 at Carriageworks Sydney.

Occam XXIV for flute, written for Cat Hope by Éliane Radigue
Elemental 11 for bass guitar, written for Kasper T Toeplitz by Éliane Radigue
(Australian premiere)

Presented by Soundstream in partnership with the National Trust of South Australia


“You don’t get to choose how you’re going to die, or when. You can only decide how you’re going to live now.”
– Joan Baez –
A chance meeting of two Australian musicians in Poland resulted in perfect synergy. Gabriella Smart (Piano) & Maryanne Piper (Clarinets & Soprano Saxophone) perform works by women composers who dissect traditions of composition and improvisation, surrendering to a stream of music that absorbs a mix of cultures and influences. Including works by Leah Blankendaal, Keyna Wilkins, Nicole Murphy, Christina Fuchs (GER), Issie Barratt (UK) and Elena Kats Chernin.
A performance in the sublime surroundings of Beaumont House at sunset.
Presented by Soundstream in partnership with the National Trust of South Australia

Wednesday February 6, 7pm. 60 minutes duration, no interval
Beaumont House, 631 Glynburn Rd., Beaumont SA
Tickets: $10/$25


Celebrating Titjikala Culture through Art & Music
the Titjikala Women’s Choir (NT) shared their unique artistic and musical practice with Adelaide, celebrating cultural exchange. Together We Rise featured art and music workshops with the Titjikala women run by The Art Bus with artists Miranda Harris and Helen Fuller and Soundstream’s Gabriella Smart.
Workshop events culminate in an exhibition and a concert at Ayers House Museum on 8th Aug in a celebration of Cultural diversity.
Co-hosted by Soundstream Music and the J.M. Coetzee Centre for Creative Practice, the University of Adelaide. This event is also generously supported by Adelaide City Council, National Trust of South Australia, Renewal SA, the Centre for Aboriginal Studies in Music, the University of Adelaide and The Art Bus.



A free concert to celebrate Gabriella’s Prelude Composer Residency:
Gabriella Smart performs ‘Inner Cities’ by Alvin Curran, a five hour piano cycle
Sunday, July 22, 2-7pm
Beaumont House, 631 Glynburn Rd., Beaumont
Bring your bean bag! Gabriella has previously toured Alvin’s vast piano cycle around the country. This performance is in preparation for European performances, and a CD recording. Feel free to stay for the full duration, or come for an hour and enjoy the beautiful surrounds of Beaumont House.
Photo: Alvin Curran and Gabriella Smart, Sydney 2013

Gabriella Smart performs INNERCITIES by Alvin Curran

These concerts are made possible with the generous support of Chamber Music Adelaide, Prelude National Network of Residencies, and the following organisations.

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
TICKETS $25/$15

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.



Adelaide concert
Wednesday July 4 7pm Elder Hall, University of Adelaide, North Tce, Adelaide
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.