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 <>.
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 <>  music, or <>

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
  • Critical Bands
  • Polyrhythms
  • 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.

As part of Soundstream’s ongoing Blue Touch series, Composer and sound artist Jesse Budel, shares his insights from recent travels to the US and Canada, responding to diverse places including old growth forests, tundra, glaciers, and deserts.  This tour, American Ascent, was supported by a Helpmann Academy Grant and  the SA Government through a Carclew Fellowship.
26th November – 5-7pm
The Studio, 82 Cremorne St., Malvern (off Cambridge Tce)
Tickets Adults $15 / Conc $10
Wines by Simon Hackett

Anne LeBaron
Wednesday 1 November, 11am-1pm
‘one of the greatest artists of our era’ John Corbett (“A Listener’s Guide to Free Improvisation”)
Forging a new language and identity for the harp with extended techniques and electronic enhancements.
A West Coast experimentalist composer who is also an innovative performer on the harp, Anne LeBaron’s compositions have been performed around the globe. For more about Anne click here:
Venue: EMU, Level 5, Schulz Building, University of Adelaide
Admission Free but booking required through Soundstream:

Join Johannes S. Sistermanns (Germany): performance artist, Mauricio Kagel protégé, Derek Pascoe: cool saxophonist, Gabriella Smart: colonial piano, in a performance that embraces acoustic instruments, improvisation, and a transducer that transmits sounds onto every vibrating surface.
3 Performances:
Monday 16 October, 7.30 – 8.30pm
COMA (Creative original music adelaide)
Wheatsheaf Hotel, 39 George St, Thebarton
Tickets at the door
Friday October 20, 6.oo – 8.oopm
Ancient World
116 Hindley St, enter via Conrad Lane
Tickets at the door: $10/$15
‘…be transported into a world where the bar tenders are scientists serve knowledge as a garnish for the drinks…’ (YELP)
SATURDAY 21 October, 6pm
Riddoch Gallery
1 Bay Rd, Mt Gambier

Musician, producer, advocate, philanthropist and corporate leader Dr Kim Williams AM is a champion for new voices in the cultural landscape. In this address that honours Australia’s great composer Peggy Glanville-Hicks, Kim talks about the opportunities for business and the arts, and the landscape ahead for contemporary art music.
Venue:  Ira Raymond Exhibition Room, Barr Smith Library, University of Adelaide.

We are so excited to bring you our next concert Either Or with the world-renowned soprano Allison Bell. Allison is joining us for a unique one off Australian appearance in La Plus Forte. Based on Strindberg’s The Stronger it embraces the dramatic tonal language of Irish composer Gerald Barry.  Alongside La Plus Forte will be the cutting edge electro/acoustic works of Australian composers Erkki Veltheim, Leah Blankendaal and Cat Hope.
Performance Details:
Wednesday August 9, 7pm
Elder Hall, North Tce.
La Plus Forte is a solo opera about two women who sit in a cafe, one silent, the other (Madame X) anything but. As X suspects Madame Y had an affair with her husband she becomes increasingly hysterical. In this remarkable one act operatic monologue, who is the stronger: X, with her elevated social status, or Y, who remains silent?.
PHOTOS of Allison Bell: Felipe Pagani
electro/acoustic works of Australian composers Erkki Veltheim, Leah Blankendaal and Cat Hope are inspired by the exploration of infants’ babbling accompanied by Bach, to distilling sonic sounds through an Ipad, to work inspired by the literature of Maggie Nelson. This program will once again take Adelaide audiences to the leading edge of opera and Australian chamber music.
Allison Bell (find out more) has been described as a ‘superbly controlled and lucid soprano soloist,’ with ‘a natural, expressive fluency’. ALLISON has gained a global reputation as one of the most exciting exponents of 20th and 21st century music. In this world premiere version for soprano and piano, Barry embraces the powerful dramatic and musical elements of Strindberg’s text.
In Allison’s words;
This role is so exciting to bring to life! One simple scene but such a fiercely intense and complex snapshot of life and the human experience that everyone can relate to. For me Gerald’s music is the perfect lyric expression of this experience and it does so with uncanny precision.
His music is so potent in its expressivity and characterisation –  the seeming naïveté, the playfulness, audacity and at times, violence – it has a great originality and freshness that fits these great dramas.
PROGRAM (duration 85’):
Cat Hope  Stella Degradation  for ensemble (Soundstream commission) 7’
Leah Blankendaal we were met by ordinary devotion * for clarinet and electronics 6’
Soundstream Emerging Composers Forum commission
Erkki Veltheim The Continuity Hypothesis (Australian premiere) 24’
for flute, bass clarinet, keyboard sampler, violoncello, live electronics
Gerald Barry La Plus Forte (WP version for soprano and piano) 22’
MELAnie walters flute
Mitch Berick clarinet
Ewen McGregor ‘cello
Gabriella Smart piano/keyboard
Erkki Veltheim violin/electronics
Gerald Barry La Plus Forte (2007)
Gerald Barry’s one act opera, La Plus Forte, was commissioned by Radio France for the 2007 Festival Présences. It is a monologue based on Strindberg’s play, The Stronger, about a woman, Madame X, meeting a younger acquaintance, Mademoiselle Y, in a cafe, and through a conversation, wherein only Madame X speaks, it transpires Mademoiselle Y is having an affair with the former’s husband.
Allison Bell premiered the staged version at the inaugural London Contemporary Music Festival in 2013. Soundstream presents the Australian premiere, and the World premiere of the version for soprano and piano, with blessings from the composer.
Allison Bell
Tasmanian born Soprano Allison Bell is one of the leading performers of 20th and 21st century music of her generation. Notable performances include Sierva in Eotvos’s Love and Other Demons at Glyndebourne, Schnittke’s Three Scenes, Madrigals, Der Gelbe Klang at the Royal Festival Hall, Schoenberg’s Pierrot Lunaire at the Wigmore Hall, Grisey’s Quatre chants pour franchir le seuil and Polly in Weill’s Dreigroschenoper at the RFH/Théâtre des Champs-Élysées, all with the London Philharmonic Orchestra/Vladimir Jurowski. Also Gorecki’s Third Symphony with the LPO/Dworzynski, Le Feu/La Princesse/Le Rossignol (L’Enfant et les Sortilèges) at the Bolshoi, works by Schoenberg and Dean at the Concertgebouw, Pierrot Lunaire at the Edinburgh Festival and Moscow’s Mossovet Theatre, Ravel’s Shéhérazade with the Iceland Symphony Orchestra, Ligeti’s Mysteries of the Macabre and Chin’s Akrostichon Wortspiel with the TSO. More recently and upcoming, Berg’s Lulu Suite with the Russian State Symphony Orchestra/Jurowski at Tchaikovsky Concert Hall, Tavener’s Flood of Beauty and Andriessen’s Dances with the Britten Sinfonia at the Barbican, works by Vivier and Donatoni with BCMG, an acclaimed recording of Brett Dean’s String Quartet no 2 as well as the world premiere of Dean’s From Melodious Lay and Rodney-Bennett’s Spells with the BBC Symphony Orchestra at the Barbican.
Stella Degradation by Cat Hope

The Sketch by Xenakis that inspired this piece.
Stella Degredation is inspired by a sketch Iannis Xenakis made for his piece Terretektorh (1956-66). Whilst there are many sketches for this famous piece, one is a combination of clouds of gentle lines, as well as hard symmetrical ones, grouped out on graph paper. This piece features many of the elements that are part of my ongoing interest in glissandi, drone, noise and an exploration of the concepts around the low frequency range of music.
It was commissioned by the SoundStream Collective and is dedicated to Gabriella Smart.
Stella Degradation distills contemporary language through assimilating everyday technology with cutting edge, improvised sonic geometry. Here, the performers read graphic notation on iPads.
Quintet version premiered at Sound Spectrum Festival, “Shock of the New”, WAAPA, October 2012 [Live video below]
Duo version premiered at Samstag Museum of Art as part of Crowd Theory Adelaide, by Canadian’s Eric Soucy (viola) and Peter Handsworth (clarinet).
Cat Hope’s 2012 Stella Degradation explored sound and noise at their most visceral and with its echoes of Xenakis evoked a wonderfully decadent blast from the past, although composed for the present. After so many years of postmodernism it was quite refreshing to soak up once more the extended technique sounds redolent of the 1960s, even if Soucy and Handsworth were using up-to-the-minute technology, with a tablet on their shared music desk scrolling along its graphic notation for them.” Adelaide Now.
Erkki Veltheim The Continuity Hypothesis
Following its world premiere by Finland’s defunensemble at the 2017 Musica Nova Helsinki, Soundstream performs the Australian premiere of The Continuity Hypothesis by Erkki Veltheim, with Erkki generating the live electronics on stage. It continues Veltheim’s interest in the acquisition and construction of language(s), and the relationship of these processes to the semiotics of musical composition and performance. The title refers to the hypothesis that infants’ babbling (ie. the nonsensical reduplication of basic phonemes) is a constitutive part in first language acquisition, leading to the construction of intelligible linguistic units through a combination of innate and social feedback mechanisms. The musical equivalent of this hypothesis is reflected in the pianist performing Bach on a keyboard sampler, which translates as a series of seemingly disconnected, but coherent, sounds.
Erkki writes:
The ‘babbling’ in my composition will consist of musical materials that could be thought of as operating on the level of phonemes, the smallest meaningful units of language. Each instrumentalist will be given a vocabulary of short musical gestures that mimic the phonemes observed in infantile babbling, adapted for each instrument through specific techniques such as slap-tongues for the bass clarinet, muted pizzicati for the cello, and sampled sounds on the keyboard.