Podcasts about australian national academy

Tai Snaith is back with Art Attack! She checked out the latest exhibition at the new Ordinance Gallery, Cardboards by Darcey Bella Arnold. The Australian National Academy of Music (ANAM) Head of Percussion Peter Neville stops by to tell Richard about their festival, Sounds of Australia. It runs from the 28-30 November at the Abbotsford Convent. Tickets and info: https://abbotsfordconvent.com.au/whos-here/anam/ Caitlin Dullard and Nadja Kostich, the Artistic Directors & CEOs of La Mama Theatre & St Martins Youth Arts respectively, are in the studio to tell us about how they're working to fundraise, including their s2m sector pilot program. Brett Sheehy AO, Artistic Director, is on the line to give all the juicy deets on Adelaide Festival 2025! There's nods to the past and an embracing of the present, so something for everyone… start planning your roadtrip! Program available here: https://www.adelaidefestival.com.au/whats-on/Lucy Guerin, Tra Mi Dinh and Joel Bray on PIECES 2024, playing at UMAC (the new Union Theatre, Arts and Cultural Building at Melbourne Uni) for 4 special performances from 28 – 30 November. Tickets at www.umac.melbourne

Flutist Maria Zhdanovich moved to Australia from Saint Petersburg when she was eight years old. She has won several music awards and competitions, went to study in London, played with the Adelaide Symphony Orchestra, and is now studying at the Australian National Academy of Music. In this interview, she talks about her upcoming concert in Melbourne and her musical and immigrant journey. - Флейтистка Мария Жданович обучается в Австралийской национальной академии музыки. В этом интервью она рассказывает о предстоящем концерте в Мельбурне, а также своем музыкальном и иммигрантском пути.

The imaginative and versatile Finnish virtuoso pianist Paavali Jumppanen has established himself as a dynamic musician of seemingly unlimited capability who has cut a wide swathe as an orchestral and recital soloist and artistic director of both the classic and contemporary. He's performed in the US, Europe, Japan, China, Japan and Australia, and it is in Australia that he has made a second home, as since 2021 he has been the artistic director of the Australian National Academy of Music in Melbourne.  Paavali gives us a great insight into ANAM and their philosophy and methods, and we hear about his own musical journey including recording the entirety of Beethoven's piano sonatas. Paavali Jumpannen directs the Melbourne Symphony Orchestra for Marvellous Mozart from 7-9 March at various locations. Musicians of ANAM will be performing Arnold Schönberg's Gurrelieder with the Sydney Symphony Orchestra under Simone Young on 15-16 March at the Sydney Opera House.

In the final program for 2023, Simon Moore is joined by an Australian arts leader who has made a name for herself internationally. Fiona Allan has been in senior roles, including artistic director, of theatres, venues and events from the Sydney Film Festival and the Australian National Academy of Music, to the Arts Council in England and the Millennium Centre in Wales. Until a few years ago she was in charge of the UK's busiest single theatre, the Birmingham Hippodrome, and it was from there that she returned to her home town of Sydney to become the current CEO of Opera Australia. Fiona reveals elements of how Opera Australia will continue to evolve and develop into the future, including working with new artistic director Jo Davies, and shares stories from her long career in arts management in both Australia and the UK.

Australian born pianist Rita Reichman began her performance career as a 3 year old child prodigy, the performance being on ABC TV.She has had an extraordinary education, beginning here with Jascha Spivakovsky and then at age 9 was invited to study at the Interlochen Center for the Arts in Michigan.Two years later she was accepted to study at the Curtis Institute of Music in Philadelphia, as one of their youngest student, obtaining a Bachelors Degree at 17.This was followed by a Masters Degree from The Juilliard School in New York at 20.She continues her international performance career as soloist , recording artist, chamber musician. and is in much demand to give master classes.She was Head of Piano at the Australian National Academy of Music for 10 years, and is much sought after as an adjudicator of international piano competitions, and pedagogue, with many of her students going on to have international careers of their own.Rita has performed in China, South Africa, Europe North and South America, Canada, Russia and of course all over Australia. She has performed in the White House for the presidents of the United States and Brazil and was invited to perform for the (then) Prince Charles and Princess Diana when they were on their Australian tour.Rita was awarded the prestigious title of  Steinway Artist.Deborah's Instagram: https://www.instagram.com/what.ive.learnt/Mind, Film and Publishing: https://www.mindfilmandpublishing.com/Apple Podcast: https://podcasts.apple.com/au/podcast/what-ive-learnt/id153556330Spotify: https://open.spotify.com/show/3TQjCspxcrSi4yw2YugxBkBuzzsprout: https://www.buzzsprout.com/1365850

Tokyo-born and Melbourne-raised violinist Kyla Matsuura-Miller talks about winning the 2021 Freedman Classical Fellowship, BIPOC representation in music and those necessary awkward moments...Since graduating from the ANAM in 2018, violinist Kyla Matsuura-Miller has more than established her place at the table in the Australian cultural scene. Kyla is the 2021 Freedman Classical Fellowship recipient and has won awards including the Homophonic Pride Prize. She is currently collaborating with Inventi Ensemble and in Duo Piaggio with pianist Adam McMillan. Kyla currently plays on a fine violin made by Giovanni Pistucci, circa 1910-1920 which has been generously loaned by a private syndicate.Kyla Matsuura-Miller: http://www.kylaviolin.com.au/__________– Discussed in this episode –• Freedman Fellowship: https://sima.org.au/freedman-music-fellowships/• rage - ABC: https://www.abc.net.au/rage/• The Australian National Academy of Music (ANAM): https://anam.com.au/• Ngarra-Burria: https://www.moogahlin.org/ngarra-burria• Three Conversations – Kyla Matsuura-Miller: https://musictrust.com.au/loudmouth/three-conversations-an-exploration-of-growing-up-non-white-in-australia/• Tobias Willis, KEWL Studio: https://www.kewl.studio/• Stephanie Kabanyana-Kanyandekwe: https://kabanyana.com/about/• Concerto for Violin with Percussion Orchestra (1959-1940*) [*as inscribed by the composer] – Lou Harrison: https://www.youtube.com/watch?v=Gn-GP8KUJB4 • Steve Schick: http://stevenschick.com/ • Will Hansen: https://www.facebook.com/willhansenbass/ __________Opening music: Heaven Only Empty (2014) – Damien RicketsonClosing music: Light for the First Time (2017) – Bree van ReykThe Offcast is hosted by Claire Edwardes OAM, and produced and edited by Ben Robinson.Ensemble Offspring: https://ensembleoffspring.com/This episode of The Offcast is sponsored by Limelight

Emerging flautist, educator and researcher Eliza Shephard talks about growing up regionally, the extended flute, her bold recording project and being Ensemble Offspring's 2022 Hatched Associate Artist.Eliza Shephard is a vibrant performer and fervent contemporary musician in Melbourne. She is a specialist on the Glissando Headjoint, and a highly sought-after chamber musician. She is a semi-finalist for the ABC Young Performers Award and a finalist of the Freedman Fellowship 2021. Eliza is passionate about amplifying the voices of female musicians and composers, as showcased through her recording project ‘March of the Women'.  Eliza Shephard: https://elizashephard.com/__________– Discussed in this episode –• ABC Young Performers Award: http://youngperformersawards.org/• Freedman Fellowship: https://sima.org.au/freedman-music-fellowships/• Virginia Taylor: https://www.australianmusiccentre.com.au/artist/taylor-virginia• Teresa Rabe: https://www.australiancomposers.com.au/pages/teresa-rabe• Australian National University (ANU): https://www.anu.edu.au/• Robert Dick: http://robertdick.net/• The Australian National Academy of Music  (ANAM): https://anam.com.au/• Richard Tognetti: https://www.aco.com.au/the-orchestra/musicians/richard-tognetti• Simone Young: https://www.sydneysymphony.com/musicians/simone-young• The Glissando Headjoint – Eliza Shephard: https://research-repository.griffith.edu.au/bitstream/handle/10072/393197/Shephard,Eliza_Final%20Thesis_redacted.pdf?sequence=1 • Greg Pattillo: http://www.pattillostyle.com/• Three Beats for Beatbox Flute – Greg Pattillo: https://store.payloadz.com/details/2515986-music-classical-three-beats-for-beatbox-flute.html • March of the Women: https://elizashephard.com/march-of-the-women • Wirripang: https://www.australiancomposers.com.au/ • Mungala – Brenda Gifford: https://www.australianmusiccentre.com.au/workversion/gifford-brenda-mungala/35636 • Claire Chase: http://www.clairechase.net/• Ned McGowan: https://www.pearlflute.com/artists/ned-mcgowan__________Opening music: Heaven Only Empty (2014) – Damien RicketsonClosing music: Light for the First Time (2017) – Bree van ReykThe Offcast is hosted by Claire Edwardes OAM, and produced and edited by Ben Robinson.Ensemble Offspring: https://ensembleoffspring.com/This episode of The Offcast is sponsored by Limelight

Saturday 14 May: The Music Show broadcasts live from the Australian National Academy of Music - hearing from the Set Festival's curator and chief matchmaker, as well as composers Deborah Cheetham and Lilijana Matičevska.

The Music Show is broadcasting live from the Australian National Academy of Music on Saturday 14 May 2022.

The Australian National Academy of Music has launched an unparalleled musical representation of the pandemic experience. The project will showcase over eight hours of work, with 67 new Australian compositions created over a nine month period from the Academy's virtuoso musicians.

Curator Janenne Willis chats about a fascinating ‘Floating Gallery' presented by O_C_E_A_N, where people can swim, row or paddle out to view local artworks on laser yachts at Point Leo; Artist Frances Barrett explores her new sensory-focussed collaborative project ‘Meatus' at the Australian Centre for Contemporary Art; Artistic Director of the Australian National Academy of Music, Paavali Jumppanen, talks commissioning 67 works from Australian composers for ANAM Set Festival. With presenter Richard Watts.

Paavali Jumppanen has now started work at the Australian National Academy of Music which is one of the leading institutions in its field, a place where already professional musicians hone their skills to perfection. - Paavali Jumppanen on nyt aloittanut työnsä Australian valtakunnallisen musiikkiakatemian, ANAM'in taiteellisena johtajana. Kyseinen laitos, siis Australian National Academy of Music, on alansa huippuja missä jo ammattikoulutuksensa suorittaneet muusikot viimeistelevät osaamistaan.  

With over 230 episodes in the STAGES archive, it's time to revisit conversations featured in previous seasons. STAGES spotlights such episodes, in case you missed them first time ‘round - or so you can simply savour a second listen. Either way, you'll be accessing precious oral histories from the people who were there, on and around our stages.Janet Holmes à Court is charming, astute and informed; recognising the supreme necessity for us all to celebrate and embrace the arts across all genres. She grew up in a household infused with the arts. Her parents instilled in her an enduring love of art, music and theatre.Ms Holmes à Court is recognised as a leading philanthropist and a major collector of indigenous art, which contributes to an extensive collection, much of which is loaned to public galleries around the world.She has guided, chaired and managed strong associations with arts organisations such as the West Australian Symphony Orchestra, the Art Gallery of Western Australia, the Australian Children's Television Foundation, the Australian National Academy of Music (ANAM) and the Australian Major Performing Arts Group (AMPAG). It is a career of vast artistic governance and leadership.Janet was a founding patron and chairperson of Western Australia's Black Swan Theatre Company, recognising the enormous benefit of a state theatre company that traverses local and indigenous stories, and explores an expansive repertoire of classic, and international works.Janet Holmes à Court was featured in season two, during a STAGES visit to Perth. She was one of several creatives joining STAGES to converse and celebrate the immense artistic output and creation that has emanated from and continues to thrive in Western Australia.The Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where you find your favourite podcasts. www.stagespodcast.com.au

Ahead of his album release ‘The Four Seasons,' 13-year-old violinist Christian Li speaks with online editor Davina Shum about his life as a young musician: his practice routine, warm-up exercises, pre-performance routines, as well as what he likes to get up to when he's not playing the violin. Christian is a student of Dr Robin Wilson, head of violin at the Australian National Academy of Music. Check out thestrad.com for the latest news and discussion on all things to do with string playing. Why not register and subscribe to access exclusive archival content from 2010 onwards? Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   Excerpt of Concerto No.4 in F minor RV 297 ‘Winter' I. Allegro non molto used with permission from Christian Li and Decca Classics Christian Li violin Melbourne Symphony Orchestra Howard Penny cello Donald Nicolson harpsichord Nicholas Pollock lute   Photo credit: Albert Comper

Saturday 8 May: Konstantin Koukias's fossilised soundscape Primordial is premiered in remote South Australia, and Paavali Jumppanen looks back at his music education as he takes over the Australian National Academy of Music.

We're back after lockdown with the Young Performer Summer Series! This week, we have a special pre-recorded performance by violinist Leanne McGowan, who came third on Season 2 of The Talent 2019. Leanne, with pianist Alex Raineri, performed a wonderful variety of works, from Mozart to Suk.Leanne McGowan is 19 years old and currently completing her Bachelor of Music at the Colburn Conservatory of Music with Professor Robert Lipsett. She has previously studied with Spiros Rantos, Yuri Djachenko and Dr Robin Wilson at the Australian National Academy of Music.Leanne has performed as a soloist with the Queensland Symphony Orchestra, Queensland Youth Symphony, the Northern Rivers Symphony Orchestra, Preston Symphony Orchestra and South Melbourne Symphony Orchestra.In 2020 she was a finalist in the MRC Great Romantics Competition, performed as a soloist on the Melbourne Digital Concert Hall and was awarded the ANAM Directors’ Prize. She was winner of the QSO 2017 Young Instrumentalists Prize, and in 2019 a semi-finalist in the Gisborne International Music Competition where she was awarded the “Most Promising Player Award,” and a semi-finalist in the ANAM concerto competition. Leanne is also an Australian Chamber Orchestra Emerging Artist in 2020/21.Programme:Mozart: Adagio in E for Violin and Orchestra, K. 261Mozart: Rondo in C for Violin and Orchestra K. 373 R. Strauss: Mvt 2 and 3 from Violin Sonata in E-flat Major, Op. 18Suk: Love song, Op. 7Zarzycki: Mazurka No.1 in G Major, Op. 26Performers: Multi-instrumentalist Ryan Lynch with pianist Elyane LaussadeHost: Jess Carrascalao HeardTechnical production: Joe Gofron, Sam Bignell, Lachlan McKenziePodcast production: Jess Carrascalao Heard3MBS warmly acknowledges the support of the young performer patrons, for making this broadcast possible.

The 2019 3MBS Young Performer of the Year, and the older sister of last week’s guest, Charlotte Miles earned her LMUS at 12 years old, came second in The Talent 3MBS at 14, and now 17 years old, she’s the youngest- ever student to be admitted to the Australian National Academy of Music. She has toured overseas with the Australian Youth Orchestra, placed in national and international music performance competitions, and is already demonstrating the kind of mature and developed technique of a musician twice her age. In this episode of Musicmakers, Teddy Darling and Charlotte Miles discuss her experiences at ANAM, cello technique, and her thoughts on live music and concert performance. Join Charlotte and Teddy live for the musical sequel to this interview with a full-length feature broadcast of Charlotte’s music on Melbourne in Concert at 6PM Sunday 20 December, only on 3MBS Fine Music Melbourne. Coming up next on the podcast, Teddy Darling is joined by the Australian cellist and composer Luke Severn, to chat about his queer recording project Humanation, as well as the importance of collaboration and friendships in his practice as a concert and ensemble performer. *** Charlotte’s music recommendations: Symphony No. 6 and Symphony No.4 by Gustav Mahler; Ein Heldenleben by Richard Strauss; Cantilena Pacifica (5th movement of String Quartet No.2) by Richard Meale; Mother Goose Suite by Maurice Ravel. Tune into to the feature broadcast with Charlotte Miles at 103.5FM, on digital, or stream it live at 3mbs.org.au. Or listen to it on-demand after it airs at 3mbs.org.au/programs/melbourne-in-concert.Follow Charlotte's musical journey on instagram at @charlottemilescello. *** Credits:This episode was written, hosted, and produced by Teddy Darling, with support from Adrian McEniery, Frank Prain, Stewart McMillan, and other staff members from 3MBS Fine Music Melbourne. This episode features the following music with the permission of the artists:Sonata for Violin and Cello by Dmitri Shostakovich, performed by Louisa Breen (piano) and Charlotte Miles (cello) live at ANAM 2019 Recitals.Variations on a Theme by Paganini by Hans Bottermund/Janos Starker, performed by Charlotte Miles. 3 Pieces for Cello and Piano by Nadia Boulanger, performed by Charlotte Miles. The Musicmakers theme music is 'Bahama Rhumba' from 'Latin American Dances' by John Carmichael, performed live on Melbourne in Concert by Justin Kenealy and Coady Green at 3MBS on 28 July 2019 in the Lady Marigold Southey Performance Studio.

The 2019 3MBS Young Performer of the Year, and the older sister of last week's guest, Charlotte Miles earned her LMUS at 12 years old, came second in The Talent 3MBS at 14, and now 17 years old, she's the youngest- ever student to be admitted to the Australian National Academy of Music. She has toured overseas with the Australian Youth Orchestra, placed in national and international music performance competitions, and is already demonstrating the kind of mature and developed technique of a musician twice her age. In this episode of Musicmakers, Teddy Darling and Charlotte Miles discuss her experiences at ANAM, cello technique, and her thoughts on live music and concert performance. Join Charlotte and Teddy live for the musical sequel to this interview with a full-length feature broadcast of Charlotte's music on Melbourne in Concert at 6PM Sunday 20 December, only on 3MBS Fine Music Melbourne. Coming up next on the podcast, Teddy Darling is joined by the Australian cellist and composer Luke Severn, to chat about his queer recording project Humanation, as well as the importance of collaboration and friendships in his practice as a concert and ensemble performer. *** Charlotte's music recommendations: Symphony No. 6 and Symphony No.4 by Gustav Mahler; Ein Heldenleben by Richard Strauss; Cantilena Pacifica (5th movement of String Quartet No.2) by Richard Meale; Mother Goose Suite by Maurice Ravel. Tune into to the feature broadcast with Charlotte Miles at 103.5FM, on digital, or stream it live at 3mbs.org.au. Or listen to it on-demand after it airs at 3mbs.org.au/programs/melbourne-in-concert.Follow Charlotte's musical journey on instagram at @charlottemilescello. *** Credits:This episode was written, hosted, and produced by Teddy Darling, with support from Adrian McEniery, Frank Prain, Stewart McMillan, and other staff members from 3MBS Fine Music Melbourne. This episode features the following music with the permission of the artists:Sonata for Violin and Cello by Dmitri Shostakovich, performed by Louisa Breen (piano) and Charlotte Miles (cello) live at ANAM 2019 Recitals.Variations on a Theme by Paganini by Hans Bottermund/Janos Starker, performed by Charlotte Miles. 3 Pieces for Cello and Piano by Nadia Boulanger, performed by Charlotte Miles. The Musicmakers theme music is 'Bahama Rhumba' from 'Latin American Dances' by John Carmichael, performed live on Melbourne in Concert by Justin Kenealy and Coady Green at 3MBS on 28 July 2019 in the Lady Marigold Southey Performance Studio.Support the show: https://3mbs.org.au/donateSee omnystudio.com/listener for privacy information.

Episode 19: Practice of Productivity features woodwind multi-instrumentalist and educator, Luke Carbon. Originally from Brisbane and now based in Melbourne, Luke Carbon is an artist of passion, practice and productivity. In this episode, we discuss the impact of the Melbourne lockdown and the highs and lows during this time. We also discuss how it has affected music practice and performance, education, mental and physical health and the community. Luke Carbon is a woodwind multi-instrumentalist and educator based in Melbourne. An orchestral musician, chamber player, and fluent improviser, he attended the Australian National Academy of Music during 2015-2016 and was awarded a Master of Music Research, the Musica Viva Chamber Music Prize, and a programming award for his exploration of third stream music. www.lukecarbon.com Purchase your copy of 'Brightest Threads' now from Bandcamp at https://lukecarbon.bandcamp.com/track/davidson-brightest-threads Music Credits Opening Theme by Daniel Kassulke Brightest Threads by Robert Davidson featuring Luke Carbon, Stuart Byrne, Natasha Fearnside, and Robin Henry Bled Out by Ryan Walsh The Sea Meets Infinity by Paul Dean (Live Performance) featuring Luke Carbon and Thea Rossen New York Counterpoint Movement 3 by Steve Reich

PEG Interviews Australian Concert Violinist Courtenay Cleary Courtenay completed her scholarship at The Juilliard School in New York where she earned her Master of Music degree with violin professor Naoko Tanaka. She received her Bachelor of Music degree with first-class honours from the Royal Academy of Music in London where she studied with professor Maureen Smith. In 2017 Courtenay performed as a soloist for Her Majesty Queen Elizabeth II and other distinguished guests at Westminster Abbey for the Royal Commonwealth Service. This was broadcast live on BBC television. In 2018 Courtenay again performed for the HM the Queen at Buckingham Palace for the Opening Ceremony of the Commonwealth Heads of Government Meeting. She has also performed as a soloist at prestigious venues including the Wigmore Hall, St James’ Piccadilly, the Regent Hall, Colston Hall and the Lincoln Centre. She recently performed Beethoven’s Violin Concerto with the Willoughby Symphony Orchestra in Sydney and gave the Australian premiere of David Lang’s Mystery Sonatas. She is a Tait Memorial Trust and ABRSM scholar, and was recently awarded second prize at the Australian Concerto and Vocal Competition as well as the Dame Joan Sutherland Award from the American Australian Association and the Guy Parsons Award from the Portland House and Australian Music Foundations. She was also a finalist in the 2018 Freedman Fellowship awards. She is a member of the Patronus Quartet who in 2015 progressed to the semi-final of the Melbourne International Chamber Music Competition. She has performed at many international festivals including Tallinn Music Week and the Melbourne Festival. She has performed in many masterclasses for esteemed artists including Julian Rachlin, Daniel Hope, the St Lawrence String Quartet, and the Borodin Quartet, from whom her own quartet received a letter of recommendation for the MICMC. Courtenay is a core member of the Melbourne Chamber Orchestra and also plays casually with the Melbourne Symphony Orchestra and Orchestra Victoria. She studied at the Australian National Academy of Music from 2012-2014 with William Hennessy. During her time at the academy she played alongside many visiting artists including the Brodsky Quartet, Brett Dean, Michael Collins, The Australian Chamber Orchestra, The Aurora Orchestra, Anthony Marwood, Dale Barltrop and was concertmaster of the ANAM orchestra under the direction of Simone Young, James Judd and Nicholas Carter. In 2011 Courtenay studied under the direction of Associate Professor Patricia Pollett at the University of Queensland. During this time, she was concertmaster of the University of Queensland Chamber and Symphony Orchestras and was finalist in the university’s Bach Prize and The Howard and Gladys Sleath Prize for Strings. She was the recipient of the Sleath String Scholarship for outstanding students and was a winner of the Sid Paige & Musica Viva/4MBS Chamber Music Prize. Artist Website: https://www.courtenaycleary.com/ Watch and Listen: https://www.courtenaycleary.com/watchlisten Instagram: https://www.instagram.com/courtenaycleary/ Twitter: https://twitter.com/CourtenayCleary --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/phantom-electric/message

The renowned Finnish pianist, teacher, and musical leader has performed as a soloist with numerous orchestras around the globe, including the Finnish Radio Symphony, the BBC Symphony, the Melbourne Symphony Orchestra, and the Australian Chamber Orchestra. He has performed solo and chamber music recitals, and taught around the world. - Paavali Jumppanen on kansainvälisesti arvostettu pianotaiteilija joka on esiintyyt maailman huippuorkestereiden kanssa sekä toiminut opettajana eri puolilla maailmaa. Hänen toimikautensa Australiassa alkaa tammikuussa 2021.

David Elton is principal trumpet of the London Symphony Orchestra since December 2017 and the Sydney Symphony Orchestra since 2011. David is also a trumpet professor at the Royal College of Music in London, and a member of the Australian National Academy of Music brass faculty in Melbourne. As a soloist, David has performed Haydn’s Trumpet Concerto in Vietnam with the London Symphony Orchestra, given the world-premiere of James Ledger’s Trumpet Concerto (a work that was written for him) with the West Australian Symphony Orchestra, as well as performing other concerti with various orchestras including the Sydney and Canberra Symphony Orchestras, and the Australian Chamber Orchestra. Prior to his LSO and SSO appointments, David Elton was Principal Trumpet with the West Australian Symphony Orchestra (2005-2011) and the Adelaide Symphony Orchestra (2000-2004).  He has also performed as a Guest Principal Trumpet with the New York Philharmonic, Chamber Orchestra of Europe, Mahler Chamber Orchestra, Australian Chamber Orchestra, the Australian World Orchestra and the Hong Kong Philharmonic. For more information visit www.davidelton.com.au or www.bobreeves.com/77 for the show notes for this episode.

Elijah Cornish is a freelance trombone player originating from, and currently based in Melbourne, Australia. He holds a master's in music performance from the University of Melbourne, as well as certificate qualifications from The Australian National Academy of Music and the Colburn School in Los Angeles.   Elijah performs in a variety of musical contexts but primarily boasts an extensive list of experience in professional orchestras both in his home country and abroad. While being a regular guest for performances in the Melbourne Symphony and Orchestra Victoria, he has also performed professionally with the Sydney, Adelaide, Queensland and Tasmanian symphony orchestras. He has also worked internationally with the Malaysian Philharmonic and the Los Angeles Philharmonic Orchestras.   Elijah routinely seeks out new performance opportunities of varying contexts and holds awards and scholarships from a number of institutions and competitions. He currently enjoys being based in Melbourne exploring the wide variety of music culture Melbourne has to offer.

Elijah Cornish is a freelance trombone player originating from, and currently based in Melbourne, Australia. He holds a master's in music performance from the University of Melbourne, as well as certificate qualifications from The Australian National Academy of Music and the Colburn School in Los Angeles.   Elijah performs in a variety of musical contexts but primarily boasts an extensive list of experience in professional orchestras both in his home country and abroad. While being a regular guest for performances in the Melbourne Symphony and Orchestra Victoria, he has also performed professionally with the Sydney, Adelaide, Queensland and Tasmanian symphony orchestras. He has also worked internationally with the Malaysian Philharmonic and the Los Angeles Philharmonic Orchestras.   Elijah routinely seeks out new performance opportunities of varying contexts and holds awards and scholarships from a number of institutions and competitions. He currently enjoys being based in Melbourne exploring the wide variety of music culture Melbourne has to offer.

Emma Hunt began learning the violin at the age of five in her hometown of Geelong. She loved music from a young age, but it wasn’t until she began studying music at university that she embraced the violin as her passion. While at the Melbourne Conservatorium of Music, she studied with William Hennessy, who became one of her most important musical influences, and developed a love of playing orchestral and chamber music. Following her undergraduate studies, she attended the Australian National Academy of Music (ANAM), under the tutelage of Adam Chalabi. As a student, Emma played with the Australian Youth Orchestra, the Young Australian Concert Artists’ Program and the Sydney Sinfonia. She won the C.D. Hume Violin Scholarship and the Australian Youth Classical Music Regional Competition and was a finalist in the ANAM Chamber Music Competition. She currently works as a freelance musician in Melbourne, performing regularly with the Melbourne Chamber Orchestra, Melbourne Symphony Orchestra and Orchestra Victoria, is in demand as a violin teacher and orchestral tutor and loves to play quartets and other chamber music whenever she gets the chance. In her spare time, she tries to grow edible things in her garden and listen to as much folk music as possible.

Janet Holmes à Court grew up in a household infused with the arts. Her parents instilled in her an enduring love of art, music and theatre. She is charming, astute and informed; recognising the supreme necessity for us all to celebrate and embrace the arts across all genres.She studied chemistry at the University of Western Australia and subsequently worked as a science teacher; relishing her time in the classroom. Long-time patronage across all artistic disciplines has provided her with immense appreciation and respect for all art forms and the practitioners who craft them.Ms Holmes à Court is recognised as a leading philanthropist and a major collector of indigenous art, which contributes to an extensive Art collection, much of which is loaned to public galleries around the world.She has chaired the West Australian Symphony Orchestra, the Art Gallery of Western Australia and The Black Swan Theatre Company; and currently serves as Chair of the Australian Children’s Television Foundation. She is a Board Member of the Australian National Academy of Music (ANAM) and the Australian Major Performing Arts Group (AMPAG). Hers is a career of vast artistic governance and leadership.Ms Holmes à Court was a founding patron and chairperson of Western Australia’s Black Swan Theatre Company, recognising the enormous benefit of a state theatre company to traverse local and indigenous stories, and to champion a repertoire of classic, and international works.She speaks with enormous passion and a keen awareness of the many artistic expressions being celebrated in Western Australia.The Stages podcast is available from iTunes, Spotify and Whooshkaa.

Australian physiotherapist and anatomist Bronwen Ackermann is an international leader in the world of performing arts medicine. She has worked with professional orchestras throughout Australian and as a high performance consultant at the Australian National Academy of Music. She was the inaugural president of the Australian Society for Performing Arts Health and serves as editor-in-chief for Medical Problems of Performing Artists. And, she's an Associate Professor at the University of Sydney. In this conversation, we talk about how Bronwen, not a musician herself, became interested in working with musicians, efficient movement as a component of optimal performance, injury risks for musicians, and much, much more. To learn more about Bronwen and her work, or to contact her, visit https://sydney.edu.au/medicine-health/about/our-people/academic-staff/bronwen-ackermann.html Show notes, including links to any resources mentioned in this episode, live over at musicmindandmovement.com/podcast-1/ For more about Karen, visit www.musicmindandmovement.com or connect on Facebook or Instagram @musicmindandmovement.

I'm so happy to introduce my guest today, Concert Pianist, Researcher, and Teacher, Professor David Dolan! In his solo and chamber music performances, he incorporates improvisation into the relevant concert repertoire in repeats, cadenzas, as well as in preludes, fantasias, and improvises on themes provided by the audience. In addition to performing worldwide, He is the Professor of Classical Improvisation and its various applications to solo and ensemble performance at the Guildhall School of Music and Drama in London, David has been heading the Centre for Creative Performance & Classical Improvisation since 2005. He also teaches at the Yehudi Menuhin School. Since 2011 David is running a programme of classical improvisation applied to performance at the Australian National Academy of Music (ANAM) in Melbourne based on annual intensive residencies. ----- 1:46 what's your musical background? 2:14 When did you start playing the piano? 2:48 What were you improvising when young, what kind of music was in the house at the time? 3:06 Did your parents improvise? 3:25 Did your first teacher teach you the basics of playing the piano? 4:37 Do you have Absolute or Perfect pitch? 4:54 Did you still maintain your improvisation while doing your standard piano training? 6:02 Did you listen to traditional Israeli or Arabic music growing up? 7:04 What style of Classical music did you predominantly play in your training? 8:12 Were you the only one growing up that could improvise among your teachers and peers? 9:00 Did Haim Alexander hear you improvise? 10:40 What materials did Haim Alexander use to teach you? 11:20 What was a typical lesson with Haim Alexander look like? 13:24 Was his music theory conventional or did he have his own method? 14:13 Was the ear training Fixed Do or Moveable Do 14:52 What were your Masters and PhD studies about? 17:08 How would describe angry speech in music? 19:01 What year was this research? 19:22 Did you have peers or colleagues that you could relate to and talk to regarding improvisation as a professional, or were you alone? 20:01 Do you know Robert Levin? 20:15 What was it like meeting Robert Levin for the first time? 20:40 Is it very rare to meet another improvising musician? 21:39 Is the scene much different from what it used to be? 22:00 The reason that you're in the UK is because of Yehudi Menuhin? 22:47 What did you play at that concert, that Yehudi Menuhin watched? 23:54 What did Yehudi Menuhin mean by,”Survive this quartet”? 24:37 What did you make the quartet do, to teach them to improvise? 25:33 Given that you had been teaching classical improvisation since 1990, were you ready for any ensemble teaching situation? 26:41 Do you have set Classical forms or harmonic progressions to get students to improvise with? 27:34 What is a periodic structure? 28:38 How do you tell your students what notes to choose in the response portion of “Call and response”? 29:20 What do you mean by wrong notes? 30:00 Are the bass lines fixed or do you ask them to come up with their own? 31:03 Is this connected with basso continuo? 31:54 Is that how a string player can learn to improvise, by having the bass in their ear or mind? 32:39 Does that enable you to have multiple musicians performing at the same time? 33:34 How would a brand new student, who's never improvised before, learn to improvise in their first year of Guildhall? 35:07 Let's say they have no fear in improvising, what would they work on? 38:00 Is this all ensemble or solo? 38:34 Is the singing in solfege? 39:23 How do you distinguish between improvisation and composition? 40:42 What are some differences among the different classical eras? 43:02 So that is a lot of vocabulary to internalize? 44:15 Do you incorporate teaching other non-classical styles of music? 46:54 Has music changed and become more difficult from earlier eras, harmonically? 47:59 As an example, is Messiaen more complex than earlier music? 48:47 What are some common mistakes to learning classical improvisation? 51:38 If a parent is about to start their child learning music, how should they start? 52:52 What would you say to the thousands of children who are practicing for their graded music exams about the pieces they are playing? 54:40 Are there other things culturally that have changed in the music culture compared to previous eras? 56:55 What classical improvisation resources can you recommend for interested people? 58:43 If you could reform music education around the world, what would you do? 1:00:41 Wrapping Up

The ANAM experience is one like no other. Hear first-year violinist Mia Stanton, Head of Cello Howard Penny, and ANAM alumnus Jonathan Bekes share insights into what it’s like to be a musician at the Australian National Academy of Music (ANAM). Written and produced by Madi Chwasta. Music, all performed by ANAM musicians: Mozart - String Quintet No.4 in G minor Glinka - Overture Rusian and Lyudmila Beethoven - Wind Octet in E Flat Mendelssohn - Piano Trio No.2 in C minor Schumann - Symphony No. 3 in E flat major Martinu - Oboe concerto Grainger - Random round Wagner - Reitermarsch from Lohengrin Rachmaninoff - Cello sonata in G minor *ANAM international partnerships include the Berlin Philharmonic Orchestra Academy (Karajan Academy), Mahler Chamber Orchestra Academy and Bavarian State Opera Academy (referred to by Howard as Munich Opera).

Ten Thousand Birds by John Luther Adams is an immersive piece of music deeply connected to nature and place. Hear triple Grammy-award-winning flautist and ANAM Guest Artist Tim Munro, Grammy award and Pulitzer prize winning composer John Luther Adams, and ANAM cellist David Moran talk about their love of birdsong, breaking down performance conventions, and the upcoming performance of Ten Thousand Birds at the Australian National Academy of Music on the 4th of June 2019. Written, edited and produced by Madi Chwasta. Orchestral music from ANAM Opening Concert 1. Flute music was Liminal Highway by Christopher Cerrone. Bird sounds from xeno-canto.org. For more information on ANAM's performance of Ten Thousand Birds and to book tickets, visit anam.com.au/birds

Madi Chwasta and Tim Hannah chat to the Partridge Quartet about their performance of Bartok's fourth string quartet and their upcoming Sound Bite at the Australian National Academy of Music (ANAM). Plus, Sarah Curro performs live in the Lady Marigold Southey Performance Studio and is joined by Shaun Keyt to chat about their upcoming project, "Volume 10", at The Toff. Special thanks to Joe Goffron, our sound engineer for this week's live to air performance. Interviews from this podcast originally aired Saturday, 6 April 2019 on 3MBS Fine Music Melbourne. 103.5 FM, 3MBS Digital and online at 3mbs.org.au. Music in Melbourne is produced and presented by Madi Chwasta and Tim Hannah for 3MBS Fine Music Melbourne. Subscribe and rate this podcast today!

In this lecture, award-winning composer Andrew Fordwill share insights into the creative process of composing, exploring the relationship between music and memory, reflecting on the role that music plays in our lives. Andrew Ford is a composer, writer and broadcaster who has won awards in each of those capacities, including the 2004 Paul Lowin Prize for his song cycle Learning to Howl, a 2010 Green Room Award for his opera Rembrandt's Wife and the 2012 Albert H Maggs Prize for his large ensemble piece, Rauha . He has been composer-in-residence for the Australian Chamber Orchestra, the Australian National Academy of Music (ANAM) and the Australian Festival of Chamber Music. In 2014 he was Poynter Fellow and Visiting Composer at Yale University and, in 2015, Visiting Lecturer at the Shanghai Conservatory. A former academic, Ford has written widely on all manner of music and published nine books, most recently The Memory of Music (Black Inc., 2017). He has written, presented and co-produced five radio series and, since 1995, presented The Music Show each weekend on ABC Radio National. Andrew is an ANU Coombs Creative Arts Fellow in 2018, and this lecture is one event in a program of featuring Andrew’s writing and music, proudly presented by the ANU School of Music. Light refreshments and a book signing will take place in the Foyer following the lecture. Image: Andrew Ford, courtesy Jim Rolon.

In a nostalgic mood, New Waves listens to the chamber music of Helen Gifford, works spanning 50 years of her career, curated by harpist Jacinta Dennet for Australian National Academy of Music's 'Australian Voices' concert series.

In a nostalgic mood, New Waves listens to the chamber music of Helen Gifford, works spanning 50 years of her career, curated by harpist Jacinta Dennet for Australian National Academy of Music's 'Australian Voices' concert series.

Stream episodes on demand from www.bitesz.com or www.aboutregional.com.au (both mobile friendly) Hi everyone , Ian with the Show Notes for the first episode of my new podcast. Episode one was recorded on the banks of Candelo Creek, south west of Bega but takes in the full geography of South East NSW. First, the tragic story of 10-year-old Noa Jessop. When Noa was hit by a car and died at the gate to his family’s farm, a heavy sadness fell across the Bega Valley community. Tears have been a big part of the days that have followed, but so too has something powerful and remarkable. More: http://aboutregional.com.au/roosters-rally-and-turn-heartbreak-into-strength/ Also, democracy is getting a shake up in the Eurobodalla Shire, with a jury of 28 everyday people formed to shape the work and spending of the new Council elected on September 10. More: http://aboutregional.com.au/citizens-jury-prepares-to-sit-in-the-eurobodalla/ And you’ll hear of the hard work of the Perisher Ski Resort and the National Parks and Wildlife Service. They are in the snow on the side of Australia’s highest peak to protect the only Australian animal to hibernate during winter. More: http://aboutregional.com.au/rare-perisher-possums-find-strong-advocate-in-mark-feeney/ Music to finish from the South Coast Music Camp which has just wrapped up in Bega. Around 200 people take part every year – including tutors from the Sydney Conservatorium of Music and the Australian National Academy of Music. Your feedback and contributions are welcome, email hello@aboutregional.com.au or https://www.facebook.com/AboutRegional/ #australia #regional #life #Candelo #Bega #SoutheastNSW #NSW

Episode 1: New Music In this first episode of the Up-Bow Down-Low, brought to you by musicians from the Australian National Academy of Music (ANAM), we talk about ‘new music’, the nebulously-defined body of recently composed Western classical music, and the challenges in getting audiences to listen to and understand what they’re hearing. We talk about the old and the new, and what it means to play the unfamiliar and the sometimes uncomfortable. We’re joined by the wonderful Ed Carroll, former Principal Trumpet of the Rotterdam Philharmonic and new music extraordinaire, who sheds some careful light on this tricky topic. We also meet Liam Meany, one of ANAM’s stellar cellists and all-round good guy.