We’d love to meet you after the concert. Please join us in the foyer – we’ll be there as soon as we can!

7pm Wednesday 28 July, 2021

Empire Church Theatre (Toowoomba)

7pm Thursday 29 July, 2021

Concert Hall, QPAC (Brisbane)

ProgramLennox Berkeley Serenade for Strings, Op.12

I. Vivace

II. Andantino

III. Allegro Moderato

IV. Lento

Joaquín Rodrigo Dos miniaturas andaluzas

I. Preludio

II. Danza

John Rodgers* Hear Me, and Remember

(a lament for voice and ensemble featuring Emily Wurramara, vocals)

Igor Stravinsky Selections from Apollon Musagète

I. Prologue: The Birth of Apollo (on Delos)

II. Tableaux II: Pas de deux (Apollo and Terpsichord)

III. Tableaux: Coda

IV. Apotheosis: Leading the Three Muses to Parnassus

Nikos Skalkottas Five Greek Dances

I. Epirotikos

II Kretikos

III. Tsamikos

IV. Arkadikos

V. Kleftikos

Paul Stanhope* Dancing on Clouds

Emily Wurramara* Ngarrikwujeyinama (I’m Hurting)

Peter Sculthorpe* Estatico from Sonata for Strings No.3 (Jabiru Dreaming)

Emily Wurramara* Ementha-Papaguneray (Turtle Song)

* = Australian Composer

L A N D S C A P E SC a m e r ata – Q u e e n s l a n d ’ s C h a m b e r O r c h e s t r a

a n d Q P A C p r e s e n t

L e n n o x B e r k e l e y ( 1 9 0 3 - 1 9 8 9 )Serenade for Strings, Op.12

A B O U T T H E m u s i c

String musicians sometimes talk of ‘the

English string sound’, an orchestral string

style or musical landscape that is sweet,

expressive, warm and lustrous. Berkeley’s

Serenade for Strings, that demonstrates

love for and an understanding of such

string writing, serves as a vehicle for

projecting that “soundworld”. The

Serenade was composed at the beautiful

Snape Maltings, where he was living with

Benjamin Britten in 1938-39 and by the

time of its completion, England was at

war and the music seems to reflect the

composer’s anxious mood as the world

faced an uncertain future. This is not

apparent in the first three movements

- a light-hearted Vivace, a graceful

Andantino and a boisterous, Beethoven-

type Scherzo that includes an amusing

‘col legno’ (upper strings playing with

the wood of the bow instead of the hair).

It’s in the final movement where the

sense of impending doom is apparent, a

Lento (slow) chorale movement where

the real emotional depth and pathos of

the work resides. Peter Dickinson, in his

study of the composer, remarks that the

music of this movement seems to “reflect

the composer’s anxious mood as the

world faced an uncertain future” (though

evidently the composer felt that must

have happened subconsciously).

These two miniatures by the highly

regarded and blind composer, Joaquín

Rodrigo were written in 1929, yet did not

receive a premiere until November 1999,

barely six months after the composer’s

death at the age of 97. He is best

remembered for his two concertos for

guitar, the Concierto de Aranjuez and

Fantasia para un gentilhombre the flavour

and style of which are certainly reflected

here in these depictions of Andalucia.

J o a q u í n R o d r i g o ( 1 9 0 1 - 1 9 9 9 )Dos miniaturas andaluzas

Queensland-born John Rodgers has

been described as a prolific and eclectic

composer, arranger and improviser…

his work spanning classical, jazz, pop,

world, experimental and improvisational

music. He had an early background in

classical music, leading the Queensland

and Australian Youth Orchestras and later

playing with the Queensland Theatre and

Hunter Orchestras, touring with these

and other groups to Europe and Asia,

and often appearing as a soloist on violin.

Rodgers ultimately chose not to follow the

path to a career in classical music, instead

forming controversial sex-and-death cult

rock band Madam Bones Brothel with

Pearly Black, and together they released

a CD Family of Abjects in 1994. He later

played improvised music in ensembles

such as The John Rodgers Trio and

Artisan’s Workshop early 1990s. He has

been a contributor to the Australian Art

Orchestra and was its Associate Artistic

Director in 2005, and he has worked with

the New York performance artist Penny

Arcade (Vienna Festival 1997), the Robyn

Archer band and many of Australia’s

leading musicians and artists. Rodgers has

performed solo concerts in the Adelaide

Festival and the Melbourne Summer Music

Festival, and produced many works in

fields including music theatre and new

media. He has performed and recorded

with the Antipodean Collective over a

number of years and in 2012 performed at

the Powerhouse in Dangling my Tootsies

- a show featuring the “songs and sites of

J o h n R o d g e r s ( b . 1 9 6 2 )Here Me, and Remember

cabaret legend Agnes Bernelle.” Rodgers

has performed with a number of artists

both on recordings and live including

William Barton, Kate Miller-Heidke and at

the Resonance Festival (2012) where he

composed and performed Hear me, and

Remember, a song of lament based on

the baroque ‘follia’ figure.

Here Me, and RememberIn the fire I burn Parched and hot, my skin it’s so dry can you hear in my song? Brave men are weeping A woman is grieving Rising up in lamentation From my soul can you hear me? Hear me and remember At the end of passion At the end of suffering for you lived and you died All shame disperses cruel blows and curses You are gone today, forever Passing through the golden gate Go down Jerusalem Ah Rising up in lamentation From my soul can you hear me? Hear me and remember?

A B O U T T H E m u s i c

In 1927 the Library of Congress

commissioned Stravinsky to write a work

for small orchestra, featuring four lead

dancers, and lasting less than half an

hour (part of a festival of contemporary

music sponsored by Mrs Elizabeth

Sprague Coolidge). Adolf Bolm produced,

choreographed and danced the role

of Apollo at the Washington premiere

on April 27 1928. On June 12 Diaghilev

produced his version in the Théâtre Sarah

Bernhardt in Paris, with Serge Lifar as

Apollo and choreography by the 24-year-

old George Balanchine. Balanchine’s

ideas, according to Stravinsky, exactly

matched his own conception of a Greek

myth interpreted by ‘classical’ dancing.

The costumes and sets were less to

Stravinsky’s satisfaction; Diaghilev chose

André Bauchant, ‘a provincial painter’,

wrote Stravinsky, ‘who in his remote

village, indulged in a genre of painting

somewhat in the style of Le Douanier

Rousseau. What he produced was

interesting, but, as I had expected, it in

no way suited my ideas’. Diaghilev had

been afraid of the extreme simplicity of

Stravinsky’s idea, that Apollo be ‘danced

in short white ballet skirts in a severely

conventionalised theatrical landscape’.

The period to which Stravinsky alludes in

the music of Apollo is that of the operas

and ballets of Lully, at the Court of Louis

XIV, the Sun King (Apollo). Stravinsky

had recently discovered the 17th-century

poetry of Boileau, and particularly the

Art poétique, in which Boileau laid down

rules for versification. ‘The real subject

I g o r S t r av i n s k y ( 1 8 8 2 - 1 9 7 1 )Selections from Apollon Musagète

of Apollo’, Stravinsky wrote years later,

‘is versification, which implies something

arbitrary and artificial to most people,

though to me art is arbitrary and must be

artificial’. Apollo’s music made a decisive

impression on the musically trained

choreographer Balanchine, who recalled

that ‘in its discipline and restraint, in its

sustained sureness of tone and feeling the

score was a revelation...the turning point

of my life’. Balanchine’s visual image for

much of Apollo was ‘white’ music, even

‘white-on-white’. Apollo is an attempt by

Stravinsky, perhaps his first, to compose

a large-scale work in which contrasts of

volumes – dynamics and the number of

players on each part – replace contrasts of

instrumental colours. Debts to composers

of the past have been found in this music

– from Lully to Tchaikovsky and Delibes –

but ‘sterilised’, according to Roman Vlad,

and emptied of their original significance.

© David Garrett. Reprinted by permission of Symphony Services Australia.

N I K O S S K A L K O T TA S ( 1 9 0 4 - 1 9 4 9 )Five Greek Dances

Nikos Skalkottas was a Greek composer

of the 20th Century who was a member of

the Second Viennese school of composers

(composers that wrote in 12-note serialism

style) but who drew influences from both

classical music and Greek traditions. Some

say that in his avid collecting of Greek folk

and dance music he did for Greece what

Bartok did for Hungary. The Greek Dances

are part of a series of 36 Greek dances

that Skalkottas composed during 1934-

36, originally for symphony orchestra.

He arranged groups of these for various

instruments upon request, such as string

orchestra, string quartet, and violin and

piano. The titles here refer to dances from

different localities in Greece.

Paul Stanhope is a Senior Lecturer

in Composition at the Sydney

Conservatorium of Music, The University

of Sydney. Dancing on Clouds was

commissioned by the Hush Foundation for

its Volume 18 CD, performed by the ACO

Collective. The piece followed a residency

at the Westmead Children’s Hospital

School. Paul says, In this environment I

was impressed by the resilience of the

young patients and how many used

their imaginations to cope with stressful

situations; in this context, music was

important to all. They suggested an

energetic and optimistic musical response

as being the most useful to them. The

image in the title of the piece suggests a

flight of fancy into the heavens, escaping

our mortal burdens to a place where

anything might be possible, even dancing

on clouds. The music begins with gentle

pulses and melodic contours before

launching into a series of more overtly

rhythmic episodes. After a short soloistic

section where the music comes to a brief

stand-still, playful pizzicati hint at a tip-

toe dance, building eventually to a larger,

energetic musical climax and a brief coda

which re-introduces the gentle pulses of

the opening. The music ends in a series of

cloud-like puffs suggested by soft, high

string harmonics.

P A U L S TA N H O P E ( b . 1 9 6 9 )Dancing on Clouds

A B O U T T H E m u s i c

Sung in her first language Anindilyakwa,

Ngarrikwujeyinama means ‘I’m hurting’.

Personally referred to as ‘The Seabed

Mining Song’, in Emily’s words, This song

was written in response to the mining

on Groote Eylandt, and in particular the

battle fought by the community, which

saw the NT government place a total ban

on seabed mining around Groote Eylandt

in 2013, respecting the concerns of

traditional owners about the destruction

of the seabed and cultural song lines. I’m

passionate about protecting this earth and

everything living on it. Ngarrikwujeyinama

talks about how we all come from the

sea and how it’s our duty to protect and

cherish her, and the pain we cause when

we don’t. The song is an anthem and a

reminder to care for this beautiful country.

We are also caretakers of the sea.

EMILY WURRAMARANgarrikwujeyinama (I'm Hurting)

Ngarrikwujeyinama Ngogudlangwa enena Angalya (We all belong to this land)

Ngogudlangwa memena makarda (We all belong to this sea)

Ngarrekwujenama nganyang arndirra (My heart is hurting)

Ena angalya (This is my home) Merrowiya Mena (this land is bleeding)

PETER SCULTHORPE ( 1 9 2 9 - 2 0 1 4 )Estatico from Sonata for Strings No.3 (Jabiru Dreaming)

On Jabiru Dreaming Australia’s best

known composer, Peter Sculthorpe wrote:

Following a visit to Kakadu National Park

in 1989, the Indigenous music of northern

Australia, together with those of Torres

Strait and Indonesia, began to fuse in my

mind. I have since written a number of

works in which these musics have been

incorporated into my musical language.

My String Quartet No 11 is one of these

works, and the Third Sonata for Strings

is based upon it. The second movement,

marked Estatico, stems from my belief

that Australia is one of the few places

on earth where one may honestly write

straight-forward, happy music. While both

movements employ similar subsidiary

material, the second movement takes an

Aboriginal chant as its point of departure.

This chant was transcribed by a member

of the Baudin exploratory expedition in

1802. The subtitle, Jabiru Dreaming takes

its name from a rock formation in the

National park. This rock is regarded as

sacred, but there is nothing forbidding

about it: on the contrary, it seems to

beckon and welcome.

EMILY WURRAMARAEmentha-Papaguneray (Turtle Song)

This is a two part lullaby, the first is

yimenda meaning turtle in Anindilyakwa

and the second is papaguneray which is

a hand clapping game.

Ementha, Yunguba, nungulangwa enemumuwa Little turtle where are your eggs?Papaguneray, suray, suray, salamana atthathaniya, whoa papaguneray Mijelya Munja, ngarrermarkenuma, ngerremebenuma papaguneray, ogwa ementha, eh, yo, murruba Papaguneray, suray, suray, salamana atthathaniya, whoa papaguneray ementha…yunguba..nungulangwa enumumuwa

Originally from Groote Eylandt in the

Northern Territory, growing up Emily loved

hearing her uncles sing, but also realised

that women from her community rarely

sang in public. Wanting to inspire and

empower members of her community,

especially young Indigenous women,

to find their voice, Emily embarked on

a musical journey that has touched the

hearts and minds of audiences across

Australia and internationally.

Emily’s debut album received an ARIA

nomination and AIR award for Best Blues

and Roots Album. She is a six time

Queensland Music Award winner and

has toured extensively across Australia,

Canada and Ireland.

A B O U T T H E A R T I S TE M I LY W U R R A M A R A

Government Partner Major Program PartnerTour & Capacity Partner

Camerata is supported by the Queensland Government through Arts Queensland. Camerata is a Company-in-Residence at the Queensland Performing Arts Centre

Program Partners

THE CONFERENCE OF THE BIRDS

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of your donation. Visit www.camerata.net.au or call our office

07 3846 3613 to discuss how you can support our work.

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Camerata operates in line with the various venues in which we perform.

These venues operate under State Government approved Covid-Safe

Plans which align with Camerata’s own plan, formed under the direction

of Queensland Health, ensuring the health and safety not only of our

players, but of our valued audience.

When purchasing tickets to venues, please ensure you familiarise

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C a m e r ataMusiciansViolin Brendan Joyce* Jonny Ng* Tiana Angus David Dalseno** Sally-Ann Djachenko Anne Horton Daniel Kowalik** Jason Tong Allana Wales Helena Wang

Viola Thomas Chawner * ** Alice Buckingham Anna Colville Elizabeth Lawrence

Cello Katherine Philp* Karol Kowalik* ** Shannon Tobin

Double Bass Marian Heckenberg*

PRODUCTIONLighting Designer Richard “Zak” Harrison

Event Manager, QPAC Chris Horn

Associate Producer, QPAC Breanna Williams

Stage Manager Noah Sherwood

Staging Technician Heath Reid

Lighting Technician Cameron Ricketts

Lighting Desk Operator Lauren Sallaway

Sound Technician Raul Asin Gutierrez

Sound Desk operator John McLennan

* = principal

** = member of Orava Quartet

Founder Elizabeth Morgan AM

Patrons His Excellency the Honourable Paul de Jersey AC, Governor of Queensland

The Honourable Susan Kiefel AC, Chief Justice of Australia

Dr Brett Dean

Board Brian Bartley (Chairman), Libby Anstis (Deputy Chair), Niciola White (Hon. Treasurer),

Ben Poschelk (Hon. Secretary) Dr Pamela Greet, Susan Bryant, Jenny Hodgson, Hayley Linthwaite,

Anne-Maree Moon and Joseph Kelly.

Staff Brendan Joyce (Artistic Director), Michael Sterzinger (Executive Director),

Angela Loh (Managing Producer), Sonia Riggs (Producer), Jonny Ng (Education Manager),

Jason Tong (Rehearsal Manager), Kate Harbison (Librarian)

Artistic Associates Tiana Angus, Alice Buckingham, Anna Colville, Sally-Ann Djachenko, Anne Horton, Brendan Joyce,

Marian Heckenberg, Elizabeth Lawrence, Jonny Ng, Katherine Philp, Nathan Smith, Shannon Tobin,

Jason Tong, Allana Wales, Helena Wang Artists-in-Residence Orava Quartet: Daniel Kowalik,

David Dalseno, Thomas Chawner, Karol Kowalik

Brochure design by Dowling & Dowling Design

C o m p a n y

P A R T N E R S

Government Partner

Camerata is supported by the Queensland

Government through Arts Queensland.

Tour & Capacity Partner

Program Partners

Major Program Partner

Media Partner

Production Partners

Camerata is a Company-in-Residence at

the Queensland Performing Arts Centre

Camerata recognises that we work and create on the lands of the Yuggera and Turrbal people in the area given the name Kurilpa or place of the water rat. We acknowledge the Traditional Owners and First Peoples of the places where we perform.

We acknowledge that First Peoples are the first artists, storytellers, performers and creatives of these lands. We pay our deep respects to Elders past and present.

Information correct at time of printing.

QUEENSLAND PERFORMING ARTS CENTRE

PO Box 3567, South Bank, Queensland 4101

T: (07) 3840 7444 W: qpac.com.au

Chair

Professor Peter Coaldrake AO

Deputy Chair

Leigh Tabrett PSM

Trust Members

Dr Sally Pitkin AO

Dare Power

Georgina Richters

Susan Rix AM

Leanne de Souza

Executive Staff

Chief Executive: John Kotzas AM

Executive Director – Stakeholder Engagement Strategy: Jackie Branch

Executive Director – Visitation: Roxanne Hopkins

Executive Director – Venue Infrastructure and Production Services: Bill Jessop

Executive Director – Business Performance: Kieron Roost

ACKNOWLEDGMENT

The Queensland Performing Arts Trust is a statutory body of the

State of Queensland and is partially funded by the Queensland Government

The Honourable Leeanne Enoch MP: Minister for Communities and Housing,

Minister for Digital Economy and Minister for the Arts

Director-General, Department of Communities and Housing and Digital Economy: Ms Clare O’Connor

QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and

pays respect to their ancestors who came before them and to Elders past, present and emerging.

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should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with

directions given by the inhouse trained attendants and move in an orderly fashion to the

open spaces outside the Centre.

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