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
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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
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Camerata is supported by the Queensland
Government through Arts Queensland.
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Program Partners
Major Program Partner
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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.
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Professor Peter Coaldrake AO
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Leigh Tabrett PSM
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Dare Power
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Leanne de Souza
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The Queensland Performing Arts Trust is a statutory body of the
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The Honourable Leeanne Enoch MP: Minister for Communities and Housing,
Minister for Digital Economy and Minister for the Arts
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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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open spaces outside the Centre.
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