For the first performance in the Early Music in Beechworth November calendar, Harken Well are performing violin sonatas from 17th Century Italy and Germany alongside a selection of Frescobaldi’s solo works performed on the glorious organ of the Beechworth Town Hall.
Come along on Saturday 30th November to hear us, and make sure to check out the second concert of 17th Century English works for viol consort on Saturday 7th December.
I’m thrilled to join Melbourne’s newest viol consort, Consortium, in their concert Polychoral Bliss, co-presented by our friends at the Recorder Co-op. We’ll be playing Germanic music for double choirs of instruments including glorious works by Hassler, Schütz, Shceidt and Schein. Come and check it out!
Check out Facebook or Consortium’s website for tickets and more details.
It’s been a long time coming and now my Letter Loves are ready to launch our first single! All the Stories is the title track from our soon-to-be-released debut album. Come along to gorgeous La Mama on 10th October to check it out!
The Letter String Quartet are thrilled to be working with Chamber Made on Little Operations, to present the development of All that you hear is all that is heard, a site specific work composed by The Letter String Quartet’s very own Artistic Director Extraordinaire, Biddy Connor.
We’re loving spending time in Melbourne’s iconic Nicholas Building developing this show. Come and see what we’ve discovered!
The wattle is out in Central Victoria, which means it’s almost time for BIFEM! This year, the Argonaut Quartet are performing in two very special concerts!
First up is Graphite Barrier on opening night. For this collaboration with Swedish artists Ann Rosén and Sten-Olof Hellström, we’ll be performing the world premiere of Ann’s piece Resilient Memory String.
In our second performance, we’ll be closing BIFEM 2019 with our string quartet concert Motions of Large Real Bodies. We’ll be joined by our dear friend Sam Dunscombe on electronics, so present works by Lucier, Katie Young, and Deniz Nurhat. Finally, we’ll close the festival with an extremely special event, the Southern Hemisphere premiere of Robert Ashley’s String Quartet Describing the Motions of Large Real Bodies.
Don’t miss this extremely special BIFEM! Tickets and details are all at the BIFEM website.
It’s always pretty swell playing Vivaldi’s L’estro Armonico, and all the more so when you get to play it with Libby Wallfisch! Looking forward to joining the Melbourne Baroque Orchestra this September for Wallfisch and Vivaldi.
Can’t quite believe I get to go to Sacrum Profanum Festiwal in Krakow this year! And as if eating all the pierogi in Poland wasn’t exciting enough, I’m playing the European Premiere of my favourite new viola d’amore piece Nor Girdling Gnaw by Natasha Anderson AND will be dusting off my skrzypce for Anthony Pateras’ Pseudacusis.
Be sure to check out the whole incredible festival programme, with details for our opening-night show here!
The Letter String Quartet are heading back to Adelaide to play All the Stories, with the extraordinary Marita Dyson, at the very excellent Nexus Arts. Huge thanks to Nexus Artistic Director Emily Tulloch!
We’ll be sharing the bill with Fleur Green, so it’s going to be a pretty special evening- be sure to book!
The excellent Natasha Anderson and I will be talking about things in the second instalment of Inland artist talks this June. Natasha will be talking about her latest ensemble work, and I’ll be explaining why I like playing old instruments in the way that I do, including discussing two recent works written for me by Natasha for baroque violin and viola d’amore. Come and check it out.
For Inland this July, I’ll be premiering a brand new work, Nor Girdling Gnaw, for viola d’amore and six channel electronics by the inimitable Natasha Anderson. This is my first new piece for viola d’amore and Natasha’s first piece for it too, so you probably shouldn’t miss it.