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.
This July, I’m very lucky to be heading to New Zealand for concerts with Wellington’s newest early music ensemble, the Night Watch. We’re playing a tonne of amazing 17th-18th-Century repertoire including works with chalumeau!
We’ll be in Greytown on Saturday 13th July and Wellington on Sunday 14th July. Don’t miss it!
Tickets available at the door $35 adult/$25 student.
Prepurchased tickets on Eventfinda are $30 adult/$20 student (booking fee applies).
Harken Well are ready to brighten up your winter with a programme of fiery, early 17th-Century Italian repertoire. And we’re taking it on tour! This was a super exciting time in the history of the violin, so please join us in Melbourne, Castlemaine, and Buninyong for performances of works by Bertali, Castello, Cima, Farina, Fontana, Marini, and Uccellini.
We’re packing up our lovely guest continuo section, Joy Lee (harpsichord) and Nick Pollock (theorbo) and heading to:
7pm, Friday 23rd August – The Church of All Nations, 180 Palmerston Street, Carlton Details. Tickets.