issue four 2012

conver

sation

editor’s report

Over the last two weeks, news of the restructuring of ANU’s Music School programme has swept through

Australia’s music scene, firing up much outcry and debate. While we at Conversation are not ones to take sides, Charlotte Fetherston has voiced her opinion on this hottest of topics on pages 12-15. Whatever your thoughts on the mat-ter, feel free to send us your two cents at conconversation@hotmail.com.

Actually, even better - check out and ‘like’ Conversation’s brand new Facebook page at https://www.facebook.com/Conversa-tion_Sydney_Conservatorium_Of_Music. You can post your views and feelings there. Actually, even better still – view all 2012 issues of Conversation online at http://is-suu.com/con-conversation and leave your comments directly under the pages themselves!

Closer to home, there’s an awful lot

happening in and around the Sydney Con at the moment. We have two free tickets to give away to see a concert hosted by Australian classical organisation Birubi. We have features on Con students both old and new, plus all the regular reviews, columns and crossword. So, read on and become part of the Conversation (there, that fulfils our ‘one Con-based pun per issue’ quota).

Cameron BarnettEditor

CSAreport

Hello readers!

First of all, I would like to make a correction from my last report- this year’s CON BALL will actually take place on Saturday 13th October, not Friday 12th as previously stated. Sorry for the confusion! Again, put it in your diary and let us know if you have any suggestions.

The other exciting thing that’s coming up next semester is the CON REVUE in August. We’re currently trying to round up interested (interesting?) people, so if you happen to be one, get in touch ASAP. There are lots of ways to get involved- whether it’s acting, singing, dancing, playing, writing, directing, stage management or production- we want you!

In the more immediate future, the CSA has organised yoga classes to be held here at the Con on Thursday mornings

for only $5pp. That’s right, show us some love! You won’t find a better price, and you don’t even have to leave the building. There are limited places though, so be sure to visit our stall to sign up.

And on that point, you should visit us anyway (Thursdays 12-2 in the foyer)! We are always keen to hear your suggestions, concerns, complaints or queries.

Until next time,

Bernice ZandonaPresidentConservatorium Students’ Associationyourcsa@hotmail.com

Elizabeth Bay House SoiréeBirubiBirubi is a non-profit organization set up to create performance opportunities for the finest of Sydney’s emerging classical musicians. Birubi aims to present innovative repertoires, a mix of instrumental and vocal performances and the opportunity to hear one Australian composition on each program.

Following on from the exquisite sounds of our last soirée at The Mint, Birubi and the Historic Hous-es Trust Members are coming together again to present a new collaboration of talent musicians. For this concert we will be in the beautiful Elizabeth Bay House, which has been holding soirée’s since Alexander Macleay first built this stately home. Join us for a memorable and elegant evening of music, wine and friends.

Program: Classical Music in Colonial TimeSongs and arias by Handel, Mozart, Beethoven, Schumann, and more.

Alexander Knight - Baritone

Jacob Wielgosz – Guitar

Elizabeth Bay House (7 Onslow Avenue, Elizabeth Bay)

Sunday 3 June, 5-7pm

Members $59 General $69 Students at the Con-servatorium of Music, Sydney $25

Includes concert, drinks and light supper

For further info, and to buy tickets online, visit www.birubiconcert.org

Conversation has two free tickets to this concert to give away. Simply be the first person to email conconversation@hotmail.com with your name, degree and answer to this question:

What does the Aboriginal word ‘Birubi’ refer to?

the man behind the shortsDown-to-earth and laid-back were the

first things that came to mind when I sat down with first year classical trombone

performance student Andrew Fazzone. The former Macquarie Uni commerce student enjoys wearing almost questionably short shorts around the Con, which don’t go unnoticed.

So, what of these shorts? They’re his old rugby shorts, but he “stopped playing rugby because of all the injuries. (Not pictured: shorts)

I came home with a nose bleed after almost every game and I think I was concussed once”. So, for those of you who continue to critique the shortness of said shorts, think about the pain associated not only from the physical damage, but perhaps from the memory of a once-loved game.

Since then, however, Andrew has enjoyed many other sports. He trains at the gym at least five days a week and plays basketball, soccer and baseball. So, it makes sense that he’s a very outgoing per-son who “just likes to have a good time” and fits the short-short-wearer’s stereotype quite immacu-lately. However, much to my surprise, Andrew con-fessed “my favourite sport would have to be golf,” and since he “always likes to be with friends” golf is the time he takes to be with himself (aside from hours in the practice room, of course). He finds the mind game quite meditative, and relates the techni-

cal focus to the difficulties of trombone playing.This other side to Andrew seems to have stemmed from his conservative and Christian upbringing, and his previous year spent studying commerce. He says “my dad’s a lawyer and mum’s a musician,” so he followed his American/Italian father’s footsteps be-fore realising that music was what he “should have done”.

However, he is currently taking interest in his fa-ther’s Italian heritage. He speaks “enough Italian to get around,” and aims to obtain an Italian passport to extend his travels around Europe. The outgoing trombonist likes any climate from the beach to the snow to the Con, and will be “relaxing by the sea” later this year in his favourite place, Hawaii. He’ll be going over for the fourth time, for another great chance to wear his beloved short shorts. Mary Os-born

beyond musical bordersRachel White speaks to saxophonist, composer and Con graduate Ben Carey.

As musicians attending a music education institution, we have grown up around

music, musical instruments and the development of various kinds of technology that can enhance our performance, the musical environment and how music is disseminated. For some, that technology can be as simple as a microphone up the bell of a clarinet. However, there are those in the musical community who are passionate about using technology in a myriad of ways, and are even capable of the kind of innovation that makes the future of music technology limitlessly bright. One of those people lighting the way is Ben Carey.

Ben graduated from the Sydney

 

Con in 2005 with a Bachelor of Music (Performance). He went on to postgraduate study in saxophone and contemporary chamber music at the Conservatoire de Bordeaux, France, and since returning to Australia has been involved in creative performance and composition works across Sydney, as well as engaging in further study at UTS. I asked Ben about his perspec-tive on contemporary art music in Sydney, his passion for performance and technology, and the creative potential of his _derivations project.

What appeals to you about working in an electro/acoustic musical environment?

I think working with sound and discovering new and varied ways to conceive of it is what attracts me to working with electronics in live performance. Improvisation, exploration and searching for the unexpected have always been things that have drawn me towards using the computer in music creation, whether I’m working in the studio or performing with technology. From a performer’s perspective, I think working in this medium has allowed me to think past the confines of my own instrument sonically but also

“Sydney has a really vibrant independent/ experimental music scene, and it’s amazing to see how much stuff is coming out of Sydney at the moment.”

physically, but it’s also true that being a performer first and foremost has shaped the way in which I want to interact with technology – that is, as freely and per-formatively as possible.

What has been your most interesting project you’ve been involved with thus far?

Wow, it’s hard to answer that ques-tion! Anything that involves collaborat-ing with others and drawing upon all of your resources to make something hap-pen with other people is pretty special in my opinion. I recently collaborated with American composer/multi-instru-

mentalist Alexander Berne via the in-ternet for a performance he was doing with a dance company in New York. For the performance he used _deriva-tions, a piece of software of mine which I customised for his performance. We rehearsed via Skype - that was a pretty exciting first for me!

Is there a particular com-poser or performer who inspires you?

Too many to mention. What really in-spires me are people that go out of their way to champion new and groundbreak-ing music. In that category I’d have to say my old saxophone professor from

 

Bordeaux, Marie-Bernadette Charrier. As a teacher she has opened up many to the world of contemporary and elec-tronic music, encouraging and mentor-ing young composers as much as she has performers over the years. Her new music ensemble Proxima Centauri con-tinues to premiere the works of amaz-ing composers from around the globe, they’re celebrating their 20th anniver-sary this year I believe.

How does the modern mu-sic scene in Sydney com-pare to your experience in France?

There’s a lot going on in France to be sure, but there’s also a lot of drive and passion for new music in Australia, and especially in Sydney at the moment! I think one thing that does stand out in France, or in Europe in general, is the sheer number of ensembles and organi-

sations devoted to new/experimental music, but mainly I think this is because we’re talking about places with more people. Proximity to different hubs of activity in Europe is of course something that makes a country like France special, but then geographic boundaries are get-ting smaller and smaller thanks to the internet, and particularly with social media.

Who are the up-and-com-ing Sydney musos to watch out for?

Sydney has a really vibrant independ-ent/experimental music scene, and it’s amazing to see how much stuff is coming out of Sydney at the moment. It’s hard to narrow this down but I will say that someone that you should look out for is amongst your own ranks at the Con, composer/producer Marcus Whale. He’s doing such a variety of things both solo and collaboratively - everywhere I look at the moment I seem to see his name!

Can you describe your _derivations project?

_derivations is a piece of software I’ve been developing over the past year-and-

“I think Sydney audiences in general have a healthy appetite for innovation and experimentation.”

“What really inspires me are people that go out of their way to champion new and groundbreaking music.”

a-half or so - it’s forming part of my PhD research at UTS. Basically, _derivations is program designed for improvised in-strumental performance with the com-puter. I wanted to create something that allowed me to perform with the com-puter freely without having to touch it. It listens to a performer, records their playing and makes decisions about what to respond with depending on live analysis of the instrumental signal. In a somewhat simple way, it strives to enable a certain autonomy in the com-puter’s contribution in an improvised performance context, all the while shar-ing the same sound world provided by the instrumentalist - if that makes any sense!

For more information on Ben Carey and the work he’s involved in, visit his website:

http://www.bencarey.net/

Is there any potential for _derivations to be eventu-ally used by ensembles, or is it purely for the indi-vidual?

Well, at the moment it’s designed for a solo performer, but there are plans to enable the program to participate in en-semble performances. One pretty neat aspect about the software is the abil-ity for a performer to load databases of pre-analysed improvisations by them-selves, or of other instruments. What this means is that you could enable the computer to interact with a great variety of timbres in live performance, kind of like building up a unique virtual ensem-ble for each performance!

Where do you think the con-temporary art music scene in Sydney is heading?

It’s a hard question to answer. I think any ‘scene’ really benefits from as much di-

“Being open to new experiences and saying yes to as many interesting projects as possible is bound to take you down an interesting creative path.”

For more information on Ben Carey and the work he’s involved in, visit his website:

versity as possible. Each group/collec-tive/organisation brings their own cu-ratorial and aesthetic preoccupations to bear - which I think really makes for a vibrant scene. Young groups and organisations - and individual composers/performers for that mat-ter - really hold the keys to the future of the music that Sydney-siders will be hearing in concert. I think Sydney audiences in general have a healthy appetite for innovation and experi-mentation, and as long as there are people to champion the new and the experimental, as audiences we will continue to be spoiled!

How can someone be-come involved in the kind of projects you work on? Is it a case of ‘who you

know’, or can anyone just jump in and see where their creativity leads them?

Hmm - I don’t really think that it’s about who you know as much as people make out that it is. I think being open to new experiences and saying yes to as many interesting projects as possible is bound to take you down an interesting creative path. Having said that, as far as cre-ating new music is concerned, I think as long as you believe that you have something interesting to say, and that you’re passionate about what you do there’ll always be someone willing to stand up and take notice.

ANUA couple of weeks ago, musicians

all around Australia were buzzing with news that ANU has

announced a major restructuring of its music courses from 2013, involving the removal of one-on-one lessons and harmony lectures, and many staff redundancies (accompanied by the option to reapply for jobs in open applications). There was also something in the air about tutelage via video link from teachers at major American institutions? It seemed to me that this university had become blind to the basic requirements of a performance music degree – and had effectively doomed its own future as a music school of high calibre. After reading a couple of articles published by the Australian and the

Canberra Times, it looks like changing the Bachelor of Music degree will enable $1.3 million of the university’s yearly deficit to be wiped out (it now stands at $2.7 million). Universities are businesses, and when they are hugely in deficit, they must recover from it. We have seen cost-cutting appearing in universities all over the world; in fact, earlier this week there was a protest against staff cutbacks at the University of Sydney (the police were even involved). The ANU’s Vice-Chancellor, Professor Ian Young mentioned that the cutbacks had been in the books for years, and were ‘accelerated by financial circumstances.’ So, as the Canberra Times reported on May 3:

The school’s 23 academic positions and nine general staff positions have all

Charlotte Fetherston gives her thoughts on the recent events and actions at the Australian National University…

been spilled, and existing staff will now be forced to reapply for new positions under the structural changes. Ten of the academic staff will lose their jobs. It is not yet clear how the restructure will affect the nine full-time general staff, nor how it will affect the 40 part-time specialist staff and tutors.

City News has recently released an article (May 10) stating that head of school Professor Adrian Walter has currently been instructed to take leave, as he is finding it difficult to “work with the university over the issue of sackings and restructurings.” Professor Walter has been criticised for siding with the university rather than his school during this process, though it now appears that he was in fact trying to keep on the good side of the university, or risk losing the music school altogether.

Let us take a look at the course of the institution in its short history, provided by information on the ANU website. The ANU itself was established in the 1940s by the government as a postgraduate and research institution, incorporating undergraduate degrees in the 60s.

“It seemed to me that this university had become blind to the basic requirements of a performance music degree – and had effectively doomed its own future as a music school of high calibre.”

Within that decade, the idea came from the government that Australia’s capital city should have a music school for performance and practice: thus, the Canberra School of Music was established in 1965, an arts school was established in 1976, and in 1987 the two schools combined. In 1992, this combined institute became part of the ANU. The music school’s founding Director was the violinist and conductor Ernest Llewellyn, who stated that:

In setting out a plan for the establishment of a School of Music in Canberra it is of the utmost importance that a comparable level be maintained. It is most necessary that the school provide, at the very beginning, a director and staff of the highest qualities in their particular spheres, and that imagination and flexibility of planning and operation be ensured for progressive development. What Llewellyn did was make sure he had high-level staff, with a strong focus on the training of individuals in perfor-mance. Alongside this, he also developed the Canberra-based National Symphony Orchestra (established in 1950). The music school soon became a feeding-pool into the Canberra Symphony Orchestra, which needed the high-level students joining its ranks, and also needed the pull of jobs available within the music school to attract highly skilled musicians to the city.

Looking at Llewellyn’s comments, it seems that training of specialised musicians was the main initiative of this institution. What will it mean if this is now taken away? The

same Canberra Times article presented this statement:

As part of the restructure announced today, the enrolment in the school will no longer be confined to only high-performing students, which, the university hopes, will lead to a greater student intake.

Sounds like, as some put it, a glorified TAFE institution. By lowering the entry standards, the university will make more money, but the quality of musical life (in terms of things like competition and peer inspiration, as well as individual focus) will be negatively affected. As Yasmin Masri writes on her online petition:

The changes mean that new music students will lose access to one-on-one tuition and dedicated theory classes. Students will be given an allowance to purchase tuition privately - which will only cover half of what is currently available.

So students will have to fork out for half of the many lessons they need, and will miss out on harmony lectures, which, in my view, is the equivalent of with holding biology classes to fledgling medical students!

When I imagine the reality of the ANU’s proposal, I visualise an empty, run-down building, devoid of a sense of musical community. While this is a rather dramatic thought, I came to

reflect on what has been important to me during my university studies. I now see that it is integral to have an appropriate, supportive teacher, one who is confident and secure in their position at the institution. The teacher’s physical presence is mandatory, both for mentoring, and to fix gaps in tech-nique and thought processes. Secondly, a representation of high standards within a university, and students who can learn from each other, is highly important. These factors played a major part in my selection of a tertiary education provider, and I believe that they shaped, and to continue to shape, my development as a thinking musician.

Some hope for the school is that the ACT Legislative Assembly have backed a motion of support, and recognise the music school’s importance to the community and to Australian music making (high school education and out-reach programmes etc.).

If you want to voice your opinion, support current ANU students, or sim-ply be aware of what’s happening, you can add yourself to an ongoing event on

Facebook named SAVE OUR DEGREE, and support an online petition at:

http://www.communityrun.org/peti-tions/savetheanuschoolofmusic-1 At the time of writing, this petition - which is to be presented to the Vice-Chancellor - already had 16,207 signatures.

It seems that the university has gone back on the morals on which the music school they inherited was built upon, and they have essentially driven high-level music at tertiary and possibly profes-sional levels out of Australia’s capital city. I wish the students good luck, and that the board of directors realise what they have done to their city, their university, and future musicians of Australia.

Charlotte Fetherston“By lowering the entry standards, the university will make more money, but the quality of musical life will be negatively affected.”

Eileen Wright

Despite the fact that I recently completed a course in crystal healing, I do not go in for any

sort of spiritual mumbo-jumbo and I certainly do not subscribe to conspira-cies about UFOs or alien sightings … ex-cept in the case of Schoenberg and the second Viennese school.

Serialism is quite clearly some sort of alien code. Let us examine the twelve-tone pattern ‘F-C-B♭-D-A-E♭-B-G-F#-A♭-E-C’ that forms the basis of Schoenberg’s little-known work ‘Eine gefälschte Musikstück’ op. 19 no. 43. This pattern is introduced by the oboe and is then repeated again and again for the entirety of the work, which un-

Schoenberg: Avant-garde or Alien?

fortunately lasted 53 minutes. The question is: What does it all mean? This combination of letters simply does not bear any relation to the lin-guistic codes of any of the known lan-guages found on the surface of this planet. When I read this pattern aloud to my friend Janine as if it was a word (fcbessdaessbgfissassec), she told me that it reminded her of the way that a celestial being attempted to com-municate with her when she beamed into a UFO after a particularly heavy night of drinking in Crows Nest. This led me to think that if we cannot find the origin of these words on Earth, perhaps the only logical solution is to

look for the meaning of these words amongst the stars. I presented my ev-idence to an expert panel of experts with an expertise in Alien Science at the Parramatta UFO convention and they supported my theory. They also informed me that “fcbessdaessbgfis-sassec” actually means “Planet Earth. Surrender.” Horrifying.

new series, new name for

the metropolitan orchestraThe former ‘Metropolitan Chamber

Orchestra’ has recognised its growing

size and standing, its diverse activities,

versatility and ever-broadening appeal by

celebrating its fourth year (and more than 40

concerts to-date) with a new name, ‘brand’ and

image. And audience members will be treated

to a champagne reception too!

The Metropolitan Orchestra (TMO)’s upcoming

Met Series concerts on May 26 & 27 feature

Beethoven’s ever-popular Pastoral Symphony,

Sibelius’ Valse Triste and Mendelsohn’s E Minor

Violin Concerto featuring soloist Katherine

Lukey. Holding the baton will be TMO’s chief

conductor and artistic director Sarah-Grace

Williams; host and presenter is ABC personality

(and TMO patron), the charming and witty Guy

Noble.

The rebranding of the orchestra is an exciting

celebration recognising the importance of the

orchestra in the musical landscape of Sydney

and its many achievements since its first concert

in Feb 2009. There will 45 musicians on stage

for this event, hailing from across Sydney. Many have

been part of the orchestra since the inaugural concert,

including founding artistic director Sarah-Grace

Williams. With two successful major concert series

performed already this year, the months ahead are full

of great diversity and variety from the MET subscrip-

tion series in Balmain and North Sydney, performing

with David Helfgott at the Angel Place Recital Hall in Au-

gust, James Morrison at The Concourse (Willoughby) in

The Metropolitan Orchestra begins a new era this May with a new name and an exciting new concert program.

November, presenting a free outdoor concert in April

at Callan Park, a slew of smaller chamber concerts

(the ‘Indy’ series at Leichhardt Town Hall)... and

much more!

Artistic Director and Chief conductor Sarah-Grace

Williams said that with the annual concert season

building and diversifying over the past 4 years to

now include twelve full orchestral concerts, smaller

chamber concerts, large gala events, outdoor events,

cross-over concerts, commercial engagements

and more, the orchestra was clearly much more

than a 'chamber ensemble'. As such, it was decided

in early 2012 that it was time to rebrand with a

name that better reflected the orchestra and its

true versatility.

“In choosing the new name, it was important

that it would be easily identified with our current

name, as well as our mission of presenting

premium concerts - at an affordable price - across the

greater Sydney Metropolitan Area. So we give you

THE METROPOLITAN ORCHESTRA!”

The performances will take place May 26, 8pm at Independent Theatre and May 27, 3pm at Balmain Town Hall with a complimentary champagne reception for all guests on the Saturday evening to celebrate this exciting event in the orchestra's history.

Met series 3 concertConducted by Chief Conductor & Artistic Director, Sarah-Grace WilliamsPresented by TMO patron and ABC presenter Guy Noble

Saturday 26 May 8pm: Independent Theatre, North SydneySunday 27 May 3pm: Balmain Town Hall, Balmain Tickets $35, $30 conc., $15 children Book: www.metorchestra.com.au/tickets or 1300 150 465

Program:SIBELIUS Valse Triste MENDELSSOHN Violin Con-certo, E minor | Violin: Kather-ine Lukey (Assistant Concert-master Sydney Symphony)BEETHOVEN Symphony no 6 ‘Pastoral’

Notes on program:Finnish composer Jean Sibelius wrote six pieces as incidental music for the play Kuolema (Death). Valse Triste (Sad Waltz) was originally written as part of this but after he reworked the piece for full orchestra, it became an instant hit with the public and took on a life of its own. Opening this program, this reworked version has become one of the composer’s most popular works with its distinc-tive blend of grave nostalgia and wistful sadness.

Katherine Lukey is the Assistant Concert-master with the Sydney Symphony. She is also a core player with the Melbourne Chamber Orchestra and appears as a guest musician with the Australian Cham-ber Orchestra, Malaysian Philharmonic and Melbourne Symphony Orchestra.

The Metropolitan Orchestra is delight-ed to welcome her as soloist for Felix Mendelssohn’s Violin Concerto, one of the most popular violin concertos of all time.

The Pastoral is commonly regarded as the most beautiful of Beethoven’s symphonies, a masterpiece depicting in music a country stroll with birds, brooks and storms. You may have heard this work live before, but you haven’t heard it in the intimate setting that is a TMO concert. Let TMO transport you to the countryside of Vienna, which inspired Beethoven. “How happy I am to be able to walk among the shrubs, the trees, the woods, the grass and the rocks! For the woods, the trees and the rocks give man the resonance he needs.”

Further information: www.metorchestra.com.au General phone inquiries: 02 80077131

Tickets $35, $30 conc., $15 children Book: www.metorchestra.com.au/tickets or 1300 150 465

Last chance to get 2012 concert subscription package with a 4-concert package online

Media: for more info, interviews, images, detailed biographies, background on TMO or full 2012 program contact Geoff Sirmai, Watchdog Communications, (02) 9345 0360 - 0412 669 272 - geoff@watchdog.com.au

gig reviewKing Gizzard and the Lizard WizardGoodGod Small Club,

Ah, septets. While we may like to look disparagingly upon this seemingly obsolete and archaic grouping, we all have our favourite and most memorable examples of a good seppo: Beethoven’s Wind; Saint-Saens’ Trumpet; a bunch by Martinu; but now an ostentatious newcomer puts up its hand to be included in the prestigious ranks of the aforementioned, and well-deserved would be its place, if King Gizzard and the Lizard Wizard were admitted. This fun-lovin’ group straight out of Deniliquin in rural NSW brought a raging anarchic twang to GoodGod Small Club last Thursday. If you like your punk-rock raw and spiced with a psych edge, these fellas are worth examining. Their

output would best be described as fast and furious: the songs are three minutes tops, delivered with nonchalance neces-sary of, in their own words, “completely fried theremin-wielding psychopaths”. You can sling all the mud you like for numerical indulgence (you could produce the same sound with three well- intentioned subversives), but these guys’d probably check it for hallucinogenic elements and chuck it back. They have a damn good time smashing out their tunes, all four guitarists, both the percussionists and the barefoot harmonica player too. GoodGod, valuable as they are for supporting the eclectic, don’t have quite the edgy image they strive for, and as a result the audience was a little sedate. But see KG&LW at the right venue and you could be purging every rebellious thought you ever had.

Daniel Butler

what’sonat the con

May 18

May 19

May 21

Conductors’ Series - Percussion Plus - Modern Music Ensemble6.00pm - 7.30pmSCM Modern Music Ensemble; Daryl Pratt, director -- Music of Zavada, Brophy, Greenbaum, Varese and Andriessen.

11.00am - 12.00pmConservatorium Open Academy – Rising StarsOur gifted Rising Stars students present works they have been preparing with their teachers. The concerts feature a broad range of instruments and children are par-ticularly welcome to attend.

6.00pm - 7.00pmCocktail Hour - Bach and the 21st CenturySCM Chamber Choir; Neil McEwan, director -- Music of Bach, Belling and Adams.

7.30pm - 8.30pmCocktail Hour - Complete Beethoven Cello Sonatas 2Georg Pedersen, cello; Phillip Shovk, piano -- Music of Beethoven.

May 23

May 25

May 26

Lunchbreak Concert - Saxophone Orchestra1.10pm - 2.00pm Students from the SCM Saxophone Orchestra perform a 50-minute lunchtime concert.

Musicology Colloquium Series - Karl Kramer - “Magazine subscriptions and my journey to comprehensive musicianship”4.00pm - 5.00pmTopic details to be advised.

The Alfred Hook Lecture Series - Paul Grabowsky - Jazz or Post-Jazz? The ‘J’ Word in the 21st Century4.00pm - 5.00pmThe word jazz has confounded simple explanations throughout its relatively short history. Is it a definable musical genre, and therefore subject to precise definition, or does it describe an approach to music with specific processes and outcomes?

Conductors’ Series - Wind Symphony - War and Peace6.00pm - 7.30pmSCM Wind Symphony; Steve Williams, conductor -- Music of Holst, Ticheli, Gillingham, Husa and Gould.

Conservatorium Open Academy – Rising Stars11.00am - 12.00pmOur gifted Rising Stars students present works they have been preparing with their teachers. The concerts feature a broad range of instruments and children are particularly welcome to attend.

what’sonat the con

May 28

May 30

Cocktail Hour - Charisma in Concert6.00pm - 7.00pmDavid Miller, piano; Roslyn Dunlop, clarinets; Julia Ryder, cello -- Music of Farrenc and Holmboe

Cocktail Hour - Romantic Winds7.30pm - 8.30pmNew Sydney Wind Quintet: Bridget Bolliger, flute; Alexandre Oguey, oboe; Francesco Celata, clarinet; Ben Jacks, horn; Andrew Barnes, bassoon -- Music of Hindemith, Kerry and Onslow.

Lunchbreak Concert - Open Academy1.10pm - 2.00pmStudents from the Conservatorium Open Academy perform a 50-minute lunchtime concert.

crossword45 Years of Sgt. Pepper's Lonely Hearts Club Band

crossword 1. The brass instrument on the cover that is not held by a Beatle (9) 4. Animal from ‘Mr. Kite’ who was unfairly ac-cused of constituting not one, but two heroin refer-ences (5, 3, 5)6. Jimmie who stood in for Ringo during the Bea-tles’ Australian tour and provided inspiration for ‘Getting Better’ (5)8. Erstwhile producer and arranger of every song but ‘She’s Leaving Home’ (6, 6)10. Name of the conspiracy theory prompted by a Beatle facing backwards on the back cover (4, 2, 4)13. The larger wind instrument held by a Beatle on the cover (3, 7)14. Dictator whose cardboard cutout is hidden behind others on the cover, but actually presentt (5, 6)16. Art song composer who, in Time magazine shortly after the album’s release, compared ‘She’s Leaving Home’ with Schubert (3, 5)17. The smaller of the two wind instruments held by a Beatle on the cover (7)21. There were this many holes in Blackburn, Lancashire (4, 8)25. Pop group latterly on the Beatles’ ‘Apple’ label who were named foor ‘With A Little Help From My Friends’s working title (9)26. Many are annoyed by this near-toy instrument, the sound of which is rendered unfamiliar in the album (5)27. The shortened repetition of ‘Sgt. Pepper’s Lonely Hearts Club Band’ is referred to as a... (7)31. These instruments are featured prominently in ‘When I’m 64’ (9)34. This grooming tool is featured in one song’s lyrics and another’s instrumentation (4)35. Original pressings of the album ended in an infinite loop of sound, known as a... (4, 6)36. Famous Frank whose Mothers of Invention parodied the album (amongst other things) with their album ‘We’re Only In It For the Money’ (5)37. Culinary implements from which the Sergeant’s name was derived (curiously, their musical name-sake does not appear on the album) (7)39. Revered conductor who, following the album’s release, compared the Beatles with Schumann (9)40. Percussion instrument featured on the cover (4, 4)41. Ringo’s alter ego, featured on ‘A Little Help From My Friends’ (5,6)42. The only person, other than the Beatles, to ap-pear twice on the cover (7, 6)43. This Englsh band, who Sold Out 45 years ago, recorded ‘I Can See For Miles’, which eventually inspired the Beatles to record ‘Helter Skelter’ (3, 3)

44. Now-giant British psychedelic band whose visit to the recording studio during the taping of ‘Lovely Rita’ is reckoned to have inspired a song on their first LP (their only one with their original lead singer) (4, 5)45. Indian drone instrument used in multiple songs (8)

2. This street-related single was recorded for the album but ultimately not included (5, 4)3. Amazingly, the entire album was recorded on a tape machine of this variety (4-5)5. Amount of pianos that played the final chord of ‘A Day In the Life’ (5)7. Monolithic Kelloggs’ cereal, an advert for which inspired ‘Good Morning Good Morning’ (10)9. The tonality of the album’s final chord (1, 5)11. Ex-Beatle included on the cover, Stu ____ (9)12. The Beatles’ suits on the cover are in this bright kind of colouring, now primarily associated with 80’s fashion (3-3)15. This massively influential singer-songwriter, included on the cover, is credited as one of the Beatles’ greatest influences (3,5)18. Stage show featuring Peter Cook and Dudley Moore from which crowd sounds were used on the album’s first track, ‘Beyond the ____’ (6)19. The record label that released the album (10)20. Apparently this gemstone is the traditional 45th anniversary gift (8)22. Beach Boys album, abandoned until recently due to its creator’s exposure to ‘A Day In the Life’ (5)23. William Seward _____ - featured on the cover, his ‘cut-up’ technique preceded John Lennon’s lyrics of ‘Mr. Kite’ as well as the tape experiemnts laced across the album (9)24. One would expect to hear this sound during a sitcom rather than at the end of ‘Within You Without You’ (6, 8)28. Controversial comedian featured on the front cover (5, 5)29. As opposed to stereo, this version of the al-bum is considered closest to the Beatles’ intended product (4)30. This then-avant-garde composer, featured on the cover, inspired the indeterminate sections in ‘A Day In the Life’ (11)32. The larger brass instrument of the two held by Beatles on the cover (6, 4)33. The first pressing of the album included one of these for listeners to wear (9)38. The smaller brass instrument cradled by a Beatle on the cover (7)

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