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Festival Concert Series

Welcome

Friday 17th Nov7.30pmANDREW BLANCHFrom Latin America & BeyondUtzon Room Sydney Opera House

Thursday 16th Nov7pmGUITAR TREK30th Anniversary Concert and Dinner

Mosman Art Gallery

Saturday 18th Nov2pmMIMI DUOWonderful Piano and Guitar MusicMosman Art Gallery

Saturday 18th Nov 5pmSYDNEY GUITAR TRIO WITH PETER MUSSARED Weaving Tales & Spinning YarnsMosman Art Gallery

Saturday 18th Nov7.30pmTHIBAUT GARCIAFrench Superstar of the Classical GuitarMosman Art Gallery

We are grateful and privileged to welcome you to this concert as part of our inaugural Classical Guitar Festival Sydney. Our event is a long and silent wish come true for many of us guitarists in Sydney and elsewhere. I am so grateful to all friends, artists, organisations and businesses who have come together, believing also that the time was right and joined us in this adventure! Our

festival is in fact, the “visible peak” and the culmination of so much work around the classical guitar, done by so few, for so many, over generations both here in Sydney, all around Australia and of course around the globe. Many of these people of key influence are here today and will have a presence during the festival and will be seen, heard and celebrated. We thank them and are grateful for their life-long work.

In times of internet domination, nothing compares to being in the presence of accomplished musicians in a live setting, connecting with them, sharing their every single note, their effort, energy and artistry … it is an unparalleled

experience! For us at Guitar Passion, this is our mission and it also goes beyond the guitar and reaches out to the deepest aspects of our humanity. It is all about sharing this with others to foster inspiration, more artistry and celebrate the beauty that we are able to create in this world.

Our deep gratitude goes to all our performing artists, the players living and working in Sydney, our wonderful guests from interstate and overseas, our audiences, sponsors, donors and supporters. A special thank you to our wonderful volunteers and the festival organising team: Darryl Rule, Claudie Moffatt, Josinaldo Costa, Bernard Hickey, Sue McCreadie, Julie Olzomer, along with our resident artists: Ariel Nurhadi and Andrew Blanch; assisted by Evan Hopkins, Mervyn and Christine Langford; Yolande Pierce and the team at the Mosman Art Gallery. And to Tim Kain and Guitar Trek, thank you for the privilege of celebrating your 30th Anniversary with us – such an important milestone.

This festival is dedicated to the memory of Phil Houghton, our much loved Australian guitarist-composer. It is also a tribute to Carlos Perez, co-founder of the Guitar Passion series and this Festival, who recently returned to his native Spain.

Eric Cathan

Sunday 19th Nov1.30pmVLADIMIR GORBACHRussian Guitar VirtuosoMosman Art Gallery

Sunday 19th Nov4pmBRADLEY KUNDA TRIONew Australian WorksMosman Art Gallery

Sunday 19th Nov7.30pmJOSE MARIA GALLARDO DEL REYFestive Guitar from Seville, Spain Mosman Art Gallery

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Guitar Passion Academy - Guitar Lessons www.guitarpassion.com.au

Thank you to our generous Sponsors and SupportersWe express our sincere gratitude to all our sponsors, supporters and exhibitors,

without whom we couldn’t run this Festival!

Tim KainBill McIntyre

George B Cathan

THE CANBERRA CLASSICAL GUITAR SOCIETY

MAGDA COMMUNITY ARTS BRISBANE

Classical G uitar Society

Sydney

Program

Rebecca MacCallion, soprano

Laura van Rijn, flute

Bradley Kunda, guitar

abDown by the Salley Gardens

(Irish trad., arr. Herbert Hughes/Bradley Kunda)

Love, the Rover (Poetry: Henry Lawson; Music: Bradley Kunda)

Pièce en forme de habanera (Maurice Ravel, arr. Janet Ketchum and Peter Segal)

Spirit of the Plains (Bradley Kunda)

Cuatro madrigales amatorios (Joaquin Rodrigo, arr. Bradley Kunda)

Selections from Classical Spanish Songs (Fernando J. Obradors,

arr. Bradley Kunda and Laura van Rijn)

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BiographyREBECCA MACCALLION studied singing with internationally acclaimed mezzo-soprano Irene Waugh before completing a bachelor degree in Music at the Australian National University. During her studies, Rebecca took masterclasses with Barbara Bonney, Gerhard Kahry and Andrew Lawrence King.

Rebecca is a diverse performer at home in both classical and music theatre repertoire. Rebecca made her music theatre debut with the National Theatre Company in its 2000 production of Les Misérables. Rebecca’s first opera appearance was in Gillian Sullivan’s 2004 production of Mozart’s Marriage of Figaro. Since then, she has featured as a soloist with Melbourne Opera’s touring production of Tosca, and was invited to sing the role of Musetta in Melbourne Opera’s Italian Opera Gala concert in Canberra, performing alongside Joanna Cole and Roy Best.

In 2011, Rebecca was nominated for the Canberra Area Theatre Award for “Best Actress in a Leading Role in a Musical” for her portrayal of Velma Kelly in Chicago. Rebecca has since played the roles of Maria in West Side Story, Christine in The Phantom of the Opera, and Belle in Beauty and the Beast, in various Sydney-based productions. Rebecca was hailed by Stage Whispers as ‘a delightful Cinderella, singing beautifully and nailing the role with a lovely mix of charm, sweetness and determination’ in Stephen Sondheim’s Into the Woods.

A strong supporter of new Australian music, Rebecca featured in the world-premiere of young Australian composer Joshua McHugh’s Grim and the Blue Crown Owl, which went on to win “Best New Opera” in the Canberra Area Theatre Awards. In 2017, Rebecca premiered a new work for soprano and mixed chamber ensemble by Christopher Bowen, performing alongside Deborah de Graaff and Tonya Lemoh.

As a recitalist, Rebecca has given nationwide broadcasts in ABC Classic FM’s Sunday Live series, where she premiered a new version of Joaquin Rodrigo’s Cuatro Madrigales Amatorios for voice and two guitars. With duo partner Bradley Kunda, Rebecca has given concerts at the Project Cancíon Español (Granada, Spain) the Accademia l’Ottocento (Lecce, Italy), and the Nikšic International Guitar Festival (Montenegro). Rebecca featured as a soloist in the Australian National University’s inaugural Musica Antica festival, where she participated in a live internet broadcast concert of chamber music, as well as singing Mozart’s motet Exultate Jubilate with the ANU Chamber Orchestra, conducted by Carlo Barone.

Rebecca is a recipient of The Australia-Britain Society Award for Voice. She also holds a Masters degree in speech pathology from the University of Sydney, and has a particular interest in the role of listening in the development of communication in young children.

LAURA VAN RIJN is currently completing a doctorate in Music Performance at the Australian National University, studying with Virginia Taylor and Vernon Hill. She previously completed a Bachelor of Music degree with first class honours at the University of Western Australia (studying with Neil Fisenden) and also holds a master’s degree from ANU. During 2013 she was the flute fellow in the prestigious Sydney Symphony Fellowship Program, performing across New South Wales with the Sydney Symphony Orchestra and chamber music groups. In 2014 Laura performed with the Auckland Philharmonia in the roles of Principal and Associate Principal Flute.

Throughout her career Laura has performed with many orchestras including the Sydney Symphony Orchestra, Sydney Symphony Sinfonia, Auckland Philharmonia, Canberra Symphony Orchestra, Canberra International Music Festival Orchestra, Llewellyn Choir Orchestra and the Australian Youth Orchestra. She was also selected by the ANU to perform in Shanghai at the World Expo in 2010 with guitarist Andrey Lebedev and in 2011 won the Australian International Flute Festival Competition, which she was invited back to adjudicate in 2013.

The WAYO Travelling scholarship and Lenard and Margaret Doman bursary allowed Laura to further her studies in England at the Oxford, and Woldingham flute summer schools, and to participate in masterclasses with world-renowned musicians Michael Cox, Reinhard Goebel, Ian Clarke, Paul Edmund-Davies, Peter Lloyd, Felix Renggli and Wendy Quinlan.

BRADLEY KUNDA is a musician of extraordinarily diverse talents who believes in the classical ideal of the complete musician, devoted to performance, composition, teaching, and writing about music.

Bradley is a Doctor of Music Performance of the Australian National University, where he trained as a classical guitarist. He has since become a long-standing member of Australia’s premier guitar quartet Guitar Trek, performing alongside his mentor Timothy Kain AM. Bradley has performed in major festivals and concert series throughout Australia, including the Adelaide and Darwin International Guitar Festivals, the Canberra International Music Festival, and the ABC’s Sunday Live series. A passionate exponent of new Australian music, Bradley has premiered works by Peter Sculthorpe, Robert Davidson, Mark Isaacs, Christopher Bowen, and Richard Charlton.

It is perhaps of natural consequence that Bradley’s own compositional output is dedicated largely to the guitar. His creative process often involves exploring other art forms. Lauded by eminent conductor and educator Richard Gill AO as ‘beautifully written…true in every sense of the word’,

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Down by the Salley Gardens Irish trad., arr. Herbert Hughes/Bradley Kunda:Down by the salley gardens my love and I did meet; She passed the salley gardens with little snow-white feet.She bid me take love easy, as the leaves grow on the tree;But I, being young and foolish, with her would not agree.

In a field by the river my love and I did stand, And on my leaning shoulder she laid her snow-white hand.She bid me take life easy, as the grass grows on the weirs;But I was young and foolish, and now am full of tears.Text source: The Norton Anthology of English Literature, M.H. Abrams, ed. (New York: Norton & Company Inc., 1993).

Love, the RoverPoetry: Henry Lawson | Music: Bradley KundaI. The Things We Dare Not Tell The fields are fair in autumn yet, and the sun’s still shining there, But we bow our heads and we brood and fret, because of the masks we wear; Or we nod and smile the social while, and we say we’re doing well, But we break our hearts, oh, we break our hearts! for the things we must not tell.

There’s the old love wronged ere the new was won, there’s the light of long ago;There’s the cruel lie that we suffer for, and the public must not know. So we go through life with a ghastly mask, and we’re doing fairly well,

While they break our hearts, oh, they kill our hearts! do the things we must not tell.We fight it down, and we live it down, or we bear it bravely well,But the best men die of a broken heart for the things they cannot tell.

II. The Song and the SighThe creek went down with a broken song, ‘Neath the sheoaks high;The waters carried the song along, And the oaks a sigh. The song and the sigh went winding by, Went winding down;Circling the foot of the mountain high, And the hillside brown.And the creek of life goes winding on, Wandering by;And bears for ever, its course upon, A song and a sigh.

III. Break O’DayYou love me, you say, and I think you do. But I know so many who don’t,And how can I say I’ll be true to you When I know very well that I won’t?I have journeyed long and my goal is far, I love,but I cannot bide,For as sure as rises the morning star, With the break of day I’ll ride.

I was born to ruin or doomed to mar The home wherever I light.Oh! I wish that you were the Evening Star And that I were the Fall o’ Night.

Bradley’s recent suite for flute and guitar Spirit of the Plains (2015) draws on the sound world of the Belle Epoque to evoke the sinuous curves of Sydney Long’s Art Nouveau-styled Australian bush. By contrast, Bradley’s guitar duet Waterlilies (2007) attempts a sonic representation of Monet’s multi-layered colour palette, achieved through the blurring of musical lines in a strict canon that resembles a live delay effect.

As both performer and composer, Bradley is largely involved in collaborative acts of music making. He has performed with a number of Australia’s foremost instrumentalists including William Barton, Anthony Garcia, Deborah de Graaff, Tonya Lemoh, Goetz Richter, Teije Hylkema, and Nicole Canham. Maintaining an interest in vocal music, Bradley accompanies soprano Rebecca MacCallion in rejuvenating the repertoire for voice and guitar with new compositions and arrangements. His duet the Brew

Guitar Duo, has also made significant contributions to the repertoire, and is a well-established part of the Australian guitar scene.

Bradley has been a finalist for the Music Council of Australia’s Freedman Fellowship for Classical Music. Among his many awards are First Prize in the Córdoba International Guitar Competition (Spain), a Canberra Critics Circle Award (Australia), and the audience prize in the Nikši International Guitar Competition (Montenegro).

As an educator, Bradley has taught into the degree programs at the Australian National University and the University of Newcastle. He now holds a directorial position at International House, the University of Sydney.

Bradley is represented as an Associate Artist through the Australian Music Centre, which publishes his works. Bradley’s recordings are available on ABC Classics and Tall Poppies (Australia) and Soundset Recordings (USA).

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IV. The Bush GirlSo you rode from the range where your brothers select, Through the ghostly, grey Bush in the dawn—You rode slowly at first, lest her heart should suspect That you were so glad to be gone;You had scarcely the courage to glance back at her By the homestead receding from view,And you breathed with relief as you rounded the spur, For the world was a wide world to you.

Grey eyes that grow sadder than sunset or rain, Fond heart that is ever more true,Firm faith that grows firmer for watching in vain— She’ll wait by the slip-rails for you.

Ah! the world is a new and a wide one to you, But the world to your sweetheart is shut,For a change never comes to the lonely Bush homes Of the stockyard, the scrub, and the hut;And the only relief from its dullness she feels When the ridges grow softened and dim,And away in the dusk to the slip-rails she steals To dream of past hours ‘with him.’

Do you think, where, in place of bare fences, dry creeks, Clear streams and green hedges are seen—Where the girls have the lily and rose in their cheeks, And the grass in mid-summer is green—Do you think, now and then, now or then, in the whirl Of the town life, while London is new,Of the hut in the Bush and the freckled-faced girl Who waits by the slip-rails for you?

Grey eyes that are sadder than sunset or rain, Bruised heart that is ever more true,Fond faith that is firmer for trusting in vain— She waits by the slip-rails for you.

V. New Life, New LoveI have found a light in my long dark night, Brighter than stars or moon;I have lost the fear of the sunset drear, And the sadness of afternoon.Here let us stand while I hold your hand, Where the light’s on your golden head—Oh! I feel the thrill that I used to feel In the days ere my heart was dead.

VI. On the Night TrainHave you seen the Bush by moonlight, from the train, go running by,Here a patch of glassy water, there a glimpse of misty sky?Have you heard the still voice calling, yet so warm, and yet so cold:‘I’m the Mother-Bush that bore you! Come to me when you are old’?

VII. After AllThe brooding ghosts of Australian night have gone from the bush and town;My spirit revives in the morning breeze, though it died when the sun went down;The river is high and the stream is strong, and the grass is green and tall,And I fain would think that this world of ours is a good world after all.

Rest, for your eyes are weary, girl — you have driven the worst away —The ghost of the man that I might have been is gone from my heart to-day;We’ll live for life and the best it brings till our twilight shadows fall;My heart grows brave, and the world, my girl, is a good world after all.

Text sources: In the days when the world was wide (Sydney: Angus and Robertson, 1896); Birth: a little journal of Australian poetry, vol. 6, no. 64, March 1922; When I was king (Sydney: Angus and Robertson, 1905).

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Classical Spanish SongsFernando J. Obradors, arr. Bradley Kunda and Laura van Rijn

I. La mi sola, LaureolaLa mi sola, Laureola,La mi sola, sola, sola.Yo el cautivo LerianoAunque mucho estoy ufano,Herido de aquella manoQue en el mundo es una sola.La mi sola, Laureola,La mi sola, sola, sola, sola.

She, my only Laureola,my only one.I, Leriano, am charmed by her beautyalthough I am very proudwounded by her handthat in the world is unique.She, my only Laureola,my only one.

II. El majo celoso (The jealous majo)Del majo que me enamora

He aprendido la quejaQue una y mil veces suspiraNoche tras noche en mi reja: Lindezas, me mueroDe amor loco y fiero,Quisiera olvidarte¡Mas quiero y no puedo!Le han dicho que en la PraderaMe han visto con un chispero,Desos de malla de sedaY chupa de terciopelo.Majezas, te quiero,No creas que mueroDe amores perdida,Por ese chispero.

For the majo who loves meI have memorised his complaintThat he sighs a thousand and one timesNight after night in my grille:Pretty girl, I dieOf crazy, fiery love,I would like to forget youBut although I want to, I cannot!They have told him that in the meadowThey have seen me with a chispero,

In clothes of silk meshAnd waistcoat of velvet.Handsome one, I love you,Don’t believe that I dieFrom lost love,For that chispero.

III. Chiquitita la Novia (Coplas de Curro Dulce)¿Ah! Chiquitita la novia,Chiquitito el novio,Chiquitita la sala,Y el dormitorio.Por eso yo quieroChiquitita la camaY el mosquitero. ¡Ah!

Ah! A tiny bride,a tiny groom,a tiny room,and the bedroom.That is why I wanta tiny bedand mosquito net. Ah!¬¬

All Spanish translations © Suzanne Rhodes Draayer. Source: IPA Source, LLC.

Cuatro madrigales amatoriosJoaquin Rodrigo, arr. Bradley Kunda

I. ¿Con qué la lavaré? ¿Con qué la lavaré? la tez de la mi cara? ¿Con qué la lavaré que vivo mal penada? Lávanse las casadas con agua de limones. Lavome yo, cuitada, con penas y dolores. With what shall I wash?With what shall I washthe complexion of my face?With what shall I washthat I live badly punished?They wash, the married women with water from lemons.

I wash myself, anguished,with grief and sorrow.

II. Vos me matásteis Vos me matásteis, niña en cabello, vos me habéis muerto. Riberas de un río, ví moza vírgen,niña en cabello, vos me habéis muerto. You killed meYou killed me,girl with the beautiful hair,you have killed me.At the river’s edge,I saw a young virgin,girl with the beautiful hair,you have killed me.

III. ¿De dónde venís, amore? ¿De dónde venís, amore? Bien sé yo de donde. ¿De dónde venís, amigo? Fuere yo testigo. From where do you come, love?From where do you come, love?I know well from where.From where do you come, friend?Ah! I have been a witness. IV. De los álamos vengo, madre De los álamos vengo, madre, de ver cómo los menea el aire. De los álamos de Sevilla, de ver a mi linda amiga. From the poplars I come, motherFrom the poplars I come, mother,to see how they shake in the air.From the poplars of Seville,to see my pretty girlfriend.

JosÉ María Gallardo del Rey Thibaut Garcia