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Two Weeks Until ISV Festival

Briony_BuysBeing part of a Festival is always an enormous commitment by everyone involved.  The organizational logistics are enormous, complex and time consuming.  The upcoming Independent Schools Victoria, Arts Learning Festival kicks off in just under two weeks.

Our maestro too, is flying in from New York especially for the ADO’s special collaboration with the Festival to conduct two Australian premieres of two American symphonic works composed for younger audiences.

The first piece, Miranda’s Waltz, by Susan Kander is for narrator and orchestra.  The piece is about a small girl – aptly named ‘Miranda’ – who learns to navigate the big, wide world through the assistance of an even smaller mouse over three days visiting her local park.  Miranda starts out not very confident in dealing with the grown-up world but, by the end, with the help of mouse and her friends, has been shown not to be afraid and whilst little, she is so very capable!

Inside the park Miranda meets an assortment of characters including a kind and gentle old man (who feeds mouse his cheese whilst reading to him!) ducks, a tenacious cat, a noisy dog, and myriad grown-ups who enjoy the park with their young children.  There is also an amazing kite-flying sequence not to be missed!  It is delightful in every way.

Mouse_Park_Entrance

The last work on the concert is the remarkable Imaginary Symphony No. 1 by fellow New York composer, Anthony Piccolo.  As well as a very fine composer, Tony is also Director of Children’s Chorus at The Metropolitan Opera, a job that is infinitely demanding in one of the world’s great Opera houses.  His work is scored for large children’s chorus and orchestra.  The symphony is in three movements with chorus text drawn from a variety of well-known and unknown poetry.  I think my favorite text is from the second movement Scherzo (‘Explore’) warning the unwary: Continue Reading →

Changing The Orchestral Experience

Janine HanrahanAs we move ever closer to our opening event in this our second full season of the ADO, I have been reflecting on what it is that makes the ADO a unique orchestral experience – certainly in Australia and, quite possibly, the world.

There is no question that orchestra organizations in Europe, the U.K., have noticed what we are doing and have responded enthusiastically to our activities and future plans.  I’ll have more to say about this sometime in the next month.

On the banner of our ADO Briefing ® newsletter which we curate weekly, the subtitle is The Australian Discovery Orchestra – When We Play, The World Listens.  This is both a fact: when the orchestra performs our online audience is listening from all around the world, but it is also a statement of aspiration and long-term intent.

If indeed we can continue to broaden our online audience capture then we, as an innovation-led orchestra organization, are successfully demonstrating the remarkable talents of the musicians on our roster and, simultaneously, showing to the world what fantastic Australian music sounds like! Continue Reading →

The 2017 Season Announced

Janine HanrahanHappy New Year to everyone – or “Auguri” as they say in Venice from where I am writing this post.

Today I have announced the preliminary concert schedule for the ADO’s 2017 season.  More details, including dates and venues to be announced shortly.  If you haven’t already seen it, tap here.

For the Season opening concert, we’re absolutely delighted to present Lisa Cheney’s evocative The Pool and the Star in a new version for symphony orchestra which the ADO will premiere.  The Pool and the Star, originally conceived for chamber orchestra, was first performed as part of the MSO’s Cybec program (under the direction of Brenton Broadstock) at the 2014 Metropolis New Music Festival.

The second work on the concert is the Sibelian-inspired second Symphony No. 2 ‘Romantic’ op. 30 by 20th-Century American composer, Howard Hanson (1896-1981).  Probably the best know of his seven symphonies, the work was commissioned by the Boston Symphony Orchestra’s music director Serge Koussevitsky in 1930 as part of their 50th anniversary celebrations.

This symphony became the subject of some notoriety when one of its most haunting themes was used in the closing credits of the original Alien film without the composer’s consent – much to his displeasure.  It’s a marvelous work of great beauty and not performed nearly enough.

The second concert in our season is a 50-minute thrill ride through the  ultimate music of  ‘love, murder and betrayal’ captured in Giacomo Puccini’s operatic masterpiece, TOSCA.  Whereas we’d love to play all of the opera our concerts as you know are only 50 minutes long, so we’ve selected equally the most sensuous and gripping moments to perform for you.  But don’t worry, we’re also developing a new 3D immersive game environment around Tosca’s Rome – where the opera is set – for you to explore the complete story in your own time.  Our principal conductor, Kevin Purcell, is currently in Rome preparing the media assets for this exciting new audience engagement platform.

The 2017 season kicks off  on May 7 with a special version of the ADO performing as part of Independent Schools Victoria’s Arts Learning Festival (May 3- 7).  More information about this to be posted shortly.

Lastly, just to note, we are having major issues with our Facebook page and not able to access it properly.  Basically we can’t write any posts onto our timeline right now.  We don’t know how long this will take to resolve with the ever-charming and helpful folk at Facebook!

Enjoy the remainder of the Summer,

Janine

Are We There Yet?

Janine HanrahanI thought it was a good time to reflect on the first half of our 2016-17 Season.  But, it’s over I hear you say?  No, actually, we’re only half-way through.  But I can understand the assumption that we have concluded our current season projects.

Our season starts in May each year and concludes in April-May the following year.  Odd? Perhaps, but there is a reason why we do this.  In Australia, the coming of Spring heralds the Spring Racing Carnival, the ALF Football Final series (like the American championship division finals and World Series), Melbourne Spring Fashion Week, The Melbourne Festival and the list goes on and on….

As a daring, highly-innovative and niche orchestra enterprise, we don’t want during this time to compete with all this noise – and, in reality, we can’t – so we don’t. Then, the long Australian Summer is upon us which takes us through to early February, followed by the mad scramble of people gearing up once more for School or work.  Suddenly, it’s April and wouldn’t you know it, we’re gearing up to start another ADO season.  But, wait, there’s more.  Like the eponymous free steak-knife bonus, the ADO has been busily planning during the Spring-Summer hiatus the second-half its previous calendar year season of projects.  Oh, what are they? Read on. Continue Reading →

How We Researched & Prepared For Our Forthcoming Concert

Eleanor_Rawling_Cover_GurneyIt probably would come as a surprise for some to learn, that much of the planning for ADO concerts happens at least a year in advance of presenting the concert itself.  In itself, this is actually fairly common practice for orchestras around the world; the preparation to put 60-100 players onstage to present a program having started long before the  first note of music has been performed.

In the case of our forthcoming ‘A Foreign Field That is Forever England’ concert, the preparations have been even more time consuming, and involved many more people than is usual.

Firstly, without the very kind assistance of the Ivor Gurney Trust we would not be performing the composer’s A Gloucestershire Rhapsody.  Specifically, the cooperation and willingness by former chairman of the Trust and composer, Ian Venables and the scholar and composer, Philip Lancaster to provide us with critically edited new performing materials has allowed us to prepare the work in the demanding and limited rehearsal schedule under which the ADO operates.

But then, how to explore the world of Ivor Gurney himself?  Fortunately, one of the most interesting and inspiring books I have come across about Gurney was published in 2011 by Eleanor Rawling (see the book cover above left and click image for further details).

Continue Reading →