ukaria cultural centre ukaria p saturday 7 – sunday 8 ... 2019 ukaria 24 965447 pm.pdf · each...

Saturday 7 – Sunday 8 September 2019

UKARIA Cultural Centre

119 Williams Road Mount Barker Summit

SA 5251 Australia

UKARIA Head Office & Postal

911, Level 9, 147 Pirie Street Adelaide SA 5000 Australia

P +61 8 8227 1277E [email protected]

Cover Artwork | Bernadette Trela

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What a privilege to have this opportunity to share with you music that is beautiful and meaningful to me, in such a beautiful and meaningful setting. As I reflect on what it is that music brings to our lives I see that in so many ways, UKARIA itself is the very embodiment of those things – togetherness, curiosity, self-expression, exchange, reflection, imagination, emotion, understanding, learning, awareness, wonder, and the list goes on.

welcome

So I have tried to touch on all those things in this program, embracing a variety of styles and forms in the hope that together, audience and performers, we can create a special moment in time and place which sends us back out into the world buoyed, recharged and revitalised in our trust and belief in the essential beauty of the human creative spirit.

Diana Doherty Curator

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Franz Schubert (1797–1828)Fantasie in F minor, D.940 (arranged by Alexandre Oguey for oboe and strings) ‘20

Diana Doherty | oboeSophie Rowell | violinKirsty Hilton | violinChristopher Moore | violaCatherine Hewgill | celloDavid Campbell | double bass

Paul Hankinson (b.1976)Echoes of a Winter Journey

Fantasie ‘5

Paul Hankinson | piano

Johannes Brahms (1833–1897)Intermezzo in A major, Op.118 No.2 (arranged by Alexandre Oguey for oboe and strings) ‘6


Paul Hankinson (b.1976)Reflections on Brahms ‘5

Paul Hankinson | piano

César Franck (1822–1890)Sonata in A major for Violin and Piano (adapted by Diana Doherty for oboe and piano) ‘28

I. Allegretto ben moderatoII. AllegroIII. Ben moderato: Recitativo-FantasiaIV. Allegretto poco mosso

Diana Doherty | oboeBernadette Harvey | piano

ReimaginingsSaturday 7 September

11.30am

Ralph Vaughan Williams (1872–1958)Concerto in A minor for Oboe and Strings ‘20

I. Rondo Pastorale (Allegro moderato)II. Minuet and Musette (Allegro moderato)III. Scherzo (Presto – Doppio più lento – Lento – Presto)


Dmitry Shostakovich (1906–1975)Piano Quintet in G minor, Op.57 ‘35

I. Prelude: LentoII. Fugue: AdagioIII. Scherzo: AllegrettoIV. Intermezzo: LentoV. Finale: Allegretto

Sophie Rowell | violinKirsty Hilton | violinChristopher Moore | violaCatherine Hewgill | celloBernadette Harvey | piano

Tim Winton (b.1960)Extracts from Dirt Music (2001) and Eyrie (2013)

Narrator | Paul Kildea

Book Music: A Tribute to Tim Winton

Saturday 7 September 2.00pm

This concert will run without interval for approximately one hour and five minutes.

Followed by Picnic Plate Lunch (separate booking required).

This concert will run without interval for

approximately one hour and five minutes.

Find out more about the music in our ‘Reimaginings’

podcast. Available at www.ukaria.com/ukaria24

Find out more about the music in our ‘Book Music’


Georg Philipp Telemann (1681–1767)Twelve Fantasias, TWV 40:2–13 ‘60

Working on these Fantasies I found myself wondering… what significance did the tonalities have? What made Telemann think of a certain character for a certain key? Did he perhaps see music in colours, as many famous synaesthete composers and performers do?

If I were to play all twelve in a row, what kind of rainbow or emotional journey would be the result?

I have long been fascinated by the ‘affects’ discussed in relation to music, and have found it far more useful to interpret in terms of character and intention rather than simply ‘soft, loud, fast or slow’.

Some research into the subject showed me that there was no standardised schema, that scholars did not necessarily agree on which key corresponded to which affect. That was liberating, and encouraged me to trust my instincts!

The Fantasies seemed like the perfect medium for an affective approach, given that the performer has the freedom of being alone in their storytelling. Could I achieve the technical freedom to express a spontaneous narrative each time?

It was a challenge I could not resist.

Here then is a selection of key affects and colours compiled from various sources (Scriabin, Schubart, Charpentier, Helmholz, Rameau, Knecht, Junker, Gretry, Perlmann, Grimaud) that I felt concurred with my sympathies for each Fantasie.

To further enhance the colour schemes, visual artist Bernadette Trela has created her own unique responses to Telemann’s various tonalities, reflected across twelve canvases which will be unveiled during the performance.

My hope is that it will correspond in some way to the listener’s experience and help to give them the sense of a journey through the tonalities across an arc of shifting hues.

– Diana Doherty

Diana Doherty | oboeBernadette Trela | visual artist Paul Kildea | narrator

Telemann’s Rainbow

Sunday 8 September 11.30am

This concert will run without interval for approximately one

hour. Followed by Lunch (separate booking required) at 12.30pm.

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Fantasia in A major (Vivace – Allegro)Colour: Pale yellow, a daisy in summer sunshine Key affect: ‘Youthful cheerfulness’

Fantasia in A minor (Grave – Vivace – Adagio – Allegro)Colour: Amber, like clear golden honey Key affect: ‘Pious womanliness and tenderness of character’

Fantasia in B minor (Largo – Vivace – Largo – Vivace – Allegro)Colour: Ice blue grey Key affect: ‘The key of patience and melancholy’

Fantasia in B flat major (Andante – Allegro – Presto)Colour: Lush forest green Key affect: ‘Clear conscience, hope for a better world’

Fantasia in C major (Presto – Largo – Presto – Dolce – Allegro – Allegro)Colour: Bright, happy red Key affect: ‘Certainty, nobility, decisiveness’

Fantasia in D minor (Dolce – Allegro – Spirituoso)Colour: Dark blue velvet Key affect: ‘Melancholy calm and devotion’

Fantasia in D major (Alla francese – Presto)Colour: Bright royal blue with gold detail Key affect: ‘The key of triumph, grandeur and magnificence’

Fantasia in E minor (Largo – Spirituoso – Allegro)Colour: Pale grey green silk velvet Key affect: ‘Sighs, tears, grief, hope and restlessness’

Fantasia in E major (Affettuoso – Allegro – Grave – Vivace)Colour: Bright lime green, the first shoots of Spring Key affect: ‘Full delight, uplifting and bright’

Fantasia in F sharp minor (A Tempo giusto – Presto – Moderato)Colour: Muted violet shot silk Key affect: ‘A gloomy key, it tugs at passion like a dog at a hem’

Fantasia in G major (Allegro – Adagio – Vivace – Allegro)Colour: A white gown with a red sash Key affect: ‘True friendship, tender gratitude and faithful love’

Fantasia in G minor (Grave – Allegro – Dolce – Allegro – Presto)Colour: Dark, cloying red. Blood… Key affect: ‘Bad-tempered gnashing of teeth, resentment and dislike’

Find out more about the music in our ‘Telemann’s Rainbow’


Nigel Westlake (b.1958)String Quartet No.2 (2005)

IV. ‘8Sophie Rowell | violinKirsty Hilton | violinChristopher Moore | violaCatherine Hewgill | cello

The Hinchinbrook Riffs for Marimba and Digital Delay (2009) ‘8

Rebecca Lagos | marimbaJakub Gaudasinski | digital delay

Spirit of the Wild: Chamber Concerto for Oboe, String Quartet, Double Bass and Piano (2018) ‘22

I. Crotchet = 96 – CadenzaII. Crotchet = 96III. Tranquillo (Crotchet = 48) – Liberamente – Crotchet = 96IV. Agitato (Crotchet = 96)

Diana Doherty | oboeSophie Rowell | violinKirsty Hilton | violinChristopher Moore | violaCatherine Hegwill | celloDavid Campbell | double bassBernadette Harvey | piano

INTERVAL

The Spirit of Compassion:

A Tribute to Nigel Westlake

Sunday 8 September 2.30pm

Nigel Westlake (b.1958) and Lior (b.1976) Compassion: Song Cycle for Voice, String Quartet, Piano, Double Bass and Percussion (2018) ‘40

I. Sim Shalom – Grant PeaceII. Eize Hu Chacham? – Who is Wise?III. La Yu’minu – Until You Love Your BrotherIV. Inna Rifqa – The Beauty WithinV. Al Takshu L’vavchem – Don’t Harden Your HeartsVI. Ma Wadani Ahadun – Until the End of TimeVII. Avinu Malkeinu – Hymn of Compassion

Lior | voiceSophie Rowell | violinKirsty Hilton | violinChristopher Moore | violaCatherine Hewgill | celloDavid Campbell | double bassBernadette Harvey | pianoRebecca Lagos | percussion

This concert will run for approximately one hour and

forty minutes including a twenty-minute interval.

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Nigel Westlake (b.1958)String Quartet No.2 (2005)

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In four movements, String Quartet No.2 was composed for the Goldner String Quartet to commemorate the 90th birthday of one of Australia’s most prominent musical philanthropists, Kenneth Tribe AC AO and is dedicated to him.

Leaning towards more traditional forms of structure, the work is divided into four contrasting movements that encompass a wide range of emotional expression. The musical language is simply based on the building of musical resonances, melodic contours and rhythmic impetus.

The compositional process can be difficult to quantify and frequently operates on a subliminal level. My past experience with the members of the quartet (we all played together in the Australia Ensemble from 1987–92) served as a touchstone in the writing of this work, this knowledge in some ways informing certain decisions during the compositional process.

A ‘preamble’ marked ‘freely with expression – quasi improvisatorial’ opens the fourth movement and serves as a bridging mechanism. A series of free form violin phrases are echoed by muted cello, supported by a sustaining drone of the middle voices. The mood is broken by a sudden ‘attacca’ which launches the final section of the work, a manic and unrelenting scherzo characterised by feverish semiquaver activity, percussive string writing and rhythmic invention.

© Nigel Westlake 2005

The Hinchinbrook Riffs for Marimba and Digital Delay (2009)

Hinchinbrook Island is one of the world’s most diversely beautiful wilderness areas. It lies off the Cardwell coast, halfway between Cairns and Townsville in North Queensland.

Originally populated by the Bandjin people, its current name was given by Captain Cook in 1770 and it is now listed as part of the ‘Great Barrier Reef World Heritage Area’ being Australia’s largest island National Park.

I first encountered the island whilst cruising the coral coast on my father’s yacht in 1975, and I was awestruck and inspired by the overwhelming grandeur of the rugged peaks and lush tropical gorges.

A numbers of musical motives or ‘riffs’ immediately came to mind which I notated and initially incorporated into one of my very first compositions, The Hinchinbrook Riffs, written for my garage band at the time, ‘ Eggs Benedict’.

The piece consists of a string of ‘motives’ or ‘riffs’ that are digitally copied within the delay and made to repeat 600 milliseconds (about half a second) after they have been performed ‘live’. The performer is required to interlock with the digital delay signal by adhering to a strict tempo indication (100 beats per minute), creating the riffs to interplay and trip over themselves, causing interesting rhythmic and melodic variants that surge and ebb in wave-like formations.

Originally written for guitar, the idea for the marimba version was suggested to me by Rebecca Lagos, principal percussionist with the Sydney Symphony Orchestra.


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About the Music

Spirit of the Wild: Chamber Concerto for Oboe, String Quartet, Double Bass and Piano (2018)

In mid 2016, following concert commitments in Hobart, I was invited by Bob Brown, one of Australia’s leading environmentalists, to accompany him on a visit to Bathurst Harbour, a pristine waterway on the South West Coast of Tasmania contained within the Tasmanian Wilderness World Heritage Area.

Almost completely devoid of modern human intrusion, the area was the home of the Needwonnee people for thousands of years, and is accessible only by boat, plane or foot.

It is a magical patchwork of button-grass moorlands, heathlands, and estuaries, bordered by jagged peaks, wild rivers and rugged coastlines.

My introduction to this place of exquisite beauty became the backdrop to my next project, an oboe concerto commission for the Sydney Symphony, and as I

About the Music

pondered the ensuing collaboration with soloist Diana Doherty, the memories and significance of my expedition with Bob continued to infuse my consciousness, leaving their fingerprints on the concerto score in subtle and mysterious ways.

As a young boy, my parents had introduced me to the wilds of Tasmania and I am forever grateful to them for instilling in me a deep love of Australia’s wilderness fostered during numerous walking and boating expeditions.

My trip to Bathurst Habour reminded me of the preciousness of the wilderness, and of mankind’s propensity to become subsumed by materialism, neglecting our connection to country and the wonders of the natural world, choosing instead to value only those elements of our environment that can be quantified by monetary worth.

Such wild places are truly priceless and we exploit and destroy them at our peril.

Work on the concerto began when, in an act of courageous exploration, Diana dropped around to my studio one morning and allowed me to record her performing a dazzling steam of freeform improvisations. Always up for a challenge, she had accepted my invitation to do so with characteristic enthusiasm and good will.

To hear such an accomplished classical player liberate themselves from the constraints of the notated score in this way, enter ‘the zone’ and follow their musical intuition through a myriad of patterns, riffs and sequences was a privilege indeed, and the best possible way for me to infiltrate Diana’s highly

unique, dynamic and virtuosic approach to the instrument. Her visit left me inspired and ready to start work.

Performed in a continuum, the concerto can be divided into four distinct sections, the first two of which are closely related in terms of energy and contour.

The third section is a slow movement where long, sustained oboe phrases are supported by a detailed filigree of repeated patterns that ebb and flow in dynamic waves.

A syncopated string hocket forms a bridge to the final section which is perhaps the most playful and extravert in manner, building as it does to a traditional style big finish.

Composed expressly for the prodigious talents of Diana Doherty, this commission has been made possible through generous funding provided by Jane Matthews AO and Symphony Services International.

I would like to take this opportunity to thank Diana for so generously sharing her truly wonderful spirit, expertise, advice and artistry with me during the writing process.


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Nigel Westlake (b.1958) and Lior (b.1976) Compassion: Song Cycle for Voice, String Quartet, Piano, Double Bass and Percussion (2018)

The Genesis of Compassion

The catalyst for Compassion can be traced to a single watershed moment: the occurrence of my first Lior concert. It was the winter of 2009 in the tiny rural village of St Albans NSW, the occasion being the inaugural fundraising event for the Smugglers of Light, a foundation formed by our family in memory of my son Eli.

At dusk, as the winter mist settled upon the forgotten valley (as it is sometimes known), quietly nestled between the towering ridges of Hawkesbury River sandstone, Lior began to weave his magic upon the crowd, many of whom had travelled long distances to join us for the weekend music festival.

It was a poignant occasion that had been planned to coincide with the twelve-month anniversary of Eli’s death, and the music held a very special meaning for our friends and family, many of whom were still grappling with the tragic loss that had befallen us the previous year.

Lior’s music had been introduced to me several years earlier by my son Joel, and had quickly become absorbed into the family playlist, underscoring many happy times and celebratory moments. As it happened, Autumn Flow, the album that rocketed Lior to prominence in 2015, was among the last music I shared with my son Eli the week before his death, thereby

Following the concert I suggested to Lior that I take a solo vocal recording of his performance and create a symphonic arrangement around it. Neither of us were sure where this might lead, but I had a hunch it was at least worth a shot.

Weaving my orchestration around Lior’s voice was a little like writing a movie score, the vocal part an intractable dramatic narrative, the orchestral accompaniment a fluid underscore replete with abundant possibilities.

We could both sense potential in the finished idea and it seemed a natural progression to expand the material into a song cycle for voice and orchestra. In passing, I casually mentioned our plan to Peter Czornyj (the Sydney Symphony Orchestra’s director of artistic planning) and he suggested the orchestra would be interested in bringing the idea to fruition through a commission. We set to work.

Just as our first attempt ‘Avinu Malkeinu’ had begun life as a solo vocal, we now followed a similar pattern for the rest of the composition process, and using the concept of compassion as a common theme, Lior proposed the texts be sourced from a combination of Hebrew and Arabic writings.

In the context of a troubled and divisive history, the drawing together of these common threads of Judaism and Islam struck me as a bold and courageous strategy, and a perfect fit for Lior’s Middle Eastern ancestry and family history.

Through painstaking research, he managed to unearth a wonderful collection of ancient proverbs, writings

forever imbuing these sweet songs with a very unique and deeply personal significance for me.

A fortuitous family connection with a dear friend had facilitated a personal introduction and Lior had graciously accepted our request to perform for the foundation. It was one of those special nights that people talk about for years afterwards and also featured some wonderful performances from the Grigoryan Brothers and the Goldner String Quartet.

Lior concluded the proceedings with one of his best-known songs, ‘This Old Love’. As he was brought back on stage for the encore, little did I realise that his final offering for the night would hold the germ of an idea that would become the catalyst for a life-changing and enriching journey.

Coaxing us gently into another world, as if possessed by unseen forces, and without accompaniment, Lior began to embrace the plaintive and heartfelt strains of the ancient Hebrew hymn of compassion ‘Avinu Malkeinu’.

In stark contrast to what had preceded, here was another side to Lior’s artistry, his keening and emotionally charged voice allowing us an intimate glimpse into the rich vein of Middle Eastern heritage that is his birthright.

The power and spirituality of the song struck a deep resonance amongst the crowd, all of whom were captivated in spellbound rapture. For my own part, I had just experienced a small taste of a tantalising and exotic sound world and was overcome by a strange yearning to be part of it.

and poetry. For each text he devised a vocal part which he sent me as a solo recording, sometimes embodying the germ of a melodic fragment and at other times as a complete series of mellifluous phrases.

About the Music

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Many of the songs sounded for all the world like ancient chants exhumed from a long-lost tomb somewhere on the shores of the Red Sea, yet the melodies were very much alive and fresh, full of richness, vibrancy and spontaneity.

It was inspiring to hear Lior working outside his comfort zone, experimenting with new vocal timbres and using his extraordinary three-octave vocal range to great effect.

Every few weeks we would get together to review progress and examine the overall form of each piece. Given our dissimilar experiences in music, I couldn’t believe how we both seemed to be on the same wavelength, striving towards a common goal, critical of the same issues and agreeing on the ideas that seemed to work.

Some of the songs evolved over a period of months, others over days, but what has emerged is a true collaboration, and music that neither of us could ever have written on our own.

Compassion inhabits a vast array of emotions and colours, at times pulsating and riotous, at others reflective and textural, and draws upon the myriad influences the two of us have been able to bring to the table from our incredibly diverse backgrounds.

With the utmost respect, we have tried to imbue these ancient texts with a contemporary interpretation, adhering to the purity of a single voice and chamber ensemble, and although the songs are all sung in their original language, there are no conscious references to traditional Hebrew or Arabic musical forms,

Two Worlds in Common

The research that eventually led me to the texts threaded through Compassion took me far and wide, from conversations with religious leaders and linguists, to regular consultations with my good friend Waleed Aly, who took me through the finer details of Arabic pronunciation and the subtleties of the Arabic texts.

Being a fluent Hebrew speaker, I initially thought that singing some of the texts in Arabic would feel foreign and disingenuous, yet to my surprise, many of the worlds I encountered were common to both languages. It became clear in learning these texts that these two languages shared a deep and common source. Just as experience often validates the existence of a well-worn cliché, it is difficult to escape the analogy of two brothers starting from a common source and branching out to gather their own experience and identity to become what we now know as modern Hebrew and Arabic.

In time, I would also come to learn not only of the similarities in language, but in the very essence of the messages embodied throughout these proverbs and poems. What began with a feeling of trepidation as to whether Nigel and I could encapsulate the artistic concept and vision we shared for this undertaking, has ended with a full embrace and a somewhat unexpected sense of renewed optimism.

It may seem strange in the context of this work, but neither Nigel nor I consider ourselves religious people. We do, however, share a firm belief that much

melodies or scales (with the exception of ‘Avinu Malkeinu’, which is based on a traditional melody).

The support of the SSO in bringing this project to the stage has been absolutely extraordinary and Lior and I are profoundly grateful to Peter Czornyj and the orchestral management for their enthusiasm and encouragement. We would also like to thank the wonderful musicians of the Sydney Symphony Orchestra for the commitment and finesse they bring to this music.

Seeing this piece come together over the past couple of years has been a major highlight in my career and it is my hope that this music might offer its listeners the space and opportunity to reflect upon that most noble of human sentiments, the good stuff that enriches our lives with meaning, insight, depth and intrinsic worth: the virtue of compassion.


The chamber version of Compassion was first performed at UKARIA in the Adelaide Festival on 9 March 2018. Commission supported by Julian Burnside AO QC, Andrew and Theresa Dyer, UKARIA Foundation, and an anonymous donor.

of the beauty and wisdom found within so many works of art and philosophy attributed to a certain religion need not lie exclusive to those who subscribe to its faith, or only to those who seek a connection with God through directional prayer. They have so much to offer to those who might accept them without bias or judgement.

© Lior 2013

About the Music

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I. Sim Shalom – Grant Peace

Sim ShalomChen vachesed v’rachamimAleinu ve’al kol amV’imru AmenSim ShalomAleinu ve’al kol amTova u’vrachaAhavat chesed u’tzdakau’vracha verachamimVecha’im veshalomBarchenu AvinuKalanu k’echadMore than any of the texts used in Compassion, ‘Sim Shalom’ demonstrates that a literal translation is often inadequate in conveying the depth and richness of these texts. An example can be found in one of the stanzas relating to the vital virtues of character – ‘chesed, tzedakah, u’vracha’, v’rachamim’ – ‘charity, integrity and compassion’.

The word ‘rachamim’ can be quite simply translated as ‘compassion’. When uncovered, however, this word has far richer and deeper meaning, being a derivation of the Hebrew word for ‘womb’. More importantly, a closely related word of the same origin – ‘Rachaman’ – which can be translated as ‘the Compassionate One’, is one of the three names for God in the Jewish religion.

Interestingly, the origin, meaning and use of ‘Rachaman’ is almost identical between the two worlds of Judaism and Islam. Such is the centrality and esteem these two religions place on the virtue of compassion, that it is in fact one of the names given to God.

III. La Yu’minu – Until You Love Your BrotherLa yu’minuAhadukum hatta yuhibbu li akhihiMa yuhibbu li nafsihiAl rahimuna yarhamuhumAr rahman urhamuMan fil arda yarhamakumMan fis samaa

‘None of you will have faith until he wishes for his brother what he wishes for himself.’Sahih al-Bukhari, Vol.1 No.12; reported by Hadhrat Anas

‘Those who are merciful will be granted mercy from the Most Merciful; be merciful to those on the earth and those in the heavens will have mercy on you.’Sunan At-Tirmidhi, Book of Righteousness, No.1924, Sahir; reported by Abdullah ibn Amr

A Hadith is a report of something the Prophet Muhammad said or did. Hundreds of thousands of these reports have been gathered together in the Hadith collections that form the basis of so much Islamic thought and teaching.

This movement, ‘La Yu’minu’, is a melding of two central hadiths. These two proverbs relay a simple yet universal truth, the closest approximation of the first being that of ‘the golden rule’: ‘do unto others as you would have them do unto you’, while the second speaks of what some of us might otherwise call ‘karma’.

II. Eize Hu Chacham? – Who is Wise?

Eize hu chacham?Halomed mikol adamEize hu gibor sheba giborimMi she’ose soneh ohavoAl tehi baz lechol adamU’maflig lechol davarShe’ein adam she’ein lo sha’ahVe’ein davar she’ein lo makomDabru emet ish et re’ehuEmet u’mishpat shalomShiftu b’sha’areichemEile hadvarim asher ta’asu

‘Who is wise? One who learns from every man.’

Ben Zoma – Pirkei Avot 4:1

‘Who is a hero? One who turns an enemy into a friend.’

Avot d’Rabbi Natan, Chapter 23: True Heroism

‘Do not scorn any person and do not discount any thing. For there is no one who has not their hour, and no thing that has not its place.’

Ben Azzai – Pirkei Avot 4:3

‘Eize Hu Chacham’ is a collection of ethical and moral statements of the Sages taken from Pirkei Avot – Ethics of our Fathers. Pirkei Avot is a section of the Mishna, one of the fundamental works of the Jewish Oral Law.

IV. Inna Rifqa – The Beauty WithinInna rifqa la yakunu fi shay Illa zanahu wa la yunza’u min shay illa shanahu

Hadith 6767, Sahih Muslim; reported by A’isha

‘Compassion does not enter into anything without beautifying it, and is not removed from anything without making it ugly.’

For several hundred years, the narrations of the Prophet were passed down via word of mouth. As time passed, and the chain of narration grew, it became more difficult to be certain of the authenticity of a hadith, and hence a rigorous science of examining the authenticity of hadiths grew.

Such was the importance placed on the science of verifying the credibility of Hadith, that it grew to become a complex academic filed and for many, a lifetime’s dedication and pursuit. The most authentic collection of Hadith is widely recognised as those based on the study of Imam al-Bukhari.

There is a famous story highlighting the level of Imam al-Bukhari’s rigorous approach. Upon one of his journeys to seek out and examine the character of those involved in the chain of narration, al-Bukhari noticed one such person gesturing to his horse to come over to him by tricking him that there was food when in fact there was not. Al-Bukhari cited this act of trickery towards the animal as behaviour not worth of trustworthiness, and hence the chain of narration in which this man was involved was thereby deemed inauthentic.

The Texts of Compassion

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V. Al Takshu L’vavchem – Don’t Harden Your Hearts

Al takshu l’vavachem’.Limnot yameinu ken hoda venavi l’vav chochma.Vekhi yagur itcha ger, be’artzechem to tonu oto.K’ezrach mikem yihiyeh lachem hager hagar itchem.Ve’ahavta lo kamocha ki gerim ha’item.

‘Don’t harden your hearts.’Tehilim – Book of Psalms 95:8

‘Teach us to number our days, that we may get a heart of wisdom.’Tehilim – Book of Psalms 90:12

‘And if a stranger is among you in your land, you shall not do him wrong.’Leviti

‘The stranger that is among you, shall be unto you as the home-born among you, and thou shalt love him as thyself, for you once were also strangers.’Leviticus 19:34

There is a beautiful quote by the Dalai Lama:

‘There are no strangers, only friends who haven’t yet met.’

‘Fear makes strangers of people who would be friends.’

– Shirley MacLaine

VI. Ma Wadani Ahadun – Until the End of Time

Ma Wadani ahadun illa bathaltu lahuSsafwal mawadati minni akhiral abadiWala qalani wa in kana almasi’u binaIlla da’awtu lahu rahmanu bil rushdiWala tumintu ala sirrin fabuhtu bihiWala madattu illa li ghayr aljameel yadi

‘None ever showed me compassion Except that I showed them compassion until the end of time And if someone were to show me harshness I would pray to the most merciful to give them wisdom.’

‘Ma Wadani Ahadun’ is a poem written by Ali Ibn Abi Talib, a cousin of the Prophet Muhammad and the fourth Caliph after the Prophet some 1400 years ago. Widely known for his calm wisdom and use of reason in place of hot-headedness, Ali is a universally revered figure in the Muslim world: a man through whom both the Sunni and Shi’ite traditions pass, whose strong character of kindness and compassion inspires people across sectarian divides.

VII. Avinu Malkeinu – Hymn of Compassion

Avinu Malkeinu chanenu v’aneinuki ein banu ma’asimAseh imanu tzedakah vachesedve’hoshi’enuI have vivid memories of hearing ‘Avinu Malkeinu’ emanating from synagogues in my childhood. The prayer is recited on Yom Kippur – The Day of Atonement, the holiest day of the Jewish year. What initially drew me to the prayer was its haunting melody, yet it was only later in life, when I learnt of its meaning and universal resonance, that I felt drawn to perform it. One such performance later came to be the very seed of this project, as Nigel and I entertained the notion of orchestrating this beautiful ancient melody which I had only ever previously performed a cappella.

The text of ‘Avinu Malkeinu’ houses a beautiful link between not only compassion and wisdom, but that of freedom. It highlights the notion of compassion being the path to liberation, a concept that has always stayed with me.

© Lior 2013

The Texts of Compassion

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Artist Biographies

Diana Doherty Curator / Oboe

Lior Voice

Lior is one of Australia’s most treasured singer-songwriters, renowned for his beautiful voice and songs that radiate truth and sincerity. His debut album Autumn Flow is one of the most successful independent debut releases in Australian music history. Lior has since released a further six albums and is a multi ARIA award winner. In 2014, Lior collaborated with Nigel Westlake on an orchestral song cycle for voice and orchestra called Compassion which won the ARIA for ‘Best Classical Album’ in 2014, and was premiered in the US in 2016.

Last in a family of nine children, Diana was born in Brisbane, studied oboe at the Queensland Conservatorium and the Victorian College of the Arts before completing a postgraduate diploma in Zürich. While there she met fellow oboist Alexandre Oguey, now her husband of 29 years. After working together in the Lucerne Symphony Orchestra they moved to Sydney in 1997 to join the Sydney Symphony Orchestra. Of the many musical highlights with the SSO over the years, Diana is particularly grateful for the opportunity to collaborate with Australian composers such as Ross Edwards and Nigel Westlake on new works for the oboe. An evening on the sofa with her dog, family, a good movie and a crotchet project is Diana’s idea of heaven.

Kirsty Hilton Violin

Kirsty began playing the violin at the age of five and at the age of seven began studying with Alice Waten. She completed her studies in London with David Takeno and then won a place in the prestigious Karajan Academy of the Berlin Philharmonic. She was a member of the Symphonie Orchester des Bayerischen Rundfunks for seven years before returning home to Sydney where she is now Principal Second Violinist in the Sydney Symphony Orchestra. She is also a member of the Mahler Chamber Orchestra with whom she regularly tours internationally.

Sophie Rowell Violin

Paul Hankinson Piano / Arrangements

Paul Hankinson is an Australian pianist, composer, arranger and songwriter based in Berlin. His solo piano album Echoes of a Winter Journey is filled with ‘thoughtful, meditative melodies for dreamers and all those who value the silence between the notes’ (Concerto Magazine, Austria). The CD was the 2018 bestseller on the Dussmann Customer Charts in Berlin. Paul aspires to make music which can be of use in people’s lives – providing a moment of peace or empathy, a moment of humanity. His new album, Dear Emily (inspired by Emily Dickinson) will be released in November.

Concertmaster with the Melbourne Symphony Orchestra, violinist Sophie Rowell has had an extensive performing career as a soloist, chamber musician and principal orchestral violinist both in Australia and abroad. After winning the ABC Young Performer’s Award in 2000 Sophie founded the Tankstream Quartet which in 2006 were appointed to the Australian String Quartet. Sophie studied with Beryl Kimber in her hometown of Adelaide then with Alice Waten in Sydney. She now teaches at the Australian National Academy of Music (ANAM). Although Sophie loves music she can always be tempted to exchange her violin for a pack of cards in one hand and a glass of wine in the other.

Christopher Moore Viola

Christopher Moore was born at a remarkably young age in the sleepy suburb of Valentine, Lake Macquarie. He doesn’t remember much between then and now but he vaguely recalls devoted parents, frustrated teachers, a few broken bows and at some stage discovering the viola. Something must have gone right for him to be playing with such a stellar line up of fabulous musos in this stunning place. Christopher plays on a 1610 Giovanni Paolo Maggini viola kindly on loan from the enigmatic alter ego of Batman.

Photo by Christie Brewster Photo by Claudia Sangiorgi Dalimore Photo by Stefanie Marcus Photo by Jacqui Way Photo by Geoffroy Schied Photo by Jack Saltmiras

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about the artists

Catherine Hewgill Cello

Bernadette Harvey Piano

Bernadette Harvey, international soloist and chamber musician, is currently senior lecturer of piano at the Sydney Conservatorium of Music. She performs annually at the Tucson Winter Chamber Music Festival (USA) and has collaborated with the Tokyo, Shanghai, Jupiter and Pražák Quartets. Recent CDs include her commissions of new piano sonatas by Australian women composers and her 2019 CD release on the Canadian label Marquis Classics, in collaboration with the US Jupiter Quartet, has received high praise. 2020 engagements include solo recitals at Northwestern University and Salem College USA, chamber collaborations in Tucson, Arizona along with her Australian appearances.

Catherine Hewgill grew up in Perth, where she began studying the cello at the age of ten, continuing at the Royal College of Music in London in 1978. In 1984 she won the Hammer-Rostropovich Scholarship and was invited by Mstislav Rostropovich to perform in a recital at the Second American Cello Congress. A period of private study with Rostropovich followed. In 1989 she joined the Sydney Symphony Orchestra and was appointed Principal Cello the following year. In 2018 she released a recording of Russian music for cello and piano with Vladimir Ashkenazy. Catherine plays on a 1729 Carlo Tononi cello.

David Campbell Double Bass

David Campbell completed his undergraduate degree at Rice University in Houston, Texas. During his time in the US he studied with Paul Ellison at the Shepherd School of Music, where he held the William Schiffick Scholarship. He was the runner up in the school’s concerto competition and graduated with the Louis Sudler Prize in the Arts. David Campbell returned to Australia in 2003 and worked on a casual basis with the Tasmanian Symphony Orchestra, Australian Opera and Ballet Orchestra, and the Sydney Philharmonia Choirs. He was also the Sydney Symphony Orchestra’s double bass fellow in 2005, before joining the Orchestra in 2006.

Rebecca Lagos Percussion

Bernadette Trela Visual Artist

Rebecca is Principal Percussionist with the Sydney Symphony Orchestra having previously held the positions of Assistant Timpanist/Tutti Percussionist with SSO and Principal Timpanist with the TSO. She has performed with the MSO, WASO, ACO, Seymour Group, Sydney Alpha Ensemble, The Australia Ensemble and Taikoz. Rebecca was a member of Synergy Percussion from 1987–1999 and has often returned as a guest artist. With Synergy she premiered and recorded works by numerous Australian composers. In 2006 Rebecca premiered Nigel Westlake’s percussion concerto, When the Clock Strikes Me, with the SSO and was awarded ‘Best Performance of an Australian Composition’ at the APRA 2007 Classical Music Awards.

Graduate, Assoc Dip, BFA and MFA, National Art School, Sydney College of the Arts and College of Fine Arts.

Bernadette tutors painting, drawing and art history in regional areas and at the National Art School, Art Est. and the Waverley Woollahra Art School. She has been a finalist in the Salon des Refusés, Paddington Art Prize, EMSLA and winner of the Waverley and Northbridge Art Prizes. Solo shows include Mary Place Gallery, Ivan Doherty, Sheffer Gallery and artist-run spaces in Australia and Europe. Bernadette currently continues her art practice and research at a studio on the North Coast.

Photo by Nic Walker Photo by Keith Saunders

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Julie Oguey Vocals

Nearly ten years ago, a modest little indigo Mahalo ukulele found its way into Julie’s arms. She was immediately drawn to its gentle, playful nature, and so began the tale of girl meets uke. Julie has since grown into a passionate performer and teacher, and has been working with a variety of musicians in the Sydney scene. When she’s not on the stage, she’s writing her own songs, sprinkling them with flavours from the music she grew up with – hints of Brazilian rhythms and jazz harmony support her poignantly honest lyrics, and will whisk you away to soundscapes that are both nostalgic and fresh.

Photo by Manzi Matchado

about the artists Acknowledgements

Paul Kildea Host / Narrator

Paul Kildea holds an honours degree in piano performance and a masters degree in musicology from The University of Melbourne – where he is now an Honorary Principal Fellow and where in 2016 he was Miegunyah Distinguished Visiting Fellow – and a doctorate from Oxford University. His books include Selling Britten and Britten on Music. In January 2013 Penguin published Benjamin Britten: A Life in the Twentieth Century to enormous critical acclaim; it is now widely recognized as the best book on its subject, the Financial Times calling it ‘unquestionably the music book of the year.’ In June 2018 Penguin published Chopin’s Piano: A Journey Through Romanticism, which is currently being developed as a feature film. In June 2019 he was appointed Artistic Director of Musica Viva, Australia.

Nigel Westlake Composer

Nigel’s career, spanning four decades, began as a clarinetist. He started composing from 1980 for radio, theatre, circus, TV and film. He has received many awards including two ARIAs, fifteen APRA Awards [screen and classical categories], the Paul Lowin Orchestral Prize, and Gold Medal for ‘Best Original Music’ at the New York International Radio Festival. He holds an honorary Doctorate of Music, awarded by the University of New South Wales in 2012 and has conducted all the major symphony orchestras in Australia. In 2016 he made his US conducting debut at the Lincoln Centre with the New York Philharmonic.

Photo by Penny Bradfield Photo by Steve Forrest

UKARIA 24 is presented by

Board of Directors

Ulrike Klein AO | Founder

David Minns | Chairman

Amanda Duthie

Paul Kildea

Thora Klein

David McKee AO

Mary Vallentine AO

The Board of UKARIA wishes to acknowledge and thank everyone who made this event possible.

Curator

Diana Doherty

Production

Kingsley SchmidtkeDavid Bailiht

Sound

Jakub Gaudasinski

Administration

Alison BeareEmma van LieropDylan Henderson

Catering and Hospitality

Lisa BirdAdelaide Oval

Graphic Design

Orange Fridge

Gifts

Courtesy of Jurlique

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Alexandre Oguey Arrangements

Originally from Switzerland, Alexandre Oguey has been Principal Cor Anglais in the Sydney Symphony Orchestra since 1997. He is an active chamber musician and was a founding member of the New Sydney Wind Quintet for nine years. Before moving to Australia, he was Associate Principal Oboe in the Lucerne Symphony Orchestra from 1990 to 1997. In 2006 he was invited to play principal cor anglais in the World Philharmonic Orchestra in Paris. Alexandre was lecturer in oboe at the Sydney Conservatorium of Music for 17 years, and is now dedicating more time to his passion of arranging. His album Pastoral Fables with pianist Neal Peres Da Costa is available on ABC Classics.

Photo by Christie Brewster

Patrons ($50,000+)Ulrike Klein AOKlein Family FoundationDavid McKee AO and Pam McKee

Guardians ($20,000+)Lang FoundationJoan LyonsDidy McLaurinAnonymous (1)

Supporters ($5000+)Kim and Bron AndersonDaniel and Susan HainsHugh MacLachlan and Fiona MacLachlan OAMPeter and Pamela McKeeJanet McLachlanGustav MeinckePauline MenzJosephine ProsserMary Louise SimpsonIn memory of Mrs Chris Steele ScottMary Vallentine AOAnonymous (3)

Friends ($1000+)Valerian AdamekAldridge Family EndowmentAlison BeareRob Brookman AM and Verity LaughtonColin and Robyn CowanSue and Ross DillonKatherine FennellAndrew and Hiroko GwinnettMichael and Janet HayesDelysia LawsonJocelyn Parsons Nicholas and Annemarie PyneJill RussellIn memory of Joan Scott Peter Tonkin and Rosalind MartinRob and Chris WalthamJanet WorthPamela YuleAnonymous (5)

Musicians from across Australia and around the world have established UKARIA as a South Australian cultural icon. We never imagined that artists of the calibre of Dawn Upshaw and Anne Sofie von Otter would be approaching us but as more of these unique opportunities have been coming our way, we decided it was time to create a fund for the future. Last year we established the UKARIA Foundation. Chaired by David McKee AO, its aim is to support UKARIA’s cultural program in perpetuity.

The Board of UKARIA recognises and thanks everyone who has made a donation.

Giving to the Endowment Fund

Your gift will build the corpus and the investment income will support the cultural program in perpetuity. It will enable us to engage great artists, commission new work and develop the residency program.

Giving to the Music Fund

Your donation will be used to support outstanding artists in the 2019 Season, including Quatuor Ébène, the Australian Chamber Orchestra, VOCES8, Paul Lewis, and UKARIA 24 curated by Diana Doherty.

Leaving a Bequest

Your legacy can be directed to the Endowment Fund or a special project.

Donate online at:

www.ukaria.com/support-us

Or collect a donor card in the concert hall foyer, or phone: (08) 8227 1277

Thank you for considering a donation to support great artists, live performance and new work.

David McKee AO Chair, UKARIA Foundation

Donations of $2 or more are tax deductible and the UKARIA Foundation is able to receive distributions from private and public ancillary funds. UKARIA is one the Register of Cultural Organisations and has DGR 1 status.

UKARIA Foundation

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