Thursday 15 August 2024 6pm
Odeon Theatre, nipaluna / Hobart
The Tasmanian Symphony Orchestra acknowledges the traditional owners and continuing custodians of lutruwita / Tasmania. We pay respect to the Aboriginal community today, and to its Elders past and present. We recognise a history of truth, which acknowledges the impacts of colonisation upon Aboriginal and Torres Strait Islander people and stand for a future that profoundly respects their stories, culture, language and history.
Dubra Hail, Queen of Heaven
Ešenvalds In Paradisum
Ešenvalds The New Moon
Latham Water, Wilds & Sky
Mazzoli Vesper Sparrow
Vasks The Fruit of Silence
Dove Ring Out, Wild Bells
TSO Chorus
Hail, Queen of Heaven
For chorus a cappella
Composed by Rihards Dubra (1964 -)
Text by John Lingard (1771-1851)
Devoted exclusively to composing sacred music, and sitting alongside composers like John Tavener and Arvo Pärt, Latvian born Dubra has reinterpreted the church music of the past. He believes that ‘faith is the only purity in the world’ and therefore “cannot imagine anything better than to write only sacred music.” Although in his essentially diatonic writing he uses chromaticism, aleatoric effects, repetitions, suspense, and other techniques to highlight the familiar sacred texts, he aims to affect his audience subconsciously and emotionally having encoded the meaning in the music.
Dubra describes his own music imbued with the essence of the Middle Ages as “a style of meditation through the view of a man who lives in the twenty-first century.”
In Paradisum
For chorus, viola & cello
Composed by Ēriks Ešenvalds (1977 -)
Antiphon from the traditional Latin liturgy of the Western Church Requiem Mass
In Church Masses for the dead, the choir sings 'May the angels lead you into Paradise' as the body is taken out of the church. Here, the use of tremolando in the solo strings feels like the fluttering of angel wings high above a mostly wordless and homophonic chorus. Ešenvalds dedicated this to his grandmother, who died the morning of the premiere.
The New Moon
For chorus, chimes & water-tuned glasses
Composed by Ēriks Ešenvalds (1977 -)
Text: Sara Teasdale (1884 – 1933)
This work belongs in a collection of songs by ten Latvian composers about the moon, written in 2012. Ešenvalds’ setting of Pulitzer Prize poet Sara Teasdale’s poem explodes with bitterness and despair before finding hope and renewal through the resilience of nature. His relationship to choral music stems from the strong tradition in Latvia as well as his own experience as a professional chorister. A characteristic of Ešenvalds’ choral works is the use of tuned water-glasses. He said the idea came to him while washing dishes at Christmas time. The New Moon finishes with this other-worldly shimmering sound as “a maiden moon wakes up in the sky”.
“When composing a work, I give myself over to the temptation of the creative process – a journey, whose twisting roads persistently, but convincingly, bring me to the final sounds of the score. And only then do I exhale.” Ēriks Ešenvalds
Water, Wilds & Sky
For chorus, tenor saxophone
Composed by Jabra Latham
Text by Amanda Mackinnon
Water, Wilds & Sky was commissioned by Catherine Cretan as a birthday present for her husband, Peter. The three-movement work draws inspiration from Peter's love of adventure and Tasmania's stunning landscape, setting the beautiful poetry of Amanda Mackinnon to music.
Vesper Sparrow
For chorus a cappella
Composed by Missy Mazzoli (1980 -)
Text by Farnoosh Fathi (1981 -)
Written for Roomful of Teeth, Mazzoli said “When I wrote it I never imagined anyone else singing it, […] because it was so particular for this group. But I’m open to different interpretations.” Using text from Iranian-American poet, Farnoosh Fathi, originally titled ‘Vesper Sparrow’ but later, ‘Home State’, Mazzoli intersperses other incomprehensible syllables more like birdsong.
The Fruit Of Silence
For chorus & piano
Composed by Pēteris Vasks (1946 -)
Text by Mother Teresa (1910 -1997)
A very simple text within a sound world that Vasks describes as “a very silent meditation.” It is a setting of a prayer for peace by Mother Teresa. It opens with solo piano arpeggios not dissimilar to Arvo Pärt’s Spiegel im Spiegel. The voices eventually enter with ‘The Fruit of …’ – three words that repeat throughout on a path to peace. The composer says this path has five signposts – prayer, faith, love, service and peace, and he wants this composition “…to serve as a reminder that such a path exists.”
Ring Out, Wild Bells
For double chorus & piano
Composed by Jonathan Dove (1959 -)
Text by Alfred, Lord Tennyson (1809 -1892)
With text from Tennyson’s In Memoriam, Dove’s setting in 2000 as the final movement of a choral cycle titled The Passing of the Year, emphatically emphasises the ills of society, namely the lies, the grief, the rich and poor divide, foul disease, greed, and wars. The bells in the piano part and across the double chorus ring in a new year and speak of an optimistic future.
Composer and saxophonist
Critics have responded to Jabra’s music with “game changer” (The Mindful Musician) “thrilling writing" (The Mercury), “a wonderful listening experience, gripping, wholesome, moving, tender, and expertly executed” (MusicTrust), “a gorgeous meditation" (Classic FM), “arresting and vibrant" (Stage Whispers) and "catchy tunes & exceptional musicianship" (CutCommon).
Jabra has been commissioned, performed and presented by the Tasmanian Symphony Orchestra, Musica Viva, ABC Classic, Tasmanian String Quartet, Clinch Quartet, Virtuosi Tasmania, Southern Cross Soloists, Xyris Quartet and various soloists from Australia and abroad. Jabra is recorded and broadcast by ABC Classic, published independently and by TSO House, and has been supported by Government House Tasmania, Arts Tasmania, The Winston Churchill Memorial Trust, Hobart City Council, Creative Partnerships Australia, The Banff Centre, Tasmanian Community Foundation, and private benefactors. His music has been streamed around the world over a quarter of a million times, and he is broadcast frequently, including daily as composer of the theme to ABC Classic’s Mornings program. Reviewers have described Jabra’s own playing as astonishing, virtuosic and energetic, and “the most remarkable saxophone playing”.
Jabra has performed as soloist, orchestral and chamber musician and recitalist, working with the likes of the Tasmanian Symphony Orchestra, Malaysia Philharmonic Orchestra, Hobart Chamber Orchestra, Gilmour Ensemble and Opus House. As a performer Jabra has championed the music of various other Australian composers (particularly those hailing from his home State of Tasmania), including Russell Gilmour, Karlin Love, Don Kay, Maria Grenfell, Simon Reade, Quin Thompson and Timothy Coghill, recording numerous albums of new Australian music and having five concertos written for him. In 2022 Jabra premiered, with the Tasmanian Symphony Orchestra & Eivind Aadland, Tracks in the Orbit (Concerto for Tenor Saxophone & Orchestra) by British-Australian composer, Luke Styles, a co-commission by the BBC and TSO.
Jabra has been responsible for numerous new music and community engagement initiatives in Tasmania, working variously has performer, manager, arranger, composer, director and producer.
Pianist
Michael Power completed a Bachelor of Music in Performance with Dr Gian-Franco Ricci and Helen English at the Newcastle Conservatorium of Music, during which time he was awarded the Nan Price Memorial Scholarship, and graduated with Honours in chamber music and collaborative piano studies with Gabriella Pusner.
Michael has collaborated with artists such Sally Walker, Andy Firth and Jane Edwards, and performed newly commissioned works by Australian composers including Elena Kats-Chernin, Paul Jarman, Don Kay, and Jim Coyle. He held the position of School Accompanist and Teacher of Piano at Newcastle Grammar School for 14 years, touring as pianist to the USA and China, and held a similar position at the Newcastle Conservatorium of Music.
Since moving to Hobart with his family in early 2020, Michael has performed as orchestral and rehearsal pianist with Tasmanian Symphony Orchestra and Chorus, and in the Festival of Voices. He performs regularly as a collaborative pianist in recital, examinations, and competitions in and around Hobart.
Creative Director
Known for decades as the chorus master of the TSO Chorus, delivering unique cutting-edge choral theatre for festivals at MONA, and creating bespoke opportunities for chorus’ performances in varied environments, June has also been directing the Obscura series since 2021. Adding to the visual and acoustic treatment of the repertoire, June has introduced olfactory elements to some performances, and she promises to expand the sensory stimulation into the future.
Audio Engineer
Bob is an experienced Audio Technician who has been involved in the Tasmania production industry for the past two decades. He has worked as a Senior Audio Engineer, Technical Lead, and Head of Audio at multiple production companies in the state, and has been heavily involved with design, planning and operation of many Festivals including Mona Foma, Dark Mofo, A Festival Called Panama and SummerSalt. His commercial shows with the TSO include Birds of Tokyo, Megan Washington, The Wolfe Brothers and Darren Hanlon.
Lighting Designer
Mark is a lighting designer and operator with almost four decades of experience. He has toured extensively across Australia, the USA and through Asia for acts including Little River Band, Icehouse, Pete Murray, Jimmy Barnes, Violent Femmes, Charlie Pride, and Leo Sayer. At home, his work has been seen at Mona Foma, Dark Mofo events, and in commercial shows with the TSO.
Warren Trevelyan-Jones Conductor
Michael Power Repetiteur/Piano
Caleb Wright Viola
Jonathan Békés Cello
Jabra Latham Tenor saxophone
TSO Chorus
June Tyzack Concept & Creative Director
Mark Hayes Lighting Designer
Bob Gardam Sound Engineer
Matt Neil Projectionist / Video Director
Soprano
Emma Bunzli
Ruth Croser
Felicity Gifford
Kasia Kozlowska
Sophia Mitchell
Schuya Murray
Christine Ovens
Chantal Roddy
Carolyn Seelen
Yasmin Shoobridge
Joy Tattam
Salome Tobin
Lesley Wickham
Alto
Georgia Bentley
Claire Blichfeldt
Sally Brown
Carmelita Coen
Beth Coombe
Elizabeth Eden
Ann Godber
Sue Harradence
Mary McArthur
Caroline Miller
Amy Richardson
Louise Rigozzi
Georgie Stilwell
Meg Tait
Gill von Bertouch
Tenor
Helen Chick
Michael Kregor
Bill MacDonald
Tony Marshall
David Pitt
James Powell-Davies
Alexander Rodrigues
Peter Tattam
Bass
Geoffrey Attwater
Timothy Begbie
Peter Cretan
Jack Delaney
Liam Filby
Reg Marron
Liam McGuinness
David Ovens
*Correct at time of publishing
Built in 1916, the iconic theatre is an ever evolving cornerstone of live music in the heart of the city. Inspired by the latest New York theatre designs of its time, The Odeon retains a heritage feel, brightened by the influence of modern Hobart. At its core, The Odeon is a celebration of the arts and the community it fosters, inspiring new experiences in live music and performance.
What are acoustics and how do they affect my concert experience?
Acoustics are the science of sound, or the way a venue can deliver the thunderous feeling of strings and brass, or the ring of the triangle over all the other instruments.
Obscura 3 | Transfiguration
Strings, but not as you might expect them. A ranging program that encompasses the melancholy, museful, reflective and the powerful. A twilight atmosphere that blurs the meaning of the beginning and the end.
Curated and performed by Satu Vänskä, featuring Jim Moginie (Midnight Oil) and special guests.
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