The Tait Memorial Trust is pleased to be assisting these fine young Australian artists in 2017.
The Tait Adopt a Performer scheme
The adopt a performer scheme allows a donor to directly support a young performing artist from Australia or New Zealand (as of May 2017) annually for a three-year commitment. Please click here to learn how to actively involve yourself in the career development of a young performer.
The greatest return, however, would be to see your awardee fulfill their true potential and, as they graduate to a professional career, the pleasure of knowing that you played an important part in making this possible.
Royal College of Music
Tait Scholar Supported by the Julian Baring family
The Royal College of Music Connor D’Netto, Composer | Bass Baritone | Photographer | Artist
To learn more about Connor please click here
Royal Northern College of Music
Higgins Scholar Supported by the Higgins family Waynne Kwon, Cello
To learn more about Waynne please click here
Andrew Loewenthal Award
Adopt a Performer award to support studies at the Guildhall School of Music & Drama Madeleine Randall, Oboe
The Leanne Benjamin Awards
selected by Leanne Benjamin AM OBE.
Financial assistance and support for young Australian & New Zealand dancers studying at major UK ballet schools.
tba – Judging ongoing
Partner Award Funding
Royal Over-Seas League Tait Prize
Australian musician showing the most promise Justin Sun, Bassoon
Bel Canto Awards Joan Sutherland & Richard Bonynge Foundation
A Concert platform for a young Australian/New Zealand singer
Tait & Sir Charles Mackerras Chair
A Chair in the Southbank Sinfonia for the duration of the annual programme. This award is made possible due to a generous gift from the Estate of Lady Mackerras and a contribution from the Tait Trust to fund the Chair for at least the next 10 years. Bernadette Morrison, Cello
John Amis Award
Dartington International Summer School
For a 1 week course of intensive study for an Australian musician
Louise Worthington Award
Award from Tait Friend, Louise Worthington to support the studies of a young Australian singer Ashlyn Tymms, Mezzo-Soprano
Tait General Awards
Award funded by Nicholas Heesom
To assist with continued private study Andrey Lebedev, Guitar
Tait Memorial Trust Award
To assist with studies at the Guildhall School of Music & Drama Samantha Clarke, Soprano
Tait Memorial Trust Award
To assist with continued private study Kate Amos, Soprano
To learn more about Kate please click here
Tait Memorial Trust Award
To assist with continued private study Jade Moffat, Mezzo-Soprano
To learn more about Jade please click here
Julian Baring Award
Supported by the Julian Baring family
To assist with continued private study Samantha Crawford, Soprano
To learn more about Samantha please click here
Tait Memorial Trust Award
To assist with studies at the Royal Academy of Music Wilbur Whitta, Jazz Piano
To learn more about Wilbur please click here
Tait Memorial Trust Award
To assist with studies at the Royal College of Music Iona Allan, Violin
To learn more about Iona please click here
Tait Memorial Trust Award
To assist with studies at the Royal Academy of Music Courtenay Cleary, Violin
To learn more about Courtenay please click here
We are delighted to confirm that Samantha Crawford has been awarded the 2017 Julian Baring Award. The Julian Baring award winner is selected personally by our Chairman, Isla Baring OAM, it is one of the Trust’s most prestigious awards. This summer Samantha will debut at the Bayreuther Festspiele in concert and perform Agathe DER FREISCHÜTZ for Blackheath Opera.
This year we are thrilled to announce that awards to the value of £47,100 are to be offered to young performing artists from Australia and New Zealand. This is an increase of 22% compared to last year’s awards, awards growth has been an outstanding 362% in the past 5 years. We will be announcing our other music award recipients in the coming weeks. This growth is due to the incredibly generous support of our Friends and our Principal Partner, the Commonwealth Bank of Australia. Thank you!
Samantha graduated from the Guildhall School of Music and Drama’s Opera Course, where she studied with Yvonne Kenny AM as a Baroness de Turckheim Scholar. Samantha is the winner of the Golden Medal with Honours at the 2017 inaugural Berliner International Music Competition, First Prize and President’s Prize at the 2016 Wagner Society Singing Competition and Royal Philharmonic Society Chilcott Award finalist.
Equally at home on stage singing in opera or concert, Samantha has performed at Glyndebourne, Edinburgh Festival, Scottish Opera, Aldeburgh Festival, Garsington Opera,
Opera Holland Park, Wigmore Hall, Barbican, Wales Millennium Centre and Schlosstheater
Schönbrunn. She received critical acclaim for her recent performances of Rosalinde DIE
FLEDERMAUS, Contessa LE NOZZE DI FIGARO, Donna Elvira DON GIOVANNI, Micaela
CARMEN, Erste Dame DIE ZAUBERFLÖTE and Mrs. Coyle OWEN WINGRAVE. Her
performances have been broadcast on live cinema relay in Europe, on television and radio for the BBC and filmed for DVD (Sony).
Recent engagements include Samantha’s debut at Teatro Real Madrid as a Blumenmädchen PARSIFAL under Semyon Bychkov, debut at the Bayreuther Festspiele in concert, Agathe DER FREISCHÜTZ for Blackheath Opera, title role in SOUR ANGELICA at Théâtre municipal de Fontainebleau, Fiordiligi COSI FAN TUTTE for Scottish Opera and Miss Jessel TURN OF THE SCREW for GTO covers. In concert, Chausson’s POÈME DE L’AMOUR ET DE LA MER at Barbican Milton Court, Mozart’s REQUIEM under Martyn Brabbins, Wagner’s WESENDONCK LIEDER for City of London Festival and Strauss’ VIER LETZTE LIEDER at Blackheath Halls.
Programme to include music by Beethoven, Copland, Elgar, Mozart, Respighi and Ravi Shankar
Join rollicking ringmaster Sir Henry Wood (founder-conductor of the Proms) on an exciting adventure for all the family. Together with young performers, the Ten Pieces Children’s Choir and guests, he discovers how nature, history, dreams, love, magic and lots more have inspired composers to create musical masterpieces.
Jayson Gillham, to perform at Acton Hill Church for the first time on June 4th in an all-Bach programme.
Despite composing in the era of the harpsichord and clavichord, Bach has long held fascination for many of the world’s greatest pianists, and his Well-Tempered Clavier remains one of the great show-pieces for artistry at the piano.
Jayson has prepared an exciting program for us, mixing pieces from the Well-Tempered Clavier, with some of Bach’s thrilling organ music and piano transcriptions by some of the great exponents of piano – Rachmaninoff, Cortot and Kempf.
Suite from Violin Partita in E major BWV 1006
Prelude and Fugue in C-sharp minor BWV 873
(Well-Tempered Clavier Bk II)
Prelude and Fugue in B-flat minor BWV 867
(Well-Tempered Clavier Bk I)
Toccata in G major BWV 916
Allegro e presto
Siciliano from Flute Sonata in E-flat major BWV 1031 (trans. Kempff)
Toccata in C minor BWV 911
Largo from Keyboard Concerto in F minor BWV 1056 (trans. Cortot)
Organ Prelude and Fugue in A minor BWV 543
4pm-5pm. Tickets: adults £6.00, concessions £5.00, children £2.00. Tickets available at the door. Crèche facilities available.
Born and raised in Queensland, London-based Australian pianist Jayson Gillham is recognised as one of the finest pianists of his generation. He is internationally praised for his compelling performances and relentless elegance. Jayson’s recent performances of Beethoven Piano Concerto No.4 with the Sydney Symphony Orchestra under the baton of Vladimir Ashkenazy, were met with critical acclaim.
After receiving numerous prizes from some of the world’s leading piano competitions, it was Jayson’s win at the 2014 Montreal International Music Competition that brought him to international attention. Jayson’s outstanding performance of Beethoven’s Piano Concerto No.4 was described as being performed “with such streamlined patrician elegance that he took home the 1st Prize and a string of engagements to follow.” (Huffington Post)
Jayson now performs with some of the world’s leading orchestras and conductors with recent and future highlights including engagements with the Sydney Symphony / Vladimir Ashkenazy, Melbourne Symphony / Benjamin Northey, Adelaide Symphony / Jeffrey Tate, West Australia Symphony / Asher Fisch, Queensland Symphony, London Philharmonic, Royal Philharmonic, the Hallé Orchestra, English Chamber Orchestra, Eroica Ensemble, Nashville Symphony / Asher Fisch, Orchestre Symphonique de Montreal, Orchestra Filarmonica Marchigiana and Wuhan Philharmonic amongst others.
In recital, Jayson performs at prestigious venues across the globe including the Wigmore Hall, Louvre Auditorium, Saffron Hall, Royal Nottingham Concert Hall, City Recital Hall Sydney, Melbourne Recital Centre and the Queensland Performing Arts Centre amongst others. Chamber music forms an important part of Jayson’s career with highlights including performances with the Jerusalem, Carducci, Tinalley, Brentano, Ruysdael and Flinders string quartets.
Jayson records exclusively for ABC Classics and the recent release of his debut recital album (Oct 2016) featuring works by Bach, Schubert and Chopin immediately reached the No.1 spot in both the Core Classical and Classical Crossover ARIA charts. In 2017 Jayson will record works by Medtner and Rachmaninoff with the Melbourne Symphony, and, will also feature in a documentary film about the life of Geoffrey Tozer with Jayson performing Medtner Piano Concerto No.1.
On Wednesday 10 May 2017 the 2nd Year students at the Royal Ballet School, Upper School in Covent Garden performed a selection of their choreographies for the Ursula Moreton Choreographic Award.
Nine students were shortlisted to show their choreography, collaborating with fellow dancers to direct and stage the work. Each piece was then performed to an audience, including the judging panel: Aletta Collins, Kevin O’Hare, Wayne McGregor and Christopher Wheeldon.
Congratulations to the 2017 winner Rebecca Blenkinsop, with her piece Fajjar. She started dancing at the age of 11 and was accepted into the Victorian College of Arts Secondary School in Melbourne. Now in her third year at The Royal Ballet School we look forward to watching this talented young dancer’s career blossom over the coming years. Rebecca’s award has been kindly donated by John Frost AM as part of The Leanne Benjamin Awards.
The Ursula Moreton Choreographic Award, generously supported by Peter Wilson,was created in 1973 to encourage choreographic talent. Winners have included Adam Cooper, Matthew Hart, Michael Clark, Jonathan Burrows, William Tuckett, Christopher Hampson, Christopher Wheeldon, Cathy Marston and Liam Scarlett, all of whom have gone on to have careers as choreographers.
It is an annual opportunity for students to create their own choreography. Each student is given two formal showings with feedback from guest choreographers, and regular discussions and meeting points to reflect on the students’ progress.
For the choreographers and their contributing dancers, this learning and development process has been a rich and rewarding time. These are the first or second pieces made by these choreographers and the award performance is followed by a feedback session with one of the judges.
The school is extremely grateful to receive funding for the creative and improvisation workshops. These stimulate ideas and encourage creative development in the choreographers and their dancers. It also enables music advice, guest choreographic feedback and collaboration with professionals on design, to realise the choreographers’ ideas for costume and video projection. Our thanks go to The Royal Opera House Covent Garden Foundation and June Drew, in memory of David Drew. We are also grateful to Peter Wilson who generously sponsors the competition.
The choreographic programme runs across two years at the Upper School, offering improvisation and choreographic strategies in a range of projects. In the 1st Year, students create short sketches on a given theme, whenever possible with live music and also see performances by visiting companies. In the 2nd Year, all students are involved in the Ursula Moreton Choreographic Award.
We enjoyed a performance by Andrey Lebedev at our annual Tait Friends event at Stoke Lodge. Here is a film of him practicing the cadenza from Rodrigo’s Concierto de Aranjuez for Saturday’s concert with the Westminster Philharmonic conducted by Jonathan Butcher. 19:30 at St John’s Waterloo.
On May 13 I am performing Rodrigo’s Concierto de Aranjuez with the Westminster Philharmonic Orchestra, conducted by Jonathan Butcher at St John’s Waterloo. After recent ventures into more obscure concertos, returning to this work has felt like greeting a long forgotten friend.
More info: http://stjohnswaterloo.org/event/3063698
Reflecting upon our 5th Tait Winter Prom and our rapidly approaching quarter century, I feel overwhelmed by the wonderful support and goodwill we had for this event, as for all of them since our very first concert with Liane Keegan at Australia House in 1992. A major Australian scholarship holder, Liane‘s arrival in the UK in that year prompted me to think about how we might set about trying to help talented young Australians arriving to study and work in Europe, and thus the Tait Memorial Trust was born.
2016 was another big and busy year for us, with three successful events, in addition to the Winter Prom. In the 2016/17 UK academic year 19 young artists will receive assistance from us, of awards totalling £40,000, which is more than triple the sum of only three years ago. Especially pleasing is the support of young dancers through the Leanne Benjamin Awards, and we look forward to extending our relationships with individuals and corporations who recognise the challenges facing very young Australian dancers leaving home and family to follow their dreams.
We also acknowledge a generous bequest from the Estate of Lady Mackerras, which will guarantee a ten year sponsorship of an orchestral chair for an Australian musician, in the Southbank Sinfonia, in the name of Sir Charles Mackerras. Heartfelt thanks to their daughter, Cathy, for appreciating and continuing the encouragement her father and mother always warmly extended to us.
The Trust has been honoured with such generous and continuing support and friendship from HE The Hon. Alexander Downer, High Commissioner for Australia, and his wife Nicola, who were our guests of honour at the Prom. With the help of a new enthusiastic and hard-working Tait Artistic Planning Committee, we again formed a near all-Australian chamber orchestra, a number of whom have been supported by the Trust in their studies. Our conductor Jessica Cottis, who is chairing this committee, is fast gaining recognition internationally for her work, and we are so very lucky to have her inspirational guidance as we continue to support the next generation of talented young Australians who come here to complete their studies.
We dedicated our first work, Mozart‘s Sinfonia Concertante for Violin, Viola and Orchestra K364 to our much loved Patron, The Dowager Countess of Harewood, on the occasion of her 90th Birthday. Once a professional violinist herself, this has special meaning for her. We are so grateful for Lady Harewood’s patronage over much of our 25 years – that she has wanted to share our cause has been very gratifying, and immensely helpful to us. A very happy 90th Birthday!
We are also deeply indebted to the Commonwealth Bank of Australia, who have been our Principal Partner for the past three years. We hope, as they see the important work we do for the young Australians in this highly competitive arts marketplace here, that their very welcome support will continue.
Chevalier Richard Gunter has once again generously sponsored our venue, this time the marvellous St John‘s Smith Square, and to our many individual sponsors and loyal supporters, all of whom we gratefully acknowledge below: we are so pleased to see your sponsorship growing year-on-year – we can‘t do without you!
Please continue to help us in any way you can (Click here for further information). Next year is our 25th anniversary and our work goes on! Happy Christmas, we look forward to seeing you in the New Year.
Isla Baring OAM
The Tait Memorial Trust
Tait Winter Prom Angels
Chev. Richard Gunter (Hire of the Hall)
The Hon. Sarah Joiner (Programme printing)
Mrs Jan Gowrie-Smith (Conductor)
The Linbury Trust
The Bernays Trust
Mr Kerry Rubie
Lady Rosa Lipworth CBE
Dame Norma Major DBE
Mrs Pamela Le Couter
Mr Patrick Kennedy
Mrs Lyn Robertson
Mr & Mrs J Bryant
Mr Christin Odey
Supported the Orchestra
Mr Peter Box
Mrs Katherine Scholfield
Mrs Lynette Braithwaite
The Hon. Susan Baring OBE
Mrs June Mendoza AM OBE
Countess of Portsmouth
Mr Henry Lumley
The Hon. Mrs Patricia Wyndham
Australia Day Foundation
Royal Over-Seas League
Australian Women‘s Club, London
The Cook Society
Roses Only UK
Raffle Prize donors
West Green Opera
Bobby Williams, Video
Hannan Images, Photo
Artistic Planning Committee
The Tait Chamber Orchestra
The Tait Committee
The Sidney Nolan Trust
We are very grateful for the support that we receive from
Commonwealth Bank of Australia
Tait Grainger Patron £10,000+
Julian Baring Family*
The Estate of Lady Mackerras*
Tait Sutherland Benefactor £5,000+
Sir David & Lady Higgins*
Mr John Frost AM*
Tait Bonynge Partner £3,000+
The Estate of Peggy Haim
Tait Helpmann Circle £1,000+
Mrs Jan Gowrie-Smith
Chevalier Richard Gunter
Mr & Mrs David Hunter
Mr Albert Kwok & Mrs Stephanie McGregor
Mr Andrew Loewenthal & Ms Eugenie White*
The Thornton Foundation
Mrs Margaret Rodgers
Mrs Jacqueline Thompson & Mr Damian Walsh
Mr Michael Whalley
Ms Karen Goldie-Morrison*
Ms Louise Worthington*
VEC Acorn Trust
TMT Frank & Viola Friends £500+
Mr Julian Agnew
Mr & Mrs Christopher Braithwaite
Mr Hugh Bayne
Tait Amis Supporter £250+
Mr John Coke
The Hon. Sarah Joiner
Mrs Anne Longdon
Mr & Mrs Jan Pethick
Mr Kerry Rubie
The Hon. Sir R. Storey Bt CBE
TMT Friends £75+
Miss Marylyn Abbott
Mr Eric Adler
Mrs June Allison
Ms Ariadne Jane Baring
The Hon. Mark Baring
The Hon. Susan Baring OBE
Mrs Nina Bialoguski
Mr Lindsay Birrell
Ms Sue Bradbury
Viscountess Harriet Bridgeman
Mrs Diana Burley
Mrs Lorraine Buckland
Mrs Jane Butter
Mr Marcus Clapham
Mrs Sandra Clapham
Mr John Crisp
Ms Fay Curtin
Mr Roger Davenport
Mrs Anne Davidson
Mrs Celeste Ekerick
Mr Edward Field
Dr Rodney Foale
Miss Rosemary Frischer
Mr Phillip Hart
Dr John Keets
Mr Patrick Kennedy
Mr Martin Kramer
Mrs Wendy Kramer
Lady Rosa Lipworth CBE
Mr Henry Lumley
Miss Joanna McCallum
Ms Sue McGregor
Ms Lisa Orlov
Ms Mary Rayner
Mr John Rendall
Ms Jacqueline Rowlands
Ms Katherine Scholfield
Mr Ian Tegner
Mrs Annette Thorp
Rev John Wates OBE
*Adopt a Performer
Outstanding Director – Independent
Greg Eldridge Trouble in Tahiti, Gertrude Opera for the Nagambie Lakes Opera Festival
END OF YEAR NEWSLETTER
Welcome to my final update for 2016!
I’m excited both to be looking back on a hugely eventful year and looking forward to the exciting new challenges of 2017. This last 12 months has seen me see out my position as Jette Parker Associate Director at the Royal Opera, Covent Garden as well as directing shows in Italy and China and working for the first time with Opera Australia on their Ring Cycle.
This year, I’ve worked on a total of 10 operas, 2 plays and a dance piece, and I’ve been blessed to have worked with a huge number of amazing colleagues both on- and off-stage. I’ve been pleased also to continue my work with emerging singers and directors as a mentor and speaker for the Stonecrabs Young Directors Training Programme, Cooper Hall Opera Club, Music Academy International, Gertrude Opera Studio, and through various talks and workshops for The Royal Opera.
I’ve also been honoured this year to have been appointed to the Opera Committee of Stage Directors UK, where I have joined fellow directors Sam Brown and Elijah Moshinsky to work on behalf of opera directors in the UK. SDUK represents the interests of directors across all forms of theatre and at all stages of career, and I encourage anyone who is involved in this area of theatre practice to join now!
I’m really grateful to have had such an amazing year, and I’m looking forward to 2017, which will see me work in 5 countries on some of my favourite pieces – details to come…
Jakab Kaufmann is a successful bassoonist from Sydney now based in Europe. He trained as an orchestral musician and a conductor in Sydney before moving to Basel where he studied early music at the renowned Schola Cantorum Basiliensis.
Now living in Bern, he has established himself as a freelance musician working with ensembles and orchestras in Switzerland, Germany and the UK, playing on both modern and historical instruments. One of his upcoming ventures is a new, innovative production of Rameau’s Pygmalion with his colleagues in the London-based Ensemble Molière. Speaking to Jakab, I asked him about his work and this exciting new project:
How does an orchestral musician make the leap to specialising in early music, particularly after studying to be a conductor?
While I was studying conducting at the Sydney Conservatorium, I was asked to play baroque bassoon for the early music ensemble’s performance of Gluck’s “The Pilgrims to Mecca.” I’d never played this instrument before and I thought it sounded horrible but once I braved the potential embarrassment of playing in front of other people, I discovered the incredible resonance within an ensemble. I started playing more and more and learned to love the difficulties of playing such a different instrument. There seemed to be so much to learn and enjoy from playing music on an instrument so distantly related to the one I’d previously dedicated my life to.
Like so many Australian musicians you decided to move overseas. I am interested to know why you chose Switzerland? Was it your first choice?
I decided a long time ago that I wanted to move to the German speaking world and in 2011, I attended a summer school at the Humboldt University in Berlin. I spent a month there improving my German and I still have a soft spot for that city. My path changed however and whilst I still entertain the idea of returning to conducting someday, my goal quickly re-focussed on being a well-rounded musician in whatever form it took. I flew to Europe in 2013 and travelled around, doing masterclasses on both modern and baroque bassoons, and visiting different teachers until I decided on Basel and its famous Schola were perfect for me. It’s a very international school with a great balance of academic research and performance-based projects. The community is very positive and creative, which lead to some great friendships and fantastic opportunities.
The UK can be quite a distant world to the continent without the right connections. How did you began to work here?
I attended the Dartington International Summer School’s Baroque Orchestra Programme with a scholarship in 2013. The environment there is so open and relaxed that it’s conducive to amazing opportunities. I made friends with many different musicians there, including established professional musicians who have been able to organise projects with me. In addition to various audition processes, I’ve also reconnected with a lot of friends from Sydney who have moved to the UK. The life of a freelance musician is very much dependant on who you know and luckily, some lovely people have helped me get my name out there.
As a founding member of the young early music group, Ensemble Molière could you tell me about your work and the repertoire you play?
We first played together in this combination in 2014 at the Dartington International Summer School and the first piece we played was the “Deuxième récréation de musique” by Jean-Marie Leclair. That experience made us realise that we worked well as an ensemble and that we all wanted to play more French music. Since then we’ve gone on to perform concerts in Brighton, Graz, Bruges and Utrecht, as well as more regular concerts in London.
We were lucky enough to participate in the Brighton Early Music Festival’s Early Music Live! Scheme in 2015 and we were invited to return for our own concert in the 2016 Festival. We’ve expanded our repertoire and recorded our music and we’re always looking for opportunities to push the boundaries of the modern-concert programme.
French music retains an element of mystery today and I was curious as to why you think we don’t see enough of it on today’s concert programmes:
When you study music in English and German-speaking schools, French music before Debussy rarely gets a look in. The truth is, Paris has played a more important role in music than Vienna or London at various points throughout history. For example, in the Middle Ages, the French-speaking world was essentially the musical centre of Europe. That changed with the printing press, the migration of Netherlandish musicians to Italy, and of course, the reformation.
However, the French court at Versailles was an incredible force for artistic support and the “French Baroque” led to some of the most unique music this world has ever known. Because of the rivalry with the Italians and the influence of kings like Louis XIV, French musicians played very different instruments in a very different way. The wind instruments were built in another way, the string players used different bows, and the keyboard instruments had their own designs. The performers would also use very individual ornaments, which some composers like Couperin took the time to write down with full explanations. The music itself is sometimes harmonically dissimilar to the German high-baroque masters that people tend to think of and it can also feel more static than the repetitive patterns of the Venetians like Vivaldi. I think this is why performers have, in the past, neglected the nuanced and delicate sounds of France. The good news is that French music is constantly being rediscovered!
Your upcoming project at festivals in London and Brighton will see a new take on French Opera.Could you tell me a bit about the project’s background?
As our first large-scale project, we wanted to explore a genre that is not commonly addressed by chamber groups but is incredibly important to the French Baroque: Opera. Rameau’s greatest contributions to music include his solo keyboard works, his theoretical writings and his many operas. The forces required to perform them are so large that most opera companies don’t stage his works too often. As a result, his music doesn’t get heard often enough. We thought we would bring one of his shorter operas, at 45 minutes, to the people with a more accessible medium with a smaller ensemble on stage.
Rameau’s Pygmalion is based on the original Greek legend of a sculptor who falls in love with his own creation. Most people today would be more familiar with the George Bernard Shaw version which came much later, and led to the even-more popular “My Fair Lady.” We’ve teamed up with artist Kate Anderson and director Karolina Sofulak to present a live performance of the opera with animation and simplified surtitles, so as to make it accessible and enjoyable for everyone.
I would be interested to know about what stage the project is in? What are your plans for such an ambitious undertaking, how are they progressing and how can audiences can help?
We’re still at the funding stage which is looking very promising. We will be applying to the Arts Council for a grant to make the project happen once we’ve secured enough funding from other sources. We’ve started a crowdfunder to collect an initial investment of £3000 by 9th January. This would show the Arts Council that we have support from both the artistic and wider community for this project. We’ve been offering rewards ranging from Thank-You tweets right up to private concerts in peoples’ homes. If you’d like to contribute, the crowdfunder site with a video explaining the project can be found here: http://www.crowdfunder.co.uk/ensemble-moliere. Any help is always appreciated as we’re very passionate about getting this project off the ground and onto the stage.
As you can see, Jakab is dedicated to expanding the confines of the contemporary musical experience. We wish him and his ensemble all the best for this exciting project. We are thrilled to see Australian musicians like himself pushing the boundaries and we can’t wait to see where his career takes him next.
Please click hereif you would like to be a part of Rameau’s, Pygmalion, with Ensemble Molière
Ensemble Eroica plays to its Australian connections with a debut concert at London’s imposing Australia House on The Strand. Buried within the grand exterior, the elegant Downer Room will play host to a programme of Mozart, Grainger and Copland, featuring three exciting young Australian artists.
Mozart: Piano Concerto No. 23 in A Major, K. 488
Grainger: Handel in the Strand
Mozart: Ch’io mi scordi di te?
Copland: Appalachian Spring
Conductor: Toby Thatcher Piano Soloist: Jayson Gillham Soprano: Alexandra Oomens
Attendance by RSVP only.
Date:18th Jan 2017 Time: 6:00 pm – 8:00 pm Venue: Downer Room, Australia House Address: Downer Room, Australia House, Strand London WC2B 4LA, UK Price: Optional Donation