SOUNZ Events

John Psathas Events and Performances

A comprehensive listing of performances of music by John Psathas.
Visit https://www.johnpsathas.com/events-and-performances

January 01, 2020 12:00 — December 31, 2021 12:00 · various

NZ Composer Sessions 2021 | APPLY NOW

Opportunity

The applications are now open for the NZ Composer Sessions | Ngā Huihuinga Hāpai i ngā Kaitito o Aotearoa 2021, closing on 22 February 2021.

The NZ Composer Sessions | Ngā Huihuinga Hāpai i ngā Kaitito o Aotearoa is a collaboration between the New Zealand Symphony Orchestra, RNZ Concert and SOUNZ Centre for New Zealand Music.

The aim is to create high-quality NZ orchestral recordings and to promote the works to a range of orchestras and broadcasters.

Following the concert and the final editing process, the recordings will be available as audio on SOUNZ’s and RNZ Concert’s websites.

The 2021 recordings will take place over four days (28 Sep – 1 Oct) at the Michael Fowler Centre in Wellington.

Download more information and the application form here.

Download the NZSO Score and Parts Preparation Guidelines here.

This key SOUNZ project, delivered in partnership with the NZSO and RNZ Concert, was established in 1998 and was rebranded as NZ Composer Sessions in 2016. It produces new recordings of orchestral music for public broadcast and online streaming.     Read more about the past recordings on SOUNZ online, where you can also find links to previous recordings and background information about composers whose works have been selected for the project.

The applications are now open for the NZ Composer Sessions | Ngā Huihuinga Hāpai i ngā Kaitito o Aotearoa 2021, closing on 22 February 2021.

The NZ Composer Sessions | Ngā Huihuinga Hāpai i ngā Kaitito o Aotearoa is a collaboration between the New Zealand Symphony Orchestra, RNZ Concert and SOUNZ Centre for New Zealand Music.

The aim is to create high-quality NZ orchestral recordings and to promote the works to a range of orchestras and broadcasters.

Following the concert and the final editing process, the recordings will be available as audio on SOUNZ’s and RNZ Concert’s websites.

The 2021 recordings will take place over four days (28 Sep – 1 Oct) at the Michael Fowler Centre in Wellington.

Download more information and the application form here.

Download the NZSO Score and Parts Preparation Guidelines here.

This key SOUNZ project, delivered in partnership with the NZSO and RNZ Concert, was established in 1998 and was rebranded as NZ Composer Sessions in 2016. It produces new recordings of orchestral music for public broadcast and online streaming.     Read more about the past recordings on SOUNZ online, where you can also find links to previous recordings and background information about composers whose works have been selected for the project.

The applications are now open for the NZ Composer Sessions | Ngā Huihuinga Hāpai i ngā Kaitito o Aotearoa 2021, closing on 22 February 2021.

The NZ Composer Sessions | Ngā Huihuinga Hāpai i ngā Kaitito o Aotearoa is a collaboration between the New Zealand Symphony Orchestra, RNZ Concert and SOUNZ Centre for New Zealand Music.

The aim is to create high-quality NZ orchestral recordings and to promote the works to a range of orchestras and broadcasters.

Following the concert and the final editing process, the recordings will be available as audio on SOUNZ’s and RNZ Concert’s websites.

The 2021 recordings will take place over four days (28 Sep – 1 Oct) at the Michael Fowler Centre in Wellington.

Download more information and the application form here.

Download the NZSO Score and Parts Preparation Guidelines here.

This key SOUNZ project, delivered in partnership with the NZSO and RNZ Concert, was established in 1998 and was rebranded as NZ Composer Sessions in 2016. It produces new recordings of orchestral music for public broadcast and online streaming.     Read more about the past recordings on SOUNZ online, where you can also find links to previous recordings and background information about composers whose works have been selected for the project.

October 19, 2020 09:00 — February 22, 2021 09:00

Australian and New Zealand Viola Society | 2021 Composition Competition

Opportunity

"Once you become a viola-player, one of your most important duties is to strive to enlarge the library of solo viola music"

— Lionel Tertis —

Writing new music for viola?

After three previous successful Viola Composition Competitions run by ANZVS, another one will be held in Winter 2021.

There is now a new category in the competition this year: compositions will be accepted for viola plus voice or viola plus one other instrument, for the first time.

Click here for the entry form and Conditions of Entry.

For further enquiries about the competition or the Australian and New Zealand Viola Society, contact secretary@anzvs.com.

"Once you become a viola-player, one of your most important duties is to strive to enlarge the library of solo viola music"

— Lionel Tertis —

Writing new music for viola?

After three previous successful Viola Composition Competitions run by ANZVS, another one will be held in Winter 2021.

There is now a new category in the competition this year: compositions will be accepted for viola plus voice or viola plus one other instrument, for the first time.

Click here for the entry form and Conditions of Entry.

For further enquiries about the competition or the Australian and New Zealand Viola Society, contact secretary@anzvs.com.

"Once you become a viola-player, one of your most important duties is to strive to enlarge the library of solo viola music"

— Lionel Tertis —

Writing new music for viola?

After three previous successful Viola Composition Competitions run by ANZVS, another one will be held in Winter 2021.

There is now a new category in the competition this year: compositions will be accepted for viola plus voice or viola plus one other instrument, for the first time.

Click here for the entry form and Conditions of Entry.

For further enquiries about the competition or the Australian and New Zealand Viola Society, contact secretary@anzvs.com.

October 27, 2020 09:00 — May 01, 2021 17:00

Yarra Valley Opera Festival 2020 presents Ross James Carey's 'Kate Kelly'

Screening

Now available to stream through November 30th!

The Kate Kelly Song Cycle (Kate Kelly), is a chamber opera in five scenes for three soloists, unison chorus, and a small instrumental ensemble. A creative collaboration by composer Ross James Carey and Australian writer Merrill Findlay, Kate Kelly re-interprets the life of one of Australia’s most iconic women, the youngest sister of bushranger Ned Kelly.

The chamber opera emerged from Merrill’s Kate Kelly Project. It was first performed in Forbes (central-west N.S.W.) in September 2011, as the headline act for inaugural Kalari-Lachlan River Arts Festival, beside the lagoon in which Kate Kelly’s body was found in 1898.

Kate Kelly, the sister of bushranger Ned, is a folk hero, an icon, a legend in Australia. She was born in Victoria in 1863, and, by 1880, the year Ned was captured at Glenrowan, was a household name, a teenage celebrity as famous (or infamous) as the celebrities we read about it the populist press today. People queued to meet her and to watch her ride. They bought postcards of her in her mourning outfit, a fashionable black silk riding habit.

And then she disappeared. She fled her fame, her family, her friends, the north-eastern Victorian hill country she had grown up in. She changed her name several times, and re-emerged, in the mid-1880s, on the flat inland plains of New South Wales between the towns of Forbes and Condobolin, where she found a job as a domestic servant at Cadow, a large pastoral station on the Lachlan River.

One or two years later Kate Kelly moved into Forbes and worked as a home-help for several well respected business families—but she always kept her past to herself. She made friends, went out with a couple of local lads, found one who, like her, loved horses, got pregnant, married him, had more babies, lost at least three … and then she disappeared again. She allegedly told a neighbour, Susan Hurley, that “she wanted to go away for a couple of days to get straight” and asked her to look after her four surviving children, including her newborn baby. More than a week later her body was found in the lagoon. It had been in the water for many days. The coroner concluded that she “was found drowned … but there was no evidence to show how deceased got into the water.”

There is little documentary evidence about Kate Kelly’s life and death in Forbes, yet the folklore about her remains tantalisingly rich and alive. Everyone, it seems, has a story to tell about our Kate or, if not about Kate herself, then about her husband William Foster, or Bricky, as he was also known. Bricky outlived his wife by more than forty years, and is remembered by old timers as a man who could never avoid a fight. Circumstantial evidence confirms the hearsay: that Kate endured years of violent abuse in her marriage. She almost certainly also suffered from conditions doctors would now diagnose as anxiety, depression (probably including peri-natal depression), post-traumatic stress and substance abuse. Neither Kate, nor the community she lived in, would have been able to recognise or appropriately treat these illnesses, however.

This work not only honours Kate Kelly herself, but also foregrounds the challenges women of all backgrounds have faced in inland rural Australia. It also acknowledges the diverse cultures of the people who have lived along the Lachlan River for the last forty thousand years or more. The music and lyrics reference many of these peoples, including the Wiradjuri nation, the different groups of Europeans who settled in and around Forbes in the nineteenth century, and the town’s many Cantonese migrants. And, of course, Kate Kelly’s own Irish ancestors — Merrill Findlay

Now available to stream through November 30th!

The Kate Kelly Song Cycle (Kate Kelly), is a chamber opera in five scenes for three soloists, unison chorus, and a small instrumental ensemble. A creative collaboration by composer Ross James Carey and Australian writer Merrill Findlay, Kate Kelly re-interprets the life of one of Australia’s most iconic women, the youngest sister of bushranger Ned Kelly.

The chamber opera emerged from Merrill’s Kate Kelly Project. It was first performed in Forbes (central-west N.S.W.) in September 2011, as the headline act for inaugural Kalari-Lachlan River Arts Festival, beside the lagoon in which Kate Kelly’s body was found in 1898.

Kate Kelly, the sister of bushranger Ned, is a folk hero, an icon, a legend in Australia. She was born in Victoria in 1863, and, by 1880, the year Ned was captured at Glenrowan, was a household name, a teenage celebrity as famous (or infamous) as the celebrities we read about it the populist press today. People queued to meet her and to watch her ride. They bought postcards of her in her mourning outfit, a fashionable black silk riding habit.

And then she disappeared. She fled her fame, her family, her friends, the north-eastern Victorian hill country she had grown up in. She changed her name several times, and re-emerged, in the mid-1880s, on the flat inland plains of New South Wales between the towns of Forbes and Condobolin, where she found a job as a domestic servant at Cadow, a large pastoral station on the Lachlan River.

One or two years later Kate Kelly moved into Forbes and worked as a home-help for several well respected business families—but she always kept her past to herself. She made friends, went out with a couple of local lads, found one who, like her, loved horses, got pregnant, married him, had more babies, lost at least three … and then she disappeared again. She allegedly told a neighbour, Susan Hurley, that “she wanted to go away for a couple of days to get straight” and asked her to look after her four surviving children, including her newborn baby. More than a week later her body was found in the lagoon. It had been in the water for many days. The coroner concluded that she “was found drowned … but there was no evidence to show how deceased got into the water.”

There is little documentary evidence about Kate Kelly’s life and death in Forbes, yet the folklore about her remains tantalisingly rich and alive. Everyone, it seems, has a story to tell about our Kate or, if not about Kate herself, then about her husband William Foster, or Bricky, as he was also known. Bricky outlived his wife by more than forty years, and is remembered by old timers as a man who could never avoid a fight. Circumstantial evidence confirms the hearsay: that Kate endured years of violent abuse in her marriage. She almost certainly also suffered from conditions doctors would now diagnose as anxiety, depression (probably including peri-natal depression), post-traumatic stress and substance abuse. Neither Kate, nor the community she lived in, would have been able to recognise or appropriately treat these illnesses, however.

This work not only honours Kate Kelly herself, but also foregrounds the challenges women of all backgrounds have faced in inland rural Australia. It also acknowledges the diverse cultures of the people who have lived along the Lachlan River for the last forty thousand years or more. The music and lyrics reference many of these peoples, including the Wiradjuri nation, the different groups of Europeans who settled in and around Forbes in the nineteenth century, and the town’s many Cantonese migrants. And, of course, Kate Kelly’s own Irish ancestors — Merrill Findlay

Now available to stream through November 30th!

The Kate Kelly Song Cycle (Kate Kelly), is a chamber opera in five scenes for three soloists, unison chorus, and a small instrumental ensemble. A creative collaboration by composer Ross James Carey and Australian writer Merrill Findlay, Kate Kelly re-interprets the life of one of Australia’s most iconic women, the youngest sister of bushranger Ned Kelly.

The chamber opera emerged from Merrill’s Kate Kelly Project. It was first performed in Forbes (central-west N.S.W.) in September 2011, as the headline act for inaugural Kalari-Lachlan River Arts Festival, beside the lagoon in which Kate Kelly’s body was found in 1898.

Kate Kelly, the sister of bushranger Ned, is a folk hero, an icon, a legend in Australia. She was born in Victoria in 1863, and, by 1880, the year Ned was captured at Glenrowan, was a household name, a teenage celebrity as famous (or infamous) as the celebrities we read about it the populist press today. People queued to meet her and to watch her ride. They bought postcards of her in her mourning outfit, a fashionable black silk riding habit.

And then she disappeared. She fled her fame, her family, her friends, the north-eastern Victorian hill country she had grown up in. She changed her name several times, and re-emerged, in the mid-1880s, on the flat inland plains of New South Wales between the towns of Forbes and Condobolin, where she found a job as a domestic servant at Cadow, a large pastoral station on the Lachlan River.

One or two years later Kate Kelly moved into Forbes and worked as a home-help for several well respected business families—but she always kept her past to herself. She made friends, went out with a couple of local lads, found one who, like her, loved horses, got pregnant, married him, had more babies, lost at least three … and then she disappeared again. She allegedly told a neighbour, Susan Hurley, that “she wanted to go away for a couple of days to get straight” and asked her to look after her four surviving children, including her newborn baby. More than a week later her body was found in the lagoon. It had been in the water for many days. The coroner concluded that she “was found drowned … but there was no evidence to show how deceased got into the water.”

There is little documentary evidence about Kate Kelly’s life and death in Forbes, yet the folklore about her remains tantalisingly rich and alive. Everyone, it seems, has a story to tell about our Kate or, if not about Kate herself, then about her husband William Foster, or Bricky, as he was also known. Bricky outlived his wife by more than forty years, and is remembered by old timers as a man who could never avoid a fight. Circumstantial evidence confirms the hearsay: that Kate endured years of violent abuse in her marriage. She almost certainly also suffered from conditions doctors would now diagnose as anxiety, depression (probably including peri-natal depression), post-traumatic stress and substance abuse. Neither Kate, nor the community she lived in, would have been able to recognise or appropriately treat these illnesses, however.

This work not only honours Kate Kelly herself, but also foregrounds the challenges women of all backgrounds have faced in inland rural Australia. It also acknowledges the diverse cultures of the people who have lived along the Lachlan River for the last forty thousand years or more. The music and lyrics reference many of these peoples, including the Wiradjuri nation, the different groups of Europeans who settled in and around Forbes in the nineteenth century, and the town’s many Cantonese migrants. And, of course, Kate Kelly’s own Irish ancestors — Merrill Findlay

November 09, 2020 09:00 — November 30, 2020 23:59 · Gertrude Opera Yarra Valley Opera Festival 2020 (live-stream online delivery)

SOUNZ Kaitito Kaipuoro Wānanga | Composer Workshop

Workshop

Our next wānanga is for composers of all genres who are interested in understanding and working with Taonga Puoro.

The day will include a discussion of the composition Ko te tātai whetū with co-composers Phil Brownlee and Ariana Tikao; a panel discussion with Taonga Puoro experts Tamihana Katene, Jerome Kavanagh, Ariana Tikao, Te Kahureremoa Taumata, Alistair Fraser and Ruby Solly; and a presentation of Oro Atua – a Māori Sound Healing Journey by Jerome Kavanagh.

The wānanga will take place on Saturday, 28 November from 9.30am to 5.00pm in the Upper Chamber at Toi Pōneke Arts Centre — Level 1, 61 Abel Smith Street, Wellington.

More details, including registration information, to follow...