This year has been a funny one for many of us, particularly in the performing arts, where our livelihoods and vocation depend on a live audience. I’m a freelance violist living in Melbourne and until the pandemic hit, I was going along my merry way with a busy performance and touring schedule, spending around half my year on the road, and the other half with local gigs.
And then the brakes went on, with 18 months of lockdowns, where we struggled to fill our days with recordings, online teaching and concerts, and all those sanity-saving walks in the park. So 2022 gave me a mild case of whiplash, crammed with almost two years’ worth of postponed concerts and projects. I also had the chance to apply for the Freedman Classical Fellowship and took that opportunity to dream up a project with the help of my mentors Julia Fredersdorff and Genevieve Lacey.
The Freedman Classical Fellowship is unusual: equal parts instrumental competition and grant application. To apply for it, there are two rounds. In the first, you submit a...
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