Artistic Director Katie Yap presents a crucial path forward for the cultivation of new audiences of Western art music in Australia, as well as providing a much-needed platform for women composers.
Alice Chance explains why she's always had a soft spot for HIPsters, and her delight in writing four Baroque Sonatas for Evergreen Ensemble, which she compares to scribbling recipes on napkins and tossing them to capable chefs.
Violist Katie Yap will use the $21,000 prize to create a series of collaborative works with prominent Australian musicians.
Spanning nearly 400 years of music, this debut concert by Croissants and Whiskey heralds a new era in composition for the Baroque quartet.
A round-up of our recent news reports.
Like flakey pastry and finely aged spirits, the unlikely pairing of Baroque instruments and new works by Australian composers is the basis for a new 'prog-baroque' ensemble, explains violist Katie Yap.
The finalists for this year's coveted prize are harpist Emily Granger and violists Henry Justo and Katie Yap.
Wenhong Luo and William Vyvyan Murray talk all-things viola (and yes, there's the statuary joke).
The violist previews her second Music, She Wrote festival, which explores all the ways in which women have had to fight for their place in the music industry.
The gut-string evangelist explains her trio's blend of ancient, modern, and just a bit of trad.
Bartsch's Merlyn Myer Commission, along with arrangements of selections from her solo classical/jazz hybrid albums, provides a subtle submergence in a range of lush lullabies and flowing lattices of chamber writing.
Nat Bartch's new work The Glasshouse, the 2021 Merlyn Myer Commission, is inspired by portraits taken by Victorian-era photographer Julia Margaret Cameron.
A new festival looks at women composers through the ages – and for once includes the token man.
