24 Results for : conservatorium

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    Getting Played: Heart of Fame, Book 7 , Hörbuch, Digital, ungekürzt, 378min, (USK 18)
    It all starts with sex under a desk. After yet another month without a lead singer, the band Synergy is on the verge of calling it quits. Which drives Jaxon Campbell, keyboardist and perpetual player, to do something dangerous: hit up a woman with contacts - and curves - in all the right places. Trouble is the last time he saw her, he kind of broke her heart. And stole her cherished autographed AC/DC album. Natalie Thorton, dean of the Sydney Conservatorium of Music, knows everyone who's anyone in Australia's music industry. She's driven and utterly professional and doesn't have room in her schedule for relationships. When Jaxon strides into her office, all of Natalie's suppressed sexual urges - the ones born in Jax's arms - surge to the surface. He wants something from her? Well, she wants something from him. Orgasms. Lots of them. How can Jax say no? He's never forgotten her, and it's not like they're going to fall in love. But just who's playing who? And whose heart is going to fall first? Warning: Contains a sexual challenge involving sex in public places, sex in private places, sex in moving cars, sex against windows and sex in the company of an oblivious federal politician. So basically we're talking about getting laid. A lot. ungekürzt. Language: English. Narrator: Muffy Newtown. Audio sample: https://samples.audible.de/bk/inbl/000061/bk_inbl_000061_sample.mp3. Digital audiobook in aax.
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    Buildings and structures in Sydney
    Buildings and structures in Sydney ab 21.99 € als Taschenbuch: Sydney Opera House Luna Park Sydney Sydney sandstone Architecture of Sydney Department of Education Building Waverley Cemetery Government House Sydney Sydney Conservatorium of Music Rookwood Cemetery City Tattersalls Club. Aus dem Bereich: Bücher, Taschenbücher, Naturwissenschaft,
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    DuMont Reise-Taschenbuch Amsterdam
    Auch wenn der Grachtengürel seit 2010 UNESCO-Welterbe ist, ein Freilichtmuseum ist er nicht, sondern lebendiges historisches Zentrum mit vielen malerischen Kanälen, Hausbooten und gemütlichen Kneipen am Wasser. Die früheren Arbeiterviertel De Pijp und Jordaan locken mit hippen und/oder originellen (Pop-up-)Läden, Galerien, Multikulti-Küche - Indonesien und Surinam lassen grü ßen - und relaxter Atmosphäre. Gehen Sie auf den Westlichen Inseln auf Zeitreise ins 17. Jahrhundert, als hier die 'dreckigen Handwerke' außerhalb des Grachtengürtels betrieben wurden. Lassen Sie sich von Susanne Völler und Anne Winterling mitnehmen zu alten Industriearealen, die eine neue künstlerische, kulturelle oder sogar ökologische Blüte erleben, so zur NDSM-Werft, zu De Ceuvel oder den ehemaligen Hafenanlagen in Noord. Besuchen Sie die vielfältige Museenlandschaft im Museumkwartier mit Rijks-, Van-Gogh- oder Stedelijk Museum. Tauchen Sie ein ins jüdische Amsterdam und das Plantageviertel, das großzügig und grün angelegt wurde. Und schwelgen Sie in moderner Architektur: Mit dem Filmmuseum EYE in Noord, dem Muziekgebouw aan 't IJ, der Öffentlichen Bibliothek und dem Conservatorium und vielen ikonenhaften Bauwerken auf den Nieuwe Oostelijke Eilanden oder in den Houthavens hat man in der jüngeren und jüngsten Vergangenheit starke städtebauliche Akzente gesetzt. Und abends? Amsterdam besitzt nicht nur einen Nachtbürgermeister, sondern auch das entsprechende Nightlife. Elektronische Musik hat eine starke Basis und die entsprechende Clubszene, wer eher auf 'smartlappen', also Schmachtfetzen, steht, kommt auch nicht zu kurz. Viele kleine Brauereien machen mit der Amsterdamer Braukunst bekannt, die hier schon seit dem 17. Jahrhundert sehr emsig betrieben wird. Und wie sieht es mit Entspannung aus? Vondel-, Sarphati-, Oosterpark & Co. sowie die grünen Dörfer in Noord und die Schrebergartenanlagen in West laden zum Chillen, Joggen, Radeln.Auf ausgewählten Touren und an ihren persönlichen Lieblingsorten lassen Sie die Autorinnen hinter die Kulissen der Stadt blicken. Sie nehmen Sie mit auf eine Stand-up-Paddel-Tour auf den Grachten, führen Sie durchs Kunstlabyrinth des Jordaan, radeln mit Ihnen auf dem Brettenpad in die städtische Wildnis des Westerpark oder zeigen Ihnen auf IJburg Häuser, die auf Wasser gebaut sind.Und so erleben Sie Amsterdam mit dem DuMont Reise-Taschenbuch: Persönlich und echt: Wir legen Wert auf ehrliche Erlebnisse, Nähe und GegenwartÜbersichtliche Gliederung in einzelne Stadtviertel mit ihren Sehenswürdigkeiten und Museen sowie Tipps für Restaurants, Cafés, Einkaufen und AusgehenLustvolle Eintauchen-und-erleben-Seiten vor jedem KapitelDie Touren: Einfach losziehen, neue Wege gehen, aktiv in die Stadt eintauchenDie Lieblingsorte: gut für überraschende EntdeckungenDie Adressen: radikal subjektive Auswahl, mal stylish, mal ökologisch, immer individuell und persönlichDas Magazin: ein abwechslungsreiches Reisefeuilleton. Es packt auch kritische und kontroverse Themen an ...Die Karten: 11 Citypläne, 13 Tourenkarten, Übersichtskarte mit den Highlights von Amsterdam, Schnellüberblick zu jeder Region plus eine große ReisekarteDas Plus zum Buch: Aktuelle Reisetipps und News gibt's unter www.dumontreise.de/amsterdam.
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    L'inspiration Poatique
    The title of this album, L'Inspiration Poétique, refers to the Airs de cour ([8]-[13]-[20]) present in this recording, and their impact on the interpretation of Flute music from the beginning of the 18th century in France. Their flexible, poetic and gracious singing quality have inspired us to search for a more free and organic sense of instrumental ornamentation. Le titre de cet album, L'Inspiration Poétique se réfère aux Airs de cour ([8]-[13]-[20]) présents dans cet enregistrement, et a leur impact sur l'interprétation des Pièces pour Flute du début du XVIIIeme siecle. Leur chant libre, flexible, poétique et gracieux nous entraina vers une vision plus libre et organique de l'ornementation instrumentale. Sophie Ardiet started playing music at the age of 7, beginning with recorder, then studying piano and modern flute. After receiving her diploma of musicology from La Sorbonne University in Paris she decided to focus her attention to early music. She studied recorder with Michelle Tellier at the National Conservatoire of Boulogne, where she graduated in 2002. It is while pursuing further recorder studies with Pierre Boragno in Versailles and beginning Baroque Flute studies with Jean-Claude Veilhan and Anne Matthias at the Conservatoire of the 14th arrondissment of Paris that Sophie took the decision to move to Den Haag to study with Wilbert Hazelzet. After she obtained her Bachelor Diploma in Baroque flute in 2007, and in Recorder in 2008, she completed a Masters degree in baroque flute performance with world renowned soloist and pedagogue Barthold Kuijken. Sophie is an active performer and has given concerts throughout Europe and in Australia, most recently performing in the Barcelona and Utrecht Early Music Fringe Festivals. James Holland was born in Sydney, Australia, and began his musical life with the electric bass guitar, later switching to the classical guitar in which he graduated with a Bachelor of Music with Honours from the Sydney Conservatorium of Music in 2003. As a classical guitarist James was always interested in transcriptions of lute and vihuela music, and his gravitation towards lute playing was quite a natural one. James is an exciting young player of the next generation of performers of historical plucked instruments, always searching for the marriage between historically informed performance and his own personal interpretation. James studied in Den Haag with Nigel North, Joachim Held and Mike Fentross, and took further lessons with Hopkinson Smith and Elizabeth Kenny. He now performs in solo recitals, as a continuo player for chamber ensembles, opera and accompanying singers. These activities have taken him across Europe, to North America and Australia. James plays renaissance and baroque lutes, vihuela, theorbo and baroque guitar. James has recently performed in the Festival Classique in Den Haag, and the fringe concerts of the Barcelona and Utrecht Early Music Festivals, both as a continuo player and in solo recital. He has performed with the Pinchgut Opera Company, Collegium Musicum Den Haag, de Swaen Ensemble, among others, and has worked with conductors such as Attilio Cremonesi, Patrick Ayrton, Peter van Heyghen, Charles Toot and Sebastian Marq. James will be touring in Australia with baroque flautist Sophie Ardiet until March 2010. In this time he will also be playing a production of Cavalli's 'L'Ormindo' with the Pinchgut Opera Company, and spending time in the sun with friends and family in Sydney. After this he will be based in Paris.
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    Near
    'Sinuous and dynamic...phenomenal skills' Real Time Arts. Jazz violin is often dominated by the gypsy swing of Stephane Grappelli and the jazz rock electric style of Jean Luc Ponty. It is especially exciting when a new voice emerges from this underrepresented genre. Julian Ferraretto's debut album - "Near" is a melodically charged collection of original modern jazz compositions, a dash of folk and some well known standards which together bring a fresh rare sound to the jazz violin. "Growing up in the North Eastern side of Adelaide in a largely Italian Community, I wanted this album to capture some of that story. The ancient beauty of Australia's landscape and the energy and hope of the Italian Migrant Community" Julian is joined by the ground breaking musicians from London's Jazz Scene: Steinway Artist Robert Mitchell on Piano (Panacea) Andy Hamill on bass (4Hero) and Justin Woodward on drums. Why jazz violin? "What attracted me to jazz was the idea of improvisation. Violin is viewed as a difficult and sometimes lofty instrument but it's also incredibly versatile and has a great potential to swing." "I'm very drawn to musicians who have changed the sound of the instrument. In the trumpet you see it clearly in Miles Davis - in violin, I found it in Stuff Smith - a full dirty sound - not pretty at all but swinging so hard you can't help but smile when you hear him play" Julian arrived in London in 2002. Before that he'd already toured with award winning "Aire Flamenco", won multiple awards from The Elder Conservatorium and had his compositions premiered at the Adelaide Festival of the Arts and the Sydney Opera House. Since arriving in London he has appeared all over the continent touring with Eksa, Natacha Atlas and Rebecca Hollweg to name a few. He is also plays with Wigmore Hall's creative ensemble "Ignite"
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    Music for An Imaginary Italian Film
    MUSIC FOR AN IMAGINARY ITALIAN FILM - JADCD 1120 An anthology of works by Australian composers in a wide range of styles and musical groupings ranging from baroque flute through duos for flute & harpsichord, flute & piano to mandolin ensemble, and solo piano works. Track 1 ROBERT ALLWORTH (b. 1943) MEMORIES OF RAIN (1988) for Baroque Lute, recorded, mixed and mastered, Shearwater Digital, by John Bushby. Baroque Lute by Michael Lowe, Oxford 2002, tuned A=392. Memories of Rain was written for Susan King in 1988, shortly after the Lute Concerto for Susan King was composed. The music in Memories of Rain uses the Twelve Note technique and is meditative in character and also uses colourful effects to create an atmosphere of memories of rain. Recorded in Wylam, Northumberland, U.K. 20/09/2008. Memories of Rain was performed by Susan King in the opening concert of the Belgium International Lute Festival. Tracks 2, 3, 4 & 5 ANN CARR-BOYD (b. 1938) SUITE FOR FLUTE AND HARPSICHORD (1992) Edgars Kariks Flute and Ann Carr-Boyd Harpsichord. - Prelude-Badinerie-American Dream-Toccata. The Suite was commissioned by Australian Harpsichord player Audley Green and first performed by her and flautist John Wion in Canberra. PRELUDE - A slightly tongue- in- cheek look at American academic music of the latter part of the 20th Century when the 12 Note system ruled. BADINERIE - A return to the music and ideas of J. S. Bach with the composer's own ideas about harmonies and quirky patterns added. AMERICAN DREAM - This music was written after the composer attended a meeting at a large theatre in Hartford, Connecticut, where a congregation of about 3000 people was commemorating Martin Luther King Day and as a result, Ann Carr-Boyd wrote the music whilst in the USA. The Flute represents the voices of the various preachers and the harpsichord the congregation. TOCCATA - A fast paced movement that speaks of the vitality of the American people and incorporates a theme that is now part of the America - FANFARE FOR THE COMMON MAN by Aaron Copland. 2MBS-FM recording 15/03/92 Sound Engineer Charles Barton. Recorded in the Summer Home of Rosemary Parle, Greenwich, NSW. Track 6 ANN CARR-BOYD (b. 1938) MUSIC FOR AN IMAGINARY ITALIAN FILM (1985) Music for an Imaginary Italian Film was originally performed and commissioned by the Australian Mandolin Society and the First Performance was at one of their music camps. The music was later recorded at Studios 301 in 1992 with the Large Ensemble of the Sydney Mandolins conducted by Adrian Hooper. Music for an Imaginary Italian Film has proved to be one of Ann Carr - Boyd's most popular pieces together with her FANDANGO (1982), also written for the Sydney Mandolins. This track is the new digitally mastered recording especially created for this compact disc. Track 7 ANN CARR-BOYD (b.1938) FANDANGO (1982) Fandango was composed in 1982 for Adrian Hooper's Sydney Mandolins and it was recorded with a dozen players or so. The bluesy character of the piece has made it Ann Carr-Boyd's most popular piece. Fandango was chosen to be included in the ABC Classic FM Classic 100 Chamber Music Countdown at No. 55. The ABC Classic FM Classic 100 Chamber Music Countdown contains 9 hours of music on 8 compact discs. Track 8 ROBERT ALLWORTH (b. 1943) REMINISCENCES OF PEOPLE I HAVE KNOWN (1992) Edgars Kariks Flute and Ann Carr-Boyd Harpsichord. Reminiscences of People I Have Known, written for Flute and Harpsichord is a short but effective atmospheric piece showing memories of people once known to the composer but are now no longer seen by him. Ann Carr-Boyd - Harpsichord and Edgars Kariks - Flute are ideal interpreters of this piece of music. Sound Engineer Charles Barton 2MBS-FM recording 15/03/92 made at the Summer Home of Rosemary Parle, Greenwich, NSW. TRACK 9 ERIC GROSS (b. 1926) SALLYMEDE OP.262 (2002) Composed as a tribute and gesture of thanks to the Australian pianist Sally Mays for her unstinting support of Australian composers. Sallymede commences with an endeavour to invoke an "English Countryside" atmosphere - in reference to the fact that Sally Mays now resides in England. The calm and serene mood of the beginning gives way to an agitated and busy section which is much more elaborate and intense than the musical material used previously. A somewhat whimsical transition passage leads back into the calm and serenity of an English countryside. Recorded by Kerry Joyner at 2MBS-FM. TRACK 10 DEREK STRAHAN (b. 1935) ET IN ARCADIA EGO (1990) Diodoru Siculus, writing in 1 BC on the Myth of the Atlantioi refers to a mountinous island of considerable size, lying in the deep off Lybia, which contains a fertile plain of surpassing beauty traversed by rivers. He refers to private villas of costly construction and banqueting houses in a setting of flowers. This cantata seeks to portray a Lovers' idyll on the balcony of a villa overlooking the ocean, on a moonlight night in Atlantis. Live recording of the First performance at Belinda Gough's Master's Degree recital, Joseph Post Auditorium, Sydney Conservatorium of Music 13/11/92. Sound Engineer - Robert Scott. TRACK 11 RAY LEMOND (b.1956) SUNLIGHT ON RUNNING WATER (1996) An impressionistic jazzy piece capturing the splash of colour as sunlight hits a stream rushing to form a waterfall. This music that sparkles and forms part of a new suite DOOLEY'S DELIGHT written in 1996 for Lorrae. Recorded by Kerry Joyner at 2MBS-FM. This compact disc is the 104th in the JADE SERIES OF AUSTRALIAN COMPOSERS. Compilation mastered by Steve Smart Studios 301 for the 5/01/2009 celebration. This is the 20th year of production of JADE compact discs of Australian Composers Cover Photo - Susan King with Baroque Lute 15/09/2008. Susan King studied with Robert Clancy and Tommie Andersson at The Sydney University Conservatorium of Music. Since then she has furthered her studies with Jakob Lindberg, Nigel North, Hopkinson Smith and Claire Antonini in Paris.
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    Thousand Strings
    The Conservatorium Guitar Ensemble was founded by Matthew Marshall in 1995 and is established as New Zealand's pre-eminent guitar ensemble. It was formed to give valuable and important performance and ensemble opportunities and experience for young guitarists studying at the Conservatorium of Music. The Conservatorium Guitar Ensemble has given countless critically acclaimed performances to diverse audiences ranging from primary schools, high schools, universities and professional recitals. An important inclusion in almost all of it's performances is music written by New Zealand composers.
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    I Read the Old Dream Slowly
    Collusion Music Australia Music by Australian composers Green, Hawkins, Davidson, Ball, Brophy, Sabin and Twist. Collusion, also known as Collusion Music Australia continues in the development of creative and unique performance practise of chamber music in Australia since it's inception in 2002. For 10 years the ensemble has consistently performed 20th and 21st century art music with or without visual collaboration. Their resident choreographer is Gareth Belling, whom directed/choreographed Collusion's full length Ballet 'Transient Beauty' for the Restrung Festival in 2012. Susan Hawkins, resident composer for Collusion was the musical director and composer. Reviewer Mat Foley stated, 'In your face, it is. In your mind, it gets.' In Collusion's vast and impressive repertoire, music from Messiaen to Hindemith, Takemitsu to Australia's Andrew Schultz, Nigel Sabin, and Nigel Westlake engage large audiences. 2013 sees Collusion invited to perform at the World Clarinet Fest' in Assisi Italy, The Queensland Music Festival, The Australia Saxophone and Clarinet Convention Sydney, and will take up a position as an Ensemble in Residence at Griffith University's Queensland Conservatorium of Music in Collusion's home city Brisbane, Australia. The ensemble has also riveted audiences at the Judith Wright Centre for Contemporary Arts, The Brisbane Powerhouse, Chapel on Chapel Melbourne, Fireworks Art Gallery, The Queensland Art Gallery and at the University of Queensland and Southern Queensland, and the North Queensland Centre for Music. Venue themed performances, collaborations with performance and visual artists at nightclubs, showrooms, professional ballet studios, school classrooms, churches, online, on a river bank, as well as at Concert Halls, have visually and aurally inspired audiences (including up to 20,000 school children per year from 2008) to digest many different styles of art music composition. Of their 2007 CD release 'In Depth' (MOVE) Tony Way of The Green Guide commented, "Collusion demonstrates a great empathy with the living tradition of chamber music in this country, and their enterprise in making this disc is to be applauded." "The instrumental playing and recorded sound are excellent"- John Barns, 3MBS FM Libretto "The ensemble performance throughout is impeccable as is the sound quality"- Laura Mathison, 4MBS Program Guide. Collusion has performed at festivals such as Soul Food, Restrung, Crosssbows, Bangalow, Tyalgum, Evocations, International Messiaen Conference, and has toured for Musica Viva Countrywide and Education programs. Benjamin Greaves (violinist): is the director and a founding member of Collusion Music Australia. A freelance musician, his speciality and training is chamber music, however he is also a freelance orchestral musician. He has performed for the Camerata of St John's Chamber Orchestra as principal 2nd violin and guest leader, the Queensland Symphony Orchestra, the Queensland Ballet, X, Brisbane, Adelaide International Cabaret, and Queensland Festivals amongst others. He has broadcast solo for ABC Classic FM. He has collaborated with contemporary artists like Jazz Trio Elixir, Circa Australia, Human Nature, and even played in professional music theatre productions such as South Pacific for Opera Australia. He studied with Carmel Kaine and Mary Nemet, and has performed in masterclasses for Lord Yehudi Menuhin, Maxim Vengerov, Oleh Krysa and the Takacs String Quartet. Benjamin's continual attention to professional development as both a performer and pedagog has been supported in the past by Arts Queensland attending masterclasses of Rodney Friend. Brieley Cutting (pianist): was accepted into the Queensland Conservatorium at age 13 and graduated at 18 with first class honours and a performance of Shostakovich's Piano Concerto No.1 with the Queensland Conservatorium Orchestra, winning all major performance awards. Following this, Brieley studied at the Australian National Academy of Music, the Queensland Conservatorium with Natasha Vlassenko, and at the Royal College of Music in London where she graduated with Distinction. Brieley has performed as soloist with the Melbourne, Adelaide, and Queensland Symphony Orchestras, and received 2nd prize in the Kerikeri International Piano Competition 2010, and was keyboard winner of the Symphony Australia Young Performer's Awards in 2006. Brieley has been recipient of prestigious awards from the Tait Memorial Trust, Australian Music Foundation, and the David Paul Landa Scholarship. Currently pianist with Collusion, she is also Artistic Director of the Commercial Road Chamber Music Series, Brisbane and a doctoral student at Griffith University. Danielle Bentley (cellist): is a founding member of Collusion. As a freelance musician, she has performed in countless concerts and recording sessions around Australia with acclaimed classical, jazz and popular music ensembles and artists. These include: the Paris Opera Ballet, Opera Queensland, Opera Australia, Australian Ballet, Queensland Symphony Orchestra, Camerata of St John's, Olivia Newton-John, Pete Murray, Harry Connick Jnr, Kanye West, Missy Higgins, Xavier Rudd, Kate Miller-Heidke, Pavarotti, Nigel Kennedy, Jon English, Il Divo, Jerry Lewis, Sarah Blasko, Hugh Jackman, Amici Forever, Kate Ceberano, Marcia Hines, Rolf Harris, Aled Jones, Tommy Lee - to name a few. Danielle is an academic, writer, poet and curator. She curates Restrung New Chamber Festival, which was the topic of her PhD exploring contemporary string practice and festival programming. Danielle is also the Festival Manager for Queensland Conservatorium's Crossbows small ensembles festival. Diana Tolmie (clarinettist): Woodwind specialist Diana Tolmie has had a wonderful time for the past 25 years with her career performing in a multitude of musical genres instigated by a Churchill Fellowship and a Queen Elizabeth Trust Award.&nbsp,Consistent session work has included the Queensland Symphony, Tasmanian Symphony, Malaysian Philharmonic and Orchestra Victoria. With over 30 professional musicals under her belt allowing her national and international travel, she is unafraid to cross genres being as comfortable in Clint Allen's Frank Zappa Big Band as she is with the Doch Gypsy Orchestra and is employed for many contemporary and mainstream live, television and recording events. As lecturer of the saxophone, clarinet and bass clarinet at the Queensland Conservatorium Griffith University she also convenes the professional industry preparation strand My Life As A Musician and is founder and conductor of the Queensland Conservatorium Saxophone Orchestra which tours internationally. Currently an Australian Music Examinations Board examiner, Diana has also acted as an AMEB consultant and editor with 3 publications in her bibliography in addition to editing the Australian Clarinet and Saxophone Magazine.&nbsp,.
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    Waiting for the Sound
    Dirié's music is known for it's expressive, engaging and balanced combination of sonic explorations, enigmatic imaginary stories, and awe inspiring detail and virtuosity. Deep emotive connections run through the musicians who shape these performances, as if holding a precious thread of unspoken or fictitious traditions. Born in Córdoba, Argentina, Gerardo Dirié studied at the Universidad Nacional de Córdoba. Among his teachers were Argentinean maverick modernists César Franchisena and Oscar Bazán, as well as the distinguished music educator Atilio Argüello. After several years of performing rock, early music, conducting chamber music, and teaching in Argentina, Dirié continued studies in the US, earning Master and Doctorate degrees from the Indiana University School of Music, where he studied with Eugene O'Brien and microtonal opera composer and MacArthur fellow John Eaton. As an expert on Latin American Music, during the 1990s he served as assistant director for the Indiana University Latin American Music Center, promoted the repertoire and the composers of the Latin America providing consultation for projects with the American Composers Orchestra, the Houston Symphony Orchestra, the National Geographic, and the TV hit Law & Order, among incalculable number of institutions and musicians around the world. During his residency in Indiana, he wrote music for many stage productions at the Indiana Repertory Theatre, establishing himself as an associate artist of this prime theatre company. He has designed music for directors Libby Apel, Janet Allen, and David Hochoi among others, and created tailored stage music for actors such as Mira Furlan (known to fans through Babylon 5 and Lost) and Tim Green's monumental Almost a Holy Picture (he is widely known for his roles in Clear and Present Danger, and The Insider). Before moving to Australia, he developed several multi arts works/events in collaboration with Academy nominee singer Moira Smiley, violist Stacia Spencer, and choreographer Emily Stuart-Bogart. Dirié's music has been distinguished with awards from Fulbright, ASCAP, the International Tribune of Composers, the National Tribune of Electroacoustic Composers of Argentina, the National Fund for the Arts, and the Encounters of Contemporary Music Foundation. His music has been performed at Town Hall and Carnegie Hall in New York, the Colón Theatre in Buenos Aires, the National Theatre in Taiwan, at the Istanbul International Music Festival, and numerous other concert stages throughout Europe, India, Malaysia, and all the Americas. His music appears on recordings from Aguavá, LAMC, Crystal Records, Melos, DoubleMoon, and his own label Retamas. When time permits, Gerardo loves to play choros on the cavaquinho with his students in Brisbane, and explore musical traditions through his directing the world music ensemble at the Queensland Conservatorium.
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    Unearthly Music
    Praised for her virtuosic skill and evocative musicality, Australian based flautist Kathryn Moorhead enjoys a diverse career as a soloist, chamber artist, and orchestral performer. She has received Master of Music degrees from the University of Melbourne Conservatorium and Brabants Conservatorium in Holland. Scholarships from the Australian Elizabethan Theatre Trust and the Ian Potter Foundation enabled her to study at the Amsterdam Conservatory and Lulea University in Sweden, taking lessons and masterclasses from Harrie Starreveld, Leon Berendse, Andreas Blau, Emmanuel Pahud and Goran Marcusson. Kathryn has performed with the Melbourne, Adelaide, Tasmanian and the Netherlands Symphony Orchestra, the Adelaide Chamber Orchestra and Orchestra Victoria. She has performed in guest Principal positions with the Queensland Orchestra, the Auckland Philharmonia and the Malaysian Philhamonic Orchestra, as well as appearing with ensembles in International Arts Festivals in Melbourne, Adelaide, Brisbane, Aberdeen, and London. Kathryn has won prizes in the Leslie Barklamb Flute Competition and the Australian International Solo Flute Competition. Her CD 'Unearthly Music' for flute and piano has received frequent airplay on ABC Classic FM, Radio National Australia, and radio stations across the USA and Asia. Kathryn currently freelances with the Melbourne Symphony Orchestra, Orchestra Victoria, the Miscellany Ensemble, and is completing a PhD in Music at the University of Adelaide, Australia. Claire Cooper studied with John Winther at the Canberra School of Music, and later at the Hong Kong Academy for Performing Arts. She spent five years as repetiteur and accompanist for the Victorian College of the Arts and is currently a member of staff at the Faculty of Music, University of Melbourne as an accompanist. Claire has worked extensively in Melbourne with major music organisations and festivals, and has an extensive and wide-ranging repertoire. This CD is a tribute to 20th century Australian women composers.
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