ANVC 2022 Presenters
Dr. Jeanell Carrigan AM
Dr Jeanell Carrigan AM is an Associate Professor in Collaborative Piano at the Sydney Conservatorium of Music, University of Sydney. She has performed as a soloist, chamber musician, and collaborative artist in Germany, Italy, Austria, Switzerland and throughout Australia, and has recorded for the Bavarian Radio Corporation, the ABC, and for regional stations in Australia on many occasions. She holds a Doctor of Creative Arts exploring Australian post-1970 solo piano repertoire, and in October 2021 will release her twenty-ninth compact disc of Australian piano and chamber music. Recent publications include Composing against the Tide (2016); A Musical Missionary. The Life and Music of Dulcie Holland (co-authored with Dr Rita Crews, OAM. 2020); Australian Piano Music 1850-1950. A Guide to the Composers and Repertoire. (2021); The Music of Meta Overman. Queen of Colour and Fantasy. (2021); and over fifty critical editions of piano and chamber music written by Australian women published by Wirripang, Australia.
Keith Crellin OAM
Associate Professor Keith Crellin OAM held the position of head of the String Department and conductor in residence at the Elder Conservatorium of Music at the University of Adelaide from 2001 – 2015. He has now retired from this post in order to concentrate more fully on his role as Artistic Director of the Adelaide Youth Orchestra as well as teaching, conducting and composing.
As the first violist to win the ABC Young Performers Award in 1972, Keith Crellin soon established himself as one of Australia’s leading soloists and chamber music players. Having studied violin initially with Gretchen Schieblich and then Ladislav Jasek at the Queensland Conservatorium of Music, he completed his tertiary studies at the Tasmanian Conservatorium of Music under noted pedagog Professor Jan Sedivka.
In 1974 he was appointed Lecturer in viola and chamber music at the Tasmanian Conservatorium of Music, Director and Principal Conductor of the Conservatorium Orchestra and Artistic director and chief conductor of the Tasmanian Youth Orchestra.
In 1985, he became a founding member of the Australian String Quartet based in Adelaide, a position he held for sixteen years and with which he performed in many countries, travelled widely throughout Australia and made numerous recordings.
In 2002, he took up the position of artistic director and conductor of the Adelaide Youth Orchestra a position he retains to this day. In 2008 he was awarded the Order of Australia medal for his contribution to music and education.
Robert Davidovici is acclaimed on five continents as a virtuoso who combines spectacular technique, wide-ranging repertoire and magnificent artistry with an exciting, compelling stage presence.
Born in Transylvania, Rumania, Robert Davidovici began his studies with a student of David Oistrakh. Immigrating with his family in Australia in the early 1960s, he studied for three years with Robert Pikler at the Sydney Conservatorium before pursuing studies with Ivan Galamian at the Juilliard School, where, upon graduating, he became a teaching assistant to the Juilliard String Quartet.
Recent performances include the Beethoven, Tchaikovsky and Brahms Violin concerti with the Royal Philharmonic Orchestra, under Grzegorz Nowak. Also with the RPO and G. Nowak, Robert has released two CD recordings of the Beethoven and Mendelssohn concerti, Szymanowski Violin Concerto No. 2, Lutoslawski’s late ‘Partita’, and the Kletzki Violin Concerto (1928), which Robert premiered with the American Symphony Orchestra at Lincoln Center’s Avery Fisher Hall in 2007.
He has recorded as violin soloist with the London Symphony Orchestra for Cala Records and has released recordings on the New World Records, Centaur, Clavier and Meistermusic labels.
The recipient of several distinguished First Prize honors, including the Naumburg Competition and the Carnegie Hall International American Music Violin Competition, Robert Davidovici has collaborated in concert with such esteemed artists as Yo-Yo Ma, Isaac Stern, Lynn Harrell, Yefim Bronfman, Cho Liang-Lin and Emanuel Ax, among others. Carnegie Hall has featured Robert as part of their “American Music Masters” series and he was the subject of a television special on WGBH Boston. His multifaceted career has included being Concertmaster of such orchestras as the Osaka Philharmonic, Vancouver Symphony, The Residentie Orchestra (The Hague), Cincinnati Symphony as well as the Grand Teton Music Festival, Chautauqua and Colorado Music Festival Orchestras.
In addition to his solo engagements, Robert Davidovici is Artist-in-Residence and Professor of Violin at Florida International University in Miami.
Robert Davidovici plays on a violin made by J. B. Guadagnini in 1783.
Dr. Kay Dreyfus
Kay Dreyfus is an Associate Research Fellow in the Australian Centre for Jewish Civilisation (SOPHIS) at Monash University.
Her background is in musicology and history and she holds doctorates in both areas. She has written and published on the everyday musical life of women and immigrants in Australia, and on musical life between the two world wars. While employed at the Grainger Museum between 1974 and 1987 she edited The Farthest North of Humanness: Letters of Percy Grainger 1901-14 (South Melbourne, 1985). She co-edited (with Teresa Balough) Distant Dreams: The Correspondence of Percy Grainger and Burnett Cross 1946–60 (Lyrebird Press 2020). She wrote an English-language biographical study of Alma Moodie, Bluebeard’s Bride: Alma Moodie, violinist (Lyrebird Press, 2013). Her latest book, The Fractured Self: Selected German Letters of the Australian-born Violinist Alma Moodie 1918–1943 (with Diana K. Weekes), is published by Peter Lang Publishing in 2021.
Professor Cliff Eisen
Cliff Eisen is Professor of Music History at King’s College London.
He is a member of the Academy for Mozart Research, Salzburg, and has published widely on Mozart sources, biography, style and reception. His article, ‘The Mozarts’ Music Library’ is published in C. Eisen (ed.), Mozart Studies 2 (Oxford, 1997), 85-138, and his current projects include a Mozart biography and an edition of the Mozart family correspondence. He recently published, together with Dominic McHugh (University of Sheffield), The Letters of Cole Porter (Yale, 2019).
Charmian Gadd OAM
Australian violinist Charmian Gadd came to prominence in Sydney in the early 1960s. From a background in the bush on the Central Coast, she attended the Conservatorium High School, winning the ABC Competition in 1962 and heading overseas to Indiana University in 1963. Her teachers were Phyllis McDonald and Richard Goldner in Australia and Josef Gingold at Bloomington, Indiana where she also fell under the influence of Janos Starker and Gyorgy Sebok. Henryk Szeryng was a teacher and mentor.
Charmian was appointed Associate Professor at Duquesne University in Pittsburgh in 1969 and moved on to Western Washington University in Bellingham Washington in 1977. Returning to Australia in 1987, she taught at Canberra School of Music and later Sydney Conservatorium. Now retired she lives again on the Central Coast.
William Hennessy AM
William Hennessy is the Artistic Director of the Melbourne Chamber Orchestra and leader of the Melbourne Quartet.
He has long been widely acknowledged as one of Australia’s foremost violinists and music educators. He has made over 300 concerto appearances as soloist with Australian orchestras.
William Hennessy was the founder/leader of The Australian String Quartet 1985-1996, founding deputy leader of the Australian Chamber Orchestra 1975–1977, concertmaster of the Tasmanian Symphony Orchestra from 1980-1984 and has been a member for substantial periods of The Macquarie Trio, The Academy of St Martin in the Fields, and The English Chamber Orchestra.
He was Head of Strings at Melbourne University from 1997-2006 and an Artist in Residence at ANAM 2007-2014. Many of his former students hold prestigious professional positions and he is a noted developer of young chamber music ensembles and chamber orchestras.
Since 1985 he has been a major advocate for the music of the great English composer Douglas Weiland (1954 – ). He also continues to champion the music of Margaret Sutherland, Calvin Bowman, Richard Mills, Benjamin Martin, Joan Tower and Malcolm Williamson. A distinguishing feature of William Hennessy’s composer advocacy is that additionally, these composers, without exception, are or have been outstanding instrumental performers.
William Hennessy was appointed a Member of the Order of Australia (AM) in 2018 for significant services to music.
Cho-Liang Lin, born in Hsinchu, Taiwan, is an American violinist who is world-renowned for his appearances as a soloist with major orchestras.
A neighbour’s violin studies convinced this 5-year old boy to do the same. At the age of twelve, he moved to Sydney to further his studies with Robert Pikler, a student of the celebrated Hungarian violinist, Jenő Hubay. After playing for Itzhak Perlman in a master class, the 13-year old boy decided that he must study with Mr. Perlman’s teacher, Dorothy DeLay. At the age of fifteen, Lin travelled alone to New York and auditioned for the Juilliard School and spent the next six years working with Ms DeLay.
A concert career was launched in 1980 with Lin’s debut playing the Mendelssohn Concerto with the New York Philharmonic and Zubin Mehta. He has since performed as a soloist with virtually every major orchestra in the world. His busy schedule on stage around the world continues to this day. However, his wide-ranging interests have led him to diverse endeavours. At the age of 31, his alma mater, Juilliard School, invited Lin to become faculty. In 2006, he was appointed professor at Rice University. He was music director of La Jolla SummerFest for 18 years, and currently serves as artistic director of Beare’s Premiere Music Festival. In Hong Kong Ever so keen about education, he has recently founded the Taipei Music Academy & Festival dedicated to bring the highest level of musicians to work with young talents (www.taipeimaf.com).
In his various leadership roles, Lin has championed composers of our time. His efforts to commission new works have led to a diverse field of composers to write for him. The list includes John Harbison, Christopher Rouse, Tan Dun, John Williams, Steven Stucky, Esa-Pekka Salonen, Bright Sheng, Paul Schoenfield, Lalo Schifrin, Joan Tower and many more. Recently, he was soloist with the New York Philharmonic, Detroit Symphony, Munich Philharmonic, Toronto Symphony, Cincinnati Symphony, Nashville Symphony and Royal Philharmonic.
Lin performs on the 1715 Stradivari named “Titian” or a 2000 Samuel Zygmuntowicz. His many concerto, recital and chamber music recordings on Sony Classical, Decca, BIS, Delos and Ondine can be heard on Spotify or Naxos.com. His albums have won Gramophone Record of The Year, Grammy nominations and Penguin Guide Rosettes.
Ibolya (Ibby) Mikajlo is currently a Doctor of Philosophy student at the Conservatorium of Music at the University of Western Australia, specialising in the work of Lyndall Hendrickson.
She was a violin student of Mostyn Brown, Robert Cooper, Alphonse Anthony, Sherry Kloss, Gunnar Crantz, Beryl Kimber and Lyndall Hendrickson. In 1994 Ibby completed a Master of Music Thesis on The influence of the scale of C on elementary violin instruction with supervisors Lyndall Hendrickson and Warren Bourne at The University of Adelaide. She premiered the first public performances of Malcom Fox’s “Six Miniatures” (violin and piano) for the Australian Association for Dance Education. Ibby has performed violin and viola with the Sydney String Quartet, Metropolitan State Youth Orchestra, State Opera Orchestra of South Australia, Victorian Opera Company, Sydney Opera House Trust Orchestra, New Holland Baroque Ensemble, and many other community events. Over a few years, Ibby conducted the Chamber Strings for the Sydney Youth Orchestra Association and was Head of Strings at Ascham School, Sydney, and Scotch College in Perth. She has been a long-standing supporter and committee member for the Australian Strings’ Association. Along with her current studies, she currently works as Upper Strings Specialist for the Instrumental Music School Services in Western Australia.
Elizabeth Morgan AM
Elizabeth Morgan has been teaching and performing in Australia for 60 years. A distinguished musician and educator she has a wide base of experience at all levels and a number of awards and credits for her work for string players throughout Australia. She has toured nationally and internationally as an examiner, lecturer and jury member.
Elizabeth came to Brisbane from London where she studied with Master Teacher, violinist Jan Sedivka. A number of her initiatives, which have influenced and supported the growth of string playing in Australia include the National Youth Concerto Competition, the Taabinga Spring Music Festival, the Australian Strings Association, and Camerata – Queenslands Chamber Orchestra.
Elizabeth introduced string pedagogy to Australia at the University of Queensland in 1976, and continued to teach and develop it into an eight-semester course at the Queensland Conservatorium Griffith University for over 10 years. Through the Australian String Teachers Association (AUSTA) Elizabeth introduced many leading international performers and teachers to Australia through national conferences, tours and workshops. In 2001 she brought International Workshops to Brisbane. Her legacy includes a large number of leading violinists, violists and teachers in Australia and overseas who are making their own contributions at all levels of the string playing world.
Elizabeth believes it is not possible to separate the “notes and tunes” from the person playing them. A greater understanding of the teaching/learning process will open ever widening perspective and values enabling an enhanced awareness, quality of life and contribution to society. Playing a stringed instrument and involvement with the glorious string repertoire is one of the ultimate opportunities for a joyful, enriched and more fulfilling life.
Born into a distinguished Sydney musical family, Gregory Pikler took up the guitar in his mid-teens after earlier flirtations with the cello and flute. Some seven years later he headed to London to study at the Royal College of Music, however found himself instead joining the Omega Guitar Quartet, one of the pioneering groups in the field of ensemble guitar music.
Eventually, after some years, feeling that a contribution to the continued development of the classical guitar in Australia was more important than life with the quartet, he returned home, becoming a foundation member of the original Consort of Sydney, accepting a part-time teaching role at the Sydney Conservatorium of Music, and being subsequently appointed Lecturer in Guitar in 1979 – a position he held continuously for well over 30 years. During that time he was elected a member of Sydney University’s Academic Board, became assistant to the Head of School, and Chaired the Conservatorium’s String Department – a rare honour for a classical guitarist anywhere. However having seen many Conservatorium Directors and Deans come and go over the years, it became clear to him that perhaps it was also appropriate for the guitar lectureship to have a younger incumbent, and thus, seeking a less fretful existence, he retired from academic life in 2012.
Gregory has managed a number of international orchestral concert tours, including the Australian Chamber Orchestra, has been the federal specialist guitar adviser for the Music Examinations Advisory Board, a Doctoral and Masters examiner for a number of universities in both Australia and New Zealand, and served on both national and international instrumental juries.
His varied solo and chamber music career has taken him from a rain forest in Queensland to the Handel Festival in Germany, from Cable Beach in Broome to the First International Guitar Festival in Florence, from a basketball court in Manila to Westminster Abbey in London. While quite happy to have essentially left the stage, he continues when needed to play the orchestral guitar parts for both Opera Australia and the SSO.
Dr. Goetz Richter AM
Goetz Richter is a violinist, teacher and thinker with a dual background in music and philosophy. He is currently Associate Professor at the University of Sydney’s Conservatorium of Music where he coordinates performance studies for violinists.
Previous positions include a fifteen-year tenure as Associate Concertmaster with the Sydney Symphony Orchestra (1987-2002) and early career positions as Associate Principal Violin II with the Melbourne Symphony Orchestra (1986-87) and Concertmaster of the Queensland Theatre Orchestra (1985-1986). As a violinist, Richter has appeared as a soloist, recitalist and chamber musician in Australia, New Zealand, Asia and Europe. He has given concerto performances with Australian Orchestras and has been a leader and guest leader of a number of Australian Orchestras. Chamber music collaborations include performances with Herrmann Baumann, Gerard Fauth, Bernhard Greenhouse and others. With pianist Jeanell Carrigan he has a long-standing duo partnership that has included recital performances throughout Australia and in Europe, appearance for Musica Viva and broadcasts for the ABC. As an orchestral musician, principal and leader Richter has worked with eminent conductors including Leonard Bernstein, Lorin Maazel, Charles Dutoit, Neeme Jaervi, Yuri Temirkanov, Edo de Waart, David Zinman, Mariss Jansons, Vladimir Ashkenazy and many others.
Dr. Suzanne Robinson
Suzanne Robinson is a former research fellow at Monash University and lecturer in musicology at the Melbourne Conservatorium of Music. Her books include a biography of the Australian-born composer Peggy Glanville-Hicks, published by the University of Illinois Press in 2019.
Pianist and architect Michael Spivakovsky has enjoyed a varied career in both fields, where he worked in the architectural offices of Grounds Romberg and Boyd, Krantz and Sheldon, and Harry Seidler and Associates. For his design of the Court 800 High School, he was awarded a Churchill Fellowship to study architecture in Britain, the United States, Canada and Mexico.
Michael began the piano at age three with his father, celebrated concert pianist Jascha Spivakovsky, which continued until Jascha died in 1970. Michael has adjudicated several piano competitions and scholarships and has prepared students for international music institutions including the Paris Conservatoire, the Cologne Hochschule, the Manhattan School of Music and the Curtis Institute. He has also prepared musicians for work in orchestras such as the Melbourne Symphony Orchestra and the Berlin Philharmonic Orchestra.
While Jascha Spivakovsky enjoyed great fame and success as a concert pianist in Europe, Australia and the United States, unfortunately, he never made commercial solo records during his lifetime. Michael’s latest project has been to digitize many of his father’s tape recordings, which were made by Michael in the 1950s and 1960s, for release by a French recording company.
Dr. Curt Thompson
Violinist Curt Thompson serves as Associate Professor and Head of Strings at the Melbourne Conservatorium of Music.
His varied career includes appearances on five continents as concerto soloist, recitalist, and chamber musician in such prestigious venues as Carnegie’s Weill Recital Hall, Salle Gaveau (Paris), Teatro Naçional de Costa Rica and Shanghai Concert Hall. He has been a featured artist in festivals in across the United States, Brazil, Colombia, Spain, and Germany.
Equally at home in orchestral settings, Curt earned his first professional position at the age of 15. He has since appeared as Concertmaster of the Spoleto Festival Orchestra [Italy], Fort Worth Symphony, Texas Chamber Orchestra and the Melbourne Symphony Orchestra by special invitation.
His CD recording of the violin sonatas by Charles Ives (Naxos) was cited in The New York Times as a “Critics’ Favorite,” where it was called “…a hole in one…perfectly demonstrating [Ives’] spicy, earthy rawness and appeal….” Regularly aired worldwide, the CD was recently named one of the all-time “Top 10 Ives Recordings” by Gramophone.
Thompson is Founder and Director of the Mimir Chamber Music Festival, which is held annually in Texas and in Melbourne and features leaders of the New York Philharmonic, Los Angeles Philharmonic, and The Cleveland Orchestra. With footprints in two hemispheres, Mimir will soon celebrate its 25th anniversary season in the USA, where it has been listed as a “Top 10 Event of the Year” by the Dallas Morning News and was called a “hotspot” for Classical music by The New York Times. Prior teaching appointments include the Indiana University Jacobs School of Music (as the sabbatical replacement for Russian virtuoso Nelli Shkolnikova) and the TCU School of Music.
Principal teachers included Nelli Shkolnikova and Sergiu Luca, and chamber music with Rostislav Dubinsky, founding member of the Borodin String Quartet.
Curt Thompson performs on a violin by Lorenzo Storioni in 1796.
Diana K. Weekes
Diana K. Weekes is an honours arts graduate from the University of Melbourne and the recipient of a DAAD Scholarship for study in Germany.
She began studies in musicology at Munich University before transferring to the Hochschule für Musik, where she completed a Meisterklassendiplom in solo performance. From 2002 to 2010 she was a Senior Lecturer in Keyboard, Coordinator of the Chamber Music program and Head of Undergraduate Studies at the Elder Conservatorium of Music. Widely experienced in the art of duo piano playing and accompanying, she also completed a PhD in musical composition in 2007. Diana now teaches piano privately and over the past decade has revived her interest in literature and Germanistik. In addition to her work on the letters of Alma Moodie, Diana recently translated Albrecht Dümling’s The Vanished Musicians (Peter Lang, 2016).