The Call of the Four Winds Contents

The Organisers ----------------------------------------------------------------------------------- page 1

Faculty of Tutors -------------------------------------------------------------------------------- page 2
Streams
Adult Recorder -------------------------------------------------------------------------- page 6
Traditional Wind ------------------------------------------------------------------------ page 7
Other -------------------------------------------------------------------------------------- page 8
Children’s Programmes ---------------------------------------------------------------- page 9
Electives
List A ------------------------------------------------------------------------------------ page 11
List B ------------------------------------------------------------------------------------ page 14
List C ------------------------------------------------------------------------------------ page 15
List D (and Third National Recorder Competition) ------------------------------ page 18
Registration Fees ------------------------------------------------------------------------------- page 19
Concerts ----------------------------------------------------------------------------------------- page 20
Transport ---------------------------------------------------------------------------------------- page 21
Venue --------------------------------------------------------------------------------------------- page 21
Accommodation -------------------------------------------------------------------------------- page 22
Festival Centre ---------------------------------------------------------------------------------- page 22
Day-trips ----------------------------------------------------------------------------------------- page 23
Enquiries ----------------------------------------------------------------------------------------- page 24

FESTIVAL PROGRAMME
This daily schedule does not apply to either the Children’s Programmes (see page 9) or to the Recorder-Making Stream (page 8).

Friday 14 January 2000

4-6pm Registration

Saturday 15 January 2000

9am-6pm Semi-finals of the National Recorder Competition Performance Sections
10am-6pm Registration
8pm Evening Concert Aldo Abreu (see page 20)

Sunday 16, Monday 17, Tuesday 18 January 2000

9-9:30am Clearing your pipes – vocal exercises and morning songs to start you breathing for the day.
9:30 – 11.00am Stream (home group) see page 6
11.00-11.45am Morning Tea
11.45am – 1pm Stream (home group)
1-2.15pm Lunch
2.15-3.30pm List A Elective (small groups) see page 11
3.30-4pm Afternoon Tea
4-5pm List B Elective (large and small groups) see page 14
5.30-6.30pm Informal Twilight Concerts (to be advised)
8pm Evening Concert see page 20

Wednesday 19 January 2000

Rest day (see day-trips on page 23)

Thursday 20, Friday 21, Saturday 22 January 2000

9-9:30am Clearing your pipes – vocal exercises and morning songs to start you breathing for the day.
9:30 – 11.00am Stream (home group) see page 6
11.00-11.45am Morning Tea
11.45am – 1pm Stream (home group)
1-2.15pm Lunch
2.15-3.30pm List C Elective (small groups) see page15
3.30-3.45pm Afternoon Tea
3.45-6.30pm List D Elective (large and small groups)
including the Finals of the National Recorder Competition see page 18
8pm Evening Concerts see page 20
 The Call of the
Four Winds New England Girls’ School, Armidale, NSW
15 - 23 January 2000
The Call of the Four Winds is a unique festival encompassing a full week of workshops, displays and concerts. Areas covered will include
the recorder, bansuri, whistle, quena, shakuhachi, panpipes, pipe and tabor, recorder-making, renaissance dance and choir, street music,
composition, improvisation, music fundamentals, rhythm, and harpsichord.

The festival format is flexibly designed to suit participants with a wide range of requirements. Streams (home groups) will cater for players
of all ages and of all standards, from child to adult, beginner to professional, for those who play for leisure and those who wish for more
serious study. A large variety of electives in the afternoons will ensure a wide choice for everyone. Each day will finish with a concert,
featuring many of the tutors in theme-based performances including Italian Baroque, Australian Contemporary and Cross-Cultural.

The Call of the Four Winds will include Recorder 2000, the national festival held every five years. A complete programme of recorder
activities is included within the broader framework of the festival, directed by an outstanding faculty of recorder specialists. As the recorder
broadens its horizons into new areas of musical expression, in this event we would like to offer the opportunity for the recorder to meet with
some of its relatives. We would like in this event to offer a unique opportunity for all to learn, exchange ideas and enjoy playing music.

THE ORGANISERS
Orpheus 2000 Inc. was formed as the non-profit Festival organising body and is directed by Zana Clarke and Caroline Downer. Zana and
Caroline have worked together for a number of years, in particular as managers for the mediaeval group, Cantigas of which they were both
founding members.
Directors:

Zana Clarke, a recorder specialist, is well known for her involvement in Cantigas, Nardoo and Batalla Famossa. Zana
also brings a wealth of administrative experience to the Festival with her positions Vice-President of The Armidale
Recorder Society, Director of The Grand Musical Gatherings, Orpheus Music Publishing and Recordings as well as her
former position as President of the Armidale Eisteddfod Society.

Caroline Downer plays the viola da gamba and vielle and has also taught recorder for a number of years. She was a
Committee Member and the Concert Co-ordinator of Recorder 95 in Melbourne and since moving to Armidale has
become more involved in arts administration. Caroline is currently the Public Programmes and Travelling Exhibitions
Co-ordinator at the New England Regional Art Museum.

Finance and Sponsorship Manager

Cherene Spendelove has extensive experience in arts administration, both in the Visual Arts and in Music. She has
co-ordinated a number of festivals for the Regional Gallery Association of Queensland and Griffith University. A
freelance writer, she is also currently Finance Manager at the New England Regional Art Museum and Manager of
Orpheus Music Publishing and Recordings.

Keith Coggan of the accounting firm Roberts & Morrow is Financial Consultant.

Committee

Children’s Programmes and Child Supervision Robyn Power

Competition Benjamin Thorn
Recorder-Making Stream Keith Martin
Trade Displays Peter Maddox
Transport Priscilla Hall
Venue and Accommodation Jean Gossip
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 FACULTY OF TUTORS

The Australasian tutors will be familiar to most readers and form the basis for the festival. There are also three international tutors: Aldo
Abreu (USA), David Bellugi (Italy), and John Tyson (USA). Each tutor will be employed according to their area of expertise and will give
electives of their own choice and passion. The engagement of Aldo Abreu, David Bellugi, Matthew Armstrong and Linsey Pollak has
been confirmed. The participation of any other tutors is dependent on registration numbers.

Aldo Abreu is one of the rising stars of the recorder world and has been heard throughout the US, Europe, and his
native Venezuela. Abreu’s recent engagements include Spivey Hall, the Ambassador Auditorium, the Metropolitan
Museum of Art and Carnegie Hall in New York. He was born in Caracas, Venezuela and holds Performer’s and
Teacher’s diplomas from the Royal Conservatory in The Hague, where he was also awarded the C. Fock Medal, and
a Master’s degree in Early Music from Indiana University in Bloomington. He has won a number of major performance
prizes including Musica Antigua in Bruges 1984 and the Concert Artists Guild in New York 1992. His teachers have
included Ricardo Kanjii, Michael Barker, and Scott Martin Kosofsky. Abreu is a member of the faculties of the New
England Conservatory, the Boston Conservatory, the Curso Internacional de Musica Historica in Mijas, Spain and the
Amherst Early Music Festival and Institute in Massachusetts.

Natasha Anderson is a graduate of The University of Melbourne, where she was awarded the Nickson Travelling
Scholarship at the Sweelinck Conservatorium, Amsterdam. In 1995 she completed postgraduate studies ‘cum laude’
with Walter van Hauwe. Since then she has performed both early and contemporary music in Holland, the UK, France
and Spain. In London in 1997 she co-directed, under the auspices of The Australia Council, a multi-media music theatre
performance in one of the world’s oldest functioning theatres. Since returning to Australia in 1997 she has performed
and recorded for the ABC with Elision, given masterclasses at The University of Melbourne and recitals and workshops
in Armidale, Sydney and Melbourne. As a member of the collective Aphids Events Inc., she has appeared in the 1997
and 1998 Melbourne Fringe Festivals and the La Mama production of Ricefields, which in 1999 is to tour Australia and
Japan. She has recorded film soundtracks with La Compaña and currently works as an instrument tester for Fred Morgan.

Matthew Armstrong completed a Bachelor of Music (Honours in Community Music) at The University of New
England in Armidale where he was awarded the J. Albert and Son Music Scholarship and the Cecil Hill Postgraduate
Scholarship. He is well-known for his design and construction of an ‘unconventional orchestra’, comprising tuned
stamping tubes, harmonic whistles and single note trumpets. He has given numerous workshops at conferences
including The Association of Early Childhood Educators in 1994 and the International Orff Conference in 1996 as
well as vacation schools in Canberra for the Young Music Society and Gaudeamus. He has worked with adults with
disabilities in Armidale and Canberra and is currently the music specialist at Chisholm Primary School, ACT.

Ros Bandt is a composer and sound artist who has pioneered new sonic forms both here and abroad. She was the first
woman to be awarded the Don Banks Composers Award and in 1992 she shared the Sound Art Australia Prize. Her
compositions, performances and sound installations have been commissioned all over the world, most recently in the
studio of acoustic art in Cologne, Germany. Her compositions for recorder include small notated pieces for solo
instrument, the performance art piece “Disjointed Quartet” and the larger computer composition “Loops” which has
been a spatial sound installation as well as a performer interactive installation. Her own improvisations for recorder
appear on several CDs published by Move Records, being recorded in wheat silos, cement water tanks and car park
ramp cylinders. She is interested in interactivity, realtime composition, spatial music and resonance. Many of her
works are set for the AMEB syllabus and published by AMC, Allans and Currency Press. She has a renaissance
consort by Bob Marvin through which she has been an advocate of the ATTB mean-tone ensemble for renaissance
music. She plays recorder with the early music ensemble La Romanesca.

David Bellugi has a BA in Applied Musicology where he graduated summa cum laude from the University of
California at San Diego. He continued his musicological research in Early Music performance practice under the
guidance of Antoine Geoffroy-Dechaume (a disciple of Arnold Dolmetsch) in Paris. As soloist David has performed
with many orchestras including the Italian Radio Symphony, Radio France-Paris, Radio France-Lille, Radio della
Svizzera Italiana, as well as with many orchestras in Italy, Spain, and USA. He has given recitals and concert/
lectures in the UK, Europe, USA, Asia and Australia. He has also premiered various works and has appeared
successfully as conductor-soloist. David teaches recorder at the Florence National Conservatory in Italy where he
has been living for the past 20 years.

Peter Biffin has integrated musical instrument-making, improvisation and performance into a unique approach to
musical expression. Peter has performed upon instruments of his own creation at the Musicas Visuales Festival in
Mexico City, at the Festival of Asian Arts in Hong Kong, and the Festival of Soloists in Cairns, and has recorded and
toured with Nardoo and with the David Hykes Trio. He has also made a variety of stringed, wind and percussion
instruments for use in schools, and has conducted instrument-making workshops in schools and community organisations
throughout Australia and New Zealand.

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 Zana Clarke is a recorder specialist, active in the areas of performing, teaching and composing. She performs both as
a soloist and with Nardoo, has recorded six CDs and been involved in many ABC live broadcasts. Zana teaches
recorder full-time in Armidale, NSW and directs many adult and youth groups including Batalla Famossa which specialises
in Australian ensemble music. She has developed an approach to recorder-teaching which focuses on musical imagination
and expression. Zana has explored new ways of approaching recorder technique and its role in many different media as
well as composing new works for the recorder, which explore melody.

Justo Diaz was born in Buenos Aires, Argentina and moved to Australia in 1979. He completed an MA from
the University of New South Wales and in 1980 formed Papalote, a group which has been at the forefront of the
movement towards multiculturalism. Diaz is its main arranger and composer, presenting a huge variety of Latin
American music from folk music from the Andes to the African rhythms of the Caribbean. In 1984 Diaz was
awarded an International Study Grant from the Australia Council, which enabled him to spend time in Latin
America and to bring back a unique collection of instruments and experiences to share in music workshops.
Diaz founded La Peña, a centre for cultural exchange and performance in Sydney. He has taught and performed
extensively throughout Australia and New Zealand giving public concerts, workshops, classes, as well as school,
radio and TV performances. He has recorded the CD Papalote - Chiselled in Stone with Larrikin Records.

Greg Dikmans has been at the forefront of the Early Music movement in Australia over the past 20 years as a performer, conductor,
educator and scholar. He received the Diploma in Baroque Flute (First Prize) from the Royal Conservatoire in Brussels where his teacher
was Barthold Kuijken. Greg is recognised internationally for his research into the performance practice of eighteenth-century French
flute music and has spent some time in France as a research associate at the Centre de Musique Baroque Versailles. As a tutor and
associate lecturer at The University of Melbourne, Greg has taught baroque flute and recorder, history and theory subjects and performance
practice, as well as directing renaissance and baroque ensembles. Greg has performed extensively throughout Australia for Musica Viva
and State Arts Councils, played in South East Asia and Europe and made numerous radio and television broadcasts, and several recordings,
including Breath of Creation - Flutes of Two Worlds with Anne Norman, shakuhachi (Move MD 3163). He is artistic director of the
Elysium Ensemble which recently released Music for the King’s Chamber on the Move label.

Charles Garth choreographs and teaches renaissance and baroque court dance and 19th-century social dance. He is
president of the Historical Dance Foundation, an organisation which he co-founded. He began his career as a ballet
dancer. In the early dance field he has performed, choreographed, and taught throughout the United States and in
Europe, South America, Russia, Japan, and South Africa. He has worked in films (The Europeans, Mr. & Mrs.
Bridge, Quartet), in TV (La Danza del Principe, Italy; La Gracia del Amore, Chile), and directs early opera productions
(Venere, Amore e Ragione). He has been a member of the faculty of Schola Cantorum Basiliensis in Basel, Switzerland
and founded the International Early Dance Institute.

Rosalind Halton played in most major centres and festivals in Australia as solo harpsichordist, guest soloist and
continuo with ensembles including Brisbane’s Badinerie Players, Melbourne’s Elysium Ensemble, and in Sydney, The
Song Company, The Australia Ensemble, the Australian Chamber Orchestra and Fontana Musica (1993-96, of which
she was a founding member). Her work as solo recitalist has taken her to Austria, the UK, France and Canada and she
has made several solo broadcasts in New Zealand. Rosalind’s solo CD The French Harpsichord (ABC Classics 454
502-2) has been warmly praised by critics, widely broadcast on ABC Classic FM, and in 1997 was named winner of
the inaugural Soundscapes award in the category, Chamber and Instrumental, Australian. She is a founding member of
the ensemble chacona and is also well-known as the editor of numerous cantatas of Alessandro Scarlatti, published by
King’s Music (UK) and Saraband Music (Australia). She is Senior Lecturer in Performance and Musicology at the
Faculty of Music, University of Newcastle.

Sarah Hopkins composes solo, ensemble and choral music of a holistic nature which draws upon the natural beauty
of the violoncello, voice and whirly instruments (plastic tubes which play harmonics when spiralled overhead). Her
unique style of violoncello playing embraces many new and ancient sounds including musical bird calls, deep earthy
drones, didjeridu bowing and bowed harmonics. Vocally, she specialised in harmonic overtone singing which she
often uses in combination with her violoncello. Currently living in Brisbane, Sarah tours both nationally and
internationally, performing her own original music, running workshops in Harmonic Singing and Holistic Music and
working as an artist-in-residence. Over the last twelve years she has represented Australia at many prestigious
international events. Many of Sarah’s compositions are part of Australia’s music education curriculum and are taught
in Australian schools and universities. Much of Sarah’s music is available on CD and cassette and she has written a
number of film scores for international films.

Poul Høxbro (from Denmark) graduated in 1994 from the Carl Nielsen Academy of Music with recorder as his main
instrument, and he is now employed there as a teacher of the academy’s unique “Musicianship/performer” course.
Before he started his formal conservatorium training he was a rock drummer and among other things he studied and
played South American folk music on an extensive journey throughout Peru and Bolivia. During his student years, he
had a great interest in contemporary music and gave premiere performances of numerous Danish works. Since 1992,
he has decided to devote his musicianship completely to mediaeval music and pipe-&-tabor(s). Besides giving a large
number of concerts with his medieval group ALBA, he is often invited to be a guest in very diverse musical contexts,
contributing his unique sound to recordings and projects ranging from techno and pop to renaissance music.
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 Olympia Karanges has performed with numerous Latin music bands including Papalote and La Peña. She has toured
Australia giving school workshops and also performed in Latin America and Greece. Her performances can be heard
on the soundtrack for the film, The Navigator.

Genevieve Lacey completed a Bachelor of Music (Honours) at The University of Melbourne, and after a year’s study
at the Schola Cantorum Basiliensis in Basel, Switzerland, she completed a postgraduate diploma in recorder performance
in Odense, Denmark under Dan Laurin. She has performed in Scandinavia and Europe as well as throughout Australia
in both early and new music settings, and given live ABC radio broadcasts. She has recorded a solo CD of contemporary
Australian music Phoenix Songs in 1995 on the Move Records and released her second CD two, a collaboration with
Poul Høxbro and Danish artist Laura Rytter Holm in January 1999.

Tony Lewis is a Sydney-based percussionist and composer who specialises in contemporary cross-cultural music forms,
and music for dance and theatre. He has performed with many of Australia’s leading contemporary and cross-cultural
music, dance and theatre groups, including Sanga, B’tutta, Southern Crossings, Ariel, Nardoo, Nakisa, Tala Vadya Kacheri,
REM Theatre, and in duets with Sandy Evans, Matthew Doyle and Satsuki Odamura. He has toured and performed
nationally and internationally, studying and conducting cultural exchange projects in the Pacific Islands, Papua New Guinea,
New Zealand, Indonesia, the Philippines and Africa. He has studied traditional music in west and southern Africa under a
grant from the Australia Council. Tony has composed major dance dramas for the One Extra Company, the Chrissie
Parrott Dance Company, and Matthew Doyle and Dhamor Percussion. (of which is founder and director).

Alec Loretto studied recorder with Kees Otten at the Royal Conservatorium, The Hague in Holland and lectured in
music in Auckland. He started exploring the acoustics of the recorder in the early 1950s and made his first recorder for
sale in 1973. He has travelled frequently overseas exhibiting recorders, delivering lectures and giving illustrated talks.
He conducts recorder-making courses around the world.

Richard Peter Maddox completed a Ph.D. from the University of California in 1987. He has lectured in the Music
Department of UNE and the University of Sydney. He has directed the Lane Cove Municipal Choir (Sydney), UNE
Madrigal Group (Armidale), the Armidale Choral Society and is currently director of the Chapel Choir, The Armidale
School. He is a well-known composer, with a number of his publications listed in the AMEB syllabus for voice. He
also teaches music history and musicianship.

Helen McGeachin has worked in Irish music bands for the past 22 years, including Tipplers All, Break O’ Day and Murphy’s Lore. She
has tutored in tin whistle at the Turramurra Bush Music Camp for the past five years and at the Port Fairy Folk Festival.

Robyn Mellor has a bachelor’s degree in music education from the University of WA and later studied recorder
performance in Holland under Leo Meilink and Michael Barker. Since then, Robyn has established herself as a leading
Australian recorder player and teacher. She is a member of the Sydney-based group The Ensemble of the Golden Age,
and a number of her performances with this group have been broadcast on the ABC. She has also given workshops for
adult recorder societies all over Australia as well as in New Zealand. Robyn has worked extensively as a community
musician with both adults and children. She is the Artistic Co-ordinator of Gaudeamus - Music for Everyone and in that
role has developed a strong recorder with an emphasis on ensemble teaching for students of all ages. Robyn has also
produced and directed three children’s musicals for Gaudeamus.

Hans-Dieter Michatz migrated to Australia in 1983 after obtaining Diplomas in Music Education in Hannover, and
the Solo Performance Diploma from the Royal Conservatorium, The Hague, where he specialised on Baroque Flute
under the guidance of Barthold Kuijken. Playing modern and baroque flute as well as recorder, he has appeared in
a number of festivals throughout Australia. He has performed and recorded with numerous groups including the
ABC, the Australian Brandenberg Orchestra and in the Musica Viva Education Project. His first solo CD featuring
G. Ph. Telemann’s Methodical Sonatas was released by Move Records in early 1997 and was awarded ‘Editor’s
Choice’ of the magazine Soundscapes. Hans-Dieter Michatz has taught at the Universities of Melbourne, Western
Australia, Sydney, Newcastle, and New England, the Victorian College of the Arts and Sydney Grammar School. He
is the editor of the successful Flute Books for the Australian Music Examinations Board. He returns to Europe
annually to perform with the Carl Philipp Emanuel Bach Ensemble from Hannover, or more recently, with members
of the Orchestra of the 18th Century.

Nitya Parker completed a diploma in jazz performance on flute from ANU in 1995. His solo CD Breath of Love was
produced in 1996. He has performed at the National Folk Festival, the National Gallery of Australia, the Indian High
Commission and accompanying Indian dance productions. He teaches flute and bansuri and has a particular interest in
North Indian classical music.

4
 Linsey Pollak is well known all around Australia as a musician, composer, musical director and general musical
catalyst. His work as community music advocate has taken him all over the country for the last 20 years working as
musician-in-residence in communities from Hobart to Broome. He has worked as musical director and composer for
companies such as Doppio Teatro and Dance North and performed with groups too numerous to mention. He established
the Multicultural Arts Centre of WA and has co-ordinated five Cross-Cultural Music Ensembles in three different
states. He has also performed at most major festivals around Australia and recorded 17 albums with various groups.
He has worked as a musical instrument maker for over 20 years and has designed a number of new wind instruments as
well as specialising in woodwind instruments from Eastern Europe. More recently he has specialised in designing and
making marimbas and other tuned percussion. His ongoing obsession combines much of this: making music more
accessible to the community through musical instrument making and playing workshops.

Stuart Ransom teaches and performs the shakuhachi (Japanese bamboo flute). He studies under Riley Lee, a Shakuhachi
Grand Master, and in 1998 received a Maroochy Shire Council Bicentennial Fellowship Award to study making and
playing shakuhachi in Japan. He has performed at a number of festivals including the Woodford Folk Festivals, World
Environment Day Festivals, and Pakti Conference in 1998.

Carl Rathus has studied the shakuhachi since 1975 under Sakai Chikuho II in Osaka, Japan and Grand Master Riley
Lee. He performs with the Japanese group Itotake, most recently at the Brisbane Ethnic Music and Arts Centre and the
Woodford Folk Festival.

John Tyson is one of the world’s most acclaimed recorder artists. A winner of the Erwin Bodky International
Competition, the Noah Greenberg Award and former student of Frans Brhggen, he has appeared as soloist in Europe,
Asia, and North America. John has recorded for Erato, Harmonia Mundi, Sine Qua Non and Ventadorn Records. His
solo CD on the Titanic Label, Something Old, Something New, features baroque and contemporary music for recorder
and strings. His repertoire ranges from Renaissance and Baroque to contemporary, pop and rock. Widely sought after
as a teacher, he is on the faculty of the New England Conservatory of Music and the Corso Internazionale di Music
Antica in Urbino, Italy. He is a recognised expert in improvisation and early dance music and is music director of the
Court Dance Company of New York and the renaissance improvisational group Renaissonics.

Rodney Waterman is a teacher and composer who specialises in the recorder. He studied recorder with Kees Boeke
in Italy and Holland in the mid-1980s. His repertoire is eclectic, including early, folk and contemporary music,
especially Brazilian, with a particular interest in improvised music. He has performed and tutored widely in Australia
and in New Zealand, including appearances at the Adelaide and Castlemaine Festivals, the Melbourne International
Festival of Recorder and Harpsichord, the Armidale Grand Musical Gathering and the Wellington (NZ) Recorder
Week 96 Festival. He has taken the recorder into uncharted territory with his adaptations of contemporary Brazilian
folk/jazz music.

Bernard Wells studied recorder at the Royal Conservatorium of Music in the Hague and at Utrecht Conservatorium
where he graduated in 1987. He has performed in Europe, Australia and New Zealand both as a soloist and in chamber
groups. A national recording artist for Radio New Zealand, he has also commissioned and performed contemporary
works with various ensembles. Bernard is Lecturer in Recorder at Wellington Polytechnic School of Music and
teaches at the Nelson School of Music as well as privately. Bernard’s musical interests extend beyond the recorder’s
repertoire to include jazz, Celtic and Bluegrass music. In 1994 he formed the Celtic Band Potha in which he plays
guitar, mandolin, whistle and 8-key flute with a growing repertoire of Celtic and other world music. He also plays
mandolin with Duo Jackson (violin, guitar and double bass) in an eclectic mix of Gypsy Jazz.

Ruth Wilkinson teaches and performs early music in Melbourne with La Romanesca, a group specialising in mediaeval
and renaissance music, and the Elysium Ensemble. For twenty years she has worked with the baroque ensemble
Capella Corelli which is now based in Vienna. She studied the recorder with Hans-Martin Linde and viola da gamba
with Jordi Savall at the Schola Cantorum Basiliensis, Switzerland. Ruth has been involved in many recording projects
with the Ensemble of the Fourteenth Century, La Romanesca, Capella Corelli, and the Elysium Ensemble as well as a
solo recording of the Suites for Voice Flute by Charles Dieupart - all with the Move label. Ruth teaches recorder and
viola da gamba at the Early Music Studio of the University of Melbourne and is Director of Junior School Music at St.
Michael’s Grammar School, Melbourne.

Peter Woodley is recognised as one of Australia’s foremost traditional Irish flute players. He is best known as a
member of the High Notes and the Hoolie Band. He has made a number of television and radio appearances and in
between commitments has performed with Sirocco and Kev Carmody as well as recording with Paul Kelly. He has
recently completed work as performer and producer of an album of traditional flute music from around Australia in
conjunction with the National Film and Sound Archive.

5
 PART-TIME TUTORS

Lance Eccles is a member of the Sydney-based recorder group, the Reluctant Consort, and over the last 20 years he has written many
recorder pieces and arrangements. Many of these have been composed for the Reluctant Consort and have been performed in their
concerts. Other pieces of his have been written for groups such as Fortune (in Sydney), Batalla Famossa (in Armidale), and the Sydney
Society of Recorder Players. Much of his music is available in print, published either by himself or by Orpheus Music.

Glyn Marillier has been involved with early music performance since his student days at the University of Otago, New Zealand. He
directed the University of Melbourne Early Music Ensemble while teaching there in the late seventies and has been invited to tutor at
numerous recorder gatherings around Australia since that time. His interests range from writing new music for recorders to improvising
on non-Western instruments.

John Martin was a tutor at the Armidale Summer Schools in the late 1970s as well as the previous national recorder festivals in
Melbourne and Canberra. He is well-known for his work with recorder gatherings in Brisbane, Mt. Isa and Townsville. He has performed
in the Brisbane Early Music Festival in 1996 and 1997.

Barry McDonald has been researching and performing traditional music from the New England region for 20 years. He has published
articles and CDs both in Australia and overseas and, as a member of the band Marooan, has performed at most major folk festivals in this
country.

Malcolm Tattersall is a teacher, composer and performer with a long and varied involvement with the recorder. In 1976 he became one
of the foundation recorder students at The University of Melbourne, where he also studied composition. He has served on the committee
of the Victorian Recorder Guild; assisted the AMEB in its revisions of the recorder syllabus; and founded Cootamundra Music in 1982 to
publish and distribute Australian recorder music, including his own. He contributed regularly to Recorder and Early Music, journal of the
Victorian Recorder Guild, from its inception and was its editor from 1989-1993.

Benjamin Thorn has had 20 years experience writing for a range of instruments with a large number of works for recorder. His works
have been published by Currency Press, Moeck, Carus and Orpheus Music and recorded on Jade, Move, 2MBS, ABC and Orpheus. He
has published editions and collections with Currency and Saraband. He has also performed with the Sydney Elizabethan Orchestra,
Renaissance Players, Dolcimelo, and given solo recitals in NSW, ACT, Tasmania, and Victoria.

Alexandra Williams studied in New Zealand and has a Recorder Performance Licentiate from Trinity College London. She studied for
a Bachelor of Early Music Performance from The University of Melbourne under Ruth Wilkinson and at the Vienna Hochschule under
Hans-Maria Kneihs. She has performed at the Melbourne Early Music Festival and the Melbourne International Festival of Organ and
Harpsichord.

STREAMS

Each participant selects a stream on their instrument which is also their home group. As each home group will work together for the whole
festival in the mornings, there is the opportunity to achieve a well-rehearsed sound. For the recorder home groups in the morning, each
group of participants will work with one tutor for the first set of three days and change to another tutor for the second set of three days.

ADULTS - CHOOSE YOUR STREAM

I – RECORDER (A – ADULTS)

LEVEL 1 BEGINNERS
This level is for players that can read and play at least one octave on either the descant or treble. (AMEB Grade 1-3)
Level A1a For players who have not been playing for long or have not played for a number of years. For those who feel they need a very
supportive, gentle group.
Level A1b For players who have been playing for a few years and are ready for a challenge.

LEVEL 2 INTERMEDIATE
This level is for players who can read and play two octaves on the descant or the treble or both. (AMEB Grade 3-6)
Level A2a For players who can play two octaves, but find the second octave more difficult.
Level A2b For players who can sight read to a good standard and can hold an independent line.
Level A2c For players who are excellent sight-readers, very comfortable with the two octaves and are looking for a challenge.
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LEVEL 3 ADVANCED
Part of this level requires a compulsory set work(s) to be prepared to perform and study during the week. At this level it is expected that
a player can read and play two octaves fluently on both descant and treble, read up an octave and read bass clef. (AMEB Grade 6-8)
Level A3a No set work required.
Level A3b One set work:
1. Handel Sonata in a minor for treble recorder and basso continuo (Schott)
Level A3c Two set works:
1. Corelli Sonata Op 5 No 8 for treble recorder and basso continuo (Noetzel) and
2. Castello Sonata prima for descant and basso continuo (Schott)

LEVEL 4 PERFORMERS
This level is the most advanced level and requires 4 compulsory set works to be prepared to perform and study during the week. This is
a high level professional training stream.
Level A4 Four set works:
1. Castello Sonata due for descant recorder and continuo (Doblinger)
2. Hans-Martin Linde Music for a bird for solo treble (Schott OFB 38)
3. Corelli La follia pour flute a bec et basse continue (Schott OFB 121)
4. Anne Danican-Philidor Sonata in d minor for treble recorder and continuo (Barenreiter HM 139)

II - TRADITIONAL WIND

B – BANSURI with Nitya Parker

The Bansuri is the transverse flute of North India, dated from the first century AD at the latest. It is especially associated with the god
Krishna who is often depicted playing it. It is now heard most in Bengal and Bihar. An introduction to the Indian flute, ranging from
delightful rural folk tunes to contemporary film music through to the more haunting and classical traditions.
B1 Beginner Bansuri. No background needed. Instruments are available for hire at the Festival.

PP - PANPIPES with Olympia Karanges

The Panpipes are a row of tubes of different lengths joined side by side and sounded by blowing across the tops. Using the repertoire of
Bolivian and Peruvian music, this stream will focus on the basic sound production techniques of panpipes.
PP1 Beginner Panpipes. No background needed. Instruments are available for hire at the Festival.

PT - PIPE AND TABOR with Poul Høxbro

Throughout the Middle Ages the combination of Pipe and Tabor was known from Sweden to the Mediterranean Sea. At dances,
banquets, tournaments, theatre, even in the church and on the battlefield one could hear this sophisticated one-man band alone or together
with other instruments. The pipe, which exists in different sizes, only has three holes but a compass of nearly two octaves and a rich and
powerful tone. It is played with one hand while the other holds a stick and beats the drum in rhythmic patterns on both skin and edge. In
most places pipe and tabor disappeared during the 16th and 17th centuries, but it is still very popular in the folk music of northern Spain
and southern France. This group is open for any interested musicians from beginners to advanced players. It will cover both pipe and
tabor techniques (separately and together!), and the infinite possibilities of playing tunes with and without rhythmic accompaniment. The
musical material will be tunes from the middle ages as well as Danish folk melodies.
PT1 For beginners or advanced players. Instruments are available for hire at the Festival.

Q – QUENA with Justo Diaz

Held like a recorder, the Quena is the notched flute of Andean South America, found mainly from Chile to Peru. It is one of the main
indigenous pre-Columbian melodic instruments of the whole region and goes back to around 900 BC. Participants will be introduced to
the sound production technique, fingering, scales and quena repertoire.
Q1 Beginner Quena. No background needed. Instruments are available for hire at the Festival.

S – SHAKUHACHI with Stuart Ransom and Carl Rathus

The Shakuhachi is one of the most simple of musical instruments. It is an end-blown flute made of bamboo with only five finger holes.
Described as one of the most meditative of all instruments, it is also one of the most expressive and versatile. The instrument was first
introduced into Japan from China in the eighth century. For centuries playing the shakuhachi was the primary meditative practice of a sect
of Zen Buddhist monks. For them, the shakuhachi was a spiritual tool, not a musical instrument. They cultivated the power of sound as
a way to knowing both physical and metaphysical planes of existence. Its appeal lies in its ability to produce variations in pitch and tone,
which is said to be matched only by the human voice. Playing the shakuhachi with the required approach and breathing techniques can
lead to a total relaxation of mind, body and soul.
S1 Beginner Shakuhachi. No background needed. Instruments are available for hire at the Festival.
S2 For players who have played shakuhachi before but need extending.

W – WHISTLE with Helen McGeachin and Peter Woodley

Come and learn to play the tin Whistle! This instrument offers the player great freedom of nuance and particularly in Irish Music the
opportunity to explore a profusion of grace notes and slides from note to note.
W1 Beginner whistles. No background needed.
W2 For players who have played whistle before but need extending.
7
 III - OTHER STREAMS

C1 - COMPOSITION (Full-time participants only)

The composition stream will provide opportunities for both people who have some experience of composition and those who want to try
it out. Different approaches to composition, both technical and philosophical, will be discussed. Workshop sessions will look at the
details and possibilities of writing for the recorder and other instruments. Participants will be involved in individual and group-devised
pieces and have the opportunity to talk about their own music and approach to composing with tutors and other participants. Bring tapes
if you have them!

H1 – HARPSICHORD with Rosalind Halton (Full-time participants only)

This stream focuses on three composers for keyboard (Haydn, Purcell, and Scarlatti) whose works explore the instrument
and its harmonic language with wit and feeling. The first volume of Haydn’s sonatas (up to ca.1770), Purcell’s Suites
(Stainer & Bell) and the sonatas of Scarlatti (choose a slow and a fast sonata) form the basis for this class.

I1 - INTRODUCTION TO IMPROVISATION with Peter Biffin (Full time participants only)

A safe and secure setting in which the confidence to improvise can gradually develop and unfold. This stream will utilise a range of
simple structures to improvise within which are drawn from many different parts of the world. The focus will be on unveiling creative
potential rather than on technical prowess. Workable class dynamics will, however, require that participants can confidently manage a
variety of scales, preferably with a range of 2 octaves. Open to any portable instrument capable of playing melody. (Reed and brass
players would have to be able to play quietly).

IMF1 - INTRODUCTION TO MUSIC FUNDAMENTALS (or, Do you know what your kids are doing?)
Learn the basics of musical language: theory, notation, concepts of harmony and analysis. Be able to discuss musical ideas with your
children. This stream is aimed at mature students who have learned an instrument in their younger days but forgotten all they ever knew,
as well as those who have had no musical training at all, but would like to learn about the “nuts and bolts” of music. The instruction will
cover basic notational topics such as the staff, clefs and note-names; keys, key-signatures and key-relationships; note-shapes, time-
signatures and rhythmic organisation; transcription of melodies.

MC1 - MOTET CHOIR (with Peter Maddox)

Come and sing a variety of renaissance choral works from masses to motets and madrigals!

O1 - OBSERVER
This stream is for teachers or parents who do not wish to play at all but would like to observe sessions. Observer status entitles participants
to observe any stream, but not to participate.

RB1 - RHYTHM IN THE BONES with Tony Lewis (Full-time participants only)
This stream is designed to instigate, cultivate and enhance rhythmic awareness and dexterity in anyone who is conscious
of their need to do so. It considers rhythm from many angles, focusing strongly on the communal rhythms of west
African ensemble drumming and Indonesian gamelan orchestras, and including rhythms from many other parts of the
world. Participants will learn to embody rhythms through physical exercises in foot-stepping, hand-clapping and voice
work. Participants will learn how easy it is to create complex interlocking rhythms by putting numerous simple parts
together, and will be surprised at their own abilities. The stream is appropriate for complete novices and experienced
professionals alike – anyone who wants to advance their understanding of rhythm.

RCD1 – RENAISSANCE COURT DANCE with Charles Garth (Full-time participants only)
This stream will be an introduction to the dances and technique of late 16th- century court dance as
described in the dance manuals of Fabrizio Caroso, Cesare Negri, and Thoinot Arbeau. The emphasis
will be on moving and dancing, with dances and phrases chosen from the major and most enjoyable
social dances of the period: Pavans – from the proudly ceremonial to the more relaxed social; Galliards
–flamboyant, extroverted, improvisational solos along with walking passages for two; Canaries – intricate,
quick, foot-stomping conversational phrases, very Spanish-like; and Branles – the folk dances of the
nobles. No previous experience is necessary.

RM1 - RECORDER MAKING with Alec Loretto.

(This is only offered as a full-time stream and in this case you will not need to select any electives as the
course runs throughout the full day)
Students attending the Recorder Making Stream will make a Renaissance Treble at a-440Hz. The instrument is derived from two Renaissance
Recorders - one in the Brussells Collection, the other in the Vienna Collection. Participants in the Recorder Making Stream will be encouraged
to arrange out of hours playing sessions and to attend evening concerts. Those attending this stream will be contacted before it starts and
advised what tools and other equipment they should bring if at all possible.

8
CHILDREN’S PROGRAMMES

The festival is focusing on attracting the younger players of the recorder to give them an opportunity to see what the
recorder can do and share their music with others. It is a unique chance for students to meet other recorder players of
all standards. There will be separate children’s streams for a variety of ages and expertise. Children’s programmes will
include a variety of activities including recorder, making harmonic whistles, art-making activities and musical games.

Please direct any enquiries about the children’s programmes to Robyn Power on (02) 6772 8007. Robyn has a fine arts
and education qualification from the University of Sydney. She has taught at a number of secondary schools in Sydney
and Armidale. Robyn was Education Officer at New England Regional Art Museum and currently takes educational
tours there for primary and secondary students on a casual basis. She has two children Ned and Amy who are both at
University.
TIMETABLE

The children’s programmes run Sunday, Monday, Tuesday, Thursday, Friday and Saturday.
Wednesday is a rest-day. There are a number of day-trips available for the older children (see page 24).

Groups
C0, C1, C2, C3, C4 9.00am-3pm
C5, C6 and SM1 9.00am-4pm
C7, C8, C9 9.00am-5pm

CHILD SUPERVISION (Saturday to Sunday inclusive)

Children under 18 are strongly encouraged to enrol even if a parent is unable to attend.
Minors who are residential and full-time participants at the Festival without a parent or
guardian can be supervised at an extra cost.

24 HOUR (Saturday 15 January 9am to Sunday 22 January 12 noon inclusive)

C7-C9 $60
C5, C6, SM1 $70
C0-C4 $80
Any extra supervision outside this period can be negotiated.

DAY-CARE (Available 3-5pm Sunday toTuesday, Thursday toSaturday)

For parents who are full-time participants at the Festival, child supervision is available for students in C0-6 and SM1 from
the end of their formal classes until 5pm. Cost is $5 per hour.

CHILD-CARE FACILITIES

This is a service for tutors or adult participants who need child-care facilities on campus for children under 6 for the following times:
9.00am-5.00pm Sunday-Tuesday inclusive and Thursday to Saturday inclusive. This service is only available for parents who remain on
campus.

9
 C – SCHOOL-AGE CHILDREN

The grade level indicated after each group is a guide only. If you have sat or are planning to sit AMEB Grade 3 in 1999 then you enrol in
group C4. Ask your teacher which group you should be in.

LEVEL 1
This level is for players that can read and play at least one octave on either the descant or treble (or both).
C0 AMEB Pre-Grade 1
C1 AMEB Grade 1
C2 AMEB Grade 2
C3 AMEB Grade 3
C4 AMEB Grade 4

LEVEL 2
This level requires a compulsory set work(s) to be prepared to perform and study during the week. At this level it is expected that a player
can read and play two octaves fluently on both descant and treble, read up an octave and from C6 onwards read bass clef.
C5 AMEB Grade 5: One set work:
1. Telemann Sonata in F Major for treble recorder and basso continuo (Schott)
C6 AMEB Grade 6: One set work:
1. Handel Sonata in g minor for treble recorder and basso continuo (Schott)

LEVEL 3
This level requires a compulsory set work(s) to be prepared to perform and study during the week. At this level it is expected that a player
can read and play two octaves fluently on both descant and treble, read up an octave and read bass clef.
C7 AMEB Grade 7: One set work:
1. Handel Sonata in a minor for treble recorder and basso continuo (Schott)
C8 AMEB Grade 8 :Two set works:
1. Barsanti Sonata in C Major for treble recorder and basso continuo (Hortus)
2. Castello Sonata prima for descant recorder and continuo (Schott)

LEVEL 4
This level is the most advanced level and requires 4 compulsory set works to be prepared to perform and
study during the week. This is a high level professional training stream.
C9 PERFORMERS: Four set works:
1. Castello Sonata due for descant recorder and continuo (Doblinger)
2. Hans-Martin Linde Music for a bird for solo treble (Schott OFB 38)
3. Corelli La follia pour fluten bec et basse continue (Schott OFB 121)
4. Anne Danican-Philidor Sonata in d minor for treble recorder and continuo (Barenreiter HM 139)

SM1 - STREET MUSIC with Linsey Pollak (This is only offered as a full-time stream)
This series of workshops will create a street band involving the making and playing of a variety of
instruments ranging from percussion, marimbas and thongaphones to panpipes and flutes. No previous
musical experience is necessary, although it would be an advantage. These workshops are open to
anyone 13-17 years who has a commitment to having fun and developing a hot street band.

10
 ELECTIVES

Electives are offered to all adult participants (except those in the Recorder-Making Stream) and to those children enrolled in streams
C7, C8 or C9.

Full-time participants may participate in 4 electives (one each from Lists A, B, C and D); part-time participants may choose electives
scheduled for the times for which they are registered. Electives run for three sessions over three days. You need to attend all three sessions
to complete the full elective.

Electives may not be offered if not enough registrations are received in the Festival, or there is insufficient interest from participants.
Enrolments are strictly on a first-come first-served basis (the earlier you send in the form, the better your chances will be of being accepted
for a popular elective). Please make sure you fill in ALL your preferences in the enrolment form to avoid disappointment!

List A Electives: Sunday, Monday, Tuesday 2.15-3:30pm

List B Electives: Sunday, Monday, Tuesday 4-5pm
List C Electives: Thursday, Friday, Saturday 2.15-3:30pm
List D Electives: Thursday, Friday, Saturday 3.45-5pm

Each elective has been graded as below:

L1, L2, L3, L4, Levels (Recorder)
W Whistle S Shakuhachi (see stream information)
G General (suitable for anyone regardless of instrument or standard)

LIST A ELECTIVES (small groups)

RECORDER - PLAYING

A001 MEDIAEVAL MUSIC I (L2-4)

Mediaeval Dances (Genevieve Lacey)
Listen to some different recordings (and different interpretations) of French and Italian mediaeval dances, and then play around with
different possibilities, creating your own version of a dance.

A002 RENAISSANCE MUSIC I (L1-4)

Renaissance Improvisation (John Tyson)
Free and melodic improvisation of renaissance music through the study of treatises, ornamentation and grounds. This is a practical
elective for all levels; no experience is necessary.

A003 BAROQUE PERFORMANCE PRACTICE I (L3-4)

Rhetoric and Performance Practice (Greg Dikmans)
A definition of rhetoric is offered, looking at its development in antiquity and in the 17th century. The three strands of rhetoric (technical,
sophistic and philosophical) are outlined, with an introduction to some of the basic terminology. This elective will look how rhetoric
analysis can be applied to performance practice. Because rhetoric is fundamentally a theory of human communication, its tenets can be
applied to any repertoire of any century (or culture). This elective will examine what performance practice is in its most widest sense, as
well as focusing on that part of rhetoric known as pronunciato or delivery. The wider theoretical and philosophical issues will be
discussed and how they can be applied in practice.

A004 THREE GENERATIONS OF THE FRENCH BAROQUE (Rosalind Halton) (L1-4, G)

A course of listening and playing to develop your understanding of this fascinating and influential musical style, and its origins in the 17th
century.

A005 CONTEMPORARY MUSIC I (L2-4)

1. Mobile Music (Ros Bandt)
Ros Bandt has designed a new flexible composition especially designed for the Festival. Working from a sculpture, musical elements will be
interpreted by the group outdoors or indoors in an exciting venue, stairwell etc. The group will participate in the decision-making process. The
piece will be designed to the specific site/ venue on arrival and its performance will emit a sound sculpture of ever-changing recorder sounds.
2. Contemporary Music Approaches (Zana Clarke)
Exploring aspects of playing the recorder and singing simultaneously.
3. Playing from Graphic Scores (Natasha Anderson)
From Kagel to the creation of your own improvisations.

A006 ENSEMBLE PLAYING I (L2-4)

This elective is for established groups who already work together on a regular basis. It will give the opportunity for ensembles to work
with a tutor on their repertoire. This elective is limited to three groups.
11
 A007 RECORDER AND ALL THAT JAZZ (Rodney Waterman) (L2-4)
1. Brazilian Music for Recorder
Discover new and exciting repertoire for the recorder.
2. Ade Monsborough and the Recorder in Ragtime
Ade Monsborough has made a fascinating and eccentric contribution to the recorder in Australia, as a player and maker. Learn more
about this interesting figure and play some of his joyful ragtime.
3. Jazz and the Baroque!
There is a surprising structural connection between baroque music and jazz, for example figured bass, improvisation and chord charts.
The session gives participants the opportunity to explore these similarities.

A008 EASTERN EUROPEAN MUSIC (David Bellugi) (L2-4)

Modern sound documents: transcription, arrangement and performance of Eastern European music for the recorder (including Klezmer music).

A009 VENEZUELAN MUSIC (Aldo Abreu) (L2-4)

Expand your recorder repertoire with the sounds of Spanish-influenced music.

RECORDER - TECHNIQUE

A010 ASPECTS OF TECHNIQUE I – BREATHING (L1-4), G

1. Breathing, Posture, Body-Language and Performance (Hans-Dieter Michatz)
A class to examine the total picture and to help find solutions for technical/musical problems.
2. Breathing as Musical Structure (Ros Bandt)
The importance of the breath in driving phrasing, space notation and timbre in original works by Ros Bandt set for Grade 6 AMEB,
Meditation, Drifts in Sand, Flight. Grade 6 and above to prepare works for Masterclass.
3. The Art of Breathing (Nitya Parker)
Various breath techniques drawn from the yoga traditions have both immediate and indirect relevance to any wind instrument.

A011 ASPECTS OF TECHNIQUE II – FINGERING (L1-4)

1. Technical Practice of the Recorder (Natasha Anderson)
A practical session of examples and exercises designed to bring about greater control, flexibility and rapid improvement.
2. How to Enjoy your Scales (Natasha Anderson)
A practical session on practising scales.
3. How to Play Trills (Hans-Dieter Michatz)
A practical session looking at the alternative fingering and technique of trill-playing.

EDUCATION

A012 TEACHING THE RECORDER (Robyn Mellor) (G)

1. Aspects of Class/Massed Teaching
A look at some of the ways class recorder lessons can be approached with regard
to teaching techniques, practice techniques, danger areas, the introduction of the
treble, repertoire and much much more.
2. Aspects of Ensemble Teaching
A discussion of the joys of teaching ensemble classes.
3. Aspects of Private Teaching
A look at the private music lesson and how we can vary our approach to it.

TRADITIONAL WIND

A013 BEGINNER’S WHISTLE (Helen McGeachin) (G)

Come and learn to play the tin whistle! This instrument offers the player great freedom of nuance and, particularly in Irish music, the
opportunity to explore a profusion of grace notes and slides from note to note.

A014 AUSTRALIAN FOLK BAND (Barry McDonald) (G, W)

This session, for any instrument, will concentrate on the ensemble performance of nineteenth-century Australian folk dance melodies
collected in the New England region over the past 20 years. Although the main focus will be on single melody line, some harmonisation
will be explored. It is expected that tonalities will be based around D and G.

A015 FROM WHISTLE TO FLUTE (Peter Woodley) (W)

Making the transition from whistle to open system flute.

A016 HISTORY AND PHILOSOPHY OF SHAKUHACHI (Carl Rathus) (G, S)

The shakuhachi is intimately associated with Zen Buddhism. Until recently it was strictly a meditation tool, not a musical instrument.
This is not necessarily the case now. Nevertheless, whatever your reason for playing may be, an understanding of the background of the
shakuhachi is important.
12
A017 BEGINNER SHAKUHACHI (Stuart Ransom) (G)
The shakuhachi is one of the most simple of musical instruments; an end-blown flute made of bamboo with only five finger holes. Learn
how to produce a sound, and discover its meditative and spiritual nature. Instruments are available for hire at the Festival.

A018 PAN-PIPE MAKING (Olympia Karanges) (G)

Make your own set of panpipes using PVC pipes and cane. Learn the basic theory of length of tube and pitch.

A019 BEGINNER QUENA (Justo Diaz) (G)

Held like a recorder, the quena is the notched flute of Andean South America, found mainly from Chile to Peru. It is
one of the main indigenous pre-Columbian melodic instruments of the whole region and goes back to around 900 BC.
Participants will be introduced to the sound production technique, fingering, scales (and chromatic notes) and the
repertoire of the quena. It will also include traditional music in two-part harmony. . Instruments are available for hire
at the Festival.

TRADITIONAL GENERAL

A020 WEST ASIAN MUSIC (Peter Biffin) (G)

An elective exploring the scales, modes and improvisation structures in West Asian music, focusing on the classical
traditions of Turkey, Persia and India.

A021 ASHANTI ADOWA – WEST AFRICAN ENSEMBLE DRUMMING (Tony Lewis) (G)
The adowa is a recreational style of drumming of the Ashanti people of central Ghana. Adowa is hierarchical in
structure, allowing for participation by people with a range of technical abilities. The subject will teach the seven support parts to adowa
on authentic Ashanti instruments (drums, metal bells and gourd rattles), and advanced participants may also learn some master drum
parts.

A022 GLOBAL TRENDS IN THE MUSIC OF NORTH INDIA (Andrew Alter and David Goldsworthy) (G)
Music in most cultures today is undergoing significant changes as a result of increased media contact between diverse groups of people.
Within India, folk and classical traditions are now being adapted to meet the needs of larger markets throughout India and the rest of the
world. Folk musicians borrow popular tunes, recording studios mix their sounds for cosmopolitan tastes, and classical musicians continue
to adapt to modern trends. This elective explores the implications of increased ‘media’ contact for the various music traditions of North
India. Sessions will include lectures, videos and recorded examples.

A023 FRAME DRUM (Poul Høxbro) (G)

Frame drums are percussion instruments with or without small cymbals (like those used on the tambourine) with a tradition still living
from mediaeval times in Southern Europe and the Arab world. They are held vertically, giving the possibility of a wide variety of sounds.
This course will cover basic techniques and common rhythms for these instruments - techniques and rhythms which then can be used in
mediaeval/folk or crossover contexts. Instruments are available for hire at the Festival.

GENERAL

A024 BEGINNER RECORDER (Malcolm Tattersall) (L1, G)

For novices, this elective will offer an opportunity to begin lessons on the recorder. Instruments are available for hire (or purchase) at the
Festival.

A025 SINGING FOR PLEASURE (Peter Maddox) (G)

In this choral workshop, participants will study and prepare for performance a varied group of songs ranging from 16-century madrigals
to contemporary songs and arrangements of folk songs. Find out what it feels like to be part of a singing group that can move mountains,
even if you have never opened your mouth before! If you are an experienced choral singer, come and enjoy singing with your friends!

A026 HOLISTIC MUSIC (Sarah Hopkins) (G)

1. Return to Joy: Stress-free Holistic Music which Everyone can Play
Using sonorous and accessible handbells and whirly instruments experience the pure joy and delight of
playing music together whilst being immersed in blissful, celestial sounds!
2. Harmonic Overtone Singing and the Harmonics of Creation
Harmonic overtone singing is a magical, other-worldly sound which resonates on a deeply spiritual level,
whether one is the listener or the singer. With its roots in Mongolia and Tibet its long oral history embraces
both secular and sacred traditions. It is a form of chanting which brings out the natural upper partials within
each note that is sounded: a fundamental musical principle almost forgotten in western music. Through
precise modulation one can create beautiful and ethereal melodies in a very high register.
3. Sarah Hopkin’s Compositional Process
This workshop will provide an overview of Sarah’s unique life-affirming music and her very creative (and
often unorthodox) approach to composing. It will include live and recorded examples of her solo, ensemble
and choral music as well as group participation in her interactive music for handbells, voices and whirly
instruments. This is music which everyone can play (musicians and non-musicians alike).
13
 A027 ACOUSTICS (G)
1. Recorder – See How it Runs (John Martin)
Lift the lid off your recorder and find out how it works. John Martin, who wrote the Moeck publication The Acoustics of the Recorder, will
help you understand how your favourite instrument works, and what implications it has for the way you play.
2. The Development of New Instruments for Cross-cultural Exploration (Peter Biffin)
A lecture demonstration exploring some of the acoustic and musical aspects involved in devising new instruments.
3. Acoustic Spaces (Ros Bandt)
Ros Bandt will give a lecture demonstration on her work with recorders in many fascinating venues - wheat silos, concrete water tanks, car
parks, the city link underground, irrigation channels - as a basis for discussing how to trap and craft the recorder’s sonorities imaginatively.
Studio and recording situations will be discussed in terms of their impact on resonance. Any level.

A028 RENAISSANCE COURT DANCING (Charles Garth)

This elective will be an introduction to the dances and technique of late 16th-century court. Dances will be chosen from the major and most
enjoyable social dances of the period, from the proudly ceremonial Pavan to the folk dance of the nobles, the Bransle. No previous
experience is necessary.

COMPOSITION

A029 MUSIC ARRANGEMENT I (G)

Arranging for Recorder Consort (Lance Eccles)
A practical introduction for those who want to make simple recorder arrangements of folk songs, popular melodies, hymns, etc. It will
especially suit teachers who want to extend the repertoire of their pupils without having to spend lots of money on expensive printed arrangements.

A030 MUSIC EDITING (G)

Music Editing and Arranging (BenjaminThorn)
A look at the techniques and responsibilities of music editors and arrangers, covering the full range of repertoire from the Middle Ages to
the present.

LIST B ELECTIVES (large and small groups)

B001 RECORDER ORCHESTRA (Robyn Mellor) (L1-4)

Come and experience the delights of playing with masses of recorders of all shapes and sizes (from sopraninos to contrabass) and players
of all abilities (from beginners to very advanced). Participants will play new works by Phil Marks, and Ian Blake. Each work has been
written to cater for all abilities with easy parts and very difficult ones. There will be something for everyone. “Golden Oldies” will
include polychoral works by Gabrielli, da Viadana and Massaino.

B002 MASTERCLASSES (L1-4, G)

This elective is suitable for auditors as well as participants. There is an extra charge for performers in the masterclass elective who also
need to fill in the masterclass section of the enrolment form. Tutors will include John Tyson, Aldo Abreu, David Bellugi, Natasha
Anderson, Hans-Dieter Michatz, Ros Bandt, Ruth Wilkinson, Greg Dikmans and Rosalind Halton.

B003 SMALL CHAMBER GROUPS/RECORDER CONSORTS/MADRIGAL GROUPS (L2-4, G)

An opportunity to play or sing in small chamber groups and recorder consorts, unsupervised. Music will be available to hire at the Festival.

B004 DANCE BAND (John Tyson) (L1-4, G)

Understanding dances, tempi, gestures, improvisation and ornamentation for all instruments and mixed levels.

B005 LATIN AMERICAN MUSIC (Justo Diaz) (G)

A general elective for a large group (vocals, wind or rhythm) to learn a number of Latin American songs.

B006 MASSED WHISTLE (Peter Woodley) (W)

A mighty whistle session!

B007 SHAKUHACHI SMALL GROUPS (Stuart Ransom and Carl Rathus) (S)
An opportunity for shakuhachi players to work in small groups, developing their technique, sound production and repertoire under the
guidance of Stuart and Carl.

B008 SECRETS OF POLYRHYTHM (Tony Lewis) (G)

This elective analyses the phenomenon of polyrhythm as a prominent feature of many traditional music forms from all over the world.
Beginning with a thorough analysis of the fundamental principles of polyrhythm, the elective then investigates how it is practised in west
African drumming, Spanish flamenco, north Indian classical music and dance, Andean music, Persian music and elsewhere. Participants
will learn to create communal polyrhythms through exercises in foot-stepping, hand-clapping and voice work. The elective is recommended
for anyone with an agile mind, and the ability to walk and chew gum at the same time.

14
B009 UNCONVENTIONAL ORCHESTRA (Matthew Armstrong) (G)
Stamping tubes tuned in lengths from above your head to below your knee, harmonic whistles that play hillbilly and the blues, single note
trumpets that build resonant chords and the long thonged notes of the bass thongaphone. This carefully structured orchestra is played by
people of all ages and musical experience.

LIST C ELECTIVES (small groups)

RECORDER - PLAYING

C001 MEDIAEVAL MUSIC II (L3-4)

The Improvisatory Art of the giullari (Ruth Wilkinson)
In spite of the lack of specification of instruments in mediaeval music, there
is much which is accessible to recorder players. The music which survives is
found in two main sources: fifteen istampitte in a manuscript of secular songs
written in Florence in the early fifteenth century; and a collection of keyboard
transcriptions of many of these songs written a little later, with extravagant
ornamentation. A close study of these two manuscripts is the best way to
understand the improvisatory art of the giullari, the multi-talented entertainers
of late mediaeval Italy.

C002 RENAISSANCE MUSIC II (Natasha Anderson) (L3-4)

1. The In Nomines of Elizabethan England
A chance to play and also look at the compositional principles of this abstract,
complex and refined music including music by King Henry VIII, Baldwine
and Christopher Tye.
2. The Dances of Holborne
A practical session offering the chance (hopefully) to play on a ‘great consort’
(tenor on top line).
3. Divisions on a Ground
Learn to play a few renaissance ground bass patterns, and then work at
improvising over them having looked at and heard some historical models.

C003 BAROQUE PERFORMANCE PRACTICE II (L3-4)

Telemann Methodical Sonatas (Hans-Dieter Michatz)
These are the ultimate examples of late baroque expression, rhetoric, ornamentation. How can they be used to establish an adequate
instrumental technique?

C004 BAROQUE PERFORMANCE PRACTICE III (David Bellugi) (L2-4)

Historical sound documents: analysis of 17th and 18th century mechanical musical instruments as a source for ornamentation and “notes
inégales” and their practical application in performance.

C005 CONTINUO (Rosalind Halton) (G)

Three main skills are required in continuo playing: harmonic and rhythmic abilities and knowing the score - the type of piece, instrument(s)
and the part(s) you are accompanying. The course aims to build confidence in each of these areas. (Non-keyboard players welcome)

C006 ENSEMBLE PLAYING II (L2-4)

This elective is for established groups who already work together on a regular basis. It will give the opportunity for ensembles to work
with a tutor on their repertoire. This elective is limited to three groups.

C007 CONTEMPORARY MUSIC II (Ros Bandt) (L2-4)

1. Performing with Tape/CD/DAT/Multi-channel Systems
Original works Melbourne Promenade, Loops and Aeolian Winds will be discussed and demonstrated analysing the changing relationships
possible between fixed points. The composer will masterclass Loops (computer version) for any participants who have prepared the
piece. Score and tape of Loops available at the Australian Music Centre.
2. Mapping original languages: Improvising Collectively from Graphic Notation
Disjointed Quartet is a comic piece of theatre satirising the string quartet form. Rediscover your recorder’s potential when disassembled.
CD Rom takes this piece apart.
3. Microtonality and Pitch Bending
Experiment on your recorder and get to know its inner spaces. Get into the cracks in your recorder. Feel its sharpness and flatness. Bring
a slide whistle as well as your recorder if you have one. A background will be set against electronic music and the seminal work of
Australian composer, Percy Grainger. His free music, his recorders and glissandos and gliding tones will be discussed in detail.

C008 POP/CROSSOVER ENSEMBLE (John Tyson) (L1-4)

For all levels, this is pop and new music for recorders with improvisation and rhythm practice.

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 RECORDER - TECHNIQUE

C009 ASPECTS OF TECHNIQUE III – ARTICULATION (Robyn Mellor) (L1-4)

1. Articulation
A practical approach to articulation: what to say, how to say it and when to say it.
2. Playing Smoothly
A practical look at the use of the breath and breathing and their importance in playing smoothly.
3. Playing Staccato, Marcato and Strong Sounds
Tips on varying your articulation and achieving a more forceful tone.

C010 ASPECTS OF TECHNIQUE IV (Aldo Abreu) (L1-4)

In this elective, all the different aspects of recorder technique will be discussed in detail. Topics will include breathing, sound production,
posture, holding the recorder, finger technique and articulation, as well as how technique relates to interpretation and performance.

C011 PERFORMANCE SKILLS (G)

1. Unleash your Full Potential as a Performer (Sarah Hopkins)
A holistic approach to performing reveals some simple yet profound truths about the nature of performance. BYO instrument and a short
solo piece to play.
2. Enjoy your Performing (Rodney Waterman)
How to approach performing positively and with confidence.
3. Interpretation and Performance Practice (Genevieve Lacey)
A series of musings on the concepts of art and the artist as they have shifted through the centuries, with a specific focus on the contemporary.
Find out how different recorder players are responding to the challenge of making a life out of music.

EDUCATION

C012 MUSIC EDUCATION/AMEB EXAMS (G)

1. Level 3 AMEB Syllabus (Greg Dikmans)
Candidates at Level 3 need to be able to demonstrate, through performance, the achievement of musical, maturity and technical mastery.
Specific works from the syllabus will be studied, in particular the French baroque works in List B.
2. Level 2 AMEB Syllabus (Greg Dikmans)
Considerations of style, phrasing and articulation of specific works in the AMEB Syllabus, focusing on French baroque works in List C
and Van Eyck and early Italian sonatas in List B.
3. Level 1 AMEB Syllabus (Zana Clarke)
Students at Level 1 are developing a recorder technique and musical understanding. This session will look in particular at considerations
of style, phrasing and articulation of specific works.

TRADITIONAL WIND

C013 AUSTRALIAN FOLK BAND (Barry McDonald) (G, W)

This session, for any instrument, will concentrate on the ensemble performance of nineteenth-century Australian folk dance melodies
collected in the New England region over the past 20 years. Although the main focus will be on single melody line, some harmonisation
will be explored. It is expected that tonalities will be based around D and G.

C014 IRISH MUSIC FOR THE WHISTLE (Helen McGeachin) (W)

1. Ornamentation of Irish Music on the Tin Whistle
A workshop concentrating on ornamentation relevant to the tin whistle in the Irish style. Ornaments will be shown on their own, and
within the context of Irish tunes.
2. Irish Music
This workshop will include a discussion on the various types of tunes which are played and a brief history of the development of the
various instruments within the tradition in particular, the tin whistle, as well as a comparison of various styles of whistle playing.
3. Low Whistle
The low whistle is a large tin whistle which has a range of keys from A below middle C, down to C an octave below middle C. The lower
range means a longer stretch, and gives the low whistle its distinctive haunting and ethereal sound. This session will give some examples
of players and tunes, and tips on fingering, ornamentation and articulation on the instrument.

C015 THE FLUTE IN IRISH MUSIC (Peter Woodley) (G, W)

Explore the basic styles of Irish music for the flute.

C016 SHAKUHACHI – NOTATION AND ORAL TRADITION (Carl Rathus) (G, S)

The notation used for the shakuhachi is based on a Japanese phonetic script, and will therefore be unfamiliar to most non-students of the
instrument. However, teaching is traditionally done without notation. I will attempt to teach a short Zen piece this way. Participants will
be required to use their eyes and more importantly their ears in order to learn the piece. The same piece (and perhaps a new piece) will be
taught from Western and shakuhachi notation (Chikuho) to show the problems associated with notating these pieces, which lack fixed
tempo and have other aspects difficult to notate precisely.

16
C017 SHAKUHACHI-MAKING (BASIC) (Stuart Ransom) (G)
Make your own simple Japanese bamboo flute.

C018 BEGINNER PANPIPES (Olympia Karanges) (G)

Using the repertoire of Bolivian and Peruvian music, this elective will focus on the basic sound production techniques of panpipes.
Instruments are available for hire at the Festival.

C019 BRAZILIAN MUSIC (BOSSA NOVA) (Justo Diaz) (G)

Participants will play Brazilian music (Bossa Nova).

C020 INTRODUCTION TO THE BANSURI (Nitya Parker) (G)

The bansuri is the transverse flute of North India, dated from the first century AD at the latest. It is especially associated with the god
Krishna who is often depicted playing it. It is now heard most in Bengal and Bihar. From delightful rural folk tunes and contemporary
film music to the more haunting and mystical classical music, this elective will look at the range of music for the bansuri. Instruments are
available for hire at the Festival.

C021 BEGINNER PIPE AND TABOR (Poul Høxbro) (G)

Throughout the Middle Ages the combination of pipe and tabor was known from Sweden to the Mediterranean Sea. At dances, banquets,
tournaments, theatre, even in the church and on the battlefield, one could hear this sophisticated one-man band alone or together with other
instruments. The pipe, which exists in different sizes, only has three holes but a compass of nearly two octaves and a rich and powerful tone. It
is played with one hand while the other holds a stick and beats the drum in rhythmic patterns on both skin and edge. In a late 14th-century
painting in Siena, you see the tabor substituted by a triangle. In most places pipe and tabor disappeared during the 16th and 17th centuries, but
it is still very popular in the folk music of northern Spain and southern France. Instruments are available for hire (or purchase) at the Festival.

TRADITIONAL GENERAL

C022 DRUMS OF THE MIDDLE EAST (Tony Lewis) (G)

This elective covers a range of instruments and rhythms from the Middle East - Turkish, Arabic and Persian. Using darbukkas (drums)
and zils (finger cymbals), the elective covers fundamental techniques for these, and a variety of rhythms, including fast and slow belly-
dancing rhythms and many others. This elective is appropriate for beginners as well as experienced drummers.

C023 INDONESIAN GAMELAN MUSIC (G)

This elective will explore practical performance on the Indonesian metallophone ensemble called the Gamelan. Sessions will include
‘hands-on’ performance on Indonesian instruments as well as lectures on musical form and structure within the various Indonesian
traditions. Recent trends in gamelan composition in Indonesia as well as throughout the rest of the world will also be explored.

GENERAL

C024 BEGINNER RECORDER (Malcolm Tattersall) (L1, G)

For novices, this elective will offer an opportunity to begin lessons on the recorder. Instruments are available for hire (or purchase) at the Festival.

C025 FINDING AMADEUS (a brief introduction to the history of music) (Peter Maddox) (G)
Find out what Amadeus was really like. Get on first-name terms with Guillaume and Johann and Sebastian and Ludwig and Igor. Astound
your friends with your easy familiarity with the changes that have occurred in musical styles over 600 years! This elective will explore the
changing sounds over the history of Western music, as well as attempting to place them within their cultural context.

C026 HARMONIC SINGING (Peter Biffin) (G)

Harmonic Singing is an art form which enables a single voice to produce two or three distinct tones simultaneously. This elective offers
an opportunity for singers, instrumentalists and novices alike to experience some of the possibilities within Harmonic Singing. This is an
overview, describing the harmonic series and its characteristics throughout the world of sound, and demonstrating several different styles
of Harmonic Singing. Participants will learn the basics of producing harmonics through manipulation of vowel sounds and voice placement.

C027 RENAISSANCE COURT DANCING (Charles Garth) (G)

This elective will be an introduction to the dances and technique of late 16th- century court. Dances will be chosen from the major and most
enjoyable social dances of the period, from the proudly ceremonial Pavan to the folk dance of the nobles, the Bransle. No previous experience
is necessary.

IMPROVISATION

C028 IMPROVISATION (L3-4)

1. Improvisation in a Group Setting (Zana Clarke)
Learn how to approach improvising in an ensemble setting. Aspects of ostinatos and scalar systems will be examined.
2. Melodies in Improvisation (Zana Clarke)
This session will look at approaches to developing melodies and their expansion within simple structures. Melodies are transformed
through internal images and landscapes of sound.
3. Steps towards Effective Improvisation (Rodney Waterman)
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 COMPOSITION

C029 MUSIC ARRANGEMENT (G)

Arranging for Recorder Consort (Lance Eccles)
A practical introduction for those who want to make simple recorder arrangements of folk songs, popular melodies,
hymns, etc. It will especially suit teachers who want to extend the repertoire of their pupils without having to
spend lots of money on expensive printed arrangements.

C030 COMPOSITION (G)

Contemporary Recorder Techniques and Repertoire/Composition (Benjamin Thorn)
A look at contemporary avant-garde techniques and the music it is used in followed by a forum for participants to
discuss compositional techniques, approaches and their own pieces. This would suit those who have had some
experience in composition.

LIST D ELECTIVES (large and small groups)

D001 THE NATIONAL RECORDER COMPETITION (G)

An opportunity to listen to the finals of the Third Australian National Recorder Competition, supported by Dragon
Early Music and Orpheus Music. There are five performance sections and, for the first time in 2000, six Composition
sections. This elective will run from 3.45-6.30pm. For any additional information on the Competition, please
contact the Competition Convenor, Benjamin Thorn on (02) 6772 5889 (benthorn@mpx.com.au).
Thursday 20 January
Performance Solo open
Composition Recorder Ensemble arrangement 18 years and under
Composition Recorder Ensemble arrangement Open

Friday 21 January
Performance Solo 18 years and under
Performance Ensemble Open
Composition Original Work 18 years and under
Composition Original Work Open

Saturday 22 January
Performance Solo 12 years and under
Performance Ensemble 18 years and under
Composition Recorder Ensemble Original Work 18 years and under
Composition Recorder Ensemble Original Work Open

D005 MASSED WHISTLE (Peter Woodley) (W)

A mighty whistle session!

D006 SHAKUHACHI SMALL GROUPS (Stuart Ransom and Carl Rathus) (S)
An opportunity for shakuhachi players to work in small groups, developing their technique, sound production and repertoire under the
guidance of Stuart and Carl.

D007 LATIN AMERICAN RHYTHMS (Justo Diaz) (G)

Participants will be introduced to rhythms from different Latin American countries (Argentina, Brazil, Cuba, Venezuela and Bolivia).

D008 DAGBAMBA DRUMMING OF WEST AFRICA (Tony Lewis) (G)

This elective teaches the fundamental elements of Dagbamba drumming of Ghana, west Africa. It uses the authentic Dagbamba drums,
lunga and gung-gong, to teach the elusive and enigmatic rhythms of this tradition. Participants will learn about the profound relationship
between drumming and language in Dagdon, and the lunga’s special role as the proverbial “talking drum”. To learn the secrets of
Dagbamba drumming does not require specific technical skill, although that is an advantage. It does, however, require an open mind, and
a degree of intellectual agility. The elective is therefore recommended for anyone who fits this description.

D009 UNCONVENTIONAL ORCHESTRA (Matthew Armstrong) (G)

Stamping tubes tuned in lengths from above your head to below your knee, harmonic whistles that play hillbilly and the blues, single note
trumpets that build resonant chords and the long thonged notes of the bass thongaphone. This carefully structured orchestra is played by
people of all ages and musical experience.
18
REGISTRATION FEES
FULL-TIME
Until 30 June 1999 Until 30 September 1999 Until 15 November 1999
Adult $300 $350 $400
Tertiary/Pensioner* $280 $330 $380
High-school student** $250 $300 $350
Child $190 $240 $290
Specialist streams*** $340 $390 $440

*Tertiary/Pensioner concessions are for full-time university students and pensioners. (ID required)
**High-school student and child concessions are for full-time school students or children under 18 (Birth certificate required)
***Specialist streams A4 (Advanced performer), C9 (Advanced young performer), RM1 (Recorder-making), SM1 (Street Music –
Teenagers) (Can only be full time)

PART-TIME (1st three days/morning sessions only/afternoon sessions only)

Until 30 June 1999 Until 30 September 1999 Until 15 November 1999
Adult $180 $230 $280
Tertiary/Pensioner* $160 $210 $260
High-school student** $140 $160 $180
Child $110 $130 $150
(not available for specialist streams)

*Tertiary/Pensioner concessions are for full-time university students and pensioners. (ID required)
**High-school student and child concessions are for full-time school students or children under 18 (ID required)

OBSERVER
Full-time $150
Part-time# $90

#3 days only/morning sessions only/afternoon sessions only. No tertiary/pensioner discounts available.

CASUAL ONLY
Each elective $40 each elective

CLOSING DEADLINE
Enrolments after 15 November will only be accepted if there are sufficient places left. A surcharge of $25 will apply to each such late
enrolment.

EXTRA COSTS – MASTERCLASSES, RECORDER-MAKING, INSTRUMENT HIRE

Masterclass $15 per solo, $25 per ensemble
Recorder-making materials $60
Instrument Hire $5 per instrument

DISCOUNTS
Family and group booking discounts (only after 30 June 1999 – before that date the discount for early registration applies)
Family (3 or more members) 5% discount on registration fees
Group booking (10 people or more) 5% discount on registration fees

CANCELLATIONS - REFUNDS
Please give us written notice as soon as possible if you wish to cancel your registration! The successful organisation of the Festival depends
on accurate advance information about numbers of intending participants. Refunds are only available for medical reasons, and an original
medical certificate (not a copy) justifying the cancellation must be provided with the cancellation notice.

Refunds are as follows:

Cancellation notice postmarked before 15 November 1999:
70% of total amount paid (including registration fees, concert tickets, accommodation, day-trips and miscellaneous fees).

Cancellation notice postmarked on or between 15 November and 31 December 1999:

30% of total amount paid (including registration fees, concert tickets, accommodation, day-trips and miscellaneous fees).

Cancellation notice postmarked on or after 1 January 2000:

No refund is available of any amount paid (including registration fees, concert tickets, accommodation, day-trips and miscellaneous fees)
for any reason (medical or otherwise). I++n particular, no refund is available if a registered participant is unable to attend part or the whole
of the Festival due to difficulties associated with computer systems (eg transport scheduling systems) not properly adapted to deal with the
“Year 2000 Bug”.
19
 CONCERTS

The Festival tutors will have the opportunity to perform in a number of theme-based evening concerts. All concerts are at NEGS (except
the Aldo Abreu concert on Saturday 15 January). Festival buses will transport residential participants to and from NEGS. There will also
be informal twilight concerts free of charge to full-time participants.

Saturday 15 January 2000 ALDO ABREU

“Warmth of tone and musicality of phrasing, plus a technique to take one’s breath away” said the American Recorder
of Abreu’s New York debut at Carnegie Hall. This concert features the international artist Aldo Abreu who will be
performing works from the standard baroque repertoire for recorder.

Sunday 16 January 2000 A COLLECTION OF CONSORTS

A concert of consort music ranging from early to contemporary and featuring a selection of youth ensembles from
Australasia including the Christchurch Youth Recorder Ensemble and Armidale’s Batalla Famossa.

Monday 17 January 2000 MEDIAEVAL AND MORE

A programme of works from the Middle Ages to the High Renaissance – from Dances to Diminutions!

Tuesday 18 January 2000 JOURNEYS OF DISCOVERY

World Music at its best! Join an exciting journey through a mirage of different cultures. Experience innovations
in instruments and sound creations.

Thursday 19 January 2000 NEW LANDSCAPES

The latest in modern digital technology has given David Bellugi the opportunity to create a “virtual” orchestra
where he not only plays all the instruments but is also the arranger and conductor. This programme of works from
Renaissance to the present day includes composers Gervaise, Haydn and Bach.

Friday 20 January 2000 THE CONTEMPORARY RECORDER

A selection of contemporary works illustrating many diverse aspects and innovative techniques of the recorder.

Saturday 21 January 2000 PEARLS OF THE BAROQUE

Chamber music from the French, Italian and German Baroque – hear some of the great works and old favourites
along with those lesser known or newly discovered.

TICKET PRICES
Aldo Abreu $15, $10 conc*
All others $12, $8 conc per concert

All 7 concerts $70, $45 conc before 30 June

$75, $47 conc before 30 September
$80, $50 conc before 15 November
$85, $55 conc after 15 November

*Concessions are for full-time school and university students, children under 18 and pensioners (ID required).

DISCOUNTS
Family and group booking discounts (only after 30 June 1999 – before that date the discount for early registration applies)
Family (3 or more members) 5% discount on ticket prices.
Group booking (10 people or more) 5% discount on ticket prices.
20
 TRANSPORT

Armidale is serviced by a daily train to and from Sydney, a direct coach from Brisbane, Sydney and Melbourne and is a 60-minute
flight from Sydney or Brisbane.

All transport arrangements can be made by ringing Priscilla at Harvey World Travel toll-free:

1800 620 318

There are a number of special deals which are only available through this number. Those who book through this number will also be
collected from their point of arrival in Armidale and taken to the venue at no extra charge.

THE VENUE - ARMIDALE

Located on the New England Tablelands halfway between Sydney and Brisbane, Armidale is surrounded by rich grazing lands and
spectacular gorges and waterfalls. Echoes of the past are evident in Armidale’s fine architectural landmarks and comprehensive museums,
while stately cathedrals and churches serve as a reminder of the city’s religious heritage.

New England has some of the best national parks, unspoilt wilderness and World Heritage areas anywhere in Australia, and Armidale is
the gateway to them all. Within two hours’ drive from Armidale you can choose from over
20 different national park visitor areas, including Dorrigo Rainforest National Park, New
England National Park and Oxley Wild Rivers National Park.

Armidale is a university town, the home of the University of New England which hosted the
ground-breaking Early Music Summer Music Schools of the 1970s. Armidale has a vital
and diverse community, and enjoys a cosmopolitan atmosphere with its many cafes, and
regular artistic and cultural events. The musical scene is particularly lively, with regular
Musica Viva concerts, the Armidale Youth Orchestra, the Armidale Symphony Orchestra,
the UNE Gamelan Orchestra and a vibrant jazz scene (annual Jazz Festival in October).
Armidale also boasts a number of museums including the New England Regional Art Museum
(which houses the largest art collection in regional NSW) and the Aboriginal Keeping Place and Cultural Centre.

The town has become known in recent years as a strong centre for the recorder in Australia, in particular for young players and advanced
teenagers. It has been the venue for the highly successful Grand Musical Gatherings for the last 5 years which have each attracted over
100 enthusiastic recorder players of all ages.
21
 NEW ENGLAND GIRLS’ SCHOOL

In 1895 NEGS was founded by Miss Green as a private boarding school to the west of Armidale, and by 1979 it had become the largest girls
boarding school in Australia. The school is set in forty hectares of landscaped grounds, sporting fields and natural bushland. With facilities
including music rooms, the NEGS chapel, a large recently-completed performance centre (NEGS Centre), woodworking and art rooms,
theatrettes and performance spaces, it is the ideal venue for a music festival of this kind. The Festival is residential, with full board and lodging
provided by NEGS. The school will provide comfortable boarding accommodation in single, twin or quad rooms as well as country-style
meals. The school swimming pool and tennis courts will be available for use by residential Festival participants.

All activities for the Festival, including the majority of concerts, will be at NEGS. Festival buses will transport participants to any concert
outside the venue.

ACCOMMODATION AND FULL BOARD

Accommodation is available at the venue. This is encouraged as a residential festival is the perfect setting for social
activities and informal music-making in the evenings. Full board is available in single, twin or quad. Single accommodation
is available on a first-come first-served basis. Morning and afternoon teas are available at minimal cost.

Facilities include LAUNDRY and PUBLIC TELEPHONE in each boarding house.

Non-participants are welcome to board at NEGS. Please fill in a separate enrolment form.

COST OF ACCOMMODATION PER NIGHT COST OF MEALS

single @ $22 per person BREAKFAST(Continental) included in accommodation cost
twin @ $20 per person LUNCHES @ $6 residential, $10 non-residential
quad @ $18 per person (no lunch available on Wednesday – rest-day)
DINNERS @ $9 residential, $16 non-residential
Under 5: $5 per night if they use a bed
$3 lunch; $5 dinner (only available if residential)

FESTIVAL CENTRE
The Festival Centre will be located at the NEGS Centre and will house the following:
• FESTIVAL INFORMATION
Information concerning tutors, timetables, streams, electives, concerts and trade displays.
• REGISTRATION
Friday 14 January 4-6pm
Saturday 15 January 10am-6pm (The first concert – by Aldo Abreu - is at 8pm)
• TRADE DISPLAYS
Trade Displays are an integral part of the week. Located at the centre of the campus and in the meeting room, they will provide an
opportunity for tutors, performers, composers, teachers and participants to meet in a friendly and social environment. Goods on
display will include sheet music, recordings and instruments (from serviceable, inexpensive mass–produced recorders, whistles,
etc. to beautifully hand-crafted, top-of-the-range instruments).
For further information on the cost of trade display stalls, please contac Peter Maddox on (02) 6772 1808
• THE FESTIVAL SHOP
Recordings of festival tutors and merchandise for The Call of the Four Winds are on sale here.
• MORNING TEAS
Homemade cakes, tea and coffee will be available at minimal cost.
• TOILETS
• PUBLIC TELEPHONE
22
 DAY-TRIPS - Wednesday 19 January 2000
By arrangement with Orpheus 2000 Inc, Harvey World Travel has agreed to offer a number of day-trips and adventure tours to
Festival participants. Some day-trips may not be offered if there is insufficient interest from participants. Day-trip enrolments
are strictly on a first-come first-served basis.

Tour One: Waterfall Way - Full day ($65 per person)

Travel early morning from Armidale to the beautiful Dorrigo National Park with stops at Wollomombi Falls, Point
Lookout and Ebor Falls. Enjoy world-class views and walks. Includes transport, entry into national parks, morning and
afternoon tea and lunch.

Tour Two: White Water Rafting - Full day ($135 per person)
Travel early morning from Armidale to the beautiful Dorrigo Nation
Experience the thrill of the surging rapids of the Goolang where Australia’s Olympic 2000 whitewater kayak team train.
Includes transport, morning and afternoon tea and BBQ lunch and a full day rafting with full safety instructions.

Tour Three: Trout Fishing - Full Day ($95 per person)

Fly- or lure- fish for trophy-sized Rainbow and Brown Trout on pristine New England high country streams. Fly-fishing
tuition provided. Includes transport, at least 8 hours’ fishing, lunch, tackle and photographic equipment.

Tour Four: City Tour - 2-3 hours ($45 per person)

Includes a visit to historic Booloombimbah and Saumerez Homestead. End the morning tour with lunch and tour of the
New England Regional Art Museum, New South Wales’ premier regional art museum which houses the Howard Hinton
Collection.

Tour Five: Beambolong - 3 hours (available both in the morning and in the afternoon) ($50 per person)
Enjoy a horse-ride through the pine forest. Lunch included.

Tour Six: Fossicking - Full day ($60 per person)

Enjoy a day learning to fossick for gold and gemstones in the Uralla Goldfields. Price includes transport, all equipment
and bush lunch by the river.

TOURS BEFORE AND AFTER THE FESTIVAL

Why not arrive a little earlier or stay a little later and enjoy the beautiful New England area? Choose a tour from those listed above or from
the specially designed tours below.

Tour Seven: Whitewater Adventure Tour - 3 days/2 nights ($400 per person)
Includes transport, horse-riding, abseiling, bushwalking, fishing, canoeing, meals and camp accommodation.

Tour Eight: Overnight horse-ride - 2 days/1 night (20 people maximum) ($100 per person)
Ride into the gorge and enjoy a wonderful wilderness experience. Includes meals and camping equipment. Bring your swimmers.

The Four Winds Festival – Bermagui – New South Wales

This wonderful Music Festival is held every Easter Saturday and Sunday on the Far South Coast of New South Wales, and celebrates
its tenth anniversary in the year 2000.

The Four Winds Festival (formerly The Four Winds Concerts Inc) commenced in 1991, promoted by a small group of writers and
musicians who donated their skills and resources to bringing fine musical performances to this predominantly coastal and rural
region. Top-flight Australian artists from all spheres of the Performing Arts have come to the unique outdoor venue to play, sing and
dance before an enthusiastic audience, many of whom travel from Melbourne, Canberra and Sydney to the Festival. The site is a
natural amphitheatre formed by gentle hills within the spotted gum forests of the South Coast. It is part of a private property loaned
to the Festival committee every Easter. The audience sits on grass terraces and brings picnics or buys local seafood and wine on site,
the Saturday concluding with a barbecue under the stars.

In 2000, the Four Winds Festival has invited to return many of the performers who have been associated with it from its earliest days:
Michael Brimer, concert pianist (the first Musical Director); Rita Hunter and Robert Gard, opera singers; Jane Rutter, flautist, The
Elysium Ensemble, the Xylouris Ensemble as well as several well-known groups and ensembles. Information about The Four Winds
Festival nay be obtained by writing to PO Box 73, Bermagui, NSDW 2546 or from the website www.acr,net.au/~4winds/ or by email
4winds@acr.net.au.
23
 ENQUIRIES:
Orpheus 2000 Inc.
PO BOX 1363
ARMIDALE
NSW 2350
Tel/Fax: (02) 6772 2205 OR (02) 6775 2404
orpheus2000@orpheusmusic.com.au

FOR INFORMATION CONCERNING:

Tutors, streams, electives, concerts Email encouraged! orpheus2000@orpheusmusic.com.au

Or ring/fax either Zana Clarke on (02) 6772 2205
or Caroline Downer on (02) 6775 2404 (ah)
Children’s Programmes Robyn Power (02) 6772 8007
Child Supervision for Minors Robyn Power (02) 6772 8007
Competition Benjamin Thorn (02) 6772 5889
Day-trips Priscilla Hall (Harvey World Travel) 1800 620 318
Recorder-Making Stream Keith Martin (02) 6775 1320
Trade Displays Peter Maddox (02) 6772 1808
Transport Priscilla Hall (Harvey World Travel) 1800 620 318
Venue and Accommodation Jean Gossip (02) 6771 1409

Orpheus 2000 Inc acknowledges the generous support of The Call of the Winds by the following sponsors:

New England Girls’ School

The community project has been assisted by the Commonwealth Government through the Australia Council, its arts funding and
advisory body and the NSW Ministry for the Arts.

DISCLAIMER
Orpheus 2000 Inc has done everything reasonable to ensure that all information contained in this booklet is accurate at the time of
printing. Orpheus 2000 Inc. does not, however, accept responsibility for any errors or omissions in the information in this booklet. It also
reserves the right, at any time between the time of printing until the end of the Festival, to make such alterations or omissions as it
considers necessary to the Festival programme, to the faculty of tutors and to facilities offered at the Festival. Finally it cannot guarantee
the continuing accuracy of any information about services (such as tours, accommodation and transport) described in the booklet that are
to be provided by persons other than Orpheus 2000 Inc.
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