Musicians of ANAM
Nicholas Waters (violin)
Mee Na Lojewski (cello)
Aidan Boase (piano)
Sunday 1 September 2013, 2pm Wyselaskie Auditorium
29 College Crescent, Parkville
Meet the Artists
Nicholas Waters began playing violin at the age of five and attended the Victorian College of the Arts Secondary School where he was awarded the Pioneer Outstanding Soloist Award and was a finalist in the annual VCASS Chamber Music Competition. Nicholas completed his Bachelor of Music at the University of Melbourne, under the tuition of Monica Curro. In his first year Nicholas’s string quartet was awarded first prize at the annual University of Melbourne Chamber Music Competition. During his time at the University, Nicholas took the position of concertmaster of the university’s Symphony Orchestra and String Ensemble. He also achieved a position in the Australian Youth Orchestra and the Sydney Sinfonia, allowing him to study and play alongside members of the Sydney Symphony Orchestra. Nicholas currently plays casually in Orchestra Victoria.
Mee Na Lojewski studied cello with Susan Blake at Sydney Conservatorium of Music graduating in 2009 with First Class Honours (BMus). During her MMus studies Mee Na spent a year studying at the Royal Academy of Music, London under Mats Lidström with the support of a Sydney Conservatorium Faculty Scholarship and University Postgraduate Award. In London she also played with the Faust Ensemble and received masterclasses from Colin Carr, Robert Cohen, Gregor Horsch and Truls Mørk. Performing with the Australian Youth Orchestra since 2007, Mee Na was Principal Cello for its 2010 International Tour. She has played with the Sydney Symphony Orchestra as a guest musician and as a principal player with the Sydney Chamber Opera Company. Over the years Mee Na has received masterclasses from Steven Isserlis, Ralph Kirschbaum, Peter Bruns, Natalie Clein, Eggner Trio and the Goldner, Elias and Borodin String Quartets. Her awards include the City of Sydney Cello or Viola Award, a BBM Award for UK cello study and the Peter Weiss AYO Cello Scholarship.
Aidan Boase (piano) was born in Western Australia. Aidan completed a Bachelor of Music (Performance) at the Western Australia Academy of Performing Arts, receiving first class honours. He studied under Anna Sleptsova. He is a three-time winner of WAAPA’s Warana Concerto Competition, performing on each occasion with the Faith Court Orchestra. He was also the recipient of the Cecelia Daff prize.
Last year, as a finalist in the ANAM concerto competition, Aidan performed Totentanz by Liszt with the Tasmanian Symphony Orchestra. He also played this work as a guest soloist with the Swan Philharmonic Orchestra in 2012. In 2010 Aidan was chosen to represent Australia at the Shanghai World Expo, performing regularly over a two-week period at the Australian Pavilion. In 2009 he performed Gershwin’s Rhapsody in Blue with the Metropolitan Symphony Orchestra of
Western Australia. Aidan is currently studying at ANAM with Timothy Young.
|Piano Sonata No. 2 in G minor, Op. 22So rasch wie möglich
Scherzo. Sehr rasch und markirt
Elegia from Cello Sonata in C major, Op. 65
Notturno e Danza for violin and piano (1995)
Piano Sonata No. 4 in F-sharp major, Op. 30
Piano Trio in D major Op. 70 No. 1 “Ghost”
Allegro vivace e con brio
Largo assai e espressivo
Robert Schumann- Piano Sonata No. 2 in G minor, Op. 22
Composed over a number of years, Robert Schumann’s second piano sonata was completed in 1838. After the objections of Clara Wieck (Schumann’s wife), the original finale was removed and replaced by the one we hear today. Clara felt the original was far too difficult to play and for audiences to understand. She expressed the greatest admiration for this work which, for her, expressed so clearly Schumann’s whole being. In his writings, Robert Schumann commonly referred to himself as Florestan or Eusebius – imaginary personae he created that represented respectively the fiery, passionate side and the sweet, introverted side of his personality. If Schumann wrote music as one or other of his multiple personalities, then clearly the majority of this work comes from the voice of Florestan – overflowing with excitement and breathlessness to the point of being on the verge of insanity. The tempo markings in the first movement are also indicative of a certain mania – ‘as fast as possible’ to start with; near the end, ‘faster’; and in the coda ‘faster still’. The second movement provides a beautiful, lyrical contrast to the fiery intensity. Here the voice of Eusubius can surely be heard.
Benjamin Britten – Elegia from Cello Sonata in C major, Op. 65
The English composer Benjamin Britten wrote five works for the cello as a solo instrument. Composed in 1961 for the Russian cellist, Mstislav Rostropovich, the Sonata in C for Cello and Piano Op.65 is the first of these. Britten and Rostropovich performed its première together at the Aldeburgh Festival. Britten greatly admired Rostropovich and their musical collaboration is demonstrated in the way this sonata explores the cello’s resonant, expressive potential and unusual techniques. Rostropovich, in correspondence with Britten, praised the work: ‘This is a sonata full of surprises, innovations for any cellist … but, what is most important, a new kind of expressive and profound dramatic composition’. The Elegia is the sonata’s middle movement. Bookended by fast, lively movements, the Elegia provides an intense, slow centre.
Einojuhani Rautavaara – Notturno e Danza for violin and piano (1995)
Notturno e Danza, Rautavaara’s third competition piece for violin, was commissioned by the Juvenalia Music Institute for the fifth Juvenalia Chamber Music Competition in 1995. The third movement of his seventh symphony, Angel of Light (1994), is based on the Notturno. It was with this symphony that Rautavaara first gained substantial international recognition.
Alexander Scriabin – Piano Sonata No. 4 in F-sharp major, Op. 30
Alexander Scriabin’s fourth sonata was completed in 1903. It is the shortest of all his piano sonatas, and is the first to have been written in a major key. Philosophical ideas had been influencing Scriabin’s music for several years by 1903; in this sonata they are an integral part of the meaning and nature of the music. During this so called ‘middle period’ Scriabin’s philosophy and music were preoccupied with mysticism and eroticism. He wrote a poem to accompany this work, unpublished, in which the persona is enticed by a distant star; he flies towards her and eventually engulfs her.
Ludwig van Beethoven – Piano Trio in D major Op. 70 No. 1 “Ghost”
This piano trio is one of two composed while Beethoven was a guest at the house of the Countess Marie von Erdödy; both trios are dedicated to her. The nickname ‘Ghost’ originated in 1842, when Beethoven’s most famous pupil, Carl Czerny, wrote that the highly atmospheric slow movement reminded him of the ghost in Hamlet. Czerny, it appears, was partly correct: Beethoven left sketches, which date from around the same time as this trio, for the overture to an opera based on Shakespeare’s Macbeth. Some commentators believe this movement was inspired by his reading of the play and may even have been intended as a preliminary study for the never-completed opera.