Death thoes?

Oh well, here we go again.  Changes to ANU; changes to the School of Music.  The School took a while to recover from the damage of the last round of changes but it's a lesser being, as I presume it was after the initial move from independence to the ANU.  But there was money then, I guess, because the buildings are impressive.   The latest seems to be to forego the conservatorium model.  There was some of this last time, what with requirements for PhDs for music teachers and the rest.  Some of the best jazz teachers have none of that.  Coltrane had none of that. Thus musicology seemed to be of great interest in the last round.  I'd heard gossip of a renowned teacher and international-class performer soon to leave, then I chatted with another significant staff member who'd taken package.  I guess there are more to be announced over coming weeks and months.  There was an article in the Canberra Times announcing changes to the SOM.  Interestingly, just the night after I'd been chatting to a friend with connections into ANU.  I'd put it down to the managerialism of universities, the reduced government funding, the need for paying students especially foreign students and the effects of COVID for reduced student numbers then the foreign student numbers bounce-back and the politicisation of immigration and foreign student numbers.  My friend spoke more of internal ANU and senior management matters.  FWIW, again as an ex-librarian I will keep a running list of references in Canberra Times and other sources that I find but it looks increasingly serious this time.  From Peter Tregear (ex-head ANUSOM in Canberra Times, 8 July 2025 p.1): 'Teaching people how to play instruments would be replaced by "Indigenous Music in a contemporary context, and Music and Wellbeing", and with an emphasis on the technology and production of contemporary music.'   Cause for considerable concern. 

See my bibliography Save Music in Canberra no.2 2025

New faces

There was a time when I knew all the faces at the Jazz School.   They used to have plenty of events in the band room for smaller groups and the three large ensembles Recording Ensemble, Big Band and Commercial Band, and various gigs for smaller bands including staff and occasional visitors doing workshops.  Then there were the ructions and I also did more playing, jazz and classical, so was less available.  But I was surprised how many new faces there were at the Jazz and Contemporary Ensembles concert in the Band Room.  New faces and new names and a few that I knew from Molly or Smiths.  Nice to see.  Nice to hear, too.  There were five groups under the auspices of various staffers, Con, Lachlan (x2), John and the Recording Ensemble under Miro and John, ranging in size from 7-14 and in experience, 2 x 1st year, 2 x 3rd year and the Recording Ensemble which I assume is open by audition.  I enjoyed it throughout the ranges but obviously the groups get more adventurous and practiced with more years.  I also liked that there was so much inviting music and such a surfeit of vocals and harmonies.  The first group had concentrated on Joe Henderson and there was a lovely Lush life with the words to elucidate the heartache of the music.  Lyrics can be a key to me.  Then the next with several Stevie Wonder tunes, opening with the inevitable Sir Duke with three-part female harmonies, and then a few deeper ballads and a final Isn't she lovely.  The second ballad was Softy (as in the morning sunrise) in a deep 5/4 groove. Then the third group opening with There will never be another you with paired female vocals the finishing with an odd but intriguingly slow rendition of Well you needn't.  OI think it was this one that spoke of the soloistic approach, not too bull-at-gate but more considered.  Then the fourth with Invitation and Wayne Shorter.  And finally what must be the feature of the night, the Recording Ensemble playing a funky Les McCann Compared to what and finishing with a thrilling take on Joshua Redman Jazz crimes of many harmonies and challenging, changing melodies.  What a thrill to go out on!  I'd recognised various faces, Pete and Mereki and Elisha and Aidan and Oliver and Oliver and Jamie and perhaps some others and saw new notable faces and basses.  Several Fenders of course and a Melbourne mini double and a Stingray and a lovely fretless and Peter's unique Ibanez.  He'd told me he was playing a 7-string but no way I expected the Ibanez creation that he played, incorporating 3-string fretless with 4-string fretted.  It was the Ibanex Ashula SRAS7: only from Ibanez.  Fascinating.  So much enjoyed with new faces and a few other discoveries.

The Jazz and Contemporary Ensembles concert was in the Band Room at ANU and featured 5 bands and students of various years along with the Recording Ensemble.  My apologies to any I missed in the pics.

Newness

The ANU School of Music staged a composition showcase over the weekend, as one of several sessions for performers. I fluked one neat session, arriving as they were setting and warming up. There were other sessions, interactive sound art, various individual performances, the Laptop Ensemble. I caught 11 short compositions, mostly by groups including the composer, but some by others. The range of styles and approaches was significant. There was simple, harmonised lyricism, influences from rockets to personal loss, standard notation and two works of graphic notation, classical and electric instruments, and even one constructed for the purpose (a surprisingly effective set of rattles), classical and film/pop and jazz/rock. Perhaps some amplified music was too loud for the small, reverbernnt room. Some tunes were early and simple although pretty and others far more developed, investigative. So a worthy outing and an exposure to the range of musics now at the School. It bodes well for a renewed community.

The ANU School of Music conducted various student showcases at the Ainslie Arts Centre.

Talkin' 'bout the School

There's a new VC at the ANU and a new Community Consultation for the School of Music. The team has been talking to various people, Friends, current staff and ex-. I provided my bibliography of the SOM changes of 2012 and thereafter and highlighted a few posts/letters to various senior parties. Thus I got an invitation to make a submission. Being outside it all, I'm not sure of the value, but here's my submission and below is the page outlining the process. Comments are invited on the Community Consultation page.

CJ's submission

ANU SOM Community Consultation page

Thanks to Wikicommons for the image, Piano mechanism English type.

Showcase

This was an ANU School of Music showcase. Six outfits: two classical, three contemporary cum improvisational. They were playing for a few Music Ensemble prizes from the Friends of the School. The two classical were all guitars. The rest were a collection of varied jazz cum contemporary with an experimental improv trio which was pretty much unlike everything else. As is this music. There were judges' prizes and also people's choice awards. First up for classical was the Wattle Guitar Quartet playing Piazzola and Bizet. I particularly enjoyed the second Piazzola, La Muerte del Ange, swinging and edgy and with a fairly challenging harmony. They were later followed by the guitar duo of Andrew Blanch and Callum Henshaw performing Nigel Westlake and Paulo Bellinati. The Westlake was particularly gorgeous with changing time and slithery triplets and such groupings. This pair played it was great confidence and professionalism, lovely balance and gentleness and an easy take on the complex time plays. They won the Judges' award and the Wattle Quartet won the People's Choice award. The classicals started off and were intermixed with the other bands.

The others were a varied mix. This award was for "Jazz and Contemporary music, including jazz, contemporary, improvisatory and popular music". So what a mix, especially after a pair of classical guitar ensembles. Sev Quartet started with a jazz set, in improvised piece called Retrospect and a take on Beautiful love. Varied time feels, double bass, clear playing, perhaps my favourite playing I've heard from Eddie Bernasconi on Beautiful love, swing and groove and various changes. Then the ANU Improvisation Ensemble reduced to three players for the day. A cat amongst pigeons. Piano, bass viol, electronica and bows and ancillary noise makers or alterers; no groove, no charts, much ear and tone and sound and colour. It's a different world and the suggestion to "enjoy the sound, don't worry too much about the music" was apt. Then Three Men One Chamber, a jazz trio playing with e-bass and loops and effects and the rest. Floating or busy or processed or with accompanying sampled voice. I liked the feels and the richness of studio-like processed sounds. I asked after about influences: Explosions in the sky and Toe (Jpn). Finally, a '70s funk outfit with heavy 16th grooves and very clear melody, few chords, simple direct grooves. Takes me back and nicely played. This was the Hugo Lee band with two original compositions from their recent CD. HLBand won both the judges' and people's choice prizes, presumably for their obvious clarity and drive. My fave was 3M1C even though they often disappeared over pedals and weren't so sharp, but the processed tones sounded new and rich to my ears. But vintage keeps being new again and HLBand was certainly sharp.

Wattle Guitar Quartet comprised Jeffrey Cheah, Emma-Shay Gallenti-Guilfoyle, Cassandra Low and Alex Clark). Sev Quartet comprised Eddie Bernasconi (trumpet), Ben Forte (guitar), Alec Brinsmead (drums) and Brendan Keller-Tuberg (bass). Andrew Blanch and Callum Henshaw played guitar. The ANU Improvisation Ensemble comprised Amelia Watson (piano), Ben Drury (bass viol, Kaoss pad) and Ben Harb (electronics). Three Men One Chamber were Haydn Fritzlaff (drums), Stephen Read (guitar) and Brendan Keller-Tuberg (e-bass). Hugo Lee Band comprised Hugo Lee (alto, EWI), Ben Forte (guitar), Jack Schwenke (e-bass) and Alec Brinsmead (drums).

No news good news

They say no news is good news. That seems to be the case with the ANU School of Music. The changes happened in 2012 and it's still in the news. And it's not good news. A few weeks back it was the departure of Head of School Peter Tregear. He'd valiantly tried to rebuild but departed recently for London. Note, London: he's no unrecognised slouch. Then letters to editors and meetings of students. We read the other day in the Canberra Times that another slew is to leave, not least Erin Helyard and Johannes Luebbers. Both highly regarded; both significant performance artists. See below for links to articles about this history (not a comprehensive list). They tell me the background to these moves is not quite as dire as suggested by CT, but I do long for some good news for a change.

On a sad note, this is CJBlog post no. 1500.

Bibliography on ANUSOM changes

ANU's mix-tape

ANU School of Music presented its annual showcase concert last Friday. We came in a little late so missed DRUMatiX. I find it a fascinating mix of rhythms and percussion pitch so I was sorry it was up first. We walked in during something which is new for the ANU school - a popular music ensemble. This was called Eponymous which was not at all eponymous. It reminded me somewhat early psychedelia, apt given that I'd heard of the final Pink Floyd album release only that day (they are finally giving it up) and I always think of PF pre-Dark side when they were floaty types with absurd covers (think Atom Heart Mother cows). Then the Jazz Ensemble, singing gospel and ballad and a sunny finish. Nice voices, stronger on females as usual and some good front line performances. The Experimental Music Studio followed. I assume this comprised a good deal of (classical) improvisation. I especially liked the declarative voice and the free-cum-classical crossover piano. The classical/chamber stream followed interval. Firstly, the Guitar ensemble with is acoustic twang and Spanish aliveness. Then an attractive trio of flute, bassoon and clarinet, with the bassoon playing every bit the accompanying bass part, and a duo that I'd heard before at a recent lunchtime concert, soprano Jelena Mamic accompanied by pianist Anne Ewing performing four songs by Menotti. Then the Chamber choir, again heavy on women, led by Tobias Cole, performing Vivaldi, de Lassus and a fascinating time-study by Tobias himself with numbers as lyrics and commendably sung without charts. Then the finale with the ANU Chamber Orchestra performing some very recognisable pieces, movements from Mozart's Jupiter Symphony and Mendelssohn's Italian Symphony. Both were very comfortable and hugely attractive pieces and no-doubt essentials on the repertoire. We left with a light step. Nice.

Also, just a pic of Michael Dante Mori, former US Marine lawyer representing Australian Guantanamo Bay detainee David Hicks. Mori gave a presentation before the ANU SOM Showcase for the Law School.

School's in

It's that time. The ANU School of Music and Friends launched the New Year at the Sitsky Room on Thursday with champagnes and beers and chatter and a sneak preview of the concert program for the coming year and a few student performances. It's a promotion for the Friends, but the deal is good: a decent discount on all performances and some special, invitation-only events, so it looks good on financial as well as artistic grounds if you are a concert goer, but then you may as well be. The International Chopin Piano Competition returns in September; there's a performance of Monteverdi's opera, L'Orpheo in August; The Australian Haydn Ensemble is appearing in four concerts and providing workshops as the ANU Ensemble in Residence; there are various other prizes, for accompaniment, chamber music, jazz/contemporary music; there's a concert series and Ensemble performances and recitals and public lectures. As for performances, Ciaran Edwards-McKeown (guitar) played Rodrigo, Aaron Chew (piano) played a Schubert Impromptu and Tate Sheridan (piano) and Calum Builder (alto sax) did a take on Scarborough Fair. Calum played some indistinct, breathy alto and I was amused to be asked if it was a jazz technique. It's pretty standard, of course, and nowhere near the experimentation of SoundOut and the like. Another reason why there's strength in combing the musical streams.

Thanks to our friends

The ANU put on a big free show last year when it was under the hammer and they returned with another this year. The intention is different, presumably to showcase the continued existence and success of the School, but the context of massive change at the School is the same. Head of School, Peter Tregear, introduced this year’s concert as a gift to the Canberra Community and friends and he plans to make this an annual free gig. Great. The School of Music clearly has many supporters in Canberra. Many were horribly disappointed by changes last year, but Peter and others have been working valiantly to rebuild the School and they need the support of friends.

This was another mix of styles and ensembles, if not the extended potpourri of last year’s event. First was DRUMatix with soloist Sean Connaughton performing David Mancini’s Suite for solo drumset and percussion ensemble. How can you not love this? Infectious grooves, intervallic rubatos, rich tapestries of tone and even harmony and melody from the vibes and marimbas. And tubular bells, various latin percussions and timpanis. This was all convincingly performed, joyous and infusive, and Sean’s drum solo was interesting and of a nice length and surprisingly rocky in this classical percussion context, but that’s the nature of a group like this. DRUMatix presents a catholic array of sounds and rhythms. I’m sold. Then a welcome to country. Then the Jazz Ensemble playing an arrangement of Stolen Moments by Miro and Miro’s For Woody. These are two great tunes. Stolen moments was a surprise with a few added bars which stretch and settle this already cool tune. It was good to hear John’s tenor again and El’s violin (which is ever more satisfying) and guitar hidden in the back row. For Woody is a burner and the solos were shared widely: tenor and violin again, then trumpet, alto, drums, percussion. I don’t find Llewellyn is a generous acoustic for jazz, but this was enlivened and harmonically sweet in the heads. Nice.

The fine music followed the interval. The ANU Chamber Orchestra played and the ANU Chamber Choir sang under Peter Tregear’s baton. Calvin Bowman joined them for sinfonia and chorus from Bach’s Wir danken dir, Gott, BWV29. This is classic Bach oratorio material. Peter Tregear introduced it as written for the inauguration of the Leipzig Town hall and lamented our current alternatives. It didn’t seem hugely complex but it’s totally satisfying. I found strings and organ a bit unbalanced and the instrumentals somewhat lost in this large space, but it grew as the voices joined in. Bach is nothing but a pleasure. Then Handel’s Ode to Saint Cecilia’s Day, HWV76. Saint Cecilia is the patron saint of music, so this was also an ode to music. It was performed by Chamber Orchestra and Choir with singers Rachael Thoms (soprano) and Paul McMahon (tenor) and instrumentalists Rachel Beesley (orchestra leader), Virginia Taylor (flute) and Julia Janiszewski (cello). Handel combined text from Dryden with his dignified and sometimes majestic orchestration. This is a larger piece with numerous movements, variously dance-like, expectant, undemonstrative, joyous, stately, majestic, in three and four. Nicely done and especially involving at the end.

It’s been a very demanding year for the staff of the School of Music, even if it was quiet one in public. I’m hoping for a more publicly visible school over coming years. Ode to Music was performed by staff and students of the ANU School of Music. Performers were DRUMatix, ANU Jazz Ensemble, ANU Chamber Orchestra, ANU Chamber Choir, Calvin Bowman (organ), Rachael Thoms (soprano), Paul McMahon (tenor), Rachael Beesley (orchestra leader), Virginia Taylor (flute) and Julia Janiszewski (cello) led by Peter Tregear.