While stretching the definition of wind slightly, this mixtape is an invitation to explore the ‘path less trodden’ of Australian music compositions for both solo and chamber music ensembles centred around a wind instrument.
Julie joined the Canberra Symphony Orchestra when she was successful in her application to join the Australian Public Service as a graduate in 2016, and moved from a freelance musical life in Melbourne to Canberra. She now balances work at the Australian Electoral Commission with performing and teaching as much as she can around the ACT.
Julie has performed with a number of Australian orchestras including seasons with Orchestra Victoria, and the Melbourne, West Australian and Tasmanian symphony orchestras.
Julie holds a Bachelor of Music (Performance) and Bachelor of Arts from the University of Western Australia where she studied with Leanne Glover. She subsequently moved to Melbourne to attend the Australian National Academy of Music Professional Performance Program with teacher Jeffrey Crellin.
LISTENING NOTES
Carl VINE
Oboe Concerto
Performed by Diana Doherty with the Tasmanian Symphony Orchestra
The CSO was so fortunate to have had Diana Doherty as Artist in Focus in 2019; the oboe repertoire continues to be equally fortunate as beneficiary of many compositions written for her. Although not as well known as concertos by Ross Edwards and Graeme Koehne, this concerto is just as exciting and virtuosic.
Paul STANHOPE
Songs for the Shadowland
Morning Star II
Performed by the Southern Cross Soloists
These two pieces by Stanhope represent in this playlist the myriad of Australian compositions I was introduced to while a student at the Australian National Academy of Music under artistic director Paul Dean. Recorded here by Paul’s ensemble Southern Cross Soloists, Songs for the Shadowland sets three mourning poems by Indigenous Australian poet, Oodgeroo Noonuccal. These poems provide insight into the extraordinary importance placed by Aboriginal cultures on ancestry and respect for the dead.
Morning Star II quickly establishes a very minimalist texture with repeated rhythms and chordal features but each instrument has the opportunity for a cadenza-like moment somewhere in the piece.
IAIN GRANDAGE
Wheatbelt, Hush: On the Death of a Bush Church
Performed by Voyces
Wheatbelt is a piece of modern choral writing that I find highly evocative, aurally and linguistically. It shows the versatility of a choir and features one of my favourite ‘wind’ instruments, the whirly! If you listen closely at the start of the track, it can be heard in isolation.
I was privileged to have been a part of the predecessor to the ensemble in this recording, Voyces. For those of you learning a wind instrument, I cannot recommend highly enough the benefits of singing and joining a choir for improving your musicianship, intonation and interpretation on your original instrument.
Peter SCULTHORPE
Small Town
As a Classic FM favourite, this work would be familiar to many. The nostalgic and whimsical writing from Sculthorpe shows off the best of the lyric qualities of the oboe.
JOHANNES LUEBBERS DECTET
Everything for Brod, Ashes to Ashes
(album: The Exquisite Corpse of Beethoven)
This is a really unique ensemble consisting of flute, oboe, alto sax doubling clarinet, tenor sax, trumpet, French horn, trombone, piano, bass, drums and on occasion guitar and vocals. There’s a mixture of classical and jazz players in the original line up and the compositional style reflects this.
CURATOR PROFILE
Briefly introduce yourself – tell us your name, your instrument, where you’re living and how you’re connected to the CSO.
Hi, my name is Julie Igglesden. I live in Canberra and play oboe and occasionally cor anglais for the CSO.
How did you come to be a musician?
Being born into a musical family kickstarted my interest in learning music. At around 5 years of age, I asked my uncle to teach me the flute, like all his other students that I heard having lessons every Saturday morning. Not long after this, I joined the Western Australian Children’s Choir. While the flute and singing were not exactly where I would end up, it was a perfect place to start.
Name three careers you could see yourself in if you weren’t a musician (and tell us why).
I grew up during the mining boom in Western Australia, at a time when everyone that had vaguely the right aptitude thought they were going to be an engineer. Luckily for me, I realised that even though you can do something, it doesn’t mean that you should…and I abandoned that course of action before I got too far down the track.
Aside from this, I could see myself in a career somewhere in the medical profession, being able to problem solve and practically assist people in a really tangible way. I could also see myself becoming a fibre artist like @vanessabarragao_work, @olandercoembroidery or @ovobloom.
What’s your most treasured childhood memory related to music?
Every three or so years, my high school took all the Year 10 – 12 music students on an international music tour. For me, this took place when I was 14 years old, in the middle of Year 10 – it was my first trip on a plane, my first trip overseas and my first opportunity to perform solo in front of an orchestra.
We saved up for years and spent a month travelling through Italy, France and England, performing mainly in Duomos, schools, and at ANZAC ceremonies including at Villers-Bretonneux, the Australian War Memorial in London, and in Westminster Abby for the Queen.
Aside from the constant packing and unpacking and a few too many hours on buses, this is absolutely my most treasured childhood music memory.
Describe a memorable music experience you enjoyed as an audience member.
The most memorable experience I had as an audience member was when the Berlin Philharmonic toured to my hometown, Perth, while I was studying music at university – two concerts over two nights that really brought some of the best musicians on the globe to the world’s most isolated city.
Plus – my teacher at the time ‘dared’ me to call and ask Principal Oboist Albrecht Meyer for a lesson, which he generously agreed to!
Tell us about your favourite performance space.
My favourite performance space is the Primrose Potter Salon within the Melbourne Recital Centre. This more intimate performance space is acoustically suitable for classical chamber music and so architecturally interesting. It holds some great memories of both performing and attending events.
What do you appreciate most about the local arts scene in Canberra?
What I appreciate most about the local arts scene in Canberra is the diversity of both the events and the people running them. Canberra allows us in the arts to live out the true meaning of the portfolio career.
Name three people you’d like to invite to dinner, living or dead.
It’s tough to choose – I’d say Julia Gillard, David Attenborough and Dmitri Shostakovich.
Are you a cat person or a dog person?
I’m a cat person all the way! Our household includes a Siberian Forest Cat called Harvey who is great company, particularly when working from home. He loves to play fetch!
What’s the most interesting thing you’ve read recently?
The most interesting things I have read recently are work-related for me, but definitely hold broader interest in the lead up to the US presidential election: Election Interference: International Law and the Future of Democracy by Jens David Ohlin and Active Measures: the Secret History of Disinformation and Political Warfare by Thomas Rid. If it is not something you’ve really looked into before, some of the facts or assertions could seem affronting – but well worth a read!
THIS CSO MIXTAPE SUPPORTED By
