Calendar

Across different formats, Classical:NEXT presents artists and ensembles from around the world that push the boundaries and extend the horizons of art music. The Showcase Festival shows artists and productions in a series of short live concerts – a unique opportunity to experience many performances in a minimum amount of time. It is comprised of Showcases performing during the day and evening, Club Showcases and DJs, off C:N Showcases and performances at the Opening and Closing ceremony.

The Classical:NEXT Showcases are selected by an international jury of experts to present a wide range of high-quality artists and productions in every category from early to contemporary, traditional to experimental. Soloists and small ensembles as well as large ensembles, opera productions or musical theatre projects can be presented through a showcase concert. See all Showcases 2019 curated by this year’s Classical:NEXT Jury.

Virtuosi pianists Lisa Moore & Sonya Lifschitz join forces to present a powerhouse journey on two grand pianos with masterwork music by J.S. Bach, Martin Bresnick and John Adams.

Hear the infamous Bach Goldberg Variations afresh, with it’s intricate ingenuity in luminous clarity as this duo team builds a kaleidoscopic tapestry of color, rhythm and touch.

Paired with bold, new American music – the Melbourne premiere of Martin Bresnick’s mysteriously evocative Handwork and John Adams’ jazz-infused, rollicking Hallelujah Junction – Sonya and Lisa portray an electrifying and generous musical dialogue with explosive, sonic resonance.

Program

John Adams
Hallelujah Junction

Martin Bresnick
Handwork

J.S. Bach arr. S. Emmerson
Goldberg Variations BWV 988

Melbourne Recital Centre, 31 Sturt Street,
Melbourne, Victoria
3006 Australia

Emily Hall’s Life Cycle traces the emotional journey of impending motherhood through the words of poet Toby Litt.

Moving, occasionally shocking and ultimately uplifting, its story develops through the themes of anxiety and impatience which often comes with pregnancy, through to those sleepless nights nursing a newborn and the changing perspective of watching a child grow.

This rewarding and emotional performance is a perfect point of reflection in celebration of Mother’s Day.

Presented by Melbourne Recital Centre and Zoe Knighton, Sonya Lifschitz & Gian Slater

Duration: 1 hour (no interval)
Tickets: Standard $39 ($29 Concession)

This concert is set in-the-round.

“A captivating interplay between piano and the voices of history. ★★★★1/2” Limelight Magazine

A smash hit at its 2017 premiere at Canberra International Music Festival, Stalin’s Piano is a compelling musical exploration of a century of history, art and politics. Celebrated pianist Sonya Lifschitz weaves virtuosic music together with video and audio recordings of eminent artists and political figures in this striking multimedia composition by Robert Davidson.

Musical vignettes of notable identities are entwined with actual excerpts from their lives and work, from Le Corbusier to Shostakovich, Jackson Pollack to Ai Wei Wei, and Julia Gillard to Donald Trump.

Robert Davidson is renowned for unearthing the hidden musicality of speech in his works, creating a new dialogue between voice and instruments.

Praised by the New York Times and The Age as “dynamic” and “powerful”, Sonya Lifschitz is internationally-recognised as one of Australia’s most innovative and fiercely creative musical voices.

ARTIST

Sonya Lifschitz piano
Duration: approximately 60 minutes, no interval

A choral setting of Julia Gillard’s ‘misogyny speech’ replete with her every cadence and rhetorical rhythm, went viral a few years ago. The former PM’s musical amanuensis was composer Robert Davidson whose obsession with what he calls “voice portraiture” reaches its zenith in this fabulous and virtuosic multimedia work.

The undisputed hit of the 2017 Canberra International Music Festival, Davidson harnesses the voices and visual footage of 19 artists and politicians (Brecht, Goebbels, JFK, Percy Grainger, Judith Wright, David Malouf, Whitlam and, yes, DJ Trump among them), capturing the music of their often iconic speeches, and crystallising it in a score played live with astonishing brilliance by Sonya Lifschitz. The text is sometimes followed to the syllable, at other times looped and mashed up to create wild flights of what could be mistaken for Cuban jazz riffs.

The title refers to courageous Russian pianist Maria Yudina, an outspoken champion of artistic freedom whose recording of a Mozart concerto was ironically on Stalin’s turntable when he died. Ukrainian born Lifschitz, for whom the music was conceived, approaches her formidable task with equal fearlessness.

Please find Adelaide Festival event detail here: adelaidefestival.com.au/2018/stalins-piano

Mofo at Mona
SONYA LIFSCHITZ

STALIN’S PIANO – 2 shows

Friday 19 January, 11.30am

Saturday 20 January, 5.30pm

Organ Room, Mona

Tickets: Included in the Three-Day Mona Pass ($139–$179 + booking fee) or relevant Day Pass ($55–$69 + booking fee)

Composer Robert Davidson has set audio and footage of iconic speeches—from Bertholt Brecht to JFK to our own Julia Gillard—to live piano, performed by virtuoso pianist Sonya Lifschitz.

An impassioned musical and visual adventure

Sweet is the Torment is a collaborative, multi-media work curated by some of Melbourne’s most innovative and creative artists working across a range of media and musical styles.

Taking the sensuous splendor of Monteverdi’s madrigals as a point of departure, Sweet is the Torment draws on a range of historical influences to create a musical journey in time from the sumptuous beauty of High Renaissance, via the liturgical purity of Baroque, to the unpredictable whimsy of Modernity.

Press, Play invite you on an impassioned musical and visual adventure as words, sounds, and images collide and coalesce in a tapestry of seamless beauty and timelessness.

ARTISTS:

Press, Play
Melryn Quaife soprano
Alexandra Sherman mezzo-soprano
Kaylie Melville percussion

PROGRAM:

Giacinto Scelsi
Hyxos

Claudio Monteverdi (arr. Sarcich)
Con Che Soavita

Kaija Saariaho
Si Dolce è il Tormento

Claudio Monteverdi (arr. Sarcich)
Si Dolce è il Tormento

George Crumb
A Little Suite for Christmas

Claudio Monteverdi (arr. Sarcich)
Lamento d’Arianna

J.S. Bach (arr. J. Brahms and E. Moreno)
Chaconne in D minor

Claudio Monteverdi (arr. Munro)
Lamento della Ninfa

Claudio Monteverdi (arr. Sarcich)
Pur ti Miro, Pur ti Godo

VENUE:

Salon
Melbourne Recital Centre, 31 Sturt Street,
Melbourne, Victoria
3006 Australia

Duration: 1 hour 10 min (no interval)

This concert is set in-the-round. Seating in the Salon is general admission.

Featuring Ukranian-born pianist Sonya Lifschitz, Above Below juxtaposes two great works inspired by the twelve months of the year and the twelve houses of the Zodiac – Tchaikovsky’s Seasons ans Crumb’s Makrokosmos.

Ian Hanger Recital Hall

$15/$10 AT DOOR

City Recital Hall is stringing up the party lights for one of Australia’s best-loved composers, Elena Kats-Chernin. A spectacular line-up of celebrities, musicians and singers is descending on Angel Place for this epic birthday bash.

Elena’s music, performed by the nation’s top ensembles and orchestras, has delighted audiences for years. Her compositions cross genres; from intimate pieces for piano and chamber ensembles to ballet, opera and more. Her music reaches into our lives on film, TV and radio.

We hear Elena is calling this her second 30th. Whatever the number, you can be sure this concert will have some very special guests showcasing the wide and exhilarating appeal of Kats-Chernin’s works. There will be plenty of fun and possibly even a birthday cake. Join us, Elena and her friends for this once-in-a-lifetime event.

Special guests to include:

Greta Bradman
Dale Barltrop
Francesco Celata
James Crabb
Claire Edwardes
David Griffiths
Christine Johnston as Madame Lark
Christina Leonard
Kirsty McCahon
Stephanie McCallum
Marshall McGuire
Catherine Milliken
Ian Munro
Dene Olding
Dimity Hall
Jane Rutter
Veronique Serret
Gabriella Smart
Sydney Jewish Choral Society
And more to be announced!

Duration: approximately 2 hours, including interval

Composer: Robert Davidson
Performer: Sonya Lifschitz

A composer, a piano, a virtuoso, historical footage and a wildly chilling, at times very funny, meeting of Goebbels, Ai Wei Wei, Bertholt Brecht, JFK, Stalin, Maria Yudina, Whitlam, Jackson Pollock, Robert Helpmann, Gillard, Trump and more…

In 1953 Joseph Stalin died in his bed. Found spinning on his record player was Mozart’s Piano Concerto No. 23, a recording of the often banned and exiled Russian pianist Maria Yudina. A formidable, outspoken champion of new music and artistic freedom Yudina was famed for her vehement defiance of Stalin’s tyranny. Whilst so many of her fellow artists ‘disappeared’ or were purged by the KGB, Yudina outlasted Stalin and lived to tell her story.

Join the equally fearless and fierce pianist Sonya Lifschitz, as she fires up Australian composer Robert Davidson’s electrifying new work Stalin’s Piano. Conceived with and for the Ukranian-born virtuoso, Lifschitz deftly syncs Davidson’s collection of rousing compositions with the pulsing texts from history-shaping speeches and interviews, taking us into the heart of the ever-simmering conflict between state and individual with contributions from people as diverse as Goebbels, Ai Wei Wei, Jackson Pollock, Whitlam, Judith Wright, Frank Lloyd-Wright, Stalin and Yudina herself.

Set in twenty vignettes, this 65 minute audio-visual epic, weaves together virtuoso piano music, the recorded voices of iconic creative and political figures, archival video footage and Sonya Lifschitz’s spoken voice. Starting with Bertholt Brecht as he faces the House of Un-American Activities Commission and continuing through a diverse range of artists and politicians, Stalin’s Piano creates a devastating and captivating exploration of the big themes of modern history.

Davidson’s fascination with finding music in the spoken word has led to his creation of what he calls ‘speech portraiture’.

A note from the composer: “How does speech become music? It’s not through editing the speech, forcing it into a pre-conceived musical mould – rather, it’s done here through carefully attending to the speech, finding the music that is there, and using the piano as a frame in which to place the music I find – creating an accompaniment that primes perception to hear the music that for him was always there.

To me it’s a kind of portrait-making – a careful observation of a person’s voice (rather than their face) and a kind of extraction of the essential, distinctive musical style that they project into the world. It’s treating everyone as a composer – they create melodies spontaneously, unconsciously, with their spoken utterances. Sonya’s piano helps the rest of us hear those melodies.” Robert Davidson

“If you think piano recitals are dead, go and see ‘Stalin’s Piano’: Robert Davidson’s audio-visual epic of ten fingers against the inexorable sweep of history.”
Roland Peelman – Artistic Director Canberra International Music Festival

‘Stalin’s Piano’ is a riveting multi-media show. It delivers a punchy blend of satire, tragicomedy and profundity. The live, virtuosic piano playing by Sonya Lifschitz is deftly synced to rhythmic text in historical film excerpts, with original music by Robert Davidson. From Mozart to jazzy Cuban dance, the music covers a versatile range of styles – accompanying the words of artistic and political figures… Davidson and Lifschitz wrap the episodes into an attention-grabbing, fresh and entertaining 70-minute tour de force.” Lisa Moore – New York-based Australian concert pianist.

“A captivating … interplay between piano and the voices of history.” – ANGUS MCPHERSON IN LIMELIGHT

Weaving together virtuoso piano music, the recorded voices of iconic, creative and political figures, video and the speaking voice of pianist Sonya Lifschitz, this new composition by Robert Davidson was a hit at its premiere in Canberra earlier this year. It is a devastating and captivating exploration of the big themes of modern history featuring vignettes of 19 historical figures.

Davidson Stalin’s Piano

DURATION
60 minutes

PRICE
$30 / $24 (conc.)

VENUE
Drill Hall

POULENC TRIO

Oboe Huw Jones
Violin Wayne Brennan
Bassoon Nicole Tait
Cello Simon Cobcroft
Harpsichord and Piano Sonya Lifschitz

Poulenc Trio for Oboe, Bassoon and Piano, FP.43
Shostakovich Sonata for Cello and Piano in D minor, Op.40
Koechlin Three pieces for bassoon and piano, Op.34
Zelenka Trio Sonata No.6 in C minor, ZWV.18

Settle in for an afternoon of spectacle, with music from a near-forgotten baroque master and rebel composer Poulenc’s most well-known piece.

Gawk at the sheer technical demands in Zelenka’s larger-than-life Trio Sonata No.3. The richly textured work gives way to its own massive universe, through contrasting timbres of the instruments – beautiful, yet restrained.

Poulenc’s wittily-written Trio for Oboe, Bassoon and Piano is a punchy caricature of contrasting sections. Starting like a splash of cold water to the face, the work moves to ‘very sweet and melancholic’, before closing with rapturous fanfare.

You are invited to join us for a celebratory evening of excellence, passion and discovery as the ANU School of Music celebrates the achievements of 2017 with a Classical Music Gala Concert, featuring ANU School of Music Lecturer and Convenor of the Historic Keyboard Institute Dr Mike Lee.

Mike will perform with the newly formed ANU Festival Orchestra which includes the members of Tinalley Quartet, Faculty, Alumni and students of the ANU School of Music.

The newly formed ANU Piano Trio will also make their debut: Tor Frømyhr, violin, David Pereira, cello and Sonya Lifschitz, piano.

The program will feature pieces by Suk, Dvořák and the Concerto No. 14 K. 449 by W.A. Mozart.

The event is open public.

Sonya Lifschitz and Stephen Emmerson – four hands, one piano – share the duties here to give us a game of doubles. The pair partner the works of Bach with the heartfelt and delightful transcriptions and reimaginings by the great Hungarian composer Gyorgy Kurtag.

This production is part of the series “48 Ways of Looking at Bach” – a unique project across six concerts throughout 2017, celebrating the genius of J.S. Bach.

In 1722, J.S. Bach set out to explore a new way of thinking about sound. His explorations led to an astonishing achievement – two books of 24 Preludes and Fugues, in all major and minor keys.

In 2017, Melbourne Recital Centre invites some of Australia’s most accomplished, creative and adventurous keyboard players to take us on a journey through ‘the 48’, bringing their own insights and reflections to this music, as well as matching it with music that they feel illuminate and enhance these masterworks. This is a unique project across 6 concerts throughout 2017, celebrating the genius of J.S. Bach.

Each concert followed by a short Q&A with the artists, allowing us all to reflect on and interrogate the music of the greatest of all Baroque composers.

PROGRAM:

Johann Sebastian Bach
Prelude and Fugue No.9 in E, BWV854
Prelude and Fugue No.10 in E minor, BWV855
Prelude and Fugue No.11 in F major, BWV856
Prelude and Fugue No.12 in F minor, BWV857
Prelude and Fugue No.13 in F-sharp major, BWV858
Prelude and Fugue No.14 in F-sharp minor, BWV859
Prelude and Fugue No.15 in G major, BWV860
Prelude and Fugue No.16 in G minor, BWV861

Johann Sebastian Bach (arr. György Kurtág)
Chorale Prelude Das alte Jahr vergangen ist (I), BWV614
Chorale Prelude O Lamm Gottes unschuldig (VIII), BWV656
Chorale Prelude Herr Christ, der einig Gottes Sohn (I), BWV601
Chorale Prelude Aus tiefer Not schrei ich zu dir (II), BWV687
Chorale Prelude Allein Gott in der Höh sei Ehr (VII), BWV711
Chorale Prelude Gott, durch deine Güte, BWV600
Chorale Prelude Alle Menschen müssen sterben (I), BWV643
Chorale Prelude Dies sind die heilgen zehn Gebot (I), BWV635
Chorale Prelude Nun komm’ der Heiden Heiland. BWV599

Johann Sebastian Bach
Cantata ‘Actus Tragicus’ Gottes Zeit ist die allerbeste Zeit BWV106

CONCERT 11 – THE VELVET REVOLUTION

PROGRAM:

FROM PRAGUE TO BERLIN
Within one remarkable week in November 1989 the Berlin Wall came down and a peaceful revolution brought communist rule to an end in Prague. This concert plays tribute to the golden city where both Janáček and Mozart enjoyed their greatest successes and the German capital where our own Elena Kats-Chernin has left a dramatic footprint.

VAN KUIJK QUARTET, SONYA LIFSCHITZ and LISA MOORE piano, REBECCA CHAN violin, FLORIAN PEELMAN viola, DAVID PEREIRA cello, DARRYL POULSEN horn

ADULT $57, CONC. $52, U30 $30, U18 $25, STUDENT RUSH $25

VENUE:
Fitters’ Workshop11
Wentworth Avenue
Kingston, ACT, 2604
Australia

CONCERT 5 – STALIN’S PIANO (WORLD PREMIERE)

On March 5 1953, Joseph Stalin died in his bed. Spinning on his record player was Mozart’s Piano Concerto No. 23, performed by the formidable Maria Yudina. Yudina dared to criticize Stalin, yet lived to tell the tale. Robert Davidson’s new work, conceived for the Ukranian-born Sonya Lifschitz, takes us into the heart of the ever simmering conflict between state and individual, with contributions from people as diverse as Goebbels, Ai Wei Wei, Jackson Pollock, Gough Whitlam and Yudina herself.

BARBARA BLACKMAN’S FESTIVAL BLESSING
In association with the National Gallery of Australia.

PROGRAM:

Robert Davidson – Stalin’s Piano (WP)

Sonya Lifschitz, piano

This event is followed by a public discussion on art and politics with a panel including Deborah Hart (senior curator NGA), Robert Davidson (composer), Andrew Ford (composer/writer) and others.

50 MINUTE PERFORMANCE FOLLOWED BY FORUM (ca. 40’)
ADULT $57, CONC. $52, U30 $30, U18 $25, STUDENT RUSH $25

VENUE:
National Gallery of Australia – Fairfax Theatre
Parkes Place
EastParkes, ACT, 2600
Australia

This concert is a celestial and earthly reflection on the cosmic mechanics of time and the cyclical nature of life. The program juxtaposes two great works from the 19th and the 20th centuries inspired by the twelve months of the year and the twelve houses of the Zodiac. Written almost a century apart, the poetic lyricism of Tchaikovsky’s Seasons is contrasted with the enigmatic sonorities of Crumb’s Makrokosmos, weaving a journey through the calendar year and bringing the pasotral simplicity of the earthly Seasons  and the mystical symbolism of the Makrokosmos into a beguiling dialogue.

The 2017 Feast of Music is the sixth in the Feast of Music concert series, under the direction of Sergio de Pieri OAM.

Venue: St John’s Church, 379 Halifax Street Adelaide
More details can be found here

Sonya Lifschitz, piano

Contact Bargemusic:
Fulton Ferry Landing, Brooklyn, NY 11201
Note: GPS address is 1 Water Street, Brooklyn, NY 11201
Email: info@bargemusic.org

Sonya and Lisa play Infinite Variations

Infinite Variations – The Goldberg Re-Imagined for Two Pianos
J. S. Bach – Goldberg Variations, BWV 988 (arr: Stephen Emmerson)
Crumb – Makrokosmos Vol. 1 Twelve Fantasy-Pieces after the Zodiac (selections)
Glass – Piano Etudes (selected)

The Goldberg Variations Reimagined for two pianos: The virtuosi Ukrainian-Australian-American maverick pianists, Sonya Lifschitz and Lisa Moore, join forces for their sensational duo Sonya and Lisa as they re-imagine the J.S. Bach Goldberg Variations. Exploring the contrapuntal ingenuity and the transcendent spiritual beauty of the original iconic masterpiece, this unique two-piano arrangement delivers a special take, an electrifying musical dialogue of voices and textures, including selected works by George Crumb (Makrokosmos I) and Philip Glass (The Études).

Detroit Institute of Arts
5200 Woodward Avenue
Detroit, Michigan 48202

Virtuosi maverick pianists, Sonya Lifschitz and Lisa Moore, join forces to re-create and re-imagine the Bach Goldberg Variations. In this new context the variations are shared across two pianos and juxtaposed with solo music by the leading American composers – Philip Glass and George Crumb.

Music by Johann Sebastian Bach, Philip Glass and George Crumb

Johann Sebastian Bach Goldberg Variations, BWV 988 (arr: Stephen Emmerson)
George Crumb Makrokosmos Vol. 1 Twelve Fantasy-Pieces after the Zodiac (selections)
Philip Glass Piano Etudes (selected)

Exploring the contrapuntal ingenuity and the transcendent, spiritual beauty of the Bach masterpiece, this new duo arrangement (by the Australian pianist Stephen Emmerson) delivers a unique take on the original – a beguiling and electrifying musical dialogue of voices and textures.

Interwoven with selections from the timbral genius of George Crumb’s Makrokosmos Vol. 1 Twelve Fantasy-Pieces after the Zodiac and the resonating glory of Philip Glass’s Piano Etudes, Sonya and Lisa weave an intricate, kaleidoscopic tapestry of piano colors, rhythms, textures, articulations and dynamics.

Afresh, they re-present the Goldberg Variations – allowing the original to transform and speak in ever more powerful and compelling ways. As themes unfold and blend, Infinite Variationspoetically establishes the timeless relevance of Bach, Glass and Crumb, alive in a new sonic environment of continuously evolving performance traditions.

Toledo Museum of Art
2445 Monroe St, Toledo, Ohio 43620

Mozart – Overture to The Marriage of Figaro K.492
Brahms – Piano Concerto in D minor, No.1, Op.15 (arr. Brahms for piano 4 hands)

Beloved for its high drama, sumptuous beauty and deep lyricism, Johann Brahms’s Piano Concerto No.1 in D minor is here heard in a uniquely intimate and personal arrangement by the composer himself for piano duet. Stripped of the orchestral forces, this ‘chamber’ version of the piece communicates ever more directly the emotional and psychological narrative of one of the 19th Century’s most revered works.

Playfully reinventing the great tradition of symphonic concerts, Emmerson-Lifschitz Duo precede the piano concerto by a short, dazzling overture from Mozart’s immortal opera The Marriage of Figaro, arranged for piano duet by the Romantic virtuoso Carl Czerny.

GEORGE CRUMB – MAKROKOSMOS BOOKS 1-4
BOOK I Twelve Fantasy-Pieces after the Zodiac
BOOK II Twelve Fantasy-Pieces after the Zodiac
BOOK III Music for the Summer Evening
BOOK IV Celestial Mechanics

Cosmic Mechanics is a celestial reflection on the eternal recurrence of time and the cyclical nature of life. Conceived as a five-hour long performance event beginning at dusk on the loan of the iconic South Melbourne Town Hall building, Cosmic Mechanics is a curated, multimedia work that presents the four books of George Crumb’s visionary and ground-breaking MAKROKOSMOS in a unique and imaginative way. Directed by internationally-acclaimed virtuoso pianist Sonya Lifschitz and supported by the Australian National Academy of Music, this site-specific event brings together music, lighting design, improvisation, and experience design to amplify the mystical, otherworldly quality of Crumb’s music, and to illuminate the South Melbourne Town Hall, and its unique position in Melbourne’s cultural landscape, into vivid, pulsing life.

Sonya Lifschitz piano/director
Timothy Young and Alex Raineri piano
Christine Johnston musical saw and vocals
ANAM Percussionists and Pianists
Bronwyn Pringle lighting direction and design

Robert Davidson (b. 1965) – City Portraits
George Crumb (b. 1929) – Makrokosmos, Book I (selections)
Pyotr Ilyich Tchaikovsky (1840-1893) – The Seasons, Op.37 (selections)

Music. Words. Film. Poetry.

Internationally acclaimed virtuoso and maverick of the piano Sonya Lifschitz, embarks on a multi-media tour de force, exploring urban, pastoral and cosmic landscapes, from the Australian Parliament to the ancient Kingdom of Atlantis, ca.10000 B.C. Showcasing masterpieces spanning three centuries, this immersive and re-imagined piano recital will take the listeners on an unforgettable adventure, weaving its way from the irrepressible energy and pulsation of Rob Davidson’s politically charged City Portraits, based on the history-bending speeches by Julia Gillard, Percy Grainger, Frank Lloyd-Wright and Corbusier, through the melancholy lyricism of Tchaikovsky’s Seasons, to the mystical symbolism of George Crumb’s Makrokosmos (Book I). Interwoven with video projections and spoken word by two Melbourne poets, this sonic-visual feast will delight, engage and provoke.

Venue: Ian Hanger Recital Hall, Queensland Conservatorium

Masterclass with Suzanna Hlinka and Sonya Lifschitz, working with tertiary students

Venue: Ian Hanger Recital Hall, QLD Conservatorium Griffith University

Arensky – Suite No 1
for two pianos, four hands
Stewart Kelly & Adam McMillan

Brahms – Concerto in D minor (1st mvt)
for two pianos, four hands
Sonya Lifschitz & Stephen Emmerson

Prokofiev/Pletnev – Cinderella (excerpts)
for two pianos, four hands
Natasha Vlassenko & Oleg Stepanov

Gershwin/Grainger – Porgy and Bess
for two pianos, four hands
Anna Carson & Timothy Young

Bizet/Wilberg – Fantasy on theme’s from Carmen
for two pianos, eight hands
Sonya Lifschitz, Suzanna Hlinka, Adam Mc Millan & Stewart Kelly

Venue: Ian Hanger Recital Hall, Queensland Conservatorium

Saint-Saens – Danse Macabre
for two pianos, eight hands
Sonya Lifschitz, Suzanna Hlinka, Adam McMillan and Stewart Kelly

Debussy – Petite Suite
for one piano, four hands
Brachi Tilles and Jenni Flemming

Christopher Healey – Three Caricatures
for two pianos, four hands
A World Premiere played by Stewart Kelly and Adam McMillan

Francis Poulenc – Sonata for Two Pianos
for two pianos, four hands
Anna Carson and Timothy Young

John Carmichael – Latin American Suite
for two pianos, four hands
Timothy Young and Stewart Kelly

Venue: Ian Hanger Recital Hall, QLD Conservatorium Griffith University

George Crumb – Music for a Summer Evening 
for two pianos and percussion
Sonya Lifschitz and Alex Raineri, with Nozomi Omote and Brent Miller

Martin Bresnick – “Handwork”
for two pianos
Anna Grinberg and Liam Viney

Yevgeniy Sharlat – “Touch Divided, Blocked”
for two pianos
A World Premiere performed by Anna Grinberg and Liam Viney