Sitsky’s music the star of his birthday concert

Larry and Magda Sitsky last night. Photo: Peter Hislop

The Music of Larry Sitsky - 90th birthday concert

Larry Sitsky Recital Room

ANU School of Music

August 25, 2024

Reviewed by Ron Kennedy.

Canberra’s most famous composer, Larry Sitsky, the original head of keyboard studies at the ANU’s School of Music, had a 90th birthday celebration concert in the room named in his honour.

Pianist Edward “Teddy” Neeman organised the concert, held, naturally, in the Larry Sitsky Recital Room at the School of Music, included many notable performers from across Australia.

Prof Adrian Walter, head of the School of Music, gave the opening address to the full house. He mentioned the joke Sitsky once made to an overly enthusiastic fan who kept questioning him about the origin of his surname. An annoyed Sitsky had replied that he was named after a room in the School of Music.

The first pieces performed were two of Sitsky’s Fantasias, the No. 4, “Arch”, with Joy Lee on piano and the No. 8 with pianist Alistair Noble.

The intertwining nature of Sitsky’s music is a voice of specific character and nature.

It crosses tonalities, clusters abound, and huge ranges in dynamics are his signatures. Also, deeply personal, complex and thick textures layers his music. Both Fantasias reflected these qualities.

On oboe David Nuttall and piano, Edward Neeman. Photo: Peter Hislop

Then, two movements from his Sonata No. 3, with Aaron Chew on piano. Mystery and speculation are woven into many Sitsky pieces. It’s almost like there’s a code in his music. He makes use of all the keyboard. Pieces sparkle in the highest register, and growl when at the bottom. The piano becomes more than an instrument. It is a sound world telling a fascinating story.

An arrangement of Sitsky’s famous Russian Miniature followed. On oboe David Nuttall and piano, Edward Neeman. Arranged by Sitsky himself, a jumpy dancing tune emanated. Then a Petite Valse by Ukrainian composer Leff Pouishnoff, a work that Sitsky had collected over his long musical career.

During the interval, a book on Sitsky, titled A National Treasure, was launched by Jeanell Carrigan and Rita Crews. Sitsky also spoke. He told a story from his past about his training as a sound engineer and applying for a job at the ABC. He thought he was going to be working with orchestras and string quartets, but instead found himself on the Six O’Clock Rock TV program with hundreds of screaming teenagers. He also spoke about working with The Wild One, Johnny O’Keefe and others.

Bassoonist Ben Hoadley, clarinettist Jason Noble, Vivienne Tran and Aaron Chew on piano performed a mixed repertoire of Sitsky’s works.

 

There was even an amazing video recorded performance of his The Witch of Endor, performed by an enthusiastic Michael Kieran Harvey on piano.

Sitsky’s Fantasia No. 6, for solo bassoon performed by Hoadley, was a sliding musical soundscape. Zuqerq, with Nobel on clarinet and Neeman playing the piano lid like a set of bongos, concluded a night of electric music.

Following an Armenian tradition, the entire audience rose and erupted in applause as Larry and his wife Magda exited the room.

First published at Canberra City News, August 27, 2024

ONE RESPONSE TO SITSKY’S MUSIC THE STAR OF HIS BIRTHDAY CONCERT

Tony Magee says: 30 August 2024 at 6:06 pm

Rob Kennedy mentions in his review that when Larry Sitsky spoke at this event, he recounted that his first foray into employment in Australia was working for ABC television in a technical capacity during the mid 1950's. 

I'd like to expand a little on that. 

The year was 1956. Prime Minister Robert Menzies was in discussions with both the ABC and Channel Nine. His mandate was simple. "Gentlemen - television must be ready in time so we can broadcast the Melbourne Olympics." Menzies was firm and resolute about that. No ifs or buts or maybes. TV must be ready. And it was.

Not only were the '56 Melbourne Olympics broadcast around Australia on television, but it meant that all the overseas networks could link up with us and the games were broadcast around the world. 

But something else special happened later that year involving ABC Television and Larry Sitsky. 

The American pianist Liberace made his first concert tour of Australia. Besides the main live concerts, it was decided that Liberace would include a live television broadcast for the ABC. 

Larry was appointed to oversea all that and make sure all the camera angles were correct - one for his hands only, another camera for his always smiling face, one for inside the piano showing strings and hammers and a fourth further away, showing Liberace and piano together. Plus, the correct placement of various microphones to capture the sound in maximum resolution. 

The day came when Liberace arrived at the Gore Hill studios where Sitsky worked and the two met for the first time. It didn't take long for them to discover, during conversation, that they had both learned piano from the same teacher - Egon Petri.

An instant friendship developed. 

Some years ago, I remember asking Larry Sitsky about Liberace. I just wanted to know what he was like as a person and also Larry's opinion of him as a pianist.

"Tony, Liberace was an absolutely delightful person to work with. Very friendly, kind and sincere." said Larry. "And you know, he was actually a highly skilled pianist, although this was often vastly overshadowed by his increasing penchant for wearing lavish, sometimes outrageous costumes on stage and also his Las Vegas style showmanship and stage persona." 

Rob's review is an excellent summation of what the audience experienced last Monday night at Larry Sitsky's 90th birthday celebration concert - an evening of magic. 

May Larry and Magda Sitsky enjoy good health and happiness for many years to come.

Peter Garrett to conduct review into cancelled concert

Former Labor politician Peter Garrett will lead a review of the Melbourne Symphony Orchestra.
(James Ross/AAP PHOTOS)

By Rachael Ward in Melbourne

Former arts minister and musician Peter Garrett will lead an investigation into the Melbourne Symphony Orchestra’s removal of a pianist from a concert as the organisation’s managing director departs.

Acclaimed pianist Jayson Gillham was due to participate in a concert at the Melbourne Town Hall earlier in August but was asked to step aside after performing a solo “dedicated to the journalists of Gaza” at a different event.

The Melbourne Symphony Orchestra (MSO) said removing the Australian-British performer was an error and it had cancelled the entire performance over safety concerns.

Musicians requested an independent investigation into the incident and the orchestra’s leadership as they submitted a vote of no confidence to the board.

The orchestra on Monday announced managing director Sophie Galaise had left the organisation after eight years.

Orchestral leader Richard Wigley will immediately step in as a strategic advisor leading the management team in the wake of Ms Galaise’s departure.

“We recognise the recent pressures on our people and management and are comforted that a person of Richard’s capability can step in immediately to help ensure the MSO functions effectively through this review,” the board said in a statement.

Mr Wigley said he had previously been involved in rebuilding orchestras “after precarious phases in their histories”.

“A period of careful listening, considered discussion, sound judgement and implementation of appropriate changes is what comes next,” he said.

“I am confident that from difficult times comes fresh creative energies and sustained resilience.”

Pianist Jayson Gillham. Photo courtesy The Age

The orchestra also revealed Midnight Oil frontman Peter Garrett would lead an external, independent review with the assistance of KPMG Australia consultants.

The review will examine MSO’s policies, procedures and protocols including freedom of speech and artistic expression on stage.

The orchestra’s board said Mr Garrett’s review was needed to restore confidence in the organisation, adding the past few weeks had been a difficult experience for many people.

“There is a clear understanding that we need to learn from these events to ensure the MSO is best positioned to continue offering world-class cultural experiences for our valued audiences,” the board said.

“The appointment of Peter, supported by KPMG, will provide confidence to our musicians, our people and wider community that we are serious about the process.”

Mr Garrett said his review could serve a broader purpose for others who would inevitably face similar challenges.

“Performing arts organisations are facing complex issues around freedom of expression whilst maintaining long-term sustainability in a dynamic and increasingly highly charged environment,” he said.

The board said it was committed to sharing details about the review when they were finalised.

First published by Australian Associated Press at Canberra City News website, August 26, 2024

ONE RESPONSE TO PETER GARRETT TO CONDUCT REVIEW INTO CANCELLED CONCERT

Tony Magee says: 27 August 2024 at 12:09 pm

A spokesperson for the MSO has announced: “We maintain that a concert platform is not an appropriate stage for political comment, but we acknowledge Jayson's concerns for those in the Middle East and elsewhere." Well, here are 8 notable examples over the years, where music and performance were effectively used for political comment in astounding ways. 

In 1803, Beethoven dedicated his Symphony No. 3 to Napoleon. After his friend Ferdinand Ries told Beethoven that Napoleon had declared himself Emperor, Beethoven flew into a rage and tore up the first page of the Symphony, which included the written dedication, exclaiming “Now Napoleon will tread under foot all the rights of man, indulge only his ambition, think himself superior to us all, and become a tyrant!" Beethoven re-wrote the first page, leaving out the Napoleonic dedication and simply entitled it “Symphony Eroica”. 

In 1940, English pianist Dame Myra Hess devised a daily weekday lunchtime concert program to raise British moral during World War II. The evening concert venues were all blacked out at night and couldn’t be used. But, Winston Churchill had removed all artworks from the National Gallery in Trafalgar Square, having them stored in underground safety bunkers for preservation. Hess set up the now vacant Gallery as a concert hall and engaged world class musicians to perform. Each artist was paid five guineas no matter who they were. Hess insisted that the concert programs must include music by German composers, particularly Bach, Beethoven and Brahms. The concerts, numbering 1,968, proceeded Monday to Friday without fail for the duration of the war. Hess personally played in 150 of them. 

In Berlin during 1944, German pianist Walter Gieseking recorded Beethoven’s Emperor piano concerto (No. 5) with the Radio Orchestra of Berlin conducted by Artur Rother. It was a live broadcast. 16 minutes into the performance came a British bombing raid. On the CD reissue, one can clearly hear the sound of German anti-aircraft fire. The option was obviously there to abandon the broadcast and flee. Instead, the musicians defiantly proceeded to completion and in my view, this is the finest version, interpretively, of that concerto. 

In 1962, The Soviet Union and the American recording company Mercury collaborated on a major recording project, at the invitation of the Ministry of Culture in the USSR. The Russians wanted to capture their outstanding Osipov State Balalaika Orchestra in the best possible fidelity available, also with the relatively new concept of stereophonic sound reproduction. Mercury could provide all that and later that year the Mercury team arrived in Moscow with four tons of recording equipment and expert technicians. The resulting LP record was issued as “Balalaika Favourites” on the Mercury label both is the US and the USSR. A few years later it was released on the Dutch Philips label which made it more accessible to the international market. It remains an outstanding example of artistic collaboration between two unlikely compatriots, and is one of the finest recordings, both in performance and sound quality, of the 20th century. 

In 1970, Louis Armstrong added a spoken introduction to his song What a Wonderful World. Criticism of the song had started to emerge, principally due to the Vietnam War, but also to the ever ongoing issues of hunger and pollution. The song was re-issued with the spoken introduction, and I quote Armstrong’s words, from just a small portion of it: “Seems to me it ain’t the world that’s so bad, but what we’re doin’ to it. All I’m saying, is see what a wonderful world it would be if only we’d give it a chance. Love baby love! That’s the secret. If lots more of us loved each other, this world would be a better place.” 

In 1988, The Canberra School of Music performed Benjamin Britten’s War Requiem at Llewellyn Hall. Peace messages of support for this Canberra event arrived from Margaret Thatcher, Ronald Reagan, Li Peng (Premier of China), Dr Perez de Cueller (United Nations) Jacques Delors (Commission of the European Communities) and our own leader, Bob Hawke. These were all printed in the program. In addition, ambassadors from the USSR, USA, UK and China all delivered speeches of support on stage at the event. In all, there were 281 musicians and singers performing that night. The musical director and conductor was Marie van Hove. 

In 2019, Canberra Strings, led by Barbara Jane Gilby, performed Metamorphoses by Richard Strauss at Wesley Church. The piece expresses Strauss’ despair at the effects of World War Two on Europe. I heard occasional nods to the British composer Ralph Vaughan Williams during the performance - just fleeting glimpses in some of the chord structures. His “Symphony No. 6” also reflects themes of war. It serves as a gentle gesture of reconciliation from Germany to England. Most importantly however, this music and the performance of it, attempts to solidify a common goal of all peoples - to live in peace, harmony and tolerance. 

Perhaps most powerfully of all however, is the 1989 performance of Beethoven’s Symphony No. 9 conducted by Leonard Bernstein, at the Brandenburg Gate, marking the demolition of the Berlin Wall and the re-unification of Germany and through that, the beginning of the end for communist dictatorships in Europe. Introduced with a long spoken introduction by British music broadcaster Humphrey Burton, the event was televised live to 21 nations around the world. The orchestra was made up of members of the Bavarian Radio Orchestra, the Staatskapelle Dresden, the Kirov-Theatre Orchestra of Leningrad, the London Symphony Orchestra, the New York Philharmonic and Orchestra de Paris. The massed adult and children’s choirs were joined by soloists American soprano June Anderson, British mezzo-soprano Sarah Walker, German tenor Klaus König and German bass Jan-Hendrik Rootering. The passion, feeling and absolute dedication of the devoted musicians and singers to the purpose and importance of this Berlin Freedom Concert, with its international cast, epitomised the possibilities of human artistic achievement in uniting in a cause - in this case, a celebration of peace, freedom and unification.

Triple Self Portrait - Norman Rockwell (1960) and inspirations by James Brennan and Alfred E. Neuman

by Tony Magee

'Triple Self Portrait" in its original format is an oil painting by American illustrator Norman Rockwell, created in 1960 for the cover of the February 13 edition of The Saturday Evening Post.

Triple Self Portrait by Norman Rockwell, 1960

Pained on canvas and measuring 34.5 by 44.5 inches (88 cm × 113 cm), it is set in a white void.

It depicts a rear-view of Rockwell sitting at an easel producing a self-portrait. A gold-framed mirror topped with an eagle is set up to the left on a chair; Rockwell can be seen in its reflection as a thin and bespectacled man. On the chair in front of the mirror sits a glass of Coca-Cola and an open book.

On the canvas in front of the illustrator is an unfinished sketch of himself in his idealised art style. On the right side of the canvas Rockwell pinned self-portraits by Albrecht Dürer, Rembrandt, Vincent van Gogh, and Picasso. A piece of paper with sketches sits on the left. In total, there are seven self-portraits depicted in the work.

According to Michele Bogart, the painting shows that Rockwell saw himself as split between an artist and an illustrator.

According to Deborah Solomon, by not painting his eyes in the reflection, Rockwell shows that he rejects "the popular myth of artists as heroic seers". Further, she sees the work as Rockwell's "manifesto" by depicting the way American Realism is divorced from the reality found in a mirror.

Alexander R. Galloway disagrees with Solomon's interpretation and reads the painting as avoiding questions about how artists build meaning instead of answering them.

Text first published at Wikipedia, July 16, 2023. This latest edited format from May 27, 2024.

Two more known famous versions of Triple Self Portrait exist, both clearly inspired by the theme and style of Rockwell's conception.

Firstly, Australian artist Ahn Do is captured in “Triple Self-Portrait". This painting was created by James Brennan and won the Bald Archy Prize in 2018. Brennan’s piece is a loving tribute to Anh Do, capturing his vibrant personality and achievements.

Triple Self Portrait of Ahn Do by James Brennan, 2018

“Anh Do is an inspiration for me, I admire him for what he has accomplished in his life from his very humble beginnings as a child refugee to a successful author, actor, comedian and artist,” said Brennan. “I love his art, he has his own TV show ‘Anh’s Brush with Fame’ and he has been a finalist for the Archibald Prize. He also has that incredible big smile and happy-go-lucky personality that I wanted to capture."

James Brennen quote from Justine Nguyen's article in Limelight Magazine, March 21, 2018.

Secondly, MAD Magazine published a send-up of Rockwell’s “Triple Self-Portrait” featuring Alfred E. Neuman as the artist and subject. The Neuman character was first used on the cover of MAD by founding editor Harvey Kurtzman in 1954. This particular Rockwell inspired painting is currently being exhibited at the Norman Rockwell Museum. The exhibition, entitled "What, me worry? The Art and Humour of MAD Magazine," runs from June 8 - October 27, 2024.

Triple Self Portrait for MAD Magazine by Alfred E. Newman (artist and subject)

MAD text first published at Berkshires Week, by Ellen Spear.

Beaver Galleries to close in December

Beaver Galleries in Deakin… to close on December 1.

by Helen Musa

The owners of Canberra’s longest-running, privately owned art gallery, Beaver Galleries in Deakin, have said that the doors will close on December 1.

Their decision has caused a shock in arts circles, but comes as small family businesses have been reported to be closing all around the country and several weeks after Nancy Sever Gallery in Civic announced that it would reopen online only.

The announcement came after weeks of speculation and some private announcements which the owners, Martin and Susie Beaver, declined to share with media, in a letter to patrons on Thursday.

Martin and Susie Beaver. Photo: Helen Musa

“As you can imagine, this has been an incredibly difficult decision to make after we have enjoyed such an extraordinarily rewarding and privileged 33 years,” they wrote.

“It has been an absolute pleasure to have represented such talented Australian artists as they forged and developed their art careers.”

The galleries were originally founded by Martin Beaver’s late parents, Ron and Betty, in their Red Hill home in 1975,  after prolonged negotiations with the then National Capital Development Commission, they were offered allocations of land on the southern side of Adelaide Avenue, where architect son Ross designed the current gallery complex in Deakin, still one of the very few purpose-built commercial galleries in Australia.

In their heyday, the galleries were not only a hub of art and craft but used for musical soirees, as Betty Beaver was a noted musical patron and musician herself.

After Ron and Betty retired, husband and wife team Martin and Susie Beaver took over the gallery when their first child was three months old and have since exhibited year-round, matching painting exhibitions with fine craft exhibitions as well as conducting a retail outlet for art and craft and with their balance of fine and decorative arts providing a solid business basis.

In 2015 when marking the 40th anniversary of Beaver Galleries, they told CityNews they believed that over the years, their success had been partly attributable to the fact that their galleries were reasonable and affordable, in an intimate setting.

“There is an ownership factor with people coming here for a long time,” Susie said. “They feel as if they’re a member of a club.”

At the time they said they didn’t have a succession plan.

“So long as we still have the passion, we’ll be here, it’s something you take as it comes,” Martin said. “But we won’t be here in our Zimmer frames!”

They’re obviously not waiting for that time.

Beaver Galleries, 81 Denison St Deakin, will remain open until December 1, with current exhibitions by Peter Boggs and Benjamin Edols & Kathy Elliott, then shows by Thornton Walker and Alex Asch/Mariana del Castillo, then David Frazer and Cathy Franzi.

First published at Canberra City News, August 23, 2024

Musicians in tune for Larry’s big birthday

Edward Neeman, left, and Larry Sitsky. Photo: Peter Hislop

by Helen Musa

Canberra’s music community is gearing up for a 90th birthday celebration for our most famous composer, Larry Sitsky, who moved to Canberra in late 1965 to become head of keyboard studies at the ANU’s School of Music and made his home here.

A highlight of the evening will be a new biography of Sitsky by Jeanell Carrigan and Rita Crews, at which Sitsky will speak. 

Pianist Edward “Teddy” Neeman is organising the concert, to be held, naturally, in the Larry Sitsky Recital Room at the School of Music.

After an introduction by head of school Adrian Walter, Neeman will be joined by many other musicians, including fellow pianists, Aaron Chew, Alistair Noble, Vivienne Tran and Joy Lee.

In a pre-recorded “appearance”, star pianist Michael Kieran Harvey, will play Sitsky’s The Witch of Endor. 

Oboist David Nuttall, bassoonist Ben Hoadley and clarinettist Jason Noble will join the pianists to perform a mixed repertoire of works by Sitsky himself, arrangements of Russian miniatures by Vladimir Rebikov and Leff Pouishnoff and, in tribute to the Armenian influences on Sitsky, his works Maherq: fantasia no. 6 and Zuqerq for clarinet and bongos.

Larry Sitsky birthday concert, ANU School of Music, August 26.

First published at Canberra City News, August 20, 2024

Captivating cry for something different

The Offering. Omar Musa and Mariel Roberts. Photo by Peter Hislop

Music / The Offering

Omar Musa & Mariel Roberts Musa. 

At the B, Queanbeyan, August 8 2024

 

Reviewed by Rob Kennedy

The Offering presented captivating music, poetry and theatre that drew from oral histories, delving into topics of environmental harm and the concept of belonging.

Omar Musa, poet, rapper and novelist and cellist Mariel Roberts Musa, who were recently married in New York, brought their show to Australia after performing it overseas.

The protagonist in The Offering, hailing from a country devastated by environmental catastrophe, embarks on a journey through a plastic ocean to a legendary volcano. He intends to end his life through self-immolation, but discovers enlightenment and a glimpse of a borderless world instead.

Voice and manipulated cello, these sounds tell the story of a world floating in water. It’s also the story of water. In between the words, the cello with sliding notes, some distorted, amplified over a track of beats and ambient sounds, and a profound journey. This is what was offered.

Getting the audience in tune with the performers was also part of the experience. Breathe in, breathe out, was the mantra. In a meditation of sound and thoughts through action, Omar stood tall while almost singing in a performance that crossed dynamism and subtlety.

The story moved to pollution; the effects of wilful environmental destruction imbued the narrative. There was a sense of nothingness as we got to watch ourselves drowning in a sea of garbage and memories. It was more than a story. It was a vision. But not a vision of the unreal, it was an image of the frightening reality of what we have done to the world, and each other.

Mariel Roberts Musa. Photo: Peter Hislop

Mariel plays her cello with an amazing dexterity. Creating sound combinations not thought possible from this instrument. A rapid percussive, highly rhythmic deep sound world exuded from her hands and mind, with loops that swamped the audience into a deep, water-like immersion.

The story is well-thought-out. Some of it in Malay. It’s complex and intense, yet the language is clear, the feeling more than apparent. Like a radio play, there were many elements in The Offering. It was powerful, rhythmical, and poignant.

Omar’s performance was almost all from memory. Over an hour of thousands of lines, the singing, the connected and timed body movements added to the tale. It was also a journey into Omar’s past through his parents’ and grandparents’ history, which has shaped him today.

In the end, it was a shout-out. A cry for something different, something better than what we have. It screamed survival and resilience. It was moving, theatrical, fun and profound; it had the audience captivated.

First published at Canberra City News, August 9, 2024