She Speaks Program

We acknowledge that the land we make music on is the traditional country of the Kaurna people of the Adelaide Plains. We pay respect to Elders past and present and recognise and respect their cultural heritage, beliefs and relationship with the land. We acknowledge that this is of continuing importance to the Kaurna people living today. We extend this respect to all Aboriginal and Torres Strait Islander people who are with us for this performance today.

She Speaks is presented by the Adelaide Symphony Orchestra in partnership with the Elder Conservatorium of Music at the University of Adelaide.

Jump to
She Speaks 1 – Unearth | Fri 31 May, 1.10pm
She Speaks 2 – Spirit | Fri 31 May, 7pm
She Speaks 3 – Dynamic | Sat 1 Jun, 4pm
She Speaks 4 – Discover | Sat 1 Jun, 7pm

Welcome from Curators Anne Cawrse & Belinda Gehlert

“The impulse to create begins –  often terribly and fearfully – in a tunnel of silence.” Adrienne Rich

Welcome to She Speaks, a festival celebrating diversity, inclusion, and the bravery required to forge a career as a female composer.

We are not far removed from a time when seeing a female composer’s name in an orchestral or chamber music program was exceedingly rare. Much work has been done to address this imbalance, but it takes time and commitment to introduce new repertoire into the canon. We need opportunities to discover new favourites, to become familiar with unfamiliar voices, and to spark our musical curiosity. 

In She Speak’s third iteration, we revisit composers featured in previous seasons (Shaw, Mazzoli, Higdon, and Hensel), introduce some new favourites (Maconchy, Auerbach, Wolfe, and Tower), and once again celebrate homegrown Australian music (Chance, Finsterer, Harrison, Greenaway, and Cawrse).

The heart of our program lies with contemporary composition. We are thrilled to present four concerts showcasing primarily living female composers. For the first time, She Speaks presents a world premiere: Belinda Gehlert’s Diving into the Wreck, commissioned for the festival by the ASO. While premieres offer the thrill of the new, equally significant is the reprogramming of modern classics. To this end, we are delighted to feature soloists Julian Justin (viola) and Celia Craig (cor anglais), presenting the South Australian premieres of 21st-Century concerti by Holly Harrison and Anne Cawrse.

In our chamber concerts, the world-renowned Australian String Quartet performs with Noriko Tadano, exploring the ethereal melodies of the shamisen. ASO strings players and Elder Conservatorium of Music staff showcase rarely heard delights, and emerging talents from the Elder Conservatorium push boundaries with unique scores and unconventional instruments, including garden pottery!

Each note resonates with the limitless creativity and groundbreaking innovation of some remarkable compositional voices. We are confident you will be enthralled, moved, delighted, entertained, and surprised by it all – everything, that is, other than the fact all this was created by women.

Anne Cawrse

Composer Anne Cawrse is inspired by stories, art, nuance, and the fragility of the human condition.

Anne’s artistic practice is built around connection between the composer, the performer and the audience, and a belief that music has the power to express the inexpressible.

Anne has an uncanny knack for discovering music hidden within the written word. Her fondness for the lyrical and elegant is heard through her compositions which cover all combinations of acoustic instruments and voices.

Her music has been broadcast and performed around the world, and she is a multiple prize winner at the Australian Art Music Awards. Anne is a respected teacher and mentor, and curator of the She Speaks Festival of female composers.

Belinda Gehlert

Belinda Gehlert is an active composer and musician whose practice spans two decades. 

Belinda was first violinist and composing member of the Zephyr Quartet for 15 years and with them has performed throughout Australia, Asia and Europe. 

Belinda has composed and arranged music for State Theatre Company of South Australia, Brink Productions, Patch Theatre Company, Restless Dance Theatre, Vitalstatistix, Adelaide Baroque, The Silk Strings, Chamber Music Adelaide and the Adelaide Symphony Orchestra.

Belinda enjoys a vibrant performing career as a violinist and violist and has been a freelance musician with the Adelaide Symphony Orchestra since 2001. Belinda also plays regularly with the Tasmanian Symphony Orchestra and the Queensland Symphony Orchestra. 

She Speaks 1 – Unearth

Fri 31 May, 1:10pm
Elder Hall

Noriko Tadano Ancient Love Letter
Noriko Tadano Tsugaru Jonkara Bushi
Caroline Shaw Three Essays: First Essay (Nimrod)
Mendelssohn Hensel String Quartet in E-flat: III. Romanze
Noriko Tadano arr. Emily Tulloch Staircase to the Moon
Alice Chance Nose Scrunch Reel
Noriko Tadano arr. Emily Tulloch Vertigo

Duration Approx. 1 hour, no interval

This concert is a continuation of the Australian String Quartet’s on-going collaboration with Nexus Arts.

About the music

Words and music share an intimate relationship – one integral to the opening work of She Speaks, an Adelaide Symphony Orchestra series giving voice to lesser-heard composers. This afternoon’s program Unearth begins with a musical essay from Caroline Shaw, an American composer who uses the language of music to reflect upon the function of words, which can unite and divide us in equal measure.

In 2016, Shaw started working on Three Essays through which she pondered how a body of writing may introduce and disseminate groundbreaking ideas. At the forefront of her mind during the composition of her First Essay (Nimrod) was the writer Marilynne Robinson, whose Pulitzer Prize-winning novels and essays contemplate daily life and religion in America. Further to this inspiration is the story of Nimrod, which Shaw embeds into the title of her work. In the biblical tale, Nimrod is a warrior who plays a role in building the Tower of Babel – a mighty structure designed to reach up to Heaven. As the story goes, God punishes the people who work on this tower by polluting their language, making it impossible for them to understand each other. These concepts may be heard in the musical themes of Nimrod, which begin in synchronicity, each line cohesive and complementary before growing fragmented. This Pulitzer Prize-winning composer’s work Boris Kerner will feature in the third She Speaks event.

While She Speaks highlights the music of women from our generation, this program also pays homage to one of the talents who paved the way during the Romantic era: German composer-pianist Fanny Mendelssohn Hensel. Mendelssohn wrote hundreds of works, but unlike those of her younger brother Felix, few of hers were formally published, and some were shared with the world under her sibling’s name. Here, the Australian String Quartet showcases her String Quartet in E-flat: III. Romanze. A sober pulse introduces this movement from Mendelssohn’s magnificent 1834 chamber piece – one of the oldest surviving examples of a woman’s writing in this musical form.

Returning to modern-day Australia, you will hear a musical interpretation of a striking natural phenomenon. Noriko Tadano’s Staircase to the Moon paints a picture of a rare occurrence in Broome, Western Australia. The full moon glistens over dark water; its reflection looks like a stairway that climbs up to meet its light – an impression that Tadano once saw on a visit to the region. Her music is written for a shamisen, a traditional Japanese instrument with three strings. It begins slowly, with a spaciousness reminiscent of the wide evening sky. This version was arranged by Australian composer-violinist Emily Tulloch, and Tadano gives its performance.

Tulloch has arranged another of Tadano’s works featuring in this event – the vigorously rhythmic Vertigo, from the Staircase to the Moon album. Tadano, who was born in Japan, started learning shamisen at 6 years old, and after a lengthy time away from the instrument, she returned to it as an adult. Her career has taken her from busking in Melbourne to touring Australia and the world as a virtuosic soloist, composer, and collaborator.

Vertigo is energetic and catchy – the type of music that might have you closing your eyes and scrunch up your nose in satisfaction. This is also the intended effect of Nose Scrunch Reel – Alice Chance’s string quartet composed in 2020. It was inspired by the contagious energy of Irish folk music and the composer’s appreciation for the fiddle in this traditional medium. This Australian String Quartet commission forms part of the group’s anthology of Australian compositions, which also features music by Holly Harrison and Anne Cawrse – composers whose works will appear in the She Speaks programs to come.

Program note by Stephanie Eslake, 2024

Australian String Quartet

Since 1985, the Australian String Quartet (ASQ) has mesmerised audiences around the world. Dedicated to musical excellence, the ASQ aims to create chemistry and amplify intimacy through experiences that connect people with music.

Based at the University of Adelaide where it has been Quartet-in-Residence since 1991, the ASQ reaches out across the globe to engage people with an outstanding program of performances, workshops, commissions, digital content and education projects. The group’s distinct sound is enriched by a matched set of rare 18th-Century Guadagnini instruments on loan from UKARIA. 

Dale Barltrop plays a 1784 Guadagnini Violin, Turin
Francesca Hiew plays a 1748-49 Guadagnini Violin, Piacenza
Chris Cartlidge plays a 1783 Guadagnini Viola, Turin
Michael Dahlenburg plays a c.1743 Guadagnini Violoncello, Piacenza, ‘Ngeringa’

Noriko Tadano – Shamisen

Noriko is an ever-evolving creative force who continues to take her Japanese music to places few have ventured. She seeks out unique collaborations and creative practices that extend well beyond her music into theatre, sound art, and composing. She’s a virtuoso of the Japanese shamisen and a traditional Japanese vocalist who regularly performs internationally. Noriko has performed at the Sydney Opera House, WOMADelaide, and her work has also featured on radio, short films, and international theatre productions.

Back to top

She Speaks 2 – Spirit

Fri 31 May, 7pm
Elder Hall

Caroline Shaw Entr’acte
Elizabeth Maconchy String Quartet No.6
I. Passacaglia. Lento moderato
II. Allegro scherzando
III. Lento espressivo, rubato
IV. Allegro molto, con brio
Mary Finsterer Julian Suite III: Angelus
Jennifer Higdon Dash

Duration Approx. 1 hour, no interval

About the music

Elizabeth Maconchy was an English-born Irish composer who lived through every decade of the 20th Century. She once stated how important it is for the “composer to keep his head and allow nothing to distract him” – her language a telling reminder of the values of her time, inescapable and internalised. And still she excelled: Maconchy became the head of the Composers’ Guild of Great Britain – the first woman in the post – and was made a Dame of the British Empire. She was famously rejected for the Mendelssohn Scholarship because she was expected to marry instead of compose, but nevertheless went on to win all manner of awards and scholarships throughout her career. Despite her success against the odds, you won’t find many of her works on today’s concert programs – at least, not compared to the regularly performed music of her colleagues and friends Ralph Vaughan Williams and Benjamin Britten. In this She Speaks event, Maconchy’s String Quartet No.6 is at last brought to the fore for Australian listeners – and her music is just as engrossing as that of any composer who had kept his head; ignored his distractions.

Maconchy’s string quartets are among the most celebrated of her works and span about 50 years of her compositional career. The sixth was performed at an Oxford Ladies’ Music Society concert in 1952, in the presence of the composer. There, Maconchy spoke about the relevance of passion in music – and the restraint with which composers must funnel that enthusiasm into one clear idea. Her philosophy can be heard as early as the first few bars: cello presents an ominous idea, after which the first violin echoes its notes and character. Then the ensemble unravels the opening statement with striking intensity. The second movement carries her ideas with force (impetuoso), while the third gives Maconchy’s warmer melody to viola before the players work together to create a feeling of lightness and hope. The final movement is a thrill.

Mary Finsterer’s Julian Suite III: Angelus for clarinet, piano, and cello projects an entirely different sound world, bringing stunning variety into this She Speaks program. Ensemble Liaison commissioned, premiered, and recorded this music, which is named after Australian human rights advocate and arts patron Julian Burnside AO. Angelus refers to a 19th-Century French oil painting by Jean-François Millet. It shows a couple standing in a barren-looking field, a church’s steeple almost imperceptibly far in the distance. The man holds his hat by his chest while the woman clasps her hands in front of her: together they pray. Finsterer chose to reflect upon the Angelus devotion with music inspired by Roman Catholic Gregorian chant. Her piece is soft (pianissimo) and soothing, beginning “like a prayer”, as she instructs in her score. At first, it carries six beats to a bar, and close to halfway into this cinematic music, the piano burbles beneath soaring melodies from the clarinet and cello.

Jennifer Higdon is a New York-born composer whose work Dash shares similar instrumentation – it features clarinet, piano, and violin. But each bar of Dash is jam-packed with action as it speeds along at 152 beats per minute – about twice as fast as our resting hearts. The composer has likened its chaos to an athletic sprint in which the talent hurtles along at full force. Players don’t pause to catch their breath before a satisfying conclusion, piano descending through a series of glissandi, music finally toppling after the exertion. The Grammy Award- and Pulitzer Prize-winning composer’s Dash premiered in 2020, and has since been arranged for other instruments up for this fast-paced challenge.

Program note by Stephanie Eslake, 2024


Emma Perkins Violin
Lachlan Bramble Violin
Linda Garrett Viola
Gemma Phillips Cello

4EPQ could be your favourite outback Queensland community radio station. Familiar and friendly, an eclectic mix of interesting music, worth driving long distances for. But before this metaphor gets out of hand, 4EPQ is indeed a string quartet. Emma Perkins, Lachlan Bramble, Linda Garrett and Gemma Phillips are all members of the Adelaide Symphony Orchestra and love exploring the quartet repertoire together. They have performed at The Lab, the Wheatsheaf Hotel, On the Terrace, and many concerts for the Friends of the ASO. And like your favourite radio station, you never know what wonderful music is around the next corner.

Lloyd Van’t Hoff – Clarinet

Lauded by Limelight Magazine for his “life-affirming music-making”, Lloyd Van’t Hoff enjoys a vibrant career as a clarinetist, chamber musician, director and educator. A winner of the 2015 ABC Symphony Australia Young Performer of the Year Award, he currently serves as Head of Woodwind at the Elder Conservatorium of Music and is the Director of the Winterschool at the Australian Festival of Chamber Music. Lloyd is a founding member of Arcadia Winds and is proudly a Buffet Crampon endorsed performing artist.

Michael Ierace – Piano

Cited as having ‘an exceptional gift’ and his playing described as ‘revelatory’, Adelaide-born Michael Ierace had much success in local and national competitions before receiving the prestigious Elder Overseas Scholarship, enabling him study at London’s Royal College of Music. He won several competitions in the UK and performed extensively throughout the country.

Much sought after as an associate artist for national and international guests, he also teaches at the Elder Conservatorium of Music and is the regular pianist for State Opera South Australia and the Adelaide Festival productions.

Back to top

She Speaks 3 – Dynamic

Sat 1 June, 4pm
Madley Studio

Caroline Shaw Boris Kerner
Anna Clyne Hopscotch
Sally Greenaway Poems I, II & III
Julia Wolfe East Broadway
Lera Auerbach Lonely Suite. Ballet for a Lonely Violinist
Holly Harrison Bend/Boogie/Break

Duration Approx. 1 hour, no interval

About the music

American composer Caroline Shaw finds inspiration in the most unusual places. In Valencia – performed by the Adelaide Symphony Orchestra earlier this year – Shaw wrote about a piece of fruit. Plan & Elevation is a representation of the gardens surrounding a research library. Her work Boris Kerner stems from equally odd source material: it’s named after the German engineer who wrote a book about traffic flow.

The cello’s opening line is as tightly cornered as a city intersection. After sinking into its hypnotic but angular solo, percussion enters in the form of a flowerpot. Could its tapping signal the pitter-patter of pedestrians, rushing at the chance to cross at the lights? Instruments fall in and out of sync until the work concludes gently; peak hour is over.

Sally Greenaway’s transportive Poems I, II, and III also feature cello in a leading role. This soothingly beautiful music is inspired by the mélodies of French composer Reynaldo Hahn, and by the work of Belgian poet Pierre Louÿs. Louÿs wrote about a magical stroll through a forest at night, finding a cluster of roses and indulging in their scent. Greenaway’s 2013 composition is equally luscious, and while the Australian composer intended to hint at Philip Glass in this piano part, her dreamy work also feels reminiscent of the otherworldly scores that may be heard in a Studio Ghibli film.

Lera Auerbach’s Lonely Suite is anything but lonely. On YouTube, you will find myriad recordings of its six movements, owing to the composer’s decision to make her sheet music available for free. Such a generous act was spurred on by the isolation that musicians experienced during the pandemic. To help violinists feel less alone, Auerbach offered her music and united a community of soloists in the process. Pizzicato effects open the first movement Dancing with Oneself; in Boredom, Auerbach insists the melody should be performed “sadly”. No Escape uses compound melody to induce anxiety, while the work eventually wraps up with an open-ended Question on which the player can ad lib. Russian-born Auerbach is a creative polymath, and beyond this solo suite, she is a prolific conductor, pianist, poet, and artist. 

Equally impressive is Julia Wolfe, an American composer who won a Pulitzer Prize in Music and co-founded Bang on a Can. Her composition East Broadway is for a playful combination of instruments – toy piano and toy boombox. If you can spot earbuds or headphones on the soloist, you will know they are listening to a click track, which will help them keep in time with Wolfe’s elaborate rhythms. Margaret Leng Tan commissioned this music and premiered it in France in 1997. She is the world’s foremost toy pianist.

Anna Clyne’s Hopscotch for solo flute takes another step into the world of play. The virtuoso skips between high and low notes, never finding a steady place to land before being propelled along their scale yet again. This British composer’s music – which premiered in America in 2019 – shows the awe-inspiring skill of the soloist. Some moments are dedicated to extended techniques, others to passion and expression – all within the spirit of a child’s outdoor game.

Holly Harrison’s Bend/Boogie/Break is another playful piece, which was composed for a concoction of instruments – bass clarinet, percussion, and keyboard among them – and premiered in 2018 by the popular Ensemble Offspring. The title captures the intentions of this Australian composer, who guides the stringed instruments to bend their pitch, boogie through a “funk bass” section and break through “unravelling & deflating”, as marked in her score. It brings today’s She Speaks program to a dynamic and exciting close.

Program note by Stephanie Eslake, 2024

Nicole Marshall – Conductor

Showing a natural flair and ability, Nicole Marshall is one of Australia’s most exciting young conductors. Versatile and adaptable, Nicole has worked with many ensembles across the country.

Nicole graduated an Honours degree in Conducting at the Elder Conservatorium of Music in 2023 and is completing graduate studies under Dr Luke Dollman.

Displaying artistic maturity beyond her years, Nicole is an artist of emotional depth, drawing deep character out of her music and is certainly a conductor to watch.

Elder Music Lab

The Elder Conservatorium of Music’s new Elder Music Lab is spearheading the school’s activities in contemporary music, focusing on new works and innovative performance practices. Formed in 2017 and directed by Dr Luke Dollman, the ensemble has given many performances at the University of Adelaide and Creative Original Music Adelaide. Highlights include composer focuses on Peter Maxwell Davies and Pierre Boulez, 18 world premieres, and collaborations with various musicians. The ensemble has partnered with Singapore’s Yong Siew Toh Conservatory of Music and its Opus Novus ensemble.

Lucy Macourt Violin
Isabelle Watson Violin
Arjun Singh Cello
Lucy Ryan Flute
Daniel Hurst Clarinet
Saoirse Kowalski Piano
Esmond Choi Toy Piano
Cameron Edmiston Percussion
Noah Miller Percussion

Back to top

She Speaks 4 – Discover

Sat 1 June, 7pm
Elder Hall

Jamie Goldsmith arr./orch. Ferguson Pudnanthi Padninthi II – Wadna (Acknowledgement of Country)
Joan Tower Fanfare for the Uncommon Woman, No.1
Belinda Gehlert Diving into the Wreck
[ASO Commission – World Premiere]
Generously supported by Mary Lou Simpson OAM, Patron of Belinda Gehlert
Holly Harrison Hotwire
[Justin Julian, viola]
Joan Tower Chamber Dance


Dobrinka Tabakova Barbican Glade
Anne Cawrse The Rest is Silence
[Celia Craig, cor anglais]
Missy Mazzoli These Worlds In Us

Duration Approx. 2 hours (incl. interval)

About the music

In 1942, American composer Aaron Copland wrote Fanfare for the Common Man, paying homage to the men who dedicated themselves to their country during World War II. Decades later, Joan Tower would enter the American musical landscape to proclaim that her half of the population deserved an equally rousing anthem. This was the setting for Tower’s Fanfare for the Uncommon Woman, No.1 in which she chose to adopt Copland’s brass-heavy sound palette, then reimagine it as a celebration of courageous women. The new fanfare premiered in 1987 with a special dedication to conductor Marin Alsop. Tower’s use of brass and percussion provides an arresting introduction to her proudly feminist piece, and to this concert program.

For She Speaks, co-curator Belinda Gehlert has written an Adelaide Symphony Orchestra commission, which is also inspired by American source material. Diving into the Wreck takes its name from a ‘70s poem by Adrienne Rich, which uses the metaphor of a shipwreck to convey an emotional journey. Composer-violinist Gehlert has bookended her piece with a double violin solo, evoking the sensation of diving into the sea. Another string solo is heard in the centre, representing resilience, while brief woodwind solos provide bursts of colour and emotion.

Holly Harrison’s Bend/Boogie/Break featured in the third She Speaks concert, and her 2019 Hotwire is another lively offering. The Australian composer positions solo viola as a thief who ‘hotwires’ the orchestra for an adrenaline-inducing drive. The soloist plays contemporary styles and complicated techniques you’d rarely hear in an orchestral setting, turning this work into one wild ride. 

We return to Tower in Chamber Dance, which shares similarities with Diving into the Wreck: it gives short solos to various instruments, which sing above the silence or overlap with each other. Towers’ 2006 composition was commissioned by the Grammy Award-winning Orpheus Chamber Orchestra, and is dedicated to the players’ ability to communicate through the dancelike movement of music.

She Speaks co-curator Anne Cawrse places cor anglais in the spotlight in The Rest is Silence. Her concerto responds to English writer Aldous Huxley who, in his essay of the same name, stated: “After silence, that which comes nearest to expressing the inexpressible is music.” Beyond its literary inspiration, Cawrse’s work is an ode to music itself, and its ability to move us as it bridges silence and sound. Like Gehlert’s composition, it exposes fleeting emotions that are best shared not through words, but music. It was shortlisted for the APRA AMCOS 2022 Art Music Awards; Cawrse won two such awards in 2021.

This program closes with another work inspired by literature, Missy Mazzoli’s 2006 These Worlds In Us, named after a line from The Lost Pilot by American poet James Tate. Mazzoli draws parallels between the poem – a dedication to Tate’s father who died in World War II – and her own father who fought in Vietnam. Her award-winning piece contemplates grief and memory through patterns of sinking strings, warlike drums, and rich orchestration.

Program note by Stephanie Eslake, 2024

Luke Dollman – Conductor

Luke Dollman has conducted orchestras including the London Philharmonic Orchestra, Netherlands Radio Philharmonic Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Helsinki Philharmonic Orchestra, Monte-Carlo Philharmonic Orchestra, Nordwestdeutsche Philharmonie, Staatskapelle Halle, Sinfonietta de Lausanne, and all major Australian orchestras. He has worked with the Finnish National Opera and Ballet, Opera Australia, State Opera South Australia, and the Dutch National Opera. Luke is a graduate of the Sibelius Academy and studied at the Aspen Music Festival and School, and Accademia Musicale Chigiana. He is Associate Professor and Deputy Director at the Elder Conservatorium of Music.

Celia Craig – Cor Anglais

Creative Arts Fellow at National Library of Australia – researching fellow synesthete and composer Dr Miriam Hyde – Celia is an Honorary Associate of Royal Academy of Music, London and Excellence in Classical Music award-winner at Australian Women in Music Awards. Trained personally by Leonard Bernstein, another synesthete, Celia presents national schools program Colours of Home. Driven by her lifetime’s experience of seeing colour in harmony, she received ArtsSA Fellowship to found record label Artaria and is an SA Woman to Watch 2024.

Justin Julian – Viola

Sydney-born violist Justin Julian is Principal Viola of the Adelaide Symphony Orchestra, where he initially won the Associate Principal position at age 21. He has also worked as guest Principal Viola with the Melbourne Symphony Orchestra, performed at international festivals such as Aldeburgh Festival (UK) and completed both the Sydney Symphony Orchestra Fellowship and Australian Chamber Orchestra Emerging Artist Program. Highlights for 2024 include performances at Lucerne Festival (Switzerland) and solo engagements with the Adelaide Symphony Orchestra.

Adelaide Symphony Orchestra


Kate Suthers** (Concertmaster)
Holly Piccoli** (Acting Associate Concertmaster)
Minas Berberyan* (Acting Principal 1st Violin)
Alison Heike** (Principal 2nd Violin)
Julie Newman~ (Acting Associate Principal 2nd Violin)
Erna Berberyan
Gillian Braithwaite
Julia Brittain
Jane Collins
Danielle Jaquillard
Ambra Nesa
Alexis Milton
Michael Milton
Liam Oborne
Alexander Permezel
Alison Rayner
Kemeri Spurr
Niki Vasilakis


Jacqui Cronin** (Guest Section Principal)
Rosi McGowran~ (Acting Associate Principal)
Martin Alexander
Anna Hansen
Natalie Maegraith
Michael Robertson


David Sharp** (Acting Section Principal)
Andrew Leask~ (Acting Associate Principal)
Sherrilyn Handley
Shuhei Lawson
Greg Tuske

Double Basses

Belinda Kendall-Smith** (Acting Section Principal)
Aurora Henrich~ (Acting Associate Principal)
Jacky Chang
Gustavo Quintino


Kim Falconer**


Julia Grenfell*


Joshua Oates**
Renae Stavely~

Cor Anglais

Renae Stavely~


Dean Newcomb**

Bass Clarinet

Mitchell Berick*


Mark Gaydon**
Leah Stephenson

Contra Bassoon

Leah Stephenson* (Acting Principal)


Adrian Uren**
Emma Gregan
Philip Paine*
Timothy Skelly


David Khafagi**
Martin Phillipson~
Gregory Frick


Colin Prichard**
Ian Denbigh

Bass Trombone

Amanda Tillett*


Stan McDonald*


Fraser Matthew* (Guest Principal)


Jamie Adam** (Guest Section Principal)
Isabella van Loenen
Max Ziliotto


Kate Moloney* (Guest Principal)

Back to top

Proudly supported by

Search Results

Filter Results

No results found.