Melbourne International Guitar Festival, September 23-25 2016 – Get Yourself Along!

The 2016 Melbourne International Guitar Festival, held over Sept 23-25 at the prestigious Melba Hall, Melbourne University, will see a culmination of the world’s biggest international stars for concerts, workshops, classes and a performance competition.

If this is anything like the 2015 Festival Melbourne is in for a real treat. The Festival’s organisers, Evan Hopkins and Michael MacManus of the Melbourne Guitar Foundation, are just off the charts in terms of the passion, enthusiasm, sense of purpose and professionalism when it comes to the promotion of the classical guitar here in Melbourne and Australia. And they’re not too shabby on the guitar themselves either! Having watched them grow and develop over recent years I have been seriously impressed with their level of dedication and highly professional approach to getting events such as this Festival up and running.

If you’re in Melbourne you should really make a point of getting along and checking out at least one of the four cracking concerts, three masterclasses, workshops, presentations and performance competition that the guys have in store for us.

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Building from the inaugural 2015 Melbourne International Guitar Festival, the Melbourne Guitar Foundation (MGF) are making 2016 a year to remember.

This year’s festival, held at the prestigious Melba Hall at Melbourne University on Sept 23-25, will see some of the world’s biggest international stars converge over a 3 day festival of concerts, workshops, presentations, classes and a performance competition.

A large aim of ours is building community involvement, and making the classical guitar accessible to the general public. Many of our events over this weekend are FREE to attend, so we don’t want anyone to feel left out! Music should be for everyone!” – Festival co-director Michael MacManus

You won’t find steel strings at this festival, as it focuses on the dolce tones of the nylon classical guitar. The performances on show will demonstrate popular Spanish masterpieces, edgy Brazilian rhythms, Irish folk music, European works and a number of world and Australian premieres.

The artists include two of Australia’s most respected instrumentalists, Tim Kain (guitar) and Virginia Taylor (flute), Italian Adriano del Sal, Brazilian Chrystian Dozza, Canberra based Brew Guitar Duo (Matt Withers and Bradley Kunda), and the Victorian Guitar Orchestra.

The performance competition ranges from beginner to the highly competitive Open category. First prize includes $1000 cash and an 8 concert Australian tour. There have been entries from across all of Australia and even as far away as Italy! It promises to be a remarkable showcase of virtuoso talent.

To view the full festival schedule please visit http://melbourneguitarfoundation.com/2016-festival-competition-schedule/ 

 

 

 

 

 

Interview with Duncan Gardiner of Fiddlesticks – Coming to a School Near You! (If you’re in Melbourne…..) – Part 2

Here’s the second part of my interview with the fabulous Duncan Gardiner of Fiddlesticks, touring Melbourne and Victoria this month.

If you missed it make sure you check out Part one. And be sure to check back in the next couple of weeks for the third and final part.

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So you wrote quite a bit of music then specifically for the shows – how was coming to writing that music, with that particular audience in mind, particularly with some of the other stuff you write?

It was tricky. Part of the process was trying to find music which was originally composed for violin, guitar and cello. There’s very little. A lot of arrangements, but not that much original music.

And then the music also had to have some kind of educational value and musical interest, so it had to be engaging for kids. That’s why we arranged pieces like the Grieg and the Khachaturian, also we do a tango La Cumparsita, the famous tango. For the rest of it we thought, well I’ve already composed this piece called Brandy Snap, for guitar and violin, I could add a cello part.

And then I had already just composed a simple little round, which uses sol-far, do-re-mi, and I thought that would actually really, really work. So I just adapted it for our project. It kind of fell together.

And then there’s a piece by Paganini, which is the only classical work composed specifically for our trio. And it just sort of seems to come together and you make it work. It’s a minuet and trio so we talk about the costumes they would have worn, and the dance steps they might have done.

What have been some of the highlights been in the shows you’ve done already?

Oh gosh, I think there have been so many moments you know. Just the sheer joy of watching the kids enjoying the music. I mean I’ve had so many kids run up to me after concert and just say “classical guitar is so cool”. You would never hear there – half of my students want to learn electric guitar, because the classical guitar isn’t cool enough. But to have kids in remote communities, in remote mining towns where there’s basically no live music to listen to and we rock up in our van in the dust and the heat, to have the kids say classical guitar is so cool is like a big achievement.

But we’ve also had some schools where they haven’t really had instrumental music and they’ve been really, really excited to learn the new instruments. We told Musica Viva and they actually sent those schools maybe 10 violins.

So now this remote school, in a little mining town, 10 kids have got the opportunity to learn the violin themselves.

One time we were in Broome in this remote school, called La Grange, one of the first remote schools in WA, all Indigenous kids, they actually came, they drove an hour and a half to perform a piece at our concert. But there’s so much shame apparently in performing – it’s just part of their culture where they feel somehow a great deal of shame in being onstage. It’s a lot of pressure to perform perfectly, otherwise they get laughed at.

So at the last minute they decided they didn’t want to perform, it was just too much pressure. So we said what if Fiddlesticks were to perform with you, and so we ad a little practice, we had to learn the song having never heard it before in about five minutes. We tuned up their guitars, which were about a tone flat, up to concert pitch. And we actually managed to do it.

I was so proud of these kids. They were all teenagers, so kind of had their own unique problems, as well as their own stigma and shame for some reason from performing in front of a crowd. And we did this performance, and it was just so special. And then Musica Viva gave them a handcrafted guitar. Moments like that are just so special, you just don’t get to do that in normal concert making.

And you forget how many kids get to see you. Hopefully the legacy remains with the kids and they know that music making can be wonderful and enjoyable and fulfilling. That’s our aim – it’s not to make virtuosos, it’s really just to share our love of music, and show other people that music is to be enjoyed.

So how long have you guys been performing together as Fiddlesticks?

This is our 5th year. We had a year of the process of leading up with auditions, and having to develop up the show. We had workshops with the likes of Richard Gill, and all of the people from the Musica Viva offices came to WA to help us develop the show. We had to record the pieces that we perform, both audio and video, and it goes onto this thumb drive which is kit we developed with all of these activities that teachers can use. It’s basically a semester’s worth of classroom materials that they get when they book the group. So it’s not just these guys rock up and give a concert, they have an opportunity to actually use these resources on this thumb drive.

So that took about a year, and we’ve now covered a lot of miles and been really interesting.

The two others who are coming over to Melbourne are actually our deputy fill ins. They’ve actually been filling in for two years now! The original Fiddlesticks members had babies and they can’t tour, so they do the Perth concerts, but they just can’t be away from the kids.

And you see the trio continuing on?

Yeah! There’s so much for us to do, we’ve been getting more enquiries, and we do some public concerts as well, not just schools. I’m interested actually to consider branching into also taking music into hospitals and to kids hospitals.

Seeing as our show is already purposefully designed around children I thought why not. It’s all about taking music to the places where people can’t normally access music. Just redesign the show a little bit. I think it would also be very rewarding for us and vital thing for kids.

And also perhaps aged care – again so different, and also so rewarding, knowing that it’s having some effect on the audience. For me, the music can be a form of therapy. For me to be able to share my joy of the music too.

How did you guys come up with the name Fiddlesticks?

Well, I think it’s just a fun word. And because we perform for schools we wanted something fun. Obviously a violin can be called a fiddle if it’s playing folk music and as do play some folk music. And a lot of the kids call the bow a stick – so Fiddlesticks just seemed to have a good ring to it.

When we do some public concerts I sometimes feel a bit silly calling it Fiddlesticks, but I think it has a nice, fun sound to it.

Doing the show, having done it countless times, how do you keep things fresh?

Well, normally after each show we find ourselves debriefing a little bit and we’re always updating. We wrote a script that we wanted to learn like it was almost a theatre show, and then we discovered that the questions we were asking weren’t getting the responses we wanted. So we wanted to then shape the questions that we’d get the right answer.

Every year we redo the script, and for Hong Kong we had it then translated, and we had to make the script so to the point that the translator didn’t get stuck. And so we rejgg the script all the time. Sometimes we change the order of the pieces in the show, so we’re not just going through the motions.

Because we all know the music from memory by name, if I’m not speaking or doing anything you can just look out into the audience and really listen to the responses from the kids, and really enjoy it so much.

I also remember that each of the kids is hearing the music for the first time so it has to be fresh for them. It doesn’t matter if we’re onto our 100th show, or whatever, it has to be fresh, vibrant and alive. So I just always remember that.