Olives and Cassisthe Basque and Beyond

Olives and Cassisthe Basque and

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Olives and Cassisthe Basque and Beyond

Olives and Cassisthe Basque and Beyond

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Olives and CassisMusic of the Basque and Beyond

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Where France meets Spain

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guitarist ����������������

Image: Olive Branches © Robin Maria Pedrero

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PROGRAM

Jâcques Ibert (1890 – 1962) Entr’acte

Enrique Granados (1867-1916) TonadillasEl Majo TimidoEl Majo DiscretoEl Tra la la y el punteado

Maurice Ravel (1875 – 1937) Pièce en Forme de Habanera

Erik Satie (1866 – 1925) Gymnopédie no. 3 (arr. Pellerite and Andrews)

Federico Garcia Lorca (1898-1936) songs from Canciones Españolas AntiguasZorongoNana de SevillaEl Café de ChinitasAnda, jaleo

Astor Piazzolla (1921 – 1992) from Histoire du TangoBordel 1900Café 1930Nightclub 1960

Enrique Granados (1867-1916) La Maja Dolorosa from TonadillasOh muerte cruel!¡Ay, majo de mi vidaDe aquel majo amante

Franco Cambareri Capricciosa

Manuel de Falla (1876-1946) from Sietes canciones españolasEl Paño morunoNanaCancionAsturianaJota

Artistsmezzo soprano Jenny Duck-Chong

flute Sally Walkerguitar Giuseppe Zangari

It all started with eating too much crème Brûlée at the French restaurant La Guillotine. A concert program was produced… Actually, the story had begun long before that. In 2008 Jenny, Sally and

Giuseppe had worked together in the premiere of a new Australian composition by Nigel Butterley with

Halcyon, Jenny's acclaimed contemporary music ensemble. An ardent lover of both French and Spanish art song, Jenny had then sought out Giuseppe with the idea of creating a program for voice

and guitar. Giuseppe and Sally were already performing together as a duo and over dinner, conversation and crème brulée, the trio concert, Olives and Cassis, came into being. The programme

essentially follows the music by composers who lived in, frequented or were inspired by the Basque

region. Here, France and Spain are joined by the Pyrenees and the proud inhabitants speak Euskara. Musically, there is an idiom of French music sounding a little Spanish, or Spanish Music sounding just a

little French. The music is passionate, colourful and at times plaintive and poignant too. The songs speak primarily of love – whether lost, anguished, playful or jubilant.

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Jâcques Ibert Entr’acteThe Entr’acte, like Ravel’s Habanera later in the program, are French Miniatures; where French

impressionist composers endeavoured to capture and freeze a musical moment as a gentle and delightful escape from the everyday into a world of fantasy and of the senses. Exoticism was popular

both in music and the visual arts at the the turn of the tweintieth century in Paris and both of these

works refer to Spain. The Entr’acte composed in 1937 by Paris conservatoire graduate Jâcques Ibert, uses both the Rasguardo strumming technique as well as harmonic progressions typical of the

flamenco guitar playing. Sally Walker © 2008

Enrique Granados TonadillasThe tonadilla was a theatre song, popular in the late 18th century, which exploited national dances and

folk melodies and dealt mainly with lower class popular life. The words majo (man) and maja (woman) applied in this period to the artisans living in districts around Madrid. They are idealised as boisterous,

carefree people, always colourful, often flamboyant and outspoken.Granados, an avid painter himself, was inspired by Goya’s paintings of these people, and created this

collection of short character songs ‘written in the old style’ with many varied emotions, from playfulness

to sorrow and distain. The lyrics were by poet and journalist Fernando Periquet, who also wrote the libretto for Granados’ opera Goyescas. The first three are very light-hearted.

Jenny Duck-Chong © 2010

El Majo Timido The Timid MajoLlega mi reha y me mira There is a majo who comes to my window lattice por la noche un majo. in the evening to gaze at me.Que en cuanto me ve y suspira As soon as he sees me and sighs, se va calle abajo. he runs off down the street.¡Ay! Que tío mas tardío, Oh! What a slow man!Si asi se pasa la vida, If he spends his life like this,Estoy divertida. A fine time I shall have!

Si hoy también pasa y me mira If today he comes again and looks at mey no se entusiasma and shows no passionpues le suelto este saludo: then teasingly I’ll say to him:¡Adiós Don Fantasma! Farewell, Sir Phantom!¡Ay qué tío más tardío! Oh! What a slow man!¡Odian las enamoradas Girls in love detestlas rejas calladas! silent lattices!

El majo discretoDicen que mi majo es feo. Es posible que sí que lo sea, que amor es deseo que ciega y marea. Ha tiempo que sé que quien ama no ve.Mas si no es mi majo un hombre que por lindo descuelle y asombre, en cambio es discreto y guarda un secreto que yo posé en él sabiendo que es fiel.¿Cuál es el secreto que el majo guardó? Sería indiscreto contarlo yo. No poco trabajo costara saber secretos de un majo con una mujer. Nació en Lavapiés. ¡Eh, ¡eh! ¡Es un majo, un majo es!

The discreet majoThey say that my majo is unattractive;Perhaps it is so,for love is a desire that blinds and dazzles:I have long knownthat she who loves is blind.But if my majo is not a manwho is noted for being dazzling handsomehe is, on the other hand, discreetand keeps a secretwhich I confided in himknowing that he is trustworthy.What then is this secret that the majo keeps?It would be indiscreet for me to tell.No little effort is needed to knowThe secrets a majo has with a woman.He was born in Lavapies. Hey!He is a majo, a majo he is.

El tra-la-la y el punteado The tra-la-la and the plucked guitarEs en balde majo mio, It is useless, my majo,Que sigas hablando, For you to persist,Porque hay coses que contesto For there are some things which I will always answerYo siempre cantando. With a song.Por mas que preguntes tanto, No matter how much you question meen mi no causas quebranto, I will not give inNi yo he de salir de mi canto. Nor will I end my song.

Es en balde majo mio... It is useless, my majo...

Maurice Ravel Pièce en Forme de HabaneraIbert’s collegue Maurice Ravel was originally from the Basque region where he was exposed to Spanish music. Whilst perhaps the most famous of his references to this are is his Bolero, the more

sensuous dance of the habanera must have also captivated Ravel’s attention as he had written etudes on the Habanera for two pianos and then composed the Vocalise en Forme de Habanera for voice and

piano in 1907 and later transcribed for flute and guitar entitled Pièce en Forme de Habanera.Sally Walker © 2008

Erik Satie Gymnopédie no. 3There is a nice anecdote of Satie introducing himself as a "gymnopaedist" when meeting an

intellectually intimidating Cabaret director in 1887; as Satie was forced to name his profession (and not really having one at that point) presented himself as a "gymnopaedist" in an attempt to outwit the

director. Two months later he commenced composing the three Gymnopédies started only two months

later, and was completed in April 1888.The tender, seamless melodies are always over a � time signature. Due to their timeless, meditative

quality, they have been considered the path leading to ambient music. The discrete dissonances and use of seventh chords in the harmony were new for the time they were composed and a move away

from the conventional ‘salon music’ structures in place at the time.Sally Walker © 2010

Federico Garcia Lorca songs from Canciones Españolas AntiguasWhile Garcia Lorca is highly revered as one of Spain’s most influential poets and dramatists, music was

also a strong driving force in his life. His writings show the strong influence of folklore of southern Spain (Andalusia) and his fascination with the life of the gypsies - their music, dance and traditions. His poetry

includes many references to music in collections such as Canciones (Songs), Poema del cante jondo(Poem of the Deep Song – a flamenco term) and Romancero Gitano (Gypsy Ballads).

He grew up in Granada, where he learnt flamenco guitar from some local gypsies, as well as collecting

and memorizing Andalusian folk songs from an early age. In the 1920s he became part of an intellectual and artistic movement that included Spanish dancer La Argentinita, composer Mañuel de

Falla, painter Salvador Dali, bullfighter Ignacio Sanchez Mejías, and director Luis Buñuel. By 1920, the year his first play was performed, he and Falla were visiting gypsies in the region to formally collect

songs and ballads. In the following years, he and Falla were involved in a series of joint productions,

festivals and events promoting Andalusian culture and flamenco music. Garcia Lorca performed folk songs frequently throughout his life, always from memory, in keeping with

the oral tradition of this music, often in presentations with La Argentinita, who would sing, dance and play the castanets. In 1931, he recorded twelve of these songs with her, perhaps fashioned on the

model of Falla’s Siete Canciones Espanolas, which he would certainly have known. After his death,

these were transcribed and published under the title Canciones Españolas Antiguas (Old Spanish Songs). Although they are attributed to Garcia Lorca, they are in fact his collection of traditional songs,

reworked or reharmonised by him. They are still often performed by flamenco groups and in dance productions, having a life far beyond the concert hall.

Jenny Duck-Chong © 2010

Zorongo

Tengo los ojos azulestengo los ojos azules

y el corazoncillo igual

que la cresta de la lumber.

De noche me salgo al patioy me harto de llorar

de ver que te quiero tantoy tù no me quieres ná.

Esta gitana está loca,

pero loquita de atar,que lo que sueña de noche

quiere que sea verdad.

Las manos de mi cariño

te están bordando una capacon agremán de alhelíes

y con esclavina de agua.

Cuando fuiste novio míopor la Primavera blanca

los cascos de tu caballocuatro sollozos de plata.

La Luna es un pozo chico

las flores no valen nada

lo que valen son tus brazoscuando de noche me abrazan.

I have blue eyesI have blue eyes

and a little heart

like a crest of fire.

At night I go out on to the patioand weep my heart out

because I love you so muchand you do not care for me.

This gypsy girl is mad,

quite out of her mindfor what she dreams at night

she wishes were tru.

The hands of my affetion

are embroidering for you a cloakwith a trimming of wallflowers

and a collar of water.

When you were my sweetheartin the white springtime,

your horse’s hooveswere four sobs of silver.

The moon is a little well,

the flowers are worth nothing;

all that matters is your armswhen they embrace me at night.

Nana de Sevilla

Este galapaguito no tiene mare.No tiene mare, sí

no tiene mare, no

no tiene mare.

Lo parió una gitana, lo echó a la calle...

Este niño chiquito no tiene cuna...

Su padre es carpintero y le hará una...

This little tortoise hasn’t a mother.Hasn’t a mother, yes,

hasn’t a mother, no,

hasn’t a mother.

A gypsy girl bore it and threw it into the street...

This little boy hasn’t a cradle...

His father’s a carpenter and will make him one...

El Café de ChinitasEn el café de Chinitas

dijo Paquiro a su hermano:

"soy más valiente que tú,más torero y más gitano".

Sacó Paquiro el reló

y dijo de esta manera:"este toro ha de morir

antes de las cuatro y media".

Al dar las cuatro y mediase salieron del café

y era Paquiro en la calle

un torero de cartel.

In Chinitas’ café,

Paquiro said to his brother,

“I’m braver than you,more of a bullfighter and a gypsy.”

Paquiro took out his watch

and said as follows:“This bull has to die

before half-past four”.

At four o’clock they went outfrom the café into the street,

and in the street Paquiro

was a bullfighter on a poster.

Anda, jaleoYo me alivié a un pino verde

por ver si la divisaba

y sólo divise el polvodel coche que la llevaba.

Anda jaleo, jaleo,

ya se acabó el alborotoy vamos al tiroteo.

En la calle de los Muros

matado una un paloma.Yo cortaré con mis manos

las flores de su corona.

Anda, jaleo....

I hurried to a green pine-tree

to see if I could catch a glimpse of her,

but all I saw was the dustof the carriage taking her away.

Come on, let’s shout and cheer:

the commotion is over,so now let’s go shooting.

In the street of the walls

they have killed a dove.With my own hands I will cut

the flowers for her wreath.

Come clap hands...

Astor Piazzolla from Histoire du TangoThe now classic favourite for flute and guitar documents the history of the development of the tango

from its saucy beginnings in Bordels through to a variety of venues including night clubs and cafés. The

acclaimed master of Tango, Astor Piazzolla, took the dance music to a new horizon with pure instrumental compositions intended for the concert hall, such as this. Although the setting may have

evolved from the less then salubrious Bordel to the more sophisticated concert setting, Piazzolla’s Histoire du Tango nonetheless has his gritty but clever musical script, filled with chromatic harmonies,

dissonances and changing meter. The movements played today are: Bordel 1900, Cafe 1930 and

Nightclub 1960.Sally Walker ©2010

Enrique Granados La Maja DolorosaAlthough these three songs are from the same collection of Tonadillas, they provide a marked contrast to the preceding more frivolous songs. Grouped together as a small subset of songs under the title La

Maja Dolorosa, they feature far more chromatic and wide ranging melodies, reflecting the deep and

heartfelt sorrow of loss they express. Jenny Duck-Chong © 2010

La Maja Dolorosa no. 1. The Sorrowful Maja no. 1.¡Oh muerte cruel! Oh cruel death!¿Por qué tú a traición Why did you treacherouslymi majo arrebataste take away my majoá mi pasión? from my passionate love?No quiero vivir sin él, I have no wish to live without him,¡Porque es morir asi vivir! For it is death to live like this!

No es posible ya It is not possible nowsentir mas dolor: to feel greater pain:en lagrimas deshecha my heart ismi alma esta. dissolved in tears.¡Oh Dios! Torna mi amor, Oh God! Return my love,Porque es morir asi vivir. For it is death to live like this!

La Maja Dolorosa no. 2. The Sorrowful Maja no. 2¡Ay! Majo de mi vida, Oh, majo of my life, no, no, tú no has muerto! no, no, you cannot be dead!¿Acaso yo existiese How could I go on livingsi fuera eso cierto? if this were true?¡Quiero loca besar tu boca! Wildly I want to kiss your lips!Quiero segura gozar mas de tu ventura. I want faithfully to share your fate.¡Ay! de tu ventura. Oh, your fate!Mas ¡Ay! deliro, sueño, But oh! I am raving, dreaming,mi majo no existe, my majo lives no more.En torno mío el mundo The world all around melloroso esta y triste. is weeping and sad¡A mi duelo no hallo consuelo! I find no consolation in my sorrow!Más muerto y frío But though dead and coldsiempre el majo será mío. my majo will always be mine. ¡Ay! siempre mío. Oh! Always mine!

La Maja Dolorosa no. 3 The Sorrowful Maja no. 3De aquel majo amante que fué mi gloria Of that loving majo who was my gloryguardo anhelante dichosa memoria. I cherish jealously a happy memory.El me adoraba vehemente y fiel He adored me passionately and loyally,Yo mi vida entera di a él. I gave my whole life to him.Y otras mil diera, And I would give it again a thousand times,si él quisiera, if he desired it,que en hondos amores for when love is deep,martirios son flores. torments are as sweet as flowers.Y al recordar mi majo amado, And as I remember my beloved majovan resurgiendo ensueños dreams come flooding backde un tiempo pasado. of a time gone by.

Ni en el Mentidero ni en la Florida Neither in Mentidero nor La Floridamajo más majo paseó en la vida. was a more handsome majo ever seen to stroll.Bajo el chambergo sus ojos vi Beneath the wide-brimmed hat his eyescon toda el alma puestos en mi. would be fixed passionately upon me.Que a quien miraban enamoraban, Whoever looked on him fell in love with him,pues no hallé en el mundo for you could not find in all the worldmirar más profundo. A more intense gaze.Y al recordar mi majo amado, And as I remember my beloved majovan resurgiendo ensueños dreams come flooding backde un tiempo pasado. of a time gone by.

Franco Cambareri CapricciosaMelbourne accordionist and composer Franco Cambereri migrated to Australia from Calabria, Italy when he was just fifteen years old. He has released several EP’S and enjoyed popularity on radio,

television and at social clubs and night clubs around Melbourne. He later decided to devote himself to

composing the music he loved and to date has written over one hundred and sixty original instrumental works and has ten CDs to his credit.

Capricciosa is a Quadriglia (that comes from the Tarantella). which is a lively dance typical of music from southern Italy. Specifically a Quadriglia is a square dance for four couples. Historically the

Tarantella is danced by a supposed victim of a "tarantula" bite.

The title Capricciosa - meaning capricious – is also a type of popular pizza. This pizza icludes a traditional blend of ingredients consisting of ham, peperonata, anchovy, egg, capers, olives, mozzarella

and tomato.The only two toppings we have for you today is a piece of piccolo and a piece of

guitar….buon appetito!The Capricciosa was inspired and dedicated to the composer’s then 1 year old niece “Angelique” who

was (and undoubtedly still is!!) very much “capricciosa” - Italian for lively, never sitting still, always playing up, or, to put it bluntly, downright naughty!

Giuseppe Zangari © 2008

Manuel de Falla Siete canciones populares españolasFalla is considered one of the first truly Spanish nationalist composers of the twentieth century. One of the distinctive features of his work is the literal use of melodies, harmonic patterns and dance rhythms

of traditional Spanish music, as is well illustrated in his Siete canciones populares españolas (1914-

1915). This collection of songs are set to traditional Spanish poems and melodies selected from distinct regions of Spain. While Falla sometimes modified the original melody (although it is believed he in fact

created Jota entirely), he captured an ‘authentic’ mood.Spain has a rich folk music tradition which has developed pronounced regional characteristics. Two of

the songs come from Murcia, whose music is closest to Andalusia. Its dances are characterised by

gaiety and fast rhythms as typified in El paño moruno. Nana, on the other hand, is a gentle lullaby. Canción, is a depiction of resigned love, and includes, in echo, a few incomplete phrases from another

song, referencing the presence of the ever observant mother, a regular presence in Spanish folk lyrics. Asturiana comes from the verdant northern region of Asturias, an isolated area, enclosed by mountains

and the sea. It is a disarmingly simple and melancholy song, however the image of the green pine is a

old Spanish symbol of sexual desire. Interestingly, the text bears striking similarities to Lorca’s Anda jaleo from Canciones espanolas antiguas but here has a very different mood. Jota, from the region of

Aragon, is a love scene which takes place under a first floor window, with the mother again observing. Jenny Duck-Chong © 2010

El Paño Moruno The Moorish cloth

Al paño fino, en la tienda, On the fine cloth, in the shop,

Una mancha le cayó; A spot has fallen.Por menos precio se vende It sells for less now,

Porque perdió su valor - For it has lost its value -Ay! Ay!

Nana Lullaby

Duérmete, niño, duerme, Sleep, child, sleep,Duerme, mi alma, Sleep, my darling,

Duérmete, lucerito Sleep, little starDe la mañana. Of the morning.

Nanita, nana, Lulla, lullaby.

Nanita, nana, Lulla, lullaby.Duérmete, lucerito Sleep, little star

De la mañana. Of the morning.

Canción SongPor traidores, tus ojos, Because your eyes are treacherous

Voy á enterrarlos; I am going to bury them;No sabes lo que cuesta, You know not what it costs,

"Del aire," niña, el mirarlos. "from the air," child, to gaze into them.

"Madre, á la orilla" "Mother, to the shore"Niña, el mirarlos. Child, to gaze into them.

“Madre” “Mother”

Dicen que no me quieres, They say you don't love me,

Ya me has querido... But once you did...Váyase lo ganado Make the best of it

"Del aire," por lo perdido. "from the air," and cut your losses."Madre, á la orilla" "Mother, to the shore"

Por lo perdido. Cut your losses.

“Madre” “Mother”

Asturiana Asturian songPor ver si me consolaba, Seeking consolation,

Arrimeme à un pino verde I drew near a green pine-tree

Por ver si me consolaba. To see if it would console me.

Por verme llorar, lloraba. Seeing me weep, it wept.

Y el pino como era verde, the pine, as it was green

Por verme llorar, lloraba! seeing me weep, wept!Jota Jota

Dicen que no nos queremos They say we’re not in lovePorque no nos ven hablar; Because we’re not seen to talk;

A tu corazón y al mio But let them ask

Se lo pueden preguntar. Your heart and mine.Dicen que no nos queremos They say we’re not in love

Porque no nos ven hablar. Because we’re not seen to talk.

Y a me despido de ti, I must leave you now,

De tu casa y tu ventana Leave your house and your windowY aunque no quiera tu madre, And although your mother disapproves,

Adiós, nina, hasta mañana. Goodbye, dearest, until tomorrow.Y a me despido de tí. I must leave you now,

Aunque no quiera tu madre... Although your mother disapproves...

We hope you enjoyed our concert, and would like to thank you for your support.

Mark O’Connor

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Mezzo soprano Jenny Duck-Chong has established herself as a versatile and intelligent musician who is sought after by Sydney's finest vocal ensembles and has performed extensively with Opera Australia, Pinchgut Opera, The Song Company and Cantillation. Renowned for her dramatic portrayals of tragic heroines, such as Purcell’s Dido, Monteverdi’s Arianna and Britten’s Phaedra, as well as her formidable performances of contemporary works such as Ligeti’s Sippàl, Dobbàl, Nahigeduvel, Macmillan’s Raising Sparks, Benjamin’s Upon Silence and Berio’s Folksongs, she has been a featured soloist with ensembles as varied as the Sydney Symphony Orchestra, Sydney Philharmonia Choirs, Sydney Baroque, Ensemble Offspring, the Renaissance Players and the Kevin Hunt Jazz Trio.Jenny Duck-Chong is an accomplished recital singer, presenting programmes ranging from the early Baroque through to contemporary chamber music, with a particular affinity for French and Spanish

music of the twentieth century. She has recorded numerous concerts for broadcast by the ABC and 2MBS-FM and has a solo recital CD in process. Active in the field of new music, she has premiered numerous Australian and international works by both acclaimed and emerging composers. She is the co-founder of acclaimed new music ensemble Halcyon, an ensemble renowned for innovative programming and exemplary contemporary vocal chamber music performance and an active member of the New Music Network. She has featured as a soloist for ABC Classics and Walsingham as well as in many film and TV scores and numerous other recordings with Cantillation, the Song Company and Halcyon’s own recordings.

Flautist Sally Walker recently returned from the UK where she performed as Guest Principal with the BBC National Orchestra of Wales. She is a former member of the Cologne Chamber Orchestra and former Principal Flute of the Deutsche Kammerakademie Neuss. She has played full-time with the Leipzig Gewandhaus Orchestra and has worked with conductors including Riccardo Chailly, Herbert Blomstedt, Gustavo Dudamel and has recorded and toured with the Berlin Philharmonic under Sir Simon Rattle with performances in the London Proms, the Lucerne and Salzburg Festivals. As Guest Principal, she has performed with the City of Birmingham Symphony Orchestra, Norddeutscherundfunk Radio Philharmonie Hannover, Kammerakademie Potsdam, Manchester Camerata and has played with high profile Early Music ensembles such as: Das Neue Orchester Köln, the Leipzig Chamber Orchestra

and the Neues Bachisches Collegium Leipzig. Sally was finalist in the Leonardo de Lorenzo International Flute Competition in Italy, won 2nd Prize in the Friedrich Kuhlau International Flute Competition in Germany and was the recipient of the Ian Potter Foundation Cultural Award, the DAAD German Government Scholarship and the Queen's Trust Prize. Sally has performed as soloist with orchestras including the Klassische Philharmonie Bonn, the Dortmund Philharmonic Orchestra and the L'Accademia Filarmonica Verona and is deeply committed to chamber music. Recent highlights have been performing the Weber Trio with Cellist Steven Isserlis and Pianist Dènes Varjon and premiering new works by Australian composers such as Nigel Butterley and Andrew Ford. Composers including: Elena Kats-Chernin, Michael Askill, Knut Müller, Paul Stanhope, Coco Nelegatti and Mark Clement Pollard have composed for her.

Born in Australia to Italian parents, Giuseppe Zangari studied guitar at the Sydney Conservatorium of Music. As both a soloist and chamber musician, Giuseppe has toured throughout Australia and recorded works with fellow musicians for on ABC Classic FM through the 'Young Australia' and ‘Sunday Live’ series. He has won many prizes in competitions including the Sydney McDonald's Performing Arts Eisteddfod as well as being awarded an Australia Council Grant and a scholarship from the Italian Government.Career highlights have included a concert tour of New Caledonia with celebrated Australian pianist Simon Tedeschi, Australian concert tour with leading French guitarist Rafael Andia in the Alhambra Guitar Quartet and being awarded an Italian Government Scholarship to study at the Conservatorio di Musica "Giuseppe Verdi" di Milano. Giuseppe is currently Lecturer in Guitar at the Newcastle

Conservatorium of Music. Giuseppe has performed charity work on behalf of Amnesty International, Father Chris Riley’s Youth-off-the-Streets, War Child Aid, Radio 2NUR, the Young Endeavour Youth Scheme and the Festival of San Giuseppe.Giuseppe is currently enrolled in a Master of Music degree at Sydney Conservatorium, where he is researching guitar compositions of the 19th century guitar virtuoso Mauro Giuliani that were inspired and based on the operas of Gioacchino Rossini.

For further details on forthcoming events please join our Email list by visiting www.woodwind-group.com.auor contacting us studio@woodwind-group.com.au (02) 9564 1233 Suite 1 / 111 Moore Street Leichhardt NSW 2040

Forthcoming concerts:

Sunday 21st November6:00 pmPeter SheridanUSA-MelbourneA concert of the biggest fl utes you have ever seen !

Lessons available Sunday 21st - am

“Below the Line” Music for Low Flutes Peter Sheridan Sunday 21st November 6:00pm Sponsored by:

The WoodWind Group P/L Suite 1 / 111 Moore Street Leichhardt, NSW 2040

Info: (02) 9564 1233

Saturday 27th November3:00 pmFlute Tree Studio concertEnd of term concert by fl ute Tree Ensembles Sydney Flute choir -James Kortum Flute Tree advanced ensemble Flute Tree Jazz - Christine DraegarThinking of joining an ensemble or just come along to join in the fun

Saturday 12th DecemberFlute Society NSW Gala concertmore details on our website orwww.fl utesocietynsw.org