To be advised
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Media and métier of contrasting kinds form a pair of events with new creations in OCTOBER and DECEMBER. The performance landscapes bring different traditions into play: – interactive cross-disciplinary performances between music, film and theatre in October; solo virtuosity and chamber music in December, set in an environment of new choral composition.
Perceptions in sight and sound on October 27 take off from a new commissioned work, Salt by film-maker Hanna Chetwin and composer Rohan Drape, for multiple 16mm film with live performers, electronics and choir. Further film+music adventures from Hanna Chetwin & James Rushford (3 films at play), join earlier work by John Hughes & Martin Friedel, whose bio- filmic meditation on Walter Benjamin is supported by live choruses on the philosopher’s street-texts. The program opens into other imagistic worlds – the choral theatre of Kagel and the Expressionism of Haydn, Schoenberg, Elgar and Webern.
Erkki Veltheim, violin, Maria Moles, drums, Rohan Drape, organ
instrumental nonet, the Astra Choir with solo voices
conducted by John McCaughey
Hanna Chetwin + Rohan Drape, Salt (2018), 16mm film, 35mm slide projectors, violin, drums, organ, choir and electronics
Josef Haydn arr. Clytus Gottwald, Genesis (1798/2008), 12-part choir
Arnold Schoenberg, Prelude to the Genesis Suite, ‘Earth was without form’ (1945), arr. Allan Walker for choir and ensemble
Hanna Chetwin + James Rushford, Opaquing (2017), 3 films, electronics
Mauricio Kagel, Halleluja (1973), events and actions for choir
Anton Webern, The Light of the Eye (1935), arr. John McCaughey for choir and ensemble
John Hughes + Martin Friedel, One-Way Street (1992), after Walter Benjamin, film, choir and sound-track.
Edward Elgar, There is Sweet Music (1907), 8-part double-choir.