People are at the heart of my work. Here are brief portraits of those who have shaped my professional life.
Steve wrote me a beautiful piece called et døgn, which I recorded for weaver of fictions and have played across the world since. He was also a key contributer to the electroacoustic score for en masse.
Oren and I played together in Ian Wilson’s 2011 Sligo Festival, which took us both into unchartered territory. I loved the gentle experience of us finding a common language.
Gifted artist, generous man. Marshall McGuire and I played for one of Brook’s exhibitions some years back. Most recently, he gave me the gift of a series of artworks for my CD Line Drawings – they’re exquisite.
Arcadia were our first FutureMakers artists. They are infectiously optimistic, passionate about Australian music and their role in shaping it. It’s so exciting to see them commit to a life of chamber music together.
I’d admired Matthias’ work for years before a joyful chapter working together as part of FutureMakers. It’s rare to meet an early career artist with such a distinct, refined voice, and it’s been brilliant to see him hit his stride, creating gorgeous works.
Jim and I have worked closely together for twenty years, on projects as diverse as recording eighteenth-century repertoire, discovering new ways to amplify recorders, creating Pleasure Garden, Acoustic Life of Sheds, en masse and Namatjira. Jim is an essential collaborator and friend.
I will forever be grateful to Paul, Bruce and the ABO for welcoming me home when I returned to Australia after my years in Europe. They created an opportunity that led to so many others, and to years of joyful music making.
Being surrounded by the extraordinary musicians of the ACO is exhilarating, and I’ve had the honour of playing multiple seasons as soloist with them: classic baroque concertos through to pieces written for us, including. Erkki-Sven Tüür’s stunning Whistles and Whispers from Uluru.
An invaluable organisation, run by gracious John Davis, I’m very proud to be the Chair of the board of the Australian Music Centre.
ANAM brims with talent, and being in the presence of such pure energy is inspiring. I’ve played with ANAM musicians in multiple projects, including Conversations with Ghosts, and from 2014-16 I was the professional mentor for ANAM’s Fellowship program.
John and Astra have been inspiring me for years, and whenever I can, I sit in their audience. Sometimes, when I’m really lucky, I play with them.
The first time I premiered a piece was Amanda’s Phoenix Songs. Working with Amanda and her beautiful music was so positive and formative an experience that composers and new music have been central to my life since.
A pioneer who is passionate and questing, Ros is an inspiring role model for creating and walking your own path. She’s also extremely generous.
Jan and I created the music for Pleasure Garden together. He’s a true collaborator – generous, open-hearted and minded, uncompromising and brilliant.
Margaret and I work together as members of the Australian Music Centre board, and she’s also part of our FutureMakers leadership team. She’s a woman of far-reaching intelligence and endless energy for the common good.
Tim and Francesca took me into their lives during my Four Winds chapter. Conversations around their table and beyond fed and sustained me.
Creating UKARIA 24 together with Alison was the beginnings of a significant collaborative relationship. She’s passionate, strategically brilliant, and has an unshakable commitment to music.
I live with one of Heather’s paintings. Her diptych Heaven and Earth brings me daily sustenance, infusing the house with light. Heather was kind enough to gift her beautiful Ophelia to the album cover of Soliloquy, and she and I have plans for a project that I’m sure we’ll realised one day.
Lou has a huge heart, and a voice that takes you straight to Country. We had some amazing adventures together through Black Arm Band and Four Winds.
I met this company in 2008, and began working with them in 2010. It is no exaggeration to say that they changed my life.
It was a privilege and joy to play with the Black Arm Band. From Thursday Island to Vancouver, and so many places in between, this experience shaped me deeply.
Damian and I first worked together in 2002, and he’s written a series of beautiful pieces for me that have travelled far and wide. He’s endlessly inventive, always alight with his next creative project.
I love exchanging thoughts and books with John, talking of life and art. We created arrivals together with Stephen Grant.
Virginia took me into her agency in the early days of my professional career as a musician. She was a guardian angel, full of wise counsel that still informs my decisions, years down the track.
Deline is music embodied. She has a voice and way of singing that open your senses and soul, and go straight to what’s important.
A musician of deep sensitivity and insight, a beautiful composer, and an incredible influence on me and so many people who have had the good fortune of meeting and working with Deirdre. We’ve known one another for decades, and I’ve known her music since I was very young, I had the honour of commissioning Deirdre to write a piece for the celebration of the centenary of St Mary’s College in 2019.
Pete designed and solved scores of complex technical challenges for en masse, and brought to each of them a gentle, thoughtful artistry. He also designed this website, and the Pleasure Garden one too.
I was excited and honoured when Nicola agreed to create the artwork for weaver of fictions.
Toby has a beautiful intelligence and a marvellous willingness to embrace impractical ideas. He brings great integrity and passion to his roles at ABC, and collaborating with him is an entirely joyous experience.
Elena wrote Re-Inventions for me, and they’re infused with her vivacity and lyricism. I’ve travelled far and wide with Elena’s joyful music, and hope I always will.
Ben, Andy and I, together with Jim Atkins, created fade, having also collaborated on Conversations with Ghosts. I love their poetry, their austere aesthetic.
Brad’s someone with a formidable intellect and capacity. He’s deeply musical and passionate about music’s role in our society. As board colleague, conductor, collaborator, technological entrepreneur, friend, he’s an inspiring presence.
Monty takes gorgeous photos, even sometimes ones of me that I like – miraculous!
Dave designed my original website. More importantly, conversations and projects with Dave over several decades have shaped who I am and how I see the world.
Musicians I love dearly, and with whom I have a deep affinity. Neal and Danny are extraordinarily sensitive people and musicians, with an ability to bring warmth, laughter, generosity to any project, any situation.
A woman of striking integrity, formidable intellect and great musical acumen, Jessica is a conductor I admire greatly. She brings quiet gravitas to a room, and has an incredible gift for infusing music with clarity and life.
Michaela produced Soliloquy and worked alongside me in Future Makers. She’s an amazing producer, and a woman of great integrity. Her commitment to art and artists is inspiring, and a force to be reckoned with, in the very best sense.
James is a musician with whom I feel anything is possible. Our album Heard this and thought of you, was released in 2015, and went on to become a radio serial.
Dynamic, passionate, unswervingly committed to creating and performing brilliant work, Dance North were inspiring colleagues and collaborators who were central to one infinity.
Jane commissioned Pleasure Garden, through the Australian Research Council Centre of Excellence for the History of Emotions. Her generosity and trust allowed an idea that had been brewing for decades to come to life. For that huge gift, I’ll always be grateful.
Davo and I met in the big hART world. She’s a filmmaker whose poetic cinematography reveals layers we’d forgotten to notice. And, she’s a brave, beautifully uncompromising woman, with a particularly subversive take on life.
Brett and Bob together wrote Miss Genevieve’s Nocturne. We’re working on a new, long, slow burn project with Heather Betts, and I’m very excited to see what emerges.
Generations of musicians around the country have been inspired by Paul’s musicianship, leadership and person.
Em has a voice and a presence that hold your heart to account. She sings and lives with deep integrity. I feel honoured to have worked alongside her, and rapt to call her a friend.
Moritz created an extraordinary piece called alien for weaver of fictions. His recorder works are legendary, and as a player, take you to places you had thought shouldn’t exist.
I worked for years with Elision, from Moscow to Paris, Berlin, London, Melbourne and Brisbane, and the almost yearly meeting at Huddersfield. The projects were extreme, and this chapter taught me a huge amount about contemporary music in the company of some outstanding colleagues.
Lawrence was a central character in the musical creation of en masse. He generously welcomed me into new musical worlds.
Classmates from my Danish days, these women befriended me, and taught me so much. Hearing them play reminds me of everything I love about my instrument.
Sometimes, you are lucky enough to meet people who lead you to discover what might be possible in life. Helen was my recorder teacher through school. She opened a universe for me, which I’m still exploring.
Dear friends and colleagues, my conversations with Flinders go back decades now. Elena Kats-Chernin’s gorgeous Re-Inventions was written for us, as well as Sculthorpe’s Song for Neilma, Paul Grabowsky’s, The Nightingale and the Rose and Stuart Greenbaum’s Translations.
Maddie, Tim and I first worked together on The Seagull, for Four Winds. I love spending time with these two thoughtful, sensitive artists. In 2015, we each inhabited a shed for Acoustic Life of Sheds, and in 2016, created a piece for a carpark for their remarkable Siren Event.
Andy wrote Bagpipe Music for Marshall McGuire and me. We’ve shared many conversations before and since, on and off The Music Show, most recently, working on his remarkable Untuning the Sky.
Working with this community over a four-year period was an experience that was profoundly formative. My term as Artistic Director has finished now, but what I learnt during that time will be at the heart of my work for years to come.
I’ve admired Robin’s work for years. I was over the moon when he agreed to join the creative team for Pleasure Garden, where his warm, gentle presence and quiet brilliance were invaluable.
David and I work together on the Australian Music Centre board. He’s also the inaugural Executive Director of Four Winds, an organisation close to my heart. David brings huge experience and intelligence to anything he does, a beautiful calm and compassion, and a clear, clear head.
one infinity was Ziyin’s brainchild, and I was so fortunate to work on this project. Ziyin’s spent the best part of a lifetime creating connections between Australia and China, and we are so much the richer for her generosity.
Working alongside Aura as part of FutureMakers was a rare privilege. She’s an exceptional woman and musician, and I am so excited to see how her life unfolds. Beautiful pianist, deep and radical thinker, gifted creator and collaborator, there’s no limit to what Aura can do and be.
Stephen’s a designer with a truly conceptual mind, and a contemporary, quietly poetic aesthetic. He worked on FutureMakers, Pleasure Garden and UKARIA 24 with me, and I hope there’s more ahead for us.
Jane’s playing insists that you rethink what is possible on a bassoon. She pours formidable intelligence and passion into it, with the result that music speaks, rather than the instrument. I have infinite respect for her uncompromising way of living and her magnificently quirky sense of humour.
Paul wrote me into Shirley Avenue, with Scott Tinkler and Niko Schauble. He was also generous enough to commission en masse, something for which I will always be thankful. Most recently, I premiered his eloquent The Nightingale And The Rose.
I had the great pleasure of playing Iain’s The Riders in 2014. Iain’s music is a fine portrait of him – it’s warm, lyrical, highly intelligent, fluent in multiple musical languages.
Bass voice and recorder are not an obvious pairing, but when you meet a musician and person with whom you have such sympathy, you have to find ways to work together. So we do.
Collaborator over many years, through Surman’s Three Landscapes to Black Arm Band and much more, Jude’s a producer with a beautifully considered way of seeing the world, who gives genuinely wise counsel.
When I lived in Denmark, I met Laura and her beautiful work. She’s someone with whom I have endless affinity. Laura created the artwork for two.
Silja Rytter Holm
Silja is a pianist and organist, with one of the quirkiest creative minds I know. She adopted me in Denmark, and that’s for life, as far as I’m concerned.
As a reader, I’m humbled by Chloe. Hers is a fierce intelligence, an extraordinary imagination, and exceptional heart. As a collaborator, I can’t believe my luck.
Sally and I worked together on the Australian Music Centre board. Her unfailingly clear head, warmth and humour, generosity and integrity make her an invaluable friend, colleague and role model.
Lindy was endlessly supportive in my early days as an Artistic Director. She’s an amazing role model: an inspiring combination of generous, gifted, compassionate and principled. I’ll always be grateful for her counsel, and her kindness.
My duo with Poul is a touchstone. It helps me define what is important, not just in music. He’s a kindred spirit, and our twenty years of playing together are simply a prelude for the next twenty!
Trevor and I worked together in Namatjira. Rarely have I shared a stage with someone with such presence, grace, and generosity.
Unsung hero of en masse and Four Winds 2012, Michael is a brilliant production manager.
Åsa’s a remarkable woman with a beautiful mezzo-soprano voice. She’s someone of huge intelligence, intensity and passion. We met when we were both studying in Switzerland, and she performed in my final exam in Denmark – formative times.
Jun Tian Fang
Thanks to an introduction from the Gantners, Jun Tian Fang invited me into their richly beautiful world in 2015. I learnt so much from them about ancient, classical Chinese culture. They were the core of one infinity and their musicianship and relationship with silence taught me so much.
Andrea dreamt up our Three Lanes trio and has written a series of beautifully expressive works for me over the last years. She’s brave, incredibly talented and constantly searching. I’m so grateful to have been invited into her world.
Paul’s musicianship is direct, starkly expressive. Working alongside him in Conversations with Ghosts made me try to find that same stripped back truthfulness in my own playing.
Gus makes exquisite films. He has an ability to capture the essence and poetry of a work. He’s also endlessly kind and generous with his skill and time.
Katherine lends her considerable intelligence to music, serving music and enabling musicians. In her various leadership roles as a programmer, she creates spaces for remarkable art making. Thanks to Katherine, Erkki Sven Tuur’s Whistles and Whispers concerto exists, and many other things beside.
Our duo goes back further than any other, and our friendship is central to me. My apprenticeship in baroque music began in Linda’s living room as a teenager, but she has taught me much more than that.
Man with a beautiful mind, a passion for music, ears and heart wide open, Paul’s someone whose intellect and judgement I often call upon, and whose books are a source of wonder.
Ulrike’s a visionary. She’s one of the bravest people I’ve met, a huge risk taker, and an unbelievably hard worker. She’s wrapped her life around a love for music, and her generosity in sharing that knows no bounds.
Wise and generous, fiercely intelligent, a voracious reader and deep thinker, Chris embodies leadership. Hers is collaborative, it comes from listening, and it’s remarkably free of ego. Chris sat at the heart of FutureMakers and brought to this endeavour her great humanity, a brilliant sense of humour, and a strong sense of justice. Tim and I couldn’t have created or delivered this program without her.
Linda supervised my doctorate, wisely and inspiringly. Conversations with her formed a backbone of my thinking. I’m very grateful to Linda for that chapter of my life, and her central role in it.
Steph was central to the creation of Soliloquy. Mesmerising dancer, gifted choreographer, she’s also the loveliest of people. It was a rare pleasure, inhabiting Telemann’s fantasias with Steph, bringing them to life in a whole new way in her presence.
Dan’s the teacher who insisted that I dare try to become a musician. Without him, I would not be a recorder player. His recordings still stop me in my tracks.
Jim’s written my into many scores: Line Drawing, Folk Song, New Tricks for Old Dogs, Conversations with Ghosts, and Distraction. I feel very fortunate to play a part in his musical language.
A beautiful designer, Paula brought to en masse not just her exquisite eye, but a deep perception of the spirit and essence of the work and its preoccupations.
A pianist, musician, and woman I take to heart. Sonya is pure in her passion for music and life.
Liza’s weaver-of-fictions is a piece of unbelievable eloquence. Playing this, the long forgetting, and The Navigator, are musical experiences that define an era for me.
Peter and I worked together on my first festival, again for Four Winds, and most recently, on the design for Line Drawings. He’s such a poetic designer, whose work is deeply sensitive.
Some of my favourite memories from touring Namatjira are of Derik, holding the room in thrall.
Paul was a brilliant leader in his role of Head of Music at Australia Council, generously and fearlessly advocating, advising, challenging, creating space for music and musicians. I’m very excited he’s now freelance, and that we have a project brewing. Stay tuned …
Dear and trusted colleague, collaborator and friend, Tim and I worked closely together designing and delivering FutureMakers. He’s an endlessly kind and compassionate man, and takes beautiful care with people.
Kirsty’s a musician with highly attuned sensibilities and an ability to play exactly as she is – with warmth, intelligence, and whole-hearted commitment. She’s also a person of acute intellect, and a passion for the big picture.
There is an ease between Marshall and I that I treasure, whether we’re playing seventeenth century or brand new music. He’s a remarkable man and musician and our duo keeps expanding in unexpected ways.
Gideon and I worked together first for one infinity. The experience was so inspiring, we created Soliloquy soon after, and now I’m on the curatorial team for his radical new festival. He’s brave, singular, and his work is achingly beautiful.
Elizabeth’s sensibilities and mine are deeply linked. She takes stunning photos, and is a wonderful storyteller. Her photos are an integral part of upon a time.
Martel’s my collaborator in thinking, dreaming and scheming. She and I ran the Autumn Music Festival together at the turn of the century, and out of that was born a friendship I couldn’t do without. Nowadays, she’s my international producer, taking my work far and wide through her company Arts & Parts. She’s a brilliant strategist and creative thinker.
Harriet has a way of sizing up not just colours, shapes, textures that will suit you when she’s dreaming up gorgeous costumes, but an uncanny way of divining something of your soul. Central to both one infinity and Soliloquy, I really look forward to what’s ahead in this collaboration.
Andy was our director for heard this and thought of you. A born storyteller, an unashamed romantic, a deeply intuitive and good man, it’s a pleasure to know and work alongside him.
Stev and I have worked together in many contexts now, most formatively as co-conspirators for A Brief History of Time. He has a rare gift with people, and takes remarkable care in every encounter with anyone in his orbit, This, alongside many other attributes, makes him an irreplaceable colleague.
I’ll never forget the first time I heard Graham sing. I was almost frightened by the intense, uncompromising beauty and strength of his performance. Now as director of Arts Management, he plays another role in my life, a constant source of advice, help and humour, for which I’m so grateful.
Scott invited me into his Big hART world for Namatjira. Working together demanded of me things I had not thought possible. Scott is a rare visionary and the way he sees the world is a call to action of the most beautiful kind.
Sophie is a free spirit, able to turn her many astonishing creative gifts to pretty much anything. We’re deep into our film project Recorder Queen. Who knows what it and we will become.
Steven created the space in which en masse could be made, and also took me into the Black Arm Band world. He has an astonishing creative mind, is generous and genuinely radical. He is a central person in my transformation from player to creator.
John helps me to be brave. He’s a musician I love, with ears and mind that defy description. His brilliance is so gentle and kind that it’s easily possible to be vulnerable with him, and out of this, to learn so much.
Working with Jo is a privilege – she makes exquisite recorders, and many of the beautiful instruments I play are her creations. We share an obsessively attentive love for the sound of the recorder.
Keith has an extraordinary ability to make me relax and be myself when he’s taking photos. They’re portraits that actually look like me – on a good day!
Clare’s producing Recorder Queen. She’s a woman of great integrity, generosity and passion, and she’s a dear, invaluable part of this wonderful project.
Playing with Karin is like playing with a sister – very little needs to be spoken. When you meet a musician like this, their brilliance insists that you become your best self. It’s a gift, as is Karin.
Daniel and I created nest together, as part of my year in residence at Melbourne Recital Centre in 2018. His is a singular imagination, and he has a beautiful musicality to his direction.
Peter wrote A Song for Neilma for the 2010 Four Winds Festival. He’s a defining voice in Australian music, and having a recorder added to one of his scores was a privilege.
I rely on Caroline’s counsel in all sorts of situations. She’s warm and compassionate, highly intelligent, unwaveringly ethical. I trust and admire her deeply.
Making en masse together was a turning point in my life. Marc is possessed by a need to uncover and tell stories. He’s brave, tireless, capable of great poetry. I love creating with him.
Lachlan and I have been talking for years, and I’m very excited that in 2020, he’s writing me a new piece. Can’t wait to work with him on it, and see what emerges.
Beautiful musician, deeply thoughtful man, Phil and I worked together first on a Hush album, then on Andy Ford’s Untuning the Sky, onto The Acoustic Life of Sheds and Ngeringa 24.
Heide takes exceptional portraits. She has an ability to capture your essence, not just how you look.
Stephen produced all of my early recordings. His ears, by which I mean his sensibilities and musicianship, I respect and trust deeply. Which of course means I would say the same of Stephen.
With characteristic grace and generosity, John lent me his In the Distance solo piece, and then, wrote me into the perfectly pastoral Three Landscapes. Playing Three Landscapes with him at the London Jazz Festival in 2014, to celebrate his 70th, was such an honour.
Joe is a beautifully understated musician, a man of many skills. He moves across different musical worlds, and I’m so glad to have met him in one of them – he and I play together in Three Lanes, with Andrea Keller.
Hollis and I have been working with her pied butcherbirds for a couple of years now. They and she are miraculous musicians, and her compositions are pure joy to play.
Kath’s a remarkable actor, an astonishing shape shifter, with a heart and mind of beautiful integrity. It’s a privilege to work with her. We devised and performed together a show called Music to Play for Plants, and have a series of big ideas in train.
Playing Erkki-Sven’s Whistles and Whispers from Uluru is like stepping into a world of pure sound and thought, minutely traced. I play this piece with great pride – Erkki wrote it for me and the Australian Chamber Orchestra, and I’ve since played it in many countries, and recorded it with brilliant Olari Elts and Tapiola Sinfonietta for Ondine.
A gentle, generous man, Andrew produced Acoustic Life of Sheds with a feather-light touch. Quietly making himself invisible, he created opportunities, conversations, relationships, communities and artworks that wouldn’t exist without him.
Gentle and whimsical, just like Max, Minutia is the first piece of Max’s that I encountered, which I recorded for weaver of fictions. We created the music for one infinity with Jun Tian Fang, and we’re now embarking on Solveig.
Co-founder of my first ensemble, treasured friend and musician.
A man with a remarkable mind, generous with his formidable knowledge and creative ideas.
Ruth taught me as an undergraduate. I cannot imagine a more enabling education. I owe a great deal to her, but because of who she is, it’s not a debt which weights heavily. I love that our relationship has transformed from my role as student to friend and colleague – characteristic grace and generosity on her part.
I’ve been in thrall of Alexis’ books for years. I had the privilege of meeting her through my work with Black Arm Band, and since, she’s generously agreed to lend words from The Swan Book to a couple of projects. Her writing is deeply musical, visionary and important.
I have such strong memories of recording A Midnight Dream of Summer, Jason coaxing unexpected sounds out of me as he urged me to experiment further and further.
Jess is the associate producer for one infinity. She’s an exceptional young woman, a picture of grace and intelligence in her ability to move seamlessly between cultures and languages.