NOMINATION: Performance of the Year - Notated Composition
For the performance of a single Australian work, showcasing the performer(s)’ success in revealing the nature and intention of a composition with clear notated instructions for the performer. Works with significant improvisatory aspects should instead be submitted for Performance of the Year: Jazz / Improvised Music.
A work is defined as a single complete musical composition, or expression. This includes music with movements or sub-works (i.e. song cycles), installations, and real-time compositions (improvised music).
If you believe your performance to be nominated in the wrong category or the details of your nomination to be incorrect, please contact the AMC via email at awards@australianmusiccentre.com.au before proceeding with the nomination.
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Nominee
Adelaide Chamber Singers
Nominee email
business@adelaidechambersingers.com
Title of the work
All Flesh Is Fire
Composer(s) of the work
Anne Cawrse
Librettist(s) or source author(s)
Kate Llewellyn
Performance Date
29/2/2024
Venue
Elder Wing, Art Gallery of South Australia
Nominator Statement
The Adelaide Chamber Singers premiere performance of Anne Cawrses All Flesh is Fire at the Adelaide Festival and Adelaide Biennial of Australian Art stands as an extraordinary achievement in choral music. Under the expert direction of Christie Anderson, the ensemble delivered a performance of unparalleled precision, warmth, and emotional depth.
Performed by memory (with the exception of the intricate and melismatic 'living being spirit') the engagement of the singers with the music was obvious from the opening Soprano solo. Each of the seven movements took place in a slightly different area of the Elder Wing, exploiting the space and the artwork contained within it as a storytelling device. The choirs impeccable enunciation ensured that every word of Kate Llewellyns poetry was clearly conveyed, enhancing the profound connection between text and music. Their dynamic range, from the most delicate pianissimos to soaring fortissimos, showcased the choirs technical mastery and expressive capabilities.
The ensembles seamless blending of voices created a rich harmonic texture that elevated Cawrses intricate composition. Moments of breathtaking dissonance and resolution were executed with flawless timing, leaving the audience spellbound. Solo passages, performed with charm and sensitivity, complemented the ensembles transcendent sound, reminiscent of Gregorian chant and the ethereal harmonies of Brittens A Ceremony of Carols.
What set this performance apart was the choirs ability to evoke profound emotion while maintaining technical excellence. Each phrase was meticulously shaped, and the balance between individual voices and the collective ensemble was perfectly maintained. With different combinations of voices used throughout the work (everything from the full ensemble to intimate solos, off-stage quartets, duos and trios) it was clear that voices were chosen carefully to complement each other. The whole ensemble was equally utilised, shining both as individuals, small groups, and as a whole. Their performance lingered long after the final note, a testament to their artistry and dedication. This was a very special performance; a testament to what is possible when a composer and an ensemble really understand one another's voice.
This nomination for Performance of the Year recognizes the Adelaide Chamber Singers extraordinary musicianship and their unforgettable interpretation of All Flesh is Fire, a performance that will resonate in the hearts of audiences for years to come.
Nominee
Adelaide Chamber Singers
Nominee email
business@adelaidechambersingers.com
Title of the work
All Flesh Is Fire
Composer(s) of the work
Anne Cawrse
Librettist(s) or source author(s)
Kate Llewellyn
Performance Date
29/2/2024
Venue
Elder Wing, Art Gallery of South Australia
Performed by memory (with the exception of the intricate and melismatic 'living being spirit') the engagement of the singers with the music was obvious from the opening Soprano solo. Each of the seven movements took place in a slightly different area of the Elder Wing, exploiting the space and the artwork contained within it as a storytelling device. The choirs impeccable enunciation ensured that every word of Kate Llewellyns poetry was clearly conveyed, enhancing the profound connection between text and music. Their dynamic range, from the most delicate pianissimos to soaring fortissimos, showcased the choirs technical mastery and expressive capabilities.
The ensembles seamless blending of voices created a rich harmonic texture that elevated Cawrses intricate composition. Moments of breathtaking dissonance and resolution were executed with flawless timing, leaving the audience spellbound. Solo passages, performed with charm and sensitivity, complemented the ensembles transcendent sound, reminiscent of Gregorian chant and the ethereal harmonies of Brittens A Ceremony of Carols.
What set this performance apart was the choirs ability to evoke profound emotion while maintaining technical excellence. Each phrase was meticulously shaped, and the balance between individual voices and the collective ensemble was perfectly maintained. With different combinations of voices used throughout the work (everything from the full ensemble to intimate solos, off-stage quartets, duos and trios) it was clear that voices were chosen carefully to complement each other. The whole ensemble was equally utilised, shining both as individuals, small groups, and as a whole. Their performance lingered long after the final note, a testament to their artistry and dedication. This was a very special performance; a testament to what is possible when a composer and an ensemble really understand one another's voice.
This nomination for Performance of the Year recognizes the Adelaide Chamber Singers extraordinary musicianship and their unforgettable interpretation of All Flesh is Fire, a performance that will resonate in the hearts of audiences for years to come.