Concert Review – “The Ossenbrunner Twins”

Posted on January 8, 2012 by philip

“The Marais Project” – (Jennifer Eriksson & Daniel Yeadon, violas da gamba; Tommie Andersson, theorbo; Belinda Montgomery, Narelle Evans & Mara Kiek, vocals); Recital Hall East, Sydney Conservatorium of music; 23/10/11

“Twins usually look alike and sometimes behave alike, but they can also be as different as cat and dog. In this concert’s union of the two violas da gamba made by Reinhard Ossenbrunner, we saw and heard an amazing pairing and co-operation. Daniel’s instrument spoke with lovely resonance in its lower range, and Jennifer’s revelled in the mid region, but the blend and clarity of tone could well have suggested a single instrument. I really wasn’t expecting it to be quite this remarkable – a tribute to Ossenbrunner’s craft and also, the performers.

The Ossenbrunner Twins before the concert

The opening Adagio, and later, the Sarabanda, of the first performance – Sonata IX from “Le Nymphe di Rheno”, by Johann Schenk – perfectly indicated the lilting, melancholy abilities of these Ossenbrunners. A flavoursome Aria and bright, skipping Giga then displayed their dexterity and clarity.

Sainte-Colombe’s Concert XXI “Le Villageois” emphasised gentleness and expression, and drew to an enticingly lovely, fading conclusion. The movement endings in Marais’ Suite in G Major, 1st Livre, pursued this elegance. Also in this piece, ornamentation added brightness; while bow stroke and attack illustrated the dance, and theorbo suggested audible steps. Bottom end leanings and swelling further enhanced flavour and detail.

I had always thought John Coprario’s viol compositions a trifle monotonous, but the playing of his Fantasia for two bass viols and organ (the theorbo was the organ here) was an exception. An elegant, clean performance.

Belinda Montgomery proved an excellent vocal choice to combine with the weaving viols in two verses of the carol, Une jeune fillette. For the concert’s conclusion, at the request of Ossenbrunner, the vocal trio – to viol and theorbo accompaniment – took us for a short, chugging ride on their Ossenbrunner Express – more recognizable as The Chattanooga Choo Choo. I suspect it isn’t easy delivering those rhythms via underhand bowing. Slick and entertaining!

But what most had been hanging out for was the freshly composed piece by HSC student, Alice Chance. Her inspired, O Pastor Animarum, via the 12th Century’s Hildegard von Bingham, was intuitively realized. The underlying consistency and modal structure melded comfortably with the gamba’s capabilities, and the melodies supported both ancient and contemporary idioms. The work’s more or less two blended movements was short and satisfying. The performers adored the piece and rendered it lovingly.”

Delicious, and note perfect.”

Review by Neville Olliffe; reprinted with permission from “Early Music News” Vol 11 No. 6

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Mara! meets Marais – CD Release for Christmas 2011

Posted on November 29, 2011 by philip

Our latest CD Mara! meets Marais has arrived and will be available on-line in the next couple of days.

This CD had its beginnings back in 2008 when The Marais Project, combined with 3 members of the Award-winning World Music/Folk ensemble Mara! in a cross-genre concert the climax of which was a performance of 13th century troubadour Martin Codax’s song cycle, Cantigas de Amigo.

ABCFM were so impressed with the concert that they invited Mara! and The Marais Project into the studio for a day to record the music played for broadcast.  We have now licensed that recording for release as a budget CD.

For more than 20 years Mara! founders Mara and Llew Kiek have defied categorisation as they engage in multiple projects across a virtual kaleidoscope of musical styles from mediaeval ensembles to Bulgarian folk music, jazz, film music, choirs and orchestral works.  Llew and Mara Kiek share something of their musical heritage and interests below.  Below is an edited version of an interview I conducted with Llew and Mara back in 2008.

The cover of "Mara! meets Marais"

Philip Pogson (PP): Llew and Mara, how did you find your way into the early music scene?

Mara Kiek (MK): My first real introduction to early music was through “Aquila Alterra” in the early 80’s. The group was a kind of offshoot of the Renaissance Players. I had a background in dance and was asked to research early dance forms which could be incorporated into their performances. Around 1983, about two years after the formation of “Tansey’s Fancy”, (precursor of the Mara! Band), Winsome Evans asked me if I would like to audition for the Renaissance Players.  She wanted me to audition as a percussionist as she had a full complement of singers at the time. I passed, and performed with the group regularly prior and subsequent to my 1988 study trip to Bulgaria.

Llew Kiek (LK): My early music interest was spawned through the Renaissance Players with whom I began performing in the early 1990’s. Sometime after, Winsome asked me to produce the first 6 CDs that she recorded for Walshingam Classics, which went on to be re-released on Celestial Harmonies. The sixth of these was an ARIA nomination for best classical CD in 1996 – the first of several nominations I have since received for my CD productions.

PP: On the CD, Mara! consists of a trio, yourselves with jazz legend Steve Elphick on double bass.  How does that work?

The performers

MK: We already knew lutenist Tommie Andersson and Jenny Eriksson, of course, as well as soprano Belinda Montgomery.  The performance and CD gave us the opportunity to explore some traditional and medieval repertoire that we wouldn’t normally perform with the Mara! quintet. The fact that The Marais Project also features instruments of the same families enhanced the texture.  We did make Steve tune down to 415 by the way!

PP: Looking at the WWW site (http://www.maramusic.com.au/) I am amazed by breadth of your musical interests.  Mara, how did you get involved in Eastern European folk music?

MK: My introduction to music from the Balkans came via Linsey Pollak who was playing with Renaissance Players when I joined them in 1983. Linsey had recently returned from a study trip to Macedonia where he studied (gaida) bagpipes. He joined Tansey’s Fancy and taught us a body of Macedonian traditional folk music and dances. Thus began a lifelong passion for the music of this region.

While I concentrated on Bulgarian music and particularly the traditional female singing voice, Llew focused more on Turkish music, particularly long and short necked lutes. He studied for a number of years with Sabahattin Akdagcık in Sydney and made numerous trips to Turkey to research and collect instruments.

PP: Mara, what is different in your sound production from an opera singer or even a rock artist?

MK: My singing technique has always been folk based.  Although I studied classical singing privately in the late 70’s and early 80’s, the classical timbre was not instinctive to me. I always tended towards a ”folk” sound and was irrevocably drawn to the arresting power of the Balkan voice when I first heard it.  I badly wanted to achieve the Bulgarian-style timbre but could not easily or consistently access it during those early days.  The quest for mastery has lasted 25 years and continues still. While I have gathered a great deal of information about the Bulgarian singing technique, there are still many unanswered questions about this particular voice.

Comparisons between Bulgarian traditional and “classical voice” are perhaps the easiest because the two techniques use different mechanisms of vibration of the vocal folds. The classical voice is produced with a short “closed phase” of vocal fold vibration (the vocal folds are usually closed for no more than 30% of each vibratory cycle), while Bulgarian appears to feature a long closed phase (thought to be over 60%). A long closed phase results in greater sound pressure levels and perceived ”loudness” and a greater intensity of high frequency harmonics within the sound spectrum. In some ways the Bulgarian vocal mechanism is actually closer to that employed by rock singers or the “belt” quality used in music theatre.

PP: What does the future hold for you as individual artists and for the various Mara Music projects?

MK: The promise of many diverse projects, the main one being the Martenitsa choir with whom we have already performed, recorded extensively and toured internationally.  Add to this some theatre, film music and youth projects.  I also intend to continue my studies and voice research including undertaking a doctorate. This will involve more time overseas, and provide further opportunities for the Mara! band to tour in Europe, traditionally our most receptive audience base.

LK: The Mara! band has several ongoing Musica Viva commitments and is completing (in 2011) a new CD for release early in 2012.  I am also producing several other CDs including a second recording for The Marais Project which will follow up “Love Reconciled” which I also produced.

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Mara! Meets Marais CD Review – Australian Viola da Gamba Society Newsletter

Posted on February 16, 2012 by philip

Mara meets Marais (MMMP001) Directed by Mara Kiek and Jennifer Eriksson. Dur.53’29”

This is an unexpected mix of instruments, styles and eras, brought together by the personal chemistry of the performers, and their sense of the common factors in the music of a remarkably diverse programme. It combines medieval, renaissance and baroque music from England, France and Spain. The instruments are from the same eras: baroque (bass viol, theorbo) renaissance (lute) medieval (gittern) and modern (double bass) together with some percussion. The two singers, Mara Kiek with her well-known and very compelling chesty declamation of the medieval songs, is joined by soprano Belinda Montgomery, who has a more conventional technique, with a clear, true sound, beautifully in tune, with a light vibrato. Anachronisms abound, and are embraced with glee by the performers. As the booklet notes put it, they aim to share the music they love rather than seek authenticity. In recent times, this word has become almost a derogatory term, implying a lack of sincerity, yet why else would one play a lute, viol, or seek a different vocal timbre unless one was seeking authenticity. Perhaps a better way of expressing it is that these are all performers with a long history of experience and passion for the music of these eras, and are using this experience to set themselves free in their expression of the music.

Members of Mara! and The Marais Project

All are very accomplished performers, and bring an easy assurance to each item in the programme. Dowland’s ‘Now o now’ uses the 4-part vocal tenor and bass to add to the lute accompaniment for some verses. The Marais F major suite from the fifth book has a double bass added to the accompaniment. There is a lovely elevation motet by Pierre Bouteiller, a contemporary of Couperin, in which the very stylish soprano of Belinda Montgomery is accompanied by theorbo and two bass viols. Completely new to me, and I’m supposed to know about French music of that period. The songs of the 13th century Portuguese Martin Codax take up the latter half of the recording, and are the most satisfying unity. Here the players are free to improvise – with the lute, viol and double bass introducing ideas which are sometimes medieval, sometimes almost jazzy, but with a unified approach which supports Mara Kiek’s compelling declamation. Every now and then, in a refrain, she and Belinda Montgomery sing in octaves, beautifully tuned, and a lovely contrast in sound. Authentic? Who cares. Does it hold together? Not for me, but an enjoyable recording.

Review by Robert Oliver – Australian Viola da Gamba Society Newsletter, Issue 46-47, Spring 2011 & Summer 2012.  Used with Permission

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CD Review – Mara! meets Marais

Posted on February 10, 2012 by philip

Mara Meets Marais; Mara Kiek and the Marais Project; CD MMMP001

This new disk is due for its official launch on Sunday 29th April (see Concert Diary), but I’d be surprised if you can’t score a copy before then.  The Marais Project for this recording comprises Jennifer Eriksson and Catherine Upex, violas da gamba; Tommie Andersson, lute & theorbo; and Belinda Montgomery, voice & percussion. Mara’s ensemble is Mara Kiek, voice & percussion; Llew Kiek, bouzouki & gittern; and Steve Elphick, double bass. The title might sound like a collision of sorts, but in the product, each ensemble retains its identity whilst sharing resources.

Mara ensemble’s  use of percussion, plucked instruments and bass are easily recognizable, as is Mara Kiek’s crusty voice. Their music delivers a substantial sound, fattened here with gamba fill. The 13th century pieces – seven cantigas from the Martin Codex, and a character laden anon Spanish ballad, sung by both Belinda and Mara, are distinctly flavoured.

The cantigas tracks, in succession, total around 28 minutes and could have easily tended to sameness, but the instrumental and rhythmic variations work as saviour.  In the more recent  works – Marais, Dowland and Bouteiller – gamba and lute/theorbo are to the fore, with double bass reinforcing the bottom end.

Marin Marais, of course, is included via the Suite in F Major (Pieces de viole, 1725). Here the recording quality is obvious, where the bowing is the breath of the work. The double bass adds depth and growl to the continuo but still leaving ample space for the theorbo’s heartbeat.

Dowland’s Now, O now, I needs must part, is left to Belinda, lute and a little gamba support – it is balanced and serene. The motet, O fidelis et dilecte commensalis, by Bouteiller, although religious, is similar to the Dowland, but with more room for expression and an instrumental focus toward the gamba.

The disk is recorded in the Eugene Goossens Hall using the ABC’s resources. It captures both ensembles at their best – creamily blended, precise and as they would be pleased and proud to be depicted.

From “Early Music News” Feb-Mar, 2012 by Neville Olliffe. Reprinted with permission

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The business of recording

Posted on November 17, 2011 by philip

We’ve just started a new CD which has made us reflect a little on why we actually bother to record at all.

The process of making a recording has little relationship to a conventional performance.  There you are, sitting in an air conditioned room behind two sets of doors to keep extraneous sounds out with no audience to win over except each other, the sound engineer, the producer and any one else who has nothing better to do with their time.  With some exceptions such as classical guitarist John Williams and pianist Glenn Gould who both claim(ed) to enjoy the studio, musique concrete practitioners and electronic composers, “classical” musicians typically view studio recording as a means to an end rather than an end in itself.  In this we are more akin to our jazz colleagues than many rock musicians who are happy to spend months or even years hard at work in the studio putting down the great “Album”.  Given that, a wonderful classical recording will often reflect years of patient, frustrating workouts in the Practice Room but that is another question.

For this reason, the recent rush to release live recordings by some symphony orchestras and opera companies is probably a good move.  John Elliot Gardiner’s recording of all of the Bach cantatas has taken the same approach – record a final rehearsal one day and the final performance the next so as to have another set of takes from the former to patch into what our Producer Llew Kiek calls “the hero take” from the day of the performance.  Classical music is best experienced live – glitches and all – rather than dead and notionally note perfect.

So why continue in the studio?

As far as The Marais Project is concerned, we rarely have the opportunity to perform the same program twice in the same venue which is a necessity underlying the “two take” live recording approach.  Secondly, whether live or studio-based there is in any case a discipline involved in recording which is good for us: tuning, ensemble, starts and finishes, balance etc.  When you have a microphone in front of you all performers start to think in terms of permanent record of their efforts.  Then the reality is, the studio does give extra control and additional microphone options.  In a live context audiences should not have to crane their necks to catch a glimpse of the performers through a tangle of wires and attendant microphones.  Finally, a good live recording requires a top class venue and all the costs involved in attracting an audience which we still have to meet along with Producers, engineers and traveling sound equipment.

But if someone pays us to record live, we will do it!

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Musica Viva fundraiser with Stephen Hough

Posted on October 21, 2011 by philip
Last night I had the pleasure of being an invited guest at a Music Viva fundraiser which took place at a restaurant down in Hickson Rd, the Rocks (Sydney). Guest artist and performer was the wonderful English pianist Stephen Hough who I actually got to meet and speak with. This was a real privilege as I am a great admirer of his wonderful playing…
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“The Ossenbrunner Twins” – concert on October 23, 2011

Posted on October 8, 2011 by philip

Concert preview by Jennifer Eriksson

Our final Marais Project concert for 2011 is a celebration of our instruments as much as the music we are presenting.  Back in 2002 I became the proud owner of a viola da gamba by Reinhard Ossenbrunner, one of the world’s finest living instrument makers.  Reinhard is a wonderful human being and when I flew over to pick up my new instrument he and his wife made me so welcome.  I was the first Australian they had ever met and simultaneously the first Australian, I believe, to own on an Ossenbrunner.

It is difficult to convey Reinhard’s elite status amongst professional gambists but perhaps one story will illustrate what I mean.  Several years ago Wieland Kuiken, who alongside Jordi Savall is arguably the greatest living gambist, toured Australia.  He was travelling without his instrument and borrowing instruments each time he was due to perform.  When Wieland arrived in Sydney it had been organised for him to make use of my instrument. I had played in master classes for Wieland several times in Europe so I delivered it to him one evening.  He took up the instrument, began to play and almost immediately his face looked puzzled.  “This is a lovely viola da gamba,” he muttered under his breath. He then looked at the label and exclaimed, “I don’t believe it, an Ossenbrunner in Australia.  Now I am very happy to play this concert!”

Recently Daniel Yeadon also purchased an Ossenbrunner and of course we wanted to put the “twins” on stage so as to hear them together.  Both our instruments are copies of an original ca. 1695 viola da gamba made by Michele Colichon, a renowned 17th century French maker.

We have chosen some of our favourite music for two bass viols to show our instruments off.  We are also excited to be premiering a new work for two viols by young composer and gambist Alice Chance.  The final work for today, “The Ossenbrunner Express” is an arrangement of a song specifically chosen by Reinhard himself.  I asked him earlier this year what he would like to us to play in his honour and we have fulfilled his rather unusual request!

Program

  • Sonata IX from “Le Nymphe di Rheno” (The Nymphs of the Rhine) – Johann Schenk (1660–1712).
    • Adagio
    • Aria (Allegro)
    • Tempo di Sarabanda (Adagio)
    • Giga
    • Bourée
    • Menuet

  • Ma bell si ton âme – Anon. (published by j-B Besard in 1603).  Arranged by Tommie Andersson drawing on an arrangement by Jordi Savall.

  • Concert XXI “Le Villageois” – Monsieur de Sainte-Colombe (1640 – 1690).
    • (Ouverture) Le Villageois
    • Menuet
    • Courante
    • Sarabande

  • Fantasia for two bass viols and organ – John Coprario (1570-1626).
  • O Pastor Animarum – Alice Chance (1994- ).
  • Suite in G major for two viola da gambas and continuo (1er Livre – Paris 1686) – Marin Marais (1656-1728).
    • Prélude
    • Allemande
    • Courante
    • Sarabande
    • Gavotte en rondeau
    • Chaconne

  • The Ossenbrunner Express – Music by Harry Warren (1893-1981), words by Mack Gordon; arranged for The Marais Project by Dan Walker (2011)

Background to Marin Marais and The Marais Project

Marin Marais (1656-1728) was one of the greatest viola da gambists of all times, a virtuoso and composer whose music is still performed more than 350 years after his birth.  The son of a shoe maker, Marais rose to great heights based solely on his musical talents.  He was employed as musician at the Court of Louis XIV in Versailles during the great era of the “Sun King” and wrote more than 600 works for the viola da gamba that are published in five books.  I formed The Marais Project in 2000 with the aim of playing Marais’ complete works as well as music by Marais’ contemporaries and other music for the viola da gamba.  We are currently about 80% through our task of presenting all of Marais, but then we have taken many delightful detours along the way!  The Marais Project has released two CDs and will release a third titled “Mara! meets Marais” later in 2011.

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Interview with Rosalind Page: Australian composer

Posted on September 30, 2011 by philip

Australian composer Rosalind Page has a growing reputation for her beautifully crafted works.  She has a particular affinity for the voice and is also known for her growing body of music for early music ensembles and performers including Ironwood, lutenist Tommie Andersson and The Marais Project.

Cool Black, a CD featuring Rosalind’s vocal music, was released in 2008, distributed by the MOVE label.

Cool Black - Music by Rosalind Page

In 2009 The Marais Project commissioned Rosalind to compose “Aquarelle” for two viola da gambas, theorbo and violin with the support of Ars Musica Australis.  In this interview Rosalind Page discussed her work with Philip Pogson.

 

Philip Pogson (PP): Rosalind, have you always been a composer?

Rosalind Page (RP): Yes, and a dancer.  From the time I could reach the keyboard I would sit and play all kinds of music by ear – and loved it!

PP: Where did you train?

RP: I took piano lessons to AMusA level and studied for a BMus (composition) at the Sydney Conservatorium of Music, later transferring my studies to USA, graduating in 1994 with a BA (Mus) Summa cum laude from the University of Delaware, also majoring in philosophy.  I studied with Ross Edwards for my PhD in Composition, at the University of Sydney, graduating in 2006.

PP: Who do you admire amongst your Australian (or overseas) colleagues?

RP: Ross (Edwards), of course, for the humanity he brings to his music.

Aesthetically, I sit on a branch of the French compositional tree, my aesthetics leaning towards Debussy, Ravel, Messiaen, Boulez, Grisey.  I also very much like the work of Magnus Lindberg and Icelandic composer Haflidi Halgrimsson.

PP: What is the best thing about your chosen career?

RP: To put heart and intellect into the creation of something that previously did not exist.

PP: How did you first come to write for early instruments?

I approached Tommie Anderson when I was composing my Sonetos del Amor Oscuro in 2004 as I had a long burning desire to write for lute.  Tommie very graciously accepted my invitation and was of immense help in all the practical aspects of writing for lute, baroque guitar and theorbo.  In addition, along with several colleagues, I was commissioned by the ABC to write a piece for Tommie as part of the “Lute Project”.

PP: What can you tell us about your new work for The Marais Project?

RP: I’ve called the piece Aquarelle.  It was initially inspired by my artist residency earlier this year at CAMAC, Champagne-Ardenne, France.  The residency is located right alongside the Seine.  Every day I drew inspiration from the many colours and moods of the water.  My composition is an analogy of La Seine, as it flows from its ancient source, Fontes Sequanae, near Dijon, Burgundy, then curving a path through the old city of Troyes,  the many small towns including Marnay and onto Paris.   Whilst composing, I wondered how Marin Marais had experienced La Seine.  I hope an impression of his responses have filtered their way into Aquarelle.  Thank you for asking me to compose this work!

The Marais Project, directed by Jennifer Eriksson, gave the premiere of “Aquarelle” at The  Independent on November 1, 2009, at a concert titled “Old Masters: New Directions”.  They repeated the work on 14 August 2011 at the Sydney Conservatorium.


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Its got to swing!

Posted on September 30, 2011 by philip

This week we went to see a New Orleans jazz show at the Sydney Opera House featuring John Cleary and The Dirty Dozen Brass Band.  It was a fantastic show and a great reminder of what so many classical music performances have lost: energy, exuberance, risk taking, infectious rhythms and sheer good fun!

On the way home our 18 year old son, who is studying classical music at University, said “Classical musos could learn from those guys”.  How true!

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Young Australian composer writes for ancient instrument:-

Posted on September 22, 2011 by philip

“The Ossenbrunner Twins” is a celebration of the fact that Australia is now home to two of the world’s finest viola da gambas.  The concert’s title, “The Ossenbrunner Twins”, pays homage to Reinhard Ossenbrunner, the leading German viola da gamba maker who lives and works in Cologne.  The Ossenbrunner instruments in question are owned by Marais Project Director, Jennifer Eriksson, and highly regarded gambist and cellist, Daniel Yeadon who will feature on the day accompanied by lutenist, Tommie Andersson.

As well an presenting some of the traditional repertoire for two viola da gambas on October 23, Eriksson and Yeadon will also premiere a new work for two viola da gambas by 2011 HSC composition student, Alice Chance.  Alice attends MLC Burwood, Sydney.  She studies composition at the School with Dr Paul Stanhope and viola da gamba privately with Jennifer Eriksson. In the short article below Alice describes the thinking behind her piece “O Pastor Animarum”.

Alice and Jennifer

_______________________

“When I came to write my new work for viola da gamba, “O Pastor Animarum”, my goal was to compose a piece that was specifically designed for the Viola Da Gamba and its special characteristics.

If we think of the Gamba as having an important function to go to, (and let’s face it, she is making a major career comeback at the moment) but her unique measurements prevent her from fitting into any of the stunning, “off the shelf” dresses in Myer or David Jones. Naturally, this can be very tough on a Gamba’s self-esteem, especially when cellos and basses waltz out of Westfield with their fabulously fitted frocks! It seems the Gamba’s uniqueness can only really shine in a tailor-made dress, so I took it upon myself to take her every ‘measurement’ and design something that would celebrate her uniqueness, and her history, in a most complimentary way!

On a more serious note, I was first inspired by a plainchant (O Pastor Animarum) by German nun, Hildegard Von Bingen, who lived in the 12th Century. The plainchant was composed so tenderly and with such passion that when I first heard it, I felt like Hildegard was sitting right next to me, singing it in my ear. Thus, my piece gained its initial working title: “The Hildegards are alive”. Sadly, whilst this title got many laughs, I figured laughter was not the ideal audience reaction, so I changed to the original, more sacred and reflective title, which translates to, ‘O Shepherd of Souls’.

There are a few qualities of the Gamba I have aimed to nurture in this piece. One of them is the fact that, in my view, it is an inherently modal instrument.  I find that the instrument relaxes and sings when I improvise around the ancient church modes such as the Dorian (the white keys on the piano from D to D) and Mixolydian (the white keys on the piano from G to G).  It is as if the viol feels comfortable and snug when wrapped in reminders of its ancient origins.

Another issue I wanted to address is the need for the Gamba to be supported or underpinned harmonically to make best use of its unique sound characteristics.  The instrument has a wonderful resonance but modern audiences, brought up on the Bach solo cello suites, have little or no aural reference point for listening to the viol family. I believe the tone of the Gamba can only really sparkle when accompanied, as the sound can be quite fragile and dry when it is on stage alone. Thus, composing a duet seemed like the ideal way to give the melody, the instruments and the players, harmonic support in performance.

Finally, I would emphasise that although I have drawn upon a 12th century plainchant, O Pastor Animarum is a product of the 21st century, as I have aimed to create a fresh, contemporary piece which, of course, references the instrument’s ancient lineage.

So now, when the Gamba attends her function, her dress will hopefully turn some heads. She deserves it.”

Alice Chance, September 2011

___________________________________

Event name:            “The Ossenbrunner Twins”

When & where: 3.00pm Sunday October 23, 2011, Recital Hall East, Sydney Conservatorium of Music

Cost: $30/20 Family ticket $80 (2 adults + 2 children)

Tickets: Ph 9809 5185; at the door or on line purchase www.maraisproject.com.au

Media contact: Philip Pogson 0412 459 156

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