Berlin-based Victorian composer, musician and
installation artist Natasha Anderson has been chosen for next year’s Peggy
residency in Paddington, Sydney, is a partnership between the Australia Council
and the Peggy Glanville-Hicks Composers’ Trust.
The announcement was made
last night in Sydney at the Peggy Glanville-Hicks address, hosted by the New
Music Network. The address was given by conductor
and music educator Richard Gill OAM.
Australia Council Director
Music Paul Mason said Natasha Anderson was the outstanding candidate in a
Glanville-Hicks Composers’ Trust and the Australia Council are very pleased to
be able to offer Natasha Anderson this creative development opportunity. Nastasha’s
acceptance of the residency marks her return to Australia after being based
overseas for several years,” Mr Mason said.
Australia Council Chief
Executive Officer Tony Grybowski said the residency provided an important
period of security for composers, particularly those seeking to reconnect with
Australia after some time away.
“This residency also
provides the recipient with an opportunity to refresh and refocus their work
and we're constantly impressed by how much new work is created during the
residency,” Mr Grybowski said.
Ms Anderson said she
was “excited, incredulous, grateful and relieved” to be chosen as next year’s resident.
“The sheer foresight
and generosity of Peggy Glanville-Hicks in willing her house in this way helps
incalculably,” Ms Anderson said.
“Time and space are
increasingly precious commodities, so Peggy’s gift of her house, plus the bestowal
of a substantial grant, is a practical and extremely generous measure for which
I am relieved and grateful.”
Ms Anderson has a
packed program to work on during her residency and is looking forward to
connecting with musicians in Sydney of diverse and multiple disciplines.
“Being resident in
Sydney gives me the time and space to work on large projects with specific
Sydney and Australian musicians and allow these projects the chance to develop
in a way that would be impossible if not resident there. Crucially, it also provides the chance to
engage with a broad range of the artistic community of Sydney.”
Her projects include a
commission from the Sydney Symphony Orchestra for a multi-channel sound
installation; working with filmmaker Sabina Maselli on a film/multimedia work
for Alex Garsden and Rohan Drape’s INLAND series; creating a new audiovisual
installation with Darwin-based visual artist Sarah Pirrie; collaborating with
Sydney poet and musician Amanda Stewart on recordings and performances; and writing
a solo bass clarinet and electronics piece for 2015 Freedman Classical
Fellowship recipient Aviva Endean.
Composers’ Trust Chair Shane Simpson said the residency was given each year
either to a young composer with impressive potential or an established composer
with a strong track record.
“Peggy bequeathed her
house to be a composers’ haven – somewhere they could work with time and space,
without having to worry about the rent. When
you look at the achievements of the composers who have had fellowships, you see
how wise she was,” Mr Simpson said.
Past residents include
Liza Lim, Julian Yu, Mary Finsterer, Andrew Ford, Julian Day, Matthew Hindson,
Cat Hope and Elena Kats-Chernin. The
current resident is musician and composer Barney McAll.
In partnership with the
Peggy Glanville-Hicks Composers’ Trust, the Australia Council has offered the
residency through a competitive grant round since 2012.
encouraged from composers and songwriters of all musical genres and the successful
resident is provided with $20,000 to create new work and undertake professional
About Natasha Anderson
Natasha Anderson is an
Australian composer, musician and installation artist. She makes instrumental,
audiovisual and acousmatic works in a variety of forms: solo performance,
notated scores, cross-platform collaboration, audiovisual installation and multi-channel
Her compositions have
been performed throughout Europe, the USA and Australia by Ensemble Phoenix
Basel, Chamber Made Opera, Vanessa Tomlinson, Scott Tinkler, Anthony Pateras,
Erkki Veltheim, Judith Hamann and Jessica Azsodi. She was a featured composer
for the Bionic Ear Institute's Interior Design project at the Melbourne Arts
Centre in 2011, and currently holds two commissions from the Sydney Symphony
Orchestra: a work for solo viola, large ensemble & electronics
(Soloist/Conductor: Brett Dean) and an 8-channel sound installation.
Natasha co-founded the
quintet Thymolphthalein, which premiered at Südwestrundfunk Baden-Baden’s 2009
New Jazz Meeting. This group went on to play major contemporary music festivals
throughout Austria, Slovakia, Slovenia, France and the Czech Republic from
Her installations have
been exhibited at Musique Action (Nancy), Studio 14 (Paris), MONA FOMA
(Hobart), NCCA (Darwin), NGV, Gertrude Contemporary, 45 Downstairs, Linden
(Melbourne). She has performed her
electro-acoustic recorder works at The Pompidou Centre (Paris), Musée d'Art
Moderne et Contemporain (Strasbourg), Maison Folie (Mons), Festival de Musiques
Innovatrices (St-Etienne), Lausanne Underground Film Festival, Gdansk Centre
for Contemporary Art, Vivid Festival, Auckland Art Gallery, Liquid Architecture
and the Melbourne Festival.
Natasha has worked as a
composer for such theatre and dance productions as the Cate Blanchett directed
Year Of Magical Thinking with Robin Nevin (STC, 2009), De Quincy Company’s The
Stirring (Carriageworks, 2007) as well as for directors Lawrence Strangio and
Melanie Beddie and dancer Peter Fraser.
In 2010 she was
artist-in-residence at Montalvo Arts Center, California, and in 2014 an
Australia Council Project Fellow.
From 2010-11 she was
lecturer in Performance and Composition in the School of Art at RMIT
University. Since 2014 she has been dividing her time between Berlin and
For more information,
go to: http://www.natashaanderson.net/index.html
About Peggy Glanville-Hicks
was born in Melbourne in 1912 and died in Sydney in 1990.
She won an
international reputation as a composer and music critic and is one of the few
women of her time to achieve such distinction.
The majority of her
works were written in America between the 1940s and 1960s and many have been
recorded, including two of her four operas.
One of those operas, The Transposed Heads, premiered in Louisville in
1954 and New York in 1958.
Her 1963 opera Sappho,
recently recorded with an all-star cast (Toccata Classics), is yet to be staged.
The recording of her
Sonata for Harp, recorded by Marshall McGuire, won the 1996 APRA award for the
most performed contemporary classical composition.
returned to Australia in the 1970s and became an important figure on the
national music scene.
In her will she
bequeathed her house as a residence for composers.
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