Bridget Bolliger & Andrew West in recital
Date: 20 August 2016
Venue: Utzon Room, Sydney Opera House
Time: 11am and 4pm
See Bridget Bolliger perform at the Australian Festival of Chamber Music:
SATURDAY JULY 30TH
Townsville Civic Theatre – Governor’s Gala – The Surprise!
SUNDAY JULY 31ST
Various – Concert Crawl
TUESDAY AUGUST 2ND
Orpheus Island – Orpheus Island Concert
WEDNESDAY AUGUST 3RD
Townsville Civic Theatre – Ray Golding Sunset Series – Bach by Candlelight 1
THURSDAY AUGUST 4TH
C2, Townsville Civic Theatre – Concert Conversation with Piers Lane 4
SATURDAY AUGUST 6TH
Townsville Civic Theatre – Festival Farewell
MONDAY AUGUST 1ST
C2, Townsville Civic Theatre – Concert Conversations with Piers Lane 2
Bridget Bolliger, Flute | Susan Blake, Cello | John Martin, Piano
They will bring you an exciting mix of romance and classicism, with more than a hint of swing laced with anecdote and sparkle, performing works by Haydn, Mendelssohn, Weber, Debussy, Piazzola and Bolling.
Date: Sunday 5th June 2016
Venue: Loquat Valley Anglican Prep School, 1977 Pittwater Road, Bayview
Tickets available at the door
Single Tickets $25
School Students $10 or free when accompanied by an adult
Enquiries: (02) 9999 1937 or 0407 441 213
Afternoon tea will be served after the performance.
Entrevista a Bridget Bolliger | Interview to Bridget Bolliger
4 Mar 2016 | Juan Val
This week is here Bridget Bolliger, an Australian-Swiss flautist that takes part of one of the best’s chamber music groups in Australia, the New Sydney Wind Quintet, and that also realizes a large activity as soloist, teacher or as Artistic Director of the Sydney Chamber Music Festival.
I hope you like this interesting interview!
MOSMAN CONCERT SERIES IS 70 IN 2016 | FIRST CONCERT
BRIDGET (FLUTE) AND PHILLIP (GUITAR) BOLLIGER
Bridget has been hailed by Fanfare as ‘the very essence of what flute sound should be, her
expressiveness and turns of phrase are most conducive to presenting this music in a way in
which its composer surely would have exulted’.
‘Sparkling performances’ BBC MUSIC MAGAZINE
In an enchanting concert, including:
JS BACH: Sonata in C Major
TELEMANN: Fantasy for solo ﬂute
CARULLI: Variations on a theme by Bellini
SATIE: Two Gymnopedies
VILLA-LOBOS: Distribution of Flowers
J. MALATS: Serenata Espaola
MANUEL DE FALLA: Millers dance – for solo guitar
PHILLIP BOLLIGER: Two Sonatinas
BLESSED SACRAMENT CHURCH
SUNDAY, 6 MARCH 2016 at 2.30pm
$25, SENIORS $20 CHILDREN FREE
INCLUDES AFTERNOON TEA / LUCKY DOOR PRIZES
Bridget’s interview on Fine Music 102.5 – it’s available as a podcast on the following link.
Audio CD | Cala Records
Not infrequently, a CD shows up fromFanfare Central that turns out to be a delight from beginning to end, and the present disc is just one such. From the opening notes of this CD, the listener will be awash in the luxuriant sounds that emerge from his stereo system. For instance, the opening work, Dancing Shadows, combines gently flowing lines in the flute with nuanced accompaniment lines in the piano, a generally very upbeat work that is gently tinged with nostalgia.
“So who is Miriam Hyde?” you ask. An Australian, she lived between 1913 and 2005, and achieved renown in her native land as a composer, pianist, teacher, and writer on music. She undertook studies in the UK with such notables as Gordon Jacob and Arthur Benjamin (himself an Aussie who spent a good portion of his career teaching in England) before returning to Australia in 1936. As a pianist, she appeared in a solo capacity in collaboration with conductors such as Malcolm Sargent, Constant Lambert, Georg Schnéevoigt, Geoffrey Simon, and Edgar Bainton. The last named was also a fine English composer who emigrated to Australia. Hyde’s piano career lasted at least until the age of 89, at which time she performed her Second Piano Concerto.
Her music encompasses a wide variety of genres, ranging from small piano works to substantial concertos (both of her piano concertos have been recorded by her), but on the basis of this CD, miniatures seem to have been her forte. Her music is skillfully written, containing clever use of counterpoint (“Beside the Stream”), Impressionism (“Wedding Morn”), and a spirit of joie de vivre (evidenced in several of the present works including “The Little Juggler,” these three cited works all movements of Five Solos for Flute and Piano). Her music has a rich harmonic vocabulary, with splendid crafting of the musical ideas it contains. Stylistically, there may not be much originality heard here—these works bear resemblances in various places to the music of Jacques Ibert, Ethyl Smyth, Arnold Bax, Charles Wakefield Cadman, and others—but with the skill and beauty it evinces, who cares?
The present recital encompasses Hyde’s complete output for flute and piano. Its 13 works range from the brief vignette On the Hillside, clocking in at exactly one minute, to the disc’s most substantial work, the Flute Sonata in G Minor, which is more than 12 minutes in length. The latter work is particularly impressive in its interplay between the instruments, the skill it evidences in its flute writing, and the enduring quality of its melodies. Flutists certainly must know of this substantial and rewarding work, but it should be widely known among music lovers in general. Having heard little of Hyde’s music before encountering the present CD, you may be sure that I shall be on the lookout for more of it.
The performances of this music by flutist Bridget Bolliger and pianist Andrew West are simply not to be bettered. The crystalline clarity of Bolliger’s tonal production is the very essence of what flute sound should be, and her expressiveness and turns of phrase are most conducive to presenting this music in a way in which its composer surely would have exulted. For his part, West is a most sensitive collaborator (the word accompanist simply would not do him justice, as these pieces are duos in every sense of that term), varying his touch according to the dictates of the phrase at hand, and playing with a security of technique and musicianship that captivates. In short, I stand in awe at the superb music-making of this duo. Cala’s splendid sonics likewise add to the stellar musical experience that this disc affords the listener.
The CD closes with an unusual addendum highlighting another facet of Hyde’s talents, presenting as it does 10 of her poems. These are all brief, ranging in length from less than a minute to two minutes. I have no delusions about being an expert in poetry, but her poems fall graciously on the ear, even if to my musically trained and tuned mind they seem anticlimactic to the wonderful music that preceded them. Reader Gerard Maguire nevertheless presents them compellingly, and even if you’re not into poetry, the music makes up the majority of the running time of this CD in a ratio of approximately five to one. Very highly recommended to chamber music aficionados and music lovers in general.
David DeBoor Canfield