THE Australian War Memorial’s $10,000 2019 Napier Waller Art Prize has gone to Natalie Duncan for her work, “You are in danger and I am far away”, it was announced last night (September 19) at the memorial.

The striking ceramic work was chosen from a short list of 26 entries. It will now be displayed at the memorial and accessioned into its collection. Duncan will also receive a two-week research residency in the art section of the Memorial, and a mentoring day with Canberra artist and former official war artist to the Solomon Islands, eX de Medici.

In her artist’s statement, Duncan said she had taken the title from a letter written by war artist Hilda Rix Nicholas, whose own art was rejected by the Australian War Memorial during the 1920s on the basis that they were “too personal”.

But far from avoiding the personal element in creating her winning work, Duncan was strongly influenced by her own experiences, saying: “I find myself in a somewhat unique position; an artist and a veteran, wife of a navy clearance diver and sister to one as well. I remember Afghanistan, the tired young heads resting in hands and shaky voices calling home. I ignore the mental pictures of my husband disposing of bombs overseas. And I know what waits in the dark for too many of our people, when they are alone.”

Ms Duncan explained that the work was further motivated by the fact that he own son was now joining the Army.

“I feel an irrational sense of dread and pride…Rage that anyone could think there was any war worth risking him in, and fury at those who would not appreciate the gift of my child; willing, if this country asks, to give his life for you and yours. It is ‘too personal’.”

The Napier Waller Art Prize, named after the artist who created the mosaics and stained glass for the AWM’s Hall of Memory, is open exclusively to current and former Australian Defence Force personnel. It is held in partnership with the University of Canberra, Thales Australia, The Road Home, and the Department of Veterans’ Affairs, with support from Nationals MP Darren Chester.

“In many cases the subject matter tells stories that hurt, but in doing so they heal,” memorial director Brendan Nelson commented, while the University of Canberra’s Ian Drayton told those at the prize announcement of his research into how the creative arts can aid soldiers’ recovery from combat-related post-traumatic stress disorder for some time.

The 12 highly commended works will be displayed in Anzac Hall’s mezzanine area from 20 September 20 to November 25.

Voting to awm.gov.au for the $5000 Napier Waller People’s Choice Award closes on November 17. The 26 shortlisted works can be viewed at the same site.

UPDATE: Police this morning report locating the body of a 19-year-old Hawker man who went missing on Thursday (September 19). They say that at this stage there are no suspicious circumstances surrounding his death and a report will be prepared for the coroner.

The earlier report was published last night: 

Police worried about missing Aiden

NINETEEN-year-old Aiden Mavity is missing and police are concerned about his health and wellbeing.

Aiden was last seen in Hawker on Wednesday (September 18).

He is described as being of Caucasian appearance, about 180cm (5’ 11”) tall, with short red hair, blue/green eyes, and of slim build.

Anyone who has seen Aiden or has any information about his whereabouts should call 131444.

AN “interim updated weekend bus timetable”, starting from Saturday, September  28, promises “increased reliability” for weekend travellers.  

According to Judith Sturman, executive group manager of Transport Canberra Operations:  said: “The frequent rapid services – which make up 70 per cent of boardings remain, along with regular local services. Extended hours of coverage, including later night services on Sundays and public holidays will also be maintained in the timetable.

“With the key aim is to give customers certainty and a reliable service, and I acknowledge that the reduction will mean that some customers will need to review their trips during this interim period.

“We’ve worked closely with Transport Workers Union and driver representatives on the timetable to ensure we maintain an expanded weekend service which, importantly, will also improve reliability, with some adjustments also made to improve connections between services.

“Transport Canberra is continuing to recruit more bus drivers so we can be confident of providing a return to the weekend network timetable in coming months.”

The new weekend timetables are at transport.act.gov.au

“Rambo: Last Blood” (R)

IN two of his first four film roles, Sylvester Stallone went uncredited. Then in 1977, after 10 minor roles, he got nominated for an Oscar in “Rocky”, the first of three including one for writing a screenplay. The rest is history.

One of the most notable characters he has played in 69 subsequent films is returned soldier John Rambo, a man of little subtlety shedding his own and others’ blood doing things best described as corrective, to bad people who deserved everything he gave them. They’re formulaic in the best traditions of cinema action. 

Stallone’s now 73. Few men could play a role like Rambo at that age. 

This, reflecting a decision that denotes wisdom, is the last time we will see Rambo, riding into the sunset with a heart wracked by grief at the loss of a beloved niece Gabrielle (Yvette Monreal) whom he has rescued from a Mexican sex-slave ring. 

Coming to that point involves about two thirds of the film delivering a credible drama that works because of a screenplay by Matthew Cirulnick and Stallone. Gabrielle has been forced into slavery by the vicious Martinez brothers (Oscar Jaenada and Sergio Peres-Mancheta). Some interesting statistics crop up in the film: 70,000 women, each earning $300,000, few surviving – reliable statistics are hard to track down, and Donald Trump’s big wall (it appears in the film, seen from a suite on the top floor of the brothel) seems not to have stemmed the trade.

After burying Gabrielle and dismissing the loyal housekeeper who has kept house on his small ranch in Arizona, Rambo sets about preparing for the Armageddon he expects from the Martinez brothers and their loyal thugs. 

About the last quarter of the film shows how effectively he has built his defences. It’s wild, angry, blood-smeared action, convincingly staged by director Adrian Grunberg, about as good of its kind as you might find.

Come to think of it, just about everything in the film, no matter how gruesome or brutal, is about as good of its kind as you might find.

At Dendy, Capitol 6, Hoyts and Limelight

“Good Boys” (MA) half a star

THIS is the first feature film for director Gene Stupnitski, who also co-wrote it in collaboration with Lee Eisenberg.

It’s being promoted as a comedy. Oh yeah?

It’s about primary school boys in middle America. Here in Australia it’s beyond the reach of primary school kids of either sex. And the classifiers got that MA classification right. It sets very bad examples of juvenile behaviour, parental control and social responsibility.

Max (Jacob Tremblay), Thor (Brady Noon) and Lucas (Keith L Williams) are chums. In their last year of primary school, they yearn to explore that unknown territory that lies beyond puberty, where girls are unfamiliar objects of desires as yet known only by repute. 

Before Max’s dad leaves on an overnight business trip, he forbids Max to touch the drone. Lucas’ parents are cohabiting while awaiting their divorce. The one most to be pitied, living with no visible parental control, is Thor.

The three are desperate to attend a party where there will be girls and games involving kissing. Max doesn’t know how to kiss and is desperate to learn before the party. What sets him apart from every other little boy about to meet his hormones? 

The film sets the trio on a journey through a world of drugs, thugs, sex toys, beer, violence, spin-the-bottle and generally unschooled behaviour. If the screenplay’s attention to the boys’ plight had been better-informed, “Good Boys” might have delivered its message more effectively. But it wasn’t and it didn’t.

At Dendy, Palace Electric, Hoyts and Limelight

“This little pile of juvenile nonsense comes from a long cinematic blood-line, from fantastic titles such as ‘King Solomon’s Mines’ and just about every ‘Tarzan’ movie.” With one star, movie reviewer DOUGAL MACDONALD isn’t fussed about “Dora and the City of Gold”.(PG) *

THIS little pile of juvenile nonsense comes from a long cinematic blood-line, from fantastic titles such as “King Solomon’s Mines” and just about every “Tarzan” movie starring just about every actor who ever played Tarzan. And a TV juvenile series running to 136 episodes.

Dora (Isabella Moner) lives in the Amazonian jungle with her parents (Michael Pena and Eva Longoria) whose profession when they’re not educating their daughter seems to be explorers (a fact influential in Dora’s growth but not apparent in the film). 

After a prologue involving Dora in early childhood, the film jumps a decade to reveal a pleasantly pubescent teenager who begins the film by travelling to civilisation (played with little sense of obligation by Los Angeles) to attend high school. Dora’s naivety is manifest. She meets her cousin Diego (Jeff Wahlberg), gets offside with older girl Sammy (Australian actress Madeleine Madden) and finds a kindred spirit in nerdy amateur astronomer Randy (Nicholas Coombe). 

By a process too complex to justify summarising, the four find themselves back in the Amazonian jungle, together with an older, somewhat too-jovial-for-comfort, explorer friend of Dora’s parents, questing for the lost Inca city of Parapata, famed for its hoard of gold.

The director is James Bobin, best known for directing “Muppet” episodes. His CV gets one unique addition from this film. He must surely be the first, the only, person to discover elephants in the Amazonian jungle!

At Dendy, Palace Electric and Limelight

SARAH McDougall, of Lake George Winery, has been named Owner-Operator of the Year at an Australian Women in Wine Awards event in New York on Wednesday (September 18). 

“The Australian Women in Wine Awards program is the only awards program of its kind in the world – an event that celebrates talented women in wine and inspires more women to be part of Australia’s wine industry,” says John Leyshon, president of the Canberra District Wine Industry Association.

“We are extremely proud of Sarah. She is an impressive operator and a strong advocate for our wine region having served for many years on our committee as secretary and executive officer.”

The 2019 awards ceremony were held in New York as part of Wine Australia’s “Far From Ordinary, USA Aussie Wine Month” campaign. 

“Sarah joins our other Sarah, Sarah Collingwood of Four Winds Vineyard, who took out the title in 2017. It is a massive achievement for our region.” 

A CROWD of about 10,000 to 15,000 protesters gathered at Glebe Park in Civic today (September 20) as part of what’s being called the biggest global climate strike yet.

Across the Australia, though, students, businesses and residents are calling on the Federal Government to commit to no new coal, oil and gas projects (including Adani), commit to 100 per cent renewable energy generation and exports by 2030, and fund a just transition and job creation for all fossil-fuel industry workers and communities.

“CityNews” reporter Mike Welsh headed to the growing protest at Glebe Park at about midday today and says there were thousands of angered and worried protesters eager to see the Federal Government doing more on climate change.

Dickson’s Annie Brent and her daughter Freya were amongst the concerned, with Annie saying something needs to be done now.

“We know for sure that the climate is warming and we’ve got to do something, we’ve got to support kids who are getting out there,” Annie said.

“It’s them who are going to have to deal with the problems.”

Freya, who’s pretty scared of the ramifications of climate change, agreed with Annie and said it’s time to take action.

“This kind of protest is about getting our politicians to listen and seeing action come through legislation, seeing action come through local businesses and seeing action come through the people,” Freya said.

Another protester, Margaret Roseby, said she was there out of pure anger.

“Australia can not make any remarks about what’s happening in the Amazon when the QLD government just extinguished the native title over indigenous land,” she says.

Cartoonist PAUL DORIN turns his wry eye to Washington welcomes.

IN an unusual but inspiring coincidence, eight members from Curves Weston celebrated huge milestones, with four turning 70, three turning 80 and one turning 90 this month. 

“It’s not normal, we have milestones every month but never this many,” says the womens’ gym owner Kristin Davis. 

With most of the women exercising at Curves at least twice a week, Kristin, 53, of Kambah, says they’re setting a great example for the other members.

“I’d love to look half as good as them when I turn 70,” she says.

“There’s so many physical health benefits from continuing to exercise, too, [such as] balance, good bone density and it’s good for the brain.

“If you’re not exercising you start to seize up. This gives them a good quality of life.”

Pam Brown, who turned 90 on Sunday (September 22), is the oldest member at the Weston gym and the first member ever to turn 90.

Pam works out at the gym about twice a week and has done about 1000 workouts since joining up in 2012. 

“I’ve been active all my life,” says Pam, who was a yoga instructor for 20 years in Canberra.

“It’s important to keep fit, otherwise you sit down all the time.”

When Pam works out she says she likes using all the machines but especially likes to work on her quads because they keep her standing. 

“As long as I can walk, I don’t want to stop coming,” she says.

“I think once you stop, that’s it.”

LAUREN Couter, project director of Construction Control was tonight (September 20) awarded the top “crystal vision” award at the annual NAWIC Crystal Vision awards, recognising the achievements of women in the construction industry. 

In addition to her outstanding work in her chosen field, Lauren is a dedicated fundraiser for the Mother’s Day Classic Fun Run and was featured on the front cover of “CityNews” in May, 2016.  

The National Association of Women in Construction ACT hosted nearly 400 guests at its annual awards at the National Arboretum, celebrating and recognising the achievements of women in the construction industry.  

Other winners who were honoured on the night include: Elyse Howard, Jane Louise Alexander, Roberta Brosco, Sarah Carroll, Dulani Nanayakkara, Ntasha Krysti Gerebtzoff, Sarah Pollheim, Nadine O’Keeffe, Sarah Anne Duncan and Nichelle Jackson. 

Construction company Manteena was recognised as the winner of the diversity and inclusion award.  

“Our annual awards provide the opportunity for our members to showcase their professional contributions to Australia’s largest non-service-related industry, contributing $134.2 billion to the nation’s economy, and employing 1.1 million Australians,” says out-going president Amanda Laverie.

NAWIC is a not-for-profit organisation formed to promote and improve the construction industry by the advancement of women. 

It offers members an opportunity to expand personal networks, maintain awareness of industry developments, improve skills and knowledge, and make a contribution to women in the construction industry.  

“The committee report starts with a spineless approach: ‘The committee stresses… it has been deliberately cautious and has taken a risk-averse approach’. Risk averse, seriously!” writes political columnist MICHAEL MOORE. 

FUEL companies must be splitting their sides laughing. The ACT Assembly Select Committee on Fuel Pricing has simply danced to their tune. 

Did they bring multinationals to account for gouging of Canberra consumers? No. Instead the committee was hoodwinked by standard delay strategies.

Delay is a tactic adopted from big tobacco. Even when big tobacco knew that restrictions would be placed on their lethal product, they would challenge, undermine, take legal action and argue against inevitable regulation. For big tobacco, and now for fuel companies, better to get a couple of year’s more profit than to simply give up.

This is not a committee with a government majority. Liberals Mark Parton and Andrew Wall outnumber the chair, Tara Cheyne. Perhaps the Liberal anti-regulation ideology is to blame for such a wet-feather report. 

Chief Minister Andrew Barr encouraged a more strident approach telling the committee that elected representatives should “stand up for them (Canberrans) against particularly big business who are gouging them in this city”.

The committee report starts with a spineless approach: “The committee stresses… it has been deliberately cautious and has taken a risk-averse approach”. Risk averse, seriously! 

Assembly committees should take courage in one hand, fortitude in the other and strike a blow for the community interest. The committee argument to avoid any possibility of a “measure which may result in higher fuel prices for consumers” is simple codswallop. 

What about some spine? Although a long-time, strong supporter of the ACT Legislative Assembly’s Committee system, the wimpish recommendations in this report undermine so many previous reports. 

The reality is that it is time for the big stick. Instead the committee argues the wish to arm “consumers with better choice and information in making fuel purchasing decisions”.

The forlorn hope of the committee is that arming consumers will have them “making behavioural changes” and it is the view of the committee that this will be the “greatest chance for consumers paying lower fuel prices, without risking unintended consequences”. Unintended consequences! Really! Multinational delay tactic language.

Pathetic is not the role of a committee. If they must, let the government worry about threats of litigation or the like. The Chief Minister opened the door.

The old hoary argument has been recirculated. The problem is about “external factors” such as gate prices in Sydney and Melbourne. This hardly explains how almost all of country NSW invariably has lower prices than Canberra. I regularly refuel in Boorowa where, despite hardly any competition, the price is always considerably less than in Canberra. 

The committee even identifies that Canberra consumers, on average, have been spending between 8 and 12 cents a litre more on fuel than is spent in Sydney. Apparently, this changes in times of adverse publicity. However, closing the gap on Sydney prices has largely proved temporary.

The Independent Competition and Regulatory Commission report in June was used by the committee to argue retailers have very limited control over price and then fail to introduce regulation that has an impact on these multinationals. They cannot have it every which way. Compare Canberra to NZ to understand multinational games. Over the Tasman, the price of diesel is about two thirds the price of the lowest octane petrol while here they are neck-‘n-neck. 

“It is apparent that the ACT fuel market is not meeting consumer expectations”. Damn right. Committee recommendations also fail to meet consumer expectations. Shifting the responsibility back to the consumer in the hope of effecting “behaviour change” is not what is expected from the Legislative Assembly Committee.

The expectation is that the committee will make structural recommendations to assist the government in reining in the excessive gouging by multinationals on Canberra consumers. As the committee pointed out: “There appears to be a tangible link between the committee’s work and ACT fuel prices [with a] connection between widespread media coverage of the inquiry and a dip in fuel prices”. 

If the committee hearing can have this impact on multinationals who are setting the prices – just think what a strident report might have achieved.

Social snapper TORI HERON files from the National Association of Women in Construction awards night at the national Arboretum last night (September 20).

THE historic Kingston Powerhouse “Chapel” will not be demolished in the impending Kingston Arts Precinct development.

The powerhouse’s 1948 switchroom, commonly referred to as “the Chapel” was approved for demolition in October 2014, but both the new precinct’s developer Geocon and the Suburban Land Agency have agreed to looking more closely at retaining it.

Consequently, the approved development application for the demolition of the “Chapel” will expire in early October and will not be relied on when Geocon’s development proposal is assessed on its own merits, says Urban Renewal Minister Rachel Stephen-Smith.

Retaining “the Chapel” will form part of the “Tender Concepts” design review.   

“Other questions raised during engagement conversations with the architect and the project team have highlighted a number of other considerations which will also feed into the next stage of Tender Concepts design development as well,” the minister says.

“It is anticipated that this phase will take more than six months to allow further studies to be undertaken to inform ongoing discussions with the community and regulatory agencies.

“ArtsACT, SLA, Geocon and Fender Katsalidis have also worked with arts organisations that will move to the precinct in developing their design requirements of the arts buildings. The resident arts organisations have a pivotal role in collaborating on the design directly with the architects to ensure their current and future needs are met.

“A Community Panel will be established by end of September as an effective forum that will remain throughout the life of the project and will include a broad cross section of community representatives.” 

The community is encouraged to participate at kingstonartsprecinct.com.au 

Dance / “From the Vault”, Australian Dance Party. Choreographer Alison Plevey. At Dairy Road, Fyshwick, September 20-22. Reviewed by BILL STEPHENS

AUSTRALIAN Dance Party, under the leadership of Alison Plevey, has established quite a following for its site-specific dance works highlighting matters of social conscience. 

The discovery of a disused building in Fyshwick that was previously a storage bunker for the Mint prompted choreographer Alison Plevey to question the value placed on money, the place of money in our lives and how our bodies become the vaults for the storage of memories, motivations and whatever it is that constitutes us. The result is an intriguing, thoughtful and brilliantly executed dance work.

The set up for “In the Vault” is masterly. The location of the vault was kept secret from the audience until the day before the first performance, when ticket holders were notified of the location by email. 

Upon arrival, each was presented with a key and directed to a dimly lit locked door, where a silent guard, wearing dark glasses, examined the key before allowing the bearer to use it to unlock the door. 

Once inside the cavernous building, red laser lights pierced the blue-lit haze, revealing a large square performance area surrounded by chairs on each side, and guarded by silent, unsmiling figures all wearing dark glasses. A strange electronic buzz provided the soundscape. The atmosphere was as unnerving as it was intriguing. 

A dramatic bolt of light signalled the beginning of the performance, revealing the five dancers huddled in a tight group centre-stage. Olivia Fyfe, Stephen Gow, Eliza Sanders, Alana Stenning and Ryan Stone performed a series of abstract sequences, most having a connection with money. Each wore an attractive, individual costume, designed by Imogene Keen, a combination of post-apocalyptic and shabby chic, but with metallic highlights that flashed in the light as the dancers moved.

For the first sequence they in a tight group, responding to the pounding soundscape, performed live by cellist, Alex Voorhoeve and sound designer, Andy McMillan. When one tried to escape the group, the others menaced him. Coins showered from above, which were quickly gathered by the dancers, who then used them to gamble their new-found wealth. 

One sequence involved a cleverly choreographed Mozartia-style court dance.  Another involved four of the dancers using chalk to scribble their thoughts around the stage, eventually covering the whole area, while the other verbalised hers in a stream of consciousness monologue. Eventually the writings were obliterated with brilliantly performed acrobatic group movements. 

Regardless of what response is prompted in individual observers as to the relevance of each sequence, “In the Vault” is a brilliantly conceived and executed dance work, certainly the best yet from Australian Dance Party and confirms Alison Plevey’s status as an important and original creative voice in Australian contemporary dance.

CANBERRA is waking this morning (September 22) to very good air quality with no ongoing public health risk.

The ACT Health Directorate has been monitoring the air quality and says dust levels peaked at midnight before dropping to good levels before 3am.

Hourly readings on the Air Quality Index (AQI) indicate air quality is very good and the directorate advises that current air quality is very good with no ongoing public health risk.

However, data on the ACT Health air quality website uses 24-hour average readings, meaning air quality may still appear poor. However, hourly readings indicate that air quality is very good.

Anyone with health concerns should seek advice from their health practitioner. Anyone experiencing wheezing, chest tightness or difficulty breathing should seek urgent medical assistance.

Music / “Violin Favourites”, Musica da Camera. At Holy Covenant Anglican Church, Cook, September 21. Reviewed  by TONY MAGEE

MAX Bruch’s “Concerto No. 1, Op. 26 for Violin and Orchestra” presented a challenging opening for Musica da Camera and 16-year-old violin soloist Sam Jenkin, one they pulled off successfully.

Beginning with a tentative orchestral wash, almost as if someone is whispering a secret, Jenkin emerged with a violin cadenza opening of heartfelt passion. There was much to enjoy along the way, particularly strong support from the four cellos and single double bass in an extended orchestral interlude.

While there were various intonation problems here and there, the work came to a secure conclusion with Jenkin again stating the cadenza theme, this time with flourishes and embellishments of great feeling, with all the players coming together with a final chord beautifully in tune.

A Percy Grainger coupling followed. In “Irish Tune from County Derry”, the theme was stated with feeling and grace by the cello and viola sections and later taken over by first and second violins. In “Molly on the Shore”, which bears some similarity to Britten’s “Simple Symphony”, the ensemble displayed fine dynamics with effective pizzicato work from cellos and double bass.

“St Paul’s Suite” by Gustav Holst revealed enthusiastic and robust playing from the entire chamber orchestra, with good balance between the sections. Second violins played an effective ostinato during the second movement and in the third “Intermezzo” section, sweeping solo violin passages, played with confidence and style by leader Madeleine Retter, were infused with the entire first violin section most effectively and with precision.

Samuel Barber’s most famous piece, “Adagio for Strings”, opened the second half of the concert. The ensemble managed to capture the increasing dynamics of the piece, beginning with a sad, quiet, but enveloping opening and increasing slowly to a climax of forte in the high registers of all the string instruments. Often used at US state funerals, the piece finishes on an optimistic major dominant chord of gentleness – something that Musica da Camera clearly felt and played with sensitivity.

To close, the engaging and hugely popular “Concerto for two violins in D minor” by Sebastian Bach. Jenkin joined Retter and the two soloists swept the piece along with the ensemble sometimes scrambling to catch up. A most engaging performance, where Retter and Jenkin played together with confidence, delivering a robust tone and intelligent balance.

In this, as with all the pieces, one thing that needs to be addressed is the relationship between the players and their leaders, both within each section and the orchestra as a whole. This would fix the rhythmic and tempo inaccuracies that sometimes occurred. In addition, Retter needs to display a more commanding presence as leader, with body language, bow gestures and eyes.

This mixed-aged ensemble put their all into this concert and delighted the audience from start to finish. A credible effort from an enthusiastic group that adores fine music.

Music / ANU and Canberra Youth Orchestra Collaboration Concert. At  Llewellyn Hall, Saturday, September 21. Reviewed by IAN McLEAN

THIS was an innovative and interesting collaboration between the CYO and the ANU School of Music composition faculty that had an added bonus of showcasing the winner of the 2019 CYO Concerto Competition performing in a formal concert setting.

Fourteen soloists contested the Concerto Competition with clarinettist Nicolas Hilderson ultimately judged the winner. 

What a find he is! He performed the taxing Weber “Clarinet Concerto No 2 in Eb Major” in a most satisfying and engaging performance displaying clear and clean tonal quality, mature expression and marvellous dexterity. 

From the opening three-octave leap of the “Allegro” through a well-phrased “Romanza” and on to the virtuosic “Polacca” finale, this was an emotive and exciting performance. Rhythm at the start of the third movement was not rock solid but the technically most demanding phrases towards the end were a joy to hear. 

The orchestra began a little tentatively and there were moments of untidiness in the winds and brass, but all settled well to provide solid backing throughout. Strings were particularly impressive with light, neat and dynamically well controlled accompaniment. Nicholas is a highly talented clarinet player and a young man to watch as he balances his love of music with his economics “day job”.

Five new works by Canberra-based composers presented the CYO players with a rare opportunity to perform in a wide array of contrasting musical styles. 

Not having a chance to read the comprehensive program notes before listening, I found the short “Figheadaireachd” by Alexander Hunter creating images of Swiss mountains with alphorns sounding across the valleys. I’m not sure that is the image intended, but that’s the beauty of music – each individual is transported to their own little spot.

“Beach Holiday” by Chris Sainsbury featured the strings again with expansive and melodic phrasing in keeping with the title. Percussion and piano added delicate touches.

“Alice’s Common Sense Suite” by Frank Millward was reminiscent of the lush-sounding British light orchestra pieces written by the likes of Gilbert Vinter and Clive Richardson. It was theatrical in its presentation with four young female vocalists dressed in the classic Alice costume. The music was melodic and appealing though the vocal work lacked surety of pitch and intonation.

After interval an exciting “Autonomy” by Chloe Sinclair contrasted complex rhythms in unusual time signatures against warm melodic phrases. The opening brass fanfare lacked the intensity and fire necessary to fully kick the dynamic piece off but, overall, it was fascinating and interesting writing.

Kim Cunio is the head of the ANU School of Music and he contributed “21 Mantras for Tara”, a work composed in collaboration with monks from Tibet. The opening string pizzicato section introduced soprano soloist Katrina Wiseman, currently a third-year student at the school. Her powerful clear voice filled Llewellyn Hall with lovely tone and beautifully accurate pitch. Torrid cello pulsating rhythms were also impressive.

The concert concluded with a mature reading of Richard Wagner’s “Die Meistersinger von Nurnberg Overture”. Highly acclaimed and musically passionate Max McBride returned to the CYO podium (he previously conducted CYO for 17 years from 1992 to 2008) to conduct this concert and his experienced baton guided the players through this concert of vastly contrasting works with great surety and control.

CYO artistic managers are to be commended for boldly programming new orchestral works and congratulations to Max McBride and the CYO players for rising to the challenge of performing those works competently and confidently.