Events



The Black Rider / Victorian Opera and Malthouse Theatre (Sep/Oct 2017)
Tom Waits & William S Burroughs

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“And the musicians can't be praised enough. Under Phoebe Briggs, the hobo orchestra has mastered every eclectic influence on Waits' score: it plays gloriously, often using multiple instruments in kinky combinations.” Cameron Woodhead (Sydney Morning Herald, 21/9/17) read the full review



Bendigo International Festival of Exploratory Music 2017: Argonaut Ensemble, 15072006

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“Particular commendation must be given to trombonist Charles MacInnes; [he] performed his part with virtuosity and stamina.”
Simone Maurer (Partial Durations, 6/9/17)— read the full review here

visit the BIFEM website



The Orchestra Project / Mahler 6th

The Orchestra Project was established by conductor Fabian Russell in 2002 as a training ensemble for the development of of Australia’s best young orchestral musicians.

On 14, 15 and 16 April 2017 The Orchestra Project assembled an orchestra of young musicians mentored by leading professionals to intensively workshop and perform Gustav Mahler’s Sixth Symphony.




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Bendigo International Festival of Exploratory Music / Sep 2 - 4 2016
visit the website

Bendigo’s lauded ensemble Argonaut makes a quantum leap to a 29-piece chamber orchestra in this much anticipated fourth edition of BIFEM.



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Nunique Quartet
visit the website

Brigid Burke | Megan Kenny | Steve Falk | Charles MacInnes

Four leading Australian musicians take sound to another level with improvised and scored works that create a colourful and dynamic experience for the listener. Formed in 2015, the group perform regularly in Melbourne including at the Loop Bar, Conduit Arts and at the Make It Up Club.




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Lost in the Looping Glass
visit the website

“These first two works are fascinating in their construction, but the third is where it gets really interesting. Charles MacInnes' ‘Wall Fragments' features a spoken introduction that places its conception at a turning point in world history. A loud backdrop of plunks and creaks augments the anxiety of the discordant tones building in the foreground, the chorus of groaning double stops; there's a sense of the epic in it, something enormous unfolding.”

Lena Farsham in the The New Zealand Performing Arts Review. February 2016



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Tilde New Music Academy
visit the website

The Tilde New Music Academy is a week-long series of workshops for performers and composers focussing on contemporary art music including notated music, sound art, computer music, and improvisation.



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Image: Nigel Butterley (Australian National University)
Arcko Symphonic Ensemble: From Sorrowing Earth
Iwaki Auditorium
October 31, 2015

Elliott Gyger’s work from this concert From Joyous Leaves won an 2016 APRA/AMCOS State Award for Best Orchestral Work.

read the review from Limelight Magazine



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IMAGE: (CHRIS SMITH FLICKR.COM/CC/BY-NC-SA/2.0)
Getting on with the Show
hear the program

Getting on with the Show features interviews with players from the world of musical theatre – The Age's chief music critic, Clive O'Connell, actors Trevor Ashley and Alinta Chidzey – plus stage managers, actors, musicians, a director, producer, musical director and cast of stage assistants.


OLDER EVENTS




#cirque - bass trombone and pre-recorded track


What has become of the old circus with its lean caged animals, creaky flooring, gaudy costumes, fried food vans and chain smoking ticket seller?
Stuck in traffic, an out of work clown tweets about life’s daily annoyances to a growing audience hungry for the next distraction and amusement.
Turning Luciano Berio’s Sequenza V for solo trombone (1966) on its head, the solo bass trombone is mimicked and taunted by voices, heartbeats and the crackles of an old radio.

first performed by Ben Anderson on 11th December 2014 at the Abbotsford Convent
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With the tonal upheavals of Schoenberg and Ives now over a century old and John Cage’s silence as well as Steve Reich’s cycles becoming vintage, what does “new” music mean to us today?

The MNME players introduce and perform new works created specifically for them and heard for the first time in this concert. Sound is explored using improvisation, objects and game-controllers, real-time sampling, the projected image, algorithms and spatialization.

The Monash New Music Ensemble directed by Charles MacInnes is made up of composers and instrumentalists from the Sir Zelman Cowen School of Music.

Tickets and Information

image is used under CC BY-NC-SA 2.0 from http://www.anl.gov/



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Through The Looping Glass

a show for solo violin and loop station by Helen Bower

Melbourne Fringe Festival 2014

link to information and review


The Riders


Malthouse in September and October 2014
link to reviews

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The Argonaut Brass Quintet (Tristram Williams, Callum G’Froerer, Ysolt Clark, Ben Marks, Charles MacInnes) perform on Sunday 15th September 2.30pm at the inaugural Bendigo International Festival of Exploratory Music
Festival Website

Elliott Carter Brass Quintet (1974)
“...the work seems to suggest a kind of extramusical depiction: a world of sonic commerce, made up of every conceivable kind of encounter between the instruments used, and demonstrating an ingenious system of musical transactions that broaden the expressive possibilities for all involved...” — Jeremy Grimshaw on the Carter Brass Quintet

Discours VII for Brass Quintet (1987)
“...is part of a series of works exploring the similarities between spoken language and instrumental music, all based on the central idea of how to apply and transfer the elements and even the rules of the “spoken” and the “played” and vice versa. [...] Discours VII attacks the problems posed by spatialisation of sound, the mobility of the sound sources and the different degrees of communication between five people. The tuba is static, a point of reference and utters speeches filled with meaning. On the other hand, the four other members of the ensemble develop and comment on these discourses, although from time to time they pay no attention to them. Finally, the dispersed members reunite into a quintet and break into a rondo finale.” — Vinko Globokar


Barry Humphries' Weimar Cabaret - Australian Chamber Orchestra


23 April - 8 May 2013

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Barry Humphries curates, presents and performs the degenerate music of Berlin's Weimar Republic (1920s-1930s) including jazz, cabaret, tango and Broadway-musical style pieces. The hedonistic partying and social revolution of this era is re-awakened in this full-throttle concert featuring transgressive cabaret sensation Meow Meow in the racier numbers.

more information and dates


reMASTERING the VINTAGE

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Charles MacInnes composer
Michael Kieran Harvey pianist
Rebecca Adler violinist

Tuesday 16th April 7pm
Gryphon Gallery - Graduate Centre, University of Melbourne
Grattan Street (1888 Building), Parkville

Join us for an informal performance and discussion of two new works of mine that are based on older works:

Mirror Image for solo piano based on Chopin’s Prelude Op. 28 No. 2 (1839)
Quiet Girl Suite for solo violin based on Berio’s Petite Suite for solo piano (1947)

"The principle is hide and reveal
One always senses the water, the source
But never sees it
It’s a kind of spiritual striptease..."

from The Quiet Girl by Peter Høeg (2006)

(donation)

MIRROR IMAGE
Three principles guided the writing of this work. Creating a rich harmonic language, playing with the idea of rhythmic dislocation and retaining a spirit of improvisation.
All harmonic material is derived from the original work, often by adding upper extensions to existing minor triads then removing the original triad. Melodic fragments come from imagining what lies in the silences and cracks between the notes.
The “mirror image” of the title refers directly to the section between bars 9 and 31 (and its variation between bars 122 and 144) where I held the paper of Chopin’s original 23 bars and my blank bars together up to the light and wrote new material in all the "spaces" - creating a kind of reverse polarity...

QUIET GIRL SUITE
This work came about listening to a piano work that Luciano Berio wrote as a university student - "Petite Suite". His work consists of classic Bach-like movements of Prelude, Petit Air, Gavotte, Musette and Gigue and all kinds of influences from the masters he was studying can be identified - including Bartok, Debussy, Prokofiev and Stravinsky.
My version has been re-composed for violin using various techniques - contrafact, magic serialism, reversing the notes, and quotes and sampling. "Quiet Girl" comes from the book of the same title by Danish author Peter Høeg that maps the story of a violin playing clown who is wanted for tax evasion...


Choral@Montsalvat is an all day festival of vocal works presented by many choirs.

My piece will be performed at 4pm Sunday 6th May 2012 by the Melbourne Chamber Choir in the Barn Gallery (Montsalvat, 7 Hillcrest Avenue, Eltham)

"Projection" [SAB + piano] loosely uses text by Ingmar Bergman and introduces some subtle non-sung "machine noises" to the choir, as well as closely voiced chordal work. READ MORE about the work here.


Miles Davis - Prince of Darkness
a tribute by the Australian Art Orchestra
Adelaide Festival 2012

details




Australian Chamber Orchestra
Beethoven Pastoral
National Concert Tour / Nov 2011
program


KURSK: an oratorio requiem
David Chisholm & Anzhelina Polonskaya
Melbourne Recital Centre
Melbourne International Arts Festival
22 October 2011


BRASS WORKSHOP FOR SECONDARY STUDENTS
Saturday 23 July 2011
Masterclasses and workshops with some of Melbourne’s top brass professionals

Some feedback from participants:

"Mr MacInnes controlled the pace and content just right for kids and adults alike." (music teacher)
"Initial warmups – a great reminder that vital musical progress can be made without an instrument in your hand."
"I think that the group activities in the circle were really fun and enjoyable."
"I would recommend it to every brass player."
"The end when we did the band… it helped me understand how to practice songs properly."
"The rhythm games made keeping the beat easy and fun."


ABQ Residency Concert @ MCM

Tristram Williams - trumpet
Dave Elton - trumpet
Ben Jacks - french horn
Michael Bertoncello - trombone
Shannon Pittaway - bass trombone

ABQ website

ABQ alone
Four Madrigals - Monteverdi
Copperwave - Joan Tower
Street Song - Michael Tilson-Thomas
Dance Suite - Leonard Bernstein
[interval]
ABQ side-by-side MCM Brass [conducted by Charles MacInnes]
Drei Choralvorspiele - Bach arr. Crespo
Mutations from Bach - Barber
Tico Tico - Zequinha de Abreu
Gathering of the Armies from Lohengrin - Wagner arr. Friedman

19th May 2011 7:30pm
Melba Hall - Gate 12, Royal Parade, Parkville
Melbourne Conservatorium of Music
The University of Melbourne
$10 at the door


Tim Buzbee in Performance


Monday 14th March 7pm 2011 ~ Federation Hall
Melbourne Conservatorium, 234 St Kilda Road, Southbank

Cost $15
drinks post-concert

Guest Artists:
Amir Farid - piano
Michael Bertoncello - trombone
Charles MacInnes - bass trombone

We welcome international tuba soloist Tim Buzbee - recently arrived from Iceland

Has performed with: Chicago Symphony, Swedish Radio Symphony, Malmö Symphony, Helsingborg Symphony, Malmö Opera, Danish Radio Orchestra, Dallas Wind Symphony, Malaysia Philharmonic, Singapore Symphony, and Melbourne Symphony Orchestra.

Buzbee can be heard on over 20 CDs on labels BIS, Chandos, Naxos, and Sony. He has released two solo CDs - “Buzzed” (2008) and “Raw Emotions” (2009)

"Timothy Buzbee is a fine musician who can make his tuba variously sing like a violin and bark like an angered dog..."
William Zagorski, Fanfare Magazine


Facebook event



AMERICAN RADICALS (Sep/Oct 2010)

In collaboration with Tristram Williams (trumpet) it was my intention to construct a program with strong artistic content and a well justified thematic core. The pool of musicians were drawn from professional players undertaking Masters degrees as well as staff at The University of Melbourne.
“American Radicals” presents an interesting and innovative concert program, where sonic experimentation is explored using various combinations of auxiliary instruments visiting unusual works. The use of acoustic space brings Charles Ivesʼ “From The Steeples To The Mountains” to life with trumpet, trombone, and two sets of tubular bells distributed around the corners of the recital venue. In “Now You See It”, the inner space of the composerʼs brain is probed as Milton Babbittʼs sampled voice is triggered with an iPhone. Close examination of Ivesʼ memoirs and letters prompt a realistic new setting of his “Three Songs of the War”. In the central work of the program, Babbittʼs “All Set”, eight instruments negotiate the complex rhythms and angular phrases of “serial jazz”.
Being invited by the Melbourne International Festival of Brass as well as The University of Melbourne to present two performances of this program provided an excellent opportunity to demonstrate a fresh perspective on the brass programming aesthetic, which was greeted with much interest and praise from audiences.

Download the Program Notes


Listen to an extract from the performance/installation "Swell: Super Critical Mass", played by The Brass Project, University of Melbourne (Sep 2010)
Super Critical Mass