Award Recipient - 2006 Hands



I believe that the future of music in Australia is extremely bright. While conditions for musicians and musical organisations may appear precarious at times, I cannot imagine a healthy, vibrant society without music.

Classical music will continue to flourish in this country thanks to the many initiatives currently being undertaken to pass on the love of music to today’s schoolchildren. If I am currently pursuing a career in music, it is entirely thanks to the passion for music that was fostered and demonstrated by my teachers through the activities organized by the WA Youth Orchestra, the WA String Quartet and the WA Conservatorium of Music. Today all the major musical institutions in this country - the orchestras, Musica Viva, as well as the state and national opera companies - complement such programs with their own education programs, which means that almost every child is exposed to classical music-making of the highest calibre. In addition, instrumental music is available in schools to many students all over Australia, taught by highly-trained, experienced musicians. These school programs not only teach orchestral instruments, but also encourage participation in orchestral and chamber music, which will hopefully not only ensure that our professional orchestras continue to be supplemented with talented young musicians, but also that they will continue to have a knowledgeable and passionate audience to perform to.

Clearly the main obstacle facing our musical institutions is a financial one. As free outdoor events demonstrate, classical music and opera are extremely popular – this year’s ‘Opera in the Domain’ in Sydney was estimated to have attracted an audience in the tens of thousands- however the prohibitive price of concert and opera tickets remains one of the main impediments to consistently filling venues during the main part of the season. As part of my PhD, I studied Pierre Boulez’s activities as musical director of the Domaine Musical in Paris, and then the BBC Symphony Orchestra and the New York Philharmonic. Boulez was an extremely original thinker in terms of programming and demonstrated that with a strong personality, some lateral thinking, and an assurance of quality, it is possible to consistently attract a good audience to the most challenging, even daunting programs.

Like most conductors, I would like eventually to become the music director of an orchestra or opera house, and I believe that I have the vision and the ideas to one day accomplish that. I believe that the most important thing for orchestras in this country is to connect with the community and to establish the profile of the orchestra as a central cultural pillar of the community. In order to do this, orchestras must go out into the community, finding new venues, formats and even time-slots so as to offer live music to as broad an audience as possible.

The Brian Stacey Trust is fulfilling a vital role in helping to nurture the conductors whose duty it will be to lead Australia’s musical development in the years to come. I am hoping to compete in The Dimitri Mitropoulos Competition in Athens later this year and would use the money which accompanies this award towards travel and scores.

Member of the Moffat Oxenbould Young Artist Program at Opera Australia (2006-2007), assisting Richard Hickox and other conductors.



2006 2005 2004

Orchestral Choral

Symphony Australia Conductor Development Program

Christopher Seaman
Course Director, Symphony Australia Conductor Development Program
Music Director, Rochester Philharmonic Orchestra

Richard Hickox CBE
Music Director, Opera Australia
Principal Conductor, BBC National Orchestra of Wales
Music Director, City of London Sinfonia


Adelaide Symphony Orchestra
Hall Fanfare for Brass
Dag Wirén Serenade for Strings op.11
Stravinsky Octet for Wind Instruments
Grieg Holberg Suite

Queensland Orchestra
Weber Der Freischütz Overture

Fremantle Chamber Orchestra
Beethoven Coriolan Overture
Rodrigo Concierto da Aranjuez
Beethoven Symphony No.1 op.21
Mozart Symphony No.34 K.338
Villa-Lobos Bachianas Brasileiras No.5
Beethoven Symphony No.2 op.36

Guarneri Chamber Orchestra
Sibelius Rakastava
Suk Serenade for Strings
Hindemith Trauermusik
Dvorak Serenade for Strings

Metropolitan Symphony Orchestra
Weber Oberon Overture
Bruch Kol Nidrei
Saint-Saens Allegro Appassionato
Mendelssohn Hebrides Overture
Mascagni Intermezzo from Cavalleria Rusticana
Sibelius Valse Triste
Lehar Gold and Silver Waltz
Tchaikovsky Waltz from Sleeping Beauty
Strauss Kaiser Waltz

Previous seasons
Guarneri Chamber Orchestra
Bach Brandeburg Concerto No.6
Debussy Danses sacrée et profane
Barber Adagio
Mendelssohn String Symphony in D
Vaughan-Williams Fantasia on Greensleeves
Nielsen Petite Suite
Wirén Serenade for Strings
Grieg Holberg Suite

Holst St Paul’s Suite
Vivaldi Concerto for 4 violins
Grieg 2 Elegiac melodies
Grainger Tune from County Derry
Janacek Suite for Strings
Jenkins Palladio
Mahler Adagietto from Symphony No.5
Tchaikovsky Waltz and Elegy from Serenade

Dvorak Two Waltzes op.54a
Suk Serenade for Strings op.6
Dvorak Serenade for Strings op.44
Elgar Serenade for Strings

Variations on a Theme by Thomas Tallis

Dag Wirén Serenade for Strings

Metropolitan Symphony Orchestra
Berlioz Béatrice et Bénedicte Overture
Bruch Concerto for clarinet and viola
Chabrier Suite Pastorale
Debussy Petite Suite

Berlioz Roman Carnival Overture
Chopin Polonaise
Ravel Mother Goose Suite
Tchaikovsky Capriccio Italien
Wagner Siegfried Idyll
Bruch Violin Concerto No.1
Beethoven Symphony No.2

Beethoven Leonore Overture No.3
Elgar Cello Concerto

Symphony No.2

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