BY STEPHANIE ESLAKE
Julia Fredersdorff has launched an ensemble at the bottom of the world.
The violinist brings baroque to audiences in Tasmania through Van Diemen’s Band, the newest music group on the scene. Julia, who studied at the Victorian College of the Arts before pursuing her music career in Paris for a decade, has performed as part of Latitude 37, Australian Brandenburg Orchestra, Pinchgut Opera, and Ironwood among others. She tells us what it was like bringing her wealth of experience to Tasmania to found this brand new group.
Julia, you’ve played with ensembles right throughout Europe and have an active performance career in what we Tassie locals call ‘the mainland’. But now, you are leading Van Diemen’s Band – the state’s newest chamber ensemble. Why is it important to you to create new opportunities for music performance in Tasmania?
After Hobart Baroque’s demise, and despite an obvious enthusiasm for period performance from local practitioners and audiences, I found it a shame that there was no dedicated baroque chamber orchestra in this state. Hobart Baroque proved there was a real appetite for baroque music here, but there seemed to be a big gap in the market. That’s where the idea came from to form VDB and to have a strong educational component running concurrently so that people who wanted to know more could have access to tuition.
What have you learnt from your musical experiences in Europe that you are bringing to this new group at the bottom of the globe?
What I love about Tassie is that everyone is so open to new experiences, and discovery. When I lived in Europe, I played with ensembles from all over the place: from France where I was based, to Holland, Belgium and Italy. It became evident to me that there were myriad different approaches one could take to this music, and each country has its own individual style and focus. I came to the realisation that despite the necessary intellectual and research-based approach, ultimately it came down to how well we communicate with our audiences. Any music is being misrepresented if there is a barrier between the audience and the performers. What I am hoping to do is show the audiences how approachable and appealing this music is, encourage them to discover new things, and allow them to get to know us both as performers and as people during the course of a concert. No form of communication compares to that of music for its sheer power to move the listener. I believe as performers, our job is to be at the service of these composers, bringing incredible material back to life after years of gathering dust on a library shelf.
What are some of the challenges of starting up a new ensemble in an area with a small population – and how have you pushed through these to establish Van Diemen’s Band?
I have to say, I find it is quite the opposite! I feel that in this particular case – even though Tassie has a smaller population than some of the other states – there is a real hunger for an ensemble like this. People love music here, yet there is no dedicated baroque chamber orchestra in the state yet. We are getting so much positive feedback and support that it doesn’t feel like pushing at all; in fact, people are welcoming the band with open arms! That said, the eternal problem in the arts is fundraising. I know this is a bit of a broken record, but we do rely on the generosity of our patrons and donors to survive. I feel so lucky, because I have an amazing committee supporting me, keeping a watchful eye on good governance, but also believing in my artistic vision. Together the committee members have an amazing skill set, so I feel that we have had the best possible start!
You’ve performed in the controversial Brisbane Baroque and Hobart Baroque festivals. But leaving politics aside, how have you found Hobart audiences engage with early music?
They love it! I can’t tell you how many people have approached me to say how much they miss having the festival here, and how much they love baroque music. As an interesting example, one of my chamber ensembles, Latitude 37, had bigger audiences in Hobart than we have ever had in Melbourne! In some ways, Melbourne audiences are spoilt for choice; there is always so much going on there, and audiences become too thinly spread. The enthusiasm for concerts such as those with Latitude 37 at the full-to-bursting Hobart Town Hall was quite exhilarating, and we found it an absolute joy to perform for the appreciative Tassie audiences!
Why have you chosen to focus your career on bringing the baroque style to life?
I have always felt more affinity with music of the 17th and 18th centuries. I feel it is a language that really speaks to me. I also love the decoding that needs to done with baroque music. The interpretation of early music is not always obvious, particularly when it comes to 17th Century music. Simply playing the notes usually amounts to nothing interesting, so one is obliged to really interpret, and to base that interpretation on research through treatises of the time, and through experience with the repertoire. The other thing that I love about it is the wealth of material that is undiscovered or rarely heard. It is so exciting discovering unknown gems, such as the Fiorenza cello concertos that we are recording with Catherine Jones. I live for these discoveries, and the best bit is sharing that discovery with your audience!
How did Van Diemen’s Band form – how did you choose the artists to work with; what was it like bringing it all together?
A large part of the group is local musicians (mostly from the Tasmanian Symphony Orchestra) who have shown an interest in Historically Informed Performance. Some of these people are newly ‘turned’ and others already have lots of experience in the early music field. I also have many colleagues from interstate and overseas who I love to work with and who don’t need much persuading when it comes to visiting Tasmania! I have tried to collect together musicians who have a similar philosophy, and who, most importantly, are excellent chamber musicians. A chamber orchestra functions more like a string quartet than an orchestra, and every member of the group is musically involved – this means breathing and feeling the music as one. My aim is to have players moving around within the group and sharing the responsibilities so every person feels that they play an equally important part of the whole. It is always challenging bringing this kind of thing together for the first time, but everyone is so enthusiastic about the idea, that it has been a real pleasure.
What can we expect from your Ten Days On the Island event launch?
Expect to be blown away by some truly beautiful music that you most probably have never heard! Our concerts will be relaxed and informal, and we will talk to the audience about the music, the composers, and the context in which this music was written, as well as some stories about us, the musicians. I am hoping Tasmanians will embrace their very own brand spanking new baroque orchestra!
Help Van Diemen’s Band launch its debut CD by supporting this crowdfunding campaign on Pozible. The ensemble will perform on March 18, 19, and 26 – for more information, visit the website.
The concert on 26 March takes place at 5.30pm in Spring Bay Mill, Triabunna – register for your tickets on the Ten Days on the Island website and pay on the door.
Image supplied.
