BY STEPHANIE ESLAKE
For a little while, Tasmania could claim the Van Diemen’s Band as its own.
But when you gather the finest baroque players on the island, send them to Europe to unearth centuries-old scores, and watch them release a debut album that tops the ARIA classical charts…well, there comes a time when you just have to share.
This month, VDB tours “the mainland” for the very first time (that’s what we island folk call the rest of the country). We settle in for a chat with its leader Julia Fredersdorff (pictured below) about the rapid success of VDB, and its first national tour.
Julia, Van Diemen’s Band has grown quite a bit since we spoke about its founding just a little more than a year ago! How has the journey been for you?
It has been amazing – and busy! Since the release of our debut album, things have been going from strength to strength. We have a really good national following, and Tasmanian audiences have really embraced what we do. Audiences in Hobart and Launceston are increasing considerably with each concert series we produce, and we are embarking on our first national tour.
Behind the scenes it is pretty huge – we are still running on a shoestring budget and we don’t have any permanent staff. So me and the committee are working tirelessly to keep things running smoothly – it is an enormous amount of work!
But it seems to be paying off – your group’s debut release Cello Napoletano exploded onto the scene, with international acclaim and reaching second place on the ARIA charts.
Yes, the album was really successful, which was really thrilling considering the fact that we were a brand new and completely unknown group playing rarified and relatively unknown Neapolitan music. Once people heard the recording on the radio, they obviously took the plunge to discover something new. The orchestra sounded great from day one, which is not always the case, and there is a real spirit in the group which is driven by a true love of this style of music.
You’ve certainly worked hard to rejuvenate the scene, from providing educational opportunities to unearthing original music. Why are you determined for VDB to be an ensemble that generates change on this island?
I feel that this island is the perfect place for a group such as this. For a start, Tasmanians really love music, learning, and discovery – and these things are really the raison d’être of the group. We aim to provide local musicians with the opportunity to learn, and for audiences to hear some of the most amazing international artists who otherwise would not be touring here.
Secondly, I feel that this island is at a really exciting time in its cultural life – Tasmania is starting to be seen as a cultural hub with many brilliant artists in all fields, creating stunning work here with a really unique and engaging voice. I can see culture becoming one of Tasmania’s main drawcards in the future, and it is almost happening by itself in the wake of the Mona seed being sown, almost like a cultural revolution – exciting times!
Outside Tasmania, you’ve also sold out performances at the Melbourne and Port Fairy festivals as well as UKARIA. Tell us about this Great Southern Tour that you’re onto.
This tour is our first foray interstate, and we have been offered some wonderful opportunities to play with really important festivals in some of the finest venues on the mainland. We are super excited to be making our Melbourne International Festival debut – and it is an absolute honour to be part of that line-up! Port Fairy and UKARIA have been sold out for months, so obviously everyone is keen to see what we are all about. And we have some other concerts at the beautiful Main Ridge Estate Winery in Victoria, and at University of Western Australia in Perth, Catherine Jones’ hometown.
We are so looking forward to sharing our beautiful program with all of these towns, and the group is such an amazingly flexible and brilliant bunch of musicians – the concerts are going to be fabulous.
Why did you want to welcome guest artist Catherine Jones into VDB for this event?
We had a wonderful experience working with Catherine on our debut CD, and the audiences absolutely adored her, so we could not wait to collaborate with her again. She is an extraordinary artists with the most beautiful, lyrical sound I have ever heard.
I genuinely believe that nobody in the world could do this music [more justice] than her, so we are so lucky to have her working with us.
How does working with such a renowned cellist as Catherine, and guitarist as your also-guest William Carter, help to inspire you as an established musician?
It is so wonderful to work with musicians who are at the forefront of the European scene – they can bring the best out of me, and I always learn an enormous amount working with artists like this. They challenge, inspire, and tease out really amazing playing from the whole group.
It is mutually agreeable as well, as they also really enjoy working with Australians because we are so open and enthusiastic with a can-do attitude.
Why should Australia continue to cherish the baroque?
Because there is such a wealth of beautiful music with so much variation and colour. Baroque music was designed to move audiences, and to inspire real emotional reactions. There is nothing more moving than the truly human sound of gut strings playing this stunning repertoire, and to be carried away to another time and place.
For anyone wanting to take the plunge to come along to our concerts – don’t hesitate! We aim to make our concerts as approachable as possible. I believe in a true 18th Century audience experience, so there are no behaviour protocols here: sighing, clapping, and swooning are all possible no matter where we are in the program. If you like a piece just feel free to clap any time – I promise nobody will give you dirty looks!
VDB: The Great Southern Tour runs until 16 October. Visit the VDB website for more.
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If you like, you can give thanks to Stephanie for volunteering her time for Australian arts journalism. No amount too much or little.
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