Nigel Sabin studied composition with Richard Meale in Australia and David Del Tredici in New York. He holds a first class honours degree in music from the University of Adelaide and a PhD in music from the University of Queensland. He has received several awards and fellowships including a Churchill Fellowship, an Australia Council Composers’ Fellowship, an Australia Council International Study Grant, a Jacobena Angliss Award, and an Arts WA Fellowship. Sabin’s instrumental compositions receive regular broadcasts on Australian radio and have been performed by most of Australia’s symphony orchestras and leading ensembles. They have also received performances in Europe, Japan and the USA. Sabin’s music is influenced by the American minimalists and shows a command of traditional harmonic practice coupled with rhythmic buoyancy. It is sometimes humorous and has variously been described as ‘engagingly nutty’, ‘evocatively poetic’ and ‘sure to convert the enemies of contemporary music’. Several of his works are available on CD.
Christopher Gordon is based in Sydney. His recent concert commissions include Lightfall for horn and orchestra and Concerto for bass trombone and orchestra (Sydney Symphony), Freefall (Sydney Omega Ensemble), Chaconne (Australian Chamber Orchestra), Peace on Earth (Gondwana Voices and Sydney Symphony), Spin Globe, Spin and Mud Song (Sydney Children’s Choir), Loose Canon (Tucana Flute Quartet), Night Is What Remains, and a number pieces for choir and orchestra. Gordon has composed for many of Australia’s major celebrations, including the Opening Ceremonies of the Commonwealth Games 2006 and the Rugby World Cup Sydney 2003; the Centenary of Federation of Australia 2001; an orchestral score for a National Museum of Australia installation; and co-composed music for the Millennium Eve international telecast. In 2006, he was commissioned by the Prime Minister of Australia to arrange the official version of the Australian national anthem. Christopher Gordon has written a number of scores for film and television, including Bruce Beresford’s Mao’s Last Dancer, Crawl, Daybreakers, the EMMY-nominated score for Salem’s Lot, Sanctuary, Moby Dick, Sydney, A Story of a City, On the Beach, When Good Ghouls Go Bad, Much Ado About Something, and Ward 13. He also co-composed the score to Peter Weir’s Master and Commander: The Far Side of the World. His scores have received wide international acclaim and many Australian Screen Music Awards.
Katherine Day is a graduate of the Victorian College of the Arts and Royal College of Music. She began piano studies aged four and was a music scholar at University High School. Katherine began her professional career in fringe theatre, working with directors like David Myles and Hugh Halliday. She won the VCA concerto competition in 1999, performing Ravel’s Concerto for the Left Hand with the VCA and OV orchestras under the baton of Dobbs Frank. In London, Katherine was a finalist in the RCM’s concerto trials, playing Gershwin’s Concerto in F. On her return to Australia, Katherine appeared regularly as a concerto soloist, performing: Grieg Concerto in A minor, Mozart Concerto in D minor, Gershwin Rhapsody in Blue, F. X. Mozart Concerto in E flat, and Beethoven Concerto in G Major. In 2007, Katherine won the Liederfest Accompanist Prize and the following two years travelled to the UK to tutor on an international master course for pianists at Frensham Heights School, Surrey. Katherine has toured the eastern seaboard and South Australia in Promac Production’s Mikado, and has performed for La Prima Opera’s Encore. In the ACT, for the ANU Open School of Music, Katherine was instrumental in organising the 2016 Satie Festival, performing alongside Stephanie McCallum and Tobias Cole. Katherine has just completed a season with Victorian Opera premiering Richard Mills’ Pied Piper, and performing outreach work for Cendrillon. Katherine is a recording artist with MOVE Records and can be heard on various recordings for ABC Classic FM and 3MBS FM.