Genevieve Lacey

Genevieve Lacey (born 1972) is an Australian musician and recorder virtuoso, working as a performer, creator, curator and cultural leader. The practice of listening is central to her works, which are created collaboratively with artists from around the world. [1]

Early Life and Education

Born in the Highlands of Papua New Guinea, the third of four children of Ann and Roderic Lacey, Genevieve and her family moved to Australia in 1980.[2][3] They lived in Canberra (ACT) for one year where all the Lacey children learnt music from Judith Clingan. In 1981 the family moved to Ballarat (VIC), where Genevieve completed school, and studied recorder with Helen Fairhall and oboe with Joanne Saunders.[4] She moved to Melbourne to attend the University of Melbourne from 1991-94, studying English Literature and Music (recorder with Ruth Wilkinson, oboe with Stephen Robinson).[5]  She then moved to Basel, Switzerland, where she undertook postgraduate studies in medieval and renaissance music at the Schola Cantorum Basiliensis (1995-96).[6][7] Relocating to Denmark to attend the Carl Nielsen Academy of Music, Odense (1996-98), Genevieve received a Diploma in recorder performance in the class of Dan Laurin.[8][9] She returned to Australia in 1998, and completed a doctorate at the University of Melbourne (1999-2001).[10] She has since been based in Melbourne (VIC).[11]

Career as a Recorder Virtuoso

As a recorder virtuoso, Genevieve Lacey has performed at the Lindau International Convention of Nobel Laureates, for Queen Elizabeth II in Westminster Abbey, on a basketball court on Thursday Island with Australian indigenous ensemble The Black Arm Band, as a concerto soloist in the Royal Albert Hall for BBC Proms and at the opening night of the London Jazz Festival.[12][13] She has appeared as a soloist with orchestras including Australian Chamber Orchestra, City of London Sinfonia, Kymi and Tapiola Sinfonietta Finland, Concerto Copenhagen, English Concert, Academy of Ancient Music, St Petersburg Chamber Orchestra, Korean Symphony Orchestra, Malaysian Philharmonic Orchestra, Australian Brandenburg Orchestra, Melbourne Chamber Orchestra, and the Melbourne, Adelaide, West Australian, Tasmanian and Queensland Symphony Orchestras.[14] Lacey has performed chamber music with artists such as James Crabb, Marshall McGuire, Jane Gower and Lars Ulrik Mortensen, Paolo Pandolfo, Poul Høxbro, Paul Grabowsky, Neal Peres Da Costa and Daniel Yeadon, Karin Schaupp, Flinders Quartet and Elision Ensemble, and has appeared at festivals including Sound Unbound (Barbican), Paris Festival d’Automne, Klangboden Wien, Seoul International Music Festival, and at Cheltenham, Huddersfield, Copenhagen Summer, Montalbane, MaerzMusik and all the major Australian arts festivals.[15]

Genevieve Lacey has also made an extensive contribution to contemporary recorder repertoire, commissioning and premiering works by composers as wide-ranging as Australians Liza Lim, Elena Kats-Chernin, Brett Dean, Lou Bennett, Andrea Keller, Hollis Taylor, Paul Grabowsky, Ben Frost, as well as Erkki-Sven Tuur (Estonia), John Surman (UK), Max de Wardener (UK), Jason Yarde (UK), Jan Bang (Norway), Christian Fennesz (Germany) and Nico Muhly (USA).[16]

Creations: solo and collaborative projects

Genevieve Lacey’s creations combine her skills as a performer, composer and curator. Her works are experienced in a wide variety of contexts and often connect people and ideas. Current collaborators include filmmakers Amos Gebhardt and Sophie Raymond, writers Alexis Wright and Chloe Hooper, choreographers Gideon Obarzanek and Stephanie Lake, ornithologist/composer Hollis Taylor and Antarctic scientist Steven Chown.[17] Recent collaborations include multidisciplinary works Soliloquy (2018) and one infinity (2018) that both explore the powerful combination of music and movement.[18][19] In Soliloquy, 40 untrained participants share the stage with a virtuoso musician and a professional dancer to radically re-invent the conventions of a solo recital.[20][21] one infinity is a cross-cultural collaboration between musicians, dancers and choreographers from China, Australia and the United Kingdom that takes inspiration from the ancient Chinese tale of Zhi Yin.[22][18] Genevieve’s recent creations also include Pleasure Garden (2016), a kinetic sound installation designed for visitors to experience while wandering through an outdoor or indoor garden, or verdant places.[23] This collaboration is a fusion of music, field recordings and technology (including motion-tracking cameras), and combines 17th century melodies of Jacob van Eyck with contemporary electro-acoustic sound art.[24][23]

Projects
  • 2020: Solveig, music-film-installation
  • 2018: Soliloquy, participatory music-dance ritual[25]
  • 2018: one infinity, cross-cultural music-dance performance
  • 2016: Pleasure Garden, a kinetic sound installation experienced by 30,000+ people in Australia and Europe[26][27]
  • 2015: Acoustic Life of Sheds, a suite of new music, performed in sheds for Big hART[28][29]
  • 2015: Life in Music, radio series for ABC Radio
  • 2014 - 2020: Recorder Queen, animated documentary film
  • 2012: Conversations with Ghosts, live concert and recording project with Australian singer-songwriter Paul Kelly
  • 2010: Namatjira, theatre work and documentary film for Big hART[30]
  • 2010: en masse, live music-film installation

Speech

Discography
  • Bower: old and new music for harp and recorder (ABC Classics, 2021)
  • Soliloquy: Telemann’s 12 solo Fantasias (ABC Classics, 2018)
  • Illuminatio: portrait CD of Erkki-Sven Tüür, including his recorder concerto Illuminatio with Olari Elts (conductor), Tapiola Sinfonietta (Ondine, 2018)
  • Line Drawings: solo music of Jacob van Eyck 2017, ABC Classics
  • Telemann: Sonatas, Sonatinas and Fantasias: 18th-century chamber works with Lars Ulrik Mortensen and Jane Gower (ABC Classics, 2016)
  • Pleasure Garden:  contemporary and 17th-century miniatures (ABC Classics, 2016)
  • Heard this and thought of you: duos with accordion virtuoso James Crabb (ABC Classics, 2015)
  • Re-Inventions: new Australian works with Flinders Quartet, by Elena Kats-Chernin et al. (ABC Classics, 2015)
  • Conversations with Ghosts: a contemporary song cycle with Paul Kelly, James Ledger, ANAM Musicians (ABC Commercial, 2013)
  • 3: baroque trios with Neal Peres Da Costa and Daniel Yeadon (ABC Classics, 2012)
  • Three Lanes: contemporary Australian jazz with Andrea Keller and Joe Talia (AK001, 2011)
  • Namatjira: music from the theatre show with Big hART and Ntaria Ladies Choir (2011)
  • weaver of fictions: contemporary solo works for recorder (ABC Classics, 2008)
  • A Castle for All: music for complete calm, for use in children’s hospitals (Hush Collection Volume 8, 2008)
  • songs without words: duets for recorder and guitar with Karin Schaupp (ABC Classics, 2008)
  • upon a time: a medieval fable for recorder, pipe and tabor with Poul Høxbro (ABC Classics, 2004)
  • Piracy: baroque music stolen for the recorder with Linda Kent (ABC Classics, 2002)
  • Il flauto dolce: an instrumental opera for recorder and orchestra with Australian Brandenburg Orchestra (ABC Classics, 2001)
  • two: ten centuries of repertoire with guest Poul Høxbro (Move Records, 1999)
  • phoenix songs: contemporary Australian repertoire for recorder (Move Records, 1996)

Artistic Director-Curator

Genevieve Lacey is a member of the curatorial team for Rising 2020-21[31], is the artistic advisor to UKARIA,[32] and was recently the chamber music curator of A Brief History of Time for the 2019 Adelaide International Arts Festival.[33] In 2018, she was the artist in residence for the Melbourne Recital Centre,[34] and the curator and artistic director for the Whoever You Are Come Forth celebrations for the centenary of St Mary’s College, University of Melbourne. Other curatorial roles include the inaugural curator for UKARIA 24 in 2016,[35][36] creator, curator and presenter for Words and Music at Wheeler Centre in 2014,[37] and curating the live music program for the Art Music Awards, APRA-Australian Music Centre, 2013–15. She was the artistic director for Musica Viva Australia’s FutureMakers from 2015 - 19,[38][39] Four Winds Festival from 2008 -12,[40][41] and the Melbourne Autumn Music Festival between 1999-2003.[42] She has provided support and guidance to emerging artists as a creative and entrepreneurial mentor, with positions including mentoring for the Freedman Fellowship Finalists mentor 2019-2020[43] and the Australian National Academy of Music’s Fellowship program between 2014–16.[44]

Awards and honorary positions

Awards
  • Sidney Myer Performing Arts Award for an Individual 2019
  • Green Room for best composition and sound design for one infinity, with Max de Wardener, Wang Peng, Jim Atkins 2019
  • Estonian Music Best Classical Recording 2018 for Tüür Illuminatio
  • ARIA (Australian Recording Industry Award) for best original show – Conversations with Ghosts 2013
  • Fellowship, Australia Council for the Arts, Music Board 2012-13
  • Helpmann Award, best touring production – Namatjira 2012
  • Excellence in a Regional Area, Art Music Awards APRA-AMC – Four Winds Festival 2012
  • State Award for Excellence, Art Music Awards APRA-AMC – en masse 2011
  • Outstanding Musician, Melbourne Prize for Music 2007
  • Churchill Fellowship 2006
  • Best performance, Art Music Awards APRA-AMC – Ledger’s Line Drawing 2006
  • ARIA (Australian Recording Industry Award) for best classical recording – Il flauto dolce 2001
  • Music Council of Australia/Freedman Fellowship for Australian performer of superb achievement 2001[45]
  • Helen M. Schutt Scholarship, most highly ranked female research student 1999
  • Most outstanding graduate, Carl Nielsen Academy of Music, Denmark 1998
  • First Prize, Second Australian Recorder Competition 1995
  • Catherine Grace McWilliam Prize for most outstanding graduate, University of Melbourne 1994
  • Queen’s Trust Award for outstanding young Australians 1994
  • Welsford Smithers Travelling Scholarship, University of Melbourne 1994
  • First place, Dean’s Honours List, Faculty of Music, University of Melbourne, 1994

Honorary Positions

Chair, Board of Directors, Australian Music Centre, 2016–20; Advisory Council, The New Approach (Myer, Fairfax, Keir Foundations)[46], 2018–20; Director, Four Winds Festival Foundation Board, 2018–20; International Jury Member, Classical:NEXT, 2017[47]; Advisory Panel, UKARIA, 2015–17; Peer Assessment Panel, Australia Council for the Arts, 2015–20; Board of Directors, Australian Music Centre, 2013–15; Advisory Panel, Black Arm Band, 2011–15; Judging Panel, City of Melbourne Arts Grants, 2011–20; Advisory Committee, Australian Music Centre, 2010–12; Judging Panel, Sidney Myer Performing Arts Award, 2008-09; Board of Directors, Elision Ensemble, 2008–15; Board of Directors, Astra Chamber Music Society, 2006–12; Board of Directors, Australian Music Centre, 2006–10; Judging Panel, Ian Potter Composer Fellowship Award, 2005–07; Artistic Review Panel, Musica Viva Australia, 2004–08; Honorary Fellow, University of Melbourne, 2002–2020.

Instruments

Genevieve plays handmade recorders made by Joanne Saunders and the late Fred Morgan. In her collection, she also has instruments by David Coomber, Monika Musch, Michael Grinter, Paul Whinray and Herbert Paetzold.

gollark: They're there to make sure you don't start skipping your Duolingo sessions.
gollark: Oh, also, it's owned by Fæcebook
gollark: Can you be more specific?
gollark: Well, I know it has privacy problems, and its app is horribly bloated.
gollark: I typecheck my programs by running them and seeing if they break.

References
  1. "About — Genevieve Lacey". Retrieved 20 July 2020.
  2. "/Users/david/Desktop/australia.html". www.davidbellugi.com. Retrieved 20 July 2020.
  3. "Subscribe to The Australian | Newspaper home delivery, website, iPad, iPhone & Android apps". www.theaustralian.com.au. Retrieved 3 August 2020.
  4. Webb, Carolyn (16 May 2009). "Elevating the recorder to an instrument of note". The Age. Retrieved 20 July 2020.
  5. "/Users/david/Desktop/australia.html". www.davidbellugi.com. Retrieved 21 July 2020.
  6. "Genevieve Lacey | Biography & History". AllMusic. Retrieved 21 July 2020.
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  8. "/Users/david/Desktop/australia.html". www.davidbellugi.com. Retrieved 21 July 2020.
  9. "Genevieve Lacey : Australian Music Centre". www.australianmusiccentre.com.au. Retrieved 21 July 2020.
  10. "Genevieve Lacey : Australian Music Centre". www.australianmusiccentre.com.au. Retrieved 20 July 2020.
  11. "About — Genevieve Lacey". Retrieved 21 July 2020.
  12. "Genevieve Lacey". ABC Music. 14 December 2015. Retrieved 21 July 2020.
  13. "Dr Genevieve Lacey". findanexpert.unimelb.edu.au. Retrieved 21 July 2020.
  14. "Genevieve Lacey : Australian Music Centre". www.australianmusiccentre.com.au. Retrieved 21 July 2020.
  15. "Genevieve Lacey : Australian Music Centre". www.australianmusiccentre.com.au. Retrieved 21 July 2020.
  16. "Genevieve Lacey | Biography & History". AllMusic. Retrieved 21 July 2020.
  17. "About — Genevieve Lacey". Retrieved 21 July 2020.
  18. "One Infinity - Playking Productions". playking.com.au. Retrieved 3 August 2020.
  19. Haby·9, Gracia (7 December 2018). "Soliloquy". Fjord Review. Retrieved 3 August 2020.
  20. "Soliloquy — Genevieve Lacey". Retrieved 3 August 2020.
  21. Soundescapes (2 November 2018). "Genevieve Lacey on Soliloquy and the world of solo performance". Soundescapes. Retrieved 3 August 2020.
  22. "one infinity — Genevieve Lacey". Retrieved 3 August 2020.
  23. "Pleasure Garden — an interactive listening garden by Genevieve Lacey". www.pleasuregarden.com.au. Retrieved 3 August 2020.
  24. "A Garden of Earthly Delights". Broadsheet. Retrieved 3 August 2020.
  25. Soundescapes (2 November 2018). "Genevieve Lacey on Soliloquy and the world of solo performance". Soundescapes. Retrieved 21 July 2020.
  26. "A Garden of Earthly Delights". Broadsheet. Retrieved 21 July 2020.
  27. McCallum, Peter (11 January 2016). "Sydney Festival 2016 review: Genevieve Lacey reveals sounds of Pleasure Garden". The Sydney Morning Herald. Retrieved 21 July 2020.
  28. "RealTime Arts - Magazine - issue 127 - When buildings sing". www.realtimearts.net. Retrieved 21 July 2020.
  29. Eaves, ABC Northern Tasmania: Rick (22 January 2015). "Genevieve Lacey and friends, music in a shed". ABC News. Retrieved 21 July 2020.
  30. "Life in music: Namatjira". Radio National. 18 June 2015. Retrieved 21 July 2020.
  31. "Melbourne's getting a new annual festival from the brains behind Dark Mofo". Beat Magazine. 20 May 2020. Retrieved 21 July 2020.
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  33. "A Brief History of Time: Chamber Landscapes - Adelaide Festival". 2019.adelaidefestival.com.au. Retrieved 21 July 2020.
  34. www.aappac.com https://www.aappac.com/en/18-q2-mrc/. Retrieved 21 July 2020. Missing or empty |title= (help)
  35. "★★★★½ Visionary Friendship (UKARIA 24)". Limelight. Retrieved 21 July 2020.
  36. "Review: Ngeringa 24 (Ngeringa Arts)". Limelight. Retrieved 3 August 2020.
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  38. "Shaping the Future of Australian Music". Musica Viva Australia. Retrieved 21 July 2020.
  39. Soundescapes (29 August 2018). "GENEVIEVE LACEY ON COLLABORATION, CONVERSATION & LEADERSHIP". Soundescapes. Retrieved 21 July 2020.
  40. Brown, Bill (22 October 2010). "Four Winds Festival - ABC South East NSW". www.abc.net.au. Retrieved 21 July 2020.
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  42. "A baroque tapestry". The Age. 2 May 2003. Retrieved 21 July 2020.
  43. "Freedman Fellowships | Loud Mouth - The Music Trust Ezine". 2 March 2014. Retrieved 21 July 2020.
  44. "Dr Genevieve Lacey". findanexpert.unimelb.edu.au. Retrieved 21 July 2020.
  45. "Freedman Fellows | The Music Trust". musictrust.com.au. Retrieved 21 July 2020.
  46. "Governance". Australian Academy of the Humanities. Retrieved 21 July 2020.
  47. "Jury Members 2017 - Classical:NEXT". www.classicalnext.com. Retrieved 21 July 2020.
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