2019 Recipients

Art Music Fund recipients Anthea Caddy and Judith Hamann

Since 2016, the Art Music Fund has awarded a total of more than $400,000 to Australian and New Zealand composers creating brave, new and lasting works. The 2019 Art Music Fund's $100,000 allocation will support a range of projects coming to life - from concertos to opera to the avant-garde. 

The 2019 Art Music Fund recipients are Professor Anne Boyd, Anthea Caddy and Judith Hamann, Dr Eve de Castro-Robinson, Liam Flenady, Kate Neal, Dr James Rushford, and David Shea and Monica Lim. 

The successful applicants’ compositions demonstrate the high-level creativity, innovation and collaboration happening in the sector: from new works for modern dance, to a biographical opera on anthropologist Olive Muriel Pink, to projects highlighting climate change.

John Davis, CEO of the Australian Music Centre:

"Themes of place, the environment, and climate change are some of what is reflected in the successful applications, and many other of the applications to this year's Art Music Fund. These are themes that also dominate much of Australia and New Zealand's social and political agenda, demonstrating that the artform engages with the 'here and now' in very direct ways. Congratulations to these artists, and to all those who are furthering our artform through their creative work, and thanks to APRA AMCOS for their ongoing investment in commissioning new works in the art music sector."

In line with the aims of the Fund – to create commissioned work that is complemented by an exploitation program – the selected works are a testament to the international stature of Australian and New Zealand composers, with plans for recordings and performances taking place in Melbourne, Auckland and onto Brussels, Berlin, New York, and Fife, Scotland and beyond.

2019 Art Music Fund co-recipients Anthea Caddy and Judith Hamann:

This grant allows the project freedom to pursue exciting opportunities to present the work across live and recorded mediums nationally and internationally by taking on the weight of the creation aspect of funding. The Art Music Fund is an invaluable resource for supporting complex projects.

Caddy and Hamann's co-composition for dual cello includes international performance presentations in Berlin, London, Aarhus, Amsterdam, London, and Mexico City and Australian presentations in Victoria and Western Australia. 

2019 Art Music Fund recipient Dr James Rushford:

"The Art Music Fund provides a special platform for composers and performers by focusing on creation. Its support of project exposure and longevity is also an important focus, helping composers think of different strategies and outcomes for presenting their work."

Rushford's electronic composition Prey Calling will be a performance-installation and recording examining language, environment and conservation.

Art Music Fund applications were assessed on the viability of the proposed project, the quality of the work, and the strategy for the life and reach of the work. 

The past year has seen previous recipients’ funded compositions come to fruition with world premieres of Sandy Evans' Bridge of Dreams, Eugene Ughetti's Polar Force, and Matt Keegan's The Three Seas project.

2019 Art Music Fund recipients:



Funded project

Professor Anne Boyd


An 80-90-minute opera project drawing upon materials from the last decades of the life of Olive Muriel Pink (1886-1975), painter, anthropologist, botanist and social activist on behalf of the Warlpiri and Arrernte people of the Alice Springs region. The opera, to be performed outdoors in the garden itself, is based entirely upon local stories and offers significant opportunities for innovative and respectful “Two Ways” collaborative partnerships between Aboriginal and non-Aboriginal artists as singers, dancers, instrumentalists, film makers, sound artists, development of a light show, set and costume design.

Anthea Caddy & Judith Hamann


Cellists Anthea Caddy and Judith Hamann, will co-compose a new work that explores durational process in electro-acoustic composition. This project seeks to create a hybrid area within compositional practice by referencing the composers’ new music and sound art backgrounds: one that accesses live interplay between acoustic phenomena and durational listening strategies, alongside immersive electro-acoustic diffusion techniques.

Dr Eve de Castro-Robinson


A twenty-minute trumpet concerto for fellow New Zealander Bede Williams. The proposed work, Clarion, references various urgent calls to demand action for climate change, pairing the braiding of Scottish music with the sonic possibilities of a conch shell.

Liam Flenady


This project centres on the composition of the new 30-minute, continuous multi-movement work The Five Seasons for trombone and percussion, based on themes of geological time, non-Western concepts of time and seasons, and ecological crisis.

Kate Neal


In collaboration with Ensemble Offspring, Dancenorth and electronic composer Grischa Lichtenberger, Kate Neal will create a new 30-minute work which explores the intersection between multiple sound aesthetics, movement, and light. 

Dr James Rushford


A new 50-minute electronic composition, Prey Calling, in partnership with M.E.S.S. and the California Institute of the Arts (CalArts), is inspired by the curious history of the Serge modular synthesiser as a sonic decoy for humpback whales, and will use live electronic predator calls and this historic instrument to make a performance-installation interrogating socio-political issues of language, environment and conservation.  

David Shea & Monica Lim


The Heart Sutra Project is a series of compositions for electromagnetic piano, a hybrid piano where magnets are suspended above each piano string, vibrating the string by the electromagnetic field but allowing the note to also be played in a traditional manner.

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