By Felicity Woodhill, the Wombarra founder of the Music and Tea concert series featuring emerging artists at Wollongong Art Gallery.

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On from March 20 to 26, Harmony Week is an annual celebration of diversity. We believe music has an important role to play, contributing to harmony in a multicultural community.

Music and Tea at the Gallery participants have included a variety of ancestry, including Chinese, Estonian, Greek, Italian, Korean, Spanish, Vietnamese, Japanese, Norwegian and Anglo-Celtic, and the diversity continues to grow.

The music performed is drawn from many cultures; our audiences come from a diversity of backgrounds. The harmony of all cultures coming together is the foundation of the concerts.

For a short space of time once a month young artists perform for a music-loving audience, committed to nurturing our next generation of musicians. Live music is a participatory process for performer and audience alike and the concert’s atmosphere is created through exchanges between the two.

The music performed will represent different emotions and moods. Sometimes it will be discordant and sometimes joyous; each participant has the space to connect individually, but also forms part of the collective experience; a coming together to share and enjoy music.

Cedar, 19, from Wombarra, is a Presidents Scholar at Manhattan School of Music, NY

Can you remember when music was not part of your life?

There was always piano music in our home as my brothers were learning; I began playing at a very young age. My aunt also played the violin, often practising Bach and Vivaldi; visiting her home always inspired me, forging a desire to learn. The violin is in my heritage; my Great Grandmother was a violinist and teacher, and I play her violin.

What is most challenging for you, and what is most rewarding?

A very challenging aspect of music is finding satisfaction when I know there are ways to improve. I have always loved the thrill of performing at Folk Festivals, the Wollongong Eisteddfod and with an orchestra. Part of the performance cycle is the build-up of adrenalin; nerves are always present no matter how prepared or experienced you are. Performing well and delivering excitement for an audience requires a delicate balance between perfection and freedom. Achieving this juxtaposition is demanding yet highly rewarding.

How has your experience helped you value initiatives such as Harmony Month?  

Travelling for music has amplified my exposure and understanding of different cultures. Music grows through a fusion of cultures, and whilst this often leads to a celebration of diversity, racial and gender prejudices can still be found; an example was the rejection of African Americans as classical musicians, yet classical musicians absorbed jazz into their music. Nina Simone is a famous example; she turned to jazz after being refused entry to a music school. Music can polarise people, such as the intense patriotic music in war. However, music can and does connect people and help break down cultural differences. Harmony Month reminds us that we can’t sit in our comfort zone; we must look for ways to reach out to others through art.

Luke, 19, from Bomaderry, studies Music and Medical Science at the University of New England

Unlike many exceptional young musicians, you have yet to gravitate to Sydney. Is there a reason? 

I come from a large family and staying local helped my parents meet all our needs. I have had exceptional teachers within my community.

Currently, I study piano with Professor Robert Constable AM, and musicology with Dr Jane McKellar, both live nearby. The Southern Highlands and Illawarra also offer multiple opportunities; I played the viola in the Steel City Strings and the Southern Highlands Symphony, participated in the Wollongong and Shoalhaven Eisteddfods, performed recitals at St Jude’s and as a soloist with Southern Highlands Symphony and Highlands Sinfonia. I explored studying in Sydney, but travelling up and down would be costly and give much less time for music and family. 

How much time do you commit to practice?  

At first, the hours I committed quickly built; at the peak, I practised for six or more hours a day. Not attending school made practising for this length of time possible. The freedom allowed me to progress rapidly and develop a large repertoire.

Now I am studying a double degree online and my practice time is much less, perhaps two hours a day. I spend less time but achieve a great deal in the two hours. I have learnt that as a musician I grow through my life experiences not just the practice.

What do you think makes a good recital program?

Ideally, a good recital program needs to balance a sense of who your audience is with the music you are close to at the time. A theme for your program can help shape it, and balancing longer works with shorter, lighter pieces is compelling. However, a recital will work if you perform the music, you feel connected to and want to share. 

Annabel, 15, from Figtree, is at Wollongong High School of Performing Arts

Can you remember when music, particularly flute, was not part of your life?

Since the minute I was born, music has been a huge part of my life. With my mother, Suzanne Cowan, being a highly successful flute teacher, music surrounded me, and I became involved right from the beginning. When I was tall enough, I started flute – after begging to do it for years beforehand. Choosing the flute meant I had somebody to guide me on my musical journey because of this; I cannot remember a part of my life without music. 

Music at your level is very difficult; what is most challenging for you, and what is most rewarding?

For me, the most challenging part of classical music is finding enough time to practise – especially when juggling it with school, family, and sleep. It is often a struggle to find the motivation to practice early in the morning before school or at night after a long day.

However, when it comes to performance, the most rewarding thing is seeing all my hard work pay off, which makes every struggle worth it. 

You already teach, how does it contribute to your music?

Teaching improves my ear and ability to be picky when perfecting a piece of music. It opens my creativity and forces me to think outside of the box to help the student improve. I have learnt many valuable new skills through teaching, and I know there is still much to learn. 

Any dreams about your future as a musician?

I plan to continue a career in music. As a professional musician I would love a full-time position in an orchestra, which could let me explore the world. A career as a musician is challenging, but I am willing to work to make it happen. 

Music and Tea at the Gallery 2023 Concerts

March 2, Sounds of Enchantment Luke Bowen | piano with Cedar Newman | violin

April 6, Wondrous Flute Melodies  Annabel Wouters | flute with David Vance | piano

May 3, Meditations by Nightfall  Paul Nicolaou | harp & Robert Smith | violin

June 7, An Odyssey of Romance Jack Theakston | cello with John Martin | piano

July 6, Jazz Trio Returns with More Original Compositions Alec Watts and friends

Aug 3, Take a Second Celebrating Second Movements Emily Liston | classical clarinet

Sept 7, Masterworks and Improvisation: Classical & Jazz Michael de Huy | piano

Oct 5, Arias and Art Songs Ariana Ricci | voice with Natalia Ricci | piano

Nov 2, Italian Journeys Beatrice Colombis | violin with Mauro Colombis | piano

Dec 7, Birth and Rebirth & Premier of New Works Paul Nicolaou | harp, Emily Su | violin & James Monro | cello