Phil Lambert
ANAM Music Librarian (2004-2023) and Audience Member (since 1996)
When I began at ANAM in 2004, it was a school for 34 pianists and string players, and although the artistic standard was very high, I couldn't help but notice in some of them a certain complacency and sense of entitlement. John Harding had just started as Artistic Director, and wanted to expand the training to include winds and horns, which happened the following year. And the sudden arrival of flautists, oboists and so on brought an actual breath of fresh air that ANAM desperately needed. Harding's work gave Brett Dean, the next Artistic Director, and Nick Bailey, Artistic Administrator, a great platform to build on, and ANAM's concert offerings took off.
Phil Lambert in the ANAM Music Library, 2013.
One of the most memorable concerts was when violist James Wannan (viola 2007), an ANAM alum by this time, returned to play a beautiful but rarely performed concerto by Hindemith for viola d'amore; James being one of the few in Australia and probably the world able to play it. The concert, which began at 11am, was going splendidly when lightning struck the Town Hall tower, setting off the fire alarms and forcing an evacuation. Everyone - musicians, audience, admin staff - had to assemble across the street while the fire brigade checked that everything was ok. After about 45 minutes, we had the all-clear, people returned to their seats and musicians to the stage. They were perhaps one bar in when the damned alarm went off again, and although everyone was no doubt thinking "Can't they just turn the bloody thing off?", a fire alarm is a non-negotiable sound we have all been conditioned to obey. Out we trotted for a second time and back came the fire crew who once again gave the all-clear.
Everyone was feeling apprehensive. Was this concert jinxed? No. Third time lucky. James, who maintained the appearance of complete composure, gave a superlative performance. Musicians regularly go through trials by fire, but how many can claim to survive a trial by fire alarm?
Phil Lambert in the ANAM Music Library, 2013.
One of the most memorable concerts was when violist James Wannan (viola 2007), an ANAM alum by this time, returned to play a beautiful but rarely performed concerto by Hindemith for viola d'amore; James being one of the few in Australia and probably the world able to play it. The concert, which began at 11am, was going splendidly when lightning struck the Town Hall tower, setting off the fire alarms and forcing an evacuation. Everyone - musicians, audience, admin staff - had to assemble across the street while the fire brigade checked that everything was ok. After about 45 minutes, we had the all-clear, people returned to their seats and musicians to the stage. They were perhaps one bar in when the damned alarm went off again, and although everyone was no doubt thinking "Can't they just turn the bloody thing off?", a fire alarm is a non-negotiable sound we have all been conditioned to obey. Out we trotted for a second time and back came the fire crew who once again gave the all-clear.
Everyone was feeling apprehensive. Was this concert jinxed? No. Third time lucky. James, who maintained the appearance of complete composure, gave a superlative performance. Musicians regularly go through trials by fire, but how many can claim to survive a trial by fire alarm?
Phil Lambert headshot supplied