Words by Laura Panther, Alumni Manager.
It says a lot about the depth of the ANAM program over the past 30 years that we are able to invite more than 26 of our alumni to return as guest artists in 2026 to lead a range of projects and pass on their knowledge and experience to our current musicians, their future professional colleagues.
In my role as Alumni Manager, I have had the great privilege of speaking with many of our alumni over the last couple of years: from those who attended programs presented in ANAM’s formative years in the late 1990’s through to musicians who were with us just last year. Two common themes in these discussions suggest the essence of
‘what makes an ANAM musician’.
The first is the dedication to music. It is the respectful, enquiring mind that gives music from Palestrina to Polias the same level of commitment and attention, propelling the drive for excellence in the name of art. In words reminiscent of the late Richard Gill, they share a pure love of music. No matter what the setting – from Berlin to Barwon Heads – sharing fine music with audiences from all walks of life at the very highest level seems to be ‘an ANAM thing’.
The second is a common approach to the rehearsal and performance of chamber music. On many occasions, in ANAM projects and in other settings, I have witnessed a special magic onstage as different generations of ANAM alumni – oftentimes unaware that they have ANAM in common – simply gel seamlessly, exchanging musical ideas, and sharing the complex miracle of unspoken communication. This is the result of countless hours of practice, not alone in the practice room, but with others rehearsing, refining, sharing, and performing, throughout the vigorous ANAM studio program and publicly on stage. A shared musical heritage is clearly in evidence, leading to a
style of playing that an alum recently described to me as being
‘the ANAM way’.
Perhaps one of the greatest impacts that ANAM’s alumni have had on Australia’s vibrant chamber music scene has been to imbue it with ‘the ANAM way’ of playing. Generally, small to-medium ensembles, despite receiving less attention and funding from governments compared to their larger flagship counterparts, reach more diverse audiences, perform more diverse repertoire, and represent more diverse and contemporary voices.
Kaylie Melville, Credit: Bryony Jackson
So we are honoured to welcome back to ANAM this year some of these musicians who have made a real impact in their field as ambassadors for Australian chamber music.
First and foremost, the Affinity Quartet and Arcadia Winds, two of Australia’s finest ensembles will be leading projects with our string and wind musicians respectively. Co-Artistic Director of Rubiks Collective (another ensemble formed at ANAM) and recipient of a 2024 Ian Potter Emerging Performer Fellowship Kaylie Melville returns to direct a program of 21st century works with our percussion cohort.
In our Mostly Mozart Series this year each performance will be led by an ANAM alum. In April we welcome back Carla Blackwood, one of Australia’s most sought-after horn players, and in May Shaun Lee-Chen, Concertmaster of the Australian Brandenburg Orchestra. Both are exceptional pedagogues and early music specialists, and we look forward to seeing them direct and guide our musicians on the stage of the Melbourne Recital Centre.
It is difficult to demonstrate the depth of reach of our alumni across all fields of music-making in Australia: there are so many sharing their love of music with audiences large and small. We are sure that as more musicians move through the program at ANAM, chamber music will continue to be vital and relevant in the telling and sharing of their stories, performing it the ANAM way.
SACRED: SEVEN LAST WORDS
With Affinity Quartet
Thu 02 Apr 2026, 7PM
The Good Shepherd Chapel (next to Abbotsford Convent)
Book now!
MILLENNIUM CANTICLES
With Kaylie Melville and ANAM Percussion
Fri 15 May 2026, 7PM
Rosina Auditorium, Abbotsford Convent
Book now!
HOMECOMINGS
With Arcadia Winds
Book now!