Programme Notes

Shimmer by Heather Schmidt

Shimmer, composed in 2003 by Canadian-American pianist and composer Heather Schmidt, is a short piece that evokes its title through delicate textures and colours across the keyboard. Often focusing on the upper register, the composition invites listeners into an ethereal soundscape, reflecting Schmidt’s ability to translate visual and sensory imagery into musical expression.

Heather Schmidt's musical journey began in Calgary, Alberta, where she exhibited prodigious talents from an early age, starting piano lessons at four and composing by five. Her passion led her to pursue dual majors in piano performance and composition at Indiana University, earning both Bachelor and Master of Music degrees. At 21, she became the youngest recipient of a Doctor of Music degree from the same institution. Heather Schmidt further refined her artistry with professional studies at the Juilliard School in New York City. ​

Beyond her solo career, Heather Schmidt is an active chamber musician, notably collaborating with renowned Canadian cellist Shauna Rolston. Their partnership has led to critically acclaimed performances and recordings, 

Shimmer premiered  2004, during a live broadcast from the WFMT Radio recording studio in Chicago, Illinois, with Heather Schmidt herself at the piano. The piece has since been featured in various performances and recordings, including a CD of Heather Schmidt’s solo piano compositions titled Nebula.

Shimmer exemplifies Heather Schmidt’s ability to blend technical prowess with evocative composition, inviting listeners to experience the delicate interplay of light and sound.

Steer by Missy Higgins

In the brilliant tapestry of contemporary female songwriting, few pieces capture the essence of personal liberation as powerfully as Missy Higgins’ ‘Steer.’ Released in 2007 as the lead single from her second album On a Clear Night, this anthem resonates with particular significance on International Women's Day as we celebrate women’s artistic voices.

The genesis of ‘Steer’ is intimately tied to Missy Higgins’ experiences in Western Australia. While residing in Broome, she found solace and inspiration in the expansive landscapes and the clarity of the night sky. Reflecting on this period, Missy Higgins remarked that observing the vastness of the universe made her realise the brevity of life, leading to a liberating sense of perspective. This epiphany became the cornerstone of ‘Steer’, a song that encourages listeners to take control of their lives and navigate their own paths. The song opens with sensory imagery that immediately draws listeners in: 

Feel it falling off like clothing

Taste it rolling on your tongue

See the lights above you glowing

Oh, and breathe them deep into your lungs.

These evocative lines establish the song’s theme of awakening—of shedding constraints and embracing your power.

The Australian songwriter had already established herself with her debut album The Sound of White in 2004, but ‘Steer’ marked a pivotal evolution in her artistry and has been lauded for its empowering message, particularly among women. The lyrics serve as a reminder of one's agency and the power to direct one’s destiny, a sentiment that aligns seamlessly with themes of female empowerment. By asserting that individuals have the capacity to steer their own lives, Missy Higgins challenges societal expectations and encourages women to embrace their autonomy. 

In ‘Steer,’ Missy Higgins masterfully intertwines personal revelation with universal themes of freedom and self-direction. The song stands as a testament to her artistry and her commitment to inspiring others, particularly women, to embrace their inner strength and navigate their own journeys with confidence and grace.

Beyond her musical accomplishments, Missy Higgins has channeled her influence toward environmental sustainability, animal rights, and gender equality. Her commitment to creating positive change mirrors the song's closing imperative: “Get out of the box and step into the clear/’Cause now you finally know you can steer.”

Begin Again by Taylor Swift

Taylor Swift has become a defining voice of our generation, both in the music industry and in the broader conversation about female empowerment. Over her career, she has evolved from a country-pop darling to a multifaceted artist whose songs delve into themes of love, loss, resilience, and personal growth. Through her songwriting, Taylor Swift has given women of all ages the permission to embrace vulnerability, to assert their agency, and to redefine their stories on their own terms. Her music speaks to the complexities of being a woman in the public eye, and her ability to craft deeply relatable narratives makes her an icon of emotional authenticity and strength.

‘Begin Again,’ a standout track from her 2012 album Red, is a perfect example of Taylor Swift’s mastery in capturing the nuances of new beginnings and the hope that comes with them. The song reflects the delicate process of moving forward after heartache, holding on to the possibility of love and personal reinvention. With its wistful melodies and heartfelt lyrics, ‘Begin Again’ offers a message of renewal and optimism—reminding us that even in the face of setbacks, it’s always possible to start afresh. It is a celebration of courage in the face of vulnerability, an anthem for anyone who has taken a leap of faith in love or in themselves.

In the context of International Women’s Day, ‘Begin Again’ resonates deeply as an empowering reminder of the strength that lies in resilience and the beauty of fresh starts. For women, in particular, the song offers a reflection of the courage required to move forward after setbacks—whether personal, professional, or societal. It emphasises the power of self-reinvention, reclaiming agency, and finding new hope in unexpected places. As we reflect on the many journeys women take toward self-empowerment, Taylor Swift’s ‘Begin Again’ serves as both a testament to emotional growth and a gentle call to continue embracing new possibilities with open hearts and minds.

We’re excited about blending different musical elements—we’ve particularly enjoyed presenting Begin Again as an instrumental piece infused with Baroque flourishes. (Tresna’s brother Mark said it was one of his favourite Mirabilis Collective moments!) These creative arrangements challenge us musically and provide our audience with a new perspective on familiar songs. 

Kalyakoorl by Gina Williams

“We all have a responsibility to this place because we all call this home. It is important that we are all connected to it... through language, through storytelling... because when we connect to where we come from, we connect to each other. When we connect to each other, we become powerful and we defend — and we protect.” 

- Gina Williams, introducing ‘Kalyakoorl’ (2015)

Every landscape holds a story. A song. And tonight, we share with you ‘Kalyakoorl’ by Gina Williams, a song written in Noongar language. Gina Williams AM is a proud Balladong (Noongar, South West) woman, with links through her grandmother’s line to the Gitja people of the East Kimberley. As a trailblazer in the Australian music scene, she champions the strength and resilience of First Nations women, highlighting the importance of language, healing, and unity. Through her evocative performances with Guy Ghouse, Gina Williams not only connects deeply with her roots but also inspires others to rewrite the script for a more inclusive and hopeful future. 

The Noongar language is a precious thread connecting the past to the present. Listen for the way the words intertwine with the gentle instrumentation, and keep in mind their meaning: 

Noongars are custodians of this land, past and present

Our dreaming is here forever

Speak well, I’m listening

There is much for you to say

Go gently, land is still

I know there’s much to see

Look, now it’s here

This earth, it turns

Day – night, earth – sky

Past, present, future

This song is a testament to the enduring spirit of the Noongar people, their deep connection to the land, and their unwavering resilience through time. It speaks to the hope that springs from understanding and honouring our roots, and the strength that comes from acknowledging our shared history and the continuous presence of our ancestors.

In the face of challenges and uncertainties, it is through such songs and stories that we find solace and inspiration. 

This arrangement was originally created by Julia Nicholls for chamber ensemble to accompany Gina and Guy Ghouse at the 2017 Act For Inclusion event at UWA, and has been adapted for Mirabilis Collective. We are so grateful that Gina Williams has given her permission for us to perform ‘Kalyakoorl’ today. 

I Hold You by Sally Whitwell

Sally Whitwell is a renowned pianist, composer, conductor, and educator based in Sydney whose primary mission is to “Keep Classical Music Friendly.” Her diverse musical career includes performances as a solo artist and as part of ensembles, as well as working extensively with youth choirs such as Gondwana Voices. Whether she's performing solo recitals on grand stages or engaging in rhythmic clapping games with rooms full of eight-year-olds, Sally Whitwell’s passion for music and community shines through. 

‘I Hold You’ is a movement from Sally Whitwell’s choral work Tribe, a tender and introspective composition subtitled ‘Oxytocin,’ after the hormone often dubbed the “love” or “happy” hormone. Oxytocin is known for its role in building trust, empathy, and bonding, and its influence is keenly felt in this music. ‘I Hold You’ speaks to the idea of support and solidarity, embodying the quiet strength that glows from within when we hold each other through life’s challenges.

Sally Whitwell strives to uplift women artists through her music. In 2023, the composer presented Pictures at an exHERbition, a song cycle inspired by the works of Australian women artists, in partnership with the National Gallery of Australia. Starting its life as Sally Whitwell’s lockdown project, Pictures at an exHERbition is a celebration of the depth and breadth of work by Australian women artists, from Grace Cossington-Smith and Thea Proctor through to Katy B Plummer. Sally Whitwell said of the work, “I conceived of this song cycle Pictures at an exHERbition as a kind of gift for those fighting the traditional, patriarchal structures of the entire creative sector.”

Che si può fare by Barbara Strozzi

From the salons of 17th-century Venice, Barbara Strozzi defied societal norms by becoming a published composer. Her work Che si può fare is a heartbreaking query into love and despair, reflective of her own struggles in a society that seldom offered women a stage. Strozzi’s life was anything but simple. Born an illegitimate child, she faced societal limitations, yet she found her passion in music. Barbara Strozzi wrote music in the early Baroque period and was one of the first women to publish her own compositions. Many of Barbara Strozzi's works are Italian secular cantatas for solo voice and continuo; she is credited with establishing this genre that enabled her to epitomise the power of the solo voice.

Che si può fare exemplifies Barbara Strozzi’s extraordinary ability to blend poetry and music into an intensely expressive form. The piece unfolds with a lament-like quality, its plaintive descending lines conveying a sense of sorrow and resignation. The continuo accompaniment provides a steady foundation beneath the winding, improvisatory vocal line, mirroring the turbulence of the emotions expressed. At a time when women were rarely recognised as professional composers, Barbara Strozzi’s music demanded to be heard; her compositions were not just artistic expressions but acts of defiance against societal constraints.

Even today, Che si può fare resonates deeply, reminding us of the enduring power of women’s voices in music. Barbara Strozzi’s legacy paved the way for future generations of female composers, proving that talent and determination could overcome barriers. As you listen, you’ll hear the ebb and flow of emotions, much like the canals of Venice where Barbara Strozzi once lived.

Ich stand in dunklen Träumen by Clara Schumann 

Born in Leipzig, Clara Schumann was not just the wife of composer Robert Schumann but a formidable pianist and composer in her own right. A child prodigy, she was celebrated across Europe as one of the greatest pianists of the 19th century, performing at a time when women were rarely seen as serious concert artists. She also championed the works of her husband and close friend Johannes Brahms, shaping the Romantic repertoire through her performances and editorial work. Despite the societal limitations placed on women in composition, Clara Schumann’s music remains a testament to her artistic vision, blending lyricism, technical mastery, and profound emotional depth.

Her song Ich stand in dunklen Träumen (translating to I stood darkly dreaming) is a striking example of her ability to translate poetry into music, capturing the emotional nuance of romantic yearning. The piece’s delicate piano accompaniment and wistful melody evoke an atmosphere of quiet longing and sorrow, possibly reflecting her own experiences within her complex marriage to Robert. In an era when female composers were often dismissed, Clara Schumann persisted, crafting works that spoke to universal human emotions while demonstrating her remarkable compositional skill.

Clara Schumann’s influence extended far beyond her own music. As one of the first women to achieve international acclaim as a performer and composer, she helped redefine what was possible for women in the classical world. She also played a vital role in the development of the art song, refining the delicate interplay between voice and piano that would inspire future generations of composers. Ich stand in dunklen Träumen stands as a beautiful, intimate expression of her artistry, and a poignant example of how women’s contributions to music have shaped and enriched the classical tradition.

Yinyarr Mulana Winyarr by Madi Colville-Walker

Here, on Whadjuk boodja, we can find connection to the land on which we live and work and perform today. Madi Colville-Walker’s songs are inspired by her own traditional home in Yorta Yorta country, around the Dhungala (Murray River). As a proud Barkindji woman, Madi Colville-Walker weaves storytelling and cultural heritage into her music, using song as a way to honour her ancestors and share the wisdom of her people. She has been mentored by other First Nations women musicians under the Archie Roach Foundation’s Singing Our Futures programme, an initiative that fosters the voices of emerging Indigenous artists. 

Her song ‘Yinyarr Mulana Winyarr,’ meaning Free-Spirit Woman, is a reflection of the deep connection between people and the land. It evokes the gentle guidance of nature: the grounding strength of the earth, the breath of the wind, the steady flow of the river. “When I arrive back on country, I feel as if a weight gets lifted off my shoulders. I don’t have to worry about anything, I can just be calm. It’s almost like my Ancestors are welcoming me home,” she says. The song’s flowing melodies and evocative harmonies create a soundscape that mirrors these natural rhythms, inviting us to pause, breathe, and feel the world around us.

Madi Colville-Walker’s artistry is not only an expression of personal identity but also a powerful act of resilience and community. She stands among a growing movement of First Nations women reclaiming space in the Australian music industry, bringing forward songs that honour the past while shaping the future. ‘Yinyarr Mulana Winyarr’ is a celebration of strength, a testament to the enduring spirit of First Nations women, and a reminder that music can be both a sanctuary and a force for change. 

Little Green by Joni Mitchell

The connections between women are deep and complex, intertwining with our lives and growing stronger over time. Even when those we love are no longer with us, they remain in our hearts and memories, shaping who we are. Music has long been a way to express these lasting bonds, capturing moments of joy, sorrow, and reflection that resonate across generations. Few songwriters have explored these themes with as much honesty and emotional depth as Joni Mitchell, whose music has provided a voice for those navigating love, loss, and self-discovery.

Written in 1966, ‘Little Green’ is one of Joni Mitchell’s most personal and poignant songs, chronicling the painful decision to place her daughter for adoption. Rather than dwelling solely in sorrow, the song carries a quiet resilience, cherishing the memories of a love that continues even in separation. The lyrics paint vivid imagery of nature—changing seasons, a child as “a little green” sprout—suggesting that time will bring both growth and understanding. 

In this arrangement, a flowing piano accompaniment echoes the gentle patterns of the original, while the cello’s soaring melodies add a poignant warmth. Violin and flute provide a delicate, shimmering support, weaving around the vocal line like distant echoes of memory. Together, these elements create an intimate soundscape that captures the song’s wistful tenderness, allowing its emotions to unfold in a new and deeply expressive way.

As one of the most influential singer-songwriters of the 20th century, Joni Mitchell redefined the role of women in music, proving that deeply personal storytelling could be universal. ‘Little Green’ is more than just a song about one mother’s experience—it is a testament to the strength found in vulnerability, the sacrifices made out of love, and the unbreakable ties that persist despite time and distance. In Joni Mitchell’s hands, music becomes a form of remembrance, ensuring that these stories—and the emotions they hold—are never truly lost.

Wuthering Heights by Kate Bush 

Kate Bush’s ‘Wuthering Heights’ is a landmark in music history, a song that defied convention and reshaped the possibilities of pop. Inspired by Emily Brontë’s novel of the same name, it captures the novel’s gothic intensity—love, passion, longing, and the ghostly pull of the past. When ‘Wuthering Heights’ was released in 1978, it made Bush the youngest woman at the time to top the UK charts with a self-written song, launching a career defined by artistic independence and innovation. Her originality, from her distinctive vocal style to her theatrical storytelling, continues to inspire generations of musicians who refuse to be boxed in by industry norms.

This arrangement by Julia Nicholls takes Kate Bush’s vision and reimagines it for a new setting, amplifying the song’s sweeping contrasts and dramatic shifts. The piano provides a grounding pulse, while flute and oboe weave through the texture like cries across the moors. The cello adds weight and intensity, underscoring the song’s emotional peaks and valleys, and the voice soars above it all, carrying Cathy’s desperate call across time and space. Some moments stay true to Kate Bush’s original, while others take on a new life, stretching and reshaping the song’s raw energy. The result is a performance that is both familiar and unexpected—a fresh take on a song that has lost none of its power over the decades.

Few songs have captured the intensity of love and longing as vividly as ‘Wuthering Heights.’ With its poetic lyricism, ghostly atmosphere, and fearless composition, it remains an enduring testament to artistic boldness. Kate Bush’s refusal to conform—to expectations of pop music, of female artists, of storytelling in song—continues to be a beacon for women in music. In this performance, her spirit lingers, reminding us that the most powerful art is the kind that dares to be different.

What Happens When a Woman by Alexandra Olsavsky

Alexandra Olsavsky’s ‘What Happens When A Woman’ is “a song for the strong women of our world who seek to empower themselves by asking important questions.” Through a powerful unison melody accompanied by body percussion, the song is a striking anthem that invites women everywhere to consider their potential power. Harmonies blossom as the song develops, creating a joyous chorus of voices. 

‘What Happens When A Woman’ was first performed by the vocal group Artemisia, of which Alexandra Olsavsky is a founding member alongside Diana Lawrence and Kaitlin Foley. The group was named after three inspirational women: naval queen of Halicarnassus Artemisia of Caria, Italian Baroque painter Artemisia Gentileschi, and Greek goddess Artemis. They carry this strength throughout each performance, as well as through their educational outreach to community and youth ensembles as they discuss cultural literacy, improv and songwriting, and female empowerment. Artemisia is dedicated to championing the works of living female-identifying composers, and the group frequently commissions and performs new compositions. 

As choral director Colleen McNickle writes, “‘What Happens When A Woman’ discusses the power of women when they are in charge. Rising above, leading with love, working as one, and not backing down, women get the job done.”

Accelerate by Julia Nicholls

‘Accelerate’ is a song about momentum; about pushing forward, lifting each other up, and refusing to stand still in the face of inequality. Composed by Mirabilis Collective musician Julia Nicholls for Her Sound, Her Story, this piece embodies the spirit of International Women’s Day, inspired by the 2025 theme of Accelerate Action. With driving rhythms, soaring melodies, and joyous harmonies, it captures the collective strength of women supporting women, echoing the voices of those who have fought for change before us and those who continue the fight today.

This world premiere performance is especially powerful, as it brings together musicians from Mirabilis Collective alongside choirs from St Mary’s Anglican Girls’ School, Methodist Ladies’ College, and St Hilda’s Anglican School for Girls. The intergenerational collaboration reflects the song’s essence of passing the torch, building each other up, and inspiring the next generation to step forward with confidence and determination.

At its core, ‘Accelerate’ is a call to action. It is a celebration of resilience, solidarity, and belief in a brighter future—one that we shape together, through every step we take, every voice we raise, and every barrier we break.

There's a girl in a corner

She doesn't know the strength she holds

There's a girl on the outside

Left stranded in the cold

There's a girl in the mirror

Seein' a face that's not her own

But every girl under pressure

Has gotta know she's not alone

Oh, 'cos I know this for sure

There's a whole wide world of sisters 

There to lift you so much higher than before

And so we keep on climbing

Hurry, we can hardly wait to keep on shining

Ready to accelerate

We make our future strong together every day

Yeah, you know we're gonna find a way

I believe that our power 

Grows stronger all the time

I celebrate all the ways we've come so far 

With still so far to climb

I'm gonna lift my sisters' voices

Not gonna let them feel ashamed

'Cos a girl who's nothing like me

Is my sister all the same

Oh, and I'll shout it out loud

'Cos the ones who came before us

Did it for us

And we're making them proud

And so we keep on climbing

Hurry, we can hardly wait to keep on shining

Ready to accelerate

We make our future strong together every day

Yeah, you know we're gonna find a way

I am a woman who knows her worth

I rise and I fall and I grow

I owe it all to the girl I was

She never gave up, she believed

And I want her to know

I'm gonna keep on climbing

Hurry, I can hardly wait to keep on shining

Ready to accelerate

We keep on climbing

Hurry, we can hardly wait to keep on shining

Ready to accelerate

We make our future strong together every day

Yeah, you know we're gonna find a way

Keep on climbing far

We're gonna find a way

Keep on shining

Oh, we're gonna find our way

Strong together every day

Yeah, you know we're gonna find a way