The Peggy Glanville-Hicks Composers' Trust Fellowship
Peggy lived in her home in Paddington until her death in 1990. The house was re-opened in 1993 and since this time more than 25 composers, performers and artists have sought a 'haven' within its walls and through their creations grace Peggy Glanville-Hicks' memory and Australian music. Below is a list of past resident artists - some have given details on the work they completed whilst at the house.
Natasha Anderson is an Australian composer, musician and installation artist. She makes instrumental, audiovisual and acousmatic works in a variety of forms: solo performance, notated scores, cross-platform collaboration, audiovisual installation and multi-channel diffusion. A primary interest is the creation of idiosyncratic sounds — both acoustic and electronic — that generate tension through their precise formal placement and preternatural nature. Her works variously explore intense psychoacoustic experiences, the abject and the uncanny, as well as the whiplash juxtaposition of extremes.
Pianist, keyboardist, composer and arranger Barney McAll moved to New York City in 1997 after being invited to join the Gary Bartz Quartet. He continues to tour internationally with Bartz as well as with Fred Wesley and The JB’s, Josh Roseman, The Groove Collective and recently vocalists Daniel Merriweather and Sia Furler. Barney leads numerous ensembles including; Sylent Running and M.O.D.A.S and his new ensemble Graft which features 16 piece Invenio Choir, two pianos, vibraphone and laptop.
Cat Hope is a composer, sound artist, writer, performer, songwriter, artistic director and noise artist. She is a classically trained flautist, self taught vocalist and experimental bassist who plays as a soloist and as part of other groups, such as the multi bass improvisation project Abe Sada. She is the director of Decibel new music ensemble which tours and performs her work and commissions others. In 2014 she was awarded the Peggy Glanville Hicks Residency in Sydney, Australia, and a Churchill Fellowship to study digital graphic notation. In 2011 she won the Inaugral Award for Excellence in Experimental Music at the APRA AMC Art Awards and was a finalist in the WA Citizen of the Year Awards in the Arts and Culture category. In 2012 she won the peoples choice in the networked performance category for her piece Black Emperor in the International Space Time Concerto Competition. Her work tends to explore the potential of digital graphic notation, low frequency sound, drone, noise and glissandi. She has written works for the London Improvisors orchestra, the Chicago Modern Orchestra and a range of ensembles and soloists.
Julian Day 
During his residency Julian wrote several solo and chamber works including Father for Wild Rumpus (San Francisco), Quartz for Third Angle (Portland) and the Australian String Quartet (Adelaide), Bloom for Synergy (Sydney) and Dark Twin for Zubin Kanga (London). He also revised Beginning To Collapse (2007) for the Transit Ensemble in New York. Julian also created several site-specific works as part of his collaborative project Super Critical Mass including Together We Breathe for the opening of the Library of Birmingham (UK), Pivotal (from me to you and back again) for Object Gallery and Casula Powerhouse and Soundland for the Underbelly Festival at Cockatoo Island. Additionally Julian pursued his work as a sound, video and installation artist with exhibitions and performances in Sydney, Canberra and Adelaide including new works for Performance Space, Canberra Museum and Art Gallery and the Australian Experimental Art Foundation. He developed new works for his multiple synthesizer project An Infinity Room (AIR) and duo LOUD+SOFT with Luke Jaaniste as well as a collaborative work with video artist Lani Weekly. Furthermore Julian wrote a thesis on sound art for Sydney College of the Arts, gave papers at several conferences and continued his work as a new music writer and broadcaster for Limelight magazine and ABC Classic FM.
Linda Neil 
Linda Neil grew up in a home filled with music. She's a musician and singer, she calls herself a minstrel these days, and her mother Joan was a singing teacher.
Mary-Anne Kyriakou [May 2008 - June 2009]
Since 2003 Mary-Anne Kyriakou has been using her skills in both lighting design and music in 'Atmospheres', a project that she describes as 'an exploration of the ethereal qualities of light and music compositions through the theme of sustainable design.' During the period of her Fellowship she will be applying 'Atmospheres' in a very large scale multi-disciplinary project called the Smart Light Sydney Festival using light, design and, of course, music. Mary-Anne is the director of the Festival, and will be both commissioning and writing new compositions for it. She will also be composing three works for performance at 72 Erskine where she is presently Artist in Residence.
Thomas Meadowcroft [Oct 2007 - March 2008]
The projects Thomas worked on while in residency are Monaro Study for two clarinets with recordings from a Holden V2 Monaro automobile, to be premiered by ELISION ensemble in August 2008. The source material, that is the recordings of the Monaro, were made using my cousin's V2 at Jimbour, Queensland. Perseverance Dam for semi-acoustic guitar, bass clarinet, accordion and samples, was premiered at Ballhaus Naunynstrasse, Berlin by Seth Josel, Christine Paté and Matthias Badczong on 5 December 2007, and was commissioned by Initiative Neue Musik Berlin. The Hotel Scratchings (Tote Hotel Scratchings, Gowrie Road Hotel Scratchings etc.) Work in progress for processed organs 'The Tote Hotel Scratchings' is the material collected from a performance at The Tote Hotel on 28 March 2007 as part of MIBEM (Melbourne International Biennale of Exploratory Music).
Brian Howard [Sept - Dec 2006]
Howard has written for many combinations of instruments and voices, but has a particular affinity with opera. His first operatic work, Inner Voices, based on a play by Louis Nowra, was composed for the Victorian State Opera in 1979.
Thomas Fitzgerald [April 2005 - Aug 2006]
Whilst in residence Thomas composed six new works Slowdown a little, Shimmering, Distant Early Warnings, String Quartet, Shower Songs, and Incidental Music for Three Poems by Adrian Robinson. He also held a series of Salon concert performances to promote awareness of the House within the neighbourhood. The Salons featured work composed during Thomas' residence, including 'Incidental music for Three Poems by Adrian Robinson' performed by composer and poet, and excerpts from the sound art work, 'Shower Songs'. Creative Spirits Concert was the final concert of Thomas' residency as a fellow of the House and the event celebrated the vision of Peggy Glanville-Hicks and for a vibrant Australian creative community.
Mary Finsterer [March 2003 – March 2005]
Mary Finsterer is recognised as one of Australia’s most original orchestral composers. Her work has won many awards around the world, including the prestigious Paul Lowin Orchestral Prize in 2009 for her work inspired by Jorge Luis Borges, In Praise of Darkness.
Paul Stanhope [Oct 2001 – Dec 2002]
Whilst in residencePaul composed Ockham's Razor for saxophone quartet for Continuum Sax (2001), Groundswell for orchestra for Sydney Sinfonia (2002), Shards, Chorales and Dances for guitar, clarinet & string trio for Ensemble 24 & Karin Schaupp (2002), The Burning Bush for sax, violin, viola, bass, piano and sampler for Topology (2002), Missa Brevis for SATB choir (revision of a student work).
Matthew Hindson [Nov 2000 – Sept 2001]
In residence Matthew composed Violin Concerto: Australian Postcards for violin and orchestra (commissioned by Ars Musica Australis), Heartland for massed choir and two pianos (commissioned by the Sydney Gay and Lesbian Choir), and The Rave and the Nightingale for string quartet and string orchestra (commissioned by Symphony Australia for the Goldner String Quartet and the Queensland Orchestra).
Robert Griffin Morgan [Feb 2000 – Sept 2000]
Andrew Ford [March 1998 – Jan 2000]
In residence Andrew composed The Unquiet Grave for viola and chamber orchestra, 1998. Commissioned by the Adelaide Chamber Orchestra. He had begun work prior to taking up residence, and completed during the first month. First performance by Patricia Pollett and Biennial Sinfonietta, conducted by James MacMillan, July 1999, Queensland Art Gallery and was ABC’s entry in UNESCO Paris Rostrum. Tattoo for 12 timpani and four pianos 1998, Commissioned by the Sydney Spring Festival and performed by Sprung Percussion with conductor Daryl Pratt at Eugene Goossens Hall, 1998. Winner of Sydney Spring – Marienberg Award for Most Outstanding Work of 1998 Festival. Icarus drowning for 9 players, 1998. Commissioned by Kowmung Festival, first performed by Kowmung Festival Ensemble at the Abercrombie Caves, 1999. Recorded for Tall Poppies (TP150) and listed in the Sydney Morning Herald’s outstanding CDs of the year, 2001. And now for high voice and piano, 1998. Song, words by Cathryn Strickland, originally from a sketch for Night and Dreams, first performed by Gerald English and Ian Munro, 1998. Hymn to the Sun (after Mesomedes of Crete), 1999. Dedicated to the memory of Peggy Glanville-Hicks. First performed by Kowmung Festival Ensemble, Abercrombie Caves, 1999 and recorded for Tall Poppies records (TP150). Estampie for clarinet, harp, string quartet and djembe. Performed by Kowmung Festival Ensemble, Abercrombie Caves, 1999. Blue Poles and Motherwell at the Guggenheim (from Manhattan Epiphanies) (1999). Completion of five-movement work for Australian Chamber Orchestra. Blue Poles first performed by Canberra School of Music Chamber Orchestra, conducted by Tor Fromyhr, National Gallery of Australia, 2002. The Furry Dance for orchestra, 1999. Commissioned by Canberra Symphony Orchestra and performed in Llewellyn Hall, Canberra, 1999, conductor Stephen Barlow. Night and Dreams: the death of Sigmund Freud, 1999. Music-theatre work for tenor Gerald English and pre-recorded tape (produced in conjunction with The Listening Room, ABC Classic FM). Commissioned by Major Festivals Funding Initiative with assistance from the Australia Council. First performances at Adelaide Festival 2000. Subsequent seasons at Sydney Festival (2001) and Melbourne Festival (2001). The Waltz Book: Waltz for Jasper, Nightmare, Blue Waltz, Invocation I, II and III , It’s dark in Helsinki, Epiphany, Prelude, and Peggy’s Waltz. 60 waltzes commissioned by Ian Munro with financial assistance from the Australia Council. The project will last till 2002 and win that year’s Jean Bogan award. First performance by Ian Munro, Dartington Summer School, UK, August 1998. Four Winds (new version) for sax quartet (1984/2000), Winterreisefor sleigh bells (one player), 2000. First performance by Peter Neville, Rechabite Hall, Melbourne, 2000. The choral arrangement of Beautiful Dreamer was revised in 1998. A Martian Sends a Postcard Home, Est il paradis?, A Terrible Whiteness and Five Cabaret Songs were all revised in 1999. Learning to Howl, though not commissioned until 2000 and not composed until 2001, was substantially planned in 1999 at the PGH House. Harbour CD was a major recording project of 1998. Released January 1999 on Tall Poppies (TP128).
Marshall McGuire [June 1997 - March 1998]
Marshall's fellowship allowed him to work on editions of a number of Glanville-Hicks' pieces. Marshall worked on a transcription of Anne Boyd’s Goldfish through Summer Rain for shakuhachi and harp, June 1997. A number of works were commissioned for him while in residence including, Corriente for solo harp by Damien Ricketson, first performed at Sydney Conservatorium of Music 1997, The Lair of Sweet Caterpillar Blossoms for solo harp by Carlo Giacco, first performed Sydney Conservatorium of Music 1997 and recorded for ABC Classics, Thinking, Beginning for solo harp by Matthew Shlomowitz, Harpoon for solo harp by Robert Smith, The Arch Window for solo harp by Paul Stanhope, Agité V by Brendan Colbert and n-trance by Matthew Hindson.
Michael Whiticker 
Michael Whiticker studied composition in Sydney and Berlin, beginning his Bachelor of Music in 1979 and completing his Doctorate in 1998. He has had a major career in the arts internationally and in Australia with residencies and commissions with most major Australian performing groups. International commissions have come from Germany, Canada, Sweden, Korea and Holland.
Elena Kats-Chermin [April 1996 - Sept 1996]
In residence Elena composed Twenty-five measures for clarinet in B flat (for Peter Jenkin), Children’s Chamber for trombone and piano (performed at New Music Tasmania Festival April 1996), Children’s Chamber II for violin and piano (performed by Lisa Moore and Nicholas Morton New York June 1996), Wild Rice for solo cello (recorded by David Pereira for Uluru CD, Tall Poppies, June 1996), Gypsy Ramble for viola, cello and piano (performed by Perihelion August 1996), Doo for mixed choirs, children’s choir and vocal sextet (performed by Sydney Children’s Choir, Philharmonia Choir, Australian Voices, The Song Company, World Choral Symposium Sydney Opera House August 1996), Charleston Noir for piano solo (awarded the Jean Bogan Prize August 1996), Charleston Noir for double bass quartet August 1996, Peggy’s Rag; Rug Rag; Russian Rag II; Removalist Rag August-September 1996, Fantasy on an Anthem for piano and orchestra (recorded by Tamara Anna Cislowska and the Adelaide Symphony Orchestra for Anthem CD August 1996), Russian Rag for 8 instruments (recorded by Sydney Alpha Ensemble for ABC Classics September 1996).
Julian Yu [Dec 1995 - March 1996]
Julian composed Concerto for marimba and orchestra and the first movement of Sketches for flute concerto while in residence.
Elliott Gyger [Aug 1995 - Dec 1995]
Elliott composed Three Variations on a Celebratory Theme for a cappella choir (performed at Sydney Philharmonia Choir’s 75th Anniversary dinner) and La mer aux miroirs creves for nine players (performed by the Hunter Symphony Orchestra conducted by Roland Peelman) while in residence.
Liza Lim [Dec 1994 - July 1995]
In residence Liza composed Sri Vidya - utterances of Adoration for choir (SATB, 48 voices) and orchestra (performed 25 March 1996 by Kolner Rundfunk Sinfonie Orchester and Chor, conducted by Chosei Komatsu, Philharmonie, Cologne), Street of Crocodiles for flute, oboe, alto sax, alto trombone, cimbalom, violin, viola, cello and baroque 'cello (performed by Ensemble Modern conducted by Ingo Metzmacher Nov 3 (Alte Oper, Frankfurt) and Nov 5 (Hebbel Theatre, Berlin), 1995. Further performance by Ensemble fur Neue Musik Zurich July 4, 1997), Burning House for koto and voice (setting 3 poems by Izumi Shikibu - written for Satsuki Odamura, it has been performed in Sydney, Melbourne, Lismore, Brisbane, Bremen, Huddersfield, Bayreuth, Norway and Japan and was the title track of Satsuki's 'Burning House' CD which won the 1998 Sounds Australian Award), Untitled solo cello piece (written for Chris Lockhart Smith and first performed in the PGH at a party (once early in the evening and the second time after a number of drinks; the second performance was much better!) and subsequently as part of several Musica Viva Schools tours).
Gordon Kerry [Jan 1994 - Oct 1994]
In residence Gordon composed No Orphean Lute for piano trio in three movements. Commissioned by Phillip Henry with assistance from the Performing Arts Board, Australia Council with first performance at Melbourne Festival 1994 by John Harding - violin, Nathan Waks - cello, Stephen McIntyre - piano. Nocturne for double chamber orchestra in one movement. Commissioned by Youth Music Australia and first performed at Summer Academy Melbourne, and Festival of Sydney, January 1995. Six songs for unaccompanied chorus Poem [text - Emily Dickinson] April 6 1994. Elegy [text from In Memoriam - Alfred, Lord Tennyson] April 3 1994. The Colour of his Hair [text - A E Housman] April 7 1994. Sonnet [text - William Shakespeare] March 30 1994. Poem [text - David Malouf] April 21 1994. Sappho’s Reply [text - Rita Mae Brown] April 4 1994. Commissioned by the Sydney Gay and Lesbian Choir with assistance from the Performing Arts Board, Australia Council and first performances Sydney Gay and Lesbian Mardi Gras Festival 1995; Songs of Australia concert August 1997.