All posts by Philip Pogson

Philip Pogson originally trained as a music teacher and classical guitarist at Sydney Conservatorium before undertaking post graduate studies in classical guitar in Europe. For nearly two decades he has worked as a senior business advisor, consultant and company director. He has maintained an active interest in music and the arts as the co-managing director of early music ensembles, “The Marais Project” and “Sounds Baroque”, and “Elysian Fields”, Australia’s first electric viola da gamba improvised music ensemble. Along with his wife Jennifer Eriksson he has co-commissioned more than 20 new Australian works for viola da gamba and electric viola da gamba and acted as executive producer for a number of highly regarded CDs. He enjoys reading, attending concerts and gigs and occasional outings on bass guitar.


This image: Elysian Fields – featuring electric viola da gamba
Banner image: Viola da gambist Jenny Eriksson

Early music specialists, The Marais Project, and electric viola da gamba ensemble, Elysian Fields, both led by the versatile Jenny Eriksson, return to The Independent Theatre on January 28, 2018 in a once off program titled, “My heart so grieves”Continue reading MY HEART SO GRIEVES: PART OF ‘PRELUDE IN TEA’


Grant Fraser

Master and Pupil: Philip Pogson interviews James Fraser – actor, writer and director

The interaction between master and student is a complex and fascinating one.  The famous French novel and film “Tous les matins de monde” (All the mornings of the world) is an acutely sensitive, fictional exploration of the relationship between two great artists: the famed viola da gambist and composer, Marin Marais and his distinguished mentor, Monsieur de Sainte-Colombe, along with Sainte-Colombe’s two daughters.  

Never one to stand still, The Marais Project’s founder and director, Jennifer Eriksson, has put together a collaboration with leading young Australian actor, writer and film maker, James Fraser (The Water Diviner, The Devil’s Playground and The Turning).  Together, they have created a series of reflections on Tour les matins du monde in words and music.  James answered a few questions in a recent interview.

Q: James, your favourite Actor?

A: This changes frequently, but right now – Tom Hardy.

Q:  And your favourite movie?

A: Mmm…that also changes frequently, but today I’ll say “Seven Samurai”.

Q: What was it like working with Russell Crowe?

A: Russell expects 110% from himself and everyone around him, always. It can be exhausting if you’re not totally prepared but it’s also inspiring. Whatever it is that drives him, I want some.

Q: Can you tell us a little bit about your appearance in the film version of “The Turning”?

A: Tim Winton’s book “The Turning” consists of 18 short stories from 18 different directors. Making the film was therefore a massive project! Being the lead in my segment, I was treated with the same narrative significance as those characters played by Cate Blanchett, Hugo Weaving, Richard Roxburgh and Rose Byrne – all idols of mine. So that was amazing – to be given the same story-telling responsibilities they had.

On top of that, my piece, “Big World”, was directed by Warwick Thornton. Warwick also directed one of my favourite Australian films, Samson and Delilah, so working with him was a privilege in itself.  Plus they ended up taking a still from our part of the film for the poster. So that back you see on the DVD cover, that’s my back!

Q: What has been interesting for you about getting to know the book and film about Marin Marais, “Tous les matins du monde”?

A: The book argues two sides to a debate about art that I’ve often mused over myself. Is it wrong for an artist to want recognition? Are the rewards of art in the execution or the reception?

The younger Monsieur Marais wants his music to reach people. He wants to touch an audience and be respected for it. He wants people to know his work. The older Monsieur de Sainte-Colombe, Marais’s teacher, believes music should be kept between the musician and the supernatural, he plays almost exclusively in solitude and feels that sharing it with people tarnishes the magic of its expression.

In a society so obsessed with turning artists into celebrities, it can sometimes feel like the only way of maintaining integrity is to keep it to ourselves. On the other hand, engaging with an audience is the point of art. I guess the trick is finding the right viewers.

Q: What are you looking forward to in the upcoming performance of “Master and Pupil”?

A: I haven’t performed on stage for a couple of years now. It’s going to be great to act for a live audience again.

Q: What is the next project you are looking forward to?

I’m currently writing my next short film which is a mockumentary called “Batboy”. It’s a metaphor for what it means to be an actor caught in the limbo of pursuing work. It’s about the craziness of this pursuit, the powerlessness, the monotony, the struggles, but also why we stick at it despite all of that. It’s a very personal project and I’ve already shot some of it while in LA earlier this year – I even bought a $600 leather Batsuit! It’s great to be able to explore your thoughts and struggles through art, turn them into something tangible and of worth. I think Monsieur de Sainte-Colombe would be proud.  Provided I don’t show anyone when it is all done!

Details : –

Concert: Master and Pupil

Date: 3.30 pm Sunday 29th May

Venue: The Independent Theatre, 269 Miller St, North Sydney

Tickets: $45 adult, $30 concession, $20 student, and $15 child; bookings ph 02 9955 3000; on-line at:  Afternoon tea is included in the price and available from 2.30pm.


  • James Fraser – actor and writer
  • Belinda Montgomery – soprano
  • Tommie Andersson – theorbo
  • Jennifer Eriksson and Catherine Upex – viola da gamba


Elysian Fields – Australia’s first electric viola da gamba band

Jenny Eriksson
Jenny Eriksson

It’s not often that a totally new instrument enters the Sydney improvised music scene but in what is believed to be a local and a national first, band leader Jenny Eriksson is proud to launch Elysian Fields featuring the electric viola da gamba and a star line up of local jazz  artists including: Matt Keegan, Matt McMahon and Steve Elphick.

Eriksson is widely recognised as one of Australia’s leading acoustic viola da gambists – a 7 string, bowed instrument about the size of a cello with frets – and one of her instruments great risk-takers. She has performed and recorded with jazz and world music artists for many years alongside, and as a part of, her highly regarded classical chamber music performances. Continue reading Elysian Fields – Australia’s first electric viola da gamba band

Monash Art Ensemble presents Beyond Borders @ Verbruggen Hall Sydney Conservatorium

Paul Grabowsky – photo by Matthew Denton

Given the moderate resources available to support jazz and improvised music in this country any cross-border movement of artists and ensembles is welcome. Interest is further amplified when the group heading north of the Murray River is of “big band” size and led by a composer, band leader and educator as esteemed as Paul Grabowsky. The presence of international guests Mark Helias (bass) and Nasheet Waits (drums), added further expectation to the good-sized number of attendees there to welcome their Melbourne cousins. This one-off visit to Sydney by the Monash Art Ensemble is part of a series of concerts celebrating the 50 year anniversary of the Sir Zelman Cowan School of Music at Monash University.

The performance kicked off with the Rob Burke Sextet presenting Bela (inspired by the music of Bela Bartok) by Burke which preceded Grabowsky’s Abandon. After a full horn introduction Bela rapidly moved to an enormous piano solo by Grabowsky which was difficult to hear as the piano was un-amplified and the bass and drums dominated. Designed as it is for acoustic classical music, the cavernous Verbruggen Hall muddied the mix somewhat although the quieter sections of Bela gave insights into the nuanced sensitivity of the band and Burke’s full toned tenor sax. This is a piece likely to benefit from repeated hearing in a more sympathetic acoustic. Continue reading Monash Art Ensemble presents Beyond Borders @ Verbruggen Hall Sydney Conservatorium