Alice is an Australian composer, conductor, arranger, and lyricist. Her works are performed in concert halls (Sydney Opera House, The Kennedy Centre, City Recital Hall Angel Place) and cathedrals (St Mary's Cathedral Sydney, Stanford Memorial Church California, Trinity Church Wall St New York City).
Two-time finalist in the APRA Art Music Awards for Vocal/Choral Work of the Year, Alice has created music for groups including the Song Company, Ensemble Offspring, Gondwana Choirs, Sydney Children's Choir, Moorambilla Voices, The Kodaly Association, Adelaide Chamber Singers, Musica Viva, Barangaroo Delivery Authority, and Acacia String Quartet. Alice was the Music Director and Vocal Arranger of FANGIRLS (Queensland Theatre, Belvoir) and has music-directed its various showcases (Women of The World Festival London 2018, Adelaide Cabaret Festival 2018). Alice graduated with First Class Honours from the Sydney Conservatorium of Music.
Artist's website: alicechance.com
Compositions by Alice Chance appear on
In 2020, Australian musician Claire Edwardes, described recently as 'the wonder woman of percussion' began a movement in her home country. Rhythms of Change is a project that addresses the parity of the representation of women in classical music and specifically in the rarefied world of solo percussion music.
The Marais Project is joined by international countertenor, Russell Harcourt, in a brilliant collection of largely Australian songs and instrumental works exploring light and darkness, love and loss.
Acacia Quartet presents a program of quartets by Mozart, Dvorak, and Australian composer Alice Chance.
The bass recorder is an exquisite instrument that has evolved from its humble consort roots into a virtuosic solo instrument. It possesses a beautifully deep, earthy tone, with mellow and haunting characteristics. Alicia Crossley, one of Australia's leading recorder players, presents an exciting program of new Australian works.
During the 18th Century, in Scotland, folk songs were regularly performed alongside Corelli and Vivaldi with no notion of one style being greater than the other. Likewise, within the 13 tracks of "Snow in Summer", alongside 18th century sonatas you’ll hear arrangements of folk songs: sparse, ambient string textures, plucked notes resonating like stars in a clear nights sky, and a voice soaring high above.