About Selby & Friends

Selby & Friends presents “chamber music at its best” (SMH) with subscription seasons around Australia in Sydney, Melbourne, Canberra, Adelaide, Turramurra and the Southern Highlands. The series was created by Australian pianist, Kathryn Selby AM. Her guests include many of the finest solo and ensemble performers from Australia and around the world.

Selby & Friends originally began as a series of concerts introducing music to children presented by Kathryn Selby at the Powerhouse Museum in Sydney with a second series for general audiences in the evening, supported by IBM Australia from 1989-1993. Re-emerging in 2007 as a new, nationally touring series with Selby and invited guest artists, Selby & Friends has continued to present concerts of the highest quality with stunning reviews and a large and loyal audience. ABC Classic FM and the MBS network record for broadcast each tour program.

Selby & Friends still encourages children to learn about classical music by inviting kids 14 and under to attend the concerts for free.

Artistic Director Kathryn Selby notes, "I am joined in 2017 by yet another splendid ensemble of artists with whom I have had the pleasure to work in past seasons. Violinists Natalie Chee, Daniel Dodds and Andrew Haveron are joined by brilliant young Australian virtuoso Grace Clifford who returns from the US for a special tour with cello favourite Clancy Newman. Old friends Julian Smiles, Umberto Clerici, Timo-Veikko Valve and violist Tobias Breider complete an outstanding group of performers whose brilliance and charisma always bring unique charm, wit and warmth to the stage."

We invite you to celebrate the 2017 season with us!


“This was first-class chamber music from all involved, with scarcely a moment of insecurity or incoherence. It is to Selby’s credit that she is able to employ an ever-changing ensemble of musicians, whilst maintaining a symbiosis that most established piano trios would kill for. There are few musicians in the country who could achieve this so consistently.” Dylan Henderson, Limelight, June 2016

“The successful blend and closeness Selby achieves with her trio performers despite them being guests and not a permanent ensemble is always to be greatly admired.” – Paul Nolan, Arts Hub, April 2016

“Put all … elements of this night together and you had a solid taste of Beethoven’s accomplishment across a productive span of 22 years, delivered with remarkably few slips and an impressive breadth of interpretative insight.” – Clive O’Connell, September 2016

"… At every point, this trio [Park, Newman, Selby] showed their partnership was far from an ad hoc arrangement but a true alliance of like minds in a congenial collegiality of top-notch quality.” – Clive O’Connell, April 2016

“In her concert tours Kathryn Selby has created a space in which the audience experiences living music introduced with personal reflections on the repertoire by each of the performers.  It is a unique intimacy, and the consistently full houses she plays to are a testament to the wise choice of presentation for her chamber music concerts.” – Jennifer Gall, Canberra Times, February 2015

“The consistent quality of Kathryn Selby's concerts make her offerings always something to anticipate.” – Martin Duffy, The Age, November 2014

“This was chamber music playing of the highest quality…” – Peter McCallum, SMH February 2015

 “Mendelssohn's Sonata for Cello and Piano No 2 impressed for the unanimity of approach from both artists – uncompromisingly ardent in its opening, a mischievous scherzo and Selby's superbly voiced Adagio chorale marvellously introducing [Clancy] Newman's exquisite, lyric cello.” – Martin Duffy, SMH/The Age, February 2015

“This is exactly what chamber music is meant to be: intimate, conversational, captivating, the music of friends, and a thoroughly enjoyable, personal experience. Kathryn Selby, with friends like these, we can’t wait for the 2014 season.’ – Gordon Forester, GLAMAdelaide, November 2013

 “It is a measure of the spell cast by these performers that the transition from second to third movement, and from third to fourth, passed with scarcely a noise from the auditorium; just the sound of 1000 people holding their breaths. This is chamber music at its best. Hear them if you can.” – Harriet Cunningham, SMH, July 2013

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