Putting Australian music on the map – our duty as conductors

Conductors have many significant responsibilities, the largest of which, arguably, is repertoire choice. Many previous Interlude articles, books, clinics and seminars have addressed this topic. However, within this task we have a specific duty to expose our performers and audiences to the great music that Australians are writing. Whether it is for a performance at the local retirement village, or a concert on an international stage we must ensure that we give Australian composers the representation they deserve.

Sit down to any school or community concert in Victoria and you will find that the vast majority of works will be by American, British or European composers. There are many reasons for this, including the longer history, and roles of bands and orchestras in these countries. But often you could be forgiven for thinking you had stumbled into an American band hall such is the narrow cultural range of some programming. This is not to say that we should not play works from abroad – concerts should be a chance for audience and performer to experience a wide variety of repertoire from around the globe. Notably, everyone should have the opportunity to perform masterworks for their ensemble, regardless of the composers’ nationality. The problem comes when mediocre works (from any country) are played at the expense of well-crafted Australian compositions. As Australians we should be exploring, sharing and vocally publicizing local composers that deserve wider recognition.

The benefits of programming Australian work are immense and far-reaching for players, conductors, audiences and composers. Exposing players to local composers and their pieces gives them role-models and works that have a local context. Conductors and their ensembles are able to gain a far deeper understanding of a work through meeting and working with composers – and engaging a composer to work with your group is a far easier undertaking when working with someone close by. Composers benefit too from such meetings – they savour seeing the impact of their music.

Supporting local artists also serves to keep music-making of the highest quality in the country. The ‘brain-drain’ is felt no more acutely than in the arts – if we wish to sustain a world-class field of composers we must support them at home, lest they be forced to move to more financially fruitful shores. Introducing audiences to our home-grown talent serves to build a base of supporters for composers and educates them in what wonderful music Australians can create.

Playing Australian works gives groups the opportunity to discuss Australia’s (relatively short) music history, connections between composers, and be introduced to Australian folk songs.

Groups and conductors gain the most from Australian composers by meeting them. Meeting a composer is an exciting event for all involved that unfailingly brings greater musical understanding to a piece. We are fortunate to have many great living composers in Victoria and Australia, the majority of whom are eager to meet groups playing their pieces. Whether the composer is there to listen, rehearse or just talk to you the entire ensemble benefits from this communication. Players feel a much deeper connection to a piece when the typeface on the top right-hand corner of a page is suddenly embodied in a real, living, breathing person. The hardest (and most important) things to teach about a piece are often it’s emotional meaning and expressive qualities – these are suddenly illuminated in the presence of a composer in a way that many hours of rehearsal and discussion couldn’t begin to unveil.

Meeting a composer with an Australian accent also serves to cement the fact (particularly in young minds) that composers are indeed living people (!) and that composers live and work in Australia – providing a role model for future generations.

Over the past two years my ensembles have had several enlightening interactions with home-grown composers:

Being conducted by David Jones (QLD): Many composers are also conductors and keen to visit and rehearse ensembles to give greater insight into their works. It may be that the composer lives nearby, or you may be able to visit them during an interstate tour. Last year we visited David Jones to perform his Streets of Forbes in Brisbane, QLD. The piece features a vocal solo of the first verse of the folksong of the same name. In talking to David beforehand he graciously wrote out a second part so that the whole band could sing the middle section in two part-harmony. Our workshop with him was made all the more special by the fact that we were performing this ‘special’ arrangement and he was able to bring a real zeal to the performance.

Skyping Jodie Blackshaw (NSW): Technology has meant that any living composer on the globe is potentially a key-stroke away. In August our band used Skype during a rehearsal to get in touch with Jodie Blackshaw in Orange, NSW. We wanted to learn more about her piece Soulstrom, which we were preparing for it’s Australian premiere. The band was able to ask questions, and ask questions about why certain events happened in the piece. This interaction strengthens the performers’ relationship with the piece and brings far greater meaning to a person that was previously just a printed name. If you have the facilities – a data projector, speakers, computer – Skype can be almost as good as having the composer there with you. Live encounters can also bring about the unexpected – like Jodie’s 4-year-old daughter stealing the show by jumping into the conversation!

Meeting Brian Hogg (VIC): In 2010 we prepared Brian Hogg’s beautiful “In Stillness”, a 5-minute grade 3 work which demands great control and maturity from players and is wonderful at developing balance, dynamic contrast and phrasal contours. We had already performed the work many times before our farewell concert, when Brian happened to be there directing another group. The students were so happy to meet him and thank him for writing a piece they really enjoyed.

Emailing Peter Sculthorpe (QLD): My university band was preparing a concert which included a transcription of “Small Town” by Peter Sculthorpe. We decided to email him to let him know we were performing his piece. Although he couldn’t come to the concert he was delighted to receive our email and wrote a lovely response wishing us well for the concert. Even just hearing from a composer, especially one as famous as Peter Sculthorpe, can give an ensemble the impetus to really concentrate on a work, knowing the composer is out there, thinking about them.

Taking our music to the world – touring Australian repertoire

The chance to tour interstate or overseas with a musical group is a wonderful opportunity for all involved – whether it be with a school, university youth or community ensemble. Touring exposes ensembles to new cultures, customs, ways of living, and of course, new music. A touring ensemble not only has the chance to be introduced to the foreign, but also has a responsibility to share our Australian culture and music with people abroad.

Those who choose repertoire for touring ensembles have a duty to ensure the best music Australia has to offer is represented in their programming, introducing our art to a wider international audience.

I was recently lucky enough to take a school band to China and chose to take an almost all-Australian program on tour with us. Choosing music for the tour actually became difficult as I uncovered the wealth of Australian music available!

The Challenge to Australian conductors

Whether you are taking an ensemble on tour, or performing it in your figurative back yard, I challenge you to program at least one Australian work per concert. If this is a struggle, make a commitment to at least one Australian composition during the year. Make an effort to contact the composer(s) in advance – they will be delighted to hear from you! Use them to ask questions that may arise during your score study, and if possible, arrange for them to visit you and your ensemble, either in person or virtually. You will be surprised at the connections you will make and how much your players will get out of the experience. By doing so you will begin to grow support from your colleagues, players and audience for our great Australian composers.

(this article was first published in Interlude, magazine of the Australian Band & Orchestra Directors' Association Vic.)