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.)

Choosing repertoire (school groups)- musings on our biggest responsibility

Although it comes around several times per year, the December/January period is often an intense time when it comes to choosing repertoire. Apart from score study, this probably takes up the largest amount of time in terms of my preparation for a term/season of teaching.

How much should you plan at once?
With my school group I try to plan the whole year at once, if not further. We actually start the 'year' in September, so most of my repertoire has already been set for some time. I have been using the last few weeks to slot final pieces into place. The advantages of planning a year in advance are the same as those for teachers planning any other curriculum. You need to be able to plan a course sequential learning.

I have just returned from the Midwest Clinic where I heard a great presentation given by Richard Miles, editor of the "Teaching Music Through Performance" series at GIA, whose topic was "The Score is the Curriculum". I have always had long range planning in my sights, in the back of my mind, but he provided a great framework for making it happen. In actual fact he presented and compared and contrasted a whole variety of 'hybrid cycles' of programming that have been proposed over the years, some of which are in the books.

The main points that really resonated were:

1. Plan over a four year cycle.

It doesn't matter what year in the cycle kids enter the ensemble, as throughout their time they will be exposed to all of it. I know this is almost the opposite to what I was saying about sequential learning, but keep reading.

2. Use the cycle to simultaneously teach periods/styles and about the elements of music

Now these systems have been designed for use in the US, where Band or Orchestra is a class, and 'Classroom Music' as we know it in Australia often does not exist. In the absence of such a class, all aspects of musicianship - history, performance, theory etc. must be taught IN ENSEMBLE.

Whilst you may think this is not necessary in an Australian co-curricular ensemble, think about how many of your students do classroom music all the way up to year 12. Now think about how much content they miss out on for each year they are not doing it beyond the compulsory years. I think we owe it to not only the students, but also the music we are performing (read composers!) to give them a grounding in the music history and theory behind what we are playing. This only serves to give them more insight into, and by extension more enjoyment of the music.

The way he structured it was:

Year 1: Mediaeval/Renaissance/Baroque - focus on melody

Year 2: Classical/Romantic - focus on harmony

Year 3: Contemporary 1 - focus on rhythm

Year 4: Contemporary 2 - focus on timbre

This really makes sense to me. Very broadly, it's highlighting the major developments of music history through repertoire selection. However, you wouldn't want to spend the whole year just playing music from one period (well, you might!)...so he advocates using the repertoire as follows:

(Presuming four major concerts/year)

Concert 1: One Period piece

Concert 2: A piece from the core repertoire (any era)

Concert 3: One Period piece

Concert 4: A piece from the core repertoire (any era)

It's not all-consuming. Just two pieces throughout the year. But it gives a thread that weaves through your whole year of teaching, you can refer back to things discussed earlier in the year, helping the students make connections. Having the core repertoire also means you don't neglect these important Masterworks. I like the idea of having things that tie all your teaching together and in a way that you are not missing anything out. The structure keeps you on task. I am going to try to begin with this plan this year....I will let you know how I go!

How do you plan?

I want to combine the historical/core repertoire teaching of the Richard Miles model with my musical goals for the students.

Assessment - looking at past and present

Firstly, in order to come up with these goals I spend a lot of time reviewing where the ensemble is at currently and what they have achieved in the past. What are the strengths and weaknesses of the ensemble? What are the strengths and weaknesses of individual players? What is holding the group back musically? What challenges do they need next? This assessment is constant and ongoing - at each rehearsal, weekly, monthly, in performance. It might also be guided by other people's comments about the group, adjudicator notes etc. How successful have they been in achieving the previous set of goals?

Vision - looking forward

What is next for the group? I usually start at the end of the period being planned - I envision what I would like the ensemble to achieve by the end of the year. This might be a set of particular musical aptitudes - ie. I want them to be able to confidently play syncopated semiquaver rhythms at sight, to independently shape a solo or phrase - or it might be a specific piece. Usually if I have a specific piece in mind it is because subconsciously it is ticking a whole lot of musical boxes of what I want them to accomplish. The more specific these goals are the better.

The repertoire choice is wholly determined by what I want the students to get out of it musically.

Then, based on these end goals I find what repertoire I would like them to be playing at the end of the year. After this it is just a matter of working backwards to build up to the final point. Ie. If I want to program Redline Tango by John Mackey for our final concert I know the band will need to be able to:

• perform complex semiquaver-based rhythms incl. syncopations in mixed meters
• maintain a fast pulse through mixed compound & simple meters
• have technical dexterity in certain keys
• have a certain secure range with good intonation on their instrument
• certain players will need to perform convincing, expressive solos

And I know that currently:

• they have technical dexterity in certain keys, but not at that tempo
• may have a slightly narrower range on their instrument with good intonation
• can play quaver based rhythms & syncopations in mixed meters
• can play semiquaver based rhythms & syncopations in simple meters at moderate tempo
• some players are reluctant when playing solos

So knowing where we are and where we need to get to I work backwards finding pieces that will work us towards the final skills needed.

The repertoire is the test of whether they have mastered the skills I am trying to teach. If they get to the first reading of ie. Redline Tango and have lots of problems and we have to keep stopping and starting then I haven't done my job properly. The idea is that by the time that arrives on their stands they are really ready to tackle it so there isn't too much time spent on technical drilling and we can actually make music. This means that my teaching always has to be ahead of the repertoire - making sure we cover the necessary skill development through warm ups in particular.

That said, there are a whole lot of other constraints to consider:

• Instrumentation
• Performances - venue, duration, audience
• Appeal to audience & students
• Contrasting styles
• Covering a wide variety of genres, styles, composers, sound-worlds

Tim Reynish explains it well (from timreynish.com):

"Would I, as a solo player, want to work on this music, does it satisfy me in terms of emotional content, melody, harmony, form, orchestration?"

If you can answer this question with a confident yes, you are on the right path.

Anyway, those are just my thoughts. What informs how YOU choose repertoire?

The 10 Commandments of Conducting

At the end of last year our conducting teacher gave us a final assignment of writing our own '10 Commandments of Conducting' based or Richard Strauss' rather amusing and outdated list which includes such gems as (and I'm paraphrasing):

Never look encouragingly at the brass

If you think the brass are too soft, bring them down another level

The conductors left hand should only ever stay in his pocket

The conductor should never work up a sweat conducting, only the audience should perspire

Needless to say mine aren't quite as pithy...but here's my two cents. I'd been brooding over it for the whole summer and now I think I'm satisfied that this list encompasses everything I learned last year, as well as everything I try to be when I get up on the podium...

(NB. as you may gather, some of these are in direct contravention of the words of Herr Strauss!)

The 10 Commandments of Conducting

By Ingrid Martin

1. The phrase is of the utmost importance. By showing the phrase many other things will fall into place. Rehearse, conduct and speak with this in mind. Analyse to this end.

2. To convey any sense of phrase or momentum the beats must convey the light & shade of the music – they must be different weights.

3. Give musicians space to express themselves – donʼt dictate everything. By forming a space in which the musicians and conductor can collaborate a wonderful and unique partnership emerges at every rehearsal and performance.

4. The mind must direct the movements of the body. If the concept of the music is kept present in the mind it will flow through to the gestures and to the musicians.

5. Keep the score in your head and your head out of the score. The majority of any conductorʼs musical message is portrayed through the eyes and face. To deny this to the ensemble means the message becomes is lost, incomplete or confused.

6. Speak clearly, deliberately and honestly to the ensemble from the podium.

Only give criticism or praise when it is deserved – this respect for the ensemble garners respect for the conductor. NB. Remember – no one is ever deliberately making mistakes, donʼt treat them as if they are.

7. Be the music – show it in your whole connected body. Conducting is a full body sport!

8. All parts of the body must have the flexibility, grace, control and independence akin to that of a dancer.

9. Ancora imparo – I am always learning. Watch as many conductors as possible, listen to as many performances of as many types of music as you can afford, read widely and immerse yourself in life & culture in every way possible. The more experiences you have the more you can bring to the podium to enrich your music-making and relationship with the musicians.

10. Know the score – everything else is for nought if this isnʼt in place. Know it intimately and keep learning it over and over again in the joyful hope that a new treasure might be revealed to you at each reading!