Resonate Feature Articles
In-depth articles discussing issues relating to Australia's new music scene - you can also browse our archive of all feature articles.
by Cathy Milliken
Cathy Milliken writes about her and Robert Lehmeier's opera Romeo's Passion, developed and premiered last year in South Africa together with Umculo - an organisation, inspired by Venezuela's El sistema, offering musical development opportunities to young people through international partnerships in connection with South Africa´s education structures. The composer's other recent work includes Bright Ring (2019), commissioned by Ensemble Modern and premiered in Frankfurt, London and Hamburg earlier this month. Umculo's Artistic Director, South-African-born Australian Shirley Apthorp, is currently shortlisted for a Classical:NEXT Innovation Award for her work with the organisation.
by Rafael Karlen
It has been an absolute pleasure and a privilege to have been the 2018 Composer in Residence in the Peggy Glanville-Hicks House as part of the Prelude Residency scheme. Peggy gave her house to the nation as a haven for composers, and each year a new composer is invited to live in the PGH House to focus on creative pursuits. A long, diverse and inspiring list of composers have lived there since the mid-1990s. Moving into this space, which has experienced and inspired so much music, was both incredibly exciting and slightly terrifying.
by Josten Myburgh
'Amidst all of this I have a sense that something truly fascinating is growing here. As well as a playfulness which strengthens friendships and livens spirits, there is an increasing curiosity with what it means to make music in this place - Noongar boodja, a place to which our majority non-Indigenous scene has only a fragmented connection to, an isolated capital city, a place artists love to leave', writes Josten Myburgh, reporting from the recent Audible Edge exploratory music festival and the Sounding Together mentorship and residency project - both programs by the Perth-based Tone List
by Anni Heino
To congratulate one of our best loved and most performed composer, Ross Edwards, on the eve of his 75th birthday, we asked Australian musicians to talk about their favourite Edwards work. Their answers are revealing and give us an idea just why this music is so loved by its performers as well as its audience: on one hand there is the infectious joy of a musician becoming one with the music in an energetic, powerful dance - and on the other, there is the unique fulfilment that comes from transcending the technical and musical challenges of an Edwards score - so that, in the words of violist Stephen King, '...the performers disappear and only purity is left'.
by Jenny Duck-Chong
For a relatively young ensemble, the now 20-year-old Halcyon has a powerful legacy in the numerous Australian works commissioned by the ensemble or dedicated to them. Some of this legacy has now taken the form of an oral history project - a growing series of videos where prominent Australian composers talk about their work, about composing for voice, and about setting words. These videos are being made available via Halcyon's Youtube channel, with more in the making.
Halcyon's next concert on 1 December concludes the ensemble's 20th birthday celebrations, with works by Gillian Whitehead, Rosalind Page, Sadie Harrison, Gordon Kerry and Ross Edwards, who is celebrating his 75th birthday later in December
by Brad Gill and Sam Gill
Mind on Fire is a saxophone and vibraphone duo based in Sydney, comprised of brothers Sam and Brad Gill. Formed in 2016, the duo draws on their years of experience playing together, including with the composers' collective Sideband, and acts as a forum for their compositions as well as related improvisation-based work. In this article, Sam and Brad take turns writing about their work, and their mutual interest in combining pre-composed material and improvisation.