A festival to “celebrate who we are and what we make”

BY STEPHANIE ESLAKE

From commissioning 67 Australian composers in one project to presenting opportunities for musicians to play solo with a world-renowned symphony orchestra, the Australian National Academy of Music has long established itself as a champion of the arts. As orchestras, ensembles, and educational institutions are redefining what it means to stay relevant in classical and art music, ANAM is placing local composers at the forefront of its festival programming, and training the next generation of Australian musicians to connect with the sounds of their home.

ANAM’s upcoming Sounds of Australia Festival, which takes place this November, brings local musicians together to perform local works. The program spans the beloved Australian classics — including music from Miriam Hyde, Margaret Sutherland, and Percy Grainger — to pieces that have been written closer to our present day. Living composers Rachel Bruerville, Matthew Hindson, and Brenda Gifford are just a few of the musical voices you will hear in this festival — a series of concerts that “resonates with the spirit of Australia”.

Anne Cawrse is one of the acclaimed Australian composers whose work will feature in the Sounds of Australia Festival. Before her original composition Art of the Determined will be premiered by ANAM musicians, we sat down with Anne to learn more about the work.

This festival features the world premiere of your new composition Art of the Determined. I understand this music is about “personal and collective strength” — tell us more!

The work was commissioned by John Daley in memory of Professor David Penington (1930-2023), physician, former Vice-Chancellor of the University of Melbourne, and long-time supporter of ANAM.

Although I didn’t know David, I wanted to honour the spirit of the ‘in memoriam’ commission by connecting the work to his life and legacy in some small way.

Following discussions with John, the characteristics that stood out repeatedly in his stories of David were determination, conviction, and discipline. I used these concepts as starting points for each movement of the piano quartet.

How do you feel these themes of determination and conviction might resonate with today’s listeners?

I wanted to connect characteristics and personality traits with musical forms or procedures. Just as a person could be considered determined, what might it look like to have a piece of music with a clearly determined personality? This is where the ideas and the structure came from.

Art of the Determined is in three movements: ‘Conviction’ is a fast and rhythmically exuberant moto perpetuo in Rondo form; ‘Perseverance’ has a song-like form with an otherworldly chorale interlude, maintaining a stubborn ‘immovable do’ (the note B) throughout; ‘Commitment’ presents as a quasi-theme and variations, building gradually upon an opening perfect 4^th motif and staying stubbornly diatonic — well, mostly! — throughout.

What does it mean to you to have musicians of ANAM performing this new music?

I couldn’t be happier to have violinist Sophia Jones [QLD], violist Angelina Kim [QLD], cellist Cindy Masterman [QLD], and pianist Ronan Apcar [NSW] premiering this work. My previous experiences of working with ANAM musicians through the ANAM Set — I composed Ruby for clarinettist Clare Fox in 2021 — was a hugely positive and memorable one. When you feel safe and assured that your notes will be treated with the utmost respect and performed with sensitivity, thoughtfulness, and professionalism, you can compose freely and confidently.

Equally, I love that the piece will have its first outing in an all-Australian concert series, performed by incredible up-and-coming Australian musicians.

Why do you think it’s essential for next-generation musicians to be building these strong connections to Australian music in the earliest stages of their performance careers?

As an Australian composer, of course I am biased in thinking that all Australian musicians should be performing, commissioning, and premiering Australian works. If we don’t celebrate who we are and what we make, then why should anyone else?

I love the idea of musicians at all stages of their career being taught and mentored to respect, appreciate, and engage with the music that is being written around them by their contemporaries. Classical music is so much more than reproducing the great works of the past — it is equally about representing and listening to the voices of today and the future. Building this mentality into performers early in their careers is pivotal to ensuring a healthy Australian musical ecology into the future.

What do you most love about working with these musicians and then hearing them bring your music to life?

Working with Clare in The ANAM Set, 2021 was a dream. The initial idea of the work Ruby came from her. From there, I passed on various sketches and ideas for her to comment upon, she selected the ones that resonated the most with her, and from there I constructed the piece.

It was a really special experience to know that the work had extra layers and connection points built into it courtesy of the collaborative approach. Clare really made the work her own. Having a performer invest so much of themselves into your music — and genuinely love playing it — is a very humbling experience.

I’m yet to hear the piano quartet play Art of the Determined but am told they are enjoying it very much!

Before we go, are there any parting words you’d like to share about your world premiere before the world hears it in the Sounds of Australia Festival?

Only that I’m very excited to hear it, and am incredibly grateful to John for commissioning me and the performers for bring the music to life.

I will be at all the Sounds of Australia concerts, and can’t wait to experience, celebrate, and bask in all the Aussie-music goodness.