BY STEPHANIE ESLAKE
According to Sam Weller, a successful rehearsal with the orchestra will contain the three Bs: “beers, burgers, and banter”.
If you think it sounds unconventional, you’re right – and that’s the point. Sam is the director of Ensemble Apex, a new chamber orchestra made up of 40 young Sydney musos (who also happen to be a bunch of great friends). This year, they’re hitting the scene with fireworks and DJs, commissioning new music, and even teaming up with the Sydney Symphony Orchestra’s Toby Thatcher.
Ensemble Apex is set to premiere this month, showcasing saxophonist Alice Morgan as soloist alongside leading instrumentalists from the Sydney conservatorium. We chat with Sam about his vision for this bold new ensemble.
Ensemble Apex. How and why did you start it?
Throughout my short time at the con, I have been able to meet so many enthusiastic and absolutely phenomenal musicians. When I was thinking about starting this project, I was very lucky to have so many keen musicians ready to help make this project take off. Often as young musicians, we perform symphonic masterworks in an orchestral format. However, I wanted to create an ensemble that could perform perhaps less-performed, but no-less amazing, works for a smaller orchestra at a high caliber but in a relaxed and fun environment. All the members of the orchestra are great friends, and that leads to quite hilarious rehearsals but also a really beautiful performance, because all the players understand each other’s musicianship so well.
How did you go about sourcing 40 musicians to get on board with you?
To create the orchestra I contacted section leaders who are all very good friends of mine and asked them to pick who the wanted to work with as part of their section. This ensures a really great group dynamic, as all the members work extremely well together and are all so amazingly good at what they do. I believe people are enthusiastic towards this project as they believe it is a worthwhile investment in their time – playing slightly unusual music at a high level – as well as it being great fun.
There aren’t many places in Sydney where you can perform a concerto with an orchestra at both an incredibly high standard and with a group of mates. I believe this ensemble is unique as it allows young musicians to practice the art of performing concerti in an incredibly polished performance but also in an environment that is really good fun.
You’re interested in showcasing chamber works from the past century, many performed less than they should be. What interests you in bringing these works to audiences, as opposed to the tried-and-tested classics that we are used to seeing in a concert program?
Music from the Classical and Romantic period often form the basis of musical education, as does the contemporary music of today. Similarly, in both the concert hall and popular culture, people are most familiar with music from the classical and romantic periods. Of course, anyone would recognise the earth shattering ‘fate’ motif of Beethoven’s Fifth Symphony, or the opening exclamation of Bach’s Toccata and Fugue in D Minor. However, I would put money on the statement that not everyone would recognise the final horn solo in Stravinsky’s ballet, The Firebird. Beethoven, Bach and Stravinsky are all phenomenal composers – however, Bach and Beethoven are probably more recognised. For that reason, I have chosen for the ensemble to focus on music from the 20th Century onwards, simply to attempt to increase the frequency of which amazing modern works are performed and hopefully spark some curiosity in our listeners’ minds.
Also, modern works tend to present quite a challenge to pull off successfully (as do Bach and Beethoven- in totally different ways). Whilst being challenging, they are lots of fun to perform and to be honest are a work-out – so at least it saves me from going to the gym. We hope that our unusual programming will intrigue and engage audiences, as well as encourage listeners to explore the diverse melting pot of music out there.
As the group’s director, you’ve chosen to feature all of the season’s main concerts as free events. Why is this?
Classical music can often come across as quite elitist, pompous and perhaps alienating. Through Ensemble Apex, we try to steer as clear of that stereotype as possible.
In rehearsals, I like to aim for the three Bs – beers, burgers, and banter. The first two preferably after rehearsal, although one week we experimented with a mid-rehearsal beer. The remainder of the rehearsal wasn’t that productive, but good fun nonetheless.
We also want to steer clear of alienating our audiences. Whilst we do present some pretty full-on works, we stay away from Stockhausen, Crumb and Merzbow…for now. Keeping our concerts free allows anyone to attend and hopefully invites a wider audience to explore the world of orchestral music. Unfortunately, as we perform music from the 20th Century, we do have to pay rental fees for our music. We rely on the generous support of patrons’ donations, which go solely to the costs of music hire and administration.
Your premiere features saxophonist Alice Morgan – why was she chosen for the headline of this event?
Alice Morgan and I met in 2012 at the Australasian Saxophone and Clarinet Conference. At the time, it had been decided that we both didn’t like each other very much. As luck would have it, we both ended up in the final of the solo saxophone competition. It’s safe to say Alice demolished me. I can’t quite pick the exact date when it happened – sometime early last year – but safe to say we are now best friends. As a saxophone performance undergraduate, I have always been amazed at the immense musicality, skill and precision of Alice’s playing. Similarly, as saxophone players, both Alice and I are used to being the rejects of an orchestra. I thought, what better way to start off a slightly strange chamber orchestra than with a saxophone concerto – and I could not think of any one better to do it than Alice.
For a group that is about to premiere, you have a very impressive list of engagements coming up – events at the Sydney Recital Hall with DJ Dan Murphy, guest conducting from the Sydney Symphony Orchestra’s Toby Thatcher, and working with dancers from the Sydney Dance Company. What was the reason for venturing into the broader arts community from the get-go?
Our next concert, IGNITE: Symphonic Dance Anthems, is through a partnership with DJ Dan Murphy and VIVID. Under the baton of Mr Scott Ryan, the orchestra will perform orchestrated versions of club anthems with fireworks and DJ. This unusual style of concert not only is great fun for the orchestra but also promotes the orchestral medium to people who perhaps would never have thought of watching a live orchestra. On the other hand, working with guest conductor Toby Thatcher and musicians from the SSO will be an invaluable learning opportunity for both myself and the orchestra. Engagements like this allow the orchestra to work with amazing soloists and also allow that extra level of professionalism to be added to a concert.
Going to Newtown High School of the Performing Arts allowed me to meet amazing artists from many different practices. Later this year a fellow ex-Newtowner, Nelson Earl, a member of the Sydney Dance Company, has agreed to choreograph and perform a production of Bartok’s Miraculous Mandarin. Combining music with dance again broadens the audience but also provides the opportunity to create something unique and impressive.
What advice would you give to other young musicians in starting up an ensemble?
All you need are enthusiastic friends and a place to play. There are plenty of free musical resources out there to enable you to start off – basically nothing is stopping you. I believe with more young musicians putting on concerts, classical music really could have the ability to take off! (Just don’t program Stockhausen.)
Ensemble Apex will premiere on March 24 at the Sydney Conservatorium of Music, presenting works by Stravinsky, Ibert, and Prokofiev. Book your tickets online.
Images supplied.
