BY STEPHANIE ESLAKE
The National Capital Orchestra describes Chloe Sinclair as “one of Australia’s most notable up-and-coming young composers”. But we think Chloe is a pretty notable soprano, multi-instrumentalist, and music student, too.
In her final year at the Australian National University School of Music, Chloe has spent her life delving into the music industry without placing any restriction on her (seemingly endless) capabilities. She’s studied violin, piano, and viola – the latter of which sees her perform as principal viola with the Canberra Youth Orchestra. She’s sung solo as soprano with Gondwana Voices, and has written music for the voices, too. Chloe has also composed jazz for Royal Military Band musicians, games music, contemporary rock… Chloe, you rock.
We chat with this all-star-of-an-artist before the National Capital Orchestra performs the world premiere of one of her newest works this August 5. And, with the NCO under the baton of Leonard Weiss and presenting a program that also features Christopher Pidcock on the Elgar Cello Concerto, we reckon it’s going to be a memorable affair.
Chloe, the NCO says you’re “one of Australia’s most notable” emerging composers, which is awesome. As a musical superstar, how are you finding your final year of study before you’re fully unleashed upon the world?
Exciting, but a little daunting. I have quite a few commissioned projects underway, including several choral works; and composing and recording the soundtrack for a new video game, as well as regular performances and being musical director of the ANU Women’s Revue.
It can be challenging juggling these with my university commitments. Thankfully, my lecturers have been wonderful teachers and mentors, and have really encouraged me to push my boundaries.
Though you’ve spent so much time dedicated to your studies, you’ve also had quite a fulfilling composition career so far – with credits as substantial as Gondwana Voices and The Song Company. How have you found the process of grasping these opportunities, while still dedicating yourself to study?
I was a soprano in Gondwana Voices for several years, and this sparked a love of choral music. There’s only one thing that can top the emotional high of singing in choir of such magnificent voices, and that’s composing for one! To hear you own works performed by Gondwana, or an amazing professional vocal ensemble like The Song Company, is both inspiring and humbling. This is what drives my passion as a composer. And these opportunities have only helped me in my studies.
What are some of the key lessons – including life lessons about music and industry – that a commission will teach you beyond your formal composition study?
Organisation, organisation, organisation! You have to be on top of your deadlines, because it’s really hard to be creative when you’re under stress – or it is for me, at least. Another thing I have learnt is the importance of building good relationships with people in the industry and having good mentors.
Your new work will see its world premiere at the upcoming NCO concert. What’s the piece all about, and what do you want audiences to know about it before it’s heard?
My composition is called Autonomy, and it is based on two concepts. It reflects my autonomy as a composer – the ability to make my own musical decisions, in this case, with very few constraints. It’s also a broader reflection of modern society, where notions of individual human autonomy are being challenged by the rise of digital intelligence. In this regard, the work juxtaposes repetitive rhythms, restricted melodic development, and an unsettled time signature, with lush, melodic phrases that create a warmer timbre.
Your styles have so far delved into choral works, jazz, chamber music, contemporary rock…wow! What are some of the consistencies of a Chloe Sinclair composition that we can hear across your body of works?
I’m a sucker for a good melody – this reflects my strong choral background. One of my go-to techniques is gradual harmonic development. But I like to enhance this with memorable melodies. Another consistent theme is the use of syncopated rhythms.
At the end of the day, why do you love composing for orchestra – such as your upcoming work with NCO?
Having an entire orchestra at your disposal is a composer’s dream come true. The sheer range and scale of instrumental possibilities at your fingertips is exhilarating. And let’s face it, nothing can match the power of an orchestra in full flight. It’s fantastic working with someone as talented as NCO’s conductor Leonard Weiss, who is very encouraging of young composers.
What advice would you give other young composers wishing to write for the orchestras in their communities?
Three pieces of advice.
First, try to experience as many different musical styles and genres as possible, both as a performer and a composer, including those outside traditional notions of classical music. This will not only enhance your compositional repertoire, it will also provide a deeper appreciation of the value of different instruments and orchestrations. This also reflects the growth of movie, television, and video game composition, which requires a high degree of adaptability.
Second, don’t underestimate the importance of being able to present yourself in a professional manner, both in your personal engagements when working with far more experienced conductors and musicians, and your ability to deliver on time.
Finally, grasp every opportunity you can!
See NCO premiere Chloe Sinclair’s new work at the Queanbeyan Performing Arts Centre, 3pm August 5. Chloe will give a pre-concert talk at 2.15pm.
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