BY LAURA BIEMMI, TRENDS EDITOR
Being a composer today is a fairly tough gig.
There’s nothing resembling a clear-cut pathway to success, the idea of ‘new music’ is still not wholeheartedly embraced by all concertgoers, and fighting for a spot on a concert program sees living composers competing not only between themselves, but against a legion of canonised corpses.
But fear not, composers and concertgoers of Australia: there are young composers of today who are thriving in their artistic pursuits, and there are organisations more than willing to support these up-and-coming talents in furthering their careers.
The story of Mark Holdsworth, the 2019 Cybec Young Composer in Residence at the Melbourne Symphony Orchestra, is a two-for-one dose of inspiration in this regard.
In Mark’s view, the journey into a composition career is “really about patience, persistence, and perseverance” – and it’s a formula that’s proving successful.
Mark’s music has been performed the Tasmanian Symphony Orchestra, West Australian Symphony Orchestra, and Australian String Quartet (just to name a few!). The Perth composer won the 2018 Arcadia Winds Competition Prize for his quintet Hellfire, and participated in the TSO’s Australian Composers School in 2018 and 2019.
In describing his compositional style, Mark points out that “the arts are a powerful platform for the contemplation of the abstract aspects of life”; and that his “output is often governed by a strong sense of narrative and program that often ponders facets of our humanity”.
In 2018, Mark’s work L’appel du vide was premiered as part of the MSO’s 2018 Cybec 21st Century Australian Composers’ Program. From the four participants of the program, Mark was selected to work with the MSO as its 2019 Cybec Young Composer in Residence, and premiere three new works across their 2019 and 2020 seasons.
To Mark, this position represents a “prodigious opportunity”.
“I feel hugely privileged to be its recipient,” he says.
“I think that appointing a resident composer involves a lot of trust, and I feel hugely honoured to have the MSO confer that trust to me.”
Through its Cybec Young Composer Residency, and its 21st Century Australian Composers’ Program, the MSO has proved itself a champion of new music and the development of emerging local composers. And to Mark, working with such “enthusiastic proponents of new music” is infinitely rewarding.
“Working with MSO has always been a goal at the top of my list. I never imagined it would happen so early in my career!” he enthuses.
“Working with an orchestra of such calibre could be a daunting prospect for a young composer. However, MSO is such a sincere community […] they are very welcoming and nurturing.
“In February this year, MSO premiered my orchestral fanfare A Hero’s Journey at the Sydney Myer Music Bowl as part of their Free Concert Series. It was incredible to see so many people of all ages attend.
“Programs like this are crucial to the exposure of new music and the development of younger audiences. I’m abundantly grateful for the opportunity to be a part of it.”
The first week of May sees the MSO present its Metropolis New Music Festival; a two-part event that “celebrates some of Australia’s — and the world’s — finest living composers”. (Did you read our interview with one such festival composer, Missy Mazzoli?)
For the second performance of the festival, Mark’s piece Cri de couer will be performed alongside the music of Dutch composer Louis Andriessen and 2018 Young Composer in Residence Ade Vincent.
On the nature of his composition, Mark describes Cri de couer as a “humanitarian plea in response to the turpitudinous condition of our current socio-political climate as depicted through the media saturation of war, terrorism, and human cruelty”. Heavy stuff.
“It is a deficiency of compassion, compounded by inaction and apathy, that nourishes the evils of humankind,” he further explains (drawing here from his artist statement you’ll also get to catch in the Metropolis program notes).
“To near ourselves as possible to peace, it is integral that we conscientiously approach all people, known and familiar, friend or foe, with equal compassion. Compassion, and its necessity, is the tenor of Cri de couer.”
For all that Mark has achieved with the MSO (and countless other ensembles), he’s acutely aware of the struggle that accompanies life as a young composer in Australia.
“It’s crucial to be proactive about professional exposure, to regularly apply for opportunities, and to nurture a constitution that is ready to deal with rejection,” he advises.
“I’ve been very fortunate to receive the accolades and opportunities that I have; it’s taken a lot of hard work.”
Catch Mark Holdsworth’s MSO composition at the Metropolis New Music Festival Night Two, May 4 at the Melbourne Recital Centre.
We’re excited to collaborate with the Melbourne Symphony Orchestra to bring you this story about Metropolis!
READ NEXT: The Melbourne Symphony Orchestra will perform composer Missy Mazzoli’s music in Metropolis Night One, and she tells us all about it.
Images supplied.
