BY LILY BRYANT
In a world waking up to the necessity of gender equality, the classical music industry has repeatedly come under fire. Unsurprisingly so: it’s a discipline rooted in traditions from a time in which women were not encouraged to participate in music ‘seriously’. And while attitudes today may seem less extreme, when it comes to whose music gets played, and who gets to play it, women are still sorely underrepresented.
But increasingly, people are becoming less comfortable only consuming the work of classical music’s notorious ‘dead white guys’. We want to experience life and art through the lens of those who reflect the diversity among which we live. To Ensemble MUSE founder Rachel Drubetsky, the more we embrace this diversity, the richer our musical experience becomes.
Rachel fell in love with modern classical music while studying at Sydney Conservatorium of Music, but was dismayed to find that a vast majority of the standard repertoire was composed by white men. It’s estimated that of all the new music performed in 2013, only 11 per cent was composed by women. This dismay prompted her to found Ensemble MUSE, an eight-piece, all-female new music ensemble with a commitment to performing music written by composers from social minorities.
Ensemble MUSE recently performed its first original show outside the conservatorium, and now you can donate to its 2019 season through an Australian Cultural Fund campaign. We chat with Rachel to hear what it’s all about.
What was it about modern classical music that made you not only fall in love, but found your own ensemble dedicated to the genre?
I think it was just the playful, deliciously absurd nature of it; the way music written today (or in the last 100 years) both follows the rules and completely sets them on fire.
I’ve always loved going to contemporary art museums, and from there my interest grew into contemporary music. I’d say my first love was found whilst learning about John Cage and his predecessors in high school. To me, his pieces for prepared piano were enchanting – sounds I’d never heard before. It was also his whole philosophy of questioning what music really is, and pulling apart the sounds and silences which form it.
From there, I grew a keen interest in music which engaged with new ideas and concepts. Whilst I still love the beauty of Classical and Romantic music, I’m fascinated by the way modern music really includes the listener in its performance.
What inspired you to approach modern classical works by composers from social minorities.?
Initially, the ensemble wasn’t so ‘righteous’. I just wanted to perform the music I loved listening to. It was one afternoon however, scouring the conservatorium library for music, that I realised almost every single piece I found was written by a white male.
Searching online didn’t help, either – however, I did find some articles addressing the topic. It seemed that it wasn’t a lack of female composers in the industry, but rather a lack of ensembles and orchestras performing their works. So spreading the word around to friends at the conservatorium, the seats for musicians were organically taken by female friends who, like me, wanted to fix the problem.
Now, we have a broader perspective, trying to also find works by composers from minorities.
How do you believe musicians and audiences benefit from championing a more diverse range of voices?
It’s clear as a society we’re rapidly progressing. Now more than ever, it seems like we’re open to diversity and willing to broaden our horizons. I think that movement towards change has purely come from listening to one another and taking risks, especially if it’s opening ourselves to something new. The music we try to play tackles that idea, bringing something new and fresh to each audience.
Your ensemble is comprised entirely of women. What new perspectives does this bring to your music making as a group, particularly when performing more socially engaged pieces?
Sometimes it makes no difference at all. We’re just a vessel for the music, translating it as best we can from composer to audience. Other times, it feels like we’re really on their side, and empathising with their struggles. It all depends on the piece.
What I can [see] is the difference in the rehearsal room. It’s so wholesome and lovely and constructive. There’s no fear of feeling bossy or taking too much control. It’s quite an energy, and I’m very grateful to be part of it.
You recently hosted your first performance outside of Sydney Conservatorium, at Redfern 107 Projects. How does this change in setting affect the way you’ve prepared for and programmed this concert?
It’s [been] a big challenge. We no longer have the reliability of conservatorium students showing up. That being said, it has given us a lot of control.
We’d like to move into the public sphere as a professional group, and couldn’t really see that materialising at the conservatorium. Preparing for the concert [involved] a bit more pressure now, for sure! We’re all very excited and keen to give each work justice.
What do you believe needs to change about the way we hear music?
I think many of us find ourselves in a bit of a bubble when it comes to music – whether that’s the average radio listener tuning in to whatever they’re told is the current ‘thing’, or a hard-core classical listener hiding away from new music, or even an avid modern music listener, unaware of what else is out there. We’re hoping to bring something new to everyone.
Stay tuned for our review of Ensemble MUSE’s latest event to come! You can also donate to the Ensemble MUSE: 2019 season Australian Cultural Fund campaign.
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