BY MARK HOLDSWORTH AS TOLD TO CUTCOMMON
Each day of the TSO Australian Composers’ School consisted of intensive rehearsals. Although the rehearsal time was generous beyond what would normally be prescribed in a professional context, the process itself was completely professional. Questions need to be answered almost instantly, there is no time for indecision; time is very valuable.
At the end of each day, we would debrief with director Matthew Hindson and tutor Paul Stanhope to review our conduct during rehearsal, and to clarify any ambiguities that may have arisen during rehearsal. If changes needed to be made to scores or parts, we would arrive at the studio early to pencil these in and send a list of those amendments to conductor Elena Schwarz.
A concertino should demonstrate the virtuosity of a soloist; knowing just how far you can push an instrument is something that requires collaboration between a soloist and composer. I think that the bass trombone is often thought of as an unagile instrument, but what Mitchell Nissen and I came up with defeats that misconception and showcases the remarkable dexterity and diversity of the instrument.
Discovering the capabilities of the instrument, and of course its limitations as well, has taught me so much about brass writing and will completely change the way I write for brass in the future.
It is so crucial that orchestras like the TSO are championing the development of emerging composers. By hosting programs like the ACS, the TSO is nourishing the growth of art music and culture in Australia.
Without these opportunities, many emerging composers would be deprived of the experiences necessary to enter the industry.
Read next: Holly Harrison shares her TSO Australian Composers’ School experience.
All images by Brad Harris unless otherwise credited.
