BY MARK BOSCH
Although Sydney Chamber Choir and Synergy Percussion’s joint concert Dance Chant is billed as a tribute to Ross Edwards at age 75, there are two new works on the program this August 4 that mustn’t be overlooked. These are the works of next-generation Australian composers Olivia Swift and Josie Gibson, who, as experienced musicians in their own right, make wise picks for whom to pass the figurative baton.
Not that Ross Edwards plans to pass that baton anytime soon; he has said himself that, at 74 going on 75, he still has “very much more work to do”. And based on what you’re about to read in this story — and on what we’re going to hear on Saturday evening — we hope Olivia and Josie feel very much the same way in their careers.
Olivia and Josie, as experienced choristers, it is safe to assume you each feel that singing can be a source of collective spiritual empowerment. Composition, on the other hand, tends to be a solitary endeavour, and often gruelling and thankless. How would you compare your experiences as both choristers and composers? How have these (potentially quite contrasting) music-making processes informed each other?
Olivia Swift: I definitely believe in the power of group singing – there is something to be said about the experience of all being so focused in the same moment while doing such a personal thing as singing. There’s nothing else like it.
For me, the compositional process is never really over until it comes to life. I am fortunate to be able to work with many groups that sing my music, and it’s always during the rehearsal period that a song really comes together and is a fully realised work of art.
My experience as a chorister has certainly informed my writing. As well as giving me a thorough understanding of what is actually singable and what’s not, it has given me an understanding of the sound world that is so unique to choirs and allowed me to push the traditional idea of what a choir is actually capable of.
And in turn, my experience as a composer has a made me a better singer and conductor. I have a more thorough and in-depth understanding of pieces, and a better idea of the effects the composer is after. This has made it much easier to realise songs, especially new works – particularly handy when conducting!
Josie Gibson: For me, the comparison is most aptly summarised by the best and worst of times. At their best, both composition and performing as a chorister are exhilarating experiences, with the whole of your focus and energy devoted to intersecting and diverging lines of music. At their worst, they differ. A bad choral experience could be for any number of reasons: due to a bad performance, or ill preparation, or the ensemble isn’t working well together, or the music is poorly written, etc. All of these things can be fixed by the ensemble collectively. Whereas for me, at least, when composing goes badly for any reason, it’s a lot more existential, and incredibly lonely.
However, the joy in both is the same, and I’ve found performing as a chorister vital to my composition process. I always try to write something I personally would love to sing, and place that experience at the forefront, with the hope that those performing the piece enjoy it too. There are other aspects of composition other people consider first, but this method is important to me.
Tell us a bit about the works you’ve written for Dance Chant. In what ways have you reflected on the theme of “spiritual regeneration”, as discussed by Ross, political or otherwise?
OS: [In Dew] I have focused on the idea of a personal regeneration and invigoration as inspired by nature and the journey experienced by two lovers.
I’ve used a poem written by Sara Teasdale as my text. She has a wonderful way of creating these beautiful and evocative images. In this poem, the serenity she creates with the opening image of a dew-adorned countryside has an almost spiritual quality.
She then goes on to compare the inspiring quality of nature to the journey of love. This is such a rich idea, and lends itself to musical setting quite well. To me, this idea of a peaceful and perfect journey through nature and love is inspiring and represents the idea of a spiritual regeneration.
JG: My piece Let Them All Come sets an excerpt of the First Dog on the Moon’s Walkley-winning poem. It decries Australia’s treatment of asylum seekers, and calls for compassion and empathy – not just because we as a nation have the resources and the room, but we as people have a common humaneness within us to do so.
The fact that we can help, and we do not, is undeniably a blight on the nation’s soul. I believe music has the power of spiritual regeneration, especially on a personal then collective level. But this piece is only a small expression of my own frustration and sadness at the situation on our borders and worldwide. Only the bigger conversation my piece contributes to can help in that.
Olivia Swift and Josie Gibson’s music will be world premiered this week. Celebrate their work at Ross Edwards’ 75th birthday event Dance Chant, featuring the Sydney Chamber Choir and Synergy, 7.30pm August 4, City Recital Hall. Works will be conducted by Sam Allchurch, Paul Stanhope, and Nicholas Routley.
Did you read our interview with Ross Edwards about this event?
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