BY STEPHANIE ESLAKE
ARIA-winning composer Sally Whitwell is tapping into the “jukebox of her mind” this weekend as she teams up with Sydney Philharmonia’s youth choir VOX.
The talents will collaborate to present a series of works that cross era and genre for two nights in North Sydney.
Sally continues her relationship with the choir, which last year saw them work together on her acclaimed album I Was Flying and musical Cog in the Machine. Ahead of their upcoming event, Sally takes some time to chat with CutCommon about why she loves working with young singers.
Tell us everything. When did you start working with VOX? What do you love about working with the group?
In the first place, I approached them to record a few tracks for my album I Was Flying. I just really love the sound of younger voices in a choir like VOX – the sound has a unique brightness and freshness that is different to a more mature adult choir. I have young voices in my ears a lot through my regular work with Sydney Children’s Choir, so it’s an instrument I really feel is a good match for my music. I can’t help hearing a youth choir sound in my head as I compose.
Your choice of music doesn’t discriminate – you place music from Glass alongside Massive Attack! How to you go about making sure this will work and appeal to everyone?
I definitely don’t discriminate! I feel that the ensemble itself creates the unity of the program, so I really don’t see that as a problem to be overcome. The other thing that unifies it is the genuine expression of heartfelt emotion, just telling some great stories in music. It doesn’t matter whether their origin is the 19th Century romanticisms of my little Byron setting, the fearful witchcraft of our Massive Attack song, or the laddish humour of Ben Folds’ musings – every song will make you feel something. And that’s what it’s about. Genre schmenre.
But isn’t it incredibly hard to teach one group how to sing in such a broad range of styles, from classical to super contemporary?
I find the best way is to strip back all the assumptions made about various genres, and approach it from the point of view of honouring the text. Then you follow up with a little detective work, to discover why the composer sets the text a particular way. Then it’s a matter of encouraging them to think of the repertoire this way all the time. Easier said that done, but VOX does it really well.
Which of your own works will feature in the gigs, and how did you choose them?
I wanted an opportunity to perform the works we’d recorded together for I Was Flying, which is how the concert came about in the first place!
What do you feel the young singers of VOX really want to gain from the experience of working with you?
I’d never thought of it that way! My approach is much more about what I can gain from the experience of working with them. There is nothing quite so wonderful for a composer to witness a big bunch of expert musicians working really hard to bring the dots you put on the page to life. I have especially learnt a great deal about making the right repertoire balance between challenging and fun.
Why is it important for you to be working with young artists?
Not only does a youth ensemble like VOX give so many talented musicians a space to develop their skills, but it is also a wonderful instrument in and of itself, right now. Youth ensembles like VOX have a different kind of energy, and it reminds me of why I got into music in the first place! So I feel like all musicians should work with younger musicians, so they remember that feeling too.
If you could give one piece of advice to other young singers in Australia who haven’t yet had the opportunity to work with you, what would it be?
Singers specifically? Take care of the details but don’t lose sight of the whole. All the dots and squiggles on the page are there in the service of a story that someone else wants to tell. If that story doesn’t move you or feel meaningful to you, find a way to connect with it. Or write your own. That way, your performances will always be compelling.
Parting words?
This concert feels a little bit of a guilty pleasure in a way; a collection of all of my favourites. So I feel I should thank everyone who comes along in advance for indulging me! What a wonderful opportunity and such a pleasure to work with sensational musicians like VOX and conductor Elizabeth Scott. Can’t wait to share these tunes!
See Sally Whitwell and VOX in concert on April 15 and 16 in North Sydney. You’ll find all the details you need here.
Image supplied.
