BY STEPHANIE ESLAKE
The Australian National Academy of Music has connected 67 musicians with 67 composers. The idea is to create a vast collection of new local music, which will represent who these artists are — and how they understand and perceive the world around them.
The ANAM Set unites these creative minds in a unique way, allowing them to work closely together as they build something new and long-lasting. In this interview, we chat with two artists who have collaborated on a duet for viola and cello called Che Scorre. Its composer Richard Mills — who has conducted every major symphony orchestra in Australia — invited early career musician Harry Swainston into his studio to gain a rare insight into the music industry and writing process.
We’d like to extend our thoughts to all ANAM Musicians whose recitals have been postponed due to COVID, and who are looking forward to making live music together once again.
First up, a huge congratulations on being part of The ANAM Set. What does this project mean to you – personally and in this stage of your career?
HARRY: First of all, ANAM giving us the opportunity to collaborate with such esteemed composers is a dream come true.
Last year, I performed Richard Mills’ trumpet concerto with the Queensland Conservatorium Griffith University Orchestra and thought to myself: ‘Isn’t this such a complex and fun work? Imagine meeting this composer.’ To my utter surprise, I started collaborating with him only a few months later!
Working side-by-side with such an experienced musician inspires me to become as creative as him. I can’t wait to evolve with this piece of music throughout my life and claim it as as ‘mine’. To have music composed for you is such a personal experience and, at this point in my career, I’m searching for what will distinguish me.
RICHARD: It’s always nice to work with young people when one’s getting old. I think it’s really beautiful to be able to share your creative gifts with the next generation of musicians. That’s what I’ve been able to do by this project, and that’s very special to me.
This project is also something of an antidote to these very dark times that we’re in – we’re actually making art together, despite all the circumstances that are mitigating against that. It’s a positive gesture in a fairly negative universe.
Tell us about the composition so far! What is your piece ‘about’?
R: The piece is called Che Scorre, which means ‘that which flows’. And it’s about the motion of water, of wind, of leaves, of air; and the large emotions in life, the seasons, the progress that one makes through life, the change, the process of metamorphosis. It’s kind of about all those things, and about kind of nothing.
It’s just music on another level, but it’s music, which takes its inspiration from the idea of flowing and movement in nature.
H: Richard described it as a ‘flowing’ work that ebbs in and out of keys and modes. It reaches a climax where all the streams join together into a vast ocean of sound before separating again. […] The ever-present scales and arpeggios passing between the two instrument create a fleeting atmosphere.
The reason for the viola and cello combination was because of their shared C-string, ability to blend amazingly, and the lack of music for the instruments! I discovered this unfortunate dearth of viola/cello duos when I spent two weeks in quarantine with ANAM cellist Nadia Barrow. She is the cellist for this composition, and it’s been an absolute joy to put it together with her.
Richard, you were generous enough to invite Harry into your own studio to work on the piece. Talk us through the process. What happens when he arrives, and what do you get out of this one-on-one musical experience?
R: When Harry and I first met, we played some music for viola and piano. He brought a set of five pieces, and we belted through those together. This helped give me an idea of his temperament. […] I thought he needs a piece which is kind of romantic and sensitive with lots of colours. The piece shows off and exploits his capacity to make beautiful sound.
Of course, he is at home with Nadia, so it made a lot of sense to write something they could practice and work on together, although he did visit my studio in the days when such things were possible!
But essentially, I got an idea of his personality as an instrumentalist and, to some extent, the piece is moulded around that.
Harry, you’ve really been making the most of this opportunity. What’s it been like to be in this studio environment with the composer?
H: To be honest, it’s felt really relaxing. Richard is such a calming person, and the fact that his dog stays in his studio only adds to this atmosphere. The countless scores lying around, multiple pianos, and comfy couches make me want to spend a whole evening listening to music there.
Go on – spill a secret with us. What was something fascinating, surprising, or intriguing you learnt about Richard’s process in the studio?
H: The fact that he hand-writes everything! I for one lose all my sheet music and rely on my iPad for most everything!
Through this process of working with Richard, what have you learnt about your strengths as an artist?
H: Working on this composition with Richard has allowed me to grow an understanding of composition from the perspective of the composer.
I asked Richard about his creative process when starting a new piece, and I was surprised to hear that it was very similar to how I approach practice. It starts with an idea and a deep-dive into what makes that certain idea intriguing and, ultimately, a story. I’ve learnt that creativity and the ability to find inspiration is my strength!
Richard, why is it important for early career musicians to work directly with composers?
R: I think it gives young instrumentalists a little insight into how composers make things. And that’s good. It can only increase their culture and understanding of music, which is very important. It also shows them that music is a living thing. […] Working with composers invites young musicians to contemplate the nature of the script in music; what is actually written, and what it might mean and how to approach it.
You’ve had quite a history with ANAM, Richard. But how do you see this particular project as groundbreaking on an industry level?
R: A project like this might mean all sorts of things for our industry. It might mean that the industry as a whole engages more with living composers and those who make new music!
In the 19th, 18th, and 17th centuries, all music was new because composers were much more integrated into the landscape of performance. […] It’s a complex question, but what this project might do is awaken these young leaders of tomorrow to the notion that music is, at its heart, a living thing — and that without composers, it doesn’t change, it doesn’t renew itself. Things in nature that don’t change and renew themselves die.
What do you hope will be the impact of your collaboration?
R: I hope it will awaken the ANAM Musicians’ minds to the necessity for creative engagement to sustain and nourish their own practice, and sustain and nourish the present and the future of the artform.
H: I hope that through The ANAM Set, up-and-coming musicians understand the value of collaborating with a composer. Never have I approached a composer with the intent to collaborate, and I wish I did it sooner — especially in my undergraduate degree. I hope that other musicians are inspired to do the same […] And who knows, that collaboration might end up becoming the next big thing!
Visit the ANAM website to keep up to date on this commission, and to learn about The ANAM Set.
READ MORE: Could this be Australia’s biggest-ever commissioning project?
Images supplied.
