BY STEPHANIE ESLAKE
It’s one thing to perform an Honours recital in front of your friends, family, and maybe even a few keen strangers.
But it’s another thing to up your game and invite an entire wind symphony onstage with you.
This was always the dream for Thomas McKay, the Hobart saxophonist who has been preparing to perform David Maslanka’s Concerto for Alto Saxophone and Wind Ensemble.
The musician first encountered the piece during his time in France; he’d studied at Le Conservatoire Rayonnement Régional de Montpellier in 2011, and four years later started teaching as a foreign language assistant. He had the opportunity to learn with the renowned Rascher Saxophone Quartet, to make his Europe debut as a soloist with the ORSO philharmonic orchestra — and, importantly, to discover the Maslanka.
His obsession with the work hasn’t swayed in the years since.
Thomas returned to the University of Tasmania last year to enrol in a post-graduate course (picking up the uni’s Orchestral Wind Instrument Scholarship), and the concerto will form the body of his recital. His love affair with this concerto culminates in his final Honours performance, taking place this week against the backdrop of the Hobart Wind Symphony.
Honours recital time! How are you feeling about coming to the end of your study?
I’m still not sure it’s actually happening. It’s been a dream of mine to play this piece for such a long time. I’m sure I’ll feel nervous at some point, but I don’t when that will be. But I’m so happy that all this has actually been possible. I’m extremely grateful to Simon Reade, the Hobart Wind Symphony, and everyone at the con who helped make this happen.
So tell us about the work – it’s a substantial concerto of 40 minutes with a full band behind you. Why did this work appeal to you so greatly?
Ever since I found the Maslanka, it drew me in. I’ve always loved his music since I first played his small symphony Give Us This Day when I was still in high school. I remember listening to the first movement one YouTube and then finding the rest. Each movement was beautiful and unique in its own way, and it kept drawing me in with every second. I actually don’t have a favourite movement; I really couldn’t decide. For me, this just has it all. Happiness, sadness, grief, joy, and even a little party! I’m always going to love this piece, I think.
What’s it been like to rehearse with the Hobart Wind Symphony, and how has this entire group supported you through your journey?
I’ve been playing with the wind symphony for almost 12 years now; it’s actually a little strange to be standing out the front. Even stranger is taking charge of the tempo from the conductor I’ve followed all the time! They’re an excellent ensemble and the piece is sounding really great. In some sections, it’s as hard or harder than my part, and the band is rising to the occasion greatly.
I wouldn’t want to do this piece with any other ensemble. The band was crucial in my development as a musician, and a person. I wouldn’t have become a saxophonist if it weren’t for them. Once I had decided I was going to play the concerto, I thought to myself: ‘I have to play this with Wind Symph’.
In preparing for our interview, you said you’d like to undertake your Masters or PhD, next. Why would you like your progress as a performer to continue to be bound to the academic world?
Study is a great way to improve your ability on your instrument, while also making it possible to gain theoretical and practical skills to help your career in other ways. Academia can also be its own pathway for other careers. I wasn’t actually sure how to continue my life (apart from performing the concerto) after returning from Germany last year. Doing one more year of study at the conservatorium in Hobart seemed to be a great way to achieve what I wanted, with some great qualifications as well.
So how do you see your post-study future?
Hopefully next year, I’ll be able to return to Europe and undertake a Masters or PhD there. This is all unconfirmed, and I’ll be seriously looking at it after I’ve finished.
My long-term goals would be to explore how I can perform as a musician while finding my own comfortable place in a career that I enjoy. It’s all a bit nebulous, and I have no idea what will really happen. But I’m going to give it the best effort I can.
Is there anything you’d like to add that’ll prepare listeners for your concerto performance?
I’m not really sure how much someone can prepare themselves for a concert! It really is an incredibly beautiful piece. But some parts of it, such as the third movement, do get quite loud. It’s a fiery storm of pain and anguish that represented – in Maslanka’s mind – the crucifixion of Jesus. So beware the volume, but I believe the brief intensity of the dynamic really serves the music well.
In general, I would just say this to the audience: It’s a great piece. Just sit back and enjoy and, if I’m up to the task, I’ll take you on a journey.
See Thomas McKay perform with the Hobart Wind Symphony conducted by Simon Reade and Karen Smithies at 7.30pm November 9 at the University of Tasmania Conservatorium of Music.
Shout the writer a coffee?
[purchase_link id=”12246″ style=”button” color=”red” text=”Pay what you like”]
No amount too much or little. Thanks for supporting Steph as she volunteers her time for Australian arts journalism.
Pay what you like securely via PayPal. We protect your information.
Images supplied.
