BY ZOE DOUGLAS-KINGHORN, LEAD WRITER
Gender equality. What does it look like in the orchestra? Blind auditions and gender-neutral concert blacks may bring balance into classical music, but orchestral leadership still tends to fall (quite literally) into in the hands of men on the podium.
This year, the Tasmanian Symphony Orchestra has chosen to push for change, and inspire and engage more diverse musical leaders. Under the direction of acclaimed conductor Elena Schwarz, seven emerging artists will undertake an experience like no other: a program to nurture the development of female conductors.
The TSO’s new Louise Crossley Conducting Workshop is funded through the bequest of Dr Louise Crossley. An eminent Tasmanian scientist, environmentalist, and politician, Crossley was a big fan of the TSO and proud of women forging careers in the orchestra. But to her legacy, she hoped one day orchestras across the world would have as many women at the helm as men.
In this series, we meet some of these future leaders.
Introducing Jen Winley
Jen is a freelance percussionist from Perth who has worked with Orchestra Victoria and the Melbourne, Adelaide, Tasmanian, and West Australian symphony orchestras. Jen is also passionate about music education and completed her Education degree in 2008. She works as a classroom music and ensemble director at All Saints’ College.
Why do you conduct?
I love orchestral music and want to be in the middle of it, shaping it and working in partnership with the orchestra to create something extraordinary. For me, it is about connection – connection with the music, with the musicians, the audience, the composer, and humanity as a whole.
I love teaching my students how to play as an ensemble, and hopefully to inspire a love of music in them. I love the challenge of developing my skills in both the technical and artistic sides of conducting.
How important is it to ensure women conductors are supported in musical leadership?
Part of me is disappointed that gender is even addressed in conducting, in music, in life in general. It should be as irrelevant as what colour eyes we have. However, conductors who are female are still drastically underrepresented in proportion with the population. Unfortunately this has, in part, been due to women who were interested in conducting being obstructed in some way from accessing the same opportunities as white men.
I like to believe that this is no longer the case, and that a person of any gender may study conducting and that success is merit based. The reason I would still push for extra support of women conductors is to provide role models for young people.
What’s your dream piece to conduct and why?
Symphonie Fantastique by Hector Berlioz is very special to me – it was the first piece I played in my youth orchestra, and one of the first I performed as a young professional musician. It was the work that inspired me to pursue orchestral music as a career.
The Tasmanian Symphony Orchestra’s new Louise Crossley Conducting Workshop takes place in Hobart on 12 August, 2018.
Stay tuned to read more interviews with the talented new conductors taking part!
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