Posts from 2014
Locker 83 EP (originally posted late 2014)
Recently collaborated with my good friends of Locker 83 on their first EP, dropped the other day - check it out!
SplitRec Improvisation Workshop (originally posted late 2014)
Spent yesterday collaborating (with other locals) with SplitRec, the Sydney-based improvisation ensemble, in a workshop focusing on ensemble interaction in improvisational situations. 'Twas particularly wonderful engaging in vocal duets with Amanda Stewart, an incredible sound poet and contemporary vocalist.
Alvin Curran: Oh Man, Oh Mankind, Oh Yeah (originally posted August 2014)
A short clip of the Australian premiere of Alvin Curran’s massive choral work, Oh Man, Oh Mankind, Oh Yeah, which I conducted. Performed in Bonython Hall, University of Adelaide on 23 August, 2013, as part of the composer’s Adelaide Residency (watch out for him on shofar!)
Scout Music Camp (originally posted August 2014)
A great last weekend at Scout Music Camp co-directing with anthonyzatorski. Find above the recording of the choral performance the attendees sang!
Memory Songs Concert (originally posted July 2014)
In just over a fortnight, anthonyzatorski and I have a concert entitled ‘Memory Songs’, after Meredith Monk’s Memory Song. Focussing on different aspects of memory and remembrance, we’ll be premiering new songs by ourselves, as well as both sets of Aaron Copland’s Old American Songs, and music by Annie Kwok, Sally Whitwell and Elaine Henn.
Murray Bridge Players and Singers: West Side Story Review (originally posted May 2014)
A quite pleasing review of a production of West Side Story that my local theatre company is currently performing, in which I’m playing the role of Tony. Available here.
Tonight, Something's Coming (originally posted May 2014)
For the past three months, I’ve been rehearsing West Side Story with the Murray Bridge Players and Singers, a theatre group that I’ve been involved in since 2010 in various guises. With this show, I’m playing Tony.
Compared with other shows that I’ve done, by far this is one of the most satisfying, primarily because of the structural integrity of the show, as well as the high level of craft and attention given to the music. Aside from being possibly the most flam conductor of last century, Bernstein was a brilliant mind when it came to writing, and even with the reduced forces in the band, the score is so well written thematically and orchestrationally that it still comes across quite well (with much kudos to the pianist, who if she decided to go into music professionally would make an amazing repetiteur). My sincere thanks to the cast and crew for making this an enriching experience.
In other news, I’ve been increasingly busy on the creative front, which I hope keeps snowballing. After copying the orchestral score, I know Pirates of Penzance in more detail than is comfortable, and further requests to arrange that work will only help to increase the amount of ‘TARANTARA!’s in my head. For myself, I’ve written a small song on June Jordan’s (such an incredible poet whose stuff I want to work more with) 'Poem for My Love’ for my boy’s recent birthday - I’ll need contact the estate about regarding approval. I’m also starting to work on a new haiku cycle by poet friend Rhys Nixon, as well as arranging some older pieces, for an upcoming concert. And there’s a chamber music storm growing in size - more on that in coming weeks.
