It’s been an embarrassingly long time since I last posted here, so this is my attempt to rectify that! The Works and Performance tabs are updated regularly, but this news/blog component is often left neglected. Feel free to follow me on Instagram for more consistent news and announcements, and perhaps the occasional cat image! 

I plan to break with convention and indulge in a bit of time travel, skipping past my ‘2021 So Far…’ straight into a ‘2022 In Review’ kind of deal, before diving into an extraordinarily short 2023 Sneak Peek.

2022 Highlights

2022 was my final year as composer in residence with the Tasmanian Symphony Orchestra. What was intended to be a one-year residency expanded into a three-year residency (2020-2022) because of the pandemic. I can’t express enough how grateful I am for this extended time with the TSO – the security of the residency gave me the freedom to experiment creatively and workshop new ideas without fear of judgment or failure. In addition to being stellar musicians, I find the orchestra very open and welcoming – important ingredients for a successful collaboration! I also just love visiting Hobart!  

I’d like to thank all the players and the artistic and administrative team for their immense support over three years, especially Eivind Aadland, Jenny Compton, Simon Rogers, Meriel Owen, Alethea Coombes, David Harvey and Matt McGrath. And an enormous thanks to Eivind Aadland (again!), Fabian Russell, Greg Stephens, and Gary Wain for conducting the works!

I finished writing my fifth work of the residency in early 2022 (Centrifuge will be premiered in Dec 2023) and the TSO gave the premiere of three of my new works in 2022:

·       Hi-Vis for Orchestra

·       Triple Threat for brass and percussion

·       Power Up for body percussion and orchestra

The ABC recorded the above works in March 2022, along with my viola concertino Hotwire featuring stellar soloist Stef Farrands, and my currently (and embarrassingly!) untitled string orchestra work. Fingers crossed this will be available to hear and share in 2024. Loads of thanks to producer Toby Frost and engineer Veronika Vincze for their sonic wizardry.   

In other exciting TSO-related news, all these works (and select others from my catalogue) are now available for sale and hire through TSO House, run by the wonderful David Harvey. Spread the word!

There were other premieres in 2022 too, and these were:

·       Black Ice, Australian Chamber Orchestra

·       Sylvan for bass recorder and percussion, Alicia Crossley and Josh Hill

·       Splinter, San Jose State University Wind Ensemble, David Vickerman

·       And Whether Pigs Have Wings for soprano & wind band, Brittany Fouche & University of North Florida Wind Symphony, Erin Bodnar

·       Swoop, Australian String Quartet

·      March of the Moorhen for violin and marimba, Courtney Hamilton & David Lockeridge (Caroline Chisholm College HSC commission)

·       Slipstream for mixed sextet, Australia Ensemble

·       Royal Jelly for solo guitar, Emma-Shay Gallenti-Guilfoyle

·       Burnout, Sydney Symphony Orchestra Brass, Eduardo Strausser

·       Ode to Joy (Joyous Punk), Golder String Quartet

Phew. Reading this now, it’s little wonder I needed a break in December! Of course, some of this writing was undertaken in 2021 and 2020, and it’s a nice reminder that all that beavering away amounts to something, especially after cancellations.

Highlights-wise, I was chuffed to see Splinter for wind ensemble finally receive its official world premiere by San Jose State University Wind Ensemble and David Vickerman after two cancellations (2020 and 2021) at the 2022 CBDNA Western/Northwestern Division Conference. It was also fab to see performances by The College of New Jersey Wind Ensemble (Eric Laprade) at CBDNA Eastern Division Conference and Douglas Anderson School of Arts Wind Symphony (Ted Shistle) at CBDNA Southern Division Conference.

Still on my Splinter spiel, it was exciting to see the work played around the US in Illinois, New Jersey, New York, Michigan, South Carolina, Washington, Texas, Louisiana, Connecticut, Maryland, and Minnesota, as well as here in Australia in Sydney and Melbourne. For what began as an orchestral piece, written for the Tasmanian Symphony Orchestra, I’m extremely grateful to David Vickerman for suggesting it’d be a great fit for wind band! It’s worth mentioning that I’ve only seen one of these performances live in concert – Sydney Conservatorium of Music Wind Symphony – and I’m super grateful for the livestreaming capabilities now available around the world!!!

It was a bumper year for my string quartet Balderdash, with performances by the Partridge String Quartet, Eliot Quartet, Queensland Symphony Orchestra string quartet, Australian Youth Orchestra String Quartet, and Chroma Quartet, playing the work across Melbourne, Brisbane, Sydney, and Germany. This also marks the first time my work has been heard in a carnival setting as well as on a cruise ship on the Danube River! (Not simultaneously).

Releases

Release-wise, it’s wonderful to have Sylvan, And Whether Pigs Have Wings (band version), and Swoop now committed to tape. You can check ‘em out here through Spotify and all the usual streaming services.

Of course, it’s hard to write a year in review without acknowledging the thrill of the Sydney Symphony Orchestra brass premiering Burnout at the Sydney Opera House three times! This formed part of their Fifty Fanfares series which features Australian composers.

Another highlight was being a tutor for the 2022 Australian Composers’ School with the Tasmanian Symphony Orchestra. This was significant to me as I was part of the 2018-2019 ACS cohort - it was a delight to return in a different capacity alongside director Matthew Hindson and fellow tutor Maria Grenfell. It goes without saying that this is a tremendous program and I hope the fact that I’ve returned as a tutor is proof of that. There is no other orchestral program like it in Australia.  I learned an extraordinary amount and I continue to build on this with every piece I write.  The 2022 participants were Georgia Scott, Angus Davison, Tom Mission, and Sam Wu. A top bunch of people and creatively there’s lots of great stuff brewing!

In the same vein, I was a mentor for Omega Ensemble’s CoLab program too, another much-needed initiative for pre-professional composers. Focussing on chamber music, the program runs for a generous nine months with multiple workshops spread throughout, culminating with a concert at the Opera House and a studio recording.  The 2022 participants were Mark Holdsworth, Chris Healey, Julia Potter, Sophie Van Dijk, and John Rotar – a highly creative group! I’m especially interested in supporting programs like these as I know only too well the artistic impact they can have, and how pivotal they are in forging personal and professional relationships.

On a more personal note, I was beyond thrilled (and humbled) to receive the 2022 Chancellor’s Alumni of the Year from Western Sydney University. I consider this a great privilege and an important acknowledgement of all artists living and working in Western Sydney. The list of nominees included CEOs, lawyers, doctors, entrepreneurs, and an environmental advisor to the UN, so you can imagine my surprise when I discovered I, a composer, was the recipient!  I hope this award signals a shift in how we think about artists and what we contribute to society. Being born and bred in Western Sydney comprises a significant part of my identity and so I consider it a real honour to be recognised in this way.  

The following day, we celebrated by adopting a kitten! Never fear, -this was not a snap decision but just happened to coincide with this extremely exciting weekend. Meet Margo!

2023 Sneak Peek

On that note, here’s a brief look at what to expect in 2023. There will be premieres in Australia, USA, and Germany with:

·       Ensemble Offspring

·       Omega Ensemble

·       Goldmund Quartet

·       The University of Kansas Wind Ensemble and consortium

·       Arcadia Winds (bassoon and horn duo!)

·       James Crabb and the Goldner String Quartet

·       Tasmanian Symphony Orchestra

Other highlights include performances with Sydney Symphony Orchestra, West Australian Symphony Orchestra, Nurnberger Symphoniker, Greensboro Symphony Orchestra, a regional tour with Australian Chamber Orchestra, and University of Georgia Wind Ensemble at the CBDNA National Conference.

So much to look forward to and more to be revealed as the year goes on!  I can’t wait to get stuck in!

Over and out.