8 September 2010
ASQ National Composers' Forum: composer blog - Adam Starr, part 2
From the moment I heard the Australian String Quartet's first
run-through of my piece Agether, several things became
immediately clear. Firstly, this is a wonderful ensemble,
thoroughly worthy of their name and reputation. Secondly, they
were extremely professional in the preparation they had done for
all pieces. I was actually surprised and impressed by their
thoroughness, evidenced by their excellent performances, as they
presented the pieces to the composers for an initial listening.
We each had 45-60 minutes to pick apart any salient details and
make suggestions. I was able to make extremely nuanced comments,
and I felt that the quartet was as committed as I to achieving
the optimal performance.
I also had the benefit of receiving Carl
Vine's insights, as well as ideas from the other composers.
We had the opportunity, on another day, to workshop our pieces at
the performance venue, which was invaluable - each space has its
own idiosyncratic acoustic properties, and Elder Hall possesses a
unique reverberative quality, which compelled me to change a few
dynamic markings, but not much else. By now, I was able to focus
on such micro detail as a single note in a three-note phrase
played by the second violin, so I knew it would be a great
performance, and it certainly was.
It was perhaps even more instructive hearing what the other
composers had come up with, and the way they responded to the
ensemble. They are all a talented bunch, easy to get along with,
and I picked up a few tricks from following their scores in
rehearsal.
The composers got the
chance to better acquaint themselves with each other, and the
quartet, over dinner and drinks on the first night. As a
composer, talking shop with other composers is something that I
don't get to do a great deal, but it was especially enjoyable and
educative, perhaps all the more so for the lovely South
Australian wine.
We have all had different experiences, and approach things in
different ways, which is perhaps one of the reasons we were there
- the quartet read through all the pieces submitted, and made
decisions based on what comprised an interesting and varied
program. It was no surprise that Tom's piece closed the new
composer's bracket, at which point Carl Vine's string quartet was
unleashed.
After each day's activities, we attended performances of new
music at the Soundstream Festival, which was very well
programmed. The highlight for me was John Addison's performance
of Alex Pozniak's new work.
In terms of evolution of the piece, I would liken the workshop,
rehearsal and performance process to adding icing and a cherry to
a cake - nothing fundamental changed (although a single note was
added in the cello part for the sake of resonance and ease of
playing), but subtle changes were made in notation and
dynamics.
Before the concert, Agether was the middle movement,
flanked on either side by movements in which the string quartet
was joined by electric guitar and drumkit. After hearing John
Davis (CEO, Australian Music Centre) speak, I have been inspired
to reconsider the whole work. I will probably rewrite the outer
movements so that they are just for string quartet, and have
already had some ideas.
Image: Forum participants (from left): Julian Day, Melody Eötvös, Alison Beare (ASQ GM), Rachel Johnston (cello), Mark Holdsworth, Anne Horton (violin II), Ross Carey (NZ), Adam Starr, Sophie Rowell (violin I), Carl Vine, Thomas Green, Sally Boud (viola)
Further links
Adam Starr - website
Adam Starr -
ASQ National Composers' Forum, composer blog, part
1
Thomas Green -
ASQ National Composers' Forum, composer blog, part
1
Thomas Green -
ASQ
National Composers' Forum, composer blog, part 2
Melody Eötvös -
ASQ National Composers' Forum, composer blog, part
1
Melody Eötvös -
ASQ National Composers' Forum, composer blog, part 2
Mark Holdsworth -
ASQ National Composers' Forum, composer blog, part 1
Ross Carey -
ASQ National Composers' Forum, composer blog
© Australian Music Centre (2010) — Permission must be obtained from the AMC if you wish to reproduce this article either online or in print.
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