Australian Music Centre | Breaking sound barriers

The cello is without doubt my favourite instrument - I even tried to learn it, unsuccessfully, in high school - so when it coincided that the cello is played by my favourite person, I naturally wanted to write a piece such as this.

I have written quite a few pieces that feature the cello but this one was a completely different process and a work of pure indulgence and love. Straight after finishing my opera "Dry River Run", I found a new need for melody and its reaction to the harmony in my writing. There is nothing like spending two years writing two hours of libretto based music to liven up your sense of drama and cohesiveness and learn about your harmonic language.

It is more than possible that no such work as a concerto for cello with wind quintet exists and now that I have written it, I hope that others will follow suit. The interplay between the solo string instrument and the mini orchestra of winds was enormous fun to play with and I have often thought that it wouldn't be the last time I write for this combination.

Much of my music has a theme or story behind it, yet this piece is pure music for music's sake and whilst it contains images of some of Trish and my favourite things, there is no underlying story.

The first movement, 'New paths', is a reflection of my compositional changes following the time spent bunkered down writing the opera. I guess in a subliminal way, it also reflects Trish and I moving to Brisbane and finding new dog walks and the like. The first movement is dense and exploratory in a way that such a new combination deserves and highlights the virtuosity of all the players on stage.

The second movement basically just laid itself out in front of me one morning on our daily walk with our two dogs Mia and Bear. Over our local park there is a phenomenal collection of leopard trees that in the early light of the Brisbane summer day, create a canopy and an explosion of light and colour that takes my breath away. As one of our favourite places, my musical picture of that image had to appear in this piece.

The third movement was my attempt to write music that whilst complex is still fun to play and to listen to. I have been obsessed with the music of Les Six for over three decades and in particular, the music of Francis Poulenc. While the second Viennese School were strutting their stuff and the post Wagner and post Debussy world were also battling it out, Poulenc and his friends made remarkable music that enticed, entertained and moved audiences in a way so entirely their own. The playfulness between the instruments and the complex and intricate rhythm is central to the drama and humour. My underlying vision and idea came from the virtuosity of my friends on stage performing it together - the true essence of chamber music.

I send endless thanks to the Ensemble Q members who worked tirelessly to make this piece happen. (David Shaw-fl, Jonathan Henderson-fl, Virginia Taylor-fl, Huw Jones-ob/cor, David Mitchell-bsn and Peter Luff-hn)

The concerto is, of course, dedicated to Trish Dean, the love of my life. Her patience and encouragement throughout drove the course of the drama and the mood. The piece is a simple and honest gift of love, and friendship, and companionship.

PD 2018