We all have a natural voice. But the trained voice, and its capabilities, is not an instrument that young composers often have much experience with. For many, the vocal instrument - and its abilities - are not still a mystery. Additionally, the way the purely musical characteristics of the instrument interact with the added layer of text expression is a fascinating and critical area of study for anyone serious in working with singers.
Halcyon's aim has always been to connect audiences with great vocal writing and to help them engage with the composers of our time. Almost twenty-five years later, I look back at a performance history full of stellar works (both famous and obscure) featuring a wealth of contemporary composers (some highly regarded, some growing in stature) and a litany of colleagues and lasting friendships gained along the way.
Showcasing the voice as an ensemble instrument – not simply a soloist with an instrumental accompaniment – has always been a key focus of Halcyon’s work. For me this is what makes vocal chamber music so engaging. Being in an equal musical partnership, sharing timbres and textures with the instruments, and being challenged to continually listen and adapt to each other responsively - all this is what makes the repertoire so thrilling and rewarding to perform.
As a singer I have spent more than three decades immersed in scores, analysing composer's ideas, along with the poets (or other text materials) they set, and creating an interpretation informed by both. In essence, as an interpreter I spend time 'decoding' the score, noticing the unique aspects that define each composer's writing style. This musical 'language' for me becomes as critical as any text they may source. The variety of thought and expression I have encountered across many years (and hundreds of scores!) continues to inform my approach to each new work I prepare.
Ten years ago, Alison Morgan (co-founder of Halcyon) and I created the original First Stones project. We wanted to share our expertise with emerging composers and give them a chance to get 'up close and personal' with us, to try to demystify the voice, to connect a new generation to the work of experienced vocal composers and to help them learn how to convey their ideas more clearly.
Elliott Gyger was our composer-mentor in 2011 and I am thrilled he will be returning to work alongside me this year. Since that time Halcyon has premiered four more of his works, our collaborative output growing in those years from two works to seven (with one still to be premiered) and including Halcyon's highly regarded album From the Hungry Waiting Country.
First Stones 2021 is a two-stage project, across two weekends in July (10-11 and 24-25). At different times over the two weekends, Elliott and I will be joined by composer Cameron Lam, bass-baritone Andrew O'Connor and cellist James Larsen. You can read more about all the personnel on the First Stones page.
Stage 1 presents the foundations - with conversations about the voice and vocal writing, and practical examples drawn from contemporary vocal repertoire from both composer and performer perspectives.
While valuable for all emerging composers, I hope it serves another equally important role - that of demystifying contemporary classical vocal repertoire for students and teachers of singing. The joy of discovering new work and composers who are unknown to me, but who say something musically that I respond to, is a great joy. I was encouraged by my teacher to explore the widest cross-section of repertoire - from early Baroque music to the present day - and to seek meaning in music of every era. Those who have worked with me know I will always have something to say when it comes to vocal line, text setting, poetic or musical intent and expression!
This inquisitiveness is something I would love to encourage in others and I welcome any singer or teacher to join us for Stage 1 if they are curious to know more about new vocal music and to meet some living composers and hear them talk about their work.
Stage 2 is a vital practical workshop for emerging composers. It will give the selected applicants access to skilled practitioners, to constructive feedback and a chance to explore the best ways to express their ideas clearly for performers.
All music was newly created once. Works that are now regarded as 'canon' were once world premieres, being heard for the first time by an expectant audience. How rewarding it has been to be a performer of music that is being created in the present day, engaging with living composers and bringing to life their thoughts and ideas. As I have said in a previous blog, "Music is built on relationships - it is not created or performed in a vacuum." I'm looking forward to sharing some of these insights and engaging with all those curious to learn more about the voice and the composers who write for it. And to starting more conversations.
FIRST STONES 2021
Stage 1 July 10-11 BUY TICKETS here
Stage 2 July 24-25 APPLY here
**Applications for Stage 2 close on June 18
Presented in association with the Australian Music Centre