Next week I will be fighting off the ferocious penguins in the sub-Antarctic climes of Hobart for a week of tomfoolery with the Tasmanian Symphony Orchestra under the chaperonage of Maria Grenfell, Matthew Hindson and Andrew Schultz and the baton of Brett Kelly. This is all tremendously exciting, both the chance of freezing in the street and the too-rare luxury of a week’s indulgence with a top notch professional orchestra and equally top-notch tutors. I have a new original work being bashed around, Komorebi, and also a short little arrangement of a very weird Liszt piano work.
But soft, the hits keep coming.
The last two days of the week will be spent with a different mad crew, under the baton of Tahu Matheson, as we bash through the orchestral scores of the Seven Deadly Sins, with the cast. I’m looking forward to hear my scene en masse. I use the singular, as one of my scenes is having the drywall ripped out, new insulation banged in and the windows re-glazed following the piano workshop in Melbourne a few weeks ago. Whilst I obviously would prefer to be a composer of incredible genius who never needs to edit a note and never places a word like ‘bathroom’ on a weird beat, this does mean that the scene is going to be so much better by showtime in Melbourne (TICKETS ON SALE NOW!).
Still more hits!
On 5 July, the extravagantly gifted, generous and maned Stefan Cassomenos is premiering my piano party piece Moto Perpetuo Mondrian. This sweaty dance hall toccata takes a starting point from a boogie-woogie bass-line, dips into contemporary art theory about Piet Mondrian and goes from there. Stefan will be performing with ace violinist Monica Curro in a program of superb company at the Warburton Arts Centre.