By Natasha Trinkle
Cello and piano, c.4'45. Grade AMus
Devils at Dusk begins and ends with improvised sections in which the cellist is encouraged to create a soundscape depicting either Tasmanian Devils or an Australian bush setting. These sections also provide an opportunity for developing cellists to explore extended technique and find different sounds that they enjoy creating with the cello. Composed 2015
Published under the Wirripang New Composition scheme.
Natasha Trinkle is a freelance cellist and cello teacher living in Melbourne. Her interests include the use of cello in traditional and folk music genres, as well as composition and Australian improvised music. Natasha began learning piano at the age of five and cello at the age of nine. Cello became her main focus and in 2000 she completed a Bachelor of Music at the Elder Conservatorium in Adelaide. Following this she began exploring the role of cello in various contexts, in particular Scottish folk music, jazz, and improvised music. It was this passion for improvising that prompted Natasha to complete Honours in cello performance at Monash University in 2015. During this time, she also began experimenting with composition, and with support from staff at Monash, Natasha was able to integrate improvisation and composition into her Honours performance program. In November 2015, Natasha Trinkle won first prize for Devils at Dusk in the inaugural ANZCA composition competition at Monash University.
ISMN 9790720171029$18.00 for instant PDF download score and part
By Jessica Lee
The two outer sections of the music are frenetic, but not too aggressive, while the middle is more tranquil - like the calm in the eye of the storm, a melancholic respite before the storm resumes. Composed in 2001 it was winner of the Australian Flute Festival Composition Competition in 2012 held in Canberra.
Jessica Lee began her musical studies with piano lessons at the age of four and picked up the flute a few years later. She completed her Bachelor of Music in 2005, graduating from the Sydney Conservatorium of Music with 1st Class Honours. Following graduation, she performed with the Australian Youth Orchestra and the Sydney Sinfonia and was a finalist in the 2MBS-FM Young Performer of the Year Awards 2007. She moved to London the following year to pursue postgraduate studies at the Royal College of Music. Highlights during her time overseas include participating in the London Symphony Orchestra’s side-by-side scheme and performing with the RCM Baroque Orchestra under the direction of Sir Roger Norrington in the BBC Proms 2012 Saturday Matinee series at Cadogan Hall.
Since her return to Australia in 2013, Jessica has worked with the Sydney Symphony Orchestra and the Australian Opera and Ballet Orchestra and has been accepted onto the casual player lists of the Hong Kong Sinfonietta, Melbourne and Queensland Symphony Orchestras. Although she is currently more active as a performer and teacher, Jessica has always found composition extremely satisfying on an intellectual and creative level. She began writing little pieces as a child and since then, some notable highlights have included being one of only 25 HSC candidates nominated for composition throughout NSW for Encore 2001 and having her choral work ‘Song of Federation’ performed by a massed choir of over 400 students at a Combined Catholic Schools music festival held at the Sydney Town Hall. Jessica is a Wirripang New Composition composer.
By David Yardley
David Yardley is a critically-acclaimed, award-winning composer of choral music, writing medieval/fantasy-inspired works influenced by authentic medieval techniques. Based in New York as of 2016, David was born in Australia and has composed music performed by a number of Australian and international choirs.
In 2012, he released a CD of his compositions, titled New Carols and Songs for Chaucer’s Pilgrims. The CD has been broadcast on national radio and received a 4½ star review in the national newspaper, The Weekend Australian. On the CD, his works were performed by some of Australia’s finest choral musicians, using medieval English lyrics for which the original music from the time has not survived.
Since this time, in the context of his diplomatic postings, David has composed music for the Afghanistan National Institute of Music and the choir of Southwark Cathedral, London. In 2016, David won the Royal School of Church Music (Australia) Composition Competition with his setting of Psalm 33, from the Middle English Wycliffe Bible. 'Wirripang New Composition' (2015).
Youtube Canberra choir https://www.youtube.com/watch?v=SccSd9lDDFY
By Jack Bochow
Piano solo, composed 2016, c.4'30 - 5'00. Grade: A.Mus L.MusWinner of the Wirripang New Composition 2017 - Queensland Music Teachers' Assoc., Gold Coast.
Born in 1994 and raised in South-East Queensland, Jack Bochow has been composing since age 12. He completed his Bachelor studies in Classical Piano in 2015 at Queensland Conservatorium, and since then has commenced a Masters degree in Composition studying at the same institution. He has been involved in many public and private piano performances within Queensland featuring both his own work and the classical repertoire. His compositional style is currently centred on the piano, and encompasses a variety of genres ranging from jazz to contemporary classical to minimalism. He received a Highly Commended award in the 2015 Sydney Eisteddfod for Own Composition, has had pieces performed in workshop by Michael-Kieran Harvey and most recently won the 2017 MTAQ Composers Competition. He currently lives in Brisbane and intends to continue pursuing composition as a career both within Australia and eventually overseas.
This work explores an eclectic variety of styles, characters and technical features. But it is essentially - and most importantly - an exposition of the inner-feelings of a composer exploring their language.
Unburdened by a context or a specific cultural inspiration, it is music that is direct, spirited and personal. Utilising features found in contemporary jazz, classical & modal harmony, the Toccata-Soliloquy creates a continually shifting plane of ideas that ebb and flow between harmonic and technical extremes. It never quite allows the listener to become fully settled in a single motif, but always keeps them so close to the notes that it is impossible not to feel the tension, ferocity and joie de vivre that bursts from each bar as the composer speaks to them in his own language.