Capturing Spontaneity in Notated Form

Your new work Superhighway explores several ideas. Tell us about your inspirations and how you’ve combined these ideas together in the concerto.

For me, I either have a title right at the start of the composing processing or not until the very end. A few days into working on the piece, I was driving on the M4 motorway in Sydney and the title Superhighway sprung to mind. It fitted well with the musical ideas I was already exploring, of letting the saxophone fly at full pelt from the get-go, but also led me to consider the other types of superhighways that exist and how this could provide inspiration for the following movements. I liked the idea of the musical line itself being its own highway.

Not long after, I was watching a whale documentary and there was much discussion about migration highways – it was fortuitous timing, and I started to wonder if these awe-inspiring journeys could form the basis of movement two. I knew this would also allow for some good contrast in a slower, more lyrical movement. And finally, movement 3 is inspired by the original information superhighway, the internet. I wanted to write a movement that was a bit darker, especially given the number of questions we now have surrounding data breaches, hacking, and the possibilities of artificial intelligence.   

Your compositions blend genres in such a seamless and innovative way. What is your process when composing a new work?

The process is different for each piece, of course, but I tend to start primarily with rhythm. I feel this helps me get to the essence of the piece’s energy or momentum, starting with small bite-size rhythms and then expanding them out into an entire structure. I capture a lot of my own improvisations, either on drum kit, flute or trumpet, and sometimes singing or vocalising, and try and transcribe them into something workable and malleable. In the last eighteen months I’ve been experimenting with a LaunchPad device too, which I use in the software Ableton Live as a type of MIDI controller. This kind of lets me play the saxophone (or any other instrument) with my hands, like a drum kit, which I find enormously useful in imagining new combinations of sounds.  

How has your experience as a percussionist impacted your work as a composer?

A large part of my musical background is as a drummer. My favourite aspect of drumming is improvising and jamming with other instrumentalists. I love the feeling of being on the edge of the music and not quite knowing what will happen next, but knowing that you can adapt to whatever is thrown your way. I feel drummers, especially in improvising bands, are in a unique position to have a birds-eye view of the music and instinctively know how to move it somewhere else. I see a great parallel here with composing. Part of what I’m trying to capture when I’m writing is this sense of spontaneity that I so enjoy from playing. It may sound strange, but I’d describe it as a feeling of always trying to surprise yourself. I’m interested in capturing spontaneity in notated form.    

What’s a piece of advice you’ve received in your career that you think aspiring composers should know?

Be crazy bold! I remember reading an article from the Australian Music Centre many years ago that was a collection of advice for young composers from well-known Australian composers. That particular nugget was from Matthew Hindson. It really struck a chord with me, and I interpret it as always being bold enough to have something to say and finding your voice.  

Secondly, write as much music as you can stomach!

Matthew Styles is favourite in the local jazz scene and has performed all over the world. What are you most looking forward to about his performance of Superhighway?

How could I possibly pick one thing! I’m so excited to hear it live and in the flesh, and I know that Matt will give a stellar performance. I’m really looking forward to collaborating in-person and tweaking things here and there. It’s a dream team with Umberto Clerici at the helm too.

What part of the concerto are you most excited for the audience to hear?

Matt Styles absolutely nailing the saxophone part!

Symphonie Fantastique
9 & 10 August, Perth Concert Hall
Tickets on sale now.