ABSTRACT
A number of years ago, I was seeking to return to the ‘art music’ enclave after some time spent writing theatrical music and scoring a number of short films. The aesthetic voice in my head, coaxing me back in the direction of ‘serious’ music composition, had been growing steadily louder. Eventually I arrived at the point where I was ready to re-embark upon a long creative journey that I knew would provide nourishment and fulfilment, as well as frustration and angst. Getting to this moment of clarity had been no mean feat; I needed to convince myself that I had something to compose for – a reason to create. I found this impetus through my connection to the First World War. The prospect of giving voice to the narrative of my forebears through music was most exciting. I had been in dialogue with pianist Zubin Kanga, who was looking for new Australian piano works. He commissioned a composition that allowed me to reflect upon the war experiences of my great-great uncle. 1 I also began a quest to see what other Australian composers had engaged with the Great War in their own compositions. My findings left me surprised; there was little music to uncover. Despite the acknowledged importance of the First World War upon the development of Australian society and identity, few Australian art music composers have written works that grapple with our wartime past. 2
