Gigs!

I’ve just finished a season of Prokofiev’s Romeo and Juliet at the Arts Centre with Houston Ballet and Orchestra Victoria. Such incredible music- thanks Sergei!

In the pit

 

And in the middle of that I played a baroque gig at St John’s, Southgate. It was a wonderful opportunity to have a crack at the first trumpet part of BWV 63. Bach sure knew what he was doing 🙂

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Back in Melbourne

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I’ve been very fortunate to pick up some great gigs this month. This week I’ve started rehearsals playing in Prokofiev’s Romeo and Juliet with Orchestra Victoria and Houston Ballet. I’ve also been playing a lot of baroque trumpet; Woodend Winter Arts Festival a few weeks back and a gig this Sunday (bwv 63). Such incredible music, which is totally keeping me sane while I get my life back to some sort of normality after the past nine months of studying intensively overseas. I will also be completing my Masters thesis by August. Much to do!

Evolution

Here is a mix of my piece ‘Evolution’ that I recorded in Sofia with Radio Bulgaria in May. This was part of my Masters degree at Pulse College, Dublin.

The criteria was simply to compose a film music or game music cue of 3 minutes. The concept I came up with was for an imagined documentary about ‘Evolution’:

Game Music Cue

 

The concept of this piece was to write for an imagined game cue, of which I envisaged a heroine set on a journey to save her love.

The recording session was done in short sections and then later pieced together. I composed 3 different themes, all with layers of woodwind, brass, and strings.

Thin Boundaries

I was very fortunate to have a new chamber piece of mine, ‘Thin Boundaries’ premiered in a concert last week. It was an incredible concert curated by my friend and fellow trumpeteer Allison Wright. An exceptional display of new music played by incredible young musicians.

 

 

LT x

 

New work to be Premiered

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Melbourne based composer and freelance musician Allison Wright presents an evening of chamber music inspired by the sound of the emerging contemporary classical music scene in New York. In an exciting program featuring brand new Australian compositions and premieres, kammervolk will explore both the divide and intimacy between classical and pop music. 

Bringing together some of Australia’s finest young artists and instrumentalists, kammervolk will be a celebration of chamber music and collaborative art. 

Featuring:

Allison Wright: “Two chapters from the same story”, featuring artwork by Minna Leunig and poetry by Jacob Sutherland 

Carolyn Schofield: “Face-Up”


Judd Greenstein: “Clearing, dawn, dance” – Australian premiere

Tilman Robinson: “Orison”

Lachlan Hughes: “Liturgy”

Curtis Reardon: “Glimpses of the path”

Louisa Trewartha: “Thin boundaries”

and a few sneaky extras…

Featuring the instrumental talents of:

Flute – Tamara Kohler
Clarinet – Kenny Keppel
Trumpet – Allison Wright
Violin – Natasha Conrau
Viola – Anthony Chataway
Cello – Jenni Mills
Piano/Ondes Martenot – Jacob Abela
Percussion – Kaylie Melville

Doors open 30 minutes before show.

For bookings and info, head to www.trybooking.com/KZAH or phone 9417 1983
Adult $22
Concession $16
Under 25’s $10

www.boite.com.au

RECORDING in BULGARIA

 

 

 

110 piece Orchestral Recording Session at Radio Bulgaria:

On May 21st & 22nd, as part of my Masters course at Pulse College we recorded 3 minute cues of our original music. We were given the option to conduct, so this was my first experience conducting an ensemble of this size.

An absolutely unforgettable experience.

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Conducting to Click

In late March we had a recording session in Windmill Lane, Studio One where we recorded a scene conducting to click.

As part of the assignment we had to compose the work based only on the timing notes that had been written by a classmate, without being able to watch the actual scene.

I was given a dream scene from Shutter Island. Here is my re-scoring:

Conducting to Streamer

Recording session at Windmill Lane,  Studio 1- April 1st, 2016.

The task was to conduct to a streamer that had been inserted in to a scene of our choosing. The music needed to include 20th Century compositional techniques, written for a 25 piece string ensemble. I selected a scene from ‘A Beautiful Mind’.