APRA AMCOS has announced the 2019 Art Music Fund recipients, with the $100,000 allocation supporting nine composers across seven new projects. This year’s recipients are Professor Anne Boyd, Anthea Caddy and Judith Hamann, Dr Eve de Castro-Robinson, Liam Flenady, Kate Neal, Dr James Rushford, and David Shea and Monica Lim.
Anthea Caddy and Judith Hamann. Photo Supplied.
“Themes of place, the environment, and climate change are some of what is reflected in the successful applications, and many other of the applications to this year’s Art Music Fund,” John Davis, the CEO of the Australian Music Centre said. “These are the themes that dominate much of Australia and New Zealand’s social and political agenda, demonstrating that the artform engages with the ‘here and now’ in very direct ways.”
Currently in its third year, the Fund aims to create commissioned work that is complemented by an exploitation program, that may include recordings, performances or presentations. There are already plans for recordings of the new works, as well as performances slated for locations including Melbourne, Auckland, Brussels, Berlin, New York, Fife and Scotland.
The projects themselves are incredibly diverse, from a new opera to music for new instruments. Co-recipients Anthea Caddy and Judith Hamann will write an electro-acoustic work for dual cellos, while David Shea and Monica Lim’s proposed work, The Heart Sutra Project, is a series of compositions for an electromagnetic piano.
Kate Neal will collaborate with Ensemble Offspring, Dancenorth and electronic composer Grischa Lichtenberger. Her 30-minute work will explore the intersection between multiple sound aesthetics, movement and light.
Professor Anne Boyd’s opera project, will draw on the life of painter and anthropologist, Olive Muriel Pink, a social activist on behalf of the Warlpiri and Arrernte people of the Alice Springs region. The opera will be performed outdoors in the Olive Pink Botanical Garden itself, and is based entirely on local stories and the “Two Ways” collaborative partnerships between Aboriginal and non-Aboriginal artists.
Dr Eve de Castro-Robinson’s Clarion is a trumpet concerto for fellow New Zealander Bede Williams, drawing on Scottish music and the sonic possibilities of a conch shell, referencing urgent calls to action for climate change, while Liam Flenady’s Five Seasons, for trombone and percussion, will be based on themes of geological time, non-Western concepts of time and seasons, and ecological crisis.
Dr James Rushford’s performance-installation Prey Calling, in partnership with M.E.S.S. and the California Institute of the Arts, is inspired by the history of the Serge modular synthesiser as a sonic decoy for humpback whales, and will use live electronic predator calls.
Last year’s Art Music Fund recipients were Anthony Pateras, Bree van Reyk, Connor D’Netto, Elissa Goodrich, Fiona Hill, Julian Day, Matt Keegan, Rae Howell and Tristan Coelho.