Review: Darlington School Composers: A Night of New Music

Eugene Goossens Hall, Friday 3 July 1998

Published in Bravo! Review, 1998.

Only one word can describe the Darlington School Composers concert: eclectic. The programme consisted of music by four very different composers whose styles have evolved largely in concerts held at the University of Sydney's Old Darlington School. The compositions of Michele Morgan, William Frasier, Drew Crawford and Nick Wales show distinct personal styles which occasionally overlap - understandably mainly in collaborative compositions - and demonstrate influences including classical, jazz, Indian music, and pop styles. These composers are all very talented, and the programming of the concert was well planned to give the audience an overview of each composer's music.

The concert opened with three fascinating pieces by Michele Morgan, the first a trance-techno-influenced collaboration with Nick Wales, Bruised by Light. Readings from the Book of Ruth, a transcription of a tape piece for vocal ensemble, was particularly notable for its imaginative use of vocal effects such as whispering and speaking.

William Frasier's more traditionally classical compositions followed. Dissemble for three B-flat clarinets was performed at last year's 'Crackle' concert, where it seemed a little out-of-place. Under more favourable circumstances, it came across well - 'serious', but lively and good-humoured. Frasier's second piece, Vals, displayed the influence of Japanese music. Including significant sections of improvisation, this was an effective work, although placement of the cymbal further back and the guitar further forward on stage may have been beneficial to the balance of sound.

Opening Drew Crawford's section of the concert was Quadrivium 1 for two percussionists, commissioned by the Quadrivium Art Gallery for an exhibition entitled 'Glass'. Scored for marimba, vibraphone, glockenspiel, crotales, Chinese cymbal and crystal glasses, this exhilarating work demonstrated a marvellous vitreousness. The centrepiece of this section was a selection of songs from Crawford's music theatre work Why Are Our Porn Stars Killing Themselves?, two of which were performed at 'Crackle' by Michele Morgan. I loved both pieces then, and wanted to hear more; this time I passionately wished I hadn't missed the original production of the full work in 1997. There was again a slight problem with balance: particularly in 'Personals', the lyrics were occasionally obscured by the bass. The singer, Gina Zoia, was excellent and expressed the moods of the four songs admirably.

The final section of the programme demonstrated several of the styles in which Nick Wales is writing: popular-music-inspired 'classical', pure dance music, and the type of dance–classical mix that has become the trademark of his band, Coda. Crank:set for solo violin was written for Veronique Serret (who plays with Wales in Coda) 'because she's a rock chick who loves to play noise'. This snippet of information gives a good insight into the piece, a passionately rough landscape of sound - both 'music' and 'noise'. Techniques such as heavy bowing on the bridge of the instrument proved very effective, and the piece maintained a forceful momentum.

The concert was a great achivement, and the overall effect of the 'Night of New Music' was intoxicating, with varied works - all evidently significant in their composers' outputs - and excellent performances. It will be broadcast on ABC Classic FM on 26 August.

© 1998 Caitlin Rowley