To end my half-year in Germany, I was lucky to attend the Darmstadt Summer Course and take part in the intensive workshop 'Local Music' run by Sarah Saviet
and Arne Gieshoff. For a full week, we worked on a site-specific project in the New Artists' Colony in Matildenhöhe, a residency space with a rich artistic
history within a beautiful garden. As a group of composer/performer/improvisers, we explored the gardens and gallery and studio spaces, unlocking the sonic
possibilities of the location. As well as performing in group outdoors feedback improvisations, I also came up with an idea for a short piece for trombone and
violin, Rosenhöhe. The piece is very much inspired by the architecture of the studio
gallery space, with its high balcony and large window. The violinist and trombonist are tied together with string, alternating between control over each other
while also controlling, through motion tracking, the mixing of two tracks made out of field recordings. This experiment in interplay between hidden sounds, control
and movement was only possible because of the shared excitement of our project's group and gentle support of Saviet and Gieshoff.
My second week of Darmstadt was focused on learning and listening. I took lessons with Du Yun, Brigitta Muntendorf and Matthew Schlomowitz, and joined classes with
Lachenmann and Clara Iannotta. All of these encounters were inspiring in different ways, but I focused most on understanding more about musical form and dramaturgy,
preparing to work on my chamber opera that will be my largest work to date. Presenting my work in progress and ideas over and over again throughout the summer course
gave me a new perspective on my PhD research, uncovering ways of communicating to peers and audience. I'm so grateful to have been able, with the support of Monash and
the Ian Potter Cultural Trust, to experience this eye-opening fortnight. I leave with excitement about when I'll next encounter my friends from around the world.
Photo by Kristof Lemp.