A quote in Claire Edwardes’ biography calls her a “Sorceress of percussion”.
“Which means that I’m like a magician or a sorceress when I’m taking part in percussion, I assume,” Edwardes muses.
“I form of just like the idea of that as a result of the rationale I play music is to conjure up the imagery and emotions and reactions from folks, so I prefer it when folks really feel that I’ve transported them to a different world by my music.”
The Sydney-based soloist and creative director of Ensemble Offspring will entrance WA Symphony Orchestra on Friday to play Dances with Devils: Concerto for Percussion and Orchestra, by WA composer and Competition maestro Iain Grandage.
It was impressed by a tour the duo undertook of the Dampier Peninsula 15 years in the past, and took form when the Melbourne and Tasmanian Symphony Orchestras joined forces to fee the piece in 2015, below the baton of Ben Northey who conducts this WASO efficiency.
“We haven’t carried out it since that first yr of premieres, and I’m excited to be taking part in it in Iain’s residence city,” Edwardes says.
“There’s a plethora of percussion alongside the entrance of the stage and I’ve what we name two set-ups. On the left hand aspect I’ve marimba, drums and tambourines, temple blocks and some cymbals, and that’s the majority of the devices I play.
“And there’s one stunning motion after I go over to the opposite aspect of the stage the place I play a particular contraption that Iain designed and had constructed the place I be a part of my arms to those items of wire which make two tubular bells go up and down into water and I really pitch-bend the tubular bells, in order that’s very metallic and other-worldly sounding, and it’s meant to sound like drowning.”
Every motion is impressed by a bush story involving ladies of the colonial period.
The primary describes a homicide by a swagman; the second a suicide by drowning.
The third is drawn from Henry Lawson’s The Drover’s Spouse; and the finale channels the European courtesan Lola Montez on a tour of the 1850s goldfields.
“I nearly must embody every of the ladies in every of the actions,” Edwardes says.
“The final one is a Spider Dance by Lola Montez, they’re all extremely contrasting and that makes for a really stimulating musical expertise. It’s visually stimulating as a result of I’m shifting round so much, but it surely’s additionally musically very wealthy.”
Is it feminist?
“In a manner what Iain is making an attempt to do by telling the tales of those 4 ladies by music is de facto to empower the tales of girls and place them entrance and centre and I’m myself very dedicated to gender fairness within the classical music scene,” Edwardes says.
“So it feels fairly becoming of me as a feminine percussionist, of which there aren’t an enormous quantity across the place, to be telling these attention-grabbing and likewise essential tales from the flip of the century 1800-1900s in Australia.
“It’s not an overtly feminist piece, it’s written by a bloke in any case,” she jokes.
“However he works very collaboratively and so it nearly feels prefer it’s one thing that we created collectively and that’s additionally how he works with First Nations musicians as properly, he’s a really beneficiant artist.”
Edwardes is an envoy for Key Change, a European Union initiative searching for 50:50 illustration of girls in music, not simply classical but in addition rock bands.
“Within the group that I artistically direct in Sydney, we’ve actually rotated programming since 2017 to be at the very least 50 per cent feminine content material and I prefer to encourage different folks to do the identical, particularly with music written by ladies composers as a result of there’s no motive to not,” she says.
“As a Key Change ambassador I attempt to get different organisations, for instance, Sydney Symphony Orchestra, to enroll to Key Change. All that does is that they must report back to a quota, and whereas lots of people don’t suppose quotas work or are helpful, I do suppose when you find yourself making an attempt to make actually acutely aware change and make it rapidly, they’re very useful.
“So this technique is type of a quota system. Nothing occurs to you if you happen to don’t attain the quota however at the very least you’re acutely aware of making an attempt to take action.”
Edwardes can be eager to advertise function fashions to encourage younger ladies.
“It’s a mix of composers and conductors and function modelling means the youthful era have function fashions that we by no means had,” she says.
“It’s really how rapidly you can also make this alteration, if you understand the historical past behind us.
“We’re hoping that we are able to get by the gender factor rapidly so we are able to then spend vitality on different minorities and underprivileged folks and First Nations, after all, as a result of that’s tremendous essential.”
It’s an optimistic view, particularly after the wipeout of 2020.
“The great factor is that we have been in a position to spend so much of time documenting exercise, that was constructive, and I do suppose personally, in addition to a variety of different artists I do know, actually benefited from simply stopping for a bit and reflecting,” she says.
“It’s busy once more in Sydney, very busy, and we’re all a bit wishing it might be like final yr once more.
“Or one thing in between, if attainable. It’s feast or famine round right here.
Ensemble Offspring, her future music mission, was to mark its twenty fifth anniversary with a collection of excursions. Massive tasks, together with Dances with Devils, have been cancelled or postponed.
“However the good thing about having the ability to pivot — that phrase that everybody’s utilizing — and discover artistic methods of partaking along with your viewers, I discovered as an inventive director and likewise a soloist, I discovered actually attention-grabbing,” Edwards says.
“I believe I thrived on the challenges of how one can do it, how one can hold going, how one can create alternatives for my colleagues in Ensemble Offspring, how one can create follow alternatives and efficiency alternatives, and so we did go along with Zoom live shows on-line for bespoke, small audiences they usually have been actually well-liked and I learnt so much when it comes to how one can work together with folks in new methods and how one can be artistic with the way you assist the ecosystem round you. Lots of people weren’t coping and I used to be capable of be a constructive drive to buoy folks up throughout that point.”
Claire Edwardes performs Dances with Devils at Perth Live performance Corridor, on Friday, April 9, at 7.30pm. This system begins with Rimsky-Korsakov’s Might Evening: Overture, and concludes along with his Scheherazade suite.