This weekend the Sydney Chamber Choir (see\u00a0our post),\u00a0presents their concert \u201cBach to the Future\u201d performing three of JS Bach\u2019s great motets, and building on them with the works of contemporary composers who include Richard Marlowe, Stephen Paulus, and Gabriel Jackson. Amongst this cohort is a young Australian composer, Joseph Twist who is in fact, a member of the choir. Twist\u2019s \u2018Vor Singet\u2019 will receive its world premiere in this performance.\u00a0<\/p>\n
Twist describes \u2018Vor Singet\u2019 as \u201creally being about Bach, specifically his great Motet, and the way that Bach’s music seems to have stood the test of time so well. His music is ubiquitous even now, after hundreds of years. My piece is a personal musical reflection of this idea – it represents a fascination with Bach from an Australian composer born in the 1980s\u2019. This is Twist\u2019s second piece built around JS Bach\u2019s motet for double choir \u201cSinget Dem Herrn\u201d.<\/p>\n
Twist has studied music composition extensively acquiring a string of composition awards.\u00a0 The letters after his name include a PhD in composition. Represented by the Australian Music Centre, Twist has also equipped himself to write screen music and counts Richard Mills and Nigel Butterley amongst his mentors. As a consummate improviser, JS Bach may well have regarded Twist with pride, because Twist will shortly attend the Dartington International Summer School of Music in the UK, to which he has won a scholarship to study jazz piano with Lewis Riley.<\/p>\n
\u00a0Twist is a busy composer, but still finds time to conduct and to sing. A composer writing for singers with first hand knowledge of the voice is enough to make any singer weep with gratitude. His piece \u2018Vor Singet\u2019 could be summed up as a convergence of Baroque, jazz and vocal aesthetics. He says \u201c It is a fairly plaintive piece, which uses a chorale from Bach’s motet \u2018Singet Dem Herrn\u2019, sung by a semi chorus, around which the rest of the choir hums rich, jazz-based harmonies, or repeats the words “Sing to the Lord a new song.” Combined with this is a cello obbligato, which incorporates other musical ideas from Bach’s motet. \u2018Vor Singet\u2019 is yet another example of the unwavering impact of Bach on music in the 21st Century. This performance of \u2018Vor Singet\u2019 will be followed directly by Bach’s motet – hence the title \u2018Vor (before) Singet\u2019.\u00a0<\/p>\n
Though influenced by many different styles, classical concert music has probably been what Twist has drawn on most. \u201cI suppose more generally, I like to think of my music as ‘eclectic’, ‘democratic’ and ‘expressive’.\u00a0 I’m also inspired by jazz, film music, pop music, musicals\u2026 all sorts of things. Each of these styles has equal potential for being incorporated into a meaningful and intelligible musical style. One of my major objectives is to be very expressive in my music, permeated by strong melodic writing and a rich harmonic language that resonates well, whether it is sung by a choir or played by an orchestra\u201d.<\/p>\n
\u00a0Joseph Twist is a serious and thoughtful musician, set to question the artificial divides that compartmentalize music and able to transcend them in his music. Audiences will look forward to hearing \u2018Vor Singet\u201d this weekend and it will enable them to respond as individuals, to his music. Possible too then, that we would draw on a phrase from Twist\u2019s namesake and ask for \u201cMore please?\u201d<\/p>\n
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