NOMINATION: Performance of the Year - Notated Composition
NOMINATION: Performance of the Year - Notated Composition
For the performance of a single Australian work, showcasing the performer(s)’ success in revealing the nature and intention of a composition with clear notated instructions for the performer. Works with significant improvisatory aspects should instead be submitted for Performance of the Year: Jazz / Improvised Music.
A work is defined as a single complete musical composition, or expression. This includes music with movements or sub-works (i.e. song cycles), installations, and real-time compositions (improvised music).
If you believe your performance to be nominated in the wrong category or the details of your nomination to be incorrect, please contact the AMC via email at awards@australianmusiccentre.com.au before proceeding with the nomination.
I would like to nominate Claire Edwardes' remarkable world premiere performance of Kate Moore's new work written for her talents, Joyful Melodies, for Performance of the Year (Notated). I was in the live audience at ACO Pier 2/3 which was actually an exhilarating Ensemble Offspring concert entitled Psychedelic Frenzy. The scene was set for a stellar performance by angular and architectural lighting of the space and indeed Claire's performance was electrifying just like the set. Set behind her vibraphone she was wearing a gold spangled top and all I can really say is that she 'shredded' this new work! It is obviously highly virtuosic and extremely difficult and whilst the work was still fresh for her (as is always the case with world premiere performances) because of her long time association with the composer and the style of her music. This is the second vibraphone solo by Kate Moore that Claire now has featured in her repertoire. The length of this work is epic at almost 14 minutes and what I found most impressive was the way in which Claire managed to hold the audience for the entire duration of the performance - it was almost like the piece itself was one long phrase! As one reviewer from Classikon said: Claire Edwardes intense performance of Kate Moores new composition, Joyful Melodies (2024),Edwardes masterfully brought out fragments of melody, is at once reflective, before growing increasingly frenzied.Edwardes sheer focus over the course of this long piece was spectacular. With her teeth gritted and brow furrowed in concentration, Moores music became drama. This is the painful kind of joy Moore was portraying, I am sure.