NOMINATION: Work of the Year - Chamber
Chamber music is defined as works for between 1 and 12 players, with or without vocal parts, and with or without electronics
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 work 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.
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Nominee
May Lyon
Title of the work
Do Na Chaill
Librettist(s) or source author(s)
The text for this work is from a broadside ballad entitled Will-o-the-wisp, published in 1869 by The Poets Box, Glasgow, author unknown.
Performer
Jane Sheldon, Katia Molino and Ensemble Offspring
Performance Date
5/8/2024
Venue
Utzon Room Sydney Opera House
Nominator Statement
May Lyons Do Na Chaill, composed for soprano Jane Sheldon (soprano), Katia Molino (wisp on backing track), and Ensemble Offspring, presents an intense, atmospheric exploration of sound, movement, and storytelling. Premiered at the Utzon Room of the Sydney Opera House on 5th August 2024 as part of the Light and Matter concert, commissioned for the Noisy Women Commission 2023
The composition is heavily focused on atmosphere, creating a rich sound world that feels tangible. The music is crafted to evoke the murky, mysterious environment of the marshes, with smooth, slow lines that float through the ensemble. Lyon's use of sound isn't just abstractit tells a vivid story. The journey of the "traveller," portrayed through Jane Sheldons haunting soprano, is both personal and dramatic, unfolding through the music as she is led astray by the wisp, becoming ultimately lost. The deep emotional connection is enhanced by the dirge-like ending, giving the piece an emotional weight that resonates with the listener. Theres an inherent sense of danger, mystery, and fear, especially when paired with Sheldons powerful voice in Scots Gaelic. The final moments of the work, with the deep mourning of the dirge, hit a profoundly emotional note, leaving the listener with a lingering sense of loss and melancholy.
The blending of live voice (Sheldon) with the pre-recorded backing track creates an uncanny interaction that adds depth to the performance. The wisp, embodied in Molino's cackles and whispers, contrasts sharply with the voice of the traveller, creating an eerie dynamic. This combination, along with the ensemble, feels like a dialogue between the protagonist and the otherworldly forces, making the piece even more gripping. From the slow, almost meditative opening to the frantic chase, the shifts in pace and energy help the music reflect the emotional journey of the traveller, keeping the listener engaged. Lyons ability to manage this flow, maintaining a steady underlying tension while letting the music breathe at the right moments, ensures that every section of the work has a purpose and contributes to the overall experience.
In short, Do Na Chaill excels because it fuses story, sound, and emotion. Lyons ability to create an atmosphere that draws the listener into its narrative, while pushing the boundaries of ensemble and sound design, makes it a powerful, innovative work that resonates on both an intellectual and emotional level.
Nominee
May Lyon
Title of the work
Do Na Chaill
Librettist(s) or source author(s)
The text for this work is from a broadside ballad entitled Will-o-the-wisp, published in 1869 by The Poets Box, Glasgow, author unknown.
Performer
Jane Sheldon, Katia Molino and Ensemble Offspring
Performance Date
5/8/2024
Venue
Utzon Room Sydney Opera House
The composition is heavily focused on atmosphere, creating a rich sound world that feels tangible. The music is crafted to evoke the murky, mysterious environment of the marshes, with smooth, slow lines that float through the ensemble. Lyon's use of sound isn't just abstractit tells a vivid story. The journey of the "traveller," portrayed through Jane Sheldons haunting soprano, is both personal and dramatic, unfolding through the music as she is led astray by the wisp, becoming ultimately lost. The deep emotional connection is enhanced by the dirge-like ending, giving the piece an emotional weight that resonates with the listener. Theres an inherent sense of danger, mystery, and fear, especially when paired with Sheldons powerful voice in Scots Gaelic. The final moments of the work, with the deep mourning of the dirge, hit a profoundly emotional note, leaving the listener with a lingering sense of loss and melancholy.
The blending of live voice (Sheldon) with the pre-recorded backing track creates an uncanny interaction that adds depth to the performance. The wisp, embodied in Molino's cackles and whispers, contrasts sharply with the voice of the traveller, creating an eerie dynamic. This combination, along with the ensemble, feels like a dialogue between the protagonist and the otherworldly forces, making the piece even more gripping. From the slow, almost meditative opening to the frantic chase, the shifts in pace and energy help the music reflect the emotional journey of the traveller, keeping the listener engaged. Lyons ability to manage this flow, maintaining a steady underlying tension while letting the music breathe at the right moments, ensures that every section of the work has a purpose and contributes to the overall experience.
In short, Do Na Chaill excels because it fuses story, sound, and emotion. Lyons ability to create an atmosphere that draws the listener into its narrative, while pushing the boundaries of ensemble and sound design, makes it a powerful, innovative work that resonates on both an intellectual and emotional level.