Genevieve Lacey is a recorder player, a storyteller, and a creative catalyst. She brings together ideas and people and weaves them into new visions. Both new works in tonight’s concert began as tiny kernels of an idea which have, over the course of nearly ten years, grown into major new works. Musica Viva Australia’s Director of Concerts & Communities, Katherine Kemp, asks Genevieve about the genesis of these projects.
How did you meet Jon and Hollis? What do you find inspiring about them and their music?
Jon and Hollis are legendary figures in contemporary music. I met them first through their iconic work, which I admired as an avid listener and audience member. I was delighted when Hollis invited me to record a handful of her solo pieces, which are inspired by her lifelong study and celebration of pied butcherbird song. That led to me asking Hollis and Jon to write me a concerto, Absolute Bird, which I premiered in 2017 with ASO and Paul Kildea conducting, and subsequently performed with MSO and City of London Sinfonia.
Jon and Hollis are inspiring people and artists. They have brilliant imaginations, fierce intellects, and have created singular lives in music.
How did you meet Alexis? Why did you suggest her words would be ideal for a Latvian composer to set?
I met Alexis through the remarkable ensemble Black Arm Band, who I had the privilege of working with from 2008, for about a six-year period. Alexis and I share a love for music and words (I’m a voracious reader, and she’s a great listener), and she’s very generously allowed me to use her texts in a couple of projects since the Black Arm Band days, including Breathing Space, the permanent sound installation I created for the National Museum of Australia.
I thought that text from Alexis’ novel The Swan Book — which refers often to sound and music — would suit this program and project. And the idea of pairing the best of contemporary Australian writing with the best of contemporary Latvian composition feels like a joyful meeting and celebration of two cultures.
What are you looking forward to, in working with Kaspars and the Latvian Radio Choir?
I’m looking forward to being wrapped in their velvety sound. They’re musically incredibly flexible, performing newly commissioned works and absolute classics with equal elegance. Kaspars is a beautifully thoughtful programmer and conductor. They’ve already been warmly welcoming of my unusual instruments and the ideas central to this project, so I can’t wait to have the joy of meeting and rehearsing with them in Riga, and touring with them across Australia.
Genevieve Lacey in Soliloquy for Sydney Festival Photo credit: Pia Johnson
What kind of discussions have you had with Eriks?
Eriks and I have talked about the characters of my instruments (I’ll play multiple recorders in his piece), and Alexis’ text. He has been so sensitive and respectful in his setting of Alexis’ words, and the qualities of my instruments. Seeing the score emerge has been thrilling.
You’ve built a stunning career out of such imaginative musical adventures – but do you ever wake up feeling like you’d like to do something really bog-standard for once? Why or why not?
Bog-standard isn’t my natural inclination. I’ve a mind and an imagination that don’t sit still, and I feel fortunate to be able to use those traits daily. I love trying new ideas with a range of people with different skills and sensibilities, and I hope there will be many more adventures ahead.
