Ross Edwards (composer)

Australian composer

Ross Edwards (born 23 December 1943) is an Australian composer of a wide variety of music including orchestral and chamber music, choral music, children's music, opera and film music. His distinctive sound world reflects his interest in deep ecology and his belief in the need to reconnect music with elemental forces, as well as restore its traditional association with ritual and dance. He also recognises the profound importance of music as an agent of healing. His music, universal in that it is concerned with age old mysteries surrounding humanity, is at the same time connected to its roots in Australia, whose cultural diversity it celebrates, and from whose natural environment it draws inspiration, especially birdsong and the mysterious patterns and drones of insects. As a composer living and working on the Pacific Rim, he is aware of the exciting potential of this vast region.

Ross Edwards was born and raised in Sydney, Australia. His parents were Frank Edwards, an engineer,

Edwards attended Sydney Grammar School, which did not offer music at the time. At 15 years of age, Edwards was granted permission to enter the New South Wales Conservatorium of Music to study piano, oboe, harmony, counterpoint and theory during lunch hours and weekends. A further Commonwealth Scholarship enabled Edwards to complete his studies with Peter Maxwell Davies in London in 1970, earning a Master of Music degree,

Returning to Sydney in 1970, Edwards taught in the Music Department of Sydney University and in 1974 married Helen Hopkins, one of his students. In the same year he became a lecturer in the Sydney Conservatorium's School of Composition, remaining there until 1980, when he began working as a freelance composer and lecturer. Working from their home in the coastal village of Pearl Beach, Edwards and his wife Helen, a piano teacher, led an idyllic and productive life until the education of their two children necessitated moving back to Sydney in 1984.

Reclusive by nature, Ross Edwards has largely eschewed following a career path as such, neglecting to promote his work and responding mainly to the inner dictates of his vocation. Based in Sydney and often retreating to work in the Blue Mountains west of the city, he has an acute sense of place and belonging, claiming to draw on his experience as "a composer living and working in Australia and relating to the world from an Australian perspective." Far from being isolationist, however, the surface of Edwards' music is often highly eclectic, making oblique references to many cultures in what he describes as an "intuitive search for unity within diversity". In spite of his natural reticence, Edwards' works have been featured at such international music festivals as the Vale of Glamorgan Festival, Wales; the Edinburgh International Festival; the Australian Festival of Chamber Music, Townsville; the Mostly Mozart Festival, New York; the City of London Festival; the Darwin International Guitar Festival; the Canberra International Music Festival; the Adelaide Festival; the Melbourne Festival; the Tucson Winter Chamber Music Festival, Arizona; International Society for Contemporary Music Festivals in Stockholm, Basel, Warsaw and Sydney; and the Festivals of Sydney and Perth.

Significant events include the award of a joint Australian Broadcasting Corporation/Australian Bicentennial commission to compose the violin concerto Maninyas (1988); Australian Creative "Keating" Fellowships in 1990 and 1995; and award of the Order of Australia – AM (1997). The composition of Dawn Mantras, Sydney's contribution to the millennium celebrations, was telecast worldwide to an audience of billions, attracting great international acclaim. In 2007 he was Musica Viva Australia's Featured Composer.

In 2005, Edwards' oboe concerto Bird Spirit Dreaming, originally composed for oboist Diana Doherty and the Sydney Symphony Orchestra, had its US premiere by Doherty, the New York Philharmonic and Lorin Maazel, after which it was toured worldwide and received enthusiastically. Another notable success was the 2010 UK premiere of the violin concerto Maninyas, given at the 2010 Edinburgh International Festival by its dedicatee, Dene Olding, the Sydney Symphony Orchestra and Vladimir Ashkenazy. This work has also gained international popularity through choreography for dance, notably by Stanton Welch for the San Francisco Ballet. Another Welch/Edwards collaboration, the ballet Zodiac, was successfully premiered by the Houston Ballet in 2015. Edwards' music, with its unique rhythms, has a natural affinity with dance. Another important collaboration with Australian saxophonist Amy Dickson, who now lives in London has produced three new works: the saxophone concerto Full Moon Dances (2012); the double concerto Frog and Star Cycle, for whose 2016 premiere Dickson was paired with the Scottish percussionist Colin Currie and accompanied by the Sydney Symphony Orchestra; and Bright Birds and Sorrows, which Dickson premiered at the 2017 Musica Viva Festival in Sydney with the Elias String Quartet, visiting from the UK.

In the early 1970s Edwards experienced an unexpected crisis. Disenchanted by the European music of the time, which was itself in crisis due to the waning of the Modernist movement, he found himself unable to compose for several years. Having returned to Australia due to the terminal illness of his mother, and while lecturing at the Sydney Conservatorium, he moved in 1974 with his wife and infant son to the village of Pearl Beach, north of Sydney, where his sister in law had a holiday house. Pearl Beach, which adjoined the Brisbane Water National Park "buzzing with wildlife", had an immediate effect on him and his work. "The summer days were swathed in the drones of cicadas with their mysteriously abrupt starts and stops and, at evening, the insects would start up. I was entranced by the insect chorus because it seemed to be on the verge of conveying some profound message which was ultimately elusive. All the temporal relationships in my music – the relative lengths of phrases and sections – are influenced by these ancient voices, whose near symmetries and inconsistently varied repetitions often seem close to our inherited musical syntax. I don’t doubt that, over the millennia, such voices have generated much of the world’s music and it’s not hard to detect their presence in various surviving folk and religious traditions".

The result of Edwards' move to Pearl Beach was a leap from the fierce complexity of some of his earlier work to a series of austere, meditative compositions (e. g., Tower of Remoteness (1978) and Etymalong (1984)), which became known as his Sacred Series, based on close listening to and absorption of the complex sound of the natural environment combined with his reading of Zen texts and commentaries. To Edwards' surprise, these skeletal compositions "found favour with the apostles of Orthodox Modernism," Edwards largely stayed aloof from these so called "style wars", seeking his own instinctual voice in the midst of controversy.

Throughout the 1980s, the shapes, rhythms and temporal relationships Edwards subconsciously gleaned from walking in the Brisbane Water National Park began increasingly to inform the structure and texture of his music, which took on the character of angular, animated chant, with subtly varied repetition of rhythmic cells over elaborated drones. This "dance chant", as he called it, sometimes mistakenly aligned with the minimalist movement, was closely examined by Paul Stanhope, who claimed that it suggested ritualistic behaviour.

Since the turn of the 21st century, Edwards' music, especially in his diverse larger scale works, has begun to integrate the many consistent elements of his earlier work – ranging from childlike simplicity, embellished Eastern pentatonicism, medieval Western modality, fragments of plainchant, occasional outbursts of expressionistic angst, complex textures which include the development of motives and Western counterpoint, Eastern heterophony, and a deep spiritual dimension with both Eastern and Western overtones. There are allusions to indigenous music but not direct quotations: where the didjeridu occurs its function has always been discussed between composer and performer. To these he has often added theatre and ritual, costume, lighting and dance, most manifest in such orchestral works as Bird Spirit Dreaming (2002), Full Moon Dances (2012) and Frog and Star Cycle (2015). Cultural symbols such as the Virgin Mary and her Eastern equivalent, Guanyin, goddess of compassion, make frequent appearance in the guise of the Earth Mother, protector and nurturer of the environment – Edwards' work has always had a strongly ecological focus. Behind the vivid surface activity however, the mysterious Australian bush is always present as a constant backdrop, providing unity and coherence. In the 1970s, Edwards' attunement to the sounds of nature in a mindful, meditative way had a powerful effect on his music. He came to regard the sacred pieces as sonic contemplation objects

Symphony No. 1 "Da Pacem Domine" (1991)
Symphony No. 2 "Earth Spirit Songs" (1996–97)
Symphony No. 3 "Mater Magna" (1998–2000)
Symphony No. 4 "Star Chant" (2001)
Symphony No. 5 "The Promised Land" (2005)

Ross Edwards married Helen Hopkins, one of his students, in 1974. She is currently his manager, having spent many years as a piano teacher, and has always been a committed supporter of his work. They have two children, Jeremy and Emily.