In our occasional interview series, classikON Ambassador Alan Holley discusses music, the Arts and the future with composer Paul Moulatlet.
Alan Holley: Paul Moulatlet is a Melbourne-based composer whose works are frequently performed in his home city, as well as in Europe, and in recent times there have been numerous performances of his music in Sydney by various ensembles and soloists. I first heard his music at a Melbourne Composers League concert in the Iwaki Auditorium and I was immediately enthralled. Two years later I was reviewing for classikON and wrote of his new work, ‘Paul Moulatlet’s Pax Ficta for solo piano is dark and dense music, brooding and even in its softer passages it is unnerving. I look forward to hearing it again soon.’ And of a more recent work, Erratic Orbit, I wrote, ‘The music jumped and jived and was a crowd pleaser from the outset. Moulatlet can also weave a tender lyrical line, but really this work is all about energy, and tons of it.’
AH: Paul, I know that your musical journey started more in the rock music world than the classical one and I wonder how that has affected your music of the last 30 years or so.
PM: When I was much younger, I was attracted to the energy and the live performance aspect of rock music, and the ability to be close to a stage where the music was happening. In that sense, my music of the recent past shares those feelings, where an audience can be close to the ensemble and where the energy and emotion of live music is instantly felt by an audience.
AH: Is there something special about composers in Melbourne and the music they write? To me composers, painters, novelists and playwrights from Melbourne search out dark subjects to pursue whilst many in Sydney and elsewhere in Australia seem more interested in sunny, happy themes.
PM: Alan, this is both such an interesting and a difficult question to answer. Perhaps it has to do with the natural setting of each city. Sydney has a beautiful and unique geography and topography, as well as some celebrated built landmarks. These features evoke a sense of happy, sunny ideas whereas Melbourne is very different. Although it has its own hidden gems, people in Melbourne might be more introspective, less moved by the city’s natural aspects and be more prone to be inward-looking and wistful when they create art. This might be way off the mark, but it’s the only reason I can think of that explains the phenomenon in your question.
AH: Is writing chamber music and solos your favourite area of composition?
PM: Yes, it is, because of the intimate nature of the music. But more importantly, because solo and chamber music enables me to communicate directly with performers about the music, and to craft the works in line with musicians’ preferences and ideas. In some cases, I can compose music for specific soloists or ensembles.
AH: Is there a musical event planned for you this year that will be a highlight for you? Could you please share details for the readers?
PM: Yes, there are a couple of highlight events. The first is the upcoming performance on March 22 at Church Street Studios (Camperdown) in Sydney of Parallax, a new work composed especially for SURIDI Trio, who are three of Australia’s finest musicians. I’m very honoured to have my works interpreted by some of the best players in the country, and this event will be such an occasion. The other highlight will also be a Sydney performance, later this year, of Erratic Orbit, a duet written for Australia’s leading trumpet and guitar duo, Joel Brennan and Ken Murray. Both concerts will also prompt me to visit Sydney, which is always a pleasurable event.
Here’s the event on classikON >>
The music of Melbourne based Paul Moulatlet (MA in composition from Monash University) has been performed across Asia, Europe, the UK, the USA and throughout Australia. His works have been recorded and released by MOVE Records and HAMMERINGS Records.
