Moirai brings centuries old melodies seamlessly into a 21st Century aesthetic

Moirai Ensemble | Bundanon Residency Preview

Sunday 12 May, 2024, Glasshouse Gallery, VIC

On a classic chilly Naarm/Melbourne autumn evening with the borealis lighting up the skies, a crowd headed down a cobblestone laneway lined with converted factories into a whitebox gallery space dominated by a single large artwork suspended mid gallery, with a trio of instruments set up in its wake. It’s a striking scene, and one perfectly suited to the music of the evening. Old and very old music performed with modern sensibilities, set against Malik’s reworking of Caravaggio titled: “You own the school, embrace your responsibility for its legacy”. The stage is set with intent, art of all eras is on the program and the musicians of Moirai taking ownership and responsibility for the centuries of music being revived.

Comprising of Meg Cohen on violin, cellist David Moran, and Alexander Meagher on a huge selection of percussion, Moirai is a relatively new ensemble bringing new life into old music. Seamlessly moving between mediaeval dances, songs from 1700’s Peru, and Hebrew lullabies, embedding these ancient traditions with extended techniques and unusual instruments. The ease of fluidity between centuries old melodies and contemporary techniques brings into question the entire common understanding of the rules and hierarchy of historic music.

In their element, Moirai has such an innate musical language that they feel like a band with many albums to their name, not the second outing of a new project. The strength of conviction and arrangement between the trio cannot be overstated. The overall effect as an audience member is a breaking down of genre, and a flattening of the classist hierarchy of western folk music. It’s a lot of fun, with percussion taking up half the stage, and uncommon timbral explorations such as a vibraphone playing charades as a chamber organ. The complexity of the rhythmic underpinning is immensely satisfying and drives the music into another realm, bringing centuries old melodies seamlessly into a 21st Century aesthetic without diluting the historic integrity. The arrangements are harmonically complex, with subtle nods to modern underpinnings sitting easily within the more traditional structures.

At times the sound overwhelms the ensemble, especially when Moirai is joined by special guest Chloe Kim on drums. Glasshouse Gallery is a striking space, but difficult for balance and not very comfortable for an audience perched on folding chairs and small stools. As our cities lose arts spaces and intimate performance venues to development it’s great to see cross arts collaborations such as this, I just wish these rooms had softer acoustics. 

Moirai Ensemble have been awarded a sought after Bundanon residency in June, working with drummer and composer Chloe Kim. The audience was treated to a short snippet of the work they’ll be undertaking while in residence, the first major commission for Moirai. The presentation of music in development against more fully composed works was jolting, especially as it is such different music to the rest of the concert, but it was intriguing to experience more of the range of this unique trio. Moirai are fundraising to support this residency and preparation for a tour through the Australian Cultural Fund. Uninterrupted time to work, develop, play, and experiment is essential to all musicians, and especially so for a project like this.

Photo credit: Darren James

Review by Miranda Hill

Miranda Hill is a double bassist, G-Violonist, creative producer, and educator specialising in producing concert platform and community music events and performing early and contemporary music. Passionate about bringing experimental music to new audiences, she can be found performing everywhere from concert halls, to sticky carpet pubs, and maybe your own living room.