Iain grandage biography of williams funeral home

It has represented privilege and power. But I see its role to be more like water: to offer to fill gaps in understanding; become a connector; music that is capable of allowing us to feel.

Iain Grandage is an Australian composer and music director, best known for his compositions for theatre, dance and concert.

Iain Grandage is a composer, a cellist, a pianist, a festival director, and a career collaborator. In his Boyer Lecture, he asks whether classical music has been underestimated in its capacity to connect communities. His work with Indonesian Gamelan ensembles, Noongar elders, theatre companies and the late, great Jimmy Chi, provide waypoints on a long journey from childhood piano lessons to a mature acquisition of knowledge that only serves to reveal how much more understanding is still to seek.

Perth Festival director Iain Grandage previews his final festival supplied. These words - this generously shared knowledge — are a lifetime, a world away from where I began, as a classical cellist in the West Australian Youth Orchestra, scratching away at the works of Berlioz or Strauss, under the inspiring tutelage of the late great Richard Gill amongst many others.

Be it connecting on a local level - the suburban community orchestras or massed choirs where participation affirms a sense of belonging and togetherness. Or a national level where First Nations artists are celebrated in collaborative conversation with classical ensembles and orchestras. Or connecting on a global level, where international artists and composers from a vast range of cultural backgrounds utilise the forces of an orchestra or ensemble to express or amplify their own individual artistry.

I began the piano at age six, eking out single note melodies with my darling mum by my side. I would play some notes, and she would - as an act of devotion, but also an act of tradition - notate them on manuscript.

Iain Grandage is a music director, cellist and composer of scores for theatre, dance and the concert hall.

He was one of the many who participated in that great connector of community of that time and place: the piano in the parlour. The sheet music from which I learnt it connects me not only to a man I never knew he died when my dad was only six weeks old , but also to an idea of tradition. A very specific tradition of western art music — classical music.

One that involved notation — that sheet music — but also the ideas of historically informed interpretation — knowing the stylistic rules and expectations of the period so as to best represent that work as it was imagined. On reflection, I was steeped in it.