Australian composer Lachlan Skipworth is emerging as one of the country’s leading composers. His work spans across a range of genres – including orchestral, chamber, vocal, and experimental music – and is influenced by the three years he spent in Japan studying shakuhachi, an end-blown bamboo flute. Accolades continue to flow for Lachlan's music, including winning Australia's three major composing competitions the Paul Lowin prize, the Albert H Maggs award and the APRA Art Music Award.

Pictured: Lachlan Skipworth
Photography: Nik Babic (Artshoot Media)

Alongside his wife Akiko Miyazawa, another brilliant musician and violinist with WASO, Lachlan is the co-founder of Perth’s dazzling chamber music ensemble, Cygnus Arioso, who have played multiple, outstanding concerts at Perth Concert Hall in recent years. 

After selling out their last concert at Perth Concert Hall, which took place in the intimate setting of our upstairs Corner Stage, Cygnus Arioso will return to the Hall later this month for Perth Summer Classics 2022, a two-concert afternoon of beautiful chamber music – this time on our magnificent main stage.

The concert program includes Lachlan’s recent work, Altoira Peto for trumpet and strings, along with Gershwin’s Lullaby for Strings, Strauss’ Metamorphosen for 23 solo strings, and Schubert’s Octet in F Major. 

We spoke to Lachlan about his introduction to music, his love of chamber music, and what audiences can expect in the upcoming concert. 

You’ve been described as one of the leading composers of your generation in Australia. When and how did your musical journey begin?

I began my journey with private recorder lessons(!), which then led to clarinet through high school and university, and later learning shakuhachi in Japan. I was always curious about composing, but only began taking it seriously quite late. It still feels like every new work I start from scratch once more, but I really enjoy the problem-solving of having to create a new internal logic for each piece. It can get frustrating, but is certainly never boring!

Having composed music across a range of mediums, what stands out to you about chamber music?

I love chamber music simply because it aims so high. The great chamber works contain all the emotional depth of orchestral music, but without the sheer volume. Instead the virtuosic interplay between players becomes the focus, and I find the result truly captivating.

Pictured: Cygnus Arioso performs on Perth Concert Hall's Corner Stage, 2021
Photography: Nik Babic (Artshoot Media)

Cygnus Arioso’s last concert took place on our intimate Corner Stage. What is the most exciting thing about performing on the main stage this time?

The acoustic of course! Two of my most successful works, Spiritus and the Clarinet Concerto (for Ashley Smith, who we're featuring in the Schubert), really benefited from the warm resonance of the Hall in their premieres. It’s almost like having an extra few musicians to fill out the sound a bit!

One of your recent works, Altoira Peto for trumpet and strings, is featured on the program. Can you tell us about the inspiration behind this work and what audiences can expect?

Altiora Peto was commissioned by Tony Lennon for his 80th birthday, with the request that it be uplifting and feature a trumpet. Interestingly, the request aligns well with the artistic space I’ve been exploring in recent works including Fanfara for the Sydney Symphony Orchestra, my Oboe Quartet for Diana Doherty (which will be on my new album in March), and my upcoming Easter Mass for the St George's Cathedral Choir and WASO Brass.

Altiora Peto continues in this vein, but listeners might notice soloist Brent Grapes switch to the mellow-sounding flügelhorn for the lyrical second movement, before returning to the trumpet for the rhythmically buoyant third.

There are a few ‘emerging stars’ in the lineup for this concert. Who should we be keeping an eye out for?

To be honest, I’m most astounded by the emerging arts leader amongst us, Cygnus Arioso director (and my wife) Akiko Miyazawa. What she has achieved in less than two years running this classical music start-up is just phenomenal. Within the ranks of players, I’d say keep an eye out for two in particular: bassist Oakley Paul, whose calm presence hides how much he holds everything together from below; and cellist Miranda Murray-Yong, who shines in some solo moments in Altiora Peto.

Don’t miss Perth Summer Classics 2022 on Sunday 30 January, 2pm & 4pm. Find tickets and more information.

Follow Lachlan on Facebook and listen to his music on Spotify.