Founded in 1987 by composers David Lang, Julia Wolfe, and Michael Gordon, Bang on a Can (BOAC) has established itself as a major force in contemporary music. The organization has a rich history of showcasing global talent, including notable contributions from Australian artists.
Australian-born pianist Lisa Moore is a founding member of the Bang on a Can All-Stars, and the group’s repertoire includes works by Australian composers Elena Kats-Chernin and Kate Moore. BOAC’s annual Summer Festival, held at Mass MoCA in North Adams, Massachusetts, continues to celebrate international and Australian talent. This year’s festival, which ran from July 15 to August 3, featured a diverse range of performances, including Australian artists.
The festival’s competitive fellowship program selects 30 emerging composers and performers from around the world for a three-week immersive experience. This fellowship allows participants to perform, compose, and improvise together, fostering deep connections and a shared passion for new music.
Among the 2024 fellows was Adelaide-born, Brisbane-based violist Ella Beard. Beard, who describes music as a powerful medium for fostering community and connection, embraced the fellowship experience. “My sense of musical home is Australian music,” Beard told Limelight. “I really love what Australian composers are doing. All the stars aligned for me to be able to share some of it here, and it felt really special to do so.”
During the festival, Beard performed works by fellow composers Justin Wright and Alex Groves within the unique setting of James Turrell’s C.A.V.U. Skyspace, as well as Louis Andriessen’s Symphony for Open Strings. A standout moment for Beard was performing Emily Sheppard’s Aftermath during a lunchtime recital. The piece, inspired by Sheppard’s experience with the aftermath of the 2016 Tasmanian bushfires, received an enthusiastic response from the audience.
Beard described Aftermath as a deeply personal and transformative piece. “I knew I needed to play it. I just couldn’t leave without playing this piece,” Beard said. The work’s exploration of grief, hope, and beauty resonated deeply with her.
In addition to her festival performances, Beard is working on a new project called Hear Us Now, which will feature compositions addressing the impacts of childhood sexual abuse. This project reflects her commitment to Australian music and community-focused initiatives.
Australian representation at the festival also included Montreal saxophonist Thomas Gauthier-Lang and Danish pianist Ruben Høgh, who performed Miriama Young’s This Earthly Round. Gauthier-Lang was drawn to the piece for its balanced interplay between the saxophone and piano, highlighting a collaborative musical dialogue.
For Beard, the fellowship was an invaluable experience, providing an opportunity to immerse herself in a global community of musicians and share Australian music with an international audience. “It has just been so fun to be immersed in this environment, in this place, with these people,” Beard reflected. “It was nice to be able to offer a little piece of what’s going on in Australia.”
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