Josephine Gibson has written Reverie for Lost Girls for the Moorambilla Voices regional girls choir this year. The evocative, landscape-inspired piece sings of the ancient black rocks and vast unending horizons of the historic Mount Grenfell site.
Reverie for Lost Girls
Lost amidst the willga trees
Dusted, parched and dry
Black rocks dash the rusted soil to vast unending sky
Lost awash in waves of space
Weathered spirits fly
Black roads gash the blood red soil to vast unending sky
“Reverie for Lost Girls is about how I felt in the strangeness of that beautiful area,” says Josephine. “There is a weird and uncanny isolation among those hills that undulate in utter flatness and trees that writhe up out of the ground.”
Now on site at the residential camps at Baradine, Josephine works with Artistic Director Michelle Leonard to rehearse Reverie for Lost Girls, which uses aspects of chant that Josephine says is like “a long unbroken line that communicates text in the most intuitive and beautiful way”.
In her final year of Honours in Composition at Sydney University Conservatorium of Music, Josephine credits her teacher Paul Stanhope with supporting her opportunity to join Moorambilla Voices as composer in residence in 2016. Josephine also sings with the Sydney Chamber Choir as a soprano.
“Chant offers the sense of a voice soaring into space. It’s not just a single line of music in isolation, it’s how that line reverberates, whether that’s within the context of a cathedral or a powerful place like Mount Grenfell! It fits anywhere. You can romanticize it.”
Josephine is adamant that she hasn’t written what you would call “spiritual music”. “I call it writing that is aware of something beyond itself. When you perform it, you also become aware of something beyond yourself.”
Josephine has long admired female composers, particularly Hildegard von Bingen, the pre-medieval German Abbess who wrote uplifting music, invented languages, studied science and wrote theological poetry.
“I’m honoured to be sharing the Moorambilla program with composer Elena Kats-Chernin. I love the world of tonality and writing for traditional instruments. How often do you get to write for musicians of the calibre of the Australian World Orchestra and The Song Company and Taikoz and Ben Burton and Christina Leonard? I really want to do a good job for them.”
“I also hope that this piece communicates in some way the difficulty that girls face growing up. Young girls are often accused of being vague, because they are so rarely given the chance to be complete humans, flawed and marvellous, rambunctious and witty. The world is scary, but you know what, that’s okay. As a young girl you are valuable and beautiful.”
Text: Lliane Clarke
Photography: Noni Carroll.