Connor D’Netto

BIOGRAPHY

Connor D’Netto (b. 1994) is a Brisbane based composer, bass/baritone, artist and photographer, who has been described as “the model contemporary Australian composer” by ABC Classic FM.

Throughout his works, Connor balances the quasi-neoclassical with post-minimal influences, and contemporary performance practices which bridge the gap between audiences and the concert hall, creating new ways to experience music. His music combines driving post-minimal rhythmic elements with heartfelt lyrical expression drawn from his extensive performance experience as a classically trained bass baritone, contrasted with textural devices that push the expectations of an instruments’ capabilities without confronting the audience.

In 2016, Connor’s contemporary classical/electronic music duo Argo, alongside friend and fellow composer/performer Ben Heim, has launched an entire concert series of immersive art-music events. The series, which includes three concerts in the first half of 2016, features entirely original programs of contemporary classical and electronic music, combining traditional acoustic instruments with surround sound environments. These immersive concert events are each tailored a number of Brisbane’s landmarks and venues, and also intersect with other artforms such as live visuals and projections to transform the spaces. More about the Argo’s 2016 Concert Season can be found at www.argosound.com/2016. Argo formed in 2015, drawing on Connor and Ben’s background in classical music and contemporary influences to create new works, performances and experiences which bend the boundaries of genre and art form, and to challenge the norms of musical performance and staging. More about Argo can be found at www.argosound.com.

In 2015, Connor was named winner of Chamber Music Australia’s Australian New Works Award. His winning work, String Quartet No. 2 in E minor, became the set work for the 7th Melbourne International Chamber Music Competition and received premieres by three internationally chosen finalist ensembles on July 18 at the Melbourne Recital Centre. Earlier in the year he was also selected as one of the four composers to have compositions, his Chamber Symphony No. 1, premièred at the baton of James Judd in concert at Elder Hall Adelaide.

Connor has performed widely as a singer, notably in La Boite Theatre Company’s 2015 production of Medea, as well with The Australian Voices, at St. John’s Cathedral Brisbane and with the Schola of Stephen’s Cathedral Brisbane. Currently he is completing a Bachelor of Music (Honours) at the University of Queensland.

More about Connor and his work can be found at www.connordnetto.com.


Composer website:  www.connordnetto.com


FEATURED WORKS

3 Adoxographies, for solo piano.

adoxography /adɔks’ɔgrafi/

(n.) beautiful writing on a subject of little or no importance  

To be precise, it is a modern word, which describes an ancient method to train the art of rhetoric. This method is described by Anthony Munday, in an English translation of an Italian book, The Defence of Contraries 1593, whereas the noun is first used in The Conflict of Religions in the Early Roman Empire 1909 by Terrot Glover. However the adjective adoxographical preceded it, used in the American Journal of Philology in 1903.

[from the modern Latin adoxus paradoxical or absurd derived from the Greek root doxa opinion or belief, and the French  suffix -graphie writing or field of study]

Featured in Playlist 7: Eclectic Waves, 31/7/2015


String Quartet No. 2 in Eminor, for string quartet.

When approaching this work, I found myself drawn to more measured means of composition. Whereas in most of my works find themselves created out of loose structures and planning, with ease and freedom for spontaneous changes, here I became entranced by a numeric approach, measuring out the entire work to the bar and relating the shape and structure of the form, as well as tempo changes, to a predetermined ratio. Here, slowly evolving rhythmic figures give way from one section to the next, connecting seemingly adjunct elements across the space of the work. Sparse repetitive textures melt into soulful melodies, while aggressing pulsating is able to emerge across the distance.

Featured in the playlist: Small Ensemble Waves (1/3/2016)