Joshua Batty does a deep dive into the experience of preparing for George Crumb's otherworldly Vox Balaenae.

MPU: Could you talk us through the various techniques the score calls on the flautist to execute in the work? 

Joshua Batty: The piece uses a lot of extended techniques. I sing and play at the same time, use flutter tonguing, key clicks, and harmonics. It’s all meant to mimic whale sounds and create an underwater atmosphere. 

MPU: What type of preparation is involved to learn the work, and is the approach different to other standard chamber music repertoire? 

Joshua Batty: Definitely. It takes a lot of experimenting—learning new sounds, figuring out how to blend with the other instruments, and working with lighting and amplification. It’s more like preparing for a theatrical performance than a traditional concert. 

MPU: The performance requires some theatrical production elements, such as masked players, and a wash of blue light. What is the significance of these stylistic choices? 

Joshua Batty: Crumb wanted the performance to feel mysterious and otherworldly. The masks remove our personal identity, so the focus is on the sound. The blue light helps the audience feel like they’re deep underwater, just like the music suggests. 

MPU: Visually, the score is laid out in a very unique way, can you describe how it looks to our audience, and how you go about deciphering it?  

Joshua Batty: It’s very visual—some parts are written in spirals or with graphic symbols. It takes time to learn, and sometimes you have to memorize sections. It’s more about interpreting shapes and gestures than just reading notes. 

MPU: Is there a moment of the piece that you particularly enjoy that we should listen out for? 

Joshua Batty: The opening “Sea Theme” is stunning—it’s quiet, eerie, and sounds just like a whale call. And the final movement fades into silence—it’s incredibly peaceful and moving. 

MPU: What do you like about playing within a small chamber ensemble, like the Australian Ensemble? 

Joshua Batty: What I really enjoy about playing in a small ensemble is the flexibility and openness it allows. There’s space to really dig into the details, to experiment, and to explore new ideas together. Everyone brings their own curiosity and creativity, so it becomes a really collaborative process. Communication is direct and honest, which I love. Plus, I often get to play repertoire I’ve never done before, which keeps things fresh and exciting.

Join us at the third concert Australia Ensemble Concert of the year! Tickets available via this link.