Have a listen, tell us what you think and then go visit the Grainger courtyard to experience it. Which represents the idea of stillness perfectly?


Moments of Congruence conveys a subtle calm and was inspired by a growing sense of internal stillness. Influenced by guided meditation and non-traditional scoring techniques to help musicians maintain a sense of stillness while playing and recording the music. The instruments include voice (mezzo-soprano), electric violin and a laptop triggering a range of sounds including (manipulated) English horn samples, bowed metal, tapped metal (using a hard mallet) and autoharp (plucked).

Wayne Joseph Kington is a Melbourne based composer who explores the role of intuition in music making. He enjoys allowing feeling to take over the music during the composition process. Wayne has studied both at the Queensland and Melbourne Conservatorium of music and writes for concerts, film and media and often collaborates with singer-songwriters.


Ceilings of Clouds reflects the inside and outside nature of the courtyard space, with clear sounds represented by the saxophone and guitar, and the swirling around of wind and other noise from outside represented by the harmonium. There is also lots of ‘space’ in the music, to imitate the open sky space of the courtyard itself. The very slow pace of approximately 57 bpm, was chosen to reflect the musician’s own relaxed, resting heartbeat. Instruments include saxophone, acoustic guitar and harmonium.

Chris Pickering comes to contemporary composition via a long and winding musical path that starts in regional Queensland, with turns into jazz drums, indie rock, guitar-slinging and five years spent songwriting and performing based in Nashville, Tennessee. Moving back to Australia, Melbourne became a home base and he now studies a Master of Music in Composition at Melbourne Conservatorium. In 2017, his music was performed by Flinders Quartet, and in 2018 by Zelman Symphony Orchestra. He is also the recipient of the 2017 Dr Allan Zavod Composition Award from the University of Melbourne.


In Transition uses the open courtyard roof as representation of a spacecraft with a window to the “universe”. Stillness is represented through a lone passenger’s confinement and willingness to return to their bare essential at the reward of reaching ‘Planet Perfection’. How still is stillness when part of the world is advancing, while the rest remains? An air of longing, beauty and finally a sense of being grounded, perhaps involuntarily, is presented as one proceeds through a transition. The instrumentation of this piece includes, synthesizers, cello, flute, piccolo, piano and samples of a mark tree, bowed crotales and timpani.

Zinia Chan is a Melbourne-based composer, pianist and event producer. Her extensive work in theatre, film and contemporary music has led her to work with the likes of MSO, Commonwealth Games, Brisbane Festival and Woodford Folk Festival. She has written for ensembles such as Gondwana Chorale and The Song Company (National Choral School), and has been a pianist and composer with DeepBlue Orchestra since 2013 with continued involvement as a member of the board.