BY JESSIE WANG
We would like to welcome Jessie Wang in her first story as a CutCommon contributor.
Imagine if you lived on the northern tip of Tacloban in the Philippines and had never before seen or heard a piano. What would be your reaction if a travelling piano came to you?
For concert pianist and United Nations Peace Ambassador Ambre Hammond, travelling to rural India, the Philippines, Belarus, and Africa with a travelling piano is the perfect way to combine a care for music with a sense of adventure and giving.
Such was the idea behind Girl Piano Truck, which aims to travel to some of the most remote places in the world to provide music to those within disadvantaged communities. Through her project, Ambre visits orphanages, schools, and community centres.
After many incredible journeys abroad, Ambre returns home to collaborate with AMEB in its Online Orchestra – a collective orchestra made of Australians playing from wherever they are around the country.
What inspired you to start Girl Piano Truck?
I’ve always loved being a musician; sharing music and seeing how perfect it is as a medium to connect with our fellow human beings on a global scale. It has been fascinating to me over the years seeing the incredible power and positive impact music has on humans of all ages and race and, in particular, the joyful reaction to music children have and the immense healing powers it has.
I made the choice to find a way to take a piano, whether it be an acoustic or a digital piano, to the most remote places; and seek out those who could do with an injection of music in their otherwise difficult lives, particularly in disadvantaged communities. Therefore, orphanages, schools, community centres, and mental asylums were high on my list to visit.
How has being an Australian affected your identity as a musician and a traveller?
I don’t think it has affected any of my travels particularly, as although I am a proud Australian, music transcends language and cultural boundaries. And I like the idea of removing any separation at all between humans, so music can be that common thread that binds us.
How have you navigated the challenges of communications with different languages and cultures?
Usually, the music is a great way to allow communication of sorts despite language barriers. Every country I visit, I always try and learn a few basics in the national language. And on virtually every single trip, I play Mozart’s 12 Variations on Twinkle Twinkle Little Star; and children will burst into song and join in singing it in their national language, which always gives me goosebumps!
You have brought your piano to perform in schools and orphanages in Africa, East Timor, Thailand, the Philippines, Belarus, and India. What are your future plans for Girl Piano Truck?
Every journey has been incredible and creates a hunger to continue the adventures to more and more countries and fascinating locations. [I once played] to 300 ‘clinically insane’ in a mental asylum in Belarus, which was one of the most emotionally charged and beautiful moments of my life – seeing tears roll down the cheeks of some of the people as they listened to a Chopin ballade, or clapping along furiously as I played a Hungarian rhapsody by Liszt!
Another magical moment was turning up to the northern tip of Tacloban in the Philippines to be greeted by almost 2,000 school students who had never seen or heard a piano before.
I want more of these extraordinary moments, but my very next stop? Our own beautiful backyard – outback Australia! I am commencing the journey in October this year to remote New South Wales and then continuing to the Northern Territory, Queensland, and South Australia next July as we make a documentary of the trip.
What are some of the major differences between the music education we can receive in Australia compared to some of the other countries you have travelled to?
That varies significantly depending on the location. In Belarus, it was interesting to see that the children had obviously grown up with a significantly higher amount of classical music in their world than, say, the children of East Timor. So they were more inclined to enjoy the music by Chopin, whereas the children in East Timor went crazy over the more rhythmical music of Scott Joplin and pieces like the Brahms Hungarian Dance No. 5.
I think Australia has absolutely everything you could possibly want in terms of a high-standard musical education. All the groundwork and practice are done at home, anyway – as long as you have a huge amount of self-motivation and/or an inspiring and brilliant teacher!
Tell me a little bit about AMEB Online Orchestra. What does it aim to do?
It is such a unique and fun concept, creating a collaborative orchestra that brings together musicians from all over Australia and the rest of the world – giving them a chance to play in one enormous ensemble. The AMEB will combine all the submitted video clips, creating one spectacular ‘virtual’ performance of the piece, which is to be unveiled at Federation Square in Melbourne on September 12.
Why is the AMEB and its support for music education and performance important to you?
I grew up with the AMEB system of exams from the age of 5, and they formed a huge part of my musical beginnings. Preparing for the yearly exam and understanding the importance of technical work is an integral part of music education. Undertaking preparation for the diplomas and ensuring repertoire is prepared to concert standard is vital for any serious musician. The intensity and buzz of preparing for AMEB exams, and the thrill of awaiting the results, is second to none!
Nowadays, the extent of the AMEB syllabus is so vast, there is something for everyone across the board be it classical, jazz, musical theatre, or pop.
I will be honest: I dream of doing what you do one day. What do you think Australians can do with their music to help others, whether that would be here or abroad?
How lovely! And what a great question. It is my dream that more of my colleagues and musicians both here in Australia and internationally make the effort to find their local retirement village or school or dementia wards and offer to give free concerts for the children, the staff, the carers at the homes, the patients, etc. And just experience the impact and the look on the faces and the joy of these people who are perhaps less mobile, or simply don’t have the exposure to music on a regular basis. It inspires, uplifts, and creates emotions and joy for both the musician and the audience that nothing else on the planet can. I think it’s every musician’s duty to share their craft with the world.
Ambre Hammond is an official AMEB Online Orchestra project ambassador and will join Benjamin Northey for this national first, in celebration of 100 years of the AMEB.
Watch the video in Federation Square on September 12 or find out more on the AMEB website.
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