In conversation with Henry Eames, ANAM horn player

BY CUTCOMMON

Melbourne horn player Henry Eames has a passion for music and education. So what better career move than to continue his education at one of the top music training academies in the country?

Having graduated from Monash University in both of these professional fields, Henry has now started his first year at the Australian National Academy of Music. His real-world performance experience takes place this May in a brass-themed concert program called Interstellar Call. He’ll be performing alongside fellow brass and percussion musicians who are also enhancing their skills through ANAM — and alongside horn soloist Madeleine Aarons, a third-year musician. We chat with Henry about the event.

Interstellar Call is a celebration of French-themed works, with pieces from Messiaen, Dukas, Boulanger and more. How have the composers’ works on the program influenced your journey in brass performance?

The Interstellar Call has been a meaningful and challenging project for me, particularly as it has pushed me into the world of brass chamber playing, something which I have not had much experience with before.

Working on these pieces and collaborating with such high-level musicians has been both exciting and a great learning opportunity.

A particularly special part of this experience is watching Maddy [Aarons, horn] prepare and perform Olivier Messiaen’s Appel Interstellaire (Interstellar Call); this piece is extremely difficult both technically and musically. Hearing her perform and express herself musically has challenged me to think more creatively about timbre, musicality, and the expressive capabilities of the horn.

Having graduated from Monash University, this will be your first year of study at ANAM. What experiences at ANAM are you most looking forward to in the coming years?

Moving from Monash University to ANAM feels like I have opened the door to a completely new level of musical opportunities and challenges.

One of the things that most excited me about coming to ANAM is being surrounded by so many exceptional musicians; this has allowed me to be involved in a vast amount of chamber settings. I am eager to explore new chamber music with some of Australia’s best musicians this year at ANAM.

Later this year, I am particularly excited to have the opportunity to perform larger-scale orchestral works, such as Mahler and Strauss. Another highlight this year will be performing these works with two of Australia’s leading conductors, Richard Tognetti and Simone Young.

When you decided to join ANAM, what were the big goals you hoped these experiences would help you reach in the long run?

Having completed a double degree in Music and Education at Monash University, one of my main goals in starting at ANAM was to continue developing as both a performer and an educator.

ANAM is a place that has pushed me to refine my musicality to a higher level whilst allowing me to develop my knowledge as an educator. Furthermore, being surrounded by so many great musicians at ANAM has persistently challenged me to grow as a musician as I am engaging more thoughtfully with music.

In the long term, I believe ANAM will help me to build a career that balances both performing and teaching. ANAM is providing me with wonderful experiences and tools to help me become a more thoughtful teacher and performer who can inspire students and future musicians.

You’ve also taken up the role of Principal Horn with the Australian Youth Orchestra. How does this leadership position interact with and influence your approach to performance, including your concerts with ANAM?

This year, I was fortunate enough to be selected as the Principal Horn of the Australian Youth Orchestra. This leadership experience has strongly complemented the work that I am doing at ANAM. As Principal Horn, I am constantly developing skills such as communication and musical decision-making — all qualities that directly influence how I approach performing and rehearsals at ANAM.

At the same time, ANAM also offers a contrasting yet important position. Unlike in the AYO, where I’m playing in a principal position, at ANAM, the roles within the section are shared equally amongst the horns. This provides me with the opportunity to learn how to play different roles. Having this experience has taught me how to lead better in the AYO.

What is it about brass works that you find most enjoyable?

What I have found the most enjoyable about playing in a brass ensemble is the incredible range of colour and character the instruments can create. When the blend and balance are right, there’s a warm and almost ethereal sound that is created. Particularly in slower hymn-like pieces, it can feel like the brass instruments are like voices singing.

At the same time, brass ensemble playing can be energetic and powerful in character, making it just as fun to play as it is to listen to. I love this contrast, and the ability to be able to flip in between the two different characters. This stark duality is what makes brass music so rewarding to listen to and play, for me.

What’s your favourite piece on the program, and what does it evoke for you?

From a listening perspective, my favourite piece would be Paul Dukas’ Fanfare from La Péri. This piece captures the essence of brass fanfare playing as heard in its captivating opening.

From a playing standpoint, my favourite piece is the Fanfares Liturgiques by Henri Tomasi. The piece is technically demanding for all musicians, and is incredibly rewarding when played well. The fanfare is also full of bold and sombre moments; this contrast of characters delivers both extremes of brass ensemble playing.