News

Georgia Scott's music aims to explore identity and lived experience

7 May 2025. 

Georgia composing at the piano.

An alumna of the Royal College of Music, and Sydney Conservatorium where she took part in the Composing Women Program, Georgia has worked with orchestras across Australia.

Her piece Cabinet of Curiosities had its world premiere in 2024 when it was performed by the Tasmanian Symphony Orchestra.

Limelight reviewer Peter Donnelly described the work as ‘imaginatively conceived and beautifully orchestrated’.

We caught up with Georgia to find out more about what her inspiration and writing process.

Georgia Scott composing on the computer.
Hi Georgia, please tell us a little about your connection with the TSO.

I was fortunate enough to be part of the amazing TSO-led Australian Composers School from 2022-2023. This program gives emerging composers a chance to work with the orchestra to hone their orchestral writing skills over a two-year period and acts as a stepping-stone between study and writing professionally for orchestra.

What inspired your piece Cabinet of Curiosities?

Cabinet of Curiosities takes inspiration from the 16th Century European Kunstkammer. The first movement is a sonic representation of the Alchemical Handbell, a bell in the collection of King Rudolf II that was rumoured to be able to summon spirits. The second movement is slightly more macabre as it is inspired by the anatomical specimens of sirens and mermaids supposedly on display in different cabinets. Finally, the third movement is inspired by the machines of perpetual motion which were displayed in Athanasius Kircher’s Museo Kircheriano in Rome.

What was your writing process for this piece and did it throw up any surprises?

I’m inspired by musical storytelling so I started by doing a lot of research into Kunstkammer and all the weird and wonderful objects they housed. I then sketched out the musical ideas and arc for the piece at the piano before I set to work fleshing it out for orchestra. The biggest adjustment for me was that I gave birth to my son part-way through writing this piece so that really changed my writing process (sleep deprivation is definitely a challenge to creativity!).

What was your favourite part of collaborating with the TSO on this piece?

I just love how open and friendly the TSO members are. I am so grateful to the members of the TSO for answering my questions, giving me advice and helping me to continue to learn about writing idiomatically for the instruments of the orchestra.

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