About | Michael Grebla

THE MISSION

Why I do this and what I am about.

There are a number of reasons I choose to compose, and one of the biggest is community and the practice of building it. Community is one of the most important parts of being human and strong communities are held together by some key ingredients: a shared sense of identity; a common set of values; empathy; self-expression; and communication. Threaded together, these collectively constitute our ‘culture’. Robust culture means stronger communities and stronger communities mean better outcomes for individuals and society.

I'm about community and the practice of building it.

To put this in more concrete and personal terms, I grew up in a big Sicilian/Romanian family in the hills of Perth, Western Australia, and in our community we shared a language, food (lots of good pasta!), hand gestures, faith, the social practice of overfeeding guests, and – you guessed it – music! A nice story, perhaps, but so what?

Well, I think these types of things are important for all of us, which I became acutely aware of when I left my home country for somewhere far away: America. When you’re completely removed from your culture and community, you begin to question your identity and ask, “who am I?” However, I found that continuing to practice my culture (not just in a familial sense) reconnected me to those communities and aspects of my identity I thought I’d lost, despite any intervening physical or temporal distance. I felt connected even to those who had long since passed, and even those I’d never met. And, by practicing and sharing those aspects of my identity with others, I could begin to build new communities, and with that came a renewed sense of belonging. To me, that feels especially important to mention since so much of our individual purpose and meaning is predicated on belonging.

Herein lies the beauty of art: it is the deepening and illumination of our humanity through the practice of expression, an act of introspective empathy that connects us to a truth within ourselves and through this, to each other. For this reason, it is crucial for art and the artist to be truthful and sincere. Truth is the bedrock of any meaningful interaction and is what I search for in the music I create.

There exist truths so profound they are failed by all other domains of expression, save for music. These abstract yet quintessentially human truths are potent cross-sections of the spirit. The unique ability of music to facilitate their expression is where the immense power and beauty of the art form lies, underpinning why it is such an important force and mechanism for unification within and between individuals and of society. For example: much of my art of late is born from experiences of journey, loss, dislocation, and isolation. These experiences are not the ‘content’ of the art and are not something I wish for people to experience; rather, the works speak from the subsequent resonance of a much more abstract aspect of my humanity. There is a beauty – no matter how sweet or bitter – in the expression of these very abstract human truths, which can dissolve differences and allow me and anyone else participating in the experience, to connect to their humanity and the humanity of the person next to them.

Across the many dimensions and realms that exist over which humans disagree and divide themselves, music is not among them – and if music is to do the good work of unifying us, it is important it includes everyone. I choose to be a part of this process. I compose to advance a more unified and inclusive society.

So many of the classics remain relevant today because they speak to essential truths of what it is to be human. As our humanity continues to evolve and grow, it is the role of the composer to provide roadmaps of expression for individuals of the day. In my work, I look to empower performers with the materials for self-expression and meaningful exchange with their audiences, and in doing so, support in my small way the building of community.

BIOGRAPHY

Composing (Short)

Spreading music described as “a testament to the universal strength and endurance of the human spirit” by Cut-Common Magazine, Michael is an international award-winning emerging composer from Western Australia based in New York City. With a deep conviction for the role music play as a unifying mechanism in society, constructing identity and building community, he endeavours to create meaningful and inclusive cultural experiences, bridging tradition and the present through his music. In recent years, his works have dealt with ideas of journey, displacement, transience, and spirituality, offering his own deeply introspective expression and examination of the human experience.

Recognised with grants and awards from the New York Composer’s Circle, City of New York, Zodiac Festival in France, UNSW, Australia Council for the Arts and the Australian American Association, Michael’s work has been performed internationally at festivals including the Atlantic Music, Connecticut Summerfest, Charlotte New Music and TUTTI festivals and by ensembles including ETHEL, BEO, Hub New Music, the Australian Youth Orchestra, and the West Australian Symphony Orchestra. He is a John Monash Scholar and holds a Master of Music with honours from the New England Conservatory and undergraduate degrees from the University of Western Australia in mechanical engineering and music with first-class honours.

Composing (Full)

Spreading music described as “a testament to the universal strength and endurance of the human spirit” by CutCommon magazine, Michael is an international award-winning emerging composer from Western Australia based in New York City. With a deep conviction for the role music plays as a unifying mechanism in society, constructing identity and building community, he endeavours to create meaningful and inclusive cultural experiences, bridging tradition and the present. In recent years his works have dealt with ideas of journey, displacement, transience and spirituality, offering his own deeply introspective expressions and examinations of the human experience, touching audiences throughout recital venues in Australia, the United States, Europe and Asia.

His work has been recognised with awards from the New York Composer’s Circle, the Zodiac Music Festival in France, as well as grants from the Australia Council for the Arts and the Australian American Association. In addition to working with institutions to create new music, Michael is entrusted and supported by a diverse community of patrons and co-commissioners to deliver an engaging season of works, projects and appearances each year through his ‘crowd-commissioning’ initiative.

Michael’s compositional interests rest largely with the creation of concert music. He is an avid writer of chamber and orchestral musical and an active contributor to international music festivals. He has presented works at TUTTI Festival, Alba Festival, Connecticut Summerfest, Atlantic Music Festival, Tura New Music’s “Total Huge New Music Festival”, the Australian Youth Orchestra’s National Music Camp, Charlotte New Music Festival and shortly also Indiana State University’s Music Now Festival. At the heart of his career is a joy for collaboration with other artists which has led to projects with international groups including ETHEL, Hub New Music, Beo String Quartet, the West Australian Symphony Orchestra, the Australian Youth Orchestra, Atlantic Contemporary Ensemble and the New England Conservatory Symphony Orchestra.

Knowledge and expertise from other fields have permeated and shaped Michael’s compositions. His sinfonietta “Euler’s Music” was inspired by his study of mechanics while completing his Bachelor of Mechanical Engineering at the University of Western Australia. Described as “imaginatively constructed” by The West Australian newspaper upon its premiere by the West Australian Symphony Orchestra Sinfonietta, the piece explored the mechanical principles of gyroscopic precession (demonstrated by the science education toy “Euler’s Disk”) as a guiding structure for pitch, harmonic rhythm and form. Music reciprocally inspired his engineering research, earning him a high distinction for his Honours research dissertation: an acoustical examination of interactions of a grand piano’s lid angle with the frequency response of a venue and its implications when accompanying other performers.

In part due to his activities as a photographer, Michael’s earlier works heavily explored the incorporation of extramusical influences – particularly visual art – to create cross-media pieces, with the goal of generating new innovations in musical expression and more engaging, meaningful concert experiences. During this time, he received a commission from the Laurence Wilson Art Gallery to contribute a musical work influenced by the exhibition’s theme “Memento Mori”. His work “Respiration” for solo bass clarinet was recorded and subsequently published on the album “Memento Mori Compositions”, displayed alongside works in the gallery. The work was premiered by Ashley Smith as part of Michael’s first public recital and photography exhibition “Portraits of the University of Western Australia,” a series of musical and photographic portraits of the grounds and wildlife of the iconic Perth campus. One work in the series – titled “Youth”, for solo piano – was a commission from St George’s College to inaugurate their new Fazioli Concert Grand and was premiered by Adam Pinto. Beyond composing, musical intersections with visual art became the subject of his academic writing at the time. His Honours dissertation and research project “Music and visual art in the post-tonal era: a semiotic exploration of Roger Smalley’s Diptych: Homage to Brian Blanchflower” investigated the ability of visual art to provide structure to music, through examination of a work by composer Roger Smalley that was influenced by the visual art of Brian Blanchflower.

His composition collaborations have also extended to film. He has provided soundtracks to documentaries, short films and branded content both in the United States and Australia. Recently he completed the score for the short film “The Statue” in New York, collaborating with director Elina Street, as well as soundtracks of a series of mini-documentaries for French perfumer “Robertet”, collaborating with New York director Louise de Nexon. In Australia, Michael’s work has appeared in the soundtracks for projects with the Australian Square Kilometre Array and the International Centre for Radio Astronomy Research.

Michael completed a Master of Music with Honours at the New England Conservatory, where he studied with Kati Agocs and was supported by highly competitive scholarships from the General Sir John Monash Foundation, the New England Conservatory, and American Australian Association. Prior, he completed a Bachelor of Music at the University of Western Australia with First Class Honours, studying with Christopher Tonkin and James Ledger, and was awarded the University’s Matilda Prize for Cultural Excellence and the West Australian Wagner Society’s Bayreuth Prize. During his studies he was a resident at St George’s College where he was the Wolff Scholar (2011, 2012, 2013) and Knight Scholar (2014).

Audio Engineering & Videography

Since 2012, Michael has operated his own audio recording business to service the needs of the classical music community. Originally named “Grebla Media”, he developed a brand of quality, reliability, and professionalism, using his sensibilities as a musician and technical understanding of acoustics to produce tasteful and flattering recordings for artists. This quickly expanded to also offer high quality multi-camera video recording and postproduction. His work is chiefly focused on location recording outside of a studio including the recording of live concerts, auditions and dedicated recording projects for orchestras, chamber groups and individuals.

With 8 years of experience, he has recorded for the Australian Youth Orchestra, Fremantle Symphony Orchestra, Swan Philharmonic, Australian Broadcasting Corporation, University of Western Australia, Lawrence Wilson Art Gallery, St George’s College, the Australian Music Examination Board, Perth Rotary Vienna Pops Orchestra and countless individuals and groups throughout Australia and the US. He has recorded in major performing arts venues such as Llewellyn Hall, Government House Ballroom Perth, Perth Concert Hall, Callaway Auditorium, Winthrop Hall, West Australian Academy of the Performing Arts, St George’s Cathedral Perth, the John Inverarity Music and Drama Centre, St George’s College and more.

In 2016 he was a participant in the Australian Youth Orchestra’s (AYO) National Music Camp Sound Engineering program, where he received intensive mentorship and training from long time Australian Broadcasting Corporation Sound Engineer Andrew Dixon. During this program he was responsible for recording and mastering all performances of the AYO as well as working with producers from the ABC to run live national radio broadcast from National Music Camp.

Arts Leadership, Management and Entrepreneurship

In conjunction with his composition career, Michael’s passion for music and community is exemplified through his dedication and leadership as an entrepreneur within the field. At the age of 23 – driven by a desire to see greater participation of ordinary folk in concert music and develop opportunities for fellow young artists – Michael had the vision to create a hub for chamber music for the state of Western Australia, and a point of convergence between the community, emerging talent and the greatest national and international artists. While studying acoustical engineering, Michael observed and subsequently tested the acoustic profile of the Hackett Dinning Hall at St George’s College and identified that in addition to its iconic architecture, it was an acoustically ideal venue for chamber music, lacking only an equally fine instrument. This vision manifested in 2013 with the creation of “Music at St George’s”, for which he successfully championed the acquisition and installation of a $250,000 Fazioli concert grand piano. This venue and its associated programming quickly became West Australia’s premiere experience for intimate, high quality chamber music. In addition to providing opportunities to emerging artists, the program was able to deliver significant international talent to West Australians including Maxim Vengarov, Angela Hewitt, Kathryn Stott, and more, through strategic partnerships and collaborations with leading arts organization including Musica Viva Australia, The University of Western Australia and The West Australian Symphony Orchestra.

Michael’s tenure as “Director” of Music at St George’s lasted until the afternoon he left for the United States to pursue his Masters – just over three and a half years – and in that time he produced and curated some 55 bespoke concert experiences, engaging hundreds of performers and welcoming over 13,500 audience members. Among these were establishment of an annual concert series, “Christmas in the Quad” which continues to attract audiences of more than 2,000; a state-wide intercollegiate piano competition; the College residents’ “Classic’s Dinner”; and cultural collaborations with organisations such as the Wagner Society and Confucius Institute.

As “Music at St George’s” matured, Michael recruited two music fellows – Raymond Yong and Prof. Paul Wright – and established three resident ensembles as part of a mentoring program, to foster excellence and provide a platform for emerging talent in the state of Western Australia. The mentoring program was a huge success with ensembles winning multiple awards in their first year and spreading music in the community beyond St George’s. In the years following, program participants have earned entry into some of the world top institutions including Yale, the Royal Academy of Music, the Royal Conservatory in The Hague and the National Academy of Music, in addition to prestigious scholarships such as the Fulbright and Monash Scholarships.

The impact of “Music at St George’s” was highly valued and cherished by the broader community, raising in excess of $800,000 in the form of scholarships, endowments and instruments, in order to support promising young artists and ensure the program’s enduring impact and longevity. The program has continued to grow under the guidance of an advisory board and remains an important cultural institution for the state of Western Australia.

Photography

Alongside composing, Michael has established himself as a highly reputable and trusted practicing photographer, helping bring visibility to the stories of countless individuals, artists, and organisations as they spread their message, brand, and special moments. Though quite different to music, Michael finds photography to be an extension of the broader artistic principals and logic that give shape to his compositions. His work has largely focused on live events, concerts, portraiture and marketing photography, and has featured in the publications and content of The West Australian, The Sunday Times, The Post, The Western Suburbs Weekly, Perth Concert Hall, Fazioli Pianos, Musica Viva Australia, the West Australian Symphony Orchestra, the University of Western Australia, The Georgian magazine, the Rotary Club of Western Australia, New England Conservatory, the Australian American Association, the General Sir John Monash Foundation, the Australian Youth Orchestra, the University of Sydney, the United Church in the City and more.

Michael's Photography Portfolio

Teaching

A passionate educator, Michael has taught both privately and within leading institutions, sharing his knowledge of composition, music theory, piano and voice with aspiring musicians of all ages. Most recently, he was a teaching assistant at the New England Conservatory of Music for graduate music theory under the supervision of Bert Van Herrick. His responsibilities included tutoring students, grading assignments, administering exams and working to address the individual needs of students to ensure they thrived in the conservatory. From 2010-2014 he was a tutor of music at St George’s College which included helping residents with music theory, voice, keyboard and composition and concurrently he also taught beginner and advanced music appreciation classes for music theory and composition to the public. With a very personal and relatable teaching style, he has tutored privately for nearly a decade, breaking down complicated subjects from music to mathematics and chemistry.

Resources Related To Biography

Press Kit with downloadable Biography

AWARDS, GRANTS, HONOURS & SCHOLARSHIPS

All these awards, scholarships, honours and grants listed below can be clicked on to reveal more information about what they are, related press, works and articles.