The Glass Soldier

The Glass Soldier is inspired by the life of Nelson Ferguson who served in France as a Field Ambulance officer in World War I. It is an epic story about war and art and the triumph of love told from the point of view of a young Australian who was plunged into a powerful international tragedy, the likes of which he could never have anticipated.

Nigel Westlake has produced an orchestral suite of astonishing power and integrity. It is an exquisite privilege to have such a work accompany my play. And it is thrilling that it should be performed by the Melbourne Symphony Orchestra. For me this has been a collaboration made in heaven.

Commissioned in memory of N. H. Ferguson and in honour of his contribution to art and his virtuous life, The Glass Soldier has been composed specifically for the Melbourne Symphony Orchestra and resident Principal trumpet, Geoff Payne. In five movements, the suite is inspired by Hannie Rayson’s epic play which tells the story of Nelson Ferguson’s misfortune in war and his ultimate triumph against adversity.

The Glass Soldier Beginning slowly and tentatively, this is a portrait of the young Nelson; an artist imbued with dignity and optimism as he embarks upon his journey to France, an ill-fated adventure that will change his life forever. The low-register trumpet phrases in the final bars suggest an apprehension of the fate awaiting Nelson and his comrades that lies over the horizon.

The Age of Destruction An orchestral impression of the battle of Villers-Bretonneux in North France (17–24 April 1918) in which Nelson, a stretcher-bearer, was embroiled. This music seeks to describe the relentless juggernaut of war and the terror of life on the battlefield. Nelson (via the trumpet) can be heard from time to time; a vulnerable lone voice searching for reason amongst the surrounding mayhem. Various effects are incorporated into the score in an attempt to conjure the desolate atmosphere of death and destruction including a wind machine, thunder sheet, air-raid sirens and gas alarms.

White Birds Fly Over the Valley of the Somme Solo cello is featured in a slow lament for the aftermath of the battle. The image of white birds juxtaposed over a desolate landscape devastated beyond recognition is a metaphor for hope. As Nelson surveys the killing fields of the Somme he yearns to be back in the arms of his true love, Madeleine. The sweet sounds of her piano playing inhabit his daydreaming and offer a glimpse of hope amongst the scarred earth and mud-filled trenches.

Symphonies of Glass Escaping from the horror of the trenches, Nelson has carved out a moment in time (on leave) and finds himself inside an ancient village church somewhere in the French countryside. He admires the grandeur of the stained-glass windows and lovingly communes with the spirits of the artisans responsible for such beauty. The music opens with a reference to the fifteenth-century French Advent plainchant “Veni, Veni, Emmanuel” over which is superimposed a filigree texture of harp arpeggios, celesta, crotales and solo violin. Nelson reflects on the meaningless slaughter of the war and berates the Almighty for allowing such atrocities to occur, at which time the orchestral texture is expanded and intensified, exploding at the peak of his anger as a stray bomb lands on the roof of the church and Nelson is covered in broken glass. Engulfed by mustard gas, he is hurled into darkness.

I Was Blinded but Now I See This is the struggle for a man plunged into darkness to find the light. Literally, and metaphorically. For Nelson blindness is akin to being a lost man. With extraordinary tenacity the trumpet cadenza charts Nelson’s journey as he sets about the process of regaining control. Optimistic and uplifting, this finale speaks of hope and rebirth; the regeneration of the human spirit.

I would like to thank Hannie Rayson for her guidance and feedback throughout the composition process, Jean-Louis Forestier for directing the orchestra with great sensitivity and attention to detail, the Melbourne Symphony Orchestra for a committed and powerful reading of the score and their ongoing support of my work and also Don Farrands for offering me a unique opportunity to render his family’s powerful story through the medium of music.