Meet Aija Draguns | Music Composer & Conductor

We had the good fortune of connecting with Aija Draguns and we’ve shared our conversation below.

Hi Aija, we’d love to hear about how you approach risk and risk-taking
I think choosing to pursue a career in the arts is a risk – it’s scary! You risk stable and consistent work, so you have time to create and commit to your craft. There are times where I evaluate this risk, and whether freelance work is worth the stress and at times – panic. I watch my friends who are doctors and teachers absolutely thriving, whilst I’m sat here just composing my ‘silly little opera’. But then I remember, I love my ‘silly little opera’ and all the musical projects I do. I have a huge passion and drive for creating music and sharing it with the world, and whether I will succeed or not, I think it is worth the risk. Because no matter what happens, I will always know that I tried to follow this dream. Who knows where I’ll be in 2o years, but I know I won’t have any regrets or “what ifs” about my place in the music world. Therefore, though a music career is a risk, the risk of regret, is far scarier.

Let’s talk shop? Tell us more about your career, what can you share with our community?
I am a composer and conductor based in Sydney, Australia, specializing in vocal music. I am first-generation Latvian born in Australia, and have grown up in the Latvian community here. I grew up playing the saxophone, piano, and singing in various choirs and folk music groups. This ethnic community really cocooned both my personal identity as well as musical identity, as my music is now often inspired by Latvian folksong and choral genres. My biggest composing influences are from Baltic composers Arvo Pärt, Pēteris Vasks, and Ēriks Ešenvalds.

At the moment, I am mainly composing for choirs and vocalists, and am currently writing an opera! I also sing myself, and conduct various choirs in Sydney. There is something about singing (whether as a soloist, in a choir, or even at the pub!) that is so close to human emotion and connection which I find so special – also why it is my favourite instrument to write for. To me, composing and conducting go hand-in-hand, providing me a unique insight into each artform, which I hope to share with my players, singers, and audiences.

I was lucky enough to become quite aware of my musical identity early on in my career. I compose often with a colour and story in mind, with each musical piece containing its own identity. When I start composing, it is like getting to know a friend: what do they look like, how do they talk, how do they walk, what is their personality? This is how I compose my own music, as well as listen to others’ music. And I am proud to say that I know the personality, identity, and colour of my music very clearly, which I know can take composers a long time to find. Though difficult to describe for readers in words, my music is a wash of lavender, violet, periwinkle and blue. She is hopeful, earthy, peaceful, serene, and definitely comes from folkloric Latvia!

In 2023, I was selected as a one of four composers to partake in the “Words, Text, Voices, Music” program at The Sydney Conservatorium of Music, as part of a Master of Music (Composition) research with composer Paul Stanhope, specializing in Latvian musical identity and language in vocal music. I am currently completing this degree, whilst working as a choral conductor of two choirs, and doing some freelance composition and orchestral conducting work.

I sometimes think, “how did I get here”? On one level I chose music: I attended university for three music degrees, and am constantly surrounding myself with musicians and artists alike. But other times, when I feel completely overwhelmed with work, looking at a completely booked schedule, I question: did music choose me, or did I chose music?

In 2017 started I attending the Sydney Conservatorium of Music to study music composition, originally to be a film composer. However within my first year at university, I found myself very drawn to vocal composition. It was the genre that felt most natural to me, and made me feel most musically free as a composer. I myself began to sing more, and joined the various university and community choirs, to immerse myself in choral music. I even formed my own student composer choir, in which we workshopped and performed eachother’s music. Through the process of having to direct my own compositions, I found conducting, and fell in love with this artform as well.

I then began studying orchestral and choral conducting, and started regularly conducting choirs in Sydney and Melbourne. Orchestral conducting opportunities are fairly limited in Australia, and I applied for any conducting fellowships/ training sessions I saw, very eager to get my foot in the door. In 2022 was lucky enough to receive a conducting fellowship with Sydney Youth Orchestras, and from that gained various orchestral conducting opportunities around Australia. I loved (and still do) using my composing brain to conduct, and vice versa. They are each such a unique way of musical thought, yet so helpful to one another.

2022 was a big year for composition as well for me, I premiered my music in Sydney Town Hall with my first ever orchestral piece “Lavender Paper Cranes”, performed by Sydney Philharmonia Orchestra, as well as our famous Sydney Opera House with a new children’s opera “Max and Moritz”, performed by Musgrove Opera. Both premieres felt like big milestones as a composer, and felt like a mix of pride and relief.

Once I completed my bachelor degree, I continued into my honours degree, studying Latvian Musical Identity. Which by this point in my career, was how I saw myself- accepting my niche as a Latvian diaspora Australian musician. Now, I am completing my Masters of Music (Composition) with my line of inquiry about national musical identity, and continue to work various freelance composition and conducting jobs.

A music career is a portfolio career – made up of lots of little (sometimes big) jobs. Any artist will tell you how stressful freelance can be, trying to juggle and schedule 10 odd jobs into one calendar week. I have had to slowly learned that as creatives, though we want to say yes to every single project – for the sake of our human sanity, we cannot! I am still learning this one though!

Each gig feels like you are adding puzzle pieces your career board. But how many pieces am I to add, to feel like I’ve “made it”? Do you ever “make it”, or am I just continuously trying to add more pieces to complete an incompletable puzzle? I am starting to realise that all we can do as musicians is to continue to do work that we are passionate about and love. I will continue to create music as long as it makes me happy and fulfilled. I think as long as we do that, you’ll be at peace with whatever puzzle (however empty or full) you end up with in life.

So did music choose me, or did I chose music? I think pursing a creative passion and career is like jumping onto a moving train. I made that first jump. But sometimes, I don’t feel like I’m driving the train. We do love it though.

Let’s say your best friend was visiting the area and you wanted to show them the best time ever. Where would you take them? Give us a little itinerary – say it was a week long trip, where would you eat, drink, visit, hang out, etc.
I am lucky enough to live near the beach in Sydney, and would definitely take them to Manly Beach! I’d take them swimming in the ocean side, to experience the big waves. Then I’d take them to Shelly Beach, a cute cove just around the corner, to do some snorkelling. In the evening, we can take the ferry across the beautiful water from Manly to Circular Quay, and head to a concert in Sydney’s famous Opera House. Perhaps Sydney Symphony Orchestra, conducted by the wonderful Simone Young. Afterwards, dinner, drinks, and dancing in The Rocks – a beautiful historic neighbourhood by the city harbour.

Who else deserves some credit and recognition?
My university professor, composer Paul Stanhope. He has supported my composition and conducting work for my various years at the Sydney Conservatorium of Music. It was his classes and mentorship that made me realised I loved writing for singers, which is now my speciality. I am forever grateful for his musical guidance and expertise not only for myself, but for countless other composers at the Conservatorium.

Website: https://www.aijadraguns.com/

Instagram: https://www.instagram.com/aijadraguns/

Youtube: https://www.youtube.com/channel/UCH6MOXFBox-vajqxGn8_qdQ

Other: Soundcloud: https://soundcloud.com/aija-draguns-composer

Image Credits
Christopher Hayles DEIT Media Kate Mitchell