What a pleasure to have my music and research featured on CBC’s In Concert: Revelation Hour with Paolo Pietropaolo. All the more so because it is even possible to listen to the episode outside Canada! Thank you to the CBC, and to all the musicians featured playing my music, including Jennifer King, the Elizabeth Bishop Chamber Players, and more.
I had a great time participating in the Modern Chants concert, organized by composer and violinist Ruta Vitkauskaite. I wrote two pieces, in collaboration with poet Dawn Wood, Gannetry, for Jo Nicholson (clarinet) and Ellie Cherry (live electronics), and Machair Flowers, for violist Katherine Wren. These are my most graphically notated score to date, and I really enjoyed the process. Gannetry uses graphic notation to convey specific gestural, timbral, textural & structural information about the piece — that is, there is a particular way I wanted the piece to sound, and the graphics were the best way to notate this — while Machair Flowers uses graphic notation to suggest kinds of sounds & networks, but the overall realization is very open. If you are interested in exploring either of these pieces, feel free to get in touch. I’d be happy to make a version for instrument/voice/ensemble. You can hear both these pieces, as well as great pieces by Ruta Vitkauskaite and Gemma McGregor and more poetry by Dawn Wood right here. (Machair Flowers starts at 51’21”, and Gannetry starts at 1h17’20”).
I’m pleased to share my most recent zoomusicology article, “‘Hearken to the Hermit Thrush: A Case Study in Interdisciplinary Listening,” which was published as part of the special research topic “Songs and Signs: Interdisciplinary Perspectives on Cultural Transmission and Inheritance in Human and Nonhuman Animals” in Frontiers in Psychology. In this article I discuss my own approach to zoomusicological inquiry, and use the example of how the hermit thrush (Catharus guttatus) has been understood and discussed over the past 200 years to illustrate why interdisciplinary perspectives are essential for better understanding of animal songs. The full text is available for free here.
Madrigirls is a fantastic women’s choir in Glasgow, founded and directed by Katy Lavinia Cooper, and really enjoyed having the opportunity to write a new piece for their 2020 Advent Concert, to help celebrate their 20th anniversary. Due to covid the concert couldn’t take place in person, but I am so pleased that they were able to find a beautiful way to present it online! (You should really watch the whole thing, but if you are looking for my piece specifically, it’s at 1:02:40ish.)
Programme note:
My Wren-King uses lyrics from the St Stephen’s Day tradition of hunting the wren, which is celebrated in various different ways in Ireland, the UK and other Celtic-influenced parts of Europe, and even in some parts of Canada, including Nova Scotia where I am from (though I have never seen it). Traditionally people would kill a wren and bring it from door to door asking for change, though people now use toy wrens, fortunately! There are a variety of theories about the origin of the custom, but it is thought to date from pre-Christian times, or to be a Christianization of Celtic and/or Norse
customs, perhaps replacing a solstice sacrifice. I myself come from a mixed religious background, and although I’m an enthusiastic celebrator of Christmas, I’m not Christian: I thus find myself particularly interested in these customs of somewhat mysterious, mixed origins, associated with the
celebration of Christmas, but not actually connected to the Christmas story itself. I feel a further connection with wren mythology because many folk stories that are told about the wren in Europe have been transposed onto one of my favourite birds, the hermit thrush, when told in North America.
Thank you to Anthony Lanman for inviting me to talk on his podcast 1 Track about my piece Woodwings. Woodwings was commissioned by the Fifth Wind Quintet in Halifax, Nova Scotia, as part of their Forecasting the Canadian Wind Project, funded by a Canada Council New Chapters grant, and premiered by Fifth Wind, Mistral 5, Choros, Blythwood Winds, and Ventos in September 2018. It’s based on the songs of 9 birds found across Canada, including the bobolink, the hermit thrush, the winter wren, snow geese, and five species of owls! If you’re interested in obtaining a score, you can do so by taking out a (free) membership in Wind Quintet International.
I’ve just finished my first wind quintet, Woodwings, for Fifth Wind Quintet, of Halifax, NS, as part of their Forecasting the Canadian Wind project. Woodwings will be premiered in September by Fifth Wind, as well as Choros (Montreal), Blythwood Winds (Toronto), Mistral 5 (Saskatoon), and Ventos (Vancouver), along with premieres by Carmen Braden, Cris Derksen, Daniel Janke, and Cameron Wilson. (If you play in a wind quintet and would like to have access to these and other new works after their premiere, you can sign up at Wind Quintet International!)
Woodwings is based on the songs and calls of a number of birds that are fairly widespread in Canada – the Bobolink, Hermit Thrush, Snow Goose, Winter Wren, and a selction of owls (Boreal Owl, Northern Pygmy Owl, Hawk Owl, Northern Saw-whet Owl, and Western Screech Owl). It’s been a great pleasure to write this piece, both because I’m a (mostly former) oboist myself, and because the musicians in Fifth Wind are long-time friends, and in some cases my former teachers. (Oh dear – I’ve just calculated and realize I have known several of them for more than 30 years! Am I really that old?) I’m really looking forward to the rehearsals and workshops in May, and to the performance in September!
The Fair Trade String Trio (Ashley Windle, Hannah Levinson, and Jeanette Stenson) will be premiering my newest piece, Field Guide, on July 20 through 26 on their second Pacific Northwest tour, with concerts in Vancouver BC, Victoria BC, Bellingham WA, and Portland OR. More details of the concerts can be found on their website. Field Guide is based on the songs of three birds which can be found in the Western US, the horned lark, the greater sage grouse, and the Western meadowlark. Though these birds aren’t currently endangered, they depend on the wild land of the US National Parks and Forests — and are one of the many, many reasons why we all need to be working to preserve these lands.
I wrote Seven Duos for Birds and Strings in 2011-2012, when I was composer-in-residence at the Max Planck Institute for Ornithology in Seewiesen, Germany. The piece explores the ways different species of birds might sing their songs together, ranging from unintended overlapping to hocketing so tight that it sounds like only one bird singing.
Seven Duos was commissioned by the Canada Council for the Arts for violinist Annette-Barbara Vogel and violist Dan Sweaney. For a variety of reasons, the piece did not receive its premiere until November 28, 2014, when Annette-Barbara and Dan performed it at the International Viola Congress. I’m glad they waited, because this year the Congress was in Porto, Portugal, and I was able to attend! They gave a fantastic performance, and I had a great time visiting Porto as well.
For the past several years, I’ve been researching the song of the hermit thrush together with Bruno Gingras, Dominik Endres, and Tecumseh Fitch. We found that its songs follow the overtone series! Our resulting paper was published in the Procedings of the National Acadamy of Sciences on November 18. Some good press coverage of our research can be found in Smithsonian Magazine and Huffington Post, and on CBC’s Quirks and Quarks.
