Compositions

RE:connect

For baritone saxophone and electronics; 13′, 2016.

Composed for collaborative dance piece choreographed by Sarah Hopkin for solo dancer. Choreographed and composed for Kathleen Legassick and Olivia Shortt. Premiered on May 1, 2016 at Dancemakers Theatre, Toronto.

Additional performances: Performed at Festival of Original Theatre (FOOT) by Kathleen Legassick and Olivia Shortt on Feb.2, 2017 at Robert Gill Theatre in Toronto; Performed at ODD Box Theatre (Ottaw Dance Directive) and presented by the Movement Gallery in Ottawa on June 2, 2017.

RE:connect explores our dependence on technology and the epidemic of loneliness it has caused. The depth of the connections we make to other humans is now often sacrificed for the quantity of connections we make. We feel the need to constantly be connected and share our experiences in order to feel that we are not alone, but in the process we have forgotten how to connect with ourselves. If we do not learn how to be alone, we will be forever lonely.

Shift

For string orchestra; 7′, 2016.

Composed for and premiered by Ensemble Arkea, conducted by Dina Gilbert on January 28 at Chapelle historique du Bon-Pasteur, Montréal. Presented at Finale du concours Accès Arkea, one of five finalists chosen. Live recording.

Shift explores moments of transparency through the awareness of space and movement. Through the perception of time being lengthened or shortened, one’s awareness of the space between movements is accentuated. In that way, the continuity of space through movement becomes more obvious.

Cycle Scope

For mixed ensemble and soprano; 7’30”  2015

Performed by the Toy Piano Composers Ensemble on Nov.21 at the Music Gallery in Toronto. Live recording.

Conducted by Pratik Gandhi, soprano – Maureen Batt, flute – Tim Crouch, violin – Sharon Lee, percussion – Etienne Levesque, double bass – Adam Scime, piano – Wesley Shen, clarinet – Anthony Thompson

Cycle Scope is inspired by a fascination with human connection and behaviour; meanings behind rituals, routines and patterns in the way people interact. There are moments of synchronicity in physical movement as well as people’s emotional states converging in their environment. I am always intrigued by how these subtle moments can go unnoticed and have the ability to reveal something unexpected. The piece explores the rituals of different individuals and how they interact within a space. Physical and emotional patterns emerge through these interactions, whether conscious or not. From the surface, a beautiful complexity develops out of simple, repetitive, and sometimes direct routines, overlapping and occasionally interlocking. There is a sense of duality in this piece, focusing on the larger structure while revealing a deeper meaning beneath these routines.

Cosmosis

For string quartet; 7′, 2015

Composed for and premiered by Quatuor Bozzini on Sept. 2 at Jeunesse Musicale. Live recording; recording engineer: John Klepko

Additional performances: Ontario premiere at Between the Ears Festival in Waterloo on June 3, 2017.

Falling (into the unknown)

For solo electric guitar; 10′, 2015.

Performed by Jacob Wiens, June 21 at Conservatoire de musique de Montréal. Presented by Montréal Contemporary Music Lab. Live recording.

Additional performances: Ontario premiere at Between the Ears Festival in Waterloo on June 3, 2017. Performed by guitarist Mike Anderson.

Falling (into the unknown) expresses a mental state of fear that one may experience and continually struggle with. I’ve been interested in exploring the concepts of stillness and chaos and how they might interact in specific contexts. There is a lot that can happen in a fearful state. I find that stillness and chaos are greatly present in fear. They overlap and exchange through different kinds of tension. They are present within each other’s form, maybe just for a brief moment or could be sustained for a longer period of time.