ghosts of swallows


ghosts of swallows takes its opening pitches (heard as “prepared” notes in the piano) from the opening chord of Morton Feldman’s Swallows of Salangan. In this late 1950's piece, Feldman notated the pitches (a string of vertical chords) but let the performers choose their own slow duration for each sound, creating the effect of “a series of reverberations from a common sound source.” I was interested in how a transformation of this idea could play out on a much smaller scale. After setting all of the chords for piano, I allowed semi-chance procedures to determine note durations, density of ensemble, and in some cases, how pitches were to reverberate through the ensemble. Towards the end of the piece, I began looking for ways to bring the outside of the musical material into engagement.

Anna Höstman CA

Anna Höstman's music seeks out sensory and tactile encounters with the world while also extending into story, memory, history, and landscape. Her creative work has been performed across Canada and internationally, and received support from the BC Arts Council, Canada Council for the Arts, Toronto Arts Council, the European Research Council, Indigeneity in the Contemporary World, the Ontario Arts Council and SSHRCC. From 2005-8, Anna was resident composer of the Victoria Symphony Orchestra. In 2013, she received the Toronto Emerging Composer’s Award to write a quartet for period instruments based on walking the Camino de Santiago in Spain. Anna’s DMA focused on the chamber works of Toronto experimental composer, Martin Arnold. In 2014, Anna was the recipient of the K.M. Hunter Award for Classical Music.  

For more information about Anna Höstman, click here.

Anna Höstman