Our New, Unreliable Winter (2024)

Instrumentation: Orchestra – 2[1.2/picc].2[1.2/Eh] 2.2 - 4.3.3.1 - timp 2perc, hp, strings

Duration: 8’

Program Notes

The prevalence of nature as a backdrop of Canadian artwork cannot be understated. Since time immemorial, Indigenous peoples have used art to tell stories of creation, strengthen their connection to the land, and pass on knowledge across generations. In the 19th and 20th centuries, artists such as Emily Carr, Tom Thompson, and the Group of Seven popularized the idea of “the untamed wilderness” as a frontier, portraying magnificent landscapes of mountains, lakes, and plains. This spurred the start of a national art movement, and the colonial concept of “Canadiana” has become inextricably linked with this painting style, covering postcards, calendars, and art galleries across the country. Henrietta Mabel May (1877-1971) has long been recognized for her contributions to this style; her painting Melting Snow is a testament to the movement and is the inspiration behind my work.

The work takes its title from an online article by Anita Lahey discussing Melting Snow; published by the National Gallery of Canada as part of their collection of winter paintings. The name is two-fold – depicting the unpredictability of winter weather while acknowledging the growing anxiety around climate change. This instability lends itself to the music, shifting between contrasting moods and textures. Like May’s brushstrokes, boundaries are blurred between dark versus light, cold versus warmth, and barren versus beauty, entrenching the idea that nothing is static.

As the sun peaks through the hills and the hope of spring lingers in the air, several references to the season of renewal as depicted in the Western art music tradition are noted, including Stravinsky and Copland. At its core, Our New, Unreliable Winter is a testament to humanity’s desire to understand the natural world.