Next Event:
This program explores the confluence of nature and human-made sounds. The program opens with Pauline Oliveros’s meditative Breathe In/Breathe Out, a text score for narrator in which the audience is invited to co-create an ambient wind forest with their breaths. From this meditative space, Eidle will move into Eve Beglarian’s I Will Not Be Sad In This World, a contemplative piece for alto flute and fixed media. Hong-Da Chin’s Conversations between Wind and Water for solo flute follows, imitating the flowing sounds of nature with a wash of extended techniques. The last piece, Felipe Tovar-Henao’s «Arborescencia», flows from chirps and warbles to funk and groove. This program meditates on imitations of nature and showcases the dexterity of the electroacoustic flute repertoire
Pauline Oliveros: Breathe In/Breathe Out
Eve Beglarian: I Will Not Be Sad In This World
Hong-Da Chin: Conversations between Water and Wind
Felipe Tovar-Henao: «Arborescencia»
Program Notes:
Based on an Armenian troubadour song, I WILL NOT BE SAD IN THIS WORLD is a uniquely beautiful work for alto flute accompanied by a pre-recorded audio track made purely from the composer’s own singing. The result is a fluid interplay between the live flute and the composer’s multi-tracked and processed vocal sonorities.
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Hong-Da Chin: “I have been passionate and enthusiastic about nature. As a flutist, the sounds of wind and water have been my targets of imitation. Through Conversations between Wind and Water, I tried to use the sound of flute to imitate the sounds of wind and water with extended techniques I could possibly use.”
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«Arborescencia» circles around utterances of tree-like gestures and representations in music, taking the phenomenon of branching as a metaphor or model to derive musical events from. This tendency manifests itself both vertically — timbre and harmony — and horizontally — duration, rhythm, and time — with a particular emphasis on the perceptual domain.
The listener might then be able to notice instantiations of arborescence through the segmentation of the flute sound into multiple spectral strands, entangled rhythms that arise from juxtaposition of echoes, harmonies that stem and grow from the flute lines, or hierarchically established repetitions and fragmentations of sound sequences. Just like in trees, one might also occasionally hear semblances of chirps and warbles of the birds that inhabit them.
Julianna Eidle’s artistic practices center sound, experience, and human connection. An Illinois-based performer, organizer, and educator, Julianna (she/her) was appointed Instructor of Flute at Western Illinois University in 2024. Julianna performs with the Camerata Woodwind Quintet, the Contemporary Art Music Project in Tampa, FL, and is Co-Director of New Downbeat, a Cincinnati chamber ensemble rooted in intersectional feminism. An advocate for new music, Julianna has premiered over 50 works for solo flute and ensemble and performed at the BMI Composer Awards, WIU New Music Festival, SHE: Festival of Women in Music, Society of Composers, Inc. Student National Conference, and the Midwest Composers Symposium. She holds the Second Flute/Piccolo chair with Opera in the Ozarks and performs with orchestras throughout the Midwest. With interests in artistic wholeness, Julianna has pursued studies in Deep Listening, Yoga Teacher Certification, and The Well’s My True SELF program. Julianna holds degrees from Indiana University (BM and Performer Diploma) and the University of Cincinnati (MM,) where she is currently a DMA candidate. Visit juliannaeidle.com to learn more.
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