|1||Annea Lockwood - Glass World (excerpt)||0:10:40|
|2||Annea Lockwood - A Sound Map Of The Danube (excerpt)||0:10:30|
|3||Annea Lockwood - In Our Name (excerpt)||0:05:33|
|4||Annea Lockwood - Jitterbug (excerpt)||0:05:16|
Stream a selection of work by the composer Annea Lockwood, featured in an article by Julian Cowley in The Wire 340.
"Glass World" (excerpt)
from Glass World
Recorded in 1970. Many types, shapes and sizes of glass were used in performances of the Glass World. The glass used was not specially prepared or shaped. Rather, pieces of glass which are not normally seen were played, including the four sound sources heard in this excerpt: A large sheet of wired glass, small glass discs which are rubbed together, chunks of green glass cullet (like rocks) which are moving against one another, sheets of micro-glass shaken or popped. My intention was to present each sound as if it were a piece of music in itself. For me every sound has its own minute form – is composed of small flashing rhythms, shifting tones, has momentum, lives out its own structure, and since we are used to hearing sounds together, either juxtaposed, blended or compared, one sound alone seems simple – but so are the round scuffed stones lying about everywhere, until you crack one apart and all its intricate beauty takes you by surprise.
"A Sound Map Of The Danube" (excerpt)
from A Sound Map Of The Danube
Recorded 2005 in Serbia, with the voice of Gizela Beba Ivkovic describing the NATO bombings of Novi Sad in 1999: “During the war we were often bombarded. We were in a state of shock the whole time, regardless of the bombardment. The bridges [in Novi Sad] near which we grew up were a part of us. It was miserable to watch those pictures, and it was painful to look at the Danube after the bombing because it looked like a decapitated man. We were not only frightened, but also disappointed with what was happening.
"One of my friends who was a doctor at the time and worked in Petrovaradin, had to go to work every day. Of course he went to work every day during the bombing, and even though there were sirens going, and there was a chance that he would lose his life, he went anyway. Those days were frightening and unforgettable. He told me that at that time they had no - I mean, neither did we - no electricity or water. They were operating using battery-operated lamps and barrels filled with water. Those are things that can never be forgotten.” (translated by Zerina Kratovac)
"In Our Name" (excerpt)
from In Our Name
(New World Records)
From 2010. With Thomas Buckner (baritone), Theodore Mook (cello), with the voices of Bill Hart and Bruce Odland. Commissioned by Thomas Buckner. texts: "Death Poem" by Jumah Al-Dossari, "The Truth" by Emad Abdullah Hassan, from Poems from Guantanamo: The Detainees Speak, edited by Marc Falkoff and published by the University of Iowa Press. Didjeridu sample from Stuart Dempster's 1995 album Didjerilayover: Underground Overlays From The Cistern Chapel (New Albion Records).
(New World Records)
With David Behrman (zither, psalter, rattle, rainstick, processing), John King (electric guitar, viola, processing) and William Winant (percussion). Commissioned in 2007 by the Merce Cunningham Dance Foundation, Inc. Aquatic insects and fish recorded by Annea Lockwood. Terrestrial insects used by permission of Lang Elliott of the Nature Sound Studio.