Was inspired by the poem “Empress in the Mirror” by Colette Inez. Notes by Ms. Inez state “Sitting before her mirror a woman takes on the conflicting roles of cruel court lady and palace drudge. The vain empress and her serving girl are both imprisoned in the poet’s imagination, a clear representation of Jung’s theory of the shadow.
Girl, Walking (2014)
The idea for Girl, Walking came about while reading “Far From the Tree: Parents, Children and the Search for Identity” by Andrew Solomon. I started to think about how one can create one’s own identity, yet some of who we are is inevitably beyond our control. I wondered how all that we were born with, — plus the myriad list of events that unfold in our lives and even the secrets we hold — all conspire to form our identities. The piece flows through five sections that are shaped as they go along by improvisations of the part of the bassist, flutist and guitarist — improvisations that would unfold and force the unexpected, awakening new shapes and realities while the repetitive nature of the guitar maintained a continuing, eternal presence underneath it all. I knew the piece needed to have electric guitar — for so long the tool of my expression, my rebellion and my comfort — and a flute, as a nod to my mother, a talented flutist. As for the teacups, well, they’re always around me when I work. I was happy to find two that were so out of tune with each other.
We Meet Ourselves (2015, Dedicated to Scott Deal)
Was inspired by several quotes from Carl Jung, with the main thrust of the piece being confrontations with the unconscious, and the messages we receive as we go through life. The percussionist triggers prerecorded audio samples through gestures or by using small triggers on the marimba bars. The middle section is improvised. I owe much gratitude to our brilliant percussionist Scott Deal, for his tireless efforts in helping me make this piece truly work for the instrument. We Meet Ourselves is written for and dedicated to Scott Deal.
The Cellar Door (2011)
Was inspired by “The Red Book” by C. G. Jung. In The Cellar Door, I explored Jungʼs theory of Individuation, the process by which the psyche becomes fully integrated and whole. The audio track represents the unconscious, with its live sounds of waterphone; the piano and cello represent the conscious life. The audio travels from the rear to the sides and finally the front of the listener in a deliberate confrontation between the conscious and unconscious lives.
No Matter Where (2010)
Is based on the painting No Matter Where, Not Pictured Here by Jackie Tileston 2008. I felt the entire painting was like a journey, and so I decided to travel around it. Trains (captured sound) are constant, suggesting unending movement. Beginning piano floats in like water. It floats into the part with words from Kerouac’s On The Road translated into notes and chords (inspired by a conversation with Edgar Endress). Then we head into Asian influences with the tablas and ascending violin and piano lines made from Indian ragas. The ending circles back around into calmness with recurring utterances of tablas, just for a second each appearing and then gone like the quick rushes of memories that float back after a journey. The last section has prepared piano that has several small Tibetan bells sitting atop the strings in the upper register of the piano body. Trains trail off, slowly fading away as the piece ends.
CONNECT with Gina Biver
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Ravello Records is the contemporary classical label imprint of audio production house PARMA Recordings. Dedicated to highlighting forward thinking composers and musicians from around the world, the New England-based label's eclectic catalog offers listeners a cross-section of today's up-and-coming innovators in orchestral, chamber, and experimental music.
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