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The inspiration for Dialogue came from an unlikely source. Composer Earl Kim (1920-1998) wrote a song cycle for soprano and chamber ensemble in 1982 entitled Where Grief Slumbers. The cycle’s fourth song, Ophelia, opens with a beautiful and tragic solo soprano line. Kim’s melody plays with intervalic material related to the major 7th, a dissonant interval which juxtaposes nicely with the consonant octave. Dialogue explores and develops related intervallic ideas on the flute but adds a crucial component, the interplay of a vocal line sung by the flute player. As a result of the melodic flute line against the vocal drone, an interference occurs which distorts both the flute and the vocal line. An eerie and intriguing sound ensues.

- Heather Gilligan

American composer Heather Gilligan writes music that is honest, compassionate, and relevant. Her album of vocal chamber music “capably demonstrates that the art song is not only alive and well but thriving in the early decades of the 21st century” (Jonathan
Blumhofer, The Arts Fuse). Two of her recent works, Southern Dissonance: Portraits of a New South for vocal quartet & percussion and Rhapsody for violin & piano, are Finalists in the 2023 America Prize competition. Her woodwind quintet, Six of One, was performed in 2023 by Concerts on the Slope in Brooklyn and in 2022 by the Women’s Festival of Hartford. Her song cycle, Living in Light, won the LA-based Kaleidoscope Orchestra’s 2019 Call for Scores, her song “I’m a Girl. What’s your superpower?” won second place in the 2019 NYC SongSLAM Festival, and she won the Boston-based Juventas Ensemble’s Call for Scores in 2018 and 2019.

Gilligan holds a faculty position at Keene State College, where she is coordinator of composition and theory.

www.heathergilligan.com

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from New Music Festival 02023 Documentation: Sunday, October 15, released December 14, 2023
Performed by
Mallory Wood, Flute

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The Museum of Viral Memory Eugene, Oregon

A lifetime in noise & experimental stitched to the last 100 years of electroacoustic, ecoacoustic, concrete magique

Improv jazz come unpinned from time

Conceptual music built from field recordings

Sound art for dreaming, drifting, disappearing

Ritual magick, slow to cast; slow to coalesce

Invocations unintended for human ears

Music in geologic time

Aureality for the non-conscious mind ... more

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