Worked on the second phase of Jacqueries for Jacob Niedzwiecki. The piece will be a site specific, but movable piece, built to work in a large room. Most of the music is very polyrythmnic, using a quad sound setup with different metric modulated pieces in each corner, except for this piano piece. This is a form of theme and variation, where the melodic theme becomes a lahara like ground bass for metric modulation variations. With some electro bits at the end.
The Belfry Theatre in Victoria presented a version of Kate Hennig’s The Last Wife, directed by Esther Jun. Since the show is about Henry VIII and his last wife, but set as if it was in modern days, I arranged the real music of Henry VIII into more modern settings. Sometimes using one bar, sometimes slowing down the harmonic movement or looping 4 bars, but always using his melodies and harmonies in a more modern setting. Here's the curtain call, its an arrangement of Henry the VIII's Whoso that Will Obtain.
Mirvish presented a great version of Disgraced, a very smart play about race today. I did some New Yorkish modern jazz, hinting at Caravan, for the theme.
For the Shaw Festival’s production, with Eda Holmes directing, I wrote for a string quartet of sorts. With Sarah Fraser on violin, Anna Redekop on viola, Amber Ghent on cello and Andrew Downing on bass we put together a quartet that only used one violin and had bass as well. Created a lovely and fuller sound then the standard quartet. I recorded the quartet myself, conducting and recording at the same time.
Ashlie Corcoran directed a cool production of the german play, Das Ding, a co-pro between Canstage and Theatre Smash. Very fun and odd play about a piece of cotton.
Jillian Keiley’s production at the National Arts Centre, where she requested a mix of 90’s pop tunes redone as if they were rough sounding string quartet recordings of the period. Also set three pieces to Shakespeare’s song lyrics. Set by the excellent Old Trout Company, all around a really fun and smart production.