One planet. Many voices.

Instrumentation: soprano, alto, two baritones, one bass, and spoken voices (male and female); flute, alto saxophone, bass trombone, piano, electric guitar, bass guitar, and percussion.
Total number of performers: as few as 7, depending on doublings.
Duration: 42 minutes.
Notation: standard Western notation.

Climate change has become a defining feature of life in 2020. Its effects have rippled out in perhaps unexpected ways, impacting how we travel, what we eat, where we live, and more. Perhaps more concerning is how these fundamental shifts in lifestyle can exacerbate social rifts. Although modern technology allows many perspectives to be expressed, it is seemingly rare that these perspectives are thoroughly considered by listeners who do not already feel the same way. As the walls of echo chambers become more rigid, so too the apparent incompatibility of worldviews.

Instruments of Change is an attempt to capture this plurality of voices in an empathetic manner. At the core of the work is a series of six songs (a song cycle? a concept album?), each with a distinct identity and character. The texts are constructed wholly or partially of words from different members of today’s global society, drawing on people across generational, economic, and cultural spectrums. Genre and musical style are treated as clothing might be – items borrowed from someone else’s wardrobe, worn, then returned. Importantly, none of these songs are intended to be a caricature or over-reduction, and instead work under the assumption that everyone is acting in a way which is ethically consistent with their own values and in a way which presumes positive intent. Movements 3 (Escalation) and 13 (Post-Normal) grow out of the musical content of the songs, blending and recombining material as a proxy for the interpersonal dialogues which may be needed more in society today. Interspersed throughout the work is Red Rebel, a piece which exists on a more geologic timescale as a reminder of humanity’s limited ability to conceive of change on a global scale.

This piece would not have been possible without the support of a number of people. First, I would like to recognise Catherine Heinemeyer as spiritual co-author of this work, whose perspective on storytelling and empathy placed me in a new (and admittedly uncomfortable) creative position. Second, my music colleagues at York St John University have provided unending encouragement and advice. I’m fairly certain that this is not the work that David Lancaster expected when he invited me to contribute to the Late Music concert series, and I’m glad that I can still (pleasantly?) surprise him. Third, I would like to thank the students that premiered this work with me: Hannah Fruin (flute and voice), Max Stephens (alto saxophone and voice), Chris Palmer (electric guitar and voice), Dan Monaghan (electric bass and voice), and Katya Fox (percussion and voice). They have been absolutely brilliant, and I greatly appreciate their creativity, patience, and willingness to explore the creative process with me. Last, and certainly not least, I would like to thank my wife and son for their support throughout this performance process and encouragement to keep pushing myself as an artist.