Birdlife population rapidly decreases every year, not only in migratory species but in common, endemic species. According to American Bird Conservancy President George Fenwick, “…some studies suggest that perhaps as many as half of all migrating birds do not make it back home, succumbing to various threats along the way.” Additionally, average population of the common birds has declined 68% since 1967, due to factors such as habitat loss from urban development, deforestation, land conversion, and climate change. 

What Trees May Speak embraces certain characteristics and behaviors of birdlife—especially the early morning songs of their daily Dawn Chorus, and the extraordinary feats of Spring and Fall Migrations—ultimately emphasizing a certain grandeur and broadness that joins both human and bird in a sort of spiritual connection. The central section of the piece, labeled Guam, is a representation of that island’s lack of native birdlife, all wiped out due to predatory alien invasion. Musically, this section is exceptionally quiet, sparse, and viscerally empty, a microcosm of the very real possibility of global bird silence, if conservation efforts were to slacken. 

Premiere performance, Boulder Symphony Orchestra, 9/20/14

What Trees May Speak

Premiere Recording:
Boulder Symphony Orchestra
Devin Patrick-Hughes, director
05/07/2016

(cover art: Enclosed Resurgence, © Julie Mehretu 2001. Has nothing to do with the piece, but I love her work.) 

Everything All At Once

Countless travels have brought to my attention the increased use of modern wind turbines, but in particular I am captivated by the four located at Ohio’s first commercial wind farm in Bowling Green. My frequent trips between Defiance and Perrysburg have led me to enjoy their various disguises during all hours of day and types of weather as they work tirelessly to provide for us.

The inspiration to write music based on my interactions with the turbines was almost instant. What I enjoy most about the experience is the visual trajectory: being able to spy the turbines at a far distance from either direction on Route 6, their impending approach, reveling in awe at their size and depth upon arrival, and then continuing beyond with a final glimpse or two in the rear-view mirror.

The formal structure of the piece essentially mimics this journey. Fast pulses and rhythms open the work, giving way to a slower introspective—even reverent—middle section, and concluding with a return to the pulses with a somewhat retrospective tone. The tone of Wind Perpetual is loosely inspired by pop and film music, with the piano mechanically pushing forward and the strings gradually reaching a soaring theme after fragmented jumpstarts. 

Wind Perpetual was commissioned by and written for the Perrysburg High School Orchestra, Michael Smith, director.

Wind Perpetual [demo]

A 13-track demo for an action/adventure Steampunk-themed game composed in 2012-13. The game itself never manifested, but this soundtrack remains. And it also remains one of my favorite creations; tons of fun to write!

jonn.sokol

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