Basement Apartments III. Suitable Only For One Person

Performed by Kate Ledger 

studies in restriction explores the ideas of restraint and physicality around piano and toy piano performance. Each study of the set investigates a specific physical or instrumental limitation. In study in independence, only the pianist’s fourth and fifth fingers are used throughout.

studies in restriction I. study in independence by Monica Pearce

Performed by Kate Ledger

studies in restriction explores the ideas of restraint and physicality around piano and toy piano performance. Each study of the set investigates a specific physical or instrumental limitation. In study in stretch, the pianist performs an elaborate choreography of overlapping wide stretched intervals.

studies in restriction II. study in stretch by Monica Pearce

Performed by Kate Ledger

studies in restriction explores the ideas of restraint and physicality around piano and toy piano performance. Each study of the set investigates a specific physical or instrumental limitation. study in practice demonstrates the slow practice technique of right hand only, then left hand only, together, then up to speed.

studies in restriction III. study in practice by Monica Pearce

Performed by Kate Ledger 

studies in restriction explores the ideas of restraint and physicality around piano and toy piano performance. Each study of the set investigates a specific physical or instrumental limitation. The toy piano is introduced with the piano in study in suspension where the toy piano’s limitation with sustain is bolstered by playing simultanenously with the pedalled piano (meanwhile, the piano benefits from the added timbral colouring from the toy piano to each note).

studies in restriction IV. study in suspense by Monica Pearce

Performed by Kate Ledger 

studies in restriction explores the ideas of restraint and physicality around piano and toy piano performance. Each study of the set investigates a specific physical or instrumental limitation. study in 3-2-1 (for solo toy piano)deliberates on the difficulties of repeated notes on the instrument.

studies in restriction V. study in 3-2-1 by Monica Pearce

The Flag

Performed by Marco Schirripa and Will Alderman 

Recorded by Anthony T. Marasco

"Everything is expressed through relationship. Colour can exist
only through other colours,
dimensions through other dimensions, position through other positions
that oppose them.
That is why I regard relationship as the principal thing."
-Piet Mondrian

Composition in Colour A is based on the 1917 painting of the same name by Piet Mondrian. Consisting of rhythmically arranged coloured areas of dark rose reds, deep blues, and dark ochre on a stark white background, Composition in Colour A is slightly freer and more random than many of Mondrian's strictly ordered geometric paintings. The text is taken from Piet Mondrian’s description of colour and relationship.

This piece was written for and dedicated to Shayna Isaacs and Marco Schirripa as a voice and percussion duo, with support from the Association for Canadian Women Composers’ New Initiative Fund. The piece is arranged for percussion duo as well as clarinet and percussion.

Composition in Colour A (Perc Duo version)

Premiered October 29, 2015 at Sam Houston University, Texas

Sam Houston Percussion Group:
Casey Garcia
Joel Garza
Hannah Talton
Kin Lam Lam

chain maille (otherwise known as mail) is a type of armour consisting of small metal rings linked together in a pattern to form a protective mesh. With an exclusively metal timbral palette, this percussion quartet explores the concept of chain maille from several entry points – using the mesh pattern as fodder for musical material, examining associations of its medieval history, and most directly, using a chain maille hood as a percussion instrument. chain maille also investigates the idea of armour – the heavy armour we carry to protect against harm, both physical and emotional.

"chain maille" is the first in a set of a multiple-work piece based on the history and associations of various textiles/patterns. In each of these works, the textile or pattern is used both as inspiration (history, tone, physical characteristics) and as a physically present element, either visually or sonically.

"chain maille" was written for the Sam Houston Percussion Group under the direction of John Lane.

chain maille (for percussion quartet)

Performed by Barbara Pritchard
Premiered on "Fantastic" by Musikon Concerts
Recorded by Bob Bauer

"houndstooth", a black and white duotone pattern that is characterized by its abstract four-pointed shapes, originated in Scotland as an outer garment for shepherds in the 19th Century. By the 1930s, however, it had morphed into a symbol of wealth by the upper class (particularly the British monarchy) and was adopted into use by prominent fashion designers of the day. By the 1960s, Christian Dior, Louis Vuitton, and Chanel all contributed to bringing the pattern to women’s wear, and it became a distinctive pattern for a generation of women in the workplace. 
 
Using the houndstooth pattern as inspiration, this solo work explores the concept, using the pattern as a starting point for harmonic material, and by considering the characteristics of houndstooth as guiding the tone of the piece - luxurious, bold, clear, and organized.  In addition, there is a visual element - yards of houndstooth fabric on the floor of the stage. 

"houndstooth" is the second in a set of a multiple-work piece based on the history and associations of various textiles/patterns. In each of these works, the textile or pattern is used both as inspiration (history, tone, physical characteristics) and as a physically present element, either visually or sonically. 

"houndstooth" was written for and dedicated to Barbara Pritchard. 


houndstooth by Monica Pearce (Barbara Pritchard, piano)

Poems by Rilke, H.D., D.H. Lawrence
Performed by Andrea Ludwig and the Talisker Players

"Leda Songs" is based of the tale of Leda and the Swan, a tale from Greek mythology whereby Zeus, in the form of a swan, seduces (or, depending on the interpretation, rapes) and impregnates Leda. The interpretation of this myth in art is multifaceted, with some works quite aggressive, many sensual and erotic, and some romantic. While they are quite different in style, the poems I chose - three different authors’ takes on the myth - share a similar sensibility of showing Leda’s perspective, as if she is a willing participant in the transformation and sensuality of the experience. The first poem, "Leda" by Rainer Maria Rilke, depicts the transformation of Zeus into a swan, and the entanglement of his need for Leda: “Only then did he realize feathers were glory and fully became swan in her womb”. The second "Leda" was written by H.D. (Heidi Doolittle), and it illustrates Leda as welcoming, inviting her lover into an alternate world: “Where
the slow lifting of the tide, floats into the river and slowly drifts among the reeds, and lifts the yellow flags, he floats where tide and river meet.” D.H. Lawrence’s "Leda", the final poem, is a short and sweet verse where Leda invites Zeus to come not as a man but as
a swan: “...come with a hiss of wings, and sea-touch tip of a beak, and treading of wet, webbed, wave-working feet, into the marsh-soft belly”. These three poems ornament the idea of metamorphosis, and the intertwining of two lovers. 

"Leda Songs" was commissioned by the Talisker Players for their 2014-15 season.

Leda Songs by Monica Pearce

In the forest, glow.
for bass clarinet in Bb, piano, and percussion
Written for the Toy Piano Composers
Recorded by Musikon Concerts

"In the forest, glow." is based on the illustration Don’t Feed the Deer by Brandon James Scott, a Toronto-based artist and also a good friend of mine. His works have a decidedly playful feel to them, especially in his work with animation and illustration. Animals are a frequent subject, often popping up in unusual settings, such as kitchens, bars, and rock arenas. I was originally enamored with Don’t Feed the Deer because it has a mysterious, magical, and yet almost foreboding quality to it. Scott says of the work: “When I originally made it... I wanted to make something dream- like, fantasy-based: the colours, the glows, the design of the world. But are we walking down this path, are we supposed to see what's beyond it? Are we meant to observe but not touch things, because of a hidden danger? Are there always deep dark fears lying hidden amidst beauty?”

In the forest, glow.
Dry leaves crumble underfoot.
A busy quiet.

In the forest, glow. 
Secrets, gossip, mystery. 
Hazy precipice.

In the forest, glow. 
Browsing statues scrutinize 
A subtle order.

-Monica Pearce 2012

MonicaPearce

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