Where Song was Born – 24 Australian Bird Portraits by Edward Cowie
Edward Cowie is one of the most individual and notable voices in contemporary music and considered by many to be the greatest living composer directly inspired by the natural world. He has worked for over 40 years writing music in response to landscapes and the voices of creatures. This is the second of the ‘Bird Portraits’ cycles and features 24 iconic birds of Australia. It follows the highly acclaimed set of British portraits (Métier MSV 28619, November 2021) and again contains new music with highly original treatments of the relationships between the bird singers and where and how they sing. Two more sets are due to appear, featuring birds of Africa and the Americas.
This is another major addition of importance to the contemporary chamber repertoire and will benefit from the success and glowing reviews of previous Cowie albums, including these remarks on ‘Bird Portraits:
“A major composition.. a musical language that is unique. Revelatory: – MusicWeb International
“Highly original… vivid evocations.” – New Classics
“Remarkably visual. Performances are exemplary, sympathetic, committed, lyrical and virtuoso” – Planet Hugill
Sara Minelli and Roderick Chadwick are exceptionally gifted performers, in tune with the music of today, and perform with magnificent dexterity and virtuosity, with Sara’s extended breathing techniques wonderfully evoking the highly varied sounds of the beautiful birds featured. When complete the four sets of 24 portraits will without doubt hold a place high in the echelon of modern chamber compositions.
Track Listing
- Edward Cowie: Where Song was Born
- I. Australian Raven (3:13)
- II. Australian Wood Duck (3:02)
- III. Australian Masked Plover (2:23)
- IV. Eastern Whipbird (2:46)
- V. Willy Wagtail 2:20)
- VI. Golden Whistler (3:18)
- VII. Superb Fairy Wren (3:23)
- VIII. Brolga Crane (2:40)
- IX. Pied Butcher Bird (3:29)
- X. Bush Stone Curlew (2:54)
- XI. Wedge-tailed Eagle (3:00)
- XII. Australian Magpie (2:43)
- XIII. Bell Birds (3:41)
- XIV. Wampoo Pigeon (2:33)
- XV. Golden-headed Cisticola (1:03)
- XVI. Tawny Frogmouth (2:15)
- XVII. Pied Currawong (1:09)
- XVIII. Kookaburra (2:52)
- XIX. Mangrove Kingfisher (3:11)
- XX. Helmeted Friarbird (2:37)
- XXI. White-breasted Sea Eagle (4:50)
- XXII. Green Cat Bird (3:30)
- XXIII. Sooty Owl (1:30)
- XXIV. Lyrebird (2:40)
Reviews
“This is a lively and imaginative collection of works, which has much to offer. Cowie is clearly a skilled composer whose writing is both effective for the instruments and extremely evocative. This is a significant body of work.
” —Carla Rees
“Cowie continues to be a leading contemporary composer of music that is related to the natural world. Cowie has created a stunning sonic tapestry where the flute part specifically represents the bird, while the piano sets the natural backdrop creating a picture of the birds’ habitat [with] the brilliant playing of pianist Roderick Chadwick. His ingenious method takes a visual image and creates an acoustical environmental sound to match. Minelli convincingly coaxes the listener to go birding by expertly executing every extended technique that exists for flute.
” —Natalie Szabo
“Birds… You may well be thinking “but Messiaen has already done it”. But Cowie’s approach is gentler, almost more loving. And what better way to capture such sounds than with a flute. The performances are astounding. This music is technically and musically challenging, not least in its need for a perfect ensemble.
” —Gary Higginson
“The sounds and music evoked will play strongly on the imagination… The performance by Sara Minelli (flute) and Roderick Chadwick (piano) is stunning, beautiful, revelatory, often moving and thoroughly committed, both in creativity and technique.
” —John France
“I learned a lot from this fascinating CD. The musical language of the whole works hangs together well. Sara Minelli is a virtuoso player with real mastery of avant-garde technique.
” —Alan Cooper
“Fascinating and creative music. An interesting and innovative program.
” —Lynn René Bayley
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