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1. World Within [10:44]
Symphonies of Mother and Child [ 40:47]
2. I. entrancement [13:34]
3. II. following [5:20]
4. III. explore and implore [6:08]
5. IV. listening [4:27]
6. V. eternity’s sun rise [11:18]
World Within. The title comes from imagining gazing into a small sphere—a marble, a terrarium, a cell, or other microcosm—with surprise and wonder at a swirling, shifting, vibrant world within. The piece draws its melodic material from a well-known symphonic theme, transforming it and often expanding and contracting pitch material around it. Thus the work also explores a world within the bounds of this theme as discoveries are continually made within the material. The title also refers to the main intention of an abstract, emotional journey.
Symphonies of Mother and Child is an intensely personal work inspired by my bond with my child, which was composed during our early years together. While the work is symphonic in some ways, the word “symphonies,” in the title actually refers to the older, broader connotation, from the Greek, of “sounding together.” Through the work, mother and child “sound together” through love and wonder, exploring, struggling, and brooding, as they learn to attune, to cherish, and to let go. The mother-child bond, as universal as it is, can also be seen as a metaphor for even broader themes like love and loss, attachment and power, and time and transience.
Wonder at the magic and mystery of this ethereal being, and a new flow of life weave and shimmer through cycles of waking dreams and reflective slumber, each sleep sounding a sustained phrase of a veiled long theme. Struggles are met with love and tenderness, but turmoil and doubt grow about not truly responding to the child’s needs, and with brooding on the bigger picture, realizations and a tentative resolve are reached.
Chords – the child – begin, first in delicate strings, then gradually winding through other colors and keys, constant yet subtlety ever changing. The child’s parents attempt to respond, soothe, and lull by singing short songs in canon: rounds. These rounds are folk tunes, invented songs, and classical themes that were actually sung by the parents. Voice follows voice, then one round after another is attempted, their swirling echoes piling up on each other, oblivious to the child’s actual, ever-shifting needs. Friction intensifies, the songs nearly drowning out the chords until a turning point and epiphany are reached. The parents begin learning to truly attune and follow the child, “changing their tune” as needed to stay fully present and responsive.
Watching wistfully as the child plays and explores, there is stepping in to impose, and stepping back regretfully. Sleep and awakening cycle again, now spiralling outwards, in variations on phrases of a long theme glimpsed before. Growing up and away, wishing to hold on: can one learn to let go, yet still run ahead together?
An oboe-child and an alto flute-mother, joined together, stride, with cymbal-swish steps, through a wilderness of birds and earth, at a pace to calm. In turn, they draw each other’s attention to the sounds of this world, sharing their echoes and imitations. Their flowing dialog as they practice communicating, meditative awareness, and taking their notes from their surroundings, sings a song: a long theme heard before. With growing serenity and oneness, there is again release to sleep.
He who binds to himself a joy
Does the winged life destroy
But he who kisses the joy as it flies
Lives in eternity’s sun rise
– “Eternity” by William Blake
Time races on and growth burgeons forth, again in cycles, and expanding outwards. With brightness and intensity, the child rollicks and sings the way forward, while there is rushing to keep up and clear the way, and again a bittersweet wish to hold fast. With reflection, acceptance, embracing being present and the unknown ahead, the past becomes the future with a recalled long theme in entirety pouring out at last.
All music composed by Nova Pon www.novapon.com
In creating her music, Nova Pon strives to evoke ideas and experiences that are both deeply personal and humanly primal. She holds degrees from University of Calgary and University of British Columbia, and she continues to follow her curiosity in many fields. She has composed over fifty works across most genres, and her music has been performed on four continents. Several of her works are available on award-winning recordings,Symphonies of Mother and Child is her debut solo album. She resides with her husband and daughter on Bowen Island, BC, Canada.
Turning Point Ensemble (TPE) was founded in 2002 with a mandate to increase the understanding and appreciation of music composed during the past hundred years. Uniquely and flexibly sized between a small chamber ensemble and a symphonic orchestra, TPE has built a strong reputation for outstanding musicianship and innovative presentations. TPE’s Artistic Director and conductor Owen Underhill has conducted over 300 premieres and as] a composer is featured on several award-winning recordings. www.turningpointensemble.ca/
Special Thanks to Denise Ball, Kathryn Beals, Dorothy Chang, Marc Destrube and all the musicians, Jordan Nobles, Owen Underhill, Piotr Wieczorek, SFU and UBC. Thank you with love to my family in Alberta, and beyond measure to Lyra and Christiaan, and Howard and Zoe. Special thanks also to all who have touched my life and inspired me.
This recording was made possible through the financial assistance from the Canada Council for the Arts and in-kind support from Simon Fraser University and Nova Pon.
Turning Point Ensemble. Conductor: Owen Underhill; Flute, Piccolo, Alto Flute: Brenda Fedoruk; Clarinet, Bass Clarinet: AK Coope;, Oboe, English Horn: David Owen; Bassoon: Katelin Coleman; French Horn: Nick Anderson*, Valerie Whitney**; Trumpet: Katherine Evans; Trombone: Jeremy Berkman; Percussion: Jonathan Bernard; Piano, Toy Glockenspiel: Jane Hayes; Harp: Janelle Nadeau*; Violin 1: Marc Destrube; Violin 2: Francisco Eduardo Barradas Galván; Viola: Sarah Kwok*; Cello: Isidora Nojkovic; Bass: David Brown*
*Symphonies of Mother and Child only, ** World Within only
Producers: Denise Ball, Nova Pon, Piotr Wieczorek
Recording Engineer, Editing, Mixing & Mastering: Piotr Wieczorek
Recorded at: Fei and Milton Wong Experimental Theatre, Simon Fraser University, Vancouver, BC, April 30, 2022 (World Within); May 1, 2022 (Symphonies of Mother and Child)
Cover Painting and Album Art: Kathryn Beals Album Design and Program Notes: Nova Pon
Photos: Mark Mushet (photo of Nova Pon) and Christiaan Venter (photo of Turning Point Ensemble)
Redshift Records TK546 redshiftrecords.org © 2024 Nova Pon. All rights reserved. Made in Canada.
