BIFEM - Dead Oceans

It has been a very long time since I posted.

Last week, I was extremely privileged to have a string quartet of mine performed at the Bendigo International Festival of Exploratory Music. The work (Eminulos) was originally written for the same festival last year, but under a development program, so it was incredibly exciting, and somewhat terrifying, to have it programmed this year. So amongst months of writing and expanding, and preparing material for University classes, and passing over the Music Society to a new group of people, and doing research for a new business (I think I have a lot of posts to make), I finally found some time to update, albeit in the middle of an assessment I should be completing.

Matthew Lorenzon reviewed the concert where myself and three other composers had their works performed, and he writes much better than I do. I will say though, keep an eye and an ear out for Samuel Smith's Dead Oceans if you can, because it's gorgeous. Also on that note, follow Matthew's blog Partial Durations if new music is scene, or you'd like to make it your scene.

I'm going to leave you with the excerpt about my work, since that's the thing to do. Having a hard time justifying why in my head - will probably just leave it at that.

Last year Turnbull participated in the Monash University Composers’ Workshop at BIFEM. Her string quartet attracted the attention of the festival organisers and ultimately a commission from Julian Burnside, QC. Burnside’s support gave Turnbull the opportunity to return to her short piece, extending and refining it into a series of tableaux of delicately layered instrumental effects. In Eminulos (a latin adjective describing a slight projection), masses of bird-like chirps, imitative call and response, booming down bows, tremolos, harmonics, and whispering circular bowing tumble into one another like folded geological layers. Turnbull’s heterophonic effects seem to augment the string quartet into a string orchestra.
- Matthew Lorenzon, 2017