Editor’s Note: Composer Christina Rusnak writes her fourth essay for LandscapeMusic.org.
Last October, Nell Shaw Cohen, Stephen Wood and I met to discuss the feasibility of a developing a concert series to celebrate the 50th Anniversaries of the Wild and Scenic Rivers and National Trails System. Eleven months later, concerts are premiering in Vallejo, CA (9/23); Atlanta, GA (9/29); Houghton, MI (10/4); Portland, OR (10/7); and Boston, MA (11/3), as part of Landscape Music: Rivers & Trails concert series. My music is being performed in all locations except Boston. Determining what river or trail I would write about was easy—2018 also marks the 175th anniversary of the Oregon National Historic Trail, and I live just 12 miles from the trail’s end.
The Oregon Trail, and our near-mythological familiarity of it, is fraught with controversy. Claimed by both the British and Americans, the land was actually controlled by the indigenous inhabitants who had no idea what was coming. The emigrants who traveled the 2,170 mile Oregon Trail began their journey in Independence, Missouri—skirting the northeastern edge of what is now Kansas and traveling through Nebraska, Wyoming, and Idaho into Oregon, although none of these states actually existed until decades later. The hopeful settlers traveled through “Unorganized Territory” into Oregon Territory. While most people dispersed along the way to settle within east or south of Oregon Territory, the route officially ended at Willamette Falls—the second largest waterfall (in the U.S) after Niagara. About 20% of emigrants, over 80,000, followed the trail to the end. Continue reading
Mission San Antonio de Padua, Jolon, CA. Photo © 2018 Nell Shaw Cohen. See more photos.
My composition Retrace for flute, violin, and cello commemorates the 50th Anniversary of the National Trails System Act of 1968, and was composed in response to the Juan Bautista de Anza National Historic Trail. It will receive four co-World Premiere performances during Fall 2018 in locations around the country—presented by Citywater and the Visions of the Wild Festival (9/23, Vallejo, CA), Michigan Technological University (10/4, Houghton, MI), Cascadia Composers (10/7, Portland, OR), and Juventas New Music Ensemble (11/3, Boston, MA), respectively—as part of Landscape Music: Rivers & Trails, a nationwide initiative I am directing for the Landscape Music Composers Network.
The Anza Trail stretches 1,200 miles, weaving through desert and city from Nogales, Arizona to San Francisco, California. It follows the path of the Anza Expedition of 1775-76, which traveled indigenous routes from modern-day Mexico through Arizona and California to settle the San Francisco Bay Area for Spain. A narrative mapped onto the land rather than a “trail” in the usual sense, the Anza Trail is an ongoing project of cultural and historical preservation through outreach, education, and recreation. Continue reading
Bison in Yellowstone. Photo © 2010 Douglas Bowen. Made available under CC BY 2.0 license. Source.
Refuge (2016) for flute (piccolo), percussion, violin, and cello is a 16 1/2 minute narrative suite following the conservation stories of three wild animals and their habitats. Each of these species offers a different perspective from which to reflect upon the National Park Service’s role in wildlife conservation and the diversity and fragility of life on Earth.
I composed this piece for an upcoming World Premiere by Cadillac Moon Ensemble at the Parrish Art Museum in The Hamptons, NY on September 9, 2016, presented by the Landscape Music Composers Network, to celebrate the centennial year of the National Park Service. Learn more about this exciting concert, which also features a World Premiere by Justin Ralls and four other works by members of the Landscape Music Composers Network.
In the following essay, I explore each of the three species and national parks that serve as the focus of Refuge and relate how I’ve approached telling their stories through music. Continue reading