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
This Sunday, December 10, 2017 at 3:00pm, Michigan Technology University in Houghton, MI, in affiliation with the Landscape Music Composers Network, presents a concert of new music inspired by national parks and other remarkable landscapes.
This concert, curated by Libby Meyer, features music composed by Libby and several other members of the Landscape Music Composers Network: Nell Shaw Cohen (World Premiere), Stephen Lias, Christina Rusnak, and Stephen Wood, alongside works by Jesse Budel and Corinna Hogan.
Continue reading to explore each of the featured works by Landscape Music composers, then check out MTU’s event listing for venue details or tune into the livestream to listen online! (The livestream is available Sunday, December 10 at 2:30pm EST; concert starts at 3:00pm.) Continue reading
Cellist Marilyn DeOliveira performs Christina Rusnak’s Glacier Blue. Photo courtesy Jacob Wade and Third Angle New Music.
Editor’s Note: Composer Christina Rusnak, a member of the Landscape Music Composers Network, writes her third illuminating essay for Landscape Music.
While composing a recent commission for the new music ensemble Third Angle, I began to consider how the requirements and aesthetics of the commissioning organization impact the creation of landscape music. In a pre-concert talk I attended a few years ago, Steven Stucky pointed out that frames are a good thing; otherwise, our choices would be limitless. For most of my years as an emerging composer, however, I worked without frames—except for the contexts of landscapes themselves. As I hiked, researched, and experienced the various facets of a particular place, the scaffolding of a piece would emerge. Continue reading