Bright Birds and Sorrows (2021)
(for saxophone and string quartet)

I. Sanctus
The mysterious, sacred earth is adored in this hymn to harmoniousness, wholeness and the interrelationship of all things The Sanctus of the Catholic Mass, alluded to in various ways, is interpreted here in an environmental context. The Latin word Sanctus, which translates as holy, has an alternative meaning traced by 19th century Jewish and English scholars as being whole, which I see as especially relevant to our time as we witness the disintegration of the environment. The Sanctus bell, traditionally used to underline the solemnity of the text, has been retained.

II. Songbird 1
I’ve always been captivated by birdsong. Rather than try to replicate it in music, I usually allow my subconscious to work on it until it emerges as a sort of fanciful transformation of what I hear. This movement was composed as a ritualised response to a strikingly melodic outpouring of unidentified birdsong which happened to conform to the blues scale.

III. Lullaby
One of the most ancient and universal forms of music is the lullaby, whose essential purpose is to bring sleep upon a child. Throughout the ages mothers have soothed and coaxed with gently rocking melodies and appropriate words. The melodies are usually simple, although in some cultures, especially some Asian ones, they can be elaborate and quite difficult to sing. A lullaby can also act as a vehicle for the mother to give voice to her concerns and anxieties, so that a simple sentiment may be overlaid with strong emotion. My lullaby, while not without moments of intricacy and angst, always returns the mother’s undivided attention to her child.

IV. Songbird 2
A lively, quirky dance in a similar vein to Songbird 1

V. Lament for the Sacred Earth
This sombre piece, notwithstanding some thematic connections with its jovial predecessor, is an expression of grief over the tragic deviation of humanity’s relationship with the earth from veneration to exploitation.

VI. Laughing Dance
It seems to me there’s a natural connection between laughter, birdsong and spontaneous musical impulses. Like music, laughter is universal, and today there’s even a movement known as Laughing Yoga, emanating from India and fast spreading around the world.
I originally conceived this sprightly outburst of present-centred joy for bass clarinet and percussion. As it seemed to catch on rather well in that form, I made this alternative version in the hope of widening its audience.

Composed especially for the saxophonist Amy Dickson, who premiered it with the Elias String Quartet during the 2017 Musica Viva Festival in Sydney, Bright Birds and Sorrows was generously commissioned by Kim Williams AM. After the premiere I experimented with some cuts and revisions, resulting in a 2019 version which is now replaced by the present one.

Ross Edwards