Memories of Self-Isolation

Programme Notes

When the Vancouver Bach Choir and I began discussing the idea of composing a cantata for them, I was eager to use this work to explore the perspectives and challenges faced by a cross-section of society during the COVID-19 pandemic. In collaboration with the VBC, we curated a collection of poetry written during the pandemic by authors from different parts of the world, aiming to tell this story.

As someone who had composed music during that tumultuous time, I found it intriguing to explore how the recent and ongoing impacts of the pandemic might shape our perspectives on the future of our world. The poignancy of a communal gathering—live musicians coming together to reflect on important themes of healing and sharing—was deeply impactful to me. On a personal level, these themes resonated even more profoundly, as I contracted COVID while composing this work. I then experienced firsthand many of the hopes, dreams, and fears conveyed in the poetry.

Movement 1 is an instrumental overture. I aimed for the chamber ensemble to evoke a sense of unease and urgency—feelings many of us experienced at the start of the pandemic. (approx. 4 minutes)

Movement 2, I Want to Remember, is a setting of text by Vlada Mars. It is sweet and gentle, reflecting the early days of the pandemic when we yearned for what had just slipped through our fingers. (approx. 4 minutes)

Movement 3, April 7, 2020, seeks to capture the daily grind of those initial weeks in self-isolation. Jane Covernton’s first-person text portrays our racing minds as we questioned aspects of life we had never doubted before. Featuring a soprano solo, this movement highlights the individuality of our innermost thoughts. (approx. 4 minutes)

Movement 4, COVID Positive, is composed for unaccompanied chorus (SSATB). Lesley-Anne Evans’ text conveys the apprehension that many of us felt during the pandemic. The repetitive chant of “I am COVID Positive” by the lower voices symbolizes the persistent fear of illness or death from the virus. (approx. 6 minutes)

Movement 5, Ode to Distance, is another personal account. Athena Kildegaard’s poignant text, delivered by the mezzo-soprano soloist, reflects how our sense of connection to people and the world around us transformed during the pandemic. (approx. 6 minutes)

Movement 6, Largesse, divides Parvaneh Eshghi’s passionate text into two parts. The first expresses a yearning for something greater in life, followed by a burst of energy that represents the exciting possibilities still within reach. (approx. 4 minutes)

Movement 7, This Too Shall Pass, is the cantata’s epic movement with a soprano and mezzo-soprano solo. It takes the listener on a journey from feelings of distance and apprehension to elegy and, finally, calm determination. Yewande Akinse’s text encapsulates many of the emotions we experienced during those challenging times. (approx. 8 minutes)

Movement 8, All Our Hands, serves as the finale, reminding us that we all play a role in overcoming adversity. Russell Blalack’s lyrics celebrate the belief that, by working together and supporting one another, humanity can face any challenge. (approx. 6 minutes)

Such a large-scale project would not have been possible without the support of many individuals. I am deeply grateful to Leslie Dala for inviting me to compose this work and for his collaborative spirit, Gillian Hunter-Gibbs for organizing the premiere performance, and Alice Dearden, Sarah Jo Kirsch, and Fabiana Katz for their invaluable insights during the composition process.

– Frank Horvat

Performing Forces

SATB Chorus
Soprano Soloist
Mezzo Soprano Soloist
Woodwind Quartet
Percussion (vibraphone, tubular bells)
Harp
Piano
String Quartet (2 violins, viola, cello)
Double Bass