I’m fortunate to work on many exciting new music projects alongside extraordinary musicians and artists. Every so often, however, a project stands apart—not only because of the ideas being explored or the quality of the music-making, but because of the meaningful friendships that emerge through the creative process.
A perfect example is Confined in Everyday Scenes. Lisa and I spent last week with New York-based cellist Joann Whang, who travelled to Toronto to workshop the new work for solo cello and fixed electronics that she commissioned. To support this process, we held a residency at the Canadian Music Centre. Joseph Glaser and the entire staff were incredibly generous with their time and technical expertise.
As part of the residency, we presented a dress rehearsal for friends and individuals working with NGOs that support survivors of slavery and human trafficking. Those two days at the CMC gave us invaluable time to refine the music, troubleshoot technical elements, and put everything to the test before the premiere.
From there, we travelled to Kitchener-Waterloo for the world premiere at the Open Ears Festival. Audio was expertly managed by Daniel MacPherson, and hearing Jo’s cello blend with the electronic soundscapes brought the work to life in ways I had only imagined. It was also wonderful to reconnect with old friends, meet new people, and receive thoughtful feedback about the music.
Last week marked the culmination of nearly five years of work. Joann and I first began discussing a collaboration in 2021, when she proposed creating a work that addressed human trafficking. After reading Laura T. Murphy’s insightful book Survivors of Slavery: Modern-Day Slave Narratives, we quickly realized that human trafficking is only one aspect of the broader issue of modern slavery. When the book was published in 2014, researchers estimated that 27 million people worldwide were living in conditions of slavery. More recent estimates place that number around 40 and 50 million.
We have been incredibly fortunate to receive support and guidance from Laura throughout this project. As one of the world’s leading researchers on modern slavery, her insights have been invaluable, and we are proud if our music encourages others to engage with her work. Over the past several years, we have also met with organizations working on the front lines to help individuals leave lives of enslavement. We hope this music can play a small role in bringing greater awareness to their vital work.
I also want to acknowledge what a privilege it has been to collaborate with Jo. We began this journey as acquaintances, and Lisa and I now count her among our close friends. Her technical mastery and ability to make the cello sing are remarkable, but what stands out equally is her kindness, generosity, and thoughtfulness.
We would also like to thank New Music USA, the Toronto Arts Council, and the Ontario Arts Council for providing the financial support that made this project possible.
So what comes next? We hope Confined in Everyday Scenes continues to find new audiences through future performances by Joann and other cellists. We are currently seeking funding to record an album, which we hope will lead to a series of creative music videos that further shine a light on the realities of modern slavery.
While the premiere marks the end of one chapter, it also feels like the beginning of another. We are excited to see where this music travels next and how it might continue to spark reflection, conversation, and awareness in the years ahead.
