Canadian Voices: A Prayer to Bring You Home - John Estacio
What was your inspiration for the work?
Inspiration can come from a variety of sources - sometimes it’s an event, a person, a deadline, or the parameters of the commission itself. In this case the inspiration came from all of the above, and from Alice Major’s lovely poem. Alice presented me with her book of collected poetry “Standard Candles” on the day we both received the Lieutenant Governor of Alberta Arts Award in 2017. It’s a beautiful collection and “A prayer to bring you home” is my favourite poem in her book.
In 1999 I composed “Eulogies” for Pro Coro Canada, a set of 4 choral works based on eulogies that Val Brandt had written for friends and family. In some ways, this is my fifth eulogy, a heartfelt tribute for a mother.
Did you approach this text differently because of the parameters of the work?
Yes, there were a few more things I wanted to do with divided voices and multiple parts, sustaining effects I wanted to create. However, there weren’t enough bodies available due to the restrictions placed upon choral performances during the pandemic. I don’t feel the piece is any weaker without the elements I had hoped to include, in fact I think perhaps its stronger and more succinct in its current guise.
How have you been experiencing writing in isolation? How has COVID-19 impacted the experience of being a writer?
Most composers, by necessity, live solitary lives while they work. Much of the work composers need to do is accomplished alone on their own at various points in the day. To that end, things haven’t changed much since March 2020. However, the pandemic brings with it the isolation of being away from friends and family, from attending live performances which enrich one’s life, and doing all the social activities one normally enjoys doing. In addition, it was entirely deflating to see performances cancelled, projects postponed indefinitely, and entire artistic companies shut down with no guarantee of when any of that will return to see another day. With life being void of all the things one enjoys, plus the regular loneliness of working solo now amplified and magnified, the motivation to sit down at the piano and spend even more time composing alone has been tenuous at best. As we turn the corner into 2021, there are glimmers of hope that restrictions on gatherings and live performances might be lifted sooner than initially feared. Although, whenever that time is, we can only hope our artistic institutions, large and small, will still be solvent and surviving, brimming with the fortitude to carry-on for people, audiences who will need to find the fortitude of their own to return en masse to live-performance venues.