Composing
“What kind of music do you write?” That’s a tricky question, and some composers find it a hard one to answer. When asked, I say, “I write classical music” – but I had to practice in front of a mirror.
I began composing at the age of 16, and have been writing music ever since. My works are firmly rooted in Western traditions, and are sometimes based on historical models. However, I am interested in musics of “other cultures,” and these interests sometimes find their way into my compositions. Mostly, I write chamber music and songs, but I have also created works for orchestra and choir. My music is rarely virtuosic, although it demands a high level of precision from performers. (So they tell me.)
My compositions have been performed and broadcast in Canada, the USA and the UK. A few my works have been commercially recorded, for the Furiant, Echiquier and Toreador labels. Excerpts from my compositions are presented below, with the kind permission of the performing artists.
I am a member of the Canadian Music Centre, and most of my scores are available there. Click here for a list of my works.
Click on any of the bulleted titles below to hear movements from my compositions. All works are Copyright Colin Eatock and may not be reproduced without permission.
Suite for Piano (1995)
Timothy Minthorn, piano
This suite is my first work for piano solo. Written in three movements, it makes use of extended pedal effects, and is also a “signature piece,” beginning and ending with my initials (the notes C and E). It was written at the request of Toronto pianist Roland Starr, to whom it is dedicated. This performance was recorded for the Tidal Storm compact disc (Furiant FMDC 4622-2).
© Colin Eatock 1995
Three Canzonas for Brass Quartet (1991)
Niagara Brass Ensemble
My inspiration for these three short canzonas was music from the Renaissance and Baroque periods, well suited to brass instruments, by such composers as Giovanni Gabrieli and Samuel Scheidt. I have imitated the textures and motivic gestures of this noble music, in the context of my own harmonic language. This performance was recorded for the Brass Feast compact disc (Echiquier ECD 007).© Colin Eatock 1991
Three Songs from Blake’s “America” (1987)
Brian McIntosh, bass-baritone; and John Hess, piano
The texts for these three songs are excerpted from William Blake’s poem of 1793, America: a Prophesy. This epic work is a commentary on the American Revolution – although not in any literal or conventional sense. Here, Blake creates a visionary world in which allegorical forces representing liberty and tyranny battle for supremacy in the New World. This performance was recorded live at the Wolf Performance Hall, in London, Ontario, on December 10, 2006.
© Colin Eatock 1987
Tears of Gold (2000)
Norine Burgess, mezzo-soprano; Laura Jones, cello; Peter Longworth, harpsichord
William Blake’s Songs of Innocence of 1789 have been set to music by many composers, including Ralph Vaughan Williams and William Bolcom. Here, I have selected five of these poems for a “Baroque” setting, suitable for either mezzo-soprano or countertenor. This performance was recorded live at a concert of the Talisker Players, at Trinity-St. Paul’s Centre in Toronto, on May 30, 2007.
© Colin Eatock 2000
“Canterbury” for Cello and Piano (2004)
Lydia Munchinsky, cello; Gregory Millar, piano
The piano part in this piece is based on a four-bell change-ringing pattern called “Canterbury Minimus,” in use at Canterbury Cathedral, in England. Four “bells” (represented by four different piano chords) are presented in all possible permutations according to a predetermined formula – while the cello plays long, lyrical phrases that rise to a high C and descend to the instrument’s lower range. This recording was made at a live performance at the University of Toronto’s Victoria College Chapel, on November 29, 2006.
© Colin Eatock 2004
I began composing at the age of 16, and have been writing music ever since. My works are firmly rooted in Western traditions, and are sometimes based on historical models. However, I am interested in musics of “other cultures,” and these interests sometimes find their way into my compositions. Mostly, I write chamber music and songs, but I have also created works for orchestra and choir. My music is rarely virtuosic, although it demands a high level of precision from performers. (So they tell me.)
My compositions have been performed and broadcast in Canada, the USA and the UK. A few my works have been commercially recorded, for the Furiant, Echiquier and Toreador labels. Excerpts from my compositions are presented below, with the kind permission of the performing artists.
I am a member of the Canadian Music Centre, and most of my scores are available there. Click here for a list of my works.
Click on any of the bulleted titles below to hear movements from my compositions. All works are Copyright Colin Eatock and may not be reproduced without permission.
Suite for Piano (1995)
Timothy Minthorn, piano
This suite is my first work for piano solo. Written in three movements, it makes use of extended pedal effects, and is also a “signature piece,” beginning and ending with my initials (the notes C and E). It was written at the request of Toronto pianist Roland Starr, to whom it is dedicated. This performance was recorded for the Tidal Storm compact disc (Furiant FMDC 4622-2).
© Colin Eatock 1995
Three Canzonas for Brass Quartet (1991)
Niagara Brass Ensemble
My inspiration for these three short canzonas was music from the Renaissance and Baroque periods, well suited to brass instruments, by such composers as Giovanni Gabrieli and Samuel Scheidt. I have imitated the textures and motivic gestures of this noble music, in the context of my own harmonic language. This performance was recorded for the Brass Feast compact disc (Echiquier ECD 007).© Colin Eatock 1991
Three Songs from Blake’s “America” (1987)
Brian McIntosh, bass-baritone; and John Hess, piano
The texts for these three songs are excerpted from William Blake’s poem of 1793, America: a Prophesy. This epic work is a commentary on the American Revolution – although not in any literal or conventional sense. Here, Blake creates a visionary world in which allegorical forces representing liberty and tyranny battle for supremacy in the New World. This performance was recorded live at the Wolf Performance Hall, in London, Ontario, on December 10, 2006.
© Colin Eatock 1987
Tears of Gold (2000)
Norine Burgess, mezzo-soprano; Laura Jones, cello; Peter Longworth, harpsichord
William Blake’s Songs of Innocence of 1789 have been set to music by many composers, including Ralph Vaughan Williams and William Bolcom. Here, I have selected five of these poems for a “Baroque” setting, suitable for either mezzo-soprano or countertenor. This performance was recorded live at a concert of the Talisker Players, at Trinity-St. Paul’s Centre in Toronto, on May 30, 2007.
© Colin Eatock 2000
“Canterbury” for Cello and Piano (2004)
Lydia Munchinsky, cello; Gregory Millar, piano
The piano part in this piece is based on a four-bell change-ringing pattern called “Canterbury Minimus,” in use at Canterbury Cathedral, in England. Four “bells” (represented by four different piano chords) are presented in all possible permutations according to a predetermined formula – while the cello plays long, lyrical phrases that rise to a high C and descend to the instrument’s lower range. This recording was made at a live performance at the University of Toronto’s Victoria College Chapel, on November 29, 2006.
© Colin Eatock 2004
