edie hill for perusal only...i. the book of hungers the book of hungers was conceived in an ancient...

HP05-01

Edie Hill

Between the Limbs, Music

for

Soprano &

Piano

$25.00

3324 Grand Avenue South • M inneapolis , MN 55408 • 612 .825 .9794 • ed ieh ill .com

FOR

PERU

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ONLY

Edie Hill

Between the Limbs, Music

Between the Limbs, Music is a set of four songs that deal with themes of love, life and death.

I. The Book of Hungers establishes the idea that we are part of a continuum. Our commonality is mortality and

what we long for in life is love. This is a circle that continues through the generations. The music in the first song

has an ancient, circular feel, as if a clock or a river were running underneath the vocal line, sometimes with the two

running in, out and across one another. Another important aspect is the contrast between this ‘clock’ or ‘river’

music and the music which proceeds the declaration “we carry it with us.” To me, these words mean that we all

carry or bear this book, and we do it with great strength of spirit.

II. Hummingbird moves into the wonderful realm of young love. I wanted this song to be like a watercolor – very

fluid, very colorful. I wanted the music to convey the type of love when one is young and feels completely free and

unscathed by life’s burdens – pure, fantastic passion.

III. Autumn Dusk tempers the carefree youthfulness of Hummingbird. This song is about mature love – a love that

has endured. The voice sings a slow lullaby and the piano is instructed to play the sparse gestures “like muffled

shapes at dusk.” At the very end of the song, the music and voice lift up into the air as the geese do in the poem,

flying away from the two lovers.

IV. Between the Limbs, Music opens with the music that accompanies “the book” music in the first song. It is

meant to be a call to attention before the singer begins more softly, singing on “ah,” and the “the heart’s song

resumes again after sleep…” As the voice enters, the clock or river music returns, running through the rest of the

song. This song imparts the idea that we are all “drifting on the promise of death” – and that this is the paradox of

life – there cannot be joy without sorrow, passion without solitude or life and love without death to drive us forward,

make us yearn. Even though we cannot have one without the other, the poet chooses to highlight joy, passion,

breathing and ecstasy – so I chose to end the song with a soaring “ah” – an expression of joy and passion.

-Edie Hill

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I. The Book of Hungers

The book of hungers

was conceived in an ancient language.

Past dayfall its pages turn,

moving between darkness and shadow.

We carry it with us,

its landscape bound with impenetrable thread.

The wind in the frost-withered leaves

recalls the persistent whisperings of lovers

skating afternoons

along the river’s edge,

wanting nothing but the pressure

of mouth on mouth,

the coolness of their faces

smooth as the flesh-caps of mushrooms.

The book lies open in our hands.

We carry it with us,

surrendering one by one

to the damp soil’s need.

How naked the spirit is

without the simple truth of the body.

“They spring up in bunches after rain,

frequently circling the dead.”

We pass the book like an invitation among us.

It shall not be rewritten.

II. Hummingbird

The hummingbird flies

like uneven breath.

His throat is the rare hue

of the cardinal flower.

See how the asparagus rises

before distributing

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its seed, and the scarred

moon barely visible

in the water, wreathed

by reflections of trees.

Let’s swim into the cold

where the black loons dive,

two by two, and later,

in the high grass, where

there can be no abstinence,

speak to me the way

a leaf does ascending

in a gust. Say again

how the hummingbird returns

to the same wild grove,

the same magnetic blossoms.

III. Autumn Dusk

Night enters the lake

with its black tongue

as slender reeds

rouse the wind.

In outlying fields,

the harvested earth

folds itself in darkness

and the gold lights

of farmhouses

turn on, one by one,

like thoughts

before sleep.

Lie down beside me

in the shore’s

deep shade

where high leaves

swirl and surrender

to the grass.

We will blend

more quietly

with autumn’s weight.

When we wake

to frost under

these chestnut branches

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geese will be passing

in strict formation

overhead, flying

in pairs away from

this common dream.

IV. Between the Limbs, Music

The heart’s song resumes again after sleep.

We drift on the promise of death, death’s waves,

the two of us rocking, while the small town

drowses around us – low train-whistles

and beyond the neighborhoods, the prairie

restoring itself after recent fires.

The fish dream of dawn under their island

which is water, and the lake glows with algae

under the unadorned stars. Night-Hunter,

I give you whatever I assume

for joy is more inclusive than sorrow

and passion encompasses solitude…

so we float, the land ever close to us,

drowning and breathing, hopeless and ecstatic.

JOAN WOLF PREFONTAINE

from her book of poems, The Divided Shpere

Floating Island Publications, 1985

text used by permission

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&

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æ=76

æ=76Dolce, legato

∑

‰ œ œ œ ˙˙ œ œ œ œplight pedal

‰ jœ œ œ œ œ œ œ

rall.

rall.

∑

.˙ jœ ‰œ œ œ œ œ œ œw

œ œœ œ œ œ œ?

æ=56-58

æ=56-58

freely, flowing, keeping momentum

freely, flowing, keeping momentum

≈p œ œ œ œ œ Pœ p œ œThe book of hun - gers was con -

p≈ œ œ œ œ œ œ œ œ œ œ œ‰ jœ œ œ œ œœ &

&

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4 œ œ œ œ œ œ œ œ œ œ œceived in an an - - - cient

.œ̇ œ œ œ œjœ œ

œ œ œ œ œ

Pœ œ œ ≈pœ

lan - guage. Past

˙̇̇

œπœ

?

œ œP

.œp

œ œ œday - fall its pag - es

‰ . rœ œ œ œ ‰ jœ ‰P

jœœ≈ .Jœ œπœ œ œPœ p .œ œ œ

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44◊

7 Fœ œ œ œ œ œ pœturn, turn,

Fœ

œ œ œ œ œ œ œ œ

œ œ œ œœ œ œ œ œ &

œ œ œ œ œ œmo - ving between

‰ . rœ œ .œ˙p

œ œ œ œ ?

rall.

rall.

pœ œ œ

Pœ œ œ

πjœ ‰dark - ness and sha - dow.

œ œ œ ˙‰ Jœ œ œ œn‰ . jœb œ≈ .Jœ ‰ .

Rœ ≈ ..Jœœ

πœœMusic Preparation byMusic Advantage952-448-7544

I. The Book of HungersJoan Wolf Prefontaine Edie Hill

for Carolyn Campfield

Music Services by Paul Gerike

Copyright © 1998, Edie Hill.Copyright © 2000, Hummingbird Press.

All Rights Reserved.

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æ=76-80

æ=76-80

With strength, like a chant or declarationaccel. poco a poco

accel. poco a poco

10 Œ Œ ‰ f jœ 3œ œ œWe car - ry it

‰ . . RÔœœ œœ œœ . .. .œœ Œ

œ œf

. .œ°

* œœ œœ*

œœ . .. .œœ Œ

œ œ œ Œ ‰ jœwith us, We

Œ Œ Jœœœb ‰ Œ

Œ œœ°

œœœ Ó

3

œb œ œ œ œ ˙ ‰ Jœcar - ry it with us, its

Ójœ ..˙̇

Ó jœœ ..˙˙

°&

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44

44

44

43

43

43

æ=96

æ=96

rall. poco a poco

rall. poco a poco

13 œ#( ) œb .œ œb œ F˙bland - scape bound

‰jœn

Jœœœbb Œ Œ ® . .Jœb œ

‰ Jœb° œb

œb œb œb ˙? &

F œb œ œb œb œb œbpœb jœ ‰

with im - pen - e - tra - ble thread.

Dolce, legatoPœ œb œ œ ˙Œ ‰ Jœ œb œb

light pedal

‰ jœb œb œpœ œ œ œ

∑

.œ̇b œb œ œ œ œ œw

œb œbœ œb œb œb œ? &

&

&

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43

43

42

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42

44

44

44

æ=56-58

æ=56-58

Delicately

Delicately

16 ≈ pœb œb œ .œ œb œ œ œ œbThe wind in the frost - with - ered

≈π

Rœb

‰ ≈ œb œb œb ≈ ≈ .jœ

‰ Jœb

‰ . . rKœb .œ œ œ œb.˙b

œbP

œp

œleaves re -

œ œb œb œb œ œ œ œb œbπœb œb œb

Pœb

2

grace notes arebefore the beat

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This page intentionally

left blank. Full score

available for purchase.

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&?

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45◊

27 œb œ œfac - es

≈ Rœb ‰ Œ

≈ rœb°

‰ Œ &

œ œb œ œ œb œbsmooth as the

Œ Rœb

≈ ‰

≈ rœb°

‰ Œ ?

œb œb œ œflesh - caps of

Rœb

≈ rœb ≈ Rœb ‰ .

≈ rœb ≈ Rœb Œ

œ œb .œ ‰ Œmush - rooms.

‰ œb œ œ œ œ œ˙b œ œ œb∑

&

&?

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31 ∑

˙b∏

.˙˙b .˙n˙̇bb ..˙̇

With strength, like a chant or declarationæ=88

æ=88

Œ Œ 3‰F

œb œThe book

‰ . . RÔœœbb œœbb œœ . .. .œœ

œb œb

f. .œb

°

œœbb œœbb œœ . .. .œœ

œb .œ œ œ œlies op - en in our

∑

∑

&

&?

43

43

43

42

42

42◊

34 ˙b ‰ jœbhands. We

‰ . œb

œbJœb ‰ Œ

‰ . Jœb ‰ Œ&

3œb œ œ œb œ œcar - ry it with us,

Óƒ

œb

œb

œ

œ

‰ ?

Ó ‰ ?

Ó 3‰f

œb œThe book

. .. .œœbb œœbb Rœœbb ‰ . Œ&

. .. .. .œœœbbb°

œœbb Rœœbb ‰ . Œ&

4

(°)FO

R PE

RUSA

L O

NLY

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&

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42

42

42

43

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44

37 œb .œ œ œ œlies op - en in our

∑

∑

˙b ‰ Jœbhands. We

‰ .f

œb

œb

rœb ‰ . Œ

‰ . rœb ‰ . Œ

molto rall.

molto rall.

3

œb œ œ œb œ œ œ œUcar - ry it with us, sur -

Ó ‰ . . RÔœœbb œœbb > œœ ‰U

ÓFfading, more distant. .. .. .œœœbb°

œœb œœU? &

&

&

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√

æ=50

æ=50

rall. poco a poco

rall. poco a poco

40

3

œb œ œ œb œ Pœb œ œren - der - ing one by one to the

®F

œb

°œb

œ

œ

b

b

‰ ≈P

œb ≈ œ ≈pR

œ

°

‰ Œ

®

molto rall.

molto rall.

pœ œ

π˙b

damp soil's need.

πœb

°

œ3œb œ œ ®

∏. .jœn Œ

Œ Œ ®. .jœn

Œ?

U

U

Recit. - very freely

Recit. - very freely

‰pjœn œ œ œ

Pœ

3

œ œ œ œ œHow na - ked the spir - it

∑

∑

&

&?

43

43

43

43 .œ P jœp

.œ œ œ œP

.œ œ œis with - out the sim - ple truth of the

∑

∑

Fœ œ œ PÓbod - y.

∑

∑

molto rall.

molto rall.

æ=56-58

æ=56-58

πœ œ œ œ œ œU“They spring up in bunch - es

π.œ̇ œb œ œ œ œ œU

∑

5

(°)

let fade before beginning m. 42

freely, moving forward

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45 œb œP

œ œ œaf - ter rain,

.‰̇ Jœ œbP

œ œ œ œ

∑ &

pœ œb œ œ œ œfre - quent - ly cir - cling the

‰ œb œ œ œ œ œp

˙ Jœ ‰‰ jœ ˙œb œ œ œ .œ

P˙ Jœ ‰dead.”

‰ œb œ œ œ œ œ˙ Jœ ‰

œ œb œ œ œ .œ

accel.

accel.

∑

.œ̇b œ œ œ œ œbF

œœ

œ œbœ œ œ œb?

&

&?

44

44

44

43

43

43

a bit faster

a bit faster

49 pœ œ œ œ œWe pass the book

Œ ‰ œ œn œ œœ ˙‰ œb œ œ œ œ œœ

rall.

rall.

œ œ œ œ œ œlike an in - vi - ta - tion

œ œŒ œœ ˙b

œb œ ‰ œ œn œœ œ

œ œ œ œ Jœ ‰ Œa - mong us.

wwbww

&

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43

43

43

44

44

44

.. ..

.. ..

.. ..

accel.

accel.

rall.

rall.

æ=56-58

æ=56-58

52 Pœ œ œ Fœ œ œIt shall not be re -

∑

∑ &

æ=80

æ=80

moving forward

moving forward

Pœ œ œ jœ ‰ Œ

writ - ten.

‰ œ œn œ ˙˙ œ œ œ œP

‰ jœ œ œ œ œ œ œ

æ=88

æ=88

∑

œ œ œ œ œ œ œw

œ œœ œ œ œ œ?

6

p sub.

repeat ad lib.to nienteFO

R PE

RUSA

L O

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&&

44

44

44

43

43

43

√

æ=72-76

æ=72-76

Ó ‰ pJœ3

œ œ œ œThe hum - ming -

∏w æ w.œ æ°

.œ# jœ˙ æ ˙#? &

˙# Pœ#bird flies

˙ æ ˙6

œœ@πœœœ œ# œ

.˙ æ .˙#

œ pœ œ œ œ œ#like un - e - ven

.˙ æ .˙

.˙ æ .˙#

&

&

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45

45

42

42

42

4

˙# ‰ jœnbreath. His

.˙# æ .˙

.˙# æ°

.˙

poco cresc.œb 3œ œ œ œ œb œb3œ œn œn

throat is the rare hue of the

∏œ æ œb œ œ .œ .œb œ œ œ œ œ æ œ

3‰°œb œb œ° œb œ .œ

.œ œ œ œ œ œ°œ œ œ

&

&

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42

42

45

45

45◊

6 Pœn3

œ œ# œcar - - - di - nal

˙# æ ˙œ3

œ œ œ œ#

˙̇ æ°

˙˙

.˙# pÓflow’r.

3

œ# œ œ3

œ œ œ# œ# æœ œ œ œœbb œœ œœ æ œœœ æ°œ œ æœ# ‰ jœ

°œ# œ#

^

œ

molto rall.

molto rall.

∑

πœœ# æ œœ# P..˙̇

æ ..˙̇niente

‰πjœ

œ∏̇˙

?

7

Music Preparation byMusic Advantage952-448-7544

II. HummingbirdJoan Wolf Prefontaine Edie Hill


as if darting through the air

Subtlety, like a watercolor throughout



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86

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86

æ=52

æ=52

poco accel.

poco accel.

poco rall.

poco rall.

9

œ œ œ œ œ œb œ œn œ# œ# œ œnSee how the as - par - a - gus ris - es be -

.˙ œ œ œ#pœ œ œ

π

œ6

œb œ œpœ œ œπ 6œ œ œpœ œ œπ 6œ# œ# œpœ œ œπœ œ

œœœbbb°

œœœnnn°

...œœœbbb°

œœœnnn°

˙̇̇

æ=æ.

æ=æ.

pœ PJœ4

œ# œ œn œfore dis - trib - u - ting its

∏

4œ œ œ œ4

œ œ œ œ4‰

°

œb œ œ4

œ œ œ œ

&

&?

æ.=80-100

(accel.)

11 p P.˙nseed,

œ œ œ œ œ œ œ œ œ

œ œb œ œ œ œ œ œ œ

lightly ad lib., irregularly

π

Œ . ‰ πœ

°

œand the

p.˙

scarred

jœπ.˙b

moon

&

&?

15 .œ œ œ œbbare - - ly

π as is..œœ°

l.v.

2

œœœ

œ œ œ œ œ œbvis - i - ble in the

2

œ°

œ3

œ œ œ œ ‰&ad lib. (as before)

jœ

°

œb .œwa - ter,

œb œ œ œ œ œ œ œ œ

8

accel. into playing as fast as possiblead lib. (like a wash of color)

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86

86◊

æ.=60

æ.=60

28 π2œn œ .œ

lat - er,

∏œb œ œ œ œ œ œ œ œ œ œ œ

œ°œ œ œ œ œ& ?

œ œ œ Jœ œin the high

œb œ œ œ œ œ œ œœ œ œ œ

2

œ°

œ 2œ œ&(ad lib., as fast as possible)

P .˙

°

grass,

œ œ œ œ œ œ œ œ œ œ

œ œb œ œ œ œ œ œ œ œ

&

&

&

89

89

89

31 .œ Œ . Fœ

^

Jœ Jœ œbwhere there can

œ œ œ œ œ œ œ œœ

œ œb œ œ œ œ œ œ œ

f2

œ> œ

^

2

œ> œ .œbe no

œ œ œ œ œ

œ œ œ œ œ ?

&

&?

86

86

86

812

812

812◊

as is

34 p.œ œb œ .œ .œ

ab - sti - nence,

jœ .œ .œ jœ œb9

œb œ œ œ œ œ œ œ œ≈°

rœœ œœ ..œœ ..œœ

æ.=50

æ.=50

πintimately .œ-U œn œ .œ

speak to me

Œ .U∏œœœπJœœœ

Œ .U œœœ°

jœœœ°

&

pJœ ‰ Jœ œ œ œ

the way a

pJœœœ ‰ ‰ Œ .jœœœ°‰ ‰ Œ .

10

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812

812

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44

44

43

43

43

√

37 Pœb œ œ .œ .œ ‰ ‰ pjœbleaf does as -

Œ . Œ .∏Jœœœnggggggggggggggggggg

▲ ‰ ‰ Œ .

Œ . Œ . jœœœb°‰ ‰ Œ .

=

=

a tempo (æ=72-76)

a tempo (æ=72-76)

3œ .œ3

œ œ œ Ḟcend - ing in a gust.

Ó Œ ‰niente

œ œ

Ó Œ ‰ œ°œ

Ó Œ ‰ pœ œSay a -

˙ æ∏˙ π

5

œœœ œ œ œæ œ

w æ w

&

&

&

43

43

43

44

44

44

42

42

42

40 ˙ 3‰ œ œgain how the

.˙ æ .˙

.˙ æ .˙

3

œ œ œ œ œ# .œ Jœhum - ming - bird re -

w æ ww æ w

molto rall.

molto rall.

3œ œ œ œ œ#turns to the same wild

5

œœ@dartingπœ œ œ œœ@ œ æ œ

˙ æ ˙

&

&

&

44

44

44

43

.œ jœbgrove, the

w æ w

œ æ°œ œ æœ

molto accel.

molto accel.

.œb jœbsame mag -

Œ œ œb

˙ æ°˙

œn œnfjœ ‰

net - ic

œœb æ l.v.Fœ Œ

œ æ^

l.v.

œ Œ ?

πmolto rall.

molto rall.

œ P.˙blos - soms.

p3

œ œ œ œPœp˙

l.v.œ°œ 3Jœœ 3œ#

^

œ œPœ œ&

∑

wπw

11

(°)

as if darting through the air

(°)sub. p

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86

86

89

89

89

86

86

86

89

89

89◊ ◊

Freely, with fluidity, like a strange lullabyæ.=c.50-52

æ.=c.50-52

p .œ# œ œ œNight en - ters the

∑

‰∏œœ°Œ .

.œ œ œ œlake with its

Œ .πœœœœ‰

∑

œb Jœ .œ œ jœblack tongue as

∑

‰∏œ Œ . Œ .

πœb Jœ .œslen - der reeds

‰∏œœœ œœœ ‰

‰ œœœ

°

œœœ ‰

&

&?

89

89

89

86

86

86◊ ◊

5 œ PJœp.œ œ jœ

rouse the wind. In

≈π

8

œ œb œ pœ œ œ œ πœ

‰ Œ . Œ .

® . .jœb°

‰ Œ . Œ .

poco accel.

poco accel.

pœ œ# œ .œ œ jœ

out - ly - ing fields the

Œ . ‰ ‰ jœœœœjœœœœŒ

≈∏..jœœ°‰ Œ . Œ .

rall.

rall.

œ œ# œP.œ .œ

har - vest - ed earth

≈ ....Jœœœœ ‰ Œ . Œ .

∑

&

&?

86

86

86

89

89

89

44

44

44

8 œ#U œ œ œ œ œfolds it - self in

‰U Œ Œ .

‰U Œ Œ .

œb Jœ .œ Jœ, œ# œ

dark - ness and the

∑ ?

‰∏œœœ Œ . Œ .

molto accel.

molto accel.

πœ œ œ œ œ# œ œ œ

gold lights of farm - hous - es

p˙˙˙̇

3

‰jœ

∏Jœ ‰ Œ&

jœ˙̇°

Ó

12


III. Autumn DuskJoan Wolf Prefontaine Edie Hill


Like muffled shapes at dusk

sub. π

(°)Copyright © 1998, Edie Hill.

Copyright © 2000, Hummingbird Press.All Rights Reserved.

FOR

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83

83

83

44

44

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21

Jœ ‰πJœn

We

∑

∑

æ=c.66

æ=c.66

œ œ œ œ œ œ œ œwill blend more qui - et - ly with

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Œ Ó

rall.

rall.

slower

slower

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au - tumn's weight, we

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∑

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85ˆ84

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Ó ≈ .jœ œœ œ# œ œ

œœ°

Œ Ó

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wwœ# œ# ˙ œ∑

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æ=c.60∑

≈very legato, very freely, rubato.jœ œ œ .œb œœ œ œ œ œn œn œ œ

very light pedal

πwb

∑

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&

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85ˆ84

85ˆ84

85ˆ84

83

83

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=

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28 ∑

œ .œ œ œ .œœ œ# œ œ œ œ œ œ œ˙œn Œ . Ó

∑

...œœœ∑

molto rall.

molto rall.

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œœ ..œœ ˙̇

æ.=c.50

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‰U πœ# œ#Pœ jœ

When we wake to

Jœ#U ‰ ‰ ‰ Jœ# ‰&∏jœœ°

U ‰ ‰ Œ .

14

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.œ# œ# œ œfrost un - der these

‰ Jœ#‰ Œ .

∑

.œ# .œ# .œ# .œ .œchest - nut branch - es

∑

∑

accel.

accel.

rall.

rall.

æ.=56

æ.=56

pœ œ# œ

Pœ œ

pœ

geese will be pass - ing in

Œniente

floating, soaring

œ œ πœœ

Œ œ°œ# œ œ

&

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44

44

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poco accel.

poco accel.

35 pœn jœn

Pœ jœ#

strict for - ma - tion

œ œ œ œ# œ œœ œ œ œ œ œ&

poco rall.

poco rall.

pœ œ#

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p.œ

o - ver - head,

œ œ œ œ œ œ

œ œ œ œ# œn œ ?

accel.

accel.

æ=c.76

æ=c.76

œ œ# œ œ œ œ œ œfly - ing in pairs a -

πœ œ œ œ œœ œ œ

œœ°

œ œ œœ œ œ œ#&

&

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38 œb œ œ œ œ œway from this com - mon


œ œ# œ œ œ œ œ œ ?

accel.

accel.

∏wdream.

œn œ œ œ œb œb œ œπœœbb°œb œb œ œ œ œ œ&

rall.

rall.

Ó Œ ŒU

œb œb œb œ Jœ‰ ŒU

œb œb œb œb Jœb ‰ ŒU

15

(°)

(°)

(°)

FOR

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∑

ƒ. .. .œœbb >

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^

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light pedal

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∑

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∑

.œ̇b œ œ œb œb œb œbœb œb œb Fœb Jœb

16


IV. Between the Limbs, MusicJoan Wolf Prefontaine Edie Hill


(°)



FOR

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12 ∑

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∑

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sim.

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Ṗ œb œ œb œ



pw



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JœbThe



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.œb Jœ3œ œ œ

sumes a- gain af - ter



wbsleep.



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We



17

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drift on the prom - ise of



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light pedal

œb œb œb œ œ œ œ œ

wbdolce

pœ œb œ .œ jœ œ œbœb œb œ œ Pœ œ œ œ

f.˙π

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3

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œ œb œ œ œ œ œw

sim.

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pœ œ

while the

œ œb œ œ œ œ œwœb œb œ œ œb œ œ œ

18

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40 πwbdawn

Fœb œb œ œ œ œ œwb

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sim.

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‰ Jœb œ œ œb Jœb ‰

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‰

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œb œb Œ œ œ œb œ

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wbgae

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œb œb ‰ œ œb jœb ‰ Jœ ‰

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accel.

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stars.

πœb

cresc.

œb œb œ œb œ œ œ

œb œ œb œ œb œb œ œ œ œb

20

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43

43◊

49 ∑œb œb œb œ œb œb œœ#n ƒ

œœ?

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æ=c. 100

æ=c. 100

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œb œbjœ

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∑

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∏w

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21

sub. π

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Keeping momentum to end

æ=132-138

æ=132-138

59 pwfloat,

niente

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f.œ œ œ .œ jœ

land ev - er close to


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ƒ̇.œ jœ

drown - ing and

Fœ

like rolling water

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and ec - stat-ic.

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Ah

œ œ œ œ œ œ œ œbœb œ

jœœœ

œ

w


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22

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70 œ œ œ œb ˙

œ œ œb œ œ œ œ œœb œ œ œ œ

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73 3œ- œ- œ-Ï̇

œb œ œ œ Œ ‰ . œn

œ˙ jœÏ

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w

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œœœb œœ œ œ jœ ‰ Œ

23

FOR

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Described as “flat out beautiful” and “full of mystery,” (Stereophile Magazine), Edie Hill’s music is performed all over the globe. Her music has been heard in such venues as Lincoln Center, Musis Sacrum in Arnhem, Holland, LA County Museum of Art, Library of Congress, Minneapolis’ Source Song Festival and Walker Arts Center, St. Paul’s Schubert Club, The Cape May Festival (NJ), The Downtown Arts Festival (NYC), Liviu Cultural Center (Romania), Feszek Müvészklub (Budapest), and concert halls in Bangkok (Thailand), Dublin (Ireland), Reykjavik (Iceland), Moscow (Russia) Brazil, Great Britain, Germany, Italy, France, Spain, the Baltic States and The United Arab Emirates.

She has been commissioned to compose for solo voice to choir, solo instrument to orchestra and mass band, miniature to full evening drama; and loves the challenge of exploring all combinations including electroacoustic and mixed media.

Featured internationally on radio broadcasts and podcasts such as The Portfolio Composer with Garrett Hope and Choir Chat with John C. Hughes to name a couple, Hill is a three-time McKnight Artist Fellow and a two-time Bush Artist Fellow. She has received grants from the Jerome Foundation, ASCAP, Meet The Composer and Chamber Music America. Her work has been recorded by PARMA Recordings (Clay Jug through imprint Navona Records), by Tantalus Guitar Quartet, Cantus, flutist Linda Chatterton, guitarist Kenneth Meyer and numerous choirs throughout the United States.

Mentorship is integral to Hill’s life as a composer. She served as Composer in Residence at St. Paul’s Schubert Club from 2005-2017 where she ran and grew the Mentorship Program for gifted high school composers, has served as a mentor at Source Song Festival, and is composer mentor for MN Varsity (a program for High School Composers run by Classical Minnesota Public Radio and the American Composers Forum). She has lectured at colleges, universities and various institutions in the States and abroad and keeps a small home studio of composition students.

After earning a B.A. from Bennington College in Vermont under the tutelage of Vivian Fine, Hill moved from her native New York to Minneapolis where she earned her M.A. and Ph.D. degrees at the University of Minnesota with principal composition teacher, Lloyd Ultan. She has also studied extensively with Libby Larsen.

Composing is a life-long love. Writing music is always an opportunity to research, learn, muse, reach down deep, and allow inspiration to come from the stuff of life. She lives in Minneapolis, Minnesota where she works freelance and runs Hummingbird Press through which all of her works are available for perusal and sale.

COMPLETE CATALOG AND ONLINE ORDERING

www.ediehill.com

3324 Grand Avenue South • Minneapolis, MN 55408 • USA [email protected]

FOR

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ONLY
http://www.ediehill.com/mailto:[email protected]

edie hill for perusal only...i. the book of hungers the book of hungers was conceived in an ancient...

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