"To attempt to summarise the journey of Annea Lockwood's life, as a composer and performer, is difficult if not impossible. For six decades now, she has carved out a multifarious and fluid existence that has orbited various musical movements and approaches. Hers is a life led by intuition, curiosity and listening, one in which passion is paramount and wonderment abounds.
If you were to reflect upon one aspect of her way of being that holds the greatest gravity in her day to day, it is perhaps listening that resonates most vibrantly. It is a practice that she has sought to deepen, with an unwavering dedication across her life, and a it is practice that has sustained her in the absolute. It's here that Glass World comes into focus for it documents some of her first significant studies into sound, object and listening. It is a recording that captures her in a moment of profound fascination with a rather familiar material, glass.
This recording celebrates many things, amongst them Lockwood's willingness to allow single sounds to resonate, fully. Across each of the twenty three vignettes captured here, Annea Lockwood invites us to lean into the material nature of sound with her. Glass World shimmers with an almost fanatical incandescence. It radiates a vibrational intensity that holds as strongly today as it did upon its original release in 1970 on Tangent Records. I had the privilege to re-master these recordings, under the guidance of Annea, and sitting with them so intensely was nothing but a delight.
In tandem with this project, Annea and I have undertaken a long-form in conversation, which is collected in the book which sits alongside this edition. The conversation splays outward from Annea's work on Glass World and it deliberately seeks to visit upon her interests and passions, and through doing so revel a certain perspective that has guided her ways of being, and ways of making.
It's an honour to have the opportunity to share this edition with you. I hope you too can catch Annea's resonate curiosity and be as captivated by these sounds as I (and many others) have been."
Lawrence English
New Zealand-born American composer Annea Lockwood (born 1939) brings vibrant energy, ceaseless curiosity, and a profound sense of openness to her music. Lockwood's lifelong fascination with the visceral effects of sound in our environments and through our bodies—the way sounds unfold and their myriad "life spans"—serves as the focal point for works ranging from concert music to performance art to multimedia installations.
Annea Lockwood moved to England in 1961, studying composition at the Royal College of Music, London, attending summer courses at Darmstadt, and completing her studies in Cologne and Holland, taking courses in electronic music with Gottfried Michael Koenig. She felt a strong connection to such American composers as
Pauline Oliveros,
John Cage, and the Sonic Arts Union (Ashley, Behrman, Mumma, Lucier). In 1973 composer Ruth Anderson invited her to teach at Hunter College, CUNY, and Lockwood moved to the US, settling in Crompond, NY. She is an Emerita Professor at Vassar College.
During the 1960s, Lockwood created works such as the
Glass Concerts, initiating her focus on timbre and new sound sources. In synchronous homage to Christian Barnard's pioneering heart transplants, Lockwood began a series of
Piano Transplants (1969-82) in which defunct pianos were burned, drowned, beached, and planted in an English garden.
Piano Burning continues to be performed around the globe.
Lockwood's deep affection for all things water-related is evident throughout her catalog. Her attention to performance works focused on environmental sounds and life narratives began in the 1970s and '80s with
World Rhythms and
A Sound Map of the Hudson River.
A Sound Map of the Danube weaves field recordings of the rivers with recorded stories of the people living and working on the water.
Delta Run features a recorded conversation with the sculptor Walter Wincha near the time of his death. Her 2016 tribute to the composer
Pauline Oliveros,
bayou-borne, for Pauline, is a graphic score; a map of the six converging bayous in Houston, Texas, where Oliveros was born.
Collaboration and improvisation are vital features of Lockwood's output.
Jitterbug, commissioned by the Merce Cunningham Dance Company for the dance eyeSpace, incorporates Lockwood's recordings of aquatic insects, and three improvising musicians working from photographs of rock surfaces. She has worked with engineer and sound designer Robert Bielecki on devices such as the Sound Ball, created for
Three Short Stories and an Apotheosis in which a ball containing six small speakers and a receiver is rolled, swung on a long cord, and passed around the audience. Lockwood and Bielecki also collaborated on the outdoor installation
Wild Energy (2014), which resides in the permanent collection of the Caramoor Center for Music and the Arts and draws on geophysical and atmospheric infra and ultra sound sources transposed into the human hearing range.
Lockwood has received commissions from numerous ensembles and solo performers, including Bang On A Can, baritone Thomas Buckner, pianists Sarah Cahill, Lois Svard, and Jennifer Hymer, the Holon Scratch Orchestra, Essential Music, Yarn/Wire, and Issue Project Room.
Her work has been presented internationally at institutions and festivals such as Lucerne Festival, Tectonics Athens Festival, Signale Graz, Counterflows International Festival of Music and Art, Huddersfield Contemporary Music Festival, and many others.
Her music is recorded on the Lovely, XI, Mutable, Pogus, EM Records (Japan), Rattle Records,
Recital, Harmonia Mundi, CRI,
Superior Viaduct,
Black Truffle,
Room40, New World, Gruenrekorder, and Moving Furniture Records.
Hearing Studies, co-authored with Ruth Anderson, was published by Open Space in 2021.
