DEMO www.musikkforlagene.no

- Ellen Lindquist

The music of Ellen Lindquist is performed regularly throughout the United States, Canada, and Europe (Sweden, Norway, England, Scotland, the Netherlands, Belgium, Germany, Austria), and has also been performed in Australia, Cuba, South Korea, the Philippines, and South Africa. Discovery of unique sound-worlds through collaboration is central to Ellen’s work; several of her pieces involve dance, theater, poetry, and performance art. Ellen’s work has been heard at venues such as Carnegie Hall, The United Nations, and The Cathedral Church of St. John the Divine (New York). Past commissions range from solo and chamber pieces to choral and orchestral works. Currently, Ellen is working on a new piece for music-theatre produced by Companion Star, based on the work of Swedish poet Tomas Tranströmer (2011 Nobel Laureate for Literature). With its international ensemble Companion Star has presented work -inprogress performances of drömseminarium (dream seminar) in both Sweden and New York. (The premiere is slated for 2014 in Sweden.) drömseminarium has been featured on Swedish television, and on American, Swedish, and Dutch radio. Grants to support Ellen’s work on the piece while living in Sweden include fellowships from the American-Scandinavian Foundation and the American Swedish Institute (the Malmberg Scholarship), and development funding from The New York State Council on the Arts. She has served as composer-in-residence at Mälardalen University (Sweden), and has been invited for multiple residencies at the Visby International Centre for Composers (Sweden), the Banff Centre for the Arts(Canada), and the International Ceramic Research Center (Denmark; a collaboration with ceramic artistHenny Linn Kjellberg to develop porcelain percussion instruments). Ellen has been invited to speak about her work live and in radio interviews in the US, Canada, Sweden, Denmark, Norway and the Netherlands. Her work is published by Marimba Productions, Inc., and Apple Mountain Music Press (ASCAP).

As a pianist, Ellen has performed as chamber musician and accompanist in the US, Canada, and Europe. She was a co-founder of the Musicians’ Alliance for Peace (MAP), and co-organized MAP’s annual Music for Peace Project, a global network of concerts for peace. During the years 2004-07, 350 concerts dedicated to peace were performed in 30 countries. Ellen holds degrees from Stony Brook University (MA and PhD in composition) and Middlebury College (BA in composition and piano performance). She is currently an Associate Professor in the Composition Department at NTNU in Trondheim, and has served as visiting professor at the Gotland School of Music Composition in Sweden and taught at Stony Brook University. Ellen is a member of the Norsk Komponistforening (The Norwegian Society of Composers). She lives near Trondheim, Norway with her family. Upcoming projects include commissions in Sweden and Norway. A deep respect for and love of the natural world is reflected in her work.

Performance notes

Nakoda should be performed with amplification, in order that the percussive extended techniques be clear and audible. When possible, add some processed reverb. Suggestions for microphone position: if mic is placed slightly above the flute, the player can move toward and away from it as needed. One performer discovered that if the mic is in front of the right hand and aimed toward the headjoint, it is only necessary to move toward the mic for the whistle tones. Experiment to find a setup that works well for your sound and style of playing.

W.T. whistle tone key click articulating attack of blown pitch tongue pizzicato (TP) slightly sharp (sounds minor 7th lower) tongue ram (TR) slightly flat (sounds minor 7th lower) breathe in through flute, quarter-tone flat mouth covering hole movement becomes faster, random and more intense--gradually use all fingers

Sung pitches are notated a perfect fourth above actual pitch, for ease of reading in relation to alto flute. For key-click passages such as those on the 2nd-4th lines, try to avoid extra release-sounds between the notated pitches. It can be possible to use the key releases to produce pitches as well.