NOTES FROM THE COMPOSER ABOUT ShadowBox:

I enjoy the multiple layers of meaning to be found in the word “shadowbox." The most literal definition suggests a boxer sparring with his or her own shadow as an exercise. I also think of the mid-century American artist Joseph Cornell's surrealist juxtapositions of sentimental artifacts in his hauntingly captivating shadow boxes. Deeper still, the Jungian archetype of the "shadow self" comes to mind; the dark desires and thoughts that manifest their own personas when we unconsciously reject them from our images of ourselves. 

I explore all three of these notions in the three short movements of Shadowbox for two violas. In the first movement, Encounter, the Shadow lurks in the background behind the conscious Self, represented by one of the violas' sound heavily suppressed with a metal practice mute. Gradually the Shadow emerges, reaching equal footing by the end of the movement. This leads to Sparring, in which the Self "fights" with its own Shadow, in a partially improvised game of imitation and wits. Finally, in the hymn-like chorale of Reconciliation, the Self acknowledges and accepts the Shadow, incorporating it as part of a richer, more authentic self-identity. 

This work was commissioned by Music At Angel Fire, through the generosity of Hilde Howden and the Bruce E. Howden American Composers Project, and is humbly dedicated to my friend and mentor, violist Toby Appel, with whom it was my great honor to premiere the piece.

BIOGRAPHY:

Kenji Bunch is one of America’s most engaging, influential, and prolific composers. Through an expansive blend of classical and vernacular styles, Bunch makes music that’s “clearly modern but deeply respectful of tradition and instantly enjoyable.” (The Washington Post) Deemed “emotional Americana,” (Oregon ArtsWatch) and infused with folk and roots influences, Bunch’s work has inspired a new genre classification: “Call it neo-American: casual on the outside, complex underneath, immediate and accessible to first-time listeners… Bunch’s music is shiningly original.” (The Oregonian) Hailed by The New York Times as “A Composer To Watch” and cited by Alex Ross in his seminal book The Rest Is Noise, Bunch’s wit, lyricism, unpredictability, and exquisite craftsmanship earn acclaim from audiences, performers, and critics alike.

Bunch grew up in the Pacific Northwest, received conservatory training at The Juilliard School, and after 20 years in New York City, returned to reside in his hometown of Portland, Oregon where he serves as Artistic Director of Fear No Music. His interests in history, philosophy, and intergenerational and cross-cultural sharing of the arts reflect in his work. Varied style references in Bunch's writing mirror the diversity of global influence on American culture and reveal his deft ability to integrate bluegrass, hip hop, jazz, and funk idioms. Rich, tonal harmonies and drawn-out, satisfying builds characterize Bunch’s work and easily lend themselves to dance and film.

Over sixty American orchestras have performed Bunch’s music, which “reache(s) into every section of the orchestra to create an intriguing mixture of sonic colors.” (NW Reverb) Recent works include commissions and premieres from the Seattle Symphony, the Oregon Symphony, the Lark Quartet, the Britt Festival, Music From Angel Fire, Chamber Music Northwest, the Eugene Ballet, and the Grant Park Music Festival. His extensive discography includes recordings on Sony/BMG, EMI Classics, Koch, RCA, and Naxos labels among others.