"an earthy unrestrained musical force" - James Hale CODA
Composer Anne Bourne improvises parallel streams of extended cello and voice, for dance, film, digital media, and words. Anne began travelling internationally with acclaimed songwriters, and later created emergent sound work with Eve Egoyan, John Oswald and Fred Frith, Andrea Nann, and Michael Ondaatje, Omaskeko Cree artist Duane Linklater, and filmmaker Peter Mettler. Anne performed the works of living composers James Tenney, Nicholas Collins, Alvin Lucier, and Pauline Oliveros. After a Telematic performance experience with Oliveros in New York, Anne spent a series of summers in the mountains of northern New Mexico on retreat listening with Oliveros, and was inspired to shift her way of engaging with sound in the world and with creating sound. Anne wrote about this experience in an Anthology of Essays on Deep Listening. Anne improvised in the creation of Oliveros’ composition 'Primordial/Lift,' and has appeared with her and David Grubbs on all subsequent performances and recordings in NY. During this time Anne met Ione, and engaging in dream work, began a transformative writing practice. Anne continues to perform and is a facillitator of the Deep Listening Pieces of Pauline Oliveros. Anne believes each creative expression is an opportunity for the resolution of difference tones, between peoples, landscapes, and individual paradox, through listening.
Composer Anne Bourne improvises parallel streams of extended cello and voice, for dance, film, digital media, and words. Emerging as an arranger and accompanist and keyboard player for songwriter Jane Siberry, Anne recorded and traveled widely as a concert performer, with many award winning songwriters on Warner Music, Reprise and WEA, noteably as cellist in founding band for Loreena McKennit for her international debut in Spain. Anne has played on several multiple platinum recordings in Canada that were Juno and Grammy award winning, including 'Blue Rodeo's 5 Days in July' on which Anne was invited to the legendary farm recording with Sarah MacLachlan to create the cello templates. As well Anne's work can be heard on the Loreena McKennit's Juno and Grammy award winning recordings including 'Book of Secrets' which achieved mulitple Platinum in Canada, USA, Argentina, and Germany. Anne played on many independent recordings after appearing a guest artist of her brother Pete Bourne for the recordings of his band Copyright, Geffen. Anne released several singles during this time including the original songs 'Evangeline' on Moose Records, released with performances to raise awareness for the Oka crisis, the song 'Las Vegas' recorded by Damhnait Doyle, for EMI, and ‘Blue Ballet’ Produced by Jocelyne Lanois, released on Legacy, Wyndham Hill 1989.
A resident composer for Robert Desrosier Dance Theatre, Anne began a practice of creating music with the dancer as a living score. Anne’s collaboration with choreographer/dancer Andrea Nann produced a cycle of dances which culminated in a solo piece developed with author Michael Ondaatje, titled ‘Meditation: on loss and desire,’ with his novel ‘Anil’s Ghost’ as a point of departure. Anne received a Golden Sheaf Award for Best Original Music, 2005, for her composition in the film version of this piece, directed by Veronica Tennant. Anne also composed and performed emergent music for Azerbaijani dancer/choreographer Sashar Zarif, and for dancer/choreographerYvonne Ng, a solo involving one hundred pairs of shoes in the lines of the Chartres labyrinth.
Anne composed for film, notably composing for Montreal producers Max Films; also with director Peter Lynch; in Atom Egoyan’s Cannes award winning film ‘The Sweet Hereafter,’ improvising voice and cello with Sarah Polley in collaboration composer Mychael Danna; and on Peter Mettler’s ‘ The Top of his Head,’ for composer Fred Frith. Anne also composed scores for producer Michael Allder, first at the Canadian National Film Board, and then working with Allder to redesign the theme and scoring for David Suzuki’s ‘The Nature of Things,’ CBC.
Improvisation was a sanctuary for Anne since her departure from classical piano training, and involvement began with CCMC at the first the Music Gallery, and a long running trio with John Oswald and Marvin Green. Anne began to shift her focus to emergent music as a performer, songs without words, after her international work with songwriters. In a trio with John Oswald and Fred Frith, a feature recording was released of their Rivoli performance titled ‘dearness’ on Spool in 1998; and later creating marathon performances in a trio APT with electronic musician Tom Kuo and filmmaker Peter Mettler, creating live image mix; and with improvised compositions with pianist Eve Egoyan, performed live at the Stone in New York.
Anne was introduced to composer Pauline Oliveros in 1994 when she was invited by composer James Tenney to perform in a distance concert with Deep Listening Band based at The Kitchen in NY, with ensembles in Paris and Toronto. Each ensemble improvised together in Telepresence via PictureTel, with audiences in each city. This began a long phrase, and inspired an opening up of the composer's way ; the way distance concerts could dissolve political boundaries for a sonic gesture of compassion, and the technological development of an architecture for this, was a rare comet moment for Anne. Following this experience, Anne made a series of retreats to New Mexico to develop a Deep Listening practice with Oliveros. Anne was one of the first six to receive a Deep Listening Certificate to teach Oliveros' materials. As a performer Anne egaged with Oliveros in a stream of events including her improvised 'Lunar Opera' at Damrosch Park Lincoln Centre. Anne was both Communications Producer and performer for the international 'Convergence: a gesture of sonic peace.' For this musicians gathered to form ensembles online from Switzerland Australia Canada and the US. Pieces were composed between sound artists, visual artists, spoken word artists, musicians and composers. At a time when conflict was rising the Convergence opened another way of connecting for a sensory creative experience. Also in this long phrase Anne performed the premier of Oliveros’ composition ‘Primordial/Lift,’ NY, with Pauline, David Grubbs and Tony Conrad, for release on Table of the Elements, in 1998, and all subsequent performances and recordings, including the current vinyl on TAIGA, 2012, and the 2013 reprise at Issue Project Room in Brooklyn, NY. Anne presented this emergent graphic/text score at Art and Science of Deep Listening conference, EMPAC, NY, 2014. Primordial/Lift is a piece that encourages the listener to track the resonant frequency of the earth. One listens as if the earth is a being, a subaudible sound is drawn attention to by it's gradual changing.
Selected performances: ‘grain(s)’ an installation, by Omaskeko Cree visual artist Duane Linklater, who deconstructed films 'Woman of the Dunes' and 'Nanook of the North', under his direction I transcribed his edit of Takemitsu's Dune score for solo cello, and Alutiiq poet/choreographer Tanya Lukin Linklater, transcribed the animal and human movement from 'Nanook' for dancer in a 45 minute performace to reflect the alteration of the film's portrayal in sand and ice, Images Festival, 2013; APT an improvised trio, cello and voice with electronic musician Tom Kuo and filmmaker Peter Mettler image mix, Ohm Festival and Electric Eclectics Festival 2010, ‘Returning Current,’ interpreting whale and elephant composition, with 12 voices and solo cello, under the direction of Arts and Crafts recording artist Daniella Gesundheit, and renowned bioacoustician Katherine Payne, Music Gallery, 2014; ‘ Motion Memory and Mermaids,’ a duo concert with Pauline Oliveros V accordion and cello, through the EIS system in 16 channel surround, at the Toronto International Electroacoustic Symposium, 2014; and a series of emergent performances with singer Mary Margaret O’Hara in John Oswald’s ‘a somewhat large ensemble’ 2014, and as featured cellist with Carol Gimbel's Wychwood quartet, performing John Oswald's 'Spectre' for #1000 strings in Toronto, 2015. Anne performed in a Deep Listening hour long improvisation over telepresence with Doug Van Nort in the DisPerSion Lab in Toronto, connecting with Chris Chafe at Stanford (CA) and Pauline Oliveros and Jonas Braasch at CRAIVE Lab at RPI ( NY) on March 29 2016.
Anne is interested in each musical expression being a resolution of difference tone between peoples, landscapes, and individual paradoxes, through listening.
'This is Anne Bourne. She is a cellist, keyboardist, vocalist and composer whose work in pop, rock and experimental music makes her Toronto's most ubiquitous secret weapon. Bourne is a gifted improviser who has worked with electronic art music pioneer Pauline Oliveros. She's an important figure in the city's avant-garde scene but also your go-to if you need a beautiful cello line in the sweet spot of your latest chamber pop masterpiece. She is fucking great.' ALLISON OUTHIT (FACTOR) Now Magazine March 2016
UPCOMING: Anne To appear in Capacitance 8 an Improvised performance with Parmela Attariwala (Violin) and Karen Kaeja (Dance) followed by a discussion, at movement42 studio in Guelph, April 3; and at Canada Dance with Robert Desrosier in June201. Anne will also appear with Pauline Oliveros, Ione and Doug Van Nort in a surround quartet performance at XAvant 2016.