Ballades for solo piano
A set of five Ballades for solo piano, these are programmatic works and are instrumental settings of five individual poetic texts.
Untitled Work for cello and piano
This exciting piece is a change of pace for Edward and is his first piece written for a string instrument since 2011. He is planning to perform the piece from the piano with a cellist and it is being crafted with the composer’s strengths in performance in mind. Completion and premiere dates to be announced soon!
Too solemn for day, too sweet for night
This working title is for a mixed choir setting of the brief poem by William Sydney Walker:
“TOO solemn for day, too sweet for night,
Come not in darkness, come not in light;
But come in some twilight interim,
When the gloom is soft, and the light is dim.”
A setting of Walter de la Mare’s text of the same title on the subject of Jean François Gravelet (1824-1897), better known as Charles Blondin, who was a French tightrope walker and acrobat whose tightrope walks across Niagara Falls made him famous particularly in North America.
Treble choir with piano
A 5 movement work for treble choir and piano inspired by the book We are all the Same by journalist Jim Wooten. A story about a South African boy, Nkosi Johnson, born with AIDS who, throughout his 12 years, had a monumental impact on the public perception of the AIDS pandemic.
In the Train
SSAA choir with piano
A setting for treble choir of James Thompson’s “In the Train”.
White in the moon the long road lies
A setting of the text of the same name in part XXXVI of A. E Housman’s “A Shropshire Lad”.
The Arrow of Time
Continuous form with three subsections:
(The Arrow of Time)(Time and Space)(The Arrow of Time II)
“This piece is a musical reflection of the period of inspired thought, which I experienced after delving into the writings of Dr. Stephen Hawking. Particularly, those of Hawking’s theories and descriptions regarding Time-Space and the Arrows of Time (of which Hawking delineates three types). Ideas involving time as a dimension, and our one-directional experience in it from past to future, were especially inspiring to the creative thought in this piece.
In three distinct but connected sections, this work is a continuous unravelling of musical ideas –ideas that are always aware of the passing of time and our conception of it. I encourage the listener to experience time as it shifts identities throughout the piece – in one moment ticking along, while in the next seemingly stretching and slowing down to an unusually slow state. This work was created on a base of inspired thought and I hope that it will in turn inspire creative and emboldened thoughts in the listener.” -Taken from the program notes for the premiere.
*Premiered by Everett Hopfner at the Canadian Music Centre, Toronto on January 25th, 2016
A setting of Johann Wolfgang von Goethe’s Wandrers Nachtlied I. (German)
My Name is Olemaun Pokiak
The Xara Choral Theatre Ensemble has commissioned Edward Enman to write for a revisited presentation of Fatty Legs – a show which tells the story of Olemaun Pokiak leaving her home in the High Arctic to attend a residential school in Aklavik in Canada’s North.
To be premiered on a tour of Canada’s East Coast. Info available here.
So, good night, with lullaby
Time’s Small Space
Jazz Chart for Keyboard and Duo Voice
Original text and music
A new choral theatre work with Xara Choral Theatre Ensemble, cello and piano.
Original material by Edward Enman and Claire Gallant
(Premiered Friday, February 1st, 2013 – St. Matthews United Church, Halifax, Nova Scotia
Subsequently performed on Sunday, April 7th, 2013, at the Bicentennial Theatre, Middle Musquidoboit, Nova Scotia)
Then Shall I Leap Into Love
Setting of the text by Mechthild von Magdeburg
I cannot dance, Lord, unless you lead me.
If you want me to leap with abandon,
You must intone the song.
Then shall I leap into love,
From love to knowledge,
From knowledge into enjoyment,
And from enjoyment beyond all human sensations.
There I want to remain, yet want also to circle higher still.
we want to smile.
we want to smile. is a piece inspired by hundreds of hours of witnessing how people live and interact with each other in many situations around the world. These scenes of human interaction took place in coffee shops, restaurants, and most importantly; airports. What was especially noticed was the suppression of overt emotionality by routine and familiarity. The presence of emotional states such as excitement, thoughtfulness, and happiness were all reduced to their lesser extremes. The original text began to formulate from the scenes of dull frustration as people waited for their boarding call, or for their morning coffee to arrive at their table.
Some of the statements in the text represent what people outwardly show (we want to give, we want to smile), while others represent a suppressed emotional element of many people (we want to feel, we want to forget, we want to imagine). These particular phrases may never be said or acted upon by these people, but are at the core of their lives. In a natural, forgiving, and encouraging social atmosphere, these statements would be said and experienced frequently with a focused energy that is absent in their present lives.
Setting of the text by Walter de la Mare (Verses 1,2,4) and Edward Enman (Verse 3)
When music sounds, gone is the earth I know,
And all her lovely things even lovelier grow;
Her flowers in vision flame, her forest trees
Lift burdened branches, stilled with ecstasies.
When music sounds, out of the water rise
Naiads whose beauty dims my waking eyes,
Rapt in strange dreams burns each enchanted face,
With solemn echoing stirs their dwelling-place.
When music sounds, I warm in gentlest of time
Soft and plush the moments through me climb,
Blind to the memories stretched forth near to break
As I so near to sleep, my leave do take.
When music sounds, all that I was I am
Ere to this haunt of brooding dust I came;
And from Time’s woods break into distant song
The swift-winged hours, as I hasten along.