For a list of Anna’s Oxingale Music catalog, click here.
Anna Pidgorna is a Ukrainian-Canadian composer, vocalist and multi-media artist who combines sound, visual arts, writing and carpentry to create works that are dramatic and picturesque. She works extensively with Ukrainian folk singing incorporating elements of this style in instrumental music and performing as a pseudo-folk vocalist herself. With an enduring love for the outdoors, Pidgorna draws a great deal of inspiration from the natural soundscape often imitating birds and animals. Having studied visual arts from an early age, she incorporates visual elements into some of her manuscripts. Along with librettist Maria Reva, Pidgorna is a recipient of the Mécénat Musica Prix 3 Femmes 2020 Award, and holds two SOCAN Foundation Emerging Composers’ Awards. She represented Canada at the ISCM World New Music Days 2013 festival in Vienna. Her collaborators and commissioners include: Women’s Musical Club of Toronto, Soundstreams, 21C Festival, New Music Concerts, Gryphon Trio, Thin Edge New Music Collective, Michael Bridge, Rachel Mercer (Toronto); Musique 3 Femmes, Ensemble Paramirabo, Katelyn Clark, Marina Thibeault (Montreal); Standing Wave (Vancouver); Now Hear This Festival, UltraViolet Ensemble (Edmonton); Sandbox Percussion, Ensemble Mise-En (New York); Delirium Musicum, Kaleidoscope Chamber Orchestra (Los Angeles); Wild Shore Festival (Alaska); Ad Astra Music Festival (Kansas); Ludovico Ensemble, Trio Klaritas (Boston); Gamin (Korea/New York); Irish Language Art Song Project (Dublin). Pidgorna holds a PhD from Princeton University, an MMus from the University of Calgary, and a BA from Mount Allison University. Pidgorna lives on the traditional and unceded territory of the Qayqayt First Nation in New Westminster, BC.
Anna Pidgorna – Works
| Catalog # | Piece Title | Instrumentation, Duration |
|---|---|---|
| OM0919 | Dark Verse (2024) | Solo Violin, SSAA Choir, 11′ |
| OM0918 | Night Bird Lullaby (2023) | Soprano, Cello, Piano, 7′ |
| OM0917 | Like moths to a flame (2023) | Cello and Marimba, 7′ |
| OM0916 | Lesya’s song (2022) | For Bassoon and English Horn, 5′ |
| OM0915 | Weeping for a dead love (2015) | For Vocalist and Percussion Ensemble, 13′ |
| OM0914 | On the Eve of Ivan Kupalo (2013) | For Solo Voices, Accordion, Percussion and Piano, 36′ |
| OM0913 | Stockhausen menagerie (2022) | Flute in C, Clarinet in B-Flat, 8′ |
| OM0910 | Light-play through curtain holes (2010/rev. 2013) | Free-Bass Accordion, 6′ |
| OM0909 | Bridal Train (2013) | Flute, Violin, Piano, Free-Bass Accordion, 6′ |
| OM0908 | Weeping (2015) | Flute, Oboe, Percussion, Viola, Cello, Bass, 11′ |
| OM0906.3 | Keening (2019) | Flute, Two Violins, Piano, 11′ |
| OM0906.2 | Keening (2019) | Flute, Clarinet, Cello, Piano, 11′ |
| OM0906 | Keening (2019) | Flute, Alto-Saxophone, Cello, Piano, 11′ |
| OM0905 | Though closed doors (2014) | Two Violins, 8′ |
| OM0904 | Obsessive circularity of thought (2015) | Two-Manual Harpsichord, 6′ |
| OM0903 | A Pärtian meditation on an invented folksong (2016/rev. 2019) | Violin and Piano, 7′ |
| OM0902 | Like doves with grey wings embracing (2015) | Piano Trio, 11′ |
| OM0901.3 | The child, bringer of light (2012/18) | Solo Violin, 11′ |
| OM0901.2 | The child, bringer of light (2012/13) | Solo Viola, 11′ |
| OM0901 | The child, bringer of light (2012) | Solo Cello, 11′ |
OXINGALE MUSIC 