Eve Egoyan quotes

Herl, 2003 - Martin Arnold
“Herl” isn’t a coined word or even a verb. Herl is the barb or barbs of a feather used to dress fishing flies and it’s the name that belongs to this composition— written for Eve Egoyan with admiration and thanks. ~MA
Herl was commissioned by Eve Egoyan with the assistance of the Canada Council for the Arts.

To Weave (a meditation), 2003 - James Tenney
Waves for Eve, wave upon wave, little waves on bigger waves, et cetera, but precisely calibrated to peak at the phi-point of the golden ratio. To weave: a three-voice polyphonic texture in dissonant counterpoint, with a respectful nod in the direction of Carl Ruggles and Ruth Crawford Seeger. And finally, a meditation on the wondrous physicality and inescapable spirituality of all our music-making. ~JT
To Weave was commissioned by Eve Egoyan with the assistance of the Canada Council for the Arts.

Metaphonesis, 2001 - Jo Kondo
I respect each sound in music. Each sound must have its own entity and life. However, sound itself is not yet music. What I have been doing in my compositions is to create a web of intertonal relationships, while trying to safeguard the possibility of aurally perceiving the individual entity and life of every single tone (or chord) in that relationship, for it is this relationship that makes sounds music. The title Metaphonesis implies this belief of mine.
This piano piece is dedicated to Eve Egoyan. ~JK
Metaphonesis was commissioned by Eve Egoyan with financial support provided by the Japan-Canada Fund at the Canada Council for the Arts.

ERIK SATIE, like anyone else, 2002 - Michael Finnissy
But not like anyone else. Not quite belonging. Losing himself in his music. A singer of plainchant, a ritualist, an innovator, lover of ragtime and the American two-step, a classicist. Poised and innately balanced. Keeping an appropriate distance, hieratic. The Wagnerian Chabrier of ‘Gwendoline’ (the mystic orgies of Sâr Péladan), the discipline of the Schola Cantorum (the bizarre curios), the secret allusions and confused, unbidden memories—just like anyone else’s. But this isn’t Satie, it’s me (plus Satie after a hundred years). In which time the poor and lonely man is no longer taken as an absurd joke, or some sort of technical incompetent. In which time ‘cadences’ finally become an obsolete form of punctuation. In which ‘cost’ replaces ‘value’, and diatonicism rises again from beneath the frozen waters of serialism, its bloated carcass hideously cleansed of any life or identity. Satie—hero of my early teens, provocateur and renegade. Fighting the hazy and some say ‘unreal’ battles alongside Ives and Varèse. Soon to be joined by Busoni and Schoenberg. All in a moment of history. This moment. Written specially for Eve Egoyan, the particular character, depth and sensitivity of touch and phrasing with which she illuminates the music she plays: an alchemy, authenticity, and fearlessness. ~MF
ERIK SATIE, like anyone else was commissioned by Eve Egoyan with the assistance of the British Council.