Photo by Michel Gagné

photoText Box: Phantom Caprice

Programme Note:


Phantom Caprice is sometimes light, sometimes humorous, and sometimes virtuosic – all characteristics that have, at one time or another, described a caprice since the term’s inception during the second half of the 16th century.  Yet this caprice can also be heavy, introspective, solemn, and perhaps even eerie.


Universally, caprices have a seemingly arbitrary nature and a tendency toward illogical fancy.  In this caprice, these qualities are built in to the composition’s structure; five autonomous musics were first created, then fragmented and reconstructed to form a series of disassociated moments.  We might recognize the original musics as they return and develop, and at other times their new contexts might influence our perception to such an extent that they seem foreign.


Some materials come from my previous music that was originally for different instrumentations.  Their fragments appear suddenly, like apparitions or phantoms from my past, and vanish just as abruptly, leaving other sound worlds in their place.




Organic and introspective, [Phantom Caprice] evokes non-conventional colours and textures that remind me of the Japanese concept of the “Floating World” [Ukiyo] – the place between life and death where the arts, dreams, emotions, and senses intermingle. 


-Catherine Meunier, percussionist, B.Mus., M.Mus., GPD, D.Mus.

(translated from French by Emily Hall)



Phantom Caprice is marked by an intelligent timbral exploration and by an uncommon virtuosity.  Hall solicits the performer’s full creative potential and wonderfully enriches the [flute] repertoire


-Marie-Hélène Breault, flutist

(translated from French by Emily Hall)


Canadian Composer Emily Hall / Compositeur canadienne Emily Hall

                                                    Email / Courriel: Emily Hall