Samantha Fernando

Wintering was inspired by Katherine May’s book of the same name, which explores the idea of embracing life’s fallow periods rather than resisting them. I found myself returning to a simple but transformative question: What if I embraced winter instead of mourning the absence of summer? Rather than pushing against the cold and darkness, could I find value in stillness and restoration?

Scored for four voices (soprano, alto, tenor, and baritone) and string quartet, Wintering explores the tension between quiet introspection and the ever-present hum of the outside world. I was drawn to this ensemble for its rich potential—the voices not only convey text but also blur into the instrumental texture, becoming part of the quartet’s fabric.

The sound world is often hazy and ambiguous. At times, it evokes frozen landscapes and moments of stasis; at others, it reflects a restless, churning mind caught in the noise of modern urban life. One movement (IV) is hectic and even playful—an attempt to find stillness through meditation, yet thwarted by internal chatter. Wintering moves through restlessness and retreat, ultimately leading the listener toward a place of stillness and quiet resilience in the turning of the seasons.

I. Vista
II. Cloud Canvas 1
III. Cloud Canvas 2
IV. To Do: Do Less
V. Snow on Snow
VI. Cocoon

Duration: c.27 minutes

Commissioned by the Wigmore Hall, first performance given by Manchester Collective and the Marian Consort on 22nd November.