The Conservation Concertos are a set of works for solo instrument and orchestra being written over the next decade, each about a different nearly-extinct flora or fauna, or environmental concern.

Each concerto is about a subject close to its soloist’s heart…

The Conservation Concertos include works…

with Anthony McGill for clarinet + orchestra
about the
Nautilus

with Tammy Miller for piano + orchestra
about Nearly-Extinct Flowers

with Masumi Rostad for viola + orchestra
about Pernambuco/Brazilwood

with Tommy Mesa for cello + orchestra
about
Plastics

with Tommy Mesa for cello + orchestra
about Plastics

with Marie Bennett for flute + orchestra
about Manta Rays

MANTA

Flute concerto

The fifth chapter of the Conservation Concertos, and written for flutist and climate artist Marie Bennett, Manta is inspired by the lives and vulnerability of manta rays. The works three movements visit the gigantic oceaninc ray

centered on the reef manta, oceanic manta, and the newly documented Atlantic manta. Conceived amid recent scientific discovery and growing international conservation action, Manta translates contemporary ocean science into a powerful musical narrative of fragility, wonder, and hope.

bit 2

bit 3

THE PEOPLE

STEPHANIE

ANN BOYD

MARIE

BENNETT

Marie Bennett is a Chicago-based flutist and climate artist whose work bridges virtuosic performance, environmental storytelling, and ocean science. Known for her expressive sound and imaginative programming, she performs across the United States and internationally as a soloist, chamber musician, and orchestral player, with a growing body of work focused on ecological witness and endangered ecosystems.

An active commissioner of new music, Bennett has initiated and premiered works that engage directly with climate change, extinction, and environmental memory. She is the founder and artistic director of Extinction Lullabies, a performance and commissioning initiative honoring vanishing species, threatened habitats, and endangered languages through music, poetry, and soundscape.

Bennett’s projects frequently integrate archival and field recordings, spoken text, and multimedia, and she has commissioned and premiered works by composers including Stephanie Ann Boyd, Stephen Lias, Daniel Dorff, Lee Kesselman, and Joshua Rodriguez. A specialist in low flutes, she performs regularly on alto and contrabass flute.

An active collaborator with scientists, explorers, and conservation organizations, Bennett has participated in international climate and ocean expeditions, incorporating firsthand field experience into her artistic practice. Her work has intersected with figures such as oceanographer Dr. Sylvia Earle, whose narration appears in Echoes from the Deep—a work for contrabass flute and whale song commissioned by Bennett and premiered at an ocean conservation gala. In addition to her performance career, Bennett recently retired after three decades of university teaching to focus full-time on large-scale climate-music projects, commissions, and interdisciplinary collaboration.

Michigan-born, Manhattan-based American composer Stephanie Ann Boyd (b. 1990) writes melodic music about women’s memoirs and the natural world for symphonic and chamber ensembles. Her work has been performed in nearly all 50 states and has been commissioned by musicians and organizations in 37 countries. Boyd’s five ballets include works choreographed by New York City Ballet principal dancers Lauren Lovette and Ashley Bouder and include a ballet commissioned for the grand opening of the TWA Hotel at JFK Airport.  Stephanie’s music has been praised as “a racing, brassy score” (New York Times), attractive lyricism (Gramophone), [with] ethereal dissonances” (Boston Globe), “[music that] didn’t let itself be eclipsed” (Texas Classical Review), and “arrestingly poetic” (BMOP).

Recent commissions and premieres include a work inspired by Betty Friedan entitled Everywoman, with Kennedy Center President Deborah Rutter, mezzo-soprano Michelle DeYoung, and 2022 Indianapolis Competition winner Sirena Huang as soloists and commissioned by the Peoria Symphony Orchestra with George StellutoJulia Louisa Esther: a Suffragette Symphony commissioned by the Wyoming Symphony Orchestra with Christopher Dragon, the premiere of which was the subject of a documentary on Wyoming PBS in 2022; Alleluia Olora commissioned by Astral Artists for cellist Tommy Mesa; Aurora, commissioned by the Kurganov-Finehouse Duo, and others.

THE PLAN

length

24 minutes

instrumentation

In order to best serve the dynamic needs of the commissioners, we are excited to offer Nautilus in three delightfully different flavors. Consortium members will receive pdf materials for all ensemble types so that they have the ability to choose what works best for them in any situation.

  • 2(1pic).2.2(opt.bcl).2(opt. cbsn) -  4.2.2.1 - t.4p - opt. cel - str (min. 66441)

  • 1(1pic).1.1.1 - 1.1.1.1 - 1p - pno(opt. cel) - str (min. 3331)

  • String Orchestra (min. 66441) + opt. 1p

three movements

I. Shell

II. Generations as
Fractals through Time

III. SUMMON

I. SHELL

The first movement focuses on the journey we all have in our lives with ourselves. The solitary experiencing of our own joys and difficulties, growth and decay.

Like the nautilus, this movement is in the shape of a spiral, with themes coming back in new and larger ways each time, just like the themes and people within our lives.

II. Generations as fractals
through time

The second movement is about family; how the self-solitude in the first movement opens up to encompass the people we care about, and the small miracle of how much we look like our parents and grandparents but how we inherit so much more from them on the inside as well. How our children are a continuous blossoming of the best parts of us into the future. Inspired by Anthony’s daughter, this movement is a lullaby.

III. summon

The third movement widens our awareness finally from ourselves to our families to the earth around us: a grand summoning of all of us towards actions of love and caring.

Fast and ferocious, this movement is a rhythmics, which is my name for moments that groove and fly the whole speedy way through.

Stephanie’s PREVIOUS concertos