"...evocative of epic cinematic scores combined with the poetic and lyrical intimacy..."
Time Out Magazine

"...opulent, yet earthy sounds..."
–Popshifter

"…evocative and engaging immersive sound installations..."
–Bedford Standard-Times

“...not only has Mary Edwards built a resonant dialogue among disciplines, she has amassed a body of work bound together by common themes, of the nature and philosophy of space, of the place of home and the power of nostalgia and, of the effects of all of these things on both the fixed and fluid aspects of identity and experience.”
—Daniel Alexander Jones


“…Mary Edwards is sensitive to aesthetic spaces.There is a sense of a grand nostalgia, a wonderment of Modernist sensibility and individualism within her compositional subjects...Mary results in finding and creating spaces between that are intimate, romantic and idyllic."
—Laiwan Chung

Invigorated by working in multiple genres, Mary Edwards a composer and sound designer who uses immersive sound as an environmental or architectural element with the objective to enhance the listener’s spatial experience. Themes of temporality, impermanence, nostalgia, Mid-Century Modernism and the natural world are interspersed throughout her work.

In 2021, Mary Edwards will be on expedition with The Arctic Circle Residency in the international territory of Svalbard (10 degrees from the North Pole), where she will conduct research to collect and convert glacial geology and ocean data for sonification and music composition projects.

Using sound as a spatial form, Edwards created such works as the bioacoustic The Space Between: A Sound Trilogy, which has been described in its nascence by writer Katt Lissard as "...an intriguing and important project which acknowledges the role of humans in the way architecture functions (or doesn't) in our culture. Mary Edwards hopes to take space back for all of us, not through the seizure of property or the redefinition of place, but though the use of melody and phrasing and multi-aural overlay."

Edwards’ recent and forthcoming recordings and installations include Natural Anthem; Endeavour: A Space Trilogy for the NASA Expedition of Dr. Mae C. Jemison; The Wa(l)king Pattern; Gospel Number Eight: Tributary; When the Ocean Meets the Sky and Everyday Until Tomorrow, an homage to JFK Airport and the opulence of early air travel. She has been commissioned by The Provincetown Museum, The Grimshaw-Gudewicz Gallery, Indivisible Gallery, 429 Architectural Spaces and The William T. Davis Conservancy. She lives in New York and works internationally.


Follow.






Discography.




Solo
Natural Anthem (2021)
Everyday Until Tomorrow (2020)
Eastern/Central & Mountain/Pacific (2012)
Console (2010)

Compilations

Appearances



Sound Installations.



Endeavour: A Sound Trilogy (2017- )
Let No Man Speak But in Whispers (2014)
Epilogue for a Quinn Martin Production (2014)
Per/severance (2013)
Altamont
The Space Between (2007)


Scores.



The Women at the Well: Palimpsest (2014)
Everyday Until Tomorrow (2017)
Strange Relations (2009)
Jack's Coffee Talk (2012)
Pretty: The Series (2011)
Excavating Katrina (2009)
One Thousand Whys (2005)
Tramway Afternoon (2004)
Idlewild (2004)
Habitat '67 (2004)
Alba House (2004)


Projects



Rockwood Music Hall 15th Anniversary
February 9, February 15, February 23, 2020



The Carpenters: An Illustrated Discography
Mary Edwards contributed to the first chapter of this beautifully presented coffee table book by acclaimed author Randy L. Schmidt on Karen and Richard Carpenters’ body of work created from 1969 to 1982. ALBUMISM calls it “rightfully venerated as an indispensable canon of classics…an erudite study and critical conversation about every Carpenters album ever drafted."





The Mentor That Matters:
Mary Edwards on John Luther Adams
Mary Edwards' essay on Pulitzer Prize-winning composer John Luther Adams is included in the groundbreaking anthology, The Mentor that Matters: Inspiration from Transformational Teachers, Role Models and Heroes. Read essay here.





Mary Edwards Joins Large-scale Choral Piece to Perform the World Premiere of Pulizer Prize-Winning Composer John Luther Adams' In The Name of The Earth
Mostly Mozart Festival
Lincoln Center
2018




What might a musical map of North America sound like?



SOUND INSTALLATION
Endeavour: A Space Trilogy
for the Expedition of Dr. Mae C. Jemison

A conversation and immersive listening session of a spatial composition and sound installation inspired by NASA astronaut, Dr. Mae Jemison. Held at the Bech Institute, Savannah, GA, 2017. Read essay here.





The Ever-Enchanting Mary Edwards
Felicity Fenton interviews Mary, who plays with space, and the sounds in and in between those spaces. Read interiew here.





Mary Edwards Joins 40-Piece Percussion Ensemble to Perform Pulizer Prize-Winning Composer John Luther Adams' Inuksuit
UNC Asheville
Asheville, NC
2014

Mary Edwards, (on tympani), took part in a 40-piece percussion ensemble performance of Pulitzer Prize-Winning composer John Luther Adams’ Inuksuit . Conducted by Andy Bliss of the acclaimed nief-norf ensemble, the outdoor concert was spread across the UNC Asheville Quad and surrounding Asheville woodland campus on Oct 3, 2014.





For The Time Being
Scordatura: Composer Talk
KTRU
2013

On 91.7 KTRU's Contemporary, Avante Garde, Electroacoustic, Acousmatic, radio show, Scordatura: Composer Talk, hosts Hsin-Jung Tsai and Chris Becker play and discuss a variety of 20th and 21st century works. It’s a casual, informal, yet serious evening of music and talk. The May 31 program featured Hasu Patel’s Sitar Concerto, and music for mixed media installations, including works by New York-based composer Mary Edwards (For the Time Being and "In the Warm Space"), Nico Muhly and David Sylvian (Approaching Silence).

Composer Talk streams live on the web at www.ktru.org 5 to 7 PM CT. Tune in and find out why talking about music is like dancing about architecture.



A Tribute to Joe Raposo
Mary Edwards commemorates the late Joe Raposo with her cover of "Everybody Sleeps." Raposo was the prolific composer of nearly every classic '70s and '80s Sesame Street and Electric Company song along with a host of other memorable television themes like Three's Company, film soundtracks, station I.D.s and Sinatra tunes. This tribute album (including The Autumn Defense, Orwell and A Girl Called Eddy) is produced by Jonathan Donaldson and is scheduled to release this year. Read more at For Children and Adults Alike: A Tribute to Joe Raposo and Joe Raposo Tribute.





Gospel Number Eight: Tributary
Mary Edwards' sound composition, "Gospel Number Eight: Tributary" was installed in the hopes springing high exhibition in NYC as part of the SPRING/BREAK Show during Armory Arts Week, March 6-12, 2018, 4 Times Square (entrance at 140 West 43rd Street). The exhibition was curated by Dan Halm and also included the work of Nona Faustine Simmons, Delano Dunn and Anders Jones. The featured artists defiantly face and confront their own American history while shedding light on their ancestor's struggles by using personal narratives and historically researched significances. "Gospel Number Eight: Tributary" is a meditative reimagining of Edwards' ancestors’ relationship and reconciliation with the Atlantic Ocean—the body of water through which they were harrowingly ushered into The Middle Passage—a time of in-betweenness for those being traded from Africa to The Americas—until their settlement at the Savannah River.

Read More:
Review: Creativity Expansion: Don't Miss These Exhibits at the Spring/Break Art Show





No Man Must Speak But in Whispers
The Provincetown Museum
Grimshaw-Gudewicz Gallery
2014 /

Mary Edwards' Ambient sound installation inspired by the tale of Moby Dick from the perspective of The Whale installed Spring through Summer, 2014.



The Wa(l)king Pattern
The Sweet Curve

Grimshaw-Gudewicz Gallery
2020

Two sound installations as part of the exhibition, Remembrance Memorial Monument, at the Grimshaw-Gudewicz Art Gallery (MA), on January 23-February 20, 2020. Each takes a poetic approach to both the natural and built environments, marking progression in an ecological and social context. They comprise a movement-based score exploring the rhythms, tones and spatial inflections of the course of Holland Road in Register, Georgia, in perpetuity to her mother, Jewel Edwards, and her resolute 4am daily walk that would take her part of the way to school as she navigated the natural world—and the Jim Crow laws—in the 1940s segregated American South; and an immersive, sonic depiction of the transformation of Eero Saaranen’s Futurist TWA Terminal 5 at JFK Airport, from an active point of departures and arrivals, reflecting the ‘60s post-Jet Age optimism and integration, to the present-day landmark that serves as an actual destination.





When The Ocean Meets the Sky
Beatnik Gallery/Joshua Tree Cultural Preservation Center
Joshua Tree National Park, CA
2019

Sound Installation As part of the REFUGE exhibition, Mary Edwards' spatial sound work, “When the Ocean Meets the Sky,” pays tribute to the astronauts and aquanauts from the 1960s to present, who've prepared for deep space explorations by venturing to the bottom of the sea. This installation invites the listener to engage in the reverie of the sonorous habitats of sea and space where immersive sonics range from expansive to infinitesimal.



per/severance
Grimshaw-Gudewicz Art Gallery
Fall River, Massachussetts
2013

The 2013-14 Season at The Grimshaw-Gudewicz Art Gallery in Fall River , MA opened with an exhibition featuring the debut of Mary Edwards' new work, per/severance, a 14-minute, two-channel ambient sound installation about the Quequechan River, evocative of many things, the memories that the water still carries, and the conversation it would have if someone were there to listen.

Read More:
Mary Edwards' per/severance at The Grimshaw-Gudewicz Gallery.

Review: Sound Installation Brings Quequechan River Indoors (The Fall River Herald News, Oct 2013)

Review: BCC Exhibition is Both Evocative, Soothing (The Bedford Standard-Times, 5 October 2013)





The Sweet Curve
per/severance
Epilogue for a Quinn Martin Production

Penubra
Gallery 114
Portland, OR
2014

The Sweet Curve—part of a sound trilogy where each composition reflects the conflict of desire and uncertainty that seems to simultaneously haunt intimate (if sometimes interim) spaces, each drawing on the relationship we have with temporality, where the anticipation of travel or movement often overshadows the destinantion — signifies the essence and impermanence of nature and architecture, evoking both absence and presence through sound. Mary Edwards practices what Juhani Pallasmaa calls "Sensuous Minimalism," where a certain neutrality, restraint and silence are an inherent quality of the discipline: "The significance of architecture is not in its material form, but in its capacity to reveal deeper layers of existence." The Sweet Curve—in addition to her sound compositions, per/severance and Epilogue for a Quinn Martin Production —will be installed as part of the Penumbra exhibition at Gallery 114 in Portland, Oregon, January 2 through February 5 2014.








Taproot
Gallery 114
Portland, OR
2013

I Could Live Forever (In a Day Like Today)—part of a sound trilogy where each composition reflects the conflict of desire and uncertainty that seems to simultaneously haunt intimate (if sometimes interim) spaces, each drawing on the relationship we have with temporality, where the anticipation of travel or movement often overshadows the destinantion — signifies the essence and impermanence of nature and architecture, evoking both absence and presence through sound. Mary Edwards practices what Juhani Pallasmaa calls "Sensuous Minimalism," where a certain neutrality, restraint and silence are an inherent quality of the discipline: "The significance of architecture is not in its material form, but in its capacity to reveal deeper layers of existence." I Could Live Forever (In a Day Like Today)—in addition to her sound compositions, Altamont and The Juice of Stone —will be installed as part of the Taproot exhibition at Gallery 114 in Portland, Oregon, January 2 through February 1 2013.





For The Time Being 1
Off Season Fairground
Arctic Cathedral Topographies (Aerial View)
Exit, Winter
Gallery 114
Portland, OR
2012

For the Time Being 1—part of a sound trilogy where each composition reflects the conflict of desire and uncertainty that seems to simultaneously haunt intimate (if sometimes interim) spaces, each drawing on the relationship we have with temporality, where the anticipation of travel or movement often overshadows the destinantion — signifies the essence and impermanence of nature and architecture, evoking both absence and presence through sound. Mary Edwards practices what Juhani Pallasmaa calls "Sensuous Minimalism," where a certain neutrality, restraint and silence are an inherent quality of the discipline: "The significance of architecture is not in its material form, but in its capacity to reveal deeper layers of existence." For The Time Being—in addition to her sound compositions, Off Season Fairground and Arctic Cathedral Topographies (Aerial View) —will be installed as part of the Exit, Winter exhibition at Gallery 114 in Portland, Oregon, January 5 through 28, 2012.






Eastern/Central & Mountain/Pacific
2012

"Mary Edwards' album shines with the quality and influence of a super-cool pop era: There's that cinematic touch of Francis Lai, that great Pacific Coast Highway vibe of Burt Bacharach, the poetic longing and lilt of the Carpenters and that hip urgency of a Lalo Schifrin TV theme for a Quinn Martin Production."
—Bobby Rivers

"The opening track, "Time and I" just sweeps you away to a luscious stoned soul picnic where echoes of The 5th Dimension and Swing Out Sister drown out all the noise of the surrounding madworld and set the tone for the rest of the addictive playlist..."
—Dougsploitation

With every one of her works being a cause for celebration, Mary Edwards gives us further reason to revel with the release of her opulent, yet earthy album, Eastern/Central & Mountain/Pacific.
—Popshifter


Available on Bandcamp






Console
2010

"In another era, Mary Edwards might have been a behind-the-scenes songwriter in the famous Brill Building, that renowned stable of musical artisans that included Goffin & King, Laura Nyro, and a host of others. Instead, in this era, we are lucky to have Mary Edwards in clear view. Her music is characterized by a smooth charm that draws upon soft-pop, jazz, and funk, framed with a soulful voice that is reminiscent of Dionne Warwick in her prime..."
—Popshifter





A Smile in the Mind
2007

"...evocative of epic 1960s cinematic soundtracks combined with the poetic intimacy of the 1970s singer-songwriter era..."
—Time Out NY

"...sensually nostalgic..."
—Corinne Drewery, Swing Out Sister



Available on Bandcamp

RECORDING
The Inn Licenses Music for Season 1
The Inn, an XFiles-esqe, supernatural soap with a twist of Alfred Hitchcock (produced by Steve Silverman who brought us PRETTY, the award-winning mockumentary that spoofs kiddie beauty pageants (Toddlers & Tiaras, Little Miss Perfect), produced by Velvet Candy Entertainment, will feature songs by Mary Edwards.


The Women at the Well: Palimpsest
Original theatrical score written by Mary Edwards for the stage adaptation of Grace Bauer's The Women at the Well, directed by Sharon Rae Paquette, set design by Liz Buckley.



Strange Relations
Mary Edwards is currently composing score for Velvet Candy Entertainment's "darkly imaginative" and "hilariously tragic" comedy thriller film treatment, set between the 1960s- and present-day California.




Pretty: The Series Theme
("Gumdrop The Unicorn)
.
Velvet Candy's award-winning mockumentary that spoofs kiddie beauty pageants (Toddlers & Tiaras, Little Miss Perfect) and soap operas featured the show's farcical theme song covered by a different artist per episode. For Mary Edwards' Season 2 version, she takes her cue from Charles Fox's "Love, American Style"; for her Season 3 version, she gives it an instrumental 1980s DALLAS treatment.


© 2020 MARY EDWARDS. ALL RIGHTS RESERVED