Cabin Fever Orchestra is Graeme Cornies‘ passion project where the lifelong television composer is reversing the usual process; instead of writing music for pictures, he is creating visual art posted to Instagram, Twitter and YouTube depicting the feelings and mental states of his music.

“Worn” is the first in a series of collaborations between Cornies and the Czech National Symphony Orchestra (CNSO) to be released this year. “For me, this piece is about feeling worn, but not worn out,” Cornies explains. “It’s about feeling the wear and tear of age and experience, but also the feeling that you have so much left to contribute because of it.” Written and performed by Cornies (piano) at the end of last summer, CNSO performed their parts in Prague on Halloween of 2023.

Cabin Fever Orchestra explores the forefront of AI and human collaboration with generative art, with Cornies expanding on orchestration ideas he found while working on other visual media, and has served to expand his network of talented instrumental collaborators. Along with his writing partners, Cornies has become one of the world’s most heard composers. The last five years have brought multiple awards from SOCAN and BMI, the Emmy Awards and the Canadian Screen Awards.

• What can you share with readers about your new project?

A: This year I’ll be releasing a number of tracks featuring the Czech National Symphony Orchestra. Each piece has a unique feel, though I think there is a stylistic thread of continuity there too. For these recordings I had the opportunity to write specifically for the exact configuration of instruments that I would have on record day, verses writing an orchestral composition and then adapting the idea to the realities of the recording session. My plan is to record another eight minutes of material with the CNSO this year, building on the lessons learned with these releases. Always learning. 

• How does this release compare with your other projects you had in the
• past?

A: My first record featured a lot of live instrumentalists, but those soundscapes were built by multitracking very skilled individual performers. In the recordings that followed, I had the chance to explore my compositions with some of my favourite instrumentalists from the first record. I would often define the melody and harmony in the first section of the piece with simple piano and strings, allowing my collaborators to define their own sections after that, following their own arrangement instincts, using the harmonic and melodic material from my initial sketch. I would then write and record additional material in response to their additions before mixing and mastering. The CNSO recordings, however, showcase my compositional voice, as expressed through all of the other live players, recorded all at the same time. I feel like this approach really added additional depth and expression to the material. 

• What about this single makes you most proud?

A: When I was in school for music I had already been a songwriter for about a decade, but I was generally mystified by the experience of writing for orchestra – where to even begin and so on. University helped me with that from a theoretical perspective and writing music for television eventually made it commonplace for me to explore my own musical voice with an orchestral instrumentation palette. I think the thing that makes me most proud is that I actualized my hope from those University days – to one day write music for myself and record it with a live orchestra. Now that I’ve had a couple of chances at this, I feel like I’m gaining useful experience, and developing foresight that will improve the music I make in the future. Gaining ground in that way is exciting for me. 

• Was there a specific goal you were trying to accomplish with this release?

A: I was aiming to express a feeling I’ve often had – the feeling of being spent physically, but satisfied mentally / emotionally, knowing that my strenuous effort went toward something worthy or meaningful. It also became a reflection on age for me – the idea that we become more and more worn as the years pass, but also that we have more and more to contribute when we have a wealth of experience in the rearview. 

• What inspires you to create music? What motivates you to keep going?

A: One of the most beautiful things about music is that there is no end to it. You can study it for a lifetime and there will still be more to know. The idea that there is always more sonic territory out there waiting to be discovered is a big incentive for me and there’s a sense of adventure to it. Writing music also has the power to pause my inner dialogue. I have moments where I’m thinking intuitively and non-linguistically. There’s a sense of peace that comes with the space it makes in me, so there’s always a reason to return to it. 

* If you could collaborate with anyone – dead or alive, famous or unknown – who would it be and why? If it’s an indie/DIY artist, please include a link so readers can check them out.

A: I recently saw Sigur Rós live at Roy Thompson Hall accompanied by the TSO. It made me wonder what we’d make together given the opportunity. Sigur Rós (and Jónsi’s personal music) has spoken to me for almost two decades now. (https://www.youtube.com/watch?v=tpBYIWJoqOE)

I had a similar craving to collaborate when I went to see Alexandra Stréliski, the Canadian pianist and composer. Her music is so wonderfully tasteful, and has the sort of understated beauty I strive for. (https://www.youtube.com/watch?v=01f_JB2pFP4)

• What was the last song you listened to? Favorite all-time bands/artists?

A: I just rewatched the live performance video of Noga Erez’s “Views” (feat. Rousso). I’m late to the party, but wow, it’s such a neat blend of so many musical elements. (https://www.youtube.com/watch?v=VzE0XV4AMiA)

I think I’m mainly attracted to artists that have the courage and ability to be uniquely themselves – artists that can’t be well imitated. Who does Bjork better than Bjork? No one. Who could be Peter Gabriel, except Peter Gabriel? I think the same can be said of lifelong composers like Maurice Jarre, Bernard Herrmann, Thomas Newman, Alan Silverstri and the like. Each of them have a unique orchestral voice, crafted over a decades of refinement. It makes for delicious music. 

• Where is the best place to find you and stay connected?

A: Instagram is my preferred place to showcase my work at the moment.

• I really appreciate your time. Is there anything you’d like to share before we sign off?

A: I just want to say thanks for taking an interest! It’s sincerely appreciated.