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Marcia has been nominated for Best New Age | Ambient | Soundscape Recording for the 19th Annual Native American Music Awards which will be held in Niagara Falls, NY on November 2nd, 2019. Congratulations Marcia!  The broadcasters have spoken, the votes have been tabulated and now ZoneMusicReport is pleased to announce the winners of the 2018 ZMR Music Awards presented Live in New Orleans on May 18th, 2019. Marcia Watson Bendo wins "Best New Artist" for Woodland Moons.  The ZMR Awards has nominated Marcia Watson Bendo and "Woodland Moons" for Best New Artist. The Award ceremony and concert will be held on May 18th at the House of Blues in New Orleans, Louisiana. More info on the event.    Marcia’s album “Woodland Moons” has been nominated for “Best Neo Classical Album” and “Album Of The Year” by the One World Music Awards. The winners will be announced at the 6th Annual OWMR Awards Show, 9th June 2019. For a list of all the nominees, click here    Woodland Moons Marcia Watson Bendo Heartnotes Music Throughout my 20+ years of reviewing music, now and then a debut recording comes along that blows my socks off! Woodland Moons from Marcia Watson Bendo (Native flutes, keyboards, and orchestrations) is one of those rare "Are you kidding me?" albums. Woodland Moons blends sonorous Native flute melodies with lush orchestrations and features influences from both the classical and new age genres, as well as, obviously Native fusion music. Percussionist Rafael Pereira contributes on nine of the twelve tracks and the acclaimed Trammell Starks handled mixing and mastering. Watson Bendo's flute playing is magical, but it's the depth and breadth of her compositions and her spot-on perfect orchestrations that elevates Woodland Moons to its heights of beauty and artistry. Review by Bill Binkelman
Link to Review  Marcia is #2 on the Zone Music Reporter Top 100 Airplay Chart for the month of October 2018. You may download the chart here.
If you haven't picked up your copy of "Woodland Moons", now is the time to do so at the Official MWB Store.  Marcia's debut album, "Woodland Moons" is #1 on the One World Music Radio Chart for the month of November. You may download the chart here. Click on the attachments below. Review by Steve Sheppard c/o OneWorldMusic.com. There are times when you think you have heard all that there is to hear and then an album of such clarity and beauty hits you straight in the face and demands to be listened to and adored on high, that statement rings true for this new offering by Marcia Watson Bendo, entitled Woodland Moons. This music journey of splendour starts with the track Fallen Leaves Moon, the sullen and moody composition falls around us like a day in late October, the flute is perfection indeed, but the symphonic backdrop is simply sublime at setting this vast cinematic offering squarely on stage for us all to admire. It is no wonder to me that fans of contemporary instrumental music are falling in love with this release, it has everything, and on this next piece calledPlanting Moon we hear even more, we hear the energy build, we feel a sense of excitement through the music, the combination of an uplifting flute, a wonderfully enchanting piano and a sumptuous array of fine orchestrations. The moon is always a subject of mystery and imagination and throughout my life I have looked up and have been entranced by her beauty. On Strawberry Moon the inclusion of percussion can be found, this comes courtesy of the only other musician on the album in Rafael Pereira, mix this with some startlingly significant piano and the constant narration of the flute, and once more you have a total winner of a track. It must be said I am struggling to believe that this is a debut album, something of such quality you may find in someone’s collection at about the three album mark, but it’s true, and if you keep an open ear to this next piece calledMidsummer Moon you will see why. Midsummer nights are indeed magical and the artist has created that energy right here in this piece that is so redolent of the subject matter, why I could even see Puck himself playing his pipes in the bow of a tree, while I gaze upwards at the midsummer moon and as I do, I repeat the words of Shakespeare “My soul is in the sky.” Musically this even touches the hem of the classical genre and one of the finest performances off the entire album can be found right here! We are approaching the mid-way marker on our musical voyage of great beauty and as we do so we arrive at a graphic opportunity superbly seized by the artist called Forest Moon. There is a lightness of spirit about this offering that is very appealing, it could easily follow our midsummer night in the woodlands of mystery and magic. Some delicate natural sounds give us the backdrop of a Forest in the light of a new day, and the style and essence almost manifest a first light moment of musical brilliance by the musician on the flute. Yellow Leaves Moon is our arrival at the fulcrum of the release, once more Watson Bendo conjures up a magical energy, one that sparkles through and into her performance, but then this tranquil fluency drifts over us completely so that we may enjoy this breath taking reverie via the flute and the lush orchestrations completely. Being one who has studied animal totems for many years, I adored this next piece called Big Bear Moon. Watson Bendo has it down to a tee here. The slow and almost bizarrely delicate energies of the Bear are captured here, in a delightfully fun performance; the chimes and orchestrations just add weight to an already clever arrangement. One of the most charming offerings on this album comes at this juncture and called Snow Moon. The symbiotic connection between flute and piano are melded here with perfection, a little reflective energy and an imploring performance by the artist go to make this a stunningly pretty, but also remarkably pristine composition, and here one can truly enjoy the attention to detail and the essence of the subject matter with ease. As we edge ever deeper into this dimension created by Marcia Watson Bendo, we come across a delicate arrangement called Crane Moon. The piano here manifests the open musical threshold for us to crossover and into, the master narrator weaves tones from her flute in a wizardly fashion, one can see the Crane very carefully walk with such softness and exactness, it is exciting to listen to and be enthralled by this offering. A tip of the hat goes to Rafael Pereira for those timely crescendos. Our journey has been long, and as we near a bend in the road we see the sign for the longest offering on the release, this one is called Maple Sugar Moon. There is a real rich tapestry of musical craft within this piece, one that almost glistens with expectation. The tempo is slow and full and one must say to this point that the piano here and added sounds, all go to manifesting a whole new layer of brilliance already created by the flute. The penultimate piece off the release is fun and quite charming, Little Bear Moon, at just less than five minutes long it is the shortest track off the album, but that hardly matters as you will find another masterful performance and another one that has a really lively sense of fun within its light-hearted construction. It is amazing to think that we are now about to open the last doorway to the album and it is a piece rather charmingly called Berry Moon. This is the perfect end of release piece as well, it has a slight elevation in tempo, it has a fluent and crisp melody, one that will raise the energy of the listener enabling them to leave the album fully refreshed, entertained and having enjoyed every second of what is a superb compilation of beautifully crafted arrangements. Woodland Moons the debut album, yes I did just say that, has to one of the best released so far this year long. The production quality, the splendid orchestrations take us into an almost David Arkenstone styled realm, and through the tremendous performances from Watson Bendo, the listener will feel like they have journeyed far and wide to wonderful musical vistas, and would not hesitate to do so again. Woodland Moons is one of those albums you just cannot fault and as such I can see this going on to being a real listener favourite and a huge chart hit.
 Review by RJ Lannan. Reposted by permission. Original Source Moon Light like you’ve never heard it.  I thought I would get simple songs. Native American flute is a quiet, personal instrument. What I did not expect from MarciaWatson Bendo’s new release Woodland Moons is a Magnifcat of mellifluous music. This album features a surprising balance among muted orchestral instruments and Marcia’s humblewooden flute and her vibrant piano. And the title. Woodland Moons. We know the blue moon and the harvest moon and of course we have the super moon. From Marcia’s music we learn ofthe moons of the Woodland people. Every one of her track titles is a name for a full moon. Let’s explore and learn. Fallen Leaves Moon has a classical, Baroque structure as do many of the tracks, but the contemporary feel is lurking in the background. The tune gives me the sense of being in a forestcathedral in which Marcia’s flute is a pipe organ. The sound reaches for the heavens, but the tunereaches for the heart. Both succeed. The vivid leaves cascade from towering trees to form a carpet on the forest floor. As in the melody, there is movement and color. The moon is high and the berries are ripe for picking. According to Algonquin traditions the arrival of the Strawberry Moon in June is the time for celebrating Earth’s first bounty. Marcia’spiano and flute tune with multiple harmonies is quietly beautiful. The tune is a little sad, but in a charming way. Midsummer Moon has pronounced classical roots and echoing flute throughout. The feel is modern day symphonic, yet the subject is as old as man’s awareness of the seasons. The balanceof orchestra and flute is delicate, but divine. The song has a little piano interlude that is clear, refined, and wholly unexpected. The tune itself is like finding a symphony orchestra in the middle of some vast forest playing for the wildlife that lives within. It reminded me of Debussy’sSyrinx for its ethereal qualities. In February, when the snow covers the earth like a clean, silvery blanket we have the Snow Moon. Marcia’s tune is clear and crystalline. It is the miraculous music that forms as a delicate crust on all things overnight. The next day the sun rises in a rich, blue sky and the day is one of sparkling jewels. That and more is in Marcia’s delicately introspective song. Crane Moon, or the Choctaw’s Hask Watallak, is a March moon. It is a spring moon, a warmingmoon. You can hear the crane’s lonely call in the opening notes of Bendo’s song Crane Moon. And like the spring, the melody goes from cold, cloudless skies, to warmer days. It is easy to forget that this is not classical music, maybe something featuring Jean-Pierre Rampal perhaps. I think it is the phrasing, the juxtaposition of theme and orchestration. Once again, I stand in the cathedral of the earth, an aural witness to nascent beauty. The Winnebago call the November moon Little Bear Moon. Bendo’s tune is light andwhimsical, a caprice that sounds like a calliope. Perhaps this bear is a dancing bear, but you cannot deny the lightheartedness in the tune. The impressions of classical music came at an early age for multi-instrumentalist Marcia Watson Bendo. The vibrations of strings and the air movement of woodwinds caught her attention and she decided that music would be an important part of her life. That and maybe being a scientist. At age seven it was 88 keys, and through the years, violin, the clarinet, and the Native American flute. Recently she learned to play the harp. It is that never ending curiosity and desire to learn that has inspired her continued pursuit of a long career in the music industry. Woodland Moons, with its classical roots and natural, earthy elements is one of the finest flute albums I have heard of late. Sergei Prokofiev would have been proud to know Marcia Watson Bendo. Her music, contemporary and ethnic, would be easily transformed into sonatas for any age. Highly recommended.
New Age-World Instrumental Debut Album! Marcia Watson Bendo - “Woodland Moons’’
Marcia Watson Bendo is a multi-talented artist that is accomplished in many disciplines including the violin and a large selection of Native American Flutes. Picking up a woodwind changed her life and her music. Woodland Moons is her tribute to that instrument. In her own words, the artist explains what her music stands for…. “I strive to artistically create music that resonates with people by expressing an emotion, an image, a story, or reviving a memory.”
This Wonderful Native flute premier debut album “Woodland Moons” truly sets Marcia’s delightful playing apart from all the others, the plethora of instruments she plays on this marvellous release…is just something very special - the perfect introduction to a new talent you’ll be hearing much more from in the future…
Take a musical journey into the heart of the night on “Woodland Moons”, Let Marcia’s lilting flute melodies, enhanced with piano, superb orchestrations, and gentle rhythms, whisk you away, dissolving your cares from the day's stress. Featuring flawless mixing and mastering by the renowned Trammell Starks. Marcia’s music gives the listener a sense of “connection” that many other players just can’t realize, no matter how much musical education or experience they may have, and the songs she has created here are as rich in diversity as possible… one of the best examples of that broad range is the “heavy” sounds you might expect with a tune titled “Big Bear Moon“… it’s not hard (at all) to imagine woodland encounters with a lumbering, furry creature… and yet, there’s a gentleness about the piece that makes it very attractive for the long term… this one will be getting a lot of replays – I wouldn’t be at all surprised to find this composition being nominated for and winning an award. Of the 12 aural adventures Marcia offers up, her mastery at “weaving” various instruments into a full-blown orchestral experience makes her stand apart most enchantingly and this musical maestro has delivered a very delightful debut album indeed, you’ll want to hear this album…more & more. 
The impressions of classical music came at an early age for multi-instrumentalist Marcia Watson Bendo. The vibrations of strings and the air movement of woodwinds caught her attention and she decided that music would be an important part of her life. That and maybe being a scientist. At age seven it was 88 keys, and through the years, violin, the clarinet, and the Native American flute. Recently she learned to play the harp. It is that never ending curiosity and desire to learn that has inspired her continued pursuit of a long career in the music industry.
Marcia’s formative years were spent playing the violin, during which she performed with the Tulsa Philharmonic Orchestra, The Tulsa Opera, and The Tulsa Ballet strengthening her classical roots. She went on to perform with notables such as Sammy Davis Jr., Doc Severinsen, and Ella Fitzgerald and with conductors Skitch Henderson and Arthur Fiedler. She continued her career as a free-lance violinist playing with Tom Jones, Don Williams, and she appeared in an Osmond Productions concert on HBO television. 
Bendo picked up the Native American flute in 2011 and her career changed. She began composing for the flute and piano, honed her recording skills, and composed an album called Woodland Moons that featured flutes accompanied by light orchestral elements.
Marcia lives each day to focus on her music. Her joy in the journey, She gauges her success not on celebrity, but in the potential exchange with her listeners. It is the little things that she appreciates; learning new material and breathing life into her music. Her current music embraces several genres such as classical, traditional folk and World genres with unique instrumental textures not typically heard in Native American Flute recordings. What gives her the most pleasure is connecting with her listeners on many levels, both musically and spiritually. She has many goals for her music, but on a personal level, she believes it’s important to be informed about evolving issues affecting the music industry, artists, and creators. She hopes that the technology which allows people to create, record, share, and collaborate with others worldwide will retain the human element in its evolution. 
Marcia Watson Bendo has delivered a gem of a debut album, it culminates a career in music perfecting her craft with some of the biggest names in the music industry…now showcasing her many unique talents with the world.
We really hope that Marcia continues this journey…the world now has a new, very bright musical star! PhaseGlobalRadio.com proudly presents Marcia Watson Bendo and her debut album Woodland Moons, it’s now available via the links below.
New Review by Phase Global Radio. Re-posted. Archive is here.
 Marcia has been awarded 2 “Silver Medals” by the Global Music Awards ("Debut Album" and "New Age | Native American Album"). These awards were judged by a panel of twelve people. For more info visit: GlobalMusicAwards.com  Review by BT Fasmer. Direct link to Review. Reposted courtesy of NewAgeMusic Guide. Take a musical journey into the heart of the night on “Woodland Moons”, the premier album from Native flutist/multi-instrumentalist Marcia Watson Bendo. The title, “Woodland Moons” was inspired by the lunar cycle and full moon names of the indigenous Northeastern Woodlands people of North America. The full moon names vary across geographic areas and symbolize a seasonal event or activity during that moon cycle. About the artist The impressions of classical music came at an early age for multi-instrumentalist Marcia Watson Bendo. The vibrations of strings and the air movement of woodwinds caught her attention and she decided that music would be an important part of her life. That and maybe being a scientist. At age seven it was 88 keys, and through the years, violin, the clarinet, and the Native American flute. Recently she learned to play the harp. It is that never ending curiosity and desire to learn that has inspired her continued pursuit of a long career in the music industry. Marcia’s formative years were spent playing the violin, during which she performed with the Tulsa Philharmonic Orchestra, The Tulsa Opera, and The Tulsa Ballet strengthening her classical roots. She went on to perform with notables such as Sammy Davis Jr., Doc Severinsen, and Ella Fitzgerald and with conductors Skitch Henderson and Arthur Fiedler. She continued her career as a free-lance violinist playing with Tom Jones, Don Williams, and she appeared in an Osmond Productions concert on HBO television. During this time, her professional career followed a tangent in psychology and law. She earned degrees in law and a Ph.D. in psychology. It is a certainty that her experiences influenced her future vocation, i.e. communicating with people with her music on an emotional level.  Bendo picked up the Native American flute in 2011 and her career changed. She began composing for the flute and piano, honed her recording skills, and composed an album called Woodland Moons that featured flutes accompanied by light orchestral elements. Currently retired and living in Plano, Texas with her husband, Marcia lives each day to focus on her music. Her joy is in the journey. She gages her success not on celebrity, but in the potential exchange with her listeners. It is the little things that she appreciates; learning new material and breathing life into her music. Her current music embraces several genres such as classical, traditional folk and World genres with unique instrumental textures not typically heard in Native American Flute recordings. What gives her the most pleasure is connecting with her listeners on many levels, both musically and spiritually. She has many goals for her music, but on a personal level, she believes it’s important to be informed about evolving issues affecting the music industry, artists, and creators. She hopes that the technology which allows people to create, record, share, and collaborate with others worldwide will retain the human element in its evolution.
Of her music Marcia Watson Bendo says, “I strive to artistically create music that resonates with people by expressing an emotion, an image, a story, or reviving a memory. I enjoy exploring the melodic nuances and musical diversity of the native flutes with tenderness, poignancy, energy, and whimsy. It’s my hope that listeners will experience the qualities I love to convey with all the instruments and connect emotionally with my music.”  Review by Dick Metcalf / Editor c/o Contemporary Fusion Reviews. Direct Link to Review Reposted courtesy of Dick Metcalf Marvelous Native flute premier album Marcia Watson Bendo – Woodland MoonsMarvelous Native flute premier album Marcia Watson Bendo – WOODLAND MOONS: What truly sets Marcia’s wonderful playing apart from all the others is the plethora of instruments she plays on her marvelous debut release… the highly engaging visuals in her trailer video are the perfect introduction to a new talent you’ll be hearing much more from in the future… …though you won’t find a lot of videos on her channel, be sure to subscribe on YouTube – because I anticipate seeing a lot more of her enchanting songs posted there soon! The promo sheet says that her “joy is in the journey“, and as you listen to the unique percussion and lush strings she has woven into the 6:08 “Forest Moon“, you’ll easily feel the elation she projects through her sensitive playing… she also plays piano on the album (she’s a “true” multi-instrumentalist), and the percussion provided by Rafael Pereira makes the magic come alive (particularly during the intro to the song). Though simple in structure, this is one of the lushest compositions I’ve listened to (yet) in 2018. Marcia’s music gives the listener a sense of “connection” that many other players just can’t realize, no matter how much musical education or experience they may have, and the songs she has created here are as rich in diversity as possible… one of the best examples of that broad range is the “heavy” sounds you might expect with a tune titled “Big Bear Moon“… it’s not hard (at all) to imagine woodland encounters with a lumbering, furry creature… and yet, there’s a gentleness about the piece that makes it very attractive for the long term… this one will be getting a lot of replays – I wouldn’t be at all surprised to find this composition being nominated for (and WINNING) an award! Of the dozen aural adventures Marcia offers up, it is (without a doubt) the intricacy and “down-home” feeling realized on “Maple Sugar Moon” that made it my personal favorite… once again, her mastery at “weaving” various instruments into a full-blown orchestral experience makes her stand apart most enchantingly.
I give Marcia a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.99 for this sonic textural wonder! Get more information on Marcia’s website.  By Keith “MuzikMan” Hannaleck - August 13, 2018 Reposted by Permission. Direct Link to Review I love it when I am able to read about an artist and all their amazing accomplishments. It gets everything into proper perspective before listening. Then writing about what I heard becomes more meaningful.
Marcia Watson Bendo is a multi-talented artist that is accomplished in many disciplines including the violin and a large selection of Native American Flutes. Picking up a woodwind changed her life and her music. Woodland Moons is her tribute to that instrument. In her own words, the artist explains what her music stands for…. “I strive to artistically create music that resonates with people by expressing an emotion, an image, a story, or reviving a memory.” From where I sit, that wraps it all up in a nice package and puts a bow on it. This type of music has a magical and mystical essence that cannot be compared to any other genre that is within my realm. I know there is a lot to choose from in the globally connected world we live in, so the choices are made by personal tastes and or a drive for exploration. Back when I was a young teenager I would buy albums out of curiosity. I have not lost that part of my decision-making process I just refined it over the years a bit. In any instance, I would not hesitate to listen to music like what Woodland Moons has to offer. The feeling of discovering something new and stimulating consumed me with this album. “Berry Moon” for instance, takes the flute and builds all the other instruments around it. The flute playing still stands out however the other music just enhances the entire track. The instrumentations and orchestrations are beautifully done and arranged. This track, in particular, illustrates the pliability of one instrument wrapping itself around everything else to create a bigger sound that reaches the listener. As I always say, it comes across differently for each individual yet it remains universal with no borders. That is the beauty and perfection of music and the one element that will never change. I am very grateful for that. Even though each song is about a different moon, it most certainly works because of the thought process the artist goes through. We do have many moons that we see in our sky, however, looking at the varying degrees presented here gives it an entirely new flavor. This interpretation is related to nature and our precious mother earth and all it has to offer us. Also, this may serve as a reminder of how we need to take care of our planet and appreciate how it sustains all life. Woodland Moons is twelve tracks of musical bliss that will serve every listener well. I highly recommend it for relaxing, meditation and for getting a spiritual connection. You can get a greater respect for your inner voice and purpose. If you listen enough, you will honor that inner voice and thank the music for bringing you to that realization. MARCIA WATSON BENDO, Woodland Moons - Jonathan WidranDiscovering an exciting new Native American flute artist like Marcia Watson Bendo reminds me just how long I’ve had a passion for her chosen genre. In the 90’s, when I was first getting into and writing about new age and world music, I loved the dual albums by pianist Peter Kater and flutist R. Carlos Nakai, and remember being enthralled by a performance by another great of the time, Douglas Spotted Eagle, at the Catalina Island JazzTrax Festival. In recent years, I have been a fan of artists like Ann Licater, and have used the beautiful sounds I hear on Pandora’s Indian Flute Radio for relaxation for me and a beloved pet. One can enjoy that station for hours, but the general vibe is a flute, a bit of percussion and perhaps one other instrument, in simple sparse arrangements. Beyond the inspiring beauty of the 12 deeply heartfelt compositions on her soul stirring debut album Woodland Moons, perhaps the most remarkable aspect of Marcia’s epic work is that she has created a true Native flute symphony, complete with vibrant, sweeping string orchestrations and a (delightfully!) dizzying array of sonic textures, including harp, celesta, piano, vibraphone and cello.  It’s incredible to note that she generates all these sounds herself, backed only by Brazilian-born percussionist Rafael Pereira, who adds Marcia to a multi-genre resume that includes Janelle Monae, India.Arie, Shawn Mullins and Sonny Emory. The recording was mixed and mastered by Trammell Starks, a renowned arranger, orchestrator and new age artist in his own right, who brought extra magic and sparkle to Marcia's vision. Marcia’s orchestral talents are rooted in her background studying classical music and playing violin with the Tulsa Philharmonic, the Tulsa Opera, the Tulsa ballet and legends like Sammy Davis, Jr., Doc Severinsen, Ella Fitzgerald and conductors Skitch Henderson and Arthur Fielder. For fans of Native American flute, Marcia’s emotionally transporting journey of musical discovery can be enjoyed as a multi-faceted rhythmic and sonic experience like no other. Yet to fully understand her passion for this project and appreciate her mastery as a storyteller, a little background is essential. The music on Woodland Moons was inspired by the 12 full moon names (one for each month) of the North American Woodland indigenous people, the Anishinabe. One of their tribes, the Potawatomi, historically inhabited regions of North America, from the Upper Great Lakes to Marcia’s native Oklahoma. She has been an enrolled member of the Citizen Potawatomi Nation (CPN) since she was a child; her great grandmother and her family were settled on allotments in Indian Territory in Oklahoma. Though she wasn’t raised in the culture or traditions, as an adult she developed a strong interest in them. Over the past 12 years, Marcia has participated in their cultural events (festivals, workshops, lessons), and she’s played the flute (which, incredibly, she first picked up in 2011) for the past seven years at the Potawatomi Cultural Heritage Center during the annual CPN festival. She was inspired to create Woodland Moons after participating in several full moon ceremonies and learning about the significance of each full moon. With melodic grace (fashioned on flute and piano), sweet sensitivity, easy flowing rhythmic energy and strings that function equally as caressing harmony and lead voice of its own, Marcia fashions an impressionistic soundscape based on how each moon determines the tribe’s activities at different times of the year. The mood of the music and the journey it takes us on reflects the story being shared. For instance, the gently somber dreaminess of the opening track “Fallen Leaves Moon” reflects the shorter days of the approaching winter. Conveying a completely opposite feeling months later (though it is placed as track 2), “Planting Moon” is bright, playful and whimsical, full of bustling activity to convey the busy planting of corn, beans, squash and “sacred” tobacco.  Also of symbolic good cheer is “Strawberry Moon,” whose elegant flute and piano and swelling strings express the gathering of the “heart berries” gathered in early summer. The mystical and soulful, harp and chimes-laced ballad “Forest Moon” prepares our bodies and hearts for fall, its slow waltzy vibe enhanced by the scampering footsteps of the creatures therein.
You get the idea driving every fascinating moment. Each mood, each melody, each sonic detail and motif takes us to a different moment on the Potawatomi calendar, from the “Yellow Leaves Moon” of autumn to the “Snow Moon” in the dead of winter when everyone stayed inside and the elders told stories. Complementing the direct references to months and seasons are two bear related pieces, the adventurous, mystery-building (via a bassoon sound!) “Big Bear Moon,” where they’re seeking hibernation, and “Little Bear Moon,” a charming piece of childlike innocence conveying the birth of young cubs and the wonder they must experience during these months. Marcia Bendo Watson is a fresh, wondrous presence on the new age/neo-classical/Native flute scene – and I predict that works like Woodland Moons will lead her at some point to share this music in a grand, multi-media setting featuring full orchestra, photos and videos and interpretive dancing. |
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