Inglis composes choral, orchestral, and chamber music.
Born in Berkeley, California, Adrienne Inglis learned to play the flute and piano as a child. She received a Bachelor of Music degree in flute performance from Lewis and Clark College (1982) and a Master of Music degree from the University of Texas at Austin (1986). In 1992 she graduated with a Bachelor of Science degree in chemical engineering from UT Austin. A married mother of two, she resides in Lago Vista, Texas, freelances, and serves as flute instructor at Southwestern University and principal flute of the Round Rock Symphony. She performs, records, and tours with flutes&harp ensemble, Chaski. Inglis composes mainly chamber and choral music. Adrienne Inglis is a member of the American Composers Forum and A.S.C.A.P., the American Society of Composers, Authors, and Publishers.
Pájaros for solo flute and strings (2017) captures the springtime songs of many Texas Hill Country birds, including the beloved Golden-cheeked Warbler, and sets them to flirtatious Latin rhythms, duration about 6:00.
Balcones Community Orchestra with director Robert Radmer and flute soloist Adrienne Inglis present the world premiére performance September 17, 2017 at Lakeway Activity Center, Lakeway, Texas.
Pájaros will also be performed at the Inversion Ensemble concerts September 30, 2017 in Austin, Texas and October 1, 2017 in Pflugerville, Texas.
Letters to Faith (2017) SSAATTBB a capella, a four-movement setting of excerpts from letters written by the composer's grandparents to her aunt Faith, duration 7:30
Inversion Ensemble (world première) June 3, 2017, Austin, Texas
On the Mystery of the Incarnation (2014) SATB chorus and string orchestra, a setting of Denise Levertov's poem of the same name from A Door in the Hive (1989) duration 3:21
Westminster Presbyterian Church Sanctuary Choir (world première) December 6, 2015, , Austin, Texas
Inversion Ensemble February 25, 2017, Austin, Texas
A Noiseless Patient Spider (2014) flute, voice, and harp, a setting of Walt Whitman's poem of the same name from Leaves of Grass (1900) duration 2:30
Also arranged for flute and harp
Flood Relief Benefit Concert at Westminster Presbyterian Church, Austin, Texas (world première) 18 Jun 2015
Marta Stafford Fine Arts Gallery, Marble Falls, Texas 8 Jul 2016
House concert, San Rafael, California 22 Jul 2016
Family concert at Oakland Public Library, Oakland, California 23 Jul 2016
House concert, El Cerrito, California 23 Jul 2016
Family concert at Livermore Public Library, Livermore, California 24 Jul 2016
Chaski November 8, 2016, Twilight Concerts, Lago Vista, Texas
Westminster Presbyterian Church, Concert for the Earth, Austin, Texas 26 Jan 2017
In Heaven and on Earth (2014) SATB chorus with flute and clàrsach (lever harp) or harp, a setting of Philippians 2:5-11 NRSV, duration 5:00 (http://youtu.be/9N4U_TY1N7g) (http://soundcloud.com/adrienne-inglis/20170225inversionensembleconcert-inglisadrienne-inheavenandonearth)
Chaski and Westminster Presbyterian Church Choir (world première) Austin, Texas 28 Sep 2014
Inversion Ensemble February 25, 2017, Austin, Texas
Crying Out in the Wilderness (2008), SATB chorus with harp, a setting of Luke 3:2b-6 NRSV, duration 2:50 (http://youtu.be/ZcOKGpfJWS0)
Westminster Presbyterian Church (world première) December 6, 2009, Austin, Texas
University Presbyterian Church December 7, 2014, Austin, Texas
University Presbyterian Church December 14, 2014, Austin, Texas
There Will Be Signs (2007) SATB chorus with harp and bombo, setting of Luke 21:25-28 NRSV, duration 2:44
Precious Oil (2005) SATB a cappella, setting of Psalm 133 from Marchiene Vroon Rienstra's Swallow's Nest: A Feminine Reading of the Psalms, duration 2:10
Darkness as Light (2005) SATB with harp or keyboard accompaniment, setting of Psalm 139:7-12 NRSV, duration 2:00
Do Not Be Afraid, Mary (2004) SATB with optional keyboard accompaniment, setting of annunciation scene, Luke 1:26-45, duration 1:40
Love (2004), setting of 1 Corinthians 13:4-7 for two-part children's choir
Misa trinitaria (2003) a six-movement Spanish language Latin American folk mass, treble voices, folk accompaniment, with optional soli TB, duration about 23 minutes, recorded by Chaski and Magnificat with director David Stevens on Chaski's CD, Viracocha (2005)
Entrada (auki auki)
Senor, ten piedad (vidala andina)
Gloria (huayno boliviano) Credo (merengue venezolano)
Santo (saya boliviana)
Cordero de Dios (zamba argentina)
Maysajata cutayana (2002) huayno boliviano for zamponas, charango, and harp; recorded by Chaski on Viracocha (2005)
Misa trinitaria with St. Luke's Episcopal Church, Cantate, Hot Springs Music Festival Chorus, Hot Springs, Arkansas, 23 Nov 2014
Chaski and Magnificat Benefit for SafePlace Westminster Presbyterian Church, Austin, Texas 23 October 2005
Chaski and Magnificat, St. David's Episcopal Church, Austin, Texas 23 Oct 2005
Chaski and Voci di Sorelle San Fernando Cathedral, San Antonio, Texas 7 October 2007
"Credo" from Misa trinitaria by Adrienne Inglis at Central Presbyterian Church, 13 Oct 2013, Austin, Texas
Chaski and St. Luke's Episcopal Church, Cantate, Hot Springs Music Festival Chorus, Hot Springs, Arkansas, 23 Nov 2014
Salmo 140 (Psalm 140) (2001) Spanish-language scripture setting includes a congregational response
Bendición (Blessing) (2001) is a Bolivia sikuriada based on the Taizé piece Bless the Lord by Jacques Berthier.
Consejos del gaucho (1999) zamba argentina for baritone, quena, guitar, and harp; recorded by Chaski on Unay (2000)
Elizabeth (1998) vals venezolano for quena, guitar, harp; recorded by Chaski on Unay (2000)
As both a composer and performer, I want my music to invite the listener into a shared musical experience in which our common hopes, joys, and sorrows mingle with familiar texts, haunting modalities, and folk rhythms. Weaving voices with harp, flutes, and guitars brings together beautiful aural colors in an acoustical setting. My compositional process usually starts with a carefully selected text of scripture, poetry, or liturgy. The text itself suggests its own rhythmic underpinning, musical architecture, and melodic shape. I may challenge myself to compose in a certain modality or meter that I feel best suits the material. As a member of the music ensemble, Chaski, I collaborate with my colleagues to select, transcribe, arrange, rehearse, and perform programs that inspire mutual understanding and learning. As a composer and singer in Austin's new choral collective, Inversion Ensemble, I regularly contribute new works and sing my colleague's compositions.