“…combination of balletic lifts and contact-improvisation-inspired tumbling was perfectly matched to Morlock’s score, which in turn took strength from the movement. At times, the music displayed the composer’s characteristic melancholy, but it was more often surprisingly muscular, with gamelan-esque patterns from piano, harp, and xylophone supporting heraldic blasts from the brass.”

– Alex Varty, Georgia Straight 


Click on images below to view and/or download. Photos by Von Loewen.

For higher resolution files (suitable for print) please contact Jocelyn at



Lloyd Dykk – Vancouver Sun
 (Ravel and Debussy arrangements for flute, viola and harp)

“Morlock is a composer skilled not only in writing original music but in having an ear for adapting the music of others, even the rarefied sound of French impressionism…The combination of Morlock’s deftly idiomatic arrangements and the playing by these uncanny musicians made for a wonderful experience. My favorites: the Debussy Ballade and the Ravel Tombeau de Couperin, which was rapture.”

John Keillor – WholeNote 
(Ravel and Debussy arrangements for flute, viola and harp)

“But the most evocative arrangements here, like Ravel’s Le Tombeau de Couperin, were especially arranged for Trio Verlaine by Vancouver composer Jocelyn Morlock, whose approach is edgier and more crystalline than some of the cosier, more lush-sounding renditions.”


Howard Goldstein – BBC Music Magazine – July 2011 
Review of Into Light by musica intima – Ten out of Ten Stars

“…there is an astounding variety of affect and approach. From Jocelyn Morlock’s Exaudi, which starts with a murmuring, narrow-ranged incantation over which a solo cello (passionately played by Ariel Barnes) mourns, to veteran R. Murray Schafer…the Vancouver-based professional chamber choir demonstrates outstanding pitch, blend and diction throughout this superbly recorded disc.”

Timothy Munro, of Grammy-award-winning ensemble eighth blackbird 

“Your music is interesting: unpredictable, diverse and imaginative (and insane-alarm-clock-chaotic when necessary!)”

David Gordon Duke – Vancouver Sun 

“…the evening’s best was saved for last. Jocelyn Morlock’s Exaudi, with Underhill again conducting, proved a real gem. Morlock’s work goes well beyond the safe techniques of much contemporary choral music, creating sonorities that are complex and, above all, original… Exaudi brought both the program and the season to a splendid close.”


“The longish first half of the program ended with a revival of Jocelyn Morlock’s Aeromancy, a concerto for two cellos, played with great commitment by VSO cellists Ariel Barnes and Joseph Elworthy, with chamber orchestra backup. Cast in two movements, the work is hard to describe but easy to love: high, high solo cello writing, abundant use of bells, some glorious flashes of horn and oboe, and delicate writing for strings. Aeromancy is both sensuous and austere, a work of real substance as well as exquisite beauty.”


“Morlock’s score, on the other hand, is all about her own way of writing for large chamber ensemble. From the outset her music establishes a treble-heavy world of sound, very strong on harp, glockenspiel and piano. With carefully layered patterns that morph and extend as required, her score is consistently danceable, and there is a hand-in- glove relationship between music and movement. Morlock has an acute feeling for sonority: The “one of everything” chamber ensemble never sounds patchy or thin. She creates the illusion that the restricted instrumental forces are exactly the resources she wants.”

(Involuntary Love Songs) 

“…stems from the long, distinguished tradition of lieder. Her concluding song Script proved a lyrical wonder, exquisite writing performed with great care and sensitivity by both singer and pianist.”

Gwenda Nemerofsky – Winnipeg Free Press 

“…Jocelyn Morlock’s Aeromancy for Two Cellos and Orchestra. In two movements, it is a fantastical exploration of the beauty of nature. The second movement evoked a slow awakening after a storm; creatures stirring and stretching, with richly satisfying harmonies and solo melodies full of emotion played to the utmost by [Yegor] Dyachkov and [Yuri] Hooker.”

Stephen Preece –

Continuing the first week of the Elora Festival, [cellist David] Eggert was joined by the Elora Festival Singers in the opening and closing numbers of a riveting concert held Thursday night in St. John’s Church, Elora.

The concert started with Canadian composer Jocelyn Morlock’s Exaudi, the bass section leading with a deep chant. The tenors added clear and steady 4th harmonies, later joined by the women for a wonderfully full and resonant choral block of sound.
With outside-key tonalities, Eggert’s cello pierced through the cloistered vocal serenity producing a wonderfully jarring tension and juxtaposing textures. The choir upped their game in volume and intensity, creating powerful collision of voice and instrument. The trailing In Paradisum (may you have eternal rest) produced a most exquisite resolution and respite.

Alex Varty – Georgia Straight 

“…combination of balletic lifts and contact-improvisation-inspired tumbling was perfectly matched to Morlock’s score, which in turn took strength from the movement. At times, the music displayed the composer’s characteristic melancholy, but it was more often surprisingly muscular, with gamelan-esque patterns from piano, harp, and xylophone supporting heraldic blasts from the brass.”


“Now imagine Kats-Chernin’s attitude gone, replaced by shimmering sheets of harmonics and a civilized conversation for violin and cello. That’s the volte-face the VSO players were required to make in order to perform local composer Jocelyn Morlock’s Solace, and once again the musicians demonstrated their sublime competence. This piece almost demands an anthropomorphic interpretation, with VSO concertmaster Mark Fewer’s violin taking the role of some avian songster, a lark or nightingale, and Zoltan Rozsnyai’s cello playing the yearning human heart.”


“The second half offered richer fare. Jocelyn Morlock’s Disquiet suggested a capsule history of the Soviet Union: rising in rugged optimism, plunging into deliquescence, then struggling forward again before evaporating—in this case, beautifully.”
Lloyd Dykk  – Georgia Straight 
(Exaudi) “… Morlock’s Exaudi, which begins in Gregorian-chantlike gravity, builds to a frightening crescendo, and subsides into radiant peace. This new work is on musica intima’s just-released CD called Into Light, and is a strong argument for getting it.”

John Terauds – Toronto Star
 (Prelude and Fugue) 

“…this has to be the most exciting disc of new Canadian music in years. It overflows with invention, and most compositions find that elusive balance between being easy on the ears and being thought-provoking. The association between Gould and J.S. Bach-inspired references to traditional counterpoint and fugal development hold these pieces aloft like a fresh breeze…Andrew Burashko and David Swann perform the program’s most impressive works, by Jocelyn Morlock and Gary Kulesha, respectively.”

Rosemary Phillips – Quills Quotes and Notes (Golden) 

“A surprise in the program was the inclusion of a work composed by Jocelyn Morlock specifically for the PBO and this tour. Titled “Golden”, the piece began with percussive taps on the violone and cello, followed by gentle movement of a wooden wind chime and bells as MacRae and members of the violin section of the orchestra whispered, “Ssswim in this water.” Soon came the sounds of whispering strings like rippling water and light, and angelic magic as MacRae’s voice lifted and soared, harmonizing with Destrubé’s gentle violin. While the strings continued their melody MacRae ran her fingers around the rims of two wine glasses creating a hanging tone which resonated above the strings. It was pure magic.”