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Three Faces Under a Hood (2025) was written for the Absolute Zero Quartet, a professional viola quartet that has amassed the largest catalogue of viola ensemble music in the world. The quartet prides themselves in being a group with no leader, and the piece reflects as such, with each player taking the lead role at one point or another.
The name of the piece, Three Faces Under a Hood, is derived from a nickname for the Viola Tricolour flower. It is a historical Irish term that reflects both the appearance of the flowers and the part they have played in folklore, medicine, and magic. The three ‘faces’ refer to the distinctive colours often found in the petals of the flower that resemble a face, and the ‘hood’ refers to the flower's hood-like structure that hides the petals.
The three faces are also used in this piece to refer to the Japanese proverb Mitsu no Kao, translating roughly to ‘secret face’. The proverb pertains to the idea that we as individuals have three ‘faces’, each presented in different environments. The first we perform to the world, those we don’t know, and those we have just met. The second (Intimate) we show in familiar settings, to our friends, to our families, and to our lovers. The third we do not show; a reflection on our truly private, authentic self that is rarely, if ever, revealed. Each face is represented in one of the three movements: Public, a bright and confident display, Intimate, a curious, introspective exploration of a simple theme, and Authentic, a brash, disjointed, violent journey toward an explosive ending.
“You have three faces:
the first face you show to the world,
the second face you show to your close friends and your family,
and the third face you never show anyone.”
(Mitsu no Kao, Traditional)