Hard to believe it’s already been a week since I got back from my trip to Boston. I should have made more progress by now with the two tasks at the top of my to-do list:
– The first is to finish my piece for Network for New Music’s April 4 concert here in Philadelphia. This is part of what I have been calling their HarbFest, a week of concerts and other events devoted to the music of John Harbison. Network has commissioned a few new pieces for the April 4 program, all based on American folk tunes that John used in his chamber work Songs American Loves to Sing. That set will be heard, as well as new music by Anna Weesner, Terell Stafford, Bobby Zankel, and Uri Caine and myself. Harbison will join with trumpeter Stafford and students from Temple University to play some jazz tunes at the concert.
My piece is called Meditation on ‘Amazing Grace‘. I am using the tune in minor, with the notes of the melody treated as dissonant color tones above the accompaniment, rather than sounding the notes of the tonic triad. For example, the first two notes of the tune (in b-flat minor) are F-natural and B-flat, but these are harmonized with a G dominant seventh. The tune is played by muted trumpet, while piano and contrabass provide a long-ringing, floating accompaniment.
– While I wrap up that project, I need to keep up my practicing at the piano, for my half-recital (a program shared with Linda Reichert) at Penn is coming up on Feb. 26. I’ll be playing the Copland Sonata, Harbison’s Leonard Stein Anagrams, and, together with Linda, Gerald Levinson‘s work for piano four-hands, Morning Star. Linda will play the Philadelphia premiere of my Pure Contraption, Absolute Gift, and Vincent Persichetti‘s Winter Solstice. While I’ve already written about Contraption, I will try to offer some thoughts on the other pieces in the coming weeks.