There is so much to say about the recently ended Tanglewood Festival of Contemporary Music that I have been having trouble getting started with a blog post about it all. This won’t be a complete report, just a beginning. I hope to have more to say in subsequent posts – though I really need to get back to the violin and piano piece I am working on for the Philadelphia Chamber Music Society.
My own Dark the Star was performed on the Friday, July 24 program, and magnificently so. The piece is scored for baritone, clarinet, cello, piano, and percussion, but there were two superb young baritones among the Fellows – Dimitri Katotakis and Davone Tines – so the renowned baritone Sanford Sylvan, coach for the performance, devised a division of labor where the two singers alternated, sometimes even dividing up the text for a single song. I’m not going to alter the score to include two singers, but what Sandy worked out was uncannily effective. The texts for the piece are full of shadows and doubles; plus, in two cases I set the same text twice, so the double-soloist strategy made organic sense. For one phrase near the end, Davone and Dimitri sang in unison to devastating effect. The instrumentalists were superb: Ethan Young, cello; John Diodati, clarinet; Joseph Kelly, percussion; and Pierre-André Doucet, piano. The distinguished pianist Stephen Drury conducted.
Dark the Star opened a well-considered program devised by John Harbison, with threads of connection among the pieces both in terms of form and expression. There was an ecumenical flavor established by including pieces with Christian, Jewish, and Buddhist roots. Sacred song, broadly defined, occupied the first half. My piece was followed by Dallapiccola’s Concerto per la notte di Natale dell’anno 1956, with a 17-piece chamber orchestra conducted by John Harbison and the brilliant Suzanne Rigden as soprano soloist. Intimate and piercingly intense by turns, the piece sets two medieval texts by Jacopone da Todi, along with an instrumental prologue, intermezzo, and epilogue. After intermission, Dark the Star‘s formal strategy of relatively short songs played without pause was echoed in the premiere of Harbison’s Seven Poems of Lorine Niedecker – in this case truly short songs, or perhaps a single song making use of several poems – played continuously and running about 7 minutes. Harbison is able to find fresh piano textures with unobtrusive and economical means, and the vocal writing is equally engaging. Soprano Sarah Tuttle was the appealing soloist, accompanied by veteran pianist Ursula Oppens. (There were several touching instances on the festival when veteran performers handed on their commitment to new music by performing alongside their more junior colleagues, including new works by Michael Gandolfi (Dawn Upshaw with singers Nola Richardson, Alison Wahl, and Zoe Band) and Yehudi Wyner (Lucy Shelton with mezzos Paulina Villareal and Quinn Middleman.)) The closing work on the program was also a set of miniatures, this time instrumental movements for a mixed chamber ensemble: Gerald Levinson’s Here of amazing most now, originally written for an Orchestra 2001 concert in honor of George Crumb on his seventieth birthday. Though not part of the composition, it worked well to have the instrumentalists speak the various haiku or poetic fragments that serve as epigraphs for each movement of the piece. New works by Helen Grime (a vibrant duet for clarinet and trumpet called Embrace) and a quartet for clarinet and piano trio by Shulamit Ran entitled (in Hebrew) Birkat Haderekh (“Blessing for the Road”) rounded out the second half. There was a sense of tenderness in the Ran, not the most common affect in new music concerts.
Here are a few pictures.
At the dress rehearsal for Dark the Star in Ozawa Hall – Davone Tines:
and the band:
time for bows:
after the show:
“Team Baritone” – that’s Sanford Sylvan with my two soloists: