More on “A Sibyl”

  • David Hoose speaks about the Collage New Music season, including this Sunday’s concert, featuring the premiere of A Sibyl, in this Boston Musical Intelligencer interview.
  • There are a number of YouTube videos featuring soprano Mary Mackenzie, who will be the soloist for A Sibyl. These include several of my own music. Here’s Mary singing two songs with pianist Heidi Louise Williams; the first is on a text by Susan Scott Thompson, the second sets words by Susan Orlean.

Mary and Heidi have recorded these songs and several others for a CD to be released later this season on Albany Records.

  • here are some excerpts from Sacred Songs and Meditations, a big set of vocal and instrumental pieces based on plainchant and other ancient melodies. The ensemble is the 21st Century Consort led by Christopher Kendall, with members of the Folger Consort and choirs of the National Cathedral in Washington, D. C.

  • Read about Susan Stewart, author of the texts for A Sibyl, here and here. Susan published a volume of new and selected poems this year, entitled Cinder. The title poem is the first of her texts that I set, some 18 years ago. Listen to Susan Narucki sing it, again with the 21st Century Consort and Christopher Kendall.

“A Sibyl” Premieres in Boston

sibyl1

the Sibyl of Cumae in the Sistine Chapel

Written on a Fromm Foundation commission, A Sibyl is a cycle of six songs on texts by Susan Stewart, whose poetry I have set in several other pieces – Holy the Firm, Dark the Star, and Songs for Adam. Susan wrote the poems specifically for this new project. Collage New Music will premiere the piece at the Longy School in Cambridge, MA on October 15, 2017 at 3 pm. (There will be a pre-concert chat at 2 pm.) Mary Mackenzie will be the soprano soloist and David Hoose will conduct. Here’s my program note on the piece:

When I asked my friend Susan Stewart to write a set of poems for a new work for soprano, she responded with reflections on the mysterious prophetess spoken of in Virgil and Ovid. The sibyl sings of her prophecies written on leaves, and of how the god possesses her; she warns Aeneas before his descent to the underworld; she celebrates the moon. Having been granted eternal life, but failing to ask for eternal youth, she is reduced to no more than her voice. I understand the sibyl as an archetype of the musician who sings for us of fate and the mysteries of life, death, and love; who guides us in moonlit and shadowy places; and whose prophetic voice resounds unendingly, in power, and in vulnerability.

A Sibyl was written for Collage New Music on a commission from the Fromm Music Foundation. I am grateful to the Foundation, to Collage, and to Mary Mackenzie for making this work possible, and to Susan Stewart for words to sing.

Mary has performed many pieces of mine, and she recorded Sacred Songs and Meditations with the 21st Century Consort, led by Christopher Kendall.

She has also recorded a big 2-CD collection of songs by various composers with pianist Heidi Williams that will include four pieces of mine, to be released on Albany later this season.

Collage Fellow Joseph Sowa published an interview with me on the Collage website – I talk there about working with Susan’s poetry and my history with Collage.

 

“Dark the Star” at Florida State

My Dark the Star for baritone and chamber ensemble was selected to be performed at the Florida State University Festival of New music next week. Here are the details:

Thursday, February 2, 2017, 7:30 pm: Dark the Star

Evan T. Jones, baritone
Deborah Bish, clarinet
Greg Sauer, cello
Heidi Williams, piano
Peter Soroka, percussion
Alexander Jimenez, conductor
Opperman Music Hall
Florida State University
Tallahassee, FL

A great deal of music is packed into the three days of the Festival – go to the Festival website for more information.

Special guest performers for the Festival include the Bugallo-Williams Piano Duo, and violinist Monica Germino. The featured composer is Louis Andriessen. I’ve never met Andriessen, but I played his 1963 work Registers for piano at the 1977 Gaudeamus Interpreters Competition in Rotterdam. This graphic score is very different from the later music for which he is principally known, with its influences from minimalism and Stravinsky. You can get some sense of what the score looks like in this video, though the image is quite reduced in size. (A shame the performer in the video is not identified.)

Heidi Williams, the pianist for the performance of Dark the Star, is in the midst of a big CD project with soprano Mary Mackenzie, including quite a lot of my vocal music. I will linger in Florida after the Festival to attend a recording session for my Three Folk Hymns with Mary and Heidi. (Mary just gave a wonderful performance at a Collegium Institute event at Penn, along with pianist Eric Sedgwick.)

Here’s the first movement of Dark the Star in the Bridge recording made by the forces for whom the piece was written: William Sharp, the 21st Century Consort, and Christopher Kendall, conductor.

Direct from the Composer

Scores for most of my compositions are available from the Theodore Presser Company, with a few additional early pieces available from Associated, via Music Sales Classical. Those early pieces were originally in the Margun catalog, Gunther Schuller’s publishing firm. They include the work for clarinet, piano and electronic sound, Icons, that the 21st Century Consort will perform this coming March 12. I’ll say more about that piece and that performance in an upcoming post. Recent additions to the Presser catalog include Badinerie Squared, a brief flute duet; Exchanges, a virtuosic piece for flute and clarinet (inexplicably not yet listed on the Presser website); and an Oboe Quartet. My set of piano preludes called Pure Contraption, Absolute Gift will soon be available from Presser.

However, there are a number of my pieces that are not yet published, and you should be in touch with me directly (jamesprimosch at gmail dot com) if you are interested in purchasing them. These include all but one of the a cappella motets I have written for Emmanuel Church and some voice and piano songs that have proved popular, including an arrangement of How Can I Keep From Singing? I intend to post more sample pages from this material – these will appear on this site’s score excerpts page. Look through the worklist pages to find the pieces available directly from me.

Ways of Listening

You may have noticed the link at the end of the recent NY Times review of the Tanglewood performance of my Dark the Star – it takes you to a YouTube posting of a track from the Bridge recording of the piece. The recording is by William Sharp, baritone, the 21st Century Consort, and Christopher Kendall, conductor. You really should pick up a copy of the disc (there are links to do that at the Bridge website), but if you disdain physical media (and paying artists for their work!) and want to hear the piece from the beginning, go here. Dark the Star consists of nine movements played without pause, which means the separate videos for each track of the piece interrupt the flow in disconcerting ways, sometimes in mid-phrase – another reason to spring for the physical disc. The pieces from the Sacred Songs cd featuring soprano Susan Narucki are also on YouTube – here’s the first track from the cycle Holy the Firm.

Another way of listening to my work is to visit the audio excerpts link above. I’ve just posted two items:

– under solo voice, you can find the recent premiere of Shadow Memory, with soprano Lisa Williamson and pianist Rami Sarieddine, recorded at SongFest this past June. The piece is on a text by Susan Orlean.

– under instrumental, you’ll find the Oboe Quartet I wrote for Peggy Pearson and the Apple Hill Quartet, this taken from their performance at St. Paul’s in Brookline, MA this past spring.

And, yes, I was thinking of this title when I titled this post, though not of the book’s content.

Opera News on “Sacred Songs”

A review by Joshua Rosenblum of my Sacred Songs album has appeared on the Opera News website. It’s only available for subscribers, so I’ll just offer a few quotes here:

“Primosch’s text-setting instincts are seemingly unerring: his vocal lines always convey the words authentically and honestly, while the instrumental accompaniment provides added depth and drama…”

“Soprano Susan Narucki, who sings three out of the four cycles, has musical intelligence to spare, as well as a clear, ingratiating delivery and sure intonation…”

“Baritone William Sharp uses his resonant, authoritative voice to provide a gripping, inexorable build…” [in the song cycle Dark the Star]

Corde Natus Ex Parentis” from the cycle Four Sacred Songs, has a straightforward, attractively contoured, plainchant-style melody, but the composer adorns it with imaginatively layered instrumental counterpoint in subsequent verses. “Christus Factus Est” has another clearly tonal melody, but the subtly dissonant leanings of the accompaniment form a painfully apt depiction of Christ on the cross.  Narucki’s performance of this quietly devastating number is a delicate marvel.”

“These songs are unfailingly compelling, whether the musical language is complex or seemingly simple… Christopher Kendall skillfully and sensitively leads the 21st Century Consort, which provides superb accompaniment.”

Sticky post: “Sacred Songs” CD

CD coverThis CD is devoted to my music for voice and ensemble, and has been released by Bridge Records. Susan Narucki and William Sharp are the soloists; Christopher Kendall conducts the 21st Century Consort. It’s available at Amazon and at Arkiv Music. Scroll down for several more posts about the album. A review by Christian B. Carey on the Musical America website is here; another is at Audiophile Audition, by Steven Ritter. Composer Daniel Asia discusses the album at the Huffington Post here.

Sacred Songs: program notes, part II

Here are the program notes for the other two pieces on my new CD on Bridge. (The first installment is here). The pictures below are of the Grammy winning soloists on the disc, Bill Sharp and Susan Narucki.

Dark the Star

Unknown-3Composing this cycle of songs began with my discovery of three poems in Susan Stewart’s collection Columbarium that I knew I must set to music. The deep, dreamlike wisdom of these poems haunted me, just as I had experienced with Susan’s poem “Cinder” that had served as the fulcrum of my song cycle Holy the Firm. Eventually, texts by Rilke and an earlier setting I had done of a psalm verse were drawn into the gravitational orbit of Susan’s poems. I ordered the texts in a nearly symmetrical pattern, with two poems set a second time in versions that shadow their first readings. This is partly for the sake of the formal design, but, more importantly, to re-examine the poems in the penumbra of what comes before. Rounding the cycle in this way reflects not only the circles and repetitions in Susan Stewart’s texts, but also the way in which, as Rilke writes, the things we have let go yet encircle us.

William Sharp and the 21st Century Consort premiered this cycle in 2008.

Holy the Firm

Unknown-2The little anthology of texts dealing with praise and mystery that I have assembled for this song cycle draws upon writings of three twentieth-century American women and a monk of the seventh century Sinai desert. It may be helpful to know that the fifth text is excerpted from a found poem based upon phrases culled from the Dictionary of Last Words edited by Edward S. Le Comte.  The wide-ranging affects of the texts called forth a similar range of musical languages but there are many recurrences, both musical and textual, that bind the songs together.

The cycle’s title is borrowed from that of a book by Annie Dillard that also provided the words for the second song. In that book, Dillard writes: “Esoteric Christianity, I read, posits a substance. It is a created substance, lower than metals and minerals on a ‘spiritual scale’, and lower than salts and earths, occurring beneath salts and earths in the waxy deepness of planets, but never on the surface of planets where men could discern it; and it is in touch with the Absolute at base. In touch with the Absolute! At base. The name of this substance is: Holy the Firm.”

Dawn Upshaw and Gilbert Kalish gave the first performance of the original piano and voice version of Holy the Firm in 1999. I subsequently made this chamber version for Susan Narucki and the 21st Century Consort; those artists gave the premiere in 2002.

Sacred Songs: program notes

My new CD, Sacred Songs, is coming out on Bridge Records this Tuesday. Here are program notes for two of the pieces on the disc – notes on the other two pieces in tomorrow’s post. John Harbison’s  booklet essay for the disc is here. That’s the soloist for these pieces, Susan Narucki, pictured below.

From a Book of Hours 

UnknownThis cycle of songs sets four poems from an early collection by Rilke entitled Das Stundenbuch, or in English, Book of Hours. Although the title refers to a medieval book of prayers for the various times of day and seasons of the liturgical year, Rilke’s texts occupy a position some distance from conventional piety.  There is a melancholy to the spirituality expressed here, which speaks of an experience of God that is fragmentary, imperfect, and unattainable. The solitude evoked in the second song (as layers of busy activity are gradually peeled away) offers some solace, but the third song is very dark and fierce, filled with a desperate, even manic desire for God. The last song returns to the mood of the first, but now in a global rather than individual context. This song, like the set as a whole, speaks of our world’s brokenness, yet strives to stammer fragments of God’s name.

Originally composed in an orchestral version on a commission from the Chicago Symphony, this chamber ensemble version was prepared for Susan Narucki and the 21st Century Consort, with Christopher Kendall conductor, who gave the first performance in 2007.

Four Sacred Songs

When soprano Christine Schadeberg asked me to compose a new work for her 1989 Town Hall recital, she asked for something lighter in tone than my usual style, suggesting that I consider writing some folk song arrangements.  I agreed to the idea of arrangements, but rather than folk songs, I chose three old sacred melodies; the idea of sharing with a concert audience a few of the musical riches that I had encountered in my work as a liturgical musician was particularly attractive. In 1990 I orchestrated these piano and voice songs, adding the second movement which exists only in the chamber ensemble version. The first performance was given by Christine Schadeberg with the ensemble Voices of Change.

The first song, “Jesu Dulcis Memoria”, is a strophic chant hymn with a text by St. Bernard of Clairvaux, the great Cistercian monk and preacher.

I have set “Corde Natus Ex Parentis” using a somewhat free version of the medieval technique known as a mensuration canon: except for a few freely imitative phrases, all the parts have the same melody, but played at different speeds.  For example, the low cello and harp notes mark out the tune at a pace six times slower than the voice.

The chant “Christus Factus Est” appears in the Liber Usualis  as part of the Holy Week liturgy; the melody is unusually wide-ranging and highly melismatic.  The text is part of St. Paul’s famous “Philippians Hymn”, and speaks of the mystery of Christ’s suffering and exaltation.

The origins of the tune for “O Filli et Filliae” are obscure, and may be secular in nature.  The words somewhat discontinuously narrate the Easter story, closing with a call to give praise and thanks to God.