Two significant performances of my vocal music are coming up in the next several weeks:
- The Cantata Singers are reviving my Matins later this month, a piece for oboe, strings and chorus that they co-commissioned along with Winsor Music 15 years ago. (This is just the second performance of the piece; here’s hoping somebody takes up the piece for its third performance sooner than 2033.) The fabulous Peggy Pearson, who has been a wonderful champion of my music, commissioning and performing my Oboe Quartet and Oboe Quintet, will be the soloist. I first got to know Peggy and her playing through her work with Emmanuel Music, with whom she masterfully plays the prominent oboe parts in the Bach cantatas performed at Emmanuel Church. Matins, which sets poems of Hopkins and Mary Oliver, will be heard at the New England Conservatory’s Jordan Hall, with David Hoose conducting, January 25 at 8 pm. I will give a pre-concert lecture on the whole program, which includes the Bartók Divertimento and the Pärt Te Deum, at 7 pm.
- A Sibyl, my song cycle on texts written expressly for the project by Susan Stewart, will be on the first concert of the 2019 Florida State University Festival of New Music on January 31. Among the splendid musicians performing my piece are soprano soloist Marcia Porter, conductor Alexander Jiménez, Deborah Bish, clarinet; Nina Kim, violin; Evan Jones, cello; Justin Ball, percussion; a flutist whose name I don’t yet know; and pianist Heidi Louise Williams, who is at the keyboard for the recent Albany cd featuring my music, Vocalisms, with Mary Mackenzie, soprano. It was Mary who was soloist in the premiere of A Sibyl, performed by Collage New Music and conducted by David Hoose – funny how threads of connection weave together in this business.
Darn it, it’s not Christmas until it’s Christmas. Don’t tell me it’s the “Christmas Season”. It’s Advent, and it’s a shame to lose this beautiful time for quiet contemplation.
There, having gotten my bit of Bah, Humbug out of my system, I can take a break from working on new pieces for the Imani Winds and for Lyric Fest to offer a brief list of miscellaneous items:
- Thank you to Suzanne DuPlantis and Laura Ward for the intensely touching performances of my “Cinder” and “Bedtime” last month as part of a Lyric Fest program. “Cinder”, to a Susan Stewart text, is the most often excerpted piece from Holy the Firm, while “Bedtime” is an independent item, a Denise Levertov setting. Suzanne is an uncannily charismatic performer who connects strongly with listeners, and Laura has no limitations at the piano.
- Thanks as well to Kristina Bachrach and Daniel Schlosberg for their powerful performance of my “Every Day is a God” (also from Holy the Firm) earlier this month. This was part of the celebration marking the anthology of art songs for soprano and piano being issued by New Music Shelf. Thanks as well to the curator for the collection, Laura Strickling for including me in the volume. The entire Holy the Firm cycle is available from the Theodore Presser Company.
- I’ve received word that my work for soprano and six instruments, A Sibyl, also on texts by Susan Stewart, will be performed at the Florida State University New Music Festival which runs January 31 through February 2. Marcia Porter will be the soloist, and Alexander Jiménez will conduct.
- Recent listening has included:
- The complete Mozart piano sonatas with Mitsuko Uchida on Phillips. What can I say, I adore her sound, her phrasing, the airborne joy of her playing. More of these sonatas are worth programming than the 4 or 5 that are commonly done.
- Saxophone Colossus – Sonny Rollins. One of the supreme classics, of course. I do wish Tommy Flanagan was more forward in the mix. “Blue 7” famously elicited a Gunther Schuller analysis, included in this volume.
- Tiptoe Tapdance – Hank Jones. Oh, for some small fraction of the harmonic wisdom on display in this solo album, the imagination, the fluency. I hear hints of Teddy Wilson at times. Jones’s version of “It’s Me Oh Lord” included here was reprised on his beautiful album with Charlie Haden, Steal Away.
- Faure – the Nocturnes – Paul Crossley. CRD Records. Superb playing, but I just don’t get these pieces. The harmony is sometimes conventional, but often manages to be strange yet boring. The rhythmic stasis doesn’t help, inducing a state of claustrophobia. Friends tell me this is great stuff; I will give it another try at some point.
- A blessed Christmas to all – see you in the New Year.