A few items of interest on a chilly day in Philadelphia:
– Two choirs that have performed my music offer Christmas concerts this weekend: The Crossing, and Cantori New York.
– Did you know you can hear performances from Yellow Barn online? Lots of new music, including works by Michel van der Aa, Charles Wuorinen, Oliver Knussen, Hans Abrahamsen and many more, as well as traditional repertoire.
– The extraordinary violinist Rolf Schulte
has made archival recordings of his performances of concertos by Roger Sessions and Donald Martino available on CD Baby here
. The Sessions is performed by the Nordwestdeutsche Philharmonie, with Janos Kulka, and the Martino is with the New Hampshire Symphony and James Bolle. The music is also available on the iTunes store.
– The Association for the Promotion of New Music presents an all-Babbitt program in his centennial year on December 19 at the Di Menna Center in New York, including performances by the New York New Music Ensemble.
– There will be a concert of music by Robert Capanna on Friday, January 6, at the Settlement Music School’s Queen Street Branch here in Philadelphia. Presented in collaboration with the Philadelphia Chamber Music Society, the performers include the Network for New Ensemble conducted by Jan Krzywicki, soprano Sharon Harms, pianist Charles Abramovic, and the Prism Saxophone Quartet.
The deeply frightening election nightmare that has descended leaves little room to talk about artistic matters. And yet, I feel I would be remiss if I did not express my thanks for the recent performances of my music in the past several days.
Cantori New York and the French ensemble Musicatreize gave two vivid performances of my Mass for the Day of St. Thomas Didymus in New York City this past weekend. The combined choirs mastered the intricate layering of the piece, with its settings of both the Latin Ordinary of the Mass and Denise Levertov poems that reflect on the liturgical texts. I felt the singers had internalized the gestures of the piece and projected them to the listeners with authority and nuance.
Overlapping with the Cantori concerts were performances of my Dark the Star with Baritone Tom Meglioranza and the New York New Music Ensemble This was an astonishing performance; Tom had memorized the piece, a 20-minute work that sets Rilke, Susan Stewart, and a verse from the psalms. Beauty of sound, precision, powerful affect – Tom’s singing had it all. The instrumentalists – Jean Kopperud, clarinet; Stephen Gosling, piano; Chris Finckel, cello; and Daniel Druckman, percussion, with conductor Eduardo Leandro – were no less eloquent.
Here are YouTube links for the pieces: the Mass as performed by The Crossing and Dark the Star with William Sharp and the 21st Century Consort, Christopher Kendall conductor.
Although I was in New York and could not attend, I was happy to learn that mezzo Kristin Gornstein performed one of my Three Folk Hymns this past Sunday as part of her recital at St. Thomas Church in Whitemarsh, not far outside Philadelphia. Her pianist was Derrick Goff. Kristin was very impressive when I heard her give the premiere of Steve Mackey’s Madrigal for voice and percussion at Tanglewood in 2015, and I am delighted she has taken up my music.
In addition to these performances, I want to report that pianist Youmee Kim has recorded my Pure Contraption, Absolute Gift for Centaur Records as part of an album of American piano music. Youmee was a member of the consortium that commissioned the piece, and it is wonderful to have this elegantly performed document of that project. I am not yet finding the album online; Centaur advises checking Arkiv Music or HB Direct for its products, and I expect the disc will be available soon.
A few years ago I wrote a big piece for The Crossing that set the Latin Ordinary of the Mass, interwoven with settings of poems by Denise Levertov that reflect on the Mass texts. The piece takes its title from the sequence of Levertov poems: Mass for the Day of St. Thomas Didymus. The Crossing later gave a second performance of the work, but no other group has taken up the piece until now. Cantori New York, in collaboration with the French ensemble Musicatreize, will perform the Mass at St. Ignatius of Antioch Episcopal Church, 552 West End Avenue in New York City this coming Saturday, November 5 at 8 pm, and Sunday, November 6, at 7 pm. In the work, the Levertov poems are assigned to a main choir while the Mass texts are given to a schola, in this case four soloists drawn from Musicatreize. The latter group will also perform the work themselves on November 2 at the Salle Musicatreize in Marseille.
Here is my program note on the piece:
This work is part of a long tradition of Mass settings that juxtapose additional poems with the standard Latin texts; Requiems of Benjamin Britten and Christopher Rouse are recent examples, though the practice of poetic insertions originated many centuries ago. I have assigned the Latin texts (excerpts in the case of the Credo) to a group of four solo singers while the main choir sings excerpts from a cycle of poems by Denise Levertov inspired by the Mass texts. The Latin settings are in the manner of various forms of liturgical music, and include quotations of a Bach chorale and Gregorian Chant.
The title of my piece is that of the Levertov cycle. St. Thomas Didymus is the apostle Thomas, with the designation “Didymus” meaning “the twin”. Thomas is informally known as “doubting Thomas” because of his insistence on seeing and touching Jesus before he would believe in the Resurrection. Upon subsequently seeing Christ, he acknowledged him as “My Lord and my God”. A Mass honoring St. Thomas is a Mass that honors the juxtaposition of doubt and belief that is the basis of life in pursuit of the divine. The simple pair of twin statements in Levertov’s reflection on the Credo is the pivot of the work:
I believe and
interrupt my belief with
doubt. I doubt and
interrupt my doubt with belief.
Cantori New York has announced its 2016-2017 season, and their first program on November 5 and 6 will feature the New York premiere of my Mass for the Day of St. Thomas Didymus, a work I wrote on a commission from The Crossing. The piece interweaves a setting of the Latin Mass, sung by a schola or small group of singers, with settings of Denise Levertov poems reflecting on the Mass texts, sung by a larger main choir. For these performances, the French vocal ensemble Musicatreize will serve as the schola and Cantori New York as the main choir. Cantori’s artistic director Mark Shapiro will conduct. The performances will take place at St. Ignatius of Antioch Episcopal Church, which is on West End Avenue at 87th Street. I don’t have the times yet for the performances – I believe they are both in the evening, will share that info with you when I can.
You can see a video of The Crossing premiering the Mass here.