The American Academy of Arts and Letters has announced that I am the recipient of the Virgil Thomson Award in Vocal Music for 2020. The press release is here.
Needless to say, I count myself very lucky indeed, and am greatly touched that the distinguished jury (listed in the release) would consider my work worthy of this recognition.
I submitted two choral works to be considered by the jury: Carthage (a setting of a text by Marilynne Robinson – she’s an Academy member, maybe I’ll get to shake her hand at the Academy Ceremonial) and my Mass for the Day of St. Thomas Didymus, my setting of the Latin Mass interwoven with poems reflecting on the Mass texts by Denise Levertov. The latter will be performed by Emmanuel Music at Emmanuel Church in Boston on March 29 at their 10 am Sunday liturgy, and can be heard on a forthcoming CD of my choral music by The Crossing.
The award is for vocal music, so I will survey that part of my catalog in a subsequent post.
David Patrick Stearns, formerly of the Philadelphia Inquirer (his writing still appears there, I assume on a free lance basis) wrote about the recent premiere of my Carthage by The Crossing on his blog, Condemned to Music. Read the whole post here, but here is the relevant portion:
Not having anything close to a comprehensive view of composer James Primosch, I find it hard to characterize how his voice has evolved. But I can say the composer I heard around 2000, when I first started sampling Philadelphia’s local compositional talent, is extremely different from what I heard on Saturday in the piece Carthage, set to an excerpt from Marilynne Robinson’s novel Housekeeping.
Previously, I had thought of Primosch as a post-George Rochberg composer, tonal but with some sharp edges and a taste for complexity; maybe writing for the voices of The Crossing has led him into something more essential. This piece (also a world premiere) uses something resembling plainchant as a starting point, taking from that world a sense of a religiously concentrated melodic line. There’s plenty of harmonic sophistication, and some blue notes – some of the bluest notes this side of Coltrane – that tell you this music is very much a product of our time.
The Crossing has big plans for Primosch in future months and seasons. We’ll talk more about him when I have a critical mass of his music to contemplate.