“A Sibyl” at MoMA

I’ll be heading to NYC soon for rehearsals and a performance of A Sibyl, my cycle for soprano and chamber ensemble on texts by Susan Stewart. This will be on Sunday, July 8 at the Museum of Modern Art, as part of their Summergarden series. The concert is at 8 pm and admission is free. The performers are members of the New Juilliard Ensemble, with Joel Sachs conducting. The soloist will be Anneliese Klenetsky.

I wrote here and here about A Sibyl in connection with the premiere last fall with Mary Mackenzie and Collage New Music, conducted by David Hoose.

That’s the Sibyl of Cumae from the Sistine Chapel above.

Reviews from Boston

Nothing from the Globe so far, but the Boston Musical Intelligencer had reviewers at both the Collage and Winsor concerts from last Sunday. From Mark DeVoto’s review of the A Sibyl premiere:

Rich expressiveness that cries out for more performances infused all of these intense but not expansive poems. Other groups should take note of this gratifying premiere.

“A Sibyl” and “Quintet” in Boston

At the moment I am on the Amtrak coming home from a busy and marvelous trip to Boston for performances of two works. Collage New Music, with soprano Mary Mackenzie and conductor David Hoose premiered my new song cycle on text by Susan Stewart, called A Sibyl. It’s a demanding and varied challenge for the soloist, and Mary brought terrific intensity and subtle nuance to the piece. The instrumentalists were no less fine, partly on their individual merits, partly because of the ESP that develops among long-term colleagues. I had been impressed in rehearsals by the detail David Hoose gave to expressive details, and it paid off beautifully.

There was a similar sense of commitment from Winsor Music when they played my Quintet for oboe, violin, viola, cello, and piano yesterday evening. The piece is highly varied in expressive character, and many of the comments I received focussed on the third movement, an instrumental version of my song Who Do You Say That I Am. The movement is warmly lyrical and quite tonal (you could probably make a lead sheet of it), standing in strong contrast to the preceding severely dissonant movement. I was worried as to whether the contrasting voices heard in the piece would hang together, but the fiercely committed performance overcame any doubts.

I’m deeply grateful to both ensembles for their passionate advocacy of my music.

Here are a few pictures from the trip. I wish I had a shot with Mary Mackenzie from the Collage concert, but I had to get going to the Winsor event, so I only got the one picture, this with conductor David Hoose:

Here’s a shot from after the Winsor concert. L to R: Kendra Colton, Peggy Pearson, Rafael Popper-Keizer, JP, Gabriela Díaz, John Harbison, Rane Moore:

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

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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.

 

“A Sibyl”, Wagner, and Chopin

I wasn’t teaching at my day job this summer for the first time in a while, so I had a little more time than usual – but the unbridgeable gap between what one hopes to accomplish and what actually happens remained wide. Still, a few things got done.

The most important task accomplished was completing A Sibyl, my Fromm commission for Collage New Music. This is a cycle on texts by Susan Stewart that she wrote specifically for the project, and is scored for soprano, flute, clarinet, violin, cello, piano and percussion. Mary Mackenzie will be the soloist. I estimate the piece will run about 25 minutes. There are six songs, setting poems that build on what can be found in Virgil and Ovid about the mysterious figure of the Cumaean Sibyl in somewhat the way Susan built her texts for my Songs for Adam (a work for baritone and orchestra) upon the Biblical stories. Collage has set the premiere of A Sibyl for the afternoon of October 15, the same day Emmanuel Music will do a motet of mine in the morning at Emmanuel Church, and Winsor Music will do my recent quintet for oboe and piano quartet in the evening. Three performances in Greater Boston in a single day is an amazing trifecta of good luck – more details to follow.

I spent many summer hours at the piano, working on the B-flat minor Scherzo of Chopin and playing through the piano score of Die Walküre. On the basis of playing that score, I can confirm a few things you already knew about the Wagner: yes, it really is very long;  yes, if you had a dollar for every diminished seventh chord in the piece you could retire today, and yes, the harmony in the Todesverkündigung is impossibly gorgeous. What I had not realized is how many passages throughout the opera are essentially recitative of a relatively straightforward kind – the “endless melody” you read about in your undergrad music history textbook is not quite so endless as Wagner fools us into thinking.

I still get bothered by the amount of literal repetition in the Chopin Scherzi; I suppose I wish the pieces were actually four more ballades. At least there is less literal repetition in the B-flat minor than in the B-minor, the other one I have practiced. Much of my time was spent on baffling questions of fingering – when it is better to stretch, when to cross…  Fingering remains a mystery to me – I often don’t realize when I am doing something unnecessarily awkward, or don’t see what could be a viable alternative. The cliché about the easiest fingering not necessarily being the best fingering is not terribly helpful when “easiest” and “best” seem to be moving targets that shift from day to day. Pianistic issues aside, engaging with pieces by playing them is essential nourishment for me – as a composer, but also as a person, and I was glad to have a little more time for that nourishment over this past summer.

Notes Aligned in Boston

It’s a little ways off, and I don’t have all the details, but I want to let you know about a happy coincidence has taken shape on my schedule of performances. On the afternoon of October 15, Collage New Music with soprano Mary Mackenzie, will premiere my current project, a song cycle called A Sibyl on Susan Stewart poems, at the the Longy School of Bard College in Cambridge, MA. David Hoose will conduct. And that evening, Winsor Music will present the second performance of my Quintet for oboe, violin, viola, cello, and piano, this at St. Paul’s in Brookline, MA.

Mary Mackenzie, who has done a fabulous job with my music on several occassions, including this CD, will be the soloist for A Sibyl.

I’ve put in a request with Ryan Turner of Emmanuel Music to do one of my motets at Emmanuel Church that morning – maybe there will be three performances of my music in Boston that day!

UPDATE: Ryan has confirmed that he will include my music at Emmanuel’s 10 am service that day – it’s a Primosch festival in Boston!

“Motherless Child” in Philly, “The Call” and “Contraption” in Boston

I’m back now from my trip to Boston to hear the first performance of my George Herbert setting, The Call, as given by Ryan Turner and Emmanuel Music, as well as Christopher Oldfather’s performance of Pure Contraption, Absolute Gift on a Collage New Music program at the Longy School.

The visit was immediately after I played the slow movement of my Piano Quintet with the Daedalus Quartet last Friday night on Penn’s “Wail of the Voice!” concert. The movement is a set of variations, or a “meditation” as I put it in the movement title, on the African-American Spiritual “Sometimes I Feel Like a Motherless Child.” I stick close to the tune for the first two statements, first by high cello over thick, soft piano chords, then by viola, over a simple pizzicato cello line. The next section breaks away from the form of the tune, instead building to a big climax of keening strings over a piano ostinato derived from the tune’s intervals. For the last statement of the theme, the second violin plays the tune one last time, while the first violin is a ghostly shadow of the second, playing in a higher register, more slowly, and in a different key. The lower strings and piano accompany with very soft and gradually sinking clustered harmonies. I was very impressed with the eloquence of all the quartet members throughout, but especially in their solos. I knew the Daedalus to be a superb ensemble, especially from hearing them play my own music. But performing with them let me know in a more intimate way just how fine this group truly is.

Here’s a shot of me with the quartet (Min-Young Kim, Matilda Kaul, Jessica Thompson, and Tom Kraines):

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and here is a picture of the four composers on the “Wail” concert, Anna Weesner, Jay Reise, Mike Fiday and myself:

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After the concert I caught an overnight Amtrak to Boston (thank God for the quiet car), which arrived early enough to let me hang out at a Starbucks reading this before heading over to Emmanuel Church for the first rehearsal of the new motet.

The singers of Emmanuel Music are incredibly fast learners, and I have been rather reckless at throwing challenges at them in the series of motets I have done for them over the years, both in terms of rhythm and pitch. They have never let me down. Ryan Turner’s rehearsal technique is thoughtful and efficient; he knew just what areas to pinpoint and work on. I learn more about the subtleties of the choral medium – the interaction of vowel color and intonation, for example – every time I observe him rehearse.

After rehearsal I enjoyed a tasty lunch at 29 Newbury with Ryan and Emmanuel’s energetic executive director, Pat Krol. Then it was off to meet with John Harbison and try out his Leonard Stein Anagrams, the set of short piano pieces I will be playing on a concert at Penn on February 26. I didn’t play too badly, and John generously overlooked my blunders and praised the things that (accidentally or otherwise) worked OK. Most importantly, I got my questions answered – about how certain notations should be interpreted (for example, a tenuto dash under a slur at the beginning of a phrase can mean a durational accent, not just a dynamic one.)

The next morning’s performance of The Call at the liturgy went well. There were two liturgical events especially worth mentioning. Rector Pamela Werntz preached, and tied in my piece with the gospel reading about Jesus calling the disciples – “listen to the call!” she said, and at that moment, a cell phone rang. The place cracked up. “It’s Jesus calling!” Pam remarked. The other moment was quite touching to me – being prayed for by name as part of the intercessions – thanks to Pam’s spouse, Joy Howard, who offered that petition.

Robert Levin’s recital that afternoon at Harvard’s Sanders Theater was astounding. I followed the scores I had brought for the Harbison 2nd sonata and the Bernard Rands Preludes, and you could have issued the concert as a CD, I don’t think he dropped a note, and the dynamics and articulations were so clearly articulated, you could have taken them down in dictation. That makes his playing sound cold, but it was far from that – the dark power of the Harbison and the exquisite color and lyricism of the Rands were fully present. There were charming and fierce short pieces by Yehudi Wyner and a premiere from a composer new to me, Hans Peter Türk. Here are the principals at a post-concert reception (L to R, Yehudi Wyner, John Harbison, Robert Levin, and Bernard Rands):

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Now it was time for the Collage concert at the Longy School. The expert Collage players capably met the formidable demands of David Lang’s These Broken Wings. Crystallography by Kati Agócs was charming, like a folk music from some hitherto unknown culture. Brenna Wells was the vocal soloist, spinning lilting lines. After intermission, Christopher Oldfather played my piano consortium commission piece, Pure Contraption, Absolute Gift with beauty of sound and no small amount of insight. He had a firm grasp of the character of the pieces. I was delighted by how he was able to clearly delineate multiple layers of events in the music. The warm effusions of Charles Fussell’s Pilgrim Voyage closed the program. I was honored to get some generously positive feedback from colleagues who were in attendance, including Yehudi Wyner and Robert Beaser. Gunther Schuller was there, 88 years old, looking rather frail – yet, he was present at both the Levin recital and the Collage concert. I was touched by his kind comments on my piece, as well as his remembrance of my time at Tanglewood some 30 years ago.

The Boston Musical Intelligencer reports on the Collage concert here.

Wail – 2014 edition and more

I’m taking a break from working on my piece for this to let you know about some upcoming events. It will be a very busy few days at the end of this week. On Friday, January 24, Penn will offer its annual “Wail of the Voice!” program, featuring faculty and alumni composers. There will be music by current faculty Jay Reise, Anna Weesner, and myself, as well as alum Mike Fiday, performed by the Daedalus Quartet, flutist Michele Kelly and pianists Greg DeTurck, Matthew Bengtson, and myself. The concert will be in Rose Recital Hall, on the 4th floor of Fisher-Bennett Hall, found at 34th and Walnut on the Penn campus here in Philadelphia. The 8:00 pm concert will be preceded by a 7:00 pm pre-concert discussion, with Penn grad student Neil Crimes as moderator.

It will be my first time playing piano in a concert performance in quite a while (playing at church or in the classroom is a different matter). The Daedalus and I will offer the slow movement from my 1996 Piano Quintet, a set of variations on “Sometimes I Feel Like a Motherless Child”. As I remarked at rehearsal with the Daedalus, “you guys sound great, and my part is easy”, so this bodes well for a fine performance.

I’ll post the program notes for the Wail! concert during the course of this week. For now, let me point out the rest of my own busy weekend. After the concert at Penn I will take an overnight train to Boston, arriving for a Saturday morning rehearsal of my new setting of The Call, with Emmanuel Music and Ryan Turner conducting. That piece will receive its first performance at Emmanuel Church’s Sunday Eucharist, 10:00 am on January 26. On Sunday evening I will attend Christopher Oldfather’s performance of my consortium commission piano piece, Pure Contraption, Absolute Gift on a Collage New Music concert. It’s an 8:00 pm concert, 7:15 pre-concert chat, this at the Longy School in Cambridge. Between my two Sunday performances, I hope to attend Robert Levin’s piano recital at Harvard, featuring piano works by Wyner, Harbison, Türk, and Rands. And on Saturday afternoon (assuming I haven’t collapsed from lack of sleep on the train) I will meet with John Harbison to try out some of his Leonard Stein Anagrams for him, in preparation for my February 26 performance of them here in Philadelphia.