I’m happy to report that my publisher, Theodore Presser, has started putting perusal scores online. The files can’t be downloaded or saved, but you can peruse to your heart’s content. I have two pieces posted so far: Songs for Adam, my song cycle for baritone and orchestra, commissioned by the Chicago Symphony; and Four Sacred Songs, a set of arrangements of chant melodies with Latin texts for mezzo-soprano (or soprano), flute, clarinet, percussion (1 player), harp, violin and cello. Presser did a decent job of posting at least a few items from most of the composers in their big catalog – there are over 450 items here.
I just learned today that soprano Mary Mackenzie will be doing two of my Three Sacred Songs to open a concert by a new group called SongFusion. The musicians include Victoria Browers and Mary Mackenzie, soprano; Michael Kelly, baritone; Liza Stepanova and Kathleen Tagg, piano; with guests: John Romeri, flute; Michael Truesdell, percussion; and Kevork Mourad, visual artist. The concert will take place Monday, February 28th, 8:00pm at the Church of St Jean Baptiste, Lexington Ave at 76th Street in New York. Mary is a fantastic young singer who I first heard when she did the Three Sacreds at the Token Creek Festival a few summers ago. She has been very active doing new music in NYC, including a recent performance with the Da Capo Chamber Players.
With the news about Mary’s performance, I decided to add a page devoted to upcoming performances of my music, and accessible from the tab just below the header above. Here’s a post about my Four Sacred Songs, which incorporate chamber ensemble versions of the Three Sacred Songs.
Orchestra 2001 has posted an excerpt from a rehearsal of my Four Sacred Songs on YouTube. The piece is a set of arrangements of old sacred melodies, sung in Latin, and the clip offers the closing portion of the last song in the set, O Filii et Filiae. The song begins:
O Sons and Daughters, let us sing / The King of heaven, the glorious King / Rose up today, all triumphing.
The rehearsal took place in connection with Orchestra 2001’s performance of the piece earlier this fall. Apart from the fact that it looks like they need to invest in a tripod, it is very nice to have Jamie van Eyck’s (at left) lovely singing documented in this way. Orchestra 2001 artistic director Jim Freeman conducts.