Soprano Lily Arbisser and pianist Jason Wirth have taken the top prize at the National Federation of Music Clubs Young Artist Competition, held in Jacksonville FL. They included “Deathbeds” from my cycle Holy the Firm as part of their program. I heard them do the piece in NYC not that long ago, and I am not surprised that their performance of it helped bring them this recognition – they pull off that challenging piece with passion and precision. They offered the complete cycle as part of a post-contest program in Sarasota, and will be including my music on upcoming performances booked as part of their competition prize. It means so much to me for these gifted young artists to be taking up my music – a piece that is now 20 years old, though I find that very hard to believe. Here is Lily’s NYC performance.
I’ve been lucky to be at a number of splendid concerts lately:
- The March 27 Philadelphia Chamber Music society recital by Carolin Widmann, violin, and Gloria Chien was memorable for elegant Beethoven and Stravinsky, but especially for a hair-raising Prokofiev First Sonata and a spectacular little piece for unaccompanied violin by Widman’s brother, Jorg. It was a kind of fantasy (a “Paraphrase”, as the title put it) on the Wedding March from Midsummer Night’s Dream by Mendelssohn. From the opening triplet – played by tapping on the body of the violin – to the witty harmonic detours and hairpin turns, this was brilliantly composed and played. The piece is not just a virtuoso turn, but also a piece about virtuosity.
- Jason Wirth and Lily Arbisser did a wonderful job with songs from my cycle Holy the Firm at a program in Manhattan last week. Lily sang with uncommon passion, and the result was a powerfully touching performance. Jason partnered her beautifully, with alert and sensitive pianism.
- This past Sunday Mimi Stillman’s Dolce Suono Ensemble presented a big program featuring important and neglected American repertoire, ranging from the Piston Flute Sonata (flutists, please program the Piston instead of playing the Poulenc or Prokofiev sonatas yet again!) to Richard Wernick’s piano suite called Pieces of Eight. Violinist Miranda Cuckson dazzled in an unaccompanied work by Ralph Shapey. Indeed, the performances were uniformly excellent. Every one of these composers richly deserves a more prominent place on our concert programs.
Here are Dick Wernick (on the right) and Jim Freeman at the panel discussion:
- There was more Wernick at last night’s concert by the Daedalus Quartet with James Austin Smith, oboe and Michael Rusinek, clarinet, as well as works by my Penn colleague Anna Weesner, Penn alum Philip Maneval, and myself. James and members of the Daedalus played my Oboe Quartet with a keen grasp of the work’s varied moods, clearly enjoying the jazzy moments in the last movement.
Pretty eye-catching flyer, no? Come hear Lily Arbisser sing “…That Passeth All Understanding”, “Every Day is a God” and “Deathbeds” from my cycle Holy the Firm, with pianist Jason Wirth. I’ve previously heard them perform parts of H the F splendidly, looking forward to this.
This coming Sunday, pianist Jason Wirth will be holding a soirée at his home studio. It’s a program of contemporary song and will include soprano Lily Arbisser (pictured) doing four of the five songs from my Holy the Firm. This takes place Sunday, Nov. 26 at 6 pm. The address is 101 W. 143rd St. Apt. 20, in Manhattan. A nice coincidence: Lily was a student of Susan Stewart at Princeton, and Susan is the author of “Cinder”, one of the poems I set in Holy the Firm.
Go here for the live stream of the event.
(photo credit: Arielle Doneson)