Ite Missa Est

I just sent the last of the five movements of my Mass for the Day of St. Thomas Didymus to Ken Godel, the superb editor/engraver who is preparing the score to be sent to The Crossing. The premiere is set for 7:30 pm on June 28 at The Icebox, here in Philadelphia. I’ll have more to say about the piece in future posts, but for now, here is the program note I provided in the front matter of the score:

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.

To-Do List

The questionnaireIt isn’t entirely about picking up a pencil and staring at a blank sheet of manuscript paper, this composing thing. As a way of letting you know about some things that are happening soon, here is a list of stuff I have to do in the next 6 weeks or so:

– I have a considerable backlog of scores that are not in as nice shape, graphically speaking, as I would like, and I haven’t yet supplied the master copies of them (well, these days, PDF files) to Theodore Presser Co., my publisher. However, I am slowly addressing the issue with the help of master editor/engraver Ken Godel. Ken has recently sent me files of both the piano/vocal and chamber ensemble versions of my song cycle Holy the Firm, and I am proofing them one more time. I hope to finish this in the next few days.

Bridge Records has sent me the first draft of the booklet for the CD of my vocal music they will be releasing soon. I need to proof this, not only for the content (texts of the songs, bio notes, etc.) but to offer suggestions on the graphic appearance and layout. This needs to be done by this coming Monday.

– The Folger Consort will be performing my Songs and Dances from “The Tempest” in January, and I need to get the score and parts to them by the middle of this month. The varied instrumentation of the piece (it is scored for a wide array of early instruments) will be handled by a different, larger array of performers than was the case at the premiere some 15  years ago, and parts have to be devised to reflect this division of labor.

– In January I will be playing the slow movement, a set of variations on “Sometimes I Feel Like a Motherless Child”, from my Piano Quintet, with the Daedalus Quartet on a program at Penn. Again, that score needs to be cleaned up graphically – my Finale chops have improved a bit since 1996, as has the program itself, of course. The Daedalus wants to see the parts by the beginning of December. (By the way, the Daedalus gave a wonderful concert yesterday at Penn, with works by Schulhoff, Korngold and a rare performance of the Schoenberg Ode to Napoleon, with pianist Charles Abramovic and baritone Randall Scarlatta as narrator. It’s a remarkable piece. Charlie described it to me afterwards as being “as crowd-pleasing as Schoenberg from that period gets.” I had only heard the piece live once before, a performance at Columbia University, with, of all people, Wallace Shawn as narrator.)

– My new song for Lyric Fest on a text by Susan Scott Thompson is also due in December; I want to look it over one more time before sending it in – for once I finished something far enough in advance that I have time to make final adjustments after letting the piece rest for a bit. It’s amazing what you see when you come back to a score after even a few weeks.

Diabolic Diabelli

Now that my piece for the Albany Symphony, “Luminism“, is in the capable hands of Ken Godel, who is computer engraving the score, I can turn my attention to the next project: a contribution to a collection of 25 variations by 25 composers on the theme of Beethoven’s  Diabelli Variations (click on the image at left for an IMSLP link to the score of the Beethoven) to be premiered at the 25th anniversary celebration of Network for New Music here in Philadelphia. The event takes place at the Queen Street branch of the Settlement Music School in Philly, on May 2. Go here to see the list of composers involved; the styles represented are nicely diverse. The title of this post is the title of my piece, and comes from the fact that I have re-imagined the harmony of the theme using stacks of tritones, the good ol’ diabolus in musica, as the theorists tell us.