“The Avowal” at Emmanuel

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UPDATE: due to a scheduling issue, this performance of The Avowal has been postponed.

Back in the late 20th century, John Harbison conducted my solo cantata, The Cloud of Unknowing, with Lucy Shelton and the St. Paul Chamber Orchestra. After the concert, John floated the idea of me writing something for Emmanuel Music, (with which John was, and still is, long affiliated) to be sung at an Emmanuel Church Sunday Eucharist. I responded with a setting of Denise Levertov’s poem called “Candlemas”, calling my piece Meditation for Candlemas. The late Craig Smith conducted the premiere. I was told that it was a nice coincidence to have chosen Levertov, as she had attended services at Emmanuel at one time. When I wrote a sequel to the Candlemas piece, I again chose a Levertov poem, “The Avowal”. This 1997 setting will be performed again at Emmanuel, with Ryan Turner conducting, on Sunday, October 15, 2017, as part of the 10 am liturgy. It’s the first event in the triple-header of performances of my music in the Boston area that day. Next week I’ll be posting about the other concerts of that day – the premiere of A Sibyl with Collage New Music, and the Boston premiere of my Quintet for oboe, strings and piano by Winsor Music.

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!

Jamie Jordan at Penn, “Alleluia” at Emmanuel

I am a bit frantic as I work to finish a quintet for oboe + piano quartet (requested by Peggy Pearson, to be premiered at the Chesapeake Chamber Music Festival on June 9), so there is only time for a brief post to say thank you for some recent performances. Jamie Jordan and Steven Beck gave a splendid recital at Penn last week, including excerpts from my Holy the Firm (read more about the program here). Here they are with George Crumb, whose Apparition was a concert highlight. (How it is that Steve read the oversize score for the Crumb off what appeared to be an iPad mini remains a mystery.)

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Holy the Firm was heard in its entirety later last week, as Katie O’Mara, Sarah Cooper, and Rebecca Achtenberg, all students from Westminster Choir College, collaborated with pianist J. J. Penna in a performance as part of the 2017 Art Song Festival at the College. I wasn’t able to attend, but J. J. is such a splendid pianist and admired coach that I am sure the performances were excellent.

On Sunday, Emmanuel Music did my Alleluia on a Ground as part of the weekly Eucharist at Emmanuel Church in Boston. I count myself very lucky to have an ongoing relationship (23 years!) with Emmanuel, with virtuosic performances of my motets in the context of a deeply welcoming community that knows how to listen thoughtfully thanks to decades of Bach cantata performances as an integral part of worship. Thank you to conductor Ryan Turner and all the singers, especially Lorraine Hunt Lieberson Fellow Sarah Yanovitch who was angelic in the little solo near the end of my piece, and spectacular in BWV 51 later in the service.

Rehearsing in the Emmanuel sanctuary:

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Emmanuel Music warming up before the service:

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And the cantata in full flight:

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Three Performances in New England

I’m back now from hearing two performances of my Oboe Quartet as well as one of a choral piece at locations in Boston and New Hampshire.

Spring is finally evident at Boston’s Public Garden:

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That shot was taken on Saturday morning before I strolled over to Emmanuel Church:

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where I attended a rehearsal of my motet One With the Darkness, One With the Light. Ryan Turner conducted this short piece, scored for treble voices only. (Sorry, I don’t have everyone’s name!)

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Later that day I was in Peterborough, New Hampshire to hear Peggy Pearson, oboe, and the Apple Hill String Quartet (Elisa Kuder and Colleen Jennings, violins; Michael Kelley, viola; and Rupert Thompson, cello) play Haydn, Brahms, and my new Oboe Quartet, a Winsor Music commission. The performance was in Bass Hall, a handsome room in the Monadnock Center for History and Culture. (More about their playing below, in connection with their Brookline performance.) I visited a park a short walk from the center while waiting for my takeout dinner from the Peterborough Diner (I recommend the onion rings).

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The motet went very well the next morning at Emmanuel. The performances there are consistently strong, but in this case the brevity of the piece and the use of just the treble voices yielded an exceptionally focussed and detailed performance. By a curious bit of synchronicity, the sermon preached by Rt. Rev. J. Clark Grew made mention of Wendell Berry, a reference Rev. Grew told me later was written in without him knowing that my motet setting a Berry text would be heard that morning. (photo: Elizabeth Richardson)

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Spring – and the Easter season –  was making itself felt inside Emmanuel, in the form of huge paper or maybe fabric flowers suspended over the nave:

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It was nice to see John Harbison at the service (photo: Elizabeth Richardson):

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There was a full house at St. Paul’s in Brookline for a reprise of the previous night’s concert, the last in the Winsor Music Chamber Series for the season. The Haydn was a transcription of Symphony No. 97 that included oboe with the quartet. I thought the arrangement worked well, and especially enjoyed the warm, fluent bass playing of Lawrence Wolfe, who was not at the NH performance. This was now the third time out for these players in my new quartet, and though they sounded great at the premiere, now they had even greater command of the piece. It was a passionate performance, well-received by an audience that filled the church. After intermission there was one of Winsor Music’s “Song for the Spirit” commissions, a brief hymn-like setting of Emily Dickinson’s “Hope is the thing with feathers” composed by Eric Nathan, and intended for audience participation, though mezzo Katie Hoyer’s demonstration of the tune was so lovely that it might have made a few of the listeners hesitate to add their voices on the second go-around. The Brahms Quartet in A minor closed the program, in a performance memorable for its long sweeping lines and elegantly shaped details. Here’s a picture from the reception after the concert (L to R: Mike Kelley, Elise Kuder, myself, Peggy Pearson, Rupert Thompson, Colleen Jennings):

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The next morning there was a cardinal outside my window, waiting to say goodbye:

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I’ll be hearing Peggy do the quartet again on June 18, this time with a different group of string players, at the Chesapeake Chamber Music Festival.

Candlemas in Boston

I just got word of this upcoming performance, unfortunately a little too late for my most recent e-newsletter: Emmanuel Music will do my motet Meditation for Candlemas as part of the 10:00 am Sunday Eucharist at Emmanuel Church in Boston on February 1. Emmanuel Music’s Artistic Director Ryan Turner will conduct.

This piece sets a text by Denise Levertov, and is the first of the eight motets I have written for Emmanuel Church so far, dating back to 1994. Check out the complete list of my choral music here, and listen to recorded excerpts here.

“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.

Gatsby Videos

Go here for a substantial set of videos featuring Emmanuel Music’s Ryan Turner, along with John Harbison and Richard Dyer discussing John’s The Great Gatsby, to be performed by Emmanuel in Boston’s Jordan Hall this coming Sunday, May 12. Of particular interest in the videos are segments where John and Ryan perform excerpts from the piece, illustrating how the same motives and harmonies can be heard in both the synthetic period pop songs and in the main body of the work.

The Albany Symphony’s performance of a suite from The Great Gatsby as part of Carnegie Hall’s Spring for Music festival is tomorrow night, May 7 – tickets here.