Narucki and Berman at Tufts

43-231708452f2b1da7481ac1d67e2aecf6I just got word that the fabulous duo of soprano Susan Narucki and pianist Donald Berman is giving a program at Tufts this coming Sunday that will include my setting of a Kathleen Norris text, Who Do You Say That I Am?, and two songs from my set of Three Folk Hymns – the ones based on Be Thou My Vision and What Wondrous Love is This? The concert is at 3 pm at the Distler Performance Hall in the Granoff Music Center at Tufts University in Medford, MA – more info here. The program is an attractive one. Susan and Donald are calling it: “Stop Endings: Intimate Songs on Nature, Loss, and Spirituality”. Besides my own material there will be music of Schumann, Zemlinsky, and Kurtág. (Susan coached with the famously demanding Kurtág.)

There’s lots of great stuff from Susan on YouTube, including Carter, Crumb, Davidovsky, Vivier, etc. For a start, here’s her Bridge recording of the third song in my Rilke cycle From a Book of Hours for chamber ensemble and soprano (the piece also exists in the original orchestral version). Christopher Kendall conducts the 21st Century Consort. There’s a perusal score of the chamber version below and the orchestral version is here.  You can hear Donald play piano music of Scott Wheeler here; lots of Ives from Donald on YouTube as well.

(photo credit: Richard Bowditch)

 

Ways of Listening

You may have noticed the link at the end of the recent NY Times review of the Tanglewood performance of my Dark the Star – it takes you to a YouTube posting of a track from the Bridge recording of the piece. The recording is by William Sharp, baritone, the 21st Century Consort, and Christopher Kendall, conductor. You really should pick up a copy of the disc (there are links to do that at the Bridge website), but if you disdain physical media (and paying artists for their work!) and want to hear the piece from the beginning, go here. Dark the Star consists of nine movements played without pause, which means the separate videos for each track of the piece interrupt the flow in disconcerting ways, sometimes in mid-phrase – another reason to spring for the physical disc. The pieces from the Sacred Songs cd featuring soprano Susan Narucki are also on YouTube – here’s the first track from the cycle Holy the Firm.

Another way of listening to my work is to visit the audio excerpts link above. I’ve just posted two items:

– under solo voice, you can find the recent premiere of Shadow Memory, with soprano Lisa Williamson and pianist Rami Sarieddine, recorded at SongFest this past June. The piece is on a text by Susan Orlean.

– under instrumental, you’ll find the Oboe Quartet I wrote for Peggy Pearson and the Apple Hill Quartet, this taken from their performance at St. Paul’s in Brookline, MA this past spring.

And, yes, I was thinking of this title when I titled this post, though not of the book’s content.

Opera News on “Sacred Songs”

A review by Joshua Rosenblum of my Sacred Songs album has appeared on the Opera News website. It’s only available for subscribers, so I’ll just offer a few quotes here:

“Primosch’s text-setting instincts are seemingly unerring: his vocal lines always convey the words authentically and honestly, while the instrumental accompaniment provides added depth and drama…”

“Soprano Susan Narucki, who sings three out of the four cycles, has musical intelligence to spare, as well as a clear, ingratiating delivery and sure intonation…”

“Baritone William Sharp uses his resonant, authoritative voice to provide a gripping, inexorable build…” [in the song cycle Dark the Star]

Corde Natus Ex Parentis” from the cycle Four Sacred Songs, has a straightforward, attractively contoured, plainchant-style melody, but the composer adorns it with imaginatively layered instrumental counterpoint in subsequent verses. “Christus Factus Est” has another clearly tonal melody, but the subtly dissonant leanings of the accompaniment form a painfully apt depiction of Christ on the cross.  Narucki’s performance of this quietly devastating number is a delicate marvel.”

“These songs are unfailingly compelling, whether the musical language is complex or seemingly simple… Christopher Kendall skillfully and sensitively leads the 21st Century Consort, which provides superb accompaniment.”

The Crossing in Mourning

I spent all day today working on my commission for The Crossing, took a break to look at Arts Journal, and saw the news of the death of Crossing member Jeff Dinsmore. My thoughts and prayers are with all concerned, including my friend Susan Narucki who is to be soloist in the same Andriessen performance with the L.A. Phil that The Crossing is preparing for. A message sent out by The Crossing tonight is here. Members of the ensemble talk about the group in this video.

My piece for The Crossing includes settings of poetry by Denise Levertov, including this passage:

O deep, remote unknown,
O deep unknown,
Have mercy upon us.

Sticky post: “Sacred Songs” CD

CD coverThis CD is devoted to my music for voice and ensemble, and has been released by Bridge Records. Susan Narucki and William Sharp are the soloists; Christopher Kendall conducts the 21st Century Consort. It’s available at Amazon and at Arkiv Music. Scroll down for several more posts about the album. A review by Christian B. Carey on the Musical America website is here; another is at Audiophile Audition, by Steven Ritter. Composer Daniel Asia discusses the album at the Huffington Post here.

Sacred Songs: program notes, part II

Here are the program notes for the other two pieces on my new CD on Bridge. (The first installment is here). The pictures below are of the Grammy winning soloists on the disc, Bill Sharp and Susan Narucki.

Dark the Star

Unknown-3Composing this cycle of songs began with my discovery of three poems in Susan Stewart’s collection Columbarium that I knew I must set to music. The deep, dreamlike wisdom of these poems haunted me, just as I had experienced with Susan’s poem “Cinder” that had served as the fulcrum of my song cycle Holy the Firm. Eventually, texts by Rilke and an earlier setting I had done of a psalm verse were drawn into the gravitational orbit of Susan’s poems. I ordered the texts in a nearly symmetrical pattern, with two poems set a second time in versions that shadow their first readings. This is partly for the sake of the formal design, but, more importantly, to re-examine the poems in the penumbra of what comes before. Rounding the cycle in this way reflects not only the circles and repetitions in Susan Stewart’s texts, but also the way in which, as Rilke writes, the things we have let go yet encircle us.

William Sharp and the 21st Century Consort premiered this cycle in 2008.

Holy the Firm

Unknown-2The little anthology of texts dealing with praise and mystery that I have assembled for this song cycle draws upon writings of three twentieth-century American women and a monk of the seventh century Sinai desert. It may be helpful to know that the fifth text is excerpted from a found poem based upon phrases culled from the Dictionary of Last Words edited by Edward S. Le Comte.  The wide-ranging affects of the texts called forth a similar range of musical languages but there are many recurrences, both musical and textual, that bind the songs together.

The cycle’s title is borrowed from that of a book by Annie Dillard that also provided the words for the second song. In that book, Dillard writes: “Esoteric Christianity, I read, posits a substance. It is a created substance, lower than metals and minerals on a ‘spiritual scale’, and lower than salts and earths, occurring beneath salts and earths in the waxy deepness of planets, but never on the surface of planets where men could discern it; and it is in touch with the Absolute at base. In touch with the Absolute! At base. The name of this substance is: Holy the Firm.”

Dawn Upshaw and Gilbert Kalish gave the first performance of the original piano and voice version of Holy the Firm in 1999. I subsequently made this chamber version for Susan Narucki and the 21st Century Consort; those artists gave the premiere in 2002.

Sacred Songs: program notes

My new CD, Sacred Songs, is coming out on Bridge Records this Tuesday. Here are program notes for two of the pieces on the disc – notes on the other two pieces in tomorrow’s post. John Harbison’s  booklet essay for the disc is here. That’s the soloist for these pieces, Susan Narucki, pictured below.

From a Book of Hours 

UnknownThis cycle of songs sets four poems from an early collection by Rilke entitled Das Stundenbuch, or in English, Book of Hours. Although the title refers to a medieval book of prayers for the various times of day and seasons of the liturgical year, Rilke’s texts occupy a position some distance from conventional piety.  There is a melancholy to the spirituality expressed here, which speaks of an experience of God that is fragmentary, imperfect, and unattainable. The solitude evoked in the second song (as layers of busy activity are gradually peeled away) offers some solace, but the third song is very dark and fierce, filled with a desperate, even manic desire for God. The last song returns to the mood of the first, but now in a global rather than individual context. This song, like the set as a whole, speaks of our world’s brokenness, yet strives to stammer fragments of God’s name.

Originally composed in an orchestral version on a commission from the Chicago Symphony, this chamber ensemble version was prepared for Susan Narucki and the 21st Century Consort, with Christopher Kendall conductor, who gave the first performance in 2007.

Four Sacred Songs

When soprano Christine Schadeberg asked me to compose a new work for her 1989 Town Hall recital, she asked for something lighter in tone than my usual style, suggesting that I consider writing some folk song arrangements.  I agreed to the idea of arrangements, but rather than folk songs, I chose three old sacred melodies; the idea of sharing with a concert audience a few of the musical riches that I had encountered in my work as a liturgical musician was particularly attractive. In 1990 I orchestrated these piano and voice songs, adding the second movement which exists only in the chamber ensemble version. The first performance was given by Christine Schadeberg with the ensemble Voices of Change.

The first song, “Jesu Dulcis Memoria”, is a strophic chant hymn with a text by St. Bernard of Clairvaux, the great Cistercian monk and preacher.

I have set “Corde Natus Ex Parentis” using a somewhat free version of the medieval technique known as a mensuration canon: except for a few freely imitative phrases, all the parts have the same melody, but played at different speeds.  For example, the low cello and harp notes mark out the tune at a pace six times slower than the voice.

The chant “Christus Factus Est” appears in the Liber Usualis  as part of the Holy Week liturgy; the melody is unusually wide-ranging and highly melismatic.  The text is part of St. Paul’s famous “Philippians Hymn”, and speaks of the mystery of Christ’s suffering and exaltation.

The origins of the tune for “O Filli et Filliae” are obscure, and may be secular in nature.  The words somewhat discontinuously narrate the Easter story, closing with a call to give praise and thanks to God.

Sacred Songs on Bridge Records

UnknownI’m very happy to report that Bridge Records will be issuing a new CD of my music in early 2014. The disc, to be called Sacred Songs, will bring together four of my pieces for voice and ensemble:

From a Book of Hours sets four poems of Rainer Maria Rilke in German.

– Four Sacred Songs comprises arrangements of old traditional sacred melodies – plainchant as well as metered tunes – with Latin texts.

– Dark the Star brings together texts by Philadelphia-based poet Susan Stewart, Rilke (in German), and a verse from the Psalms (in Latin).

– Holy the Firm sets texts by three American women – Denise Levertov, Annie Dillard, and Susan Stewart – as well as John Climacus, a monk of the 7th century Sinai desert.

The performers are Susan Narucki, soprano, William Sharp, baritone, and the 21st Century Consort, led by Christopher Kendall.

While I am very grateful for every CD of my music, (visit the discography page to get the details on how much I have to be grateful for), this new Bridge project is especially meaningful to me. This is partly because it is the first disc devoted entirely to my vocal music, a medium that has been a major preoccupation of mine in the last two decades. It also documents an especially long-standing relationship with performers who have been among the most consistent advocates of my music. In fact, I think that over a period of more than three decades, Christopher Kendall has conducted and/or programmed my music more than any other musician anywhere!

There is a lot more to say about this album – the pieces, the performers, the process of recording with Curt Wittig and editing with George Blood, the booklet essays by Susan Stewart and John Harbison, and I will be writing about these things in future posts. For now I will leave you with the photo above. This is the interior of St. Henry’s Ecumenical Art Chapel, designed by the firm of Sanaksenaho Architects, and photographed by Jussi Tiainen. This powerful image will be used for the cover of the booklet accompanying Sacred Songs.

Early Heat Wave Miscellany

– First, two links outside the realm of music: I found this very impressive and touching, and this to be right on target.

Prism Quartet concerts are coming up – Thursday, May 31 at Symphony Space in NYC; Saturday, June 2 at First Unitarian in Philadelphia.

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Yesterday I finished a rough draft of the first of the new set of songs I am working on with Susan Stewart – I met Susan this afternoon, played through the draft, and she was pleased with what I’ve done! Now it’s into the studio with George Blood for two editing sessions this week as we attempt to wrestle this 21st Century Consort CD project to the ground – vocal pieces of mine featuring Susan Narucki and William Sharp. Will report on progress later this week.