Vocalisms

Vocalisms, the new two-CD set featuring my music as well as works by Harbison, Rorem, and Daniel Crozier, has been released by Albany Records. Soprano Mary Mackenzie and pianist Heidi Louise Williams perform my Shadow Memory (text by Susan Orlean), Waltzing the Spheres (Susan Scott Thompson), Three Folk Hymns (based on How Can I Keep From Singing?, Be Thou My Vision, and What Wondrous Love is This?), and the first recording of the piano version of Holy the Firm, (various authors) the 1999 cycle I wrote for Dawn Upshaw and Gilbert Kalish. There’s a complete track listing at the Albany website.

The album makes a fine survey of contemporary American piano-and-voice song, with a mix of pieces by two senior composers (Rorem and Harbison) along with music by two mid-career types (Dan and myself.) The title comes from the opening piece, Harbison’s Vocalism, a Whitman setting that was commissioned by SongFest, the same organization that commissioned Shadow Memory.

I met Mary when she did my Three Sacred Songs about ten years ago, and she has been a wonderful advocate for my music ever since. Heidi came to my attention through her collaboration with Mary, and, as with Mary, I’ve been thrilled to hear her performances. It’s a wonderful combination of two smart artists who each have a gorgeous sound and superb musicianship. Their partnership is impeccable and they command every mood, whether serene or playful, mysterious or exuberant, often with no small emotional wallop, whether it’s the melancholy of Shadow Memory or the devastating deathbed scene that closes Holy the Firm. I’m profoundly grateful for their work.

I am delighted with the quality of the recording as well, as realized by producer Peter Henderson and engineer Paul Hennerich.

This is Mary’s fourth release on Albany, which says something for their well-justified belief in her merit. I can’t provide a direct link, but go to the Albany website and do an artist search to see her complete list of Albany albums, including the 21st Century Consort’s Cathedral Music, featuring my Sacred Songs and Meditations. And do the same for Heidi, whose Albany releases include a wonderful disc of contemporary American piano music called Drive American. You’ll want to browse the Albany catalog in general – the firm is admirable for its commitment to new music.

While there is a brief soundclip from the new album at the Albany page, you can see videos of Mary and Heidi doing two of the songs from the album here. That page also includes material from the Cathedral Music cd.

The score of Holy the Firm is available from the Theodore Presser Co., while the other songs are available from me directly – just send me a message.

Here are the three of us – Mary on the left – after a 2015 coaching session.

Thank You, Lyric Fest

Last night at Westminster Choir College, Lyric Fest presented a reprise of the program they first offered in Bryn Mawr and Philly this past spring, featuring settings of poetry by American women, and including my “Waltzing the Spheres”, on a text by Susan Scott Thompson. Kelly Ann Bixby, soprano, and Laura Ward, piano, gave a beautifully shaped and deeply touching performance of the piece – indeed, the performances were at a very high level throughout the evening. Thanks also to the CoOPERAtive program for hosting the event, and to the warmly appreciative audience. I am told there will eventually be a video of the concert available online for streaming – will let you know when I hear the details.

“Waltzing” with Lyric Fest

Unknown-1I haven’t been posting for a bit because I have been trying to make progress on my new piece for The Crossing, to be premiered this June here in Philadelphia. But I am lifting up my head from the drafting table to point out that I have a couple of  premieres coming up, one with Lyric Fest, the other with Network for New Music. (I’ll write about the Network piece in a future post.)  Kiera Duffy, soprano (pictured at left), and Laura Ward, piano, will give the first performances of my Waltzing the Spheres at Lyric Fest concerts Friday, March 28, at Bryn Mawr College’s Goodhart Hall (7:30 pm) and at the Academy of Vocal Arts, 1920 Spruce Street in Philadelphia (3:00 pm).

At a moment when the voice and piano recital is said to be something of a tough sell, Lyric Fest, like the New York Festival of Song, SongFusion, and SongFest, is an organization finding a good deal of success in its commitment to the medium. Founders Laura Ward, Suzanne DuPlantis, and Randi Marazzo are expert at devising intriguing programs. The upcoming concerts are devoted to settings of American women poets, with some familiar pieces, some little known, and some brand new – besides myself, Abbie Betinis, Benjamin Boyle, Douglas Cuomo, Michael Djupstrom, Daron Hagen and Maurice Wright will have new pieces done.

My text is by Susan Scott Thompson. I first came across the poem when I heard it recited on a Bill Moyers program very shortly after 9/11. I found the text terrifically touching, and immediately knew that I wanted to set it. It took a little while to track down the poem and the author, but I did eventually get a letter from Susan granting permission to set the poem. Sadly, she died a few years ago, and never got to hear this setting. You can read an article by Susan that includes the poem and discusses the PBS use of “Waltzing” here.

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.

All Saint’s Day Miscellany

– Network for New Music’s season opener is this coming Sunday, Nov. 6 at 7:30 pm at the World Cafe Live in Philadelphia. Program includes music by Ingrid Arauco, Joseph Hallman, Louis Karchin, Thomas Kraines, Andrew Rudin, Arne Running, and Robert Schultz.

– John Harbison talks about his 2nd Symphony here.

– the Library of Congress lets you see Elliott Carter’s sketches for his Piano Sonata, among other pieces,  here.

– visit The Crooked Line to read how extraordinary a place Boston’s Emmanuel Church is, and why it is not a bad idea to have an artistic director who is also a gifted tenor. I have plans for a new Emmanuel motet, too early to let on about details.

– I have just about finished setting this poem for voice and piano, again, more details later.