Election Eve Miscellany

  • First things first: I hope you are either planning to go vote tomorrow, or are perhaps reading this while waiting in line to do so.
  • Thank you to The Crossing and their conductor Donald Nally for the beautiful first performance they gave of my Marilynne Robinson setting, Carthage. In a ten minute piece, I asked a lot of the group in terms not only of vocal virtuosity, but in variety of expression. They certainly delivered, as they always seem to do. I am very grateful. Unfortunately, no review from the Philadelphia Inquirer.
  • I am struggling hard to make progress on my new piece for the Imani Winds, set for a February premiere in Philly, but to be rehearsed for the first time in December, so there is much to do on the piece this month. At the same time I have been polishing the performance materials for Matins, the work for oboe, strings and chorus that Peggy Pearson and the Cantata Singers will perform in January. Conductor David Hoose has helped me improve the notation – there are a lot more cautionary accidentals in the score than there used to be, for example – and some re-spellings that I am not sure I always agree with. But I have accepted 98% of David’s suggestions and corrections, and am happy to do what I can to make sure the performers can give their best.
  • Suzanne DuPlantis and Laura Ward will perform two of my songs on upcoming Lyric Fest concerts: “Cinder” from Holy the Firm sets a Susan Stewart poem and is my most performed piece; and Bedtime, a Denise Levertov song from nearly 30 years ago, which was later memorably sung by Dawn Upshaw at her Carnegie Hall recital debut. Check the Performances page for more info on all the concerts I am mentioning.
  • Recent and not so recent listening has included:
    • some old George Shearing sides from the 1940s from a Proper box set. I’m afraid this was disappointing, with saccharine ballads and frantic bop solos, though he sometimes hits a sweet spot somewhere in the middle.
    • A 1982 DG disc of Bernstein conducting the Israel Philharmonic in his Divertimento (forgettable), Halil with Rampal (colleagues I respect speak well of this piece, but it didn’t hold me), the Dance Episodes from “On the Town” (delightful) and Rostropovich playing the Three Meditations from “Mass” (it’s not really a cello and orchestra piece. However, like Anne Midgette who wrote about Mass in the Washington Post, I had the piece from which this cello work is extracted memorized before I knew any better, so I find it hard to judge the music now. (I wonder if she was raised Catholic as was I?))
    • A Recital of Intimate Works, which is an album of varied keyboard pieces performed by pianist Andrew Rangell on a 1996 Dorian disc. I am not sure that these pieces all qualify as intimate – not all the movements of Beethoven’s Op. 126 Bagatelles, for example – but it is very freshly programmed. A piano album that includes Froberger, Sweelinck, Messiaen, and Enescu, plus Mozart (the sublime Rondo in A minor) and transcriptions of Bach and Beethoven certainly gets my attention. Beautifully played and recorded.
  • I’ve been greatly enjoying The Library Book by Susan Orlean – it’s great reporting, it’s great writing, it’s great fun, and, perhaps unexpectedly, it’s greatly touching. But this is the writer whose work gave me the text for a moving song, Shadow Memory:

The video is with Mary Mackenzie, soprano and Heidi Louise Williams, piano, who are the fabulous performers on Vocalisms, the new disc from Albany that includes Shadow Memory plus nine more of my songs.

“Waltzing the Spheres” Premiere

I was very moved by Kiera Duffy’s intense and beautiful performances of my new song Waltzing the Spheres at Lyric Fest’s concerts featuring settings of poetry by women this weekend. While Friday’s performance at Bryn Mawr College was very fine, today’s at the Academy of Vocal Arts was even more powerful and emotionally potent. Laura Ward’s piano accompaniment – for my song, and for the entire program – was varied in color, sensitive in timing and nuance. Laura and her Lyric fest colleagues, Randi Marazzo and Suzanne DuPlantis, are experts at devising satisfying programs, and there was a good bit of material with which I was unfamiliar, including songs by Paul Bowles (setting Gertrud Stein), Florence B. Price, and, of all people, Irving Berlin. Baritone Randall Scarlata offered Berlin’s setting of lines from Emma Lazarus’s “The New Colossus” (Give me your tired, your poor…”), this from a 1949 show called “Miss Liberty”. I loved Randy’s interpretation of Ives’ “The Greatest Man”, funny and touching in quick succession. The other very fine singers were tenor Joseph Gaines (his “Visit to St. Elizabeth’s”, text by Elizabeth Bishop, setting by Ned Rorem, was memorably harrowing), mezzo Elizabeth Shammash (charming in both another Bishop setting, this one by Lee Hoiby, and the Bowles mentioned above) and Suzanne herself, touching in a Jake Heggie duet with Elizabeth. There were also premieres by Benjamin Boyle, Douglas Cuomo, Michael Djupstrom, Daron Hagen, and Maurice Wright, and I thought every piece had something to commend it. I shouldn’t overlook the contribution of actress Michelle Eugene, who, for some of the songs, read the poetry before the setting was performed. I was a little skeptical about this idea beforehand, but after hearing it I think it was a good experiment that helped call attention to the poems. Certainly she read beautifully, with thoughtfully considered shadings of the texts.

UPDATE: David Patrick Stearns’s review of the program is here.

Here I am with Kiera:

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and with Laura:

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and here’s a rogue’s gallery of composers (L to R: Maurice Wright, myself, Douglas Cuomo, Michael Djustrom, and Ben Boyle):

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