All Alone

Daniel Felsenfeld had a fine idea on Twitter, inviting composers to list their works for solo performers – an obvious resource for a time of pandemic when we are staying home. I listed my relevant pieces there, but would like to mention there here as well.

There are three solo piano pieces in my catalog. The oldest is Secret Geometry, the same as the name for this blog. This is a piece with pre-recorded electronic sound, what kids these days would call “fixed media” and what I have to stop myself from calling “tape” even though that’s the medium I used at the time to record my MIDI realization of the electronic component. I wrote the piece for the brilliant Aleck Karis, perhaps the pianist I heard most frequently when attending new music concerts during my Columbia days. Aleck is a long time faculty member at UC San Diego. This was the first piece of mine to appear on CD but the label on which it appeared – CRI (Composers Recordings Inc.) no longer exists. However, New World Records has the CRI catalog, and lists a lot of CRI items on its website – not sure how complete the listing is. The album with Secret Geometry is not easy to find on the website; if you search for “primosch” you will only get the all-Primosch cd Icons, which was recorded after Aleck’s album. Despite being an album of pieces for piano and electronic sound, it doesn’t come up when you filter the CRI catalog for electronic music. However, a search for “aleck  karis” will finally yield this page which features sound clips of my piece.

There are two more recent piano pieces. I wrote a big Sonata-Fantasia on a commission from Lambert Orkis who wanted a piece involving both a piano and a Kurzweil synthesizer. Since I knew it was extremely unlikely anyone else would play the piece (for one thing, that model of Kurz was out of production before I finished the piece), I planned on making a portion of the piece work for solo piano. The first movement is a substantial variation set, running about 24 minutes, and it is available from Presser as Piano Variations. The idea of the original version was that ghosts of the piano’s past would be evoked in some of the variations. For example, there is one that refers to Schubert that uses fortepiano samples; a canon with a third free voice – a texture that recalls the Goldberg Variations – uses a harpsichord sample. However, most of the variations employ a more wide-ranging palette of electronic sounds and do not refer to earlier styles. In the piano solo version, earlier keyboard idioms are evoked simply by texture and keyboard layout. You might say the piece becomes variations of the piano as well as variations for piano, though I suppose every substantial variation set does that to some extent. Lambert recorded the entire Sonata for Bridge in its original version, but the piano solo version awaits a first recording. (You should check out the Wernick Sonata #2 on that Bridge album – Dick is a truly under-appreciated master.) Here is a handsomely made video of Anna Kislitsyna’s brilliant performance of the Piano Variations:

While there is presently no CD of the Piano Variations, a second recording of Pure Contraption, Absolute Gift is forthcoming.  This set of five short character pieces or preludes, running about 14 minutes, was recorded for Centaur by the wonderful Youmee Kim; here’s the second movement:

Ryan McCullough has recorded the piece for an Albany disc that I anticipate will be coming out in the next several months. (UPDATE: It comes out May 15!) It includes some songs of mine as well as music of John Harbison. Ryan’s wife Lucy Fitz Gibbon is the soprano on the album, and the performances are fantastic throughout.

I wrote Pure Contraption, Absolute Gift (the title comes from an Auden poem) for a consortium of 12 pianists. Check out a substantial post on the piece here, including score excerpts.

My other solo pieces are early works. There are two pieces with electronic sound: Particles for clarinet, and Aria for oboe. In both cases the electronic component needs some technological attention, so if you are interested, let me know, and I will work on getting together something that is presentable. No electronics are required for my solo violin Variations. Aria is available from what is now called Wise Music Classical. Originally published by Gunther Schuller’s Margun firm, the pieces went to Associated Music (the BMI sibling of G. Schirmer) when Gunther sold the business. Presently, Associated is under the Wise Music Classical umbrella. Wise, unlike Associated, identifies the pieces as being under the Margun imprint, instead of simply being absorbed into Associated. I believe the violin Variations were also in the Margun catalog, but they are not listed on my page at Wise; I will look into that. For the moment be in touch with me if you are interested in a score of the Variations or in Particles.

Music Amid Catastrophe

The deeply frightening election nightmare that has descended leaves little room to talk about artistic matters. And yet, I feel I would be remiss if I did not express my thanks for the recent performances of my music in the past several days.

Cantori New York and the French ensemble Musicatreize gave two vivid performances of my Mass for the Day of St. Thomas Didymus in New York City this past weekend. The combined choirs mastered the intricate layering of the piece, with its settings of both the Latin Ordinary of the Mass and Denise Levertov poems that reflect on the liturgical texts. I felt the singers had internalized the gestures of the piece and projected them to the listeners with authority and nuance.

Overlapping with the Cantori concerts were performances of my Dark the Star with Baritone Tom Meglioranza and the New York New Music Ensemble  This was an astonishing performance; Tom had memorized the piece, a 20-minute work that sets Rilke, Susan Stewart, and a verse from the psalms. Beauty of sound, precision, powerful affect – Tom’s singing had it all. The instrumentalists – Jean Kopperud, clarinet; Stephen Gosling, piano; Chris Finckel, cello; and Daniel Druckman, percussion, with conductor Eduardo Leandro – were no less eloquent.

Here are YouTube links for the pieces: the Mass as performed by The Crossing and Dark the Star with William Sharp and the 21st Century Consort, Christopher Kendall conductor.

Although I was in New York and could not attend, I was happy to learn that mezzo Kristin Gornstein performed one of my Three Folk Hymns this past Sunday as part of her recital at St. Thomas Church in Whitemarsh, not far outside Philadelphia. Her pianist was Derrick Goff. Kristin was very impressive when I heard her give the premiere of Steve Mackey’s Madrigal for voice and percussion at Tanglewood in 2015, and I am delighted she has taken up my music.

In addition to these performances, I want to report that pianist Youmee Kim has recorded my Pure Contraption, Absolute Gift for Centaur Records as part of an album of American piano music. Youmee was a member of the consortium that commissioned the piece, and it is wonderful to have this elegantly performed document of that project. I am not yet finding the album online; Centaur advises checking Arkiv Music or HB Direct for its products, and I expect the disc will be available soon.

 

Upcoming this season in Athens, Tallahassee, and Philadelphia

I want to call your attention to a couple of items recently added to the performances page:

Youmee Kim, a member of the piano faculty at Ohio University in Athens, Ohio, was part of the consortium that commissioned my Pure Contraption, Absolute Gift. She will play the piece in Glidden Hall on the OU campus this coming September 27. I’ve written about the piece here.

– I first met soprano Mary Mackenzie at the Token Creek Chamber Music Festival several years ago when she performed my Three Sacred Songs, and she has since performed my music a number of times. Mary will include that same set of arrangements of chant melodies (Jesu Dulcis Memoria, and Christus Factus Est) and a carol (O Fillii et Filliae) on a program with pianist Heidi Louise Williams at Florida State University in Tallahassee, FL, on November 20. The Three Sacred Songs were later orchestrated for chamber ensemble, with another arrangement added, to make the Four Sacred Songs, which are included on the Bridge Sacred Songs CD. Mary and Heidi are planning a CD that will include several pieces of mine, including the big cycle Holy the Firm, the individual songs Shadow Memory, and Waltzing the Spheres, plus an arrangement of How Can I Keep From Singin’?

Gary White will lead the Philadelphia Sinfonia in my Variations on a Hymn Tune at the Temple Performing Arts Center in Philadelphia, PA, next January 24. I wrote the piece for the Council Rock school district in Bucks County, PA, basing it on a 19th century hymn tune “Ebenezer”, written by Welsh composer Thomas J. Williams. Although I came to know the tune with the text “Through the Night of Doubt and Sorrow”, my music does not reflect that lugubrious title!

Ohio Contraption

I’m happy to report that Youmee Kim, one of the commissioners of my Pure Contraption, Absolute Gift, will be playing the piece at Ohio University in Athens, Ohio, on February 3 of next year. I’ll be attending the concert and will meet with the composition students earlier that day.

UPDATE: I heard from Youmee on December 30 that she has to postpone her performance of Contraption till this coming September, so my visit will be delayed as well.