In honor of International Women’s Day, violinist Ariana Kim has released a video of her performance of Augusta Read Thomas’s Incantation for solo violin (1995). I’ve long loved Incantation – it is one of Thomas’s most beautiful works: poignant, supple, and exquisitely well-paced.
This season (12-13) has many firsts for Orpheus Chamber Orchestra. For their opening concert, Orpheus performs Beethoven’s iconic Fifth Symphony for the first time and, in addition to expanding their traditional repertoire, Orpheus has commissioned a staggering four world premieres this season! (Gabriel Kahane is their composer in residence.)
The season begins with the world premiere of Augusta Read Thomas‘s Earth Echoes, a piece commissioned by Orpheus and written to commemorate the death of Gustav Mahler.
John Clare spoke to Augusta about the new work. The two discuss Mahler, orchestration and the magic of Carnegie Hall. Listen to their conversation on soundcloud.
It will be performed October 10th in Easton, PA; Carnegie Hall on October 11th; and in Storrs, CT at the Jorgensen Center for the Performing Arts October 12th.
I heard the world premiere of Absolute Ocean by Augusta Read Thomas in Houston Thursday night at Jones Hall.
1. Thomas spoke before the concert about her compositional process and specifically about Absolute Ocean. Her talk was engaging, direct and charming; Thomas included showing the audience some of the manuscript score, and explained how 15 seconds of music might take five hours to score by hand!
2. Absolute Ocean is a work for Soprano, Harp and Orchestra in three movements from poetry by ee cummings commissioned by the Houston Symphony. The soloists, soprano Twyla Robinson and harpist Paula Page, performed with conviction and panache – putting the music first without extraneous movement or distractions. The texts were projected (not always coordinated, but hey, they were there!) on each side of the stage and added to the performance.
3. The opening “Graceful” movement was pointilistic and bright. Robinson pulled pitches from nowhere and was matched beautifully by Thomas’ instrumental colors and combinations. Page was often backed by four percussionists and divisi solo strings.
4. Perhaps the most charming of all was the second movement, “Playful, spry and jazzy.” Hans Graf was direct and precise with the orchestra, making it easy for the musicians to move in and out of the lines deftly. Again Robinson caught the feeling perfectly of cummings text and Thomas’ frolicsome and vivacious score. Page was purely color for the most part, but had a chance to shine with a cadenza between this movement and the finale. Evidently this cadenza was added later at Page’s request – which certainly went more to weigh the harp part…I would not call Absolute Ocean a double concerto, but rather an orchestral work for soprano with a prominent harp part. I had heard it referred to as a concerto – and would be disappointed as such – luckily it is such a wonderful work, the nomenclature is not important.
5. “Resonant and elegant” finished the 18 minute work and the short first half (the second half was Mahler’s Fourth Symphony) of the concert. The finale paints the words with creative combinations, and has a satisfying and direct ending. Absolute Ocean is a complete success for the Houston Symphony, and kudos to Graf for adding such a gorgeous work to the symphonic world.
There are two more performances of Absolute Ocean, Saturday night at 8pm and Sunday afternoon at 2:30pm. There is another pre-concert talk Saturday at 7:10pm open to all ticket holders. The 2009-10 season has just been announced for the HSO, and includes another Houston Symphony Commission, for chorus and orchestra by Kevin Puts.