Posts Tagged “Peabody Conservatory”
Composer Oscar Bettison sent along this report about student opera performances in Baltimore, Maryland.
Opera Etudes at Peabody
Opera Etudes at Peabody
Every other year at Peabody, the month of May means one thing for the composition and opera departments: ‘Opera Etudes.’ This project, which has been running for twenty-five years under the guidance of the Director of Opera Programs Roger Brunyate, is a year-long collaboration between graduate composition students and the opera department. Starting in the fall, composers are paired with librettists and singers to work on the creation of short staged opera scenes. These are then fully staged in Friedberg Hall, the main concert hall at Peabody, as one of the final events of the academic year. Occasionally, time pressures take their toll and some collaborations fall apart before making it to the final stage, but this year all seven projects made it from inception to the stage at Friedberg. As could be expected they were a varied bunch, running the gamut from retelling of fairytales (Jake Runestad) to tense family drama (Emily Koh), from comic opera (Josh Bornstein, Jon Carter, Zhangyi Chen) to darker subjects involving infidelity and murder (Jeff Zeiders, Daniel Gil-Marca).
The purpose of this project is to teach composers how to work with others and to provide them with the tools to create healthy collaborations. So often composers get caught up in the nitty-gritty of pitches and rhythm, failing to see the ramifications of the decisions they make in the real world of performance. The Etudes project is set to address this and to perhaps set in motion new opera collaborations in the future. All of the composers seemed to gain a great deal of experience from the process. In the first place, how often do student composers get to have other musicians spend a year learning and memorizing their work? More fundamentally, in working with all these different elements – librettists, singers and directors – composers start to see how to think in different dimensions as well as how to collaborate; both of which should stand them in good stead for the future.
The commitment from the opera department is crucial. These are always fully committed performances. The singers have, of course memorized the music, but they approach this project in the same way as they would any opera in the repertory and this is fundamentally what is so satisfying about the exercise. Finally, the environment in which the scenes are presented – a packed house in the main concert hall – really makes this feel like an event. I know from personal observation that many music schools round out the year with a big production: but how many do this featuring the music of their own students?
Ultimately all of this bodes well for the future. In years past some of the most successful projects have lead to bigger operas, again put on by the opera department. I wonder how many of this year’s works will lead to new opera productions both at Peabody and elsewhere?
Composer Oscar Bettison teaches at the Peabody Institute of Johns Hopkins University. His music is published by Boosey and Hawkes.
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I’m in Baltimore covering the world (intergalactic) premiere of Judith Lang Zaimont
‘s piano concerto, “Solar Traveller”
with Timothy Hoft
and the Peabody Conservatory Wind Ensemble
led by Harlan Parker
. I caught the dress rehearsal yesterday and a composer masterclass, and will do some interviews today and film the concert tonight
. (There is also Husa’s Music for Prague 1968
and Carolyn Bremer’s Early Light
[based on the Star Spangled Banner] on the program!)
So I was amused to find this
as I was checking news this morning:
(CNN) — Scientists at NASA have discovered a nearly invisible ring around Saturn — one so large that it would take 1 billion Earths to fill it. Its diameter is equivalent to 300 Saturns lined up side to side. And its entire volume can hold one billion Earths, NASA Jet Propulsion Laboratory said late Tuesday. The obvious question: Why did it take scientists so long to discover something so massive?
The ring is made up of ice and dust particles that are so far apart that “if you were to stand in the ring, you wouldn’t even know it,” Verbiscer said in a statement. Also, Saturn doesn’t receive a lot of sunlight, and the rings don’t reflect much visible light. But the cool dust — about 80 Kelvin (minus 316 degrees Fahrenheit) — glows with thermal radiation. NASA’s Spitzer Space Telescope, used to spot the ring, picked up on the heat.
Coincidence? Maybe not. And of course, Zaimont has a charming piano suite “Callisto” based on the moons of Jupiter, as well as other astral works: ASTRAL… a mirror life on the astral plane…; Sky Curtains: Borealis, Australis; and Chroma: Northern Lights. Look for video of the new concerto in an upcoming Composing Thoughts.
Here are the program notes supplied by Zaimont about the new concerto:
I. Outward Bound (10:00)
II. Nocturne (Lunar) (8:40)
III. Ad astra per aspera (6:50)
Concerto “Solar Traveller” is absolute music, following no implicit program. Yet the work and its individual movements carry descriptive titles rather than the more traditional tempo markings. This is because the Concerto is one of several of my works drawing inspiration from the impress upon our consciousness and imagination of the vastness, wonder and beauty of the natural world of sky, season and space. These pieces (all instrumental works) share a dramatic and coloristic emphasis, and their forms are far from traditional. (This inspirational thread began with the twelve solo-piano preludes of A Calendar Set, and continues in similar works, including the orchestral Chroma – Northern Lights and the piano trio ZONES.)
While the Concerto outwardly observes the usual three-movement large form, its individual movements digress in key ways from an orthodox ‘concerto’ template. “Outward Bound” contrasts two themes, one heroic, energetic and the second inward and moody. The motive-filled first theme is announced by the piano and soon becomes a communal statement for soloist and ensemble. When the second theme enters, it too is stated by the piano alone and it remains predominantly soloist’s terrain throughout. Extensive development centers on extrapolations of the heroic theme; to balance, the cadenza is devoted entirely to the second theme. The movement concludes heroically .
“Nocturne (Lunar)” is the soloist’s terrain, punctuated and frequently partnered by the ensemble in music largely expansive, as if in ‘stopped’ time. As it proceeds a tune arises (heard first as a flute solo above quiet piano accompaniment), fashioned from the simplest of materials; each of the tune’s appearances anchors the movement, calming the mercurial, fragmentary outbursts from the piano. At times as desolate and unfamiliar as a lunar landscape, the nocturne eventually calms, concluding serenely.
A driving sprint, “Ad astra per aspera” grows from an insistent rhythmic cell freshened by hemiolas and other cross-rhythms and chromatic clashes. Percussion is spotlighted throughout, and the soloist shifts frequently from foreground to combining with the ensemble — a change of function which in itself becomes textural counterpoint to the forward thrust. A brief respite (trumpet solo) occurs during which the incessant beating disappears, but the essential rhythm returns shortly in full force. Towards the end the Nocturne’s theme enters in the ensemble, in overlapping meter with the soloist, who continues the main drive; just prior to the vehement close a fragment of the heroic first movement is again heard.
The work ties together through a technical feature: Each movement is built from the raw material of a progressively smaller interval.
Outward Bound’s themes are built from 3rds and all of the development highlights that consonant interval. (At one point there is a scale upwards across two-thirds of the keyboard in parallel thirds, played entirely by the left hand). Built from 2nds, the Nocturne achieves its uneasy, fragmentary quality from the clash of 2nds hammered loudly or (stretched to 7ths and 9ths) in glittering scherzo filigree. “To the stars, through adversity” is formed by ultimate compression: pounding unisons. Thus, the Solar Traveller pianist physically experiences the compressive forces and increased tensions we associate with space travel’s incredible speeds, through the analog of progressive intervallic compression throughout the piece.
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