Should you find yourself in the vicinity of Potsdam, NY on Tuesday night of this week, I highly recommend to you a concert of four recent works by Crane composer David Heinick, which will be performed by members of the Crane School of Music faculty, beginning at 7:30 p.m. in the Sara M. Snell Music Theater on the SUNY Potsdam campus. Alas, I don’t know Professor Heinick or his music (although I’d like to) but I do know the librettist of one of the three world premieres on the program.
“Chiaroscuro,” a setting of four poems from il Dilemma of Orfeo, by poet/artist/classical scholar/master chef/carpenter and barn raiser Walter Nobile, will be performed by soprano Jill Pearon and mezzo-soprano Lorraine Yaros Sullivan, with Heinick at the piano. Walter (and his wife Marilyn) are among my oldest and dearest friends.
Walter was born to Italian parents in Tripoli, Libya and studied the classics in Libya and Italy. After two years in Madrid, he moved to the United States, where he taught Italian language and literature at the Universities of California (Berkeley), Oregon, and Chicago. Since 2004 he has divided his time between Cecina, Italy, and Potsdam. He is currently working on a new translation of Dante’s “Divine Comedy,” seeking to preserve in English the musicality of the original. I might add that he has almost totally rebuilt his house in Potsdam over the past few years and spent the past summer resurrecting an old barn that most people would have regarded as a “goner” with the help of a couple of Amish lads. Not bad for a man who is pushing the Big 8-0.
Dr. Heinick joined the faculty of the Crane School of Music in 1989. Previously, he taught at St. Mary’s College of Maryland and the University of Maryland-Eastern Shore. He holds degrees from the Eastman School of Music and the Catholic University of America and is the composer of over fifty works for a variety of instrumental and vocal media, ranging from unaccompanied flute to chorus and symphony orchestra. His music is published by SeeSaw Music, Dorn Publications, Nichols Music, and Kendor Music; it has been performed throughout the United States, and broadcast on National Public Radio and the CBC.
Young composer Mohammed Fairouz is not fooling around. Recently hailed by BBC World News as “one of the most talented composers of his generation,” his music melds Middle-Eastern modes and Western structures. A concert on Thursday evening will center around Fairouz’s compositional output. It is being presented by the Issue Project Room at Our Lady of Lebanon Cathedral and will feature pianists Kathleen Supové, Blair McMillen, and Taka Kigawa, mezzo-soprano Blythe Gaissert, soprano Elizabeth Farnum, the Cygnus Ensemble, and the Borromeo String Quartet in their only New York appearance this season.
This concert will include the New York premiere of Fairouz’s The Named Angels, a new 28-minute work in four movements. The Borromeo String Quartet will be performing this premiere. About this piece, Fairouz says, “The Named Angels refers to those angels that are named and recognized in the Islamic, Christian and Jewish traditions: Michael, Israfel, Gabriel and Azrael. Each of the four movements represents a character portrait of a specific Angel.”
The concert is presented by Issue Project Room at Our Lady of Lebanon Cathedral at 113 Remsen Street in Downtown Brooklyn, just a few blocks from IPR. Tickets are $30, $25 for members and students, available at Issue Project Room’s website.
Last Friday, I attended a performance by the Chicago-Based Fifth House Ensemble in Detroit, MI. As I melodramatically declared in my announcement for the concert, this was not a traditional performance, at least for me. The audience sat at cocktail tables, not an auditorium’s seats, there were drinks and snacks, the lights were dimmed, not darkened and anyone could get up at anytime to walk around the space or get a refill on their glass of wine.
Culpability for the evening’s laid back and unusual character lay both with Fifth House and the Detroit Symphony Orchestra, who brought the ensemble to town as part of the Mix @ the Max series, which always features a club-like atmosphere for its concerts regardless of the genre of the program. As Fifth House’s flutist Melissa Snoza explained, the group is used to and, in fact, prefers playing in flexible spaces – venues where people can mingle, nosh and drink before, during and after the concert.
On its own, this decision – to present a chamber concert in a context more relaxed than the standard concert hall – is nothing new to the music scene (though, this was my first interaction with this species of musical presentation). What is quite unique, however, is Fifth House’s style of programming, namely, how they tell a story with animations that is accompanied by a hand-selecting score of pieces. Essentially, Friday’s program was a collaboration between Fifth House and Graphically graphic artist Ezra Claytan Daniels. To put it simply, Mr. Daniels and members of Fifth House conceived the storyline and script, the music was chosen to correspond to the narrative’s scenes and illustrations were created to convey the story. The end product is a multimedia experience equally dependent on its visual and musical components for success.
After the show Friday evening, Ms. Snoza told me how excitedly Fifth House’s audiences have received their ‘narrative’ programs, particularly Black Violet. She described how people attend their concerts with their eyes closed as to only focus on the ensemble’s virtuosity, while others hardly blink as to enjoy Mr. Daniel’s fantastic illustrations to the fullest. The party at my table Friday precisely embodied this bifurcation. One of my friends hardly noticed the third movement of Brahm’s Horn Trio because she was so smitten with the story’s protagonist – an indescribably cute black cat. I, on the other hand, missed parts of the plot because my ears, and eyes, were drawn to the performers.
Long a fixture here at S21 until just a few years ago, composer David Salvage has been busy teaching at Hampden-Sydney College in Virginia. Back in 2010 he conceived the idea of keeping his compositional chops up by starting an open-ended series of piano pieces, called Albumleaves. At the same time David started a blog as an integral part to showcase them, in which each new piece features not only the score but a recorded performance as well. The series is now pushing 90 pieces (!), and some of them have just come out on a recording on the Navona label. It’s an elegant, smartly realized project, and I asked David to give a little recap and backgroud on how it came to be, and what it’s meant to him:
I wanted to write a lot of music; I wanted to play the piano more. And I wanted to write a blog. I figured out how to put these desires together in January 2010, when the idea occurred to me to start a blog that would consist of posts that would be musical instead of verbal, and that would nonetheless reflect the offhand, freewheeling, and autobiographical character of conventional blogs. And now that I had a piano in my home for the first time in twelve years, I was especially fired up to get the project going. The next month, I came up with the title Albumleaves, and, in late March, I began composing the “leaves,” as I thought I’d nickname the posts.
I thought that in order to maintain the blog-like nature of the site the posts would have to be written quickly and manifest a high degree of musical variety. Initially, my goal was to write three leaves every two weeks. While I was only able to maintain this rate for a month or two, the pace of composition remains rapid: in the 139 weeks since beginning Albumleaves, I have completed 89 leaves, which is more than one leaf every two weeks (and there is both an 81a and 81b). As for musical variety, click here, here, and here to hear for yourself. By maintaining variety, the blog remains casual, surprising, and attractive to listeners—and full of fresh challenges for me.
The original vision for the site always went beyond original composition. Since 2010, I’ve been posting recordings of music by other composers—like Federico Mompou—and quotations about music by authors like E.M. Cioran. More recently, I’ve started excerpting from free improvisations that I record and posting them as improvisation fragments.
Over time, I’ve grown more confident about the project’s integrity. Since I listen to such a wide variety of classical music (from Notre Dame organum to twentieth-century atonality with few gaps in between), I’m not concerned by my reluctance to develop a personal style of composition. Writing good pieces is challenge enough for me at the moment; if they do not synthesize their disparate influences into a unique musical voice, I’m not going to worry about it. Nor do I worry anymore about inconsistency of quality: even the greatest composers (and authors and painters and everyone else) produced works of varying quality. And I don’t see how writing quickly or slowly has anything to do with consistency: some of the strongest leaves were written in two hours; some of the weakest took weeks. (And even though it took him much less time to write, Brahms’s second symphony is just as good as his first.) For now, the quality of my playing troubles me more than the quality of my composing: I admit to posting a few sloppy recordings. (Here’s one.) But hopefully the music always comes through anyway.
I am proud of the nine lucky leaves that made it to market on the new CD Lock and Key; they are representative of the site, and I thank Navona Records for their enthusiasm and interest. I also would like to thank the 2,404 unique visitors from 75 countries who have visited the site to listen—though surely it’s not for purely musical reasons that the most popular leaf remains “Manatee.” Happy listening, everyone, and see you at Albumleaf 100!
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.
The event is not a traditional concert. It begins at 6 PM with a cocktail and hors d’oevres hour, which sets the mood for a more informal presentation of the evening’s program and creates an opportunity for concertgoers and the performers to mingle before and after the performance.
I got in touch with Fifth House’s flutist, Melissa Snoza, and asked her about the groups experience with these kind of laid back concerts. She told me:
[T]he cocktail format is definitely something we’re familiar with, especially for this show! When we first presented this series in Chicago during the 2009-2010 season, we staged it at SPACE, which is a flexible cabaret-style venue with a bar, tables, and chairs that we could arrange in any format we liked to suit the experience we wanted to create for the evening…We’re a group that really loves to perform in unexpected spaces and to design concert experiences with our audience at the center of our programming, so we’re delighted that the DSO has staged this performance in the same way that we originally conceived it!
The program tomorrow night is called “Black Violet Act 1”, it is a compilation of several pieces from different time periods presented in Fifth House’s famed ‘narrative’ programming style. Among the works on the docket are two by living composers: Jonathan Keren‘s Hungary is Far Away and my colleague Greg Simon‘s Kites at Seal Rock.
If you are in the Detroit area tomorrow, go check out what is sure to be a fantastic evening of mingling and music. Tickets are $25 in advance, $28 at the door and can be purchased here.
The scuttlebutt around Columbia University’s new senior composer hire seems to be true. As Alex Ross reported on The Rest is Noiseyesterday, Austrian composer Georg Friedrich Haaswill be joining Columbia’s faculty sometime during the 2012-’13 academic year, replacing Tristan Murail, One revels in the possibilities, not only for graduate students in composition, but for the rest of us too; we’ll likely get to hear some terrific programs during his time stateside!
Our friend Thomas Bjørnseth has some terrific musical selections by Haas on his Atonality.Netwebsite, and The Wellesz Theatre is streaming Haas’s 2011 opera Bluthaus in its entirety via YouTube (embed below).
After a long gestation, which included multiple workshops that presented excerpts of the work in progress, this weekend David T. Little’sDog Days will be given its premiere as a full length opera. It is being presented at Montclair State University in Montclair, New Jersey on September 29th through October 7th. Despite all the myriad details to which he’s had to attend in the rehearsals leading up to the performances, David was kind enough to consent to an interview about the bringing this long term project to fruition and some of his other current activities.
Sequenza21: When did you first become aware of the short story on which Dog Days is based? Why did you think it would be a good subject for your first full length opera?
I first encountered the story Dog Days in the film adaptation by Ellie Lee. (The original story is by Judy Budnitz.) I was living in Ann Arbor at the time, and had gotten into the habit if composing each morning with the TV on in the distant background. It would usually start with the previous night’s Daily Show; then, I’d switch to IFC. On one particular day, IFC was showing a shorts program. I happened to look up at a certain moment, and catch a glimpse of Spencer Beglarian (late brother of Eve) playing Prince, the man in a dog suit. I immediately thought: “what the hell” and couldn’t look away, almost obsessively watching the entire film. I filed this piece away, thinking of it as a work I really liked, by an artist I respected, and then sort of moved on with my day. I wrote a song some time later, called “After a Film by Ellie Lee,” about the landscape of Dog Days–and even got to meet Ellie in 2003–but never really thought of making it an opera.
Then in 2008, Dawn Upshaw contacted me and asked if I’d be interested in writing something dramatic–a scena, or opera excerpt–for the Dawn Upshaw/Osvaldo Golijov Workshop at Carnegie Hall. I of course said yes–because that’s what you say to Dawn Upshaw!–and began looking for a libretto. I had written the libretto for Soldier Songs myself, but those were all monologues. This piece was to have characters who needed to have actual dialogue, which I didn’t feel I could handle that as a writer. So I approached Royce Vavrek, who I’d met maybe six months earlier after an American Lyric Theater performance, and we started talking about ideas.
After looking through a number of options, we kept coming back to Dog Days as a piece that just made sense. It was dark, but with these wonderful moments of light. It got into very serious issues–the animal/human divide, issues of choice and consequence, questions of how we treat the least fortunate among us–but without being heavy handed about it. It felt like the perfect story to use for our first adaptation, and it’s proven to be an incredibly rewarding text to write with. (Plus, it had the right number of characters to match the singers we’d been assigned!) We approached Judy Budnitz for permission, she granted it, and we got started. (Judy, by the way, is a really terrific author and unique storyteller. If people don’t know her work, I hope they will check it out.)
What’s been changed or added since presenting scenes of Dog Days at Carnegie Hall?
We added a whole lot! The Zankel presentation was only about 20 minutes, and when we did it at Vox (2010) we had about 30 minutes, having written the aria “Mirror Mirror” for one of American Opera Projects’ Opera Grows in Brooklyn programs in the summer of 2009. But the piece now lasts about 2 hours and 15 minutes with the intermission, so it has more than doubled since those early presentations. Also, a number of the voice types changed. I mentioned that we were assigned the singers for the Carnegie Workshop. We loved all of them, but, as we worked on the libretto, came to feel that some of the voice types weren’t right for whom the characters were becoming. For example, Howard–the father–started off as a tenor, but is now a baritone. So in addition to the new music, we also had a lot of rewrites to the old music. Even after the workshop in April, we continued to rewrite, and have continued to tweak throughout the rehearsal process. We added a character who was not present in the original version (though is present in the story): the Captain, a military officer played by Cherry Duke who brings the two sons back from mischief, and tries to make a devil’s deal with Howard. This aria was written maybe eight months ago.
The last big thing was that we finally have a dog man, played by the amazing John Kelly. In the Carnegie Hall performance, Prince was just not there–since it is not a sung role–so all the singers were singing to an invisible man. That’s changed in the stage version. Works much better now! (more…)
Acclaimed and award-winning ‘new music specialist’ Sarah Plum (right) is giving a recital of new works for violin this Friday (Sept. 28th) at 8 PM at the Firehouse Space in Williamsburg, Brooklyn.
Sarah has dedicated her career to performing the works of living composers and establishing meaningful, collaborative relationships with them – a fact highlighted by her recital’s program which includes pieces by Christopher Adler, Christopher Burns, Matthew Burtner, Laurie Schwartz, Mari Takano and Sarah’s longtime collaborator, Sydney Corbett.
I talked to Sarah about Friday’s concert, her career, working in Europe and other topics related to contemporary music on my web-based music show/podcast, We Are Not Beethoven on Washington Public Radio. You can stream/download our conversation here.
Once again, violinist Sarah Plum is giving a recital at the Firehouse Space in Brooklyn this coming Friday at 8 PM. Tickets are $10, and the Firehouse Space is located at 246 Frost Street in Williamsburg, Brooklyn. More information about the event can be found here.
Should you find yourself in the vicinity of Potsdam, NY on Tuesday night of this week, I highly recommend to you a concert of four recent works by Crane composer David Heinick, which will be performed by members of the Crane School of Music faculty, beginning at 7:30 p.m. in the Sara M. Snell Music Theater on the SUNY Potsdam campus. Alas, I don’t know Professor Heinick or his music (although I’d like to) but I do know the librettist of one of the three world premieres on the program.
