Composed for the ALIAS Chamber Ensemble Winter 2019 Concert February 24th, Ingram Hall at Blair School of Music, Vanderbilt University, Nashville, TN
English Horn: Jared Hauser Clarinet: Lee Levine Horn in F: Jennifer Kummer
Voice: Patrick Dailey
Violin I: Jun Iwasaki Violin II: Louise Morrison Viola: Marie Winget Cello: Kaitlyn Raitz
“And which one is real? / The music in the composer’s ear / or the lapsed piece the orchestra plays? / The world is a blurred version of itself— / marred, lovely, and flawed. / It is enough.” In my setting of these words from Jane Hirshfield’s Autumn Quince, I tried to portray something of the complexity of daily life, with every note bearing, or at least aware of, the weight of Hirshfield’s opening line: “How sad they are, the promises we never return to.” There are a lot of half-step resolutions, small moments of tension resolved, but not many big cadences or grand resolutions to be found. There’s even some polymodal chromaticism showing up in the interlude in an attempt to portray some of that tension of life lived vs. life hoped for, and realizing there is no other life. In the pensive stillness that fills the room after the words “it is enough” are sung—the singer is instructed in the delivery of this line to convey being thankful/hopeful, not celebratory—followed by a slightly modified restatement of the introduction from the French horn, English horn, and clarinet, I hoped to capture some of that yearning restfulness.
Finishing up a new piece this week for string quartet with two French horns, for the Centennial Park concert series Echo: Chamber Music at the Parthenon (presented by Lockeland Strings). Having fun thinking of ways to play with the seven-second echo in that room. Concert is March 24th.
Happy to have found a first edition copy (1964) of the Gardner Read notation bible to go along with Elaine Gould’s invaluable contribution to the field. If you do anything with music notation, I can’t recommend these highly enough!
First time I’ve been on the radio since that time I worked as a disc jockey for three years in high school! Got to recite Jane Hirshfield’s “Autumn Quince” and play a piano reduction of an excerpt from my setting of it for the ALIAS Chamber Ensemble’s upcoming concert on 91 Classical’s Live in Studio C this afternoon. Fun to be there alongside fellow composers Cristina Spinei, Peter Bradley Adams, and Timbre Cierpke.
I’ve fallen into the habit of pairing the first listen of a much-anticipated album with a good bottle of something fitting. For the release last year of Brandi‘s “by the way, I forgive you” I choose a London Gin because of conversations during the album’s string sessions with engineer @edwardspear about what we were into at the moment. So happy to have been able to do the music prep for arrangers Kristin Wilkinson and the late legendary Paul Buckmaster on the project, and thrilled to see Brandi and the twins winning Grammys for it tonight!
I have loved the Alias Chamber Ensemble since I moved to Nashville (and have seen most of their concerts over the last 13 years) so I’m thrilled to be writing a piece for their next concert in February.