Thanks to Linda, Robin and Rob for giving such a beautiful concert last night! It’s great to have this ensemble itching to do new compositions. Bravo!
|April 14, 2013|
Bellefield Hall Auditorium, Free
I’m delighted that Pittsburgh trio Animé BOP! will screen Will Zavala’s film Virgil Cantini: The Artist in Public while performing my score for said film live. Will and I have been working closely with Animé BOP! bassoonist Linda Fisher to make some minor revisions to the film and the music so that it’s more suitable to a concert setting. It will run abut 8 1/2 minutes total and include many familiar scenes around the city, clips from Mr. Roger’s neighborhood, and some wonderful glimpses into Cantini’s studio. In short, it’s a film that is truly steeped in Pittsburgh’s cultural life.
Will and I first collaborated in 2009 on the film about Cantini, the founder of Pitt’s Studio Arts program whose sculptures occupy prominent places around the Pittsburgh cityscape. The impetus for the film was the ongoing Artists on Film project cosponsored by Pittsburgh Filmmakers and Pittsburgh Center for the Arts, and we’re delighted that it continues to hold appeal and find new audiences.
Animé BOP! is calling the concert The Pittsburgh Composers and along with Will’s film and my score, it will include Nancy Galbraith’s Incantation & Allegro, James Ogburn’s Complements and Collisions, the premieres of eX (e to the x) by Mark S. Fromm and Semplicemente by Noah Rectenwald, and Robert Frankenberry’s arrangement of Daron Aric Hagen’s Tryst.
I hope you can make it!
|June 4, 2012|
Chandler Hall, Diehn Fine and Performing Arts Center
Old Dominion University
On June 4th in Norfolk, the John Duffy Composers Institute Singers and members of the Virginia Symphony will perform scenes from the world’s finest baroque-metal professional wrestling opera, The Final Battle for Love. I’ve written a brand new scene titled “The Battle Before the Final Battle” and I’ve revised the scene “Starla.” I’m very excited about the new scene because it means that we get to know all the main characters very early on in the opera.
By way of preview, this will be a concert presentation rather than staged with piano. Also on the program is Jake Runestad’s The Toll. Both pieces will be played twice with discussion in between each performance featuring comments by the iconic John Duffy, Robert Cross (director of the Virginia Arts Festival), and music director Alan Johnson.
So as good news goes, this will be hard to top. And it’s only January! I’ve been invited back to the Virginia Arts Festival as a Composer Fellow with the John Duffy Composers Institute. This year, I’ll be a Returning Fellow which is a new program funded by a Mellon Foundation grant that enables the VAF to bring back two Fellows from previous sessions. As a Returning Fellow (Re-Fellow?), I’ll get the chance to have scenes from my opera performed with chamber orchestra accompaniment, which is a magnificent opportunity and a real privilege!
Once again I’ll be presenting scenes from The Final Battle for Love, this time in their fully orchestrated glory. There are some minor revisions I want to make to existing scenes and I have a new scene in mind that I’ve been wanting to write, The Penultimate Battle for Love that will put most of the main characters on stage earlier in the opera, but we’ll see. Regardless of whether I do revised scenes or new material, it will be a blast. Can’t wait!
Really could not be happier with how this premiere came off.
Ryan Day synced his visual art to the audio mix-down. Performed by IonSound Project, audio recording by Chris Boyd, and mixing and mastering by myself. Can you tell how much I dig Ryan’s art for this project? Seeing as I splashed it into my banner? Since even now, I have a still from the video as my desktop image? Just sayin’.
So I just found out from filmaker Will Zavala that a film I scored for him in 2009 will screen this Tuesday night (December 13) as part of Pittsburgh Filmakers monthly Film Kitchen series. The film is called Virgil Cantini: the Artist in Public and it features lots of art around the city that Pittsburghers will likely have seen without realizing who made it. Also, there’s a clip of Cantini talking with King Friday on the Mr. Rogers show! This film has so much Pittsburgh color in it! I felt like I had set part of my city to music when I finished the score!
There’s a reception at 7 p.m. and the films begin at 8 p.m. (So wouldn’t that be a pre-ception?) Tickets are a mere $5, so come out if you can. There’s a nice little preview of the evening in the City Paper this week.
IonSound Project will premiere my multimedia collaboration with Ryan Day, Kecow hit tamen, on November 20 at Bellefield Hall Auditorium. The concert takes place at 7 p.m. and tickets are available at the door. General admission is $15 and student/senior admission is $10. Also on the program are premieres of works by Nizan Leibovich and Christian Kriegeskotte, along with Robert Frankenberry’s transcription of Pictures at an Exhibition. All the compositions were inspired by (or in my case, developed in parallel with) visual art, and the art for each work will be projected on a screen at the back of the stage. The entire evening will be a feast for the ears and the eyes.
About Kecow hit tamen
My father is a member of the Lumbee Tribe of North Carolina, a tribe whose history is far more difficult to ascertain than that of other eastern native peoples. Modern Lumbee trace their ancestry to Eastern Siouan, Cherokee, and Tuscarora, with one of the enduring legends being that the tribe is descended, at least in part, from the intermarriage between members of Raliegh’s Lost Colony and the Hatteras. The Carolina Algonquian phrase “Kecow hit tamen?” means either “What is this?” or “What is your name?” The phrase was recorded by Thomas Hariot during Raliegh’s initial expedition, and, given the competing theories on Lumbee history, seems like an appropriate starting point for my own reflections on that history.
Thomas Hariot’s translations of Carolina Algonquian and additional vocabulary derived from John White’s annotated watercolors supply the best samples we have of the language spoken the by native peoples they encountered. Sadly, only a hundred or so words remain of a much larger effort and these describe mostly the local flora and fauna.
I approached the composition of Kecow hit tamen almost as I would a vocal piece, sketching a melodic fragment for the question itself and for each of Hariot’s and White’s words. These fragments then became the basis for a series of overlapping micro-variations that constitute the instrumental layer. I have not tried to mimic Native American musics in any way, but rather evoke the experience of learning a new language, with the need to say a word in different ways in order to feel where it should be in the mouth and throat. The instrumental layer then, is designed to capture the visceral feeling of exploring new words while the audio samples surround the listener with approximations of how the spoken language might have sounded.
The idea of developing Kecow hit tamen as a multimedia work emerged when my good friend Ryan Day and I were discussing his Translation series of images, works that “translate” texts into color patterns. The idea of a visual artist and composer both working with the same non-narrative text turned out to be a fruitful one, and we developed the piece collaboratively from start to finish. I will leave the detailed description of the art to Ryan, but to me, one of the most exciting aspects of this digital painting is the subtle, continuous animation that transforms the work as the music unfolds.
|March 13, 2011|
Kemper Center Chapel
6501 Third Ave.
My newest composition, Dust: a Lenten Journey, is a song cycle on eight poems by my dear friend Rebecca Engstrom. The work was commissioned by Light of Christ Church in Kenosha, Wisconsin and is scored for soprano, string quartet, and live electronics. The performance will feature the talented soprano Kathryn Peperkorn with Rebecca leading the quartet with her violin, and me triggering audio playback from my laptop. The gorgeous poster for Dust was designed by comic book illustrator Gary Shipman. You can learn more about the project here.
I hope you can join us!
So it’s hard to believe that I still haven’t blogged about my time in Cambridge last August, but that is how this year has been going. I’ve been very busy in mostly good, musically satisfying ways, and now it’s time to catch up on reporting about all that good, musically satisfying activity, so here goes!
From August 8-August 12 I was at Churchill College, Cambridge where I co-directed a symposium and festival hosted by the Centre for Intercultural Musicology at Churchill College, which is directed by Akin Euba, Emeritus Professor of Music at the University of Pittsburgh. Dr. Euba was one of my first professors when I began my graduate studies at Pitt. His course on creative ethnomusicology was one of the formative experiences of my time in grad school and I was also very fortunate to have him on my dissertation committee.
The theme of the symposium and festival at CIMACC was titled Bridging Musicology and Composition: the Golbal Impact of Bartók’s Method. Dr. Dr. László Vikárius was the keynote speaker which was amazing. As the director of the Bartók Archive in Budapest, Dr. Vikárius has an encyclopedic knowledge of Bartók’s influences, methods and contributions. It was a real privilege to learn from this brilliant and gracious man.
Since this was both a symposium and festival, there were papers and performances, all of which dealt with how Bartók’s integration of research into traditional music with his creative output continues to influence composition today. I gave a paper titled “Intercultural Music Through Collaboration: Case Studies in an Emerging Compositional Trend” in which I discussed various collaborative processes for creating new music ranging from the Imani Winds, to Fred Ho, Ravish Momin, and Patrick Burke/Emily Pinkerton. The paper was well received and I got some very helpful feedback.
I was also fortunate to get a fine performance from Roger Zahab and Rob Frankenberry of my 1997 duo for violin and piano, Emergence, a piece in which I derived the rhythms in the driving second movement from my experiences with djimbe drumming. Emergence is an oldy but a goody. I still am very fond of the piece all these years later, and I still want the meditative first movement to be played at my funeral, just not any time soon. It was a good fit for that event and my UK debut to boot!
I’m reasonably sure it will be a long time before I attempt to direct an international conference again (for a lot of reasons!). What a huge amount of effort involved in communicating with everyone in advance, finalizing the program, and adjusting for the inevitable schedule changes that occur when visas don’t make it through, flights are delayed, or someone falls ill! But in the end, everything came together, attendees had a positive experience, and in some small way, what we do at CIMACC helps to push at the boundaries and break down barriers of how we think about composing. It’s a privilege to have played a role in such a forward-looking event.