Glossolalia
The Vast Sea - fahad siadat
The Vast Sea is a product of my recent listening and was deeply influenced by Stockhausen’s masterpiece for sextet, Stimmung, lyrics from flamenco songs, and the Sardinian Tenores di Oniferi. The abstract narrative is a sort of sailor’s tale. The first movement is the swift motion of the ship across the waves and an invocation to Gabriel to show them mercy on their journey. The second movement (entirely sung with tongue tremolo) is the ocean at night, and the last movement is a sea storm. I’ve left ambiguous how the sailors fare at the end of the storm when it finally breaks. - Fahad Siadat
Text
The vast sea
Black waves
Green foam
And Gabriel with
His mercy and joy
The sea, the sea
The passing sea
Black waves, green foam
Sea foam yearning
Green foam yearning
Black sky churning
And Gabriel with
His mercy and joy
About the Composer: Fahad Siadat is a performer and composer specializing in contemporary and experimental music, particularly improvisation and the use of extended vocal techniques. He is co-artistic director of The Resonance Collective in New York, and conductor of the Contemporary Vocal Ensemble at CalArts, where he is pursuing a doctoral degree. An evangelist for contemporary choral music, Fahad is a founding member of C3LA and a board member of C4: The Choral Composer/Conductor Collective in New York. In 2012, he founded See-A- Dot Music Publishing, Inc., a company devoted to the advocacy of new choral works and emerging composers.
Bar xizam - abbie betinis
Alexandra Grabarchuk, Anne Harley, and Fahad Siadat, soloists
Khwajeh Shams al-Din Muhammad Hâfez-e Shirazi (ca. 1320-1390) was born in Shiraz, Persia (Iran). He wrote nearly 400 lyric poems, called ghazals, and is the undisputed master of that particular poetic form. His writing is mystical and based on Sufism, a tradition of Islam that is associated both with the Sunni and Shi'a denominations, as well as other currents of Islam. This particular ghazal, excerpted a bit in this setting, is written on Hâfez's tombstone.
The music has a very specific structure, moving systematically from confinement to freedom. Each singer begins on a hum, which to me depicts confinement: the desire to create something (in this case sound) without the means to see it through (to open one's mouth). Each of the four voice parts begins to explore a very small musical interval and to gradually expand it. At each soloist's cry "Bar xizam!" another voice part is "freed" and joyfully begins to sing scales and glissandi, building into a whirling invocation to the Beloved.
So much of writing music is about studying things close-up. The exact articulations, dynamics, intricacies of text setting…But as I was wondering how best to set this magnificent text to music, I found myself stepping farther and farther back from the page. I began to search of a larger compositional gesture that could paint what I was starting to envision: whole crowds of people, through the centuries even, rising up - whether in the name of religion, social justice, personal healing - all, like Hâfez, longing for something better. So I studied up on the Shepard scale, the auditory illusion of a never-ending rising scale (not unlike M.C. Escher's famous staircase, or the endlessly rising stripes on a barber pole). In one part of this piece, I've tried to recreate that illusion by overlapping a few specific series of rising glissandi, hoping that it gives the impression of these countless souls in their continuous ascent.
This piece is dedicated, with much love, to my parents, John and Emily Betinis, who continue to teach me, by their example, how to rise up. - Abbie Betinis, 2007
Khwajeh Shams al-Din Muhammad Hâfez-e Shirazi (ca. 1320-1390) was born in Shiraz, Persia (Iran). He wrote nearly 400 lyric poems, called ghazals, and is the undisputed master of that particular poetic form. His writing is mystical and based on Sufism, a tradition of Islam that is associated both with the Sunni and Shi'a denominations, as well as other currents of Islam. This particular ghazal, excerpted a bit in this setting, is written on Hâfez's tombstone.
The music has a very specific structure, moving systematically from confinement to freedom. Each singer begins on a hum, which to me depicts confinement: the desire to create something (in this case sound) without the means to see it through (to open one's mouth). Each of the four voice parts begins to explore a very small musical interval and to gradually expand it. At each soloist's cry "Bar xizam!" another voice part is "freed" and joyfully begins to sing scales and glissandi, building into a whirling invocation to the Beloved.
So much of writing music is about studying things close-up. The exact articulations, dynamics, intricacies of text setting…But as I was wondering how best to set this magnificent text to music, I found myself stepping farther and farther back from the page. I began to search of a larger compositional gesture that could paint what I was starting to envision: whole crowds of people, through the centuries even, rising up - whether in the name of religion, social justice, personal healing - all, like Hâfez, longing for something better. So I studied up on the Shepard scale, the auditory illusion of a never-ending rising scale (not unlike M.C. Escher's famous staircase, or the endlessly rising stripes on a barber pole). In one part of this piece, I've tried to recreate that illusion by overlapping a few specific series of rising glissandi, hoping that it gives the impression of these countless souls in their continuous ascent.
This piece is dedicated, with much love, to my parents, John and Emily Betinis, who continue to teach me, by their example, how to rise up. - Abbie Betinis, 2007
Text - Poem by Hâfez (excerpted below)
Waiting, where is the harmony of your voice, so that, free from the desires of this life: I might rise?
I am a dove from paradise, but out of this worldly cage: I shall rise.
If, in your devotion, you call upon me to serve you, then I promise, from the desires of life and this world: I will rise.
O Lord, from the cloud of your grace, let your rain fall over and over,
Before this, from the midst of it all, like a handful of dust: Let me rise.
O rise up, with sweet gesture, and show me your stature: lofty, like the cypress, So that, free from the desires of this life: I may rise.
With dancing feet: I rise. With clapping hands: I rise.
On the day that I die, in the span of a single breath, grant me but a glimpse of you,
And then, like Hafez, free from the desires of life and this world: upward, I rise!
Translated from the Persian by Eric Banks and the composer, after renderings by Michael Boylan and H Wilberforce Clarke.
About the composer: Abbie Betinis (b.1980) writes music called "inventive, richly melodic" (The New York Times) and “superb… whirling, soaring” (Tacoma News Tribune). A 2015 McKnight Artist Fellow, and listed in NPR Music's “100 Composers Under Forty,” she has written over 50 commissioned pieces and has been composer-in-residence with The Schubert Club, The Rose Ensemble and The Singers--Minnesota Choral Artists. She lives in Minnesota, where she is adjunct professor of composition at Concordia University-St Paul.
music for people who like the future - andrew hamilton
Over the course of the work, Hamilton presents, disrupts, and carefully disassembles revered opera giant and notorious anti-semite Richard Wagner's thoughts on what art must be. With musical instructions like "brutal" and "shout aggressively," this work confronts performer and listener alike. The text is punctuated by jarring AMENs, which disrupt mechanical rhythmic patterns and often occur in the middle of another word. Sometimes present in full, sometimes fragmented and rearranged, sometimes stuck in syllabic repetition as though a collective glitch were occurring simultaneously in the heads of all five voices, the text is cast in a new light as the work raises questions about authority and reverence in and out of art. This piece was premiered by NeueVocalsolisten at Theaterhaus Stuttgart in Germany in 2010.
Text
(from "Das Kunstwerk der Zukunft (The Art-Work of the Future)" by Richard Wagner)
Das Kunstwerk in diesem Sinne, als unmittelbarer Lebensakt, ist somit die vollständige Versöhnung der Wissenschaft mit dem Leben, der Siegeskranz, den die besiegte, durch ihre Vesiegung erlöste, dem freudig von ihr erkannten Sieger huldigend darreicht.
Translation
The Art-work, thus conceived as an immediate vital act, is therewith the perfect reconcilement of Science with Life, the laurel-wreath which the vanquished, redeemed by her defeat, reaches in joyous homage to her acknowledged victor.
About the composer: Andrew Hamilton is a composer living and working in Ireland. He was born in Dublin in 1977 and studied in Ireland, England and The Netherlands. His composition teachers included Kevin Volans, Anthony Gilbert and Louis Andriessen. Hamilton has written extensively for the voice as well as for orchestras and chamber ensembles around the globe. His works demonstrate an affection for modernity, a keen self-awareness, and a knack for reading at once playful and somber.
abzu - austin wintory
Most recently (released August 2016), Austin scored the debut title for Giant Squid Studios, ABZÛ. The full score is an ambitious blend of orchestra, choir and large harp ensemble recorded in both the US and the UK. Performed here are the End Titles from this video game, featuring an a cappella chorus (soprano, alto, tenor) singing on neutral syllables. The score, composed over three years as the game slowly took shape, take their inspiration from the striking aquatic visuals and mechanics of the game, as well as the title—a word that “references a concept from the oldest mythologies; it is the combination of the two ancient words AB, meaning ocean, and ZÛ, meaning to know. ABZÛ is the ocean of wisdom.
About the composer: Dubbed “Gaming’s Eclectic Outspoken Maestro” by Game Informer magazine, Austin Wintory has built his career on exploring and curiosity. He studied at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others. In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score.
sense/nonsense - david harris
TJ Sclafani, soloist
Edward Lear’s poetry is, by definition, nonsense. Yet, within his silly, fantastical depictions of a dotty old man, talking tables and chairs, and sugartongs and nutcrackers that ride horses, are morals that speak as loudly as his humor. I’ve chosen these three poems because of the lessons they tell about determination and self-definition in the face of others’ expectation. The Old Man of the West defiantly dons a garment that doesn’t fit, in spite of the perceived eye rolling (even bullying?) of those around him. The Table and Chair, old friends who have always done the same thing in life, decide to take a chance and see what else they might be able to do if they break their habitual existence. They find that their boldness brings about untold adventure, and excites those around them into changing themselves as well. Possibly the most important lesson comes when they find themselves in a difficult place, and someone is there to give them a hand, becoming new friends in the process. The Nutcrackers and Sugartongs seem to be younger, more impetuous friends. Their goals are similar though, to break out of the mold. They fling themselves into life, and by doing so, change in such profound ways that they can never go back to their calm, two-dimensional lives. Their neighbors aren’t quite as excited by their desire to buck authority, but they learn their lesson, and ride off into a new way of being. In his fantasy world, Lear offers a clear motivation to take risks, imagine the impossible, and to trust in yourself and those closest to you. -David Harris, 2016
Edward Lear’s poetry is, by definition, nonsense. Yet, within his silly, fantastical depictions of a dotty old man, talking tables and chairs, and sugartongs and nutcrackers that ride horses, are morals that speak as loudly as his humor. I’ve chosen these three poems because of the lessons they tell about determination and self-definition in the face of others’ expectation. The Old Man of the West defiantly dons a garment that doesn’t fit, in spite of the perceived eye rolling (even bullying?) of those around him. The Table and Chair, old friends who have always done the same thing in life, decide to take a chance and see what else they might be able to do if they break their habitual existence. They find that their boldness brings about untold adventure, and excites those around them into changing themselves as well. Possibly the most important lesson comes when they find themselves in a difficult place, and someone is there to give them a hand, becoming new friends in the process. The Nutcrackers and Sugartongs seem to be younger, more impetuous friends. Their goals are similar though, to break out of the mold. They fling themselves into life, and by doing so, change in such profound ways that they can never go back to their calm, two-dimensional lives. Their neighbors aren’t quite as excited by their desire to buck authority, but they learn their lesson, and ride off into a new way of being. In his fantasy world, Lear offers a clear motivation to take risks, imagine the impossible, and to trust in yourself and those closest to you. -David Harris, 2016
An Old Man of the West
There was an Old Man of the West,
Who wore a pale plum-coloured vest;
When the said, "Does it fit?"
he replied, "Not a bit!"
That uneasy Old Man of the West.
There was an Old Man of the West,
Who wore a pale plum-coloured vest;
When the said, "Does it fit?"
he replied, "Not a bit!"
That uneasy Old Man of the West.
|
The Table and The Chair Said the Table to the Chair, 'You can hardly be aware, 'How I suffer from the heat, 'And from chilblains on my feet! 'If we took a little walk, 'We might have a little talk! 'Pray let us take the air!' Said the Table to the Chair. |
Said the Chair to the table,
'Now you know we are not able!
'How foolishly you talk,
'When you know we cannot walk!'
Said the Table with a sigh,
'It can do no harm to try,
'I've as many legs as you,
'Why can't we walk on two?'
'Now you know we are not able!
'How foolishly you talk,
'When you know we cannot walk!'
Said the Table with a sigh,
'It can do no harm to try,
'I've as many legs as you,
'Why can't we walk on two?'
|
So they both went slowly down,
And walked about the town With a cheerful bumpy sound, As they toddled round and round. And everybody cried, As they hastened to the side, 'See! the Table and the Chair 'Have come out to take the air!' |
|
But in going down an alley,
To a castle in a valley,
They completely lost their way,
And wandered all the day,
Till, to see them safetly back,
They paid a Ducky-quack,
And a Beetle, and a Mouse,
Who took them to their house.
To a castle in a valley,
They completely lost their way,
And wandered all the day,
Till, to see them safetly back,
They paid a Ducky-quack,
And a Beetle, and a Mouse,
Who took them to their house.
|
Then they whispered to each other,
'O delightful little brother! 'What a lovely walk we've taken! 'Let us dine on Beans and Bacon!' So the Ducky and the leetle Browny-Mousy and the Beetle Dined and danced upon their heads Till they toddled to their beds. |
The Nutcrackers and Sugartongs
The Nutcrackers sate by a plate on the table,
The Sugar-tongs sate by a plate at his side;
And the Nutcrackers said, 'Don't you wish we were able
'Along the blue hills and green meadows to ride?
'Must we drag on this stupid existence for ever,
'So idle so weary, so full of remorse,--
'While every one else takes his pleasure, and never
'Seems happy unless he is riding a horse?
'Don't you think we could ride without being instructed?
'Without any saddle, or bridle, or spur?
'Our legs are so long, and so aptly constructed,
'I'm sure that an accident could not occur.
'Let us all of a sudden hop down from the table,
'And hustle downstairs, and each jump on a horse!
'Shall we try? Shall we go! Do you think we are able?'
The Sugar-tongs answered distinctly,'Of course!'
So down the long staircase they hopped in a minute,
The Sugar-tongs snapped, and the Crackers said 'crack!'
The stable was open, the horses were in it;
Each took out a pony, and jumped on his back.
The Cat in a fright scrambled out of the doorway,
The Mice tumbled out of a bundle of hay,
The brown and white Rats, and the black ones from Norway,
Screamed out, 'They are taking the horses away!'
The whole of the household was filled with amazement,
The Cups and the Saucers danced madly about,
The Plates and the Dishes looked out of the casement,
The Saltcellar stood on his head with a shout,
The Spoons with a clatter looked out of the lattice,
The Mustard-pot climbed up the Gooseberry Pies,
The Soup-ladle peeped through a heap of Veal Patties,
And squeaked with a ladle-like scream of surprise.
The Frying-pan said, 'It's an awful delusion!'
The Tea-kettle hissed and grew black in the face;
And they all rushed downstairs in the wildest confusion,
To see the great Nutcracker-Sugar-tong race.
And out of the stable, with screamings and laughter,
(Their ponies were cream-coloured, speckled with brown,)
The Nutcrackers first, and the Sugar-tongs after,
Rode all round the yard, and then all round the town.
They rode through the street, and they rode by the station,
They galloped away to the beautiful shore;
In silence they rode, and 'made no observation',
Save this: 'We will never go back any more!'
And still you might hear, till they rode out of hearing,
The Sugar-tongs snap, and the Crackers say 'crack!'
Till far in the distance their forms disappearing,
They faded away. -- And they never came back!
About the composer: David Harris is the co-founder and director of VoiceScienceWorks (voicescienceworks.org). Together with his partner, Laurel Irene, he helps vocalists learn to translate difficult voice science into immediately applicable tools. He also teaches voice at The American Musical and Dramatic Academy in Hollywood. He has held choral positions at College of the Holy Cross (Boston), Columbia University and the Brooklyn Youth Chorus Academy (New York), and Jubilate and the Boulder Bach Festival (Boulder). He composes primarily for the voice and is published by See-A-Dot Music (seeadot.com). His works draw from the range of techniques and approaches available today, striving in particular to integrate stylistic elements from across genres into a recognizably pleasing, yet new experience. David has the distinct privilege of having been a member of all three choral collectives, C4 (New York), Triad (Boston), and C3LA. www.drdavidharrismusic.org.
tomaraji na kumo (the ceaseless clouds) - jamie klenetsky fay
I have always been amazed by Japanese poetry, especially short poems which are able to convey such complex emotion in one or two phrases. In this poem, the breaking of the clouds signifies the coming of autumn. As one translator of this poem noted, “The key is here that the poet has an attachment to the autumn, even though it is already late, old, ready to disappear.” In my mind, the poet both recognizes the beauty of this moment while mourning summer’s passing.
My goal was to express these disparate feelings - loss, perhaps nostalgia, the vastness of the sky, and the ever-changing, but seemingly static, nature of cloud cover. The piece at once feels static and active, and heavy emphasis is placed on the word “kumo” (cloud).
- Jamie Klenetsky Fay
My goal was to express these disparate feelings - loss, perhaps nostalgia, the vastness of the sky, and the ever-changing, but seemingly static, nature of cloud cover. The piece at once feels static and active, and heavy emphasis is placed on the word “kumo” (cloud).
- Jamie Klenetsky Fay
Text by Fujiwara no Tameie
tomaraji na kumo no hatete ni shitau tomo
amatsu sora naru aki no wakare wa
Yearn as I might for the edge of the ceaseless clouds
The parting of autumn is the vast open sky
-- trans. Samhitha Sreenivasan
About the composer: Jamie Klenetsky Fay is a vocalist and composer. A graduate of Rutgers University, she sings professionally with C4 and as an Artist-in-Residence at the Continuo Arts Foundation, is a founding member of the Red Oak Contemporary Ensemble, and has had roles in Eastern Opera of New Jersey’s Suor Angelica and Cavalleria Rusticana. This summer, she’ll be participating in the Walden School’s Creative Musicians’ Retreat. Jamie’s compositions have been performed by a number of ensembles, including C3LA, C4 and the Seton Hall Chapel Choir. She was a finalist in the San Francisco Choral Artists’ New Voices competition in 2007 and the Javitch Emerging Composers Competition in 2008. Jamie lives in Morristown with her husband Brendan. http://jamieklenetsky.com.
About the composer: Jamie Klenetsky Fay is a vocalist and composer. A graduate of Rutgers University, she sings professionally with C4 and as an Artist-in-Residence at the Continuo Arts Foundation, is a founding member of the Red Oak Contemporary Ensemble, and has had roles in Eastern Opera of New Jersey’s Suor Angelica and Cavalleria Rusticana. This summer, she’ll be participating in the Walden School’s Creative Musicians’ Retreat. Jamie’s compositions have been performed by a number of ensembles, including C3LA, C4 and the Seton Hall Chapel Choir. She was a finalist in the San Francisco Choral Artists’ New Voices competition in 2007 and the Javitch Emerging Composers Competition in 2008. Jamie lives in Morristown with her husband Brendan. http://jamieklenetsky.com.
I hate the moon - amy golden
This piece is about a man who is afraid of Earth's moon and a moon who doesn’t notice the man at all.
Text
“I hate the moon—I am afraid of it—for when it shines on certain scenes familiar and loved it sometimes makes them unfamiliar and hideous.”
from H.P. Lovecraft’s short story, “What the Moon Brings”
About the composer: Amy Golden is a composer, sound artist, and vocalist based in East LA. She creates works for choir, orchestra, and chamber ensembles in addition to site-specific performances and installations, largely focusing on the relationship between sound and object. As a vocalist, Amy specializes in 20th century and contemporary works, experimental music, and improvisation. She holds a BA in music from the University of North Texas and an MFA in composition and vocal performance from the California Institute of the Arts. She is a founding member of C3LA.
three kalinga chants - nilo alcala
The chants in this choral setting are based on the music traditions of the Kalinga tribe who is part of a larger ethnic group called Igorots (Cordillera, Northern Philippines).
Wiyawi is the Kalinga word for lullaby. The sound of the word wiyawi, repeated in the lullaby, is said to effectively lull a baby to sleep especially on a hot afternoon.
Salidumay is a word with no direct translation but is widely used in countless Cordilleran songs that express thanksgiving, worship, and courtship among other positive themes. The gibberish phrase “dang dang ay si dong ilay, insinali-salidumay” is commonly heard in songs during festive occasions and celebration.
Mambayu is a popular rice-pounding song among Kalinga women. The syllables “hiya” and “hng” imitate the sound women make as they pound rice using wooden mortar and pestle. The rhythmic character and tempo of the chant accompanies the task perfectly, making the chore enjoyable.
While Salidumay and half of Mambayu in this setting are fully composed, they draw from the essence of the indigenous chants. All three chants, associated with Kalinga women, are meant as tribute to Philippine National Artist Andrea O. Veneracion who responsible for the growth of Philippine choral arts and its literature, especially of compositions based on indigenous material.
Wiyawi is the Kalinga word for lullaby. The sound of the word wiyawi, repeated in the lullaby, is said to effectively lull a baby to sleep especially on a hot afternoon.
Salidumay is a word with no direct translation but is widely used in countless Cordilleran songs that express thanksgiving, worship, and courtship among other positive themes. The gibberish phrase “dang dang ay si dong ilay, insinali-salidumay” is commonly heard in songs during festive occasions and celebration.
Mambayu is a popular rice-pounding song among Kalinga women. The syllables “hiya” and “hng” imitate the sound women make as they pound rice using wooden mortar and pestle. The rhythmic character and tempo of the chant accompanies the task perfectly, making the chore enjoyable.
While Salidumay and half of Mambayu in this setting are fully composed, they draw from the essence of the indigenous chants. All three chants, associated with Kalinga women, are meant as tribute to Philippine National Artist Andrea O. Veneracion who responsible for the growth of Philippine choral arts and its literature, especially of compositions based on indigenous material.
Text
WIYAWI/LULLABY
Adi ka pay manibi, Ebananta mapudot Wiyawiyawi ebi.
Don’t cry, baby Because it is hot. Wiyawi, baby.
SALIDUMAY
Dang dang ay si dong ilay Insinali-salidumay
(A phrase with no direct translation, usually used in songs for festive occasions and celebrations.)
MAMBAYU
Hiya hiya hiya duwa Agsa gibdang pungdu Hiya hng hiya hng
(Mambayu is a song sung by Kalinga women while pounding rice, hence the gibberish words “hiya hng”, imitating the sound the women make as they do the task.)
About the composer: Nilo Alcala’s compositions and arrangements have been performed in Asia, Europe, Africa, and the Americas. He is the first composer from the Philippines to receive the Aaron Copland House Residency Award (2016-2017), and to be commissioned and premiered by the Grammy-nominated Los Angeles Master Chorale at the Walt Disney Concert Hall. Alcala’s awards also include the POLYPHONOS Young Composer Award from The Esoterics (Seattle, WA), the 2nd Prize Asian Composers League Young Composer Award (Israel), and Ani ng Dangal (Harvest of Honor) from Philippine President An Asian Cultural Council grantee, Alcala is also a Billy Joel Fellow at Syracuse University where he earned an MMus in Composition. He holds a BM in Composition at the University of the Philippines, graduating Magna cum laude. He was member and composer-in-residence of the Philippine Madrigal Singers which premiered his works in international competitions such as the Florilege Vocal de Tours (France) and the European Grand Prix for Choral Singing (Italy).
About the composer: Nilo Alcala’s compositions and arrangements have been performed in Asia, Europe, Africa, and the Americas. He is the first composer from the Philippines to receive the Aaron Copland House Residency Award (2016-2017), and to be commissioned and premiered by the Grammy-nominated Los Angeles Master Chorale at the Walt Disney Concert Hall. Alcala’s awards also include the POLYPHONOS Young Composer Award from The Esoterics (Seattle, WA), the 2nd Prize Asian Composers League Young Composer Award (Israel), and Ani ng Dangal (Harvest of Honor) from Philippine President An Asian Cultural Council grantee, Alcala is also a Billy Joel Fellow at Syracuse University where he earned an MMus in Composition. He holds a BM in Composition at the University of the Philippines, graduating Magna cum laude. He was member and composer-in-residence of the Philippine Madrigal Singers which premiered his works in international competitions such as the Florilege Vocal de Tours (France) and the European Grand Prix for Choral Singing (Italy).
The Vast Sea - by Fahad Siadat
The Vast Sea is a product of my recent listening and was deeply influenced by Stockhausen’s masterpiece for sextet, Stimmung, lyrics from flamenco songs, and the Sardinian Tenores di Oniferi. The abstract narrative is a sort of sailor’s tale. The first movement is the swift motion of the ship across the waves and an invocation to Gabriel to show them mercy on their journey. The second movement (entirely sung with tongue tremolo) is the ocean at night, and the last movement is a sea storm. I’ve left ambiguous how the sailors fare at the end of the storm when it finally breaks. - Fahad Siadat
The Vast Sea is a product of my recent listening and was deeply influenced by Stockhausen’s masterpiece for sextet, Stimmung, lyrics from flamenco songs, and the Sardinian Tenores di Oniferi. The abstract narrative is a sort of sailor’s tale. The first movement is the swift motion of the ship across the waves and an invocation to Gabriel to show them mercy on their journey. The second movement (entirely sung with tongue tremolo) is the ocean at night, and the last movement is a sea storm. I’ve left ambiguous how the sailors fare at the end of the storm when it finally breaks. - Fahad Siadat
Text
The vast sea
Black waves
Green foam
And Gabriel with
His mercy and joy
The sea, the sea
The passing sea
Black waves, green foam
Sea foam yearning
Green foam yearning
Black sky churning
And Gabriel with
His mercy and joy
The vast sea
Black waves
Green foam
And Gabriel with
His mercy and joy
The sea, the sea
The passing sea
Black waves, green foam
Sea foam yearning
Green foam yearning
Black sky churning
And Gabriel with
His mercy and joy
About the Composer: Fahad Siadat is a performer and composer specializing in contemporary and experimental music, particularly improvisation and the use of extended vocal techniques. He is co-artistic director of The Resonance Collective in New York, and conductor of the Contemporary Vocal Ensemble at CalArts, where he is pursuing a doctoral degree. An evangelist for contemporary choral music, Fahad is a founding member of C3LA and a board member of C4: The Choral Composer/Conductor Collective in New York. In 2012, he founded See-A- Dot Music Publishing, Inc., a company devoted to the advocacy of new choral works and emerging composers.
Bar Xizam (Upward I rise) - Abbie Betinis
Alexandra Grabarchuk, Anne Harley, and Fahad Siadat, soloists
Khwajeh Shams al-Din Muhammad Hâfez-e Shirazi (ca. 1320-1390) was born in Shiraz, Persia (Iran). He wrote nearly 400 lyric poems, called ghazals, and is the undisputed master of that particular poetic form. His writing is mystical and based on Sufism, a tradition of Islam that is associated both with the Sunni and Shi'a denominations, as well as other currents of Islam. This particular ghazal, excerpted a bit in this setting, is written on Hâfez's tombstone.
The music has a very specific structure, moving systematically from confinement to freedom. Each singer begins on a hum, which to me depicts confinement: the desire to create something (in this case sound) without the means to see it through (to open one's mouth). Each of the four voice parts begins to explore a very small musical interval and to gradually expand it. At each soloist's cry "Bar xizam!" another voice part is "freed" and joyfully begins to sing scales and glissandi, building into a whirling invocation to the Beloved.
So much of writing music is about studying things close-up. The exact articulations, dynamics, intricacies of text setting…But as I was wondering how best to set this magnificent text to music, I found myself stepping farther and farther back from the page. I began to search of a larger compositional gesture that could paint what I was starting to envision: whole crowds of people, through the centuries even, rising up - whether in the name of religion, social justice, personal healing - all, like Hâfez, longing for something better. So I studied up on the Shepard scale, the auditory illusion of a never-ending rising scale (not unlike M.C. Escher's famous staircase, or the endlessly rising stripes on a barber pole). In one part of this piece, I've tried to recreate that illusion by overlapping a few specific series of rising glissandi, hoping that it gives the impression of these countless souls in their continuous ascent.
This piece is dedicated, with much love, to my parents, John and Emily Betinis, who continue to teach me, by their example, how to rise up. - Abbie Betinis, 2007
Alexandra Grabarchuk, Anne Harley, and Fahad Siadat, soloists
Khwajeh Shams al-Din Muhammad Hâfez-e Shirazi (ca. 1320-1390) was born in Shiraz, Persia (Iran). He wrote nearly 400 lyric poems, called ghazals, and is the undisputed master of that particular poetic form. His writing is mystical and based on Sufism, a tradition of Islam that is associated both with the Sunni and Shi'a denominations, as well as other currents of Islam. This particular ghazal, excerpted a bit in this setting, is written on Hâfez's tombstone.
The music has a very specific structure, moving systematically from confinement to freedom. Each singer begins on a hum, which to me depicts confinement: the desire to create something (in this case sound) without the means to see it through (to open one's mouth). Each of the four voice parts begins to explore a very small musical interval and to gradually expand it. At each soloist's cry "Bar xizam!" another voice part is "freed" and joyfully begins to sing scales and glissandi, building into a whirling invocation to the Beloved.
So much of writing music is about studying things close-up. The exact articulations, dynamics, intricacies of text setting…But as I was wondering how best to set this magnificent text to music, I found myself stepping farther and farther back from the page. I began to search of a larger compositional gesture that could paint what I was starting to envision: whole crowds of people, through the centuries even, rising up - whether in the name of religion, social justice, personal healing - all, like Hâfez, longing for something better. So I studied up on the Shepard scale, the auditory illusion of a never-ending rising scale (not unlike M.C. Escher's famous staircase, or the endlessly rising stripes on a barber pole). In one part of this piece, I've tried to recreate that illusion by overlapping a few specific series of rising glissandi, hoping that it gives the impression of these countless souls in their continuous ascent.
This piece is dedicated, with much love, to my parents, John and Emily Betinis, who continue to teach me, by their example, how to rise up. - Abbie Betinis, 2007
Text - Poem by Hâfez (excerpted below)
Waiting, where is the harmony of your voice, so that, free from the desires of this life: I might rise?
I am a dove from paradise, but out of this worldly cage: I shall rise.
If, in your devotion, you call upon me to serve you, then I promise, from the desires of life and this world: I will rise.
O Lord, from the cloud of your grace, let your rain fall over and over,
Before this, from the midst of it all, like a handful of dust: Let me rise.
O rise up, with sweet gesture, and show me your stature: lofty, like the cypress, So that, free from the desires of this life: I may rise.
With dancing feet: I rise. With clapping hands: I rise.
On the day that I die, in the span of a single breath, grant me but a glimpse of you,
And then, like Hafez, free from the desires of life and this world: upward, I rise!
Translated from the Persian by Eric Banks and the composer, after renderings by Michael Boylan and H Wilberforce Clarke.
Waiting, where is the harmony of your voice, so that, free from the desires of this life: I might rise?
I am a dove from paradise, but out of this worldly cage: I shall rise.
If, in your devotion, you call upon me to serve you, then I promise, from the desires of life and this world: I will rise.
O Lord, from the cloud of your grace, let your rain fall over and over,
Before this, from the midst of it all, like a handful of dust: Let me rise.
O rise up, with sweet gesture, and show me your stature: lofty, like the cypress, So that, free from the desires of this life: I may rise.
With dancing feet: I rise. With clapping hands: I rise.
On the day that I die, in the span of a single breath, grant me but a glimpse of you,
And then, like Hafez, free from the desires of life and this world: upward, I rise!
Translated from the Persian by Eric Banks and the composer, after renderings by Michael Boylan and H Wilberforce Clarke.
About the composer: Abbie Betinis (b.1980) writes music called "inventive, richly melodic" (The New York Times) and “superb… whirling, soaring” (Tacoma News Tribune). A 2015 McKnight Artist Fellow, and listed in NPR Music's “100 Composers Under Forty,” she has written over 50 commissioned pieces and has been composer-in-residence with The Schubert Club, The Rose Ensemble and The Singers--Minnesota Choral Artists. She lives in Minnesota, where she is adjunct professor of composition at Concordia University-St Paul.
music for people who like the future - Andrew Hamilton
Over the course of the work, Hamilton presents, disrupts, and carefully disassembles revered opera giant and notorious anti-semite Richard Wagner's thoughts on what art must be. With musical instructions like "brutal" and "shout aggressively," this work confronts performer and listener alike. The text is punctuated by jarring AMENs, which disrupt mechanical rhythmic patterns and often occur in the middle of another word. Sometimes present in full, sometimes fragmented and rearranged, sometimes stuck in syllabic repetition as though a collective glitch were occurring simultaneously in the heads of all five voices, the text is cast in a new light as the work raises questions about authority and reverence in and out of art. This piece was premiered by NeueVocalsolisten at Theaterhaus Stuttgart in Germany in 2010.
Over the course of the work, Hamilton presents, disrupts, and carefully disassembles revered opera giant and notorious anti-semite Richard Wagner's thoughts on what art must be. With musical instructions like "brutal" and "shout aggressively," this work confronts performer and listener alike. The text is punctuated by jarring AMENs, which disrupt mechanical rhythmic patterns and often occur in the middle of another word. Sometimes present in full, sometimes fragmented and rearranged, sometimes stuck in syllabic repetition as though a collective glitch were occurring simultaneously in the heads of all five voices, the text is cast in a new light as the work raises questions about authority and reverence in and out of art. This piece was premiered by NeueVocalsolisten at Theaterhaus Stuttgart in Germany in 2010.
Text
(from "Das Kunstwerk der Zukunft (The Art-Work of the Future)" by Richard Wagner)
Das Kunstwerk in diesem Sinne, als unmittelbarer Lebensakt, ist somit die vollständige Versöhnung der Wissenschaft mit dem Leben, der Siegeskranz, den die besiegte, durch ihre Vesiegung erlöste, dem freudig von ihr erkannten Sieger huldigend darreicht.
Translation
The Art-work, thus conceived as an immediate vital act, is therewith the perfect reconcilement of Science with Life, the laurel-wreath which the vanquished, redeemed by her defeat, reaches in joyous homage to her acknowledged victor.
(from "Das Kunstwerk der Zukunft (The Art-Work of the Future)" by Richard Wagner)
Das Kunstwerk in diesem Sinne, als unmittelbarer Lebensakt, ist somit die vollständige Versöhnung der Wissenschaft mit dem Leben, der Siegeskranz, den die besiegte, durch ihre Vesiegung erlöste, dem freudig von ihr erkannten Sieger huldigend darreicht.
Translation
The Art-work, thus conceived as an immediate vital act, is therewith the perfect reconcilement of Science with Life, the laurel-wreath which the vanquished, redeemed by her defeat, reaches in joyous homage to her acknowledged victor.
About the composer: Andrew Hamilton is a composer living and working in Ireland. He was born in Dublin in 1977 and studied in Ireland, England and The Netherlands. His composition teachers included Kevin Volans, Anthony Gilbert and Louis Andriessen. Hamilton has written extensively for the voice as well as for orchestras and chamber ensembles around the globe. His works demonstrate an affection for modernity, a keen self-awareness, and a knack for reading at once playful and somber.
Abzu - Austin Wintory
Most recently (released August 2016), Austin scored the debut title for Giant Squid Studios, ABZÛ. The full score is an ambitious blend of orchestra, choir and large harp ensemble recorded in both the US and the UK. Performed here are the End Titles from this video game, featuring an a cappella chorus (soprano, alto, tenor) singing on neutral syllables. The score, composed over three years as the game slowly took shape, take their inspiration from the striking aquatic visuals and mechanics of the game, as well as the title—a word that “references a concept from the oldest mythologies; it is the combination of the two ancient words AB, meaning ocean, and ZÛ, meaning to know. ABZÛ is the ocean of wisdom.
Most recently (released August 2016), Austin scored the debut title for Giant Squid Studios, ABZÛ. The full score is an ambitious blend of orchestra, choir and large harp ensemble recorded in both the US and the UK. Performed here are the End Titles from this video game, featuring an a cappella chorus (soprano, alto, tenor) singing on neutral syllables. The score, composed over three years as the game slowly took shape, take their inspiration from the striking aquatic visuals and mechanics of the game, as well as the title—a word that “references a concept from the oldest mythologies; it is the combination of the two ancient words AB, meaning ocean, and ZÛ, meaning to know. ABZÛ is the ocean of wisdom.
About the composer: Dubbed “Gaming’s Eclectic Outspoken Maestro” by Game Informer magazine, Austin Wintory has built his career on exploring and curiosity. He studied at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others. In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score.
Sense/Nonsense - David Harris
TJ Sclafani, soloist
Edward Lear’s poetry is, by definition, nonsense. Yet, within his silly, fantastical depictions of a dotty old man, talking tables and chairs, and sugartongs and nutcrackers that ride horses, are morals that speak as loudly as his humor. I’ve chosen these three poems because of the lessons they tell about determination and self-definition in the face of others’ expectation. The Old Man of the West defiantly dons a garment that doesn’t fit, in spite of the perceived eye rolling (even bullying?) of those around him. The Table and Chair, old friends who have always done the same thing in life, decide to take a chance and see what else they might be able to do if they break their habitual existence. They find that their boldness brings about untold adventure, and excites those around them into changing themselves as well. Possibly the most important lesson comes when they find themselves in a difficult place, and someone is there to give them a hand, becoming new friends in the process. The Nutcrackers and Sugartongs seem to be younger, more impetuous friends. Their goals are similar though, to break out of the mold. They fling themselves into life, and by doing so, change in such profound ways that they can never go back to their calm, two-dimensional lives. Their neighbors aren’t quite as excited by their desire to buck authority, but they learn their lesson, and ride off into a new way of being. In his fantasy world, Lear offers a clear motivation to take risks, imagine the impossible, and to trust in yourself and those closest to you. -David Harris, 2016
TJ Sclafani, soloist
Edward Lear’s poetry is, by definition, nonsense. Yet, within his silly, fantastical depictions of a dotty old man, talking tables and chairs, and sugartongs and nutcrackers that ride horses, are morals that speak as loudly as his humor. I’ve chosen these three poems because of the lessons they tell about determination and self-definition in the face of others’ expectation. The Old Man of the West defiantly dons a garment that doesn’t fit, in spite of the perceived eye rolling (even bullying?) of those around him. The Table and Chair, old friends who have always done the same thing in life, decide to take a chance and see what else they might be able to do if they break their habitual existence. They find that their boldness brings about untold adventure, and excites those around them into changing themselves as well. Possibly the most important lesson comes when they find themselves in a difficult place, and someone is there to give them a hand, becoming new friends in the process. The Nutcrackers and Sugartongs seem to be younger, more impetuous friends. Their goals are similar though, to break out of the mold. They fling themselves into life, and by doing so, change in such profound ways that they can never go back to their calm, two-dimensional lives. Their neighbors aren’t quite as excited by their desire to buck authority, but they learn their lesson, and ride off into a new way of being. In his fantasy world, Lear offers a clear motivation to take risks, imagine the impossible, and to trust in yourself and those closest to you. -David Harris, 2016
An Old Man of the West
There was an Old Man of the West,
Who wore a pale plum-coloured vest;
When the said, "Does it fit?"
he replied, "Not a bit!"
That uneasy Old Man of the West.
There was an Old Man of the West,
Who wore a pale plum-coloured vest;
When the said, "Does it fit?"
he replied, "Not a bit!"
That uneasy Old Man of the West.
The Table and The Chair
Said the Table to the Chair,
'You can hardly be aware,
'How I suffer from the heat,
'And from chilblains on my feet!
'If we took a little walk,
'We might have a little talk!
'Pray let us take the air!'
Said the Table to the Chair.
Said the Chair to the table,
'Now you know we are not able!
'How foolishly you talk,
'When you know we cannot walk!'
Said the Table with a sigh,
'It can do no harm to try,
'I've as many legs as you,
'Why can't we walk on two?'
Said the Table to the Chair,
'You can hardly be aware,
'How I suffer from the heat,
'And from chilblains on my feet!
'If we took a little walk,
'We might have a little talk!
'Pray let us take the air!'
Said the Table to the Chair.
Said the Chair to the table,
'Now you know we are not able!
'How foolishly you talk,
'When you know we cannot walk!'
Said the Table with a sigh,
'It can do no harm to try,
'I've as many legs as you,
'Why can't we walk on two?'
So they both went slowly down,
And walked about the town
With a cheerful bumpy sound,
As they toddled round and round.
And everybody cried,
As they hastened to the side,
'See! the Table and the Chair
'Have come out to take the air!'
But in going down an alley,
To a castle in a valley,
They completely lost their way,
And wandered all the day,
Till, to see them safetly back,
They paid a Ducky-quack,
And a Beetle, and a Mouse,
Who took them to their house.
And walked about the town
With a cheerful bumpy sound,
As they toddled round and round.
And everybody cried,
As they hastened to the side,
'See! the Table and the Chair
'Have come out to take the air!'
But in going down an alley,
To a castle in a valley,
They completely lost their way,
And wandered all the day,
Till, to see them safetly back,
They paid a Ducky-quack,
And a Beetle, and a Mouse,
Who took them to their house.
Then they whispered to each other,
'O delightful little brother!
'What a lovely walk we've taken!
'Let us dine on Beans and Bacon!'
So the Ducky and the leetle
Browny-Mousy and the Beetle
Dined and danced upon their heads
Till they toddled to their beds.
'O delightful little brother!
'What a lovely walk we've taken!
'Let us dine on Beans and Bacon!'
So the Ducky and the leetle
Browny-Mousy and the Beetle
Dined and danced upon their heads
Till they toddled to their beds.
The Nutcrackers and Sugartongs
The Nutcrackers sate by a plate on the table,
The Sugar-tongs sate by a plate at his side;
And the Nutcrackers said, 'Don't you wish we were able
'Along the blue hills and green meadows to ride?
'Must we drag on this stupid existence for ever,
'So idle so weary, so full of remorse,--
'While every one else takes his pleasure, and never
'Seems happy unless he is riding a horse?
'Don't you think we could ride without being instructed?
'Without any saddle, or bridle, or spur?
'Our legs are so long, and so aptly constructed,
'I'm sure that an accident could not occur.
'Let us all of a sudden hop down from the table,
'And hustle downstairs, and each jump on a horse!
'Shall we try? Shall we go! Do you think we are able?'
The Sugar-tongs answered distinctly,'Of course!'
So down the long staircase they hopped in a minute,
The Sugar-tongs snapped, and the Crackers said 'crack!'
The stable was open, the horses were in it;
Each took out a pony, and jumped on his back.
The Cat in a fright scrambled out of the doorway,
The Mice tumbled out of a bundle of hay,
The brown and white Rats, and the black ones from Norway,
Screamed out, 'They are taking the horses away!'
The whole of the household was filled with amazement,
The Cups and the Saucers danced madly about,
The Plates and the Dishes looked out of the casement,
The Saltcellar stood on his head with a shout,
The Spoons with a clatter looked out of the lattice,
The Mustard-pot climbed up the Gooseberry Pies,
The Soup-ladle peeped through a heap of Veal Patties,
And squeaked with a ladle-like scream of surprise.
The Frying-pan said, 'It's an awful delusion!'
The Tea-kettle hissed and grew black in the face;
And they all rushed downstairs in the wildest confusion,
To see the great Nutcracker-Sugar-tong race.
And out of the stable, with screamings and laughter,
(Their ponies were cream-coloured, speckled with brown,)
The Nutcrackers first, and the Sugar-tongs after,
Rode all round the yard, and then all round the town.
They rode through the street, and they rode by the station,
They galloped away to the beautiful shore;
In silence they rode, and 'made no observation',
Save this: 'We will never go back any more!'
And still you might hear, till they rode out of hearing,
The Sugar-tongs snap, and the Crackers say 'crack!'
Till far in the distance their forms disappearing,
They faded away. -- And they never came back!
The Nutcrackers sate by a plate on the table,
The Sugar-tongs sate by a plate at his side;
And the Nutcrackers said, 'Don't you wish we were able
'Along the blue hills and green meadows to ride?
'Must we drag on this stupid existence for ever,
'So idle so weary, so full of remorse,--
'While every one else takes his pleasure, and never
'Seems happy unless he is riding a horse?
'Don't you think we could ride without being instructed?
'Without any saddle, or bridle, or spur?
'Our legs are so long, and so aptly constructed,
'I'm sure that an accident could not occur.
'Let us all of a sudden hop down from the table,
'And hustle downstairs, and each jump on a horse!
'Shall we try? Shall we go! Do you think we are able?'
The Sugar-tongs answered distinctly,'Of course!'
So down the long staircase they hopped in a minute,
The Sugar-tongs snapped, and the Crackers said 'crack!'
The stable was open, the horses were in it;
Each took out a pony, and jumped on his back.
The Cat in a fright scrambled out of the doorway,
The Mice tumbled out of a bundle of hay,
The brown and white Rats, and the black ones from Norway,
Screamed out, 'They are taking the horses away!'
The whole of the household was filled with amazement,
The Cups and the Saucers danced madly about,
The Plates and the Dishes looked out of the casement,
The Saltcellar stood on his head with a shout,
The Spoons with a clatter looked out of the lattice,
The Mustard-pot climbed up the Gooseberry Pies,
The Soup-ladle peeped through a heap of Veal Patties,
And squeaked with a ladle-like scream of surprise.
The Frying-pan said, 'It's an awful delusion!'
The Tea-kettle hissed and grew black in the face;
And they all rushed downstairs in the wildest confusion,
To see the great Nutcracker-Sugar-tong race.
And out of the stable, with screamings and laughter,
(Their ponies were cream-coloured, speckled with brown,)
The Nutcrackers first, and the Sugar-tongs after,
Rode all round the yard, and then all round the town.
They rode through the street, and they rode by the station,
They galloped away to the beautiful shore;
In silence they rode, and 'made no observation',
Save this: 'We will never go back any more!'
And still you might hear, till they rode out of hearing,
The Sugar-tongs snap, and the Crackers say 'crack!'
Till far in the distance their forms disappearing,
They faded away. -- And they never came back!
About the composer: David Harris is the co-founder and director of VoiceScienceWorks (voicescienceworks.org). Together with his partner, Laurel Irene, he helps vocalists learn to translate difficult voice science into immediately applicable tools. He also teaches voice at The American Musical and Dramatic Academy in Hollywood. He has held choral positions at College of the Holy Cross (Boston), Columbia University and the Brooklyn Youth Chorus Academy (New York), and Jubilate and the Boulder Bach Festival (Boulder). He composes primarily for the voice and is published by See-A-Dot Music (seeadot.com). His works draw from the range of techniques and approaches available today, striving in particular to integrate stylistic elements from across genres into a recognizably pleasing, yet new experience. David has the distinct privilege of having been a member of all three choral collectives, C4 (New York), Triad (Boston), and C3LA. www.drdavidharrismusic.org.
Tomaraji Na Kumo (The Ceaseless Clouds) - Jamie Klenetsky Fay
I have always been amazed by Japanese poetry, especially short poems which are able to convey such complex emotion in one or two phrases. In this poem, the breaking of the clouds signifies the coming of autumn. As one translator of this poem noted, “The key is here that the poet has an attachment to the autumn, even though it is already late, old, ready to disappear.” In my mind, the poet both recognizes the beauty of this moment while mourning summer’s passing.
My goal was to express these disparate feelings - loss, perhaps nostalgia, the vastness of the sky, and the ever-changing, but seemingly static, nature of cloud cover. The piece at once feels static and active, and heavy emphasis is placed on the word “kumo” (cloud).
- Jamie Klenetsky Fay
I have always been amazed by Japanese poetry, especially short poems which are able to convey such complex emotion in one or two phrases. In this poem, the breaking of the clouds signifies the coming of autumn. As one translator of this poem noted, “The key is here that the poet has an attachment to the autumn, even though it is already late, old, ready to disappear.” In my mind, the poet both recognizes the beauty of this moment while mourning summer’s passing.
My goal was to express these disparate feelings - loss, perhaps nostalgia, the vastness of the sky, and the ever-changing, but seemingly static, nature of cloud cover. The piece at once feels static and active, and heavy emphasis is placed on the word “kumo” (cloud).
- Jamie Klenetsky Fay
Text by Fujiwara no Tameie
tomaraji na kumo no hatete ni shitau tomo
amatsu sora naru aki no wakare wa
Yearn as I might for the edge of the ceaseless clouds
The parting of autumn is the vast open sky
-- trans. Samhitha Sreenivasan
About the composer: Jamie Klenetsky Fay is a vocalist and composer. A graduate of Rutgers University, she sings professionally with C4 and as an Artist-in-Residence at the Continuo Arts Foundation, is a founding member of the Red Oak Contemporary Ensemble, and has had roles in Eastern Opera of New Jersey’s Suor Angelica and Cavalleria Rusticana. This summer, she’ll be participating in the Walden School’s Creative Musicians’ Retreat. Jamie’s compositions have been performed by a number of ensembles, including C3LA, C4 and the Seton Hall Chapel Choir. She was a finalist in the San Francisco Choral Artists’ New Voices competition in 2007 and the Javitch Emerging Composers Competition in 2008. Jamie lives in Morristown with her husband Brendan. http://jamieklenetsky.com.
I Hate the Moon - Amy Golden
This piece is about a man who is afraid of Earth's moon and a moon who doesn’t notice the man at all.
This piece is about a man who is afraid of Earth's moon and a moon who doesn’t notice the man at all.
Text
“I hate the moon—I am afraid of it—for when it shines on certain scenes familiar and loved it sometimes makes them unfamiliar and hideous.”
from H.P. Lovecraft’s short story, “What the Moon Brings”
“I hate the moon—I am afraid of it—for when it shines on certain scenes familiar and loved it sometimes makes them unfamiliar and hideous.”
from H.P. Lovecraft’s short story, “What the Moon Brings”
About the composer: Amy Golden is a composer, sound artist, and vocalist based in East LA. She creates works for choir, orchestra, and chamber ensembles in addition to site-specific performances and installations, largely focusing on the relationship between sound and object. As a vocalist, Amy specializes in 20th century and contemporary works, experimental music, and improvisation. She holds a BA in music from the University of North Texas and an MFA in composition and vocal performance from the California Institute of the Arts. She is a founding member of C3LA.
Three Kalinga Chants - Nilo Alcala
The chants in this choral setting are based on the music traditions of the Kalinga tribe who is part of a larger ethnic group called Igorots (Cordillera, Northern Philippines).
Wiyawi is the Kalinga word for lullaby. The sound of the word wiyawi, repeated in the lullaby, is said to effectively lull a baby to sleep especially on a hot afternoon.
Salidumay is a word with no direct translation but is widely used in countless Cordilleran songs that express thanksgiving, worship, and courtship among other positive themes. The gibberish phrase “dang dang ay si dong ilay, insinali-salidumay” is commonly heard in songs during festive occasions and celebration.
Mambayu is a popular rice-pounding song among Kalinga women. The syllables “hiya” and “hng” imitate the sound women make as they pound rice using wooden mortar and pestle. The rhythmic character and tempo of the chant accompanies the task perfectly, making the chore enjoyable.
While Salidumay and half of Mambayu in this setting are fully composed, they draw from the essence of the indigenous chants. All three chants, associated with Kalinga women, are meant as tribute to Philippine National Artist Andrea O. Veneracion who responsible for the growth of Philippine choral arts and its literature, especially of compositions based on indigenous material.
The chants in this choral setting are based on the music traditions of the Kalinga tribe who is part of a larger ethnic group called Igorots (Cordillera, Northern Philippines).
Wiyawi is the Kalinga word for lullaby. The sound of the word wiyawi, repeated in the lullaby, is said to effectively lull a baby to sleep especially on a hot afternoon.
Salidumay is a word with no direct translation but is widely used in countless Cordilleran songs that express thanksgiving, worship, and courtship among other positive themes. The gibberish phrase “dang dang ay si dong ilay, insinali-salidumay” is commonly heard in songs during festive occasions and celebration.
Mambayu is a popular rice-pounding song among Kalinga women. The syllables “hiya” and “hng” imitate the sound women make as they pound rice using wooden mortar and pestle. The rhythmic character and tempo of the chant accompanies the task perfectly, making the chore enjoyable.
While Salidumay and half of Mambayu in this setting are fully composed, they draw from the essence of the indigenous chants. All three chants, associated with Kalinga women, are meant as tribute to Philippine National Artist Andrea O. Veneracion who responsible for the growth of Philippine choral arts and its literature, especially of compositions based on indigenous material.
Text
WIYAWI/LULLABY
Adi ka pay manibi, Ebananta mapudot Wiyawiyawi ebi.
Don’t cry, baby Because it is hot. Wiyawi, baby.
SALIDUMAY
Dang dang ay si dong ilay Insinali-salidumay
(A phrase with no direct translation, usually used in songs for festive occasions and celebrations.)
MAMBAYU
Hiya hiya hiya duwa Agsa gibdang pungdu Hiya hng hiya hng
(Mambayu is a song sung by Kalinga women while pounding rice, hence the gibberish words “hiya hng”, imitating the sound the women make as they do the task.)
About the composer: Nilo Alcala’s compositions and arrangements have been performed in Asia, Europe, Africa, and the Americas. He is the first composer from the Philippines to receive the Aaron Copland House Residency Award (2016-2017), and to be commissioned and premiered by the Grammy-nominated Los Angeles Master Chorale at the Walt Disney Concert Hall. Alcala’s awards also include the POLYPHONOS Young Composer Award from The Esoterics (Seattle, WA), the 2nd Prize Asian Composers League Young Composer Award (Israel), and Ani ng Dangal (Harvest of Honor) from Philippine President An Asian Cultural Council grantee, Alcala is also a Billy Joel Fellow at Syracuse University where he earned an MMus in Composition. He holds a BM in Composition at the University of the Philippines, graduating Magna cum laude. He was member and composer-in-residence of the Philippine Madrigal Singers which premiered his works in international competitions such as the Florilege Vocal de Tours (France) and the European Grand Prix for Choral Singing (Italy).
