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A lot to catch up on! [Jun. 2nd, 2009|12:41 pm]
2009 seems to be shaping up as a year for choral music -- which is fine by me. Two weeks back I enjoyed the premiere of "Love Speaks Its Name," three choral songs on texts by Willa Cather, Vita Sackville-West, and The Song of Solomon; then two liturgical works of mine for a capella mixed chorus have launched recently as well -- the "Nunc Dimittis" (premiered back in April in Lancaster, but subsequently taken on tour and then around again to Lancaster) and an Orison for Shadyside Church (where I am Artist-in-Residence). I am especially pleased with how the choral songs turned out: they're the first secular choral pieces I've written in some time, and the first with piano accompaniment. The Renaissance City Choirs did a fine job in presenting them, and I'm looking forward to the works getting more mileage. Recordings of all these coming soon.

Speaking of recordings, I'm in the process of deactivating the link on my LISTEN page and replacing it with links to individual MP3 files you can listen to directly. This might take a couple more weeks but it should be happening soon. Once that is done you can simply go the WORKS page and click on any piece listed that has the MP3 icon next to it. A little pop-up window with player controls will appear, and you can listen to the piece in its entirety.

One more note about recordings. The Pittsburgh New Music Ensemble has released a new CD entitled "Against the Emptiness." This disk contains works by Pierre Jalbert, Russell Pinkston, Ryan Francis, and Kevin Puts, and is absolutely gorgeous. I strongly urge you to visit CD Baby or iTunes to download today!

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Well it's Officially Official! [Apr. 29th, 2009|07:27 pm]
JEFFREY NYTCH NAMED DIRECTOR OF CU-BOULDER ENTREPRENEURSHIP CENTER FOR MUSIC

UNIVERSITY OF COLORADO AT BOULDER COLLEGE OF MUSIC PRESS RELEASE

For Immediate Release
April 29, 2009

Jeffrey Nytch has been appointed Director of the Entrepreneurship Center for Music at the University of Colorado at Boulder beginning in August 2009.

"Jeffrey Nytch brings a range of experience as a composer, producer and arts presenter that will serve as a rich resource for our students," said Daniel Sher, Dean of the CU-Boulder College of Music. "His strength as a communicator will also help us to reestablish the Entrepreneurship Center for Music as one of the leading programs of its kind in the country."

The Director of the Entrepreneurship Center for Music is the chief administrative officer of the Center, accountable for its overall management, working in consultation with the Dean and in collaboration with the faculty. The Director teaches graduate and undergraduate courses, provides individual career counseling and mentoring, as well as the leadership to ensure that the Center achieves its mission and meets its program and activity goals.


About Jeffrey Nytch
Jeffrey Nytch comes to the Entrepreneurship Center for Music having built a diverse career as a composer, teacher, performer, and arts administrator. For 15 years he has continually created fresh ways to support and nurture that career, whether it be through developing commissioning opportunities, establishing residencies with community organizations, or building relationships with patrons. He has also run a small business, helped found a non-profit service organization in Houston, performed a wide range of repertoire as a vocalist, and served five years as Managing Director of The Pittsburgh New Music Ensemble ("PNME"), one of the nation's premiere new music ensembles.

A native of Vestal, New York, Nytch completed a bachelors degree at Franklin and Marshall College and earned Masters and Doctoral degrees in composition from Rice University's Shepherd School of Music. His teachers have included John Carbon, Paul Cooper, and Donald Erb.

Hailed by the Pittsburgh Post-Gazette as "both impressive and satisfying," Nytch's music comprises a wide range of works that have been performed at venues throughout the United States and Europe, including Lincoln Center, the Soho Arts Festival, the Breckenridge Music Festival, and many others. His compositions have been performed by such artists as Richard Stoltzman, the Pittsburgh New Music Ensemble, the Ahn Trio, the National Repertory Orchestra, the New York Chamber Symphony, the Seattle Symphony, the Binghamton Philharmonic, and the Slovak Radio Symphony Orchestra. Nytch has received numerous grants, awards and commissions, and his music has been recorded by the Slovak Radio Symphony Orchestra, the Seattle Symphony, and the New York Chamber Symphony.

During his tenure with The Pittsburgh New Music Ensemble, Nytch partnered with visionary Artistic Director Kevin Noe to introduce an innovative new approach to presenting contemporary chamber music, incorporating movement, theatrical lighting, spoken word, video, and costumes to create a unique "theater of music." The new format resulted in a 600% increase in attendance in five years, as well as a doubling of the organization's budget. He still serves on the Board of Directors as Vice President of Artistic Development.

Since leaving PNME, Nytch has held a variety of teaching posts, including Artist Instructor at the Carnegie Mellon University School of Music and Visiting Assistant Professor at Franklin & Marshall College. He also serves as Artist-in-Residence at Pittsburgh's historic Shadyside Presbyterian Church.


About the CU-Boulder Center for Entrepreneurship in Music
The College of Music at the University of Colorado at Boulder opened the Entrepreneurship Center for Music with a grant from the Louis and Harold Price Foundation in 1998. Intending to serve the College's 500+ music students and the national music community, the ECM has a unique program that enhances the College of Music's already exceptional performance based curriculum.

As the concept of teaching music entrepreneurship is extremely new and has not been previously formalized, the ECM is in itself an entrepreneurial endeavor. Since its inception, it has evolved to include a wide variety of content. We offer academic courses in music entrepreneurship, a guest lecture series of entrepreneurs in the arts, and a growing list of web tools. The ECM creates internships and mentoring opportunities, as well as counsel students individually about career options. Whether you are a developing performer or a professional musician, the ECM is a place where you can learn about presenting both you and your art to the world.


About the CU-Boulder College of Music
Since its founding in 1920, the University of Colorado at Boulder College of Music has earned a reputation not only for preparing students for successful careers in music, but also for providing them with an outstanding college education. The College of Music offers seven degree plans and over 23 fields of study, and its programs cover virtually all areas of music. The members of the College of Music's faculty are respected performers, composers, educators, and scholars who take a deep and lasting interest in the students of the College of Music. Internationally renowned artists such as Steven Lord, Marilyn Horne, James Galway, and Wynton Marsalis perform and teach master classes on campus.
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(no subject) [Mar. 4th, 2009|07:59 pm]
Today I had the pleasure of hearing some music of mine that has sat on the shelf for nearly 13 years. I rarely write a piece "on spec." Almost always, I write on commission -- which means I almost always get to hear what I write relatively soon after it's written. But this little anthem, a Nunc Dimittis, was written for no other reason than that it came to me one day. Over the years I've showed it to a number of choral directors, but never managed to get it performed (which is something of a puzzle to me: it's not terribly difficult, it's attractive, it concludes with what I think is, if I do say so myself, a beautiful Palestrina-esque "Amen"). Anyway, the Franklin and Marshall College Chamber Singers are going to take it on tour this spring, and are giving the premiere of the piece this Sunday. (They're also doing my "Song of Peace," an anthem that's had more play than any other of my anthems. Interesting extremes.)

I can't make it Sunday, so I came to a rehearsal today. I never tire of the experience of hearing something I've written for the first time -- particularly when it's performed well (which it was this afternoon). A nice treat.

Next month the F&M Wind Ensemble will be doing a revival of a piece they commissioned the same year the Nunc Dimittis was written. I can't make the performance of my Double Concerto for horn and saxophone, either, but it's nice to get some of my stuff done "back home."

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Final Stimulus Bill Retains Funding for the Arts [Feb. 15th, 2009|02:19 pm]
Stimulus Bill Retains N.E.A. Funding

From The New York Times

To the relief of cultural institutions, the economic-stimulus bill approved by Congress on Friday preserved $50 million in financing for the National Endowment for the Arts. While minuscule by comparison with some other allocations in the bill, it is a hefty sum for the endowment, whose annual budget is $145 million. Sixty percent of the new money will go to individual arts projects competing for N.E.A. funds. The remainder will be be distributed to state arts agencies and regional arts organizations for disbursal.

Leaders of cultural organizations had been on tenterhooks throughout the week. An earlier House version of the stimulus bill had a $50 million allocation for the arts endowment, but it was excluded from the Senate version approved on Tuesday. And a week ago, Senator Tom Coburn, Republican of Oklahoma, had won Senate passage of an amendment he proposed ruling out stimulus money for museums, theaters or art centers. (He lumped them with casinos, golf courses and swimming pools as undeserving.) Under the language approved on Friday, the arts groups were deleted from that portion; the bill does still explicitly rule out money for casinos, golf courses, swimming pools, zoos and aquariums.

Arguing for the $50 million in arts money on the House floor on Friday, Representative David R. Obey, Democrat of Wisconsin, said: "You know what? There are five million people who work in the arts industry. And right now they have 12.5 percent unemployment — or are you suggesting that somehow if you work in that field, it isn't real when you lose your job, your mortgage or your health insurance? We're trying to treat people who work in the arts the same way as anybody else."

= = =

Thanks to [info]starkeee for sending me this article. I had wondered what the final word was on this issue but hadn't tracked down an answer yet. All of us in the arts need to continue to relentlessly make the point that the arts play a vital and significant role in our economy, and are uniquely positioned to have important ripple effects on the local economies they serve. If boneheaded opponents of arts funding can't bring themselves to see the worth of art for its intrinsic value to our society, then they must be made to understand it's also a question of pure economics.
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(no subject) [Feb. 5th, 2009|07:06 pm]
Well they're at it again, folks: Republicans in the Senate have now introduced an amendment to the Stimulus bill prohibiting ANY funding from going to museums, performing arts centers, or any other form of arts funding. This follows attempts in the House to block additional funding for the NEA. As if their anti-intellectual, anti-culture, anti-brain mindset weren't maddening enough, their perennial hostility to arts funding ignores an irrefutable economic reality:

-Nonprofit arts organizations and their audiences generate $166.2 billion in economic activity every year, support 5.7 million jobs, and return nearly $30 billion in government revenue every year.

-Every $1 billion spent by these organizations - and their audiences - results in almost 70,000 full-time equivalent jobs.

So once again, please visit the link below and write your Senators. And thanks!

http://theperformingartsalliance.org/campaign/VoteNOontheCoburnLimitationonFundsAmendme
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(no subject) [Jan. 20th, 2009|11:46 pm]
The past few days have been filled with music in so many ways; there is so much to write about that I am torn between efficient bullet points or paring down my topics to just a few. Maybe I'll try to split the difference.... :)

~ Saturday was spent helping judge Pittsburgh New Music Ensemble's biennial Harvey Gaul Composition Competition. This was the third competition I've participated in, and I can truly say that each time the overall level of submissions has risen considerably. This year it was particularly true: we enjoyed a very rich collection of possibilities. We haven't made the public announcement yet, so all I'll say at this point is that I think we made a terrific choice.

I find it interesting what composers decide to submit to competitions, though, and how they go about putting their application together. I would say that easily 90% of the pieces we looked at started slow and quiet, which is just not a good idea: we have over 100 submissions; it's not possible to listen to every piece in its entirety (at least at the beginning). You've got to send something that is going to grab our attention right off the bat. I was also amazed (as I always am) at the number of composers who submit a CD with multiple tracks on it but no labeling; or who will mark excerpts in the score with a post-it note but provide no indication of where to find those excerpts on the CD. There are also always a few who simply send a CD that contains a different piece than the scores. Do these folks stop to think, even for a moment, how their submission is going to be viewed? Composers sure are good at shooting themselves in the foot!


~ Saturday evening it was off to the PSO with guest conductor John Adams conducting Britten's Sinfonia da Requiem and two of his own works, his 9/11 piece On the Transmigration of Souls, and his Doctor Atomic Symphony (utilizing music from the opera).

The Britten is, in my view, a grossly underrated masterpiece. While I don't think Adams conducted it particularly well (the opening movement lacked the kind of horizontal tension required to make the climaxes really fire), the bittersweet melodies of the final movement were undiminished. I always felt this piece was an incredibly important step in Britten's development, that through it he was really coming into his own -- you can hear that Peter Grimes is just around the corner.

On the Transmigration of Souls was incredibly moving and powerful. Rather than trying to proscribe a road to healing, he simply created a space for the listener to reflect -- a space of contemplation and poignancy. And just when it needed to, it opened up in such a way that transported me out of that contemplative place and into a kind of transcendent hope. As the chorus kept repeating Light! Light! Light!, over and over again, I felt my breath literally taken away. I can't remember the last time I was so arrested by a piece of music.

As for Doctor Atomic, I ended up feeling the same about it that I did about the opera. With this piece I am presented with two apparently contradictory reactions: on the one hand, the music is clearly the work of a master composer; on the other hand, somehow the individual moments of brilliance don't add up to a satisfying whole. Perhaps I am imposing my own limited notion of symphonic development -- something that I don't think Adams was striving for. Hard to say. But I didn't find it nearly as compelling as the earlier piece, even though it has a big, powerful ending and brought the concert to a forceful conclusion.

We did get to meet him afterwards, as Principal Bassist Jeffrey Turner brought us backstage and David Stock introduced us. He seems extremely nice, though he was clearly tired and didn't want to chat much. I would have liked to have spent more time with him.


~ Yesterday I came back to Lancaster, where I'm teaching this semester. The first class got off to a good start today (though I shortened my lesson plan to accommodate a shortened class time: I wanted to be sure everyone had a chance to watch the Inauguration before coming to class). There are 14 people registered, which is going to be large for a composition class. My best line of the day: "Every one of you has a creative process -- though you probably haven't discovered it yet. My goal this semester is help you unlock it."

Tomorrow is Theory II, with only 9 students. I wish I had 14 students here and only 9 in composition, but ya gotta go with what ya got!


~ And then there was today, Inauguration Day. And there was Sousa, and "America, the Beautiful" (how I wish that were our National Anthem!), and the Banner (sung, I was glad to hear, without the common breaths in inappropriate places: I can't stand it when we get "Oh say, does that star spangled *cavernous breath* banner yet wa-ave!"). But above all, there was John Williams' exquisite fantasia on "Simple Gifts." I have long maintained that Williams is one of America's most underrated composers, being dismissed as he often is by the musical establishment as being "only" a film composer. Never mind that he is able to assume virtually any style that is required, and write music that seems to perfectly embody both the moment at hand and the spirit of the film overall. The lovely music we heard this morning was proof that he is truly a master: it was not only perfect for the moment, it was also beautifully wrought. What a treat.


~ As I was walking up to school today to teach, my mind still full of the festivities from Washington, I at first thought about how strange it felt to leave that in order to go stand in the classroom. It seemed like an odd shifting of gears -- I wanted to just stay camped out in front of the television, soaking it all in. But then I decided I was doing precisely what I should be doing: rolling up my sleeves and getting to work helping to mold the future (in this case, the future generation of young people). And I thought of Bernstein's quote -- "This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before" -- and I thought, "Yes. Now more than ever, our struggling world needs beauty, we need art, we need music. So let's sit down together, class, and make our corner of the world a little more beautiful."

I quickened my step as I approached the campus.
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Full Circle [Jan. 14th, 2009|01:05 pm]
I am in Lancaster (PA) and ready to begin my semester of teaching at Franklin & Marshall College, where I am a Visiting Assistant Professor.

I'm filling in for my former composition teacher...

...at the college where I obtained my undergraduate degree...

...in the building that was once a dorm, and in which I lived my Junior year.

Life sure is a series of unexpected circles, isn't it?
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(no subject) [Dec. 31st, 2008|08:59 am]
For the fourth year in a row, The Pittsburgh New Music Ensemble ("PNME"), which I helped run for five years and where I still serve on the Board, has made the Pittsburgh Post-Gazette's Best Concerts of 2008 list. Check out the article here.
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(no subject) [Dec. 30th, 2008|12:25 pm]
First chance I've had to post on this.... The second of my Christmas Motets, "Calm on the List'ning Ear of Night," was performed by the Shadyside Chancel Choir Dec. 21st. It was a lovely performance -- and since it did not require the organ, we were spared any last-minute calamities!

It's a very strange experience to perform one's own music, because there are two very different parts of the brain operating simultaneously: on the one hand, you're a performer and you simply want to perform the piece as well as you would any other; on the other hand, you're listening to the whole with your "composer ears" at the same time. A bizarre sensation. This isn't such a big deal when it's something like my Three Songs of War, perhaps because it's a solo piece and so the act of listening and performing are much more integrated to begin with. But with choral music it's different -- not that a choral singer doesn't listen, of course, but the listening of a composer is more....broad, for lack of a better word. I always find it a peculiar challenge.

With the "Hodie" this took a comical turn: I was paying so much attention to the antiphonal issues and the piano four-hands reduction that I was making simple mistakes in my own part. At one point one of the other altos turned around and said, "It's your own music, for godsake, can't you sing it right?!" The next week I was talking with two of the other altos and the same woman said, "Normally I rely on this one [gesturing to me] to be right-on -- unless it's his own music, of course." So I have a feeling I'm not going to live that one down for some time....


All best wishes to everyone for the New Year!
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Technology & art collide in premiere of my "Hodie" [Dec. 15th, 2008|04:45 pm]
We like to assume that technology always makes things better. Take pipe organs, for instance: in Bach's day, a team of assistants (called "calcants") were required to work a set of large bellows in order to maintain air pressure for the pipes. The system definitely had its drawbacks: consistent pressure was a challenge, the bellows were probably made from materials that weren't very durable, and what did they do if one of the calcants called in sick (proverbially speaking)? Today, on the other hand, pipe organs maintain their pressure with high-precision electric motors that maintain the exact pressure consistently throughout the system. Still, Bach's system was self-contained: it wasn't dependent on any external power to maintain air pressure (other than the calcants, of course). And on Sunday, that would have come in handy.

Some time between the completion of the morning service and our afternoon rehearsal, the electric motor that runs the blower for Shadyside's glorious Reuter organ failed. No electric motor => no blower => no pressure => no sound. Fortunately, most all of that afternoon's program worked just fine on the 9-foot concert grand that lives in Sanctuary -- except my piece, naturally. I had written a part that would really show off the instrument, and that would end the program with something of a roof-raising roar. It was not meant to be -- the best we could do was for the organist and his assistant to play a piano 4-hands rendition on the piano. So while the choirs sang well and managed the antiphonal aspects largely without mishap (there is just enough acoustic delay to cause mischief), it was akin to pulling a tractor trailer with a lawnmower (hand-pushed) instead of a Mack truck: the power factor was seriously lacking.

Ah well, nothing to do but be philosophical about it: these things happen, and I've had worse trainwrecks at a premiere. The congregation and choir members seemed to truly enjoy the piece, and the good thing about Christmas music is this: you can always do it again next year!
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Current Projects [Dec. 2nd, 2008|09:30 am]
~ Received a recording of the recent performance of my Three Songs of War up at Indiana University of Pennsylvania. I am once again stunned by Zach Collins's fantastic playing; the guy is awesome. As both composer and performer I am of course picky over various aspects of my performance, but overall it's the best rendition of this piece to-date (and this is a piece that's been played by some terrific folks both here and in Europe). I'll do some ProTools clean-up and get it posted soon.


~ Speaking of posting audio files, there are some problems getting the whole catalogue up at the American Music Center site where I post MP3s of my works. I'm working with AMC to figure out what's going on, but my apologies if there's something you're looking for that isn't there. Hopefully we'll get it sorted out soon.


~ My "Hodie," for antiphonal chorus and organ, will premiere at Shadyside Presbyterian Church (where I am Artist-in-Residence) on Sunday, December 14, at 4:00 p.m. If you're local, come get in the holiday spirit and check out my new piece!


~ Back to composing this week -- working now in earnest on a set of three anthems for the Renaissance City Choirs. It's off to a good start, which is good news because the finished work is due by the end of the year. How did it get to be December so quickly?
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Thoughts on Doctor Atomic live from the Met [Nov. 10th, 2008|09:54 am]
Saturday afternoon I went to the Live HD broadcast of the Met's new production of Doctor Atomic. As I've written elsewhere, I am totally sold on these broadcasts ("transmissions" the Met folks call them). For 24 bucks you can have an authentic operatic experience from one of the world's great opera houses, often seeing repertoire you wouldn't otherwise have the chance to see, and all in the comfort of your favorite jeans-and-sweatshirt combo while enjoying a nice tub of movie theater popcorn (extra butter for me, please). The Met is not only building its own audience, it's building a new audience for opera in general -- and that's a very good thing.

I went to the theater this afternoon having heard mixed reviews of the premiere but being intrigued by the subject and a great admirer of John Adams in general. I left the theater moved by the experience but also oddly unsatisfied, unsure whether I liked the whole more than the sum of the parts, or the parts more than the whole. As I overheard an elderly woman state on the way out, "It was a powerful work but there was something missing...."

Indeed. But what?

I've been pondering what, exactly, that "something" was ever since. I decided it has to do with the notion of what makes drama compelling (or not). For drama to grab us, pull us along in its wake, it has to set up and play out tensions that speak to the human condition. But in this case Peter Sellars' libretto seemed like a long string of beautifully poetic soliloquies that nevertheless take place in an emotional vacuum. The most striking example of this is in the second scene of Act I, where Oppenheimer and his wife are in their bedroom alone. Both the music and the poetry is positively ravishing, but in the end it's 20 minutes of them reciting these poems with no interaction whatsoever. At the end of the scene, after Oppenheimer has put on his hat and exited without words or explanation, his wife, inexplicably, hurls her shoe across the stage. Wait a minute: did they just have a fight? If so I missed it because I sensed no tension at all. Maybe she wanted him to stay but he had to pull himself away to go back to his work? If so that wasn't set up at all. Maybe there's some other issue and he *wanted* to leave before things heated up? We have no idea, because the previous scene was 20 minutes of two people reciting love poetry to what might as well have been a picture on the wall as another actual person. We leave behind all that beautiful music with no clearer picture of who either of these people really are, what their motivations are, or what is the state of their relationship with each other. In a sense it was 20 minutes beautifully spent -- and perhaps that was its sole point -- but it was not very useful in terms of the drama.

What really was most fascinating to me, though, was the fact that, despite there being no appreciable action or interpersonal tension & development, there absolutely was tension in the experience; I left the theater exhausted and thoughtful, which is one way I gauge a successful theatrical experience. I tried to figure out how this could be, when I was finding nothing in the libretto, the staging, or even the music, to suggest an unfolding of dramatic tension. I could point to some lengthy scenes that seemed pointless and brought things to a sleep-inducing halt, but that doesn't really get to the root of the issue, doesn't get at that "something" that was missing. In the end I decided that the tension was there because I knew what the subject matter was, and that the impending test explosion of the first atomic bomb -- and feeling like you were there, in the middle of it -- was enough to create plenty of tension on its own. In other words, I brought my tension with me; I imposed it on the experience from within myself. Had I been completely ignorant of the atomic bomb and its consequences I don't think I would find anything to connect with whatsoever. (In contrast, one doesn't need to be aware of early 19th century fishing villages to be drawn into the experience of Peter Grimes -- the human drama that unfolds there is universal.) And that was the "something" that was missing: the drama did not, ultimately, pull me in its wake. Instead, it presented me with a situation, a poetic framework on which I could hang my own emotions surrounding that situation. If I didn't have my own set of emotions and associations to bring to the equation, I was out of luck.

And yet, as I say, the experience was not without its compelling aspects. Much of the music is positively gorgeous, sometimes arrestingly powerful (the finale to Act I was spellbinding -- and, tellingly, it is the only time we really get a window into the soul of who Oppenheimer is). It was brilliantly scored to remain rich with color while never overwhelming the singers. The staging was fantastic, and the cast was magnificent both vocally and in terms of their acting. And as we approached the long-awaited detonation of the bomb, I was on the edge of my seat. But then the actual flash of the explosion seemed weak, anticlimactic, and so the end fizzled. And that's what I ended up feeling about the opera: never quite living up to the power of its subject.
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A terrific performance [Oct. 24th, 2008|10:23 am]
Last night was the performance of my Three Songs of War, for tuba and countertenor, up at the Indiana University of Pennsylvania (there's also a California University of Pennsylvania...seems they ran out of names or something). This is a piece with a long history -- probably one of my most-performed pieces. That might seem strange given the odd combination, but it's the combination that actually has given it as much play as it's had: there's nothing else for it. :)

The performance went very well. Zach Collins is an absolutely fantastic player. His rendition rivals even the ones I enjoyed with Dave Kirk (Principal of the Houston Symphony) back in Houston way-back-when. And there's no doubt my voice has deepened in terms of its color since then; put a little age on your vocal cords and you get a more burnished sound that works well for this piece. Add in a room with a very resonant acoustic and I thought we made a great sound.

There was a good crowd, too. Zach was saying that there's not a whole heckuva lot to do in the evenings there (Indiana, PA is a charming town but it's...isolated) and so recitals tend to be well-attended. That and the fact that anybody taking a course in music is required to attend a bunch of recitals during the semester. The students were appreciative -- many were standing when we finished -- but I daresay some of them were more than a little taken aback when they first heard the sound coming out of my mouth: I don't think many (if any) of them had ever heard a countertenor before. You could read it in their expressions, which went from, "Whoa! That dude is singing like WAY high..." to something like wide-eyed awe when I reached the first big climax at the end of the first movement and was taking the paint off the walls, to rapt attention as the seriousness of it all started to sink in. Afterwards, as we were on our way back to the car, we overheard some students outside the music building enthusiastically talking about the piece, how it was the coolest thing on the program, and I smiled. The highest compliment a composer can receive: that people are talking about the piece afterwards.

We're hoping to find some more opportunities to do this again. The piece is so bloody hard that there's always *something* that doesn't quite click, and nags the performer to do it again. "Maybe next time...." I have some ideas for a performance in Pittsburgh....

= = =
When Zach asked for some program notes I decided to write some new ones. Here they are, for all who might be interested:

When my friend and grad-school colleague Jim Court asked me to write him a piece for tuba and the instrument of my choosing, it didn’t immediately occur to me to write for countertenor. But the more I thought about it, the more I thought the rich, dark quality of the tuba might work very nicely combined with the other-worldly quality of the countertenor. Also, I had been on the look-out for an opportunity to write something for myself to sing. And so the project was born.

As I began the task of selecting a text for these songs, the first thing I realized was that they would have to be very serious indeed: I did not want to go anywhere near the potential slapstick -- intentional or otherwise -- that might arise from such a strange combination. It being right around the time of the first Gulf War, I immediately thought of Wilfred Owen -- the poet used by Benjamin Britten in his famous War Requiem. Though I feared that Britten might have already used all the good war poems in Owen’s fairly modest output, it proved not to be true: I selected two poems (cutting the second one into two parts) to create a three-movement work lasting about 15 minutes.

One of the things that deeply moves me about Owen’s war poems is that they do not attempt to make a direct moral statement about war, but rather to depict its tragedy, “the pity war distilled,” to quote a poem used by Britten, and allow us to draw our own conclusions about it. Some wars are necessary, others are not, but all of them are tragic; Owen cuts to the heart of this paradox in a powerful way. Likewise, most of the music in these songs is not intentionally “ugly” or “violent,” but rather lyrical and bittersweet; austere and elegiac. I found Owen’s poetry to be the perfect vehicle for my own feelings about not just war, but the world in general: humanity’s penchant for destroying innocence and beauty can never triumph over those things -- they survive not in opposition to evil and death, but in spite of them.
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Performance this Thursday [Oct. 20th, 2008|03:26 pm]
For all you folks in the southwestern PA region, just a reminder that I will be performing my Three Songs of War for tuba and countertenor (texts by Wilfred Owen) with Zach Collins at Indiana University of Pennsylvania this Thursday, 8:00 p.m., at the IUP recital hall. It's a bit of a haul out there, I know, but if anybody is interested maybe we can carpool: should be a nice day to see the fall foliage on the way, with some great music waiting for you when you arrive!
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(no subject) [Oct. 7th, 2008|11:02 am]
They say there are two things you don't want to know how they're made: laws and sausages. I would add a third item to that list -- commissions. But hopefully we've found a way to get the job done.

(Cryptic, I know, but you'll just have to settle for that right now, Gentle Readers!)

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In other news, my "Hodie" for the choirs of Shadyside Presbyterian Church is done. This was a fun project: write an anthem-length piece for the combined choirs of the church (the general-admission Choral Society, and the semi-professional Chancel Choir, of which I am a member), treated antiphonally. I decided on the Hodie text and chant -- one of my favorite tunes for Christmas, and none the worse for having been used a few other times over the centuries. The Choral Society (about 75 singers) will be in the front of the sanctuary singing the phrases of the chant (set in a lilting 6/8 meter) while the Chancel Choir, in the back balcony, will "interpret" each phrase of the chant in English and with a more complex harmony. The church's glorious 80-rank organ will provide back-up.... One of the parameters of the commission was that the music for the all-volunteer Choral Society needed to be straightforward enough for them to prepare quickly and easily, but the Chancel Choir could be more involved. I feel my solution fits the bill nicely. The piece ends with the choirs singing "Alleluia!" back and forth, overlapping and building in strength as the organ reprises its fanfare-like motives from the opening of the piece. Loud sounds ensue.

I'm looking forward to hearing it. The performance is during the Sunday afternoon holiday concert on December 14, for you local folks. You can also hear the 2nd of my Three Christmas Motets, "Calm on the list'ning ear of night," during the regular morning service on the 21st. Come get some holiday spirit, ya'll!
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An old piece gets something of a revival... [Sep. 9th, 2008|09:44 am]
Just this week I heard from an old organist friend of mine who is now based in Wisconsin. He performed several movements from my "Stations of the Cross," a suite for organ which he had commissioned way back when I was first planning to enter graduate school. I was of course delighted to have my work performed, and he reports that many people in the audience expressed how moved they were by it. But it was also a bit strange at the same time: this is a work that I don't include in my catalog any longer: it's a student piece, and I'm sure were I to pull out the manuscript now I would smile at the compositional equivalent of my "youthful indiscretions." And yet I seem to be in a mode lately of pulling out old works and finding new life in them -- either as they stand or revising them -- and it has got me wondering if I should indeed dig out that manuscript. (I can 't say that I even remember much of the piece now; I might be surprised!)

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In other news, the revision of "Litany of the Sun" is complete and has been sent off to my colleague at The University of Utah, where this new version of the work will receive its premiere. I'm *tremendously* pleased with how this turned out. As is often the case with such things, this started out as simply a re-orchestration of the work that was commissioned and premiered by Deborah King and her group Schola Cantorum-on-Hudson back in 2002. But as I got back into the piece I started to tinker with it, tightening up the musical fabric and, at times, re-writing a passage outright. The result is a much-improved piece that I now consider to be among my best. I'll of course post news of the performance once it's been scheduled (possibly next Spring, but most likely sometime in the 09-10 academic year).
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Lyric Suite performed at the Rocky Mountain Summer Conservatory [Aug. 3rd, 2008|08:12 am]
Lyric Suite: Reflections on Carl Sandburg, for viola and piano, was performed by Dan Velicer and Linda Lamar at the Rocky Mountain Summer Conservatory in Steamboat Springs, Colorado, July 26. Dan is an old friend of mine from Rice University days, and is an awesome pianist. He and his wife, Kristi (violinist; also from Rice) are with the Kansas City Symphony now and doing great. I got to see them both at a wedding earlier this summer, and that got Dan thinking about doing Lyric Suite this summer in Steamboat.

With the performance back in July here in Pittsburgh (and a full performance slated for this upcoming season), it would seem that this piece is having something of a revival. I'm glad: I think it's lain dormant long enough.
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Pittsburgh Portraits performed at GALA Choruses Festival [Jul. 21st, 2008|11:17 pm]
Excerpts from my Pittsburgh Portraits were performed Saturday at the quadrennial GALA Choruses Festival in Miami by the Renaissance City Women's Choir under the direction of Andrés Cladera.

GALA Choruses is the international association of LGBT choruses throughout North America, and this conference attracts more than 150 performing groups and nearly 5,000 attendees for a week of concerts and workshops. The spectacular Arsht Performing Arts Center is the venue, and my piece was fortunate enough to be heard in the magnificent Knight Concert Hall -- one of the most acoustically perfect and visually stunning halls I've ever experienced.

This was my first GALA Choruses Festival, and the experience was a mixture of concerts by a fantastic array of quality groups, good networking, and fun social times. I left Miami filled with many wonderful sounds and inspired to begin work on the new commission for the RCC. A great week!
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Lyric Suite performed at Music On the Edge [Jul. 8th, 2008|08:19 am]
Roger Zahab, violin/viola, and Rob Frankenberry, piano, performed four movements from my Lyric Suite: Reflections on Carl Sandburg Sunday, July 6, as part of The University of Pittsburgh's Music On the Edge series. Roger put together a delightful program of "shorts" -- all pieces consisting of a few short movements or stand-alone pieces in the 3-4 minute range. That might sound like a questionable premise on which to build an entire program, but it worked wonderfully. Roger and Rob also played with tremendous beauty and depth. The piece requires that -- a willingness to really savor the beauty and expressiveness of the music.

Upon hearing the piece again -- the work dates from 1993 and hasn't been done (to my knowledge) since 1995 -- I think I have finally made my peace with it. At the time I was experimenting with an extremely conservative harmonic style, and this piece (a commission from a patron in Houston) was intended to be simply beautiful. But in a modernist age such things are still held suspect in some quarters, and for a time I felt I needed to somehow apologize for the work. I no longer feel that way -- the work is what it is, I think it's very well crafted, and audiences and performers alike have always responded enthusiastically. Surely there's nothing there worthy of an apology.
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Heinz Endowments supports commission from the Renaissance City Choirs [Jun. 25th, 2008|11:09 pm]
The Small Arts Initiative of Pittsburgh's Heinz Endowments has awarded $6,000 to the Renaissance City Choirs to support a new commission for the group's Spring, 2009 concert. Our vision for the piece is to select gay/lesbian love poetry from across the ages -- from ancient times through contemporary writers -- and create a multi-movement work for the combined men's and women's choruses.

Heinz has been such an ally to arts groups of all sizes in Pittsburgh, and I'm very grateful for their support of this project. I am already reading a wide range of poetry and starting the laborious and often difficult process of winnowing down possible texts to the final five that will be set. Composing should begin sometime in late August or September.
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