The last aria

At the end of our opera "The Autumn Orchard", Josefina is left alone with her newborn son. Miguel has died in prison and Josefina's life is bleak with poverty in the midst of a war torn country.

Here is a bit of raw poetry from her final aria (libretto by J Michael Martinez):

Oh Miguel,
Leaves fall to earth
where our lambs grazed
in our meadows.

And now the lambs
are sheared and slaughtered
wool bloody on dead leaves

Miguel,
Our sun turns
over reaped fields of wheat

Now the stalks
point to the moon
like dead fingers.

Miguel,
the water has dried
where we were once rivers
swelled by Spring rain

There is only this
whisper of the black night
folding light into black
arms, black words.

My opera, The Autumn Orchard, is coming along nicely. I have about 2/3 of it written in vocal score.

Yesterday, my librettist J Michael Martinez came over to review the 2nd section. After our meeting, I got him to sit for a brief interview about the opera.

aria of despair

I recently mentioned that I am writing a chamber opera. It is titled "The Autumn Orchard" and will be 45-60 minutes for 5 voices and eventually scored for a chamber ensemble. For the moment, I am writing a vocal score for piano. CU Now, a new summer opera program at the University of Colorado, will workshop the piece in early August and offer 3 semi-staged performances on August 5,6,7 2010. The piece is inspired by the death of Spanish Civil War poet Miguel Hernandez.

I love the libretto I am working with and owe many thanks to the wonderful poet J Michael Martinez for his great work. Of course, the libretto is not entirely done, but I am thrilled with what I've got so far.

I'd like to start blogging little updates on the opera. It is certainly a strange and unusual thing to write an opera. So many details that must fit into the drama of a much larger arch.

This morning I am working on an aria of despair for Miguel. He is in prison and knows he is sick. It is quite likely he will die in prison as so many have. He has just received a letter from his wife Josefina where she tells him she is pregnant with their child. Now he faces the fact that he may not live to know his son and his wife will raise the child alone.

So far I like what I have written, but we'll see how the afternoon goes. Here is a bit of the text:
Autumn lives through Winter to Spring.
blossoms through death do blossom again.
Our child will be born in autumn orchards
among leaves dreaming of
Spring, dreams of Spring.
Josefina, with you my love, our love remains.

Bill Bolcom in Boulder

Bill Bolcom and his wife Joan Morris just spent a couple of days in Boulder working with the CU Wind Symphony and talking with our students. It was an absolute delight to have them in town. Aside from hearing great performances of Bill’s music, there are two highlights which I will always remember…

1. Bill and Joan performed a few of their cabaret songs. For years I have heard about how wonderful they are as a duo. People rave about their concerts but I have never had the chance to attend a performance. During the Tuesday afternoon talk, they did just a few songs which were all fantastic. They were funny, marvelously inventive, touching, and performed with an inspiring amount of musicality. The first cycle was called “Minicabs” which is short for mini-cabaret-songs. I need to hunt down the score and buy a copy immediately.

2. Bill told a story about an afternoon where he and John Cage talked on the radio for 3 hours. Near the end of the time Bill started to talk about how he was at a bit of an aesthetic crisis with just too many options. John Cage told him he didn’t like arbitrary or external aesthetic divides but rather one should look within. It was a pivotal conversation for Bill and lead to the music that has defined his career.

Restarting the Blog

Its time to restart the blog. After a long hiatus, I do hope to get some regular posts going.

A lot has happened in the nearly two years since I last posted. I've had premieres with the National Symphony Orchestra, the Takacs Quartet with the University of Colorado Wind Ensemble, a chamber group at the Aspen Music Festival, the Borromeo String Quartet, and numerous choruses. I've been on leave this semester and have been to the McDowell Artist Colony and the UCross Foundation in Wyoming.

I'm currently working on a chamber opera based on the life of Miguel Hernandez as well as writing pieces for the Takacs Quartet, the Air Force Academy Band, and the Symphonic Band and combined choruses of Wheaton College.

I hope to cover many of these topics as I get this blog up and running again.

Above is a picture from the NSO Asian tour last June.

The semi-retirement of a comb binder

Yesterday marked a small but significant occasion as I put my comb binder into semi-retirement. I say semi retirement as it will be my back up system from now on. Roughly ten years ago I stumbled upon an industrial comb binder at a tag sale in New Cannan, CT (town next to where my parents lived). In addition to all the regular junk, they guy was selling a couple of pieces of old office equipment including this fancy industrial binder from GBC. He said it was a $5000 piece of equipment and should run forever. This was back before Staples sold $150 manual binders (that definitely didn’t last forever). At the time, every composer I knew ran off to Kinkos and paid $2 per score for comb binding ($4 for larger scores). Kinkos screwed it up more than half the time and 80% of the time if the score was bigger than 8.5x11.

So this guy offered to sell me this electric powered binder for $500. I jumped on the opportunity and moved the 80 lb. monster into my mother’s car and never paid Kinkos to bind my scores again. From that day forward binding cost me $.20 for the plastic comb and I could bind any time I wanted. Probably it paid for itself within the first three years and now that 10 years have passed, I would guess it has saved me a few thousand and certainly many hours getting to Kinkos and watching them screw up my scores.

Sadly, the comb binding system is becoming obsolete. Coil binding is in. Its slicker, doesn’t get crushed so easily, and makes a lot less noise when turning pages. All the new kids are using coil binding these days. So it was time to upgrade but where would I find a tag sale that would sell me a $5000 unit for $500. This minor miracle would not happen again, but I did buy a great unit at a discount from my old teacher Jennifer Higdon. She upgraded to coil binding 8 months ago (Jennifer is always on the cutting edge when it comes to self publishing). Her business is so booming that in retrospect she wishes she sprang for the super fancy model. We made a deal, they shipped me their slightly used binder, and yesterday I was binding scores with my new coil binder for the first time. It definitely is sexy compared to the old fashioned comb binder.

Back in Aspen

So the blogging seems off to a rocky start. I take a trip for a premiere and write a flourish of blogs. Then a few weeks off and I write nothing. Everyone tells me the success of a blog depends on regular posts. I’ll give it another shot…

Well I am back on the road for a premiere and am ready to restart the blogging. Hopefully this time I will find a more regular blogging pattern and will not have giant gaps between posts.

We’re in Aspen where my piano quintet will be premiered in a couple of days. This was a two part commission where part of the piece was premiered last summer and now the complete piece will be premiered on Monday.

Its been a very unusual and delightful experience to write the piece in two parts. This 20 minute, 4 movement work moves from a very dark first half towards a very light second half. The darker half was written a year ago and is actually the most difficult music in the piece. A very thoughtful and dedicated group premiered that part at Aspen last summer. They were all veterans of new music and never shied away from a challenge. Yet the collective years of experience illuminated nuances that would simplify very difficult spots and strengthen the effect of the piece. I had also never worked with a group so dedicated towards discovering the best tempos, phrasing, articulation, etc of a brand new piece.

Following that wonderful experience I made a handful of changes to those two movements and had the Boulder Piano Quartet present this portion on my faculty recital last December. They had less rehearsal time but the piece came together very well following the changes and insight of the first group. This past spring I wrote the two additional movements. I specifically wanted movements that not only contrasted and complemented the music of Part I, but I also wanted to compliment the very demanding playing in Part I. The result is a slow and gorgeous third movement, and a fast lyrical fourth movement. Both of these movements really allow the players to breathe a bit and resolve the difficult first two movements.

So I am back in Aspen with a portion of the original group and two new players. The change in players was unexpected and disappointing, but all has worked out well. My wife, Hsing-ay Hsu, was hired as the pianist for this year’s performance. Of course she has played nearly every chamber piano part I have written and is the living (and only) expert on my music. She was delighted to join the stellar group and loves the high level music making and constant thoughtful discussion about the music. The other new player is a wonderful Juilliard violinist, Kathryn Eberle.

I can’t wait for this wonderful premiere.