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The Memphis Symphony commissions Brantley in honor of Dr. Martin Luther King Jr.

August 14, 2013 by Bill

The Board of Directors of the Memphis Symphony Orchestra announced The Dream Project; an original commission and elementary school educational curriculum inspired by the speeches of Dr. Martin Luther King. Following a nationwide search through the American Composer’s Forum, Paul Brantley has been selected to compose the work called The Rebirth of the Dream which will be performed by the Memphis Symphony Orchestra on May 16, 2014, at the Cannon Center. Brantley has been challenged to capture a symphonic narrative that will reflect the pain and hope of the Memphis experience through a series of movements that are meant to evoke the community’s dreams for the future.

The idea of the Dream Project began with Mei-­‐Ann’s Circle of Friends, a women’s philanthropy initiative envisioned by MSO consultant, Ellen Rolfes. The group’s mission is to be an instrument of inclusion through the symphony and to honor Music Director Mei-­‐Ann Chen’s passion for deeper community engagement by the organization. The Circle’s membership has grown to nearly 150 diverse women and is co-­‐chaired by community leaders Mary McDaniel, Ritchie Bowden and Becky Wilson.

“The creation of the Dream Project vision was an authentic process. For months, small groups of over 70 women from the Circle engaged in deep dialogue about our collective memory of the MLK assassination and the impact it had on our community, then we explored our collective imagination about what we want Memphis to be for the next generation. It was very honest and powerful. The concert and companion educational curriculum will support this vision,” said McDaniel on behalf of the co-­‐chairs.

“The Memphis Symphony Orchestra is known nationally for its innovation,” stated Gayle S. Rose, Chairman of the MSO Board. “The Dream Project’s symphonic commission and elementary school educational curriculum is an outgrowth of nearly eight years of investment in community engagement by the MSO. We believe that projects like the Dream Project represent the future of the Memphis Symphony Orchestra and of orchestras in general. We strive to be an organization that is fully engaged, relevant, and an indispensible part of the community’s cultural landscape.”

Following a nationwide competition, Brantley was selected as the composer for The Rebirth of the Dream from 282 composer candidates from 35 states. A committee from Mei-­‐Ann’s Circle made the final selection through a blind evaluation in which the competing artists were asked to express their vision for the score and to provide samples of their work that they felt captured the passion and emotions required to compose The Rebirth of the Dream. There were no criteria for age, sex, race, national prominence or geographic background, nor were any of these items known to the committee.

Paul is a Georgia native who currently resides in New York City where he free-­‐lances as a composer and cellist, and teaches conducting at the Manhattan School of Music. He has 16 published titles through Bill Holab Music and Oxford University Press. More information on Paul’s background and work can be found here.

“I am honored and rather humbled to have received this wonderful commission from the Memphis Symphony Orchestra,” said Brantley. “I have for a very long time been moved by the universal and active spirituality of Dr. King and his vision for a better world. My first major commission, years ago, came from my hometown symphony to compose a piece in 1986, not only to commemorate Augusta, Georgia’s then 250th anniversary, but also the first Martin Luther King Day -­‐ which I was able to attend. Now, the idea of creatively encountering Dr. King’s words and spirit, the tragedy of his assassination, then moving the score into a vision for a better community is rather daunting, but also deeply inspiring. I look forward to offering the Memphis community my heart and soul.”

The Symphony’s impact will extend well beyond the concert hall. The Dream Project’s educational curriculum to be developed in the 2014-­‐2015 school year will provide an ensemble to perform in the fifth grade civics classrooms as a pilot in the Charter Schools. In addition, it is hoped that the vision of this project could quickly expand to other communities with orchestras playing an adaptation of The Rebirth of the Dream that captures their own communal story shaped by the MLK legacy.

The co-­‐chairs Bowen, McDaniel and Wilson believe The Memphis Symphony Orchestra has a unique opportunity to be an instrument of dialogue, storytelling, visioning, teaching and healing both on stage and in schools by using the power of its extraordinary art form to tell an iconic part of Memphis history through The Rebirth of the Dream. The Dream Project concept is not to be about the life of Martin Luther King, Jr., rather it will be a documentation about how the horrific event of his assassination took our city on a different trajectory than its sister cities in the South. The Dream Project can ultimately teach the next generation the importance of how history molds any community, but more particularly, the importance of having a dream – both personally and collectively – in order to create a meaningful life and live in a thriving, just place for all citizens. It is hoped that the vision of this project could quickly expand to other communities with orchestras playing an adaptation of The Rebirth of the Dream that captures their own communal story shaped by the MLK legacy.

For more information about The Dream Project, visit www.rebirthofthedream.org. The Dream Project is still seeking a wide range of sponsorship opportunities for The Rebirth of the Dream concert. For more information contact Ellen Rolfes at Ellen.rolfes@memphissymphony.org.

About Memphis Symphony Orchestra: The Memphis Symphony Orchestra, under Music Director Mei-­‐Ann Chen, strives to enrich the lives of our diverse community through exceptional music and dynamic programs. More than 400 musicians, staff and volunteers make up the Memphis Symphony Orchestra, Memphis Symphony Chorus and the Memphis Symphony League, operating educational programs, organizing community engagement events and performing concerts. Find information about all upcoming performances, watch videos from select concerts, get details on the Symphony’s involvement in the Memphis community, and find out how to support MSO by visiting www.memphissymphony.org.

Filed Under: HomePage, Paul Brantley Tagged With: Martin Luther King, Memphis

Joel Puckett commissioned as part of Chorus America’s 2013 Dale Warland Singers Commission Award

May 8, 2013 by Bill

Joel- The Crossing

 

 

The Crossing wins Chorus America’s “2013 Dale Warland Singers Commission Award”

 

 

 

 

Philadelphia, PA – May 7, 2013: The Crossing is thrilled to announce that it has been awarded the 2013 Dale Warland Singers Commission Award. The Dale Warland Singers Commission Award is presented by Chorus America in partnership with the American Composers Forum. The award was created to recognize a chorus entering into an artistically meaningful and mutually beneficial partnership with a composer of their choice to contribute a new work to the choral repertoire. Eligibility for this award rotates through a three-year cycle: professional choruses(2013), adult volunteer choruses(2014), and children/youth choruses(2015).

The Crossing proposed a fifteen-minute unaccompanied work for 24-voice chamber choir written by Baltimore-based composer Joel Puckett.

An award letter from Gayle M. Ober, Chairman, and Ann Meier Baker, President & CEO of Chorus America stated: “The selection panel unanimously agreed that not only your carefully planned partnership with Joel Puckett but also The Crossing’s commitment to fostering new repertoire for the choral field embodies the important legacy of the Dale Warland Singers.” The award will be presented at Chorus America’s National Convention in Seattle during an Awards Luncheon on June 13, 2013.

“Joel is a colorist with a unique ability to draw the listener into a new and profound world,” said The Crossing’s conductor Donald Nally. “It is spiritually-charged and emotional music; a perfect match for the aesthetic of The Crossing, as well as the interests and artistry of our singers.”

Joel Puckett’s new work will be a main feature of the seventh-annual Month of Moderns Festival in summer 2015. The Crossing has established an annual festival of new music in Philadelphia, the Month of Moderns – three concerts, each with a major premiere, over the course of one month. The festival has expanded to include ancillary events (concerts of music of the featured composers, informal discussion groups with composers, and gallery shows of work by the collaborating visual artists) and has become what one newspaper has called a “must-stop on Philadelphia’s new-music scene.”

“It is an incredible gift for me to return to the choral world with a group as spectacular as The Crossing,” said composer Joel Puckett. “Their commissioning record and consistent ability to convey the composer’s intention is an awe-inspiring achievement and I am honored to be the next to create notes with this group serving as muse. I am excited to collaborate with Donald and the group and to push ourselves to create the most meaningful music possible.”

The Crossing will present its fifth-annual Month of Moderns festival this June in Philadelphia. The festival will include three main concerts and five ancillary concert/events.

2013 Month of Moderns – The Gulf (between you and me)

Main Concerts:
Saturday, June 15, 2013 @ 8pm
Month of Moderns I
At The Philadelphia Episcopal Cathedral
With special guest Toshimaru Nakamura
Gene Coleman: The Gulf (world premiere)
Santa Ratniece: Chu Dal (Silent Water, 2008)
Tamar Diesendruck: Other Floods (2010)

Sunday, June 23, 2013 @ 4pm
Month of Moderns II
The IceBox at Crane Arts Center in Northern Liberties
Chris Jonas: The Gulf (world premiere)
Santa Ratniece: Horo Horo Hata Hata  (2008)
Justé Janulyté: aguarelle (Watercolor, 2007)

Sunday, June 30, 2013 @ 4pm
Month of Moderns III
At the Presbyterian Church of Chestnut Hill
Gabriel Jackson: The Gulf (world premiere)
Santa Ratniece: Saline (Salt Lakes, 2006)
John Cage: Four 2 (1992)

Ancillary Events
Friday, June 7 @ 8pm: Gene Coleman’s, Ensemble N_JP
At The International House

Saturday, June 15 @ 6pm: Pierre Joris Poetry Reading
At The Philadelphia Episcopal Cathedral

Wednesday, June 19 @ 8pm: Chris Jonas’s quartet, Sun Spits Cherries
At The Neighborhood House, Christ Church, Philadelphia

Wednesday, June 26 @ 6:30pm: “Inside the Composer’s Studio: Gabriel Jackson”
At the Presbyterian Church of Chestnut Hill, Widener Hall

June  – Artwork Gallery Display
At The Presbyterian Church of Chestnut Hill, Widener Hall

About Joel Puckett
Named as one of National Public Radio’s listeners’ favorite composers under the age of 40, Joel Puckett is a composer who is dedicated to the belief that music can bring consolation, hope and joy to all who need it. The Washington Post has hailed him as both “visionary” and “gifted” and the Baltimore Sun proclaimed his work for the Washington Chorus and Orchestra, This Mourning, as “being of comparable expressive weight” to John Adams’ Pulitzer Prize winning work, On the Transmigration of Souls. Puckett’s flute concerto, The Shadow of Sirius, has been performed all over the world and commercially recorded three times. Of the University of Michigan Symphony Band’s recording, Audiophile Audition wrote, “The music … contains a density within a clarity, polyphony within the simple and – most importantly – is a beautiful and seemingly spiritual work.” In May of 2012, Puckett’s double concerto for clarinet, flute and orchestra, Concerto Duo, was premiered by brothers Anthony McGill [principal clarinet, Metropolitan Opera Orchestra] and Demarre McGill [principal flute, The Seattle Symphony] to a sold out crowd at Chicago’s Orchestra Hall.

Puckett is currently on the full-time faculty of the Peabody Conservatory of Music of Johns Hopkins University where he teaches courses in music theory, co-teaches the composition seminar and recently finished a term as the composer-in-residence for the Chicago Youth Symphony Orchestras. He holds advanced degrees from the University of Michigan.

Filed Under: HomePage, Joel Puckett Tagged With: choral, Chorus

Kahane’s GABRIEL’S GUIDE TO THE 48 STATES

April 21, 2013 by Bill

Commissioned by the Orpheus Chamber Orchestra for their 40th anniversary, Gabriel’s Guide to the 48 States is a tribute to the New Deal’s W.P.A. project. Compiled from text in the American Guide series, a collection of guidebooks that were commissioned to provide employment for writers during the depression, they provide a fascinating picture of America by some of its best writers. Scored for baritone and chamber orchestra (Flute/Piccolo, Oboe/English Horn, 2 Clarinets/Bass Clarinet, 2 Bassoons, 2 Horns, Trumpet, Trombone, Percussion, Electric Guitar/Banjo Strings) the work is 45 minutes long. The text is compiled from the American Guide Series and the Sacred Harp hymn “Marlborough.” The world premiere performance was given at Dartmouth College on April 19, 2013. Orpheus will give the New York premiere on April 27 2013 at Carnegie Hall.

 

 

Filed Under: Gabriel Kahane, HomePage

Midwest Clinic Features BHM Works

December 7, 2012 by Bill

It’s the largest conference for wind and band music in the world, and it arrives at Chicago’s McCormack Place on December 19. Overlooking the shore of Lake Michigan, this year’s Conference will feature performances by hundreds of the best ensembles in the world and will highlight clinics with Wynton Marsalis and Leonard Slatkin, who will lead an open conversation on McTee’s “Tempis Fugit” from Double Play followed by a performance with the Lone Star Wind Orchestra. This year marks the 66th annual conference.

Wind

World Premiere: Puckett Asimov’s Aviary

In 1974, Isaac Asimov (creator of the three laws of robotics and father of modern technology based science fiction) predicted in his short story That thou art mindful that before humanoid androids would be accepted into mainstream society, robotic birds and insects would be created to desensitize the population.

While writing this piece, I frequently imagined Asimov dreaming of an aviary far in the future where robotic insects and birds were given life and flew around in constant electronic swarms.

Amazingly, this work has begun. At the Air Force Research Lab at Wright-Patterson’s “Micro-Aviary” these robotic insects and birds—or micro-drones as the press has dubbed them—are being developed and put in the field as part of a whole host of projects including weather management and environmental monitoring.

However, as as anyone who has read I, Robot or The Naked Sun will know, where there is potential for light in technological innovation, there is also potential for darkness.

I often find myself thinking about the excitement that the researchers at the Micro-Aviary would feel if they were able to show their creations to Asimov and how amazed he would have be to see how quickly these artificial insects and birds have become a reality.

The piece features tightly woven canonic lines that form a furious web [swarm?] of contrapuntal activity over very slow moving [inevitable?] metallic drones.

Asimov’s Aviary was commissioned by The United States Air Force Band “The Chief’s Own” and is dedicated to the men and women at the Air Force Research Lab at Wright-Patterson and will be premiered at the 2012 Midwest Band and Orchestra Clinc.

Featured Performances:

Daugherty “Fever” from Lost Vegas Thursday, Dec. 20, 8:30 am
New Trier Symphonic Wind Ensemble—Ballroom W375E

McTee “Tempis Fugit” from Double Play Thursday Dec. 20
10:00 am (open conversation with Leonard Slatkin) Lone Star Wind Orchestra
6:00 pm performance (Leonard Slatkin, cond.)—Ballroom W375AB

Puckett Asimov’s Aviary world premiere, Wednesday, Dec. 19, 5:30 pm
The United States Air Force Band—Ballroom W375AB

Puts/Spede Millennium Canons Friday, Dec. 21 2:00—Virginia Wind Symphony—Ballroom W375AB

Filed Under: Cindy McTee, HomePage, Joel Puckett, Kevin Puts, Michael Daugherty Tagged With: Band

Heggie’s MOBY-DICK premieres at San Francisco Opera

November 16, 2012 by Bill

“A masterpiece of clarity and intensity, with a score that is at once thematically compact and richly inventive.”
Joshua Kosman, San Francisco Chronicle
Stephen Costello (left) is Greenhorn, Jay Hunter Morris is Ahab and Jonathan Lemalu is Queequeg in expressive "Moby-Dick." Photo: Cory Weaver, SF Opera / SF

“A GREAT AMERICAN OPERA” Opera Now Magazine

“A TRIUMPH”The Dallas Morning News

“AN UNDENIABLE SUCCESS” The New York Times

“THE HIT OF THE SEASON” The Washington Post

“A MASSIVE ARTISTIC ACCOMPLISHMENT” WFAA-TV

Moby-Dick is an opera in two acts by composer Jake Heggie and librettist Gene Scheer, based on the novel by Herman Melville. Commissioned by The Dallas Opera with San Francisco Opera, San Diego Opera, Calgary Opera and the State Opera of South Australia, Moby-Dick opened to extraordinary international acclaim on April 30, 2010 at the Margot & Bill  Winspear Opera House in Dallas.

Moby DickJay Hunter Morris (Captain Ahab), Stephen Costello (Greenhorn) and Jonathan Lemalu (Queequeg). Photo: Cory Weaver, SF Opera / SF

ORIGINAL PRODUCTION TEAM

Conductor Patrick Summers
Director & Dramaturg Leonard Foglia
Set Design Robert Brill
Lighting Donald Holder
Costumes Jane Greenwood
Projections & Film Elaine McCarthy
Musical Preparation Laurie Rogers, Michael Heaston, Janice Fehlauer
Chorus Conductor Alexander Ro

ORIGINAL CAST

Ahab Ben Heppner
Greenhorn Stephen Costello
Starbuck Morgan Smith
Queequeg Jonathan Lemalu
Pip Talise Trevigne
Stubb Robert Orth
Flask Matthew O’Neill
Gardiner Jonathan Beyer

The Dallas Opera Orchestra and Men of the Chorus

ORCHESTRATION

3 flutes (one doubles piccolo)
3 oboes (one doubles English Horn)
3 clarinets (one doubles bass clarinet)
3 bassoons (one doubles contrabassoon)

4 horns in F
3 trumpets in C
2 trombones
bass trombone

timpani
2 percussion
harp

strings

PRODUCTION COMPANIES

A list of companies who have performed or scheduled future performances of the opera follows:

  1. The Dallas Opera (April 2010)
  2. State Opera of South Australia (Aug./Sept. 2011)
  3. Calgary Opera (Jan. 2012)
  4. San Diego Opera (Feb. 2012)
  5. San Francisco Opera (Oct. 2012)
  6. Washington National Opera (Feb.-March 2014)
  7. Los Angeles Opera (Oct.-Nov. 2015)
  8. The Dallas Opera (Nov. 2016)
  9. Utah Opera (Jan. 2018)
  10. Pittsburgh Opera (March 2018)

LICENSING

For theatrical performances, there are two components to licensing Dead Man Walking. Grand Rights (theatrical rights) are licensed by:

Funsten and Franzen

dfranzen@lawff.com

Bill Holab Music handles rentals and sales of the musical materials. You can request a quote here.

Scores can be purchased here.

Filed Under: HomePage, Jake Heggie Tagged With: Moby-Dick, opera

Bruce: The Firework Maker’s Daughter

November 7, 2012 by Bill

The Firework Maker’s Daughter is a new opera by award-winning composer David Bruce and librettist Glyn Maxwell, based on the fairy-tale adventure by acclaimed children’s author Philip Pullman. Staged by John Fulljames, with designs by Dick Bird and puppetry by Indefinite Articles, this tale of courage, friendship and growing-up will be a magical, theatrical event suitable for all the family.

“More than anything else in the world, Lila wants to be a Firework-Maker. But every Firework-Maker must make a perilous journey to face the terrifying Fire-Fiend! Can Lila possibly survive? Especially when she doesn’t know she needs special protection to survive the flames…”

David Bruce writes:

Since my own childhood I have thought of the theatre as a colourful place of magic and fantasy and as I’ve grown older I am still attracted to those same aspects—for me there is not really a difference between children’s theatre and adult theatre—as I see it, it’s all ‘play’ and we are all children.

Philip Pullman seems to share a similar enjoyment of the fun and colour of the theatre—in an essay describing the origins of The Firework Maker’s Daughter, he talks about his role putting on annual plays in the school where he worked:

Each year I would add some new theatrical trick to my repertoire: a shadow-puppet interlude, or a scene painted on a gauze that would magically vanish when you raised the lights behind and lowered them in front, or a wind machine and a thunderstorm. I had more fun fooling about with those things than I’ve ever had before or since.

For me—as I think for Pullman—there is a direct connection between the sense of fantasy that can be created in the theatre and a sense of spiritual and moral questioning. In the theatre we allow ourselves to wonder—to question ‘what if’ – and the question can sometimes be absurd or comical in nature, but other times be something much more profound. In a largely secular society, the theatre is one of the few places where we can still ask ourselves the big questions, and still feel wonder in all its aspects. My instinct as an artist is to set those big questions in a context that allows us to laugh, smile and relax. And this is one of the things that attracts me most about Pullman’s story—it contains both the absurd and fun elements that make theatre such a delight – talking elephants, a fire-fiend in a grotto, etc.—whilst at the same time making some fairly profound points about the creation of art, the need for self-expression, friendship, courage and love. To quote Pullman again:

Fairy tales are ways of telling us true things without laboring the point. They begin in delight, and they end in wisdom. But if you start with what you think is wisdom, you’ll seldom end up with delight—it doesn’t work that way round. You have to begin with fun.

I am attracted in this story to the Far Eastern setting and the possibility that it offers me to create a distinctive sound-world for the piece. As a composer I have often drawn influence from folk idioms from around the world, and am attracted to the idea of creating my own kind of ‘imaginary folk music, which is somewhat familiar, but also new and unknown. The Firework Maker’s Daughter similarly occupies some kind of familiar but unknown imaginary land with elements of Thailand, China, India and Indonesia all wrapped together and intermingling.

As a result, two particular passions of mine are likely to find their way into the music. Firstly, Indian music, which I have loved for many years (I have already had discussions about the project with renowned British tabla player Kuljit Bhamra, who has worked specifically on incorporating tabla and aspects of Indian music into the Western notated tradition); and secondly, home-made ‘folk’ instruments – Pullman mentions that in his original production, a home-made “gamelan” was used on stage, made out of scrap metal. I have long had an interest in such home-made instruments—for example Piosenki, my song-cycle of Polish children’s poems includes a 6 foot “lagerphone” made from bottle tops attached to a large pole – so the idea of revisiting Pullman’s original idea is very appealing to me.

As a composer for whom color and indeed humour are passionate concerns, I believe there are huge opportunities in this piece to create a vivid and rich operatic re-telling of the story, which will enhance Pullman’s wonderfully imaginative world in ways only opera can. The story has huge scope, taking in intimate personal moments – for example, Lila’s battle with her own self-belief as she struggles up the mountain; contrasted with large operatic set pieces such as the fire-fiend’s grotto and the elephant parade. Topping it all of course, there will need to be musical fireworks, with Lila’s culminating “display” an extraordinary musical and visual climax. Having set both a solar eclipse (Has it Happened Yet? 2002) and childbirth (Push! 2006) to music before, these are the kind of “impossible” musical challenges I relish.

Filed Under: David Bruce, HomePage Tagged With: opera

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