Best in Score 2022
PROGRAM NOTES
Lama Program notes to be delivered from the stage.
Episode Cinquième for cello Composed at the beginning of 1983, this work, following Berio’s example, is the fifth of a series of nine pieces named episode, featuring different solo instruments. It is also the first I devoted to a stringed instrument. Next would come episodes for viola, electric guitar, double bass and clarinet. In Episode #5, rather than virtuosity, I have chosen to emphasize the exceptional lyrical qualities of the cello, while however, keeping them at all times under control through a rigorous yet flexible structure. Anecdotally, this structure is based on the notes of a congratulation message I sent Antoine Vitez, on his appointment at the head of the Théâtre de Chaillot. Episode Cinquième was premiered in Paris in 1985 by Sonia- Wieder-Atherton. —B.J.
Only One Flower in a Field I wanted to evoke the experience of unity and joy that comes out of being completely alone. In writing for a single instrument, I wanted to explore a state of meditation, focusing on an internal sensation that begins in total isolation but ultimately leads to a sense of universality and connectedness. Together with the corporeal experience of dance, I hope the piece is like a reminder of the feeling of being a human on this earth—like a flower in a field, like our earth itself in the massive cosmos. —D.H.
Waiting for Proof: Toxicity Study and Remix is a solo violin piece written for Domenic Salerni. The work is part of an ongoing suite of collaborations with violinists to create works that engage with the mutual musical and social/conceptual interests of the composer and performer.
My piece is an impressionistic study of the harmful behaviors of public figures. I aim to do this through explorations of musical textures and moods that traditionally signify confidence. Throughout this piece, I include character markings such as “doubling down” and “with unearned confidence,” in order to explore these manifestations of overconfidence. Rock guitar solo riffs and virtuosic polyphonic textures represent overcompensation, interrupted by static or hesitant musical moments that suggest a measure of insecurity brewing beneath the surface. In other moments, punctuations of dismissive, rhythmic laughter allude to both the internal mockery that insecurity brings about, and moments when these public figures dismiss concerns through external mockery. —N.F.
The foundation of the musical material for Shimmer! (2021) comes from an earlier work, written for string quartet, entitled Sparkle! (2020). One could view Shimmer! and Sparkle! as siblings to one another, similar in many ways — both retaining a sense of buoyancy and optimism. Still, each has its unique voice and musical contributions that reflect growth in my style of music.
The inspiration of Shimmer! comes from a fascination with the natural behaviors of light. Physicists have observed the nature of light to function as a particle and a wave for hundreds of years. This wave-particle duality of light allows for some spectacular displays in nature, from the stars painted atop our night sky to the gradient wonders we receive before dawn. I chose to capture these breathtaking moments using the spectrum of sound colors from four cellos.
Shimmer! reflects my optimism that has continuously been a beacon of light during trying times. Starting a significant transition during a global crisis was extremely difficult. It was easy to succumb to sentiments of cynicism and pessimism. However, I chose to embrace optimism. In doing so, my optimistic frame around the world allowed me to identify the people and events that contributed positively to my life. Shimmer! reminds me that positivity can be a light in our life in the most natural form. I hope that this work will allow listeners to reflect on their life and what truly makes them shimmer! —J.V.
Ever-Widening Circles is a combination of odd and mixed-meter rhythmic cycles and melodic but non-diatonic harmonies that engage with each other in various ways throughout the development of the piece. The kinetic rhythmic energy created by a consistent flow of 8th and 16th notes continually drives forward while the slow harmonic movement within floats on top, culminating in a Balkan-inspired groove that comes careening to a sudden halt at the end. The name was inspired by the imagery of droplets of water creating outward ripples in a pond, a metaphor for personal evolution and expansion. —J.H.
VENI - A Dystopian Space Cowgirl Rhapsody for solo violin and Fixed Electonics During the Summer of 2020, I was fortunate to have the opportunity to work on a diverse organic farm; while I was primarily toiling in the vegetable department, I was able to witness the individuals in charge of the livestock and how they managed to wrangle the various creatures involved with the farm. As a musician, I was particularly moved by the use of music to communicate with the large coterie of cows. Witnessing the various cowhands use their singing voices to elicit responses from the animals, and even hearing the animals respond (in unison sometimes!) in their own musical voices was quite memorable. To herd the cows, the livestock folk used a “Cow Call” that consisted of a descending minor third, voiced with the words “Come Cow!” Veni, the Latin imperative for the word “come,” is a reference to this call, and a recreation is featured as the crux of the electronic score. This particular piece is based on a particular incident that happened whilst on the farm, in which a single cow got separated from the herd, and was lost for some time until eventually being reunited with their family.
Being into Science Fiction/Space and Westerns, I imagined a Cosmic version of this tale of a lost cow separated from its bovine family, and the rest of their herd calling to them to return; this piece is a stylized rendition of that scenario, following our lost herd member through their intergalactic adventures and leading to their eventual return home. The electronic score includes various manipulated live recordings of voice and violin, along with some synthetic sounds to help situate it somewhere between the earthbound reality of animal husbandry and the other-worldly and cosmic realms of our imaginations. —J.H.