Tonight's the Night!

OK, yes.  I have been neglecting my poor little blog.  I promise that will change!

It's a good feeling to begin the day of a performance feeling comfortable with all of the music.  Tyson Deaton and I have spent this week putting everything together and merging our interpretations.  There have been arguments (as there almost always surely will be) and we have had to call the composer of one of the pieces to mediate.  But, everything has been settled now, we're on the same page and I feel like it's going to be a very good program.

One little note to my audience tonight.  The first half of this program is very heavy, dramatic, and maybe a little long.  It deals with war and death.  I just want you to know that the second half is lighter, more hopeful and much shorter.  If you make it through the first half, you're home free!

So, come on out and enjoy an evening of great poetry, good music and two good musicians (if I do say so myself)!!

A Brand New Song

I just love the smell of new music on the computer.

Today I received the finished score of "To a Stranger," a piece I commissioned from composer David T. Little.  The commission was made possible by a very generous grant from the Walt Whitman Project (Greg Trupiano, Artistic Director) in Brooklyn, and pianist Tyson Deaton.  It's a unique piece that, I think, captures the meaning of this poem.

The piece came with an interesting note from its composer saying,

In an odd way, this song is as much a stranger to me as the characters it discusses are to
each other. That is, I can’t say that it is recognizably my music, to the same extent that
another piece of mine would be. Still, as I was writing, I had a strange feeling that we
knew each other—this piece and I. That I knew what was to come next, though I didn’t
always know why; that the piece and I knew each other’s secrets, though it still felt slightly
foreign. Though this is nothing like I had ever experienced before, I suppose it’s fitting,
given Whitman’s words.

When I spoke with David this afternoon in a little Lincoln Center cafe in New York, we discussed how the piece captures a "subway moment" of one person seeing another and in an instant the thoughts expressed in the poem shoot through their head.  I'll talk about this more when I discuss the poem in a few days, but that moment was very much on Little's mind while he composed.  I think the music captures the formation of those thoughts and I can't wait to dive into it when I return to Knoxville.

It's a rare treat to begin work on a piece of music days after its completion.  I look forward to continuing the collaboration with David, Tyson and Carol!

A Change in Personnel

A quick little update regarding personnel for one of the performances.  Due to an unforeseen conflict, Carol Zinavage will not be able to perform with me on October 14.  Because of scheduling conflicts with the hall, among other requirements, I was not able to reschedule for a date where we were both free.  So, Tyson Deaton will now play this performance.  Carol will still prepare the program with me and remains a vital part of the team I've assembled for these performances.

A HUGE thank you goes out to Andy Wentzel and the faculty at UT for being flexible with me on this issue!

The First Rehearsal

I mentioned earlier that today was the first rehearsal for the recital with piano.  Well, it happened, and it was good!  It went much better than I had expected.  Those expectations aren't knock against the fantastic Carol Zinavage, I mean it to say that with repertoire like this, one never knows what putting the pieces together is going to be like.

Fortunately, we were both prepared and got through the Rorem, Richard Pearson Thomas AND the Urqhart sets in about an hour and a half.  If you're familiar with the Rorem pieces, you know they are very difficult individually for both the pianist and the singer.  Putting the two parts together is even more difficult due to the way they are sometimes set against each other and the close harmonies that result.  The Thomas pieces are even more problematic with the thick textures and complex rhythms and harmonies.

With "new" music, it's always interesting to go into a first rehearsal like this.  Usually there are few recordings available, if any, or those that are available are not good resources because (speaking generally) one performer is not prepared, the recording used an older edition of the score, or the quality of the recording is so that you can't really get anything from it.  So, you're going in a little blind, which isn't always a bad thing.

With that, I'm happy to provide a positive update and say that I'm very happy with today.  Being much further ahead of where you thought you were is always a pleasant surprise!!

Musings on Preparation

I've spent the past month making the initial preparations of the music for this recital and have reached the point where I'm ready to start putting things together with a pianist. In fact, I'll have my first rehearsal with the wonderful Carol Zinavage on August 5.  We'll have about seven weeks (probably 7-14 hours) to put everything together before I have to travel out of town for another engagement.  When I return, we'll have four days (probably 2 hours) before the performance to brush up the work of August and September.  That might not sound like a lot of time, but in this business where operas can be rehearsed and performed in the span of two weeks, it's plenty.  (To highlight the luxury of time, I will have even less time with my other pianist, Tyson Deaton.  We will probably have 4-6 hours of rehearsal together before we give our first performance in February.  Because of that, we've been in constant communication on the music, discussing what we've learned from our solo practicing.  I'll have the advantage of having already performed the music when we have our first rehearsal, which will lighten the burden of our rehearsals.)

With that, I thought I would take a moment and share some thoughts on preparation and the music so far.

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Concert Dates Announced

Here are the dates for the Whitman recitals.  I'm very excited about these concerts and am looking forward to the prospect of adding a couple more to this schedule.

All but one date will feature the entire program.  Due to time constraints, the concert in Pembroke, NC will have a shortened program.  Those details will be available closer to the performance.  Carol Zinavage will play the concert in Knoxville and Tyson Deaton will play the other dates.

October 14, 2010: Knoxville, TN
February 17, 2011: Hartsville, SC
March 2, 2011: Pembroke, NC

See this page for more information!

Making the Cut

Putting this program together has sometimes been a little difficult (as I outlined an earlier post, my original idea for a layout failed).  My next task was to put the poems and songs I had chosen into an order where they told a story or where there was some semblance of one poem leading to the next.  The sets where the composer had already made that choice for me was easy, although I'm still wondering if the Rorem is a good place to start.  My decision there is more musical than textual, but I haven't quite decided for sure.  What has happened in the first half is that I've tried to take a journey though the different scenes of the war beginning Whitman's prose and mostly first hand accounts, followed by his poetry that is mostly a re-telling of experiences had by the soldiers.  After that, I move to the assassination of Lincoln with a song that incorporates two poems Whitman wrote for that historical moment and one of the "Drum Taps" poems that the composer uses for a different purpose, a poetic funeral march for the dead President.  I'll talk more about that when it comes up in the series on musical discussions.

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Composer Spotlight: David T. Little

One of the benefits of doing this program has turned out to be the number of living composers featured.  Of the eleven composers whose works I'm performing, five are still living.  To my colleagues in the musical theater world, that might not sound like a big deal.  It is, however, a big deal in the classical singing world since a great majority of our time is spent singing music by composers long since dead.  Throughout this year, I'll be posting about these composers, my conversations with them (if I've had one), and their music.

As I said in an earlier post, when I began researching this recital I knew that I wanted to commission a work for the program.  Whitman is the most frequently set American poet, so one would think that there was plenty of material to choose from.  There is a lot of material, however, I felt like this program in particular afforded me the opportunity to add to that collection by commissioning my own song.

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Themes and Variations

I hate themed recitals.  To me, the singer is saying that he doesn't feel like the music can stand on its own.  Now, a lot of people don't agree with me, and honestly, that's okay.  Differences like that keep our business vibrant.  After reading that, you might look at the title of this blog and think, "Well, gee, this is a blog about a themed recital."  True, to a point.  It was a challenge I thought a lot about, however, the poetry won out in the end.

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