Living Music

LIVING MUSICVol. 21 / No. 1 the journal of the Living Music Foundation Spring 2006FROM THE EDITORInstead of our usual extended interview with acomposer, this issue of Living Music features acomposer writing about her own work.Composer, poet, scholar, and archeologist LynnJob discusses the connections her music makeswith other art forms – most particularly poetry.A shorter interview with composer Joan Tower,about a new work is also included.Live concert reviews and CD reviews arecovered both in extended articles and also our“briefly noted” reviews section.Our feature scholarly article, by Godwin Sadoh,is an exploration of the music of Nigeria’s mostfamous composer and ethnomusicologist, AkinEuba.Forthcoming in our Fall 2006 issue will be aninterview with composer Elliott Schwartz on his70 th birthday, a profile of the British NMC newmusic record label, a scholarly article by RobertGluck on the use of traditional sound resourecesand ethnic elements in electro-acoustic music,and our usual reviews of CD recordings and liveconcerts.– Carson Coomanfrom top: Lee Hyla (illustration by RiccardoVecchio), Nicolas Flagello, Akin Euba

whether alone or backing its guests. A topshelfCD that should have a place oneveryone’s shelf.CD Review: Shadow Bands: Music for Strings andPiano by Scott Wheeler, Newport Classic NPD85672, Time: 61:35by David ClearyFounder/conductor of the Dinosaur AnnexEnsemble and faculty at Emerson College,Scott Wheeler has also built a strongreputation as a composer over the years. Asthis CD of music for strings and pianodemonstrates, his notoriety is well deserved.Unlike that of several Boston-areatonemeisters, Wheeler’s muse mostcomfortably nestles within a uniquelyexpressed post-Neoclassic ethos. Pitches areclearly scalar in origin, arrayed in a somewhatmore dissonant version of pandiatonicismthat still readily admits triadic configurations.With its older formats and stylized rhythmsand phrasing, the Sonata for Violin and Piano(1985) most resembles music from the 1930sand 40s. But this is a substantial, notderivative listen thanks to its unusuallyclangorous harmonies and driven manner ofspeech.Both Piano Trio No. 2: Camera Dances(1996/1999) and the string trio Shadow Bands(1991) prominently feature pointillist textures,though neither piece is a clone of the other.The intensely stuttering material that opensCamera Dances initially contrasts with a sectionof expressive counterpoint – the openingmovement outlines this dichotomy clearly –and in subsequent movements finds cleverways to have the two concepts interact. Thesingle-movement Shadow Bands treats thefractured music at its outset in a bouncy,genial fashion suggesting syncopated jazz,then proceeds to flesh this bare-bones basisout with ingenious elaborations of varyingkinds -- in essence being a subtly etchedvariation set.The piano quartet Dragon Mountain (1992/93)has the most tonally focused sound of allthese selections, at times notably recallingCeltic idioms. This is rootsy, evocative stuffwhich, despite remarkably attractive coloristwriting, has its share of gutsy energy.Performances are first-rate. The GramercyTrio (Sharan Leventhal on violin, JonathanMiller on cello, and Randall Hodgkinson onpiano) features wonderfully balanced andnuanced ensemble abilities as well asaccomplished individual prowess of techniqueand tone quality. Pianist Donald Berman andviolists James Dunham and EdwardGazouleas match their colleagues stride forstride. Production values are top-shelf good.Sonics are cavernous on Dragon Mountain butfine otherwise. An excellent release well worthobtaining.CD Review: Beth Wiemann: Why PerformersWear Black, Albany Records TROY 675,Time: 49:26by David ClearyBeth Wiemann, faculty at the University ofMaine, has composed works in several mediaover the years. This release focuses on anarrow slice of that oeuvre: pieces for solobass clarinet, an electronic music offering, andsongs for soprano accompanied by one ortwo players – all brief in duration and mostlyeconomic in speech.The vocal compositions make up the bulk ofthis CD, and despite their fairly low-keyapproach, demonstrate a good bit of variety.All are cast in a scalar, if not usually tonal,harmonic language mildly suggestive of Ivesor Stravinsky; there are also subtle nods toBroadway show tunes in the declamatoryapproach to word setting. Textures and ideasare clearly delineated. Certain songs, such as“Post Office,” “Queen Anne,” and “AFixture,” (this last unusual in having clarinetinstead of piano backing for the singer), putforth a quietly charming sense of humor.3

Others such as “Italy” and “A Soul Selects”possess seriousness leavened with engagingwarmth. The most thoroughgoing entity, FourAmbitions, is a cycle setting verses by LolaHaskins that obliquely reference musicalsubjects; clarinet and violin combine toaccompany the singer here.Poem and Postlude Revisited goes beyond theaforementioned idiom into electronic territory.Here, a recorded performance of Wiemann’sclarinet-voice duet “Poem and Postlude” sitsatop a carpet of digital enhancement. Thehighlighting, however, amounts to little morethan reverb embellishment and similarunobtrusive effects, making minimaldifference in the overall aural experience. It’sbest to experience this enjoyable song straight,without interference.Wiemann is also an accomplished clarinetist,so it’s not surprising that Waver and Rustle arewonderfully idiomatic utterances for bassclarinet. The latter, busy but genial, firstcontrasts and then combines fragmentedscalar material with jumping motifs. Waverbegins with tremolos and trills both regularand enharmonic, first gradually and then moreextensively interpolating linear figuration.Performances are excellent throughout.Strong singing is provided by soprano SusanNarucki; an attractively full sound, felicitousexecution, and solid diction are her chiefattributes. Pianist Christopher Oldfatherfurnishes accompaniments that are supportive,yet personable. And Wiemann’s first-classclarinet/bass clarinet playing boasts suppletechnique, mellifluous tone, and clearheadedinterpretive skills. Sound quality is fine.Editing is generally good, though a few splicesremain audible. Much recommended.CD Review: Nicolas Flagello: Piano Concerto No.1, Dante’s Farewell, Concerto Sinfonico, Naxos8.559296, Time: 65:23by Carson CoomanNicolas Flagello (1928-1994) has been dubbedby some as the last true American romanticcomposer. Flagello’s rich and deeply feltmusical language is rooted in traditionalromantic musical principles, while displayingan awareness of the then-developingmodernist languages in the 20 th century.Through a series of recent recordings, hisworks have become known to a broader andreceptive public. His musical style coupledtrue emotional depth with a supremelyimpressive sense of craftsmanship and truesymphonic development. (www.flagello.comcontains more information about his work.)This is Naxos’s second disc devoted toFlagello, and the three works cover the entireperiod of his mature writing career. The discbegins with his first piano concerto of 1950(the second and third concerti are available onan Artek CD release) and ends with ConcertoSinfonico (1985) for saxophone quartet andorchestra – Flagello’s last completed work.To those who have encountered Flagello’smusic in the past – music which tendstowards the dark and brooding – the firstpiano concerto’s temperament may be a bit ofa surprise. Where the second and third pianoconcerti are indeed darker affairs, a sunnyspirit runs throughout the entire first concerto– particularly notable in the sumptuousPuccinian climax of the slow movement orthe buoyantly thrilling theme of the finale. Inthis writer’s opinion, the three Flagelloconcerti are (along with the four of the quitedifferent composer Charles Wuorinen) themost important “piano concerto cycle” by anAmerican composer. The romantic repertoireis a mainstay of current concert pianists, andthey would do well to look to the threeFlagello concerti – particularly now thatexcellent recordings of all three are available.4

Dante’s Farewell (1962) for soprano andorchestra is a dramatic scena – dating fromthe peak years of Flagello’s writing career.From this work we get a glimpse of the lyrictreasures that await us in the unrecordedFlagello operas. (Left unorchestrated atFlagello’s death, Anthony Sbordoni provideda compelling orchestration, a task he hasundertaken for most of Flagello’sunorchestrated compositions.)The disc concludes with the saxophonequartet concerto, one of Flagello’s best knownworks. Although the concerto does not havethe same force of musical ideas that aredisplayed in Flagello’s best work, it remains asthe only true romantic concerto in this smallmusical genre and thus has won manyadherents.The Ukraine National Radio SymphonyOrchestra, under the direction of JohnMcLaughlin Williams provides strongperformances of the first two works. PianistTatjana Rankovich and soprano SusanGonzalez are likewise excellent. The RutgersSymphony Orchestra under Kynan Johns withthe New Hudson Saxophone Quartetperforms Concerto Sinfonico with commitment.This disc, along with Naxos’s first Flagellorelease (containing his first symphony, amongother works) is strongly recommended. Forthose interested in the piano concerto genre,this disc along with the Artek release (AR-0002-2) are absolutely essential.***(Lynn Job: composer, poet, scholar)Cups with Saucers: Impressionistic Stratawithin Job’s Mixed Poeticsby Lynn JobBy kind invitation, I offer here aphilosophical theory of associative propertiesof a “layered music,” and follow withexamples of rich imagery and stratifyingdevices within select, finished works from myown catalog.Cups with saucers, gifts with ribbons,jackets with ties: these are simple examples ofcompanion presentations which provide a“layered” refinement magnifying the effect ofelegance. Presentation – the anchor of socialand visual graces – models my own literaryand musical approach toward fine artexpression: discipline it, cultivate it, layer it –and never spare the intuitive sensuality. Sparesentimentality, perhaps, but never sensuality.This particular sensuality is heartfelt passion,delicious display, carefully-timed dramaticgesture, and honestly-painted, boldimpressionism. 1My inspirations for musical works arediverse and superimposed one on anotherduring the writing process: the totality of theemployed impressions and rationale is neverrevealed. However, I usually share insight intoat least two relational elements for each scoreat the point of publication with preface,inscription, and/or additional references. Ifthe resulting musical response came byimpress of borrowed or original image, poem,text, mood, plot, scheme, meditations or otherinfluences during its genesis, one or more ofthese can also be added during or after themusical constructs to distill additional ideasgenerated by the music itself. There is anorganic co-mingling of creative media andreflexive thought.Any companion text or graphic withina score might therefore be a direct, orabstracted, reference to this germinating orsummary material – if abstracted, this makesyet another layer of subtext, of tangency, ofreverberation. To be expected, most of mytitles are crafted to contribute motif.5

Wrapping the recipient within a rich world ofthis companion imagery or direction is notmeant to prescribe or narrow the individual’spersonal response to the musical texture, butto enhance it through associativeamplification.It is a common observation that socialand art entertainments mix media and sensualstimuli of many kinds to heighten one’s totalimmersion within a creative or dramaticexperience. (This can be found in the subtlelimiting graces of a fine multi-course menu,for example, or the audacious extravaganza ofa symphonic Hollywood studio water ballet.)In simple terms, a disciplined complexity,created by layers of choreographed inputsspread among several senses, activates agreater encompassing brain response, and,such richness amplifies synaptic processeswhich in turn associate broader responsesincorporating emotion and memory. As thismulti-associative process commences itsubjectively affects the intensity of theexperience and results in a derivative“meaning” unique to each recipient withinshared contextual limits. An artifact’sderivative “meaning” (or “message”) can be assimple as the effective evocation of a singlemood, or as complicated as a work of politicalor religious satire.“Layering” information, I propose,enriches the intellect’s consumption –deepens the cognitive demands – intensifiesthe pleasure or the pain through multi-taskingthe senses and reason. A “layered” music neednot be the antithesis of a “minimal” music incertain qualifying analytical systems – a topicbeyond this essay’s scope. “Layering” is amulti-purpose term, as aptly applied to atechnique of counterpoint as to a system ofmixed media collaborations. A “layered”music is a data-rich, multi-message impression– a multi-dimensioned, stratified musicallyrenderedconcept – a holographic montagepainted in sound. This is not a new style oraesthetic, just a continuing one described withmore contemporary terms. I would considermany historical devices and genres to looselyfall into the category of a “layered” musicentertainment such as (to name just a few):multi-lingual madrigal text painting; theatricalunderscoring (from staged dramas tocomputer games); romantic-era, programmatictone poems; ballet dramas; some intermediainstallations; works of allegorical strata; andeven, richly-dimensioned acoustic antiphonywhereby associative processing may reorientcertain derived contexts.Various theoretical devices have beenemployed throughout history to create hiddengames, designs and allegorical “layers,”though to such an obscured and subtle effectthat often only the literate initiates receive thekey(s) to the scheme (as in my own musicalallegory ELATIO: Praises & Prophecies [in worksince 1998, BMP cat. 38] 2 - a grand, 28-movement parody and modern application ofthese historically mystic devices). I mightargue that interior mental imagery alone(generated most often by a descriptive title,poem, story notes, or keys to schemes asmentioned above) provides the most variableand freely associative form of companionideas with which to layer a widely foregroundmusic. That is, accompaniments such as film,drama, or other visuals – even dance, canwork to degrade or weaken the focus uponthe musical stratum giving away a great degreeof associative influence to these othercontributors. Such intermedia presentationsshould be crafted from the start as a suite ofco-contributing elements – with the musicappropriately shaped to weave into the totaltapestry and not overwhelm.To describe my own layered works(music with printed texts, ascribed dramaticprogram, and/or musical allegories), thefollowing examples of my thinking would beapplicable. For example, I accept that inpoetry and dramatic or theatrical literature,allegory stratifies a single story line intosimultaneous dramas of two or more subjectsallowing repeated readings to offer a variety ofinterpretations and depth. Such texts continueto challenge solution and thereby continue toengage interest – the capacity to renew6

interest is one enabling qualifier toward anenduring entertainment.Mentioned at the top of this essay, Imake sensuality (or a “sensual music”) mybasic foundation because I accept as a tenantthat music is, by definition, first an acousticmessage received (heard) by activation of aphysical mechanical sense (and/or psychoacousticinner ear realizations from musicnotation) which is then conducted through aphysical intellect. The human intellect appliesa process of associative assimilation toward aninnate goal of reasoning out a derivative“meaning,” or at least, a substantive“impression.” Finally, the original messagemight even arrive in some cases at a point oftranscendence to a “spiritual” or “soulful”plane of reasoning. If processed to this finalstage, it still remains remembered first as anemotive “felt” experience affecting heart rate,blood pressure, serotonin and endorphinrelease, but inclusive of an extraordinarycognitive association which breaks into astratum of the metaphysical.As used in this essay, I intend the term“sensual music” to in no way imply, as somemight assume, a conditional absence ofapplied abstract philosophical or mathematicalproperties, of highly refined cognitive craft, ofscientific reference, or of grand schemes ofthe highest sophistication. A “sensual music”simply means a music which successfullyrenders a stirring, association-rich experienceas it reverberates in series from ear to brain topsyche. It can be, in some cases, the mostdisciplined of musics.Below are just a few samples of musiccompositions which I have published bundledwith original poetry (and in some casesadditional texts) – information meant to beprovided to the listener within an audienceprogram or reproduced in recording bookletnotes. 3 Here, a short reference to spiritualconsciousness and transfiguration after deathfrom the complex, 7-minute metaphoricalrhapsody originally for solo violin ArcangeloRed (2003, BMP cat.80) states (ellipses areoriginal): “. . . beyond the tent - gardens ofimmortal starlight . . .” This piece alsoreferences 2 Corinthians 5: 1–5 (HolyScriptures quoted in part from The JerusalemBible). Number symbolism (using 10 and 12),and other devices explained within the prefaceof the score, leads one into deeper and deeperlayers of back story allusions involving theNation of Israel, prophetic meditations, andmore. 4“Clash! by cliffs of Aran-born,splinting spray - wet Burren brew -night-glowing bogs come ballys green.Across the Clare, a cold coastal mornblows ancient musics brightly brave.”This poetic imagery above was writtenafter I was nearly finished with the 6-minuteBally Brew (an Irish Whimsy) (rondocapriccio for alto saxophone & bodhrán, anIrish frame drum) (2006, BMP cat.87). Mytime spent near the Cliffs of Moher(Knockeven, County Clare on the westernAtlantic coast), while in residency at SalmonPublishing (April – May, 1999), was in view ofLiscannor Bay 5 and somewhat across from theAran Islands. The tenure there continues tocolor my several treatments of Irish subjects,both in music and poetry. Bally Brew is asomewhat mystic and impressionistic tale,painted simply, with a brave directness,humor, and innocence unique to its Celticheart. The form was affected by the overallneed to parody indigenous folk forms such asjigs and airs to “set the locale,” but directivesfor mood, and allusions to an underlying storyline, peek from behind the transition material,bridge sections, and contrasting themes. It isproposed in the notes that one mightfantasize time-travel within the piece – onemight hear a call to old wars, to strife, to loveand loss, and the bright tunes may stir beliefin a future of happy security and pastoralblessings. Perhaps a vision of smoky peat firesand bright breezes is invoked – the stir ofwaters is all around – and a poignant moment7

stirs the soul when a parody of Air from CountyDerry drifts past.Duetto Maduro (fantasy for twoviolins) (2004, BMP cat.76) presents (ellipsesare original): “ . . . vanilla wood, magentastarlight — skins that sing to mystery’smadness.” This 7 to 8-minute duet was titledand penned with this inscription before any ofthe music was composed – a veiled allusion tothe sexual tension ignited by the acrobatics ofduet performance. Having captured thisimpression, the piece then composed outorganically from start to finish like a dialog ofunmanifest seduction and romantic fancy.Duetto Maduro was created during a time ofheightened output while several other workswere also nearing completion or were startedand completed during the same time, such asthe string quartet Breathless – Joel’s Fast (anepisode between thoughts) (BMP cat.74) inscribed:“consulting the Book of Joel on the eve of terrors.”These two even share a chordal motif.Breathless – Joel’s Fast (2003) is awork for which the historical and descriptivesetting is critically informative - akin perhapsto that historical element of OlivierMessiaen’s (b. 1908 – d. 1992) Quartet for theEnd of Time (Engl. trans.) composed in 1940and performed January 15th, 1941 in Silesiancamp Stalag 8A 6 (no agreement intheosophical theme intended). Or, maybemore relevant, it can be compared to GeorgeCrumb’s (b. 1929) Night of the Four Moonswritten during the flight of Apollo 11 to themoon (July 16-24, 1969): the mission whichtelevised the first step on the moon by7Astronaut Neil Armstrong. Physicallyconceived and written between the period ofthe televised final American address to Iraqon March 17, 2003, given by PresidentGeorge W. Bush (which I viewed from sittingat my composing station), and theannouncement of the subsequent firstbombing strikes over Baghdad, early onMarch 20, 2003 (news reports continuouslyscrolling past), Breathless – Joel’s Fast(approximately 4 minutes – which might beconsidered as one minute for each day) is aliteral sound sculpture fashioned out of theanxious cesura then hanging upon thedownbeat of destiny.“Foggy cool and sappy greenthe sugar gleams,golden bubbles chill the dusk,eagles gliding, sea waves tiding,newborn dreams and cork dust.”This fun imagery above is from IronHorse Nocturne: “of salt & grapes …”(2002, BMP cat.66) for organ (ellipses areoriginal). The piece, with its bright fanfare,dreamy waltz, and Wagnerian vocabulary,might be as much at home in the 19 th Centuryas the cultivated vineyard which inspired it.Though a strongly sensual painting of thesparkling wine, virile eco-system, and essenceof creative genesis, the second part of the title:“of salt & grapes . . .” keeps a foothold on themetaphors of the people of God (as fruit ofthe vine), and wisdom and truth (as salt of theearth). This short (2 ½ -minute) work can beseen as a reflected glimpse of bountiful life ina restored Eden: “a promised land of milk andhoney.” The musical sections are described tohelp choose colorations, though an overallbold, full sound is called for: Jubilant (Intro),Romantic (Letter A), Heights (Letter B),Afterglow (Letter C), and Parting (Letter D).This was finished in Denton, Texas on August3 rd , only a week after an inspiring evening ofwine and verse with poet colleagues at theIron Horse Ranch & Vineyard in Santa Rosa,California – an excursion during a writingconference. Not finished expressing myrecent inspiration with just this one piece, Ilaunched immediately into a new trumpetseptet: TOUMAI - Hope of Life (more on thatpiece to follow).This line “between the silver rivers,a mountain of midnight dreams . . .”(ellipses are original), sprang out of nowhereduring the composition process to colorMoon Largo, a mysterioso/cantabileunaccompanied solo air originally for trumpet(2003, BMP cat.75). This dreamy,8

unpretentious 3-minute song, with itsundeveloped potential in the beautiful shortthemes, leaves one yearning to return againand again to this midnight world. Performersreport a “seasoning” occurs over time as theyinternalize the simple lyricism, and, throughmultiple performances, learn to let its organicgestures relax and flow like intuitive, innermoonlight.“Victoria, lake of hope and lake of answers,lake of promise, lake of plenty,rolling down my chin like spicy, living oil, fragrantwith the taste of riches.She was licking all my taste buds with the promise ofGod’s grace restored.Numbered vast as Nile perch, flowed my giggles . . .” 8Translated into German by Dr. FrankHeidlberger for its 2002 world premiere inAub, Germany, this original poem is anexcerpt (see endnote 8) which was speciallyselected during the composition process toaccompany the spirit of the existing visionarymusic title Serengeti Supper (alto saxophoneand sound track) (2002, BMP cat.65), and, toloosely inform the texture and creativechoices commencing at that time within theproduction of the 4 ½-minute sound track.The original, long mystic poem about a searchfor a reconciling message from God, serveswell as used in this piece – a happier essayabout mankind’s immersion within all creation.“Where sleeps my daystar? Where sings my shadow?Low bend my daydreams . . . dark falls the morn.”These two lines above are reprinted inthe score Shadow’s Pipe (2003, BMP cat.61)excerpted from another of my works uponwhich it is based. This flute solo contains selfarrangedmusic from Bamboo Skies [song No. 2(new moon) from the song cycle Systole: Book I(3 songs) for high voice and piano (BMP cat.56)]. Taiwan is the source of the originalsong’s inspiration where I assisted exchangestudents at the National College of Arts (May2001) and enjoyed some spectacular hikesamong the bamboo and mountains. Themusic is pentatonic - the melody evokes themodern Chinese classical style. The originaltext veils political, historical, and religiousthemes too delicate to treat in any way otherthan in metaphor. In the hands of a brilliantflutist: wind, new moon, and mystery liewithin!“Dust from Djurab drains the cloudscracking corks and cradles;proverbs wet and crimson moist rim the God hymns.Sing the green things into cresting!Ring the rights of nature’s breastlings!”Just back from Santa Rosa, havingattended sessions with Dana Gioia, 9 andperformed “open mic” at the July, 2002,Teaching Poetry: a symposium for teachers and poets,I was still flying high with the influence of theexuberant life zest throbbing in the summerCalifornia vineyards which we visited(mentioned above with the organ solo IronHorse Nocturne). The year before this I hadtaken note of the word “toumai” and hoped touse it as a title. I pulled it out of my files andthe poem above was created to decorate anew, 3 ½-minute trumpet septet: TOUMAI -Hope of Life (2002, BMP cat. 67). 10 “Toumai”(too-may) meaning “hope of life” is anAfrican word from regional Chad peoplesliving near the Djurab desert. It is often givenas a name to babies born just before the dryseason. Like the poem written just for thispiece, the music evokes bravado, tenderfragility, the yearning for survival, and theduality of our destinies. A sacred reading isalso offered within: “The desert and the parchedland will be glad; the wilderness will rejoice andblossom,” The Holy Bible (NIV), the Book ofIsaiah, the first line from Chapter 35.“Squeeze my soul between yourdreams and press the music of ancientflowers,” a paraphrased excerpt from myunpublished poem Ginger Orchids (May 2000)decorates the 6-minute, 3-movement alto andtenor saxophone duet: Yellowstone Blush –a wedding remembrance (2004, BMP cat.9

81). Descriptive titles of the individualmovements and subsections: I – Paris (JoyfulPromises); II – Vermillion (Sweet Labors); III– West Yellowstone (Vows); ending with arounded, closing reprise (Joyful Promises);create a custom story-line specificallymeaningful to the gift couple. However, thepoetic inscription along with the title isenough to settle an expectation of gentledialogue.Finally, a completely pre-existing,original 4-stanza poem SACRED STREAMIV: Meditations by the River Euphrates written inIreland (April, 1999), becomes an integralunsounded element of one of the manyprogrammatic strata within the 6-minutework: Anchored in Perath: an apocalypse(graphical score for organ, 2006, BMP cat. 88).I end here with its recurring, dark foreboding:“Abram left them in their tents . . . “1 A statement about my philosophy of the mandate of high art to yet satisfy basic narrative andcertain entertainment properties is found on page 36 of the South Central Music Bulletin IV/1 (Fall 2005)(www.txstate.edu/scmb), a multi-disciplinary, on-line College Music Society peer-reviewed journal. Thislengthy and detailed comprehensive interview by Dr. Nico Schüler, Music to Educate, Stimulate, andEntertain: A Portrait of, and Interview with, Composer Lynn Job, also contains a discussion of my use ofpoetry, pages 33-34, and a helpful selected works list, pages 41-42.2 Catalog numbers are from the Buckthorn Music Press catalog listing. My work is represented byBuckthorn Studios and published by Buckthorn Music Press (an ASCAP World Member Publisher and a2006 elected member of the Music Publishers Association of the United States - www.mpa.org). Moreinformation and work updates are located at www.buckthornstudios.com.3 Though not treated in this article, I also have several sung or narrated works for which I wrotethe complete lyrics or texts, such as: Systole: Book I (3 Songs) for solo high voice with piano (BMP cat.56); Barren – a dramatic reading for 3 string basses and narrator (BMP cat. 10); Yeshua, OurDedication (a carol for Christmas and Hanukkah) (BMP cat. 82); and more.4 This construction is similar to symbolism found within By the Road to Ephrath – Rachel’sTransfiguration (amaro for solo organ) (2003, BMP cat.77) which, in that case, was merely inscribed withdirect citation of the story of her death in childbirth: Genesis 35:18-19. Theoretical connoisseurs will enjoythe exacting detail in the formal and sonic metaphors described in the preface pages, but the audiencemerely needs to know the over all topic.5 Liscannor Bay is mentioned, as are “poets,” in the text for Ivory Eyes, “Song No.1 (full moon)[Ireland],” from the song cycle Systole: Book I (3 Songs) (BMP cat.56).6 According to A. Boucourechliev’s article Olivier Messiaen (MacMillan Publishers Limited,London: The New Grove Dictionary of Music and Musicians, Vol. 12, 1980, reprinted 1994, Stanley Sadie,ed.).7 George Crumb writes: “I suppose that Night of the Four Moons is really an “occasional” work,since its inception was an artistic response to an external event.” This is from his program notes for thework, which set texts by F. G. Lorca. This categorical term would then apply to Breathless - Joe’s Fast.8 Excerpted from WAYFARER: Six Degrees of an Abandoned Soul, (August 2000) by Lynn Job.Manuscript owned by Buckthorn Books, reprinted by permission.9 Dana Gioia is current Chairman of the National Endowment for the Arts, himself an active poet,editor, lyricist, critic (“Can Poetry Matter?” Atlantic Monthly, 1991), and trained composer. My poem “St.Bucky’s Chapel,” (a tale in homage to a friendly buck who once shadowed Gioia’s writer’s chalet) wasgifted to him in 2002 in appreciation for the post-symposium soirée at his Windsor, California estate.10 One of several pieces used at, or written especially for, the Jubilantly Job: Music Festival – “acelebration of the music of Lynn Job” – (February 7-10, 2003), produced by The University of CentralOklahoma and community of Edmond with guest clinicians and performers, and with me in attendance.10

“Briefly Noted”Brief Reviews of New CD ReleasesPeter Lieberson: Rilke Songs (mezzo-soprano andpiano), The Six Realms (cello and orchestra), HornConcerto (horn and chamber orchestra); BridgeRecords 9178; Lorraine Hunt Lieberson; PeterSerkin; William Purvis; Michaela Fukacova;Odense Symphony Orchestra, Donald Palma andJustin Brown (63:04)This disc is a long-awaited release of new worksof Peter Lieberson (b. 1946). The three works onthis disc all date from the period after hismarriage to the amazing mezzo-soprano LorraineHunt Lieberson. He speaks in the notes howLHL’s focus on effortless music-making andmusical outcome, without getting bogged down inquestions of technique, has been a huge influenceon him. Indeed, Peter Lieberson’s music hascontinued to sound more and more natural,coupling the superb musical imagination healways had with a new clarity of expression andsurface. Like Stravinsky or Copland, Liebersonhas a tremendous gift for the voicing of chords,and thus creates textures of beautiful sonority,from simple means. For this listener, the highlightof the disc is the romantic cello concerto whichpaints a diversity of moods, connected to theBuddhist concept of the Six Realms. The RilkeSongs are performed exquisitely by Lorraine HuntLieberson and pianst Peter Serkin, two of thefinest exponents today of their respectiveinstruments. Strongly recommended. – CarsonCooman***Aflame in Flight: Robert Cogan: Aflame in Flight(solo violin), Celan Portrait (voice and piano),Pozzi Escot: Three Poems of Rilke (Fourth StringQuartet), Lamentus (mixed ensemble), Aria I(soprano, flute, clarinet, saxophone); CentaurCRC 2722; Joan Heller; Jon Sakata; MichaelAppleman; Bethany Beardsless and the NewEvents Ensemble, Jacques-Louis Monod;Claremont String Quartet and Hugo Weisgall;Jennifer Ashe, Orlando Cela, Stefanie Key, andEric Hewitt. (62:25)This disc is the latest release devoted to the musicof composer and theorist couple Robert Coganand Pozzi Escot. It is one of the finest releases oftheir work. Of particular note is Cogan’s dramaticsong cycle Celan Portrait, which receives atremendous performance by soprano Joan Hellerand pianist Jon Sakata. The only thing better thantheir performance on this disc is actually hearingthem perform this impressive work live. Escot’sstring quartet is inspired by poems of Rilke, whichare narrated excellently by the late Americancomposer Hugo Weisgall. Lamentus is a Holocaustmemorial work and is an excellent example ofEscot’s extremely focused expression – never awasted gesture or moment. The disc concludeswith Escot’s evocative Aria I which is the first in aseries of significant works with that title, in whichshe explores the basic properties of the voice incombination with instruments. This disc is anexcellent introduction to the work of thesesignificant artists. – Carson Cooman***Avner Dorman: Piano Sonatas Nos. 1, 2 & 3,Moments Musicaux, Azerbaijani Dance; Naxos8.579001; Eliran Avni. (62:35)Avner Dorman’s (b. 1975) music has received agreat deal of recent publicity, and I have beenvery impressed with his orchestral works that Ihave encountered. Even so, I was still notprepared for the excitement of this new disc ofhis complete piano music. The work begins withhis first sonata of 1998 (subtitled “Classical”), awork which draws on everything from Mozart toBernstein to Elvis. The disc concludes with histhird piano sonata of 2005, in which the MiddleEastern influences that are evident in his recentwork have taken firmly hold. It presents a journeythrough his compositional life in those ensuingyears, always revealing a fecund musicalimagination and superb craft. Every work iswritten with supreme craft and performedvibrantly and thrillingly by pianist Eliran Avni. It’shard to find a new disc of contemporary pianomusic that is really exciting or freshly invigorating,but this disc of Dorman’s most certainly is. Now,can Naxos please give us some of his superborchestral music? – Thomas Abbott11

Ned Rorem: Flute Concerto/ViolinConcerto/Pilgrims; Naxos 8.559278; PhillipeQuint; Jeffrey Khaner; Royal LiverpoolPhilharmonic Orchestra, José Serebrier. (62:42)Since 1997, Ned Rorem’s (b. 1923) orchestraloutput has been devoted primarily to a series ofconcerti. This disc contains one of the mostrecent, the Flute Concerto (2002), coupled with hisearlier Violin Concerto (1985). Rorem’s typicalconcerto form consists of a series of shortmovement, grouped together in the manner of asuite. The flute concerto is a beautiful, autumnalwork – moments of bitterness contrast withmoments of cautious beauty. The humorouslytitled last moment, “Résumé and Prayer” isespecially poignant and moving. The violinconcerto is a similar piece in concept, thoughmore straightforwardly lyrical and open. (In 1998,the death of Rorem’s long-time partner, JamesHolmes, caused a compositional hiatus andresulted in a new tone for the works that havefollowed.) The violin concerto is a traveloguethrough the night – beginning with “Twilight”and ending at “Dawn.” Within, we find a varietyof expression – from two aggressive toccatas to agorgeous “Song Without Words” in Rorem’smost characteristic song style. Though it has beenavailable on disc before (with Gidon Kremer,Leonard Bernstein, and the New YorkPhilharmonic), this new recording makes astronger case for the concerto as a whole. Theother piece included is a Pilgrims (1958) – anexpressive and yearning work for string orchestra.Naxos’s previous Rorem orchestral release was adisc of his three symphonies. Though thosepieces have virtues, they are early works and werewritten before he had truly found his maturevoice and structural paradigm. The three pieceson this new disc are quintessential Rorem and allexcellent. Let us hope that Naxos continues toexplore the orchestral treasures in his output. –Carson Cooman***David Stock: A Little Miracle (mezzo-sopranoand orchestra), Yizkor (string orchestra), Y’rusha(clarinet and ensemble), Tekiah (trumpet andensemble); Elizabeth Shammash, Rudfunk-Sinfonieorchester Berlin, Gerard Schwarz; Seattle12Sympohony, Gerard Schwarz; Richard Stoltzman,Stephen Burns, Pittsburgh New Music Ensemble,David Stock. (76:23)American David Stock (b. 1939) is best known forhis direction for many years of the PittsburghNew Music Ensemble and for his time ascomposer-in-residence with the Seattle Symphony.Stock’s Jewish heritage has influenced a great dealof his work, as evidenced by this release in theMilken Archive of Jewish Music series on Naxos.This is a very well-played release of deeply feltmusic. The opening monodrama, A Little Miracle,is a serious work on a libretto by Beth Weidon,exploring a tender story of survival and courageamidst the Holocaust. The highlight of the disc isthe trumpet concerto, Tekiah, a buoyant anddelightful piece that shows Stock’s love for theinstrument (his background was as a trumpeter).The clarinet concerto, Y’rusha, is filled withKlezmer influences and is performed with zest bythe charismatic Richard Stoltzman. – GilbertMasone***Luciano Berio: Sequenzas I-XIV; Naxos8.557661-63; Various performers. (3 discs;3:01:59)Finally! An affordable recording of the completeSequenzas of Italian composer Luciano Berio(1925-2003). The only previous recording of thislandmark set of contemporary works was releasedon Deustche Grammophone in their 20/21 Series.However, that series did not include SequenzaXIV (2002) for cello, which had not yet beenwritten. This new set from Naxos, using primarilyCanadian performers, is thus the first recording ofthe complete set – including the alternatetranscriptions for saxophone. Performances arestrong and have the virtuosity required for thesesignificant and well-known works. Devotees ofBerio will want both sets (since many of theperformers in the DG set are those for whom theworks were originally written or were Berio’schosen interpreters), but for any listener whowants an introduction to these works, or a chanceto get the whole set in one place, there is nobetter opportunity than this affordable 3-disc setfrom Naxos. – Thomas Abbott

Concert Review: “To Be or Not to Be”Honolulu Symphony, January 2006by Jerré TannerContemporary composers face a dilemma –whether to sequester themselves in some ivycoveredtower in order to create their works solelyas their heart and mind directs, or throwthemselves into the thick of commerce and hireout their talents to the highest bidder, letting thebasic decisions be made by the holder of thepurse.This clash of aesthetics was enacted in the mostrecent Honolulu Symphony pair of subscriptionconcerts on January 6 and 8, 2006. As part of its“East Meets West” continuing series, theHonolulu Symphony, conducted by NaotoOtomo, gave the world premiere of Donald ReidWomack’s “After” (a concerto for shakuhachi,koto and orchestra) and the United Statespremiere of Shigeaki Saegusa’s “Cantata Tengai”for child soprano, four-part male chorus andorchestra. Otomo is one of Japan’s finest youngconductors and has directed leading Europeanand American orchestras as well as recordingextensively, primarily for Sony.These performances were in observance of thefifth anniversary of the Ehime Maru accident. OnFebruary 9, 2001 the U.S. Navy submarineGreenville was conducting maneuvers for visitingcongressmen in international waters offshorefrom Pearl Harbor when it surfaced under theJapanese fishing/training vessel Ehime Marukilling nine crew members including four teenageapprentices. The tragic incident changed manylives irretrievably. Feelings in Japan run strong tothis day.Womack’s “After” followed a performance of theoverture to Mozart’s “The Magic Flute.” Atapproximately 40 minutes long “After” is a majormusical statement. Womack, head of the MusicDepartment at the University of Hawaii, describeshis score as a tribute to the nine victims of theEhime Maru collision and their surviving families.The number “9” is a chief compositional devisegenerating a nine-note principal theme, ninerepetitions of a rhythm or tone, 9 th chords, chordsof nine tones and an overall structure of ninesections. In some cases this numerology worksexceedingly well as when nine spine-chillingpercussion strokes begin the work or, about halfway through, when the whole orchestra comesclimactically together on a major chord only tohave it melt disconcertingly into a nine-tonechord. In other cases the numerology works tothe overall detriment of the music, contributing toa sense of the piece being over long and tedious.The soloists – Reiko Kimura, koto and SeizanSakata, shakuhachi – were superb, mastering thetechnical difficulties of their parts while at thesame time conveying layer upon layer of feeling,especially in their several solo passages. Nowherewas this more evident than at the very end of thework, after all the orchestral paroxysms wereover, when the two soloists exchanged fragmentsof the theme against a quiet night sky of highstring harmonics. It was an indelible picture oftwo souls, together, yet separated by the chasmsof their grief. Unfortunately, the effect wasspoiled by going on too long.The musicians of the Honolulu Symphony metthe challenges of their parts with expertise anddedication. The string section in particular putforth a Herculean effort to create all the specialeffects called for in the score. Conductor Otomowas in complete command of the music, neverfailing to cue entrances in spite of tempo changesat nearly every measure.“After” contains some beautiful and emotionallycharged passages, conveying to a remarkabledegree the overall feeling of mourning. Thesesuccesses bring into sharp contrast the work’sfailures. Reflecting the contemporary composer’sdilemma: should one follow one’s initial creativeinstincts and let the work stand as is; or shouldone tighten up the score, reworking it to be moreapproachable?These questions lead directly into “CantataTengai,” the work performed on the second halfof the program. Composer Saegusa has writtenextensively for films and occupies much the sameposition in Japan as John Williams in the UnitedStates. He was commissioned to compose13

“Tengai – the Prayer of a Free Person” by thewidow of Akio Morita, founder and CEO ofSony, in honor of her late husband. It was givenits premiere in Tokyo in 2000 and recorded bySony Records. The text by Masahiko Shimada ishighly imagistic and noun-rich, as is characteristicof the Japanese language. I am told it defiestranslation into English which I suspect is true.Certainly, the translation provided in theSymphony program is little help in understandingthe text and how it fits the music. Bilingualfriends tell me the Japanese original is beautifullyrhapsodic and is to the musical setting like handin glove. My mind wondered off in fantasies of“the Asian Century” in which European andAmerican choruses were as adroit in singingJapanese, Chinese and Korean texts as Latin,Italian, German, et al.The 100-voice Roppongi Men’s Chorus came toHonolulu to participate in the Ehime Marumemorial observances and were joined by themen from the Honolulu Symphony Chorus forthe “Tengai” finale. Saegusa was a co-founder ofthe Roppongi (in 1999) and arranged “Tengai”(originally for mixed chorus) for men’s chorus.They have consequently given manyperformances in Asia, Europe and most recentlyin Havana, Cuba. I prefer the men’s chorusversion to the mixed chorus since thepredominantly homophonic setting of the text ismore sonorous with the similarly colored malevoices. The child soprano part was sung withconsiderable confidence and heart-warmingcharm by 12 year old Takaaki Ozawa.Saegusa’s compositional style is highly eclectic,ranging from Gounod and Puccini to AndrewLloyd Webber. Passages of soaring originality andinvention bump elbows with others a bit too closeto their derivation for comfort. Like many filmcomposers Saegusa is extraordinarily adapt atcatching the mood of a passing moment yet notso good at creating a tight and effective overallmusical structure. Movement four, for instance,begins with a menacing march-like ostinato forsnare drum which is picked up by the baritonesand basses, building to a fever-pitch of tensionwith impressive passages for the brass. Ratherthan coming to a concerted choral/orchestralcrashing climax, fulfilling the expectations of thematerial, the music abruptly ends on a fermata,short pause, and then proceeds on with a geargrindingintroduction of new, unrelated material.Perhaps the most successfully structuredmovement is No. 6 which has love for its subject.Here, all the musical themes are lyrical andromantic, interweaving the main theme from thelast movement with the chorus singing of Caesarand Cleopatra, Romeo and Juliet, and otherswhose love will be “carried beyond the othershore” where they will “live again.”At last, we arrive at the finale with ears ratherwearied by the incessant homophonic intoning ofthe text, yearning for a sublime resolution to allthe obtuse questions raised in earlier movements.Instead, we are given an easy-answer, crowdpleasinghit-tune finale straight out of the mosthackneyed Broadway musical. One can practicallysee the cast advancing to the footlights to deliver,with considerable gusto, the final theme sung inunison, repeated over and over with increasinglyheavy orchestration. The audience loved it andinstantly jumped to their feet to deliver a standingovation.So what do we learn in listening to the Womackand Saegusa to help resolve the dilemma of thecontemporary composer? I, personally, ampleased to have heard these two ambitious scoresperformed together within the memorial contextof this concert. It would be gratifying to hearthese works again if the one were less remote andaustere and the other had more musical integrity.Composers of other epochs have managed tocombine fidelity to one’s art with serving theneeds of their audiences. I am confidentcomposers in our age can successfully find a wayto serve both masters, too.14

Members’ NewsMembers of the Living Music Foundation areencouraged to send news of their activities to theeditor for inclusion in this section of the journal.Two recent concerti by Daniel Adams werepremiered at the University of South Florida(USF) Center for Visual and Performing Arts inTampa. Concerto for Marimba and Percussion Ensemblewas premiered by the USF Percussion Ensemble,conducted by Robert McCormick, on March 6.The solo marimba part was performed byUniversity of South Florida student percussionistBeran Harp. On March 7, Robert McCormickperformed the solo timpani part for Concerto forTimpani, Percussion, and Winds, premiered by theUSF Wind Ensemble under the direction ofWilliam Wiedrich.On March 10, Adams received a premiereperformance of Ambivalence Recalled for flute soloon a concert presented at the joint conference ofthe South Central Chapter of the College MusicSociety (CMS) and the Texas Chapter of theNational Association of Composers, USA(NACUSA), held at Texas State University, SanMarcos. The solo was performed by guest artistDanilo Mezzadri. Also performed at theCMS/NACUSA conference was Adams’sEmbracing Personal History for violin solo on March9. The solo violinist was Texas State UniversityFaculty artist Paula Bird.Daniel Adams presented a research paper entitled“Pre-Composition Sketches-One Composer’sApproach” at the joint conference of the SouthCentral Chapter of the College Music Society(CMS) and the Texas Chapter of the NationalAssociation of Composers, USA (NACUSA) onMarch 9.On February 10, Adams’s composition BetweenStillness and Motion for piano solo, was performedby Jeri-Mae G. Astolfi at the Region VIConference of Society of Composers, Inc. held atRice University in Houston, Texas.On March 4 Shadow on Mist for flute andpercussion ensemble was broadcast on “The15Power of Percussion” as part of the “Works forMe” series on Radio Hong Kong hosted byChristopher Coleman. Shadow on Mist is recordedon the Capstone Records and is performed byKim McCormick, flute and the McCormickPercussion Ensemble, conducted by RobertMcCormick.Thomas D. Brosh performed his Peace for Piano:To R.D.H. (2006) at the Memorial Concert forRoger Hannay on April 9 at the University ofNorth Carolina-Chapel Hill. Brosh served on theschool’s theory and composition faculty from1972-1980, and retired from the CommunityCollege of Aurora (Colorado) in 2001. Hiscomposition archive is located at the AmericanMusic Research Center, University of Colorado-Boulder.Albany Records released “Aires de Sefarad” onFebruary 28, 2006. It is a cycle of 46 works basedon 500 yeard old Spanish songs, written by JorgeLiderman for the violin and guitar ensembleDuo46. The American premeire was performed atthe Osher Marin JCC in San Rapahael, Californiaon February 6, 2006. Selections from the cyclewill be performed at all of Duo46’s concertsduring the 2006-2007 season.***CD Review: Tom Heasley: On the Sensations of Tone,Innova 566, Time: 56:04by David ClearyWhen folks consider the tuba at all, they likelythink of the unwieldy metal monster thatfurnishes ponderous platforms for Oktoberfestcombos, marching bands, and symphonyorchestras. But the tuba is Los Angeles basedcomposer Tom Heasley’s instrument, one that heuses to produce striking, unique music.His On the Sensations of Tone (2001) consists of twotracks, one of moderate length and the othergargantuan, both improvised live withoutoverdubs or splicing. The sound world is WestCoast ambient, but with an unusual frequencyrange staying pretty much south of Middle C.Heasley adds loops, digital processing, and throat

singing to his instrument of choice to produceplush, layered, soothing textures that are dropdeadbeautiful -- one might not even guess there’sa tuba involved in the sonic fabric, in fact.Like much music of this sort, everything unfoldsat a glacial pace. Those with the patience to stickwith it will likely find this release rewarding forthe fascinating timbres alone.Sound quality is very good. Program notes and abio would have been useful to include. Here is aCD that’s a must for anyone who likes music inthis style.Two recent releases fromLiving Artist RecordingsLiving Music Foundation MembershipTo join the Living Music Foundation and receivethe next issue, please fill out the blank below andsend $20 ($25 if mailing address is outside theU.S.) to:(make checks out to Living Music Foundation)Charles Norman MasonLiving MusicP. O. Box 2264Birmingham, AL 35201Name:__________________________________Address:__________________________________Vol. 10: Semantemesfeaturing music by Jeremy Beck, Carson Cooman,Dorothy Hindman, Ed Robertson, and Erich Stem____________________________________________________________________Phone:_____________________________(optional)E-mail_____________________________(optional)(Note: E-mail address will not be publiclydistributed, sold to any vendors, or used for anypurpose other than information directly related toLiving Music.)Vol. 11: A Still Subtler Spiritmusic of Monroe Goldenorder from:http://dwightwinenger.net/lmfhome.htmor CDemusic.org or Amazon.com16

Three Questions Before the First NightJoan Tower speaks to Carson Coomanabout her work Chamber Dance(photo by Noah Sheldon)Joan Tower (b. 1938) is one of America’smost widely performed living composersof orchestral and instrumental music. Shebegan her active musical career as pianist,serving as a member of the Da CapoChamber Players from 1969 through1984. In 1985, her composing career tookoff dramatically after she becamecomposer-in-residence for the St. LouisSymphony. Since that time, she hasfulfilled commissions for major orchestrasand instrumental ensembles throughoutthe United States. She won theGrawemeyer Award in 1990 for her workSilver Ladders and was inducted into theAmerican Academy of Arts and Letters in1998. Her work has been released oncountless recordings and many of herinstrumental works have entered thestandard repertory of their instruments.Tower has been a faculty member at BardCollege since 1972, where she is currentlythe Asher Edelman Professor of Music.She is composer-in-residence with theOrchestra of St. Luke’s and has heldnumerous residencies with festivals,universities, and other Americanensembles.Most recently, Joan Tower was the firstcomposer chosen for the ambitious new“Ford Made in America” commissioningprogram, a collaboration of the AmericanSymphony Orchestra League and Meetthe Composer. In October 2005, theGlens Falls Symphony Orchestra willpresent the world premiere of Tower’s 15minute orchestral piece. The work will goon for performances by orchestras inevery state in the Union during the 2005-06 season. This is the first project of itskind to involve smaller budget orchestrasas commissioning agents of a new workby a major composer.On 6 May 2006, the Orpheus ChamberOrchestra of New York City premieredher newly commissioned work ChamberDance at Carnegie Hall, New York, NY,USA. The concert also includes Bach’sOrchestral Suite No. 1, BWV 1066 andpianist Leon Fleischer playingBeethoven’s Piano Concerto No. 5 in E-flat,“Emperor.” The Orpheus ChamberOrchestra is a “conductor-less” andentirely self-governing ensemble. It is oneof the largest ensembles of its kind in theworld.CC: Orpheus is a rather large conductor-lessensemble – and your music often has a number ofof meter changes and textural issues for which aconductor is very useful. How did the aspect of aconductor-less ensemble impact the writing of thiswork?JT: I call it Chamber Dance because I reallythink of Orpheus as a large chambergroup. I was in the world of chambermusic for a long time (and really still am),and to me chamber music is a totally17

different animal from the orchestra – interms of how the music is learned, howmuch time is spent, and what theinteraction between the players is. Inchamber music you have to listen to eachother in a way that you don’t in anorchestra. In the orchestra you certainlydo have to listen, but you don’t have to“talk about it” in the same way or even“agree” about it. You have to agree onintonation and the basics of playingtogether, but it’s not like you decide howmuch time you’re going to spend on eachpart or what the repertoire is going to be.Those are discussions and decisions whichan individual orchestra player wouldn’tmake.With chamber music the whole groupcollectively and each individual playerthinks about everything from the groundup – the burden is on the players.So since I was in chamber music for solong and had my own group, DeCapoChamber Players, I’m very aware of thedistinction of between chamber andorchestra.CC: On the subject of conducting, you’ve recentlybeen doing more conducting yourself. Is this agrowing interest of yours? Do you conductprimarily your own work?JT: I’m sort of a “curious musician.” Sortof like Yo-Yo [Ma], though not quite asflexible as he is! I like the idea of goinginto music from all sides. Just being aperformer and a composer, as I was, isalready on two sides which, in our societytoday, is a challenge because mostperformers will not compose, and a lot ofcomposers don’t actually perform. That isa big problem in our century that thesethings got split up so much!Because I had followed a lot ofconductors around and watched themconduct my music, I was curious whycertain orchestras responded in certainways whereas other ones did not. It was amystifying thing in terms of the“chemistry” between orchestra andconductor and I could notice how much itchanged when either conductor ororchestra changed.I thought that if I tried conducting myself,maybe I’d understand that relationshipmore. So, somebody offered an orchestrato me and I thought I’d give it a shot. Ilearned so much in that process.I originally started an orchestra at Bard(where I teach) and I thought I’d learn therepertoire that way with the group, but inthe end it proved on to be too difficult tokeep together, and the players weren’talways good enough to handle the music.So, I went on to bigger and betterorchestras and originally I did think Iwould try conducting other music as well.I was invited to Alaska to conduct one oftheir large orchestras and they said they Icould pick my own entire program. I musthave been insane. I did pick all pieces thatI loved. Because there was a soloist, I hadto choose a concerto from a list ofoptions and so I picked Prokofiev’s PianoConcerto No. 3 which was a big mistake. Ilove the piece but I learned the orchestrapart really well and I didn’t really learn thepiano part. The soloist was “rubato-ing”all over the place and he knew this placelike the back of his hand having justrecorded it and such. But, I couldn’tfollow him at all. That proved to be adisaster.The other pieces I did – the Hary JanosSuite of Kodaly, Barber’s Adagio for Strings,my own piece Tambor and Bartok’sRumanian Dances went much better. Butthe Prokofiev was WAY over my head.So, from that point, I said to myself18

“You’re not experienced enough to doother repertoire. You should just focus onyour own music.”So, I’ve conducted many of my ownpieces (whenever asked) in the followingyears – with the exception of my hardestones, which are beyond me in that regard.CC: Some of your recent and upcoming projectshave been pieces in genres which are new for you –such as a recent brass quintet for the AmericanBrass Quintet or a choral work (your first timewriting for voices) for the Young People’s Chorusof New York City. What has this process beenlike, agreeing to work in some of these genres inwhich you never have before? I know, inparticularly, that for years you said you’d neverwrite for voice.JT: Well, when Francisco Núñez of theChildren’s Chorus of New York asked mefor a children’s choir piece I thought Icould do something for that combinationwithout being “typical vocal.” I figured Icould use percussion and get imaginativeand have them making sounds and thingsthat don’t come from the “typical vocalworld.” So I got excited about that.I’ve always had these issues withcombinations and things. Years ago,guitarist Sharon Isbin called me up. I’dnever heard of her and asked me to writea piece for her and flutist Carol Wincenc(who at that time I also didn’t know) and Ifirmly said “No.” And she said “Why??”I said that I didn’t like the combinationand flute or guitar and I didn’t knowanything about the guitar. She told methat was no problem since “nocomposers” really know about the guitarbefore writing for it. She told me to comeover to her house and she’d show things.So, I felt guilty and thought I should atleast do that. Well, when she played meCarol’s flute playing, I said “This personcan really, really play” and then Sharonherself played and I decided – “You knowwhat, I should just better do this.” Theresulting piece is a study in “avoidance”,however, of the two instruments. It startsout with a long guitar solo and then a longflute solo and then 4 minutes into the 8minute piece I said to myself “Joan, youare going to have to put them together,you know.” And so what do I have themdo? Unisons!Scholarly Article Feature:Understanding Akin Euba’s Wakar Duru: Studies in African Pianism Nos. I-IIIby Godwin SadohWestern classical music was introduced to Nigeria around mid-nineteenth century bytwo major forces: (1) the church and (2) the schools built by European and Americanmissionaries as well as the colonial administration. In these institutions, talented Nigerians weretaught to read, write, and play Western music. From the arrival of the missionaries around 1850until the early twentieth century, musical activities among elitist groups and churches in Westernand Eastern parts of Nigeria were mostly European. 1 Missionary activities were morepronounced in the southern regions of Nigeria because the colonial policy encouraged thenortherners to hold unto their Islamic religion. Elitist musical activities in the early twentiethcentury in Lagos (former capital of Nigeria) mirrored the Victorian English type of concertsfeaturing solo songs, vocal duets and quartets, religious plays and musicals, arrangements ofEnglish folksongs as well as excerpts from cantatas and oratorios, especially the works of GeorgeFrederic Handel and Felix Mendelssohn. Instrumental works were mostly performed on19

harmonium, piano, and the violin, with occasional appearances of the police band. 2 A discussionof Akin Euba’s Wakar Duru will certainly illuminate the intricacies of the creative process inAfrican pianism.African PianismAccording to Akin Euba, it was through trade with Europe that Western musicalinstruments were introduced to Africa and these instruments found their way into churches,night clubs and schools. One of the most popular Western instruments in Africa, the piano,eventually became an important medium for the expression of neo-African art music. 3 Africanpianism simply connotes piano compositions by modern African composers in which traditionalmaterials are copiously utilized. The concept was coined by Akin Euba, the foremost Nigeriancomposer, pianist, and musicologist. He defines African pianism as “a style of piano playingwhich is as distinct as a jazz pianism or a Chopineques pianism.” 4 Before the European pianocame to Africa, there was some kind of pianism already in the culture. The agidigbo (Yoruba handpiano), the mbira (hand piano in some other African cultures), and the xylophone are allkeyboard instruments. All the keyed instruments in African tradition are related in some ways tothe Western piano. Structurally, these instruments consist of graduated row of keys, usually fromthe lowest to the highest pitch, made of metal and wood slabs. The keys are built on membranelike resonators made from wooden frame box, banana stem or calabash gourds. The method ofplaying on these instruments is by plucking, in the case of the agidigbo or beating, as it is in thexylophones. Therefore, there are already substantial precedents of pianism in the Africantradition.Euba uses his piano compositions to articulate his theories on African pianism. The firstmajor piano work in which he expressed this theory is his Scenes from Traditional Life. 5 Other pianopieces by Euba include Impressions from an Akwete Cloth (1964), Saturday Night at Caban Bamboo(1964), Tortoise and the Speaking Cloth (1964), Four Pieces from Oyo Calabashes (1964), Themes fromChaka I (1996), Study in African Jazz (2002), as well as Themes from Chaka II (2003). All the pieceswritten in the 1960s are based on twelve-tone row and atonality. Wakar Duru is representative ofa transition between the atonal works of the 1960s and the more recent pieces from the 1990swhich are built on modal pitch collections such as the three pentatonic pitch sets of Study inAfrican Jazz. Wakar Duru is tonally conceived, thus, marks the beginning of piano compositionsin tonal harmony in Euba’s creative experience. The work was written in 1987 while Euba was aresident scholar at the Iwalewa-Haus, University of Bayreuth, Germany. In the composer’s noteto Wakar Duru, Euba explained what motivated him to shift from atonality to conventionalharmony, “In recent years, I have attempted to make my work more relevant to the prevailingcommunity of musical taste and more approachable to audiences, particularly in Africa, who areunaccustomed to atonality. The tonal style employed in Wakar Duru reflects this neworientation.” 6 In this regard, the composer was more concerned about the acceptability of thiswork by his African audiences and colleagues. He was convinced that he could communicatebetter at home by employing pure tonal harmony.A Short BiographyAkin Euba was born on April 28, 1935 at Lagos, Nigeria. He received his earliest musicaleducation under his father’s tutelage in Lagos between 1943 and 1948. In 1952, Euba was20

admitted to the Trinity College of Music, London, to study piano and composition. While atTrinity College, he wrote his first major work, Introduction and Allegro for Orchestra in 1956. Hereceived a Rockefeller Foundation fellowship in 1962 to study ethnomusicology at the Universityof California, Los Angeles. At UCLA, he was introduced to different musical cultures fromvarious parts of the world, and as time went on, he acquired a deeper understanding of Nigeriantraditional music. On the completion of his Master’s degree at UCLA in 1966, Euba joined theUniversity of Lagos as a Lecturer in music. He later enrolled for the Ph.D. program inethnomusicology with Kwabena Nketia, at the University of Ghana, in 1967 and earned thedegree in 1974. Euba has held several academic and administrative positions such as thefounding Head of the Department of Music, University of Ife (1976-1977), Director of theCenter for Cultural Studies, University of Lagos (1977-1980), Executive Director of the ElekotoMusic Center, Lagos (1981-1986), Research Scholar at the Iwalewa-Haus, University of Bayreuth(1986-1991), Founder and Director of the Center for Intercultural Music Arts, London (1988-1998). Euba is currently the Andrew Mellon Professor of Music and Head of the African Musicprogram at the Department of Music, University of Pittsburgh.Thematic ProcessWakar is a Hausa word for music in the northern region of Nigeria; Duru means pianoor keyboard in Yoruba language of the southwest region. Thus, the full meaning of the twowords is piano music. Indeed, one could see the interaction of two cultural regions in Nigeria inthis composition. The title and the thematic materials are both derived from the northern andsouthern regions of the country. Through this work, the composer demonstrates one of thesignificant trade marks of modern music in Nigeria, that is, pan-ethnicism. This gesture makesthe music more appealing to the northerners as well as the southerners. It will inevitably unitethe caucus of modern Nigerian musicians from different parts of the country.Wakar Duru Nos. I-III is based on songs borrowed from Nigerian culture. No. I is basedon a song from a Gbari (northern region of Nigeria) folk tale, “Ma Wuwo Nuwa Sui Kwaita,”about the hare and the water goddess. No. II is based on a song from a Yoruba folk tale,“Jigbo,” concerning the tortoise and the singing drum, while No. III employs the theme of ahighlife song, “Omo l’aso,” which is attributed to the famous band leader, Ambrose Campbell.Euba explained in the composer’s note to the music that in the first study, the Gbari tune is onlyemployed structurally and without reference to the underpinning story. The first study is bestdescribed as a continuous alternation of the Gbari song with short episodic interludes. Eachappearance of the song is slightly varied rhythmically and placed at various registers to modify itstimbre. In order to distillate the monotony that comes with persistent repetition, the melodicidea briefly tonicizes A, B-flat, and finally closes in the opening key of F major.21

Wakar Duru No. I Based on Gbari Song (mm. 169-180).In the composer’s note to the music, Euba drew attention to the fact that the secondstudy was structurally planned in a similar way as No. I, however, in the course of thecomposition, the work turned out to be a tone poem; that is, he uses the music to tell the actualstory of the song. This piece is characterized by constant repetition of the thematic ideainterlaced with subtle variants of the original theme. Episodic passages of new themes in relatedkeys (G-flat, A-flat, B-flat, F, A) serve as bridge between each appearance of the main theme,“Jigbo.” Euba places the main theme at various registers in order to explore the wide range ofthe piano compass. The theme is found in the right hand as well as the left hand with occasionalcounter melody to give the impression of several traditional instruments sounding at the sametime.Wakar Duru No. II Based on “Jigbo” (mm. 176-187).The third study is derived from a popular highlife song, “Omo l’aso.” This movement isbasically divided into three main sections: (A) an introduction of the principal theme in F; (B) acontrasting section based on highlife idiom in G-flat. It features a repetitive imitation of highlifebass guitar and drum roll, interlocking rhythm as well as flattened seventh; (A) a return of themain theme in the home key of F. The theme is mostly in octaves in the right hand decoratedwith sixteenth notes. It is a very improvisatory passage.Wakar Duru No. III Based on Highlife Song (mm. 145-153).22

Highlife IdiomHighlife music developed from the guitar band but represents an inter-ethnic (and to someextent pan-African) ideas. It is a popular dance band music created and practiced chiefly in WestAfrica. In Nigeria, it consists of the ikwokilikwo idiom from the Igbo region and the Yorubaversion. 7 Highlife orchestra is made up of mostly guitars, brass such as trumpets, and percussioninstruments.Wakar Duru No. III essentially mirrors the highlife idiom. The harmonic language oftraditional primary chords of tonic, sub-dominant, and dominant lends itself to typical highlifechord progression. The reason was that early pioneers of highlife music were products ofmissionary schools and churches. They merely translated their church music experience intosecular dance music. The minor seventh is also prominently figured in this piece as one of thecharacteristics of highlife. Normally, one of the rhythm guitars in the band would play the minorseventh chord. Euba assigns this chord to the right hand of the piano piece.As bodily movement is one of the resultant features of African music, Wakar Duru No.III is vividly characterized by dance. Euba uses various rhythmic devices to accentuate and createmotion in the music. The rhythmic structure of the melodic idea by itself is danceable, but themost influential rhythmic patterns that create motoristic excitement for bodily movement is theinterpolation of the sixteenth notes on the left hand and the interlocking rhythmic patterns onthe right hand of the B section of the piece. The interlocking rhythmic pattern in the right handsimulates the part of wood clappers or iron bells in highlife music, while the left hand isreminiscent of the part of a bass guitar in highlife band. In general, Wakar Duru No. III is veryimprovisatory in nature with the embellishment of the melody with fast moving sixteenth notesand subtle rhythmic variations.Bode Omojola, observes that, “Euba’s approach to musical composition reflects astrong desire to reinterpret elements of his native Nigerian, especially Yoruba, musical traditionin contemporary musical terms.” 8 Wakar Duru reveals how the Yoruba, Igbo, Hausa, as well asEuropean traditions have informed the creative imagination of the composer at the point ofconception and realization. The creative ingenuity of Akin Euba in this work can be regarded asan extension of the change and continuity process that African music is undergoing in thecontemporary world of music. Every exposure of African music to any foreign culture bringsabout a cultural assimilation. This type of intercultural activity has not been able to obliterate theAfrican essence in the music of modern African composers; rather, it provides a platform forcontinuity.1 Godwin Sadoh, “The Creative Process in Nigerian Hymn-Based Compositions,” The Diapason 93, no. 8(August 2002) : 15.2 Godwin Sadoh, “The Organ Works of Fela Sowande: A Nigerian Organist-Composer” (D.M.A.Dissertation, Louisiana State University, 2004), 20.3 Akin Euba, “Neo-African Art Music and Jazz: Related Paths,” International Jazz Archive Journal 1, no. 1(1993) : 4.4 Joshua Uzoigwe, Akin Euba: An Introduction to the Life and Music of a Nigerian Composer (Bayreuth:Eckhard Breitinger, 1992), 63.5 Akin Euba, Scenes from Traditional Life (Ile-Ife: University of Ife Press, 1975).6 Akin Euba, “Wakar Duru: Studies in African Pianism Nos. I-III,”Composer’s Note.7 Akin Euba, Essays on Music in Africa 2 (Bayreuth: Elekoto Music Center Lagos and Bayreuth AfricanStudies, 1989), 15.8 Bode Omojola, “African Pianism as an Intercultural Compositional Framework: A Study of the PianoWorks of Akin Euba,” Research in African Literature 32, no. 2 (Summer 2001) : 156.23

LIVING MUSIC Volume 21, No. 1Copyright 2006 Charles Norman Mason (Executive Director) cmason@bsc.eduISSN: 8755-092XP.O. Box 549033, Birmingham, AL 35254http: http://dwightwinenger.net/lmfhome.htmEditor: Carson CoomanSubmission Guidelines:Living Music is seeking lucid prose on topics pertaining to contemporary music. Articles should range in lengthfrom 1000 to 2000 words. LM is also seeking reviews of concerts, scores, and recordings and commentaries oncompetitions, recording opportunities, and residencies. To send submissions or for information contactCarson Cooman: 386 Oakdale Drive, Rochester, NY 14618-1131; carson@carsoncooman.comLiving Music is published twice yearly by Living Music Foundation, Inc.Living Artist Recordings is owned by Living Music Foundation. Inquiries regarding LMF recording series shouldbe sent to Charles Mason (cmason@bsc.edu).Executive Director Charles Norman MasonFounder and Webmaster Dwight Winenger ** Vice-President of Programs Robert VoiseyBoard of DirectorsGeorge CrumbGreg D'AlessioDavid Del TrediciOrlando J. GarciaDorothy HindmanSyd HodkinsonCraig HultgrenLadislav KubikDennis KamHye Kyung LeeDavid LiptakTom LopezPauline OliverosBruce ReiprichAndrew RindfleischGregg SmithAugusta Read ThomasDavid VayoOlly WilsonLIVING MUSICCHARLES MASONBOX 549033BIRMINGHAM, AL35254