LIVE VIDEO STREAM: A Far Cry’s “The Blue Hour” on Friday, Nov. 10 at 5pm PT / 8pm ET

by Maggie Molloy

One woman’s story comes to life through the voice of five composers tonight in A Far Cry’s performance of The Blue Hour. Based on Carolyn Forché’s abecedarian poem “On Earth,” the song cycle explores the last hour of one woman’s life, the fleeting memories from A to Z that flash before her eyes—and how her one single story is ultimately many stories: an intimate snapshot of our shared humanity.  

Grammy-winning jazz singer Luciana Souza joins the chamber orchestra in this song cycle written by a collaborative of five leading composers: Rachel Grimes, Sarah Kirkland Snider, Shara Nova, Angélica Negrón, and Caroline Shaw.

And although the concert itself is in Boston, you can still hear every minute of this musical tour de force right here on Second Inversion during our live video stream of the performance this Friday, November 10 at 5pm PT / 8pm ET. Visit the video link below to tune in to tonight’s live stream, or click here to stream directly from Facebook.

In anticipation of tonight’s performance, we asked each of the five composers one question about the poetry, music, and meaning behind The Blue Hour:

Second Inversion: What is this poem about, and how did it inspire the music?

Rachel Grimes: Carolyn Forché’s remarkable poem “On Earth” is a profoundly beautiful and devastating exploration of the last moments before death from the perspective of a woman recollecting her life in shards of crystalline memories. Through the lens of these visceral personal moments are glimpses into different points in time in human history, recalling childhood, the fallout of war, a sense of home, intimacy, loss, nostalgia, the mundane, and the epic. 

In a phone conversation with all of the composers, the poet welcomed us to excerpt the poem in order to better serve the music and the new work as a whole. We were overwhelmed at this generous invitation, and vowed to honor the poem and to be true to the feeling of the whole work. We set about to excerpt it, choosing passages that felt ripe for music-making, while maintaining her original abecedary form. We consulted with Joseph Cermatori to sculpt a unified libretto, and to follow that original intent of the form. The poem was endlessly inspiring: so many images, particular and visual, and so many emotions and opportunities to investigate the human experience on a very intimate scale. Especially inspiring was the chance to explore, through this perspective of this one life coming to an end, the experience of facing death and the treasury of life’s myriad experiences that are in so many ways universal to all.

SI: What makes Luciana Souza the perfect singer for this song cycle’s premiere?

Shara Nova: When we composers first got together, we knew we wanted to find a singer who was able to read what we anticipated to be a challenging score, who had a wide vocal range and also had a sound closer to folk or jazz. Luciana Souza (pronounced like Loo-See-Ah-Nah Soh-za) has a dynamism and a warm, natural voice that really excited us.

Once I knew that she was going to be the singer, I started writing some of the movements on guitar, influenced by the great Brazilian songwriters like Caetano Veloso and Gilberto Gil, and then once I had that foundation, I expanded the arrangements for A Far Cry and removed the guitar parts. I wanted the music to be very tuneful and song oriented, as well as take the opportunity to really show off and explore the color and vibrancy of this extraordinary ensemble.  

SI: What was the composition process like?

Sarah Kirkland Snider: We got together one weekend and spent a lot of time reading through the text together, talking about it, brainstorming ideas. We each highlighted the bits of text that we felt the strongest connection to and then divided it up along those lines, with the idea that we’d interweave our voices in movements of varying length, texture, style, and emotion.

We decided there would be moments of spoken text, moments in which the ensemble sang and spoke, and a canonic refrain that happened three times, written by Caroline. Shara was the first one to start writing, and she sent us some computer mock-ups of her drafts. Some of my assigned bits of text followed hers, so in those movements I used a motive of hers as an ostinato or jumping-off point, or made harmonic and rhythmic decisions based upon hers, depending on whether I wanted contrast or continuity.

We all worked in this fashion, brick by brick, sharing our drafts with each other and responding to them musically, striving to maximize cohesion between the movements and forward momentum in the overall form. It was great fun getting inside the compositional mind of some of my favorite fellow composers. What I love about this piece is that, to my ear, it hangs together as a single journey, but you can hear our different voices emerge at different moments. This lends the music the same sense of collective consciousness that is innate to the poem itself. 

SI: How does the process of collaborative composition serve to illustrate or enhance the meaning behind this poem?

Angélica Negrón: There’s moments of deep sorrow, empathy, mystery, despair, warmth, confusion, intimacy and so many other layers and nuances in between. By bringing together five different composers each with a unique perspective and a distinctive sound, we’re able to explore more profoundly these layers of meaning and capture the complexity of this person’s life. Each composer opens up a new world of possibilities of the text and by allowing ourselves to being vulnerable and receptive of other’s interpretations, we find new connections and make new discoveries.

I feel this piece weaves together not only each composers’ individual interpretation of the text but also the common ground among us that we found along the way.  I’ve never been a part of such a deeply meaningful and truly collaborative project in which everyone’s voices are highly complementary to each other yet add a unique and essential ingredient to the whole. There’s a shared sensibility and an unusual connection between the composers that’s hard to describe, and this poem is at the center of it all. 

SI: What does this piece sound like?

Caroline Shaw: I’d say it sounds like micro and macro visions of the earth—precious sonic details emerging from and receding into a mysterious whole.


Visit our website on Friday, November 10 at 5pm PT / 8pm ET to watch a LIVE video stream of A Far Cry’s The Blue Hour with Luciana Souza. To learn more about our live-streaming video broadcasts of A Far Cry, click here.

Second Inversion & A Far Cry

by Maggie Molloy

Philip Glass, Caroline Shaw, and Sarah Kirkland Snider are just a few of the composers you’ll see on the Boston-based A Far Cry‘s star-studded 2017-2018 season. This year Simone Dinnerstein premieres a new Glass piano concerto, the Miró Quartet breathes new life into Kevin Puts’ Credo, Luciana Souza lends her luminary voice to a new commission by five of today’s top women composers—and you can watch it all unfold on Second Inversion.

We are thrilled to continue our media partnership with A Far Cry this season, presenting live video streams on our website of each of their performances at New England Conservatory’s Jordan Hall!

Take a peek at the programs below and mark your calendars now:

Friday, September 22, 5pm PT / 8pm ET: Dinnerstein Premieres Glass
featuring Simone Dinnerstein, piano

Philip Glass: Symphony No. 3
J.S. Bach: Concerto for Keyboard and Strings in G minor, BWV 1058
Bach: Brandenburg Concerto No. 3, BWV 1048
Glass: Piano Concerto No. 3 (New AFC Commission)


Friday, November 10, 5pm PT / 8pm ET: The Blue Hour
featuring Luciana Souza, voice

The Blue Hour, a new AFC commission by Rachel Grimes, Angélica Negrón, Shara Nova, Caroline Shaw, and Sarah Kirkland Snider, is an evening-length song cycle based on the poem “On Earth,” by Carolyn Forché. Delivering the vocals with A Far Cry is the luminous young jazz vocalist Luciana Souza.


Friday, January 19, 5pm PT / 8pm ET: Albion
featuring Nicholas Phan, tenor

Matthew Locke & Henry Purcell: Selections from The Tempest and The Fairy-Queen
Ralph Vaughan Williams: Concerto Grosso

Benjamin Britten: Serenade for Tenor, Horn, and Strings, Op. 31


Friday, March 30, 5pm PT / 8pm ET: Loss and Resurrection
featuring the Miró Quartet

Ludwig van Beethoven: String Quartet, Op. 135 (arr. AFC)
Kevin Puts: Credo (arr. AFC)
Richard Strauss: Metamorphosen, study for 23 solo strings


Friday, May 18, 5pm PT / 8pm ET: Next Generation
featuring Alexander Korsantia, piano

W. A. Mozart / Ethan Wood: Variations on “Ah! vous dirais-je, Maman”
Galina Ustvolskaya: Concerto for Piano, String Orchestra, and Timpani
Benjamin Britten: Variations on a Theme of Frank Bridge, Op. 10

Women in (New) Music: Just Like a Woman Video Premiere

by Maggie Molloy

Lara Downes, photo by Rit Keller.

An entire chorus of women’s voices has risen up this year in unparalleled numbers—and not just through protests and political marches, but also through the beautiful subtleties of music, performance, and poetry.

Women in (New) Music is proud to premiere pianist Lara Downes’ Just Like A Woman: a brand new video series which weaves together the work of today’s top women composers and poets. Each episode features Downes performing a solo piano work by a woman composer, paired with a poetry reading by a woman writer.

“As an artist who works in both music and words, I want to create a space for women’s voices to come together in the expression of shared desires, dreams, and destinies,” Downes said. “These videos are meant to be glimpses into the creative lives of women.”

The first episode, which just launched on International Women’s Day, features Pulitzer Prize-winning poet Rita Dove’s achingly nostalgic “Singsong” paired with composer Rachel Grimes’ introspective “Every Morning.”

We’re thrilled to premiere Episode Two right here on Second Inversion. In this second installment, Downes lends her fingers to Sarah Kirkland Snider’s liquidly lyrical “The Currents,” the music woven together with Safiya Sinclair’s vividly emotive poem “Hands.”

LIVE CONCERT SPOTLIGHT: April 30-May 2

by Maggie Molloy

This week’s sensational concert spotlight has sound sculptures, steelpans, suspended chimes, and oh yeah, a supernatural piano.

Inverted Space Performs Jeff Bowen

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If you like Second Inversion, you’ll love University of Washington’s Inverted Space Ensemble. The local contemporary music group is committed to turning classical music on its head by showcasing diverse new works in adventurous performance spaces and casual concert settings.

This week, you can hear them perform an eclectic collection of new works for chamber ensemble by composer Jeff Bowen. The program includes a variety of pieces featuring imaginative instrumentation, including “what will sound (has already sounded)” for violin and electronics, “Pan, Sinking” for steelpan and 10 instruments, “Stalasso II” for flute, violin, cello, and piano, “Turbulent Field” for bassoon and harp, and a String Quartet.

The performance is this Thursday, April 30 at 7:30 p.m. at the Chapel Performance Space at the Good Shepherd Center in Wallingford.

Seattle Symphony’s [untitled 3]

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If you think playing piano is impressive, wait until you see international sound sculptor Trimpin’s latest work: a piano that can be played and conducted without even being touched. The Seattle Symphony Music Alive Composer in Residence is being featured in the final indescribable, undefinable [untitled] event of the Seattle Symphony season this weekend.

Like the other events in this casual, late-night series, [untitled 3] will feature musical works by contemporary composers who think outside of the box, off the stage, and beyond the concert hall. This weekend’s event includes the latest premiere from Trimpin, featuring the aforementioned magical piano, suspended chimes, a wandering soprano, and much more!

The event will also celebrate the 100th birthday of the late American composer George Perle by featuring performances of a selection of musical sound worlds from throughout his compositional career.

 

The performance is this Friday, May 1 at 10 p.m. in Benaroya Hall’s Samuel and Althea Stroum Grand Lobby.

Washington Composers Forum: Transport Series

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As 21st century music enthusiasts, we listen to electric guitarists nearly every day. Pop music, rock, jazz—electric guitar is everywhere. But you’ve probably never heard it like this before.

Italian-born guitarist Giacomo Fiore is a contemporary artist with an imaginative sound that reaches far beyond the idiomatic clichés of electric guitar. Currently touring in support of his recent album “iv: american electric guitars,” he is stopping through Seattle this weekend to perform a unique musical program focusing on electric guitar and effects.

The performance, which is put on by the Washington Composers Forum, will also feature Seattle’s own pianist and new music specialist Cristina Valdes performing with composer and pianist Rocco DiPietro. The two will be presenting original works by DiPietro, whose music is often inspired by community issues.

The performance is this Saturday, May 2 at 8 p.m. at the Chapel Performance Space at the Good Shepherd Center in Wallingford.

Portland Cello Project with Rachel Grimes

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Known for its unique urban culture and diverse arts scene, Portland has no shortage of talented artists—and as it turns out, they have no shortage of talented cellists, either. But you don’t have to travel south to see it; this weekend, you can experience Portland’s rocking cello scene firsthand from the comfort of downtown Seattle.

The Portland Cello Project is a group of cellists with a reputation for mixing musical genres and blurring the lines between classical and popular music. Their wide-ranging musical repertoire has something for everyone, from the cello-loving classical music buffs to the head-nodding indie rockers. They’ll be joined by pianist Rachel Grimes of the minimalist chamber music group Rachel’s.

Performances are this Saturday, May 2 at the Triple Door at 7 p.m. and 10 p.m.