In due course, we’ll get to The Last Of James Fennimore Cooper (by a Mohican).
The next item at our Albany Symphony Orchestra’s American Musical Festival was the composer talk moderated by ASO conductor David Alan Miller on Saturday, June 8 at 6:30 pm. All four composers were present. It’s always entertaining.
In answer to a question from the audience, both of the women composers noted that they absolutely hate hearing their compositions the first time it’s being played. Until then, it’s all in their ears, in their heads. As they listen to more often, they think, “Well, maybe it’s not so bad. Perhaps I don’t have to change it substantially.” This was a fascinating glimpse into the minds of music creators.
At 7:30, the concert began with 1920/2019 by Joan Tower, who has had a sixty-year career. In the talk beforehand, in response to Miller’s emphasis on playing living composers, she joked about her mortality. When asked what the piece was about, she often quips, “About 15 minutes.”
1920 was the year of the 19th Amendment allowing women the right to vote. 2019 was amid the Me Too Movement. Here’s a recent recording of 1920/2019 by the National Orchestral Institute Philharmonic, conducted by David Alan Miller.
Albany High, again
Michael Gilbertson created his Flute Concerto, a world premiere, based on the famous Rudyard Kipling poem If. The flutist was Brandon Patrick George, who was very good. Gilbertson worked with the Albany High School Chamber Choir, who were excellent.
A rant here: back when my daughter was entering school, someone I knew thought allowing her to attend Albany public schools was tantamount to child abuse. But many Albany High kids thrived, attending Ivy League schools, becoming name performers, et al. Earlier this month, the AHS band was the only US high school represented at D-Day+80.
After the intermission, the next piece was On the Bridge of the Eternal by Christopher Theofandis. This was his contemplation of time, impacted unsurprisingly by the pandemic. I thought the best part was the extraordinary vocalise section based on a short text from St. Augustine’s Confessions, performed by the Tantalus Chamber choir. The music followed from the vocal setup.
Finally, Brazilian-American Clarice Assad‘s world premiere of Flow, for she also played piano, a small percussion instrument, and even plucked the piano strings briefly. It may have been the most entertaining of the pieces.
Finally
On Sunday, June 9 at 4 pm, we went to the Sanctuary For Independent Media in Troy. It uses “art, science, and participatory action to promote social and environmental justice, and freedom of creative expression.” A lot of cool stuff is taking place there.
Brent Michael Davids “(Mohican/Munsee-Lenape) is an internationally celebrated Indigenous composer and music warrior for Native equity and parity.” He explained the complicated legacy of the Stockbridge-Munsee Community, of which he is a member, as his ancestors were driven from their lands.
He read several sections of an essay that Mark Twain wrote about James Fenimore Cooper, including the paragraph starting with “Cooper’s gift in the way of invention was not a rich endowment,” which discusses the dry twig ruse, ridiculously magical resourcefulness by the white settler, and the inane and physiologically impossible actions off the Indians.
Then, he narrated The Last Of James Fennimore Cooper (by a Mohican) as a string quartet played. It’s occasionally very funny. Here’s a performance with Davids from 2022.
A person from the Sanctuary interviewed Davids and David Alan Miller. Then guides conducted a tour of how the Sanctuary has helped the neighborhood to be revived. It was a VERY full weekend.
I must note that I saw at least two dozen people I knew at the various events over the three days, many of them more than once.