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October 27, 2015
Students eating at Columbia University’s John Jay Dining Hall, an airy den reverberating with undergraduate chatter, were in for a surprise last Wednesday. When they walked in for dinner, they found Matt Haimovitz — the cellist who helped to start a trend by performing in places like an East Village punk club and a pizzeria in Jackson, Miss. — playing Bach.
By Luna Pearl Woolf | For Mixed Choir, Harp, Percussion, and String Orchestra | 6′ Continue reading
By Luna Pearl Woolf | For Mezzo-Soprano and String Quartet | 9′ Continue reading
By Luna Pearl Woolf | For Violin and Cello | 16′
Composer: Luna Pearl Woolf
Year Composed: 2014
Instrumentation: Violin and Cello
Catalogue Number: OM0153
Premiered in 2015 by Matt Haimovitz and Andy Simionescu.
By Božo Banović | For Three Female Voices and Violoncello | 7′ Continue reading
By Luna Pearl Woolf | For Solo Baritone, Women’s Chorus, Harp, Percussion, and String Orchestra | 6′ Continue reading
By Lewis Spratlan | For Male Chorus, TTBB, and Piano, four-hands | 9′
Composer: Lewis Spratlan
Text by: Mary Jo Salter and Brad Leithauser
Year Composed: 2011
Instrumentation: For Male Chorus, TTBB, and Piano, four-hands
Format: Full Score
Catalogue Number: OM0420
Choral materials are also available for rent or at a discount for multiple copies. Please contact us for more information.
Commissioned by the Rutgers University Glee Club, Patrick Gardner, Conductor, and premiered by Daniel Spratlan on the podium.
The itinerary begins bouncing in 6/8 time for Australia: Kangaroo; then a delightful play on musical and textual palindromes arrives in the evocative second movement, “II. New Jersey: Halted Train in the Rain.” The journey ends in Paris, where a musical rainbow swells in choir and piano. Then– “the dazzle of this monumental prism, cut by drizzle, is that it vanishes.”
Like flustered actors
who don’t know what to do
with their hands, they’re hanging
around in awkward clusters,
paws dangling, ears pricked for a cue.
It’s too perfect: can the small boy on the train
really be an OTTO (as finger-painted
on the steamed-up window), a name
A RAINBOW OVER THE SEINE
Noiseless at first, a spray
of mist in the face, a nosegay
of moisture never
destined to be a downpour.
April 12, 2015
Présenté pour la première fois avec mis en scène, [à la compagnie Ballet-Opéra-Pantomime, directeur Hubert Tanguay-Labrosse] l’opéra Orpheus on Sappho’s Shore de Luna Pearl Woolf s’est révélé une fascinante et onirique proposition artistique: la rencontre de ces deux figures de la Grèce antique, Orphee et Sappho, deux allegories anciennes de l’art et de la passion. L’oeuvre s’enracine dans l’idéal des grans madrigalistes italiens qui désiraient marier poésie et musique, danse et theater. D’ailleurs, la partition de Woolf comporte de nombreuse mélopées ayant un je-ne-sais-quoi de baroque dans la souplesse et la délicatesse de la ligne vocale. La compositrice fait prevue d’une belle sensibilité et d’un grand attachement pour ses personnages, ce qui reflète dans une musique simple et brillante, efficace et théàtrale. Et comment ne pas être touché à la fin de l’opéra par ce vers authentique de Sappho: “Je crois qu’un jour, on se souviendra de nous,” chanté avec toute la douceur du monde sur un éclairage entre chien et loup.
Presented for the first time with staging [by Québec company Ballet-Opéra-Pantomime, director Hubert Tanguay-Labrosse], the opera Orpheus on Sappho’s Shore by Luna Pearl Woolf proved itself a fascinating and dreamy artistic proposal: the meeting of two figures of ancient Greece, Orpheus and Sappho – two ancient allegories for art and passion. The work is rooted in the ideals of the Italian madrigalists who sought to combine poetry with music, dance and theater. Moreover, Woolf’s score includes numerous melodies with a Baroque je-ne-sais-quoi in the suppleness and delicacy of their vocal lines. The composer proves herself to have a lovely sensitivity and great affection for her characters, reflected in a music both natural and brilliant, effective and theatrical. And how not to be touched at the end of the opera by the words of the real Sappho: “I think someone will remember us,” sung with all the sweetness in the world on a twilit stage.
By: Éric Champagne
Read at: L’Opéra
Congratulations to composer David Sanford: Winner of a 2015 Goddard Lieberson Fellowship from the American Academy of Arts and Letters
David Sanford has been awarded a 2015 Goddard Lieberson Fellowship from the American Academy of Arts and Letters. The Fellowship of $15,000 is awarded to mid-career composers of exceptional gifts. David’s extraordinary musicianship and unbridled creativity are an inspiration!
For more information please see:
The New York Times: Her Art, Her Passion, Her Torment: Joyce DiDonato Celebrates Camille Claudel at Zankel Hall
Credit: Hiroyuki Ito for The New York Times
The life of the French sculptor Camille Claudel is a tangle of art, passion, madness and betrayal. A student and lover of Rodin’s, Claudel was a critically acclaimed artist when she began to show signs of mental distress, which led her family to commit her to an institution, where she spent the remaining 30 years of her life.
On Thursday at Zankel Hall, the incandescent mezzo-soprano Joyce DiDonato presented the New York premiere of Jake Heggie’s “Camille Claudel: Into the Fire.” Set for voice and string quartet, the work compresses a tragic life of operatic dimensions into a song cycle of great beauty and emotional resonance.
Ms. DiDonato is one of this season’s artists in the Perspectives series at Carnegie Hall, tasked with assembling a group of concerts that reflect her own interests. At first glance, these seem eclectic: Thursday’s program, which featured the fiercely eloquent Brentano String Quartet, also included instrumental music by Charpentier and Debussy, as well as the world premiere of “Mother Songs,” a set of lullabies composed by amateurs, resulting from an outreach program of Carnegie Hall’s Weill Music Institute.
But at a closer glance, there was a narrative cohesion to the concert that revealed Ms. DiDonato’s intelligence as a storyteller. Debussy’s seething String Quartet provided a backdrop for Claudel’s personal drama, a Parisian arts scene humming with innovation yet anchored in the kind of classicism of which Charpentier’s “Concert Pour Quatre Parties de Violes” is an elegant example. The Brentano Quartet performed both with stylistic finesse; in the Debussy, the juxtaposition of blurry textures and bright explosions of sound vividly evoked Impressionist painting.
The titles of Mr. Heggie’s songs, with texts by Gene Scheer, are those of some of Claudel’s sculptures, allowing her work to remain in the foreground, even as the songs explore her personal turmoil. Ms. DiDonato gave a riveting performance that ranged from the unkempt eroticism of “Shakuntala” to the hollow despair with which she sang the final line, “Thank you for remembering me.”
The touching simplicity of “Mother Songs,” written in a gospel-tinged American vernacular, with spun-sugar arrangements by the composer Luna Pearl Woolf, may seem far removed from Claudel’s wild genius. But the authors, women who had teamed up with teaching artists from the Weill Music Institute during their pregnancies, drafted these lullabies facing their own struggles. Of the four women represented in Ms. DiDonato’s performance, one had been homeless during her pregnancy, two were teenagers, and one was incarcerated on Rikers Island.
Ms. DiDonato’s tender performance of their songs alongside her tribute to Claudel thus became a gesture of defiant compassion.
By: CORINNA da FONSECA-WOLLHEIM
Read at: The New York Times
It’s been a while, seven years, since the popular NPR musical talent show From the Tophas been back to San Francisco. The show is planning to tape a show at the S.F. Conservatory on Feb. 14.
The taping caps a week in which From the Top host Christopher O’Riley will be in residence at the Conservatory giving concerts with cellist Matt Haimovitz.
Unusually, this edition of the radio show will focus on performers from the Conservatory’s pre-collegiate division, including soloists 16-year-old cellist Elena Ariza from Cupertino; 15-year-old pianist Elliot Wuu from Fremont; and 14-year-old violinist Kevin Zhu from Cupertino. Conservatory alums Haimovitz and soprano Lisa Delan will premiere parts of the “music storybook” Angel Heart (based on stories by Cornelia Funke and with music by Luna Pearl Woolf) on the same program. Normally, the auditions for From the Top include a geographical region, so this is a little feather in the cap for the Conservatory.
The radio episode airs nationally on March 9. For tickets to the taping, call 415.503.6275 or visit this Conservatory website.
Read at: San Francisco Classical Voice
November 16, 2014
Oxingale Music, publisher of a range of contemporary sheet music from award-winning composers, has chosen a slate of winners for the first in a series of composition competitions aimed at expanding and enrich the repertoire for cello in unusual combinations and ensembles. The nucleus of Oxingale Music is a catalogue of works written for, premiered by, and recorded by Grammy-nominated cellist Matt Haimovitz.
For the 2014 Composition Competition, Oxingale Music and Matt Haimovitz joined UK vocal trio Voice in inviting composers of all ages and nationalities to submit a work for cello and three voices, using text from Shakespeare’s Sonnet 8, 30, or 60.
Over 40 composers from over 18 countries entered works, most written expressly for this competition.
The winning composition will be premiered by Matt Haimovitz and Voice in February, 2015 in New York State, with the possibility of further performances into 2016. The winning composer will be offered up to $500 to defray the cost of travel and accommodations to attend rehearsals and the concert. In addition, the full slate of winning compositions will be considered for publication on Oxingale Music.
Because of the tremendous quality of submissions received, Matt Haimovitz and Voice will perform at least one of the runner-up works, in addition to the winning composition, on their concert in February.
• Winning composition: Bozo Banovic, “Sonnet 60 of William Shakespeare,” Serbia
• Runners up:
Diana Rosenblum, “Like as the waves,” United States
Filipe Sousa, “Like as the waves,” Portugal
• Honorable mention: Gabriel Malancioiu, “Chronos phagos – The Eater of Time,” Romania
September 14, 2014
Opera America Center Recital Hall
THE PILLAR tells the tale of a woman who has dedicated her whole life to her husband, a pillar of the community. When he falls into disgrace, she must finally confront choices—and consequences—of truly operatic proportions. That woman is … Ruth Madoff.
Based on Diana Henriques’ bestselling The Wizard of Lies: Bernie Madoff and the Death of Trust, THE PILLAR digs beneath the surface of this contemporary scandal to uncover a timeless meditation on loyalty, corruption, and the nature of love.
THE PILLAR has received an Opera America Discovery Grant, and we are now seeking a producing partner to continue development of the project.
Excerpts from THE PILLAR will be performed February 28, 2016, as part of the Washington Chorus’ New Music for a New Age series.
The development of THE PILLAR received funding from Opera America’s Opera Grants for Female Composers program, supported by the Virginia B. Toulmin Foundation.
June 6, 2014
LEWIS SPRATLAN: ‘Apollo and Daphne Variations’; other works
Boston Modern Orchestra Project, Gil Rose, conductor
Eliot Gattegno, on soprano and alto saxophones
The American composer Lewis Spratlan, born in 1940, gained wide attention in 2000 when a concert version of Act II of his opera “Life Is a Dream,” which was completed in 1978 but had never been staged, won the Pulitzer Prize for Music. This welcome new recording from the impressive Boston Modern Orchestra Project offers three ingeniously written and distinctive Spratlan works. “A Summer’s Day” (2008) uses a simple, dreamy Celtic tune at the start as a jumping-off place for an elusive, complex suite that ruminates on the tensions below the surface of an inviting day. In his Concerto for Saxophone and Orchestra (2006), Mr. Spratlan finds a gripping, fresh approach to what might seem an awkward classical music genre; the music evolves from mystical musings to raw, jazzy vehemence. “Apollo and Daphne Variations” is like a Spratlan version of a Schumann suite, with alternating episodes of whimsy, frenzy and innocence. (Anthony Tommasini)
Read at: The New York Times
May 29, 2014
Oxingale Music, publisher of a range of contemporary sheet music from award-winning composers, announces the first in a series of composition competitions aimed at building the repertoire for cello and unusual ensembles. The nucleus of Oxingale Music is a catalogue of works written for, premiered by, and recorded by Grammy-nominated cellist Matt Haimovitz.
For the 2014 Composition Competition Oxingale Music and Matt Haimovitz join UK vocal trio Voice in inviting composers of all ages and nationalities to submit a work for cello and three voices, using text from Shakespeare’s Sonnet 8, 30, or 60. Works should be under ten minutes in duration. There is no fee to submit. For additional details, please see below.
– The winning composition will be premiered by Matt Haimovitz and Voice in February, 2015 in New York State with the possibility of further performances in 2016.
– Oxingale Music will provide the composer a stipend of up to $500 towards travel and accommodation to attend rehearsals and the concert.
– The composer will be provided an archive recording of the performance, if available.
– The winning composition will be considered for publication on Oxingale Music.
– Submission deadline: October 15, 2014
– Composers of any age or nationality may submit one original work.
– Duration: up to 10 minutes
– Text must be taken from Shakespeare’s Sonnet 8, 30, or 60. Sonnets may be used in whole or in part, individually or combined, at the composer’s discretion.
– Work must be for acoustic cello and un-amplified voices. (No electronics please)
– Works must be submitted electronically via dropbox or other file-transfer method. Please see required submission package contents below. Please do not submit materials via email or postal mail.
Victoria = A4 to C6. Happy to sing in a folky chest register up to D5.
Emily = G3 to B6.
Clemmie = E3 to G5. She is most comfortable A4 to E5.
Please visit Voice’s website where you can listen to recordings and get an idea of the three singers’ blend on different tracks. If you have specific questions regarding the vocalists, please direct your inquiries to Victoria at email@example.com.
Submission package must include:
– Complete submission form (below)
– PDF of full score
– XML or .sib file of full score
– Biography/CV of composer
– Photo of composer
For more information on the artists and Oxingale Music please visit:
– The competition organizers reserve the right not to select a winner.
– By submitting a work to this competition you certify that the composition is original and does not rely on the copyrighted material of any other person.
– Payment of stipend will be made in the form of reimbursement of expenses. Documentation of expenses must be received no later than 30 days after the premiere.
– Archive recording may be used for promotional purposes only. Any commercial use or public broadcast must be approved separately.
– By submitting a work to this competition you certify that there is no legal impediment to Oxingale Music acting as publisher for this work. If any conflict exists, please disclose it on the submission form. Oxingale Music reserves the right not to publish the winning composition.
General inquiries can be sent to firstname.lastname@example.org Please do not email submissions.