This text appears in Act II, Scene 7 of Shakespeare’s comedy As You Like It, sung by a nobleman living in the forest with the unjustly banished Duke. Continue reading
In May 2010, sixteen-year-old Kalief Browder was accused of robbery, arrested, and imprisoned on Rikers Island in New York to await trial. He was there for three years, much of the time in solitary confinement. Pressured to plead guilty, he insisted he was innocent and wanted to go to court. Continue reading
I wrote Climate Honesty around the time U.S. Senator James Inhofe brought a snowball to work in an attempt to deny the existence of climate change. My song is not addressed to the senator—I have no words for him—but rather to those who want to believe what people like him have to say, not only on this subject but on any where it is comfortable yet irresponsible to be ignorant.
Excerpt sung by Margaret Streeter, Crystal Tung, Julia Tang and Diana Hill. Conducted by Evelyn Troester DeGraf:
This work was composed while living on the large and mostly rural island of Lantau, in the Hong Kong Special Administrative Region. In recent years the Lantau landscape has undergone dramatic transformations—tourism and transportation developments that can be seen from space, and an exponentially increasing population—with more changes planned for its future. Continue reading
The text for La nostalgia is a response to René Magritte’s 1940 Le mal du pays [Homesickness]. Continue reading
This piece will sound best with 8 to 16 voices. Continue reading
This song cycle is my response to eight surrealist works by René Magritte, whose famous The Treachery of Images highlights the impossibility of art to truly reflect reality. Magritte described his creations as “images which conceal nothing [and] evoke mystery… [they do] not mean anything, because mystery means nothing either; it is unknowable.” I have tried to capture the same spirit of mystery in both the words and the music.
This work’s origins can be traced back to a contemplative neighborhood walk, at a time when I struggled to balance my own needs with those of others who I care about. These words “arrived in mind” as I walked. The music I wrote later was influenced by my thoughts about the relationship between a community and its individual members: the 20-32 sopranos and altos of the choir begin by independently repeating short melodic phrases, each singer making autonomous decisions about tempo and rubato, listening carefully as she negotiates her role within the group.
One summer day, while hiking in the Shawangunk Mountains of New York, I suddenly felt a blast of frigid air, escaping up out of a cave some distance below the trail. I wondered about the depth of the fissure, and what kind of force could propel this air up against gravity. It did not look safe to investigate, but I found my thoughts returning to this place over the next several weeks, envisioning the cold subterranean world just out of sight. My music, consequently, was imbued with those imaginings: this piece features a strong tension between upward-reaching motives and heavy, downward-directed harmonies. The energy and mystery of those mountains are fused in my memory with the composition of this work.
Buy viola versionBuy clarinet version This extended 6-part canon was originally written for 6 clarinets. Each instrumentalist plays the same material, but the impact of these identical statements varies with the surrounding musical context: some entrances produce tension, others merge smoothly with the prevailing atmosphere, and others barely register as the listener’s attention is concentrated elsewhere. Alternate versions are available for 6 violas or 6 bassoons, and additional arrangements are in progress. The piece can also be performed by a single instrumentalist with electronic delay.