On Saturday, April 7, 8pm, at the Bob Carr Theater (401 W Livingston Street, Orlando), the Orlando Philharmonic Orchestra will premiere my Frontispiece on J.S. Bach’s Prelude in G major, a 4+-minute work that features as part of it J.S. Bach’s solo cello Prelude in G major. Music director Eric Jacobsen will play the featured cello part himself. The piece presents the prelude in its entirety at the center of it and is fully orchestrated, with countermelodies, and an introduction and closing based on the main Bach motive. The orchestra is the exact same instrumentation as Brahms’s Symphony #1: double winds, four horns, two trumpets, timpani, and strings, with the added solo cello. The Bach Prelude exhibits that special magic that he’s so famous for amongst composers, particularly the outlining of chord structures and polyphonic lines within the solo cello part. He also, once G major is established, takes a kaleidoscopic detour away from the home key before returning to the spectacularly sunny opening motive. I tried to capture the various tonal worlds and motives that Bach crafts in the original and amplify them with my orchestration.
Between January 19 and February 19, I will give five different thirty minute invited lectures as part of the 2018 Epcot International Festival of the Arts. The lectures were great fun to prepare and to give to an enthusiastic audience of park-goers at the Odyssey Festival Showcase. The lectures are:
• The Evolution of Flow in Hip Hop. Here, I trace the growth in lyrical and rhythmic complexity in Hip Hop from the late 1970s onward, with a special emphasis on the musical, Hamilton.
• Maverick Composers. American music history from its very beginnings before the Revolution to the present has its strain of independent thinkers that changed how we all see things. Composers included here are William Billings, Charles Ives, Henry Cowell, John Cage and George Crumb.
• A brief history of Jazz. I trace the several musical threads that lead to the birth of Jazz, with a close look at New Orleans itself, because understanding its specific culture helps us better appreciate jazz. We end with a quick tour of the trail blazed by the giants of this uniquely American genre.
• The music of John Williams. We put John Williams’s music in context both in film music history and classical music history, with a special emphasis on how Williams so successfully navigates the special demands placed on composers for film.
• Women Composers. From a small handful of historically recognized women composers prior to World War II, women have fought and powerfully earned a central place on the world stage of the concert music tradition. We’ll survey this history, with special emphasis on the amazing and varied voices that women composers represent today. Composers featured in this lecture include Hildegard von Bingen, Joan Tower, Jennifer Higdon, Wendy Mae Chambers, Julia Wolfe, and Sarah Kirkland Snider.
The Missouri State University Percussion Ensemble will perform my The Persistence of Past Chemistries on Friday, December 1, 2017 at 7:30 PM CST
at Wehr Band Hall on the MSU campus.
The program also includes:
Nordic Peace- Tobias Broström
Africa Hocket- Lane Harder
Hemispheres- Kevin Bobo
The Piano Duo Gastesi-Bezerra will be performing a selection from my suite of pieces for piano four-hands From the Faraway Nearby, inspired by paintings by Georgia O’Keeffe at the Norton Museum of Art in West Palm Beach on Sunday, November 19 at 3:00 p.m. This and other works will be performed as part of Climate Keys, a worldwide series of concerts in which pianists play music and scientists lead discussions about climate change.
The Berkeley Women’s Community Chorus, directed by Debra Golata will perform my El Paso de la Siguiriya, a flamenco-inflected setting for women’s voices of the poetry of Federico Garcia Lorca. Antoinette Catalla will be the soloist. The concert will take place at Northbrae Community Church in Berkeley, California on Sunday, November 19 at 4pm. Other works on the concert include Jubilant Song by Norman Dello Joio, Dixit Dominus by Baldassare Galuppi, Oiseaux Si Tous by Mozart, Wir eilen by JS Bach, and Tundra by Ola Gjeilo.
The Queens-based ensemble, Percussia will present Hammers & Keys: music for piano & percussion, on Thursday, June 15, 2017 at 7:30 PM.
This program will feature several works by composers with Queens connections, including my Latin-influenced Cambiando Paisajes, (Shifting Landscapes) for piano and two percussionists, as well as the hauntingly shimmering Not the Light, But the Fire That Burns by Gilbert Galindo. Rounding out the program are the post-minimalist groove Tight Sweater by Mark Mellits, the ritualistic Invocations to Vahakn by the Armenian-American composer Alan Hovhaness, and Prisoners of the Image Factory, a trio for keyboard percussion and piano by Bob Becker.
50 Ascan Ave.
Queens, NY 11375
(Originally written for my Artborne Magazine column, First Contact)
“Be true to your own act, and congratulate yourself if you have done something strange and extravagant, and broken the monotony of a decorous age. It was a high counsel that I once heard given to a young person, ‘Always do what you are afraid to do.’” –Ralph Waldo Emerson
I’m an atheist. I’m an atheist who grew up half-heartedly Catholic, and during CCD (Confraternity of Christian Doctrine) classes, around age eleven or twelve, I worked drawings and commentary about my hamster into our assigned journals on Jesus and God’s presence in our lives at every opportunity. The fantastic stories in Greek and Roman mythology I was learning around the same time did not seem too different in tone or likelihood from Bible stories. The only difference, as far as I could tell, was that I was being told only some were true. I chose Thomas as my confirmation name because it was the closest I could get to expressing my doubts at that age.
Yet, I went on to become a paid church singer during and after college for seven years at a Catholic church in Queens and an Episcopalian church on Long Island. This gave me long and regular exposure to Bible readings, sermons, and sacred music. I developed a love for the pageantry and drama surrounding the narrative arc of Jesus’ story, and a fondness for the sense of community that a church can provide. As a composer, I have written many choral pieces for church and synagogue use, and don’t feel hypocritical about it, because I map my personal beliefs about my place in the universe and the beauty I find in science and nature onto the monotheistic beliefs of the faithful.
I am raising two amazing sons without religion. They are good, loving, respectful, flexible, curious, and every other favorable thing I could possibly imagine. And they have very little knowledge of Bible stories. So it made for a fascinating conversation one day about a year ago, as we drove past the Holy Land Experience, off I-4, with its elaborate mural. We’d passed this building many times, but my older son noticed it for the first time and asked about it. As a ten-year-old, his special curiosity about the image of the boat and the animals was unsurprising.
I proceeded to tell my sons the story of Noah and the Ark as neutrally as I could. Their questions were as much revelatory to me about their own sense of right and wrong as they were about the disturbing questions the Bible doesn’t address directly. God was unhappy with everyone? Everyone? Even the kids? Why did the animals have to die?
I began to think a lot about that story. What happened during those 40 days of rain? How did people react to it? Did anybody run for higher ground? What about babies born after the rain started? Did anybody get on or build boats of their own? How would I feel and what would I do if I knew that the world was truly ending? What would I tell my sons then? These thoughts led to alternately humorous and deeply dark places.
I began telling people about my conversation with my sons and my subsequent musings and imaginings, and one of them made the comment that it “would make a great show for the Fringe Festival.” As I’ve written about it in recent months, improv comedy is something that has become important to me, but I’d not considered the possibility of creating a show of my own. I looked into it and learned that the Orlando Fringe has a lottery process for its shows. That’s it. A lottery and nothing else. No curation. You sink or swim if you get in.
I recalled the year I’d ran my first marathon in New York City. I’d caught a flu that knocked me out of commission for a few weeks. I had been training in jiu-jitsu at the time, and when I went back into the dojo and it came time for grappling, I felt like I got tossed around like a rag doll by guys I was tossing around myself a few weeks earlier. I was distraught about it and decided to add one- to three-mile runs into my weekly routine to recover and improve my conditioning. Ludicrously, at some point I decided I would enter the lottery process for getting into the marathon. I had never run much before, and had been at it for only about a month or so. I got in. I took it as a sign to train for it, with the internal understanding that I could stop running and drop out at any time. But as the race drew nearer, I knew I had to go for it. I don’t regret it. Running a marathon (I ran twice in New York City and once in Chicago) was a powerful, memorable experience, and the first one especially felt like a trauma and a triumph at the same time. Much like going to church, there is pageantry and drama, and a strong sense of community amongst marathoners.
What drove me to enter the lottery for the NYC Marathon was the thought that I would benefit from being in over my head. I didn’t know if I could do it, but wanted to prove to myself that I could. Entering the Fringe lottery felt the same way and had the same result. I got in. I took it as a sign. I’m preparing for it. I’m stretching in ways I hadn’t anticipated. I’m writing sketches. I’m writing lyrics. I found other performers whom I have to direct.
The cast includes Joe Llorens, one of my trusted buddies with whom I went through some of Sak Comedy Lab’s improv and stand-up classes; Lynde Schmidt, a great young actor that I met in Art Sake Studio’s Film I/Meisner acting class; and Christie Johnson, an acting and dancing talent I discovered through Fringe’s Unified audition process.
Two months ago in this column, I wrote about one of improv’s time-honored principles, namely the concept of “yes, and.” “Yes, and” demands that an improviser treat whatever their scene partner does or says as an offering that must be accepted as part of the reality of the scene. The improviser then builds upon the offer with their own contribution, and so on. Biblical Fan Fiction is essentially an extended “yes, and” to selected Bible stories. What that means is that we accept selected stories as true, namely Elisha and the Bears, John the Baptist, and Noah and the Ark. Using sketch comedy, improv, video, children’s art, and music, we tell the stories, embrace anachronisms, fill in some blanks along the way, and answer some questions the Bible doesn’t, like: Is God bald? Where do babies come from? How good does a dance have to be to get someone’s head chopped off? Was Noah the only guy with a boat? Why are there no unicorns?
When it’s done well, improv doesn’t always necessarily result in laughter. Sometimes a scene unfolds from a “yes, and” and leads to an unexpected place. While imagining an interview between Noah and an animal candidate for admission to the Ark will naturally lend itself to humor, imagining a parent building a boat to save his children from certain death might lead to something more profound. The lyrics for a song I’m working on for the show try to grapple with some of these questions I would certainly be dealing with as a father
Our world is ending soon my child.
For all my sins and heresy,
All the years that I ran wild,
The ground is giving way beneath us.
The cost is far too high, my son,
And I can’t let you pay it
When I’m the guilty one.
The tides are rising all around us.
Hush my little angel, don’t you cry.
I know what you are thinking,
but this doesn’t mean goodbye.
I’ll do anything for you,
Anything, for you.
My very last breath,
I’d give that to you too.
I’ll build you a boat
Watch as you float
Away, away, away.
Imagine all this falling rain
Isn’t the flood it seems to be;
But a love so overwhelming
That it rocks the world and swells the seas.
My love is stronger than this pain.
Please go on and thrive for me.
Grow up and be a good man.
Live in love and harmony.
Long, long after I’ve left this place,
Even the memory of me
will remember your face.
That’s how much I love you.
That’s how much I love you.
That’s how much I love you.
One of the primary differences between producing Biblical Fan Fiction and running a marathon is that I absolutely could not be doing this alone. I’m grateful to my cast and the people who have encouraged me along the way. I love being a part of the arts community in Orlando, and I hope you’ll come out like non-runners do for a race to encourage us and cheer us on. Give us the equivalent of orange slices or banana halves. I’m still scared, but facing the fear is part of improv, part of performing. Richard Bach said, “When you have come to the edge of all the light you have, and step into the darkness of the unknown, believe that one of two will happen to you: either you’ll find something solid to stand on or you’ll be taught how to fly!”
Performances of Biblical Fan Fiction at the Orlando Fringe Festival will take place in the Purple Venue on Wednesday, May 17 at 6:15pm; Saturday, May 20 at 1:30pm; Monday, May 22 at 8:45pm; Friday, May 26 at 7:00pm; and Saturday, May 27 at 11:15am. Tickets are $10.
I collaborated on the score with composer Stephen Cox for Deanna Morse’s short film, Clear (see below). The film was the result of Morse’s residency at the Art & History Museum of Maitland, FL. The film was premiered at their Culture Pop event, part of their month-long celebration called Art31.
More than an exhibition opening, Culture Pop! engages guests with art and the artists. Be the first to see the Art31: Borrowed Light exhibition, in A&H’s Maitland Art Center, featuring Stephen Knapp, Deanna Morse and Ryan Buyssens. Join as we kick off the most experimental and collaborative art festival in Florida:
• 10 Questions with the artists & A&H’s Chief Curator
• Nathan Selikoff’s Audiograph — interactive art projection
• C.R. Barnett’s immersive Art31 Talking Room
• Short films from the Enzian Theater
• Live music by The Pauses & James Dreffen
• Literary readings, moderated by A&H’s Writer-in-Residence
• Pop-up exhibition by Artist-in-Action Suzanne Oberholtzer
• Try the Earthtones: the Ixchel Song Garden instruments
• Meet A&H’s Artists-in-Action & Art School instructors
• Light bites & cash bar
Admission: $5; FREE for A&H members
Culture Pop! is presented by Maitland Vision Center and Orlando Weekly with special thanks to community partner Performing Arts of Maitland. Art31 is produced by Art & History Museums – Maitland and funded in part by Orange County Government through the Arts and Cultural Affairs Program.
On Sunday, November 6 at 2:00pm, the Visitation music ministry hosts the Lyric Arts Trio in a special concert, Of Love and Remembrance. This program is especially appropriate for All Souls Day with selections that bring to mind happy memories of the past that bring a measure of comfort and peace to those left behind. Program of Mahler, R. Strauss, KC composers Ian David Coleman and Jean Belmont Ford and a world premiere of my “When Great Trees Fall”, commissioned by Lyric Arts Trio in honor of soprano Sarah Tannehill Anderson’s father’s memory. A second performance takes place on January 22 at 3pm at Rolling Hills Presbyterian Church in Overland Park, Kansas.
“Form, Structure and Interactions” will be performed at the Timucua White House on Sunday, October 2, 2016 with free admission (donations accepted, refreshments encouraged). Trumpet player, Mark Sunderland, will perform six works by Central Florida Composers Thad Anderson, Charlie Griffin, Chan Ji Kim and Steve Kornicki. In addition, Mark will perform Karlheinz Stockhausen’s Aries from “Sirius.”
Mark Sunderland is a highly skilled, multi-instrumentalist with a true passion and gift for playing the trumpet. Equally at home with classical trumpet and jazz improvisation, his ability to create memorable phrasings and craft intricate, high- energy, improvisational solos is remarkable. Sunderland studied music education at Stetson University from 2002-2006 and worked as a public school music teacher from 2007-2010. He is music director at Calvary Chapel in Melbourne, FL.
Thad Anderson’s kaleidoscopic Re-Cite is from his series called Lines. It is a solo work intended for any single line instrument. The piece utilizes live processing and draws inspiration and structure from a 1951 minimalist painting by Ellsworth Kelly titled Cité. Sunderland will perform this piece on trumpet.
Charlie Griffin’s Between Islands – for trumpet and electronic score is an expression of the experience of separation from loved ones long gone. According to Griffin, “The experience of losing a truly loved person is profoundly sad at the beginning and for a long time. But the quality of that loss gradually transforms. It becomes part of who we are. And with that realization comes a sense of serenity because the people we loved and lost are clearly residing within us.”
Chan Ji Kim’s colorful and evocative work for trumpet and fixed media is entitled Go-sa-mok which means a withered elm tree in Korean. “The audio samples recorded for the piece included sounds of nature around Haeiknsa Temple in Korea, where I found this withered elm tree, a UNESCO World Heritage site,” says Kim.
There will be three works by Steve Kornicki: Instructions for Harmonic Permutations in Temporal Placements combines a collage of electronically altered trumpet sounds (recorded by Sunderland) with the solo trumpet; A Fanfare of Displaced Tones in Pulsing Groups of Sevens is an ensemble work for trumpet and pre-recorded instruments (three trumpets and flugelhorn by Sunderland and two Fender bass guitars by Kornicki); and Mixed Signals (Video Symphony) is a 15-minute audio-visual exploration in the deconstruction of sampled orchestral sounds and improvisational interaction with Sunderland on trumpet/flugelhorn and the composer on piano. This work will be accompanied by Kornicki’s video art created by filming images on an analog TV screen through textured and stained glass.
Karlheinz Stockhausen, one of the great visionaries of 20th-century music is known for his groundbreaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization. Sunderland will perform his Aries, a 15-minute tour de force for trumpet and electronic music from his extended work, “Sirius,” which has been described as “a modern mystery play, clothed as a science fiction story.” While not described by the composer as
an opera, it is nevertheless a musical drama, in which four emissaries from a planet orbiting the star Sirius bring a message to earth.