Monthly Archives: March 2009

Two new works

I’m currently embroiled in two new works: a 15-minute piece for piccolo trumpet and string quartet, and a short cycle for soprano and piano.

The piccolo trumpet and string quartet, commissioned by David Glukh, is as yet untitled, but has settled around the extra-musical idea of Shakespeare’s The Tempest. I started writing the piece nearly a month ago, opening with a fanfare, but I quickly got stuck. I couldn’t make the fanfare ‘right’, so I sat on it for a week or so. When I brought it in for a lesson, DDT made an off-hand remark about a choral piece of mine that he’d heard, asking why couldn’t I make this piece more like the choral one. My brain immediately took hold of the idea and ran with it. In an hour, I had restructured my plan for the piece – rather than starting with a Fanfare, why not start with a Chorale? Then have the Fanfare come out of the end of the Chorale. So, the piece is now structured:

1. Chorale Trio (Prayer to Prospero)
2. Fanfare
3. Aria
4. Chorale
5. Theme & Variations

The Chorale Trio is for the piccolo trumpet, viola, and cello only. It’s a three-voice chorale, meditating on the idea of Prospero-as-god, a theme explored in Dan Simmons’ novels Ilium and Olympos. So, the piece is a little closer in inspiration to Dan Simmons than it is to Shakespeare. (Does that make the second movement Fanfare for the Little Green Man? Oh, the temptation….) I’ve scrapped the Fanfare that I started with, and am in the middle of rethinking my approach to it.

The song cycle is set to be premiered the first weekend of June (I’d better hurry!) during the Virginia Woolf Conference at the Lincoln Center campus of Fordham University. The cycle’s texts are by Idris Anderson, who I collaborated with on Starfish at Pescadero in 2007, and uses the same title as Idris’ set of poems: The Long Barn. These are three meditations on the diaries and correspondence of Virginia Woolf and Vita Sackville-West. The first poem I’ve divided up into 5 very, very, very short songs, each beginning with a spoken phrase (used in Idris’ poetry) from VW’s writings.

1a. …and there I lay in Swansdown and recovered
1b. My dearest donkey West
1c. You my Dark my Dusky Beauty
1d. Honey, dearest, for whom I would do anything
1e. Dearest Kentish Creature
2. What we do today
3. Vita’s Sonnet

Last Friday afternoon, after in the morning having come up with a wonderful opening to picc-tpt/str 4tet Fanfare in the morning and then having promptly forgotten it, I went for a walk down Riverside Drive to relieve some of the stress of having to write so much so quickly, and also to have left my apartment at least once before dark, I managed in about 20 minutes (I hadn’t even reached the Grant Memorial, walking from my apartment in the 140s) to write the entire first songlet. By the time I reached 110th St, I had written 1a, and mapped out 1b, 1c, and 1d.

This afternoon I sat down again and managed to hammer out all of 1b, and start in on 1c before calling it a day. Tomorrow will be spent engraving 1a and 1b. I’m hoping by Monday to have 1c and maybe 1d written.

Addictive Riddle: DDT Interview #3 – 1966-1973

It seems as though each successive interview with David gets to be more and more enjoyable. And strange things are starting to happen….

In the second interview, we spent some time talking about David’s first serious boyfriend, John. After they had broken up, the two kept in some contact, but as time passed the two spoke less, as often happens. John, a pianist and conductor, took frequent trips into remote areas of the world for very extended vacations – often alone, and often without telling friends or family of his destination or about the trip at all! One day, years ago, David received a call from John’s mother, asking, “Have you talked to John recently?” It turns out that neither had spoken with him in some time, and no one seemed to know where he was. At a certain point, David assumed him dead.

The Monday after our second interview was David’s 72nd birthday. And who should call with birthday wishes, but John! John has been living happily in Florida with his partner for 45 years! His mother had just happened to call David while he was away on one of his long trips. Simple as that. How bizarre! (Oh, and according to John, David’s account of their years together is a little off. I guess Kaity and I will be taking a trip to FL some time for an interview with John to straighten out the story!)

For this interview, we covered the transition from the Joyce years to the Alice years. At David’s suggestion early on in the process, we’ve relied heavily upon a timeline of David’s life published by his publisher Boosey & Hawkes some years ago. David oversaw the creation of the timeline, so we’ve all trusted its accuracy so far. What a mistake! If there’s one thing that Kaity and I have learned in this brief process, it’s not to trust any source for accuracy. The Boosey timeline is badly flawed, but at least gives us a point of reference. What is most astonishing, however, is the glaring inaccuracies of certain scholarly works.

Kaity’s boyfriend Danny is a theory grad at City College, and has helped her to do some preliminary research for the various interviews by finding articles and interviews and encyclopedia entries for her. The first thing he printed off was the article on David from the Grove Dictionary of Music and Musicians and the brief entry in the Oxford Dictionary of Music (both part of Oxford Music Online). My, oh my! A few times during this interview, Kaity quoted dates listed in the entry – specifically dates that he taught at various universities – and David looked at her as though she’d grown a second head. The dates are both inaccurate and inconsistent!

Grove puts David at Harvard in 1968, which jibes with the Boosey pamphlet. Fine. But it has him as full faculty at SUNY Buffalo for the full 1972-73 school year, when he was in fact only a pianist for the Creative Associates ensemble for the Fall semester. As for his end-date at Harvard, we can assume from the SUNY ‘position’ listed here that he left in the Spring of 1972, which also jibes with the Boosey pamphlet. The Oxford Dictionary of Music, no the other hand, wisely omits the SUNY position, but has David at Harvard from 1966-1972! 1966? Where did that date come from?!

The majority of the interview was spent trying to make the pieces fit for the years 1968-1973. The greatest point of contention was an article published in August 1973 in After Dark magazine (a “gay friendly” but “not gay” (right!) entertainment magazine published from 1968 to 1982). David insisted that the article had come out during his years at Harvard. He specifically remembered the head of the department approaching him about it, and asking him to keep it as quiet at possible. But no source available had him teaching at Harvard at such a late date. I suggested that maybe this happened while he was at Boston University (all sources have him at BU starting in 1973). No, he definitely remembers this happening at Harvard. We finally left that point alone, vowing to return to it later.

Another point of confusion was the missing time after he left Harvard, but before he spent his semester at SUNY Buffalo. In our earlier interviews, David had spoken of his time at the “Bog Schoolhouse”, a small house in Alexandria, NH, that he had bought with his then-boyfriend Ray, and where he had spent considerable time after having left Harvard. The story goes that during the school year, he wasn’t able to write because all of his concentration went into teaching. So, one summer at Yaddo, he decided to stop teaching and move full-time into the Bog House so that he couuld write year-round. And he did – he called up Harvard and quit, then packed up and moved to NH for a year. After a time, though, he couldn’t stand it anymore. Every morning at 4:30, the first tractor of the day would ride over a rickety little bridge near the house, causing an awful racket. And in the winter, he had a terrible time keeping the house heated properly. So he moved back to New York City.

Ok. Those of you keeping track of dates can clearly see the conundrum here. David supposedly taught at harvard from 1968 (screw Oxford’s weird date that no one felt the need to fact-check) until 1972. He took a year off, then spent a semester in Buffalo in the Fall of 1972! We finally gave up and moved on to other topics so that we wouldn’t waste the entire two hour session on someone else’s poor research.

Despite the frustrations of working from clearly faulty sources, it was a very fun session. It was like detective work, piecing together bits of the puzzle. A tiring, but enjoyable, interview.

Addictive Riddle: DDT Interview #2 – The Joyce Works

Last week’s interview (3/10/9) with David was particularly fruitful, and much less nerve-wracking for all parties involved. For starters, my new little toy, the Edirol R-09HR, was much less conspicuous than the camcorder we used for the first interview, making it much easier to relax. Set-up was also about 20 minutes shorter than last time, so we wasted less time on tinkering with gadgets and had more time to chat and be comfortable. Also, we had a much better plan for the interview itself, and covered a period that was better documented so that we could prepare ourselves more.

We concentrated on 1958-1966, the years during which David had written his Joyce works (the Six Songs on Poems of James Joyce (published as Two Songs etc and Four Songs etc), I Hear an Army, Night Conjure-Verse, and Syzygy), as well as the piano works Soliloquy, Fantasy Pieces, and Scherzo and his String Trio. During this period, David graduated from UC Berkeley, attended Princeton, dropped out of Princeton, returned to California for a year after having come out as gay and left the Catholic Church, moved to New York City, returned to Princeton two years later to finish his Master’s, and had received commissions from the Fromm Foundation, the San Francisco Symphony, and the Koussevitsky Foundation. And still hadn’t yet turned 30.

(Would that I had such a career already! Though admittedly, while I haven’t gotten any OMG GIGANTIC!!!1!! commissions yet, I’ve still had 30 pretty decent ones!)

The only bit of awkwardness here was when we talked about the first six Joyce songs (Four Songs on Poems of James Joyce and Two Songs on Poems of James Joyce). David expected for me to know offhand when each of the songs had been written, but I only knew the general span over which the sets had been composed. He gave me copies of the scores to refer to (which he later inscribed), which made life rather easier.

Other than that, the interview went incredibly smoothly, and we had a really good time.

A new toy: The Edirol

Decided this afternoon to make a trip down to B&H on 33rd St. to check out some digital audio recorders that I’ve been eying for some time, now. (Namely, about 9 months.) I’d narrowed it down to two: the Zoom H4 and the Edirol R-09HR. Well, let’s face it – I’d narrowed it down to the Edirol, but needed someone to push me into actually buying the damn thing. And what better way to achieve that end than to put a salesman smack in front of me? So, off to B&H!

Of course, I’d never been to B&H before, so my brain imploded a little when I walked in the door. So. much. stuff…. I took a second to reboot and spent the next two minutes walking in tiny circles wondering which way to look for portable audio recorders. Upstairs? Downstairs? Somewhere over there? When I finally got the brain-power to ask the woman at the information desk about 3 in front of me, I was informed that the audio section was three feet to my left. Brilliant.

The salesguy pointed out the recorders and gave me a minute to stare absently at the row of little machines. I mentioned that I’d been considering the Edirol and the (conspicuously absent) H4. “Oh, no, no, no,” he said. “Not the H4. We’ve got our recorders laid out in order of quality, and it would be further left than the H2.” (The Zoom H2 sat at the far left, the row’s cheapest and lowest-quality (though still quite good) recorder.) I asked a bit about recommended accessories (a carrier, a stand, etc) and was told that it was good to go as-is (which I really already knew, but wanted the sales pitch – I was already spending a fair amount of money, so why not spend more!). But he offered an extra 4GB SDHC card for free, which was fantastic. Because I asked? Probably not – it’s most likely standard for them -, but I like to think so.

I looked at the price again – within a few dollars of the best price I had found in extensive searches online – and said, “OK, I’ll do it.”

So now I’m the proud owner of an Edirol R-09HR. I spent an hour or so this evening (between dinner and Heroes) at Darien’s puttering with it, recording myself at the piano singing a few songs (I’d post them here, but my piano skills aren’t quite good enough to be anything other than embarrassing right now).

Very much looking forward to playing with it more and using it tomorrow during the second interview with David!

Addictive Riddle: DDT Interview #1

Tuesday, February 24 at 3:00pm, Kaity Volpe and I arrived at David’s studio in the West Village – far too much equipment in hand – to conduct the first in a series of interviews with David for the biography. Kaity came along initially just as a photographer, more for our photo project than for the biography, though her role dramatically changed over the course of the next two hours.

My expectations were frankly low for the first interview – I have little experience in this area, and I had no idea what to expect. Although I tend not to expect the worst, I certainly didn’t expect anything amazing to come out of this first foray into grilling another person on all aspects of his life. I’d planned to generally cover David’s childhood up through his solo piano debut in his late teenage years. This is a particularly under-documented time in his life (at least in published sources), so I knew it would be more than a little difficult to start with, but I thought it might be a good way to “set the stage”, as it were.

The interview started off rockily at best. None of us was particularly relaxed – this was uncharted territory in David’s and my personal dynamic, and David had forgotten that I intended to video the interview, which put him off-balance, and his tension quickly had me very uncomfortable. After taking far too long to set up the damned camera (which I had borrowed, and was only using for the second time) and a few tense words, I decided not to video after all, but instead to turn the camera away and get only the audio. We were all uncomfortable enough as it was without the intimidating camcorder lens staring down at us, as if in stern judgment. Add to that the constantly-ringing telephone and our unfruitful attempts to turn off the various ringers, and we were all fidgety and ill-at-ease.

When we finally sat down to start, I led off with some questions about his piano studies (not where I intended to begin, but I was off-balance and needed to work with something that I had at least some minor grasp on), which at least got us going. After a minute or two, things flowed a little better, though I was still clammed up, question-wise, and had made a few minor blunders in dates/chronology, which made me squirm more than a little.

The point at which the interview departed from the plan is the point at which it really started to work. We passed from the realm of childhood/adolescence quickly, on to much better-charted territory, and anecdotes that have been recorded before. This is what we needed. Start somewhere comfortable! Duh!

At this point, Kaity started chiming in and began asking a few questions – little follow-ups to David’s anecdotes, things that I certainly wouldn’t have thought to ask, but that completely opened up the conversation. We passed through David’s twenties, and took a quick break. David stepped out of the room for a minute, and Kaity asked, “I’m not getting in your way, am I?” “Absolutely not! This is wonderful – keep going!” It had dawned on me during one series of her follow-ups that her training as a social worker was invaluable here – she’s trained to talk to people in a way that I’m not always comfortable doing myself. And, too, she knows so comparatively little about David and other major figures in 20th Century music that she was at a major advantage in asking the right questions; my knowledge of our subject, and of so many composers of the time had me at a distinct disadvantage – I had too much perspective!

By 5:00, David had given us a broad overview of his life, with some really interesting, funny, and touching stories along the way. This was the interview that needed to happen. I had expected a lackluster result at best, and we left having had a wonderful time and having opened the door for so many more in-depth sessions. An extra little reward was that we’d left David smiling.

After walking and talking excitedly for two blocks from David’s door, Kaity and I had already made plans to bring her further into the project. We sat in Art Bar for about two hours and decided to make her essentially a co-biographer. I’m very excited to have her on-board!

Our next interview with David will be on Tues., March 10, covering the years of the Joyce works.

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