![]() ![]() ![]() (The only change made in the texts submitted has been to reduce the length of the poems by Clarissa Estés, an alteration graciously agreed to by the writer. ![]() We spoke about many possibilities of accompanying the piece, and ended up with an extended chamber group of 19 players (3 flutes, 3 clarinets, 3 percussionists, piano, guitar, harp and 7 strings) which is used in full for some movements, but in smaller combinations for others.Ĭontracted to set to music whatever the writers produced, I found that the widely varying style, form and length of their separate contributions provided an interesting compositional starting point, and a dynamic source of contrast for the eventual piece. She already had a good deal of formal detail in mind: that the piece should be half a programme in duration (it has ended up at just under 50 minutes) that it should have some instrumental interludes, so that the players would often be in the foreground, and she sometimes part of the ensemble. She first approached three eminent writers (Maya Angelou, Clarissa Pinkola Estés and Toni Morrison) and apportioned different Œages¹ in the life cycle between them. Invited by the late Judith Aron, Executive Director of Carnegie Hall, to present a premiere, she decided to create an extended song cycle about a woman's life from youth to old age. 1b Breasts!! Song of the Innocent Wild-Child (Clarissa Pinkola Estés)ģa (Stave 1) The Mothership: When a Good Mother Sails from This World (Clarissa Pinkola Estés)ģb (Stave 2) The Mothership, Part 2 (Clarissa Pinkola Estés)Įssentially, was invented by Jessye Norman. ![]()
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