Matthew Marco and Joe Dan Harper performing at the Burchfield Penney Art Center on August 4.
Last month the Burchfield Penney Art Center in Buffalo, NY presented Buffalo Opera Unlimited in a full concert of my opera and art songs comparing the works of two iconic American artists: painter Charles E. Burchfield and poet Walt Whitman.
This special program included three art song settings of Walt Whitman for tenor and piano: a World Premiere (Proofs of Coming Fullness) and two brand new arrangements of existing works (The Open Road and Laws for Creations).
The artists also performed a semi-staged production of The Coming of Spring, my monodrama based on Charles E. Burchfield’s life and writings, in a new piano reduction score.
Check out my YouTube playlist for live recordings of all of the above, and follow the links below for lyrics, program notes, and perusal scores for each of these works, which are all scored for tenor and piano:
Charles Burchfield, “The Coming of Spring” (1917-43)
SUNDAY, AUGUST 4, 2024 AT 2:00PM
Burchfield & Whitman in Opera and Song:
Buffalo Opera Unlimited Performs the Music of Nell Shaw Cohen
Burchfield Penney Art Center, Buffalo, NY
Next month the Burchfield Penney Art Center in Buffalo, NY presents a full concert of my opera and art songs comparing the works of two iconic American artists: painter Charles E. Burchfield and poet Walt Whitman.
Tenors Joe Dan Harper and Alexander Kosmowski join Matthew Marco, pianist and Artistic Director of Buffalo Opera Unlimited, in this special event presented in conjunction with the Burchfield Penney Art Center’s exhibition Embracing Earth: Burchfield & Whitman.
My musical interpretations of Whitman’s Poem of The Road and Laws for Creations will be performed alongside the exclusive World Premiere of Proofs of Coming Fullness, which is based on text from Whitman’s memoir Specimen Days.
This will be followed by a staged production of my 2014 work The Coming of Spring:a one-man opera illuminating Burchfield’s artistic evolution. In this work, a series of poignant chronological episodes reveal how perceptions of nature framed Burchfield’s life experience: from days collecting insects during his rural Midwestern childhood to the years in which he supported his large family by producing popular images of industrial and suburban scenery in Buffalo.
Burchfield’s mission to develop the expressive power of his art—and to convey the transition from winter to spring in a single image—leads to a revelation in 1943 with the completion of the monumental titular painting.
Originally scored for tenor with a six-piece chamber ensemble, The Coming of Spring will be performed here in piano-vocal reduction.
The New England Conservatory New Music Vocal Chamber Ensemble, a group of young singers dedicated to performing works written by composers at NEC, gave a gorgeous premiere performance on April 6 of selections from my three-movement Walt Whitman setting I Dream’d in a Dream for SATB. This was the first performance by the sixteen-piece ensemble, and hopefully not the last time that we will collaborate!
Click the titles of the movements to hear mp3s of this performance:
Newly completed three-movement cycle for SATB choir or vocal ensemble, I Dream’d in a Dream, is a setting of selections from Walt Whitman’s poetic masterpiece Leaves of Grass (1855). The first and third movements of the set will be premiered this Wednesday at New England Conservatory in Boston, MA. This will also be the first performance by an ensemble of young singers dedicated to the realization of newly-composed music: the NEC New Music Vocal Chamber Ensemble.
I am far from the first composer to set Whitman to music, and for good reason. His works have a directness and a universality that refuse to show their age, and speak to the reader (or listener) with a kind of emotional clarity and honesty that is, in my opinion, irresistibly appealing. The gentle wit and undying idealism that shine through the verses of Leaves of Grass allow the bold, declamatory quality of Whitman’s voice to ring true.
Although I previously set a poem from Leaves as an art song for baritone and piano (Laws for Creations), I’ve been wanting to write a choral piece with texts from Whitman for years, and until now had never quite managed to realize my vision of what this poetry should sound and feel like in a choral setting. It seems this creative impulse had, like many, a necessary gestation period. When I sat down to compose music last February for these particular poems, it clicked. The piece (about 11 minutes in duration) was begun and completed in less than two weeks.
I chose to set three poems on distinct but complementary topics: the title piece, I Dream’d in a Dream, is a vision of peace (“I saw a city invincible to the attacks of the whole of the rest of the earth; / I dream’d that was the new City of Friends; / Nothing was greater there than the quality of robust love“); Think of the Soul, a list of incitations to contemplation that cover the gamut of earthly and spiritual experience (“Think of the soul… think of loving and being loved… think of the time when you were not yet born…“) and resolve with a humanist affirmation (“The creation is womanhood… / Have I not told how the universe has nothing better than the best womanhood?“); and Among the Multitude, a love song to the “one” who finds a kindred spirit amongst the crowds of people (“Some are baffled–but that one is not–that one knows me.”)
These poems possess a unique combination of qualities–reflective, declamatory, muscular–which I attempted to reflect in my setting. However, this poetry is broad enough for each reader to understand in an entirely personal way. And although my piece comes from my own subjective interpretation, I also hope that listeners of my music will be able to see themselves and their own experience reflected in it.
If you’re in town, come check out the premiere of the first and third movements of I Dream’d in a Dream performed by the New Music Vocal Chamber Ensemble on Wednesday, April 6th, at 8:00pm in Brown Hall at New England Conservatory (290 Huntington Avenue, Boston, MA, 02115). The piece will be featured on a brief program of works by composers studying at NEC, including pieces for soprano and piano, jazz ensemble, and euphonium quartet. The concert is free and open to the public.
