Conclusion of UMKC Composition Workshop Residency and Closing Recital
Tuesday, June 25, 2013
“You changed my life.”
“I learned more in one week then I have in my life up to this point.”
“This was a career highpoint for me.”
-Some of the comments delivered by this year’s participants.
This past week was an absolute whirlwind of new music activity at the Fourth Annual University of Missouri Kansas City Summer Composition Workshop, directed by composer Mara Gibson. Faculty included composers Mara Gibson, James Mobberley and Paul Rudy, with performers newEar Contemporary Music Ensemble and myself. The intense week featured composition masterclasses, instrumental presentations, score readings, recordings and analysis. New repertoire, composer/performer interactions and collaborations were among the myriad of points touched upon in discussions with the near forty attendees. Many eyes were opened wide, in large part because the group dynamic was intoxicatingly warm. No agendas to defend. Just sincere curiosity.
The week featured two main concerts. During the Opening Concert at White Hall, I joined newEar Ensemble members Thomas Abers, clarinet, and Robert Pherigo, piano, in the world premiere of Mara Gibson’s new trio, Moments (2013).
Taking place at the inspiringly beautiful Lens 2 room of the Nelson Atkins Museum of Art, I played a solo viola recital with the assistance of Jan Faidley, soprano saxophone, and Paul Rudy, composer/improviser, as the Closing Concert to the Workshop. A highlight of the evening was the world premiere of James Mobberley’s new solo viola piece, Subject To Change Without Notification (2013). This was a dream program to me. Additional pieces were by Tigran Mansurian, Elliott Carter, Matthew Burtner, Paul Rudy, Kee Yong Chong, Shulamit Ran and Mara Gibson.
Special moments during the recital:
1.World premiere of James Mobberley’s solo viola piece, Subject To Change Without Notice
2.After playing seventeen performances of Mara Gibson’s piece, Canopy, around the world, returning to the Nelson Atkins Museum, the institution which commissioned the piece.
3.Having a flock of birds fly by the window, as if on cue, during Matthew Burtner’s piece, Wooden Dance in Fourteen Time.
4.Having the Lens 2 walls illumination turn on during my performance.
5.Rejoining Jan Faidley for the Mansurian, a piece we first performed together in Chiang Mai, Thailand.
6.Having three of the program’s composers present for the performance.
7.Performing on the Summer Solstice with spiritually-charged and inspiring Paul Rudy.
Such a fantastic week! Major congratulations go to all the faculty and attendees. Special recognition and applause must, however, be extended to composer/director Mara Gibson. You amazed all of us with your ability to flawlessly organize the week’s events, while still being able to motivate us with your creative and collaborative energies. Thank you and Bravo!