Gacelas de amor for mezzo-soprano, flute and piano (2009)

Duration: 9′ 30″

Based on three poems (in Spanish) by Federico Garcia Lorca from the collections Diwan del Tamarit (1931-1934) and Canciones.

Commissioned by and written for Christiane Meininger, flute; Jörg Waschinski, male soprano; and Rainer Gepp, piano.
World premiere at the Zentrum for Information und Bildung in Unna, Germany. Sponsored by the American Embassy in Berlin, the Center for International Light Art in Unna (Germany) and a travel grant from the Peabody Institute of John Hopkins University.
See full concert program.
Read Concert review (in German) and in English).

I. El amor desesperado (audio)
II. Lucia Martinez (audio)
III. El amor maravilloso (audio)

Published by Hofmeister Musik Velag. 

 

Solitary for baritone, clarinet, cello and piano (2009)

Duration 3’30”  Solitary for baritone, clarinet, cello and piano, based on poetry by Hollis Robins, was commissioned by Andrew Talle and was premiered at Peabody Institute of Johns Hopkins in the fall of 2009.

According to Robins, the poem Solitary is part of a sonnet sequence called “Sonnets of Imprisonment,” which are all loosely about being bound either by the form or by real or psychological bars.  The poet William Wordsworth considered the sonnet form both constraining and liberating; in this longer sequence Robins says that she explores the nature of formal and psychological constraints as they work together.  The music attempts to capture the frame of mind of the narrator when faced by real or imaginary threats: the dreadful ‘waiting’ of the footsteps of the guards; the resistance to what one is “supposed to do’ and the violent consequences; the ‘remembrance’ of ‘normal’ life; the foreseeable dread and inevitability of an certain future.

Audio of premiere     Solitary    by Hollis Robins

There is a furtive echo you get used to.
You spend enough time waiting for the sound
of the footsteps of the guard on midnight rounds,
it tells you that you’ll do what you’re supposed to.
It reminds me of the summer nights I used to fish at night
without a light to hear the sounds of screen porch cocktail laughter
drifting down where I listened still and silent well past curfew.
It was worth it still despite the midnight beatings.
Fish helped but fishing wasn’t why I went.
I wished to see how normal people spent their time
on ordinary summer evenings.
I tended not to do what I was told to.
And the whispers told me where I would be sent.