Well, it’s funny. So, in one of the versions of the poem, again I don’t know because she was writing while I was writing the piece and a lot of it changed for the final book, but one of her poems began with the call of the vesper sparrow, which translates something like “hey, hey, now, now, all together down the hill,” or something. You didn’t want to have all these scene changes on stage that are really awkward. Vulnerability is discouraged because of how the rehearsal process works. FJO: Unfortunately nowadays so many composers do everything on computers, so no one can see sketches with Xs on them. FJO: But the reason I brought it up is I wonder if you think of the recording rather than a live performance of it to be the definitive way to experience the piece. MM: Right, and I respect that. The piece I just wrote for the Boulder Phil becomes very dark at the end. In a good way, not in a control freak kind of way, but just to be involved in all aspects of the music making. But all of it existed before, except I got him to write one new piece; the second track, “Hello Lord,” was a new poem written just for the project. I don’t know. MM: I would love to do a sound installation. 1. And, over the past decade, she has also written additional orchestra pieces that have been performed by the Detroit Symphony, the Los Angeles Philharmonic, and the Albany Symphony. I’m also dealing with performances of my first opera, Song from the Uproar. FJO: Of course, that’s an even bigger challenge. I’m still trying to do the same things all the time. But writing for orchestra forms only a small part of her compositional output. This band in Amsterdam was a great example. As it turned out, These Worlds In Us was a huge success and has continued to be performed by orchestras across the United States as well as in Europe. For me, a Victoire album is the five of us getting in a room and making music together. There are all these things already there that you have to strip away in order for it to become your own thing. My boyfriend is a painter and he’s been working on the same series of work for the last year and a half; it’s so fascinating and satisfying to watch that happen. And then, halfway though, they just start singing words that come out of nowhere. How necessary are those elements in order for the piece to work? There’s a brand new solo piano piece of hers on Michael Mizrahi’s forthcoming CD (which will be released on March 26) and an older solo piano piece on Lisa Moore’s new disc. So it just sounded like fun. I wrote it when I was 24 for a band that I was in when I lived in Amsterdam; eleven years later, it’s finally been recorded by someone else. It’s hilarious and dark. So making albums is still important to you. “I still feel like I’m asking the same questions,” she said, “and, with each piece, finding different answers to the question of how to bring an intimate, vulnerable, human experience to a situation like working with an orchestra, which is a little bit disconcerting and I feel kind of disconnected as a composer for a couple different reasons.”. It started off as an improv experiment and then solidified into something I could play on a concert program. Connect your Spotify account to your Last.fm account and scrobble everything you listen to, from any Spotify app on any device or platform. I think a lot of composers do, and I think it’s a fallacy that we’re supposed to reinvent ourselves completely with every piece. Inevitably. Some orchestras might not be willing to do it. (2001). She fronts Victoire, something of a cross between an indie rock band and a chamber ensemble, which is about to record its sophomore album. On the other hand, Isabelle Eberhardt is not somebody everybody knows about—yet. 59, "Cyber-bird": I. Bird in Colors: Allegro, Creative Commons Attribution-ShareAlike License. Mission and Values, Staff, Supporters, Boards and Councils, Grant Programs, Media Programs, and New Music Connect, A conversation at her home in Brooklyn, New York I guess that’s coming from the same impetus as wanting to form an ensemble with consistent instrument to perform concerts of your music. We reserve the right to remove any comment that the community reports as abusive or that the staff determines is inappropriate. MM: I save them, but I wouldn’t say I’m saving them for posterity. I wanted to create a show that was a consistent instrumentation for which I was creating new music, because people were asking me to put on concerts. Miller SG, Knight RL & Miller CK. I know that we are kind of in a dark age to some extent. If you’re in the top one percent. So this experience I just had last weekend in Boulder was really interesting. Vesper Sparrow By Missy Mazzoli, Roomful of Teeth. I wanted to perform all over the place. It’s confusing. More by Missy Mazzoli. Yet in both cases, the music you chose to convey their words is a very contemporary sound world. You’re dealing with this mass of people—you very rarely get to have individual interactions with the players. That was the impetus to use his poetry for the entire piece. (2006). My friend Judd Greenstein, who runs New Amsterdam Records, used to say when he was starting the record label that albums are the new symphonies. I think that that left space for me to create my own music for it. Adults have light brown upperparts and light underparts, both with darker streaking. This ties back to an earlier thread in this discussion about communication being the core of your music. He says, “I have a thousand tongues, and nine and ninety-nine lie, though I try to use the one, it will make no melody at my will. And I performed a concert of my own works at this art space called The Dairy in downtown Boulder. FJO: Even though they share the same material, that material is presented so differently to the point that I don’t think they’re the same piece at all. Is there any kind of music you would not want to write? The music is exactly the same. So it’s an interesting challenge that I solved in a couple different ways throughout the opera, since that intimacy is something I wanted to maintain from the film. So it’s just people together making music. I also like the idea of releasing singles on the internet. There’s love and death and sex and intrigue, all in this little seven-minute mini-opera. FJO: So you were a performer before you were a composer? Great. MM: It is. In my piece for eighth blackbird [Still Life with Avalanche], the percussionist devours all the other instruments and absorbs all the material. And the connections between the phrases are tenuous, and you’re supposed to come up with that in your own mind. I decided to reread them all last week, and I came across a fascinating couple of sentences from your very first post. However, please remember to keep comments constructive and on-topic. And all that translates on the page. Certainly not everything you’ve written is so decidedly and so intentionally pretty, but beauty has definitely been part of your compositional arsenal. FJO: You shouldn’t be; they’re great. The vesper sparrow (Pooecetes gramineus) is a medium-sized American sparrow.It is the only member of the genus Pooecetes.. FJO: Before you told me this story, I had no idea that this came about because Roomful of Teeth was learning traditional Sardinian singing techniques. MM: Because that seemed pretentious at the time. Sometimes they come from a couple of different poems, or a couple different books. You’re flown somewhere and you have two or three rehearsals and then it’s the performances. (1994). Now here we have an example of a piece that’s out in the world and you may have no face time at all with the musicians.

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