Beseeching (2020)
Duration: 5 minutes
Instrumentation: solo cello with overlayed accompaniment
Commissioner: The Primavera Project and Matt Haimovitz
Performance History
4/23/2023, Matt Haimovitz et al., Brooklyn, NY
Program Notes:
While discussing the concept of this new piece with Matt and Jeffrianne, the West Coast was grappling with a terrifying set of wildfires. It seemed natural for me therefore to think of composing a piece about longing (not hoping but desperately longing – therefore ‘Beseeching’) for the rain – and the wellness of the humankind and the earth we live in. The darkness of von Heyl’s Primavera (and that of Botticelli’s), which I saw months after our initial conversation, confirmed that I happened to be in sync with respect to the subject matter and the tone.
With the yearning quality and intensity in its core, ‘Beseeching’ interweaves two different traditions: Native-American rain dance drumming, which is alluded to in the very beginning of the piece, and old Korean melodies. The first Korean tune that appears after the introduction combines two court music melodies, both of which wish for the well-being of the people. Already mysterious and dark in the beginning, the music becomes even more intense, as the ‘ritual’ goes on. I thought Matt’s expressive high cello sound would be perfect to convey the depth of desperation. As if attempting to provide a glimpse of hope, the music ends with another Korean folk tune that is rather soothing, titled ‘Pungnyeon Ga’ (translated as ‘song of a good harvest’).
Exploring the future of chamber music in this era of isolation and inspired by many video clips of virtual ensembles that were coming during the pandemic, this piece, written for one cellist, has four different parts, including one that almost exclusively assigned to percussive effects. I was also encouraged by Matt’s interest in ideas that are out-of-the-ordinary. I hope my four-minute musical intercession speaks directly to our collective desire for a brighter future.
Instrumentation: solo cello with overlayed accompaniment
Commissioner: The Primavera Project and Matt Haimovitz
Performance History
4/23/2023, Matt Haimovitz et al., Brooklyn, NY
Program Notes:
While discussing the concept of this new piece with Matt and Jeffrianne, the West Coast was grappling with a terrifying set of wildfires. It seemed natural for me therefore to think of composing a piece about longing (not hoping but desperately longing – therefore ‘Beseeching’) for the rain – and the wellness of the humankind and the earth we live in. The darkness of von Heyl’s Primavera (and that of Botticelli’s), which I saw months after our initial conversation, confirmed that I happened to be in sync with respect to the subject matter and the tone.
With the yearning quality and intensity in its core, ‘Beseeching’ interweaves two different traditions: Native-American rain dance drumming, which is alluded to in the very beginning of the piece, and old Korean melodies. The first Korean tune that appears after the introduction combines two court music melodies, both of which wish for the well-being of the people. Already mysterious and dark in the beginning, the music becomes even more intense, as the ‘ritual’ goes on. I thought Matt’s expressive high cello sound would be perfect to convey the depth of desperation. As if attempting to provide a glimpse of hope, the music ends with another Korean folk tune that is rather soothing, titled ‘Pungnyeon Ga’ (translated as ‘song of a good harvest’).
Exploring the future of chamber music in this era of isolation and inspired by many video clips of virtual ensembles that were coming during the pandemic, this piece, written for one cellist, has four different parts, including one that almost exclusively assigned to percussive effects. I was also encouraged by Matt’s interest in ideas that are out-of-the-ordinary. I hope my four-minute musical intercession speaks directly to our collective desire for a brighter future.