The past month has been one of the most rewarding times in my compositional life. Two premieres: my Piano Quintet, in Halifax on October 4 with Blue Engine String Quartet, and Insomnia, at Carnegie Hall on Hallowe'en, with saxophonist Michael Couper, soprano Yungee Rhiee and pianist ChoEun Lee. Two peak experiences with matchless musicians; in the first I was a nervous and happy participant, in the second, a wide-eyed and goggle-eared member of the audience.
To experience two collaborations with two groups of musicians, who devote their breathtaking musicality, insight and intensity to my music, and who display an uncanny ability to meld themselves into a psychic unity - this is to be richly blessed.
i had never met Michael Couper, though I felt that we were old friends; we had corresponded extensively on the preparation of ''A deep clear breath of life'' for publication, and throughout the gestation of 'Insomnia.' He made many recordings for me of various extended techniques, alternate multiphonics, Aeolian sounds. Just a few days before our arrival in New York, Michael learned that he was a finalist in the prestigious Concert Artist Cuild's Victor Elmaleh Competition. He played my 'A deep clear breath of life' in the final concert. I was unable to attend, and expressed my wish for a TARDIS, so that I could travel backwards in time to hear him. He responded with a photo of himself wearing a t-shirt 'Trust me, I'm the Doctor...' He was wearing the same T-shirt when we met, in the studios of Opera America where the initial rehearsals took place.
That rehearsal began with a complete runthrough of the first movement. I was astounded, not only by the superb musicianship of all three performers, but by the unmistakeable communicative current which flowed among them, as if they were burning with a single flame. In my notes for the piece, I had written: Throughout the work the intensity and intimacy of the poet's encounter with the night are reflected in the intertwining of the saxophone's melodic line with that of the soprano, while the piano evokes and reveals the mysterious world in which she moves, at times echoing the sound of the poet's footsteps, at times providing shadows or glints of light.
As I listened, Yungee and Michael were indeed like the voice of a single soul, while ChoEun at the piano created - with mastery and mystery - the strange nocturnal world they inhabited. This impression only intensified as they worked on details, then rehearsed the movement again. This culminated in a performance of great intensity and beauty, one which continues to resonate in my mind. In a sense my wish for a TARDIS has been fulfilled!
Speaking of time/space travel, our Montreal friend Marsha sent us a long-distance celebratory treat: high tea at the Russian Tea Room, right next door to Carnegie Hall! - Given Jocelyne's Slavophilia dating from early childhood, and our love for Russian music, art, and poetry, this was a richly evocative feast in intoxicating and inspiring surroundings.