End Words (2017)for six voices (soprano, mezzo-soprano, countertenor, tenor, baritone, and bass) and electronics [20:00] I. They raised violins (Anis Mojgani) II. you used to (Ciara Shuttleworth) III. The Painter (John Ashbery) End Words was commissioned by Chamber Music America for Ekmeles, and was premiered on May 20, 2017 at the Dimenna Center for the Performing Arts in New York City. This commission has been made possible by the Chamber Music America Classical Commissioning Program, with generous funding provided by The Andrew W. Mellon Foundation, and the Chamber Music America Endowment Fund. Program Note for End Words I’ve always been fascinated by the sestina:this archaic form, thirty-nine linesthat spin out in an intricate spiral.Six-line stanzas, with six end wordsthat repeat in a predetermined shape.Those patterns were begging for music. So I started looking for poems to set to music,and bought an anthology of sestinas.“The Painter” was an old favorite, and the unusual shapeof Anis Mojgani’s poem—the way he streamlinescrisp, hallucinatory images and tender words—drew me into a propulsive yet nostalgic spiral… Predictably, things began to spiralout of control when I started to imagine the musicI’d devise for Ashbery’s words.“The Painter” turned into a sort of ur-sestinasetting: I started with thirty-six linesof related natural harmonies, laid out in the shape of a six-by-six grid. Then I shapedthe harmonic progression as a spiraltraced through that plane, drawing curved linesthat wander though disjointed consonance—musiclaid out so that adjacent stanzas of the sestinashare a repeated harmony over repeated end words. Line numbers are embedded in the wordsas durations. Another grid shapesthe map of shifting tempi—so the sestinahas influenced all the piece’s parameters. The spiral’shypnotic rigor invades all aspects of the music.With the singers, I prerecorded many lines, syllables, and effects, for the electronics—linesto chop up and retune, and sometimes single words—to create collages of vocal sounds. The musicfor “They raised violins” started to take shapewith “bones,” “string,” “petals”— each node in the spiralset to a unique texture. And Ciara Shuttleworth’s “Sestina” was the perfect compact shape: just six one-syllable wordswhose meanings shift as the spiral unravels, linesthat fray as the sestina thins to stark, still music. Christopher Trapani