{"id":2362,"date":"2018-08-16T08:25:49","date_gmt":"2018-08-16T12:25:49","guid":{"rendered":"http:\/\/christophertrapani.com\/wordpresssite\/?page_id=2362"},"modified":"2020-01-23T07:55:42","modified_gmt":"2020-01-23T12:55:42","slug":"end-words","status":"publish","type":"page","link":"http:\/\/christophertrapani.com\/wordpresssite\/end-words\/","title":{"rendered":"End Words"},"content":{"rendered":"\n<div class=\"container\">\n<h3 style=\"text-align: left; padding-left: 30px;\"><span style=\"color: #ffffff;\"><strong>End Words\u00a0(2017)<\/strong><\/span><br \/><span style=\"color: #ffffff;\">for six voices (soprano, mezzo-soprano, countertenor, tenor, baritone, and bass) and electronics [20:00]<\/span><\/h3>\n<div style=\"float: right; margin-left: 11px; margin-right: 20px; margin-bottom: 20px; text-align: left;\"><iframe loading=\"lazy\" width=\"350\" height=\"470\" style=\"position: relative; display: block; width: 350px; height: 470px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=635376334\/album=2463506768\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe><\/div>\n<hr \/>\n<div style=\"padding-left: 30px; padding-right: 50px;\"><span style=\"color: #ffffff;\"><em>I. They raised violins<\/em> (Anis Mojgani)<br \/><\/span><\/div>\n<div style=\"padding-left: 30px; padding-right: 50px;\"><span style=\"color: #ffffff;\"><em>II. you used to<\/em> (Ciara Shuttleworth)<br \/><\/span><\/div>\n<div style=\"padding-left: 30px; padding-right: 50px;\"><span style=\"color: #ffffff;\"><em>III. The Painter<\/em> (John Ashbery)<br \/><\/span><\/div><p>\n<div style=\"padding-left: 30px; padding-right: 50px;\"><span style=\"color: #ffffff;\"><em>End Words<\/em> 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.<\/span>\n<\/div>\n<div style=\"padding-left: 30px; padding-right: 50px;\"><span style=\"color: #ffffff;\"><span style=\"color: #ffffff;\"><br \/><strong>Program Note for <i>End Words<\/i><\/strong><\/span><p>\n<p>I\u2019ve always been fascinated by the sestina:<br \/>this archaic form, thirty-nine lines<br \/>that spin out in an intricate spiral.<br \/>Six-line stanzas, with six end words<br \/>that repeat in a predetermined shape.<br \/>Those patterns were begging for music.<\/p>\n<p>So I started looking for poems to set to music,<br \/>and bought an anthology of sestinas.<br \/>\u201cThe Painter\u201d was an old favorite, and the unusual shape<br \/>of Anis Mojgani\u2019s poem\u2014the way he streamlines<br \/>crisp, hallucinatory images and tender words\u2014<br \/>drew me into a propulsive yet nostalgic spiral\u2026<\/p>\n<p>Predictably, things began to spiral<br \/>out of control when I started to imagine the music<br \/>I\u2019d devise for Ashbery\u2019s words.<br \/>\u201cThe Painter\u201d turned into a sort of ur-sestina<br \/>setting: I started with thirty-six lines<br \/>of related natural harmonies, laid out in the shape<\/p>\n<p>of a six-by-six grid. Then I shaped<br \/>the harmonic progression as a spiral<br \/>traced through that plane, drawing curved lines<br \/>that wander though disjointed consonance\u2014music<br \/>laid out so that adjacent stanzas of the sestina<br \/>share a repeated harmony over repeated end words.<\/p>\n<p>Line numbers are embedded in the words<br \/>as durations. Another grid shapes<br \/>the map of shifting tempi\u2014so the sestina<br \/>has influenced all the piece\u2019s parameters. The spiral\u2019s<br \/>hypnotic rigor invades all aspects of the music.<br \/>With the singers, I prerecorded many lines,<\/p>\n<p>syllables, and effects, for the electronics\u2014lines<br \/>to chop up and retune, and sometimes single words\u2014<br \/>to create collages of vocal sounds. The music<br \/>for \u201cThey raised violins\u201d started to take shape<br \/>with \u201cbones,\u201d \u201cstring,\u201d \u201cpetals\u201d\u2014 each node in the spiral<br \/>set to a unique texture. And Ciara Shuttleworth\u2019s \u201cSestina\u201d<\/p>\n<p>was the perfect compact shape: just six one-syllable words<br \/>whose meanings shift as the spiral unravels, lines<br \/>that fray as the sestina thins to stark, still music.<\/p>\n<p><i>Christopher Trapani<\/i><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>End Words\u00a0(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. 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