All works available from:
Theodore Presser Co./Merion Music
Photo: Marina Garcia-Burgos
The Flight of the Red Sea Swallow - The Voice of the Wail!
Every year the University of Pennsylvania Department of Music presents a concert called The Voice of the Wail! The title is a take-off on the famous 1971 piece by Penn Professor Emeritus George Crumb Vox Balanae (The Voice of the Whale). Works presented are by composers drawn from the Penn musical family - emeritus and current faculty, and alums. In the inaugural concert in March 2012, Vox Balanae was featured.
This year concert was given on January 11. The program consisted of Matthew Schreibeis's In Search of Planet X, James Primosch's Fantasy Variations (Piano Trio), Anna Weesner's The Space Between, my own The Flight of the Red Sea Swallow (ballad version for flute and piano), and Richard Wernick's String Quartet No. 8.
The instrumental ballad The Flight of the Red Sea Swallow was written originally for violin and piano and was premiered by Maria Bachmann in 2011. I arranged it for flute and piano in the summer of 2012 and this was the version presented on the Wail! concert this year. The performers were the splendid flutist Michele Kelly and the remarkable pianist Matthew Bengtson.
Wail! Composers: Jay Reise, Richard Wernick, Matthew Schreibeis & James Primosch
The Flight of the Red Sea Swallow Premieres in Cuba
The Flight of the Red Sea Swallow (poem version for flute and piano) received its world premiere in Cuba on November 28, 2012 at the Havana International Festival of Contemporary Music. This poem version is an adaptation of the ballad with the same title, and was prepared especially for this concert. The performers were the incredible flutist Christina Jennings and the wonderful pianist Mark Loria. The performance was part of a concert presented by Orchestra 2001 as part of the Havana International Music Festival, 2012. Other works on the program included pieces by George Crumb and a recital of contemporary Latin American works by pianist Ana Cervantes.
Andrew Rudin, Teresa Fernandez, Jay Reise, Cuba 2012
The Warrior Violinist Appeals to Kids
The Warrior Violinist, a fairy tale for narrator, violin and cello, with a libretto by the composer was premiered by Auricolae Children's Troupe at St. Bernadette School, Drexel Hill, Pennsylvania and Francis Scott Key School in South Philadelphia, September-November, 2012. Support for this project was provided by a Community Partners Grant from the American Composers Forum, Philadelphia Chapter. David Yang was the mesmerizing narrator and the expressive instrumentalists were Guillaume Combet (violin) and Naomi Gray (cello).
The Warrior Violinist tells the story of a poor young boy who plays the violin but aspires to win the love of a princess.
The Warrior Violinist was recently recorded in London and is scheduled for release later this year.
Click here for the libretto.
David Yang, Guillaume Combet, Naomi Gray at FS Key School, 2012
Rasputin a Success at the Saaremaa Festival in Estonia
Rasputin was presented at the Saaremaa Opera Days, a festival on the beautiful island of Saaremaa off the coast of Estonia, in July 2012. It was performed before an audience of about 2,000 in the great medieval Kuressare Castle by the Helikon Opera of Moscow who have been presenting it in repertory since 2008. The cast was excellent with many of the principal leads from Moscow reprising their parts in Estonia: Rasputin - Nikolay Suslov; Tsar Nicholas II - Andrei Palamartshuk; Empress Alexandra Feodorovna - Natalya Zagorinskaya; Prince Felix Yusupov - Vassily Efimov; and the brilliant young conductor Konstantine Chudovsky.
The review in Eesti Päevaleht (24. July 2012) noted,
"Saaremaa Opera Days, after achieving success in the traditional classical repertoire of modern opera, presented Rasputin. [Composer] Jay Reise captured the audience and Rasputin was well received. [His] score was full of postmodernism quotations and allusions to other works. It was all set up very intelligently, so that there was a clear conflict of musical and dramatic sequence of events. Human ambition and struggle for dominance was a major theme. Dmitry Bertman staged and dramatically highlighted this confrontation to great effect."
Rasputin will next be performed by Helikon in Moscow November 8-9, 2013.
Rasputin at the Saaremaa Opera Days Festival, Estonia 2012
Kuressare Castle at the Blue Hour
To the Point CD on Audiophile Audition's
Best of the Year Discs for 2011
Fine Reviews for The River Within on CD
The River Within (Concerto for Violin and Orchestra), premiered in 2008 by Maria Bachmann and Orchestra 2001 in Philadelphia’s Perelman Theater in the Kimmel Center, was released on CD by Innova Recordings in June and was greeted with excellent reviews. The concerto is presented on an album of orchestra music performed by Orchestra 2001 Philadelphia’s award-winning ensemble which specializes in music of the 20th and 21st centuries. The CD also features works by Jennifer Higdon, Andrew Rudin and Gunther Schuller. James Freeman conducts all the pieces except for Schuller’s Concerto da Camera which is led by the composer.
Orchestra 2001: To the Point
JENNIFER HIGDON: To the Point for string orchestra
ANDREW RUDIN: Canto di Ritorno (Concerto for Violin(1) and Small Orchestra)
GUNTHER SCHULLER(2): Concerto da Camera
ROMEO CASCARINO(3): Blades of Grass
JAY REISE: The River Within (Concerto for Violin(4) and Orchestra)
(1) Diane Monroe, violin
(3) Dorothy Freeman, English horn
(4) Maria Bachmann, violin
Orchestra 2001, James Freeman and (2) Gunther Schuller, conductors
Innova Recordings 745 (Distr. by Naxos)
“The most recent work here, Jay Reise’s The River Within – composed in 2008 for Orchestra 2001 and soloist Maria Bachmann – is also a violin concerto. One, in fact, that shares some affinity with Jennifer Higdon’s To the Point, its own “rhythmic polyphony” owing something to the hypnotic ‘foreign’ influences of jazz and the Carnatic music of southern India.
Composed for a Classical-sized orchestra, it adds spice to its formalist leanings by stripping the orchestral forces back to single winds and brass with the addition of piano (which operates as the default continuo) and a small selection of percussion instruments. The result is something both predictably spare and surprisingly lush, solo winds and brass proving slickly adept at providing astringently contrapuntal commentary on a solo violin line that, itself, soars into virtuosic reveries of 19th-century dimensions. Bachmann seems wholly inside the sinuous, labyrinthine twisting and turning of the music, the orchestral accompaniment delivering elegant framing and support.” - The Classical Review
“This fascinating program concludes with “The River Within” by Jay Reise. This is a full three movement concerto for violin, taking its title from a passage in a novel from 1887 by J.K. Huysmans citing the inexorable flow of a river. In three movements – fast, slow, fast – the structure is pretty traditional. However, Reise describes his use of “ rhythmic polyphony”; some use of cells of rhythm derived from both Eastern music as well as jazz. This is a very exciting piece, easy to listen to and propulsive but not at all ‘ harsh’.
Reise has written many different works in all genres, including opera. He is presently a professor of composition at the University of Pennsylvania. Soloist Maria Bachmann performs the work with technical flourish and style throughout.” - Audiopfile Audition
“The final work on the disc is The River Within (2008) a concerto for violin and orchestra by Jay Reise. Reise teaches at the University of Pennsylvannia and his music has been performed quite widely. The work is inspired from a 19th century novel by J.K. Huysmans. The piece is cast in three movements, designed in more traditional form. The primary difference here is Reise’s decision to use single (i.e., not paired) winds and brass causing more intriguing color combinations. What is interesting is that Reise does use his winds and brass combinations in clear lines that cut through and support the soloist very well. One of the techniques, described by the composer as “rhythmic polyphony,” takes rhythmic motives and develops them within a phrase essentially implying a cadence. Traditional harmonic and linear writing are on display as well which aid in the accessibility of what turns out to be a rather engaging work. The opening movement’s focus on rhythm, gives way to a slow central section whose opening measure are quite beautiful and continue to be so even as the tension builds underneath. The harmonic language here is most interesting to hear unfold. The final movement seems a blend of the rhythmic polyphony Reise mentions in his program note and the long linear solo writing that comments upon and essentially deconstructs and reworks these ideas. The movement is more a conversation between ensemble and soloists at times and the energy takes off and is reigned in repeatedly with a fine dramatic sense over the 9-minute playing time.” – Cinemusical
“..The River Within, a fantastically vibrant piece by Jay Reise..” – Sequenza 21
RASPUTIN HAS FRENCH PREMIERE
Massy, France –- December 4, 2010 Rasputin, opera in two acts with music and libretto by the composer, had its French premiere December 4-5, 2010 to sold-out houses at the Opéra de Massy just outside Paris. The production was that of the Helikon Opera which staged the work in Moscow in 2008-09.
The stage director was Dmitry Bertman and Konstantine Chudovsky conducted the Orchestra de l’Opéra de Massy. Nikolai Galin sang the title role, Natalya Zagorinskaya sang the role of the Empress Alexandra, Nicolai Dorozhkin was Nicholas II and Vasily Efimov sang the chameleonic role of Rasputin's assassin Prince Felix Yusupov.
VIEW excerpts from RASPUTIN on YouTube
See “Reviews” to your right →.
Click "Rasputin" to your right → for a libretto.
Lunahuaná Premieres in Philadelphia
Lunahuaná, an 8’ piece for percussion 2 players, was premiered at the Orchestra 2001 concerts November 6-7 at Trinity Church, Philadelphia and Lang Concert Hall, Swarthmore College. The two percussionists were William Kerrigan and David Nelson. Given the complexity of the rhythms and the large space separating the two performers, Orchestra 2001 Artistic Director James Freeman conducted – an option suggested in the score.
The theme of the concert was "Chinese Visions" and included works by Chinese-American composers Tan Dun and May-Tchi Chen as well as Scottish-American Jennifer Barker. All the works were clearly derived from or inspired by indigenous music.
Last year, on a trip to Ayacucho, a town located deep in the Peruvian highlands, I was struck by some music I heard which sounded for all-the-world like Peking Opera. Peru and China are both on the vast Pacific rim and many sounds, sights, and sensations in Ecuador, Peru and Chile echo those of China and Japan. So I was pleased that Lunahuaná was included on a program centered on "Chinese Visions".
Lunahuaná was inspired by a trip to the Peruvian village at the edge of the highlands in the summer of 2009 where I began the piece. The name comes from two Quechua words, RUNA: people; and HUANAC: chasten. RUNAHUANAC: that which makes people take warning. Lunahuaná is located at a permanent point where the threatening clouds and the sunshine-blue sky buttress up against each other. Raucous fiestas take place among the barely perceptible echoes of ancient civilizations and the ghosts of the conquistadors.
Percussion I plays the vibraphone along with a few cymbals and crotales or antique cymbals). Percussion II performs on tubular bells and marimba along with the “Battery” – a raucous group of non-pitched instruments prodded along by a persistent whistle suggesting a fiesta atmosphere with a buzzing crowd.
Lunahuaná – LISTEN
See “Reviews” to your right →.
See these titles under Works for audioclips:
Orchestra - The Selfish Giant
Instrumental - Concerto for Cello & 13 Instruments
Chamber Music - Lunahuaná
Piano - Six Pictures from 'The Devil in the Flesh' (6."The Madwoman on the Roof")
NOVEMBER 8/9/2013 RASPUTIN (Opera in Two Acts, libretto by the composer) - Helikon Opera, Moscow
(495) 690-0971 (administration), fax: (495) 691-1323
JANUARY 24, 2014 MEMORY REFRAINS (String Quartet in One Movement)
Daedalus Quartet, Rose Recital Hall, Philadelphia
FEBRUARY 12, 2014 THE FLIGHT OF THE RED SEA SWALLOW
(Version for flute and harp) Mimi Stillman, flute; Elizabeth White Clark, harp, Arthur Ross Gallery, Philadelphia
MAY 19-29 THE FLIGHT OF THE RED SEA SWALLOW
(Version for flute and piano) - Arab States TourRead More
Rasputin Opera in Two Acts
(Moscow, 2011) "A challenging but entirely rewarding experience." - The World of Opera (The Opera Critic) Read the full article here.
(Massy, 2010) "The score is often beautiful, even flamboyant...a very fine show, which certainly deserves to experience a much wider international distribution." - ForumOpera.com
(NYC Opera world premiere, 1988) "The new opera is a spellbinding, challenging and profoundly beautiful creation." – The Washington Times Read the full review here.
(Moscow premiere, 2008) "Reise's score...serve[s] quite nicely to underline and reinforce the dramatic events on stage. Especially effective is Reise's use of traditional tonality -- including quotes from Pyotr Tchaikovsky's ballet "Swan Lake" and the Russian imperial hymn -- for the music of Nicholas and Alexandra, as well as atonal dissonance to conjure up what he calls, in a program note, 'the brutal and chaotic new world of the 20th century'." - Moscow Times
(NYC Opera world premiere, 1988) "…audaciously colorful opera" - Philadelphia City Paper
Lunahuaná "Typical of the Penn-based composer, his choice of notes was elegant and, more important with percussion, his ear for timbre was incredibly precise. This short, winning piece doesn't take easy ways out.” - Philadelphia Inquirer
“City in the clouds - The title of Jay Reise’s Lunahuaná refers to a Peruvian mountain city perched where the sky is permanently divided between threatening clouds and blue sunshine. Lunahuaná is composed for two percussionists, who mostly play the xylophone and the marimba, but the interactions are so complicated that Freeman had to conduct a work that looked like it should be a conductorless chamber piece. Reise’s music follows the general pattern suggested by the geographical reference, but this piece would beeffective even if you’d never heard of the extra-musical symbolism.” - Broad Street Review
Yellowstone Rhythms for Bassoon and 10 Players "..nature in its most songful state." - Philadelphia Inquirer
The River Within (Concerto for Violin and Orchestra) "... fluidity and mastery that creates an optimum showcase for his attractive thematic ideas." -Philadelphia Inquirer
The Devil in the Flesh and Other Pieces (Recording featuring Marc-André Hamelin) "Satori …with its starlit rotations and seemingly suspended atmosphere, makes a striking impression. Six Pictures from The Devil in the Flesh.. [is] a fine group of virtuoso pieces…[with] a riotously sizzling finale." - American Record Guide
Memory Refrains "One hesitates to burden any recent composition with the designation “masterpiece”, but Memory Refrains is surely music that deserves to be taken up by other major quartets so as to become a post-Romantic repertoire staple." - Philadelphia Music Makers
Powers That Be “… the kind of transcendence that lets you know you’re in the presence of greatness.” - Journal of the Scriabin Society of America
The Selfish Giant (Choreographic Tone Poem based on the story by Oscar Wilde) "It had epic quality. The full organ, the rolling timps and the squabbling brass at the start had weight. A clumsy giant's angry dissonances were peeled back to reveal strings pulling anguished chords." - Evening Standard (London)
Concerto for Horn and 7 Instruments “… what Richard Strauss might have written had he had the guts to be atonal..” - The Philadelphia Inquirer
Open Night - Poem-Caprice for Six Players "..magnetism was immediate in the heart- grabbing opening violin solo of the sextet… the piece unfolds with a reasoning that's hard to explain but great to feel. melodic lines of almost Wagnerian breadth… inflected with the kind of emotional eventfulness that doesn't require a slow buildup.." - The Philadelphia Inquirer
Transcription of Scriabin Etude Op. 2 No. 1 for left hand “Jay Reise’s skillful transcription was such that it lacked nothing of the original sounds. That took quite a bit of doing by Reise, and indeed a good deal more from pianist Gary Graffman. Yet it all worked out beautifully.” – The San Francisco Classical Voice
RASPUTIN HAS FRENCH PREMIERE Massy, France –- December 4, 2010 Rasputin, opera in two acts with music and libretto by the composer, had its French premiere December 4-5, 2010 to sold-out houses at the Opéra de Massy just outside Paris. The production was that of the Helikon Opera which staged the work in Moscow in 2008-09. The opera was sung in Russian with French surtitles.
The stage director was Dmitry Bertman and Konstantine Chudovsky conducted the Orchestra de l’Opéra de Massy. Nikolai Galin sang the title role, Natalya Zagorinskaya sang the role of the Empress Alexandra, Nicolai Dorozhkin was Nicholas II and Vasily Efimov sang the chameleonic role of Rasputin's supposedly bisexual assassin Prince Felix Yusupov.
Other leading cast members were Mikhail Seryshev as the monk Iliodor. Iliodor was Rasputin's theological rival who later emigrated to America, became a janitor in New York City and wrote an autobiography entitled "The Mad Monk of Russia". Mikhail Davydov played the Grand Duke Dmitry Pavlovich (who supposedly had affairs with both Yusupov and Coco Chanel). Doctor Sokolsky, sung by Dmitry Ponomarev, is a character of the librettist's creation, fusing the royal family's Doctor Botkin with one of the conspirators, Dr. Lazovert. The doctor's discrediting and suicide in the opera are fictional. Alexandra Kovalevich was Yusupov's wife Irina, Mikhail Verbitzky played General Zhevadov (modeled to a limited extent on the conspirator Pureshkevich), and Yury Ustyugov played the cabaret master of ceremonies. The sets were designed by Igor Nezhny an the costumes were the work of Tatiana Tulubieva. Lighting was directed by Damir Ismagilov. The choreographer was Edwald Smirnov and the choral director was Denis Kirpanev.
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