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I’m typing this post from my hotel in Athens, Greece, where I am unbelievably able to pick up a wireless internet connection (with only one bar of signal!). Two years ago, when I made my first trip to Greece, I wrote a post right before I left. This time, I’m a little behind. 
I’m returning to the Oiniades Theatre Festival as a guest composer, this time for a modern adaptation of Aeschylus’ Agamemnon. As before, Dennis Christilles (a professor of theatre at KU) is creating the adaptation and directing the play, and I am composing music for the choruses and interludes. I’ve written some of the music already, but will write the rest in Greece.
I love this Greek experience because it is truly unique. The vocal abilities of the actors, plus the instruments involved, vary each time, and somehow I have to create a musical score that works with the forces we have available. It is truly a show custom-created for the ensemble.
Last time we produced The Bacchae by Euripides. This time it is Agamemnon. Unlike last year, I will not be playing an acting role – only a musical one. So what’s the premise of the show? In a nutshell, Agamemnon has been gone for ten years, laying siege to Troy in order to capture and bring back Helen. At the beginning of the play, a watchman notices that signal fires have been lit, signaling the fall of Troy. A herald eventually arrives, bringing news that Troy has been destroyed and that Agamemnon and his surviving forces should return home soon.
One would expect this to be good news, especially to Clytemnestra (Agamemnon’s wife), but one must remember that she has been at home brooding for ten years. Not only did her husband abandon her for a decade in a “rescue” effort that sapped Greece of its resources, he also sacrificed their daughter Iphigenia in order to receive favorable winds for their passage to Troy. To make matters worse, Agamemnon returns with a pretty Trojan prophetess as his concubine (Cassandra). To put it lightly, Clytemnestra is just a bit “peeved.”
Clytemnestra welcomes Agamemnon home, insisting that he walk on a red carpet into the palace. Agamemnon is hesitant not to seem prideful or arrogant, but eventually concedes. He goes into the palace and is murdered in the bath by Clytemnestra. Cassandra prophecies about her own death to the unbelieving chorus, then walks into the palace and is also slain by the raging Clytemnestra.
The play ends with Clytemnestra attempting to justify her actions while Aegisthus delivers a boastful speech that nearly ends in a brawl. Clytemnestra chastises him, stating that there has already been enough blood spilled today. The chorus then drops a foreboding hint that Orestes (the son of Agamemnon and Clytemnestra) will surely return in order to seek vengeance for his father’s murder. Yes, Agamemnon is the first in a trilogy of plays about the cursed House of Atreus. If you want to read further, start with an overiew of the Oresteia.
I leave you (for now) with this, the supposed “death mask” of Agamemnon, which is on display in a museum in Athens.
I have limited internet access in the village of Katohi at Oiniades, but will create at least one new post and upload some pictures in July. Until then, my best wishes to all of you.
Listen to Audio (Big file! ~ 17.5 MB)
Bondari – Feridoun
For chamber winds/percussion
About
Inspired by Ferdowsi’s Shahnameh (Persian Book of Kings), Feridoun is a loosely-programmatic work depicting the struggle and coming to power of one of ancient Persia’s earliest kings.
In Persian mythology, the lands were ruled by an evil tyrant named Zahhak. Two snakes grew from his shoulders, and Zahhak ordered that two people must die each day in order to satiate the snakes. Fear spread amongst the people, and they longed for justice and revenge. One night, Zahhak dreamed that a boy named Feridoun would eventually dethrone him. Terrified, he ordered that this boy be found and killed.
For years, Feridoun’s mother kept him one step ahead of Zahhak. When he was a teenager, he learned that Zahhak had sacrificed and fed his father to the ever-hungry snakes. Enraged, he joined a small uprising against Zahhak and led his envoy into battle. Singlehandedly he defeated Zahhak and bound him in a cave beneath Mount Damavand. The tyrant cast down, Feridoun ruled the earth with benevolence and justice for the rest of his long lifetime.
Musically, Feridoun is a through-composed piece, each section directly relating to an aspect from the story. Many of the sections have subtitles, a few of which are Zahhak, Kaveh’s Revolt, The Battle of Zahhak and Feridoun, and The Divine Farr.
Feridoun was commissioned by Daniel Swilley.
Listen to Audio
Bondari – DIV
Performed by:
- Mary Fukushima (flute, alto flute)
- Mike Kirkendoll (piano)
- Nathanael May (piano)
* This work includes extended techniques for both flute and piano, plus the usage of some small percussion instruments.
About
Inspired by stories from Ferdowsi’s Shahnameh (Persian Book of Kings), Div is a work depicting the dual facets of these colorful beings.
A div (pronunciation: deev) often has negative associations, and in Persian mythology is an evil spirit akin to a demon that loves to cause harm and destruction. However, some divs may actually be helpful and benign. Unlike in Judeo-Christian tradition, a div is a physical being, often pictured with combined human and animal features. Though they have two arms and legs like humans, often they feature tufted tails like a lion, hairy, multicolored bodies, and bestial faces. Divs are frequently mentioned in the Shahnameh; one famous story involves the struggle between the Persian hero Rostam and the Akvan Div, a white demon whose name means “evil mind.”
Musically, the first half of the piece represents the malevolent side of divs, whereas the latter half represents their benign nature. Subtitled Ahura, a Farsi word representing the right kind of divinity and the moral opposite of evil, this latter half utilizes much of the same melodic content, though slightly transformed. Does the work end in a pure, righteous state, or do some elements of the evil div mischievously return? The listener may fully decide.
Div was commissioned by the KU Helianthus Contemporary ensemble.
Listen to Audio
Bondari – Lamb of God
About
Lamb of God is a heavily-revised, but surviving early piece. It was originally composed as a Men’s trio, but later expanded for Men’s Chorus. This recording is of the KU Men’s Glee Club, directed by my friend Tod Fish.
Oh, just for the record, I’m singing the tenor solo in the middle of the piece.
Listen to Audio
Bondari – Tu Qui Consortem
About
Commissioned by Tod Fish, this work brings to life one of the war poems by Sextus Propertius (c. 50 – 15 BCE). The story is told from the point of view of a mortally-wounded soldier (Gallus) addressing another wounded soldier who is stumbling down the ramparts. Seeing his wounded comrade recoil in horror at the sight of his wounds, Gallus addresses him as a friend (I am part of your closest armed comrades.).
The poem (and the music) abruptly shift to a sense of urgency as Gallus tells his friend to leave. “Don’t stop! Get out and save yourself!” By leaving Gallus behind, the soldier can make it home to his family. This fate does not await dying soldiers like Gallus, who tells how he almost made it through enemy lines, but was struck by “an unknown hand.”
The final section contains Gallus’ simple, yet powerful, request – to be remembered. The idea of bleached bones lying uncovered is not only disturbing, but it is a permanent disfigurement of the funeral ritual – one that was not lost on the Romans. “…let him know that these bones are MINE.”
Original Text
Tu, qui consortem properas evadere casum,
miles ab Etruscis saucius aggeribus,
quid nostro gemitu turgentia lumina torques?
pars ego sum vestrae proxima militiae.
sic te servato ut possint gaudere parentes,
haec soror acta tuis sentiat e lacrimis:
Gallum per medios ereptum Caesaris enses
effugere ignotas non potuisse manus;
et quaecumque super dispersa invenerit ossa
montibus Etruscis, haec sciat esse mea.
My Translation
You, who hurries to avoid our common fate,
wounded soldier from the Etruscan ramparts,
what makes you turn your wide eyes toward my moaning?
I am one of your closest armed comrades.
Thus, save yourself, so that your parents may rejoice,
but let my sister know of my fate through your tears:
that Gallus stole away through the midst of Caesar�s swords
but was unable to escape an unknown hand;
and whoever will come upon these scattered bones
on the Etruscan hillside, let him know that these bones are mine.
My doctoral composition recital went well… really well, in fact. I should have the recording in a few days, and when I do, I’ll post a few audio files. Stay tuned.
Also, the “Joy of Singing” concert is Tuesday, April 1st at the Lied Center here at KU. The concert starts at 7:30 pm. Each choir at KU will sing one piece, demonstrating a variety of choral literature that is performed here.
I am pleased to say (and this is no ‘April Fools’ joke!) that for the first time on a public venue, my good friend (and KU alumnus) Dan Forrest and I both have a piece on the same concert.
The Men’s Chorus is performing my Lamb of God, and the Chamber Choir is performing Amen, from Dan’s Words from Paradise.
Needless to say, if you are in the area, consider attending. It should be a real treat.
Tomorrow (30 March 2008) is the day of my doctoral composition recital. As you might imagine, I’m simultaneously exhilarated, anxious, stressed, pumped, panicked, and elated about it. Here are the details:
Date: March 30, 2008
Time: 7:30 PM
Place: First Presbyterian Church, Lawrence, KS
I have quite a variety of music in store (7 pieces total). They range from flute/piano works to Men’s chorus to large chamber ensembles.
Here are links to the official program and program notes that I am using for the performance:
If you’re in the area, you are invited! Free admission. Reception following.
(Speaking of reception, we just baked dozens of chocolate chip cookies for the event. Yum!)
 On Friday, February 29 the University of Kansas Men’s Glee Club will perform on the evening concert at KMEA in Wichita, KS (8:45 PM).
Directed by my friend and colleague Tod Fish, the group will perform a variety of works, including an arrangement of Enosh by fellow KU-composer Doug Helvering, and a new choral work by yours truly.
I also happen to be singing tenor with the group.
The piece of mine that we are performing is titled Tu Qui Consortem. The text (for which I hope I do justice) is a “war” poem composed by the ancient Latin poet Sextus Propertius. Both the text and my translation are below.
Original
Tu, qui consortem properas evadere casum,
miles ab Etruscis saucius aggeribus,
quid nostro gemitu turgentia lumina torques?
pars ego sum vestrae proxima militiae.
sic te servato ut possint gaudere parentes,
haec soror acta tuis sentiat e lacrimis:
Gallum per medios ereptum Caesaris enses
effugere ignotas non potuisse manus;
et quaecumque super dispersa invenerit ossa
montibus Etruscis, haec sciat esse mea.
Translation
You, who hurries to avoid our common fate,
wounded soldier from the Etruscan ramparts,
what makes you turn your wide eyes toward my moaning?
I am one of your closest armed comrades.
Thus, save yourself, so that your parents may rejoice,
but let my sister know of my fate through your tears:
that Gallus stole away through the midst of Caesar’s swords
but was unable to escape an unknown hand;
and whoever will come upon these scattered bones
on the Etruscan hillside, let him know that these bones are mine.
The story is told from the point of view of a mortally-wounded soldier (Gallus) addressing a fellow wounded (though not mortally) soldier who is recoiling in horror at seeing the severity of his comrade’s wounds.
“Get out of here! Save yourself!” he urges, and we have a vision of the soldier returning home safely to his family. The scene now takes an abrupt shift, and we can picture Gallus’ sister weeping as she hears how he almost broke free from enemy lines, but was slain by an unknown hand.
Finally, there is another shift to a later scene in which one comes upon some scattered bones on a hillside. “… Know that these bones are… MINE.”
I find the poem incredibly moving, and when I first read and translated it, I thought “this would make for a great Men’s Chorus work!” As far as I know, I’m the only person who has ever set it to music. If I am wrong, someone please correct me.
No, it isn’t exactly typical “Glee Club”material, but it certainly provides variety on the program. I’m looking forward to the KMEA performance, and hope it will be performed many more times to come.
Speaking of which, I’m currently pursuing publication of the work, but if you would like to get your hands on it in the meantime, please contact me.
December has been a pretty and volatile month in Kansas this year. Despite its fury, it has yielded some nice photo opportunities!
Below is a slideshow of pictures I have taken this month. It includes pictures of:
- A large hawk that settled in a tree by our house
- Our “economical” living Christmas tree
- Pictures of our house/yard after the snow and ice storm
- Pictures of a recent trip to Clinton Lake in Lawrence, KS
View the pictures individually:
One of my favorite pictures is this one that I took of Clinton Lake at dusk:
(click for larger view)
Merry Christmas!
My apologies for not posting much these days. I’ve been busy working on a number of different tasks, and it’s difficult to keep a running commentary on them.
First of all, Tu Qui Consortem had its world premiere last Friday evening at Trinity Lutheran Church here in Lawrence, KS. The Men’s Chorus sang well, and I look forward to what they will do with it by the time KMEA rolls around in February.
Second of all, I have music theory comprehensive exams coming up on November 9, 2007. That’s less than two weeks away, and while I’m not particularly nervous, eight hours of theory exams is going to be rigorous!
Shortly after theory exams will be my comprehensive oral exams. What am I supposed to know in order to pass them? EVERYTHING!
In addition to prepping for these massive exams, I have that little thing called a dissertation to write. In short, I’m writing an oratorio for orchestra, chorus, and soloists. More on that later.
Finally, I’m officially on the job market! For several weeks now I’ve been monitoring mailing lists for college/university openings in Music Theory / Composition, and have sent out a few applications. With any luck, hopefully I will have a “real” job next year. I admit that it’s a strange feeling to have no idea where one will be next year.
Oh, and for the record, the more I study the works of Dmitri Shostakovich, the more I like him.
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