Alex Weiser: and all days were purple, chamber music (2019)
01-08 and all the days were purple, singer-chamber ensemble 28' (2017) 09 Three Epitaphs, for singer and chamber orchestra 13' (2016)
01 And all the days were purple (2017) - I. My joy 02 And all the days were purple (2017) - II. — 03 And all the days were purple (2017) - III. I was never able to pray 04 And all the days were purple (2017) - IV. Longing 05 And all the days were purple (2017) - V. Poetry 06 And all the days were purple (2017) - VI. Lines for winter 07 And all the days were purple (2017) - VII. — 08 And all the days were purple (2017) - VIII. We went through the days 09 Three Epitaphs, for singer and chamber orchestra (2016)
Eliza Bagg soprano, Lee Dionne piano, Maya Bennardo violin
Hannah Levinson viola, Hannah Collins cello, Mike Compitello percussion
Meditative and devotional in scope, and all the days were purple sets Yiddish and English
poems to music in a song cycle that seeks out the divine while reflecting on the longing, beauty and
tumult of life. The album includes texts by Anna Margolin, Edward Hirsch, Rachel Korn, and Abraham Sutzkever,
and performances by Eliza Bagg (voice), Lee Dionne (piano), Maya Bennardo (violin), Hannah Levinson (viola),
Hannah Collins (cello) and Michael Compitello (percussion). The recording also includes Three Epitaphs,
composed in 2016 and featuring excerpts from texts on love and life's transience by Williams Carlos Williams,
Seikilos and Emily Dickinson.
alexweiser.com
Broad gestures and rich textures are hallmarks of the "compelling”
(The New York Times), "deliciously wistful” (San Francisco Classical
Voice), "personal, expressive, and bold,” (I Care If You Listen) music
of composer Alex Weiser. Born and raised in New York
City, Weiser creates acutely cosmopolitan music combining a deeply felt
historical perspective with a vibrant forward-looking creativity.
Weiser’s debut album and all the days were purple, was named a
2020 Pulitzer Prize Finalist for Music. Released by Cantaloupe Music in
April 2019, the album includes songs in Yiddish and English and has been
praised as "ravishing” (The New Yorker), "reverent and magical...
devastatingly beautiful,” (American Record Guide), "gorgeous” (Tablet
Magazine), "utterly original and exquisitely unsettling... sweeping,
bewitching, divinely dissonant... pitch-perfect.” (In Geveb).
Weiser recently completed an opera with librettist Ben Kaplan called State of the Jews. Hailed
as "stunning, heavenly, marvelous” by Israeli National Public Radio,
the opera is based on the life of Theodor Herzl and juxtaposes a
historical narrative focusing on the last year of his life, with the
more intimate story of Theodor’s conflicted relationship with his wife,
Julie Herzl, and the toll his political views and activities took on
their family life. Developed as a part of a two-year fellowship with
American Opera Projects, the LABA fellowship of the 14th Street Y, a
Roulette residency, and with support from the ConEd Exploring the
Metropolis Composer Residency program, the opera received a series of
preview performances at the 14th Street Y in December 2019 and awaits a
premiere production.
Other recent projects include Shimmer, an extended work for
eight spatially arrayed cellos written for Ashley Bathgate which will be
released on an album in the coming season; a collection of works
inspired by David Vogel’s poem with gentle fingers including a
song, a work for singer with a percussion quartet performing inside a
piano, and a pair of works for Cello and Piano; Three Epitaphs originally written for singer Kate Maroney and chamber orchestra Cantata Profana; and water hollows stone, a multi-movement four hand piano workwritten for HOCKET piano duo.
An energetic advocate for contemporary classical music and for the
work of his peers, Weiser co-founded and directs Kettle Corn New Music,
an "ever-enjoyable” and "engaging” concert series which "creates that
ideal listening environment that so many institutions aim for: relaxed,
yet allowing for concentration” (New York Times), and was for nearly
five years a director of the MATA Festival, "the city’s leading showcase
for vital new music by emerging composers” (The New Yorker). Weiser is
now the Director of Public Programs at the YIVO Institute for Jewish
Research where he curates and produces programs that combine a
fascination with and curiosity for historical context, with an eye
toward influential Jewish contributions to the culture of today and
tomorrow.
Other commissions and performances have come from ensembles and
musicians including the Soldiers Tale septet, Exceptet, Kathleen Supové,
Typical Music (Todd Reynolds, Ashley Bathgate, and Vicky Chow), Lisa
Moore, Mellissa Hughes, Sandbox Percussion, JACK Quartet, Guidonian
Hand, Momenta Quartet, Argento Ensemble, Cadillac Moon Ensemble,
Bearthoven, Fifth House Ensemble, bassoon quintet Dark in the Song, and
the New Amsterdam Singers.Weiser has completed residencies at Avaloch
Farm Music Institute, Atlantic Center for the Arts, Wildacres, Kimmel
Harding Nelson Center for the Arts, and Millay Colony, and his music has
been heard at festivals including Bang on a Can, Norfolk, Lake
Champlain Chamber Music Festival, Carlsbad Music Festival, June in
Buffalo, European American Musical Alliance, Imani Winds Chamber Music
Festival, and highSCORE. Weiser has received commissions, awards, and
support from Roulette, New Music USA, ASCAP, the Lyrica Chamber Music
Society, Iowa State University’s Carillon Festival, the University of
Central Missouri, and the Mid Atlantic Foundation for the Arts.
Weiser’s musical education began in earnest while attending
Stuyvesant High School writing pieces for their symphonic orchestra,
studying theory and conducting with Joseph Tamosaitis, and studying
composition with Paul Alan Levi. Weiser then continued his studies at
Yale University and New York University where teachers and mentors
included Michael Gordon, Julia Wolfe, Michael Klingbeil, Kathryn
Alexander, Martin Bresnick, David Lang, Ingram Marshall, and Christopher
Theofanidis.
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