This week Andy and I are performing chamber works at Aquinas College that we composed for flute, guitar, voice and piano. The premiers are all based on texts from St. Thomas Aquinas’ writings. Check out the program and notes below!
Chansons madécasses (Songs of Madagascar) Maurice Ravel (1875-1937)
I. Nahandove
II. Aoua!
III. Il est doux
Pajaro Rojo Santo (Saint Red Bird) Carmen Maret (b. 1979)
Carmen Maret, flute
Capax Universi (Capable of the Universe) Carmen Maret
Barbara McCargar, soprano; Carmen Maret, flute;
Full Long Nights Moon Andrew Bergeron (b. 1978)
Carmen Maret, flute
Being Andrew Bergeron
I.Question?
“Aquinas as Music” is a chamber music collaboration of Aquinas music faculty that celebrates the 125th anniversary of Aquinas College. Andrew Bergeron and I suggested the idea for this concert out of an interest to write some new music that would allow us to delve into the life and writings of St. Thomas Aquinas.
Andrew Bergeron (b. 1978)
Being; for Soprano, Flute, Guitar, and Piano (world premier)
Text from Summa Theologica by St. Thomas Aquinas
Andrew Bergeron’s piece Being has a four movement structure that is patterned after St. Thomas Aquinas’ magnum opus Summa Theologica, a work that brings together Aristotelian philosophy with Christian theology. Aquinas tackles theological subjects in Summa Theologica with a strict methodology: question, objection, answer, reply to objection. Being also follows this tight structure throughout starting with the first movement Question?; the soprano asks, “Whether one adds anything to being.” This proposition is taken from the chapter on the unity of God and becomes the whole subject of Being. This question seeks to understand how wholeness and existence relate and throughout the chapter the word one is teased out by Aquinas. He uses the word not only as the number one, which can be added and subtracted (as in, things either add or subtract from our quality of life) but also as the unity of one or oneness with all things. The opening statements in the piccolo, flute, and alto flute are similar to the trumpet statements in Charles Ives piece The Unanswered Question. Both use the music to set the scene for asking circular existential questions.
Throughout Summa Theologica, St. Thomas Aquinas is disciplined with his own counter arguments which Bergeron replicates here in Addition. This movement is structured around a repetition of meter changes which starts in 2, then 3, then 4 and ends with 8. Each repetition is one measure long before adding to itself. (Think here of the way factorial works in math.) The resulting formulaic musical operation is a mirror of Aquinas’ meticulous philosophical examinations.
The text in Answer suggests that all of existence is one. Bergeron’s rhythmic set of 10 eighth notes that are first stated as 2+2+3+3 then reversed in the middle to 3+3+2+2 make a palindrome – a reference to infinity.
The ending Reply is a melancholy objection that Andrew Bergeron says mirrors an ending that Gustav Mahler would have used.
I. Question?
Whether one adds anything to being?
II. Addition
Everything is in a determinate genus by addition to being. But one is in a determinate genus, which is a species of quantity.
III. Answer
I answer that, One does not add any reality to being, but is the negation of division; for one means undivided being. Hence it is manifest that the being of anything consists in in- division; and hence it is that everything guards its unity as it guards its being.
IV. Reply
The one which is convertible with being does not add reality to being; but the one which is the principle of number does add reality to being, belonging to the genus of quantity.
Text Compiled by Anton C. Pegis
Carmen Maret (b. 1979)
Capax Universi; for Soprano, Flute, Guitar, and Piano
(world premier)
Poetry by St. Thomas Aquinas
Capax Universi (Capable of the Universe) is a poem by St. Thomas Aquinas that exemplifies his alignment with natural law. The music for the opening part of the piece is a somber passacaglia held together by a seven measure ground bass. “Dido’s Lament” from Henry Purcell’s opera Dido and Aeneas, (an excerpt often used in music history classes to show ground bass) is purposely evoked here. I’ve always loved “Dido’s Lament” for its text painting and for the way the soprano melody moves with the ground bass—sometimes exactly, sometimes eliding and sometimes overlapping with it—elements I also incorporated here.
The second fast section and even faster third section of Capax Universi are like Baroque dance suite movements whose energy and tempo are cued by a conventional half cadence. My choice to use dance grooves here strengthen the overall message of Aquinas’ poem – to look for, have confidence in, and even celebrate our human capability for love and understanding in the universe.
Capax Universi , capable of the universe are your arms
when they move with love.
And I know it is true that your feet are never
more alive than when they are in
defense of a good
cause.
I want to fund your efforts; Stay near beauty, for she will always
strengthen you.
She will bring your mouth close to Hers and
breathe – inspire you the way
light does the field.
The earth inhales God, why
should we not do the same?
This sacred flame we tend inside needs
the chants of every tongue,
the communion with all.
As capable as God
are we.
Compiled/Translated by Daniel James Ladinsky
Maurice Ravel (1875 – 1937)
Chansons Madécasses; for Voice, Flute, Cello(Guitar) and Piano (1925 -26)
Maurice Ravel considered Chansons madécasses (Songs of Madagascar) to be one of his best compositions. Written at the age of 50, it has been likened to Schoenberg’s Pierrot Lunaire, which Ravel admits laid the ground work for him to write Chansons madécasses. Both pieces have a virtuosic voice part that shows an economy of composition and the use of an atonal palate.
The words for the songs are by Evariste Parny who in 1787 wrote Chansons madécasses a set of French poems that appropriated the portrayal of eroticism and anti-colonialism in Madagascar. Parny was from an aristocratic family and although he never saw Madagascar, these poems led to his later career which focused on burlesque political and religious commentary. Ravel did not leave us with clues as to why he choose the text, but we do know that France was fighting a colonial war in Morocco when the piece premiered in Paris and some of the audience members walked out in protest of the work’s mockery. See the text and translations here.
The two Folias duo pieces on the program are ones that Andrew and I premiered on our most recent recording Tango and Snow which contains all original flute and guitar compositions inspired by nature and tango. The piece Pájaro Rojo Santo (Saint Red Bird) came about from my interest in the Argentine/Chilean folk form zamba. The original version of the piece was based on Mary Oliver’s poem Red Bird. I later developed the harmony and rhythm with three Latin American musicians in mind: Cuban jazz pianist Gonzalo Rubalcaba, the late Argentine folk diva Mercedes Sosa, and the Afro-Peruvian singer and composer Susana Baca.
Titled after the Native American name for the December full moon, Full Long Nights Moon was inspired by cross-country skiing under a full moon in Killarney Provincial Park in Ontario. The piece uses Pat Metheny-inspired harmonies over extensive ostinatos, featuring major chords with an added second.
This month Andrew and I put together a fundraiser for the concert series I direct called MAJIC, Musical Arts for Justice in the Community. It was a homemade dinner by us and show by local comedian, musician, and storyteller Mike McCarty.
The menu was simple: homemade lasagne, grape pies, and a salad bar…with all ingredients from the Fulton Street Farmer’s Market.
J. Dykstra Produce; Byron Center: Marquis (green) Grapes, Fredonia (early Concord) Grapes, Peaches
Ken Goodell’s Garden: Swiss Chard, Asian Eggplant, Thyme, Marjoram, Parsley
Iris Boettcher’s Garden, Jenison: Heirloom Paste Tomatoes, Heirloom Tomatoes, Globe Eggplant
Luke Malski from Reformation Growers; East Town, GR: Mixed Greens, Nasturtiums Basil, Parsley
Rakowski Farms, Wayland: Butter, Eggs, Pork Bacon, Fresh Whole Chicken, Pork Sausage, Italian Hot Sausage, Colby Cheese
Jennings Bros Stone Ground Grains, Nashville, MI: Whole Wheat Pastry Flour, Spelt Flour
Visser Farms, Zeeland: Red Onions, Garlic
Ellens Acres, Wayland: Bell Peppers
Lubbers Farm, Standale: Cream
Taylor Ridge Vineyards, Allegan: Cabernet Franc Grapes, Chardonnay Grapes
Ham Family Farm, Allendale: Honey, Yellow Beans, Italian Sweet Peppers
Mooville Creamery, Nashville: Milk for Ricotta
Farm Country Cheese House, Lakeview: Cheddar Cheese
Strick Farm, Hudsonville: Cucumbers, Celery
Boetsma Produce farms, Hudsonville: Romaine, Boston Leaf and Oak Leaf Lettuce
Buzelli Foods, Traverse City: Fresh Made Mozzarella
Bergeron Maret: Homemade Vinegar, Michigan Chambourcin Grapes (mother starter from Jay Schrimpf)
Bergeron Homebrew, Holland: BEER
Non Market Item – Martha’s Vineyard, Grand Rapids: Salt, Pepper, Olive Oil, Lemons
Thanks to Mike, Dawn, and Dave and Kirby for helping make this a great event!
A few weekends ago we backpacked at the Nordhouse Dunes Wilderness Area in Northern Michigan with our friends Avik and Bridget. Besides the amazing weather, exercise and relaxation, we ate Andy’s coconut milk goat curry with couscous, a dish that would have been amazing at home but was even better on the beach. Recipe follows….
Andy’s Coconut Milk Goat Curry Stew
One of the recipes we encountered this summer after traveling in the Yukon was for a Dal Sheep curry stew.
We saw goat from S&S Lamb at the farmers market and this made a nice substitute for the basis of the recipe.
Meat and Marinade
1 pound chopped goat meat
1 cup dry white wine
1/4 cup olive oil
1 tsp each whole cumin, coriander, peppercorns, ajwain, cloves
1/2 cinnamon stick
1 tsp tumeric
3 dried hot chilies
1 tsp salt
Stew
3 shallots, diced
5 small carrots, chopped
5 small potatoes, chopped
1 jalapeno, diced
1 TBS olive oil
8 oz coconut milk (unsweetened)
1. Dry roast the whole spices then grind with the chilies and cinnamon stick in a coffee grinder. Add tumeric and salt then combine with the white wine and olive oil. Toss with the meat and let set 2-8 hours in the refridgerator.
2. Saute the shallot 2-3 min then add the carrots, potatoes, and jalapenos. Cook until soft. Add the meat and marinade and saute the meant until browned. Add the coconut milk and simmer for 15 min (if camping) or up to 2 hours on low at home.
Serve over couscous.
We had a busy and all too short four days at the University of Alaska for the Fairbanks Summer Arts Festival. We taught two, hour and a half lessons on tango from a musical perspective. Here we are playing Cumparsita Cats during one of the classes.
Packed dance floor for our gig at the Westmark Hotel in downtown Fairbanks. Thanks to Kurt Byers for setting this up!
We also put a trio together with violinist Caitlin Warbelow.
Some of the dancers warming up on the carpet! They danced with us for the noon hour appearance we did featuring our tango compositions accompanied by dancers.
Andy and Carmen dancing to Jamas Retornaras on the big stage!
Our final performance on the World Music and Dance concert at the festival.
Thanks to dancers Barb and Nam who took us out for more dancing, food, and drinks after the concert!
It was a crazy night at the Denali Salmon Bake. We still managed to capture one of our pieces though. Here is Pajaro Rojo Santo.
