Off to San Francisco for a Goat Hall / SF Cabaret Opera board meeting and Theatre of Yugen's production of Alice -- a stunning yet fairly faithful update of Lewis Carroll, including music from Philip Glass's Company. Before this, finish editing Psalm 26 ("Judica Me") (through page 14) and a video for
Twelve Preludes and Fugues ("Topical"): VIb. The Examined Life.
Making the jump
southwest,
reunions are welcome, though
lines less so. But when the end result is impressive
Can the treble versions of Job: V.-VI. be finished before the freeway
run to
Diablo? Can the dictation in Theory be Rex Coeli from the Musica Enchiriadis, and can we do more student compositions (Julie's?), plus a presentation from the head of Cal State East Bay? After another China Garden and the creation of a slower version of the last movement of Quartet for the Beginning of Time: Adam and Eve and Cain and Abel, can we proceed to
Lake Merritt, and actually rehearse from the beginning of
Sex and the Bible (with Marilyn Pratt, Nathan Marken, Nanette
McGuinness, Theresa Nelson, Robert
Benda, and Crystal Philippi) all the way through Israel in Trouble: How to Depart? Evidently. And another page (26) composed of Vespers: II. Psalm 109: Dixit Dominus and another pub-prep (9) for Psalm 5? Hmm....
Sex and the Bible is up and running with Kristen, Robert, Indre, Kim, Maria,
Beth...
Liz, Marilyn, and Nanette -- premiering March 5-7 and 12-14 at San Francisco Community Music Center.
God / Snake / Lot's Older Daughter - Marilyn Pratt God / Cain / Angel I - Elizabeth Finkler Snake / Hagar / Leah - Maria Mikheyenko Eve / Sarah / Rachel - Kimberley Anderman Adam / Abraham I - Robert Benda Abel / Angel II - Elizabeth Henry Noah / Lot's Younger Daughter / Dinah / Tamar - Nanette McGuiness Lot / Esau / Joseph - Kristen Brown God / Rebekkah / Potiphar's Wife - Indre Viskontas Isaac / Abraham II - Nathan Marken
After rehearsal, the merriment continues with the annual Goat Hall / San Francisco Cabaret Opera Fresh Voices Composer-Singer
Matchmaking Event,
with
Harriet March Page, Alden Jenks, Indre, Wayne Wong,
Robert Ashens, Daniel Felsenfeld,
John Bilotta,
Justin Marsh, Meghan Dibble, Maria,
Kate Offer,
Eliza O'Malley, Nanette,
Janet Lohr,
Roger McCracken,
Alexandra Jerenic,
John McGrew --
after which
some of us
linger.
Before this, produce percussion parts for Pini di Surriento and Salome Suite, and the drive towards Berkeley, with
Mt. Diablo
breaking
through
the
fog. After, stop off at the College to record
The Gospel According to St. Matthew:
L. The Last Judgement / The Annointment
(a parody-trope of Igor Stravinsky's Firebird: Infernal Dance of Prince Kaschai)
and
Magnificat:
III. Qui respexit
(triply inspired, as the rest of the piece, by the Magnificats of Claudio Monteverdi, J.S. Bach, and Alan Hovhaness),
returning home for page 5 of IV. Omnes generationes orchestration, plus more composition of The Vespers of 2010.
Mark Alburger (b. 1957, Upper Darby, PA) is an award-winning, eclectic ASCAP composer of postminimal, postpopular, and postcomedic sensibilities. He is Music Director of San Francisco Composers Chamber Orchestra and San Francisco Cabaret Opera / Goat Hall Productions, Editor-Publisher of 21st-Century Music (P.O. Box 2842 San Anselmo, CA 94960) and New Music, Music Critic for Commuter Times, and Instructor in Music Theory and Literature at Diablo Valley College. His principal teachers were Gerald Levinson, Joan Panetti, and James Freeman at Swarthmore College (B.A.); Jules Langert and Ted Blair at Dominican University (M.A.); Roland Jackson at Claremont University (Ph.D.); and Terry Riley. Dr. Alburger has composed 181 major works over the past 35 years, including chamber music, concertos, oratorios, operas, song cycles, and symphonies. His complete catalogue is being issued on discs from New Music ($15 / P.O. Box 2842, San Anselmo, CA 707-474-7273).
YouTube/DrMarkAlburger,
markalburger.blogspot.com,
markalburgerworks.blogspot.com, markalburgerevents.blogspot.com, markalburgermusichistory.blogspot. com, 21st-centurymusic.blogspot.com