[nec]shivaree: Scelsi, Ives, Royaee, & Vu

Giacinto Scelsi | Okanagon (1968)

Charles Ives | Sonata No. 3 for Violin and Piano (1914)

Adagio
Allegro
Adagio (cantabile)
 

Bahar Royaee | Angles of two sands moving on a brick (2021)

World Premiere
Angles of two sands moving on a brick was commissioned by Theodore Park Unitarian Universalist Church and The Callithumpian Consort

Program note

Angles of two sands moving on a brick is about the repetition of a still image that moves in the memories of mind. There are five versions of this musical single memory, each one being different from the other, and the difference is the result of repetition, because transformation appears through repetition. This piece intends to experiment with internal and aural perception of time, the idea of being in sync, and trying to be in sync, aurally and internally. Therefore, the piece does not have a score, rather it has individual parts. Starting off of the second episode, we face two axes of time. Both of these axes start from every member’s “slowest internal comfortable tempo.” The musical event on the five line staves stays in that tempo realm, but the tempo of ornamentations separates its path and enters a third space by changing and modifications through the movements. This matter is shown by a continuous line after a symbol which indicates an ornamentation. This line means that the performer should play that ornamentation on the beat (of their slowest internal comfortable tempo.) and its rate of speed. Dashed lines are another way of showing the change ofpulsation (tempo) of the ornamentations.
        General notes: There are five episodes representing the different versions of the memory. Each has its local rules which will be explained in the following sections. Each performer will start the piece with their slowest internal tempo that feels comfortable to them. Worth noting is that each performer has their own conception of their slowest internal tempo and the central concept of this work. The musicians are asked to try to be in sync with one another occasionally; however, they may not achieve this goal. The essence of the piece is failing in time through chaos. As each performer reaches the end of an episode, based on their slowest internal they should wait for approximately 20 beats. This tempo is the what they finished the episode with. Then, they should start the next episode with their slowest internal tempo ad libitum. This process repeats for all the movements.                                    
– Bahar Royaee

Christopher Vu | of Ascents (2021)

World Premiere
of Ascents was commissioned by Theodore Park Unitarian Universalist Church and The Callithumpian Consort.

Program note

In late 2020, during unsettling times that need noexplanation, I was commissioned by Theodore Park Unitarian Universalist Church and The Callithumpian Consort. From the commissioning letter, they wanted a piece about:

“Becoming”, celebrating our collective intention and potential to live with an attitude of welcome to all beings, with humility, respect, and reverence for our shared earth. As a culture, we are clearly not there yet, hence . . . Becoming.

In response, I turned to scripture and stumbled upon Psalm 133, a song of ascents of David, which reflects on how good and pleasant it is when God’s people live together in unity. St. Augustine boldly claimed that this Psalm inspired the foundation of monasteries, a place ideally filled with fellow pilgrims in unity. Whether it’s in faith or in culture, this Psalm could remind us of the ideal of unity to strive for.
        The song describes two striking images. One is the dew of Hermon coming down Mount Zion, quenching the dry lands around Jerusalem. The other is oil flowing down the head, "down onthe beard of Aaron”, a basic act of soothing and

refreshing hospitality in those times. These two distinct images and feelings inspire the two short movements of my piece. And as I wrote this piece, I was also constantly reminded in my daily life about how God’s presence can be heavy but confusing.

– Christopher Vu

Psalm 133

Blessed Unity of the People of God
A Song of Ascents. Of David.

1 Behold, how good and how pleasant it is
For brethren to dwell together in unity!

2 It is like the precious oil upon the head,
Running down on the beard,
The beard of Aaron,
Running down on the edge of his garments.

3 It is like the dew of Hermon,
Descending upon the mountains of Zion;
For there the Lord commanded the blessing—
Life forevermore

New King James Version

Charles Ives | Sonata No. 2 for Violin and Piano (1914-17, rev. 1919)

Autumn (Adagio maestoso)
In the Barn (Presto)
The Revival (Largo)