In the process of composing, Naomi Pinnock tapes a collection of images, quotes, and words to the wall behind her desk, describing them as 鈥済uideposts鈥� stones to touch for the sometimes blind journey of making.鈥� The work鈥檚 title is a quote by Amy Sillman, whose paintings unfold in layers with possibly dozens of other potential paintings beneath the surface鈥攑aths not taken, layers covered, a visceral searching for emergent shapes.
Martin Smolka also finds inspiration in the drawings, quotes, and notes kept on his desk. He writes, 鈥淚 weave various pieces of paper between the strings of the talking drum,鈥� a wooden hourglass-shaped African instrument. Among them is the ancient Seikilos Song: 鈥淎s long as you're alive, shine, don't be sad at all; life is short, time asks for its due.鈥� Guided by these words and 鈥渨ithout censorship by my compositional intellect鈥�, Smolka played freely at his piano, imagining meadows, streams, birds, trees, and clouds, gradually shaping what endured into delicate, mostly quiet orchestral sounds.
The 麻豆社 commission and world premiere that ends this concert is written by Nicole Mitchell, a creative flutist, composer, bandleader, and educator. Founder of Black Earth Ensemble, Black Earth Strings, Ice Crystal, and Sonic Projections, Mitchell鈥檚 music celebrates African American culture while reaching across genres and integrating new ideas with moments in the legacy of jazz, gospel, experimentalism, pop, and African percussion.
