{"id":29581,"date":"2022-04-14T10:54:19","date_gmt":"2022-04-14T08:54:19","guid":{"rendered":"https:\/\/www.camac-harps.com\/blog\/?p=29581"},"modified":"2022-04-28T17:47:35","modified_gmt":"2022-04-28T15:47:35","slug":"world-premier-of-the-street-cambridge-uk-april-16-2022","status":"publish","type":"post","link":"https:\/\/www.camac-harps.com\/blog\/en\/news\/world-premier-of-the-street-cambridge-uk-april-16-2022\/","title":{"rendered":"World Premier of \u201cThe Street\u201d: Cambridge UK, April 16 2022"},"content":{"rendered":"

\"Parker<\/a><\/p>\n

 <\/p>\n

We are very pleased to supply a harp for the world premier<\/a> of Nico Muhly<\/a>\u2019s The Street<\/em>, which will take place on Saturday, April 16 in King\u2019s College Chapel, Cambridge. It consists of fourteen meditations on The Stations of the Cross: scored for harp, plainchant, and narrations written by Alice Goodman, and premiered by Parker Ramsay<\/a> (harp), Rosie Hilal<\/a> (narrator), and the Choral Scholars of the King\u2019s College Choir.\u00a0<\/p>\n

\"Nico<\/a>

Nico Muhly. Photo: Heidi Solander<\/p><\/div>\n

A constellation of circumstances sparked the work. Ramsay wanted a piece about the Stations of the Cross – \u201cwith texts, because I\u2019m a big fan of Dupr\u00e9\u2019s Le Chemin de la croix, and other large cycles by Olivier Messiaen.\u201d Muhly and Goodman had been thinking about working together. King\u2019s College, the commissioners, wished to involve the Chapel Choir. The collaboration has seen elements passed between the three artists, in \u201cmutual trust\u201d (Goodman). Muhly and Ramsay selected the plainchants, while the score began with Goodman\u2019s meditations, to which Muhly wanted to react in music.<\/p>\n

\u201cWriting about the stations of the cross is like painting a Madonna and Child\u201d, says Alice Goodman. \u201cYou know what has to go in the picture. Each of the fourteen sections has things that have to happen in it. In some, you\u2019re on the edge of the scene; others are more \u201cwe\u201d, we become the people on the street or the people in the church. I\u2019ve set them in modern Jerusalem because this is the curious thing about having a religion based on a series of historical events. Jesus was an actual person who was born and died. But you\u2019re always living and walking through these events by seeing them in the time in which you live. I prised the oyster open the best way I could.\u201d<\/p>\n

Nico Muhly, meanwhile, \u201cgrew up on Alice\u2019s libretti for John\u201d [Adams: Nixon in China<\/em> and The Death of Klinghoffer<\/em>]. \u201cThere\u2019s no greater gift to a composer\u201d, Muhly continues, \u201cthan these two libretti which take the music to a different place. For me they have been a gateway into thinking about the sacred and the geopolitical. And now somehow transforming those layers of things to react to with the harp, which is delicate and hardcore and severe and mechanical.\u201d\u00a0<\/p>\n

Nico Muhly is no stranger to sacred music, or that inspired by it (his other non-orchestral harp work, 2005\u2019s Clear Music<\/em><\/a> for harp, cello and celesta, explores a measure from John Taverner\u2019s Mater Christi Sanctissima motet). For Muhly, \u201cone great thing about sacred music is it happens at specific times of the year or day, nobody claps – you write it so that it can function in a similar way to a sacred building. You don\u2019t go in for a Wagnerian experience of being ravished, it\u2019s anti-Romantic, there isn\u2019t a big climatic structure. Obviously, the inherent structure of the Stations is not Romantic at all and nor is what Alice has done with them.\u201d\u00a0<\/p>\n

Ramsay agrees that The Street<\/em>‘s focus goes beyond the instruments and performers.\u00a0 \u201cI had a long obsession with Messiaen\u201d, Parker Ramsay explains. \u201cDespite being an organist, I can listen to Messiaen\u2019s organ music without once thinking about the organ. Extending this to my life as a harpist, pieces do sometimes become About The Harp but I don\u2019t want music to be about that\/myself. Perhaps that\u2019s also why I wanted a cycle based on religious themes, although my Messiaen obsession contributed to that too.\u201d<\/p>\n

\u201cSacred music has a place in a world that has art in it, but which is not itself the world of art\u201d, says Goodman. \u201cThis is why musicians and writers love to do church music. It\u2019s structured around reverence, not ego. That\u2019s why there isn\u2019t any kitsch.\u201d \u201cAlice wrote a line in the twelfth station that simply says \u2018Isn\u2019t it enough that he died\u2019\u201d, adds Muhly.<\/p>\n

\"Eg\u00e9rie<\/a>Correspondingly, The Street<\/em> is not a virtuoso showpiece for the harp, although it is a challenging one. \u201cI didn\u2019t want a lot of spooky effects\u201d, Nico Muhly remarks, \u201cbut I do always try to challenge myself, and that translates into a challenge for the instrument. To write for the harp, I studied it, I looked at a lot of successful and unsuccessful writing and I always want to understand why something works or doesn\u2019t work. I think it\u2019s dangerous for a composer to start from the premise they have to break new ground technically. That\u2019s not necessarily going to come out well. In any case, Parker wanted a piece that other harpists could play if they have the core repertoire, like the Britten Suite and the Hindemith Sonata. A propos, The Street<\/em> has some quotes from both because I know Parker loves these pieces. Great writing lures you in, and then you have many things to think about.\u201d<\/p>\n

\u201cSomething I love about Nico\u2019s harp writing\u201d, says Ramsay, \u201cis how he manages to create resonance so it moves through the harp continuously. Station X for example, he creates a slow, very rhythmic build-up from the bottom to the top of the harp. This is where Jesus is stripped of his garments and musically that really brings out the humanity and vulnerability in this Station.\u201d\u00a0<\/p>\n

Muhly, Goodman and Ramsay all agree that some instruments possess a secret language, and pieces only those musicians know. Ramsay speaks \u201cthe secret languages of harpists and organists\u2026I think I also wanted to work with Alice and Nico because they speak the secret language of church music. As well as mutual trust there is a mutual curiosity there.\u201d\u00a0<\/p>\n

\u201cWhen Parker is playing\u201d, Alice Goodman observes, \u201cthere is so much going on. He is thinking and also his hands are thinking. If you were to write down all the different intelligences at play, you would never be able to do it.\u201d<\/p>\n

Nico Muhly: The Street\u00a0<\/em>
\nWorld Premier
\n16 Apr 2022 – 6:00 pm to 7:15 pm
\nKing’s College Chapel, Cambridge
\nBox office: link<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Nico Muhly\u2019s fourteen meditations on The Stations of The Cross are scored for harp, plainchant, and narrations written by Alice Goodman. <\/p>\n","protected":false},"author":3,"featured_media":29606,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[778,552],"tags":[],"class_list":["post-29581","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-latest","category-news"],"acf":[],"yoast_head":"World Premier of \u201cThe Street\u201d: Cambridge UK, April 16 2022 - Camac Harps<\/title>\n<meta name=\"description\" content=\"Nico Muhly\u2019s "The Street" will be premiered by Parker Ramsay (harp), Rosie Hilal (narrator), and the Choral Scholars of the King\u2019s College Choir.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.camac-harps.com\/blog\/en\/news\/world-premier-of-the-street-cambridge-uk-april-16-2022\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"World Premier of \u201cThe Street\u201d: Cambridge UK, April 16 2022 - 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