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Nico Muhly

Publisher: Chester Music

So Many Things (2013)
Work Notes
Commissioned by Los Angeles Philharmonic Association; Symphony Center Presents, Chicago; Cal Performances, University of California, Berkely; and Carnegie Hall
Text Writer
C.V. Cavafy (trans. Daniel Mendelsohn), Joyce Carol Oates
Publisher
St. Rose Music Publishing
Category
Solo Voice(s) and up to 6 players
Year Composed
2013
Duration
15 Minutes
Language
English
Solo Instrument(s)
Mezzo-soprano
Orchestration
Availability


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Programme Note
Nico Muhly So Many Things (2013)
Text: C.V. Cavafy (trans. Daniel Mendelsohn), Joyce Carol Oates

Composer Note:
So Many Things was written for Manny Ax and Anne Sofie von Otter in 2013. The piece sets three poems — a longer, more narrative poem by Joyce Carol Oates is sandwiched by two of Daniel Mendelsohn's gorgeous translations of C.F. Cavafy. The piece begins with a longing song typical of Cavafy: an observed potential lover, never approached and anxiously imagined. The voice is lyrical, but the piano skittishly plays in perpetual motion with occasional interruptions.

Joyce Carol Oates's poem is more narrative, and unfolds over a piano ostinato. Occasionally the texture breaks into a more abstract and crystalline space, only to return to relentless motion.

After an interlude of only rolled and trembling chords in the piano, we hear the beginnings of the second Cavafy poem: "House, coffeehouses, neighborhood: setting that I see and where I walk year after year." From this line on, the piano outlines a drone on two notes (G and D) that lasts for the remaining duration of the piece. Here, the little palindromic Brahms intervals are exploded into wider and more vertiginous leaps for the voice.

Early in the process, Manny mentioned that he had been giving some thought to Brahms's F-A-F (free but happy) and its corollary, F-A-E (free but lonely). In the most abstract way, I allowed these intervalic anxieties to dictate much of the shape of the vocal lines — obsessive thirds, and resolutions that displace rather than soothe. Transposed iterations of these motifs appear throughout the songs, but they are most obvious in the climactic section of the Oates, on the lines "about the amazed head" and "her soul stuck to the ground."

— Nico Muhly


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