Project Encore addresses a very real problem that faces composers, even successful ones, of all genres of music: Performers and organizations can generate a lot of energy and marketing hay by commissioning new works, but there’s little to motivate them to see that these new works have a future.  Conductors are hounded from every direction by publishers and composers (guilty!) looking for second performances, but they usually have an idea or a particular need to fill, so where do they go to sort through all that and find what will suit their immediate goals?

There is an article on the Vocal Area Network, a web site serving the New York area choral community, that elaborates on this problem and describes more thoroughly how Project Encore aims to mitigate it. Read the article here.

Disclosure:  I’m honored to say that my own Cycle of Friends (1996) for soprano, chorus and chamber orchestra was chosen to be among the works included in the Project Encore database.  It was commissioned and premiered in 1996 and still awaits its future.

Among the texts used in my 1996 chorus/orchestra piece Cycle of Friends are translations by Innes Herdan of two Chinese poems from the Tang era. Despite their being translations, they are probably the most satisfying poems I’ve ever worked with. So, I’ve decided to return to her book 300 T’ang Poems to see what grabs me for a new song cycle.

Now, setting poetry in translation raises some interesting questions to begin with. How familiar do you have to be with the original language? How much do you need to know about the given language’s literary tradition? Is it necessary to “get” each and every allusion in the poem? Etcetera.

Each composer will have his or her own set of answers for those questions, but should not begin composing without asking them. I think it is helpful to find out what one can about the traditions and conventions that the poem might be based on. However, in the end, I’m setting a poem in English, and it’s the English rhythm and the choice of English words that matters. If it’s a faithful translation, then the overall effect desired by the original poet will still inform the composition.

I enjoy Mrs. Herdan’s translations, because she is a wonderful poet in her own right, and adds that gift to her understanding of the original Chinese. Although I will find out what I can about the significance of various images in the poems, which will of course inform the resulting music, I’m also likely to respond to them as original poetry, and interpret them in my own way.

The issue of translating Chinese poetry is particularly delicate. The written language consists of characters representing whole words or ideas, as opposed to letters representing phonemes or syllables. Also, it is a very terse, elliptical language with no articles, genders, cases, tenses or other fussy grammatical concerns, which leaves the translator a lot of latitude to be creative.

Example
Here’s a literal translation of four five-character lines from a poem by Du Fu:

Fragrant mist cloud dressed hair wet
Clear brightness jade arm cold
What time lean on empty curtain
Pair shine tears trace dry

Here’s how Innes Herdan translated those lines:

In the sweet mists her cloud-like hair is damp;
In the clear shining her jade-white arms are cold.
When shall we two lean beside the filmy curtain
With moonlight on us both and the tear-stains dry?

Many of these Tang-era poems take rigid forms involving either five characters or seven characters per line. I imagine they’re quite musical to listen to in the original language. (In fact, the Chinese for “recite”, as in poetry, is literally “chant”.) It would be a tall order to even approximate that in translation, and I doubt anyone has done it successfully. Whether the translation will also “sing” just depends on the translator.

Innes Herdan keeps her lines short with “grammar words” at a minimum. The stresses in the English line correspond to the characters in the Chinese line. For example, the character “house” in the Chinese might become “in my house” in English, with emphasis on the word “house”. But the real magic is in the actual choice of words, and the occasional liberties that are taken. My favorite example in the lines quoted above is Mrs. Herdan’s use of the word “filmy”, of which there is no apparent sign in the original Chinese.

As for my piece, I’ve zeroed in on several poems by Du Fu (712�770), which I’ve organized in rather an interesting way. More about that will be posted here in the future.

Cycle of Friends, for soprano, chorus and chamber orchestra, was premiered on May 3rd, 1996 by the Music Group of Philadelphia. Artistic Director Sean Deibler had been one of my undergraduate teachers, and has been a mentor and all-around guru ever since. I was very lucky to be one of three composers he chose for a three-year commissioning binge he was on at the time, thanks to a special grant. The commission came through as I was finishing my master’s degree at the S.F. Conservatory. (I was studying with Conrad Susa when I wrote this piece; it doesn’t get better than that for choral music.)

This was a dream come true at the time. I had sung in Sean’s choruses at the University of the Arts as well as his Choral Arts Society of Philadelphia, which was then the Philadelphia Orchestra’s chorus of choice. So, thanks to Sean, I was intimately familiar choral music from a cappella gems like the Ravel Trois Chansons, Hindemith’s Six Chansons and Barber’s Reincarnations to massive symphonic masterworks including The Damnation of Faust and John Adams’ Harmonium. (I should post a complete list, just for fun someday. It’s pretty amazing.) So, I was chomping at the bit to write a big choral piece myself.

About Cycle of Friends
No guidelines were given, except that I could use any number of the four soloists who were called for in another piece on the program, and the orchestral forces, which included single winds, one trumpet, harp, percussion and strings. The rest was up to me.

After a period of agonizing over what texts to use, I settled on some things I’d found in a small anthology called Friendship Poems. This little book included a variety of poems from all over the world and from all eras. I liked the idea of taking poetry from very different times and places, and combining them to illustrate a universal theme, in this case, that of friendship.

There were a lot of poems in the book that I wanted to set, but eventually I winnowed it down to five very short ones that I arranged in such a way as to create an emotional narrative.

I. “Tell Everyone” (Sappho)

I chose this very short fragment from Sappho as an opener. The text is simply:

Tell everyone. Now, today I shall sing beautifully for my friends’ pleasure.

Here’s an excerpt:

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II. “My Old Friend Prepared a Chicken With Millet”
Meng Hao-Jan (Tang Dynasty era)

This is one of two Chinese poems I used, both in shimmering translation by Innes Herdan. This one is a lilting account of a meeting between two friends.

Wait until the Autumn Festival:
I shall come again,
To enjoy your chrysanthemums.

The musical treatment is bittersweet. Will these two friends really meet again?

Have a listen:

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III. “Are Friends Delight Or Pain?” (Emily Dickinson)

This is the one a cappella movement. In fact, here the chorus is divided into two discrete SATB groups for an interesting texture. The entire movement, you may notice, is on an E pedal, which I thought was fun.

Are friends delight or pain?
Could Bounty but remain
Riches were good —

But if they only stay
Ampler to fly away
Riches were sad.

Listen:

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IV. “Blue Hills Over the North Wall” Li Po (Tang Era)

This movement is for soprano and orchestra with no chorus. This is a particularly moving poem, again translated by Innes Herdan, and functions as a sort of denouement in my view. It’s the emotional core of the piece. Quite simply, two friends are parting ways. We don’t know why.

Blue hills over the north wall
White water swirling to the east of the city:
This is where you must leave me —

Here’s an excerpt:

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V. Friendship Aztec (Traditional)

I used this is a lush folk poem to close the piece.

Our song is bird calling out like a jingle:
how beautiful you make it sound!

The soprano emerges after a choral outburst with an extremely lyrical setting of these lines. The chorus creeps in gradually as the climax of the work approaches.

See what I mean…

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