This week I’m taking part –
as one of six poets – in the Art Song Lab, which is hosted by the Vancouver International Song Institute,
an intensive set of early summer programs in art song performance and in
academic approaches to art song. Now in its seventh year, VISI is the creative
brainchild of Rena
Sharon, a professor of collaborative piano studies at the UBC School of
Music and one of the very finest pianists in the country. For six successive
Junes, I have given lectures on poetry for VISI, and will be giving another one
(on W. H. Auden this time around) on June 21. But this week, I’m a participant
rather than a faculty member. The six participant poets were asked to produce a
draft of an original poem in January, which would be set to music by two
different composers – two art songs emerging from the same initial text. The
composers then bring their draft songs to rehearsals in Vancouver, for a week
culminating in a concert – “Playing with
Fire” – at the Orpheum Annex on Friday, June 7, when each of the twelve
compositions will receive its world premiere, as part of the month-long Songfire
Festival.
On the afternoon of Sunday, June 2, we had an informative
opening session with the three co-directors of Art Song Lab: poet Ray Hsu, composer Michael Park, and pianist Alison D’Amato. They
invited questions and discussion – most participants had just arrived in the
city, and were still orienting themselves – and then offered to give something
of a demo, workshopping a composition that Ray and Michael were preparing with
Alison and soprano Lynne McMurtry for its premiere later this month. During the
discussion, each of the co-directors spoke about the opportunities for
collaboration that the Art Song Lab offers. Ray compared the creation of art
song – and of poetry itself, for that matter – to translation, an analogy that
gestured back toward Walter Benjamin’s “The
Task of the Translator,” though Benjamin went unmentioned. (Ray gestured at
Benjamin’s notion of an Ursprache or
primal language, I thought, which all works of art translate; difference
becomes primary to any form of writing, any work of art.) I thought Renée
Sarojini Saklikar, one of the participant poets, made a provocative point
about “performance as a site of research” for poetry.
The brief, open rehearsal for Ray and Michael’s new art song
was really informative, a pleasure to watch and to hear. The text for the piece
involved a re-purposing of material from an interview with Lynne about art song
performance, which she then sang back in a kind of lovely recursive loop; one
of the lines referred to “having something to say and the confidence to say it,”
which she did.
This first session for the Art Song Lab was followed by a
plenary discussion for the whole of VISI; there was some thought-provoking talk
about strategies for overcoming the potential hermeticism of contemporary art
song and also about cultivating an aesthetic openness, an open-mindedness. I’m
looking forward to seeing, and hearing, what happens this week. It was good to
meet the two emerging composers who have created art songs from my work: Alex Mah and David Betz. I’m keen to hear what
they have come up with. The poem I came up with is a three-part elegy for the
children and teachers killed at Sandy Hook Elementary in December. Here is an
audio version of the poem.
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