Hi Lou, welcome to VENTS! How have you been?
Very well, thank you for asking.
Can you talk to us more about your movement “Acceptance” from Cathedral?
It’s the centerpiece, containing the main theme and melody from which the other two are based.
The movement comes from your piece Cathedral – what’s the story behind the title?
The need for a space to reflect, more about headspace than actual architecture. A metaphor for the place where it gets real.
David Lynch talks about transcendental meditation as a place where the “big fish” or big ideas are caught.
Did any event, in particular, inspire you to write this piece?
A poem by Langston Hughes called “A Dream Deferred” that was really hitting home on societal and personal levels. The current political climate here in the United States, there seems to be an elegy in order.
How did you come up with the concept of each “movement”?
I couldn’t decide if I liked the melody better for guitar and strings, or woodwinds, or piano. I tried different variations, and that’s what they are basically variations on theme.
What can you tell us more about it?
I realized that I didn’t need to only have one version, life is not black and white. There are three phases of a traditional elegy that follow the grieving process through various stages. “Arrival”, “Acceptance”, and “Ascent” made sense to me when working through the process, each one having a different identity that expresses that particular phase.
How was the recording and writing process?
I wrote and charted the main structure for woodwinds, brass, and voice. Charted it and tracked it with the musicians, and had the main piece. Then I did the same with two other pieces with different instrumentation. These ideas were tied together with field recordings I made from places that are important to me in NYC and Pennsylvania.
Any plans to release a video for the piece?