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Libby Larsen : composing an American life
\"Libby Larsen has composed award-winning music performed around the world. Her works range from chamber pieces and song cycles to operas to large-scale works for orchestra and chorus. At the same time, she has advocated for living composers and new music since cofounding the American Composers Forum in 1973. Denise Von Glahn 's in-depth examination of Larsen merges traditional biography with a daring scholarly foray: an ethnography of one active artist. Drawing on musical analysis, the composer 's personal archive, and seven years of interviews with Larsen and those in her orbit, Von Glahn illuminates the polyphony of achievements that make up Larsen 's public and private lives. In considering Larsen 's musical impact, Von Glahn delves into how elements of the personal a 1950s childhood, spiritual seeking, love of nature, and status as an important woman artist inform her work. The result is a portrait of a musical pathfinder who continues to defy expectations and reject labels.\"--Publisher's description.
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MUSIC REVIEWS
Reviewed in this column are Songs in Flight: a Song Cycle for Soprano, Countertenor, Baritone, and Piano, the collaborative effort of composer Shawn Okpebholo and contemporary poet Tsitsi Ella Jaji; Tom Cipullo's Black Dog Song Cycle in Seven Movements, for Baritone Voice and Piano, on the topic of depression, and Libby Larsen's North Shore Songs: Four Poems of Louis Jenkins. Finally, Dante in Musica: 10 Compositions for Voice and Pianoforte on texts by Dante Alighieri is a fascinating compilation of songs and arias by Italian composers from the early Romantic through the early twentieth century.
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Repertoire Contributions by Joan Tower and Libby Larsen
While she agrees that it makes sense to consider gender dynamics in terms of her biography, Tower thinks that gender should be left out of the discussion of instrumental music itself. Larsen said of her development as a composer, \"I began to think that it didn't matter what pitches I chose, if I could capture the ear and the soul of the listener through the use of rhythm.\" The piece was composed for his funeral service, so Larsen did her best to write a piece of music that captures the fleeting, flowing nature of love and the different types of love we can experience during our lives. Caroline Hartig, now professor of clarinet at The Ohio State University, commissioned this piece from Larsen.
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PEDAGOGY CORNER
Students can study these works alongside the \"standard repertoire.\" Here are a few to get you started: * (Clarinet Music By Women » 100 Clarinet Compositions by Women (Jenny Mclay) * Works by Female Composers (Erin Fung) * Reprints from the Early Years: Music for Clarinet by Women (Elsa Verdehr) * The Corelia Project * CAMCo Music Search Engine (you can search by level of difficulty, living composers, pronouns, and more) » Clarinet Works by Black Composers (Marcus Eley) * Clarinet Music by Black Composers (Spreadsheet) STUDENT EXPERIENCE There is no way a student can play everything in their years of study, therefore my goal is to expose all students to the widest array of repertoire possible. In 2021, we added language to the jury requirements to encourage exploration of music by living, underrepresented, and diverse composers. SOLO REPERTOIRE: *Jean Ahn Blush (2010) * Jenni Brandon Chansons de la Nature (2006) * Jenni Brandon Starry Night (2013) * Jenni Brandon Mobula Ray (2023) * Stacy Garrop Phoenix Rising (2016/2017) * Ruth Gipps Prelude (1959) (bass or Bb clarinet) * Ida Gotkovsky Sonata for solo clarinet (1986) * Amanda Harberg Hall of Ghosts (2021) » Libby Larsen Dancing Solo (1994) » Shulamit Ran Monologue (1977) * Shulamit Ran Spirit (2017) * Augusta Reed Thomas D(iJagon(als) (2005) * Chen Yi Monologue The True Story of Ah Q (1993) CLARINET AND PIANO * Lili Boulanger Nocturne and Cortege (1911) * Valerie Coleman Sonatine v * Clémence de Grandval Deux Pieces (1881) * Ida Gotkovsky Image de Norvège (1977) * Amanda Harberg Sonata (2016) * Augusta Holmes Fantasie (1899) * Jeanine Rueff Concertino (1950) * Jeanine Rueff Variations (1976) * Marie Elisabeth von SachsenMeiningen Romanze (1892) * Caroline Schleicher-Krihmer Sonata (1825) * Clara Schumann Drei Romanzen (1853) * Alice Mary Smith Sonata (1870) STUDENT CHOICES AND DIVERSE INTERSECTIONS My students often bring repertoire to lessons for performance consideration, including works by women and composers from underrepresented identities. dents have these works regularly on juries or recitals: SOLO REPERTOIRE * Kristen Denny-Chambers Jr
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Libby Larsen: An American Musical Icon
A 2024 inductee into the American Academy of Arts and Letters, she has composed more than 500 works including orchestra, opera, vocal and chamber music, symphonic winds and band. Larsen holds proud associations with the University of Wyoming (Eminent Musician-in-Residence 2016-2017), Otterbein University (Vernon L. Pack Distinguished Scholar-in-Residence, 2022), Peabody Conservatory (George Peabody Medal, 2009), Massachusetts Institute of Technology (2004 Recipient of the Eugene McDermott Award in the Arts), and holds honorary doctorates from Valparaiso University, the University of Florida, Saint Mary's College Notre Dame, the University of Nebraska and Bemidji State University. Solo Piano (piano concerto): Piano Suite (1976), Piano Concerto: Since Armstrong (1992), Mephisto Rag (2000), Penta Metrics (2004), Ricochet (2008), 4 12 (2016), White Pieces (2018), Ocean Suite (2023), Piano Sonata: Hope (2024) Piano Four Hands: Gavel Patter (2004), 79 Fossil Gestures of Antonio Alberto De Biedma (2011), Ghosts of Old Pianos (2013), A Day: Prelude/Postlude (2014) Chamber Music With Piano: Four on the Floor (1983), With Love and Hisses (1985), Song Without Words (1986), Juba (1986), Ulloa's Ring (1987), Blues in Six (1992), Slang (1994), Concert Piece for Tuba and Piano (1995), Black Birds, Red Hills, (1996), Holy Roller (1997), Trio (2001), Viola Sonata (2001), Barn Dances (2001), Firebrand (2003), Blue Windows (2005), Slow Structures (2005), Concert Piece for Bassoon and Piano (2008), Blue Piece (2010), Ferlinghetti (2014), Timepiece for Tim (2017), Rag: Blue Rubato (2019), Trio Noir (2022), Land (2023), Ocean Suite (2024) A full catalogue of Libby Larsen's works can be found at www .libbylarsen.com MTNA is so fortunate to have Libby Larsen as our keynote speaker for the conference in Minneapolis.
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Recent Publications and Recordings
King of Prussia, PA: Milstein, Silvina, 1956A A golden bells in the breeze. VOICE AND HARP Dresner, Laurence, (1955The measure of a person. The Clair de lune book.
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New Music Shelf Anthology of New Music
Baritone, Volume I. \"Art and Science\" (2001), Victoria Bond; \"Mr. Hancock's Letter\" (2010), from Garden Songs, Marin Bussey; \"merman\" (2012), from two songs, D. Edward Davis; \"You Want a Social Life, With Friends\" (2007), Daniel Felsenfeld; \"Alone\" (2014), Cara Haxo; \"Whispers of heavenly death\" (2000), Chia-Yu Hsu; \"The Two Trees,\" from O Love Is the Crooked Thing, David Leisner; \"Mnemosyne,\" Carrie Magin; \"The Happiest Day, The Happiest Hour\" (2004), from Edgar Allan Poe Song Cycle, Allen McCullough; \"(Song of) Innisfail\" (2012), Ryan Molloy; \"Love Remained\" (2011), from Love Remained, Ben Moore; \"The Water is Wide\" (2016), from Three Folk Songs, Gábriellé Rosse Owens; \"Alley Cat Love Song\" (2007), from Bad Pets, Paul Salerni; \"This Living Hand\" (2007), from The Keats Cycle, Harry Stafylakis; \"There is a Solemn Wind Tonight\" (2016), from Voices of a Northern Year, Margaret Tesch-Muller; \"Among the Multitude\" (1980), from Leaves, Craig Urquhart; \"Looking Back at Spring\" (2001), Mark Lanz Weiser; \"Rum Tum Tiddy-Um\" (2011), from Blooms Remembered, Phillip Wharton; \"Commuter Buddhist\" (2014), Scott Wheeler; \"Pizza or Chinese\" (2015), from The Ballad of Unintended Consequences, David Wolfson. Dr. Larsen, with her trademark enthusiasm and passion for singers and song, addresses her opening remarks in main to the performer. Besides lauding the artists responsible for the creation of the anthologies, she urges us singers to honor the composers represented in all four volumes by performing their songs, and, furthermore, \"to support your composers by resisting the temptation to photocopy and distribute music from these song collections.\" Mr. Tobenski describes his process for the choosing of songs for the four anthologies (most of which are twenty-first century works) by identifying goals, short term, medium, and long term. Because each volume is the first volume for the particular voice type, it is hoped that Tobenski's long term goal is for several volumes of contemporary American song.
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