Orchestra Underground: Sins & Songs Composer Spotlight – Carman Moore
Carman Moore, a composer who not only defies categories, but “treats them with disdain” (New York Times) offers Madiba, commissioned by ACO and inspired by the life of Nelson Mandela. ACO's Orchestra Underground premieres Madiba at Sins & Songs on February 27 at Zankel Hall, Carnegie Hall. Carman was kind enough to speak with us about the creative process behind Madiba.
American Composers Orchestra: You write that Madiba is inspired by the life of Nelson Mandela, and works as a musical narrative to his life. Do you think it is important for the listener to know this context for the piece?
Carman Moore: I believe that any listener would love this piece and that it would work without any notes about Mandela. But I think the very title Madiba would make any intelligent listener ask what the word signifies and therefore be curious as to what about Nelson Mandela informs the piece.
Hence – I believe just aurally a listener might notice the fact that again and again the strings and woodwinds begin passages (many joyful) that are stopped dead in their tracks by loud passages blasted forth by the brass section. They might notice how certain passages played by the percussion section are gunshot-like. They should also notice that the cello is prominent throughout, sometimes initiating actions for winds and strings, sometimes in lament mode, at one point sinking almost entirely on its own into the “bass” (ment) then rising into brighter harmonies supported by woodwinds and strings (joined also by brass) to close the work. At one point during the extended solo stretch of low notes (representing imprisonment), the cello engages in a duet with a tuba (the lowest brass instrument), and at the end they both rise, joined by the rest of the orchestra in brighter “notes” to close. Some might even notice a “truth and reconciliation” passage involving short statements by trumpets, trombone, horns, and tuba.
Because of the almost-operatic story of Mandela’s life (including a happy ending), I found it hard not to have that guide me in the form and flow of Madiba.
ACO: What are you looking forward to about the performance of Madiba at Carnegie Hall by the American Composers Orchestra?
CM: I have been composing this piece by entering all its notes via the Sibelius software to create the final score for a long, intense time. I most look forward to hearing the actual instruments execute that score, guided and interpreted by the ACO’s excellent conductor George Manahan.
Follow Carman on Facebook,Twitter
www.carmanmoore.com/
www.americancomposers.org
