Stacy Garrop

I’m back in Champaign this week for more residence activities with the Champaign-Urbana Symphony Orchestra, and I am looking forward to an EXPLOSIVE concert this Saturday night at the Krannert Center for the Performing Arts! Why EXPLOSIVE, you ask? Because Maestro Stephen Alltop is welcoming violist Carol Cook to Foellinger Great Hall’s stage to perform Krakatoa, my EXPLOSIVE viola concerto!

Composed in 2017, my concerto traces Krakatoa’s volcanic eruption in 1883 (see my program note below for detailed information about the eruption). I scored the solo violist to be accompanied by string orchestra and a wide battery of percussion instruments. The work received its world premiere one year ago in a performance given by the Bandung Philharmonic in Indonesia (where Krakatoa is located) with Maestro Robert Nordling at the helm and violist Michael Hall as soloist.

Ironically, when composing the piece, I specifically chose a volcano that hadn’t had a major eruption in over 130 years, thinking that Krakatoa wouldn’t likely have another big episode any time soon. So I was taken aback earlier this year when Anak Krakatau (“child of Krakatoa,” which formed from the remnants of Krakatoa) exploded in a series of large eruptions this past December that has once again led to the collapse of its crater to a quarter of its pre-eruption size. The damage done by Anak Krakatau wasn’t nearly as catastrophic as its predecessor, although there were over 400 lives lost and the destruction of property when Anak Krakatau’s eruption triggered a tsumani that reached the region’s coastal cities.

While in Champaign, I’ll also be giving two talks at the Osher Lifelong Learning Institute this week: on Wednesday, I’ll give a lecture/demonstration on how a composer composes instrumental music, and on Friday, Maestro Alltop and I will give a pre-concert talk about the pieces on CUSO’s concert, which Dr. Alltop aptly titled “All the World’s a Stage.”

For more information about Saturday’s concert, please visit https://cusymphony.org/. Come join us for an EXPLOSIVE concert this weekend!

Krakatoa – Program Note

On May 20, 1883, a cloud of ash rose six miles high above Krakatoa, a volcano nestled on an island in the Sunda Strait between Java and Sumatra. For the next two months, the volcano rumbled and spewed occasional dust and debris into the air, giving nearby inhabitants a spectacular show. On August 26th, Krakatoa turned deadly with an enormous blast that spewed pyroclastic flows (a blend of ash, lava, and gases) and pumice (lava that mixes with water and solidifies quickly into rock), and commenced a series of eruptions. On the next day, the volcano produced four enormous eruptions over four and a half hours. These eruptions were so loud (particularly the fourth) that they could be heard 3,000 miles away, and so devastating that two-thirds of the island sank back under the sea. The effects of Krakatoa’s eruptions were staggering: they sent shock waves into the atmosphere that circled the globe at least seven times; they triggered numerous tsunamis, the highest nearly 120 feet tall, which flooded and destroyed 165 coastal villages along with their inhabitants; and they propelled tons of ash roughly fifty miles up into the atmosphere. This ash blotted out the sun in Indonesia for days; it also lowered global temperatures for several years afterwards, and produced a wide range of atmospheric colors and phenomena. At least 36,000 people tragically lost their lives that fateful day. For the next forty-four years, Krakatoa was silent below the sea. This silence ended in 1927, when fishermen spotted steam and debris rising from the island. Within a year, a new volcano began to take shape above sea level. This new volcano is named Anak Krakatau, which translates to “child of Krakatoa,” and periodically experiences small eruptions.

Krakatoa for solo viola, strings, and percussion follows the path of the volcano’s four main eruptions. In the first movement, Imminent, the violist uneasily plays as the orchestra (representing the volcano) shows ever-increasing signs of awakening. The orchestra bursts forth into the second movement, Eruption, where it proceeds through four eruptions that get progressively more cataclysmic. After the final and most violent eruption, the violist plays a cadenza that eases the volcano into the third movement, Dormant. In this final movement, the volcano slumbers, soothed by musical traits that I borrowed from traditional Javanese gamelan music: a cyclical, repetitive structure in which the largest gong is heard at the end of each cycle, and a musical scale loosely based on the Javanese pelog tuning system. The movement ends peacefully with an array of string harmonics, representing the intense and brilliantly colored sunsets generated by Krakatoa’s ash in the earth’s atmosphere.

Krakatoa was commissioned by the Barlow Endowment for Music Composition at Brigham Young University.

-Stacy Garrop

*Please note that the photos are of Kilauea, not Krakatoa, for copyright reasons.

One of the activities I’m doing in the final year of my Composer-in-Residence position with the Champaign-Urbana Symphony Orchestra is a series of two outreach programs at the Danville Correctional Center, a medium-security prison for men that’s about forty miles east of Urbana. This past June, I made a trip to the Danville Correctional Center under the auspices of the University of Illinois’ Education Justice Project (EJP) to work with incarcerated men on unleashing their inner creativity (see my previous post by clicking here). I returned on September 26^th to hold a concert that combined music (pre-recorded and brought in on CD), poetry, and artwork for forty students in the prison’s Education Justice Project program. I was accompanied by Ms. Rebecca Ginsburg, Director of the Education Justice Project and Associate Professor at the University of Illinois at Champaign-Urbana, and by Mr. David Sharpe, the Co-Coordinator of the Education Justice Project’s mindfulness discussion group. It was a very unique experience that now has me thinking about how we can bring projects like this to other prisons in the United States.

For the concert, I wanted to create a program of music and poetry for the participants based upon the structure of Terra Nostra, the oratorio I wrote in 2014 that focuses on our planet earth. My oratorio has three sections: I. Creation of the World, which celebrates the planet’s beauty; II. The Rise of Humanity, which explores the achievements of mankind; and III. Searching for Balance, which links our own existence to that of our planet. I constructed the concert within the Danville Correctional Center to follow this same path. I also wanted to invite the participants to creatively take part in several ways throughout the concert.

Pre-Concert Composing of O World

Before we started the concert, I led the participants in creating a group composition called O World that we would perform ourselves. I listed the four basic elements on a chalkboard – earth, air, water, and fire – and the participants came up with vocal and body sounds for each (i.e. earth involved humming a low pitch and stomping their feet). One of the participants suggested we have all four elements be performed simultaneously, so we divided the room into four groups, with each group having their own conductor (four participants volunteered to take these positions). We practiced the piece a few times, analyzed what was working and what wasn’t (for instance, it was too long and had no dramatic shape), and rehearsed it some more. This piece would end our concert. Planning and rehearsing the piece not only served a role in helping the participants to experience the process of composing, but it also provided an activity that allowed everyone in the room to get comfortable. It is likely that most of the participants hadn’t ever taken part in creating a musical composition before, nor had I ever worked with as large as an incarcerated group until this evening. I’m guessing that we were all a little outside of our comfort zones, and group activity that involved collective brainstorming and experimentation helped to serve as a unifying device.

The Concert

The concert consisted of three main components. I alternated components #1 and #2 in the concert program in order to pair poem topics with relevant musical selections:

1. Poetry

First, I selected ten poems from Terra Nostra that nine EJP students and I read out loud throughout the concert. We started with poems that celebrated the beauty of the planet, then proceeded to poems about humanity’s achievements via the advances made by the Industrial Revolution. Next, we explored poetry that commented on humanity’s impact on the planet and her resources, before concluding with poetry that reminds mankind that we are always connected to the planet, from birth to death. Participants read poems written by Walt Whitman, Percy Bysshe Shelley, Edna St. Vincent Millay, Lord Alfred Tennyson, John Gillespie Magee, Jr., Gerard Manley Hopkins, and Wendell Berry.

2. Music

Next, I scattered several of my earth-themed chamber works among the poetry. I played recordings of my Phoenix Rising (for solo flute) and two arias from Terra Nostra recorded at a performance given earlier in the fall by members of the Champaign-Urbana Symphony Orchestra. I supplemented these performances with the (now defunct) Biava Quartet’s commercial recording of my String Quartet No. 3: Gaia, which follows a similar story line to what is listed in the section above. We concluded our concert with our premiere of O World.

3. Participants’ Creative Projects, both made beforehand and on-the-spot

Three EJP students who had taken part in my June 2018 workshop took up the challenge to produce their own original work. Each participant was invited to share their projects with the group in the middle of the concert. Raylan Gilford read a very moving story he had written about his brother; Marcelo de Jesus created artwork that displayed humanity and the planet in harmony; and Ryan Howard wrote a meaningful poem about the toll we are exacting on the planet’s resources (see inset).

Additionally, I brought poster board and colored pens, pencils, and crayons with me into the prison so that the participants could take part in my ongoing “Messages to Gaia” art & poetry project (see artwork and poetry scattered throughout this post). I have held this event at two other concerts in the Champaign-Urbana region; the idea is that the audience is invited to draw art, write poetry, and leave messages to our planet. We will showcase the creative work that the EJP participants, as well as the artwork and messages that previous audiences left, at the Champaign-Urbana Symphony Orchestra’s upcoming March 9^th Terra Nostra performance. It took a little while for the EJP participants to get going, but finally a participant finally approached the “Messages to Gaia” table and began drawing. It wasn’t long before we had a more or less steady stream of participants adding their own thoughts and artwork to the poster board.

Follow-Up Question-and-Answer Session

Once we concluded our concert, I opened up the floor to questions from the participants. They asked many questions (30 minutes’ worth!) about a variety of topics, from general to very specific. A small sampling of questions asked are:

• How do I go about finding inspiration for a new composition?
• How did I get started composing in the first place?
• In my piece Phoenix Rising, what was the flute doing that sounded so airy?
• In the 3^rd movement of my string quartet, what was happening to the meter?
• How did I select the poems that I included in Terra Nostra?

This last question led to an interesting discussion on issues with poetry still under copyright, and how not gaining the permission one is seeking from a copyright holder will force one’s creativity in new and unexpected directions, which can actually help strengthen a project.

Concluding Thoughts

Our two-and-a-half hour event flew by, and before I knew it, it was time to pack up the “Messages to Gaia” poster board and head back to Champaign-Urbana. The participants were very respectful and thoughtful throughout the entire event. They listened intently, with all of our participating readers and creators prepared and ready to go when it was their turn. A few commented on how they’d not heard any concert music before our event, and how its intensity struck them. Several brought up the meditative quality of some of my quieter movements (several of Mr. Sharpe’s students from his mindfulness class were at the event). Many thanked me and shook my hand on the way out of the room.

The truth is, I learned just as much as they did from our event. Music has the power to affect us all. It can enhance and deepen the mood of a text, be it an opera libretto or a poem about the planet. To have the opportunity to share my music with a group of people who have not had much or any exposure to such music before, and to thread poetry through the music along with the participants’ own creativity on a topic important to us all, was a powerful experience. The participants were visibly moved throughout the event, and the comments several left on the “Messages to Gaia” poster board reflect how the topic touched their psyches. Is this an event that can be replicated at other prisons? Will experiences like these enhance the lives of its participants, to help them see themselves as connected to the world even when disconnected from most of society? Will events like these have lasting impacts on participants long past the event itself? These are questions I am left to ponder, and to hope I can explore in more prisons throughout my life.

Thank you!

Thank you Ms. Rebecca Ginsburg and Mr. René Francisco Poitevin, Director of EJP’s Academic Programs, for making arrangements for me to visit the prison, as well as David Sharpe for helping to work out the details of the event and to provide transportation to the prison and back. It took everyone a lot of work (and patience!) to get clearances worked out to bring in a musical CD and all of the materials I wanted to share with the participants, and I am grateful to the Danville Correctional Center and the Illinois Department of Corrections for helping us work through the details.

Thank you as well to the EJP students, who were willing to put themselves outside of the comfort zones to help create an experience that was unique and meaningful for all involved.

On Sunday, Sept. 23^rd, the Champaign-Urbana Symphony Orchestra and Prairie Fruits Farm & Creamery co-sponsored a Gelato Social. It was, quite literally, picture perfect! We had blue skies above us, a modestly warm temperature with a gentle breeze… with homemade gelato, live music, and cute goats, who could ask for more?

Our event got underway at 2 PM with Leslie Cooperband, co-owner of PFFC, scooping up fresh gelato for our guests. As PFFC makes all of their own gelato, we were treated to a range of intriguing flavors including salted caramel, honey lavender (harvested from their own garden), and a delicious pear sorbetto (harvested from their orchard).

People wandered around the farm for a bit, visiting with the goats and admiring the herb and flower gardens, before finding seats in the pavilion for our 2:30 PM performance. We had about 80 people in the audience, but you’d never have known it – they were serenely quiet throughout the event.

CUSO’s 2018-2019 theme is “Our World, Our Music,” and the music I chose for the Gelato Social fits perfectly with this earth-inspired theme. CUSO flutist Amanda Pond began the concert with my Phoenix Rising, which tells the tale of the old phoenix who perishes on a bed of flames and bursts forth as a young, spry phoenix. This story of rebirth, and renewal was an apt piece to tell in the middle of lush farmland that seasonally goes through its own process of renewal. Between works, PFFC co-owner Wes Jarrell spoke about how he and Leslie began raising goats in 2004, which led to their interest in making cheese and eventually gelato. He also talked about their farm’s sustainability efforts. The short concert concluded with my String Quartet No. 3: Gaia. CUSO musicians Maria Arrua, Aaron Jacobs, Robin Kearton, and Barbara Hedlund performed movement 2 (Creation of Mother Earth) and movement 5 (…et in terra pax); maestro Matthew Sheppard conducted the quartet for this performance.

We then took a break from music-making for about a half hour. Leslie served up more gelato while Wes brought out a goat to take pictures with musicians and guests. We had also set up tables for our ongoing “Messages to Gaia” art & poetry project, in which we invited our audiences to create artwork or write short messages/poetry inspired by our planet. Several audience members migrated over to the tables to leave their contributions. I’ll write a blog post about the “Messages to Gaia” in November, sharing pictures of what our participants have left as messages to the planet.

We gave another short chamber concert at 3:30 PM. The CUSO string musicians played movement 3 (Dance of the Earth) of my String Quartet No. 3: Gaia, and Amanda reprised her performance of Phoenix Rising. This was a wonderful way to wrap up a completely splendid afternoon of music-making on a goat farm!

There is one more detail to mention – Executive Director Gerri Kirchner made beautiful posters featuring several of my earth-themed texts that I set to music in Terra Nostra, my oratorio. These posters included texts written by Walt Whitman, Edna St. Vincent Millay, and Percy Bysshe Shelley. We attached the posters to several of the pavilion’s wooden posts, so people could read the poetry at their leisure. This was a very nice roll-out in getting people excited about CUSO’s upcoming March 9, 2019 performance of Terra Nostra at Krannert Center with the University of Illinois Oratorio Society, Central Illinois Children’s Chorus, and soloists.

Thank you everyone who came out and spent this special afternoon with us! Thank you as well to Wes Jarrell, Leslie Cooperband, Gerri Kirchner, Alex McHattie, and the CUSO musicians for all of their work in making our event a wonderful success, as well as to our event photographer, Darrell Hoemann. We hope you enjoyed the merging of music, gelato, and goats as much as we did!

Enjoy a few more pics from our event below.

 

I’ve finally had enough “down time” while on my trips to Champaign-Urbana to stop and ponder the rapturous charm of the region. As a composer, I’m interested in seeing everything… the vastness of the prairie from afar, half-eaten ears of corn still nestled in their dried-out stalks, an old wood and wire fence in a pasture, a recently plowed cornfield that’s catching the last rays of sunlight, sculptures embedded in a grassy field, an alley filled with brightly colored graffiti… beauty and complexity surround us everywhere. As a composer, I draw my inspiration for new works from a wide range of sources. Often, where I’ve been and what I’ve been doing find their way into future musical compositions. Who knows how these images and memories of this region will manifest in my music?

Here are a few of my favorite pictures that I’ve taken on recent trips. Enjoy!

Want to listen to some of my earth-themed chamber music performed by CUSO musicians, meet some cute goats, and eat delicious gelato? Then come spend two hours with us at Prairie Fruits Farm & Creamery! This Sunday (Sept. 23), 2-4 PM, we will present a free event featuring my Phoenix Rising for solo flute, performed by Amanda Pond, and movements of my String Quartet No. 3: Gaia, performed by violinists Maria Arrua and Aaron Jacobs, violist Robin Kearton, and cellist Barbara Hedlund.

There will also be farm and goat tours, led by PFFC owners Leslie Cooperband and Wes Jarrell. We will have four tasty gelato flavors and one sorbetto from which to choose. We will also be running our “Messages to Gaia” project, in which all children and adults can draw artwork & write poetry to our planet.

Schedule:

2:00 PM: Welcome and gelato is served

2:30 PM: Mini-concert #1

3:00 PM: Farm/goat tours and gelato is served

3:30 PM: Mini-concert #2

Come spend a delightful afternoon with us! Prairie Fruits Farm & Creamery is located at 4410 North Lincoln Avenue in Champaign. This free event is is co-sponsored by CUSO, PFFC, and New Music USA.

The News-Gazette’s music critic John Frayne attended our “Messages to Gaia” Chamber Concert, and had very nice things to say about the event! My favorite part of his review is at the end, where Mr. Frayne identified my tastes in poetry in the upcoming performance of Terra Nostra, my oratorio about the planet:

“From the friendly atmosphere of this charming concert, I am eager to hear Garrop’s oratorio “Terra Nostra,” a work that sets texts by some of the major poets of the English language: aside from Walt Whitman, William Wordsworth, Percy Bysshe Shelly, Lord Byron, Lord Alfred Tennyson, Gerard Manley Hopkins and Edna St. Vincent Millay. Like her music, Garrop’s tastes in poetry lean romantic.”

You can read his review by clicking on the graphic below, or click here to be redirected to The News-Gazette.