Download In Her Own Words: Conversations with Composers in the United by Jennifer Kelly PDF
By Jennifer Kelly
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Extra info for In Her Own Words: Conversations with Composers in the United States
I like being a woman. I love being a mother and a daughter. All of it allows unique experiences, and I’m sure that in all sorts of ways it’s part of my identity. But it has never really been a central issue for me for self-deliberation. Or doubts, for that matter. When I said before that my parents always instilled in me a sense of the sky being the limit, this was it. ” Really, no one in Israel asked me that question. There was Golda Meir, some women composers I was familiar with, and women went into the army as a matter of course.
Fanfare, for two multitracked sopranos; five-voice adaptation for live performance (1981). Fault Line, for soprano and chamber ensemble (2005–6). Hatzvi Israel Eulogy, for mezzo-soprano, flute, harp, and string quartet (1969). Moon Songs: A Song Cycle in Four Acts, for soprano, flute/piccolo, cello, and piano (available from the composer, 2011). O the Chimneys, for mezzo-soprano and chamber ensemble (in preparation for release, 1969). Shirim L’Yom Tov (Four Festive Songs), for a cappella choir (2003, 2005).
That would be self-defeating. JK: But I do know people who consciously write accessible music to ensure it is played and heard. SR: That is not my approach. And that doesn’t mean it needs to be incredibly obtuse. Complex and obtuse are not one and the same. There are things that, on the face of it, are simple and direct, and yet there is a level of complexity in them, a depth, which gives more when you come back again and again. I just write the music that I hear developing in my head. Sure, sometimes that means the music will be difficult.