Page 133 - PDF Flip TR Program Demo

important to do that because you never write for a generic voice; you write for a certain singer. For instance, for pieces I’ve written for Gabe [Kahane], I want to tailor that music as closely as I can to his style and his strengths. I do think there’s an aspect to which the pieces I’ve collaborated on most closely are stronger pieces, in a way. They’re more specific in terms of sound and sound production.
DH: How did you and Gabriel Kahane start working together?
TA: Gabe and I have been friends for a while now, and I think it’ll be eight years this summer. We matched up because we both live in Brooklyn. Gabe was doing some curation work, and he heard my music and suggested we meet up. We immediately realized that we had a lot of shared musical background and musical affinities. I think it was the season of 2010/11 that we started planning our first concert together. We’ve been evolving that first con-
cert ever since, and over the years have done a number of incarnations of it. Even some of the pieces that we’re doing on our Tippet Rise show—some of the Britten songs—we performed on our very first show together. Over the years, we’ve ended up writing a good deal of music for each other. I feel very familiar with his style at this point, and I think he would say the same about my music.
DH: If anything, what would you say to the audience before they listen to your music?
TA: I’m trying to articulate a length of time in terms of musical structure, especially a harmonic journey. For me, harmony is at the root of everything I do. So, listen to my music like you would to any other music that works roughly in that same way. I hope that you’re able to get a sense of
a structural arc, an emotional journey, and hopefully an emotional payoff!
2018 Summer Season 133