UK & CUBA

SONGS TO THE POETRY OF E.E. CUMMINGS (2004-12).

My love affair with the great North American poet, Estlin Edward Cummings (1894-1962) began in 2002 when I was asked to musicalise a fragment of poetry. Choosing ‘somewhere I have never travelled, gladly beyond´ I was mesmerized by its beauty, lyricism and form. Four years later I completed a cycle of 13 songs to Cummings´ poetry which became the basis for my 2012 concert, Quiet Nights: Up into the Silence.

I Like my Body (when it is with your body)

Described by biographer, Christopher Sawyer-Laucanno as a ‘wonderfully direct and exuberant celebration of love-making…’ , Cummings wrote this iconic poem for his first wife, Elaine Orr.

I wanted to express the mix of the poem’s delicacy/wondering – ‘i do not know what is it about you that closes/and opens…’ , it’s passion – ‘i like kissing this and that of you …and exuberance – ‘…and the firm-smoothness that i will again and again and again kiss’. Written for solo voice and piano the song is sung here by Diana Fuentes with Aldo Lopez Gavilan on piano.

In Times A Noble Mercy

Written in 1962, five years years before his death, this poem reflects a more philosophical and meditative period in Cummings’ life.

He celebrates Time as a ‘noble mercy’ which marks life’s moments of joy, sorrow, growth and silence but also include drunkenness, laughing and song. Time brings order and meaning to existence then but finally the inevitable ‘… time for dying’ and – beyond all temporal cycles – ‘a time for timelessness‘. I wrote the song for solo voice and piano, here interpreted by the fine Ghanian-American singer, Sarpoma Sefa-Boakye.

Here’s to Opening and Upward

Many of Cummings poem are about love but many, equally, express his love for nature, the seasons, particularly Spring.

Here’s to open and upward is a lovely example of this. Despite not being in a comfortable key for the singer here – Ghanaian-American, Sarpoma Sefe-Boake – she beautifully captures the mixed soul-classical feel that I was looking for. The concert song was later recorded with Diana Fuentes.

There is a moon

First published in 1923 – in his first major collection – this early, short, poem portrays a moonlit night.

Lyrical and dream-like, and using sensual and surreal imagery, the sky is blinded with silence’ , the sole moon is a ‘yellow lover’, ‘amorous of waters tremulous’. and ‘sullen with love.’ Written for voice, keyboards and string quartet the song was performed by Diana Fuentes in the 2012 Quiet Nights concert.

If there are any Heavens

Written as a tender elegy to the poet’s mother this poem imagines the existence of a heaven especially made for her. – ‘a heaven of black-red roses…’‘.

His father is present, standing over her ‘deep like a rose, tall like a rose… ‘. The final stanza portrays a moving scene. The father first ‘bows in sunlight’ , later ‘the whole garden will bow…’ My song to this poem was written for solo voice (Diana Fuentes) and string quartet.

Somewhere

Somewhere i have never travelled,gladly beyond is one of Cummings’ most iconic poems. In it, he expresses awe at the vulnerability and emotional power of the person he loves.

With delicate imagery of flowers – ‘you open always petal by petal…’ , eyes, rain – ‘nobody, not even the rain, has such small hands’ Cummings conveys the mystery/intensity of deep emotional connection. I wrote many versions of this poem, finally using it as inspiration to write text of my own. The lyrics speak about the prize and price of moving away from one’s home/roots.

Let it go

Cummings was not religious in the traditional sense but often expressed a deep belief in love and the sacredness of the soul.

Whilst there is no evidence of involvement in Buddhism this poem closely echos Buddhist principals of non-attachment, impermanence and the suffering caused by holding on to people and things: ‘you must let them go, they were born to go’. The poem’s central idea is that freedom from attachment makes love possible: ‘let all go, so comes love’. Written with a gentle, oft-repeated, syncopated phrase the song is written for solo voice and piano, and performed by Diana Fuentes.

QUIET NIGHTS CONCERT 2010

Quiet Nights is the name of a two-concert project (2010, 2012). Within the dynamic context of Cuban culture I’ve been increasing drawn to creating work and environments which explore silence, space and attentive listening. The project is rooted in this exploration. We were also very interested in how to create staging and visuals which would encourage the audience to look and listen in a detailed way: colours, 5.1 sound, sitting in the round, low lighting, no programme notes etc.

Quiet Nights 2010

Presented in the intimate concert hall of Havana’s Bellas Artes Contemporary Art Museum guests included African-American singers (Phillip Alexander, Jasmine Mitchell) along with Cuban artists Melvis Santa, Eme Alfonso, Grupo Sintesis and Roly Berrio.

Along with a stellar production (Darsi Fernandez, Yoana Gras) and film team I worked with Clandestina founder and designer, Idania Rio, to create innovative imagery and lighting for the small theatre. The whole process and the coming together of US and Cuban artists was a joy and the concert’s success helped to ensure personnel and funding for the following Quiet Nights event in 2012.

QUIET NIGHTS CONCERT 2012

Quiet Nights 2012 (Up Into The Silence)

For the 2012 QN concert I re-worked songs specifically produced when studying with Andres Alen: 13 songs to the poetry of the great US post-modernist, E. E. Cummimgs.

The production was set on the stage area (both public and performers in the round) of Cuba’s largest theatre, Karlos Marx and featured, among others, prominent Cuban artists – singer, Sony-signed, Diana Fuentes, celebrated pianist, Aldo Lopez-Gavilan, plus emerging talent, Dario Martinez (piano). The concert was the first in Cuba to use mapping and 5.1 surround sound and, with support from Cuba’s record company, Colibri, we were also able to film the concert live and later produce a Making of.

CONCERT AWARDS: QUIET NIGHTS: Up In to The Silence won two CubaDisco awards (2013) for its live-filmed DVD: Best music to poetry: Best DVD of a live concert. (CubaDisco: Cuban national music awards). Filmed by Luis Najmias Jr.; Production: Josue Garcia; Sound: Alfonso Pena; UITS was further selected to be shown both at Havana’s International Film Festival (2013) and as part of the prestigious Leo Brouwer International Music Festival (2014).

UP INTO THE SILENCE (Official trailer)

UP INTO THE SILENCE (2012) TRAILER

4 songs from UP INTO THE SILENCE (2012)

BORRADORES

SELECTED SONGS (2005-25).

First Date

A conversation with a woman friend inspired this experiment in mixing rnb and jazz. It tells of her first date with a man who, sadly, didn’t ask her anything about herself.

Producer Alejandro Lugo and I used many home recordings (bicycle wheels, dripping taps, ‘stretched’ traffic sounds) to replace all percussion and baselines. The song was first performed together with Cuban songwriter, Yusa, and later in the first Quiet Nights concert (2010) with US singer, Jasmine Mitchell.

4 Times Round

4 times round (2010) is an experiment with repetition: taking a simple, repeating 4 bar cycle of chords – to see how best to build both verses and chorus over them, but without sacrificing melody.

The meter was provided by a repeated intake/exhalation of breath and the song inspired by the small, delicate details (touch, kiss, gaze) of an intimate relationship.

Boarding to Derail

Boarding to Derail detailed the experience of unattainable desire: the futility of pursuing, trying to claim or hold on to another being and, on ‘boarding’, being speedily derailed!

Using high-register voice and breath along with digital mixes of air and steam created the feel of slight panic and pending dismay.

‘’..hot as Ice, as fast as melting…slow as rain and almost dreaming. Clear as colours, dark as daybreak….I’m as close to you as distance and boarding to derail’’.

Reconciliation

Reconcilliation was written in response to various stories of migration and the consequent painful discrimination suffered.

From conflicts around differences – skin colour, lifestyle, clothes and hair to politics, religion and gender identity – the song speaks to the hope of communication and reconciliation:

So what on earth can we do now? All is conflict and blame..Just because you shout at me I don’t go away.

So what on earth can we do now? All is conflict and blame. Just focus on – what’s the same.

Crazy Love (Van Morrison) feat. Liam O´Manlai

Working on a cover of this Van Morisson song I sampled a male voice from an Irish film soundtrack, The Long Journey Home.

The beauty and expressiveness of that voice inspired the shape of the song. Some months later, in a small bar in Havana, a voice rang out so similar to the one I’d sampled that I approached the musician to recount the story.

That voice turned out to be the great Liam O’Manlai – the very same I’d sampled. The following day – perfect strangers, but what serendipity – we went into a local studio and recorded both a reworking of the part for Crazy Love and a new song of Liams. An unforgettable story, an ongoing connection.

First Date

A conversation with a woman friend inspired this experiment in mixing rnb and jazz. It tells of her first date with a man who, sadly, didn’t ask her anything about herself. Producer Alejandro Lugo and I used many home recordings (bicycle wheels, dripping taps, ‘stretched’ traffic sounds) to replace all percussion and baselines. The song was first performed together with Cuban songwriter, Yusa, and later in the first Quiet Nights concert (2010) with US singer, Jasmine Mitchell.

4 Times Round

4 times round (2010) is an experiment with repetition: taking a simple, repeating 4 bar cycle of chords – to see how best to build both verses and chorus over them, but without sacrificing melody. The meter was provided by a repeated intake/exhalation of breath and the song inspired by the small, delicate details (touch, kiss, gaze) of an intimate relationship.

Boarding to Derail

Boarding to Derail detailed the experience of unattainable desire: the futility of pursuing, trying to claim or hold on to another being and, on ‘boarding’, being speedily derailed! Using high-register voice and breath along with digital mixes of air and steam created the feel of slight panic and pending dismay.

‘’..hot as Ice, as fast as melting…slow as rain and almost dreaming. Clear as colours, dark as daybreak….I’m as close to you as distance and boarding to derail’’.

Reconcilliation

Reconcilliation was written in response to various stories of migration and the consequent painful discrimination suffered. From conflicts around differences – skin colour, lifestyle, clothes and hair to politics, religion and gender identity – the song speaks to the hope of communication and reconciliation:

So what on earth can we do now? All is conflict and blame..Just because you shout at me I don’t go away.

So what on earth can we do now? All is conflict and blame. Just focus on – what’s the same.

Crazy Love (Van Morrison) feat. Liam O´Manlai

Working on a cover of this Van Morisson song I sampled a male voice from an Irish film soundtrack, The Long Journey Home. The beauty and expressiveness of that voice inspired the shape of the song. Some months later, in a small bar in Havana, a voice rang out so similar to the one I’d sampled that I approached the musician to recount the story.

I Like my Body (when it is with your body)

Described by biographer, Christopher Sawyer-Laucanno as a ‘wonderfully direct and exuberant celebration of love-making…’ , Cummings wrote this iconic poem for his first wife, Elaine Orr. I wanted to express the mix of the poem’s delicacy/wondering – ‘i do not know what is it about you that closes/and opens…’ , it’s passion – ‘i like kissing this and that of you …and exuberance – ‘…and the firm-smoothness that i will again and again and again kiss’. Written for solo voice and piano the song is sung here by Diana Fuentes with Aldo Lopez Gavilan on piano.

In Times A Noble Mercy

Written in 1962, five years years before his death, this poem reflects a more philosophical and meditative period in Cummings’ life. He celebrates Time as a ‘noble mercy’ which marks life’s moments of joy, sorrow, growth and silence but also include drunkenness, laughing and song. Time brings order and meaning to existence then but finally the inevitable ‘… time for dying’ and – beyond all temporal cycles – ‘a time for timelessness‘. I wrote the song for solo voice and piano, here interpreted by the fine Ghanian-American singer, Sarpoma Sefa-Boakye.

Here’s to Opening and Upward

Many of Cummings poem are about love but many, equally, express his love for nature, the seasons, particularly Spring. Here’s to open and upward is a lovely example of this. Despite not being in a comfortable key for the singer here – Ghanaian-American, Sarpoma Sefe-Boake – she beautifully captures the mixed soul-classical feel that I was looking for. The concert song was later recorded with Diana Fuentes.

There is a moon

First published in 1923 – in his first major collection – this early, short, poem portrays a moonlit night. Lyrical and dream-like, and using sensual and surreal imagery, the sky is blinded with silence’ , the sole moon is a ‘yellow lover’, ‘amorous of waters tremulous’. and ‘sullen with love.’ Written for voice, keyboards and string quartet the song was performed by Diana Fuentes in the 2012 Quiet Nights concert.

If there are any Heavens

Written as a tender elegy to the poet’s mother this poem imagines the existence of a heaven especially made for her. – ‘a heaven of black-red roses…’‘. His father is present, standing over her ‘deep like a rose, tall like a rose… ‘. The final stanza portrays a moving scene. The father first ‘bows in sunlight’ , later ‘the whole garden will bow…’ My song to this poem was written for solo voice (Diana Fuentes) and string quartet.

Somewhere

Somewhere i have never travelled,gladly beyond is one of Cummings’ most iconic poems. In it, he expresses awe at the vulnerability and emotional power of the person he loves. With delicate imagery of flowers – ‘you open always petal by petal…’ , eyes, rain – ‘nobody, not even the rain, has such small hands’ Cummings conveys the mystery/intensity of deep emotional connection. I wrote many versions of this poem, finally using it as inspiration to write text of my own. The lyrics speak about the prize and price of moving away from one’s home/roots.

Let it go

Cummings was not religious in the traditional sense but often expressed a deep belief in love and the sacredness of the soul. Whilst there is no evidence of involvement in Buddhism this poem closely echos Buddhist principals of non-attachment, impermanence and the suffering caused by holding on to people and things: ‘you must let them go, they were born to go’. The poem’s central idea is that freedom from attachment makes love possible: ‘let all go, so comes love’. Written with a gentle, oft-repeated, syncopated phrase the song is written for solo voice and piano, and performed by Diana Fuentes.

Quiet Nights 2010

Quiet Nights 2012 (Up Into The Silence)

For the 2012 QN concert I re-worked songs specifically produced when studying with Andres Alen: 13 songs to the poetry of the great US post-modernist, E. E. Cummimgs. The production was set on the stage area (both public and performers in the round) of Cuba’s largest theatre, Karlos Marx and featured, among others, prominent Cuban artists – singer, Sony-signed, Diana Fuentes, celebrated pianist, Aldo Lopez-Gavilan, plus emerging talent, Dario Martinez (piano). The concert was the first in Cuba to use mapping and 5.1 surround sound and, with support from Cuba’s record company, Colibri, we were also able to film the concert live and later produce a Making of.