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A TIME FOR LIFE
1
CAPPELLA ROMANA
Alexander Lingas Robert Kyr: A Time for Life
Founder and Artistic Director
An environmental oratorio
soprano
LeaAnne DenBeste
Stephanie Noble
alto
Tuesday Rupp
Kristen Buhler, alto (A2)
Part I: CREATION Part III: REMEMBERING
tenor
Cahen Taylor i. Prologue. [Instrumental] I. DANCE OF LIFE
Mark Powell ii. Proclaiming.
iii. Arriving. II. CANTICLE OF LIFE
bass iv. Praising. Canticle: First Part
Aaron Cain v. Trembling. i. First Soliloquy
David Stutz vi. Rejoicing. ii. First Canons
iii. Chorale, First Verse
Part II: FORGETTING
Canticle: Second Part
i. Prologue. [Instrumental] iv. Second Soliloquy
THIRD ANGLE NEW MUSIC
v. Chorale, Second Verse
ii. Supplication I: We Ignore Your Word vi. Second Canons
Ron Blessinger iii. Witness I: Look and Behold
Violin & Artistic Director Canticle: Third Part
iv. Supplication II: We Devour Your Forest vii. Third Soliloquy
Anna Schaum v. Witness II: Breathe and Remember viii. Chorale, Third Verse
Viola ix. Third Canons
vi. Supplication III: We Defile Your Oceans
Hamilton Cheifetz vii. Witness III: The Survivor Canticle: Final Part
Violoncello x. Final Chorale
viii. Supplication IV: We Destroy Nature xi. Final Canons
ix. Witness IV: Howl, You Shepherds! xii. Epilogue
x. Supplication V: We Pollute the Air
xi. Witness V: The Joyless Land
xii. Supplication VI: The Dying Planet
xiii. Witness VI: The Sacred Way
2
camp in 1942); and the Orthodox “Service for the
Environment” that was written in 1961 by the monk
Gerasimos at the monastery of the Skete of Little
Anne on Mt. Athos (Greece).
• Part II: Forgetting. The second part explores
A TIME FOR LIFE BY ROBERT KYR humanity’s present inability to live in harmony with
Program note by the composer nature as “forgetting” and makes a recurrent appeal
to the Creator: “… We forget who we are. Help us to
remember …” Forgetting is structured in six sections
One of the most urgent issues facing the world today and each consists of two parts: a “supplication” (a
is the ecological crisis caused by humanity’s inability solo followed by canons) paired with a “witness”
to live in harmony with the natural world. My account (an aria, duo or trio). The sources for Part II
collaboration with Cappella Romana grew out of our are: the U.N. Environmental Sabbath Program; the
mutual concern about this potentially catastrophic Books of Jeremiah and Isaiah; the Chinook Psalter;
situation. After many discussions, I decided to create and an Ojibway Prayer, as well as the Orthodox
an environmental oratorio in order to address this “Service for the Environment.”
crucial topic from a variety of perspectives. • Part III: Remembering. The third part begins with
A Time for Life (2007) was created for eight of the the Dance of Life followed by the Canticle of Life. The
principal singers of Cappella Romana, Alexander “dance” features a double chorus singing call-and-
Lingas (its director), and the ensemble Medieval response (three women juxtaposed with three men),
Strings with a later version (2008) for modern whereas the “canticle” is structured in four parts,
instruments (Third Angle New Music). The work each of which contains a soliloquy (solo), a section
features each of its vocalists as a soloist, a chamber of canons, and a chorale (full, eight-voice choral
musician (a member of duo- and trio-formations), texture). The text sources for Part III are a Pawnee/
and a chorister (part of the full eight-voice choral Osage/Omaha Indian Song, a Navaho Chant, the
texture). I know the artists of Cappella Romana Book of Ecclesiastes, and the Orthodox “Service for
well and so I created the oratorio expressly for the Environment.”
them so that they could explore the full range of A Time for Life is a “musical play” that traces a
their abilities. In this sense, A Time for Life is a journey from the glory of Creation as it was given to
musical play in which each “character” (singer or humanity (Part I) through our destructive behavior
instrumentalist) performs a variety of roles. In a live as demonstrated by the current global environmental
performance, this play is also enacted through both crisis (Part II: Forgetting). The potential for
the music and a simple choral choreography; the destruction is total: the forest (Supplication &
movement of the performers through the concert Witness II); the oceans (Supplication III); animal life
space is a journey that embodies the meaning of the (Supplication IV); the air we breathe (Supplication
text. V); and the entire planet itself as plagued by
The composite text for A Time for Life was adapted corruption and abuse (Supplication VI). No one
from a wide range of sources that explore the can escape the responsibility for the earth (“My
relationship of humanity to nature. The work is people are fools,/Senseless children/Who have no
structured in three large-scale parts, as follows: understanding”), especially the leaders (“No more
• Part I: Creation. In the first part, the nature of will the fool be called noble,/For he speaks foolishly,/
creation is celebrated through praise for the Creator Planning evil in his heart”). The ruling class of all
and through rejoicing in the pure creative force nations is particularly culpable in its folly (“Howl,
of existence. The text was adapted from several you shepherds, and wail!/Roll in the dust, leaders of
sources: a Sioux Prayer; an Eskimo Song; Psalm 8; the flock!/There is no flight for shepherds,/No escape
An Akathist in Praise of God’s Creation (attributed to for leaders of the flock./There is no escape!”).
Metropolitan Tryphon, 1934, but possibly written by The final phase of the journey (Part III:
Father Gregory Petrov who died in a Soviet prison Remembering) moves towards a hopeful future in
3
which humanity serves as a responsible steward of And thus, my environmental oratorio traces our
the earth and thus realigns itself with the creative journey from a state of division and separation to the
forces of existence. This journey is a spiritual one way of unity and wholeness.
in which we remember our true responsibility —Robert Kyr
of stewardship for the earth, and through this
awakening finally “act[s] as one to preserve creation”
(Part III: Final Chorale). This spiritual awakening
leads to true and sustained action, as the final arc
of the journey passes through three phases: “…
remembering… restoring… rejoicing…” In turn, these
phases lead to gratitude for all life: “Beauty before
me…behind me…below me…above me…around
me…In beauty it is finished…”
A Time for Life is dedicated to Alexander Lingas and
Cappella Romana. I believe that music and the arts
have a crucial role to play in the transformation of
the current energy of cynicism and destruction into
the life-sustaining attitude and energy of creativity.
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OL“THE GREEN PATRIARCH,” CAPPELLA are most properly ordered by love and thanksgiving.
ROMANA, AND A TIME FOR LIFE Some years ago Robert Kyr, having become aware
Before climate change became a pressing item on the of and admiring the environmental initiatives of
global agenda, signs of human abuse of the natural Ecumenical Patriarch Bartholomew, approached
environment had prompted efforts in religious me with the idea of composing an oratorio for
communities throughout the world to recover Cappella Romana that would address some of
spiritually grounded notions of human stewardship the same issues. This led to further conversations
within creation. For Orthodox Christianity, this between us exploring past and present perspectives
process began in earnest during the second half on the relationship between divinity, humanity
of the tenure of His All-Holiness Dimitrios I as and the environment. These discussions served as
Ecumenical Patriarch of Constantinople (1972– a background for the creation of his libretto for A
1991). Theological inquiry was succeeded by public Time for Life, in which Professor Kyr sensitively
engagement in 1989 when Ecumenical Patriarch incorporates excerpts from the Bible, the worship of
Dimitrios set aside September 1st, New Year’s Day Eastern Orthodoxy, and the prayers of indigenous
in the liturgical calendar of Eastern Orthodox peoples. As set to music, these texts movingly render
Churches, as an occasion for Christians under the loss of ancient wisdom regarding responsible
his jurisdiction to offer prayers annually for the stewardship of creation, its horrific consequences for
protection of the environment. our environment, and the potential offered by the
September 1st was chosen as liturgically recovery of spiritual tradition for re-establishing a
suitable because themes of supplication and harmonious relationship with nature.
thanksgiving for creation were already present —Alexander Lingas
in the existing medieval service texts for this
day (albeit with emphasis on preserving the city,
imperial government and church of Byzantine
Constantinople). Common prayer specifically
“for our environment and for the welfare of all
creation” was facilitated the following year by the
commissioning of a new liturgical office in Greek
from Fr. Gerasimos of the Skete of Little Anne on
the Holy Mountain of Athos (1905–91), a prolific
poet who had been previously recognized by the
Ecumenical Patriarchate as “Hymnwriter of the
Great Church.” In 1992, at the request of the World
Council of Churches, Archimandrite Ephrem (Lash)
made a slightly expanded English version of this
new office, the full text of which is available on his
personal website (www.anastasis.org.uk/environm.
htm).
The present Ecumenical Patriarch, His All-Holiness
Bartholomew I, has made the preservation of the
environment a focal point of his ministry. Described
previously in this booklet by the Rev. Dr. John
Chryssavgis, his efforts have led the international
media to dub him “the Green Patriarch.” One of their
recurrent themes, sounded also by other Eastern
Orthodox writers, has been that maltreatment of
the natural environment rests ultimately on human
distortions of relationships with God and nature that
5T2: Glory
For the natural world through which
A TIME FOR LIFE We live and move and have our being.
An Environmental Oratorio T1: O our Mother, the Earth, hear us
And give us support.
Vocalists: S1 (Soprano I) T2: Glory
S2 (Soprano II/Mezzo-soprano) For the flowering earth
A1 (Alto I) Filled with plants and trees.
A2 (Alto II) A1: O Spirit of the East,
T1 (Tenor I) Send us your Wisdom.
T2 (Tenor II) T2: Glory
B1 (Bass I / Baritone) For the seas, vast and wide,
B2 (Bass II) And all the creatures within.
Textual Sources: The composite text for A B1: O Spirit of the South,
Time for Life is adapted from the following sources: May we tread your path of life.
a Sioux prayer; an Eskimo song; the Chinook T2: Glory
Psalter; an Ojibway prayer; a Pawnee/Osage/ Omaha For all animals and living things,
Indian song; a Navaho chant; the Orthodox “Service Both great and small.
for the Environment”; “An Akathist in Praise A2: O Spirit of the West,
of God’s Creation” (Orthodox); United Nations May we always be ready for the long journey.
Environmental Sabbath Program; Psalm 8; Book of T2: Glory
Jeremiah; Book of Isaiah; Book of Ecclesiastes; and For beautiful weather and flourishing seasons.
original texts by the composer. B2: O Spirit of the North, purify us
With your cleansing winds.
Part I: CREATION T2: Glory
For the breath of winds
i. Prologue. [Instrumental] And the flow of waters.
T2: [Adapted, Orthodox “Service for the Environment”]
The others: [Adapted, Sioux Prayer]
ii. Proclaiming.
T2: O Lord,
You are the light of those in darkness, v. Trembling.
And my spirit sings your praises: S1: The great sea has set me in motion,
Glory for calling us into being. Set me adrift,
[Adapted, Orthodox “Service for the Environment”] And I move as a weed in the river.
O the arch of sky
iii. Arriving. And mightiness of storms
T2: O Lord, Encompasses me,
How wonderful is your name And I am left
In all the earth! Trembling with joy.
[Adapted, Eskimo Song]
[Adapted, Psalm 8:1]
Glory for creating the beauty of the universe; T2: O Lord,
Glory for your eternity within this fleeting world; Glory to You
Glory for each step in our life journey… For the joy of moving and seeing and living.
[Adapted, An Akathist in Praise of God’s Creation]
vi. Rejoicing.
iv. Praising. [All:] Glory
S2: O our Father, the Sky, hear us From age to age.
[Adapted, An Akathist in Praise of God’s Creation]
And make us strong.
6Part II: FORGETTING Be as incense to thee,
As I breathe and remember
i. Prologue. [Instrumental] The ancient forests of earth.
[Adapted, Chinook Psalter]
ii. Supplication I: We Ignore Your Word
S1: O God: vi. Supplication III: We Defile Your Oceans
We ignore your Word S1: O Creator:
Serving only ourselves. We defile your oceans,
[Adapted, Orthodox “Service for the Environment”] Harming and killing sea life.
S1+T2: We forget who we are.
T2: We forget who we are. [All:] Help us to remember.
S1+T2: Help us to remember.
[Adapted, U.N. Environmental Sabbath Program] vii. Witness III: The Survivor
S2/A1: Woe to those who call evil good,
iii. Witness I: Look and Behold And good evil;
S2: My people are fools, Who change darkness into light,
Senseless children And light into darkness;
Who have no understanding; Who change bitter into sweet,
They are wise in evil, And sweet into bitter!
And do not know Woe to those who are wise in their own sight,
How to do good. Who deprive the just man of his rights.
I look at the earth, [Adapted, Isaiah 5:20-25]
It is waste and void; No more will the fool be called noble,
Look and behold: many are dying, For he speaks foolishly,
Even the birds fly away! Planning evil in his heart.
Look and behold: But the noble man plans noble deeds
Our gardens are deserts. And by noble deeds, he survives.
[Adapted, Jeremiah 4: 22-26] [Adapted, Isaiah 32: 5-8]
iv. Supplication II: We Devour Your Forest viii. Supplication IV: We Destroy Nature
T2: O Creator: T2: O Creator:
We devour your forest, We destroy nature,
Turning land into pavement. Extinguishing animal life.
S1: We forget who we are. S1+T2: We forget who we are.
[All:] Help us to remember. [All:] Help us to remember.
v. Witness II: Breathe and Remember ix. Witness IV: Howl, You Shepherds!
T1: Our garden was so diverse: T1/B1: Howl, you shepherds, and wail!
Plants from so many families, Roll in the dust, leaders of the flock!
So many colors, fragrances. There is no flight for shepherds,
Basil, mint, lavender, No escape for leaders of the flock.
God help me to remember; There is no escape!
Raspberry, Apple, Rose, [Adapted, Jeremiah 25: 34-38]
God fill my heart with love; “Woe to those who mislead
Dill, anise, tansy, And scatter the flock of my pasture;
Holy winds blow through me; You have not cared for them,
Rhododendron, zinnia, And you will suffer for your evil deeds,
May my prayer be beautiful. For your evil heart.”
O God, may my remembrance [Adapted, Jeremiah 23: 1-4]
7Howl, you shepherds, and wail! Teach us love, compassion, and honor,
Roll in the dust, leaders of the flock!
There is no flight for shepherds, So we may heal the earth.
No escape for leaders of the flock. So we may heal each other.
[Adapted, Jeremiah 25: 34-38] [Adapted, Ojibway Prayer]
x. Supplication V: We Pollute the Air Part III: REMEMBERING
A1: O Creator:
We pollute your air, I. Dance of Life
Spreading death and disease.
S1+T2: We forget who we are. A1: A time for all seasons
[All:] Help us to remember. Under heaven:
[All:] A time to live
xi. Witness V: The Joyless Land And a time to die;
S1/A1/A2: The earth is laid waste; A time to plant
Stripped and barren. And a time to harvest;
The world is polluted A time to rend
Because of its inhabitants, And a time to sew;
Who have broken too many laws. A time to hurt
They who dwell on earth turn pale, And a time to heal;
And only a few good people are left. A time to seek
Silent, the cheerful timbrels; And a time to lose;
Ended, the cry of jubilation; A time to embrace
Still is the dancing harp. And a time to reject;
Broken down is the city of chaos: A time to remember
Every joy has left the land. And a time to forget;
[Adapted, Isaiah 24: 3-20] A time to cry
And a time to laugh;
xii. Supplication VI: The Dying Planet A time to love
T2: O Creator: And a time to hate.
Your planet is dying
From our corruption and abuse. A time to give
A1+B1: We forget who we are. And a time to take;
[All:] Help us to remember. A time to destroy
And a time to create;
xiii. Witness VI: The Sacred Way A time for action
T1/B1/B2: O Creator: And a time for thought;
Look at our brokenness. A time for war
And a time for peace;
In all creation, A time to mourn
Only the human family And a time to dance;
Has strayed from the Sacred Way. A time for silence
And a time for music—
We are divided A time for life
And must come back together again And only life.
To walk as one in wholeness. [Adapted, Ecclesiastes 3: 1-8]
O Creator,
O Sacred One:
8II. Canticle of Life vi. Second Canons
House made of dawn.
Canticle: First Part House made of evening light.
i. First Soliloquy House made of the dark cloud.
T2: O Lord: House made of male rain.
Help me to remember who I am, House made of dark mist.
Guide me to preserve your creation. House made of female rain.
Lead me to greater life. House made of pollen.
[Adapted, Orthodox “Service for the Environment”] [Adapted, Navaho Chant]
ii. First Canons Canticle: Third Part
[All:] Help me to remember who I am… vii. Third Soliloquy
A1: O Master:
iii. Chorale, First Verse Help us to remember
[All:] Remember, remember The holiness of your creation.
The circle of the sky: Guide us to preserve
The stars and the brown eagle, The majesty of nature.
The supernatural winds [Adapted, Orthodox “Service for the Environment”]
Breathing night and day
From the four directions. viii. Chorale, Third Verse
[Adapted, Pawnee/Osage/Omaha Indian Song] [All:] Remember, remember
The holiness of life:
Canticle: Second Part The running streams and dwellings,
iv. Second Soliloquy The young within the nest,
S1: O Creator: A hearth for sacred fire,
Guide us to preserve your creation. The holy flame.
Help us to protect the fullness of nature [Adapted, Pawnee/Osage/Omaha Indian Song]
In which we live and move and have our being.
Give us the breath of winds. ix. Third Canons
Give us the flow of waters. Restore my feet for me. Restore my legs for me.
Give us light. Restore my body for me. Restore my mind for me.
[Adapted, Orthodox “Service for the Environment”] Restore my voice for me.
[Adapted, Navaho Chant]
v. Chorale, Second Verse
[All:] Remember, remember Canticle: Final Part
The great life of the sun: x. Final Chorale
Breathing on the earth, [All:] O Holy One:
Falling upon earth, Give peace to all nations
Bringing out life from the earth— And understanding in all things,
Life covering the earth. So we may act as one
[Adapted, Pawnee/Osage/Omaha Indian Song] To preserve your creation.
[Adapted, Orthodox “Service for the Environment”]
xi. Final Canons
S1, T2: Rejoicing may I walk.
Rejoicing, with abundant dark clouds, may I walk.
Rejoicing, with abundant showers, may I walk.
Rejoicing, with abundant plants, may I walk.
Rejoicing, on a trail of pollen, may I walk.
9xii. Epilogue
S1, T2: May it be beautiful before me.
May it be beautiful behind me.
May it be beautiful below me.
May it be beautiful above me.
May it be beautiful all around me.
In beauty it is finished.
Beauty before me…
Beauty behind me…
Beauty below me…
Beauty above me…
Beauty around me…
T2: Remember…
Available at cappellarecords.com Mark Powell, M.A. Alexander Lingas, Ph.D.
Executive Director Music Director & Founder
and where fine music is sold Brian Edwards
John Michael Boyer
Associate Music Director
Operations Manager
Board of Directors 2020-2021
Allison Silverberg
Gala Coordinator His Eminence Metropolitan
+Gerasimos of the Greek Orthodox
Kerry McCarthy, Ph.D. Metropolis of San Francisco,
Librarian Honorary Chairman of the Board
Thomas LaBarge, J.D.
President, treasurer pro tem
S. Keith Walters, Ph.D.
Vice President
Diane Cherry, Secretary
Susan Ashbrook Harvey, Ph.D.
Juanita Doerksen, M.D.
Shanti Michael, M.S.Mus.
John Paterakis
Nancy Retsinas, J.D.
Photini Downie Robinson
620 SW Main St Ste 714
Robert Saler, Ph.D.
Portland OR 97205
Paul van der Salm
Telephone 503-236-8202
Christine Thum Schlesser
www.cappellaromana.org
Edward Tenny
Email: info@cappellaromana.org
10ABOUT THE ARTISTS Camerata, Harvard-Radcliffe Collegium the Christian East and West,
Musicum, Harvard Glee Club, Radcliffe with emphasis on early and
Choral Society, University of Chicago
contemporary music. The
ROBERT KYR Choruses, Pacific Youth Choir, Cappella
Nova (Scotland), Revalia (Estonia), ensemble is known especially
Robert Kyr (b. 1952) is considered to be for its presentations and
Putni (Latvia), Moscow State Chamber
one of the most prolific composers of
Choir (Russia), Ensemble Project Ars recordings of medieval
his generation; he is also a writer and
filmmaker. His output features a wide
Nova, Back Bay Chorale (Boston), Byzantine chant, Greek and
Oregon Repertory Singers, Pacific Youth Russian Orthodox choral
range of music for vocal ensembles of
Choir, San Francisco Symphony Chorus,
all types, as well as twelve symphonies, works, and other sacred
among many others.
three chamber symphonies, three violin music that expresses the
concerti, and works for diverse chamber Many foundations and institutions have historic traditions of a unified
ensembles. Luminous and sometimes commissioned Kyr’s music, including
Paul G. Allen Foundation, National
Christian inheritance. Founded
ecstatic in effect, Kyr’s music is basically
tonal and modal, and he often combines Endowment for the Arts (NEA), in 1991, Cappella Romana
music with other media in order to Meet the Composer, Chamber Music has a special commitment
explore important intercultural themes, America, Yale Institute of Sacred Music, to mastering the Slavic and
such as peace-making (conflict and Scottish Arts Council, Canada Council, Byzantine musical repertories
reconciliation) and the environment Estonian Choral Society, Nagasaki Peace in their original languages,
(living in harmony with nature). His Museum, Chase Foundation (Boston),
New England Foundation for the Arts,
thereby making accessible to
Songs of the Soul was premiered by
Craig Hella Johnson and Conspirare's Hopkins Arts Center (Dartmouth), the general public two great
Company of Voices, and hailed in the Templeton Foundation, Collins musical traditions that are
Wall Street Journal as “a powerful new Foundation, Oregon’s Regional Arts and little known in the West. The
achievement in American music that Culture Council, Oregon Humanities ensemble presents annual
vividly traces a journey from despair to Center, and Massachusetts Council for concert series in Portland,
transcendence.” the Arts and Humanities.
Oregon, Seattle, Washington,
Five compact discs of Kyr’s music are Kyr holds degrees from Harvard (Ph.D.), and San Francisco, California,
currently available: Songs of the Soul University of Pennsylvania (M.A.),
and Yale (B.A.). He has held teaching
in addition to touring nationally
(Conspirare); A Time for Life (Cappella
Romana); Violin Concerto Trilogy positions in composition and music and internationally, most
(Third Angle New Music); Unseen Rain theory at Yale, UCLA, Hartt School of recently to Hungary, Serbia,
(Ensemble Project Ars Nova), and The Music, Aspen Music School, and the and the UK. Critics have
Passion according to Four Evangelists Longy School of Music. Currently, he is consistently praised Cappella
(Back Bay Chorale). In addition, his Philip H. Knight Professor of Music and Romana for their unusual
music is featured on two Conspirare Chair of the Composition Department
at the University of Oregon School
and innovative programming,
discs on Harmonia Mundi: Samuel
Barber—An American Romantic (his of Music and Dance. In addition to including numerous world and
chamber version of The Lovers) and teaching, Kyr directs the Oregon Bach American premieres. Cappella
Sing Freedom! (his original spiritual, Festival Composers Symposium, the Romana has released more
Freedom Song), as well as several other Music Today Festival, and the Vanguard than 20 recordings.
compilation discs, including Faces of Concert Series. Robert Kyr’s website
a Woman (MDG 344-1468), Celestial is www.robertkyr.com and he can be
Light: Music by Hildegard von Bingen and contacted at kyrcomposer@yahoo.com. cappellaromana.org
Robert Kyr (Telarc CD 80456), and The
Fourth River: The Millennium Revealed
(Telarc CD 80534). CAPPELLA ROMANA ALEXANDER LINGAS
Over the past three decades, Kyr Its performances “like jeweled Alexander Lingas, Music
has received commissions from light flooding the space” (Los Director and Founder of
numerous music organizations, and Angeles Times), Cappella Cappella Romana, is a
from choruses and vocal ensembles
Romana is a professional Professor of Music at City,
in particular, including Cappella
Romana (Portland/Seattle), Conspirare vocal ensemble dedicated University of London, and a
(Austin), Chanticleer (San Francisco), to combining passion with Fellow of the University of
Santa Fe Desert Chorale, Austin Vocal scholarship in its exploration Oxford’s European Humanities
Arts Ensemble (Chorus Austin), Yale of the musical traditions of
11Research Centre. He completed the St. Romanos the Melodist never know what is going to happen next.
his doctorate on Sunday medallion of the National Third Angle. It’s anything but ordinary.
matins in the rite of Hagia Forum for Greek Orthodox Third Angle New Music String Quartet
Sophia at the University of Church Musicians (USA). has received rave reviews for its
British Columbia and then, In 2018 His All-Holiness, performances of contemporary music.
Following its recent tour of China, the
with the support of a SSHRC Bartholomew I, Archbishop quartet performed the epic four-hour
postdoctoral fellowship, of Constantinople-New Rome String Quartet No. 2 by Morton Feldman
moved to Oxfordshire and Ecumenical Patriarch, and received the following accolade from
to study theology with bestowed on him the title of Asymmetry Music Magazine in February
Metropolitan Kallistos Ware. Archon Mousikodidaskalos. 2012, “I cannot imagine it [Feldman
His present work embraces String Quartet No. 2] played any more
beautifully or perfectly than Third Angle
not only historical study played it. Rich tone, perfect intonation,
but also ethnography and THIRD ANGLE NEW MUSIC
razor-sharp ensemble, and a palpable
performance. His awards Third Angle New Music pushes the love for this lovely music. No praise can
include Fulbright and Onassis boundaries of the expected with be too high for this performance.” Learn
the creation and performance of more at thirdangle.org.
grants for musical studies in contemporary musical events, works,
Greece with cantor Lycourgos and collaborations. New music is
Angelopoulos, the British a form of musical storytelling that
Academy’s Thank-Offering to works in harmony or dissonance with
Britain Fellowship, research its environment. It’s an opportunity
leave supported by the Stavros to rethink the conditions of the
performance itself. Being new music, you
Niarchos Foundation, and
Learn more about the whole series at
animamundiproductions.com
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