2020 Presser Graduate Music Award, from the Presser Foundation
Here below is a two-part interdisciplinary video project around the hammered dulcimer! One part is a set of arrangements of traditional folk songs for flutes, voice, and hammered dulcimer—and the other part is a set of new compositions for hammered dulcimer and dance.
The first set showcases the talents and knowledge of my wonderful and brilliant fiancée, Forest Lily. Among their many skills, Forest Lily is an expert in historical performance practices and folk traditions across Europe and the United States. As someone who grew up in the mountains of Western North Carolina, they have a particularly wide and diverse knowledge base around Appalachian old-time music. Utilizing their talents as a stellar, established flutist (from historic to modern performance), singer, arranger, and soloist (among many other things), we developed a set of four songs to honor the history and traditions of the Appalachian hammered dulcimer. Both on stage and behind the scenes, Forest Lily’s contributions were so crucial that without them the project would not have come to light, and for that I can’t thank them enough.
For the second set, Rush Johnston choreographed five emotive performances of new compositions by Yiyang Wang, Benjamin Stevenson, Daniel Collins, David Fisher, and Christopher Enloe. Each of the composers took wonderfully unique angles to the task of writing for hammered dulcimer, and Rush breathed life into the music with each performance. I would like to thank each and every one of them for collaborating with me and making lovely music and dance.
On the production end, I would like to thank Paul Ritterhoff for recording all of the performances, and my dad for his vital help in the editing process. And I would like to thank the Presser Foundation for generously funding this project.
This set of traditional folk arrangements was recorded at St. Bartholomew’s Episcopal Church in Baltimore, MD.
Originally a Scottish fiddle tune, this tune is a staple of Appalachian old-time (and bluegrass) music. Here, Forest Lily is performing on an original boxwood flute made in the 1850s by C. G. Christman and a metal D whistle made by Michael Copeland.
Courting songs are a rich tradition in Appalachian old-time music, and this is one of the most famous ones to play. Here, Forest Lily is singing and performing on an Essential flute by Geoffrey Ellis.
Also rich in the traditions of old-time music are ballads. This ballad is an Appalachian version of the British song, “Barbara Allen.” We learned this arrangement from Jean Ritchie’s recording.
We decided to close this set with a two-part medley. The Empty Purse is a fun Scottish reel, and Bucks of Oranmore is a challenging and exciting Irish reel.
This set of new pieces for hammered dulcimer was recorded at the Centre Street Performance Studio in Baltimore, MD, a space which was also funded in part by the Presser Foundation.
To start this set, this piece carries a constant momentum, and is both vibrant and pensive.
This piece celebrates queer identity in a playful way, combining a driving groove with lots of chromaticism.
A “choose-your-own adventure” for the performers, this piece is a four-voice chorale set to different rhythmic and dynamic textures.
This piece is a short contemplation on what time is and how we navigate through it.
The last work of this set, this piece derives its material from Perotin’s Beata Viscera and the poetry of Persian mystic Hafiz. The text of this piece consists of three words: “Open, just breathe.”