music news/events bio contact recordings Spencer the Rover 2016 SATB chorus 3 cornets 3º doubling flugelhorn 4 horns 3 trombones euphonium tuba 2 percussion 1: cymbals, sandpaper blocks, washboard 2: sandpaper blocks, sizzle cymbal, 3 suspended cymbals, washboard, woodblock duration 35' commissioned by Chorus Pro Musica first performance: Chorus Pro Musica , cond. Jamie Kirsch Sanders Theater, Harvard University / March 12, 2016 SCORE RECORDING—first performance: n.b. this recording is of the unrevised version and, in some places, deviates from the revised score above PROGRAM NOTE Spencer the Rover is a fantasia on an English folk song, collected by Ralph Vaughan Williams, but still known in the traditional folk world in its own right. My version is, in turn, based on the recording by John Martyn which leaves out two of the verses from the "traditional" Copper Family version. The piece tells the story in three, interwoven, ways. The opening, Prelusion, sets the stage with an agitated and complex textured brass introduction, gradually flattening out to lead into the first of the five Narrations. These Narrations are the song itself. Until the Final Narration the entire song is given to the tenors, basses supporting, and the women only join with the most salient points of the text. The two interwoven Depictions tell the story again but purely musically with the brass ensemble – these are little tone-poem versions, verse by verse. The two Sensibilities are portrayals of what might be going on inside Spencer throughout the poem. They take key words and surround them with percussive effects and non-pitched, 'environmental' sounds made by the choir; clicking, whistling, clapping, etc. The Final Narration is a harmonically simpler, slightly jauntier run-through of the entire song. There is, however, a subtext to this piece; while starting to compose this my 87 year old father passed away after descending deeper into dementia. A happy, peaceful passing. though. As this happened the words of Spencer took on a new resonance for me. I started to think about the actual story: how had he been "much reducèd"?, what was the "great confusion"? Also, the events began to seem less likely; would his family (probably impoverished after his departure) be just waiting for his return and entirely happy to see him? I began to think of his being reduced, his rambling, and his roaming as parallel to my father's gradual withdrawal from the everyday world. Spencer's "return" to his family might instead be a vision of his own, not an actual event, and his return to his prittle-prattling children might be something akin to my father's own confusion about the current age of my sister and me; he sometimes thought there were two of each of us: an old one and a young one. So, Spencer became, for me, about this journey too: a ramble with a different kind of arrival and a different kind of return. A 1977 performance by John Martyn
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