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Last evening’s Sanford Dole Ensemble concert of “All New – All Local” music was a wonderful experience, on many levels. Obviously, it was the culmination of a few weeks of intense individual music-learning, punctuated by a few rehearsals, not to mention life—the coming together of all the vital ingredients and the fruition of them as a live musical offering.

I cannot completely speak for composer Michael Kaulkin, but I do know that he was very pleased with the first outing of his piece, “Waiting…”

For myself, I can say that it was a much more emotional experience than I imagined it would be. The poetry that was set in “Waiting…” had been given birth long ago. Now, in the hands of someone else, the texts have taken on a new, and perhaps, more fascinating life beyond the page—a life, in fact, that I could never have imagined for them. They now occupy a sonic landscape that is to some extent beyond even the composer’s control. Being one of many performers in this premier was a very precious and beautiful experience for me.

Before the presentation of the piece, both Michael and I were asked to say a little something about how it came to be. I cannot remember everything I said—I confess to feeling extremely awkward when asked to speak extemporaneously—but here are the few things I do remember saying:

This was a collaboration done almost entirely by email—an interesting and unexpected (for me) way to collaborate. Michael had certain ideas for mood and color that I tried to match with material culled from my poetic diary. The pieces he selected were from a time period spanning twelve to thirteen years, and there were a lot of words to set! The challenge was to find a piece that had driving momentum. My work, being as it is a diary, frequently contains snapshots of static moments or moments whose time I attempt to stretch beyond a moment. Michael did find the piece that had the driving momentum he wanted, and around that, he framed the other texts.

Michael and I agreed that “meaning” would not be part of any “collaborative discussion.” As I said to the assemblage of audience and performers last night, “Yes, this piece may mean something specific to me, it may mean something specific to Michael, and to each of us on the stage—but once we put it together as a package and offer it to you, it’s yours!” What it might mean to us doesn’t matter, at that point; all that matters is what it means to you.

The enthusiastic audience response to Michael’s piece was thrilling behold.

Kudos to you, Michael, for creating this beautiful piece of music.

Thank you, Sanford Dole, for introducing me to Michael, and for programming “Waiting…” And thank you to all my colleagues in this lovely adventure: Pamela Sebastian, Ann Moss, Heidi Moss, Helene Zindarsian, Linda Liebschutz, Sally Mouzon, Heidi Waterman, Alan Cochran, Kevin Baum, John Davey-Hatcher, David Meissner, Dale Engle, Paul Thompson, Steven Rogino, Gregory Whitfield, Steven Bailey, Richard Riccardi, Mckenzie Camp, Matt Dodson, Michell Maruyama, Emanuela Nikiforova, Jason Pyszhkowski and Rachel Turner Houk. Thanks to composers Michael Kaulkin, David Conte, Peter Scott Lewis and Sanford Dole for creating new, beautiful and challenging works for us to perform.

And our deepest appreciation goes to you, the concert-goers!

All our musical offerings are for you!

Concert of Bay Area Premiers Tonight!

Sanford Dole Ensemble presents:
"All New - All Local"
Saturday, February 4, 2012 at 8:00pm
San Francisco Conservatory Recital Hall
50 Oak St., San Francisco

Featuring four new works by Bay Area composers, receiving their local premieres:
David Conte: The Nine Muses with text by John Sterling Walker
Peter Scott Lewis: The Changing Light sets three poems by Lawrence Ferlinghetti
Sanford Dole: Gertrude and Alice songs from a work in progress about the lives of Gertrude Stein and Alice B. Toklas with text by Brad Erickson
Michael Kaulkin: Waiting... sets various poetry by Elisabeth Eliassen

All of the works on this program employ various combinations of voice, strings, piano and percussion.

Tickets available at the the door.

This is a wonderful opportunity to hear a varied program of new chamber music for voices and instruments. There are some truly exquisite moments on this varied program of works by Bay Area composers.

Music is a powerful communal event, one intended to draw an audience into a singular experience, where we might well be entrained, whether by the rhythms or by tonal elegance, to join our minds and bodies in a similar emotive idea. Aristotle said it in this way:

Music directly imitates the passions or states of the soul...when one listens to music that imitates a certain passion, he becomes imbued with the same passion; and if over a long time he habitually listens to music that rouses ignoble passions, his whole character will be shaped to an ignoble form.

Socrates expressed this about the power of music:

Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful.

Plato knew music to be powerful and even dangerous:

Any musical innovation is full of danger to the whole state, and ought to be prohibited. When modes of music change, the fundamental laws of the state always change with them.

Even though Plato knew that music has the potential to spark revolution, he admitted that:

Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.

So, I ask: How will you respond to the hearing of these new works? What will you take away with you, as you depart into the night after this concert? What will you share with your fellow concert-goers or talk about in the coming days?

How will you be changed?