Two Commissions: “Gnizo” and “The Pathless Woods”

Two compositions, commissioned, composed, and performed during the pandemic. These are singular times that call upon unique collaborations and unorthodox approaches to the process of imagining and performing music.

During the pandemic, my husband and percussionist Piero and I have used these unusual circumstances to develop our repertoire as a duo. Living in the same house, with no commute time and a few more free hours than before, we have been given a rare opportunity to explore new collaborations and new ways to communicate through our music.

For years we have admired Kareem Roustom’s compositions for their depth and integrity, and for the folk elements, rhythmic intricacies and evocative qualities. But we had been hesitant to ask him to write a piece for us because he is a busy composer with many important commissions to tackle. But the pandemic has refashioned our perspective and taught us to seize the moment. So we decided we should just ask. And he said YES!

After an exchange of emails about the inspiration for the piece, desired length, instrument possibilities for Piero, premiere date and other details, we had a plan. In late November we received Kareem’s email with the first draft, and Piero and I were so excited to open this musical surprise and start unwrapping the layers of meaning and expression.

Kareem creates depth in his compositions through tiers of harmony, form, rhythm and inspiration. This new piece, “Gnizo,”  requires a freedom in phrasing and sound, yet a precision in the notes, motives, dynamics, form and structure. Because of the simplicity of the notes, Kareem suggests that the focus should be on tone production and the awareness of the form.

This piece requires a very specific state of mind, almost a meditative approach in the performer, to get to the heart and to evoke a contemplative frame of mind in the listener. A quiet cry, a yearning for comfort, feelings of aloneness, an attitude of prayer and meditation–all things we can relate to right now more than ever. The composition should be played as if the performer were in a place of worship. For Kareem, he imagines entering a stone church within a convent in Syria. I try to transport myself there through imagery so I can invite the listener to travel with me.

The process with Kirsten Volness’ commission was similar, except that we have commissioned her work before, so we are more familiar with her process. As a good friend, Kirsten is able to tap into what she knows about Piero and me as musicians and people. Because of this connection and the clarity of Kirsten’s compositions, I can picture what it will take as a performer to breathe life into the notes. I can imagine the feelings she wants to evoke and what kind of sound, articulation and color it will take to create the characters and emotions she pictures.

In “The Pathless Woods,” Kirsten combines live electronics with our own instrumental sounds and adds effects. Piero recorded some of the electronic effects using actual percussion sounds. This creates a fun and mysterious combination of live and pre-recorded sounds.

Because the electronics are ‘live’, they become almost like another musician in our ensemble. There are cues in the score that indicate different effects from the electronics and these cues are triggered by a foot pedal that one of the musicians operates. In that way, we are in essence playing chamber music with the electronics as the third member of the trio, except that we control that member.

Another unique element of this piece is the secondary instrument that I get to play–the kick drum. Kirsten knows I enjoy learning new tricks and incorporating different techniques and instruments into my music-making, so she has written in a section where I play the kick drum with my foot while playing the violin.

The title of this work, “Pathless Woods,” resonates deep within me. Growing up on a farm, rimmed with woodland, I explored and discovered the nooks and crannies of those seemingly limitless acres. That special connection with the woods and fields travelled with me to Rhode Island and, during the pandemic, I have spent hours wandering and getting lost in the woods by Carr Pond. The beauty and quiet there infuses me with both energy and peace.

Whenever we perform a premiere work, the collaboration combines the performers’ and composer’s training, experiences and feelings, the current times, the performance space and the audience. In this concert, there is a special feeling in playing the piece because of our personal connections and conversations with the composers. Because we know one another, there is an added depth that plays into the composition, preparation and unveiling that couldn’t happen in the same way otherwise. Having a conversation that starts before the creative process has begunand continues through the composition and rehearsal phases creates a unique blend of contributions, like a friendship that develops over time and is a delightful combination of personalities.

Each world premiere, in its own way, is a reaction to what’s going on globally. Kareem’s piece is more of an inward, retrospective response and Kirsten’s is more of a stream of consciousness reaction to the pandemic.

Piero and I look forward to sharing these new compositions with you.

–EmmaLee Holmes-Hicks, violinist

Hear these compositions and more in our third Sonata Series Event premiering Thursday, January 28 at 7PM EST on our YouTube channel: www.YouTube.com/communitymusicworks