THE CROSSING with TAYLOR LEVINE (guitar), JAMES MOORE (guitar), and RON WILTROUT (percussion)
A single sentence from the Iraq War Logs, wealth distribution and privilege, the Supreme Court’s Citizens United decision, and the 2013 case of rape by high school students in Steubenville, Ohio: inspirations all for the music of Ted Hearne, among the most compelling and imaginative composers writing for voices today. Ted Hearne’s compositions transform challenging topics into works of art that are musically virtuosic, eclectic, and profoundly moving. With much of the program written specifically for the new music chamber choir The Crossing, the music is deftly rhythmic, harmonically complex, and hauntingly beautiful. Hearne’s Sound from the Bench is a setting of deft appropriations by Philadelphia poet Jena Osman which repurpose the words of ventriloquism handbooks and Supreme Court justices.
Produced by Beth Morrison Projects with support from the National Endowment for the Arts, the New York State Council for the Arts, the Aaron Copland Fund for Music, the ART NY/ JP Morgan Chase Fund for Small Theaters, OPERA America, Mid-Atlantic Foundation, the Margaret Enoch Foundation, the MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation. This project was made possible, in part, by the New York State Council on the Arts with the support of the Office of the Govenor and the New York State Legislature, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council Premiered at the Isabella Stewart Gardner museum (Boston, MA) and National Sawdust.
“Ted is unrelenting about getting the right moments in his music. I love that.”
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