Phyllis Bryn-Julson
Liner Notes   Cat. No. NWCRL498     Release Date: 2011-05-15
Phyllis Bryn-Julson, soprano; Contemporary Chamber Ensemble: [Susan Palma, flute; Laura Conwesser, flute; Raymond DesRoches, percussion; Richard Fitz, percussion; Susan Jolles, harp; Aleck Karis, celesta; Christopher Finckel, cello; Michael Finckel, cello; Donald Palma, bass; Arthur Weisberg, Conductor]; Benjamin Hudson, violin; Allan Dean, trumpet; Fabian Sydnor, soprano; Nancy Young, soprano; Joel Lester, violin; Carol Zeavin, violin; Arthur Weisberg, Conductor

Text author Howard Norman writes: "These compositions are based on Cree stories which are sung to the newborn child. Within the vast repertoire of Cree Indian oral literature, there are many kinds of stories, songs and poems. These are among the most intimate, in the sense of being sung or spoken in the confines of the home by the child's father for the benefit of gathered family and friends, who often add their own invented verses as well. Out of the inherent generosity of the Cree culture, these songs are "community property" and may be related by anyone, but it is from the particular realm of the father/child that they come.

William Hibbard writes:

"Ménage treats the trumpet in a vocal manner. The voice sings only phonetic syllables. The soprano and trumpet perform as a consort sharing the same pitches, frequently in the same register. Opposed to this basically lyrical style is a virtuosic, angular, rhythmically incisive, and frequently disjunct violin part of demonic qualities. The violin's attempts to intrude upon the soprano/trumpet's lyrical style, and the violin's extremely wide-ranged transformations of that style — as if carried away by it's own extravagant ecstasy — provide the central dramatic issue of the work."

Stephen Dickman writes:

"The Song of the Reed and Love, the Hierophant share a compositional device: each phrase of text has a corresponding musical phrase which repeats and changes as the text phrase repeats and changes. In addition, in Love, the Hierophant every new phrase expands the range of the piece a little more; and the work, which begins on a repeated F, ends on E a major seventh above. In The Song of the Reed and Love, the Hierophant each of the three violins doubles the soprano with which it is paired. MY LOVE MAKES ME LONELY is a capella and uses a violin drone.

"The Song Cycle represents a culmination of my thoughts and experiences in Europe and Asia and expresses periods of ecstatic reverie and refections on life."



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Phyllis Bryn-Julson

Phyllis Bryn-Julson

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Track Listing

Cree Songs to the Newborn: I. -
Laura Clayton
Buy
Cree Songs to the Newborn: II. -
Laura Clayton
Buy
Cree Songs to the Newborn: III. -
Laura Clayton
Buy
Cree Songs to the Newborn: IV. -
Laura Clayton
Buy
Melanage
William Hibbard
Buy
The Song of the Reed
Stephen Dickman
Buy
My Loves Makes Me Lonely
Stephen Dickman
Buy
Love, The Hierophant
Stephen Dickman
Buy