Posted by: Colin Britt | July 22, 2016

New releases from Edition Peters! …plus some other stuff

13781887_10100854972879519_7484981254087208253_nToday I received my complimentary copies of two newly published pieces, “I long to see” for SATB chorus, piano, and cello, and “Whenever beauty looks,” for SATB chorus a cappella. I’m deeply honored that Peters has decided to include these works in their catalogue, and humbled by the beautiful editions they published. Here is a recording of “Whenever beauty looks,” recorded before my wedding by my friends Tessie Prakas, Arianne Abela, Noah Horn, and Tian Hui Ng:

 

As it’s the summer, when many of us are programming for our ensembles, I’m also going to use this post to shamelessly plug a few more of my published (and unpublished) choral works. I’m not great at self-promotion, though I’m trying (Tori does a much better job at promoting my work). So please forgive the infomercial that follows.

Since the holiday season is approaching, I will re-share two of my holiday compositions: First is “There is no rose,” which I wrote in 2007 for the New Haven Chorale, under the direction of Edward Bolkovac. It’s published with the Evoking Sound Series at GIA Publications. Here is a lovely recording from 2014 by the Rutgers Kirkpatrick Choir:

Also published with GIA is “Come, thou Redeemer of the earth,” a relatively simple, chorale-like setting of a lesser-known Advent hymn.

If you’re looking for secular pieces, I have four a cappella settings of Edna St. Vincent Millay poems, published by both Alliance and GIA. Originally conceived as a trilogy, “Afternoon on a Hill,” “The Dream,” and “World, I cannot hold thee close enough” are each available for purchase. I’m honored that “Afternoon on a Hill,” my first choral composition, has enjoyed quite a few wonderful performances, including this first-rate recording by the Connecticut-based choir VOCE, conducted by Mark Singleton:

Also published by Alliance is “As there are flowers,” which was featured on Seraphic Fire’s incredible CD, Reincarnations, alongside works by Dominick DiOrio, Jake Runestad, Frank Ticheli, Dan Forrest, and Samuel Barber. That gorgeous recording, conducted by Patrick Dupré Quigley, can be heard here:

Finally, you can visit the Choral Music page on my website to see some other new works from the past year, including a trilogy of Emily Dickinson pieces for SATB choir and piano, my “Quem vidistis pastores” for TTBB choir and optional percussion, and a cappella choral setting of Rumi’s “The Agony and Ecstasy.”

If you made it to the end of this post – congratulations! That’s more self-promotion than I can usually stomach. If not… no harm, no foul.

Posted by: Colin Britt | June 30, 2016

Plans for 2016-2017!

At long last, I am very excited to announce my plans for next year. Following three years of enjoyable – and exhausting – studies at Rutgers, I will be taking on a wide variety of teaching and conducting opportunities. Here they are:

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  • In Fall 2016, I will be filling in as a sabbatical replacement for Edward Lundergan, the director of choral activities at SUNY New Paltz. I will conduct three ensembles there, including the Concert Choir (an auditioned large ensemble), the Chamber Singers, and the College-Community Chorale, a so-called “town-and-gown” group.
  • IMG_9535I will be assuming the position of Artistic Director and Conductor of the West Village Chorale, a 40-voice chorus based out of Judson Memorial Church at the south side of Washington Square Park in New York City. This wonderful ensemble has enjoyed 45 years of innovative and exciting programming, and I look forward to continuing the terrific work that my predecessors (including Michael Conley) have done.
  • Also in New York, I am excited to begin work as the Music Director for Amuse Singers, a selective chamber choir for treble voices. Founded in 2002 by Lee Ryder, this group specializes in a diverse range of repertoire and in unique programming.
  • Across the river in Jersey City, I’m also very excited to serve as the Music Director for North River Sing, a community chorus dedicated to singing songs from the American Songbook. I’m really looking forward to “going back to my roots,” as there is such a wealth of great music from Broadway and these icons of songwriting that doesn’t usually make it into traditional concert programs.
  • And of course, I look forward to continuing my work with the music ministry at Grace Church Van Vorst in Jersey City, which has become both my spiritual and literal home over the last three years. This church is truly an extraordinary place, where everyone – and I mean everyone – is welcome to visit, worship, sing, play, and find rest.

I can’t wait to get started with each of these wonderful ensembles and organizations. I look forward to sharing more news about concerts and events as the fall approaches. Happy summer, everyone!!

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Posted by: Colin Britt | June 5, 2016

James MacMillan’s “Cantos Sagrados” with C4

This coming Thursday and Saturday, I will have the incredible honor of conducting C4‘s performance of “Cantos Sagrados,” a powerful and disturbing work by James MacMillan.

As I’ve studied, rehearsed, and prepared this work, I can think of few other pieces that have resonated so emotionally with me. MacMillan’s gift for combining new and old texts, something modeled so brilliantly in the War Requiem, holds up a revealing and damning lens to the injustice in this world, and although the subject for the piece is the Argentinean Dirty War from 40 years ago, somehow the message seems urgently modern and relevant (and perhaps a caution against the growing sense of “us versus them” that pervades the current political landscape).

The other works on this concert, conducted brilliantly by my colleagues, include pieces by Karen Siegel, Perry Townsend, Hayes Biggs, Tarik O’Regan, Jamie Klenetsky Fay, Mario Gullo, and Arvo Pärt. James Kennerley is the magnificent organist (whom I understand last played the piece with the composer conducting – no pressure!). I hope you will be able to attend.

Posted by: Colin Britt | May 16, 2016

Journey’s End – 3 years at Rutgers

With Patrick Gardner

With Patrick Gardner

As hard as it is for me to believe – I feel like I just wrote my first post about coming to school here – my time at Rutgers has come to an end. The last three years have been an incredible learning experience, and I have found a new family of friends, mentors, and colleagues that I will forever hold dear. To conclude my time by singing at the 250th Rutgers Commencement in the presence of President Obama is an experience I will never forget. I have been gifted with the opportunity to study with and work alongside Patrick Gardner for these three years, and I shall remain forever grateful for his dedication to his students, his commitment to excellence, and the love of reading and lifelong studying he instills in each of us. The seriousness with which he approaches his craft is inspiring, and the opportunities I was given to conduct his choirs were invaluable and formative.

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A single blog post cannot encapsulate all of the memories contained in these three years, but some of my favorite experiences came through working with the extraordinary undergraduate students at Rutgers in the Kirkpatrick Choir, the University Choir, the Glee Club, and in my conducting and methods classes. I have been tremendously fortunate to work with some incredible musicians in my career, but the freshness and energy that the students at Rutgers brought to every facet of their studies and performances were tremendous sources of pride and joy for the department. I have been and continue to be moved and inspired by their generosity, humility, humor, and talent, and am grateful to have taught, accompanied, conducted, and sung alongside these gifted individuals.

After the Mason Gross Commencement

After the Mason Gross Commencement

With Hingrid Kujawinski, John Wilson, and Patrick Gardner

With Hingrid Kujawinski, John Wilson, and Patrick Gardner

It will be strange not making the trip to New Brunswick 5-7 times a week, and leaving the home I have found in Mortensen Hall is definitely one of the hardest departures I can remember. I am grateful to be staying in the area for the next year, and look forward to maintaining the professional and personal relationships I have built during my time here. Two of the kindest, most generous, and hilarious friends I have gained are my fellow graduate students, John Wilson and Hingrid Kujawinski, with whom I was honored to receive my degree this week. They have been unending sources of joy, laughter, and compassion, and they are both incredibly gifted and intelligent teachers and conductors. I look forward to seeing what the future holds for both of these dear friends.

I’m someone who does not believe in goodbyes, especially in the small world we share in the arts. I am grateful that technology has made this world even smaller, and I look forward to see what the next adventure holds for all of us.

Paying tribute to Mark A. Boyle, whose regalia I wore for the ceremony

Paying tribute to Mark A. Boyle, whose regalia I wore for the ceremony

 

C4, the Choral Composer/Conductor Collective, is gearing up to present two exciting concerts this week! On Thursday, March 10 at the Church of St. Luke in the Fields and on Saturday, March 12 at Baruch Performing Arts Center, C4 will present “Unusual: Music of the Strange, the Absurd, and the Surreal.”

I am thrilled to be conducting Philip Hersant’s lyrical and mysterious Allégories, which sets three poems by Rimbaud. This work is expansive and yet intimate, joyous and yet melancholy, and encapsulates three stages of life – childhood, youth, and departure. Check out the video above for a sneak preview.

I’m also very excited for the premiere of my piece, The Agony and Ecstasy, based on a poem by Jalāl ad-Dīn Muhammad Rūmī. It’s my first time writing for this terrific ensemble, and under the brilliant conducting of Melissa Wozniak, the piece is sounding fabulous.

Also on the program are Martha Sullivan’s Tyger, Tyger, Gordon Williamson’s Tape Recorder (get ready for some overtone singing), the premieres of Karl Saint Lucy’s Or Delirium and Brian Mountford’s zany The Devil’s Dictionary, Daniel Andor’s Pitter, patter… and then, and Chris Opperman’s theatrical Tales from the Bizarro World. Don’t miss this exciting – and unusual – program!

Posted by: Colin Britt | February 8, 2016

Fall and Winter Update

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University Choir (photo cred. John Lee)

Well, the fall and winter certainly flew by! There’s a lot to share, so I’ll try to keep it brief:

  • I began the final year of coursework for my doctorate at Rutgers, and was incredibly fortunate to conduct the Kirkpatrick Choir, some fabulous soloists, and a terrific period instrument orchestra in a performance of Bach’s Cantata 173 (“Erhöhtes Fleisch und Blut”) in November.
  • I continued my work as a conductor and singer with C4 (The Choral Composer/Conductor Collective) and conducted two pieces on their fall concert, as well as one on their upcoming second CD.
  • The Rutgers University Glee Club premiered my setting of “Quem vidistis, pastores” in Pittsburgh, followed by performances in Michigan and at the annual Christmas in Carol and Song series at Rutgers. I was also thrilled to sing for one of my former conducting students, Melanie Chambers, who conducted the Gardner “Tomorrow Shall Be My Dancing Day” at the final performance!
  • We rolled out our inaugural season of Cathedral Arts Live at Grace Church Van Vorst, beginning with a festive performance for Day of the Dead in October, two fabulous live bands in November, and an innovative Evening of Duets (featuring musicians, dancers, and spoken word) in January.

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    Colin Britt, Nick Cutroneo, and Annalisa Ledson (photo cred. Rosemary McLaughlin)

  • The Riverside Choral Society, under the direction of my brilliant teacher Patrick Gardner, performed my choral-orchestral work “The House of Clouds” to a full house at the Church of the Heavenly Rest in New York City. A special delight was hearing mezzo-soprano Debi Wong sing the solo which was written for her 5 years ago!

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  • And, finally, the 100-voice University Choir, which I’m privileged to conduct at Rutgers, gave a stellar performance in December at the Nicholas Music Center. On the program were all contemporary works by living composers, including works by Abbie Betinis, Christopher Marshall, Harry Einhorn, Meredith Monk, Richard Smallwood, and the premiere of a trilogy of Emily Dickinson settings I wrote for the ensemble.

This spring, I’m looking forward to performing with the Rutgers University Kirkpatrick Choir AND with C4 at the ACDA Eastern Division conference in Boston. I will also be presenting my lecture recital at Rutgers on the choral works of Brahms and how his collection of early music influenced their composition. And, of course, both the Rutgers Kirkpatrick Choir and the Glee Club will be giving many performances throughout the spring. Stay tuned!

Posted by: Colin Britt | August 21, 2015

Summer update

It’s been a while since I’ve posted anything, so I have many updates to share!

11205092_10155572525210002_2407168597645774684_nTo begin with, the 2014-2015 school year ended with a spectacular concert by the Rutgers University Choir. It was probably the most challenging program I’ve picked, and the 90 incredible students with which I have the pleasure of working rose to the occasion beautifully. The concert included works by Brahms, Hopkins, Kodály, Mendelssohn, and the fabulous Abbie Betinis, and featured a range of pieces from around the globe. I’m also thrilled (and amazed) to say that out of the 10 pieces on the program, only one was in English!

IMG_5485Immediately after the semester ended, the Rutgers University Glee Club embarked on a whirlwind tour of the United Kingdom and the Netherlands. We performed in venues from Gloucester Cathedral to the University of Utrecht (where the Rutgers charter was signed), and had the incredible opportunity to visit places like Windsor Castle, the Roman town of Bath, Westminster Abbey, and Valkenburg and Maastricht, two of the most European cities I’ve ever been to. I was also honored on each program to be able to conduct an arrangement I made of a Welsh folk tune, Dacw ‘Nghariad. It’s not exactly the easiest language I’ve come across, but the Glee Club sang beautifully.

Mere hours after stepping off the tarmac, I jumped into final rehearsals for a thrilling production of Hair at Playhouse on Park in West Hartford. As my home and church job are both in Jersey City, I split the role of Musical Director with my good friend Emmett Drake, who really deserves all the credit for teaching the show to our fabulous cast. We had a run of seven great weeks in this special theater, and I can honestly say that I’ve never worked with a more consistently excellent company. It was exhausting making the trip back and forth from New Jersey, but I was thrilled to be a part of this brilliant production.

IMG_6528IMG_7192After Hair closed, Tori and I joined the choir of South Church, New Britain, on a weekend trip to Block Island, where we performed a concert as part of the Harbor Church’s 150th anniversary. One of the pieces on the program was an arrangement I did of “When the Roll is Called Up Yonder,” a delightful folk hymn I had never before encountered. And, of course, we got to enjoy the beautiful scenery and weather of Block Island – I explored a good amount of the island on two morning runs, including the Mohegan Bluffs (pictured on the left).

Finally, Tori and I were then invited to give a concert at the Emery Community Arts Center in Farmington, Maine, where my mother and stepfather both teach. We called the program, “Tori and Colin in Concert: With Love, from Jersey” – a slightly tongue-in-cheek title, I suppose. The concert featured the fabulous Mike French on guitar, and included a variety of musical theater standards, contemporary songs, and even a little pop. The program was well-attended, and Tori and I loved getting to share some new material with one another and our audience. I may have some recordings to post later!

IMG_7256So that basically covers the last three months. In just a couple weeks, I’ll be starting my third and final year of studies at Rutgers – I’m amazed at how quickly the time has flown by!

Stay tuned for information about the new performing arts series I’m launching at Grace Church Van Vorst, as well as some very exciting performances in the fall! And enjoy these last few weeks of beautiful summer!

Posted by: Colin Britt | March 4, 2015

Update on the last few months

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As you might imagine, it’s been a crazy few months since I last posted! Here are some of the exciting projects with which I’ve been involved:

  • I was privileged to conduct C4 in their fall concert, singing Christopher Marshall’s Tihei Mauri Ora at Galapagos in Brooklyn and at St. Luke’s in Manhattan. 
  • The Rutgers Kirkpatrick Choir sang a beautiful performance of my composition, There is No Rose, on their annual Lessons and Carols service.
  • The Rutgers University Choir gave a fantastic performance in December, performing a concert of American music.
  • Debi Wong and I gave an art song recital in February at Grace Church Van Vorst in Jersey City (as part of our new concert series) and at Rutgers University. The recital included Schubert’s Lied der Mignon, Schumann’s Fraunlieben und -leben, and Between Eternity and Time, my set of Emily Dickinson poems. Recordings to follow!

In addition, I traveled to Salt Lake City to attend the biennial American Choral Directors Association conference. I was honored to speak with some of the country’s greatest conductors and composers, attend incredible concerts, and catch up with dear friends and colleagues. What a wonderful opportunity it was to connect with 6000 other conductors, composers, and publishers. Stay tuned for more news about concerts this spring! As a sneak preview, check out C4‘s page to see more info about their concerts this weekend!

Seraphic Fire_Reincarnations

Seraphic Fire‘s fantastic new CD, Reincarnations, is a retrospective of over 100 years of American choral music. Led by music director Patrick Quigley, the album includes Barber’s famous “Reincarnations” and works by 10 living American composers, including Morten Lauridsen, Frank Ticheli, Jake Runestad, Dominick DiOrio, Paul Crabtree, and me! These outstanding artists have released the premiere professional recording of my piece “As there are Flowers,” which is also due to be released in Simon Carrington‘s series through Alliance Music Publications. You can hear a clip of their stunning rendition here:

Reincarnations debuted at #6 on the Billboard Traditional Classical chart, and peaked at #3 on the classical iTunes list. You can download the album on iTunes or buy the album on Amazon.

The current members of C4 at a rehearsal for “Upward: Exploring the Spiritual.” Photo courtesy of Rodrigo Oliveira.

This Thursday (5/29) and Saturday (5/31) night, I will make my debut with C4: The Choral Composer/Conductor Collective, singing and conducting on a varied and vibrant program of music exploring an exciting blend of Christian, Jewish, Hindu, Islamic, and Pagan traditions. I’m thrilled to be joining this energetic ensemble, whose mission is to present challenging and innovative music from the last 25 years. As a living composer, I am undeniably indebted to artists who support new music, and thus performing with this ensemble is both a professional and personal opportunity.

C4 conducting

Photo courtesy of Rodrigo Oliveira

C4 is made up of a number of very talented singers, most of whom who are also composers and/or conductors. Many of the pieces on this program were written by current or past C4 members, including Hayes Biggs’ beautiful “Wedding Motet,” Liz Hanna’s lushly lyrical “Anamnesis,” Perry Townsend’s intricate “Two Devotions and a Heresy,” and Fahad Siadat‘s powerful and appropriately mysterious “O magnum mysterium.” I’m delighted to not only be singing these works but also to be conducting two of them, including Fahad’s piece and Abbie Betinis‘ exhilarating and rhapsodic “Bar xizam,” a profoundly moving setting of one of the ghazals of Hâfez.

Thursday’s concert is at 8 pm at Engelman Recital Hall, and Saturday’s concert is at 8 pm at the Church of St. Luke in the Fields. Tickets are $15 in advance, $20 at the door; additionally, a limited number of $4 rush tickets are available for the first patrons who arrive a half hour before each concert. Don’t miss this powerful and exciting program!

 

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