 One thing that many listeners have commented on has been the use of the five female voices in Vipassana. Voices were almost always part of the conception of the music, although I originally thought four voices would be ideal instead of five. However, somewhere between finishing the piece and the first reading of Vipassana on July 1, 2004, my thoughts had changed and five voices were what I REALLY needed. Now looking back, I'm not sure what exactly prompted the switch, but I do know that having the five voices gave me more flexibility in terms of chordal voicings and textures. I always loved (and still do) both Claude Debussy's orchestral Nocturnes, whose last movement "Sirenes" features a choir of wordless female voices and Gustav Holst's The Planets, whose last movement, "Neptune, the Mystic", also has a choir of female wordless vocalists which adds a sense of ethereal mystery especially as they repeat a phrase that fades out at the end (actually on the score the choir is directed to be in another room and as the piece quietly ends, someone is to slowly close the door as the choir is singing). Both of these works I love because the wordless voices add such a wonderful atmosphere and richness to the sound of the compositions. And while not directly inspired by any of those pieces, I wanted Vipassana to nonetheless have a similar warmth of sound that the voices gave those compositions. In general for Vipassana I treated the voices much like another instrument, where they are another color in the overall landscape. For example at the beginning of "Stillness Flows Ever Changing", the voices are subtly pulsing underneath the weaving melodic figures of the strings. The random, percolating burst of sounds and vocalizations early and at the end of "Of Climbing Heaven and Gazing on the Earth" are another example where the voices are just another color added to the overall sound. Of course there are times when the voices are front and center. For example, the last movement "The Nothingness that is the Source of Everything", is a setting of Denise Levertov's beautiful poem "Variations and Reflections on a Theme by Rilke". In "The Nothingness" both the solo of Julie Hardy in the first part of the poem, which is essentially a orchestral song (similar to what Gustav Mahler made famous) or the choir of voices in the second half, the words are quite important and their meaning affects what music goes on around them. Operatic voices and their wide vibrato, were never what I envisioned for Vipassana. I always wanted a directness and warmth of sound which you find more in popular singing styles (and it seems more and more in new music circles as well). And while many of the singers I have used are more known in jazz circles, all are well-versed in all forms of popular, art and folk music. For the concert on the 28th, we have Charenee Wade, Amy Cervini, Sara Serpa, Julie Hardy, and Wendy Gilles. Including those five, over the years I've been fortunate to have had great singers perform Vipassana (thanks to Julie who has been my vocal pimp, ah connector). From Kate McGarry, who sang on the premiere performance, to Gretchen Parlato, who sang the very first rehearsal, to Jo Lawry, who sang the second concert, to Sofia Rei Koutsovitis and Monika Heidemann, both of whom are on the recording, some of the best young voices on the scene today have sung Vipassana. They all lead their own ensembles and have their own recordings but they also lend their voices to many projects by other musicians and composers. I mean look at what they are doing outside of Numinous, to see how lucky I am to have them singing for me: performed at the Osvaldo Golijov/Dawn Upshaw Workshop at Carneige Hall and sung on tour with Maria Schneider (Sofia), Thelonious Monk Vocal Competition winner (Gretchen) and finalist (Charenee), Grammy nominee and sung with Fred Hersch (Kate), sung with Sting, yes that Sting (Jo), sings with Greg Osby (Sara), ASCAP Young Composer Award winner (Julie), critically acclaimed album (Amy) and ensemble (Wendy). So I've asked each singer on the upcoming concert a few questions so you can get to know what they are like away from the mics. In this part one, you'll hear from Julie Hardy and Sara Serpa. The second part, in another post another day, will feature Amy Cervini, Wendy Gilles, and Charenee Wade. Julie Hardy   What challenges does Vipassana pose for you as singers? Have you sung anything like it before? Some challenges are finding pitches, entrances, blending with the other singers. I have never sung anything like this before. What are you feeling when you sing Vipassana? Extremely focused. What do you like about Vipassana? It challenges me as a musician. I also like the spiritual message. What do you find beautiful (or where do you find beauty)? Mistakes, challenges because this is how we learn and grow. Who are your musician heroes? Wayne Shorter, The Beatles, Joni Mitchell If you could watch a summer sunset anywhere in the world, where would it be? Why? Newburyport, Massachusetts, because this is where my family lives. What is a book(s) that have inspired you? Eat, Pray, Love by Elizabeth Gilbert and When Things Fall Apart by Pema Chodron Tell us something fun or interesting about you that most people wouldn't know or suspect? I secretly want to be a pop star :) What's next up for you in your own music career? Teaching abroad in Mexico, recording some of my singer songwriter music. www.juliehardy.com Sara Serpa   What challenges does Vipassana pose for you as singers? Have you sung anything like it before?
I have sang in a choir for a long time during my childhood and to sing collectively with other singers was something that always gave great pleasure. Vipassana is a completely different repertoire, but it's a great feeling to sing again with a group of amazing singers. The biggest challenge for me is to blend with the other voices and to create a homogeneous texture while singing it. What are you feeling when you sing Vipassana? It's hard to describe the feelings of a performance. It's a mix of concentration with enjoyment. What do you like about Vipassana? I like the compositional concept of Vipassana and I think it has beautiful moments. Sometimes I wish I could be in the audience to enjoy it as a listener. What do you find beautiful (or where do you find beauty)? I find the combination of instruments and voices to be very beautiful. It's a long piece, very intense and very visual at the same time. If you could watch a summer sunset anywhere in the world, where would it be? Why? Praia Grande, Sintra, Portugal. I love it there. What is a book(s) that have inspired you? Travelling with Herodotus by Ryszard Kapuscinski When was the last time you've had that numinous feeling about something? Hiking in the mountains. Tell us something fun or interesting about you that most people wouldn't know or suspect? I take Flamenco dance classes. What's next up for you in your own music career? A duo recording with my good friend, great teacher and amazing pianist Ran Blake. www.saraserpa.com Check back soon for more insider tidbits about Vipassana and those that make the music! Numinous performs Vipassana Wednesday October 28, 2009 8 PM (one set only) $10 Brooklyn Lyceum 227 4th Avenue Park Slope Take the M, R Train to Union Street POSTED BY NUMINOUS AT 9:00 AM
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