Coming up in the 6:00 hour, we’ll hear the “Trinity Requiem” by Philadelphia composer Robert Moran. Moran’s approach to the Requiem Mass, named for Trinity Wall Street, the so-called “Ground Zero” church in Lower Manhattan, is akin to that of Gabriel Fauré. It is a work of solace and consolation. The substantial role sung by the children’s chorus only lends to the work’s innocent and ethereal qualities. Join me for this music of reflection, coming up around 6:30 EDT, on WWFM – The Classical Network and wwfm.org.
Tag: Robert Moran
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Happy 80th Birthday Robert Moran!
Well, I missed it. I was off by one day. While I was busy lauding Ulysses Kay on the 100th anniversary of his birth, I failed to notice that January 8 was also the birthday of my friend, composer Robert Moran. And it was not just any birthday. It’s hard to believe that classical music’s merry prankster is now 80 years-old.
Bob has lived a lot in 80 years. Not only did he study twelve-tone music with Hans Erich Apostel in Vienna, he was accepted into a composition class of four at Mills College, where he was taught by Darius Milhaud and Luciano Berio. His classmates included Steve Reich, Phil Lesh and Tom Constanten. Lesh and Constanten went on to play for The Grateful Dead. And Reich? Who knows what happened to that guy.
Moran gained notoriety in the late 1960s and early ‘70s through a series of performance pieces that incorporated entire cities, including San Francisco, Bethlehem, Pa., and Graz, Austria. These involved tens of thousands of performers.
His many stage works include “Desert of Roses,” written for Houston Grand Opera, and, in 2011, “Alice” composed for the Scottish Ballet. Maurice Sendak introduced him to the Grimm fairy tale “The Juniper Tree,” which became an operatic collaboration with Philip Glass.
For the occasion of the tenth anniversary of the terrorist attacks on the World Trade Center, Moran was commissioned to write a work for the youth chorus of Trinity Wall Street, the so-called “Ground Zero” church in Lower Manhattan. “Trinity Requiem,” scored for children’s chorus, four cellos, harp and organ, offers a similar brand of solace to that conjured in the 19th century masterwork by Gabriel Fauré.
With Robert Moran, you never know what you’re going to get. In his more puckish moments, he might write for 39 autos, giant puppets or electric popcorn popper. But then there are times when his natural gift for lyricism will melt your heart.
Happy belated birthday, Bob. We’ll melt a few hearts this afternoon, between 4 and 7 EST, with at least one of his works, on WWFM – The Classical Network and at wwfm.org.
An aria from “Desert of Roses”:
Selections from “Trinity Requiem”:
“Obrigado” for Iowa Percussion:
Bob, looking groovy in merry prankster mode, introducing his “Lunchbag Opera” for the BBC:
PHOTO: Bob (left) getting caffeinated with conductor, composer and performance artist Rupert Huber
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Ross Amico Moving Day Playlist on WPRB
On second thought, don’t just watch – give me a hand with some of these boxes! Today is Moving Day for Classic Ross Amico. I hope you’ll join me at my new time, Friday morning from 6 to 11. That’s me wandering around the rest stop, buckling under the stress and exertion, gibbering like an idiot.
Lots of great music, though! Right now, we’re listening to baritone John Shirley-Quirk, singing “Songs of Travel” by Ralph Vaughan Williams. Yet to come: Robert Moran’s “Points of Departure,” Paul Lansky’s “Travel Diary,” and Marc Blitzstein’s “Airborne Symphony,” among others.
It’s all music about the experience of moving and different modes of transportation until 11:00 ET, here on WPRB 103.3 FM and at wprb.com. I’ll be keeping you in beer and pizza, on Classic Ross Amico.
PLEASE NOTE: “Classical with Kevin,” which formerly aired from 8:30 to 11, has moved to Monday!
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Happy Birthday Robert Moran Composer
I just learned that today is the birthday of my friend, composer Robert Moran. I first encountered Bob’s music while I was scouring the bins at the now-defunct Tower Records Classical Annex, at 6th and South Sts., in Philadelphia. At a point, the suite, “Arias, Interludes and Inventions,” from his opera “Desert of Roses,” came out over the speakers, and my heart broke a little bit. I added it to my collection immediately.
A number of years later, unbeknownst to me, Bob was browsing in my bookshop. I think he tried to pay with a credit card, which is the kiss of death when dealing with Classic Ross Amico. I inquired if he happened to be the composer, and we’ve been pals ever since. Naturally, I had my recording of “Desert of Roses” on hand, and Bob penned me a very nice inscription.
Happy birthday, Bob. Whether you’re writing for Houston Grand Opera, 39 autos, giant puppets, or electric popcorn popper, the music is always vital and worth getting to know.
An aria from “Desert of Roses”:
Selections from “Trinity Requiem”:
“Obrigado” for Iowa Percussion:
Bob, looking groovy in merry prankster mode, introducing his “Lunchbag Opera” for the BBC:
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Glass & Moran Reunited in NJ This Weekend
Two old cronies are brought together again, if only in my newspaper article.
Composer Robert Moran enlisted Philip Glass to be one of 25 composers to participate in “The Waltz Project” in the late 1970s. The project was documented on an album released by Nonesuch Records in 1981.
In 1985, the two collaborated on an opera, “The Juniper Tree,” after a tale by the Brothers Grimm (and a very grim one at that), the composers divvying up its four acts between them. In the meantime, Moran set about arranging 21 variations, for various combinations of instruments, on Glass’ “Modern Love Waltz,” which have also been recorded.
On Saturday at 7:30 p.m., Glass’ “Concerto Fantasy for Two Timpanists and Orchestra” will open the New Jersey Capital Philharmonic Orchestra season, at the Trenton War Memorial. The soloists will be Jonathan Haas (for whom Glass wrote the work) and William Trigg (who has performed with the Philip Glass Ensemble). Also on the program will be Tchaikovsky’s Symphony No. 5.
By coincidence, on Saturday morning, from 10:00 to 1:00, Moran will preside over a workshop hosted by Westminster Conservatory Honors Music Program. The composer will lead the HMP community on a freewheeling journey through his creative process, seasoned with personal anecdotes, audio and video illustrations, advice to young composers, and what promises to be lively discussion, offered up in a kind of master class setting.
The event, which is free and open to the public, will take place at Hillman Performance Hall, The Marion Buckelew Cullen Center, at Westminster Choir College of Rider University in Princeton. Refreshments will be provided.
Moran studied with Hans Erich Apostel in Vienna and then with Darius Milhaud and Luciano Berio at Mills College. He gained notoriety in the late 1960s and early ‘70s through a series of performance pieces incorporating entire cities, including San Francisco, Bethlehem, Pa. and Graz, Austria. These involved tens of thousands of performers.
His many stage works include “Desert of Roses,” written for Houston Grand Opera, and, in 2011, “Alice” composed for the Scottish Ballet.
For the occasion of the tenth anniversary of the terrorist attacks on the World Trade Center, he was commissioned to write a work for the youth chorus of Trinity Wall Street, the so-called “Ground Zero” church in Lower Manhattan. “Trinity Requiem,” scored for children’s chorus, four cellos, harp and organ, offers a similar brand of solace to that conjured in the 19th century masterwork by Gabriel Fauré.
With Robert Moran, you never know what you’re going to get. In his more puckish moments, he might write for harpsichord and electric frying pan. But then there are times when his natural gift for lyricism will melt your heart.
Read more about it in my article in today’s Trenton Times:
http://www.nj.com/times-entertainment/index.ssf/2015/10/classical_music_njcp_opening_s.html
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