This guest post comes to us from Joshua Shank, the Grand Prize winner of our 2007 Composers Competition, and a young composer with whom we were thrilled to work. Josh is an talented, dedicated musician, and has shared his experience participating in our annual competition. The deadline for the 2013 Composers Competition is fast approaching, and we encourage all young composers to apply. For more information, click here.

So there’s this stage when you’re a composer in your twenties where you go around and try to get people to perform your work. It’s not the funnest period in the life of a composer because it can sometimes feel like you’re pestering people to get your stuff out there (which you kind of are, in a way), but it’s just sort of a stop on a journey we all have to go through. Nobody has ever really heard of you at this stage, so one way to get your name in the proverbial game is to enter competitions sponsored by ensembles around the country which, if you win, gets you a performance (and hopefully a recording) of the work in question. I’ve entered dozens of these things over the years—successfully and unsuccessfully—and easily one of the most memorable ones was with the Young New Yorkers’ Chorus.

In 2006, I had the chance to collaborate with Michael Kerschner and the YNYC on a piece I wrote for them called “Sleeping Out: Full Moon.” The two most prominent memories I have of my interactions with the choir during my stay in New York have to do with either how impressed/grateful I was with the care they handled my work with…and also the time when I almost accidentally knocked over a very expensive digital recorder during a rehearsal (I was nervous and not looking where I was going…it was not my finest hour). That being said, in reflecting back on the experience I think there were two elements that made it so much fun: their performance and the setting.

The YNYC is an incredible ensemble. That may sound like hyperbole or as if I’m trying to be obsequious or something but—seriously, you guys—they are really, really good. This is compounded by the fact that they’re also a boatload of fun to hang around with (both inside and outside the rehearsal) and that combination of musicianship and friendship doesn’t always happen. However, when it does, it makes the process of collaboration that much sweeter and makes the connection you’ve forged together much tougher to sever when the project is over with.

One of the unique things about how the YNYC sets up their competition is that they commission more than one composer to write something for that particular concert. Getting to meet others who toil in the same proverbial vineyard is sort of a rare opportunity outside of the collegiate environment, so sharing the program with two colleagues—in my case it was the wonderful Daniel Nass and Jonathan Kolm—is something I was very appreciative of.

The other element which made my collaboration with the YNYC so memorable was the setting in which it took place. The arts scene in the five boroughs is obviously world-class but the city has many other things to offer to those who don’t call it home. The ensemble knows this and (wisely, I think) turns the composers loose to explore when they’re not needed for rehearsals and I was really grateful to be given the time to do this. Sometimes being a visiting composer means you get woefully over-scheduled and the trip ends up being exhausting rather than enriching. Not so with the YNYC.

All that being said, the brief time I had with the ensemble is an incredibly fond memory. Michael is brilliant in the way he can draw out a phrase or unify a vowel and the choir responds with a versatility that’s both rare and inspiring to listen to. Their sense of commitment to the music as well as to each other is on display from the first downbeat of rehearsal and I’m unbelievably grateful for having been given the chance to collaborate with them.

To paraphrase (and sort of adapt) a great American philosopher from the 1980s: “If you’re a composer and you haven’t applied for their competition yet I highly recommend it. It is so choice.”

Visual notes on “Songs Sacred”

Michael Kerschner and I have discussed for over a year our desire to produce a concert that added visual elements beyond our regular setup. We both knew this would require a lot of time, energy and fundraising. After reaching out to a number of potential sponsors, I was able to secure funding to produce a complete production experience through video projection and enhanced lighting. It was quite a task to manage this project on our first time out, but we learned a lot of extremely valuable lessons for the next time we have a go at it.

In any kind of theatrical event, lighting can define the frame or context for an audience’s experience. Many times it determines the atmosphere instantaneously. You see this at rock concerts all the time. A ballad might be displayed on stage with minimal lighting–narrow spotlights on the singers/performers with a backdrop of deep, cobalt blue. A big anthem might have the stage blindingly bright, while colors pour off in every direction. I knew that it was going to be hard to pull off creating an atmosphere (context) to experience this music given our budget, but I thought if we positioned the lighting creatively, and made smart decisions with color and texture, we would be able to create something rather beautiful with the little we had. Between the 11 lighting instruments and the video projections, I think we pulled it off.

Two main lighting “looks” were created, one for each half of the concert. The warm orange/yellow “look” was created for the first half, and the layered, icy-blue “look” was created for the second half. The success of these “looks” was enhanced greatly by the use of a haze-making machine that we rented. Putting theatrical haze in the church allowed the light to cut through the haze in the air, showing you not only the final resting place of the where the light traveled, but more importantly, the path that the light took on its way there. This was designed to create moments where it looked like there was a canopy of light coming up from behind the choir.

The projections were both designed to keep narrative at bay, and allow the mind to find its own path along with the music. The first projection, “Our Shells”, was adjusted to black and white from a color version, and edited to have a slower speed than the original. This projection was paired with the warm orange/yellow “look” in the first half. The projection in the second half was a live-mix video created specifically for the second Arvo Part piece by EyeBodega, a video artist team that had been working to create something atmospheric for the evening. This live-mixed projection was paired with the icy-blue lighting “look”.

All together, we were happy with the way it turned out. It was quite an effort for a singular performance. We look forward to being able to work on another concert in the future where we can match what happens on stage musically with a beautiful visual atmosphere.

We sang some classic tunes, and a couple new favorites. And it was great to perform for such an enthusiastic audience.

If you missed the Seaport holiday cheer, you can still catch us this coming weekend at our annual holiday concert NOVA! Christmas with YNYC.

Don’t wait to buy your tickets at the door – you’ll save if you purchase in advance.

One of the best parts of singing is hearing others perform great music. So if you’re in town December 9 (and you should be – our concert is 2 days later!), we suggest checking out The Manhattan Choral Ensemble’s annual holiday concert. Find more information here.

It’s finally here. After seven months of intense planning and discussion, we’re finally ready to show off the new site. Big thanks to our friends at Basic 8 Creative for making our ideas reality.

Have a look around and let us know what you think.  And send your thoughts our way – kendra [at] ynyc [dot] org.

Get ready for the holidays with YNYC’s annual holiday concert. This year, the Young New Yorkers’ Chorus presents Nova! on Sunday December 11th.  We’re showcasing holiday tunes new and old, including three brand new pieces in this year’s Composers Competition.

Buy your tickets early. For more information, click here.

Tenebrae performs all their concerts by candlelight. How cool is that? As part of their USA tour this month, the group will be stopping in NYC on November 6. Our own Michael Kerschner recommends you check it out!

It’s pretty great when talented musicians use their skills to benefit those in need. So we’re impressed with The 18th Street Singers, who will perform a Thanksgiving concert to benefit charities in the Washington DC area. If you are in their neighborhood on Nov 19, be sure to stop by. We promise you’ll hear something to be thankful for.