Sara Kirkland Snider ~ Composer of Music
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Liquid Music Interview with Jodie Landau

Composer/performer Jodie Landau interviewed Sarah for the Liquid Music Series blog, in anticipation of the U.S. premiere of Unremembered in the Twin Cities on March 11. It blossomed into a rich conversation about childhood, memory, and death. An excerpt:

JL: …So I’m curious for you if there’s a sense of memories that had an impact you won’t ever forget or even this idea of “I never learned to love someone the way I did that place.”

SKS: Yes, definitely, I have some childhood memories that were profoundly impactful and that influenced the writing of this music and made me relate deeply to the cycle’s concept and messages. So I let that guide my empathy, but my primary goal was to tell the stories in music that Nathaniel told in words. So there were visits to Topsfield, Massachusetts, the town he grew up in, to visit all the sites of the various poems, and there were lots of talks about what each poem meant. One of the things we talked about the most was the way that we remain attached, in a kind of Stockholm Syndrome way, to places and times in our childhood where we experienced difficult things; that we feel some very complicated, complex mix of affection and revulsion, dread and nostalgia, and that what we experience there often has a kind of hold on us for the rest of our lives. That’s why I decided to take a couple of stanzas from the last song, “The Past”, and create a Prelude to the cycle with them, particularly those lines you mentioned: “It all comes back inchoate/the meaning has no base/I never learned to love someone the way I did that place.” To me those lines were heart-rending in the way that they expressed gratitude but also possibly revealed a failure of human connection: that the narrator had never loved a person as strongly as he did the place, never discovered a home in another person that was truly a safe harbor. Or perhaps this was a good thing, if the love in question is one suffused with darkness. Either way we are dealing with a complicated mix of polarized emotions. So I knew I wanted to have a simple, almost childlike melody express the lines of this song, cradled in clouds of subtly dissonant harmony, with some darker ones passing in the middle (which sample musical material from Prelude.) I wanted there to be a palpable tension between lighter feelings of nostalgia/affection and darker hints of bitter, stoic resolve.

You can read the full interview here.

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