April 22nd, 2015
Very excited to share this video trailer we made with the hugely talented Murat Eyuboglu and David Sarno. The video features Nathaniel’s original artwork interleaved with footage of the cycle’s rural Massachusetts locale, as well footage of the recording sessions and Ecstatic Music Festival 2013 performance.
Again, for more information on Unremembered: go here.
April 20th, 2015
At long last, we’ve announced Unremembered. The album will release on July 31, 2015 on New Amsterdam Records. For more information on Unremembered, you can visit its shiny new website.
April 18th, 2015
I was thrilled to learn that the San Francisco Symphony, conducted by the brilliant Edwin Outwater, will perform Three Songs from UNREMEMBERED with Shara Worden in Stern Grove on July 5, 2015. Outdoors! Free! SFS! Shara! Edwin! Hooray.
Here’s the press release.
April 11th, 2015
Happy to see my friends in NOW Ensemble announce their upcoming album, Dreamfall, on New Amsterdam Records. I’m honored to have a work on the album, Pale As Centuries, alongside music by Mark Dancigers, Scott Smallwood, Andrea Mazzariello, John Supko, Nathan Williamson, and Judd Greenstein. The album releases May 26 and will have an album release event at WNYC’s Greene Space on June 15.
April 10th, 2015
I was thrilled to see Martin Sher and his colleagues at the North Carolina Symphony get this well-deserved recognition from esteemed critic Joshua Kosman in the San Francisco Gate. It was flattering to have Kosman mention me as one of the few female composers–along with Gabriela Lena Frank, Caroline Shaw, and Anna Clyne–whose work is “getting wide exposure” in the orchestral world. Though I have to say–and this is meant with nothing but gratitude–if performances by two different orchestras (North Carolina and Detroit; there is also Princeton Symphony Orchestra next year, but I don’t think Kosman was taking that into account) counts as “wide exposure,” oof. We really do have a long way to go. As Kosman observes, “the number of living and dead female composers represented during the San Francisco Symphony’s entire 2015-16 season can be counted on the fingers of, well, no hands at all.” Kosman is right that American orchestras that don’t seem to recognize the extent to which their artistic reputations are tied up with their interest in the culture of our own time. Want to attract younger audiences? Seem more culturally relevant? Program one of the countless female composers kicking ass right now. Program composers of color. Make the world represented by the concert hall actually resemble the world outside it. The spinach in the orchestral world’s teeth is not actually that difficult to remove. They just need to care that it’s there.
March 11th, 2015
I was surprised and honored to have my first orchestral piece, Disquiet, included in Will Robin’s wonderful Symphomania, a 24-hour marathon of 21st century orchestral music featured on Q2. I wrote the piece in 2005 while a graduate student at Yale, but had actually been working on the material since my first composition lessons (at the positively ancient-in-composer-years age of 25.) I later revised the piece in 2012.
Will is a brilliant and open-minded musical thinker, finding connections between pieces in all kinds of interesting and unexpected ways. I felt deeply humbled and somewhat sheepish to have my piece follow a work by the astonishingly inventive composer Jonathan Harvey. I had masterclassed with Jonathan at June in Buffalo in 2002, and he had been very supportive and encouraging to me when he really didn’t have to be (my then deeply neo-Romantic music was nothing like his own, or anyone else’s at the festival for that matter.) I remember he pulled me aside after another composer questioned my use of tonal harmony and said “your style may change through the years, but that doesn’t matter a damn. What’s important is your sense of poetry: just don’t lose your sense of poetry.” Generous and poignant words to re-consider as I heard the young, searching voice of Disquiet enter after his masterful, otherworldly, glorious Body Mandala.
March 8th, 2015
Had a lovely time putting together a couple songs from Unremembered with Shara and the American Composers Orchestra, who premiered a new arrangement for full orchestra on February 27, 2015 at Carnegie’s Zankel Hall.
I Care If You Listen had this to say about the show: “In selections from Sarah Kirkland Snider’s Unremembered, Worden set aside the pep for something more subdued. Based on grisly subject matter, “The Swan” was dark, cinematic, and passionately delivered. “The Witch” was intense, curling, and fierce, with groundwork laid by a jazzy guitar shuffle. If these two selections are any indication, Unremembered is a deeply personal, brave work from Snider. Her music provided a somber, if not unwelcome, lull to the evening.”
February 1st, 2015
The Detroit Symphony Orchestra just announced their ’15-16 season, which includes a thrilling number of premieres from composers Mohammed Fairouz, Gabriela Lena Frank, Aaron Jay Kernis, Tod Machover, Nico Muhly, Leonard Slatkin, and myself (spring ’16.) I’m honored to be a part of their season and can’t wait to begin work on the piece.
January 29th, 2015
North Carolina Symphony recently announced their ’15-16 season, for which I’m honored to be writing a 25-minute orchestral work, to premiere in September 2015. Martin Sher and his colleagues are doing some fantastic programming down there — bold and adventurous, with a lot of work by young(ish) composers. Thrilled to be a part of it, and super enjoying (and sweating over) my work on this piece.
October 10th, 2014
Sometimes, mixing an album — or pre-mixing as the case is here — can feel an awful lot like this.