Referring to Vespers and saying that I have made a name from “composing new music for older instruments,” Michael Caruso in the Chestnut Hill Local calls The Nobility of Women “concisely pointed character sketches of baroque dances.”
I can’t deny that I’ve become known as someone who can write for historical instruments. Mélomanie approached me about a piece for them—which became Nobility—after they heard Vespers. The Crossing and the Baroque orchestra Tempesta di Mare talked to me about The Waking Sun after Vespers.
People sometimes ask me if I mind. I suppose McLean Stevenson was asked if he minded being Lt. Col. Henry Blake on M*A*S*H. I don’t mind. I love it. If people think that’s what I do, fine, as I love writing for all kinds of instruments, and love the challenge of releasing the gorgeous sounds of recorders, dulcians, gambas, or what have you.
But I don’t think of myself that way. I’ve composed choral music, lots of orchestral works, and songs and chamber music for decades. I’m working on many different projects now, none of which use “early” instruments. If I go back to it, I’d be delighted, though.
Caruso had nice things to say, including that “Melomanie gave The Nobility of Women a sterling reading.”
