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Zen Story (2010) 16' Scottish Opera - Five: 15 Music: Miriama Young Words: Alan Spence A young girl finds herself pregnant. When confronted by her parents she declares the child is a holy man’s. Despite the threat to his reputation and position, he accepts responsibility without complaint…but why? A timeless tale of humanity and forgiveness, with music inspired by the richly resonant sounds of the temple. Premiered at Word Festival, Aberdeen 15, 16 May 2010 Traverse Theatre, Edinburgh 20, 21, 22 May 2010 Oran Mor, Glasgow 25, 26, 27 May 2010 _________________________________________________________ Previews & Reviews of Zen Story 'The first woman composer to be featured in the Five:15 portfolio is a New Zealander. Currently a lecturer in music at Aberdeen University, Miriama Young teams up with colleague Alan Spence.... Young’s music alludes to the east and sounds of the temple through its sonorities'. - Carol Main, The List, 14 May 2010 'Only Miriama Young and Alan Spence’s Zen Story tries to pack a full-length opera into 15 minutes. The rest are cast largely as single episodes with a tendency towards melodrama’. - Rowena Smith, The Guardian, 16 May 2010 'Zen and the art of making music', Profile - Miriama Young - Michael Tumelty,The Herald, 17 May 2010 'Although Western attempts to understand Buddhism are frequently problematic – the translation of the key ideas into Christian philosophy has led to a generation of mistaking a vibrant tradition with a vague self-satisfied quietism – Zen Story is fifteen minutes that reflects on a famous parable. Shoving a pithy slogan and allusions to other Zen stories into the mix, and a score that suggests Japan rather than orientalise the orchestra, librettist Alan Spence and composer Miriama Young match the simplicity of the myth with a gentle opera. Naturally, the passions that drive opera are submerged beneath the Buddhist insistence on acceptance: in this subtle tension, the words are allowed to resonate and the monk-hero Hakuin's message of compassion for suffering is illuminated. Simple phrases become resonant. When Hakuin concludes "is that so?", the depth of his teaching is radiantly apparent. The 5:15 format here becomes the ideal medium for expression of an idea, as the drama of opera recedes into the simple set and reflective commentary. Hakuin's antagonist, a young, pregnant girl, is given character – something lacking in most versions of the myth, thanks to Zen's frequently macho spirituality. Short and concise, this is elegant, contemporary performance that manipulates its traditons to moving effect'. - Gareth K Vile, The Skinny, 17 May 2010 ‘The unhurried unfolding of Miriama Young’s Zen Story... conjured appropriate atmospheres.... Writer Alan Spence and composer Miriama Young were complementary in their expression of the relationship between words and music. The Copland-esque, minimalist opera was an entity'. - Michael Tumelty, The Herald, 17 May 2010 ‘The piece which worked best for me was the opener, Zen Story, mainly because of its atmospheric orchestration. Concerning a holy man in modern Japan, the mystical, almost gamelan-influenced score fitted the material like a glove.... It also successfully fitted a whole scenario into the 15-minute format. In an evening of distinguished vocal performances,... there was a welcome return from Dean Robinson whose rich bass was perfect for the holy man in Zen Story’. - Simon Thompson, Musicweb International, 20 May 2010 ‘Miriama Young’s score for Alan Spence’s Zen Story has a strong Japanese feel. It is an excellently conceived piece which sees Miranda Sinani’s Girl blame Dean Robinson’s Zen master, Hakuin, for getting her pregnant.... There are flashes of vivid emotion in the score, while Spence’s libretto has a truly enigmatic twist. Great stuff’. - Thom Dibdin, Annals of the Edinburgh Stage, 21 May 2010 ‘Of all the operas presented last night, the first, Zen Story by Miriama Young and Alan Spence, was my favourite. It tells the story of a monk who is said to be the father of a young girl’s child. Simple and elegant, the music and the text paced the story perfectly. Interestingly, this was the only performance that didn’t seem too long’. - Jake Danson-Faraday, Fresh Air, 21 May 2010 'Miriama Young’s Zen Story, a tale of humanity and forgiveness devised by Alan Spence, has easily the best score, with suggestive chord-clusters and an elegiac mood.... The production, directed by Michael McCarthy and Matthew Richardson, makes the most of simple means, and the Scottish Opera orchestra proves its versatility under Derek Clark'. - Andrew Clark, Financial Times, 21 May 2010 ‘Miriama Young’s Zen Story, to words by Alan Spence, is spacious and pungent, with a gaunt simplicity that echoes Stravinsky’. - Kenneth Walton, The Scotsman, 23 May 2010 'Miriama Young's concentrated Zen Story to a libretto by Alan Spence has a meditative quality with circling chord clusters and a bluesy trumpet'. - Lynne Walker, The Independent on Sunday, 1 June, 2010

Beds (2009) 7' spoken poetry, found sound recordings, singing voice voice, harmonium: Miriama Young spoken poetry: Catherine Bowman found sound recordings: Young, Bowman Premiered at Woodend Barn, Scotland, May 2009

 

The Point of Contact (2008) 5' the voice and electronic modulation voice, harmonium: Miriama Young bass: Ken Pendergast drums: Charles Staab   Premiered at Woodend Barn, Scotland, May 2009

 

Two Monk Miniatures (2006) 3' arrangements of two Thelonious Monk standards: Blue Monk and Brilliant Corners (tuned percussion, "found" percussion)   Premiered by So Percussion, Princeton, Feb 2006

 

Souffle (2006) 10' <View Images from Show> voice and harmonium Performed music by Miriama Young (voice, harmonium) choreographed dance by Anemone Dance Theater CRS, New York City, Oct & Nov 2006

 

The Inner Voices of Blue (2006) 12' pierrot ensemble with mezzo-soprano plus percussion text: "Côte d'Azur," by Sarah Arvio   New Millennium Ensemble w Rebecca Ringle, Princeton, Nov 2006 New Music Group, Aberdeen University Chapel, Scotland, May 2009 'For her piece entitled The Inner Voices of Blue, Miriama used a small instrumental ensemble almost identical to that used by Schoenberg.... Miriama employed special techniques, percussive and otherwise on the piano, played expertly by Richard Bailey. The greater part of the poem by the American poet Sarah Arvio (b. 1954) was sung by Heather Ireson. Her rich creamy mezzo, often supporting very long held, unwavering slow passages was a real delight. Some of her lines were spoken rather than sung and Richard Bailey also spoke one of the stanzas. This threw these words into high relief. The poem Côte d’Azur speaks of the sea, of water and of tides and Miriama’s instrumental writing coloured many aspects of this seascape most effectively. It was a moving and wonderfully imaginative piece of sound painting'. - Alan Cooper reviewing the UK premiere of Inner Voices of Blue

 

1, 000 Kisses (2005) 5' features Cathy Bowman’s speaking of her poem 1, 000 Kisses, integrated into an electronic poem-scape Performed at Cowdray Hall, Aberdeen, Scotland, Oct 2008 Woodend Barn, Banchory, Scotland, May 2009

 

Côte d’Azur (2004) 12' clarinet, cello, piano, tenor text: "Côte d'Azur," by Sarah Arvio   Nash Ensemble of London w John Gilchrist, Princeton, April 2005

 

Titlipur (2003-2004) 13' interactive sound-dance performance with video projections Sound design and composition by Miriama Young, with performance, choreography & costume created by Sara Baird of Anemone Dance Theater in collaboration with Video Artist Lee Whittier Gallery 138 Installation, Chelsea, New York, Feb 2005 Australasian Computer Music Conference w dancer Kristian Larsen, Victoria Uni, NZ, June 2004 The Puffin Room, New York, Anemone Dance Theater, May 2004 "Listening in the Sound Kitchen" Princeton, Nov 2003 Dancespace Center, Soho, New York, Sept 2003

 

Warmbeat Domain (2004) 8' orchestra   New Jersey Symphony Orchestra, Princeton, May 2004

 

L'Horloge (The Clock) (2003) 11' pierrot ensemble plus percussion text: "L'Horloge," by Charles Baudelaire "My Metal Throat Can Speak All Tongues"     Now Ensemble w Sarah Chalfy, Princeton, Dec 2006 Now Ensemble w Miriama Young, Tenri Cultural Institute, NYC, Feb 2006 Proteus Ensemble w Melissa Madden-Gray, Princeton, May 2003

Snapdragon (2003) 9' baritone saxophone & percussion Composed for and premiered by the Yesaroun' Duo Waiteata Collection of NZ Music, 2005 <BUY the CD HERE> Score published by Waiteata Music Press, 2005 <BUY the SCORE HERE> Selected performances: MATCH Percussion (Daryl Pratt, Alison Eddinton) and Michael Duke at the Recital Hall East, Sydney Conservatorium of Music, Australia for 2010 ISCM World New Music Days Festival 05 May 2010 Tempo Dance Festival (choreographed performance) Auck, NZ, Oct 2008 Jim Geddes, UWEC, Wisconsin, USA, 20 Oct 2008 Vibeslap Duo, Bigastro, Alicante, Spain, 29 Nov 2008 Michael Jamieson, and Ruud Roelofsen, Amsterdam Passenger Terminal Amsterdam Piet Heinkade 27, 20 Aug 2008 Michael Jamieson, ArtEZ Conservatorium, The Netherlands, June 2007 Te Whaea (choreographed performance) Wellington, NZ, May, June 2007 Bang on a Can Summer Institute, MassMoca, MA, July 2003 Yesaroun' Duo, Princeton, May 2003

 

 

The Prime Cut (2002) 22' sound documentary on the Meatpacking District of New York   RPM show - Radio New Zealand Dec 2002 The Houyhnhym Tales on Resonance FM – London, UK, Dec 2002 Unknown Country Show on Resonance FM–London, UK, Nov 2002 Taplin Auditorium, Princeton University May 2002 The Next Big Thing Show – WNYC, NPR October 2002; May 2005 Listen to The Prime Cut on The Next Big Thing Show

 

Learning to Breathe on the A-Train (2002) 12' large chamber ensemble Commissioned and premiered by Stroma, with support from Creative New Zealand   Stroma, Wellington International Jazz Festival, New Zealand, Oct 2002

Speak Volumes (2000) 9' fixed media, electro-acoustic, with spoken voice Features on the CD New Zealand Sonic Art 2000 <BUY the CD HERE>   "Voices in the Air" Victoria University, New Zealand, Aug 2002 "Experiments in Sound" Adam Art Gallery, Victoria Uni, NZ, Aug 2000   'The dark and ominous murmurings in the music are simply the dark castles of Chronos at the End of Time crumbling under the sweeping magic of Miriama's wand!' - Sonoloco Record Reviews

Iron Tongues (2000, revised 2004) 7' percussion trio Commissioned and premiered by Strike Percussion Ensemble, with support from Creative New Zealand Features on the CD New Zealand Percussion Music <BUY the CD HERE>   Selected Performances: Quey Percussion, Bloomsburg University, PA, Oct 2006 Quey Percussion, East Hartford, CT, Oct 2006 Quey Percussion, The Loomis Chaffee School, Windsor, CT, Nov 2006 So Percussion Ensemble, Taplin Auditorium, Princeton, NJ, April 2006 TimeTable Percussion, Saratoga, NY, Jan 2005 So Percussion, Princeton, Dec 2004 Strike Percussion, Nelson College, NZ, July 2001 Strike Percussion, Massey University, Wellington, NZ, May 2001 Strike Percussion, Baycourt Theatre, Tauranga, NZ, April 2001 Strike Percussion, NRSM, Manchester, UK, Nov 2000 Strike Percussion, Wellington Town Hall, NZ, Oct 2000 'Iron Tongues by Miriama Young... explored the phenomenal timbre of the marimba beautifully'. - The Nelson Mail (New Zealand), 19 July 2001

 

Monkish (1999) 6' tuned percussion ensemble   Wellington International Jazz Festival, New Zealand, Oct 1999 Musicwomen Aotearoa: The Third Composing Women’s Festival, NZ, April 1999

 

Caul (1999) 10' clarinet & electronics   Concert of Contemporary New Zealand Music, IAML Conference, July 1999 Imaginary Space, Australasian Computer Music Conference, July 1999 Musicwomen Aotearoa: Third Composing Women’s Festival, NZ, April 1999 "Gum", Amalgam's Show in the Wellington Fringe Festival, NZ, Feb 1999 First Prize - Victoria University Composers’ Competition, NZ, Sept 1998 Wellington City Council Music Prize, NZ, 1998 'First prize was won by the same student as last year, Miriama Young... for Caul for solo clarinet and tape. It was of exquisite refinement, careful construction, and a cumulative emotional impact that drew you increasingly into it'. - Lindis Taylor, The Evening Post (New Zealand), 16 September 1998.

 

Bent (1999) 6' electronic "Music in Space," Wellington City Art Gallery, New Zealand, August 1998

 

Like Two Balls of Liquid Silver Pedalling the Sky (1998) 8' in four easy movements baritone saxophone & electronics "Banging, Blowing and Bowing", Wellington Fringe Festival, NZ, Feb 1998 First Prize - Victoria University Composers’ Competition, NZ, Sept 1997

 

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