JULIANA HALL | AMERICAN ART SONG COMPOSER

WELCOME

JULIANA HALL:   AT A GLANCE

Having begun her musical career as a pianist, Juliana Hall began study of composition at age 26 while she was in graduate school at the Yale School of Music. Her first teacher was Frederic Rzewski, who encouraged her to shift her focus from piano to composition. Study with Martin Bresnick and Leon Kirchner followed; both encouraged her to make a career in composition as well, and in 1987 she was awarded a Master’s degree in Music Composition from Yale.

After Yale, Hall moved to Minneapolis to study with composer Dominick Argento, and in the Spring of 1987 she received her first commission, from the Schubert Club of Saint Paul, MN, for a song cycle (NIGHT DANCES) for soprano Dawn Upshaw. In 1989 Hall received a Guggenheim Fellowship in Music Composition, and since that time she has become a prolific and highly-regarded composer of American art song and vocal chamber music.

Hall received the 2017 Sorel Commission to write a new song cycle for this year’s SongFest program, which will be premiered on June 24, 2017 in Los Angeles. In addition, she was recently named Guest Composer for the 2018 session of Stephanie Blythe’s Fall Island Vocal Arts Seminar next May.

learn more about Juliana Hall . . .

NIGHT DANCES
6 songs for soprano and piano on poems by Elizabeth Bishop, Emily Brontë, Emily Dickinson, and Edna St. Vincent Millay

Amy Petrongelli (soprano) and Bridget Hough (piano)
from the 2016 Fall Island Vocal Arts Seminar (May 29, 2016)

DEATH BE NOT PROUD from “The Holy Sonnets of John Donne”
Song for tenor and piano on a sonnet by John Donne

Joel Burcham (tenor) and Elizabeth Avery (piano)
from the Sutton Concert Series, University of Oklahoma (November 15, 2014)

I SING TO USE THE WAITING from “Paradise”
Song for soprano and piano on a poem by Emily Dickinson

Sonja Tengblad (soprano) and Clare Longendyke (piano)
from the Calliope’s Call art song series (October 22, 2016)

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loves-signature

LOVE’S SIGNATURE:   GREAT REVIEWS FOR THE NEW CD

The American composer Juliana Hall has devoted herself to the art song for nearly three decades. Her sensitivity to words is on impressive display on ‘Love’s Signature’, which features settings of texts by Shakespeare, letters by Emily Dickinson and poems by Marianne Moore. In their first recordings, these songs show Hall to be a composer who savours lyrical lines and harmonies peppered with gentle spices…Hall uses musical gestures to heighten the meaning of the words. She is especially effective in a luminous take on ‘Who is Silvia?’ and a warm account of ‘Lawn as white as driven snow’…Dickinson’s words come across with crystalline clarity in Hall’s tender incarnations, which capture both the genial and witty sides of this most versatile of American poets.The five songs in Propriety (1992) focus on the classical music world. Moore pays tribute to various aspects of the art, even celebrating the survival of a stellar venue to rousing and fanciful effect in ‘Carnegie Hall: Rescued’.

— Donald Rosenberg, Gramophone Magazine

Each of Hall’s notes has a purpose as clearly defined as that of each of Shakespeare’s words. The songs’ novelty is wholly organic, never contrived, and the composer perpetuates the American Art Song tradition of Beach, Barber, and Bolcom with music of ingenuity and integrity…Anyone who doubts the health of the Art of Song should hear this performance. In it, composer, poet, singer, and pianist uphold the standards established when Schubert made songs of the words of Goethe and Heine and when Pears and Britten performed them.

— Joseph Newsome, Voix des Arts

…there is also a prevailing tenderness to the music…Hall’s own piano playing is exemplary and, where appropriate, powerful, but it is the obvious connection between her and Taylor that defines the success of this performance…Donald Berman confirms his status as a superbly equipped pianist as well as a sensitive accompanist by tackling the taxing piano part to “Carnegie Hall Rescued” with swagger and aplomb…Narucki is surely the perfect interpreter. Narucki’s way with the lines of “Propriety” is superbly varied and, on occasion, verges on the magical.

— Colin Clarke, Fanfare Magazine

           available from:

           Amazon (CD, MP3)
           eMusic (MP3)
           Google Play (MP3)
           iTunes (MP3)
           MSR Classical (CD)
           Presto Classical (MP3, FLAC)