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- "Requiem" for the victims of a pandemic
"Requiem" for the victims of a pandemic
1
member needed
SATB, 2 Soloists, & Chamber Orchestra
A new work to be composed by
Yvonne Freckmann
Difficulty: 4 · Medium Difficult
Length: 20 minutes
JUL
15
2022
Releases on Jul. 15th 2022
Must be funded by Feb. 1st 2022
$500
/ ensemble
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This project will include…
PDF score
9-month premiere window
Score guarantee
Description
A new secular “Requiem” as a memorial to the victims of COVID-19 and a way to reflect and heal as a community in music
The Requiem shall be a choral piece with a chamber orchestra created to help people heal in a ritual gathering and lifting of voices, something that has been silenced for too long. As ensembles begin to reconvene, they will need music to commemorate the ordeal of the pandemic, the lives and opportunities lost, and to finally rekindle hope. As a composer I cannot develop a vaccine, but I feel called to make music to bring consolation in this time that has indelibly touched us all.
By becoming a Consortium Member you receive:
• Reproducible PDF's of score & parts, performable piano reduction
• 2 rehearsal sessions via video call
• Name of ensemble & director/conductor printed on inside cover of score
• The experience of breathing life into a new piece!
States represented thus far: Texas and Ohio
𝗗𝘂𝗿𝗮𝘁𝗶𝗼𝗻: 20′
𝗖𝗵𝗼𝗶𝗿: SATB, 2 Soloists + Chamber Orchestra
𝗗𝗶𝗳𝗳𝗶𝗰𝘂𝗹𝘁𝘆: Medium Difficult
𝗧𝗲𝘅𝘁: Original text by the composer and possible public domain poetry
𝗦𝗵𝗲𝗲𝘁 𝗠𝘂𝘀𝗶𝗰 𝗗𝗲𝗹𝗶𝘃𝗲𝗿𝘆 𝗗𝗮𝘁𝗲: July 15, 2022
𝗢𝗿𝗰𝗵𝗲𝘀𝘁𝗿𝗮 𝗳𝗼𝗿𝗺𝗮𝘁𝗶𝗼𝗻
𝗪𝗼𝗼𝗱𝘄𝗶𝗻𝗱𝘀
1 Flute
1 Oboe
1 Clarinet
1 Bassoon
𝗕𝗿𝗮𝘀𝘀
2 Horns
1 Trumpet
1 Trombone
1 Tuba
Harp
Piano
3 Percussionists
SATB Choir
2 Soloists
𝗦𝘁𝗿𝗶𝗻𝗴 𝗼𝗿𝗰𝗵𝗲𝘀𝘁𝗿𝗮
Violin I
Violin II
Viola
Cello
Double bass
𝗢𝗿𝗶𝗴𝗶𝗻𝘀
To make music about the pandemic was never my intention, but in January 2021 something snapped inside. A friend lost her husband, the U.S. had hit the 400,000 death toll mark, and the statistics around the world soared as our spirits dove lower and lower. With there having been so much suffering and loss of life, I felt called to make a new work, a ritual work, to come together in large forces as soon as we were able.
𝗧𝗵𝗲 𝗰𝗿𝗲𝗮𝘁𝗶𝘃𝗲 𝗽𝗿𝗼𝗰𝗲𝘀𝘀
Much of the text I wrote in early 2021 as a way to reflect on the pandemic experience with the intention of creating a new work to help musicians, people, and ensembles heal and come together again. I will polish and refine the collection of texts and begin the process of text setting at the piano.
The joy of a consortium is to have dedicated partners engaged in the process, and I plan to reach out for feedback during the process of composing this large-scale work.
The project delivery also includes a performable piano accompaniment score.
For inquiries, please contact Yvonne Freckmann through Consortio, newrequiemproject@gmail.com or the contact page of her website: https://yvonnefreckmann.com/contact
Lyrics
The text will be a collage of original poems by the composer and possibly public domain poetry that speaks to our time of suffering, myriad emotions, and grief during the pandemic.
About Yvonne Freckmann
True Love in Every Moment Praises God
Epitaph for a Darling Lady
Bridge
From the whistling windmills of the Dutch landscape to the buzzing insects of the South African savanna, Yvonne Freckmann translates the soundscape of life into her music. A multilingual musician who grew up playing the piano and clarinet, she found her voice by combining electroacoustic and freely tonal music into one, all while remaining rooted in the concert music tradition. Freckmann often draws great inspiration from other creatives, and collaborations across disciplines with visionary musicians, theatremakers, and visual artists have empowered her to further explore the possibilities of sound and create experiences that engage the mind.
Her music has been performed in over a dozen U.S. states and several countries, among them the Netherlands, Denmark, Belgium, Austria, the Czech Republic, Israel, and Malaysia, and she currently lives in Madrid, Spain. During her travels with a microphone in hand, Freckmann records material and meets other people who inspire compositions, as chronicled in the "UNDA Cellotrónica" album with cellist Clara Rivière, their debut album released in May 2020. The previous year Freckmann was commissioned by award-winning contemporary pioneer SOLI Chamber Ensemble to write "Nest," an extended chamber work for mixed quartet with a soundtrack of field recordings of her home state of Texas. Over the past few years, Freckmann has worked on projects with harpist and theatremaker Iris van der Ende ("The Voice of the Windmill" and "Under the Bridge"), Zvov Trio ("Zvov Sensory"), Thompson Street Opera Company, Musical Bridges Around the World, and the Composers Alliance San Antonio, to name a few.
Among other major festivals, Freckmann has had works premiered and featured in Gaudeamus Muziekweek, Cultura Nova Festival, Audiosfera (Reina Sofia Museum Madrid), SEAMUS National Conference, and the NYC Electroacoustic Music Festival. For her composition "Train" (2014), Freckmann was awarded the PatsyLu Prize from the International Alliance of Women in Music “Search for New Music” in 2015.
To continue developing her craft, Freckmann has served as artist-in-residence in the Netherlands at the Werkplaats K atelier with her group Klanktheater (2017/2018), with the Kunstmeile Krems in Austria (June 2018), and attended the Sonic Mmabolela Field Recording Workshop in South Africa (2016). She has earned master’s degrees in music composition at the Royal Conservatoire The Hague as a Fulbright Scholar, the University of Louisville as a Bomhard Fellow, and a bachelor’s degree in music in piano performance and composition from Trinity University, all under the tutelage of brilliant teachers.
For more information, please visit my website at:
www.yvonnefreckmann.com
For inquiries, please contact me through Consortio, yfreckmann [at] gmail [dot] com or the contact page of my website: https://yvonnefreckmann.com/contact
Clara Rivière
Jul 21, 2021
Yvonne’s compositions are a charm to the ears. How she melts feelings into sounds. How she describes the surrounding experience. How she opens hidden ways of listening. Through her music one can only blend deeper into the existence and need no more.