Arizona Friends of Chamber Music
Commissioning program

The links on the left will take you to an individual composer's AFCM page, where you can listen to our complete premiere performances, review program notes, and find out how our commissions have fared, and learn more about the composers. Unless otherwise noted, audio is from the premiere.

Commissioning program home

Commissioning program description

Daniel Asia
Lera Auerbach
Sylvie Bodorova
Curt Cacioppo
Dan Coleman
Jeffery Cotton
Richard Danielpour
Ross Edwards
Tania Gabrielle French
Jiri Gemrot
Stephen Gryc
Jennifer Higdon
Lee Hoiby
Katherine Hoover
Anthony Iannaccone
Kamran Ince
Joseph Lin
Robert Maggio
Dominik Maican
Kelly-Marie Murphy
Olli Mustonen
Stephen Paulus
Raimundo Penaforte
Elizabeth Raum
Augusta Read-Thomas
Fazil Say
Gerard Schurman
Thomas Schuttenhelm
R. Murray Schafer
Ezra Sims
Stephen Stucky
Joan Tower
Dmitri Tymoczko
Reza Vali
Roel van Oosten
Joelle Wallach
Patrick Zimmerli
Ellen Taafe Zwilich

Matthew Snyder,
recording engineer
Video Documentary
of 3 premieres

If needed, download
Adobe Flash player
here

LEE HOIBY

String Quartet with Soprano ("Sonnet and Soliloquies on William Shakespeare")

Premiered by Miami Quartet, Jennifer Foster. March 2005.

Commissioned by AFCM.

Sponsored by: the estate of Maxwell Rosenlicht, the Aasheghan e Aavaaz Group ("Lovers of Song" in Persian), Richard and Judy Sanderson.

 

Published: expected by Schott.

The composer's website: http://www.leehoiby.com

Lee Hoiby on Wlkipedia: http://en.wikipedia.org/wiki/Lee_Hoiby

The question of the appropriateness of the singer’s gender to these texts opens interesting doors. In an operatic version of Twelfth Night written by Purcell or Handel, Orsino might quite plausibly be a castrato. So might most of the roles in Twelfth Night. In the two sonnet settings, Shakespeare’s own voice, emblematic for centuries of universality, certainly belongs to both genders. In general the Sonnets tend to treat gendered particularities as cavalier fancies, continually trumped by the more powerful relations of status, family, age, and talent. “The quality of mercy,” a passionately earnest sermon, is delivered by a female character, disguised as a male, and, on Shakespeare’s stage, played by a male. (Notes by Mark Shulgasser, librettist for Mr. Hoiby’s Shakespearean operas.)

 

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