E. C. Schirmer is pleased to announce our new publishing relationship with renowned American Art Song Composer, Juliana Hall. E. C. Schirmer looks forward to adding Hall’s works to our vocal catalog, which also includes music by American composers such as David Conte, Daron Hagen, Libby Larsen, Henry Mollicone, and Gwyneth Walker.
Hall (b. 1958) is a prolific and highly-regarded composer of vocal music, having written more than 50 song cycles and works of vocal chamber music. Her songs have been called “brilliant” (Washington Post), “beguiling” (Times of London), and “the most genuinely moving music of the afternoon” (Boston Globe), and Gramophone Magazine wrote that Hall is “a composer who savours lyrical lines and harmonies peppered with gentle spices.” The NATS Journal of Singing wrote that “Hall’s text setting is spot on and exquisite…as in all of Juliana Hall’s wonderful creations, the composer has sensitively allowed the text to dictate the tonal palette and direction…[they are] artful and adroit expressions of superb poetic and musical choices,” and Voix des Arts noted that Hall’s songs are “wholly organic, never contrived, and the composer perpetuates the American Art Song tradition of Beach, Barber, and Bolcom with music of ingenuity and integrity.”
Hall began her musical career as a pianist, studying with Boris Berman, Jeanne Kirstein, Seymour Lipkin, and Lee Luvisi. She became a composition major at the Yale School of Music, where she earned her Master’s degree in Composition studying with Martin Bresnick, Leon Kirchner, and Frederic Rzewski, and she completed her formal composition studies with composer Dominick Argento in Minneapolis. In 1989, she received a Guggenheim Fellowship in Music Composition.
RECENT & UPCOMING NEWS
Juliana Hall’s 2016–2017 season included six world premieres across the United States, and one in London. Her vocal music will also be featured in three performances this June:
- Night Dances (six songs on poems by Elizabeth Bishop, Emily Brontë, Emily Dickinson, and Edna St. Vincent Millay) will be performed in an undergraduate voice recital at the Studio Theaters, the Netherlands. Hanna van Rooijen, soprano; ensemble playing new orchestration by William Schaffels. June 20, 2017.
- The world premiere of When the South Wind Sings (seven songs on poems by Carl Sandburg) at Song Fest. Hall wrote this work as the recipient of the 2017 Sorel Commission from SongFest. Tabitha Burchett, soprano; Riley McKinch, piano. June 24, 2017.
- Night Dances (six songs on poems by Elizabeth Bishop, Emily Brontë, Emily Dickinson, and Edna St. Vincent Millay) will be performed in a Master’s recital at the Guildhall School of Music and Drama, London. Corinne Cowling, soprano; Dylan John Perez, piano. June 28, 2017.
- Interview with Schmopera.com
- New recordings:
- World Premiere of The Bells, March 25, 2017: Alexandra Porter, soprano & Brent Funderburk, piano
- Premiere of A World Turned Upside Down, March 10, 2017: Kathleen Roland-Silverstein, soprano & Lisa Sylvester, piano
“There is a beautiful alchemy that occurs when composer Juliana Hall meets a poem. Revealing each morsel of poetry through her brilliant tonal, textural, and rhythmic language, her work is immediately recognizable and wonderfully familiar. Singers and audiences alike take delight in her songs. Over the years, many of my young colleagues have brought her work for me to coach in my own song program, Fall Island Vocal Arts Seminar, but equally, I have heard her songs in virtually every university in which I have taught master classes over the last decade. Ms. Hall’s songs have a very important endorsement- singers want to sing them. Indeed, they love to sing them, and it is readily understood why. Her choice of text is varied, impressive and speaks to a wide cultural audience. The topics are relevant to today’s artists, and therefore, extraordinarily desirable. It is also incredibly evident that she understands the singing voice and the great art of collaboration with the pianist- there is a level of musical discourse here that demands expertise, and rewards the work with a generous and complete technical, interpretive and emotional experience. It is positively magical.” – Stephanie Blythe, Mezzo