Paul Barnes performs The Way of Mountians and Desert by Ron Warren
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Paul Barnes performs The Way of Mountians and Desert by Ron Warren |
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The Way of Mountains and Desert (2022) Ron Warren
00:04 Part 1: To Water (b.1957)
02:46 Part 2: Songs of Gratitude for Desert Beings
Clouds 3
Stars 1
The Desert Plain 2
Song for Lizard
Song for Rattlesnake
Song for Spider
08:43 Song for Turtle
10:41 Part 3: Love Song for This Earth
14:38 Part 4: To the Land
Native poetry inspiring “The Way of Mountains and Desert”
Ofelia Zepeda (Tohono O’odham), from Music Mountains
“To these circling mountains
we must speak with voices
in songs, rhythmic speeches, orations and prayers.
We must be prepared with repetition,
a singular, undisturbed beat.
That is the way of mountains.
This is what they want to hear.”
Simon J Ortiz (Acoma Pueblo) from Four Deetseyamah Poems
“I have never seen a Mountain
that has stood so clearly
in my mind; when I have needed
to envision my home, when loneliness
for myself has overcome me,
the Mountain has occurred.
Now, I see it sharing its being
with me, praying.”
I have had the privilege of working with Echota Cherokee native flutist Ron Warren for over two decades. We first collaborated on a performance of Philip Glass’s Piano Concerto No.2 “After Lewis and Clark” as the second movement “Sacagawea” features Native flute. Since that time, Ron and I have performed at venues from Los Angeles to New York featuring works from both Glass and Ron’s own compositions. Ron wrote a hauntingly beautiful piano work Distances Between 2 that I have performed on my latest recital Illumination which features piano music inspired by the mystical world of byzantine, Jewish, and Native American chant.
Due to the beautiful reception of Ron’s Distances Between 2, I wanted to commission him to write an extended piano work that I would premiere at an event dedicated to Ron’s music and an exploration of a Native view of creation and beauty. A Hixson-Lied Creative Activity Grant has made this dream a reality. Entitled “The Way of Mountains and Desert” the piano work musically explores the intimate and prayerful communion that humans can share with creation.
The first movement, “To Water” is a short movement that musically explores the flowing nature of water, the source of all life on our planet and an important source of both physical and spiritual birth. The work features a left-hand irregular pattern based on the love theme of the third movement that repeats independently of the rhythmic meter to create a spontaneous and intuitive musical flow.
The second movement “Songs of Gratitude for Desert Beings” includes eleven brief songs. Quoting from the composers’ notes to the score:
Part 2 is a set of 11 brief “Songs of Gratitude for Desert Beings”. Four of the songs have multiple versions (“Options”) so that in total, there are 17 songs. They range in length from just a few seconds (“Dust Devils, Option 1”) to more than two minutes (“Song for Turtle”).
For an individual performance of The Way of Mountains and Desert, you may choose any combination of “Songs of Gratitude” so that Part 2 is @4-7 minutes in length. Multiple Options of the same song may be used, but no individual song should be repeated. Songs may be played in any order except that if “Song for Turtle” is chosen, it should conclude the movement, because “it’s turtles all the way down”.
The final turtle song features improvisatory elements as the performer chooses both the harmonic foundation and the order of the given melodic fragments to create a spontaneous expression of the native creation narrative of the turtle.
The third movement “Love Song for this Earth” is a slow lyrical movement that allows me as a pianist to come as close as possible to the transcendent world of the Native flute! It is written in unmetered proportional notation with much room for freedom and flexibility complete with a coda reminiscent of Ron’s dual life in both native and popular music.
The final movement, “To the Land” is the largest movement in the work featuring multiple thematic returns and transformations. Beautiful flowing sections reminiscent to the water language of the first movement are contrasted with faster “dry and rattling” sections that then lead to slower less metered sections with bell-like writing. After a return of the opening material, the work ends with a slow, meditative coda as the previous journey through mountains and desert reflects a reality of human participation in nature’s beauty. “Now I see it sharing its beauty with me, praying.” |
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