This past week, I had the opportunity to travel to New York for the world premiere of Christopher Tin’s latest album, The Drop That Contained The Sea. The music debuted in — of all places — Carnegie Hall!
I have worked with Chris for over five years now on a number of different musical projects, including films (e.g., Hoodwinked Too, Dead Space, Lost Birds, etc.), games (e.g., Pocket God, Karateka), dark electronic albums (Stereo Alchemy), and concert works (e.g., Calling All Dawns and Drop) — and nearly everything in between! It has been an honor, to say the least.
After months of preparing the score and parts for his latest album, it was such a privilege to see and hear the work performed live and up close — to talk with the musicians performing it and to get to know the conductor and the soloists. The concert was sponsored by DCINY (Distinguished Concerts International New York) and conducted by Jonathan Griffith. Both Calling All Dawns and The Drop That Contained The Sea were performed, requiring over 600 musicians (vocal soloists, two full choirs, and full orchestra). On top of that, the average age of the performers must have been in the 20s, as many of them were still in high school. In spite of the logistical nightmare this presented, the concert was a triumph, with a 5-10 minute standing ovation after the final bar!
I will begin working on alternate orchestrations for Drop this week for the west coast premiere in June, as this will enable the majority of ensembles around the world to perform this work with greater feasibility.
I was also given access to the Maestro suite and to the stage before the concert and during sound check. It was a special privilege to be a part of such a talented group of musicians, under the great leadership of Jonathan Griffith, the marvelous music of Christopher Tin, and the storied history of Carnegie Hall.