How exciting the third year of my next chapter as a freelance musician began — with two contrasting concert performances.
Holiday Concert in Santa Monica
The fall of 2019 was primarily focused on preparing for my December organ concert of Advent and Christmas music as part of the prestigious Jacaranda Music series. Jacaranda focuses on new music primarily by living composers, along with musical giants and seldom-performed repertoire, so there was much compelling repertoire to learn.
It was requested that I open the concert with the Pastorale from Bach’s Christmas Oratorio, originally scored for string orchestra, 2 flutes, and 4 oboes. Since there isn’t a published transcription of this sublime piece, I made my own. This was a challenging compositional process, and while quite demanding to perform, I was delighted with the final transcription.
It was particularly joyful for me to join with the extraordinarily talented young treble Felicity Robles, the daughter of dear friend and colleague Dr. Zanaida Stewart Robles. Felicity and I collaboratively embarked on the ambitious project of preparing and performing David Lang’s hauntingly beautiful Sleepers Prayer.
With Felicity Robles preparing for Jacaranda’s holiday concert
An especially meaningful aspect of this concert was returning to First Presbyterian Church, Santa Monica — the church of my childhood, early choral and organ study with my mentor, Marcia Hannah Farmer, and now home to Jacaranda Music.
More rehearsals with Kyle Champion and Bruce Babcock
A Premiere and Collaboration with Kyle Champion
In February 2020, I was thrilled to collaborate with my friends — brilliant cellist Kyle Champion, and esteemed composer Bruce Babcock.
This was the inaugural program, launching a new concert series at St. Cross Episcopal Church, Hermosa Beach, where I spent four incredible months of growth, beauty, healing and renewal in 2018-2019 as Interim Director of Music and where my remarkably talented student, Sean O’Neal, is now Director of Music.
It was a special joy to return to St. Cross to perform this concert with Kyle Champion, a consummate musician who brings insightful interpretations to every work he performs. We added three significant and contrasting works to our cello/piano concert repertoire — works by Gregor Piatigorsky, Alexander Glazunov and Bruce Babcock.
Recording engineer Ed Johnson, composer Bruce Babcock, James Walker, St. Cross Director of Music Sean O’Neal
Premiering Bruce Babcock’s New Organ Piece
On the same concert, I moved from piano to the newly restored organ at St. Cross to premiere the organ version of Alternative Facts by Bruce Babcock. Bruce and I have a long and fruitful collaborative relationship, as over the years at All Saints Church, Pasadena, we were able to premiere several of his pieces that have become wonderful additions to the choral repertoire and are being performed and recorded by outstanding choral ensembles internationally.
The original piano version of Alternative Facts was composed for the brilliant pianist Gloria Cheng. It was recorded and released in 2020. It was a delight to work with Bruce, exploring the possibilities presented with an organ version, and an honor to premiere this powerful new addition to the organ repertoire.
Bruce’s words about Alternative Facts: “The piece itself reflects the times we are living in: discombobulating, annoying, loud, repetitive, confounding, crazy-making, tiresome, frenetic, all of the above.”
The tempo marking is Prestissimo, with a suggested metronome indication so fast that it doesn’t exist on the traditional metronome. These sections of breakneck speed alternate with free, improvisatory softer sections, using similar melodic material in an almost dream-like haze, suggestive of verbal clouds such as White House spokesperson Kellyanne Conway’s original use of the phrase “alternative facts.”
The COVID pandemic delayed the recording of this new organ version, but in June 2021, we were finally able to return to St. Cross, Hermosa Beach, for recording sessions. Stay tuned for the release date.
Travel Before COVID-19
Since moving into my next chapter as a freelance musician four years ago, I’ve gratefully had many opportunities to travel during various seasons of the year. This is something I was seldom able to do working full-time within the schedule of academic and liturgical calendars.
Hierve de Agua mineral pool near Oaxaca, Mexico
Late in 2019, my husband and I made plans for a week in Oaxaca, México for his mid-March spring break from teaching. This was way before most of us had heard of COVID-19. Once things heated up and as our departure date drew close, we almost cancelled the trip.
After an honest and informative conversation with my brilliant doctor, we decided — with prudent precautions — to proceed as planned with our trip. The magnificent churches and cathedrals, the historic sites and stunning gardens, the beautiful tiles, the creative work of artisans and artists, the astounding textiles and the delectable food all combined for a magnificent trip.
After returning from Oaxaca in late March, things quickly shut down in California. Sadly, several of my spring and summer 2020 performing engagements were cancelled. A challenging time for everyone, I gratefully observed how colleagues creatively dealt with the incredibly difficult circumstances, leading their various music departments.
Keeping Active in Isolation
My practice at the beginning of the pandemic focused on three sonatas for violin and keyboard by Bach, Beethoven and Brahms. Steve Scharf, my long-time friend and violinist, and I had long discussed performing a violin and piano concert together, and the isolation of this COVID time provided a perfect opportunity to learn that ambitious repertoire.
I’ve never been so grateful for the lovely Yamaha 7.5′ grand piano in our living room.
For something completely different and to further keep my brain cells active, I enrolled in an on-line community college German 1 course for the Fall 2020 semester. I had taken three semesters of German as a USC undergraduate — shockingly 45 years ago — but I didn’t remember much except the very basics.
Taking the German 1 course during the pandemic was a great way to stay engaged in the fall, and since I maintained a 98.6% GPA (mom and dad would be so proud!), I decided to enroll in German 2 for the Spring 2021 semester. I had a wonderful professor for both semesters, and though I did maintain my dazzling GPA in the spring semester, my head was about to explode by the end of the course!
USC Thornton/Live
In May of 2021, the University of Southern California Thornton School of Music released a virtual concert: An Evening with Organ Studies. The concert featured performances by organ department chair Ladd Thomas, alumnus Thomas Mellan and doctoral student Matthew Daley.
James Walker, Cherry Rhodes, Weicheng Zhao
Closing this USC Thornton/Live concert was Six Hands, Six Feet, One Bench the recording of Stravinsky’s Firebird Suite, a transcription by alumnus Weicheng Zhao for three organists. Before the pandemic, he was joined by USC faculty Cherry Rhodes and another alumnus (me) in a live concert that was recorded in Long Beach during a 2019 regional convention of the American Guild of Organists.
Each of the performers for this USC May 2021 virtual concert gave spoken notes about the music performed and their experiences in performing it. It was a blast to revisit this uniquely wonderful experience, performing with my brilliant master teacher, Cherry Rhodes, and my former Associate — now my successor as Director of Music at All Saints, Pasadena — and cherished colleague, Weicheng Zhao.
Return to Work as Interim Musician
I was pleased to be able to fulfill an interim need as Guest Organist & Pianist for seven weeks at First United Methodist Church of Glendale. This is the church where Ladd Thomas, the distinguished chair of the organ department at USC, has been organist for over sixty years.
Dr. Thomas was the organ professor for my undergraduate years, and I had my weekly organ lessons at Glendale First. So this was yet another return “home.” I played two Sundays of live services, with the congregation seated on the patio outside, all doors of the church open so that the organ could lead. And I recorded music for six on-line services — opening and closing voluntaries, two pieces with solo singer and two hymns each week.
Being at Glendale First flooded my memory — all those lessons, organ classes, and several solo concerts performed there. It was a wonderful experience and a thrilling way to get back on the bench after the long COVID hiatus.
Next Chapter, Year 5
Bring it on!
Leave A Comment