[The following is a transcript of a thread I did on Twitter this evening. I’ve kept things as intact as possible, besides some minor punctuation changes to make it make sense when it’s not delivered 280 characters at a time. Additional thoughts added for this version are in brackets.]
So I’m listening to Julia Wolfe’s Fire in my mouth, and first of all, the writing is very good and the recording is very good, but second of all, I have thoughts. Apparently I’m threading these on Twitter again, so buckle up, folks. A couple things: one, this is my first listen, so there is undoubtedly stuff I’m missing. Two, my thoughts on this are shaped especially by what’s going on in publishing right now.
First, the text setting is good. Nothing revolutionary (though I’m not to the end yet), but good. I get that it’s an oratorio and there’s formal guidelines being followed. I’m more of a scary-noises-and-extended-techniques person, but given the sound palette, it all makes sense. The string writing is probably my favorite part of the composing itself. It’s compelling. The percussion choices are good ones, too. Honestly, though, that’s probably all I’ve got to say about the composing part f this, because the circumstances around the work catch me. [I was running out of characters, but what I meant here is that the circumstances are the thing that piques my interest.]