Meet James Adler, a pianist who “can create whatever type of music he wants at the keyboard” (Chicago Sun-Times) and a composer who writes “with uncommon imagination” (Atlanta Journal-Constitution). His extensive list of compositions is headed by Memento mori: An AIDS Requiem. Recorded by AmorArtis Chorale and Orchestra, and published by Alfred Music, Memento mori features a “range of expression [that] is expansive” and is “a unique, well-crafted, emotionally rich piece” (American Record Guide). His catalog includes numerous works for chorus, chamber works for vocalists and instrumentalists, and works for symphonic band and for orchestra. They have been performed worldwide: from New Zealand, to Estonia; New York City to San Francisco; at Carnegie Hall, Merkin Hall, the Metropolitan Museum of Art, the United Nations, and at the Statue of Liberty 200th anniversary celebration.
Of your many popular works, do you have one piece that you are most proud of?
They are all my “children,” truth be told. But Memento mori: An AIDS Requiem, Reflections Upon a September Morn (for oboe/English horn, mezzo, piano) which was composed after 9/11, Psalm for Michael (for oboe, cello, piano) composed for my late brother, Piano Concerto in G: A Walk Through an English Garden, and recently-composed – for my late brother – Elegy for Norman (for flute and piano). A number of these works have been recorded for either Albany Records, or PARMA Recordings.
Your AIDS Requiem is a brilliant piece of music. What inspired you to create this?
My work Memento mori: An AIDS Requiem (for men’s chorus, soloists, and chamber ensemble) is a work close to my heart. Back in the early 90s, I had lost so many friends, colleagues, and loved ones to AIDS – I had to do something. And I had to do it musically. The Atlanta Gay Men’s Chorus commissioned the work, and it was a labor of love. While I used traditional Latin texts from the requiem form, I was able to include some special words, poems, and texts to create this near-theatrical work.
My late friend Quentin Crisp felt that two of his poems might fit nicely into the work. His poems “Now I Am Dead,” and one he subtitled “The Wounded” fit perfectly. The former, sung by the mezzo-soprano, worked into the first movement’s “Requiem aeternam.”
For the “Yizkor,” I put in a bit of my own Jewish heritage: the “Yizkor” remembrance prayer. Denise Stokes, activist and poet, gave me the rights to her poem “The Park Flickers.” It’s scored for soprano with an alto flute echoing her works (with the chamber orchestra). Denise was relatively young – but she had an “old soul.” That’s why the alto flute fit into this movement. Bill Weaver wrote a poem on “Survival.” I used that as part of the final movement. And in the Lacrymosa movement, brooding and modal for men’s chorus mostly a cappella (with bi-tonal harmony), leading into a Narrative – with poetry by Philip Justin Smith. It is recited by an actor with orchestra accompaniment. Rather than having set this as a through-composed movement, this text from Philip’s “Chosen Family” seemed more special as a narrated work. In this 75-minute Requiem, this moment was a personal highlight to me, and to the audiences who have heard the work.
AmorArtis Chorale and Orchestra, under the direction of Johannes Somary, recorded this for Albany Records. This was my first professionally released recording. And as the first, it was very dear to my heart. The score is published by Alfred Music – I’m so proud it has a nurturing home.
Can you tell us a little about your commissions?
I have been blessed by receiving commissions, and also being asked by friends to compose works for them to perform. For some works, I get to collaborate as pianist. But when I compose for friends or for commissioning parties, I’m project-driven.
How do you balance composition with your performance schedule?
Well, it sure ‘ain’t’ easy (lol). Even when I had signed with Gershunoff Artists, as pianist and composer, Max and Leon encouraged me to do both. But not at the same time. A notable exception was the creation of my piano concerto, subtitled “A Walk Through an English Garden.” My then-London manager was able to get me interviews and auditions with some conductors, and the BBC, in the spring of 1980. I was told “not to ask questions,” but go home – Philadelphia, back then – and compose a 2-piano version of this Piano Concerto in G. I returned to the UK to stay with friends in London; Kent, actually, and scored my piano concerto there. Hence, the subtitle, as Kent is known as the “Garden of England.”
The work was eventually premiered here in NYC with me as soloist. And a few seasons ago, QUO: Queer Urban Orchestra in NYC performed my piano concerto, with me as soloist. Tweaking and adjusting orchestrations, fine-tuning string parts (I had always bowed my string music, demanded by my professors at Curtis), while practicing, meant a lot of musical juggling.
Nowadays, I try to separate composition projects with my performing schedule. I also manage my teaching responsibilities, having been a faculty member of Saint Peter’s University’s Fine Arts Department since 1987; but there are some days where this is a lot of juggling – I try to make it all work!
How has Covid-19 impacted your work?
Covid-19 has affected my work in several ways. The obvious one involved the cancellation of concerts for this past spring. Composing continues, delivery is by email attachment of score and sound file. But what I miss most is the interaction between soloists (colleagues) and this composer.
The other aspect, not easily measured, is the loneliness and isolation. I’m blessed to be supported by a wonderful and caring husband. But the impossibility, until now, of meeting with others in person has put a strain on how I like to work best.
Have you been able to collaborate with other composers/artists during the lockdown?
Collaboration with other artists has been by email. I composed a work for baritone and piano that begs rehearsing with the baritone soloist. As we move in New York into ‘Phase Whatever’ – keeping masks on, and social distancing, we’ll be able to run through the music which is to receive its premiere in November. The baritone and I will be “live”; whether the audience will be able to attend, with masks and social distancing, is another story. Or, the concert will be streamed. Somehow, the Show Will Go On. 🙂
What technology have you used to continue composing or offer music lessons in a virtual world?
I’m an old-fashioned boy who still likes to write on manuscript. Then, music gets transferred via Finale. So my work is continuing as I have always enjoyed composing music. What I miss is not having the ability to invite an instrumentalist, or singer here, to run through things. But that will happen. Soon. I hope.
I recorded a short video of me performing Debussy “Deux Arabesques,” a few weeks ago. It’s part of the James at Dusk series, recorded here in our loft. I’ll soon be recording some works by Rachmaninoff – giving listeners a taste of my interpretation; this composer will figure prominently on several of my concerts during the 2020-21 season.
How has it been for you not being able to perform during this health crisis?
I signed with a new concert manager who has been wonderfully supportive. He has encouraged me to “think outside the [proverbial] box” in getting my music out there. As composer, I am working on a revision of my large concert band work FANFARE XL for smaller performing forces. At the premiere in April 2019, the concert band was 130+, with 13 percussion parts. Can you hear my publisher groaning? (I can). I’m preparing this work for a smaller wind ensemble, hopefully something that will be more marketable. The percussion score is already reduced to 4 players, with an optional 5th. Better, already.
I was not able to appear in recital in April; the series manager wisely postponed it to the fall. As I said, the recital – with the premiere of “Beyond Night,” for baritone and piano – will somehow be live, and recorded. The work was a labor of love. My late friend, Rosalie Calabrese, was interested in my setting one of her poems to music. She gave me her blessing. I am thrilled to finally bring her haunting poem, and music, to life.
You got your start in ensemble work. How do you think this pandemic will influence the future on ensembles?
I actually got my start as a solo pianist – but always loved composing and arranging for ensembles. In the process, I got to either conduct, perform, or attend concerts featuring my music. This pandemic is going to reduce choir and orchestra size, for sure. So I am scaling down some of my large works to fit a smaller performing ensemble. I’m working on a work for two flutes and piano for friends and me to perform. With three performers on stage, we can find a way to make it work.
What would you say to other artists/musicians that are craving ensemble work and to continue performing as part of their mental health during this pandemic?
I would say, even though it’s a cliché, to “hang in there!” Artists, orchestra managers, agents, and those who engage performers will all need to think outside that proverbial box.
Until there is a safe vaccine for COVID-19, we will all need to create music in a different way for performances. No large orchestras, choruses, or packed houses will work. It’s simply not presently safe. But creating social distancing with an orchestra in a large hall – moving performers apart, a Maestro’s beat can be seen with various monitors placed throughout a hall; smaller audiences – and streaming the concert (yes, for a hopefully small fee or subscription) will bring music LIVE to a hungry audience.
For my recitals in the fall, I hope there will be an audience present, COVID metrics’ permitting. If it’s a large enough hall or church, and social distancing can work, bravo! If the recital is in a smaller space, an engineer can hopefully record it safely (distance, of course). If the concert can be streamed, that can work as well. The operative word: flexibility. We will all have to figure this out as we go along.
Who knows? If Drs. Fauci, Birx, and associates come up with a safe vaccine in early 2021, we may be able to have large-hall concerts again. Until then, let’s find a way to bring music and art forward. And, alive!
James Adler is a pianist who “can create whatever type of music he wants at the keyboard” (Chicago Sun-Times) and a composer who writes “with uncommon imagination” (Atlanta Journal-Constitution).
After winning the Chicago Symphony Orchestra Young Artist Award, Mr. Adler made his orchestral performing debut with the Chicago Symphony Orchestra in Orchestra Hall. He has appeared in places as varied as Chicago’s Grant Park and Ravinia Festival; London’s Royal Albert Hall (broadcast by the BBC) and Wigmore Hall; the Dimitria Festival in Thessaloniki, Greece; and New York’s Alice Tully Hall, Symphony Space, and Paramount Theatre at Madison Square Garden.
His extensive list of compositions is headed by Memento mori: An AIDS Requiem. Recorded by AmorArtis Chorale and Orchestra, and published by Alfred Music, Memento mori features a “range of expression [that] is expansive” and is “a unique, well-crafted, emotionally rich piece” (American Record Guide). His catalog includes numerous works for chorus, chamber works for vocalists and instrumentalists, and works for symphonic band and for orchestra. They have been performed worldwide: from Christchurch, New Zealand, to Tallinn, Estonia; New York City to San Francisco; at Carnegie Hall, Merkin Hall, the Metropolitan Museum of Art, the United Nations, and at the Statue of Liberty 200th anniversary celebration.
A musician who is greatly interested in new works, Mr. Adler has had the privilege of premiering compositions written for him by Paul Turok, Henco Espag, Kevin Cummines, and Seth Bedford. He has also written works commissioned by the Atlanta Gay Men’s Chorus, the New York City Gay Men’s Chorus, the piano duo of LeDuc and Engel, oboist Ian Shafer, baritone Malcolm Merriweather, Central Regional High School (NJ), the Cheektowaga Millenium Youth Chorus, and the Lesbian & Gay Big Apple Corps symphonic band.
As performer and composer, Mr. Adler can be heard on recordings from Albany Records, Capstone, Navona, and Ravello Records. He is a member of the Department of Fine Arts at Saint Peter’s University, a National Arts Associate in the Sigma Alpha Iota International Music Fraternity, and was selected in 2018 for membership in the SAI Composer’s Bureau. James Adler is a recipient of the 2017 Marquis Lifetime Achievement Award.
Yamaha Piano
Elegy Artist Management (www.elegyartistmanagement.com)
Photo: Frank Gimpaya