Sarah Kirkland Snider's song cycle
on tour in the
U.S., Holland, and Belgium this spring
Performances will feature vocalists
Padma Newsome, Shara Nova, and DM Stith
The Knights, North Carolina Symphony,
and Saint Paul Chamber Orchestra;
and in Europe, the Doelen Ensemble and Codarts Rotterdam
Tour includes stops at
Brooklyn's National Sawdust and
Knoxville's Big Ears Festival
“The composer Sarah Kirkland Snider is a refreshingly slow worker: She spent four years weaving the richly textured polychrome tapestry of this new recording. Silver threads of medievalish counterpoint twist together with twinkling electronics, faux folk tunes, vintage pop melodies, and avant-garde choral techniques to create an intricately magical landscape.”
— Justin Davidson, New York Magazine
"Snider's music lives in...an increasingly populous inter-genre space that, as of yet, has produced only a few clear, confident voices. Snider is perhaps the most sophisticated of them all."
Composer and New Amsterdam Records co-founder Sarah Kirkland Snider will share her highly lauded 13-part song cycle, Unremembered, with audiences around the U.S., Holland, and Belgium this spring. The hour-long work for orchestra, vocals, and electronics -- newly arranged for both chamber orchestra and octet versions -- explores the fragility and mystery of childhood recollection, and was inspired by poems and illustrations by Nathaniel Bellows (W.W. Norton; HarperCollins).
Unremembered was released in album form on New Amsterdam Records in 2015 and featured on "Best of 2015" lists by many respected publications including The Washington Post and The Nation, as well as named one of the "50 Best Classical Works of the Past Twenty Years" by Q2 Radio listeners in both 2015 and 2016.
Buy Unremembered on Bandcamp, iTunes and Amazon.
The featured vocalists featured on the Unremembered album, Padma Newsome (Clogs), Shara Nova (My Brightest Diamond), and DM Stith (Sufjan Stevens), will perform the work live this spring. In the U.S., they will be joined by musicians from The Knights at the Big Ears Festival in Knoxville and National Sawdust in Brooklyn, the North Carolina Symphony in Raleigh, and the Saint Paul Chamber Orchestra as part of the Liquid Music Festival. In Europe they will be joined by the Doelen Ensemble and Codarts Rotterdam.
The performances will be accompanied by multimedia projections of Nathaniel Bellows's haunting visual art that inspired the cycle.
Unremembered on tour:
All dates feature multimedia projections of Nathaniel Bellows's work,
and vocalists Padma Newsome, Shara Nova, and DM Stith
March 02 – Eindhoven, Holland @ Muziekgebouw Frits Philips, Cross-Linx Festival w/ Doelen Ensemble/Codarts Rotterdam TICKETS / MORE INFO
March 03 – Groningen, Holland @ De Oosterpoort, Cross-Linx Festival w/ Doelen Ensemble/Codarts Rotterdam TICKETS / MORE INFO
March 04 – Rotterdam, Holland @ de Doelen, Cross-Linx Festival w/ Doelen Ensemble/Codarts Rotterdam TICKETS / MORE INFO
March 05 – Amsterdam, Holland @ Muziekgebouw, Cross-Linx Festival w/ Doelen Ensemble/Codarts Rotterdam TICKETS / MORE INFO
March 06 – Rotterdam, Holland @ de Doelen w/ Doelen Ensemble/Codarts Rotterdam TICKETS / MORE INFO
March 07 – Antwerp, Belgium @ deSingel w/ Doelen Ensemble/Codarts Rotterdam TICKETS / MORE INFO
March 11 – Minneapolis, MN @ Ted Mann Concert Hall, Liquid Music Series w/ Saint Paul Chamber Orchestra TICKETS / MORE INFO (U.S. Premiere)
March 14 – Brooklyn, NY @ National Sawdust w/ The Knights TICKETS / MORE INFO
March 23 – Knoxville, TN @ Big Ears Festival w/ The Knights TICKETS / MORE INFO
March 25 – Raleigh, NC @ CAM Raleigh w/ North Carolina Symphony TICKETS / MORE INFO
March 30 – Washington, DC @ Kogod Courtyard at the Smithsonian, SHIFT Festival w/ North Carolina Symphony TICKETS / MORE INFO
Watch the video for track "The River" here:
A meditation on memory, innocence, and the haunted grandeur of the natural world, Unremembered recalls strange and beautiful happenings experienced during a childhood in rural Massachusetts: a houseguest takes sudden leave in the middle of the night; a boy makes a shocking discovery on a riverbank; a girl disappears in woods behind a ranging farm; ghosts appear with messages for the living. Through Bellows's moving words and images and Snider's vivid, fraught, astonishing score, the cycle explores the ways in which beguiling events in early life can resonate in--and prepare us for--the subtler horrors that lie beyond the realm of childhood.
Hailed as “an intricately magical landscape” (Justin Davidson, New York Magazine) and "Snider's own brand of New England gothic that would make Edgar Allan Poe proud," (The Washington Post), Unremembered is “a deeply personal, brave work” (I Care If You Listen) that “attests to Ms. Snider’s thorough command of musical mood setting” (The New York Times) and "cements her reputation--begun with 2010's Penelope--as the finest composer for voice of her generation" (Agit Reader). Named to dozens of Best-of-2015 lists internationally including The Washington Post (Top Five), The Nation (Top Five), The Boston Globe’s Steve Smith, The Guardian’s Seth Colter Walls, WNYC, and New Music Box, Unremembered was also called “one of the most significant and harrowing releases of the year” (Thought Catalog); “masterful…a stunning, immensely rewarding experience” (PopMatters); “evocative and strangely beautiful” (Opera News); “warped and eerie” (NPR Songs We Love); "luminous, otherworldly, and brilliantly individualistic (New York Music Daily); and “a glimpse into an entirely new sound world” (Indy Week).
“...Unremembered reel[s] through elusive and evocative glimpses of a rural childhood [demonstrating] Ms. Snider’s thorough command of musical mood setting, organically integrating the structural economy and direct impact of pop songs with deft, subtle orchestrations [lending]
emotional gravity and nuance.”
— Steve Smith, The New York Times
“[Unremembered] is Snider’s own brand of New England gothic that would make Edgar Allan Poe proud. Snider’s music is multi-layered, often angular, and deftly blends ideas from rock and post-minimalist composers. Snider’s score, both terrifying and tender, gets a penetrating performance…but it is [her] fresh, instinctive way with voices that sets her apart from most of her peers…groups of voices pulsate in a shimmering bed of sound, take flight with interlocking patterns, and unfold in fanfares of Renaissance-like polyphony... Snider’s and Bellows’s mysterious and unsettling creations just may contain clues to understanding the darker truths of adulthood.”
— Tom Huizenga, The Washington Post