RCEditions

Letters appearing in italics are Dr. Bolcom’s responses.

Dear Dr. Bolcom,

Thank you very much for taking the time to consult me on this project. Here are my questions for you:

You include in the Piano Score a composer’s note that outlines several different cultural definitions of Lilith, indicating that they came from biblical dictionaries. Were these your primary resources in researching the mythology? Did you use any other resources, like cultural texts (Gilgamesh, The Zohar, etc.)?

I read articles that quoted these dictionaries – also – later – a book on the Lilith legend (can't remember what it was – it was actually sent by Luara Hunter, whom I wrote the piece for). I'd nosed into the Gilgamesh but did not look into Zohar.

Did anything in particular draw you to the subject? Were you already interested in it before you received the commission?

I had an image of the liberated woman – Adam's first wife who wouldn't behave. Laura Hunter is a very strong-minded independent woman, and I thought she'd respond to the character, which she certainly did – she would set the tone for subsequent performances.

Did you research Lilith before beginning the compositional process? Is any of your thematic, pitch, or other material derived from the mythology?

No, no.

Do you feel that a thorough understanding of Lilith contributes to more effective or more emotionally-charged performance, or is a basic understanding sufficient?

I don't think it is necessary to become a cultural anthropologist studying mythology. After all Lilith is, like Medusa, the stuff of many different stories and legends – some conflicting – and I'm mostly interested in the mythological aspect as a human phenomenon.

Are there explicitly programmatic elements in each movement that you associate with their respective titles, or is each movement more like an abstract representation of a concept or characteristic?

I'd say the latter. Programmatic references would be too specific – I'm after a certain atmosphere.

Is there a specific aspect of Lilith that you associate with the third movement, “Will-o’-the-Wisp?” What does movement V, “The Night Dance” represent to you?

Both those are of Lilith in the woods, running to or in her hideouts (as is “Child-Stealer”). They depict her in character, both hag and seductress, always a wild creature.

Did you coach Laura Hunter and Brian Connelly on the piece, or any other duos since?

Yes, several

Did you discuss in any greater detail the programmatic elements of the piece as part of your coaching?

I think the published and recorded notes seems sufficient – most players have looked at them evidently

Did you include program notes at the premiere performance?

I don't remember – you'd have to check with Laura H.?

If so, were they comparable to your composer’s note?

Again – I don't remember – probably

If you would prefer, I can also send these questions in a Word document.

I should add that this is the only instance I have used extended sax techniques in any work to such an extent. They fit the wildness of the character. However in the time Lilith was written, a lot of people were writing these sounds (multiphonics etc.) for their own sakes. This music seems very dated now. I doubt I'll have too much recourse to the Lilith arsenal of sax sounds again.

Thanks,
Michael

Program and Myth in Bolcom's Lilith

Appendix: Email Interview with Dr. William Bolcom