Any of Those Decembers
Lyric Fest commissioning and presenting organization
Benjamin Perry Wenzelberg composer & conductor
Jeanne Minahan poet
Laura Ward piano
Ráyo Furuta flute
Daedalus String Quartet
Min-Young Kim violin
Matilda Kaul violin
Jessica Thompson viola
Tom Kraines cello
Rebecca Myers soprano
Devony Smith mezzo-soprano
Stephen Ng tenor
Steven Eddy baritone
Blending vocal and orchestral elements across several movements, cantatas are notoriously difficult to compose. Benjamin Perry Wenzelberg has accepted the challenge with ANY OF THOSE DECEMBERS, setting poems by Jeanne Minahan to music. The result is intimate, aesthetic, and wistful — a tender embrace of lyrics and sound.
Scored for four solo singers with varying accompaniments, ANY OF THOSE DECEMBERS impresses on multiple fronts. But it isn't due to the excellent source material alone: the master performers in Lyric Fest bring both the lyrics and the composition to life. A wonderful collaboration, in which the whole is even greater than the sum of its parts, Wenzelberg’s work is “a cantata to make memories sing.”
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Track Listing & Credits
# | Title | Composer | Performer | |
---|---|---|---|---|
01 | Christmas Forecast, Poem | Jeanne Minahan | Jeanne Minahan | 1:23 |
02 | Listen, My Love | Benjamin Perry Wenzelberg | Benjamin Perry Wenzelberg, conductor; Rebecca Myers, soprano; Devony Smith, mezzo-soprano; Stephen Ng, tenor; Steven Eddy, baritone; Ráyo Furuta, flute; Daedalus Quartet; Laura Ward, piano | 7:05 |
03 | Christmas Forecast | Benjamin Perry Wenzelberg | Benjamin Perry Wenzelberg, conductor; Rebecca Myers, soprano; Ráyo Furuta, flute, Daedalus Quartet, Laura Ward, piano | 4:58 |
04 | The Outside In, Poem | Jeanne Minahan | Jeanne Minahan | 1:18 |
05 | Winter: The Antidote, Poem | Jeanne Minahan | Jeanne Minahan | 1:17 |
06 | Wonder's Wonder (Lo, how a rose e're blooming), Poem | Jeanne Minahan | Jeanne Minahan | 0:50 |
07 | The Outside In | Benjamin Perry Wenzelberg | Benjamin Perry Wenzelberg, conductor; Rebecca Myers, soprano; Devony Smith, mezzo-soprano; Stephen Ng, tenor; Steven Eddy, baritone; Ráyo Furuta, flute; Daedalus Quartet; Laura Ward, piano | 5:44 |
08 | Listen, My Love II | Benjamin Perry Wenzelberg | Benjamin Perry Wenzelberg, conductor; Rebecca Myers, soprano; Devony Smith, mezzo-soprano; Stephen Ng, tenor; Steven Eddy, baritone | 1:32 |
09 | Winter: The Antidote | Benjamin Perry Wenzelberg | Benjamin Perry Wenzelberg, conductor; Rebecca Myers, soprano; Devony Smith, mezzo-soprano; Stephen Ng, tenor; Steven Eddy, baritone; Ráyo Furuta, flute; Daedalus Quartet, Laura Ward, piano | 5:47 |
10 | Wonder's Wonder (Lo, how a rose e're blooming) | Benjamin Perry Wenzelberg | Benjamin Perry Wenzelberg, conductor; Devony Smith, mezzo-soprano; Ráyo Furuta, flute; Daedalus Quartet; Laura Ward, piano | 4:59 |
11 | The New York Train Arrives On Track Three, Poem | Jeanne Minahan | Jeanne Minahan | 1:09 |
12 | Any of Those Decembers, Poem | Jeanne Minahan | Jeanne Minahan | 0:56 |
13 | The New York Train Arrives On Track Three | Benjamin Perry Wenzelberg | Benjamin Perry Wenzelberg, conductor; Rebecca Myers, soprano; Devony Smith, mezzo-soprano; Stephen Ng, tenor; Steven Eddy, baritone; Ráyo Furuta, flute; Daedalus Quartet; Laura Ward, piano | 8:52 |
14 | Any Of Those Decembers | Benjamin Perry Wenzelberg | Benjamin Perry Wenzelberg, conductor; Rebecca Myers, soprano; Devony Smith, mezzo-soprano; Stephen Ng, tenor; Steven Eddy, baritone; Ráyo Furuta, flute; Daedalus Quartet; Laura Ward, piano | 7:35 |
Recorded March 8 and December 14-15, 2024 at Field Concert Hall, Curtis Institute of Music in Philadelphia PA, USA
Session Producer Benjamin Perry Wenzelberg
Session Engineer Loren Stata
Editing & Mixing Loren Stata, Benjamin Perry Wenzelberg, Laura Ward (tracks 2-3, 7-10, 13-14)
Mastering Loren Stata, Benjamin Perry Wenzelberg, Laura Ward (tracks 2-3, 7-10, 13-14)
This recording is dedicated with love and utmost appreciation to Lisa and Gie Liem.
Executive Producer Bob Lord
VP of A&R Brandon MacNeil
VP of Production Jan Košulič
Audio Director Lucas Paquette
VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Publicity Chelsea Kornago
Digital Marketing Manager Brett Iannucci
Artist Information
Lyric Fest
Lyric Fest has been hailed in the press as “An irresistible mix of high art and humane feeling... As entertaining as a well-managed party” (Broad Street Review). Founded in 2003 with the goal of celebrating and revitalizing the art song tradition, it is the only performing arts organization in the Mid-Atlantic region with a primary focus on song in all its varied expressions.
Laura Ward
Laura Ward is pianist and Co-Artistic Director of Lyric Fest. As a distinguished collaborative pianist she is known for both her technical ability and vast knowledge of repertoire and styles. Concert engagements have taken her to Carnegie Hall, The Kennedy Center, Boston’s Isabella Stewart Gardner Museum, the Spoleto Festival (Italy) and the Colmar International Music Festival and Saint Denis Festival in France.
Benjamin Perry Wenzelberg
Benjamin Perry Wenzelberg (b. 1999) is a composer, conductor, countertenor, and pianist. His compositions have been commissioned and performed by the Tonkünstler-Orchester (Austria), Netherlands Radio Philharmonic, Lowell House Opera, Hyogo Performing Arts Center Orchestra (Japan), Rochester Philharmonic Orchestra (live on NPR’s From the Top), Noord Nederlands Orkest, Lyric Fest, Orchestra 2001, and the Harvard Baroque Chamber Orchestra, and in such venues as the Vienna Musikverein’s Golden Hall and Carnegie Hall.
Jeanne Minahan
Poet Jeanne Minahan collaborates frequently with composers, including GRAMMY® and Pulitzer-prize winning composer Jennifer Higdon, Rene Orth, Michael Djupstrom, Ya-Jhu Yang, and Benjamin Perry Wenzelberg. Minahan’s poems have been featured in over 50 performances throughout the United States and in France.
Daedalus String Quartet
THE DAEDALUS QUARTET Min-Young Kim and Matilda Kaul, violins, Jessica Thompson, viola Thomas Kraines, cello
Praised by The New Yorker as “a fresh and vital young participant in what is a golden age of American string quartets,” the Daedalus Quartet has established itself as a leader among the new generation of string ensembles. Since winning the top prize in the Banff International String Quartet Competition in 2001, the Quartet has impressed critics and listeners alike with the security, technical finish, interpretive unity, and sheer gusto of its performances taking place in many of the world’s leading musical venues including Carnegie Hall, Lincoln Center, the Library of Congress, the Corcoran Gallery in Washington DC, and Boston’s Gardner Museum, major series in Canada, abroad at the Musikverein in Vienna, the Mozarteum in Salzburg, the Concertgebouw in Amsterdam, the Cité de la Musique in Paris, and in leading venues in Japan.
Ráyo Furuta
Renowned as “The Rockstar of the Flute” by the Informador de Guadalajara in Mexico and recipient of the 2024 "Power of Innovation'' prize, Mexican-Japanese American flutist Ráyo Furuta stands as a captivating artist and performer of global acclaim. At the remarkably young age of 25, Furuta was appointed as a cultural ambassador to the United States of America. Since then, his prestigious performances have included appearances with Yo-Yo Ma’s Silkroad Ensemble, The United Nations, Lyric Fest, and the celebrated Mainly Mozart and Yellowbarn Music Festivals, among many others.
Rebecca Myers
Soprano Rebecca Myers is a soloist, collaborator, recording artist, and creator specializing in repertoire spanning from the Medieval to scores written especially for her. In 2023, Myers was a featured soloist on the GRAMMY®-winning Navona Records album BORN, recorded with The Crossing and made her New World Symphony Debut under the baton of Patrick Dupre Quigley as soloist in Carmina Burana, and debuted with Verità Baroque for the European premiere of Philip Lasser’s The Mask in the Mirror at the historic Institute de France.
Devony Smith
Recognized for her "sensual" and "strong" voice (New York Times), mezzo-soprano Devony Smith is a versatile performer with a wide-ranging repertoire in opera and concert music. Smith is a sought-after collaborator with composers, having premiered works by GRAMMY®-award winning composer Jennifer Higdon, Jake Landau, Eve Beglarian, and Luna Pearl Woolf. Most recently, Smith sang the role of the Designer in the world premiere of Woolf's oratorio Number Our Days at the Perelman Performing Arts Center with the choir of Trinity Wall Street. Smith has a long relationship with Kate Soper’s work Here Be Sirens, which she has performed four different seasons, including an appearance at National Sawdust. Smith joined the Albany Symphony as a soloist for a concert of 5 world-premiere pieces at the EMPAC theater in Troy.
Stephen Ng
Heralded for his “powerfully expressive voice” (Washington Post), and “a superb singer… with a soaring voice in the extreme registers that could be simply described as amazing” (New York Concert Review), Stephen Ng is known as an opera, oratorio, recital, and new music performer. He has been featured as tenor soloist with Amsterdam’s De Nederlandse Opera, in the staged version of Stravinsky’s Threni, directed by renowned Peter Sellars. His portrayal of Evangelist in Bach’s Passions has received much acclaim, and he has performed as soloist with Philharmonia Baroque Orchestra, Orchestra Iowa, Washington Bach Consort, The Bach Choir of Bethlehem, City Chamber Orchestra of Hong Kong, and Lucerne, Tanglewood and Aspen Festivals, working with conductors such as James Levine, Nicolas McGegan, Pierre Boulez, Paul Hillier, and Daniel Reuss.
Steven Eddy
An accomplished concert artist and Baroque music specialist, baritone Steven Eddy has appeared both as a soloist and as a professional choral singer with The Oratorio Society of New York, Seraphic Fire, Philharmonia Baroque Orchestra, True Concord Voices and Orchestra, Spire Chamber Ensemble, Lancaster Symphony Orchestra, American Classical Orchestra, Sacred Music in a Sacred Space, Choral Arts Philadelphia, American Symphony Orchestra, Manhattan Concert Productions, Handel Choir of Baltimore, Bach Vespers at Holy Trinity, The Choralis Foundation, Columbia Pro Cantare, and Ensemble VIII.
Notes
As a creator and collaborator alike, I think a lot about what music can say: how a note, phrase, feeling, or gesture can “speak” directly and viscerally to a listener. Reciprocally, I find that digesting a good poem means perceiving the music within spoken word; the ultimate song, for me, therefore celebrates a special symmetry between text and tone. When Lyric Fest commissioned a cantata setting of the holiday poems of Jeanne Minahan, I found myself profoundly resonant with her words. The human harmony in her writing spoke to me immediately, coaxing musical harmony in response. I also appreciated how her multisensory snapshots of childhood memories captured a quintessentially American experience — especially as I was at that time preparing to move abroad.
As the title suggests, I hope this piece offers a timeless meditation on nostalgia and how it informs who we are today. The New York Train Arrives on Track Three, Minahan’s moving celebration of holiday homecoming, was set first and stands as the core of the piece. I then composed straight through, ending with the contemplative final movement.
Throughout my composing, I kept wishing there was an articulation mark that could express giving a note an embrace, a holiday treat, or a cup of cheer. The love carried in Minahan’s poems forms the connective tissue of the cantata, and I wove in her collection’s epigraph — Listen, my love, when wind ferries more than snow — throughout the cantata.
Casting four solo singers allowed for a dramatic world to be built across the poems. Implicit characters and relationships emerged — siblings, parents and children — and together, the vocal quartet became a kind of Greek chorus. I used structures of a baroque cantata as the framework for the dramaturgy. In homage to composers like J.S. Bach, ANY OF THOSE DECEMBERS features a recitativo and arioso in “Winter: The Antidote,” a custom poem Minahan gifted me as an ode to our mutual adoration of hot chocolate. There is hymn-like a cappella choral writing in Listen, my love, and a chorale prelude on the Christmas hymn, Lo, how a rose e’er blooming (cited by Minahan as the inspiration for Wonder’s Wonder). Listen out for references to Handel’s Messiah: a flurrying texture at the beginning of Winter: The Antidote, which mimics scoring and voicing of the soprano annunciation recitative, and a direct D Major to B minor chord progression at the end of Any of Those Decembers (“We skated toward infinity...”), inspired by Behold, I tell you a mystery. I hope these connections allow this piece to bridge old and brand-new musical traditions, and to deliver a deeply-rooted, almost sacred mode of storytelling.
The cantata ends with a couplet to cherish: “We skated toward infinity / there being nowhere else to go.” I set the whole movement as a journey toward these lines. Beginning with slow “bell-ringing” piano chords (then transformed as steps in soft snow, punctuated by crackling effects from the strings), the sonic world melts into a gently rocking figure-eight pattern. This pattern slowly accelerates, skating faster and faster until it inevitably traces the shape of infinity in the ear.
I had the wonderful chance to compose this piece for good friends for whom I hold great warmth and admiration. Within our crew of collaborators: artistic directors Laura Ward (pianist) and Suzanne DuPlantis, singers Devony Smith, Steven Eddy, Rebecca Myers, Stephen Ng, flutist Ráyo Furuta, and the Daedalus Quartet. I am also forever thankful to my Mom, Dad, Grandma, and Aunt, who listened and reminisced alongside me through the process.
Here is a cantata to make memories sing, and hearts alongside: this December and all Decembers to come our way.
— Benjamin Perry Wenzelberg