An Interview with Classical Guitarist, Aaron Larget-Caplan
You have done many arrangements and commissions (for example the first officially-sanctioned guitar arrangements by the John Cage Trust). How does composing your own piece for guitar and choir differ creatively from arranging or premiering a piece by someone else?
Premiering/arranging someone else’s composition come with a different sense of responsibility, as often people know the music being arranged, so I am trying to be faithful to the composer’s original intent and make the piece/part sound as if it were originally written for my instrument.
Sometime the arrangement comes out quite successfully as an individual solo, but it varies greatly from the original. Example: Bach’s "Gottes Zeit ist die allerbeste Zeit" (BWV 106). The original crossing of voices can’t be done on one guitar, but the guitar version is still pretty.
Creating an original work from scratch is, on one hand is easier, as I just have to get into my head. Then I come up with an idea, realize it, and make sure it it playable and singable. On the other, I had to come up with an idea (holiday piece), create the text, realize it, and make it playable and singable.
There is something quite wonderful about composing that I had never felt with arranging.
The title ‘Cider Meditations’ suggests something reflective, perhaps seasonal or process-oriented. Could you tell us what “cider” stands for in this work—its imagery, its flavor, its metaphor?
When I decided to write a holiday piece, I thought about my favorite underling aspect of the holidays: a sense of peace. I preparing and drinking hot cider on a cold winter morning or night to be the metaphor I wanted to convey aspects of the holidays and life in general that I find important: charity, warmth, protection to come through. Watching the swirls of steam is pure beauty; staring at the steam, grateful to be in a warm house with this simple cup of cider.
Since your work often engages newer music audiences and educational communities (via your commissioning projects), what kind of listening journey do you hope the choir-plus-guitar combination will invite for our audience?
I’m always inspired to introduce the classical guitar and contemporary music to audiences and give a tinge of a challenge. I came to the instrument and classical music at 16y.o., and with them I found purpose, beauty, and community.
I hope audiences come away inspired to listen to more music and attend concerts as often as possible. If a few people decide to do more than listen and pick up an instrument or return to one, well that would be even greater!
Are there specific textures, techniques or moments in the piece that you’re especially excited for us (and the audience) to hear live for the first time?
I know the moment the choir enters following the guitar introduction will be intense. A bit nerve-racking.
This world premiere brings together your guitar voice with a volunteer choir community accustomed to both new commissions and diverse repertoire. What drew you to collaborate with Kantorei and this ensemble in particular?
Exactly that! Kantorei isn’t just singing the repertoire, but actively adding to it with collaboration with some really wonderful composers. A volunteer group willing to trust composers and to be the first to bring these black spots on the page to life, is heroic. Bravo!
In your experience working with voices plus guitar (or guitar plus other forces), what are unique considerations when writing for a guitar-choir duo? Any surprises in how the textures weave?
Balance is always an issue when the guitar is with other instruments, let alone 60 voices. I’ve performed many times with choir, including works by Mario Castelnuovo-Tedesco, Vineet Shende, Alf Houkom and others, and after a while it is apparent what works.
In ‘Cider Meditation’ I knew the guitar writing would be more accompaniment than soloist and the guitar would have to resonate to give something for the choir to hold onto, so I chose harmonies and voicing that I can arpeggiate. I also decided to use a texture of tutti-soli which would also allow the form of the piece to come through. There are hints of melody in the guitar as well as some ornamentation but it is not meant as a guitar piece with choir, rather a work for choir and guitar.
From our end (choral side), we’d love to know: Are there musical or expressive moments you hope the choir will bring out—maybe something you envision the singers doing that amplifies what the guitar is doing?
I wrote the coda (m. 78) to allow some space for the singers to be free without worry of covering the guitar. Listening and singing with warmth and a tinge of nostalgia will do most of what’s needed.
I purposely did not include many dynamics as I wanted to experience the realization of Kantorei before inking them.
Lastly, in each performance I try to let the sounds just be and enjoy them, as the moment of live music is unique and can never be repeated. It’s magic to bring voices and instruments together.
For listeners hearing Cider Meditations for the first time, what would you hope they “take away”—a mood, an idea, a feeling, perhaps a question?
Ideally, that they go home and feel inspired to offer safety and protection to those in need, two themes that are as present today as they have been for generations.
Finally, for our social-media followers: If you could suggest one thing for them to listen for (while we’re performing), what moment or element in Cider Meditations should they pay special attention to?
“it’s a mug of cider” comes up four times with variation each time. What does that represent?
