MICHAEL HERSCH
(born 1971 in Washington D.C; currently resides in Philadelphia)

" the wreckage of flowers" - Twenty-one Pieces After Poetry and Prose of Czesław Miłosz (2003)

Completed in 2003, the wreckage of flowers is a set of 21 short pieces accompanying writings of the Polish-born 1980 Nobel Laureate in Literature, Czesław Miłosz (1911-2004). Individually, the pieces are laconic and to the point; together they create a reflection of the composer in conversation with Miłosz's writing.

Michael Hersch has risen to prominence relatively quickly, becoming one of the best-known American composers of his generation. His musical language hovers between atonality and tonality, while intricate clusters of pitches and sudden rhythmic transitions underlie a striking intensity of expression. Particularly recently, his works tend to have multiple movements emphasizing economy of material and a more focused, often severe expression, distinguishing them from the large scale or few-movement works he wrote in his twenties.

Czesław Miłosz was one of the greatest poets of the 20th Century. He often explored humanity's seemingly endless capacity for cruelty, and its tragic consequences, witnessing much of it first hand. However, compassion was always important in his works, as well. Born in Lithuania in 1911 his family moved frequently during World War I. During World War II Miłosz survived the Nazi occupation of Poland and afterwards joined the diplomatic service. In 1951 he defected to France and eventually became a professor of Slavic Languages at the University of California-Berkeley. He died 14 August 2004.

Hersch has based the 21 short pieces of the wreckage of flowers on 19 text fragments of Miłosz's prose and poetry, the two remaining texts being repeated. Rather than setting the words to music, as in a traditional song setting, Hersch has taken the fragments and reacted instrumentally.

All the pieces are short and contain few traditionally melodious moments. Throughout the half-hour work the violin and the piano remain virtually independent though cohesive at the same time. Although the score is thick with expressive indications, the work is to be played with a degree of spontaneity; the rhythmic and dynamic instructions from the composer must be taken as guidelines rather than strict dictates.

In simple terms, the wreckage of flowers combines open and tightly knit sounds, extended pedaling on the piano, hushed tones of col legno (special effects technique on the violin where the wooden part of the bow used to draw its sound rather than the hair), and the use of extreme registers of both instruments. The intensity can be felt in part through flourishes of notes among densely contrapuntal notations. The music also relies heavily on voice leading; navigating areas of atonality and tonality with the same degree of purpose, offering new and distinctive sounds as opposed to deviations from classic or traditional textures.

The wreckage of flowers was commissioned by Midori and was premiered in the 2004-2005 season in performances by violinist Midori and pianist Robert McDonald. Michael Hersch studied at the Peabody Conservatory in Baltimore and at the Moscow Conservatory in Russia; he was also a fellow at the Tanglewood Institute. As a pianist Hersch has performed in the U.S. and Europe. A recording of Hersch's chamber music was released in 2003 on the Vanguard Classics label. A new disc featuring Hersch performing music of Morton Feldman, Wolfgang Rihm, Josquin Des Pres and his own work is also available on the same label.