With both European bona fides (that Watson fellowship with Nadia Boulanger in Paris) and studies with composers that can sound European (those PhD lessons with Leon Kirchner at Harvard), American composer Robert Sirota remains precisely that: a quintessentially American composer. In his mature works, thorny chromaticism often plays nicely within rounded, deliberate forms. And there's always a true economy of means -- no motive where none intended. European-inspired, maybe, but his is a curious blend, no doubt informed by Sirota's many academic appointments up and down America's eastern seaboard (NYU, BU, Peabody, Manhattan School of Music). Not that Robert Sirota is an ivory tower, himself. Case in point: Sirota's brand new, beguiling work for Sandbox Percussion, Spindrift.
Classicalite: Spindrift, your latest commission for Sandbox premiered last weekend as part of Concerts on the Slope at St. John’s Episcopal Church. Can we get a brief origin story, at least for that piece?
Robert Sirota: Ben Larsen, the artistic director of Concerts on the Slope, introduced me to Sandbox Percussion. Ian Rosenbaum of Sandbox asked me if I would like to compose a piece for them, and I jumped at the chance. This group plays with incredible dynamism and nuance, and they are wonderful people, as well. It has been a real joy collaborating with them on this project.
Clite: And the accompanying Fractured Atlas fundraiser?
RS: This fell into place as an organic part of the collaboration. Once we all decided that I would create a piece tailored to Sandbox Percussion's talents and skills, I was happy to work with them to find the commission money. The central event of our fundraising for the commission was a preview reception in February at Sandbox’s Brooklyn factory loft-studio in Sunset Park. On that evening, the quartet played about half of the new work-in-progress. The evening was quite successful financially -- total blast for everyone!
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