Living In Light: Music by Heather Gilligan
Margot Rood (soprano), Patrick Owen (cello), Seelan Manickam (trumpet), Damien Francoeur-Krzyzek (piano), Kenneth Radnofsky (saxophone), Caleb Herron (percussion), Apple Hill String Quartet
Heather Gilligan's music has been described as honest, direct, and compassionate while exploring emotions from humor to anguish. Her music has been performed to critical acclaim at the New York Choral Festival, the Washington D.C. International Music Festival, and by the American Modern Ensemble, Lorelei Ensemble, and Arneis String Quartet, among many others. She is on the faculty at Keene State College and a member of the Boston Composers Coalition. She received her DMA in Composition from Boston University and her MM from the Longy School of Music. She also holds a BS in Chemistry from Lehigh University. This recording contains six song cycles -- each set for soprano -- but the instrumentation is varied. Living in Light is scored for soprano and cello; Garden Songs for soprano, trumpet, and piano; Mixed Metaphors for soprano and piano; Winged Reflections for soprano, saxophone, and piano; Battlegrounds for soprano and string quartet; and Finer Points for soprano and percussion.
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Track Listing
| Title | Composer | Performer |
|---|---|---|
| Living in Light | Heather Gilligan | Margot Rood, soprano; Patrick Owen, cello |
| Garden Songs | Heather Gilligan | Margot Rood, soprano; Seelan Manickam, trumpet; Damien Francoeur-Krzyzek, piano |
| Mixed Metaphors | Heather Gilligan | Margot Rood, soprano; Damien Francoeur-Krzyzek, piano |
| Winged Reflections | Heather Gilligan | Margot Rood, soprano; Kenneth Radnofsky, saxophone; Damien Francoeur-Krzyzek, piano |
| Battlegrounds | Heather Gilligan | Margot Rood, soprano; Apple Hill String Quartet |
| Finer Points | Heather Gilligan | Margot Rood, soprano; Caleb Herron, percussion |
Reviews
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"Heather Gilligan's Living in Light, a collection of six relatively short song cycles by the New Hampshire-based composer, is a new album that capably demonstrates that the art song is not only alive and well but thriving in the early decades of the 21st century. The title song cycle, a setting of four Sara Teasdale poems for voice and cello, gives a good sense of Gilligan's style as far as it's represented on this album: emotionally direct; filled with sweeping, lyrical gestures; and unafraid to venture into the occasionally unexpected sound world. Throughout the disc
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