Symphonicity presents World Premiere of Virginia Beach Symphony
Last month, Symphonicity gave the world premiere of my Virginia Beach Symphony. I’ve been fortunate over the years to hear several of my own large-scale orchestral works premiered, but this one felt different. Writing music about a place I called home for 30 years carries a weight of history and familiarity, and hearing that story unfold in front of a live audience was both grounding and surreal.
What stood out most during the performance wasn’t just Symphonicity’s beautiful sound, but how deeply the musicians connected to the story behind the music. One of the main challenges of the piece was figuring out how to pace four very different environments - the ocean, the Town Center, rural Pungo, and the Navy - not just in the writing, but in how the audience would experience them in real time. Daniel Boothe, whose creative approach I admire, suggested using lighting and video introductions as a way to quietly open the door for listeners to situate themselves inside the sound that followed.
After bouncing a few ideas around, we landed on a concept that used excerpts from a prequel we produced, along with lighting that evolved throughout the performance. It felt like a risk going in, but it ended up working incredibly well - one audience member even described it as “mesmerizing.” In the Pungo movement, hearing Virginia poet Claudia Emerson’s "Stable" read by Shari Barbour added a layer I didn’t fully anticipate. Her voice brought a sense of memory and longing that fit the movement perfectly.
I’m grateful to so many people who helped make this project and its premiere possible. First and foremost, the musicians of Symphonicity - this piece exists because of their sound and commitment. I’m also grateful to Virginia Beach Mayor, Robert Dyer, for his letter to the community and his words of support for the project. Huge thanks to Nikki Bergman, Symphonicity’s relatively new Executive Director, whose care for the collaboration and genuine support of living composers helped everything run smoothly. I’m also thankful for my friend Traci Bluhm (who also played second flute) and her husband Rob for their friendship - and for letting me crash at their place midweek!
And last but certainly not least, Daniel Boothe, whom I now call a friend. He is truly a champion of new music and stands out among today’s music directors for commissioning with a purpose of shaping a repertoire that is genuinely unique. I feel very fortunate to have been part of that vision. Stay tuned as this project continues to unfold!
