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The View | from the University of Vermont April 5, 2006 Text Size: Sm | Med | Lg From Tragedy, Art Family Incorporated Senior David Lombardo’s business education began with him watching his April 6, 6:30 p.m. Film: parents operate a meeting Invisible Children. The hall and nightclub back documentary depicts the home in Randolph, Mass. true story of thousands He plans to return after of Ugandan children who finishing his UVM studies to have been kidnapped and help operate, and perhaps forced to become eventually take over, the soldiers. L207 Lafayette. third-generation family business. One problem: His nine cousins have the same April 6, 7 p.m. Lecture: ambition. Where in the World is Kingdom County?” with Vermont author Howard Embracing Change Mosher. John Dewey Change is a theme with Lounge, Old Mill. Michael Hopkins (left) works with conductor David Barbara Johnson. (So is Neiweem during a recent rehearsal of "From Revenge to Forgiveness." (Photo: Bill DiLillo) growth — professional and April 7, 9 a.m. botanical. More on that Bacchanal: 30th Annual later.) Latin Day celebration featuring skits and songs When conductor David Neiweem raises his from Latin students baton and launches the orchestra and choir throughout Vermont. Patrick Gymnasium. into the first downbeat of this weekend’s premiere of “From Revenge to Forgiveness,” April 8, 11 p.m. Spring the most anxious musician in the house won’t Choral Concert: Leonard Bernstein’s “Chichester be on stage. He’ll be in the audience. Psalms” and Michael Hopkins’ “From Revenge to Forgiveness.” Ira Allen Chapel. Tickets $18, $15. April 10, 7 p.m. Lecture: Mikel Dunham, author of Buddha’s Warriors: The Story of the CIA-Backed Tibetan Freedom Fighters, the Chinese Students Bring Darfur Documentary to UVM Communist Invasion, and the Ultimate Fall of Tibet. John Dewey Prominent Creative Nonfiction Author to Read Lounge. Distinguished Lecturer to Discuss Reaffirming April 12, 4 p.m. Lecture: “Lies, Taboos and Democracy History: The Relationship Between Truth About the Past and Justice in the Writer Bill McKibben Lectures on 'Thinking Present,” with Professor Small' Emeritus James Loewen. 235 Marsh Life Sciences. Makin' the Mic Flow Like Frodo Best-Selling Emeritus Author Will Discuss Lies, Taboos and History Biology Student Wins Summer Fellowship April 5, 2006 From Tragedy, Art Text Size: Sm | Md | Lg By Tom Weaver Article published Apr 03, 2006 Family Incorporated When conductor David Senior David Lombardo’s business education began with Neiweem raises his him watching his parents baton and launches operate a meeting hall and nightclub back home in the orchestra and Randolph, Mass. He plans to choir into the first return after finishing his UVM studies to help operate, and downbeat of this perhaps eventually take over, weekend’s premiere of the third-generation family business. One problem: His “From Revenge to nine cousins have the same ambition. Forgiveness,” the most anxious musician in Michael Hopkins (left) works with conductor David Neiweem during a recent rehearsal of "From Revenge to the house won’t be on Forgiveness." (Photo: Bill DiLillo) Embracing Change stage. He’ll be in the Change is a theme with Barbara Johnson. (So is growth — audience. professional and botanical. More on that later.) Composer Michael Hopkins has endured the tension of witnessing the premiere of his own work before and says the passive torture — “you’re sitting there anticipating every single musical event” — jangles his nerves far beyond anything he’s experienced performing or conducting. The moment calls for a coping strategy and Hopkins, associate professor of music, has honed his technique. “You have to try to let go and let yourself enjoy it,” he says. “Maybe pretend that you didn’t write it.” ‘Hey dummy, you’re a musician’ As Hopkins fidgets in an Ira Allen Chapel pew, he will be completing the final step in a long process of reflection and creation that grew from the tragedy of the terrorist attacks of September 11, 2001. Hopkins doesn’t oversell his personal connections to the fateful day, but his family roots are in New York City, and in the month after the collapse of the towers he visited friends whose Manhattan apartment looked down into the devastation, a view that brought home the reality of great loss. Remembering 9/11, Hopkins speaks deliberately, chooses his words with care: “We all saw the same thing and it moved all of us very deeply.” Wanting to respond in some meaningful way, Hopkins floundered for a time but eventually turned to his art. “It finally dawned on me, ‘Hey dummy, you’re a musician and you’re a composer. Instead of fuming about this in other ways, why don’t you pour your energies into a piece of music?’” Initially, Hopkins planned a piece focused on 9/11. But after conceiving the work and beginning to sketch out a direction, he was forced to set it aside for lack of the time such an ambitious project would require. Looking back, the composer says he feels fortunate that was the case. “The scope of what a lot of people in this country started to think about on September 11 has gotten much, much broader. And I wanted to write a piece that was really reflective of that change.” In 2005, Hopkins picked up the piece again and began composing a work for choir and orchestra that would be dedicated to the victims of terrorism and war. He looked to a wide range of poets, Walt Whitman to Rita Dove, for the text that would come to create the structure for his seven movements: “Revenge,” “Vision of Armies,” “Suffering,” “Grief,” “Remembrance,” “Hope” and “Peace-Forgiveness.” The title of his piece is borrowed from a poetry anthology edited by Patrice Vecchione that Hopkins read during his research. Hopkins is plain that it wasn’t his intention to create a purely anti-war composition, he was after something more universal, more complex. “I wanted to write a piece that could be deeply meaningful for a veteran if they were just coming back from the war or the mother of a soldier who is off in Iraq, but also to somebody who has strong feelings against the participation of our country in this war,” he says. Words and sounds The thematic ambition of “From Revenge to Forgiveness” was rivaled by the musical challenge Hopkins set before himself. With choir and orchestra together, it was the largest number of performers, 170 vocalists and an orchestra of approximately 30, for which he had ever written. The piece is being performed in the first season of a joint venture between the UVM Concert Choir and the Burlington Choral Society. Hopkins, who is on sabbatical for the academic year, began to focus on composing last May. Sketching out ideas at the piano is a key first step in his creative process, he says. “I’ll sit down with the text in front of me and improvise some material, trying to find a contour.” Working with poems gave him a head start in this. “A lot of text seems to have this internal rhythmic structure that is right there, just leaping off the page at me,” he says. Through his development as a composer, Hopkins says he’s learned that the composing process doesn’t always move in a linear path. Parts of his new work go back to sketches he originally created in 2001, and the very first measures he wrote don’t enter until the third movement. Hopkins says he’s learned never to throw an idea away, a lesson he took from Evan Chambers, a professor of composition at the University of Michigan whom he began working with last summer. “If you can’t use them right now, set them aside,” Hopkins says. “Maybe someday you’ll be able to come back and find a new use for them, re-tool them.” Chambers was an essential sounding board for Hopkins as his new score came together. “When you just live with it for months and months you don’t realize ‘well, maybe I don’t need to repeat this measure here’ or ‘maybe it doesn’t make any sense to end on this big major chord here, maybe it would be better to have it disintegrate,’” Hopkins says and adds, “Evan has a lot of great ideas along those lines.” Hopkins also looked just down the hall for help from colleague David Neiweem who, as conductor of the ensemble, brought a keen sense of matching the piece to the performers. Neiweem has been working with the chorus on the new work since the beginning of the spring semester, and the orchestra will step in with a final flurry of rehearsals the day before the performance. Then it will be time for Hopkins to take an uncomfortable seat for the hour-long running time of “From Revenge to Forgiveness.” Time to sit and listen and ponder the fundamental question that would haunt most artists at such a moment: “I wonder if they’re going to like this?” The Burlington Choral Society Chorus and Orchestra and the University of Vermont Concert Choir will perform “From Revenge to Forgiveness” on Saturday, April 8, at 8 p.m. in Ira Allen Chapel. Also on the program: Leonard Bernstein’s “Chichester Psalms.” Tickets are $18 general admission; $15 for seniors and students and are available at Flynntix.org. The View Homepage | UVM Homepage News Briefs | Events | Notables | About Us | RSS | Feedback April 5, 2006 Family Incorporated Text Size: Sm | Md | Lg When blood and money mix, things get complicated. A new School of Business course aims to help. By Jon Reidel Article published Apr 04, 2006 From Tragedy, Art When conductor David Neiweem raises his baton and launches the orchestra and Senior David choir into the first downbeat of this weekend’s premiere of Lombardo’s business “From Revenge to education began with Forgiveness,” the most anxious musician in the house won’t be him watching his on stage.
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