Annie Lewandowski: voice, piano, harmonium, electronics
David Yearsley: harpsichord, fortepiano, clavichord
Theresa Wong: cello
Russell Greenberg: percussion, vibraphone
“There it was, one of those moments that is the opposite of blindness...”
- Anne Carson, Autobiography of Red
In late Summer 2015, I read Anne Carson’s translations of Euripides’ tragedies. My reaction to these unflinching examinations of grief and human suffering was sharp and deep. In the autumn months that followed, inspired by Carson’s translations and others, I wrote the songs on this recording, each one magnifying an iconic moment in the life of a dramatic character.
And now, three years later, I cannot think of that period in my creative life without also thinking of the vast grief that was to meet me in my personal life in the time to come. This recording takes the shape of anticipatory loss. I wonder now about what I knew but could not speak, the buried truth that could then only be voiced through these characters.
I am deeply grateful to the fine musicians on this recording who brought sonic richness and depth to the proceedings, to John Dieterich for engineering, to Kevin Ernste for lending the room and equipment to record, to Theresa Wong for her enduring support of my music, to Kazumi Tanaka for Magdalene, and to the people and organizations who helped nurture Bitter Banquet onto the stage, including Samuel Buggeln, Benjy Brooke, Sergey Levitskiy, Emily Weisbecker, The Cherry Arts, and the Cornell Council for the Arts.
This recording is dedicated to Verity Platt, Mollie Leitzes & Mel Solomon, and Karen Gilovich, with my eternal gratitude.
- Annie Lewandowski, 2018
fo’c’sle pronounced: /folk-soul/, noun 1. the forward part of a ship below the deck, traditionally
used as the crew's living quarters. Origin: representing a sailor's pronunciation of 'forecastle' 2. a music label dedicated to propagating fresh sounds in avant-garde music from the San Francisco Bay Area and beyond...more