Anna Rubin

for soprano/mezzo soprano and piano

Night of Nights/Nacht der Nächte (composed in 1998, rev. 2020)

So Many Oceans (composed in 2021)

White Serpent/Weiss Schlange (composed in 2022)

German Jewish poet and Nobel laureate Nelly Sachs created a unique body of work commemorating the Holocaust. She and her mother managed to flee Germany on the last flight allowed out of Germany to Sweden and lived there for the rest of her life.

In Night of Nights/Nacht der Nächte, Sachs manages in a few lines to express an enormous depth of loss and desolation with the hope of eventual redemption. I have made my own translation of the poem and included some German from the poem because of the unique vividness of the poet’s language. The musical language of the piece veers towards and away tonality and exploits many pianistic colors. Julia Fox, soprano, and Sandrine Erdely-Sayo premiered Night of Nights at the Piano on the Rocks Festival, Sedona, in 2021.

White Serpent/Weisse Schlange contains a wild conflation of images – emptiness and the anger of a grenade, fire, and ice along with the strange images of a white snake and ice. All these images roll into the final image of time and eternity on the back of a snail. The relentless quality of that last image governs the pulse that governs the piece, against which brief melodies flare.

Click here to view the score for Night of Nights (English).

Click here to view the score for the Nacht der Nächte (German).

Click here to watch a YouTube video of the performance of Night of Nights.

Click here to view the score for So Many Oceans.

Click here to view the score for White Serpent (English).

Click here to view the score for Weisse Schlange (German).

Click here to download all performance materials.

Anna Rubin

for soprano, violin, and fixed media

ca. 8'00"

This work is based on excerpts from Canadian poet Di Brandt’s poem, Interspecies Communication. The poem celebrates the life of bees with its lyrical language while pointing to the dangers pesticides pose to their survival. The musical setting of the poem emphasizes a playful and sensuous quality of the poem, both for voice and violin and the electronic evocation of swarms and honey-making.

Click here to view the score and listen to a recording.

Click here to download performance materials.

Anna Rubin

for soprano, flute, oboe, Bb clarinet, bassoon, horn in F, piano, violin, viola, violoncello, and contrabass

De Nacht was written while I was studying in Amsterdam with Ton de Leeuw in 1983. I composed it for a competion run by the Delta Ensemble and was awarded first prize. I assembled the text, which is an impressionistic collage drawn from several sources including Near Eastern mythology and Malcolm’s X’s own life. Words from several languages are used. I was very influenced by the mythological works of Joseph Campbell and his concept of the hero’s journey. The piece is in two broad sections. Melodic fragments are set against fast, pizzicato and staccato accompanimental figures in the first part. It builds to a dramatic climax and is followed by a serene closing section which is a setting of a Hawaaian creation song.

At a time when the earth was hot,

At a time when the heavens turned about,

At a time when the sun was darkened to cause the moon to shine,

The slime, the source of the earth, the source of the night, that made the night,

Intense darkness! The deep darkness, the darkness of the sun, darkness of the night, the night gives birth.

The piece premiered at The Icebreaker (Het Ijsbreker), Amsterdam, in 1983 was performed several times after by the ensemble.

Click here to view the score.

Anna Rubin

for soprano and percussion

ca. 15'00"

Ice Song (1993) is scored for soprano or mezzo and percussion (vibraphone and several small drums, rattles, and metal instruments). I created the text after reading a haunting Inuit story describing one Inuit community’s struggle for food in the dead of winter. The song is sung as the story of one woman’s terrible dilemma as she gives birth while the hunters of the village are away trying to get food for their starving families. The vocal line is melismatic; the musical language atonal and the percussion used for timbral variety and intensification. Isabelle Ganz premiered the work at MusicAlaskaMusic Conference in Fairbanks in 1993; it was most recently performed in Germany in 2005 by contralto Wiebke Hoogklimmer.

Click here to view the score and listen to a recording.