Plays Well with Art: Compositions by Sarah Miller
Local composer Sarah Miller received an Individual Artist Grant through the Minnesota State Arts Board to create original works of music inspired by pieces in Mia’s collection. Check out the paired compositions below.
"Warrior with Shield,” Henry Moore
Mike Alexander, French horn
Allison Akins, French horn
Sarah Miller, composer
Although I received the State Arts Board Individual Artist Grant before the pandemic hit, I wrote all of these pieces during lockdown. This was the first piece I wrote, and I would like to dedicate it to Governor Walz as he did his best to keep Minnesota safe and flatten the curve. I had originally chosen the work because my contact at Mia had mentioned that this sculpture resonates particularly for veterans, and one in particular who would visit it every day. —Sarah Miller
“Lucretia,” Rembrandt Harmenszoon van Rijn
Laurie Merz, bassoon
Rolf Erdahl, double bass
Sarah Miller, composer
This most-famous painting at Mia carries a dreadful message: that Lucretia’s honor was worth more than her life. She is powerless to remove the stigma of her lost virtue in any way other than taking her own life. Her hopeless gaze and self-inflicted imminent death leave her empty and totally alone in her final moments. She is not given to outward histrionics, but her sorrow is palpable. —Sarah Miller
“Lake George,” Edward Steichen
Bob Adney, marimba
Sarah Miller, composer
The colors in this painting draw the viewer into a world of near-dark by the water. We enter a world of quiet and beauty. I chose to set this piece for the marimba with soft mallets because that best matches the muted nature of the deep blue hues in the painting. The piece may lull you to a dream-filled sleep. —Sarah Miller
“Untitled: Posthumous Portrait of the Artist’s Mother,” Morris Kantor
Steven Leung, violin
Sarah Miller, composer
This painting embodies so much rancor, clearly unresolved even by the mother’s death. My first impulse was to write quadruple-stop dissonant chords for the violin to match the powerful diagonal lines in the painting. The piece is atonal to depict the harsh, raw emotion I see in the painting. There is also the unrequited grief of the unloved child. Listen for the “dies irae.” Day of wrath indeed. —Sarah Miller
"Puteaux: Smoke and Trees in Bloom", Jacques Villon
Susan Janda: viola
David Milne: soprano saxophone
Sarah Miller, composer
This painting has many layers, and it is hard to resist focusing on first one part of it and then another. The opening of my musical setting represents the smoke that is obscuring the trees in bloom, but eventually their scent and color swirl through the haze in a celebration of spring.
—Sarah Miller
"Black Place 1", Georgia O'Keeffe
Carrie Vecchione, oboe
Rolf Erdahl, double bass
Sarah Miller, composer
I love the sense of rolling motion in this painting, and when I read Georgia O’Keeffe’s description of these hills as “A Mile of Elephants from a Distance” I could not resist setting it for Carrie & Rolf! Especially since I previously have written music for them to accompany Kipling’s story, “The Elephant’s Child.” I hope that you can hear the elephants romping along as only 5-7–ton animals can do! —Sarah Miller
"La Petite Danseuse de Quatorze Ans," Edgar Degas
Nina Olsen, clarinet
Sarah Miller, composer
The posture of the little dancer evokes so many thoughts. She has a physical attitude of fearlessness and pride, but knowing she is only 14, there is so much hidden inside that outward armor. Her excitement at being ready to leap onstage. The nervous twinges in her stomach, fearful of failure. The steeling right before going onstage. And then the dances! And that is what she lives for. —Sarah Miller