The Tipping Point

Program Notes

The Tipping Point is explores the return of light. It is set in Raag Vibhas, a Hindustani raag (p/d) that is characteristically performed at daybreak. Amy Fogerson’s text is rooted in the solstice (as metaphor for a larger social struggle between darkness and light) — exploring the return of light in yearly cycles. 

And indeed, I was writing this piece both during the darkest time of the year, and through the darkest time of the pandemic. It is a mantra, designed to be sung over and over again, to somehow internalize that even in the darkest of times, light always returns.

Recording

Special Performance Requirements

This work includes a tabla, a set of hand drums that form the backbone of Hindustani rhythmic practice. In this piece, I wanted the singers and the tabla player to do more than simply occupy the same space. I wanted them to hear one another, to give them a lens to look into each other’s worlds.

In certain sections, the singers sometimes sing in taal (p/d). They use bols (onomatopoeic syllables) from two typical Hindustani rhythmic cycles called Teentaal and Deepchandi. There are also solo parts that give a few singers a chance to try a characteristic Hindustani rendering of Raag Vibhas.

Please note: this piece requires a professional tabla player. The tabla part requires long periods of very virtuosic, exposed playing at the beginning and end. While some of my other works only require basic theka (that a Western percussionist who has explored tabla would be able to handle), there is a virtuosity in this piece that demands a very experienced tabla player.

Logistical requirements: Amplification is always necessary for the tabla — it is a part of the modern performance tradition. Additionally, in most cases, a monitor will also be necessary. Even in a very live space, the choir may not be able to adequately hear the tabla without a monitor. Since rhythmic conception is quite different between the two traditions, it is vital for the singers and tabla player to be able to hear each other well and not to rely primarily on visual alignment.

Text

excerpt of poetry by Amy Fogerson*, interspersed with Hindi and tabla bols

Stasis.
Balanced on the razor’s edge between darkness and light.
Darkness exults in his hold on the world.
Yet we are arrived at the tipping point.

Dha Dhin Dhin Dha
Dha Dhin Dhin Dha
Dha Tin Tin Ta 
Ta Dhin Dhin Dha

Aaye savera (come, morning)
Aaye gyan (come, light/enlightenment)

And Light stands proudly, poised for her return.
She presses inexorably forward
In her journey to true north.
For light is life and
Light always returns
Light always
Light

Dha Dhin, Dha Dha Dhin
Ta Tin, Dha Dha Din

*full Fogerson poem available in score

Audio Guides

In order for the singers to feel confident entering into this language, here are extensive audio guides to give context and entry points into the Hindustani elements of this piece:

Additional Information:

If you are not familiar with the tabla, here is a beautiful introduction to the instrument by Shawn Mativetsky. Shawn has worked with many Western classical musicians to build works for the tabla, and is beautifully able to explain tabla theory and practice to those coming from a Western musical context.

Premiere/Performances

The Tipping Point was premiered on July 30, 2021 with Santa Fe Desert Chorale in Santa Fe, New Mexico; Joshua Habermann, conductor; Eric Phinney, tabla

Press/Reviews

…the world premiere of a commissioned work, “The Tipping Point.” It’s by Reena Esmail, a young Indian-American composer who has been a composer-in-residence with the Seattle Symphony and a Kennedy Center Citizen Artist Fellow.

“This piece pivoted so many times as I was writing it, just like we all pivoted during the pandemic,” Esmail said in a video interview. “I finally settled on the idea of the return of light. I was writing it this spring and it was just as we were starting to see that things would open up again.” It ends with the phrase “Light always returns, and returns, and returns,” because she wanted to create a mantra for the Desert Chorale singers who return to Santa Fe every summer from all over the country.

Mark Tiarks, Santa Fe New Mexican

The performance began with a piece called ​“The Tipping Point” that saw the 16 choral artists and Panchakshari meld tabla and harmonies… Many of the pieces used excerpts from poetry interspersed with Hindi and tabla bols. This one included an excerpt by Amy Ferguson [sic]. The voices sang: ​“Stasis. Balanced on the razor’s edge between darkness and light. Darkness exults in his hold on the world. Yet we are arrived at the tipping point.”

Soprano Sarah Vitale and bass Jared Swope, soloists featured in this piece, exemplified that balance, and as the end of the piece found the repeating of the phrase ​“light always returns,” the chorale came back with an angelic assurance.

Karen Ponzio, New Haven Independent