Haymaker

In her first work for full orchestra, Shelley Washington builds on a previous work, Seething, for cello and kick drum, commissioned and performed by Amanda Gookin. Haymaker is based on an original poem (see below) of the same title by the composer and explores the question: What would it mean to treat each musician as a virtuoso within the context of a larger group of musicians?

HAYMAKER
‍

ROUND ONE

In the local Pantheon in the girls bathroom at the bar

The Council booms an almighty GIRL, YOU GOT THIS

We all compliment each other. It is heaven.

On the top of my computer monitor is a red embossed label

all caps: SWING FOR THE FENCES.

I did it. Now I want more. I need it.

So I stretch, I flex, and I do. For who? For me. Mine.

‍

ROUND 2

Outside my home and the Pantheon, from an outsider's 3rd party perspective,

I do tend to strut.

My cheshire grin broadcasts that I am quite pleased with myself (they're not wrong).

We expect you to be strong but not THAT WAY

You are so lucky to be here! So articulate. Show us strength against all odds (that we generally

create)! Stoicism! Now! Don't listen to them- put your gloves up and take the hit quietly

round after round after round and around- tidy the ring for the next fight

‍

CHAMPIONSHIP ROUND

Honestly, I'd rather not. Well, by your expectations at least. Remember that I want more?

I will make it. I will have it.

Till then, find me in The Girls Bathroom on a packed Friday night, sharing perfume and

scheming, philosophizing, lauding each other's success, ready for a full beat, bejeweled, and

gilded roundhouse K.O. with the fresh full set locked and loaded for each other, the whole

world on our own terms.

We will make us, we will save us. Your rules at our feet

Cradle of the universe, brand new besties sharing lipgloss at the mirror.