Sequenza21/

(UNTITLED), an original film satire of New York’s avant-garde art scene, will appear in theaters across the nation this fall. By poking fun at the idiosyncrasies of 21st century Bohemia, (UNTITLED) introduces American audiences to some of the best that contemporary art has to offer, notably a score by Pulitzer Prize-winning composer David Lang, who merges the artistic expressions of the composer protagonist with his own musical voice.

(UNTITLED) revolves around melancholy composer Adrian (Adam Goldberg) and his whirlwind affair with a Chelsea gallerist (Marley Shelton), who unbeknownst to Adrian sells vacuous commercial works to high-paying corporate clients. The film explores the idea of true art and the question of integrity lost through commercialism – all with tongue in cheek. At the beginning, Adrian’s music comprises cliché contemporary classical music elements, such as crinkling paper and breaking glass. Once his perspective and emotions achieve depth and insight through his blossoming romance, his music becomes more profound.

John Clare had a chance to send questions to both David Lang and Adam Goldberg. In the first post, here are Lang’s answers about (UNTITLED):

1. Often with a joke, there is some seriousness or truth behind it. Is there some truth to this movie even though there is some fun being poked?

There is a lot of truth in this movie, mostly about how people in the arts become passionately committed to something they believe in that may look unbelievable from the outside. I think that creative commitment is captured very well, as is the distance between the committed people and the people watching the committed people.

2. How cool is it for the composer to “get the girl” in this movie? Did it influence your music for the film?

Getting the girl didn’t influence my thinking in the movie, although it didn’t hurt. The progression of the character musically is that he begins by making music only for himself, because that is how large his world view is; when he meets the girl his senses and optimism and maybe even his idea of audience expand, and his music changes accordingly. I definitely tried to make that shift happen in the music. Read the rest of this entry »

I’m in Baltimore covering the world (intergalactic) premiere of Judith Lang Zaimont‘s piano concerto, “Solar Traveller” with Timothy Hoft and the Peabody Conservatory Wind Ensemble led by Harlan Parker. I caught the dress rehearsal yesterday and a composer masterclass, and will do some interviews today and film the concert tonight. (There is also Husa’s Music for Prague 1968 and Carolyn Bremer’s Early Light [based on the Star Spangled Banner] on the program!)
So I was amused to find this as I was checking news this morning:

(CNN) — Scientists at NASA have discovered a nearly invisible ring around Saturn — one so large that it would take 1 billion Earths to fill it. Its diameter is equivalent to 300 Saturns lined up side to side. And its entire volume can hold one billion Earths, NASA Jet Propulsion Laboratory said late Tuesday. The obvious question: Why did it take scientists so long to discover something so massive?
The ring is made up of ice and dust particles that are so far apart that “if you were to stand in the ring, you wouldn’t even know it,” Verbiscer said in a statement. Also, Saturn doesn’t receive a lot of sunlight, and the rings don’t reflect much visible light. But the cool dust — about 80 Kelvin (minus 316 degrees Fahrenheit) — glows with thermal radiation. NASA’s Spitzer Space Telescope, used to spot the ring, picked up on the heat.

Coincidence? Maybe not. And of course, Zaimont has a charming piano suite “Callisto” based on the moons of Jupiter, as well as other astral works: ASTRAL… a mirror life on the astral plane…; Sky Curtains: Borealis, Australis; and Chroma: Northern Lights. Look for video of the new concerto in an upcoming Composing Thoughts.

Here are the program notes supplied by Zaimont about the new concerto:

I. Outward Bound (10:00)
II. Nocturne (Lunar) (8:40)
III. Ad astra per aspera (6:50)
Concerto “Solar Traveller” is absolute music, following no implicit program. Yet the work and its individual movements carry descriptive titles rather than the more traditional tempo markings. This is because the Concerto is one of several of my works drawing inspiration from the impress upon our consciousness and imagination of the vastness, wonder and beauty of the natural world of sky, season and space. These pieces (all instrumental works) share a dramatic and coloristic emphasis, and their forms are far from traditional. (This inspirational thread began with the twelve solo-piano preludes of A Calendar Set, and continues in similar works, including the orchestral Chroma – Northern Lights and the piano trio ZONES.)
While the Concerto outwardly observes the usual three-movement large form, its individual movements digress in key ways from an orthodox ‘concerto’ template. “Outward Bound” contrasts two themes, one heroic, energetic and the second inward and moody. The motive-filled first theme is announced by the piano and soon becomes a communal statement for soloist and ensemble. When the second theme enters, it too is stated by the piano alone and it remains predominantly soloist’s terrain throughout. Extensive development centers on extrapolations of the heroic theme; to balance, the cadenza is devoted entirely to the second theme. The movement concludes heroically .
“Nocturne (Lunar)” is the soloist’s terrain, punctuated and frequently partnered by the ensemble in music largely expansive, as if in ‘stopped’ time. As it proceeds a tune arises (heard first as a flute solo above quiet piano accompaniment), fashioned from the simplest of materials; each of the tune’s appearances anchors the movement, calming the mercurial, fragmentary outbursts from the piano. At times as desolate and unfamiliar as a lunar landscape, the nocturne eventually calms, concluding serenely.
A driving sprint, “Ad astra per aspera” grows from an insistent rhythmic cell freshened by hemiolas and other cross-rhythms and chromatic clashes. Percussion is spotlighted throughout, and the soloist shifts frequently from foreground to combining with the ensemble — a change of function which in itself becomes textural counterpoint to the forward thrust. A brief respite (trumpet solo) occurs during which the incessant beating disappears, but the essential rhythm returns shortly in full force. Towards the end the Nocturne’s theme enters in the ensemble, in overlapping meter with the soloist, who continues the main drive; just prior to the vehement close a fragment of the heroic first movement is again heard.
The work ties together through a technical feature: Each movement is built from the raw material of a progressively smaller interval.
Outward Bound’s themes are built from 3rds and all of the development highlights that consonant interval. (At one point there is a scale upwards across two-thirds of the keyboard in parallel thirds, played entirely by the left hand). Built from 2nds, the Nocturne achieves its uneasy, fragmentary quality from the clash of 2nds hammered loudly or (stretched to 7ths and 9ths) in glittering scherzo filigree. “To the stars, through adversity” is formed by ultimate compression: pounding unisons. Thus, the Solar Traveller pianist physically experiences the compressive forces and increased tensions we associate with space travel’s incredible speeds, through the analog of progressive intervallic compression throughout the piece.

Nina Kotova premieres a new work by Christopher Theofanidis this weekend in Dallas. In the second part of looking at the new work, I spoke with the soloist about the piece, and learned more about how the piece came into being. Listen to our conversation:

mp3 file
The concert takes place Thursday, Friday & Saturday – and more performances coming up in Asia & Europe.

This week, the Dallas Symphony premieres a new concerto written for cellist Nina Kotova. Christopher Theofanidis is teaching at Yale and about to embark on two new operas for Houston and San Francisco. He took some time out last week to let me know more about the work and what he’s been up to!
Listen to the conversation:

mp3 file
Tomorrow, a post with the soloist, who also composes…

Labor Day 2009 and while John Clare has an airshift, he also has an interview. Chris Thile is relaxing in New York and making coffee, ready to talk shop. Thile jokes, waxes poetic and has a thoughtful answer for the questions. You see, Chris is about to add to the small repertoire of mandolin & orchestra concertos, with his own Ad astra per alas porci. The world premiere performances are September 17, 19, and 20, 2009 with The Colorado Symphony & Jeffrey Kahane.
In the second part of our interview Chris talks about how the piece came about and if others might perform it: Interview Part 2
Thile has been busy as well with his band, The Punch Brothers, and with a duo project with bassist extraordinaire Edgar Meyer. He’ll keep up the concerto as well, with six more chances for you to hear it, the Oregon Symphony (September 26, 2009; with Carlos Kalmar), the Alabama Symphony (October 29, 2009; with Justin Brown), the Los Angeles Chamber Orchestra (January 23 and 24, 2010; again with Jeffrey Kahane), the Winston-Salem Symphony (March 13, 14, and 16, 2010; with Robert Moody); the Delaware Symphony (March 19 and 20, 2010; with David Amado);and the Portland Symphony (March 28, 2010; with Scott Terrell).

It doesn’t seem all that long ago that I heard the world premiere of Blind Leaving the Blind. (Read about it here: S21 Review.) It was quite a night @ Zankel, St. Patrick’s Day 2007. Chris Thile has since recorded the work with the Punch Brothers, and made a duo album with Edgar Meyer. Now Thile is about to embark on another journey – a mandolin concerto, Ad astra per alas porci.

This week he plays with The Colorado Symphony (September 17, 19, and 20, 2009; with Jeffrey Kahane), then six more chances to hear it, with the Oregon Symphony (September 26, 2009; with Carlos Kalmar), the Alabama Symphony (October 29, 2009; with Justin Brown), the Los Angeles Chamber Orchestra (January 23 and 24, 2010; again with Jeffrey Kahane), the Winston-Salem Symphony (March 13, 14, and 16, 2010; with Robert Moody); the Delaware Symphony (March 19 and 20, 2010; with David Amado);and the Portland Symphony (March 28, 2010; with Scott Terrell).

I talked with Thile about the new work, enjoy the first part of our discussion, including using amplification or not, and about his Steinbeck title: Interview Part 1

More tomorrow, including how the piece came about and if others might perform it!

Hahn. Hilary Hahn. The violin superstar is about to premiere a new work by Jennifer Higdon tomorrow (Friday) night, attend the Grammy Awards this Sunday with two chances to win for Best Classical Album and Best Instrumental Performance with Orchestra, and then go on a recital tour playing Ives and Ysaye. She took out a few minutes to talk about the new piece and about the Grammys.
Part 1 (having a piece tailor made for her)
Part 2 (attending the Grammy Awards)
She has also just updated her YouTube Channel with Schoenberg’s grandson Randy:

She mentioned that she’ll interview Higdon on her website, will perform at the Grammy Awards preshow and can be seen online, and if you haven’t seen it, her violin case twitters!

I heard the world premiere of Absolute Ocean by Augusta Read Thomas in Houston Thursday night at Jones Hall.
1. Thomas spoke before the concert about her compositional process and specifically about Absolute Ocean. Her talk was engaging, direct and charming; Thomas included showing the audience some of the manuscript score, and explained how 15 seconds of music might take five hours to score by hand!

2. Absolute Ocean is a work for Soprano, Harp and Orchestra in three movements from poetry by ee cummings commissioned by the Houston Symphony. The soloists, soprano Twyla Robinson and harpist Paula Page, performed with conviction and panache – putting the music first without extraneous movement or distractions. The texts were projected (not always coordinated, but hey, they were there!) on each side of the stage and added to the performance.
3. The opening “Graceful” movement was pointilistic and bright. Robinson pulled pitches from nowhere and was matched beautifully by Thomas’ instrumental colors and combinations. Page was often backed by four percussionists and divisi solo strings.
4. Perhaps the most charming of all was the second movement, “Playful, spry and jazzy.” Hans Graf was direct and precise with the orchestra, making it easy for the musicians to move in and out of the lines deftly. Again Robinson caught the feeling perfectly of cummings text and Thomas’ frolicsome and vivacious score. Page was purely color for the most part, but had a chance to shine with a cadenza between this movement and the finale. Evidently this cadenza was added later at Page’s request – which certainly went more to weigh the harp part…I would not call Absolute Ocean a double concerto, but rather an orchestral work for soprano with a prominent harp part. I had heard it referred to as a concerto – and would be disappointed as such – luckily it is such a wonderful work, the nomenclature is not important.
5. “Resonant and elegant” finished the 18 minute work and the short first half (the second half was Mahler’s Fourth Symphony) of the concert. The finale paints the words with creative combinations, and has a satisfying and direct ending. Absolute Ocean is a complete success for the Houston Symphony, and kudos to Graf for adding such a gorgeous work to the symphonic world.
There are two more performances of Absolute Ocean, Saturday night at 8pm and Sunday afternoon at 2:30pm. There is another pre-concert talk Saturday at 7:10pm open to all ticket holders. The 2009-10 season has just been announced for the HSO, and includes another Houston Symphony Commission, for chorus and orchestra by Kevin Puts.

The King’s Singers are celebrating 40 years of performances and alot of new music for voices! They’ll perform holiday music this Friday and Saturday with the NY Pops and are nominated for a Grammy Award for their Simple Gifts album. Coming up is a new release of Valentines including composers like Libby Larsen.
I spoke with two members about their outreach in schools as well as premering new works by Larsen, Eric Whitacre and Paul Patterson.
Interview with David Hurley

Interview with Paul Phoenix

This week the Next Wave Festival 2008 is raging at BAM, and there are several chances next week to hear Lightning at our feet, the latest from Ridge Theater and Michael Gordon at the Harvey Theater. (Dec 9, 11-13)

Gordon and I spoke on the phone about the new work that premiered in Houston. Listen to our conversation here – Lightning Interview with Gordon and Clare.
Here’s an added bonus, Gordon has a new EP coming out Tuesday, a fascinating “Purgatorio: Popera” on Canteloupe. We talked about it, as well as being married to a composer (Julia Wolfe) and everyone’s favorite 100 year old on Thursday, Elliott Carter! mp3 file