Archive for the “Chamber Music” Category
Friday night July 17 and Boston Court in Pasadena was the venue for a concert titled Music From Text presented by Synchromy, the Los Angeles-based composers collective. Brightwork newmusic was the featured performing group and a sell-out crowd gathered for an evening of contemporary music based on the spoken word.
Breathe by John Frantzen began the concert and this performance was the world premiere. Breathe is based on a poem written by composer’s brother about the trials, hardships and relationships as experienced in military life. In the program notes John Frantzen states that the music “strives to frame these words of support, honor and camaraderie in a journey of love, loss and enlightenment.” The piece began with a short section of the text spoken by a narrator followed by high-pitched bird calls and some bowing of the strings that suggested a lonely breeze in a far away place. The sound of a distant snare drum effectively evoked the military setting. The soprano voice of Justine Aronson was heard and the generally unsettled character of the passages in the strings hinted at the stress and confusion that is present in wartime. This was also portrayed by two actors on the stage whose movements intentionally suggested the strong bonds shared by soldiers in the field. At length the music gave way to a slow, dirge-like unison that was very beautiful. More dramatic action followed, ending in a sudden silence and the spoken word ‘breathe’. The viola and cello again took up the sorrowful theme and this was especially moving, even as the snare drum recalled the military context of what was fundamentally a story about relationships. Frantzen was able to draw a surprising amount of emotion out of the small musical forces in this piece. Breathe is a powerful work that captures both the anxiety and deep emotional attachments that are the essential elements of a soldiers life lived in harm’s way.
The next two pieces on the program were both based on text by Tao Lin and were played consecutively. The text of the first of these was taken from the poem I will learn to love a person and the music by Christopher Cerrone bore the somewhat expansive title I will learn to love a person and then I will teach you and then we will know. This began with spoken text followed by gentle tones in the vibraphone and clarinet. The entrance of Ms. Aronson’s lyrical soprano voice added to the delicate, airy texture and carried the melody forward by weaving in and around the vibraphone line. The dynamics here were carefully observed, adding an extra element of vividness to the realization. This piece agreeably reflects the calm character of the poetry and, as Christopher Cerrone states, “In writing these pieces, my hope is to create a work that reflects the strange and beautiful experience of growing up at the turn of the (21st) century – and will continue to have meaning after that moment passes.”
A declarative sentence whose message is that we must try harder by Jason Barabba followed the Cerrone piece without pause. This was played by a viola, cello and contrabass trio and started with a high pizzicato in the viola and some fast dissonant passages in the lower strings. There was tapping on the wooden parts of the instruments and this added to the feeling of a distant uncertainty as the anxiety mounted in a series of running phrases in the bass, viola and cello. Rapid running of the fingers up and down the strings produced a series of soft, unworldly screeches that added to the tension. This music is also based on the poetry of Tao Lin, but provided a fine contrast with the serenity of the previous piece. Jason Barabba writes that “Because this work is a reaction to a complex and provocative poem, I’ve chosen to take advantage of some of the more unusual techniques that have been introduced for these instruments.” These were deployed with good effect and the string players managed everything quite smoothly. The piece briefly turned warm and dark, but held to the tension of the preceding sections. The fast and turbulent finish was fittingly taut and mysterious. The playing of a declarative sentence whose message is that we must try harder was well matched to the writing of the music and these combined to persuasively express the composer’s intentions.
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Posted by Chris Becker in Brooklyn, CDs, Chamber Music, Classical Music, Composers, Conductors, Contemporary Classical, Interviews, jazz, Minimalism, New Amsterdam, New York, Orchestral, tags: African American composers, Amiri Baraka, Angela Davis, black composers, James Baldwin, Joe Phillips, Joseph C. Phillips, Jr., Numinous
Composer and conductor Joseph C. Phillips, Jr.
If you’re a fan of new music, be it “indie-classical” or whatever it’s being labeled this week, then you must check out the music of composer and conductor Joseph C. Phillips, Jr. Phillips’ music, composed and arranged for his ensemble Numinous, a large chamber group (or small orchestra?) of woodwinds, brass, strings, tuned percussion, electric instruments and vocalists, is a complex, finely detailed amalgam of classical, minimalist, South American, Asian, and African American influences, with a distinctive “sound” that is instantly identifiable, yet full of surprises. (You know those descriptive terms “Brahmsian” or “the Mingus effect”? It’s like that.) Phillips’ latest album, Changing Same, due out August 28 on New Amsterdam Records, is perhaps his most autobiographical musical statement to date.
While his previous recordings, Numinous: The Music of Joseph C. Phillips, Jr. and Vipassana include notes that detail the inspiration for his compositions, Changing Same has no notes; just a quote from 1966 by writer, poet and playwright Amiri Baraka (then Le Roi Jones) that describes a “post-black aesthetic,” one that unapologetically digs both the down-home and the downtown, the highfalutin and the funky, the Anglo-centric and the Afro-futuristic, the “what it is” and the “what the hell is goin’ on?” The titles for each of the six movements of Changing Same offer some additional clues . . . “Behold, the Only Thing Greater Than Yourself,” “Miserere,” “Unlimited,” “Alpha Man,” “The Most Beautiful Magic.” The first track, “19,” which can be streamed and purchased here, refers to November 19, 1970, the date of the publication of James Baldwin’s essay, “An Open Letter to My Sister, Miss Angela Davis,” Arnold Schoenberg’s Sechs Kleine Klavierstücke, opus 19, from 1911, and the age Phillips began studying music as an undergrad, after two semesters as a bio-chemistry major.
Changing Same is another intriguing chapter in Phillips’ journey, from growing up listening to both Holst and Prince, to conducting Numinous onstage at the Brooklyn Academy of Music in a performance of his score for the 1922 silent film The Loves of Pharoah, to producing this latest release. In the following interview, Phillips provides some details about that journey, and explains how his life experience, be it past, future or present-day-craziness, is reflected in the music of Changing Same.
On the back of your new album, there’s a quote by Amiri Baraka (then LeRoi Jones) from his 1966 essay, The Changing Same:
“R&B is about emotion, issues purely out of emotion. New Black Music is also about emotion, but from a different place, and finally toward a different end. What these musicians feel is a more complete existence. That is, the digging of everything.”
So, my first question with regard to this quote is, do you dig everything?
Well, of course, I have my standards. [laughs] There are things I like and don’t like.
In that essay, Baraka is explaining the spontaneous compositional processes of the creative improvisational people at that time, and putting them in a continuum of what had come before in terms of black music. He’s saying look, these guys might seem like they’re acting wild and crazy, But really, this “New Black Music” harkens back to earlier music.
When I read the essay, the quote just jumped out at me. I thought it was a perfect encapsulation of what I’m doing or hoping to have happen with my piece. With Changing Same, I wanted to take the cultural and musical things that I grew up with and incorporate them into piece. When I read Baraka’s essay, I thought, yes, I grew up with the black music continuum, Marvin Gaye, Curtis Mayfield, and Prince. But I grew up with classical music as well, like Holst, Bach . . . like any other composer, I have a potpourri of influences. Sometimes you can hear these influences very specifically. For example, on the fourth track, “The Most Beautiful Magic,” the initial bass line is actually coming straight from Prince’s “Purple Rain.”
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On October 11, the Oneonta Concert Association of central New York presented an unforgettable concert by Musicians from Marlboro. For half a century, Vermont’s Marlboro Music School and festival have spawned top-flight, ad-hoc ensembles pairing rising stars in classical music with established names in the field. The fact that the name of Kim Kashkashian, one of the world’s finest violists and a tireless champion of contemporary music, was mentioned nowhere in the touring group’s modest marketing package indicated the level of Marlboro’s commitment to apprenticeship. Indeed, despite her unmistakable tone and timbre, Kashkashian contributed humbly to an atmosphere of total and mutual respect.
The program was itself a work of art. Before bows contacted strings, Kashkashian described György Kurtág’s Officium breve as “very gestural and dramatic music.” That it was, for its sparse notecraft nevertheless required of the four string players an uninhibited comportment by which the sounds might freely unravel. The moods of Kurtág’s compendium, written in memory of Hungarian composer Endre Szervánszky (1911-1977), are as varied as their source materials. With characteristically intertextual grace, he references the canon from Webern’s final completed opus (the second Kantate of 1941-43) and works by Szervánszky, the latter not least of all by way of self-quotations from the ever-expanding Játékok (specifically, the bipartite “Hommage à Szervánszky” thereof). The opening harmonics, courtesy of cellist Karen Ouzounian, established a haunting undercurrent that would flow throughout. To this were added the floating lines of violinists David McCarroll and Nikki Chooi before being conjoined by Kashkashian’s peerless tonal qualities. Despite the brevity of its 15 sections, most lasting under a minute, what the piece lacked in duration it made up for in Kurtág’s wealth of invention. Shifting contrasts of altitude, distance, and texture throughout made this sometimes-challenging music feel as organic as rain. Harmonies were elastic, pulled as they sometimes were from a single note in tutti or alit upon from above. The occasional outburst came across not as an interruption but as a catharsis of self-discovery. The ending left us with a drawer of knives, each of varying sharpness and resilience but all bearing the stamp of meticulous smithery.
To this, Szervánszky’s Trio for Flute, Violin and Viola made for a natural follow-up. Enlivened by the virtuosity of flutist Marina Piccinini, alongside violist Wenting Kang and Chooi again on violin, its flowering field carried scents of Bartók, Dvořák, and Smetana. Impressive was Szervánszky’s constant shifting of register, as was the trio’s ability to evoke it. The first two movements, lush and pastoral, were feathered by the veiled Adagio, which gave way to the final Vivace with dreamlike reluctance. Throughout, moods morphed from exuberant to tearful and back again, Piccinini navigating the strings’ crosscurrents with a seafarer’s proficiency. The dance was always waiting—not in the wings but with them, ready to fly at a moment’s notice.
The Sonata for Flute, Viola and Harp of Claude Debussy took yet another logical step into 20th-century repertoire. Piccinini, Kashkashian, and harpist Sivan Magen—newly fashioned as Tre Voci—charted the centerpiece of their 2014 ECM New Series release with élan. Debussy’s popular trio, tailored specifically to the idiosyncrasies of its instruments, is divided into three movements with seemingly arbitrary titles. A Pastorale introduces the fluid impressionism one typically associates with the Frenchman. And yet, as this piece’s bold strokes make clear, Debussy was anything but an impressionistic composer. Boldness was especially apparent in the Interlude, the enchanting harping of which only served to emphasize the clarity of its partners. With a strong backbone and even stronger sense of destination, the sportive Finale further proved that Debussy isn’t all sparkles and rainbows. Key to this performance was each musician’s take on the equal role given to her or him. Piccinini was like the writer’s pen and Magen the weaver’s dance, while Kashkashian took on a visual artist’s intuition, her bow as descriptive as a painter’s brush. In a word: exquisite.
[Photo source: (le) poisson rouge]
Intermission prepared us for the finale of Beethoven’s String Quintet in C Major. Its four-movement traversal of atmospheres showcased the string players at their most integrated. From the massive, seesawing Allegro to the show-stopping Presto (its tight tremolos providing full yet distant support for the violin’s acrobatic exposition), the musicians handled every twist and turn with ease and a unity typically seen only in far more established ensembles. Between these juggernauts, however, were the piece’s highlights. A romantic yet earthy Adagio, its tendrils wavering in freshwater current, paired beautifully with the Scherzo’s delicate anchorage. It was a fitting summation of the dramas that preceded it, spoken in a language at once canonical and freeing.
Also canonical and freeing was the pre-concert performance by Jonathan Fenwick, a high school junior from nearby Ithaca, who presented the Adagio and Fugue of Bach’s Sonata No. 1 for Solo Violin. In addition to polishing the concert’s educational sheen, Fenwick’s performance was further proof of the inspiration absorbed by coming generations of classical purveyors. His sensitive pacing, artful trills, and warmth of execution proved that all roads not only lead back to Bach, but also proceed from him.
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In 2011, pianist Raffaella Gazzana and violinist Natascia Gazzana, better known as Duo Gazzana, made a quiet, if colorful, splash with Five Pieces, their first record for ECM’s New Series imprint. Navigating a recital comprised of works by Takemitsu, Hindemith, Janáček, and Silvestrov, the Gazzana sisters, in close collaboration with producer Manfred Eicher, demonstrated an acute sense of programming, technique, and integrity. Despite the title of their debut (named for the Silvestrov composition of the same name), which contained only four pieces, Silvestrov’s Hommage à J.S.B. (2009) comprises the heart of this truly pentagonal sequel. The Ukrainian composer offers three short movements: two Andantinos and one Andante, each the band of a deeper and more nuanced spectrum. The end effect is one of suspension. Although originally written for Gidon Kremer, the Hommage is uniquely informed here by the Gazzanas’ attention to detail. “The music of Silvestrov is not difficult in terms of notes,” Raffaella tells me in a recent interview, “but it’s so particular. In a way, you have to isolate yourself from the noise of life. He’s a composer who belongs to another time, bringing these beautiful melodies, as if from the past.” Indeed, as Wolfgang Schreiber observes in his album notes, the Gazzanas share in the spirit of the music they have selected, which like them finds newness in the old. Their unwavering commitment to urtexts only serves to emphasize what is unwritten in them, thus coaxing out hidden messages and spirits.
Radiating outward from the Silvestrovian center are two richer, denser works: Poulenc’s Sonate pour violon et piano (1942/43, rev. 1949) and William Walton’s Toccata for violin and piano (1922/23). Dedicated to the memory of Federico García Lorca, the Poulenc sonata is, in Raffaella’s estimation, a product of its time, as is clear in the first in third movements, designated “Allegro con fuoco” and “Presto tragico,” respectively. These are extroverted, almost flailing. Stravinsky looms large in the final, especially, but there are also—unwitting, perhaps—nods to the late Romantics and Ravel as the piece nears its enigmatic coda. “After expressing the suffering of the war,” Raffaella observes, “Poulenc wanted to finish with this dreamy catharsis. This was his character, shy but also enjoying life. He was, I think, a very elegant man, and in this sonata you can hear that.” Poulenc purists take note: the Gazzanas’ interpretation corrects mistakes left in the original French edition prepared by Max Eschig, which elides key signatures in the last page. After careful study of the facsimile, they believe to have arrived at the definitive version.
Although more obscure, Walton’s Toccata was the subject of Raffaella’s dissertation and is no less possessed of elegance. Nataschia’s opening proclamation stirs the piano’s waters with relish and fortitude, giving way to a virtuosic and starkly exuberant foray, pocked by haunting, probing depressions. Although written in the composer’s 20s, it smacks of maturity and daring-do. Raffaella: “I am always impressed by the piece’s improvisational elements. At the time he was working on it, Walton was planning a jazz suite for two pianos and orchestra. Although it never panned out, you can hear this influence throughout the Toccata. The beginning contains no tempo or bar divisions. You just have to go with it.”
Two further works draw the album’s outer circle. First is Schnittke’s Suite in the Old Style. Originally composed for two 1965 films (Adventures of a Dentist and Sport, Sport, Sport) by director Elem Klimov, Schnittke arranged these five selections for violin and piano in 1972. Its moods are crisp and compelling. Especially moving are the Minuet and the spirited Fugue. Only the final movement, marked “Pantomime,” has the surreal touches one might expect of the composer. Still, it is playful and fragile, ending with a mystery.
Tartiniana seconda (1956), by the 20th-century Italian composer Luigi Dallapiccola, concludes. Referencing Tartini, this divertimento spreads a beautiful carpet across its four Baroque-inspired movements. “This piece enjoys great popularity in Europe,” Raffaella explains, “especially in Italy. It makes exclusive use of canons, pastorale, and variations: all forms that belong to the past.” At times ponderous and lyrical, at others swirling with ornament and invention, it culminates with a set of emphatic statements from both musicians. Of all the pieces on the album, it is the most architectural. This is no coincidence: “It helps to have the score in hand when listening, because it’s as much for the ears as it is for the eyes. In the opening Pastorale, for instance the piano plays the violin’s lines exactly, but staggered and in reverse, while in the second Variation, it plays the exact reverse, bar for bar.” The Tartiniana also gives contrast to the freer forms of Walton, lending finality and flourish to this exquisite sophomore program.
Coinciding with the release of this disc was the Duo Gazzana’s North American concert premiere when, on May 2, they performed as part of 2014’s Look & Listen Festival in New York City. For this performance, they chose the Silvestrov and Poulenc pieces from the new album, and enchanted the audience with their grace, sensitivity, and mutual resonance. Hearing this music live brought home a vital point in relation to the album’s core philosophy. Because the nature of past and future is immaterial, the only true reality of this music can be the here and now of performance and listening. On this point, Raffaella has the final word: “Chamber music has ever been one of the most beautiful expressions of liberation, one that tests the ability of performers to listen to one another in dialogue. These peculiarities attract us and in our interpretations we try to emphasize them. All the study we put into these pieces is just the grammar. But grammar must be spoken to come to life. Nowadays, it’s easy to speak without caring what other people think. Chamber music ensures we never fall into that trap. Sure, there are good performers, but it’s obvious when they’re performing only for themselves. Chamber music is, quite simply, enjoyable. It’s so beautiful to share it with such a caring musical partner, and with the listener in turn. When you do something out of love, you transmit this love to others. And people can hear this.”
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The 2014 Ojai Music Festival opened on Thursday June 12 to begin 4 days packed with informative talks, movie screenings, parties and concerts. The Festival’s Music Director this year is Jeremy Denk and the resident musical groups included The Knights orchestral collective and the Brooklyn Rider string quartet. Friday night’s concert was built around an examination of the Classical period and featured a Haydn string quartet as well as the world premiere of a new opera – “The Classical Style” – by Jeremy Denk and Steven Stucky that was commissioned by the festival for the occasion.
The concert began with Haydn’s String Quartet in G minor, Op. 74, No.3 (1793), performed by Brooklyn Rider. Right from the opening passages of the 1st movement the light, bouncy rhythms combine with the classical harmonies and familiar Haydn wit to produce a lively and optimistic feel. As the instruments took turns developing the theme there was a sense of increasing fussiness that added to the fun. The playing was light and precise, setting just the right mood for the evening.
The second movement was more stately and slower – almost hymn-like – but easy and flowing. This turned a bit darker towards the middle, but soon returned to the lighter feel of the opening, giving a sense of resolution. The ensemble playing was impressive here and the ornamentation in the upper parts nicely done.
The third movement, in the traditional triple meter, was faster and featured close harmony. The balance and dynamic control were outstanding and the bright feel reinforced the sense that this was music that does not take itself too seriously. The final movement was faster still and had a dramatic feel that turned brighter with a series of bouncing rhythms that suggested a sort of gallop, hence the nickname of this Haydn string quartet as the “Rider”. This work is typical Haydn – bright, optimistic and not too serious. The precise and agile playing by Brooklyn Rider caught the essence of this piece exactly and it was an ideal prelude to the opera that followed.
Not being able to make it to Ojai, I listened to the concert as it was streamed on the Internet. The quality, both audio and visual, was excellent and there were no drop-outs or interruptions of consequence. The seeing and hearing are much like being in one of the back rows of the Libbey Bowl and was actually an improvement over my usual seating out on the lawn.
The streaming provided another benefit – a televised interview of Steven Stucky during intermission by Fred Child of American Public Media. The subject of the interview was the music for The Classical Style: An Opera (of Sorts). This is a comedy based loosely on The Classical Style by the late Charles Rosen, a textbook first published in the early 1970s and widely influential in the field of musicology. The libretto, by Jeremy Denk, was taken in part from the Rosen book but the opera also includes the personalities of Mozart, Beethoven, Haydn, Robert Schuman, Charles Rosen, and characters like the Tonic Chord, Dominant Chord, Sub Dominant Chord and the Tristan Chord as well as a host of supporting characters. The plot revolves around Haydn, Mozart and Beethoven returning to earth to reclaim their musical relevance and to rescue the classical style from academic over-analysis by appealing to musicologist Rosen. There are also scenes involving the several musical chords in a bar, and other assorted comic vignettes and sketches derived from musical theory and history.
Apart from the varied collection of characters, one of the challenges Mr. Stucky pointed out was the need to write music in the classical style, using the sonata form where appropriate, or in the romantic style during the Tristan Chord scenes. Another challenge was that much of the comedy was based on knowing something about music theory, and this needed to be put across in a way that all audiences could enjoy. The character of Charles Rosen, a close personal friend of Jeremy Denk, was portrayed as something of a hero, bringing order to the comedic chaos around him, and this necessitated a more serious musical sensibility when he was on stage. Steven Stucky, while confident and articulate, nevertheless betrayed the look of a man who had spent the last two years of his life on a large-scale work to be premiered on Friday the 13th. He needn’t have worried.
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On Sunday, May 25, 2014 the Los Angeles Composers Collective presented New Strings a concert that featured new works by nine different composers and performed by the Fiato Quartet. The venue was Human Resources, a converted movie theater in historic Chinatown and although the performance space is a work in progress, the audience was seated comfortably. The acoustics in this new space were adequate – a dryer environment might have been better to bring out the finer details – but this did not affect the performance.
The concert began with String Quartet 1 by Jon Brenner and this commenced with a series of fast, precisely played eighth notes that immediately assumed a familiar minimalist texture. This developed a nice groove with effective harmonies and solid counterpoint. As the piece progressed, a section with lower dynamics – dominated by the cello – produced a more introspective feel despite the busyness. Those sequences where there was dynamic contrast and sustained tones in one or more parts were particularly effective. Towards the end of the piece the tempo slowed a bit and a pleasing theme emerged that was passed around among the players. This is music that is always going somewhere; at times it is strident but never out of control and the groove was always carefully maintained. Informed by Jon Brenner’s background in early music, String Quartet 1 is a strongly minimalist piece with a lot of moving parts that work admirably together.
Thoughts on Spring followed, by Alicia Byer. This begins with a series of long, slow notes in the violins, followed by the viola and cello. Trills appear, and with a sustained tone continuing in the viola there is the unmistakable feeling of an awakening. A slow melody is heard for a time and then – after a beat or two of silence – fast trills in the viola mark the start of a stronger, more animated section. As the volume and tempo increase there is a feeling of incipient undeniability, especially strong in the lower strings, like the emergence of the first flower shoots of spring. Thoughts on Spring is just that, and this music artfully describes the yearly process of natural renewal.
At the Warren by Carlos Carlos was next and this is a piece that is unashamedly about rabbits. Full of variously bouncing pizzicato or tremolo sounds – and often with a dance-like feel – At the Warren nicely captures the energy and movement of rabbits in the wild. At times this piece turns smoothly pastoral and was reminiscent of early 20th century English music. There was a section that quietly conveyed stealth and careful movement and other passages that expressed a more lighthearted feeling or a sense of purposeful journey. The book Watership Down came to mind. At the Warren is not abstract or difficult music, but it clearly and convincingly sketches out its subject matter.
Miniature for String Quartet No. 6 by Gregory Lenczycki followed. This began with a series of strong quarter notes that gave off an edgy feel that only increased as the rhythms became syncopated. As the piece proceeded the texture turned smoothly melodic, providing a good contrast with the opening passages. Further along there was a return to the strident rhythms of the opening and a disconnected melody emerged that enhanced the building sense of tension. The barely cohesive structure at the conclusion completes the feeling of uncertainty that characterizes this piece and makes it an interesting sojourn.
The first half of the concert concluded with Four Impressions by Nicholas White. The first of the four sections was dominated by low trills in the violin, joined by a faster repeating line in the viola. This combination generated a sense of mystery and anxiety while the second section evoked a more introspective feel with lush chords, high sustained pitches and triplets in the viola. This trailed off agreeably leaving a nostalgic afterglow. The third section continued the warm, expressive feelings with a series of slow chords and some lovely harmonies. The final section provided a fine contrast, full of fast passages in the upper strings that gave a strident and declarative feel to the overall texture. This turned slightly discordant at times, increasing the strongly purposeful feel. Some combinations of notes sounded for all the world like a muted trumpet – adding another interesting facet to this nicely balanced work.
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Dan Graser, the soprano saxophonist of the award-winning Donald Sinta Saxophone Quartet, asked me to help announce the group’s 2014 Composition Competition. This looks like a very exciting opportunity!
Here are the basic facts (taken from the group’s online posting):
Eligibility: All student composers enrolled in the United States as of Spring 2014.
Piece requirements: An un-premiered work for SATB saxophone quartet, 6-10 minutes in length.
Application fee: None!
Prize(s): One first-prize winner will receive $500 and have their piece premiered at the quartet’s Carnegie Hall recital in November, 2014.
Five composers receiving honorable mention will have their works premiered at an all-world-premiere recital in December, 2014 at the Kerrytown Concert House in Ann Arbor, MI.
All winning works will receive a live recording by the Donald Sinta Quartet and be added to the group’s repertoire for the 2014-15 season.
Submission Process: E-mail a bio, CV, and PDFs of the work’s score and parts to email@example.com
Deadline: Submissions must be received by August 1, 2014.
You can verify and double-check all this information here, on the quartet’s website.
Good luck to all those who apply!
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On Friday the Washington Square Winds present their third annual THEY’RE ALIVE! concert, which focuses exclusively on work by living composers. This year, they are unveiling two new works, Whirlwind, by Nicholas Hall & The People’s Park by Rex Isenberg, commissioned by WSW. Also on the program are composers Brooks Frederickson and William Wheeler.
Stay for the reception to meet the composers and performers.
Friday, April 25
Church St. School for Music and Art
74 Warren St. Frnt A, NYC
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Posted by Chris Becker in Chamber Music, Composers, Concerts, Contemporary Classical, Electro-Acoustic, Houston, tags: Avant Garden, Eric Fegan, Houston, Houston Composers Salon, Hsaio-Lan Wang, Hsin-Jung Tsai, Ryan Gagnon, Stephen Yip, Thomas Helton
(Composer Hsiao-Lan Wang)
(Houston, TX) On Sunday, April 27, 2014 the Houston Composers Salon presents its Spring Concert, featuring works by Houston-based composers Hsaio-Lan Wang, Stephen Yip, Ryan Gagnon, and Eric Fegan. All four composers will be in attendance to introduce their compositions and answer questions from the audience. The concert takes place at 6:00 PM at 14 Pews, a popular venue for independent film screenings, visual art, and experimental and contemporary music performances.
The eclectic and provocative program includes Wang’s Houston Duet, a collaboration with video artist Daniel Zajicek with an electro-acoustic score by Wang, Gagnon’s Three Duets for flute and vibraphone, Fegan’s Coexist and Separate for violin and bass, and Stephen Yip’s Tide and Time for trombone and percussion. 14 Pews’ cozy atmosphere and great acoustics are ideal for playing and listening to this kind of music.
Formerly known as the Houston Composers Alliance and founded in 1986 by the then Houston Symphony Composer-in-Resdience Tobias Picker, the Houston Composers Salon was renamed in 2013 and held its first concert at Avant-Garden, a popular Montrose bar that also hosts performances by Classical Revolution Houston and Da Camera. That first concert featured works by Houston Composers Salon president Thomas Helton performed by pianist, composer and improviser Hsin-Jung Tsai, who co-leads the organization with Helton. The organization’s goal is to provide an intimate, supportive environment for local and international composers to have their work performed.
Houston Composers Salon Spring Concert, Sunday, April 27, 2014, 6:00 PM, at 14 Pews, 800 Aurora Street, $5 suggested donation.
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Posted by Chris Becker in Chamber Music, Classical Music, Composers, Concerts, Contemporary Classical, Flute, Houston, Improv, Interviews, jazz, Performers, tags: Houston Friends of Chamber Music, Imani Winds, improvisation, Jeff Scott, maqam, maqamat, Simon Shaheen, Wayne Shorter, wind quintet
Imani Winds: Jeff Scott, Toyin Spellman-Diaz, Valerie Coleman, Monica Ellis, and Mariam Adam. (Photo by Matthew Murphy)
(Houston, TX) Since the group’s inception in 1997, the Imani Winds have continued to expand the relatively small-sized repertoire for wind quintet by commissioning several works by such forward-thinking composers as Alvin Singleton, Roberto Sierra, Stefon Harris, Daniel Perez, Mohammed Fairouz, and Houston’s own Jason Moran. Moran’s four-movement work Cane, Moran’s first composition for wind quintet, appears on the Imani Winds’ 2010 album Terra Incognita, along with pieces by two other jazz masters, Paquito D’Rivera and Wayne Shorter. (The Imani Winds appear on Shorter’s critically acclaimed 2013 live quartet album Without A Net in a scorching performance of his 23-minute through-composed work Pegasus.) Imani Winds members Valerie Coleman (flute) and Jeff Scott (horn) also compose and arrange for the quintet. In concert, the Imani Winds present traditional classical fare alongside new works that explore African, Latin American, and the Middle Eastern musical idioms and performance techniques.
On Tuesday, October 15, 2013, the Imani Winds make their Houston Friends Of Chamber Music debut at Rice University’s Shepherd School of Music, performing arrangements of classic works by Ravel and Mendelssohn, Jonathan Russell’s powerful wind quintet arrangement of Stravinsky’s The Rite Of Spring, and Scott’s arrangement of Palestinian-American oud and violin virtuoso Simon Shaheen’s composition Dance Mediterranea, a piece that requires the quintet to play and improvise with Arabic scales or maqamat.
I spoke with Jeff Scott about the challenges of arranging Shaheen’s piece for the quintet as well as what it means to be a chamber wind ensemble in the 21st century.
Chris Becker: What are some challenges you faced in arranging Simon Shaheen’s music for the Imani Winds?
Jeff Scott: I listened to Shaheen’s piece over and over and over again so I could learn what I could do in the different section to offset it. We are an ensemble with five completely different sounding instruments that can create many different colors. So I listened to each section and thought, “Who could play the bass here? Who would sound great playing the solo line here? Who could really do something percussive on their instrument there to make it sound like an authentic version of the song?”
CB: There’s improvisation in your arrangement? Is that correct?
CB: Can you talk a little bit about the improvisation in the piece? Are you and your fellow winds improvising with scales? Are you improvising over some kind of harmony? Or is it even freer than that?
JS: It’s definitely structured. In that part of the world, the scale is called a maqam. This piece deals with three different maqamat. So for the solo sections, I only wrote out a rhythmic figure for whoever is playing the bass and the scale itself for whoever is playing the solo. The stuff in the middle is fleshed out completely and gives the top and bottom players guidelines they can follow.
In preparation for this piece, we had workshop rehearsals for learning the different maqamat and how to play inflect on our respective instruments the quarter tones and semitones that exist in those scales, so we wouldn’t just be playing a diatonic scale with two half steps and then calling that a maqam. That’s not it at all. The challenge was getting that g half flat just so! (laughs)
What separates people who play with those different scales and people who play Western music and diatonic scales, is that our ears are adjusted. We know when someone is playing a flat seventh, you know? But to be able to play it as part of a scale and know whether or not you’re just flat enough? (laughs) That’s a different thing! We played these scales in workshops for Shaheen almost like we were auditioning for him. We’d play, and he would say, “No, no, no…” and then play the scale with us and show us exactly where they fit. It’s a thing you just constantly have to work on because it’s not a part of our pedagogue. It’s not part of our training.
Before playing this piece, we’ll have our set of rehearsals the week before, and we’ll go through the shed of practicing those scales and testing one another.
CB: Is improvisation a part of your background? Or is it something new that you and the other members of the Imani Winds have explored since coming together as an ensemble?
JS: I’d say for the most part it’s new. Improvising wasn’t a part of our formal training. We all went to either the Manhattan School of Music or Juilliard. And it just wasn’t asked of you, it just wasn’t. Now, post-school? Yeah. You realize that in the 21st century commercial world, if you’re going to survive, regardless of what your training is, you have to be flexible enough to improvise. It was definitely harder for us coming into it, but more schools are requiring it these days. I think that’s really wonderful. The language of music from other countries is now filtering its way into the Western chronicles and as a musician, you have to be able to speak the different dialects. We have embraced it and really went out there and grabbed every possible challenge we could.
CB: What you say about conservatories in the U.S., that more programs are including improvisation and music from around the globe, is something I’m hearing about more and more in my interviews with younger musicians.
JS: It used to be shunned. When I was at the Manhattan School of Music, back in the 80s, I wrote this piece for horn and percussion that I wanted to play on one of my recitals. I remember playing the piece for my teacher and him not wanting me to do it because most of my part wasn’t written down and he couldn’t work with me on it. It wasn’t because the it sounded “bad” or “good,” he just didn’t know how to work with me on it as an improvised piece of music. And that said a whole lot about the institution and my training in general! (laughs) It speaks volumes!
CB: Tell me about the Imani Winds’ collaboration with saxophonist and composer Wayne Shorter.
JS: We were asked to come and perform with him at the Hollywood Bowl on his 80th birthday along with Esperanza Spaulding, Herbie Hancock, Dave Douglas and all of these incredible musicians. We performed a piece that Shorter composed and arranged called Pegasus. It’s a symphony! The piece is written for his and wind quintet. It’s a symphony! It’s a mammoth, epic journey with improvisation from everyone involved, a through-composed piece with many different moods.
The whole thing started when the La Jolla Music Society in California commissioned Shorter to compose a piece for us, which he titled Terra Incognita. It was just for wind quintet, and it was the first piece he’d composed that didn’t involve him as a performer. He’d never written something for someone else that he didn’t intend to perform.
So he wrote this wind quintet and it was way out (laughs) with just as much room to improvise as you could possibly want. We didn’t know what the heck to do with it. So we learned everything note by note, and then played it for him. And he smiled and said, “That’s great. But promise me you’ll never play it like that again. I want you play it different every time. I want you to start from the end. I want you to leave out some parts. You can start in the middle. Just use the piece as a point of departure.”
CB: That’s so great.
JS: It says a whole lot about him. But it also says a whole lot about where I think classical music in general is going when it comes to chamber music and accepting improvisation, jazz and all of the world’s music, and having musicians who are flexible enough and open enough to at least experiment. It’s the only way we’re going to get the patrons of chamber music societies to have that openness and expectation when it comes to who they decide to put on their series. I mean, if we don’t start doing it, they’re going to continually only want the Haydn cycles. (laughs)
So we have to not only accept it, we have to become nimble at it. You have to be able to deliver a good product so the patrons say, “You know what? I want more of that!”
And besides, as a wind quintet, we don’t have the Haydn cycles! (laughs) They just don’t exist. We occasionally play the old stalwarts of the wind quintet, but that stuff runs out in about two weeks. You’ve got to play new stuff and push the envelope a bit, and improvisation is just a normal step along the way for expanding the repertoire for the wind quintet.
Houston Friends of Chamber Music present the Imani Winds, Tuesday, October 15, 7:30 p.m. at Stude Concert Hall, Shepherd School of Music, Rice University, performing works by Valerie Coleman, Mendelssohn, Ravel, Simon Shaheen, and Stravinsky’s The Rite Of Spring arranged by Jonathan Russell.
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