Archive for the “Festivals” Category
On Monday, July 21st at 8 PM, the last concert of Tanglewood’s 2014 Festival of Contemporary Music is a well-stocked program of orchestral works. The centerpiece is Roger Sessions’s Concerto for Orchestra, a work commissioned by the BSO thirty years ago. Steven Mackey’s violin concerto Beautiful Passing will feature as soloist Sarah Silver, one of Tanglewood’s New Fromm Players. Music by John Adams has not in recent memory frequently been featured on FCM programs, but this year his Slonimsky’s Earbox makes an appearance. The sole work by a younger composer, The Sound of Stillness by Charlotte Bray, piqued my interest – it is an impressive piece. (Check out a video about it here.) Thus, this year’s FCM ends the way that many of its seasons are curated: with nods to tradition as well as explorations of new, unfamiliar, and underrepresented corners of contemporary repertoire.
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The City of Santa Monica was the scene Friday, May 2, 2014 of HEAR NOW Goes Electroacoustic, the first in a series of three consecutive concerts featuring music by contemporary Los Angeles composers. Presented by HEAR NOW and People Inside Electronics the six works in the program all included some kind of electronic accompaniment. The Miles Memorial Playhouse was filled and the cozy, Spanish Colonial style performance space with its wooden ceiling beams and stucco walls provided good acoustics and excellent viewing. This concert was dedicated to William Kraft and the composers offered a few remarks prior to the performance of each piece.
Theremin’s Journey (2010) by Gernot Wolfgang was first, and this began a low rumble of processed sound accompanied by bell-like chimes that was soon joined by the theremin. The distinctive sound of the theremin is invariably linked with 1950s science fiction movies, but in this piece the alien, otherworldly sound connected nicely with the underlying electronics, even when the theremin was dominating the texture. The sound of the theremin was an integral part of this piece and not simply a stylistic effect. Joanne Pearce Martin provided solid control over the pitch and entrances of the theremin and her virtuosity was all the more evident when she switched to the piano as the piece progressed. Theremin’s Journey proceeded in this way, with Ms. Martin alternating between piano and theremin. There was a more familiar feel to this piece when the piano was heard, and a sense of movement and energy was provided by several fast runs and short bursts of phrases. At other times the piano was unaccompanied, or gentle and reflective. By contrast, the sections featuring the theremin typically had a distant and sometimes lonely feel. The balance between the various elements – electronics, piano and theremin – was remarkable and the playing was controlled and consistent. Theremin’s Journey could have easily failed on several levels – technical issues, performance difficulties or by simply sounding cliché, but this high-risk piece came off successfully and convincingly on its own terms.
What Lies Behind the Rain (2011) followed, by David Werfelmann, a piece written for piano and electronics. Interestingly, the electronics were not simply a static presence but were triggered by the tones played by the performer at the piano. According to the program notes “Acoustic and electronic sounds blend and support each other, creating a sound world that could not be achieved by either part alone.” For the most part, this worked. Many of the electronic tracks were processed piano sounds, and when these were added to the live playing of Rafael Liebich the result was a kind of multiplying effect that produced sudden rushes of notes and fast swirls of sound. Trills in the piano could produce an avalanche of similar sounds from the electronics and this effectively evoked a sudden downpour or rain shower. There were also several passages that felt like driving on the freeway at night with cars quickly passing by. At other times the electronics gave out a majestic sound of bell chimes that, when combined with the sensitive touch of Liebich in the quieter stretches was quite lovely. This combination of triggered electronics and live performance deserves further exploration as was evident by this intriguing reading of What Lies Behind the Rain.
The third piece of the evening was Get Rich Quick (2009) by Ian Dicke and this was the Los Angeles premiere. Get Rich Quick was inspired by the financial crash of 2008 and is written for piano with recorded narration and sound effects . Aron Kallay, a co-founder of People Inside Electronics was the pianist. In his remarks just before the performance, Ian Dicke wondered aloud about the relevance of this piece in 2014 because, after all, “Congress passed financial reform laws and the bankers that caused the crash are all now in jail.” This was the perfect introduction to Get Rich Quick which begins with the sound of a coin dropping and the bustling noise of a stock exchange trading floor. A series of sharp, loud chords sound from the piano build tension while the narration smoothly pronounces a series of familiar platitudes: “Debt is a part of American life!”, “Debt has a time and place.” and “Pay those bills on time!” The vapid, infomercial tone of the text contrasted perfectly with the anxiety building in the piano and this provided the wit that propels this piece. The piano gestures are familiar but they make a telling commentary on the get rich quick narration. The program notes state that “Ian Dicke is a composer inspired by social-political culture and interactive technology.” New music these days often seems to arise in a political vacuum, but Get Rich Quick points to another way and the audience was both receptive and appreciative.
After the intermission Jugg(ular)ling (2005) by Vicki Ray was presented. In her pre-performance remarks Ms. Ray explained that the inspiration for this piece was the extreme multitasking required by our contemporary existence – all the things that conspire to keep us too busy. As Jugg(ular)ling began, old film clips of circus jugglers was projected on the stage screen. For each item juggled, the score called for a gesture by the musicians playing piano, violin and MalletKAT percussion. At first the jugglers had one and then a few balls or pins in the air and the music proceeded in an orderly fashion. As the number of items juggled increased, so did the complexity and speed of the musical responses, and this generated a sense of anticipation that added to the comedy on the screen. As the number of items in the air reached their maximum the music slowly unraveled, dissembling into a slow groove. Now the sequence in the film reversed with the number of juggled items decreasing along with the number of musical gestures. This simple formula – worthy of a Tom Johnson – was an inspired choice and the playing by Aron Kallay on piano, Shalini Vijayan on violin and Yuri Inoo on MalletKAT was clean and well-coordinated with the film clips. Jugg(ular)ling was an effective musical realization of the absurdities that fill our too-busy lives as the knowing laughs from the audience made clear.
Swallow (2012) by Scott Cazan followed and this was an experimental piece that combined stringed instruments – violins, violas and a cello – with electronic processing. The string players simply drew their bows across the strings; there was no attempt at melody or any kind of chord. These sounds were processed by a computer operated by the composer and played out through speakers so as to introduce feedback into the aggregate. The sounds coming from the strings were, in a sense, the raw material for the processing with the feedback producing the final result. This required careful and close listening and at times the feeling was that of observing a very subtle and ephemeral phenomena – something like an acoustic version of the northern lights on a far horizon. The process seemed a bit hit and miss at times, depending as it does on the acoustical environment pertaining at the instant of performance. But at its best there is an organic feel and the interplay of the tones, while transient, is often beautiful and invitingly mysterious. At times some zero-beating in the feedback gives a bit of rhythm and forward motion, but the feedback process tends to be on the quiet side and is often intermittent. Perhaps Swallow would be better realized in the recording studio where the more effective manifestations of the process can be captured as they occur.
The final piece of the concert was Pacific Light and Water/Wu Xing-Cycle of Destruction (2005) and this was a collaboration between Barry Schrader who composed and realized the piece electronically, and Ishmael Wadada Leo Smith who played trumpet live during the performance. The trumpet is played as an overlay to the recorded electronics and this allows Mr. Smith to react and respond to the sounds as the piece progresses. From the program notes “The Pacific Light and Water portion of the work is inspired by the penetration of light at different depths of the Pacific Ocean. Building on the water theme, Wu Xing embodies the Chinese concept of the Five Elements, among which are fire and water.” The trumpet player follows a graphical score of the electronic piece and this guides the improvisational component of the playing. The water theme came through very strongly in the recorded electronics and Mr. Smith responded to this with a variety of interesting trumpet calls, trills and sustained tones. The trumpet provides a familiar handhold for this music and made a good contrast to the thunder, rain and watery sounds coming from the speakers. The liquid feel increases and towards the end of the piece a booming surf is heard that increases in volume as the trumpet struggles against it. The surf sounds escalate into sharp canon reports and the piece concludes dramatically with only the trumpet playing. The overlay form of Pacific Light and Water/Wu Xing-Cycle of Destruction is a good example of a collaboration that is completely independent yet intimately linked through the solo performer, and this was nicely accomplished by Ishmael Wadada Leo Smith.
This concert was a good survey of the electroacoustic forms and techniques that are being explored by contemporary Los Angeles composers. HEAR NOW is in its fourth year and judging by the music presented in this concert the future looks very bright.
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On Saturday April 5, 2014 Jacaranda presented The Knee Plays by David Byrne along with music by Philip Glass. This concert was one of the Minimalist Jukebox Festival concerts of the Los Angeles Philharmonic and also part of the tenth anniversary season of the Jacaranda series. The venue was the First Presbyterian Church, whose ample and comfortable sanctuary was almost completely filled for the occasion. The Lyris Quartet, the Calder Quartet, Jacaranda Chamber Ensemble and the Vintage Collectables brass band with drummer M.B. Gordy provided the musical forces. Actor Fran Kranz was the narrator for The Knee Plays and Mark Alan Hilt, Music Director of Jacaranda, performed on the pipe organ and conducted.
The concert opened with Mad Rush (1979), by Philip Glass, an organ work first performed publicly in 1981 at St. John the Divine Cathedral to mark the visit of the Dalai Lama to New York. This piece opens with a light, calming sequence as soothing as any Sunday morning prelude. After a sailing serenely on for minute or two, however, it erupts into a swirling vortex of sound full of drama and energy that calls to mind later sections of The Grid from Koyaanisqatsi. Mad Rush proceeds along in this way, alternating sections of quiet serenity with moments of loud striving frenzy, reflecting a Buddhist sensitivity to contrast and no doubt calling us to a more contemplative state of mind. The sound of the pipe organ filled the sanctuary nicely and the playing of Mark Alan Hilt was especially precise in the faster sections. There are many recordings of Mad Rush on piano or keyboard, but hearing this piece performed live affirms the raw power of this music when heard in its intended venue.
The second work on the program was a suite from the musical score of the film Mishima (1985) composed by Philip Glass and arranged by Todd Levin. The opening section begins with a beautiful shimmer of glass and bell chimes. The lower strings join in to build an ominous undercurrent that is reinforced by a strong beat in the bass drum. This increases in tempo and dynamic, ultimately bursting into a familiar Glass groove carried forward by the strings. Mishima is the complex story of a post-war Japanese writer who plots the return of the Emperor to power by building a private army. The percussion section was especially effective in conveying this militaristic element, as was clearly heard in section 2 by a series of rapid snare drum rolls – the feel is very much like an army on the march. Other parts of the Mishima story are similarly vivid and range from lighter and empathetic as in section 3, 1934: Grandmother and Kimitake, to unsettling and broad in the last section, November 25: THE LAST DAY. For those sections that consisted entirely of string playing, conductor Mark Alan Hilt stepped aside and let the ensemble work out the complex patterns of notes that are the hallmark of music by Philip Glass. The playing throughout was skillful and the harmonies could be heard distinctly, even high up in the balcony. The effort was received by the audience with sustained applause – with many standing.
After intermission the Vintage Collectables brass band took the stage for The Knee Plays (1984) by David Byrne. The Knee Plays was written to be performed between acts of Robert Wilson’s expansive opera the CIVIL warS, partly as a way to cover scenery and costume changes. For this concert however, all the sections of the The Knee Plays were played consecutively. The opening section Tree (Today is an Important Occasion) began with a lovely series of tones played in sequence by two trombones. To these were added saxophones and the result was a pleasantly grand sound that did convey a sense of occasion. The narration by Fran Kranz commenced, but immediately there were technical issues with the sound system, rendering the words unintelligible. The performance was halted until a repair could be effected, and this was right decision inasmuch as the narration provides an essential context for the music. The fix proved only partly effective, however, and even a change of seats to be closer to the speakers still required intense listening to catch all of the spoken words. The brass band was clearly heard and well balanced – but too much for the overwhelmed narration.
David Byrne is best known as a founding member of the band Talking Heads and the music of The Knee Plays brings a comfortable sense of the familiar with it. The second section, In the Upper Room, surely owes something to a hymn tune. I Bid You Goodnight, section 8, could have been an easy-going New Orleans street band piece. All of the tunes in The Knee Plays are highly accessible and Byrne clearly has a good ear for texture. Each of the sections provided solo opportunities for the various horns and combinations and these were effectively realized. The playing was cohesive and consistent throughout the 50-plus minute run time – an achievement of note considering that all the instruments were called upon to play most of the time.
On those occasions when the narration could be heard The Knee Plays really came into focus. Things to Do (I’ve Tried), the ninth section, is a spoken list of simple chores accompanied by the blues, but the juxtaposition produces a knowing, inward smile by anyone who has attempted the mundane and failed. Perhaps the most successful piece was section 12, In the Future. The narration consists of a series of utopian platitudes about how wonderful the future will be – “In the future we will work one hour a week!” – accompanied by a marvelous 1950-ish science fiction soundtrack carried by the lower brass. This was a telling commentary on our 21st century, given that this work dates from 1984, and provided a glimpse of just how effective the music of David Byrne can be. The strong applause from the audience at the conclusion rewarded a fine effort.
The tenth anniversary season of the Jacaranda series will conclude with a concert featuring the music of Mozart, Debussy and Arvo Part on Saturday, May 10, 2014 at First Presbyterian in Santa Monica.
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The San Francisco Bay Area has long been a friendly and nurturing environment for musicians “without a home” – operating between and outside of genres. For those shut out of the concert halls and jazz clubs, it’s been a haven where non-traditional musicians build non-traditional alliances, and run non-traditional music venues and concert series where they can take risks and create uncompromising work. Over decades of community-building and creative ferment, this lack of formal boundaries has defined the sound and feel of the scene, interweaving free improvisation with elements of noise, minimalism, rock, jazz, drone, chamber music, electronica, and other more slippery sounds which resist categorization.
The scene’s relentless DIY approach has led to the establishment of numerous artist-run concert series and festivals, of which the Outsound New Music Summit, the Tom’s Place house concert series in Berkeley, the SIMM Series at the Musicians’ Union Hall, the Wednesday and Sunday series at the Berkeley Arts Festival Space, and the San Francisco Electronic Music Festival are just a few examples. This month they’ll be joined by a brand-new one, the Active Music Festival, covering February 20-22 in downtown Oakland. Read the rest of this entry »
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Next week is the third annual Composers Concordance Festival in New York City. They’ve called it ‘Timbre Tantrum,’ organizing the concerts by instrumental family:
Dec. 1 – 3pm
with Glen Velez, Lukas Ligeti, Peter Jarvis.
Dimenna Center (W. 37th St. NYC)
Dec. 2 – 7pm
ArtBeat (repeat of program)
William Patterson University
Dec. 4 – 7pm
Three’s Keys with Taka Kigawa, Inna Faliks and Carlton Holmes
music by Dan Cooper, Milica Paranosic, Gene Pritsker, Sean Hickey, Debra Kaye, Carlton Holmes, Daniel Palkowski and guests
Klavierhaus (211 W. 58th St. NYC)
Dec. 6 – 8pm
E-nstallation: Electronics, Fashion and Projections
Music by: Dan Cooper, Milica Paranosic, Gene Pritsker, Svjetlana Bukvich, David Morneau, Daniel Palkowski, Lynn Bechtold
Fashion: Vicky Vale
Projections: Gorazd Poposki
Gallery MC, 549 W. 52nd St. 8th Fl, NYC
Dec. 7 – 8pm
with the CompCord String Orchestra
Music by Dan Cooper, Otto Luening, Milica Paranosic, Gene Pritsker, Dave Soldier and Randy Woolf
West Park Presbyterian Church
165 W 86th St. NYC
Dec. 8 – 8pm
a three-hour marathon of three-minute pieces for fretted strings performed by the composers
Drom NYC, 85 Avenue A
For more information and to buy tickets, visit:the festival website.
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Thursday night kicked off the Resonant Bodies Festival, a new 3-day parade of contemporary vocal music at ShapeShifter Lab in Brooklyn.
Each night features three young singers performing programs of their favorite music. This curatorial freedom gave last night’s show a happy zealousness, where the singers’ enthusiasm for their repertoire was contagious.
Festival curator Lucy Dhegrae marked out a broad territory in her set. Beginning with Jason Eckardt’s mantic Dithyramb, she swiftly established her virtuosity in an elastic, preverbal but hyper-articulate world. In Old Virginny, by Shawn Jaeger, juxtaposed a forthright Appalachian lament with a snarling, snaky bassline, played athletically by Doug Balliett, to surprisingly tender effect. Balliett then took the mic for the premiere of his newest Ovid rap cantata, #11, Clytie and the Sun. While not the most arresting of his cycle (see Echo and Narcissus), it delivered a highly entertaining mix of humor and pathos, and Dhegrae’s theatrical arias, as the smitten Sun, were the perfect foil to his informal Narrator. Read the rest of this entry »
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The 2013 Ojai Festival continued its look at American composers with a performance of Suite for Symphonic Strings by Lou Harrison on Saturday, June 8 in the Libbey Bowl. A 24-piece orchestra comprised of the Mark Morris Dance Group Music Ensemble and the American String Quartet filled the stage with a strong presence. Joshua Gersen conducted.
Suite for Symphonic Strings is an assemblage of pieces composed at various times in Harrison’s career, and is loosely based on allusions to the Greek gods. One of his most-performed pieces, Suite for Symphonic Strings reflects a diversity of influences. The dance-like first movement Estampe and the fourth, Ductia: In Honor of Eros, clearly betray the Asian influences that Harrison absorbed as a West Coast composer. Other sections, such as the second, Chorale: Et in Arcadio Ego provide a warm, open sound full of lush harmonies. Still others such as number five, Lament and nine, Nocturne are poignant and quiet while number three, Double Fugue: In Honor of Heracles, has a anxious edge. It is a piece that is rich with a variety of feelings and emotions and these were put across effectively by the string orchestra.
During some of the quieter moments in the piece the inevitable outside noises of kids playing in the park, or the band playing in a nearby bar could be heard, but these did not detract decisively from a fine performance of Harrison’s lovely music.
After a short intermission For Lou Harrison by John Luther Adams was performed by the same string ensemble, but this quickly became problematic. Full disclosure – I am a big fan of this piece and was excited when it was programmed for this year’s festival. This performance, however, suffered from too much sound coming from the big orchestra. The beginning arpeggios washed over the listeners like a tidal wave and became relentless as the piece progressed.
The notes and tempo were correct – and what I heard certainly resembled the piece I love – but too much of the intimacy and sweetness of the piece was lost in the translation to larger musical forces. It seemed to work best when at the lower dynamic levels and there were occasional flashes of the beauty that this piece contains. But much like the sacred music of Bach, For Lou Harrison is too much the chamber piece to be scaled up to the level we heard in this performance. Additionally, the outdoor venue became quite chilly in the late evening after a long day of warm temperatures and this didn’t help the concentration of the listeners or the conditions for the musicians. The length of the piece, with all the players playing most of the time, eventually became wearing and the audience was visibly restless as the final chords sounded.
A much more satisfactory outcome was heard the following morning with the performance of songbirdsongs, another outdoor piece by John Luther Adams. The venue this time was Meditation Mount, a local Ojai landmark about 5 miles out of town. The location was high along a narrow winding road and buses were required to take the listeners up to a small promontory that overlooks the Ojai Valley. About 200 early-risers packed themselves into a performance space just a few dozen yards across. Red fish blue fish and two brave piccolo players formed the smallish ensemble. Percussion stations were scattered around the area and the players moved about as necessary for each section.
Written over several years (1974-79 and revised in 2006) and as the title indicates, songbirdsongs is a series of musical realizations of bird calls. As the program notes describe, the players are to “play with the free intonation and inflection of bird songs, not in exact temperament. Time should also be free and fluid…”
The nine sections of the piece are titled after the names or characteristics of various birds and evoke a wide variety of natural sounds. The piece proceeds with a back and forth calling of rapid, bird-like phrases between the piccolos. Other percussion pieces join in, generally at a low dynamic, and convincingly portray the familiar landmarks of a woodland or meadow. The music and the surroundings actually seem to merge together in the mind of the listener.
There are regular pauses in each section – and with the audience sitting stone silent – the natural sounds of the environment became part of the performance. This was remarkably effective – as a city fellow I don’t pay much attention to the sounds of nature – but during the pauses in this piece I suddenly become aware of all of the birds in the surrounding trees calling back and forth. I am no naturalist but it seemed to me that some of the local birds were actually answering the piccolo calls. I talked later to one of the piccolo players who said that a bird swooped down and buzzed by her head during one passage.
The integration between performance and nature was virtually seamless and the audience agreed that this was an experience far beyond that found in the average concert hall. Music, intention and venue met successfully in this performance of songbirdsongs and it makes a powerful case for the direction John Luther Adams has taken with his art.
More information about the 2013 Ojai Festival is here.
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The 2013 Ojai Music Festival began this week under the artistic direction of choreographer Mark Morris. The festival will focus on American composers including Charles Ives, Henry Cowell, John Cage, Lou Harrison, John Luther Adams and Terry Riley. Two pieces – Strange and Sacred Noise as well as songbirdsongs by John Luther Adams – were scheduled for outdoor performance in rural venues.
The first of these performances, Strange and Sacred Noise (1997) was sited on a knoll in Upper Ojai that is part of a local country school about 10 miles out of town. The 8:00 AM concert time found the musicians and about 150 listeners wrapped in an early morning mist. The percussion ensemble red fish blue fish had set up several stations around the top of the hill and the players and audience were free to move about as the piece progressed. Folks sat on blankets or brought a chair, but most stood and watched, moving as necessary to hear each section.
The beginning of the performance was announced by a sharp field drum roll and a series of characteristic rhythms that comprise …dust into dust…, the first section of Strange and Sacred Noise. The early morning stillness made for good listening in the open air, and a series of soft snare drum rolls that alternated in dynamics were clearly heard and very effective. Despite the unusual venue and informal atmosphere the audience was attentive; a series of pauses in this section would briefly restore the early morning quiet and this seemed to engage the listeners even more.
The second section, solitary and time-breaking waves, was played on a four tam-tams placed about 50 feet apart. A series of rolling crescendos rumbled through each register adding to the mystical atmosphere of the morning mist. The shimmering sense of waves and swift river currents invoked by this section reminded me of parts of Inuksuit, another JL Adams piece performed at Ojai last year. Inuksuit is on a much larger scale and was performed with several hundred in attendance outdoors at Libby Park and the audience reaction then was to watch and listen and to wander among the players while talking or calling on cell phones. For Strange and Sacred Noise, however, the audience was silent – as if in a concert hall. In both cases the audience reaction seemed appropriate and the staging of outdoor performances continues to be a good way to help people connect with new music.
The third section of Strange and Sacred Noise begins with a powerful roll of bass drums that vary in dynamics as higher register tom toms vary in tempo. Titled volocities crossing in phase-space this provides a muscular contrast to the previous section. The cross currents developed by the rhythmic interplay between the drum sets make for an interesting listen. The fourth section – triadic iteration lattices – consists of four differently pitched hand cranked air-raid sirens that are started at different time intervals. The sound of four sirens screaming out into the pastoral landscape was strikingly surreal, and the inclusion of these sounds in an outdoor percussion piece designated for a rural setting seems unusual. The rising and falling of four continuously changing pitches made for some unusual sonic combinations as this section progressed, however, and the fun of it is too much to resist.Sections 5 through 8 of this work are titled clusters on a quadrilateral grid and are performed on various marimbas, vibraphones and xylophones. The first part on marimbas is very quiet – a ten second pause by the players and then a switch of harmonies add to the mystery. The next part on xylophones is strident and dissonant and makes a fine contrast. After that a switch to bell-like registers form a lighter, faster texture and finally there is a return to the marimbas – a sort of da capo – completing section 8.
The ninth and last section of Strange and Sacred Noise – titled … and dust rising… – is a return to the original field drum set that opened the piece. By now the haze had burned off revealing the mountains that surround the knoll and the soft snare rolls and louder rhythms recalled the opening section but in a changed environment.
Strange and Sacred Noise is one of the earlier pieces by John Luther Adams that explore the sense of place and its connection to the environment. The little knoll in Upper Ojai was a fine venue and seemed well suited to the occasion.
Later that morning in the Libby Bowl Terry Riley’s In C was performed by 26 musicians including percussion by members of red fish blue fish. The sound system was in good form and those of us on the lawn could hear the precise rhythms and tight ensemble that was playing on the stage. To my ear there was a solid bass line and this gave the piece a sense of reserve and formality. But what it may have lacked in exuberance was more than offset by a consistently good reading as the piece progressed. Pronounced dynamic changes from time to time gave the texture some relief and the audience was for the most part engaged with a groove that was carefully sustained for the entire 65 minutes. At one point – about 36 minutes in – the combination of basses and voices was reminiscent of Wagner. At 49 minutes that same combination produced a definite sense of the majestic. Not what I expected but a very fine reading throughout.
This was a solid performance of In C and if recorded might make a good addition to the history of Terry Riley’s classic of minimalism. More information about the Ojai Music Festival can be found here.
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[Ed. note: Kurt Rohde, Professor of Composition at the University of California at Davis, sent us this report on the recent Music and The Art of Migration Festival there. The weeklong series of events combined a number of approaches to the concept and practice of migration across the arts, with an emphasis on music.]
Sometimes it feels like new music has a way of finding places to collect, gather and pool. Not surprisingly, a number of important US cities (LA, NY, Chicago, etc.) have traditionally been the gravitational centers around which everything else orbits. In our current culture of immediacy and unimpeded online access, the reach of new music being produced in smaller communities is increasing at an astounding rate…or maybe it’s just that we are hearing about it more than ever before. Regardless, there is no question that that vibrant, inventive new music can now be found in more towns across the country. Enter the town of Davis.
Located in the Sacramento River Valley between the cities of Sacramento and San Francisco, Davis is a bucolic college community. It is the home to the University of California at Davis. UCD is home to the Mondavi Center for the Performing Arts, which opened in 2002. During the week of January 30th to February 3rd, a “flash flood” of new music took place. The UC Davis Department of Music hosted Worlds of Discovery & Loss: The Art of Migration and Music Festival, with support from the Mondavi Center and the Davis Humanities Institute. UCD faculty and composers Sam Nichols and Laurie San Martin organized the five-day festival with a depth of vision. By bringing together visiting ensembles like the Calder Quartet and Rootstock with UCD resident groups Empyrean Ensemble and the UC Davis Symphony Orchestra, Nichols and San Martin exquisitely executed a festival that explored the role of migration in music and how it intersects with visual art, cultural studies, and storytelling. In effect, the festival became a migratory “stop” for everyone involved, a way station in between points where ideas were exchanged and shared before moving onward.
I joined San Martin and Nichols as their assistant during the festival: It was a fantastic way to experience firsthand all the events. At the core of the festival was the presence of composer-in-residence Lei Liang and seven Festival Composition Fellows (Kari Besharse, David Coll, Elliot Cless, Annie Hsieh, Nicholas Omiccioli, Ryan Suleiman, Tina Tallon). Around this center were a series of concerts, public talks, and private colloquia. Since there were so many incredible events scheduled throughout the week, I thought it might be most useful to share what I though were the highlights.
Perhaps the most obvious example of how the festival showcased art’s intersection with the migration of people and culture came in the form of a panel discussion moderated by UCD sociologist David Kyle. Guest panelists Anthony Sheppard (musicologist and professor of music at Williams College), Maria Elena González (Cuban-American sculptor), Philip Kan Gotanda (playwright and filmmaker at UC Berkeley), Peter Kulchyski (Native Studies at University of Manitoba), and Chan Park (Korean P’ansori expert and professor of Korean language, literature, and performance studies at Ohio State University), took part in a lively discussion detailing how various cultural collisions impacted the full range of their work. What I took away from this conversation was the intriguing notion that nomadic culture, diaspora, and willful immigration all contribute to the formation of an identity in their work that was inseparable from their identity as people. There was a blurring of the conventional binary definitions (THIS vs. THAT, or GOOD vs. BAD) surrounding concepts about nomadic life, or the urge to immigrate, or the pull of being part of a diaspora. It felt reassuring to know that in our hyper-digital age, artists are ever more sensitive in identifying the thread that runs through their lives, connecting them and their work with their ancestors, predecessors, to those that will come after them. It was complicated. It was heartening. Read the rest of this entry »
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Posted by George Grella in Composers, Concert review, Conductors, Contemporary Classical, Criticism, Festivals, Orchestral, Twentieth Century Composer, tags: Christian Marclay, John Cage, Joseph Kubera, Orchestra of the S.E.M. Ensemble, Petr Kotik, Ursula Oppens
Just before intermission of the opening concert of the Beyond Cage Festival on October 22, I pulled out my iPhone to see if the Giants were beating the Cardinals for the National League Pennant, and was disoriented to see that it was 9:49pm. It seemed like there must have been a massive network malfunction, because the extraordinary performance of Atlas Ecpliticalis with Winter Music that I and the rest of the audience had fervently applauded could not possibly have gone on for an hour and forty-five minutes. The duration had felt assuredly like a leisurely performance of an early Romantic symphony, say the Beethoven Pastorale, something that was stimulating and enveloping but that never demanded a hint of endurance from the ear or mind.
But it was so, Petr Kotik had just led the Orchestra of the S.E.M. Ensemble, with Joe Kubera and Ursula Oppens simultaneously playing Winter Music, in almost two hours of some of the most resolutely avant-garde music, and the listening experience was such that the sensation of time was lost completely inside the performance. The extraordinary became the unbelievable.
Kotik had already presented this piece twenty years ago, in a historic concert that became a memorial to the recently deceased composer. And he and the ensemble have recorded it twice, on a recently reissued Wergo album and a great and unfortunately out of print Asphodel release, and these are not only the two finest recordings of Atlas but also two of the finest recordings of Cage’s music available. But the concert exceeded these, reflecting the understanding of such a profound work of art that can only come through time spent examining and thinking about it.
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