Archive for the “Festivals” Category
Today is the last day you can hear Derive 2 at the BBC’s web site–they stream for one week after the concert. There was a CD released earlier this year that contains this same version (which supersedes the earlier version released by DGG in 2005). I don’t generally think of double reeds in Boulez’s music, but he really gives the oboe and bassoon some wonderful music in Derive 2. It’s conducted by Daniel Barenboim, whose Boulez performances are always colorful and invigorating. You can listen to it here.
Some wonderful recent works heard earlier on the Proms: Canon Fever by Mark-Anthony Turnage (premiere), Laterna Magica by Saariaho (the strongest work of hers that I’ve heard in some time — I’m not a fan of her recent music, preferring her work from the 80s and 90s), and a tight, expressive performance of City Noir, conducted by its composer, John Adams, leading an orchestra featuring students from Juilliard and the Royal Academy of Music.
I’m still trying to catch up to this week’s concerts, which include more Boulez, Steve Martland’s Street Songs, and a Kronos Quartet recital. The home page for the 2012 Proms on BBC is here.
We’re pleased to introduce cellist Maya Beiser’s performing the Michael Harrison composition “Just Ancient Loops,” with film by Bill Morrison, which will receive its premiere at the Bang on a Can 25th Anniversary Marathon this coming Sunday in NYC.
This is just one of many performances that will occur over the marathon’s 12 hours of free live music-making: check out the complete schedule online here.
Congrats to the can bangers – may you have many more seasons of marathoning!
Posted by Christian Hertzog in Concert review, Concerts, Contemporary Classical, Experimental Music, Festivals, Ojai, Percussion, Photos, Post Modern, Premieres, tags: Inuksuit, John Luther Adams, Ojai Festival, percussion, Steven Schick
Musicians on the outskirts of Libbey Park performing Inuksuit (note the percussionist playing water gong in the upper left hand corner)
They say a picture is worth a 1000 words, so consider this photo album a 26,000 word review until I file my story. Inuksuit was one of the most extraordinary pieces of music I’ve heard since–well, John Luther Adams’ orchestra and tape work, Dark Waves. (On Sunday, we’ll hear JLA’s two-piano version of Dark Waves.)
Do read Paul Muller’s account of this concert and Thursday evening’s concert.
To give you some idea of what the performance was like, here are some crude videos I made on my not-designed-for-filming camera. The mike on the camera did a reasonable job of capturing the changes in sound as you moved from one spot to another, as I did throughout the performance.
If you’re reading this before or around 11 a.m. PST June 9, hop on over to the live stream from Ojai to watch/hear Marc Andre Hamelin, Christianne Stotijn, and Martin Frost perform Alban Berg, as well as an orchestral work by Eivind Buene. Watch it here.
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Report by Tyran Grillo (between sound and space)
Photos by Evan Cortens
Music: Cognition, Technology, Society set a formidable intellectual task before participants of the selfsame conference at semester’s end on the quieting campus of Cornell University. Under the attentive care of organizers Caroline Waight, Evan Cortens, Taylan Cihan, and Eric Nathan, what might have been an overwhelming conceptual storm proved smooth sailing through a series of back-to-back panels. The lack of overlap meant that everyone in attendance could take in the full thematic breadth and draw connections that might otherwise have been missed in the three-ring circus of a larger conference, thereby allowing interaction, a building of new relationships while strengthening the old, and dialogue conducive to the intellectual goals at hand.
I had the privilege and the honor of presenting first in the opening Friday morning panel, entitled Patterns, Schemata and Systems, for which I was joined by Bryn Hughes (Ithaca College) and Joshua Mailman (Columbia). I did my best to set a tone in my discussion of Modell 5, a museum installation piece by Vienna-based duo Granular Synthesis, whose eponymous approach to motion capture and digital manipulation of synchronous sound and image activated, I hope, our shared interest in the intersection of technology and sonic arts. Hughes was interested in more mainstream sonic outlets. In problematizing expectation in rock music through harmonic progression as both a function of context and of socialization, he asked: Does harmony behave in a universal way? Why do some chord progressions sound “wrong” and how do we gain knowledge of these rules?
Hughes plotted a matrix of influences on such choices, discovering through controlled testing that expectations are genre-specific (diatonic successions, for instance, are preferred by classical over blues listeners) and that the impact of voice leading, lyrical (a)synchronicity, and other variables must also be taken into account. Mailman took a more phenomenological approach to music as a site lacking in expectation, advocating a cybernetic model of listening and feedback practices. In positing retrospection as an active shaping force of musical experience, Mailman privileged context over convention in musical structure. By looking at otherwise undeterminable aspects of musical form and development—what Boulez might group under the term “listening angles”—as a means of analysis, Mailman made a provocative case for cybernetic phenomenology as a viable site for sonic inquiry.
Qualities emerge through change and exist by virtue of being measured as such. Hence the assertions of David Borgo (UC San Diego), who in the second session on Improvisation challenged the dominant paradigm of musical spontaneity as an individual act, seeking rather to enlarge the notion of agency to its extra-corporeal aspects. Because action of response happens more quickly than consciousness can grasp, our interpretations of the very same can only come a posteriori, subject to the same misinterpretations as any and all memory. Consciousness, argued Borgo, is autopoetic and under constant perturbation. Improvisers must therefore negotiate contingencies in all directions. To locate them at the center of webs as amorphous as their melodic constitutions is as difficult as it is to locate the true center of a universe that is forever expanding.
Neither are improvisational gestures simply plucked from the ether, as Jeremy Grall (University of Alabama at Birmingham) showed in his exploration of the hierarchies at work in seemingly indeterminate music-making. Grall’s interest was the divide (or lack thereof) between composition and improvisation and whether or not the two can be subject to the same analytical vocabularies. For him, improvisation is an already problematic term, one that may be absorbed into composition insofar as improvisation abides by underlying schemata. In order to negotiate the ambiguities of perception and the phases of concrescence therein, he looked to 16th-century improvisational models and their inherent blend of immediacy and indeterminacy.
A fascinating Demonstration Session kicked off the conference’s first evening. William Brent (American University) gave us a visual and aural tour through his Gesturally Extended Piano and Open Shaper, while Mailman returned with Columbia colleague Sofia Paraskeva for a demonstration of their “comprovisational” interface. Both of these technologies take advantage of the primacy of the body in communicating information at once inter- and intra-musical. Read the rest of this entry »
Posted by Polly Moller in Big Band, Chamber Music, Composers, Contemporary Classical, Events, Experimental Music, Festivals, Improv, jazz, Piano, Premieres, San Francisco, Saxophone, Sound Art, Women composers
The San Francisco Bay Area’s underground music scene will come together this coming July in an annual celebration of its tremendous range of styles, its love of improvisation, and its collective obsession with new and unusual timbres and techniques. It’s the 11th Annual Outsound New Music Summit! All events will take place at the San Francisco Community Music Center at 544 Capp Street near 20th Street in the Mission District, and tickets can be ordered online from Brown Paper Tickets or purchased at the door.
The ever-popular Touch the Gear Expo kicks off the Summit on Sunday July 15, 7-10 pm. It’s designed especially for anyone who’s longed for a closer look at an experimental musician’s gear on stage, and for the opportunity to mess with it. 25-30 sound artists will be there to demonstrate everything from oscillators to planks of wood with strings attached and answer questions. Visitors of all ages have free rein to make sound and experience how these set-ups work, and best of all, it’s free.
The second Summit night is also free, and this time the composers take over. In the Tuesday night Composers’ Symposium (July 17, 7-10 pm), John Shiurba, Christina Stanley, Benjamin Ethan Tinker, and Matthew Goodheart will all discuss how they navigate modern compositional techniques, while combining them with improvisation and their own individual forms of experimentation. The public is invited to talk freely with the composers and ask them questions.
Performances begin at 8:00 pm on Wednesday, July 18th with the first of four themed concerts – Sonic Poetry. This night is curated by Outsound Board members Amar Chaudhary and Robert Anbian, who’ve recruited three leading poets to collaborate with Bay Area improvising musicians to create new word and sound compositions. Words are by Ronald Sauer, rAmu Aki, and Carla Harryman, with music by Jacob Felix Heule, Jordan Glenn, Karl Evangelista, Jon Raskin, and Gino Robair.
The Tuesday night Composers’ Symposium prepares everyone for the second performance evening on Thursday, July 19th – The Composer’s Muse. Christina Stanley, Matthew Goodheart, and John Shiurba will all premiere new works running the gamut from graphic scores for string quartet, to prepared piano with sonified metal percussion, to a major work for large ensemble celebrating the newspaper.
Thwack, Bome, Chime on Friday night, July 20th, curated by Outsound Board member Pete Martin, will feature the world of percussion in all its coloristic and dynamic glory. David Douglas will combine percussion instruments with custom-built delays, loopers, samplers, and other effects to create The Walls Are White With Flame, a series of highly spatialized sound sculptures. In Seems An Eternity, Benjamin Ethan Tinker will assemble three percussion trios of metal and skin percussion to explore the same musical material in canon. And finally the San Francisco percussion ensemble Falkortet will show off its versatility combining traditional percussion, hand drums, and electronics with influences from Indonesian music, Brazilian music, Jazz, minimalism, and rock.
The final day of the Outsound Summit, July 21st, will be a big one starting with a 2-4 pm Harmolodics workshop led by Dave Bryant. Dave will share material from his years of Harmolodic Theory performance and study with Ornette Coleman, plus his own compositional and improvisational techniques developed on his own and with his ensembles. The 8 pm final concert, Fire and Energy, curated by Outsound founder Rent Romus, will feature Dave Bryant with his Trio, along with Jack Wright, the Vinny Golia Sextet, and Tony Passarell’s Thin Air Orchestra.
“How can music ‘speak’ and how do we have knowledge of it? What is its potential to express, represent, and communicate? How has changing expertise concerning sonic and musical knowledge shaped these questions across time and space?”
These are the questions that inspired the interdisciplinary conference entitled “Music: Cognition, Technology, Society” that will take place at Cornell University this weekend, May 11 – 13.
Pictured: Tod Machover
The conference will spotlight Tod Machover (Massachusetts Institute of Technology) in a dual-role as guest composer and keynote speaker. Other keynote speakers include Eric Clarke (University of Oxford), Ichiro Fujinaga (McGill University) and Robert Gjerdingen (Northwestern University). The Argento Chamber Ensemble serves as the conference’s guest ensemble-in-residence and will perform electroacoustic and acoustic works selected through an international call-for-scores.
Drawing on a wide range of scholarship across multiple disciplines, and featuring both musical performances and paper presentations, the MCTS Conference will present four keynote lectures, three performances, and seven paper sessions, covering a diverse works and broad range of aesthetics. Highlights include:
Friday, May 11 at 1:00 pm: The Cornell Avant-Garde Ensemble (CAGE) performs free improvisations using acoustic and electronic instruments.
Friday, May 11 at 2:30 pm: Robert Gjerdingen’s keynote lecture, “Schema Theory Today: Challenges and Opportunities.”
Friday, May 11 at 7:15 pm: Tod Machover’s keynote lecture, “Extending Performance: Onstage, Inside, Interconnected.”
Friday, May 11 at 8:30 pm: The Argento Ensemble performs Machover’s Another Life for mixed chamber ensemble, and other chamber works by Christopher Chandler (the resonance after…), Bryan Christian (Walk), Sean Friar (Scale 9), Amit Gilutz (Miscellaneous Romance No. 1), Juraj Kojs (Re-route), and Eric Lindsay (Town’s Gonna Talk).
Saturday, May 12 at 1:30 pm: Eric Clarke’s keynote lecture, “Explorations in Virtual Space: Music Perception and Recorded Music.”
Pictured: Argento Chamber Ensemble
Saturday, May 12 at 8pm: Concert featuring electroacoustic and fixed electronic media works by Taylan Cihan/Eliot Bates (Zey-glitch), Nicholas Cline (Homage to La Monte Young), Nathan Davis (Ecology No. 8), Peter Van Zandt Lane (Hydromancer), Stelios Manousakis (Megas Diakosmos), Nicola Monopoli (The Rite of Judgment), Christopher Stark (Two-Handed Storytelling).
Sunday, May 13 at 11:45 am: Ichiro Fujinaga’s keynote lecture, “The Research Program at the Distributed Digital Music Archives and Libraries Laboratory.”
Paper presentation session topics cover a variety of topics, such as “Patterns, schemata and systems,” “Improvisation,” “Text, technology and the voice,” “Psychology and the sonic object,” “Instruments and soundscapes,” and “Music Informational Retrieval.”
For a full schedule we invite you to visit our website.
This conference was organized by graduate students in the Department of Music at Cornell University – musicologists Evan Cortens and Caroline Waight; composers Taylan Cihan and Eric Nathan. We hope to see you in Ithaca.
Posted by Jonathan Lakeland in Classical Music, Commissions, Composers, Composers Now, Concerts, Contemporary Classical, Festivals, New York, tags: Carnegie Hall, Edmonton, orchestra, Spring for Music, symphony
On Tuesday evening in New York City, Edmonton is taking Carnegie Hall by storm.
The “Spring for Music” series, a yearly Carnegie event, is an opportunity for symphony orchestras around North America to come and present their work in New York City- an opportunity that would not necessarily be possible for some of these orchestras if “Spring for Music” did not exist. This Tuesday will see the Carnegie debut of the Edmonton Symphony Orchestra, an up-and-coming star in the symphonic world.
The Edmonton Symphony Orchestra is celebrating its 60-year anniversary this year. An integral and beloved part of the Edmonton community, the orchestra is travelling to Carnegie to present a program made up mostly of works they have commissioned over the years, with the exception of Martinu’s first symphony. There is something thrilling about the three Canadian composers being featured on the program. Their voices are unique, in a way that only 21st-Century composers could be. Their inspirations and tastes range from Beethoven, to Brahms, to Stravinsky, to Adams; and they were not shy to have open conversations with me about their work.
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(from Left to Right) Line Upon Line Percussion's Matt Teodori, Cullen Faulk and Adam Bedell
This coming Friday, May 4, marks the beginning of Austin-based percussion trio Line Up Line’s Xenakis festival, dubbed “Perspective: Xenakis” (go here for ticketing information). While most fans of 20th/21st-century music have come to know Xenakis’ music as a staple of the percussion repertoire, the program for “Perspective: Xenakis” is surprisingly broad, featuring, among other chamber pieces, a complete performance of Xenakis’ string quartets by the renowned JACK Quartet.
I caught up with Matt Teodori, one of Line Upon Line’s founding members, and dug a little deeper into how this festival came about. As he explained to me, the impetus behind their programming began by looking at Xenakis’ entire chamber output and locating different paths the composer pursued in his career. Line Upon Line wanted to illustrate these paths as best as they could, and designed the festival’s three evenings of performances to account for the remarkable sonic diversity Xenakis’ output. According to Mr. Theodori, involving the JACK Quartet was, “a no-brainer”, because their reputation performing Xenakis’ music is, “extraordinary”, and the works they bring to the table enable Line Upon Line to showcase a wider range of Xenakis’ oeuvre than otherwise possible.
In addition to this weekend’s concerts, Line Upon Line is providing a couple non-musical experiences for concertgoers who are interested in learning more about Xenakis’ life and personality. Prior to each performance, the Line Upon Line is presenting the BBC’s 1991 documentary Something Rich and Strange: The Life and Music of Iannis Xenakis; and, following the concerts, Xenakis scholars Nouritza Matossian and Benoît Gibson will join that night’s performers in an open conversation with audience members. These opportunities are meant to, “illuminate [Xenakis] as a man and composer”, and should be a worthwhile supplement to the festival’s musical offerings.
Friday and Saturday’s evening concerts begin at 7:30 PM, with Saturday’s afternoon performance running from 1-2 PM. For those who are interested, the documentary runs about 50 minutes and is shown one hour before each concert. The events are housed at Austin’s Floating Box House, St. Elias Eastern Orthodox Church and Angelou residence, respectively. The first two performances feature the members of Line Upon Line Percussion, with the JACK Quartet closing the festival on Saturday evening with a presentation of Xenakis’ complete quartets.
If you are interested in learning more about the “Perspective: Xenakis” festival, visit Line Upon Line’s website.
Fast Forward Austin directors (from left to right): Ian Dicke, Robert Honstein and Steven Snowden
The 2012 Fast Forward Austin contemporary music festival begins its 8-hour marathon of performances this afternoon at Austin, Texas’ versatile ND-501 studios. This year’s event, the second installment of the Fast Forward Austin (FFA) idea, features performances by local and nationally-acclaimed performers including renowned pianist Vicky Chow and Graham Reynolds, considered, “Austin’s own new music wizard”. Today’s musical menu features established names from the last few decades of new music – David Lang, Louis Andriessen and Iannis Xenakis – alongside brand new works by up-and-coming composers – Shawn Allison, David Biedenbender and Christopher Cerrone – culled from the festival’s 2011-12 call-for-scores.
Last Thursday, I caught up with Fast Forward Austin’s founders, composers Ian Dicke, Steven Snowden and Robert Honstein, and learned, among other things, that a series of “satellite events” have led to tomorrow afternoon’s marathon performance. These appearances, designed both to promote this year’s festival and strengthen the collaborations on display this afternoon, began with a performance of Phil Kline’s Unsilent Night last December. Austin is the second city Mr. Snowden has successfully introduced to Unsilent Night, a staple of New York’s experimental music circles for two decades, and the event represented more than just a way to draw advanced attention to tomorrow’s marathon string of concerts.
The kind of community involvement manifest in the Unsilent Night performance lies at the heart of Fast Forward Austin’s goals. As Mr. Honstein told me in our chat Thursday evening, “first and foremost, we’re a local festival.” In addition to featuring Austin-based musicians, FFA has a tradition of supporting local, musically oriented charities. Last year, the festival donated all its proceeds to Anthropos Arts, a non-profit organization that provides free music lessons to economically disadvantaged young people in East Austin. This year, FFA has partnered with Austin SoundWaves, a local iteration of the famed “El Sistema” initiative. SoundWaves will receive a portion of FFA’s proceeds and some of the children served by the charity will participate in a performance with Graham Reynolds. Beyond philanthropy, FFA’s founders see this kind of outreach as a way to build an audience. Mr. Dicke, in particular, emphasized the potential for young people to enjoy and be inspired by contemporary music, suggesting opportunities, like those fostered by both Fast Forward Austin festivals, could be benefit all American composers in the long-term, were they to be replicated across the country.
As Fast Forward Austin has grown since last year, its founders have worked to expand the festival’s presence on a regional and national level. This broader scope is no better represented than by FFA’s collaboration with renowned pianist and Bang-On-A-Can All-Star Vicky Chow, who will be performing this afternoon. As Mr. Dicke and Mr. Honstein explained, they’ve been cultivating a relationship with Ms. Chow for some time. Both of them met her at different festivals, and then last year, when the Bang-On-A-Can All-Stars came to Austin, Mr. Snowden and Mr. Dicke showed Ms. Chow around town and convinced her to work participate in this year’s festival. The connection between Vicky Chow and Fast Forward Austin is reciprocal – Fast Forward Austin held a preview show in New York this February as part of Ms. Chow’s Contagious Sounds series. Much like the Unsilent Night event, this performance was simultaneously a promotional tool for today’s marathon of performances and a way to foster a deeper bond with a community – the contemporary music community in New York.
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composer William Zuckerman
In December 2010, as I was still adjusting to the climate change between Houston, Texas and Ann Arbor, Michigan, I heard a piece that has stuck with me ever since. I wrote about it here, along with two others, and called this particular work, which was performed with video and dance, “the most well executed student production of ANY KIND I have seen.” This piece is Music in Pluralism by William Zuckerman, a former University of Michigan composition student who is currently freelancing in New York.
On April 11th at 8 PM, in the Kaufman Center’s Merkin Hall, Music and Pluralism comes to life as part of the opening performance of the 2012 Tribeca New Music Festival. The event is also functioning as a CD release party for a recording of Music Pluralism William has worked on for over two years. Moreover, the April 11th concert is the debut of Mr. Zuckerman’s hand-picked ensemble, “Symphony Z”. I caught up with William and asked him a few questions about Music and Pluralism, Symphony Z and his life as a freelance composer; but, before I get to his eloquent responses, I want to set the stage for what Music in Pluralism has to offer its audience.
In the piece, William handles immense proportions with the deftness far beyond his years, and ties together a diverse cadre of musical influences – everything from Pop Rock to Bach’s Passacaglia in C Minor! – with the compelling and cogent force of his artistic vision. David Bloom, the charismatic busybody behind the group Contemporaneous (who share the stage with Symphony Z on April 11), conducts Symphony Z, and is similarly impressed with Music in Pluralism’s scope, eclecticism and coherence. He told me in an e-mail, “[i]t’s [Music in Pluralism’s] coexistence of unity and variety that makes the piece so compelling.”
When I got the CD of Music in Pluralism in the mail, I must admit I was a little apprehensive. Part of what moved me so much about its December 2010 performance was how beautifully William and his collaborators mixed the media of dance, music and video of the course of the work’s 45-minute duration. Obviously, the audio version lacks these non-musical elements, and I was concerned their profundity may have skewed my initial feelings about William’s music. As I will espouse more verbosely in an upcoming review of the Music in Pluralism CD: I am happy to report the piece stands – more effusively, triumphs – on its own.
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