Archive for the “Interviews” Category
Hilary Hahn is at it again, working her way through chats with all of the composers commissioned for her “In 27 Pieces” collection of encores. This time up it’s a bright, young up-and-comer by the name of Jennifer Higdon (OK, maybe not quite so young, and maybe she’s pretty much arrived, but she’s still pretty darn bright!)
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Posted by Chris McGovern in Composers, Contemporary Classical, Electro-Acoustic, Experimental Music, Interviews, Women composers, tags: Amanda Palmer, cello, looping, Rasputina, Todd Reynolds, Zoe Keating
Photo courtesy of Andre Penven for Coilhouse Magazine
Zoë Keating (Wow, what can I say??) has definitely cultivated a very respectable place in the new music and indie music circles. After rethinking a classical concert career as a cellist for working a tech job, she was intervened to perform with various friends, played in the band Rasputina, eventually went solo with a gorgeously layered, rhythmic cello sound. Zoë went on to sell over 40,000 copies of her CDs without distribution, a record label or management. And she has over one million Twitter followers. The internet loves her!
Besides her solo career, her other projects include music collaborations with various dance companies (Apex Contemporary Dance Theatre, American Repertory Ballet, Digby Dance), film scoring (or soundtrack performances; Warrior, The Secret Life of Bees, The Conspirator), scoring for varied TV programs and other medias, and makes guest appearances alongside artists such as Amanda Palmer, Paolo Nutini, Imogen Heap, and many more. Read the rest of this entry »
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“I always describe the viola as something that is kind of the wrong size for its body. It sounds like a man singing very high or a woman singing very low. And there’s something about that in-between-ness that is very attractive to me and the challenge of overcoming the fact that, physics-wise, it’s actually proportioned incorrectly, in other words, for a viola to be the right size for the length of its strings to play very easily, it would be something like the size of a small cello…There’s something about reaching in and having to get around that imperfection that really appeals to me, honestly.” Read the rest of this entry »
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Spectrum Concerts Berlin visits New York
Last week, I met with cellist Frank Dodge at Lincoln Center to discuss the upcoming concert his ensemble Spectrum Concerts Berlin is giving in New York.
At 8 PM on December 7th at Weill Recital Hall, Dodge and his colleagues, in collaboration with the Abby Whiteside Foundation, will present a program that celebrates the works of composer/pianist Robert Helps (1928-2001).
Helps was a virtuoso performer adept at both contemporary repertoire and warhorses from the classical music canon. He also relished championing works that had been overlooked and crafting (often fiendishly challenging) transcriptions for the piano. More than once, I heard Milton Babbitt suggest that Helps “made the unplayable playable.”
Born in the United States, Dodge relocated to Berlin in the 1980s. But he didn’t forget about his first encounters with Helps: in the late 1960s in Boston as a student at the New England Conservatory of Music.
He says, “Bob (Helps) liked to champion pieces that needed looking after. His performances of the music of John Ireland, Felix Mendelssohn, and Poulenc and, of course, his own music were truly very special to hear. We were fortunate to have him visit and perform with us in Berlin twice. I only wish that, before his passing in 2001, we could have collaborated more frequently.”
Dodge’s stewardship has cultivated a group of champions of underrepresented repertoire. Spectrum Concerts Berlin is currently giving its twenty-fourth season of concerts. They have recently released their second recording devoted to Helps’ music: Robert Helps in Berlin (also featuring the ATOS Trio and Helps; Naxos 8.559696-97). A double CD set, it features a number of Helps’s important chamber works, including one of his first mature pieces, the 1957 Piano Trio, as well as one of his last, Piano Trio No. 2, written shortly before his passing. It’s interesting to note his return to the genre after forty years’ absence. My initial impression of the piece is one of leave-taking. I hear its angular lines, brittle articulation, and acerbic harmonies as a defiant kind of valedictory statement. Dodge, on the hand hears the trio showing evidence of new potential directions in Helps’s music; alas, unrealized.
He says, “The second Piano Trio and some of the other late pieces, such as Shall We Dance (1994) and the Piano Quartet and Quintet (both 1997), provide glimpses of Bob considering his compositional approach afresh. I find the discoveries he makes in these works to provide some of his most exciting music.”
The CD also includes a live recording of Helps at the piano; performing a recital that includes some of his aforementioned favorites: Mendelssohn, Ireland, Poulenc, Shall We Dance, and Godowsky’s Studies on Chopin’s Etudes (or, as one of my professors used to like to call them, Chopin on steroids!). One is struck by his exquisite touch and seemingly effortless virtuosity of Helps’ playing.
The impressive array of compositions and music-making displayed on the Naxos disc raises a question. Why isn’t Helps a household name here? Why don’t American-based ensembles perform more Helps and why don’t more composers know him as an important figure?
When I pose this question to Dodge, he says, “Bob did zero self-promotion: none. Even though he taught all over and was very well respected, he had a difficult time with the conventional ‘career building’ activities that many musicians take for granted as part of the business. And he also had considerable personal struggles during his lifetime, with illnesses and other challenges. There were long periods of silence, where he didn’t play or compose at all. Fortunately, these gave way to great bursts of creativity.”
“So, Helps isn’t a household name … yet! Things will change. Sometimes, when a figure is hyped during his or her lifetime, but their work is nothing special, they fade away rather quickly. With Helps, the opposite can be true. It is durable work, and its legacy will only grow. The strength of his music is what will bring performers and listeners to it over time.”
My take: if you’re in the New York area, don’t miss out on this chance to hear Spectrum Concerts Berlin on 12/7. They will make you a convert to Helps’s music in nothing flat.
In a very generous gesture, the ensemble is offering 20 FREE tickets to S21 readers. If you’re interested in attending the show, email Paula Mlyn at: firstname.lastname@example.org with your name. She will put aside a ticket for you for the December 7 performance.
S21′s intrepid reporter-in-the-field (oh yeah, and superstar violinist, too!) Hilary Hahn just happened to virtually bump into the dean of (very young) American composers, Nico Muhly. …Well, maybe there was a little advanced planning, but let’s keep this casual, shall we? Here they muck-de-muck for a friendly quarter-hour, about the musical life and the pieces Nico’s composed for Hilary.
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performs at the Church of St. Ignatius Loyola in New York City this Wednesday, November 16
at 7:30 PM. Famed as an “evangelist for the organ”, Jacobs will play a 20th/21st century program that highlights not only the instrument’s traditional grandeur and sublimity, but also its range of emotion and insight.
John Clare spoke to Paul about the program, teaching organists new music plus composers about the organ, and some new works by Mason Bates and Michael Daugherty: mp3 file
An extraordinarily expressive performer and an intensely intelligent musician, Grammy Award-winning organist Paul Jacobs is helping the King of Instruments retake its rightful place in classical music. He is known for his marathon performances, which sometimes last up to 18 hours, of the complete works of J.S. Bach, Messiaen, and other composers, as well as his presentations of new works and core repertoire. Jacobs was invited to join the faculty of the Juilliard School in 2003, and was named chairman of the organ department in 2004, one of the youngest faculty appointees in the school’s history. He received Juilliard’s prestigious William Schuman Scholar’s Chair in 2007. Jacobs has played with numerous orchestras around the country, including the Chicago Symphony Orchestra and the Philadelphia Orchestra. Jacobs’ most recent album is a recording of Copland’s Organ Symphony with the San Francisco Symphony under the baton of Michael Tilson Thomas.
“Sacred Music in a Sacred Space” at the Church of St. Ignatius Loyola in New York City is committed to presenting the finest sacred choral and organ repertoire spanning over 1,000 years of music history. Known for their artistic excellence, the renowned Choir and Orchestra of St. Ignatius Loyola present exhilarating performances of large-scale choral masterpieces as well as more intimate and reflective settings by lesser-known composers. Internationally-acclaimed organists may also frequently be heard on the Church’s magnificent N.P. Mander Pipe Organ, the largest tracker organ in New York City. General admission is $20, with tickets for students and seniors at $15.
Posted by Chris Becker in Chamber Music, Composers, Concerts, Contemporary Classical, Houston, Interviews, tags: Bob Dylan, John Corigliano, John Harbison, Justin Cronin, Karol Bennett, Musiqa, Robert Franz
John Corigliano (photo by J. Henry Fair)
opens its season with the Houston premiere of composer John Corigliano’s Mr. Tambourine Man
for amplified soprano and chamber ensemble and texts by one of the most influential lyricists of all time, Bob Dylan
. Karol Bennett
is the soprano, and Robert Franz
conducts. The concert also includes a performance of John Harbison’s Songs America Loves To Sing
and a reading by Justin Cronin, the award-winning author of The Passage
. Musiqa’s five member Artistic Board
will also premiere a series of Musiqa Minatures
in celebration of its 10th anniversary season.
The lyrics Corigliano chose for this song cycle, including Mr. Tambourine Man, Blowin’ in the Wind, Masters of War, All Along the Watchtower and Forever Young, are as timely today as they were when Dylan originally wrote them in the 60′s. “I felt the most important thing Bob Dylan did in the 60’s was raise political awareness of the situations around his time,” says Corigliano. “His time is not that dissimilar to our time.”
In an exclusive interview with Musiqa’s Chris Becker, Corigliano discusses the poetry of Bob Dylan, the challenges of composing for the voice, and the current state of music education.
Chris Becker: Have you had listeners come up to you, say people in their 20’s or students, and ask you about Bob Dylan? Do younger audiences know who Bob Dylan is?
John Corigliano: I think everybody knows who Bob Dylan is, 20 year olds too. Last season he was playing on the Grammys and he’s got new stuff coming out all the time. He’s an active artist as well as one who existed in the 60’s.
Chris Becker: Have you heard anything from Dylan himself about the piece?
John Corigliano: No, not a word. I sent him the CD when it came out, the orchestral vocal performance on Naxos. But I didn’t expect to hear anything for several reasons. He’s such a superstar this would probably be insignificant to him. I think he thinks that classical music is elitist music so he might not respond well and certainly he would probably have a response (like): “He’s setting it all wrong! That’s not the way it goes!”
Chris Becker: I wonder about that. I think it would be very intriguing to get a reaction from him at some point. I asked the first question I guess in part because I’d read that when you grew up when Dylan was first making the rounds…you weren’t really listening to his music? You were listening to other kinds of music.
John Corigliano: That’s correct. I wasn’t interested in folk music that basically dealt three or four chords and a melody that stayed the same verse after verse no matter what the words said. I was much more interested in more innovative things like what the Beatles were doing. If was at a coffee house and I heard Bob Dylan, I’d keep talking to my friend in the coffee house and I wouldn’t say: “What’s that?” It wouldn’t have drawn me. I think his words are magnificent, but when I finally did hear the music, I didn’t think it fit the words sometimes because that’s not how folk music goes. It has a single verse even if the mood and the whole tenor of the words change. When I heard the Beatles on the other hand, the orchestrations they do, the harmonies they do, the phrasing – it’s all very unusual stuff. I was much more drawn to that.
Read the entire interview here.
Special thanks to Jeremy Howard Beck for his help with coordinating this interview
Musiqa Presents: Play a Song For Me, September 24, 2011, 7:30 p.m. at the Hobby Center for the Performing Arts, Zilkha Hall, 800 Bagby, Houston TX 77002. Individual tickets: $40, $30 and $20. 50% off for students and seniors with ID. Individual tickets and subscriptions are available at the Hobby Center website.
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Posted by Christian Carey in CDs, Contemporary Classical, Downtown, Electro-Acoustic, Festivals, File Under?, Interviews, jazz, New York, Performers, Video
Songs for Persephone: Mimi Goese & Ben Neill
Take a seductive voiced art-pop singer and a post-jazz/alt-classical trumpeter. Add fragments of nineteenth century classical melodies, electronics elicited by a “mutantrumpet” controller. Then add influences ranging from ancient Greek mythology to the Hudson River Valley. What you have are the intricate yet intimate sounds on an evocatively beautiful new CD: Songs for Persephone.
The Persephone legend is one of the oldest in Greek mythology, with many variants that provide twists and turns to the narrative and subtext of the story. In the myth, Persephone, daughter of Zeus and the harvest goddess Demeter, is kidnapped by Hades, god of the underworld. During her absence, vegetation is unable to grow in the world; fields fall fallow and crops cannot be harvested.
To break this horrible time of famine, the gods come to an understanding with Hades. Persephone is eventually freed, but on the condition that, if she has eaten anything while in Hades’ realm, she must return to his kingdom for a certain length of time. Thus, each year she must remain in the underworld one month for each pomegranate seed that she has consumed. This serves to rationalize, in mythic terms, the change of seasons, times of decay and renewal, shifts in light and weather; even the autumn foliage and the falling of the leaves.
Vocalist Mimi Goese and trumpeter Ben Neill have updated the Persephone story, while retaining its iconic essence, on their new recording Songs for Persephone (out now on Ramseur Records). As one can see from the pomegranate on the cover, (a visual designed by Goese), the duo is mindful of the legendary Persephone’s history; but they are not hung up on providing a linear narrative.
In a recent phone conversation, Goese, who wrote the album’s lyrics, said, “The artwork that I did for the cover, featuring the pomegranate, is one acknowledgement of the myth of Persephone. And there are other images that I found in the lyrics. But we were interested in using what was evocative about Persephone to create our own story. That’s sort of how the myth evolved too – one storyteller picks up the thread from another down through the years.”
They started work on this music some five years ago, but originally presented it as part of a theatrical production by the multimedia company Ridge Theater, starring Julia Stiles. In 2010, it was produced at Brooklyn Academy of Music as part of the Next Wave Festival.
The theatrical presentation and the mythological story behind it are only two strands in a disparate web of influences that resonate with Songs for Persephone. Both Goese and Neill make their home in the Hudson River Valley. Both for its stunning natural surroundings and its history as a home for artists of all sorts, the valley is rich with reference points. Neill feels that these are subtly imparted to the music.
In a recent phone conversation, he said, “I found myself particularly interested in the Hudson River School of painters. These Nineteenth Century artists depicted the local landscape and the changing of season with a dimensionality and symbolism that seemed to have an affinity with what Mimi and I were after in Songs for Persephone.”
For Neill and Goese, these extra-musical influences – artwork, nature, and theater – are an important part of the music’s genesis. But the polystylistic nature of their music making adds still another layer to the proceedings.
Goese says, “I started in dance and theater and later moved to performance art. Singing came along later. But I don’t have the musical background or training that Ben has – I’m self taught.”
She doth protest too much. Goese’s voice provided the steely, dramatic center to the work of late eighties band Hugo Largo. One part art rock and another dream pop, the group incorporated bold theatricality and ethereal experimentation, releasing two memorable full lengths, Arms Akimbo and Mettle, and the Drums EP, an alt-pop connoisseur’s delight. She’s also collaborated on several occasions with Moby and, under the moniker Mimi (no last name) released Soak, a solo album on David Bryne’s Luaka Bop label.
Goese is a powerful singer, but Songs of Persephone brings out the lyricism her voice also possesses. Cooing high notes and supple overdubbed harmonies are juxtaposed with the more muscular turns of phrase. Experience plays a role in Goese’s tremendous performances on the disc. But she also credits the musical creations of her collaborator Neill with spurring on her inspiration.
“Ben has been a terrific person with whom to work,” Goese says. “He’s inventive and willing to try new things. From the moment we first performed together, at a concert nearly a decade ago, I’ve felt an artistic kinship with him.”
One can readily hear why Neill’s music would be an engaging foil for Goese. His background as a producer, and his years of work designing the mutantrumpet, have encouraged Neill’s ear toward imaginative soundscapes. His 2009 album Night Science (Thirsty Ear) is an example of Neill’s nu-jazz arrangements and soloing at their very best.
On the current CD, Neill’s playing remains impressive; but his arranging and collaborative skills come to the fore. There are intricate textures to found, on which Neill’s trumpet and electronics are abetted by strings, bass, and drums, but it’s the melodies, floating memorably past, one after the other, that are most impressive here. Some of the melodic lines he crafts are imitative of the voice in their own right: it’s no accident that some of the most inspired music-making on Songs for Persephone are when Goese and Neill create duets out of intricately intertwined single lines.
Neill says, “The classical materials that I used as the basis of the compositions on Songs for Persephone were melodies from the Nineteenth century: from opera and symphonic music. Many of them were from relatively the same era in which the Hudson Valley painters worked. I found it fascinating to juxtapose these two genres that were in operation more or less at the same time.”
He continues, “I’d describe the material as fragments of melodies: small excerpts rather than recognizable themes. None of them are treated in such a way that most listeners will be able to say, ‘Hey that’s Berlioz,’ or ‘That sounds like Schumann.’ They were meant to be a starting point from which I would develop the music: it’s not a pastiche.”
At 7:30 PM on September 27th, Goese and Neill will be having an album release party at the Cooper Square Hotel, part of Joe’s Pub’s Summer Salon series. Goese says, “It’s an interesting space – we’ll have glass windows behind us, which is unusual as compared with a more conventional stage. But it’s fun performing in non-standard venues. It allows you to try different things and to bring different elements into the mix in terms of theatricality, lighting, and the way that you play off of each other. I’m excited to see how Persephone changes as we take it into various performing spaces.”
-Composer Christian Carey is Senior Editor at Sequenza 21 and a regular contributor to Signal to Noise and Musical America. He teaches music in the Department of Fine Arts at Rider University (Lawrenceville, New Jersey).
- Julien Quentin
When talking to the young and talented pianist Julien Quentin, it became obvious to me that this generation of young, classical musicians – at least the successful ones– have definitely adopted something of a jetsetter lifestyle.
I had just met him at Verbier, where he performed for his 5th summer in a row, at the prestigious music festival. Two years ago he had performed at their special celebration “Night of Pianists” that featured different generations of accomplished pianists, Emanuel Ax, Nelson Goerner, Yuja Wang, among others. The festival’s artistic director Martin Engstroem had spotted Quentin, when he had heard his 2004 recording with clarinetist Julian Bliss.
Quentin confirmed the positive impressions I had brought back from Verbier myself (see also my article Musicerati at Verbier):”Verbier is really special in that all the star- artists are all happy to play the game… old and young, everybody is sharing the stage together and there are such musical fireworks.”
Born in Paris, Quentin grew up in Geneva, where his parents opened the “Librairie Quentin,” a connoisseur’s bookstore specializing in rare manuscripts and art books.
He attended both the local High School at Thonon to receive the French baccalaureate and the Conservatory at Geneva, where he studied with the Russian Piano Pedagogue Alexis Golovine.
It was through his teacher that Quentin met with Martha Argerich, who, at the time was residing in Geneva.
He describes how he had heard a recording of Golovine playing two-piano repertoire with Argerich and how that inspired him tremendously.
Quentin became friends with Argerich’s daughters, two of whom, Stephanie and Lydia today still reside in Geneva, while Argerich herself lives in Brussels now.
He describes the most fascinating meeting with one of Argerich’s close friends and an important musical figure, Nikita Magaloff. “One time, I visited Nikita’s home and let me play for him. He gave me some advice but, most importantly, he acknowledged that I had enough talent to make a life in music. That was a defining moment for me, giving me the self-confidence, to continue on the road I had always felt, was meant for me. It is a wonderful feeling if you know what you want in life. Growing up, a lot of my friends did not know what they wanted to achieve, they had to find themselves. I had a normal upbringing with sports, art and literature all around me. If my parents pushed me, they did that more for my general studies, than for music. I only had my first serious concert at 12, in Thonon. Then right after this in Evian at the Rostropovich Auditorium and since then the sirens of the stage haunted me.”
- Julien Quentin at Verbier Photo: Marc Shapiro
Quentin went on to continue his studies in the United States receiving his Artist Diploma with Emile Naoumoff, at Indiana University and then his Graduate Diploma in New York, under György Sándor, from Juilliard in 2003.
He shared a lot of his insights, such as why it is so important to understand the individuality of each pianist and what works for him personally: “Every pianist has certain abilities and experiences things differently, learning in unique ways. A lot depends on your individual preference but also on things like your discipline, for example. Also everybody is physically built in ways that influence their particular abilities and ways to function better. For me personally, I could sight read music for hours on end, but the physical playing at the instrument was not as easy to handle for several hours in a row as some others can,” says Quentin. He remembers how he once talked with Argerich about how she accomplished so much in such little time, and he quotes her saying:”Whether you take a week, a day or a minute, what counts is the result.”
“At the end it is really about what you can do and what makes you do it,” says Quentin.
“ You need the will for it since it is solitary work, otherwise you can forget any kind of great music making. But whether it is one or two focused hours or ten hours, which I rarely have the tolerance for physically or mentally, it differs for each pianist, or in pedagogue’s Heinrich Neuhaus’ words:”You can practice at the piano with the score and with the score without the piano, or you can practice without the score and without the piano,” which I do a lot, actually. This mental kind of practicing works really well for me, it gets you a better understanding of the musical scope of the score. It is a very abstract way of learning but it really makes you picture in your mind an ideal line or singing phrase, which you are sometimes too busy to do, while working things out physically. If you think about conductors and composers…that’s how they often figure out the bigger picture.”
- Julien Quentin
The development of the so called inner ear, which this method certainly favors, is certainly an inherently important enhancement of musicality and the understanding of a score, and it is clearly helpful with memorization and in generally developing the musical imagination.
Quentin, whose technique has been deemed as “flawless” by the press, tries to follow, what he describes as the natural approach of the so called Russian School, which his first teacher brought to his attention and which, in his esteem in a nutshell, enables one to do more, with less.
This technique encourages the pianist to lead from the forearm, rather than from the fingers themselves, moving effortlessly and efficiently. One can support a particular singing quality of the melodic line, by weight distribution of the forearm.
Great Russian teachers traveled a lot to Europe and America, especially with the fall of the Iron Curtain, but even before that. It may be that with the virtuosic Russian repertoire of the 20th century itself, which he feels at home with intimately, (besides his Russian teachers, his mother’s roots are Polish-Russian, Jewish) influenced a tradition that could be traced back to the great pedagogues like Neuhaus.
But Quentin is also a child of his environment and time. He absorbed French Impressionism and embraces New Music, especially since his time in New York.
After his American years at school, Quentin was no stranger to the club-scene of his generation. “Turntables, weekly shows in bars and lofts, jam sessions and electro jazz were on the agenda at all times; mixing music, inviting other musicians to play together was a very social experience. I enjoyed it tremendously. It was an eye and ear opener for me, just to see how our friends in the audience would react. This was a fresh experience, where we generated crossovers between two worlds. Supporting new composers is almost a duty of a young performer. These are compositions of today’s life, just as it was the case a century or two ago. I am always interested in connecting different works and in collaborations of different techniques and art forms. “
Berlin became Quentin’s latest place of choice, which he loves for its active musical life, allowing him to experiment with new combinations of paired recitals of classical and new music. He likes to use live effects with the piano and add loops and electronic backgrounds and beats to it, developing his own musical blend, which can easily involve improvisation at the piano, with the laptop getting into the picture as well.
For all its possibilities, but mostly for its particular charm, he loves Berlin and for its slightly slower pace. “No rush, wherever I go I have friends who perform and by now I am really lucky, since all work is coming to me via email or phone. “ This youtube video shows Julien with an avid collaborator of his, the violinist David Garrett having fun with Rimsky-Korsakov’s ” The Flight of the Bumblebee”Flight of the Bumblebee.
His next gigs are in the planning: He would like to produce his own electro tracks and therefore is in touch with the likes of American composer/producer Justin Messina & British producer Martin Wheeler (aka Vector Lovers) to collaborate on future productions. Other jam and studio sessions are also scheduled in the next few weeks in Berlin with various artists from the electronic music and jazz scene.
Hilary Hahn. Photo: Peter Miller
We all know Hilary Hahn as Sequenza 21′s resident video blogger; oh, and she’s a world class violinist and DG recording artist.
Wearing both of those hats simultaneously, Hilary had a video chat via Skype with composer Max Richter earlier this week. Richter is one of 27 composers commissioned to write an encore for Hahn; she begins debuting the pieces this coming October. In order to spotlight the featured composers, Hilary’s planning to release a video interview with one each month. It makes us here at Sequenza 21 feel kind of special. After all, how many other websites have their video blogger booked two years out?
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