Archive for the “Interviews” Category
Posted by Polly Moller in Chamber Music, Composers, Concerts, Contemporary Classical, Electro-Acoustic, Festivals, Improv, Interviews, Premieres, San Francisco, Saxophone
Here’s the first in a series of interviews with composers who are premiering new works at the 10th Annual Outsound New Music Summit in San Francisco on Friday, July 22nd. The Friday night concert, entitled The Art of Composition, starts at 8 pm at the Community Music Center, 544 Capp Street, San Francisco. Tickets are available online from Brown Paper Tickets, and you can also buy them at the door. Listeners who don’t want to wait that long can get up close and personal with the composers, and learn about their creative process, at a free Monday night panel discussion at 7 pm on July 18th.
Andrew Raffo Dewar (b.1975 Rosario, Argentina) is an Assistant Professor in New College at the University of Alabama. He’s a composer, improviser, soprano saxophonist and ethnomusicologist. He’s studied and/or performed with Steve Lacy, Anthony Braxton, Bill Dixon, Alvin Lucier, and Milo Fine. He has also had a long involvement with Indonesian traditional and experimental music. His work has been performed by the Flux Quartet, the Koto Phase ensemble and Sekar Anu. As an improviser and performer Andrew has shared the stage with a plethora of musicians worldwide, both the celebrated and the little-known.
As a member of his own Interactions Quartet, Andrew will premiere “Strata” (2011), dedicated to Eduardo Serón and inspired by the Argentine artist’s 2008 series of paintings, “La Libertad Es Redonda” (“Freedom is Round”). His description tells us that “Through a combination of improvisation and notation, performers negotiate several “layers” of written material, mixing and matching components that are eventually assembled into nested counterpoint.”
S21: You’re traveling quite a distance to premiere your piece at the Outsound Summit but it’s certainly not the first time you’ve been here. How did you become associated with the San Francisco Bay Area new music community?
I lived in Oakland for roughly two years (2000-2002) before heading off to graduate school at Wesleyan University in Connecticut to study with people like Anthony Braxton and Alvin Lucier. My first exposure to the Bay Area community was, if I remember correctly, a two-day workshop with legendary bassist/composer Alan Silva organized by Damon Smith at pianist Scott Looney’s performance space in West Oakland in 2000, which was an excellent experience. After that, I worked regularly — I think it was weekly — in a “guided improvisation” workshop ensemble at Looney’s organized by clarinetist Jacob Lindsay and guitarist Ernesto Diaz-Infante, and separate improvisation sessions with violist/composer Jorge Boehringer, which were both situations where I had the opportunity to play with many great Bay Area folks, like trumpeter Liz Albee and many others, which was wonderful. Around that time I was walking by guitarist/composer John Shiurba’s house with my horn, and he happened to be outside watering his garden. He asked me what kind of music I played, and I think the combination of the perplexed look on my face and my inability to answer his question easily is why we connected that day — he invited me in to chat, and when I saw a framed photo of Anthony Braxton on his mantle (whose work I’ve appreciated since my late teens, and who I’ve had the great opportunity to study and perform with) I knew I was “home.” Read the rest of this entry »
Speaking with the skilled young pianist about her involvement in the field of new music performance, it is easy to be smitten by the classically trained Juilliard and Manhattan School of Music graduate’s contagious enthusiasm and engaged by her personal insights. During the past two years she has been catching up on a lot of new music repertoire as the pianist/keyboardist of the new music ensemble Bang on a Can All-Stars.
The innovative sextet consists of clarinet, keyboard/piano, cello, electric guitar, bass and drums. The unique interplay—the cello and grand piano are regularly amplified on stage— creates a composite sound world. Half rock band half amplified chamber group, the All Stars are renowned for their successful avant-garde initiative, engaging in new music collaborations with some of the most inspiring composers of our time.
Having collaborated with much of the new music A-list, including Steve Reich, Tan Dun, Ornette Coleman, Philip Glass and Meredith Monk, the band has been hugely successful in a variety of performance projects held at both high-end venues like Carnegie Hall and alternative, sometimes public, performance spaces.
The photos in this article were taken at the sound check of what has become one of the band’s most well-known collaboratives, the Bang on a Can Marathon, an annual, all-day extravaganza held at New York’s World Financial Center’s Wintergarden on June 19. The marathon was Initiated in 1987 by composers David Lang, Julia Wolfe and Michael Garden who wanted to create an all-inclusive “meeting of the bands,” breaking down the barriers between music genres. Co-presented by the River to River Festival and Arts at World Financial Center, in this year’s marathon, 150 performers and composers present a nonstop open house of new music.
Within the genre of new music, the All Stars are known for their eclecticism and their interaction of composition styles yet also for their distinct choice of instrumentalization as well as their performance dynamic level. In addition to performing themselves, the group and its members are also involved in producing and curating a variety of new music happenings. For Chow, the activism it entails is a lifestyle. Currently, she spends many of her evenings at New York’s Gershwin Hotel, where she runs her own new music series called Contagious Sounds.
A natural performer from a young age, Canadian-born Chow was invited to perform a demanding solo piano program at the International Gilmore Keyboard Festival at age 9. She went on to study at Vancouver Academy of Music, where her teacher, Lorraine Ambrose, recommended she continue her studies at Julliard, leading her to study under Professors Yoheved Kaplinsky and Julian Martin. Her arrival in New York was met with upheaval—more so than the minor disasters than accompany every move; Chow had come to New York just two weeks before 9/11. She was at the Juilliard library when the dramatic events of that day unfolded. Chow still remembers Julliard Director Polisi’s instructions to bring pillows to the underground theater room for safety in the event of further attacks. Of Chinese descent, she later volunteered at the World Trade Center, translating for Asian victims’ family members.
But there was another reason that, when upon entering Juilliard, Chow found herself stopped in her tracks. Kaplinsky, chairperson of the Piano Department at Julliard, realized that Chow had been tensing up at the piano and told her she needed to make big adjustments to her technique. Kaplinsky introduced her to the Taubman approach, which explores natural piano technique through an intensive retraining. “I had to learn to arrange myself with a constantly dueling conflict between thinking of what I had to think about in applying the technique and my opposing intuition,” she explains. But to her great delight, her playing improved in the process, making it all worthwhile. Her color and tone, her ability to gain an efficient control of the articulation she intended, opened up a whole new experience for her, she says. “I remember at one point, the fact that I was working with limited repertoire in order to gain the technique fully was so disheartening to me. When the yearly concerto competition in Juilliard was to be held with Bartók’s 1st piano concerto, I decided to take on the challenge. Veda [Kaplinsky] needed convincing, since a month before the competition I only had the 1st movement ready. But in a way she inspired me to push through, and when I won the competition, she was extremely proud of my accomplishment.”
Chow’s thorough exploration of the piano and her new relationship with her instrument whet her appetite for experimentation. Having been approached by the young Juilliard composer Zhou Tian to perform one of his compositions, Chow discovered a calling for the new and non-classical. “As I opened his score, it was clear to me that here was something happening that I had missed for a long time, during all my studies of music. While I loved music and loved performing, I did not exactly see myself spending the rest of my life repeating the experiences that classical music had provided me with. It was in the contemporary music, I found the excitement I was looking for.”
The constant learning of new scores, the exploration of new and unlimited experimentations within new music suited her curiosity and led her to rescind her application to Julliard and Mannes School of Music’s doctorial degree programs and enroll instead in Manhattan School of Music’s Contemporary Performance Program. Around the same time, she began performing with multiple young composer collectives from Harvard and New York Universities that she got involved with through another contact from Juilliard, her friend Alex Lipowski, percussionist of the new music Talea Ensemble.
Having found what she was searching for, Chow quickly became a powerhouse within the new music scene. Not only did she become a more versatile pianist, but she also developed a whole new set of musical abilities. “From a pianistic point of view, not only did my sight reading improve from all the creative work with the score I am doing, let alone by the enormous numbers of new scores I read all the time. One of the challenges is that you often have to rely on your own interpretations—even though the composer sometimes intermediates. That’s a very different experience than performing works of composers that have been performed over and over,” says Chow, also confirming that in the challenge lies the thrill of finding new articulation. “Experimenting is part of the experience of new music, and I have gained another set of skills in creating different sounds, influenced by other genres. It also frees your personality to be roughing up some feathers with different sound worlds providing the kind of grit I need.”
The agony of having supported side by side the six-year battle of his beloved spouse of thirty years, Célia Cooke’s, illness and then having to endure her loss to cancer on March 30th of this year, pianist/composer Jed Distler looks to some old friends for solace and to his life in music.
An outgrowth of his need to heal is his recently released CD, “Meditate with the Masters”, produced during these recent hard times for the Musical Concepts label. He sees his contribution as helpful in creating a “gentle ambiance, ideal for holistic and therapeutic treatments, or for intimate dinner gatherings and solitary afternoons at home… as well as for public situations, such as waiting rooms, airport lounges, restaurants…”
The hint of the familiar in each of the fifteen tracks that Distler titles after a renowned composer –after Schumann, after Chopin, after Distler, for example – (he includes himself nonchalantly in the list of pianistic masters with a dash of good humor) provides pianistically pleasant variations, composed in a traditional style with rhythmically soothing, unfussy piano treatments. One of my favorites is his folk-like treatment of Schumann’s ‘Von fremden Ländern und Menschen’ from Kinderszenen, infusing the beautiful Schumann theme within a new and original connective musical tissue. Some of the compositions suggest his great sensibility for jazz formulations, an area Distler is known for through his published Art Tatum and Bill Evans transcriptions for solo piano. These became renowned when pianist’s Jean –Yves Thibaudet recorded for the Decca label in 1997, “Conversations with Bill Evans,” arranged and transcribed by Distler.
Distler’s new music is often performed and recorded by star performers of the new music scene. “Three Landscapes for Peter Wyer, for toy piano,” recorded by Margaret Leng Tan on Point records was featured in three film scores, and his “Loose Changes” for two pianos was recorded by Quattro Mani on Bridge recordings. Pianist Jenny Lin and ‘ETHEL’s violinist Cornelius Duffalo (see my article ) are among the many artists he has been commissioned by.
“As a composer I am mostly inspired by a commission and deadlines. I am anchored in the pianist/composer tradition, but I don’t believe in any music snobbery, I try to be open minded. All good music is equal. Jimi Hendrix, for example will never be dated, while there are pieces of so-called “serious” music that I never want to listen to! For me music is about good communication and it is also about a lifestyle that includes a good work ethic, in order to maintain great technique, which is necessary to delivery. I read somewhere that the great jazz pianist Bill Evans said how technique was being able to do musically what you want to do, without having to worry about your hands. Better still, that other extraordinary jazz pianist Oscar Peterson once defined technique as the thing that made your ideas listenable. These thoughts help me try to entertain and communicate effectively with an audience,” says Distler.
He does not volunteer elucidation about his own compositions, feeling too close to it to comment, but rather leaves that to the musicians who perform them and who will establish his oeuvre. However, he prolifically comments on others, though, making his mark by way of his often-insightful music reviews, published chiefly in Gramophone and Classicstoday.com. Distler is committed to making a difference in the world of music, engaging his many talents as lecturer, writer, promoter, presenter and pianist for various media and concert performances.
On the piano and as artistic director of ‘Composers Collaborative’, co-founded with his late wife Célia Cooke , Distler has performed and programmed other composers’ works and continues to create and to partake in music initiatives on Public Radio and in venues like the Cornelia Street Café. Last week’s ‘Serial Underground’, a new music series performed for several years at this intimate setting, brought me in personal contact with this seasoned musician’s expressive pianism for the first time. Dubbed “the subversive nightclub series” by TIME OUT NY, Distler followed a performance of a group called “Other Life Forms,” with some intimate renderings of Thelonious Monk pieces.
Reaching out to his audiences is an innate talent of Distler and he certainly does achieve what he has set out to do in exactly the way he describes it:”Communicating comes first, expressiveness follows.”
Since it is impossible to mention all the endeavors he shared with me on a long list, I am just going to point you to one of the many interesting projects taking place at the Cornelia Street Cornelia Café, the ComposersCollaborative Inc, presentation of “Mano-a- Mano” Piano Festival on August 21, 22, and 23rd as well as a promising undertaking of Thelonious Monk’s entire piano oeuvre, the resourceful pianist plans to perform right here on February 17, 2012, the 30th anniversary of Monk’s death.
Pianist Marilyn Nonken is performing Triadic Memories on June 4 in Philadelphia as part of “American Sublime,” a festival devoted to the works of Morton Feldman. Marilyn was kind enough to tell us a bit about working on Feldman’s music, as well as some of her other upcoming projects.
-What were your early encounters with Feldman’s music like?
I can’t remember my first live Feldman experience as a listener. One of the first works I remember hearing was FOR SAMUEL BECKETT. My first experience playing Feldman was with Ensemble 21, when we performed VIOLIN VIOLA CELLO PIANO, which was just a transformative experience for me, as a chamber player. After that experience, I very much wanted to find a solo work of his to perform and possibly record.
Listening to Feldman is special because there is that great luxury of time. It can take, in TRIADIC MEMORIES for example, maybe a half-an-hour or forty-five minutes to get acclimated to the environment of the work, and to become familiar with the kinds of things that happen in that special environment. In each of his pieces, I think, there’s an extended period where the materials introduce themselves, so to say.It’s not dynamic in the sense of something happening right away, or a conflict being presented, or a big question being asked — and so I feel it’s best to not aggressively try and “figure out” what is happening.
- Which pieces by Feldman have you performed?
VIOLIN VIOLA CELLO PIANO, EXTENSIONS 1, THE VIOLA IN MY LIFE, INTERSECTION 2, PALAIS DE MARI, and TRIADIC MEMORIES –
- What do you think Feldman meant by titling a piece Triadic Memories?
Feldman’s piano music is all about decay, what he would refer to as a kind of receding landscape …. For me, that sense of resonance and the dying of the sound is perhaps the most important part of the piece. His harmonies are gorgeous, very lush and evocative — but as beautiful as they are, more of the piece is spend listening to them fade.
- When did you record Triadic Memories for Mode? Has your performance of the work changed over time?
I believe this is 2004, recorded perhaps summer 2003. I’m sure my performance has changed — although not drastically. In terms of timing and rhythmic precision, I believe it’s very consistent with the recorded version. I’m still convinced by that “magic” (for me) tempo and the specificity of the rhythms, and the way I first conceived of articulating them. But I do feel that I’ve become more sensitive to the harmonic nuances of the work, as I’ve become more familiar with it over the years — the way I voice things, and the way I anticipate the decay, I think, has become more personal.
- While they’re not often showy, Feldman’s pieces make significant demands of their own on performers. Can you tell us a bit about those, and how you prepare to perform Triadic Memories in concert?
I feel these works are very virtuosic, despite the fact that they’re not fast and full of passagework. There’s a moment-to-moment control that Feldman requires, in terms of dynamic and timbre and attack, which requires a tremendous amount of physical and mental preparation. To be that attuned to the smallest nuances, and physically in total control, for such a significant span w/o any real “recess” requires a special kind of concentration. For me, there is no substitute for playing the work — in real time, w/o interruption, — daily for at least a week or two before the concert. There is always detail-work to be done (specificity of rhythms, defining colors, making certain that the surface of the work is somehow “flawless” and w/o rupture — but doing everything sequentially, in tempo, is always a test.
- After Triadic Memories, what are some of your upcoming projects?
I’m very excited to be working again with the fabulous pianist Sarah Rothenberg on a four-hand Kurtag program, combining (as the composer himself has done) Kurtag’s JATEKOK with his Bach transcriptions, presented as a concert program on an upright piano. Sarah and I had a fantastic time working on Messiaen’s VISIONS DE L’AMEN, touring and recording it, and this is a very different and intimate kind of project — I’m also preparing for a recording of American spectralist composer Joshua Fineberg’s complete solo piano music, which will appear on CD with Hugues Dufourt’s recent ERLKONIG — a follow-up to my complete Murail disc. It will feature a new work written for me by Joshua, amd I am very much looking forward to touring with that, as a complete program in itself. And just after this Festival, I’m recording Elizabeth Hoffman’s “organum let open,” a beautiful work she wrote for me last year, based on texts of theatre artist George Hunka. It’s wonderful to be doing such recent music, and inspiring to be working with such talented composers.
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As I mentioned yesterday, Talea Ensemble will be giving a concert of works by Olga Neuwirth in New York City on Tuesday at 8 PM (Details/tickets here). The group’s percussionist, Alex Lipowski, was kind enough to talk with me about Talea’s activities of late and tomorrow’s show.
Alex Lipowski. Photo credit: Beowulf Sheehan
- This has been a busy season for Talea Ensemble. Do you feel that the group’s reach and activities are expanding of late?
The 2010-‘11 season has been an amazing collection of projects for Talea and we are so grateful for each of them. One of our goals is to reach as wide an audience as possible and this season we were able to achieve that by collaborating with so many outstanding institutions such as Miller Theatre, Symphony Space, the Consulate General of Denmark, Scandinavia House, Korean Cultural Service NY, Columbia and New York Universities, the Austrian Cultural Forum, Czech Center New York, Washington Square Contemporary Music Society, the Roger Smith Hotel, and Bang on a Can. Through all of these inspiring collaborations, we were able to introduce Talea’s programs to new audiences while bringing together diverse groups from the New York community.
- Tell me a bit about your recent gala event.
We recently had our second annual Gala which was at the Roger Smith Hotel. Talea Gala is a special event for us because it gives us an opportunity to come together with our audience and supporters and celebrate the end of a season while launching the next. Talea Gala includes dinner, a silent auction, performances, as well as pre-dinner and post-concert receptions. The event gives all of the attendees the chance to get to know some of their fellow audience members as well as the Talea performers and board of directors. This year, we were especially honored to have Norman Ryan from European American Music Distributors as our Guest of Honor. It was a really special evening for Talea and we are deeply grateful to everyone who was a part of it.
- You recently gave a concert of works by Unsuk Chin. On Tuesday, you’re performing music by Olga Neuwirth. Both of these are composers that are well known on the international scene but they are still in the process of gaining acclaim here in the US. For our readers who don’t know much about Unsuk or Olga, where should they start to get to know their works?
We feel honored to have had the chance to collaborate with Unsuk Chin on a program of her music which was generously supported by the Korean Cultural Service NY, and equally honored to now have the opportunity to work with Olga Neuwirth on an entire program of her pieces which is generously supported by the Austrian Cultural Forum. Both composers have a significant presence in Europe but have not had the American exposure they deserve and we hope that these concerts will help bring some recognition to their music and that other ensembles, presenters, and listeners will take interest in it as well. For many listeners, both composers are perhaps best known for their works for large ensembles and operas. Unsuk Chin is well known for her opera Alice in Wonderland and Olga Neuwirth for her opera Lost Highway which was given its US Premiere at Miller Theatre. Both composers have wonderful CDs on Kairos that I would highly recommend.
- What was it like working in rehearsals with Unsuk Chin?
Unsuk Chin was great to work with for more many reasons but one of which is her intensity and focus in rehearsals. She has a well-sculpted vision for her music and is able to communicate really well to performers.
- I understand that one of her works had quite a theatrical component and involved playing in the dark. How did you approach working on these components of her music?
One of Unsuk Chin’s pieces, Allegro ma non troppo for solo percussion and electronics which I played, is theatrical, and the sound-world as well as the theatrical nature of the piece depict a scene, as she put it in my case, of a “house-husband” cleaning the home while awaiting his wife’s return. The opening scene of the piece begins with a large cardboard box in the middle of the stage which is torn open to discover that the contents of the box are colorful tissue papers which are then tossed into the air creating a colorful soundscape. Playing percussion in itself is theatrical and having a chance to overtly take on a role is an exciting opportunity to explore an extension of musical performance.
- What will listeners hear by Neuwirth on Tuesday night? What has it been like working with her on these pieces?
Tuesday’s Olga Neuwirth Portrait Concert will feature a retrospective of Olga’s music and feature her works ranging from solo to large ensemble pieces. Featured on the concert will be Talea’s pianist Steve Beck playing incidendo/ fluido for solo piano and electronics, as well as bassoonist Adrian Morejon playing torsion: transparent variation for solo bassoon and large ensemble. Additionally the program will include Neuwirth’s…ad aduras… for violin duo and wood drum, AKROATE HADAL for string quartet, and In Nacht und Eis for bassoon, cello, and ring modulator. The program also features a special in-concert interview with the knowledgeable and well-versed, Bruce Hodges.
Working with Olga on her music has been such a pleasure because she knows exactly what she wants in each score. Her sound world is incredibly detailed because she has a deep understanding of each individual instrument’s sonic capabilities. Her positive energy is contagious too and she is inspiring for the ensemble.
- What’s in store for the Talea Ensemble this summer and next season?
This summer, Talea will tackle its largest project yet, and will team up with the Bang on a Can Marathon to present the US Premiere of Fausto Romitelli’s last and largest work, An Index of Metals for soprano and large ensemble which will feature the outstanding Tony Arnold. We will be making a formal announcement of the 2011-12 season’s projects in July, so stay tuned to www.taleaensemble.org
So far, 14 compositions by different contemporary composers have been dedicated to violinist Ittai Shapira. Belonging to the now thirty something generation of performers of the New York classical music scene – he and pianist Jeremy Denk were roommates in college- he is now renowned as a versatile performer of an enormous classical violin repertoire, incorporating past and present, traditional as well as contemporary.
One of these premieres included the violin concerto written for him by Israeli compatriot and Pulitzer Prize winner, Shulamit Ran. It was performed at Shapira’s acclaimed Carnegie Hall debut in 2003 with the Orchestra of St.Luke’s. In 2007, it was incorporated into Ran’s compilation of works performed by Daniel Barenboim and the Chicago Symphony Orchestra.
Shapira’s international performances as a fine soloist with many leading orchestras as well as chamber groups, coupled with his varied recordings, show his widespread interest in standard and unusual repertoire, explaining why so many composers dedicate works for his performance.
Another Israeli compatriot, a composer who lately enjoys great international demand, Avner Dorman, wrote a violin concerto for Shapira as well, in 2006. It was performed with the Jerusalem Symphony Orchestra.
Dorman was, as was Shapira, trained at Juilliard after leaving Israel for New York. While Dorman studied composition with John Corigliano, Shapira studied violin with Dorothy DeLay and Robert Mann and privately coached with Itzhak Perlman and Pinchas Zukerman.
Since Ittai was involved in the Daniel Pearl Foundation, they decided to dedicate the piece and its premiere performances to the memory of journalist Daniel Pearl, as Dorman mentions in the liner notes to the concerto. Another concerto by composer Dave Heath found his way onto the soundtrack for the film about Daniel Pearl’s tragic death in Pakistan “The Journalist and the Jihadi”, via Shapira. Read the rest of this entry »
Miss Music Nerd (AKA composer/keyboardist Linda Kernohan) recently had an opportunity to chat with Sir Harrison Birtwistle after hearing his Violin Concerto premiered by Christian Tezlaff and the Boston Symphony Orchestra. In the course of their conversation, Birtwistle discussed the impetus for writing a violin concerto, his difficulties with precompositional schemes (“I get terribly bored…by the time I’ve got 200 yards down the road”), and how he handles getting “stuck” while writing a work.
The entire interview (with some interesting links to other Birtwistliana) can be found here.
Ms. Hahn, if you’re looking for a new concerto to learn (hint, hint)….
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“Guess who this trunk used to belong to?” asks Glenn Dicterow, concertmaster of the New York Philharmonic, as he leads me through the backstage rooms and hallways of Lincoln Center’s Avery Fisher Hall; his home away from home, only a New York block away.
We are standing in front of a huge antique – or at least old fashioned –weathered-looking black trunk, impressively marked with travel stickers indicating its many different destinations.
“…..long history with the New York Phil…” he coaxes me into guessing the celebrity, whose travel companion the trunk had been before it was given to Dicterow, to hold the concertmaster’s possessions on his trips with the orchestra.
“Yes, you guessed right.” He turns back to me, “It’s finished with a red velvet interior and belonged to no other than – Leonard Bernstein.”
Since he joined the New York Philharmonic as concertmaster in 1980, Dicterow has played first fiddle under the preeminent Maestros who have served as the New York Philharmonic music directors’ guest conductors from around the world, and leading soloists.
Zubin Mehta, Kurt Masur, Lorin Maazel and now Alan Gilbert…. Here is a true collective of all singular personalities, with different temperaments and musical expectations. It can’t be an easy task to appease all of these charismatic leaders and keep one’s own integrity, leave alone one’s own sanity.
Yet, thanks to his remarkably generous spirit, it seems that Dicterow has managed to do just that, highly successfully.
On the faculty of the Juilliard School and as acting chairman of the innovative Manhattan School of Music ‘Orchestral Performance Program’, Dicterow also follows his other vocation: Music Education.
Read the rest of this entry »
Posted by Chris Becker in Canada, Chamber Music, Classical Music, Composers, Contemporary Classical, Film Music, Interviews, Orchestras, Portland, Twentieth Century Composer, tags: DaPonte String Quartet, David Darling, Elisabeth Adkins, Films by Huey, Joe Jackson, Kara Eubanks, Le Vent du Nord, Portland Symphony Orchestra, Potomac String Quartet, the Eclipse Chamber Orchestra, the Portland String Quartet, Tom Myron
The job requirements of a working composer are elusive, perhaps especially for composition students enrolled in University degree programs that fail to provide graduates with the interpersonal and business skills necessary for survival outside the walls of academia. One student composer told me recently: “We are all being trained to teach.”Woody Allen famously said: “Those who can’t do, teach. Those who can’t teach, teach gym.” But those who compose and don’t teach do find ways to sustain themselves and their passion for music through a variety of collaborative and creative means, some perhaps less “traditional” than others. With this in mind, let’s have a chat with my friend composer Tom Myron.
The range of Tom Myron’s work as a composer includes commissions and performances by the Kennedy Center, the United States Holocaust Memorial Museum, the Portland Symphony Orchestra, the Eclipse Chamber Orchestra, the Atlantic Classical Orchestra, the Eastern Connecticut Symphony Orchestra, the Topeka Symphony, the Yale Symphony Orchestra, the Civic Orchestra of Chicago, the Bangor Symphony and the Lamont Symphony at Denver University. He works regularly as an arranger for the New York Pops at Carnegie Hall, writing for singers Rosanne Cash, Kelli O’Hara, Maxi Priest and Phil Stacey, the Young People’s Chorus of New York City, and the Quebec folk ensemble Le Vent du Nord. Le Vent du Nord’s new CD Symphonique featuring Myron’s orchestra arrangements is receiving an incredible amount of positive press throughout Canada and will be available for purchase in the U.S. soon. A video preview of the recording is included in this interview.
His film scores include Wilderness & Spirit; A Mountain Called Katahdin and the upcoming Henry David Thoreau; Surveyor of the Soul, both from Films by Huey. Individual soloists and chamber ensembles that regularly perform Myron’s work include violinists Peter Sheppard-Skaerved, Elisabeth Adkins and Kara Eubanks, violist Tsuna Sakamoto, cellist David Darling, the Portland String Quartet, the DaPonte String Quartet and the Potomac String Quartet.
Myron’s current projects include commissioned work for the Eclipse Chamber Orchestra and creating arrangements for Joe Jackson’s music-theater piece Stoker
inspired by the life of Bram Stoker author of 1897 Gothic novel Dracula.
Tom (I’ll call him Tom now) graciously took time out of his schedule to answer a handful of questions including several having to do with the “business” of making music.
Chris Becker: You arrange and orchestrate music for a variety of artists and have a career composing concertos, string quartets, and various settings for voice. Are these two separate careers that you have to juggle? Or do they intersect providing you with even more musical opportunities than if you were focused only one or the other?
Tom Myron: From a purely logistical point of view it’s a juggling act. Both types of work tend to lead to more opportunities within their respective areas, but there isn’t a lot of overlap. That said, they DO intersect for me on a more personal, creative level. I love getting to know all kinds of musical idioms in a very practical, mechanical way. I also love just about everything that goes into handling, preparing and rehearsing music for live performance. My training in composition and the orchestral repertoire has benefited my commercial work by giving me the flexibility to consider (and rapidly execute!) multiple solutions to specific problems. The commercial work in turn informs my composition by instilling a disciplined work ethic and keeping organization and clarity of intention foremost in my mind.
Read the rest of this interview.
Posted by Christian Carey in Chamber Music, Choral Music, Composers, Concerts, Contemporary Classical, Electro-Acoustic, Experimental Music, File Under?, Interviews, New York, tags: Alvin Lucier, David Lang, Ekmeles, The Tank
Ekmeles rehearses Iddon
On Tuesday 1/11, newish New York vocal ensemble Ekmeles presents a program of music by Martin Iddon, Alvin Lucier, and David Lang at The Tank. I caught up with Ekmeles’ director, baritone Jeff Gavett to learn more about the event.
Carey: Why did you form the group Ekmeles?
Gavett: “While New York is home to many exceptional instrumental groups dedicated to contemporary music, there is a relative paucity of new vocal music. Ekmeles was created to fill the gap, and bring adventurous new music for solo voices to audiences that otherwise have little or no chance to hear it.”
“Our first season so far has included a US premiere by Mauricio Kagel, New York premieres by Aaron Cassidy and Kenneth Gaburo, and new commissions by Troy Herion and Jude Traxler. We also performed as the vocal complement in a sold out performance of Knee Plays from Einstein on the Beach as part of the Darmstadt Essential Repertoire series at Issue Project Room.”
Carey: Tell us about the works on the concert?
Gavett: “First on the program is our commission, Martin Iddon’s Ἁμαδρυάδες (hamadryads). It’s a transformation of Josquin’s Nymphes des Bois which involves retuning the intervals of the original in chains of Pythagorean intervals. These pitches, notated to the hundredth of a cent, are traversed mostly through extremely slow glissandi, requiring the singers to use sine wave reference tracks to achieve the tuning. We’ll also be playing tuned wine glasses, which blend eerily with the vocal textures.”
“Next is Alvin Lucier’s Theme, a setting of a poem by John Ashbery which shares some kinship with his most famous work. Lucier fragments the poem and distributes it between four speakers, who read the text into what he calls “resonant vessels.” These are vases, milk jugs, any empty container into which is placed a miniature microphone, which picks up the sound of the voice as filtered by the vessel, much like the room filters the sound of Lucier’s voice in I am sitting in a room.”
“David Lang’s the little match girl passion rounds out the program. As the title suggests, Lang has taken Hans Christian Andersen’s moralistic children’s story and infused it with the Passion. The suffering and death of a poor little girl is thus directly and explicitly equated to that of Christ, amplifying the story’s emotional impact. The singers all play percussion instruments, and the glockenspiel is featured especially prominently, its crisp attack evoking the freezing night. The clear and sparse textures throughout the match girl text are contrasted beautifully with richer quasi-choral textures in the Passion-derived elements.”
Carey: What’s next for Ekmeles?
Gavett: “Upcoming performances include John Cage’s Song Books at the Avant Music Festival on February 12th, and Chris Cerrone’s Invisible Cities with Red Light New Music in May.”
Tuesday, January 11th, 2011, 7 PM - Ekmeles – Resonances
345 W 45th St, Manhattan, NY 212-563-6269