Archive for the “Just Intonation” Category
The San Francisco Bay Area is home to a sizable community of sound artists, instrument inventors, and intonation innovators who spend all their time developing original and never-before-heard ways of relating to music and sound. The local scene got a big national nod in 2008 when Walter Kitundu got the mysterious and exhilarating phone call and windfall that is the MacArthur Fellowship.
With such a lively local pool of talent, it’s natural that it has its own festival – Music for People and Thingamajigs — celebrating its 14th year from September 22nd to 25th, 2011. Edward Schocker and Dylan Bolles started it at Mills College in 1997, and it’s grown up to include a non-profit parent organization, Thingamajigs, and a profusion of programs including performances and arts education.
The festival Call for Proposals just went out this week. Artists and composers working with invented instruments and/or alternate tuning systems, and performing ensembles featuring either one or both, are invited to submit proposals. The deadline is June 15, 2011, although proposals which come in on or before May 15, 2011 will be included in festival grant proposals “and will have a greater chance of receiving outside funding,” says founder Schocker.
Proposals should include a bio of the artist/performer/composer(s), a specific description of the work or performance to be considered, and documentation of the submitted work (CD or link to a website). Thingamajigs prefers electronically submitted proposals, sent to firstname.lastname@example.org, but will accept hard copies at Thingamajigs.org, 5000 MarcArthur Blvd PMB 9826, Oakland, CA, 94613, USA.
Like Glenn Branca, Rhys Chatham‘s fame will always be for his use of multiple electric guitars, often in non-standard tunings and often at just-about-ear-splitting volume. The slight shame is that the guitar stuff is only one part of Chatham’s long and restless musical exploration: there’s also all his work as a trumpeter, as well as works for everything from two gongs to just-tuned piano to wind ensemble to full orchestra. And while the massed guitar resources may be similar to Branca, I’ve always felt that Chatham’s clang/clash/drone carried something almost ‘lyrical’, compared to Branca’s body blows.
A major force in the 70s-80s ‘downtown’ NYC scene, Chatham has spent the last 20 years as an ex-pat in Paris, where he’s continued ramping up the ambition of his musical visions. One of those visions became reality in 2005, when the City of Paris commissioned Chatham to compose a piece for their all-night La Nuit Blanche Festival. The result, A Crimson Grail, gathered 400 guitarists (w/ bass and percussion) in a marathon, three-movement sonic assault focused on Paris’ largest church, Sacré-Coeur. 10,000 people watched live, and 100,000 more on national TV. A fuzzy audio snapshot of the performance has been released on CD, but this Grail was so much a spectacle of a specific moment that any future performance would likely be nearly impossible, and in any case would be a very different beast indeed.
Well, that ‘beast’ has arrived, and this time on our side of the Atlantic. Chatham has reworked A Crimson Grail, this time for a slightly more ‘modest’ 200 guitars (and 16 bass guitars), and is in town to present it (along with section leaders David Daniell, Seth Olinsky, John King, and Ned Sublette) this Saturday, August 8th, as part of Lincoln Center Out of Doors. The performance is from 7:30 to 10 pm, at Damrosch Park (Southwest corner of the Lincoln Center Plaza, 62nd Street near Amsterdam Avenue).
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I’ve been working so hard today I’ve forgotten to eat, and it’s in that spirit of lightheadedness and poor impulse control that I share with you the following San Francisco Bay Area new music scene update.
The Lab’s 25th anniversary performance series is well underway, and in just one night, they’ll run the gamut of styles celebrating their audacious artistic vision. On Thursday, July 2nd, Mills College’s own Chris Brown will curate and perform in a concert featuring Charles Johnson, Chad and Curtis McKinney, Tom Nunn and William Winant.
When Johnson et. al. take the stage, you’ll hear amplified string and percussion instruments tuned in just intonation, combined with analog electronics configured to create difference tones. Chad and Curtis McKinney are twin brothers whose SuperCollider-based computer network music makes a tightly interwoven, visceral and strongly rhythmic combo. Chris Brown will put on his electroacoustic hat, teaming up with instrument inventor Tom Nunn to tangle with legendary percussionist William Winant.
If you can’ t make it this week, never fear, since the series will continue next week with Miya Masaoka and Tomas Phillips on Thursday, July 9th, and a multimedia event the next night with Nao Bustamante, Margaret Tedesco, and Cliff Hengst. Performance artist Bustamante will embody 1940s Dominican movie starlet Maria Montez, using video and the body as a source of backdrop, narrative, and emotion, taking audiences on a journey all over the body and its bejeweled parts.
The Lab is conveniently located at 2948 16th Street, San Francisco, near the 16th and Mission BART station. They’ll let you in for $8.00 at the door. For more information, call (415) 864-8855.
Thursday morning I talked with composer Terry Riley, who is in New York this week to collaborate with the Bang on a Can All-Stars in the US premiere of his work Autodreamographical Tales at Le Poisson Rouge on 8 November.
Riley is famous for being one of the “Big Four” of American minimalist composers (the others: LaMonte Young, Steve Reich, and Philip Glass). But while his early works, such as A Rainbow in Curved Air, Poppy Nogood and the Phantom Band, and the seminal In C, were musical rallying cries during minimalism’s ascendance in the 1960s, Riley’s been involved with many other important pieces, styles, and activities since then. His palette encompasses North Indian music, jazz, electronics, various intonation systems, and increasingly in recent years, projects incorporating guitar and spoken word.
As an admirer of his music, it’s somewhat frustrating to read review after review in which he’s asked to talk about the importance of In C and his work is then pigeon-holed as minimalist in style. In planning for the interview, I promised myself that both minimalism and In C would be off-limits. When the composer mentions in passing an upcoming performance of In C (April 24, 2009 at Carnegie Hall, but you didn’t hear that from me), I tell him of my secret pact and he enthusiastically agrees! Instead, we focus on recent, current and future projects.
Riley says, “Autodreamographical Tales started out a while ago as a piece for radio in which I narrated and played all the instruments. There were overdubs and samples. The Bang on a Can All Stars wanted me to create a new version of the piece to perform with them. My son Gyan, who’s also a guitarist and composer, helped me to orchestrate the piece. While there are still a few samples, we’ve figured out how to perform live many of the things that were looped or overdubbed.”
“The piece is based on a dream journal that I was keeping at the time. Some of my dreams had evocative images and stories that I felt would work well in the piece for radio and, now, in this new version for Bang on a Can. We got together and rehearsed it this past summer during a week-long residency in Italy. A performance there was the world premiere and this one in New York is Autodreamographical Tales’ second performance.”
Riley also spent time this past summer in New England at Bang on a Can’s Summer Music Festival at MASS MoCA. “It was an inspiring setting: a number of talented composers and performers, the galleries, and so many excellent concerts.”
We return to the subject of his son, a talented musician in his own right who encouraged the elder Riley to explore composing for the guitar. “Gyan came home with all of these recordings of the guitar: he was just crazy about it and wanted to share his enthusiasm with me. We listened to all sorts of players, especially classical and Brazilian artists.”
During the past two decades, Riley has created a number of works for the instrument, including the solo collection Book of Abbeyozzud and Cantos Desiertos, a beautiful set of pieces for flute and guitar. When I comment that Riley has managed to combine expected, idiomatic passages with some very fresh-sounding guitar writing, he replies, “It was challenging to write for the guitar as a non-guitarist. I really worked hard to learn about the instrument: there’s a lot to know in order to compose effectively for it.”
New music guitarist David Tanenbaum, Gyan’s principal instructor, has also been the beneficiary of several recent works for the instrument, including a 2008 piece for national steel and synthesizer entitled Moonshine Sonata. Riley says, “The national steel for which I wrote the sonata is a special model, redesigned so that it’s tuned in just intonation. The company that made the instrument for David loaned me one while I was composing the piece; it’s amazing how resonant, how loud it is all by itself – it doesn’t need amplification!”
Tanenbaum and Gyan Riley, along with violinist Krista Bennion Feeney, premiered another 2008 Riley work: the Triple Concerto Soltierraluna. The concerto form is one to which Riley is drawn of late: a project in the pipeline is a violin concerto commissioned by a symphony orchestra in Bari, Italy for soloist Francesco D’Orazio. “I don’t approach the concerto form in the conventional manner, as this heroic thing; I like to find ways to integrate the soloist into the ensemble; to foster interactions between them that you don’t get in the big Classical or Romantic pieces. In a sense, what I’m writing is more akin to the concerto grosso form.”
Since the 1970s, Riley has frequently collaborated with the Kronos Quartet, producing a number of pieces for them. He’s currently at work on another, titled Poppy Nogood and the Transylvanian Horns. The title refers to one of Riley’s best known early works, Poppy Nogood and the Phantom Band; but this successor also includes the Kronos group playing some newly adopted instruments. The “Transylvanian horns” in question are called “stro instruments:” string instruments fitted with trumpet or trombone bells. The composer seems to relish the challenge of learning about and composing for these hybrid instruments. Even when called upon to revisit ideas from his past, Terry Riley is ever eager to try something new.
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So with all pleasures of life.
All things pass with the east-flowing water.
I leave you and go—when shall I return?
Let the white roe feed at will among the green crags,
Let me ride and visit the lovely mountains!
How can I stoop obsequiously and serve the mighty ones!
It stifles my soul.
His Dream of the Skyland – A Farewell Poem.
Li Po (Li Bai) (~701-763 CE) is universally recognized as one of the greatest Chinese poets of the Tang period, or for that matter, of the entire Chinese literary tradition. His poetry shows the influences of the interwoven philosophical religions of his time, Taoism, Neo Taoism, Confucianism and Buddhism, as well as a particular fondness for nature and wine. Well educated, highly regarded by everyone, he had lifelong trouble securing a post and spent his life as a wanderer, preternaturally creative and prolific. Over one thousand poems remain, along with the stories of his improvisations, drunkenness and generosity. Legend has it that he drowned while trying to grasp the moon in the water, but he is generally regarded to have committed suicide after leaving a farewell poem (partially quoted above). (This poem is the 10th of the set of 17 Lyrics).
The parallels between Partch and Li Bai are so striking as to imagine that they are the same person, re-cycled after a period of 1200 years. Hoboes, brilliant, often drunk, deeply admired, suspicious of authority, unable to find peace or security, and spectacularly creative, they are the irritating grain of sand in society’s eye that add the full dimension to our humanity – the rememberers of forgotten things.
“I am first and last a composer. I have been provoked into becoming a musical theorist, and instrument builder, a musical apostate, and a musical idealist, simply because I have been a demanding composer. I hold no wish for the obsolescence of the widely heard instruments and music. My devotion to our musical heritage is great — and critical. I feel that more ferment is necessary for a healthy musical culture. I am endeavoring to instill more ferment.” –Harry Partch 1942
In 1930, the composer Harry Partch (1901-1974) broke with Western European tradition and forged a new music based on a more primal, corporeal integration of the elements of speech, rhythm and performance using the intrinsic music found in the spoken word, the principles of acoustic resonance and just-intonation. Borrowing from the intonation systems of the ancient Greeks, he created a scale of 43-tones per octave, in part to enable him to capture the nuances of speech in his music, and to forge purer harmony. Read the rest of this entry »
For the first subject of this column I’ve picked Ben Johnston, someone who has gotten some coverage on this site but remains criminally neglected. Born in Georgia in 1926, Johnston was variously taught by Harry Partch, Darius Milhaud, and John Cage. All three composers had an obvious effect on his music, but he quickly developed his own distinct voice. Best known for expanding on Partch’s experiments with just intonation, Johnston has contributed not only as a composer, but as a theorist and writer as well.
Johnston has written for orchestra, voice, and chamber ensembles, but his most important works as a composer have been his ten string quartets. Due to the intonational flexibility of the instruments, he has been able to fully explore his ideas concerning pitch and form. His quartets are arguably (and it’s an argument I’m willing to make) the most important works by an American composer in that medium. In his earliest works with non-tempered scales (Sonata for Microtonal Piano, String Quartets 2 and 3), Johnston pulled off the nifty trick of using a basic triad based tuning (5-limit JI) with pitch choices based on serial rows. The results are fascinating, but the cognitive dissonance of such an approach didn’t last long. A major change in Johnston’s thinking was heralded in 1972 by his fourth and most popular (and populist) string quartet, a set of variations on Amazing Grace. His latest works have explored the question of how European music would have developed unconstrained by temperament.
The University of Illinois Press recently released Johnston’s compiled writings on his musical theories and philosophies (and some other miscellany), Maximum Clarity, for which NewMusicBox conducted an interview with Johnston and published an excerpt.
While many of his works are unavailable, a sizeable portion have been recorded. The most significant Johnston recording is the disc of string quartets 2, 3, 4 and 9, put out by the Kepler Quartet last year (it deservedly made Jerry’s top 10 list for 2006). Kepler intends to record all 10 string quartets when funding allows. Head over to their website to see how you can support this important project… or just buy the recording on iTunes. Also, a CD of Johnston’s chamber works is available on New World, and Philip Bush has recorded his piano works for Koch. Those wonderful people at Counterstream Radio have put most of these recordings into their regular rotation.
For those of you who can’t possibly wait to hear any of Ben’s music, the Avant Garde Project is hosting two now out-of-print CRI LPs, containing Johnston’s fantastic 6th string quartet and two very different choral works.
I imagine that many of the readers of this site have at least a passing familiarity with the tuning concepts talked about above. To anyone who isn’t as familiar, Ben’s work is a wonderful starting place for acquainting your ears with these intervals, both because of the extent of which he employs them, as well as the general accessibility of his music. For those who have further interest, I encourage them to check out Kyle Gann’s page “Just Intonation Explained”. Jim Altieri has also designed some free software for calculating and hearing any of these intervals, available at his website.
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Thanks for your kind words earlier this year about the Ben Johnston String Quartet release on New World Records. I am the producer of that disc, and also the 2nd violinist in the Kepler Quartet (so, not an unbiased perspective…)
I am writing you and your readership with a plea, an invitation (however you wish to frame it) to become a part of bringing this great composer’s legacy into broad daylight. We recently received a Copland grant towards finishing the recorded cycle of Ben’s 10 string quartets, but still need to raise significant dollars to make it happen.
Mr. Johnston just turned 80, is in reasonable health, and has just moved to Wisconsin for family reasons-which means that his expertise is now wonderfully available to us. We have have a talented, committed ensemble, schooled in the challenges of Just Intonation, and a stable, supportive label behind the project.
All the pieces are in place to finish this project except for getting past the aforementioned monetary hump.
Wouldn’t it be a healthy scenario if we could get a grassroots, Howard Dean-like campaign going, and include as many individuals as possible from the new music online community, at modest contributions, in support of this truly great, and largely-overlooked composer late in his career?
Could be worth a small investment for the Karma alone, not to mention the accessibility of this ground-breaking music…
We’re going to attempt it, because we know it’s the right thing to do, not the commercial thing to do—anyone out there with us?
For details, please see
May we all have each other’s support when we need it!
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