Archive for the “Performers” Category
This week on the podcast, I wrap-up the month of violist interviews with John Pickford Richards. For those of you not sure who John is, he’s best known as the violist in Alarm Will Sound and the JACK Quartet. Our three violists in May posed some important questions, not just for composers, but for performers as well. Beth Weisser asked, “What is the core of what we do?” Nadia Sirota encouraged us to embrace who we are. John Richards asks, “What is the opposite of a cheerleader?” Also, have you ever wondered if John has been hit by a composer? Listen to this weeks episode and find out.
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I wish I could tell all of you how excited I am about the interviews lined up for the summer, but I need to keep a few of them a secret until I actually finalize and record them. For now, I will just mention that July is devoted to the members of a certain unique string quartet, and August and September will feature musicians from outside New York (and even a few from outside the US). In the meantime, check back in June for my interviews with Seda Röder and Brad Lubman. And thanks again to Beth, Nadia and John.
For those of you in NYC, I’ll see you today at the Bang on a Can Marathon!
[We previewed this concert a couple weeks ago, and were hoping to file a quick review following the performance. Due to unforseen circumstances it's a few days later than we'd like, but reviewer Eric Johnson came through in the end:]
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Xiayin Wang offered two world premieres on her May 18 recital at Alice Tully Hall. Ms. Wang’s career is on the rise, with a number of orchestral appearances, solo recitals, and her new CD release of music by Scriabin on Naxos. The New York Sun recently praised her for a “robust, confident performance,” attributes she displayed here as well. In addition to Haydn, Chopin, Ravel, Scriabin and Liszt, we heard Richard Danielpour’s Second Book of Preludes and Sean Hickey’s Cursive.
Danielpour says that “the Preludes are evocative memories of real life,” but no explicit narrative was provided for any of the seven movements. The opening “Persepolis” hinted strongly at neoclassical Stravinsky, followed by an angst-filled second movement, an “Elegy” resembling Barber, and a spastic rag. I was particularly fond of the straightforward appeal of “Elegy”; not only in the music but Wang’s performance. Simplicity can often create the most eloquent music, and that was surely the case here.
Sadly, I’m not sure anyone but Ms. Wang and Mr. Danielpour really know what the fifth prelude sounds like. Shortly after the beginning of the piece, a particularly rude audience member answered a phone call in the concert hall. She then proceeded to walk out very slowly, talking in a stage whisper all the while. It’s fair to say that the pianist was the only one not glaring at her!
Sean Hickey has firmly grounded his career in jazz and chamber music, as well as composing for film and theatre. Hickey’s notes for Cursive speak of a desire to write seamlessly, a “mostly unbroken line,” but to these ears it was anything but seamless. The piece was filled with seemingly unrelated ideas — more like sketches than cursive calligraphy. Yet Ms. Wang gave a compelling performance, tying the loose threads together. Wang’s enthusiasm and daring shone clearly in her commitment to these two living composers’ pieces.
The standard repertoire was engaging too, every selection displayed wonderfully. Indeed, the most exciting portion of the program was the final movement of Ravel’s Gaspard de la Nuit. Ms. Wang practically lifted herself off the bench as she pounded out Ravel’s exotic, even sultry depiction of Scarbo’s moonlit flight. A complimetary highlight was Chopin’s Ballade No. 2 in F Major – a thing of rare beauty, played most delicately. ~~ Eric Johnson
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For those of you keeping track, this week’s episode is the second of three highlighting violists. Last week, Elizabeth Weisser; this week, Nadia Sirota. Nadia has some good advice for musicians: it may sound obvious, but that thing that makes you unique is the thing that makes you special. Not only is this good advice for performers but it’s good for composers to remember as well. The more we can embrace our “craziness”, the more comfortable we can be with ourselves. Musicians on the podcast talk a lot about working and collaborating with composers, but Nadia actually has some suggestions for making these relationships work in mutually respectful ways. Nadia also has a new CD, first things first, which will be released on New Amsterdam Records on Tuesday, May 19 (Steve had a nice pre-release-party-post last week).
Looking ahead, the week of May 31 will feature violist John Pickford Richards, and during the month of June I’ll be talking with pianist Seda Röder and conductor/composer Brad Lubman.
May 31 also happens to be the annual Bang on a Can Marathon in New York City– are there any musicians you would like me to try and track down for an interview? I will also be in Chicago in early June – is there anyone in the second-city I should be in touch with? If you have suggestions please email them to:
And for those of you new to the show, you can subscribe to the podcast in iTunes by clicking here, point your blog-readers here, or find it on InstantEncore by clicking here.
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Since 1995 Chicago’s Percussion Scholarship Program has been shaping all kinds of mallet-whackers from grades 3 through 12. The program, under the direction of CSO percussionist Patricia Dash and Douglas Waddell, percussionist with Lyric Opera of Chicago, with amazing direction and arrangements by Cliff Colnot, has been growing something phenomenal. The kids’ musicianship and commitment seems to me every bit as stunning as Dudamel’s Venezuelan El Sistema stuff everybody’s been going gaga over. Don’t believe me? Just take in our young crew’s monster ride through Colnot’s arrangement of Dimitri Shostakovich’s 10th Symphony:
Incredible. The group’s big spring concert is coming up again this May 17th, 1:30 pm in Buntrock Hall at the Symphony Center, 220 S. Michigan Avenue. And it’s free, meaning not much better value can be had for a Sunday’s afternoon.
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Music by Wolff, Sciarrino, Kotik, Carter, and Ligeti / Orchestra of the S.E.M. Ensemble, Ostravská Banda, FLUX Quartet; Petr Kotik, Conductor /Alice Tully Hall, May 6, 2009
Conductor/composer Petr Kotik has been an impressive advocate for contemporary music in New York for forty years. Residing in the US since 1969, he has been running the S.E.M. ensemble since 1970: performing a wide range of repertoire, commissioning works and cultivating successive generations of young players into seasoned new music performers. S.E.M.’s orchestral unit has been active since ’92; Kotik’s also been running Ostravská Banda, an international chamber orchestra comprised of S.E.M. players and young European counterparts, since ’05. Both of these groups, as well as the FLUX string quartet, another youngish ensemble devoted to new music, were featured on Wednesday night’s Tully Hall performance: a program of brand new chamber music and three contemporary works that seem destined for the core repertory.
Christian Wolff’s Trio for Robert Ashley (commissioned for the concert) employed three of the FLUX members – violinist Tom Chiu, violist Max Mandel, and cellist Felix Fan – in a fragmentary multi-movement piece. Indeed, its juxtaposition of seemingly unrelated musical materials set the tone for an evening devoted to unorthodox formal presentation. Sustained notes were set against skittering, Webernian motifs. Single lines evaporated into pensive rests while vigorous tutti were all too ephemeral; evaporating into the silence from when they came.
In its US premiere, Salvatore Sciarrino’s Vento D’Ombra made quite an impression. Another work which employed silences as well as fragmentary gestures as signatures, it focused on tiny musical cells – mostly dyads and trichords – as well as a cornucopia of special effects. Wind and brass players breathed through mouthpieces without fingering notes, strings played scordatura and microtones. The whole was a meticulously shaded pointillist canvas of brief gestures, undulating slides, and pianissimo staccato dabs.
Kotik’s own String Quartet was cast in a lengthy single movement. Impeccably performed by FLUX, it was centered on an ambling, long-breathed melody played by the quartet in unison (later in octaves). Only gradually did this evolve into two-voice counterpoint, with a violin countermelody that took on greater urgency. Tutti passages ratcheted up the tension quotient still further, evocative of some of the brilliant polyphonic passages from Ligeti’s second quartet. The idée fixe unison passage returned at pivotal junctures, requiring precise coordination and tuning on the part of FLUX: both were readily supplied.
Elliott Carter’s recent ‘second piano concerto,’ Dialogues, is a fascinating companion piece to the monolithic concerto from the 1960s. Written for a much smaller orchestra, it allows the soloist to take on an enlarged role. In a clever inverse of its larger precursor, the pianist often overwhelms the ensemble, cowing it with brilliant virtuosity. Daan Wandewalle was an excellent protagonist, supplying brilliant cadenzas, thunderous verticals, and an overarching sense of shaping and musicality. Read the rest of this entry »
As promised, during the month of May I’ll be talking exclusively with violists, beginning with Elizabeth Weisser of the iO Quartet. I swear it’s a total coincidence that, two weeks in a row, I’ve talked with musicians who had great experiences with Helmut Lachenmann (and I already know there will be one more mention this month). Elizabeth does have lots of other things for us to think about, though, for instance: when a composer brings material to a musician, the musician improvises, and the composer notates the improvisation, then whose music is it? She also asks, “What’s the core of what we do? What’s the main thing we are trying to get across? And, why?”
Looking ahead, the week of May 17 will be my interview with violist Nadia Sirota and the week of May 31 will be violist John Pickford Richards.
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The Orchestra of the S.E.M. Ensemble, founded and directed by Petr Kotik, joins forces with the acclaimed FLUX Quartet and the international chamber orchestra Ostravská banda for an evening of adventurous music: Wednesday, May 06, 2009 8:00 PM, Alice Tully Hall, Starr Theater. Tickets are a steal, only $15 for a real wealth of music.
Highlights include three new pieces by self-taught composers: the premiere of Christian Wolff’s Trio for Robert Ashley (2009), performed by members of the Flux Quartet; the American premiere of Sicilian-born composer Salvatore Sciarrino’s Vento D’ombra (2005), performed by The Orchestra of the S.E.M. Ensemble; and the premiere of Petr Kotik’s String Quartet No. 1, Erinnerungen an Jan (2007–09), performed by the Flux Quartet. The program also features renowned Belgian pianist Daan Vandewalle in Elliott Carter’s Dialogues for Piano and Orchestra (2003), and award-winning Czech violinist Hana Kotková in György Ligeti’s Concerto for Violin and Orchestra (1990–92) — both making their debuts at Alice Tully Hall. Petr Kotik conducts The Orchestra of the S.E.M. Ensemble as well as Ostravská banda.
Kotik writes: “To me, Ligeti’s Concerto for Violin and Orchestra always sounded strange, as if something were out of place. When I was asked by the Prague Spring festival to conduct the piece last May, I worked to solve the puzzle, but to no avail. Then moments before the start of our first rehearsal with Hana Kotková and the Ostravská banda, I suddenly got an idea. I walked up to Hana and said, ‘You’ve got to play the piece like a gypsy would. That’s how it should sound, I think.’ She looked at me and immediately understood what I meant. Hana grew up in a family that made folk music for generations. She has participated in performances since the age of four, often alongside fiddlers and cimbalom virtuosos, who were often Romani. She comes from the Silesian part of Moravia, right next to the Carpathian region from which most of Ligeti’s melodies come. No one can understand this music better than Hana. It was a thrill to conduct Ligeti Concerto with her as the soloist and I am delighted that she was able to accept this appearance at Alice Tully Hall.
Since the premiere of John Cage’s complete Atlas Eclipticalis by then newly formed The Orchestra of the S.E.M. Ensemble (86 musicians) at Carnegie Hall in 1992, S.E.M. has made a significant contribution to new music here in the U.S. and in Europe. And with Ostravská banda, founded at Ostrava Days 2005, a group which combines musicians from both sides of the Atlantic was a natural thing (Ostrava Days is a new music institute and festival taking place every other year at Ostrava in the Czech Republic). Ostravská banda consists of young musicians from the Czech Republic, Slovakia, Germany, Hungary, Holland and the United States, who are focused on the performance of new music. It is not necessary to introduce the New York-based FLUX Quartet. At Alice Tully, they will be performing the pieces by Wolff and Kotik. In January, when I asked Christian for a piece for this concert, he decided to compose Trio for Robert Ashley as there was my new string quartet on the program. He had recently attended Robert Ashley’s opera Dust and was very moved by the work. The title reflects his admiration for Ashley’s music, its rhythms and structural movements.”
– If you can’t make it, S21′s own Christian Carey will be there and will be filing a report post-concert.
We’ve reached the final concert of Interpretations’ twentieth season of provocative programming in New York City! Founded and curated by baritone Thomas Buckner in 1989, Interpretations focuses on the relationship between contemporary composers from both jazz and classical backgrounds and their interpreters, whether the composers themselves or performers who specialize in new music. To celebrate, Jerry Bowles has invited the artists involved in this season’s concerts to blog about their Interpretations experiences. Our last concert is also an anniversary celebration: The String Trio of New York has been going strong for 31 years. Guitarist James Emery and bassist John Lindberg have invited some of the most innovative jazz violinists to work with them: Billy Bang, Regina Carter, Diane Monroe, and Charles Burnham. Since 2001, violinist Rob Thomas has more than ably filled those shoes. While the trio has had many works written for them, and does perform the “classics” of jazz, this concert will feature the music of Emery and Lindberg. John Lindberg explains in his own words, below. We hope to see you at Roulette this Thursday, 23 April and stay tuned for next season.
This particular concert of the String Trio of New York, now 31 years running, is a unique opportunity to present a retrospective of works that have in some ways defined the development of the group, and highlights its diverse repertoire. My three pieces on the program — The Anticipator (1987), Nature,Time, Patience (2001), Journey Platz (2007) represent different side of my mucical personality as a composer, and extremely varied approaches to the collective utilization of the improvising and interprational talents of the trio members, in effect being a voyage through the time/space continnum of the s3ny, while offering up renditions that lie solidly “in the moment” that they are being performed.
Interpretations has been, in my view, the most vital and compelling series for creative music in New York city for some two decades, due to its great breadth of music it presents, and remaining one of he very few ongoing series that offer composers free reign to present their music as they wish it to be presented.
It is with great pleasure I have another opportunity, with this landmark concert for the trio, to perform as part of the Interpretations series.
The String Trio of New York performs at Roulette on Thursday 23 April at 8pm.
For more information:
The String Trio of New York
It’s hard to imagine a percussionist that you would want to perform your music more than Alex Lipowski. Alex has a passion for the new, the challenging and the unusual and I find him to be one of the most inspirational musicians I’ve ever met. He spent much of our time together explaining how important it is to take risks and to find new and innovative sounds – good advice. You can see Alex and the Talea Ensemble on April 28 at the Players Theatre, 115 Macdougal Street, NYC.
Looking ahead, there will be three episodes in May and I’ll be devoting the month to violists. Check back on May 3 and see what Beth Weisser of the iO Quartet has to say.
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P.S., If you were not able to make it to the bake sale then you missed out on a very special event. Even if you don’t care for all the music it’s hard to deny the sense of community from having so many different groups all in the same room – we are all in this together! Tip of the hat to Newspeak and Ensemble de Sade for making it happen.
Michael Gordon‘s huge and hugely wonderful, 50+ minute riff- and throb-fest Trance, composed in 1995, is being dusted off for what promises to be a memorable performance by the ensemble Signal, 7:30pm April 22nd at Le Poisson Rouge.
The fun and games begin at 6:30 pre-concert in the bar, however; Gordon himself, along with Ronen Givony (from Wordless Music and Le Poisson), Signal director Brad Lubman, bandmate/composer Ken Thomson (who also does duty in Gutbucket) and others, will talk about producing and performing new works with emphasis on the whys and whats of a piece after their first presentation. Trance was premiered at Bang on a Can in 1997, and hasn’t been played in New York since. Who owns the problem of presenting new works after their premiere?
Not only that, but S21′s own fearless leader Jerry Bowles will be moderating, and the whole roundtable will be videotaped and YouTubed shortly after for your viewing pleasure. Space in the bar isn’t huge, so come early to catch the conversation or join in.
Last but not least, we’re actively soliciting questions and comments for the panel from you, our loyal readers. Something you want to know or share about the perils of performance, premieres, getting that work into a second or third production… Just pass them along to firstname.lastname@example.org, and we’ll try and add you to the dialogue.
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