Archive for the “Premieres” Category
Posted by Christian Hertzog in Concert review, Concerts, Contemporary Classical, Experimental Music, Festivals, Ojai, Percussion, Photos, Post Modern, Premieres, tags: Inuksuit, John Luther Adams, Ojai Festival, percussion, Steven Schick
Musicians on the outskirts of Libbey Park performing Inuksuit (note the percussionist playing water gong in the upper left hand corner)
They say a picture is worth a 1000 words, so consider this photo album a 26,000 word review until I file my story. Inuksuit was one of the most extraordinary pieces of music I’ve heard since–well, John Luther Adams’ orchestra and tape work, Dark Waves. (On Sunday, we’ll hear JLA’s two-piano version of Dark Waves.)
Do read Paul Muller’s account of this concert and Thursday evening’s concert.
To give you some idea of what the performance was like, here are some crude videos I made on my not-designed-for-filming camera. The mike on the camera did a reasonable job of capturing the changes in sound as you moved from one spot to another, as I did throughout the performance.
If you’re reading this before or around 11 a.m. PST June 9, hop on over to the live stream from Ojai to watch/hear Marc Andre Hamelin, Christianne Stotijn, and Martin Frost perform Alban Berg, as well as an orchestral work by Eivind Buene. Watch it here.
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Early reviews care of bloggers (one well-informed, one not so much)
Boosey and Hawkes has a perusal score available–through an inadequate interface methinks–here.
I was able to get some sense of the First Act by glancing at the score, and I wrote a preview for the LA Weekly here.
I’m attending the Sunday show and will report back here. Did anyone see the premiere last night? Your opinions are most welcome in the comments section!
Zachary Woolfe weighs in with the first professional review I’ve found online. His verdict? Moments of power and beauty, but Adams and Sellars were unable to sustain the intensity throughout the work.
Mark Swed calls it “a masterpiece” in his review here.
Joshua Kosman writes, “much of “The Gospel” finds Adams at his most evocative and inventive.” Read his complete review here.
Performing arts journalist Charlene Baldridge gives her impressions (highly favorable) on her blog.
Timothy Mangan finds The Gospel “a rather grueling evening of music,” but much of that music is “teeming and fascinating.” His review here.
Robert D. Thomas provides the most detailed reportage, although he appears to be withholding his judgement as to the work’s success or failure. His review here.
Pre-concert lecture from the world premiere, featuring John Adams here.
Posted by Polly Moller in Big Band, Chamber Music, Composers, Contemporary Classical, Events, Experimental Music, Festivals, Improv, jazz, Piano, Premieres, San Francisco, Saxophone, Sound Art, Women composers
The San Francisco Bay Area’s underground music scene will come together this coming July in an annual celebration of its tremendous range of styles, its love of improvisation, and its collective obsession with new and unusual timbres and techniques. It’s the 11th Annual Outsound New Music Summit! All events will take place at the San Francisco Community Music Center at 544 Capp Street near 20th Street in the Mission District, and tickets can be ordered online from Brown Paper Tickets or purchased at the door.
The ever-popular Touch the Gear Expo kicks off the Summit on Sunday July 15, 7-10 pm. It’s designed especially for anyone who’s longed for a closer look at an experimental musician’s gear on stage, and for the opportunity to mess with it. 25-30 sound artists will be there to demonstrate everything from oscillators to planks of wood with strings attached and answer questions. Visitors of all ages have free rein to make sound and experience how these set-ups work, and best of all, it’s free.
The second Summit night is also free, and this time the composers take over. In the Tuesday night Composers’ Symposium (July 17, 7-10 pm), John Shiurba, Christina Stanley, Benjamin Ethan Tinker, and Matthew Goodheart will all discuss how they navigate modern compositional techniques, while combining them with improvisation and their own individual forms of experimentation. The public is invited to talk freely with the composers and ask them questions.
Performances begin at 8:00 pm on Wednesday, July 18th with the first of four themed concerts – Sonic Poetry. This night is curated by Outsound Board members Amar Chaudhary and Robert Anbian, who’ve recruited three leading poets to collaborate with Bay Area improvising musicians to create new word and sound compositions. Words are by Ronald Sauer, rAmu Aki, and Carla Harryman, with music by Jacob Felix Heule, Jordan Glenn, Karl Evangelista, Jon Raskin, and Gino Robair.
The Tuesday night Composers’ Symposium prepares everyone for the second performance evening on Thursday, July 19th – The Composer’s Muse. Christina Stanley, Matthew Goodheart, and John Shiurba will all premiere new works running the gamut from graphic scores for string quartet, to prepared piano with sonified metal percussion, to a major work for large ensemble celebrating the newspaper.
Thwack, Bome, Chime on Friday night, July 20th, curated by Outsound Board member Pete Martin, will feature the world of percussion in all its coloristic and dynamic glory. David Douglas will combine percussion instruments with custom-built delays, loopers, samplers, and other effects to create The Walls Are White With Flame, a series of highly spatialized sound sculptures. In Seems An Eternity, Benjamin Ethan Tinker will assemble three percussion trios of metal and skin percussion to explore the same musical material in canon. And finally the San Francisco percussion ensemble Falkortet will show off its versatility combining traditional percussion, hand drums, and electronics with influences from Indonesian music, Brazilian music, Jazz, minimalism, and rock.
The final day of the Outsound Summit, July 21st, will be a big one starting with a 2-4 pm Harmolodics workshop led by Dave Bryant. Dave will share material from his years of Harmolodic Theory performance and study with Ornette Coleman, plus his own compositional and improvisational techniques developed on his own and with his ensembles. The 8 pm final concert, Fire and Energy, curated by Outsound founder Rent Romus, will feature Dave Bryant with his Trio, along with Jack Wright, the Vinny Golia Sextet, and Tony Passarell’s Thin Air Orchestra.
On May 15th, pianist Shai Wosner will be performing a brand new Piano Concerto by Michael Hersch. Titled along the ravines, the piece will be making its first ever concert appearance with the Seattle Symphony at Benaroya Hall, Tuesday May 15th at 7:30 PM.
Shai explains how he came upon his interest for the new work. “When I was looking to commission a new work, thanks to the Borletti-Buitoni Trust of London, I was listening to all kinds of music from composers from different generations and I came across a couple of CDs with piano and chamber works by Michael Hersch. It was clear that he was pursuing his own path with a very strong, personal voice. Those pieces seemed to contain an explosive mix of wildness and melancholy”.
Wosner is another performer that likes to mix the classics with newer, contemporary works. “Programming is really one of the fun parts of being a musician, in my opinion. It’s always nice to fantasize about potential programming ideas, even if, like with any new idea, you may find yourself rejecting it wholeheartedly the next morning. When it comes to recital programs, I try to somehow look for a common thread among the pieces, which sometimes is obvious and sometimes is not. The goal is not so much to include pieces that are similar to each other, but rather a collection of works that are on one hand very different, but that may also resonate, shed light on each other and interact in the context of the program”.
I asked Shai if he would be bringing the new piece into the studio, and he had this to offer: “We hope to be able to record the concerto in the next couple of years. There are also plans for another solo CD and potentially a concerto CD as well that are being discussed. As far as programming is concerned, I am trying to find ‘organic’ ways to fit free improvisation into recital programs. There is nothing new in the concept, of course, and it used to be in fact part of tradition. But I am currently looking for a way to combine it with other repertoire in a meaningful way.”.
Click here for tickets to Shai’s concert with the Seattle Symphony at Benoroya Hall.
Ear To Mind
Pianist Jenny Q. Chai in Recital
Zankel Hall at Carnegie Hall, NYC
April 19th, 2012
Jenny Q. Chai walked out onstage for the first half of her Carnegie Hall debut in a red and black dress and performed for the first half of that first half a mix of Debussy‘s and György Ligeti‘s piano etudes (Debussy: #’s 3 & 6; Ligeti: #’s 2 & 1, Book I). Despite the huge generation gap between these two, the intertwined listing of Debussy and Ligeti had the two composers’ styles offsetting one another in such a way that an unassuming listener would have thought this was one cycle of pieces from the same composer. Read the rest of this entry »
- Vassily Primakov and Natalia Lavrova Photo:Alex Fedorov
Pianists Vassily Primakov and Natalia Lavrova are very much their own acts. But they became close partners when they debuted their Arensky CD and, in the process, founded their own record label, LP Classics, Inc. Since then, they’ve performed as a duo, as they will on May 6 at Get Classical’s inaugural concert series event at New York’s Rose Bar.But their friendship began much earlier, back in 1999, when the two pianists were freshmen at Julliard.
They instantly connected over their shared Russian heritage, but on top of that, their personalities just clicked. “Of course, we have had our share of fights, regular stuff that happens when two egos are involved…and we have our own lives,” volunteers Lavrova, during our animated interview over dinner with Primakov. “But we love each other.”
- Photo: Alex Fedorov
Married to photographer Alex Fedorov, Lavrova often brings her husband on board withher projects.Fedorov is responsible for all of the photographic work featured on the Arensky CD, which Lavrova and Primakov recorded to great reviews. James Harrington of the American Record Guide wrote that the two “capture the essence of each suite, and through their considerable talents, share with us some of the most enjoyable almost unknown music I have heard in quite a while.”
Artistic collaboration was a natural extension of Lavrova and Primakov’s friendship, says Primakov. “We do think alike; there is a spiritual connection and a feeling for the music that just got more serious over the last two years, when we decided to get involved with recording the Arensky’s suites,” he says, reminiscent of their past years spent under teacher Jerome Lowenthal at Juilliard’s chamber music program (where they spend more time partying then practicing, they admit). “We were both excited, when we heard this music and started to perform it in concert to great reviews and decided we needed to record this interesting, yet virtually unknown program,” says Primakov. “We had two options—either pitch it to an established label or try to do it on our own. As we were thinking about this music, we both realized we wanted to have more control of the process, and it became a project that started so many things for the both of us. It also brought us even closer.”
While Primakov has already catalogued a number of recordings with Bridge Records, the Arensky CD was a first for Lavrova, who spends most of her time, when not performing, managing her own music school program. As the director of Music School of New York City, she teaches pianists of all levels and ages, applying her passion for music education that she inherited from her own teacher, Zalina Gurevich, who, many years ago, recognized their shared enthusiasm for teaching and kids in a young Lavrova. “She allowed me to sit in her lessons and gradually take over teaching some of her kids,” says Lavrova. “At first she would monitor the lessons and then give me feedback. It made all the difference in my learning how to become a good teacher.”
A very important factor in Lavrova’s teacher selections is a teacher’s performance experience. “That inspires students in a way nothing else can,” she says. One of her favorite teachers at her school, no wonder then, is Primakov, even though, between his busy performance and recording schedules, he can only take on a limited number of students.
But despite both of the artists’ busy daily routines, they are committed to and infatuated with their newest project, LP Classics. From the initial excitement over finding the pianos and dealing with tuners and sound engineers, they are both planning on fully integrating the record label into their careers. “We had turned to our friend Sarah Faust of Faust-Harrison Pianos to obtain two matching pianos for the recording.
- Photo: Alex Fedorov
She had a new Yamaha CFX in her vast studio, which we loved, and then put us in touch with Bonnie Barrett, the director of Yamaha Artist Services, to find another. We tried it, and it sounded great, and this developed our future relationship with Yamaha.” Primakov and Lavrova are now Yamaha artists. Their Arensky CD was the first ever recording on two Yamaha CFX model pianos, and their CD release performance was live-streamed from the Yamaha showroom. Right now, the two are working on a lot of four-hand, one-instrument repertoire—an easier and more economical setup—exploring less-played pieces such as the Czerny Sonatas and works by Milhaud and John Corigliano, which they plan to perform at Get Classical at the Rose Bar.
In the future, Primakov says, they want to open up their record label to young artists looking to produce resume-building and career-launching first CDs. They also want to unbury historical, undiscovered past recordings of great, established performers, introducing old, forgotten gems to the public, as they did with Vera Gornostaeva Vol. 1 Chopin, a historical recording found through archived tapes in a Moscow library. “We obtained the rights and re-mastered the tapes of this amazing recording,” explains Primakov. “Another hidden secret we are now releasing is our teacher Jerry Lowenthal’s playing, which we both grew up on, and there are so many more to come.”
Very important to their mission is their ability to rely on efficient and passionate
- Photo: Alex Fedorov
music professionals involved in the recording process. “You are so exposed as a performer, you have to be able to trust the people you work with to make you look your best,” says Primakov. “We have built a wonderful little family that includes Charlie Post, who became sound engineer, editor and producer in one, and technician Terry Flynn, who can achieve the most amazing results in the short in-betweens of the recording process. As soon as he hears just a slight irregularity in tone voicing, he informs the sound engineer and matches up everything in the matter of minutes while we step out for a glass of water.”
Also important to Primakov and Lavrova’s goals is the opportunity to constantly engage with new audiences, which they will have the opportunity to do this May 6, when the two perform excerpts of their four-hand program as well as some solo repertoire at Get Classical’s music series launch at the trendy Gramercy Park Hotel’s Rose Bar in New York. Primakov and Lavrova will be two of four pianists presenting a program geared to new and old classical fans, including GetClassical.org readers, by bringing 19th-century salon-type performances to the 21st-century lounge. Hosted by the Gramercy Park Hotel and myself, your devoted GetClassical.org blogger, Get Classical at the Rose Bar hopes to bring classical music to audiences that might prefer listening in the comfort of an armchair, aperitif in hand, to the formality of the concert hall. The series will give listeners the chance to meet artists in the intimacy of the cool Rose Bar and hear them talk about their music and lives as concert artists. And it is exactly this exchange that performers like Primakov and Lavrova, as well as David Aladashvili and Marika Bournaki, the two performers featured alongside them in the evening’s program, are looking forward to—to play and relate to both staying fans and interested spectators in a personal way. “We always want to test drive our program with new audiences. It’s one of the most exciting things one can do as a performer,” Primakov says.
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Washington, D.C. readers may have noticed that the new music scene in the District has been exploding lately. This week brings another significant event when New York’s Cygnus Ensemble makes its Washington debut at the Library of Congress. The concert, part of a mini-residence by Cygnus at the Library, is presented as a tribute to legendary violinist and composer Fritz Kreisler. Rarely heard music by Kreisler from the Library’s Fritz Kreisler collection will be performed, featuring guest violinist Miranda Cuckson on Kreisler’s own Guarneri del Gesù violin.
Most notably for new music fans, the concert features the world premiere of Harold Meltzer’s Kreisleriana, for violin and piano, commissioned by the Library of Congress’ McKim fund. The concert also features Meltzer’s Pulitzer-Prize finalist work Brion, commissioned by the Barlow Endowment for the Cygnus Ensemble.
The concert begins at 8:00 p.m. at the Library’s Coolidge Auditorium. There will be a pre-concert discussion by Mr. Meltzer and Cygnus founder William Anderson at 6:15 p.m. at the Library’s Whitall Pavillion. No tickets are required for the pre-concert talk. Tickets to the main concert are free but require reservations and may be obtained by contacting Ticketmaster online or at 202.397.7328.
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Sketches for an untitled orchestral work dating from the time Sibelius was writing his Eighth Symphony
Big news from Finland: Sketches of what appear to be Sibelius’s Eighth Symphony (long thought destroyed by Sibelius) have emerged. Here’s a clunky Google translation of the Finnish web site announcing this incredible discovery, along with an orchestral reading of those sketches. At the original Finnish link, you can access a video and hear the realization of the sketches. Those of you who don’t speak Finnish will want to jump ahead to ca. 2:00, where the music actually begins. Yes, it sounds like Sibelius, but a more chromatic and fragmented Sibelius than we’re accustomed to.
A more comfortably written article on the discovery and the musicology supporting the claim can be found here.
And a great big Thank You to Sibelius booster Alex Ross, who hipped me to this at his web site.
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DZ4: Alicia Lee, Brad Balliett, Alma Liebrecht, Arthur Sato
Watching the beginning of a new ensemble is always exciting. But there’s a difference between a group that sets up camp in known territory — say, in the mineral-rich lands of string quartet literature, or in the breadbasket of Pierrot — and a group that strikes out for the wilderness, to make a repertoire where there had been none.
In the last year, I’ve seen the launch of two groups with this mission. The Deviant Septet went to that place Stravinsky discovered in “L’histoire du Soldat” but that was never settled by others — clarinet, trumpet, trombone, bass, bassoon, violin, percussion. They added two new pieces, by Ruben Naeff and Sefan Freund, at their incredibly fun inaugural concert in May. By next May there will 12 more by 12 new composers, all based on Stockhausen’s Tierkreis.
The DZ4 wind quartet (that’s oboe, clarinet, bassoon, horn) has a similar mission, to build a repertoire from scratch through projects that involve many composers tackling similar projects. Their debut concert, “One Hot Minute,” featured 20 one-minute compositions by 20 different composers (I got to be one, and was much rewarded by their terrific musicianship and heartfelt enthusiasm). This Friday they’ll perform their second project, “The Well-Tempered DZ4,” in which 24 composers each take on a different minor or major key.
These groups are doing something that I, especially as a composer, find really inspiring — they’re committing to an unknown music. Composers, go write for them! They’re stellar players, great to work with; check out the concert and say hi.
The Well-Tempered DZ4
Friday October 21st, 2011
46 Barrow Street, New York
C Major- Jacob Garchik
A Minor- Bradley Detrick
G Major- Karl Kramer
E Minor- Lauren Winterbottom
D Major- Pauline Kim
B Minor- Jonathan Russell
A Major- Evan Premo
F# Minor- Gareth Flowers
E Major- Eric Wubbels
C# Minor- Jane Antonia Cornish
B Major- James Blachly
G# Minor- Ted Hearne
F# Major- Mohammed Fairouz
Eb Minor- Caleb Burhans
Db Major- Mike Block
Bb Minor- David Byrd-Marrow
Ab Major- Charlie Porter
F Minor- Glenn Cornett
Eb Major- Nathan Burke
C Minor- Matt McBane
Bb Major- Ryan Carter
G Minor- Ken Thomson
F Major- Zachary Detrick
D Minor- Ryan Francis
Posted by Polly Moller in Bass, Chamber Music, Composers, Concerts, Contemporary Classical, Experimental Music, Festivals, Improv, Interviews, Piano, Premieres, San Francisco, Women composers
San Francisco Bay Area composer/performer Kanoko Nishi wraps up our 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.
Kanoko is classically trained on piano and received a BA in music performance from Mills College in 2006. Her recent interest has primarily been in performing 20th century and contemporary music on piano and koto, and free improvisation in a variety of contexts. SF Bay Area contrabassist Tony Dryer and guitarist IOIOI, visiting from Italy, will perform Kanoko’s graphic scores as a duo.
S21: How has your classical piano training prepared you – or not prepared you – for improvisation and composition?
I think that one very important element that is particular to musical improvisation as opposed to improvisation in other fields is the role of the musical instruments one performs and interacts with, and classical training for me was just a very deep way of building a relationship with my instruments. What has been helpful is not so much the technique, vocabulary or repertoire, but the time, energy and thoughts spent in the process of acquiring these more concrete skills and knowledge. For me, every improvisation I do is like a battle with the instrument I’m playing, in my case, either the piano or koto, and though I cannot really practice improvising by its definition, it’s only by practicing regularly that I feel I can enrich myself as a person, build my stamina and confidence enough to be a suitable match for my instrument to bring out its full potential. Read the rest of this entry »