Archive for the “Premieres” Category

Head’s up on a couple things this coming week that caught my eye:

WPRB’s Marvin Rosen is doing a special edition of his Classical Discoveries radio show this Wednesday, Jan. 27th. From 5:30 until 11:00 AM EST. Titled “East Meets West“, the entire five-and-a-half  hours will be devoted to works by Middle and Far Eastern Composers, as well as to works by Western composers inspired by these regions. A special treat in the 10-o’clock hour will be the world premiere broadcast of the Sonata for solo viola Op. 423 (1992) by Alan Hovhaness (1911-2000), performed by Christina Fong (from a brand-new OgreOgress release).  Then from 11AM until 1PM, Marvin’s guest will be composer/improviser/percussionist Lukas Ligeti. A swell time all around, and as always no matter where you are your computer can bring you the broadcast live.

If you happen to be on the other coast that same day (Jan. 27th), you’re in for a treat if you head to the Pasadena Central Library (Donald R. Wright Auditorium, 285 E. Walnut St.) at 6PM PST, for a concert presented by Cellogrill (über-cellist Jessica Catron) and the Pasadena Creative Music Series.  The concert opens with the world premiere of composer Cat Lamb’s Branches for just-intoned female choir assembled especially for this occasion. Next up, MISSINCINATTI follows with folk songs of land and sea; forgotten tales about fantastical crocodiles, maritime ghosts and work in the mines illuminated before your very eyes with the assistance of many special musical guests. And finally, the compositions of RATS can confound and delight like a musical retelling of The Wizard of Oz by Captain Beefheart. And all this for the princely sum of FREE.

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The S.E.M. Ensemble will open its 40th anniversary season with its annual Christmas concert at Paula Cooper Gallery in New York City on Tuesday, December 15. SEM has performed a holiday concert at the gallery for the last 25 years, and this year’s program will feature two N.Y. premieres by new-music icon Christian Wolff (above left), the first public performance of Petr Kotik‘s (above right) new percussion work performed by TimeTable Percussion, and Lejaren Hiller‘s rarely heard String Quartet no. 5, along with a work by J.S. Bach.

Christian Wolff is also marking his 75th birthday this year, and has put together a kind of celebratory all-Wolff concert at Roulette on Dec 12th. Christian was kind enough to write a bit about  his music on both of these concerts:

On December 15, the S.E.M. Ensemble will perform two New York premieres of my work: “Flutist (with percussionists)” and “For John”, as part of their annual concert at Paula Cooper Gallery (NYC). This will be one more in a long line of performances of my music by Petr Kotik and the S.E.M. Ensemble, beginning, I think, in the early 1970s, not long after Petr came to Buffalo – he had already organized the first performance of an early piece of mine in Prague in the 60s. There has been an extraordinary continuity of support. And, with this encouragement, I’ve also written pieces for the ensemble, as well as for the orchestra associated with it (the S.E.M. Orchestra in New York).

“Flutist (with percussionists)” came about when Chris Nappi, longtime percussionist for the SEM ensemble and friend, asked me for a piece – in exchange for music copying he had done for me. He wanted something to play with another percussionist, so the music is for more than one player. Then Petr Kotik, composer, conductor and excellent flutist, had me at his Ostrava (Czech Republic) New Music Days in 2003. I can’t exactly remember, but I think he was looking for some additional music for one of the concerts, so I made solo flute music for him, and then, since Chris was also there, it occurred to me the two pieces could be done simultaneously. Each piece has pauses of free duration, determined in the process of playing by the performers, so that they can be free to space their material in relation to one another, improvisationally. In addition, the flute material consists of a collection of shorter units which can be played in any sequence, as the player decides, and sometimes repeated, so that’s another element in ‘improvising’ the relation of the two pieces.

“For John” was written as part of a collaborative piece titled “For John” in celebration of John Cage at Bard College a few years ago (when the John Cage Archive was relocated at Bard). My contribution was a small set of piano nocturnes and “Material”, music playable by any smaller collection of performers (instrumentation not specified). The others collaborating were David Behrman, John King and Takehisa Kosugi, who played their own work simultaneously with mine, and intermittently we all played from the “Material”.

Then on Saturday, December 12, at 8:30 pm there will be a concert of my music at Roulette. The main item on the program will be the premiere of a new piece “Quintet”, written especially for this occasion.

After an earlier New York concert of my music, which was ok, but not quite ideal, I thought why not try to collect some of my favorite musicians who might be available in the New York area. 2009 is also the year of my 75th birthday, so this might also be a kind of celebration. The musicians are Larry Polansky, composer, long-time friend and colleague in Hanover, New Hampshire (but we both grew up in New York), and fine guitar player; Robyn Schulkowsky, also a longtime friend with whom I’ve done a lot of music, regarded in Europe as the premiere percussionist for new music, but also long associated with people like John Cage and Morton Feldman, and a great improviser; Robert Black, double-bass, also someone with whom I’ve worked over a long time, probably best known as an anchor of the Bang on a Can All-Stars. We also have all been involved in recordings of my music (Robert a CD of all my music involving double-bass, Robyn a solo percussion CD and she and Larry more recently on a recording of 10 “Exercises”). The other player, along with myself (on piano and melodica) will be Joey Baron, drummer, associated for years with John Zorn, but even better known as jazz drummer in his own right. Joey had been hearing my music in the last years and said he liked it, so it occurred to me to ask him to join us, and he agreed – a challenge for both us, me writing for a ‘non-classical/new music’ performer, him playing such music. The element of improvisation, or structural flexibility in my music I hope will provide a bridge.

The rest of the program will consist of earlier pieces, a double-bass solo “Look She Said”, a solo snare drum “Peace March”, and an electric guitar piece “Another Possibility,” written to make up for my losing (it was stolen) the only existing copy of a piece by Morton Feldman, “The possibility of a piece for electric guitar.”

Thanks Christian, Happy (late) Birthday, and have a great show or two!  More information for the S.E.M. concert can be had here; for the the Roulette gig click here.

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deChellywebDoes anyone remember the early August announcement that the American Composers Orchestra was going to begin a partnership with LVMH Moët Hennessy Louis Vuitton to “Commission and Premiere New Music by Emerging American Composers”?  Well, whether you can wrap your head around that pairing or not, the first concert is happening on Monday night (November 30th) in Zankel Hall with Erin Gee’s Mouthpiece XIII: Mathilde of Loci, Part 1. Erin is the lucky recipient of the first commission through this new partnership.

There are two other world premieres on the program:

1)    Donal Fox: Peace Out for Improvised Piano and Orchestra.  Mr. Fox was the first African-American composer-in-residence with the St. Louis Symphony Orchestra and he will perform as soloist, improvising his part along with a fully composed score for the orchestra.
2)    Curt Cacioppo: When the Orchard Dances Ceased. The work includes parts for Native American folk voice and percussion instruments, both of which will be performed by the composer.

And, of course, there’s more… there will also be two New York premieres:

1)    Huang Ruo’s piece, Leaving Sao, is written for soprano or high male voice in folk style and chamber orchestra in memory of his grandmother. Sao in Chinese means sorrowful predicament.  I’m not totally sure, but I think he will also be the one singing this vocal part.
2)    Charles Ives: Tone Roads Nos. 1 & 3.  It looks like this will be the only piece on the program in which the composer is not also performing.  Couldn’t the ACO find a way to get Charles there as well?!

You can also find lots of video and audio content about all of these works here.

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I’ve just been informed via press release, that our s21 blogging regular Lawrence Dillon is a “mid-career composer.”  It’s nice to know that he’s only half-done making great music and not already washed-up!

Said release was about the Thomas S. Kenan Institute for the Arts LINKS Commissioning Awards, and the four composers who’ll be getting premieres thanks to it, at the University of North Carolina School of the Arts (UNCSA) in Winston-Salem — whose composer-in-residence just happens to be… yes, Lawrence Dillon. And one of which is by… yes, Lawrence Dillon. But since his is the odd man out location-wise and not first up, I’ll hold off that one to tell you about a couple others:

First up is Laura Kaminsky‘s Wave Hill, in Watson Hall at UNCSA Saturday, November 7, 2009 with pianist Allison Gagnon and Violinist Kevin Lawrence.  The composer writes: “Wave Hill is a multi-movement work inspired by the eponymous 28-acre public garden and cultural center in the Bronx overlooking the Hudson River and Palisades. Wave Hill’s mission is to celebrate the artistry and legacy of its gardens and landscapes, to preserve its magnificent views, and to explore human connections to the natural world through programs in horticulture, education and the arts. Celebrating this special place through music, the piece evokes the garden’s changing landscape at different times of day and throughout the four seasons.”

Then on January 12, 2010, again in Watson Hall, David Maslanka will offer up an as-yet-untitled new work for two pianos and percussion, to be performed by The CanAm Piano Duo (Christopher Hahn and Karen Beres).

OK, now we can take a quick jaunt out of town and meet up with… yes, Lawrence Dillon. On January 15th, 2010 his brand-spanking-new String Quartet No. 4: The Infinite Sphere will be heard in Wolf Trap, Virginia, performed by The Daedalus String Quartet. The latest in Dillon’s Invisible Cities string quartet cycle, the fourth takes its inspiration from Pascal’s reference to an “infinite sphere, whose center is everywhere and whose circumference is nowhere.” The piece taps the potentials of classical circular forms and techniques to create an exuberant, wheels-within-wheels showcase for a virtuosic ensemble.

Leaving… yes, Lawrence Dillon… and rounding out this little tour of “mid-career” folk, we need to get back to Winston-Salem and then the Stevens Center by May 21, 2010, when Randall Woolf‘s new work Native Tongues will see light of day under conductor Ransom Wilson, the UNCSA Symphony Orchestra and “beatbox flutist” Greg Pattillo. Even the orchestra will be getting their chance to rap & scratch on this one, so it promises to be one lively affair.

To purchase tickets for these UNCSA concerts, or for more information, call (336) 721-1945 or visit

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New ring!

New ring!

I’m in Baltimore covering the world (intergalactic) premiere of Judith Lang Zaimont‘s piano concerto, “Solar Traveller” with Timothy Hoft and the Peabody Conservatory Wind Ensemble led by Harlan Parker. I caught the dress rehearsal yesterday and a composer masterclass, and will do some interviews today and film the concert tonight. (There is also Husa’s Music for Prague 1968 and Carolyn Bremer’s Early Light [based on the Star Spangled Banner] on the program!)
So I was amused to find this as I was checking news this morning:

(CNN) — Scientists at NASA have discovered a nearly invisible ring around Saturn — one so large that it would take 1 billion Earths to fill it. Its diameter is equivalent to 300 Saturns lined up side to side. And its entire volume can hold one billion Earths, NASA Jet Propulsion Laboratory said late Tuesday. The obvious question: Why did it take scientists so long to discover something so massive?
The ring is made up of ice and dust particles that are so far apart that “if you were to stand in the ring, you wouldn’t even know it,” Verbiscer said in a statement. Also, Saturn doesn’t receive a lot of sunlight, and the rings don’t reflect much visible light. But the cool dust — about 80 Kelvin (minus 316 degrees Fahrenheit) — glows with thermal radiation. NASA’s Spitzer Space Telescope, used to spot the ring, picked up on the heat.

Coincidence? Maybe not. And of course, Zaimont has a charming piano suite “Callisto” based on the moons of Jupiter, as well as other astral works: ASTRAL… a mirror life on the astral plane…; Sky Curtains: Borealis, Australis; and Chroma: Northern Lights. Look for video of the new concerto in an upcoming Composing Thoughts.

Here are the program notes supplied by Zaimont about the new concerto:

I. Outward Bound (10:00)
II. Nocturne (Lunar) (8:40)
III. Ad astra per aspera (6:50)
Concerto “Solar Traveller” is absolute music, following no implicit program. Yet the work and its individual movements carry descriptive titles rather than the more traditional tempo markings. This is because the Concerto is one of several of my works drawing inspiration from the impress upon our consciousness and imagination of the vastness, wonder and beauty of the natural world of sky, season and space. These pieces (all instrumental works) share a dramatic and coloristic emphasis, and their forms are far from traditional. (This inspirational thread began with the twelve solo-piano preludes of A Calendar Set, and continues in similar works, including the orchestral Chroma – Northern Lights and the piano trio ZONES.)
While the Concerto outwardly observes the usual three-movement large form, its individual movements digress in key ways from an orthodox ‘concerto’ template. “Outward Bound” contrasts two themes, one heroic, energetic and the second inward and moody. The motive-filled first theme is announced by the piano and soon becomes a communal statement for soloist and ensemble. When the second theme enters, it too is stated by the piano alone and it remains predominantly soloist’s terrain throughout. Extensive development centers on extrapolations of the heroic theme; to balance, the cadenza is devoted entirely to the second theme. The movement concludes heroically .
“Nocturne (Lunar)” is the soloist’s terrain, punctuated and frequently partnered by the ensemble in music largely expansive, as if in ‘stopped’ time. As it proceeds a tune arises (heard first as a flute solo above quiet piano accompaniment), fashioned from the simplest of materials; each of the tune’s appearances anchors the movement, calming the mercurial, fragmentary outbursts from the piano. At times as desolate and unfamiliar as a lunar landscape, the nocturne eventually calms, concluding serenely.
A driving sprint, “Ad astra per aspera” grows from an insistent rhythmic cell freshened by hemiolas and other cross-rhythms and chromatic clashes. Percussion is spotlighted throughout, and the soloist shifts frequently from foreground to combining with the ensemble — a change of function which in itself becomes textural counterpoint to the forward thrust. A brief respite (trumpet solo) occurs during which the incessant beating disappears, but the essential rhythm returns shortly in full force. Towards the end the Nocturne’s theme enters in the ensemble, in overlapping meter with the soloist, who continues the main drive; just prior to the vehement close a fragment of the heroic first movement is again heard.
The work ties together through a technical feature: Each movement is built from the raw material of a progressively smaller interval.
Outward Bound’s themes are built from 3rds and all of the development highlights that consonant interval. (At one point there is a scale upwards across two-thirds of the keyboard in parallel thirds, played entirely by the left hand). Built from 2nds, the Nocturne achieves its uneasy, fragmentary quality from the clash of 2nds hammered loudly or (stretched to 7ths and 9ths) in glittering scherzo filigree. “To the stars, through adversity” is formed by ultimate compression: pounding unisons. Thus, the Solar Traveller pianist physically experiences the compressive forces and increased tensions we associate with space travel’s incredible speeds, through the analog of progressive intervallic compression throughout the piece.

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ninakotovaNina Kotova premieres a new work by Christopher Theofanidis this weekend in Dallas. In the second part of looking at the new work, I spoke with the soloist about the piece, and learned more about how the piece came into being. Listen to our conversation:

mp3 file
The concert takes place Thursday, Friday & Saturday – and more performances coming up in Asia & Europe.

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Chris Theofanidis

This week, the Dallas Symphony premieres a new concerto written for cellist Nina Kotova. Christopher Theofanidis is teaching at Yale and about to embark on two new operas for Houston and San Francisco. He took some time out last week to let me know more about the work and what he’s been up to!
Listen to the conversation:

mp3 file
Tomorrow, a post with the soloist, who also composes…

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Chris Thile

Labor Day 2009 and while John Clare has an airshift, he also has an interview. Chris Thile is relaxing in New York and making coffee, ready to talk shop. Thile jokes, waxes poetic and has a thoughtful answer for the questions. You see, Chris is about to add to the small repertoire of mandolin & orchestra concertos, with his own Ad astra per alas porci. The world premiere performances are September 17, 19, and 20, 2009 with The Colorado Symphony & Jeffrey Kahane.
In the second part of our interview Chris talks about how the piece came about and if others might perform it: Interview Part 2
Thile has been busy as well with his band, The Punch Brothers, and with a duo project with bassist extraordinaire Edgar Meyer. He’ll keep up the concerto as well, with six more chances for you to hear it, the Oregon Symphony (September 26, 2009; with Carlos Kalmar), the Alabama Symphony (October 29, 2009; with Justin Brown), the Los Angeles Chamber Orchestra (January 23 and 24, 2010; again with Jeffrey Kahane), the Winston-Salem Symphony (March 13, 14, and 16, 2010; with Robert Moody); the Delaware Symphony (March 19 and 20, 2010; with David Amado);and the Portland Symphony (March 28, 2010; with Scott Terrell).

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Chris ThileIt doesn’t seem all that long ago that I heard the world premiere of Blind Leaving the Blind. (Read about it here: S21 Review.) It was quite a night @ Zankel, St. Patrick’s Day 2007. Chris Thile has since recorded the work with the Punch Brothers, and made a duo album with Edgar Meyer. Now Thile is about to embark on another journey – a mandolin concerto, Ad astra per alas porci.

This week he plays with The Colorado Symphony (September 17, 19, and 20, 2009; with Jeffrey Kahane), then six more chances to hear it, with the Oregon Symphony (September 26, 2009; with Carlos Kalmar), the Alabama Symphony (October 29, 2009; with Justin Brown), the Los Angeles Chamber Orchestra (January 23 and 24, 2010; again with Jeffrey Kahane), the Winston-Salem Symphony (March 13, 14, and 16, 2010; with Robert Moody); the Delaware Symphony (March 19 and 20, 2010; with David Amado);and the Portland Symphony (March 28, 2010; with Scott Terrell).

I talked with Thile about the new work, enjoy the first part of our discussion, including using amplification or not, and about his Steinbeck title: Interview Part 1

More tomorrow, including how the piece came about and if others might perform it!

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Jack Curtis Dubowsky EnsembleSan Francisco-based composer, conductor, writer, educator, and filmmaker Jack Curtis Dubowsky is a very busy man.  This Wednesday night, September 9th at 7:30 p.m., he’ll take the stage along with the Jack Curtis Dubowsky Ensemble in San Francisco’s Meridian Gallery, located at 535 Powell Street, convenient to Powell Street BART.  Next month, he has a new opera premiering. But fortunately, he wasn’t too busy to talk to me.

S21: How does it feel to be leading off the Meridian Gallery’s 11th season of Composers in Performance?

JCD:  It’s an honor to be selected to be a part of the Meridian Gallery’s prestigious Composers in Performance series. Anne Brodzky, the gallery director, is wonderful.  Tom Bickley is a brilliant series curator; the composer/performers he’s invited have been consistently cutting-edge, engaging, and talented.  I also owe thanks to Adria Otte at Meridian who has been very helpful.

Innova, the label of the American Composers Forum, has released Earth Music, a compilation CD of music selected from the first ten years of the series.  This CD has amazing solo performances on it.  It shows the high level of quality and wide variety of music at the series as well as Meridian’s commitment to new music. Read the rest of this entry »

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