Archive for the “Premieres” Category
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 www.uncsa.edu/performances.
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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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Nina 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:
The concert takes place Thursday, Friday & Saturday – and more performances coming up in Asia & Europe.
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:
Tomorrow, a post with the soloist, who also composes…
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).
It 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!
San 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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[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:]
.. .. .. ..
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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