Archive for the “San Francisco” Category
One of the most exciting areas for new music in recent years has been in the field of choral music. In the next two weeks, two choirs devoted to new music—one a veteran organization, the other an exciting, young rookie—will be presenting important programs of new choral works in both coasts.
The rookie is Baltimore’s Anima Nova Chamber Choir, which will present a concert of works by Eric Whitacre, Tarik O’Regan, Michael Rickelston, Sean Doyle, and Anima Nova founder and director, Jake Runestad. The concert, at 7:30 p.m. on Sunday, May 8 at St. Ignatius Church, 740 North Calvert Street in Baltimore, will benefit the Peabody Preparatory’s “Jr. Bach” scholarship, which provides opportunities for underprivileged students to attend the Peabody Prep.
The veteran ensemble is San Francisco’s Volti, which for the past 32 years has been at the vanguard of new choral music in the United States under the direction of its founder, Robert Geary. Their season finale will be presented three times (Friday, May 13 at 8:00 p.m. at the Berkley City Club; Saturday, May 14 at 8:00 p.m. at First Lutheran Church in Palo Alto; and Sunday, May 15 at 4:00 p.m. at the Walt Disney Family Museum in San Francisco’s Presidio) and features works commissioned by Volti, two of which, Matthew Barnson’s Genesis and Elliot Gyger’s voice (and nothing more), are world premieres.
Barnson composed his Genesis, a re-interpretation of the biblical story of creation through poetry, at Volti’s Choral Arts Laboratory, its annual commissioning and residency program where composers under 35 work with Volti’s singers, Artistic Director Robert Geary and Composer in Residence Mark Winges to create a new work for choir in a workshop setting, culminating in its premiere at the end of a given season. Barnson describes Genesis as “three tableaux that are independent of one another but dependent upon the Book of Genesis to give them meaning. Each is a subversive exegesis upon the original story of creation and posits a slight, but vital alternative in the narrative, affecting the outcome of the myth in ways that are sometimes insignificant (but poignant) and sometimes darkly different. Each of the poets whose work I set refracted my original intentions. For instance, the outer movements of the triptych actually retell stories from the book of Genesis. In the second, middle movement I set Richard Siken, a poet whose ecstatic and anxious book, Crush is replete with Biblical images. Beyond the images of apples (knowledge but death) is the feature that the last two poems share: death deferred.”
Elliot Gyger’s voice (and nothing more) reflects the composer’s interest in “language and communication in their own right.” The original germ for what would become voice (and nothing more) was planted ten years ago, when Gyger was a graduate student at Harvard University, where he heard a lecture by musicologist Mauro Calcagno. “Occasionally as a composer,” one encounters by chance a piece of text (or other extra-musical stimulus) for which one may have no immediate use, but which makes such a strong impact that one files it away for future reference. Among the many fascinating sources which Calcagno discussed was a passionate diatribe on the transience of the voice from Emanuele Tesauro’s La metafisica del niente (The Metaphysics of Nothing). Read the rest of this entry »
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.
This Sunday, April 3rd, 2-10pm, the Switchboard Music Festival will present their fourth annual 8-hour music marathon at the Brava Theater in San Francisco (a new venue to accommodate the overflowing crowd they had at last year’s sold out event!). Switchboard’s goal is to bring together bands, composers, and other musicians whose work combines genres in interesting, organic ways. They place a special emphasis on music from the Bay Area, but always with an eye on the larger scene and bring in at least a few out-of-towners.
This year’s festival features up-and-coming indie band Birds & Batteries, fresh off a national tour including SxSW, and Causing a Tiger, an all-star trio featuring Carla Kihlstedt (Tin Hat, Sleepytime Gorilla Museum), Matthias Bossi (Sleepytime Gorilla Museum), and Shahzad Ismaily (Secret Chiefs 3). Leading up to these sets will be a dizzying array of eclectic performances, including Gojogo, Telepathy, The Genie, Loren Chasse, Erik Jekabson & the Bay Area Composers Big Band, and Wiener Kids. Among these will be sets of new music by composers William Brittelle, Ryan Brown, Dan Becker, and a world premiere by Jonathan Russell, all of which push at the edges of modern music and are as voracious in their influences as the festival itself.
More information on the artists, including sound clips and photos, can be found on Switchboard’s website and follow the Festival on Facebook by Sunday for a chance to get a free download by headliners Birds & Batteries.
But wait, there’s more… if you don’t live in San Francisco you can still check-out the show – they’ll be streaming it live from their website on Sunday!
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[The latest iteration of the always-stellar Other Minds festival is now done and in the books. We asked our equally-stellar Bay Area musician friend Tom Djll if he'd like to cover a bit of it for us, and he happily sent along his impressions of the second and third concert evenings.]
Other Minds 16
Jewish Community Center, San Francisco
Concert Two, Friday, March 4, 2011
There’s a shard of spotlight on my shoulder. A music stand hovers off the sphere of peripheral vision; under it, the shadow of fingers curl like the violin scroll toward which they crawl, spiderish. The fingers belong to a violinist of the Del Sol String Quartet; on both sides of the audience the quartet and the Left Coast Chamber Ensemble are arrayed up the steps toward the back of the hall. In forward vision is percussionist Andrew Schloss, standing behind a computer and percussion-controller on a table. Over these hover his wired drumsticks, sometimes striking the controller yet often just floating, stirring the atoms above it, sending flocks of musical messages to various slave percussives onstage, offstage, and hung from the ceiling above. The composer is David A. Jaffe, protegé of Henry Brant; the percussion-controller builder, German-born, Seattle-based Trimpin, master of MIDI and commander of solenoid soldiers.
The Space Between Us might be called a “cubistic” composition. The subject is suggested by the title, or “what can be communicated and what remains unsaid,” in the composer’s words, as, with sticks held aloft in a gentle but dramatic gesture, percussionist-conductor Schloss signals yet another beginning, another foray into the problem of separation and identity. Somewhat reminiscent of Ives’ The Unanswered Question, each new attempt answers nothing but only brings more questions to the surface, adding facets to the cubist puzzle in the hearer’s mind. Strings quiver in mournful, canonic dirges in one phase; other times they signal impatience in brusque, un-pretty gestures. Later on, massed plucking is attempted, to better match the percussive chatter. Desperate glissandi from the computer-driven piano onstage are gobbled and hurled back by cello and viola, all to no avail. The space remains and separation seems unbridgeable, yet the sonic discussion has pushed the gloom back for at least a few moments of transcendent, clouds-clearing beauty. The conversation is aptly dedicated to Henry Brant, an Other Minds spiritual father.
Next up was I Wayan Balawan, guitarist/composer of Bali. OM 16 marked the first appearance in the West of this gifted young man of Olympian technique and globe-trotting musical mind. He also possesses an awareness of stagecraft and audience engagement, reflected not only in his pleasing hybrid music but also humorous asides which broke the performer-audience barrier, and a precise approach to costuming. Onstage with him were, from left, Balinese compatriots I Nyoman Suwida and I Nyman Suarsana on gamelan instruments. They were clothed in traditional Balinese musician dress: Nehru-ish jackets, beaked fezzes, sari-like sashes and bare feet. Balawan himself kept the hat but otherwise he and the added rhythm section (Scott Amendola and Dylan Johnson on drums and bass) decked themselves casually. Sort of a stylistic continuum, with Balawan as the mid-point.
All the brilliance of Balinese music was in evidence as the trio launched into the first of three numbers (Amendola and Johnson laid out at first), with Balawan leading on double-neck electric guitar and voice, and xylophone doubling and drum accompanying. Balawan has all the chops and effects of any guitar god you can name, and his lightning-fast melodies were as often hammered out on the fretboards with one or both hands as they were plucked traditionally. Another electric guitar stood ready on a stand; both instruments were routed through various samplers and synths and footpedals. The tunes shone the happy sunlit sound of dissonance-free scales and world-pop beats. Balawan opened the final number with a demonstration of the hocketing melody as laid out by the Balinese players on each side of a metallophone; part by part, slowly, then briskly together, then doubling with guitar at warp speed in the tune’s performance, and the audience slurped it up like Singapore noodles. This kid is going places.
Agata Zubel of Poland opened night two’s second set with Parlando, voice + electronics in a rigorous yet easy-to-digest demonstration of vocal/computer self-accompaniment of the non-looping kind. One might have expected more integration of the hairier side of contemporary vocal extension (Diamanda Galas, Phil Minton, Shelley Hirsch), but Zubel’s range of techniques was focused, precise, and mostly omitted noises in favor of dramatic gestures. The sounds and ambiences immediately brought to mind Cathy Berberian (more on her, later), but then an outbreak of avant-beatboxing shocked one back to this century. Then, after just eight minutes, it was over. (Zubel was given more of a presence on Thursday night.)
Friday night’s ultimate act was the duo of Han Bennink (drums, Holland) and Fred Frith (guitar, devices, Oakland, by way of England). About esteemed Dutch drummer, improviser, and provocateur Han Bennink’s stage presence, one’s first impression is of a pair of malformed albino salami – wait, those are his legs? – revealed via Bennink’s now-patented stage getup of beachcomber’s shorts, teeshirt and headband. All that was missing was the metal detector, although had there been one available there’s no doubt Bennink would have beat some music out of it. As it was, everything within the man-child’s reach was fair game. That reach extended beyond the stage at times – backstage, an unguarded piano was hijacked for a short joyride; then he turned his back to us and set his bum on the drum and wailed away on the wooden stool; later, Bennink took to rattling his sticks on the railings flanking the audience, giving a fair approximation of gamelan, no doubt an intentional nod to the Balinese set that came before. And for a long while, Bennink simply sat spread-legged on the floor and ecstatically pounded it with his palms, generating an insistent beat in nearly every performing permutation. He also had a snare drum onstage for a few demonstrations of his peerless brush technique.
Bennink is one of the few improvisers around who can make Fred Frith look like the conservative guy onstage. Frith surely knew what he was in for, and kept his part well under control and always gorgeously musical. He even drew some laughs of his own, strumming the strings of his lap-held guitar with paint brushes. I’ve seen him drop rice grains on his strings a few times before, and this time the stunt made its beautiful, random plinks fit Bennink’s manic-percussive thrash just right, somehow. These two together, who can turn practically any liminal sound-construction into compelling music without ever suggesting a tune or idiom, could lay claim to being the world’s greatest bad buskers.
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Music is as much of a time art as reading or looking at pictures because its subject, as John Ashbery once said about poetry, is always somehow about time. And composers, like writers, whether consciously or not, are always playing a game with time. A long piece can sound short, and a short one, long. Time can seem heavy, as in Dostoevksy, or Wagner, or light as in Proust, or Earle Brown. The four pieces on sfsound‘s most recent concert at The San Francisco Conservatory of Music’s elegant hall managed to be about all these things at once.
Anton Webern‘s pointillistic approach has often been remarked on, but this performance of his Quartet Op. 22 (1930) revealed other things besides his ultra precise and often very soft sound gestures. It’s characteristically brief, and clocked in at 8 minutes here (“the sweet succinct,” as Frank O’Hara once wrote–but also surprising, with scattered long tones in clarinet (Matt Ingalls) and tenor sax (John Ingle), and witty, almost whimsical. Hardly what you’d expect from the earnest, heavy breathing New Vienna School. Time seemed magnified, collapsed, the sound picture ably completed by violinist Graeme Jennings and pianist Christopher Jones.
Would that Jones’ Liquid Refrains (2011), commissioned by sfSound and the Koussevitzky Foundation, had the take it or leave it sense of style of the Webern. But the piece, conducted by the composer and performed by 12 members of sfSound said a lot less in its 13 minutes than the Webern. You always hope to hear a personal voice in painted, written, or musical art but you didn’t get much of one here, especially in the first part’s busy for no apparent reason, standard-issue modernist gestures. The second part, with its transparent writing and brief clockwork episodes–time standing still or at least examined up close–seemed to sketch a semblance of who this composer might actually be.
Improvisations usually have a way of speeding up our sense of time, and those by clarinetist Matt Ingalls, saxophonist John Ingle, and percussionist Kjell Nordeson sounded fresh and spontaneous, with Nordeson’s drum kit and assorted percussion making a joyful noise and providing lots of rhythmic and timbral interest.
Morton Feldman was famous – some would say infamous – for pieces of very long duration. His six hour String Quartet # 2 (1982), and For John Cage (1982), (which lasted 78 minutes when Jennings and Jones played it in San Francisco in ’08), atomize our perception of time, as does Clarinet and String Quartet (1983), which sfSound played for 45 minutes here. It certainly toyed with our expectations of what music should be, and bore not the slightest resemblance to the Mozart and Brahms Clarinet Quintets, which are from a tradition that Feldman was apparently hostile to, though his devotion to the passing moment makes him a kind of romantic, pursuing memory on his own very individual terms. Wisps–his term–of melody, through cells and figures varied and combined–is a more accurate description, with texture, and color always getting the upper hand. But does this make it unaccountably deep? Well yes–and no. I nodded off and on–the lack of rhythmic energy–is it going anywhere interesting –was both calming and aggravating. “Erased De Kooning”– well, not exactly, but perhaps this piece is a song that we can just barely hear, much less remember, which Matt Ingalls, clarinet, Jennings and Erik Ulman, violin, Ellen Ruth Rose, viola, and Monica Scott, cello, made present, but not quite near, with some wonderful invocations–the string harmonics from Lalo Schifrin’s 1979 score for The Amityville Horror near the beginning–adding a much needed theatrical juice.
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Gabriela Lena Frank
When the 2010 Composer Collaboration Awards call for proposals went out on May 10, 2010, music presenters, ensembles, and composers all over the San Francisco Bay Area called, paged, and emailed one another, then got together to put their dream projects down on paper in time for the deadline.
Today the staff and Boards of six organizations, their chosen composers, and their artistic collaborators are popping champagne corks and dancing around their offices. They’ve received $75,000 each from the Wallace Alexander Gerbode Foundation and the William and Flora Hewlett Foundation, to make six world premieres.
Cabrillo Festival of Contemporary Music – Laura Karpman and Independent
Producers/Authors, The Kitchen Sisters
The Cabrillo Festival is one of the leading festivals dedicated to contemporary classical music. The work brings together Emmy award-winning composer Laura Karpman together with The Kitchen Sisters (authors and radio producers Nikki Silva and Davia Nelson) to create a multi-media, full evening length symphonic production titled The Hidden World of Girls. The Hidden World of Girls will focus on stories of lives shaped by the secrets girls carry with them into adulthood. The premiere is scheduled for July 28 & 29, 2012 at the 50th anniversary season of the Cabrillo Festival.
Corporation of the Fine Arts Museums (FAMSF) – Sarah Wilson and Aerial Dance Company, Catch Me Bird
Inspired by the incredible architecture, landscape and visual arts collections of the de Young Museum, Off the Walls will be a new jazz composition for aerial dance, which will be performed at assorted locations outside, inside and on the sides of the museum. It will be an evening length, site-specific work performed by composer Sarah Wilson, Catch Me Bird Aerial Dance Company, and an ensemble of 12-18 Bay Area musicians and dancers. The premiere is scheduled for March 2013.
Jewish Community Center of San Francisco – Mark Izu and Choreographer, Kimi Okada
The JCCSF’s Friend Center for the Arts aims to create a forum for innovative projects in multi-disciplinary and multicultural contemporary and traditional performance. It will commission a multi-media, multi-disciplinary work composed by Mark lzu and choreographed by Kimi Okada entitled Mu. Incorporating Korean, African, Indian, Japanese, and Hawaiian traditional music and dance, the piece heralds the end of the Mayan calendar and uses the legend of Mu, an ancient empire of blessings and noble values destroyed by materialism and greed, as a parable for today. The premiere is scheduled for December 2012.
Movimiento de Arte y Cultura Latino Americana de San Jose Incorporated (MACLA) - Guillermo Galindo and Chamber Ensemble, Quinteto Latino
MACLA is a San Jose-based contemporary arts space grounded in the Chicano/Latino experience. The company incubates new visual, literary and performance art in order to engage people in civic dialogue and community transformation. Guillermo Galindo and Quinteto Latino will create Voces del Desierto, a piece that will explore the journeys of unnamed immigrants who cross the Mexican-American border in search of a better life. The premiere is scheduled for late 2011 or early 2012.
San Francisco Girls Chorus – Gabriela Lena Frank and Librettist, Nilo Cruz
One of the premier girls’ choruses in the U.S., the San Francisco Girls Chorus will commission Gabriela Lena Frank to create a cantata for treble chorus, chamber orchestra, and vocal soloists in collaboration with librettist Nilo Cruz. Marrying Western classical music tradition with Latin American folk music, Holy Daughters (working title) examines the cultural clash and interchange between European colonialism and indigenous tradition, and the role and perception of women in both worlds. The premiere is scheduled for June 2013.
Z Space Studio (Z Space) – Marcus Shelby and Co-Creator, Margo Hall
Known nationally as a premier performance development lab for artists, Z Space will create a new work by composer/musician Marcus Shelby and actor/director/singer Margo Hall. The new musical performance piece will explore the journey of a young black woman growing up in Detroit during one of the most exciting times for music and one of the most turbulent for civil rights. Loosely based on Ms. Hall’s life, Detroit represents a link to her childhood where her father was a well-known Detroit musician and as a child, she sang with her “aunties,” who were members of the Supremes band. The premiere is scheduled for January/February 2013.
The Paul Dresher Ensemble’s Electro-Acoustic Band will be performing this coming Friday and Saturday (Nov. 12-13) at the ODC Theater in San Francisco. More information and tickets can be found here.
The full program is below and features two world premieres, one of which is by Ryan Brown. I was able to talk with Ryan and Paul separately on the phone about this new piece. You can listen to a recording of their phone calls spliced together here.
Gangbusters – Ryan Brown (world premiere)
For Joe Z – Bruce Pennycook (world premiere)
Chromatic Quadrachord – Paul Dresher (concert music premiere)
Glimpsed From Afar – Paul Dresher (2006) duo for invented instruments
New Work – Paul Dresher; a preview of work-in-progress for the new Hurdy Grande
I first heard about the Long Now Foundation a couple years ago from friend and former bandmate Daniel Magazin. I remember visiting their web site and thinking that San Francisco was the perfect place for such an entity. “The Long Now Foundation hopes to provide counterpoint to today’s “faster/cheaper” mind set and promote “slower/better” thinking,” the web site declares. “We hope to creatively foster responsibility in the framework of the next 10,000 years.”
Such a perspective seems custom-made to partner with the minimalist and conceptual streams of contemporary music. UK-based artist, musician, and composer Jem Finer thought so too. He first discovered Long Now through reading about the Foundation in Brian Eno’s book, A Year With Swollen Appendices, and thereafter became a close friend and artistic collaborator.
Finer began conceiving of his 1,000-year composition, Longplayer, in the mid 1990′s when he was “struck by a general lack of long-term vision” as the turn of the century loomed. “Longplayer grew out of a conceptual concern with problems of representing and understanding the fluidity and expansiveness of time,” he says. “While it found form as a musical composition, it can also be understood as a living, 1,000-year-long process – an artificial life form programmed to seek its own survival strategies.”
Longplayer has indeed survived. Since it began performance at midday on December 31st, 1999, in the lighthouse at Trinity Buoy Wharf, East London, it has been going on continuously at several global locations and, of course, online.
This Saturday, October 16th, Long Now organizers will offer a live segment of Longplayer to accompany the Foundation’s seminar, Long Conversation. Live musicians, equipped with 365 Tibetan singing bowls, will perform the 1,000-minute excerpt from 7:00 a.m. to 11:40 p.m. in the Forum at Yerba Buena Center for the Arts. The six-hour Long Conversation, featuring nineteen thinkers from many disciplines, runs from 3:00 p.m. to 9:00 p.m. at the nearby Contemporary Jewish Museum.
One ticket, priced at $28.00, secures admission to the concert and the seminar. For more information, contact Danielle Engleman at the Long Now Foundation.
If, like me, you’re a composer and you routinely ask yourself “What am I doing six months from now? Can I get something on the calendar?”, Other Minds has a suggestion – especially if you have a piece on the shelf for flute, Bb clarinet or bass clarinet, violin, cello or some combo thereof. Or if you’re eager to write a new one, knowing that the players involved could be the Other Minds or Navitas Ensembles.
And if, like me, you’d rather be on stage than squirming out in the audience the whole time, you have the option to perform in your own piece. You can also include electronics. Applicants need to limit the piece duration to 20 minutes or less.
If you can meet these criteria the good folks at Other Minds would like you to apply for the Other Minds Composer Fellowship. The application deadline is October 15, and Fellows will be announced by November 5. That’s when you’ll know if you will be in San Francisco six months from now, participating in a week-long residency in conjunction with the 16th Other Minds Festival, from Sunday, February 27 through Saturday, March 5, 2011.
One work by each of the Fellows will be performed on March 2, 2011. Leading up to that, the Other Minds and Navitas Ensembles will workshop these compositions in open rehearsals. Fellows will also get to discuss their pieces in a public panel discussion as and take home panel and performance recordings. Their recordings will be uploaded to www.radiOM.org. Other perks include lots of contact with the Festival composers and a full Festival attendance pass.
Check out the full RFP here – and break a leg!
Putting a musical program together is always a challenge, but it’s one thing on paper, and another live, in front of people. The San Francisco Composers Chamber Orchestra’s Silence of the Wolves program, which it performed a couple of weeks ago at San Francisco’s Old First Church was a curious one. Was it about wolf tones, or the devil’s interval–the tritone –which has more or less been the foundation of modern music since Schoenberg and his school began to exploit it? Or was it about the West, and San Francisco’s being on the wild edge of the continent, which its music director and co-founder composer Mark Alburger implied in his opening remarks from the stage? It seemed to be vaguely and particularly about all these things, and its contents varied considerably in tone, content, and impact. But thankfully no one was thrown to the wolves.
Loren Jones’ Wolf Wood, which he described as ” a solo piano piece inspired by the music of Eastern Europe, ” sounded to these ears like one of Satie’s evocative miniatures, especially in its opening, which was followed by lush yet still transparent variations , which Jones, on piano, played movingly. John Beeman’s 2 movement Fancy Free , with the composer on double bass, was carefully written and expressive; its most striking sound image being a sequence of unison rising fourths near the very end.
But what was one to make of Cindy Collins’ Kinesthesia which she described from the aisle — there were no program notes –as being about physical states of mind she’d felt? There’s nothing wrong with musical autobiography if the piece justifies it, but Collins ‘ didn’t seem to. We’ve all had vague or unfocused moments but these don’t necessarily make for an absorbing experience when made into music. Collins did however produce at least one arresting image — a viola/cello drone, played with great concentration by Nansamba Ssensalo and Areilla Hyman, which slowly changed pitch, and evoked an acute sense of disquiet. Davide Verotta’s An Enticement of Silence, which began like an off pitch version of Ives’ 1906 The Unanswered Question, progressed into a series of reasonably varied harmonies and textures, but didn’t add up to much more than that. Our sense of our postmodern world as a chaotic place has produced some provocative music –John Zorn’s comes to mind–but Verotta unfortunately failed to make
anything as powerful, or succinct as his.
Lisa Scola Prosek’s Three Songs from her new opera Ten Days, Dieci Giorni, based on Bocaccio’s Decameron was, as so often with this composer, full of surprises. Transparently scored, clearly played, and vividly sung in English and Italian by soprano Shauna Fallihee, it said what it had to, then stopped . And the 16 person band — the largest complement of the evening — was obviously moved in several places. Conductor Martha Stoddard’s Cowgirl Rondo (with Stoddard sporting a Western handkerchief around her neck) for string quartet and double bass), was vigorous and fresh, though top honors in that department went to Darius Milhaud’s Chamber Symphonies #1 – # 3 ( 1917-22 ) whose polytonal moments barely disguised their very French folk-like structures.
The playing throughout –under Martha Stoddard and John Kendall Bailey–seemed both accurate and enthusiastic, though the more obviously complex pieces by Collins and Verotta suffered from Old First’s unforgiving acoustics — the walls are concrete, the outside brick. Maybe a an orchestra friendly adjustable partition behind the players would help?