We’re looking for a WordPress genius to help us update Sequenza21 by cleaning out the crawl space and attic, adding some new wiring and plumbing, attaching the garage to the main house, making the family room a more fun place to hang out and talk and to bring in a new Wolf oven and SubZero fridge. Ok, my recent conversion to home mortageship has addled my brain a bit. What we want to do is make S21 more social and interactive, clean out the spam and cut down the archives, combine what is now four separate WP instances (main, forum, CD reviews, and calendar) into one unified whole, maybe reskin add a web commerce capability. We can pay you something for the initial work and a modest retainer for being on call. Also, we’ll give you masthead credit and promote the hell out of your next concert or CD. Send a us a note if you’re interested.
Apr 22 2013
Apr 20 2013
Last Tuesday, April 16, I trekked to Snyder Hall on the campus of Michigan State University in East Lansing, MI to see a performance by the Musique 21 ensemble, an immersive ‘Theatre of Music’ Production entitled Drunken Moon. The piece was conceived and created by conductor Kevin Noe and composer Kieren MacMillan, and features the merger of MacMillan’s eponymous monodrama for two voices with an English version of Arnold Schoenberg’s legendary Pierrot Lunaire.
Drunken Moon is more than a concert performance, it is a theatrical unfolding where the music and storyline are deeply intertwined and overlap on many occasions. I chose the descriptor ‘immersive’ deliberately, because Drunken Moon is more inviting to its audience than standard chamber operas. This is the touch of Kevin Noe, who has become renowned for his innovative programming with the Pittsburgh New Music Ensemble. In fact, Drunken Moon began as a PNME production, one of that group’s many fully staged programs, which push the boundaries of traditional concert presentation to create an audience experience that is undeniably memorable and powerfully meaningful.
Even though he was armed with students from MSU’s College of Music, Maestro Noe’s designs hit their mark Tuesday night. The show began immediately as the audience entered the theatre, in that the performers and actors were dancing, drinking and chitchatting in an imagined bar, ‘La fin bleu’, set up on the stage. Walking in on the onstage commotion like this set a refreshing and relaxing tone, at least compared to the prescribed ceremony of most Classical or Contemporary music concerts. Although the ‘Fourth Wall’ was not manipulated to any extreme, the attitude of the performance made observing Drunken Moon feel like being a part of it in some small way.
The intimate audience experience I enjoyed Tuesday night was not only a product of the small theater, sets, costumes, lighting and music. My compatriots in the audience and I were drawn into the performance by the stellar acting and singing of soprano Lindsay Kesselman and baritone Robert Peavler who brilliantly portray the main characters in Drunken Moon – dubbed only “she” and “he”. The couple’s interaction is the focal point of the performance’s narrative and the link that connects MacMillan’s Drunken Moon with Pierrot Lunaire.
Apr 20 2013
American composer Steven Bryant has recently contributed a beautiful new piece to the piano-and-winds repertoire. Commissioned by pianist Pamela Mia Paul, Bryant’s Concerto for Piano was recorded for the GIA Wind Works label, as part of a new disc entitled Audibles. The performers are Paul and the North Texas Wind Symphony, conducted by Eugene Migliaro Corporon.
Concertos for piano and wind instruments are a rare breed. The twentieth century produced only a handful of them, the most famous being Stravinsky’s Concerto for Piano and Wind Instruments (1923-24, revised 1950). Shortly after Stravinsky, Colin McPhee wrote Concerto for Piano and Wind Octet in 1928. In 1943 Henry Cowell composed Little Concerto, for piano and band, and George Perle contributed Concertino for Piano, Winds, and Timpani in 1979. More recently additions to the genre include the Norwegian composer Mark Adderly’s Triptych for Solo Piano, Orchestra of Winds and Percussion (1988), and Concerto for Piano and Wind Instruments by Kevin Volans (1995). Bryant’s compelling work is likely to become a well known member of this lesser known genre.
Bryant explains that the two contrasting movements of the concerto are constructed from the same set of descending dyads. The first movement begins in wistful, contemplative simplicity, slowly unfolds, reaches towards its triumphant and spirited zenith, and then recedes again. The arc structure of the movement is elegantly punctuated by a shift from descending to ascending motion at the halfway point. The second movement, with its running sixteenth notes and playful syncopated rhythms, is a display of virtuosity for soloist and ensemble alike. In both movements Bryant uses the concise material to develop music that is thematically cohesive, rhythmically compelling, and filled with timbral beauty. Paul’s performance is clear, powerful, and supportive of the compositional structure.
Also included on the disc are compositions by Brett William Dietz, Donald White, Jess Turner, Francisco Jose Martinez Gallego, Carter Pann, and Justin Freer. Audibles is available on Amazon and also at www.giamusic.com.
Apr 03 2013
To fulfill her mission: “Making contemporary music more approachable for everyone,” Turkish Pianist/Composer Seda Röder, has tapped into internationally seismic changes of accessible entrepreneurship in the arts.
Röder brings her boundless energy and entrepreneurial instincts to all of her endeavors in her native Istanbul, Europe, and the US, giving lectures, recitals, and performance collaborations while building an interactive platform for contemporary musicians from Turkey. Her website: “Listening to Istanbul” shares its title of her 2010 CD, which pioneers piano compositions of Röder and six other contemporary composers from Istanbul, commissioned and performed by Röder herself.
Röder’s album cover quotes: “I am listening to Istanbul, intent, with my eyes closed.” This is how Orhan Veli, the great Turkish poet of the 20th century, began his most celebrated poem about Istanbul…Seda Röder listens to Istanbul once more, intently, with open ears and eyes for an emerging new era. What she hears in 2010 while the city bears the title of the ‘Cultural Capital of Europe,’ are captivating and exciting sounds of a new generation of Turkish composers. Filled with energy and innovative creative force, their music represents the vivid and quickly changing atmosphere that the melting pot of Turkey radiates into the world.”
As she shares with me, Röder considers her commitment to creating a democratic and enlightened society in Turkey, between Orient and Occident, being subtle rather than overtly political. Even though she writes a column for the Turkish Art and Music journal, “Neo Filarmonie,” engaging in themes related to national and international art politics, the content that she writes is mostly about new music programs, deficits of new music in festivals, and the support of contemporary composers today. While Röder’s website, which features biographies, CDs, an international concert schedule, and general information about composers active at the Bosporus, is supported from money arriving from Istanbul (ISGYO – Istanbul Real Estate Investment Trust), the Harvard Associate in her explores her expertise as lecturer, in her podcast series, Blackbox, on iTunes..
Röder’s original ambition was to engage within the whole world of music, whether she accomplished this by graduating from the Salzburg Mozarteum’s performance exams with distinction, intensively working with Brahms specialist Gerhad Oppitz at the Musik Hochschule in Munich, exploring the principles of performance practice of orchestral music, or working with period instruments.
Bridging cultures has become second nature for the proponent of a new music scene in Istanbul, where she often performs and engages in music-related events. Just this past March, Röder was involved with a performance undertaken by the Austrian Culture Forum at the Austrian Consulate General in Yenikö.
In 2007 she arrived in Harvard via Salzburg, and researched piano music from Alban Berg and Arnold Schoenberg, leaving as an Associate before finding herself again back in Salzburg. Culture and music history in Austria are clearly formative for Röder’s style, as is evident by the repertoire she chose to record for her debut album; her first album’s content descends from Mozart to Berg, three composers who were all active in Vienna. Last year, Röder performed often in the US on both the East and West coast, but this year’s performances are more concentrated in Salzburg, and Röder will be back in Istanbul to celebrate the Austrian Cultural Forum’s 50th anniversary in May.
When it comes to familiarizing audiences with the differing language of 20th-21st century composition, Röder is thoroughly inventive. By presenting atypical work by different composers, including herself, Lei Lang, Beat Furrer, Morton Feldman, Helmut Lachenmann, and John Cage, she surprises her audiences with the realization that behind the “typically” shocking and outrageously avant-garde styles of these artists, there can also lay tame, even classical elements. For example, John Cage, who is famed for his jarring experimental compositions, can also produce romantic outputs like his “In a landscape,” which recalls a strong heritage of Debussy’s images. Röder’s programmatic choices bring into focus the idea that these composers made personal decisions to take their music in the direction that they became known for, and that vivid realization can change an audience’s perspective drastically.
Röder is an all-round musician who believes in the power of bringing together different art forms such as video, dance, and music. Her musical work draws upon a sonic vocabulary that consists of sounds produced with the help of electronic, as well as acoustic devices including e-bows, mallets, and metal coins used on the keys, strings, and body of the piano. I heard her showcase performance at Munich’s “Classical: Next” in the summer of 2012, which left me with the impression that she is a fine pianist, no matter what repertoire she chooses to perform. Additionally, directly after performing, she could be found talking personably about her performance, and her entire upcoming concert schedule.
In her recent co-production with SEAD, “Same room, same time – John & Merce,” Röder pays tribute to the sonic imagery of Cage. The piece is entitled “False Memory,” and it refers to the psychological phenomenon déjà vu, recalling an event that seems to be part of a larger-than-life memory, but may have never necessarily occurred in reality.
Röder was called a “master of contemporary piano art” by classical master Alfred Brendel, who was especially impressed by her dialogues with silence. Röder’s “Beethoven Now!” program saw her creating electro-acoustic cadenzas for Beethoven’s piano concertos in improvisation, and was a transcendent example of her iconic exploration of old and new.
Röder’s work Black and White, which will have its premiere at the Tirol Festival “Klangspuren” in September 2013, exemplifies her focus on the piano. As a composer, Röder searches for new definitions within piano repertoire both connected to Austria as a land of great piano tradition, and contextualized within the piano music of today’s composers. “The Austrian Sound of the Piano” is the sub-title of her Black and White Statements, an extravaganza in search of a new piano sound that focuses in on her world of the piano, and reminisces of twelve Austrian composers. These composers find themselves vis a vis an instrument of which language seems tragically to have said everything there is to say. The urgency and drama in Black and White is palpable, smothering the air with a threat; it is almost as if the piano must learn a new way to speak, or risk eternal silence. The program understands itself as an answer to previously unasked questions, a collective reduction of the piano’s essential qualities that aims to explore its essence anew.
Apr 02 2013
Who wants a pair of tickets to coLABoratory: Playing It UNsafe at Zankel Hall on Friday night? This is an ACO project described as the first and only professional research and development lab to support the creation of cutting-edge new American orchestral music through no-holds-barred experimentation. The composers participating in coLABoratory this season are selected from a national search for their willingness to experiment and stretch their own musical sensibilities, and their ability to test the limits of the orchestra. More info here.
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Mar 26 2013
(Houston, TX) Houston-based soprano, writer, and impresario Misha Penton (pictured above) is back with another genre blending evening (two actually) of music for classical voice. Accompanied by pianist Kyle Evans, cellist Patrick Moore, and dancers Meg Brooker and Yelena Konetchy, Penton will present a specially staged concert of composer Elliot Cole’s Selkie, a sea tale with lyrics by Penton. Cole, a graduate of Rice University and now Ph.D. candidate at Princeton University, will be in attendance for Saturday’s performance. The concerts are timed to celebrate the release of a CD recording on Selkie, a sea tale. CDs and download cards will be available for sale at the performances.
As artistic director of Divergence Vocal Theater, Penton has produced and sung in several creatively staged and intensely collaborative concert events featuring light and film projections, puppetry, stage acting, and modern dance and music from composers including Cole, George Heathco, and Dominick DiOrio. The 2010 Houston premier of Selkie featured an elaborate media and lighting design within a theatrical installation. The multimedia elements for Friday and Saturday’s performances include new choreography by Brooker and Konetchy and the screening of a video for the song “Softly Over Sounding Waves” directed by Penton.
Penton writes: “Selkies are ephemeral half-human, half-seal beings. They are transformative creatures that inhabit liminal spaces; exist at the edge of dusk and dawn; in the between-time of solstice and equinox; and where root meets earth and sea washes sand. When the moon swells to its fullest, selkies shed their seal skins, reveal their human form, and dance on our northernmost beaches, their skins ready for the taking. Selkie, a sea tale’s poetry is a dreamscape of human fragility, longing and loss, written from a sailor’s wife to her selkie love and culminates in her willingness to release him back to the sea.”
In addition to singing and mastering some truly challenging music for the voice, Penton has a gift for instilling each of her live events with a seductive, highly stylized vibe that embraces both the contemporary and the archetype. Symbols and references to fairy tales, Greek mythology, and gothic literature are all a part of her creative palette, giving each Divergence Vocal Theater event an air of magic and ritual. Penton also possesses a wicked sense of humor that compliments her very serious passion for making great collaborative art. Making magic takes a lot of work! So if you’re in Houston, don’t sleep on this unique spin on the genre of contemporary chamber opera.
Misha Penton and Divergence Vocal Theater present Elliot Cole’s Selkie, a sea tale, music by Elliot Cole, lyrics by Misha Penton, March 29 & 30 at 8:00 p.m. at 4411 Montrose Gallery, with Misha Penton (soprano), Kyle Evans (piano), Patrick Moore (cello), and Meg Brooker and Yelena Konetchy (dance). Tickets are $15 in advance, $20 at the door. CD and digital download for Selkie, a sea tale available April 1.
Mar 23 2013
[Ed. note: Welcome our newest contributor, conductor / percussionist / vocalist / composer Jordan Randall Smith. A Dallas native, Jordan is the Co-founder of the Dallas Festival of Modern Music and the festival's sister ensemble, Ars Nova Dallas, serving as Conductor and Artistic Director. Jordan's just moved on to Baltimore to pursue a Doctorate of Musical Arts in orchestral and operatic conducting at the Peabody Conservatory. ]
Last weekend, Opera Hispánica concluded their first festival and third season with Astor Piazzolla‘s María de Buenos Aires, his 1968 tango “operita,” or what might be called chamber opera by the wonkish. However, this Sunday, the chamber was filled not with nobility ancient or contemporary, but with beer and wine, and the people who like to consume them, at New York’s Le Poisson Rouge. (Although, some opera nobility, including one of Plácido Domingo’s sons, were spotted at the Sunday evening show.) In truth, the word “opera” is only useful in that it brings to mind how openly this drama defies the classical notion of what opera is supposed to be. Instead of conforming to tradition, it provokes a re-examination of convention. This sort of provocation proved to be the theme for the work and for the night.
With a tango band occupying fully 60 percent of a stage which is already rather limited in dimension, production design was a daunting task expertly fulfilled by Stage Director Beth Greenberg of City Opera fame. Greenberg managed to turn the cramped, uncooperatively spare stage to her advantage, projecting into the space a smokey, claustrophobic Buenos Aires alleyway positively dripping with sinful lust and criminality, where “Hustlers, pimps, and devils appear at every turn,” as Greenberg wrote in the program. And the claustrophobia was palpable. The audience was repeatedly intruded upon by El Duende (ghost poet), a spoken role played by Gerardo Gudiño. The tragic heroine María, performed by Solange Meridinian, also came to a portion of a table in the middle of the audience to penetrate both the 4th wall and the comfort zone of the audience with the surrealist poetry of librettist Horacio Ferrer. In an interview for Sequenza21, Greenberg admitted, “you spend a great deal of time with a work with symbolism as dense as this, you spend time looking for a door in. The poetry is so rich that it can actually at times seem impenetrable, but you look for a door in, and it always rewards you in the end.” The audience was rewarded with the fruit of these artists’ diligence in what came out as a heady mix of musical riches, rhythmic banality, and dramatic density that somehow reached in and grabbed each of us.
“Forgotten among women,” the text reads, upending the biblical Mary, an archetype this diminutive operita pokes, prods, and ultimately breaks. The text is not purely in spanish but often in a lower class Buenos Aires dialect called Lunfardo, spoken in “the Tango underground,” as Meridinian called it in correspondence with Sequenza21 for this review. The work is rife with religious imagery and references: from the Virgin Mary, to the baby Jesus, to the wicked, the latter which in Ferrer’s and Piazzolla’s world seem often to go through life unpunished. Meanwhile, wide-eyed orphan María pays for her innocence and naiveté with her virginity and her life, set to the unrelentingly sensual rhythm of the dance.
Solange Meridinian, who is herself from Argentina, had been waiting nearly ten years for the right opportunity to finally perform María, and happened to have not one but two chances crop up, the first having been with the Lexington Philharmonic this past February. Meridinian gave a startlingly resonant account of her character, difficult in a work which even embeds its own internal psychoanalysis into the latter scenes. It was doubtless a taxing work for the highly-capable mezzo-soprano, who consistently had to perform in the lowest parts of her already extensive vocal range. She handled each phrase and scene with care and culture, remaining mindful of the tango style. The other musicians and dancers performed excellently, although there was an unpolished instrumental solo in the beginning of the fugue from “Fuga y misterio.” As a whole, the musical ensemble served the drama admirably throughout the work’s sixteen numbers as a sort of commenting Greek Tango Chorus, even interjecting sensational bandoneónista JP Jofre as an ad hoc cast member during one episode.
At this point, the music and the name of Astor Piazzolla is widely-known among musicians and music-lovers. In recent decades, his music has become something of a crossover sensation in symphony halls, cabarets, and every venue in between. Unfortunately, the popularity of his tango-infused compositions has ironically caused them to often receive unfair dismissal in terms of emotional or musical depth. After a night with María in the hands of Opera Hispánica, the audience left with no such misapprehensions.
Mar 21 2013
(Houston, TX) Liminal Space Contemporary Music Ensemble is continuing what has become a welcome and well-received series of innovatively staged and programmed concerts of contemporary music. Featuring the core duo of composer George Heathco on electric guitar and Luke Hubley on percussion, Liminal Space has presented concert tributes to the music of John Cage and Frederic Rzewski, composed and performed music for a puppet show realization of H.P. Lovecraft’s “Cthulhu,” and participated in the Houston Fringe Festival. This Sunday at 14 Pews, they will present an evening of music by Pulitzer prize-winning composer David Lang. Works on the program include how to pray, lend/lease, string of pearls, warmth, and arrangements of selections from memory pieces.
Heathco (who, by the way, is an excellent composer as well) confirms that Lang’s music present a set of unique challenges to the performer.
“One thing that seems to run central to performing Lang’s music is the amount of concentration and mental stamina required to just get through a piece,” says Heathco. “He gives the performer very little opportunity to let up, mentally. On top of that, some of the pieces we are performing are also technically challenging. Works like lend/lease or string of pearls have an element of subtle virtuosity. They don’t immediately sound flashy or technically demanding to the listener, but from the performer’s point of view it is a whole other story!”
The majority of the works by Lang on Sunday’s program have been re-arranged for various combinations of marimba, electric guitars, cello, and keyboards.
“We have arranged several of Lang’s memory pieces, originally for solo piano, to be played by marimba and electric guitar,” says Heathco. “We are also adapting lend/lease, originally for piccolo and woodblocks, to fit our ensemble. In lend/lease, there is only a single melodic line that is to be played in unison, with one of the instruments being largely unpitched. We wanted to bring out the beauty of Lang’s melody, and so rather than woodblocks, Luke will be performing the line on marimba, doubling the electric guitar.”
The new music scene in Houston continues to grow and expand into ever more intriguing permutations, stretching beyond the cozy confines of its universities and on into the clubs, galleries, and alternative performance spaces that fill the city’s un-zoned citiscape.
An evening of David Lang’s music performed in what used to be a church? Perfect. Lang performed by Heathco, Hubley, and a selection of amazing guest musicians? Even better.
Liminal Space Contemporary Music Ensemble presents The Music of David Lang, Sunday, March 24, 7:30 p.m. at 14 Pews, 800 Aurora Street, featuring George Heathco (guitar) and Luke Hubley (percussion) with guests cellist Daniel Saenz, pianist Mark Buller, keyboardist Jeremy Nuncio, and guitarist Chapman Welch. Tickets are $11 online, $15 at the door.
Mar 20 2013
Wednesday: Low and ACME at Society for Ethical Culture
This week, slow core rockers Low celebrate two decades as a band with their tenth studio release, The Invisible Way (Sub Pop). The Sparhawks (Mimi and Alan) continue to weave dulcet duets and the band’s metronome seems to only go up to about 100 beats per minute (with most of its songs still residing below a tranquilized polar bear’s heart rate), but there’s nothing that seems tired or retreaded on The Invisible Way. On the contrary, songs like the campfire ballad “Plastic Cup” and the exhortatory “Holy Ghost” are worthy additions to their already distinguished catalog. And “Just Make it Stop” may rank as my favorite of their forays into mid tempo indie pop (double tracked vocals from Mimi always make me a little weak in the knees).
In addition to tour dates, there’s live video footage of the band below (courtesy of AV Club).
Opening for Low tonight at their show at NYC’s Society for Ethical Culture, a string quartet of our friends from ACME: Ben Russell and Laura Lutzke, violins; Caroline Shaw, viola; Clarice Jensen, cello. While we don’t have a set list from Low (we imagine a mix of songs from the new record and old favorites), ACME has confirmed that it will be performing the following pieces:
Fog Tropes II by Ingram Marshall
Jesus’ Blood Never Failed Me Yet by Gavin Bryars
Stringsongs by Meredith Monk
During the show, ACME will also play with Low.
You can hear ACME on their latest CD for New World, Joseph Byrd: 1960-1963, an important revival of the early experimental works of an artist better know for his contributions to psych rock.
Low – Touring schedule
Wed Mar 20 – Society for Ethical Culture – New York, NY – Buy Tickets
Mar 11 2013
Light & Sound Concerts Presents Theremin, Piano and Continuum Virtuoso Rob Schwimmer on March 15 and 17 at The Old Stone House in BrooklynPosted by Jeffrey James in Composers, Concerts, Contemporary Classical, Music Instruments, Performers, Recitals
Light & Sound Concerts presents The Unusual Universe of Rob Schwimmer, two programs featuring theremin, continuum and piano virtuoso Rob Schwimmer on Friday, March 15 at 8:00 PM and Sunday. March 17 at 3: 00 PM at The Old Stone House, Washington Park, 336 Third Street (bet. 4th & 5th Avenues) in Brooklyn, New York. The park entrance faces 4th Avenue. This is presented as part of Light and Sound’s Spring 2013 series.
Rob Schwimmer is an internationally known composer, pianist, theremin and continuum player. As a founding member of the highly acclaimed Polygraph Lounge he performs regularly with his duo partner, multi-instrumentalist Mark Stewart, of Bang On A Can All Stars. Schwimmer is one of the top theremin virtuosos in the world. As an original member of The NY Theremin Society he has appeared as soloist with The Orchestra of St. Luke’s at the prestigious Caramoor Festival and with The Little Orchestra of New York at Lincoln Center. Much more about him at http://www.robschwimmer.com/.
Tickets for the March 15 and 17 performances are $20 at the door, and are also available at http://www.brownpapertickets.com/event/347890. Also on March 17, at 2:00 PM Light & Sound will present a special 40 minute Family Concert & Conversation with the Artist – $15 for first adult, $5 for each additional family member. For more information, call 718-768-3195 or visit http://julianneviolin.com/LandSBlog/?page_id=249. A reception will follow each event.
Light & Sound, curated by its founder/director, violinist Julianne Klopotic, is a full spectrum performance series. Unique in its approach, the 2013 season includes performances informed by New/Experimental Music, Classical, Jazz/Rock and World Music. Other Light & Sound Spring 2013 Old Stone House Series presentations are The Klopotic-Pierce-Zoernig Trio performing Schubert Piano Trios on April 5 and 6, David Hykes & The Harmonic Choir on April 19 and 21 and Glass Music Master Miguel Frasconi on May 17 and 19. More about the series at http://www.lightandsound-concerts.org.
The Old Stone House, a Historic House Trust of New York City site, commemorates the Vechte-Cortelyou House’s unique place in Brooklyn and American history. Through exhibits, programs and events, they preserve the House’s rich past while contributing to Brooklyn’s contemporary cultural community. Visit them at http://theoldstonehouse.org/.