Month: October 2014

Concert review, Contemporary Classical, Los Angeles

Gnarwhallaby in Concert at Boston Court Pasadena

gnarw22The friendly confines of Boston Court in Pasadena was the venue for a concert by Los Angeles-based gnarwhallaby on Saturday, October 4, 2014. The quartet appeared complete with their trademark rock-solid playing and black jumpsuits for the performance of six pieces by European and American composers of new music.

The concert opened with Euphorium (1995-96) by the Czech composer Martin Smolka. This featured Matt Barbier on euphonium and Brian Walsh on baritone saxophone. Combined with the piano and cello this produced a wonderfully robust bass line and a big sound that bounced and jumped playfully about. The rhythms were fast, bold and angular with an active feel, like a city at rush hour. The composer describes this piece as follows: “The tempo is breakneck and there are too many notes leaping up and down the entire range and the irregular rhythms in alternate measures remind a maze… The score invites the players to find alien tones. It is full of indications to play out of tune and at times out of rhythm… It is a musical illustration to a Scrap Iron Art Manifesto.” Even so the playing by gnarwhallaby was tight and the irregularities well managed. As the piece progressed the driving rhythms often broke into a satisfying groove and this offered a measure of accessibility amid the split tones and intense textures. The overall feeling was like standing too close to a slightly out of control street band and enjoying the sense of imminent catastrophe. The piece eventually wound down with a quiet trombone solo that trailed off, as if by exhaustion. Euphorium is an exercise in joyful anarchy, accurately captured in this performance despite what is surely a challenging score to play. (more…)

by Paul Muller
Concert review, Contemporary Classical, Experimental Music, Los Angeles, Sound Art

Experimental Sound Practices Concert at Cal Arts

the-wavecave2On Friday October 3, 2014 Cal Arts opened the WaveCave, a new experimental sound installation space and hosted a reunion concert by alumni on campus at the Roy O. Disney Music Hall. The WaveCave occupies a room just off the lobby of the concert hall and is intended to be a permanent venue for sound art installation. The space will be filled with Experimental Sound Practices alumni works for the Fall of 2014 with current student works premiering in 2015.

Zephyrs, a sound installation by Mark Trayle is the initial work to appear in the WaveCave and included three separate assemblies consisting of a flask of glitter, a piezoelectric disk and electronics to actuate a valve in the flask and to drive the disk with ultrasonic square waves of various frequencies. A small amount of old glitter is periodically dumped onto the discs by electronic actuation and the sound energy applied to the disk causes patterns to form, change and disappear. According to the program notes “The ultrasound waves (and their lower frequency auxiliary tones) also create patterns of varying amplitudes and frequencies in the acoustic space.” The sounds that were audible were of a very high pitch and as one moved about they could be heard only in certain locations. Watching the glitter form and reform in patterns, seemingly on its own, was a fascinating visual component and created an effective focal point for experiencing this piece.

cave3

The evening continued with a series of pieces presented in the adjacent Roy O. Disney concert hall. The first of these was Body Wave by Daniel Eaton and this was performed by Matt Barbier and Daniel Eaton, both on trombones. A series of amplified electronic tones accompanied the horns and the first of these, a low pulse, filled the hall with a warm wash of sound. At one point the combination of trombones and electronics was powerful enough to evoke a train horn and the sound seemed to move from left to right. Later in the piece it felt like being inside a large machine, immersed in the sounds and pulses of its inner workings. The combination of amplified trombones and electronics worked well together, and this was a also a tribute to the sound system.

Noctiluca Scintillans by Cooper Baker was next, and this piece was realized with a series of hanging tubes, microphones, and software. According to the program notes, the system consisted of “Hanging acrylic tubes containing bead chains that generate acoustic impulses to trigger and control synthetic sounds… Each tube has a contact microphone embedded in its cap, and when a tube is tapped or shaken, the vibrations are transmitted to a computer running custom signal processing software.” Cooper Baker used small mallets to strike the tubes, and it was much like watching bell chimes played. Interestingly, one of the pieces sounded remarkably similar to the ambient noise often heard in a bustling crypto casino, with its vibrant, digital hum. Some of the tubes produced a running, liquidy sound when struck; another sounded like something from an arcade game. Still others had musical chime-like tones. Cooper Baker was able to create different moods and textures during the course of this piece by striking the tubes in various combinations – sometimes the resulting sounds were soft and lovely, other times more intense and complex. Noctiluca Scintillans is an impressive attempt to connect computer-processed sounds to a device suitable for performance.

Loud Sleep by Stephanie Smith followed and this was an ingenious mix of small motors, bells, magnets and mechanisms suspended in the air by strings from a cross bar. Then entire installation fit on a small table and microphones were used to amplify the tiny mechanical sounds. The different mechanisms were started each in turn, and went clicking merrily away, going in and out of phase with each other. The result was a charming, almost organic sound – like listening to mechanical crickets. At one point it sounded like the room was full of ticking alarm clocks, but overall this piece produced a playful feel that was complimented by the simplicity of its concept and construction.

A more dramatic work came next, COMPRESSIONOFTHECHESTCAVITYMIRACLE by Ezra Buchla. The program notes state that this piece incorporates “Gesture and sound-inducing narratives [that] collide with software-induced limitations via nonlinear functional mappings in time and harmonic space, resulting in a spectrum of shifting tensions between intimate somatic texture, crystalline tonality, abrasion and emptiness.” Mostly electronic in nature, although at times a viola played by Ezra was incorporated into the mix, the low rumbling, roaring and moans gave a convincing approximation of what it must be like inside a body cavity. A heartbeat could be distinctly heard. There was a sense of being semiconscious and the overall feel was one of a bleary melancholy. As the piece concluded the tension escalated as higher pitches joined in, culminating in a sort of slow scream. COMPRESSIONOFTHECHESTCAVITYMIRACLE certainly delivered on its title and effectively conveyed the listener to its unique point of view. (more…)

by Paul Muller
Contemporary Classical

ETHEL Celebrates 10 Years of Grand Canyon Residency

 

At Window Rock (of the actual rock) is with ETHEL's Kip Jones, dear friend James Bilagody, Jesse and Fiona Sherman.
At Window Rock: ETHEL’s Kip Jones, dear friend James Bilagody, Jesse and Fiona Sherman.

For the past decade, the nationally acclaimed string quartet ETHEL has served as the Ensemble-in-Residence of the Grand Canyon Music Festival’s Native American Composer Apprentice Project (NACAP). To date, ETHEL’s residency has impacted almost 18,000 students, premiered over 150 works by Native American children, and touched more than 15 schools throughout Utah, Arizona, and New Mexico. For about three weeks, the quartet conducts intense, one-on-one tutorial sessions, readings and rehearsals to help student composers refine their works. They then showcase the children’s pieces at school performances, all culminating at the public performances at the Grand Canyon Music Festival, which are recorded and sometimes later aired on National Public Radio (NPR). In the post that follows, ETHEL founding member, artistic director and viola Ralph Farris reports on the quartet’s most recent residency.

by Ralph Farris

From late August through early September, NACAP students (ages 13-21) participate in composition intensives in schools across Arizona, Utah and New Mexico, under the expert tutelage of superstar Native American composer Raven Chacon and his brilliant associates Trevor Reed, Blair Quamahongnewa and Mike Begay. Resident ensembles then visit these schools and workshop with the young composers on their new works, working out all the nitty-gritty details in service of the composers’ intentions. This new music is then performed at school assemblies – showcasing the young local talent, and celebrating these students’ work, right there, in their home communities. The resident ensembles then pick up and drive 100+ miles to the next school, and do it all again the next day.

After a fortnight of criss-crossing the Southwest, the resident ensembles ultimately arrive at Grand Canyon National Park, where the festival presents ALL of the new student pieces in a marathon concert. Each year there are some 30 pieces presented; the event is recorded and each student is provided a CD of their own work – for future study, for college applications, for sharing with grandmother…

Several of our NACAP students are now in music school; several of them are pursuing other career paths. All of them have been deeply moved – as has ETHEL – by their work with NACAP. Through this festival, these young people see themselves anew – they find their voices. And in turn, ETHEL has found new depth, new color, new joy – in ours.

NACAP itself has received numerous honors, including NewMusic USA’s New Music Educators Award, Arizona Governor’s Arts Award, and an Award from The President’s Committee on the Arts and the Humanities(!). Our NACAP students have even been visited by John Lennon Educational Tour Bus.

What an amazing thing that happens each year in the Southwest! What a gift it has been for ETHEL to be a part of this extraordinary program!

ETHEL has enjoyed inspired collaborations with groups and soloists through our tenure with NACAP. In 2011, we were very pleased to welcome the Sphinx Organization’s powerhouse Catalyst Quartet as the NACAP Fellowship Quartet. This season, we were thrilled to work with trombone ensemble the Guidonian Hand, as well as ETHEL’s former (and founding) member, Mary Rowell. Under the auspices of this festival, ETHEL has toured the Southwest with Hawaiian slack-key guitar virtuoso Jeff Peterson, Bluegrass legend Dean Osborne, and Taos Pueblos’ master of Native American flute, Robert Mirabal.

(more…)

by Jerry Bowles
Contemporary Classical

Outside of music — On the role of the audience

[Editor’s note: Samuel Vriezen is a brilliant Dutch composer, performer, poet, polymath… oh, let’s just say the list goes on. I’ve known Samuel — online, at least — for the better part of 15 years now, following his artistic and aesthetic progression, getting into stimulating conversations and sharp smack-downs along the way. Just the other day Samuel approached me with an essay that he’d been working on, that he felt might be ready for a wider audience through a place like S21. Of course I immediately agreed; Samuel has one of the sharpest minds I know, and whatever rolls around and finally drops from it to the page is quite likely worth a bit of our time to read.]

OUTSIDE OF MUSIC  — On the role of the audience

Samuel Vriezen

Heiner Goebbels, composer, director and a major presence in contemporary German music theatre, gave a presentation at a conference devoted to Gertrude Stein and the arts in May 2014 in Copenhagen, on his use of Stein’s work. For him, Stein’s vision of a theatre piece as a landscape to be enjoyed rather than a drama to be followed was highly inspiring for his own theatrical conceptions. In passing, Goebbels made a very interesting remark. All you need to make theatre, he claimed, is an audience. What he meant was that it is the audience that completes the theatrical experience. If you present an audience with any staged image, you practically don’t even need actors any more, as the audience will invite itself into making it a theatrical experience, into filling in the drama itself. You just need to give it a landscape, something to look at, well staged and probably with stuff happening in it; but what the theatre really only requires is the audience.

This struck me as a strongly theatre-based approach to the audience, one very much about presenting a spectacle, about the experience of watching and presenting, perhaps even about ‘communication’. My own focus as a composer being mostly on chamber music, I couldn’t imagine myself making such a statement at all. In chamber music, you really need some performers – something that is even true of a piece like 4’33”, which only requires (a) dedicated performer(s), more or less inviting the audience to become a performer itself.

The next day at the symposium, Andrzej Wirth, a major figure in German theatre one generation older than Goebbels, was interviewed. Wirth, who had collaborated with Brecht in his youth, and who had himself used Stein’s work in his productions, seemingly made the exact opposite claim during his talk: the audience, he said, is an obstacle, something that threatens to get in the way of theatre. The point being that the theatre is what happens, what people on stage do, the whole action of it, rather than its passive consumption (a position that fits the tradition of the Brechtian Lehrstück well.)

Instinctively, I found myself more sympathetic. The idea that an audience is needed for something to be music is quite evidently not true. If I play piano at home, just because I feel like it, there is no audience. There is only me, the performer, working at the music, and even if this involves my hearing and listening in the process, it doesn’t make me into my own audience. In fact, it has always been my feeling that the vast majority of music that gets practically made by humans does not involve an audience. For instance, ritual music – and let’s interpret ‘ritual music’ broadly: a birthday song at a party or a stadium of supporters chanting to inspire its team could be an example just as much as liturgy being chanted or a village tribe honoring its ancestors. Likewise, there is music that is merely play, or a way to pass time. There is humming to yourself; there are the songs that are part of children’s games; there is practice, which is playing for the sole purpose of getting better at playing. Work songs, campfire songs, protest songs. Clearly, to think of such events in terms of ‘performer’ and ‘audience’ would be to miss the point completely. All these things are music; none of them involve an audience.

Yet it is not quite satisfactory to see the audience as an obstacle. Even if it should be true that the main thing that happens would be the process among actors or musicians, that does not necessarily imply that the audience has no role to play. Surely it must have one, or we wouldn’t spend so much time organizing concerts. But what is this role? (more…)

by Steve Layton