New York

ACO, Brooklyn, Choral Music, Composers, Concerts, Experimental Music, File Under?, New York, Songs

Early October Events – an Embarrassment of Riches

Too Many Concerts and Cloning is Still Illegal!

Tricentric Orchestra. Photo: Kyoko Kitamura

October in New York is becoming an embarrassment of riches in the new music world. So many wonderful concerts to hear in town! But the plethora of notable events can be a source of frustration too: sometimes you wish you could be in two places at once. (I have a sneaking suspicion that Steve Smith has figured out a way to do this!) So, while we won’t get to review everything, there’s nothing saying we can’t preview as many events as possible! What follows are some, but rest assured not all, of the excellent upcoming goings on.

–        Starting Wednesday evening (Oct. 5) running through October 8 at Roulette is one of the biggest festivals celebrating the music of Anthony Braxton yet seen in the United States.  It includes performances by the Tricentric Orchestra, the US debut of the Diamond Curtain Wall Trio – Anthony Braxton (reeds, electronics), Taylor Ho Bynum (brass), and Mary Halvorson (guitar) – and two world premieres. The first, Pine Top Arial Music, is an interdisciplinary work integrating music and dance. The second, which is the culmination of the festival, is a concert reading of Acts One and Two of Trillium E, Braxton’s first opera. Those who can’t make the festival, or who want ample Braxton at home as well as live, can enjoy two new recordings of his music. The first is a freebie: a Braxton sampler featuring a diverse array of pieces (including an excerpt of the opera) that’s available for download via the Tricentric Foundation. The second is a recording of Trillium E in its entirety, available from Tricentric on October 11 as a download or 4 CD set.

–        On October 6, Ekmeles, everybody’s favorite New York group of experimentally inclined youngster vocalists, shares a triple bill with Ireland’s Ergodos and Holland’s Ascoli Ensemble at Issue Project Room’s new 110 Livingstone location (details here). Ekmeles will perform Kaija Saariaho’s Sylvia Plath setting From the Grammar of Dreams, two short pieces by James Tenney, and two US premieres. The first, Madrigali a Dio by Johannes Schöllhorn, incorporates singing, spoken word, and even boisterous shouts in a vocal work that explores counterpoints between pitched and un-pitched vocalizations.  Peter Ablinger’s Studien nach der Natur explores a plethora of sounds from the natural world as well as manmade noises: mosquitoes, quartz watches, the Autobahn, smoking, electric hums – all replicated by the human voice. Mr. Ablinger was kind enough to allow us to share a small score excerpt below.

–        Also on Thursday, October 6 (drat it to Hades!) is the premiere of the Five Borough Songbook at Galapagos. Twenty composers were asked by Five Boroughs Music Festival to each contribute a single work to this project. Participants include Daron Hagen, Tom Cipullo, Lisa Bielawa, and other heavyweights in the songwriting biz.

–        On October 8 at 7 PM at the Tenri Cultural Institute (ticket info here), the Mimesis Ensemble is doing a program of “Young Voices,” featuring three youngish composers who specialize in vocal music.  It’s a program that’s a bit more traditional in approach than is, say, Ekmeles’ wont, but it presents some noteworthy repertoire. Thomas Adès’ Three Eliot Landscapes and Gabriel Kahane’s current events inflected Craigslistlieder are featured alongside several works by Mohammed Fairouz.

–         On October 9 at 7:30 PM, Sequenza 21’s own Armando Bayolo will make his Carnegie Hall debut (as the kids say, whoot!). Armando’s Lullabies, a newly commissioned work, will be premiered at Weill Recital Hall by Trio Montage (more information here).

–        Just around the corner is the ACO’s SONiC festival, Ekmeles’ concert on 10/21 at Columbia (a humdinger of a program!), Bridge Records’ Anniversary Concert at NYPL, and, yes, the Sequenza 21/MNMP Concert at the newly revivified Joe’s Pub on 10/25. But those previews will have to wait for another post! In the meantime, there are pieces to compose, papers to grade, and both my wife’s and my birthdays this weekend. October is the month that keeps on giving: it’s good to be busy, right?

Peter Ablinger's Studien Natur (a wee excerpt)
by Christian Carey
Contemporary Classical, File Under?, New York, Percussion, S21 Concert

Laurie San Martin on Linea Negra

Laurie San Martin

Laurie San Martin teaches at UC Davis. She’s one of our featured composers on the fast approaching Sequenza 21/MNMP Concert (October 25 at Joe’s Pub). In the guest post below, she talks about her work Linea Negra, which will be performed on the program.

Linea Negra

The faint, dark, vertical line that appears on a very pregnant woman’s belly in the weeks before she bursts is called the linea negra.  So it seemed like a fitting title for the solo marimba piece that I was writing during the final weeks of my first pregnancy in the summer of 2004. Real-life deadlines work in my favor as a composer. That is to say, the countdown leading up to a big life change is an intensely productive time for me. Linea Negra is a piece I always associate with that particular time in my life. When most mothers would have been preparing the baby’s room or redecorating the house, I was making deals with my daughter while she was still in the womb. “How about you wait a few more days to come out and I can finish this piece.  Really, it’ll be much better that way.” She arrived a few days late, so I was able to finish the piece on time; I have the greatest daughter one could ask for (and the piece isn’t bad, either).

I compose from left to right. That is to say, I start at the beginning and pretty much write the musical events in the order that they happen. It probably comes as no surprise then that my music is very linear.  Linea Negra is just under five minutes in length, with an ABA structure. The outer sections are a fast and repetitive moto perpetuo while the middle section is slow and lyrical. The piece is quite virtuosic–the marimba player is asked to play very fast runs, leaps, and chords; audience members often describe the piece as “acrobatic.”

Linea Negra is written for percussionist Chris Froh, who premiered the piece in October, 2004 at the American Academy in Rome. Chris is an exhilarating performer, and I was very lucky to be able to work with him while writing the piece. Hearing the work in progress influenced the direction of the piece and helped me iron out some of the technical difficulties, and clarify the musical gestures.  Working with a musician of Chris’s dedication and commitment is such a privilege for a composer, not to mention, inspiring and rewarding.

by Christian Carey
Chamber Music, Concerts, Contemporary Classical, New York, Opera

Life Is Hectic; Missy Mazzoli Keeps Me Interested.

[Ed. note: Please welcome one of our newest S21 shipmates, violinist/ composer Cornelius Dufallo. The New York Times‘ Steve Smith writes “As a violinist and a composer in the string quartet Ethel and the collective ensemble Ne(x)tworks, Cornelius Dufallo has made substantial contributions to New York’s burgeoning new-music scene.” I couldn’t agree more, and look forward to his contributions to come. So take it away, Neil!]

Missy Mazzoli

Life in ETHEL is frantic these days. In the midst of meetings, emails, conference calls, and intense rehearsals, I sometimes (sadly) lose touch with the sense of wonder that originally drew me to a life in contemporary music. Missy Mazzoli is one composer whose music always brings me back to a fundamental excitement about what I do. I have been working with Missy on her solo violin piece, Dissolve, O my Heart, which I will be performing at Bargemusic on October 5th (8PM) as part of my ongoing Journaling series.

Originally written for Jennifer Koh, the piece is essentially Missy’s emotional reaction to J. S. Bach’s D minor Chaconne (one of the great masterworks of the solo violin literature). She starts the piece with the same iconic d minor triad, in which, she explains,  the listener immediately “acknowledges the inevitable failure of the assignment.” Missy is referring to the impossibility of achieving the structural perfection of Bach’s work, and how, from her perspective, the only way to create her  own piece was to embrace it as a “failed Chaconne.” It’s a gorgeous failure, if you ask me. The version that I will be performing in October includes live electronics (three different kinds of digital delay), which Missy and I have been developing together.

Abigail Fischer in "Songs from the Uproar: The Lives and Deaths of Isabelle Eberhardt" (photo by Lindsay Beyerstein)

One of Missy’s massive new projects is to create three operas, each one about “a fascinating female character from the 20th or 21st century.” Part one of this trilogy, Song From The Uproar: The Lives and Deaths of Isabelle Eberhardt, is sure to be spellbinding. The libretto, co-written by Royce Vavrek and Missy, is based on the journals of Isabelle Eberhardt, and depicts more than a dozen scenes from Eberhardt’s life. The opera begins at the moment of Eberhardt’s death, and continues as a series of flashbacks.

Eberhardt, who was a Swiss writer and explorer of the early 20th century, has been alternately idolized and shunned as a symbol of female liberation. Missy points to Eberhardt’s relentless search for personal freedom and independence, her complicated love life, and her gender ambiguity (as a cross-dressing female artist) as themes that continue to be relevant to women today. Another interesting through-line of the opera is how Eberhardt navigates the conflict between Eastern and Western cultures. Eberhardt moved to North Africa and converted to Islam when she was a young woman. “She fought in street battles in Algiers against the French,” Missy explains, “but she was also working for the French as a journalist, so she was caught between these two worlds.”

The opera, directed by Gia Forakis, has already been workshopped at Galapagos in Brooklyn, New York City Opera’s VOX, and Bard College, and will be premiered at The Kitchen on February 24, 25, and March 1-3. Performers include singer Abigail Fischer and NOW ensemble; with films by Stephen Taylor.

Missy has some other exciting projects coming up, including two new pieces – one for the Albany Symphony, and one for cellist Maya Beiser. Her all-star band Victoire (Olivia De Prato, violin; Eileen Mack, clarinet; Lorna Krier, keayboards; Elenore Oppenheim, bass; and Missy on keyboards), whose CD Cathedral City was one of NPR’s top ten classical albums of 2010, will be performing at the Bell House in Gowanus on October 17. Not to be missed!

This post was also published in Urban Modes

by Cornelius Dufallo
Composers, Concerts, Contemporary Classical, File Under?, New York, S21 Concert

Christina Jensen writes a great press release…

FOR IMMEDIATE RELEASE
Press contact: Christina Jensen PR
646.536.7864 | christina@christinajensenpr.com

 

ACME: American Contemporary Music Ensemble

The Sequenza21 Concert 

presented by S21 & Manhattan New Music Project

 

Tuesday, October 25, 2011 at 7pm
Joe’s Pub | 425 Lafayette Street | NYC
Tickets: FREE. Reserve tickets & tables at 212.539.8778 or www.joespub.com.

ACME: www.acmemusic.org
Sequenza21: www.Sequenza21.com 
MNMP: www.mnmp.org  

 

New York, NY – ACME (American Contemporary Music Ensemble) will perform a free concert at Joe’s Pub (425 Lafayette St., NYC) on Tuesday, October 25, 2011 at 7pm presented by online contemporary classical community Sequenza21.com and theManhattan New Music Project. The works to be performed were selected through an open call for scores by ACME artistic director Clarice Jensen, composer and Sequenza21 senior editor Christian Carey, and composer Hayes Biggs.

 

The concert includes James Stephenson’s Oracle Night (UK); Robert Thomas’ Sixteen Lines (NJ), Jay Batzner’s Slumber Music (MI), Rob Deemer’s Grand Dragon (NY), Sam Nichols’ Refuge (CA), David Smooke’s Requests (MD), Dale Trumbore’s How it Will Go (CA), Laurie San Martin’s Linea Negra (CA), and James Holt’s Nostos Algea (NY). In addition, Christian Carey has contributed an opening work called Wily Overture (the Looney Toons/ACME reference is deliberate) and Hayes Biggs has contributed a closing work.

 

ACME players for October 25 include Caroline Shaw, violin; Nadia Sirota, viola; Clarice Jensen, cello; Timo Andres, piano; and Jonathan Singer, percussion.

 

About the Presenters: Sequenza21 contains commentary, reviews, features, a concert calendar, and composers’ forum, and is both a resource and meeting place for performers, composers, and listeners. In 2005, ASCAP awarded Sequenza21 its prestigious Deems Taylor Award.

Manhattan New Music Project (MNMP) seeks to cross traditional musical boundaries and catalyze imaginative projects involving the creation of new work through performances, collaborations and educational activities. Our arts-in-education programs emphasize skills-based, hands-on learning and are custom designed to engage students and educators in the creative process.

 

About the Composers:

 

Jay C. Batzner is a composer, sci-fi geek, home brewer, burgeoning seamster, and juggler on the faculty of Central Michigan University, where he teaches music technology and electronic music courses. (www.jaybatzner.com)

 

Hayes Biggs, born in Huntsville, Alabama and raised in Helena, Arkansas, has taught at Manhattan School of Music since 1992. This season his Psalms, Hymns & Spiritual Songs, composed for soprano Susan Narucki and pianist Christopher Oldfather, and Three Hymn Tune Preludes, commissioned by organist Gail Archer, will receive their first performances. (www.hayesbiggs.com)

 

Composer Christian Carey is Senior Editor at Sequenza 21 and an Assistant Professor of Music at Rider University. The New York New Music Ensemble, Cassatt String Quartet, Aspen Contemporary Ensemble, Locrian Chamber Players, and others have performed his music. He blogs regularly at File Under ? (www.sequenza21.com/carey)

 

Rob Deemer, a composer and conductor, is head of music composition at SUNY Fredonia, a member of the composition faculty at Interlochen Summer Arts Camp, and is the composer-in-residence with the Buffalo Chamber Players. He writes frequently about new music for Sequenza21 and NewMusicBox. (www.robdeemer.com)

 

James Holt is a composer, podcaster, and arts administrator. His music has been performed across the country and internationally including recent performances in New York, Boston, St. Paul and San Francisco. Holt is originally from Seattle and now lives and works in New York City.  (www.myearsareopen.net)

 

Laurie San Martin’s compositions combine her classically trained background with the sounds of today in music for acoustic chamber ensembles and orchestra. She has also enjoyed writing for video, dance and theater. She is currently working with soprano/actor Haleh Abghari on a theatrical work setting Farrid ud-Din Attar’s Conference of the Birds. (www.lauriesanmartin.com)

 

Sam Nichols is a composer; he teaches composition, music theory, and electronic music at UC Davis. He lives with his wife, the composer Laurie San Martin, and their two daughters in Woodland, CA. (www.samnichols.net)

 

Composer David Smooke (b. 1969) currently resides in Baltimore, Maryland, where he teaches music theory, rock music history and composition, and chairs the department of music theory at the Peabody Conservatory of Johns Hopkins University. In addition to his composition activities, Smooke founded and co-curates League of the Unsound Sound (LotUS), performs improvisations on toy piano, and writes a weekly column for NewMusicBox, the online magazine of the American Music Center. (www.davidsmooke.com)

 

British composer James Stephenson (b.1981) studied at the University of York (BA, MA) and University of Manchester (PhD Composition, with Philip Grange and John Casken). His compositions have been performed across the UK and Western Europe, but never previously in America. Stephenson is also an active conductor, improviser and educator, and directs contemporary music ensemble Chiasmus. (www.jamesstephenson.org.uk)

 

Robert E. Thomas teaches music at The College of Saint Rose in Albany, NY. His music has been presented around the country, including performances at the June In Buffalo and MusicX festivals and at the Conductor’s Institute at Bard. (http://retmusic.com)

 

An active composer on both coasts, Dale Trumbore has won numerous awards for her compositions. The Kronos Quartet premiered her string quartet as part of their residency at the University of Maryland in 2009. Trumbore currently resides in Los Angeles; she recently graduated with her M.M. in Composition from USC. (www.daletrumbore.com)

 

About ACME: Led by artistic director and cellist Clarice Jensen, the American Contemporary Music Ensemble (ACME) is dedicated to the outstanding performance of masterworks from the 20th and 21st centuries, primarily the work of American composers. The ensemble aims to present cutting-edge contemporary literature by living composers alongside the “classics” of the contemporary. Known for their work with the Wordless Music Series as well as indie music icons such as Grizzly Bear, ACME’s dedication to cutting-edge contemporary literature extends across genres, and has earned them a reputation among both classical and rock crowds. Time Out New York calls them “one of New York’s brightest new music indie-bands.” ACME has performed at (Le) Poisson Rouge, Carnegie Hall, Brooklyn Academy of Music, Tenri Cultural Institute, the Noguchi Museum, the Whitney Museum, the Guggenheim Museum, the Flea Theater, and Columbia University’s Miller Theatre, among others.

 

ACME’s instrumentation is flexible, and includes some of New York’s most sought-after, engaging musicians. Current core ACME members include violinists Caleb Burhans, Laura Lutzke, Rob Moose, and Ben Russell, violist Nadia Sirota, cellist and artistic directorClarice Jensen, pianist Timo Andres, and percussionist Chris Thompson.

Since its first New York concert season in 2004, the ensemble has performed works by John Adams, Louis Andriessen, Caleb Burhans, John Cage, Elliott Carter, George Crumb, Jacob Druckman, Jefferson Friedman, Philip Glass, Charles Ives, Donald Martino, Olivier Messiaen, Nico Muhly, Michael Nyman, Steve Reich, Terry Riley, Frederic Rzewski, Arnold Schoenberg, Ryan Streber, Toru Takemitsu, Kevin Volans, Charles Wuorinen, Iannis Xenakis, Chen Yi, and more.

 

ACME does not subscribe to one stylistic movement or genre; its concerts present all genres of contemporary music in the same light and with the same conviction. Time Out New York reports, “[Artistic Director Clarice] Jensen has earned a sterling reputation for her fresh, inclusive mix of minimalists, maximalists, eclectics and newcomers.”

ACME has also collaborated with bands and artists including Grizzly Bear (in concert and on their best-selling album, Veckatimest, featuring strings by Nico Muhly); electronica duo Matmos (on The Rose Has Teeth In The Mouth Of A Beast, with strings by Jefferson Friedman); Craig Wedren (former frontman of the avant-rock band Shudder To Think); prepared-pianist Hauschka; composers/performers Jóhann Jóhannsson, Max Richter, and Dustin O’Halloran, and Micachu & The Shapes.

 

Other recent highlights include ACME’s Carnegie Hall debut performing the world premiere of Timo Andres’ Senior with the New York Youth Symphony in Stern Auditorium; opening the TriBeCa New Music Festival at the Flea Theater performing works by young American composers Jefferson Friedman, Caleb Burhans, Ryan Streber and Nico Muhly; and a month-long residency at the Whitney Museum presented by the Wordless Music Series, for which ACME tailored a contemporary classical program to complement the indie-rock or electronica performer sharing the concert.

In addition to a January tour with chart-topping pianist Simone Dinnerstein, 2010 concert highlights included a performance of Gorecki’s String Quartet No. 2 opening for Polish electroacoustic musician Jacaszek; a concert of music by John Luther Adams and Kevin Volans; and a performance of the music of Louis Andriessen, all at (Le) Poisson Rouge. In spring 2011, ACME performed with the Brooklyn Youth Chorus at St. Ann’s Warehouse in Nico Muhly’s new work Tell the Way in February; at The Kitchen during April’s 21c Liederabend produced in collaboration by Beth Morrison Projects, Opera On Tap, and VisionIntoArt; and as part of the MATA Festival in May.

 

ACME has planned an exciting and ambitious season in 2011-2012. The season opened in September, with performances presented by the Wordless Music Series in Boston at Jordan Hall and at Harvard’s Sanders Theatre, opening two sold-out concerts by American rock singer and guitarist Jeff Mangum with performances of Gavin Bryars’ Jesus’ Blood Never Failed Me Yet and music by Erik Satie. In October, ACME performs works by American composers John Luther Adams, Jacob Druckman and Alex Freeman in Columbia, South Carolina at the University of South Carolina. In March 2012 presented by Stanford Lively Arts, ACME will give the world premiere of a new work commissioned from Ingram Marshall for ACME with acclaimed male a cappella group Lionheart, paired with Phil Kline’s beloved John the Revelator. That same month, ACME will also perform The Music of Phil Kline with legendary and Grammy-nominated vocalist Theo Bleckmann, an evening of new songs and chamber music composed by Kline as well as selections from past favorites Zippo Songs, John the Revelator, and Fear and Loathing at The Flynn Performing Arts Center in Burlington, VT.

ACME was founded in 2004 by cellist Clarice Jensen, conductor Donato Cabrera, and publicist Christina Jensen. The ensemble is managed exclusively by Bernstein Artists, Inc.

# # #

 

by Christian Carey
Composers, Concerts, Contemporary Classical, Electro-Acoustic, Experimental Music, File Under?, New York

Nono Muchmore Warp(ed)

Pat Muchmore

Some festivals have a curatorial vision that takes pages and pages of press releases and program notes to explain. Other curators, like Glenn Cornett, revel in the whimsy of amusing composers’ names. Why organize a one-night Nono, Muchmore, and Warp(ed) mini-marathon? The names sounded fun together and the players are the bee’s knees.

Glenn Cornett

The evening will feature music by Italian modernist master Luigi Nono, New York cellist/composer and Anti Social Music member Pat Muchmore, and San Francisco based composer/sound designer Richard Warp. With a 7 PM start time, the show is three and a half hours long, and is full of noteworthy fare for adventurous souls.

Starting things off is a set by Muchmore, featuring members of Anti Social as well as Ken Thompson (Gutbucket, Slow/Fast) premiering new pieces for strings and winds.

Cornett and Warp join electroacoustic forces on Warp’s in-progress piece “Illustrations,” a chamber work loosely based on Ray Bradbury’s “The Illustrated Man.” Pianist Taka Kigawa, violinist/composer Caroline Shaw, and bass clarinetist Jonathan Russell pitch in.

Miranda Cuckson

One of New York’s finest violin soloists, Miranda Cuckson, joins sound artist Christopher Burns in Nono’s “La lontananza nostalgica utopica futura”, one of the composer’s last compositions (1988-9). According to Cornett, this is likely to be the first New York performance in which the violinist performs the optional vocal part. Singing, playing, coordinating with electronics – all this while moving throughout the space.

Event Details
The New Spectrum Foundation
presents the
Nono Muchmore Warp(ed) Festival
Saturday 17 September 2011
James Chapel, Union Theological Seminary, Broadway at 121st Street, Manhattan

Presenting music by Luigi Nono, Pat Muchmore and Richard Warp
Several world premieres
Accomplished performers from both coasts (and in between)

Time: 7 to 10:30 PM on Saturday 17 September 2011.

Place: James Chapel, Union Theological Seminary. Enter via door on Broadway at 121st
Street.

Advance tickets ($12 for students and underemployed; $20 for others) are at:
http://www.brownpapertickets.com/event/197540

Tickets purchased at the performance will be $15 for students and underemployed; $20
for others.

by Christian Carey
CDs, Contemporary Classical, Downtown, Electro-Acoustic, Festivals, File Under?, Interviews, jazz, New York, Performers, Video

Interview with Mimi Goese and Ben Neill

Songs for Persephone: Mimi Goese & Ben Neill

Take a seductive voiced art-pop singer and a post-jazz/alt-classical trumpeter. Add fragments of nineteenth century classical melodies, electronics elicited by a “mutantrumpet” controller. Then add influences ranging from ancient Greek mythology to the Hudson River Valley. What you have are the intricate yet intimate sounds on an evocatively beautiful new CD: Songs for Persephone.

 

The Persephone legend is one of the oldest in Greek mythology, with many variants that provide twists and turns to the narrative and subtext of the story.  In the myth, Persephone, daughter of Zeus and the harvest goddess Demeter, is kidnapped by Hades, god of the underworld. During her absence, vegetation is unable to grow in the world; fields fall fallow and crops cannot be harvested.

 

To break this horrible time of famine, the gods come to an understanding with Hades. Persephone is eventually freed, but on the condition that, if she has eaten anything while in Hades’ realm, she must return to his kingdom for a certain length of time. Thus, each year she must remain in the underworld one month for each pomegranate seed that she has consumed. This serves to rationalize, in mythic terms, the change of seasons, times of decay and renewal, shifts in light and weather; even the autumn foliage and the falling of the leaves.

 

Vocalist Mimi Goese and trumpeter Ben Neill have updated the Persephone story, while retaining its iconic essence, on their new recording Songs for Persephone (out now on Ramseur Records). As one can see from the pomegranate on the cover, (a visual designed by Goese), the duo is mindful of the legendary Persephone’s history; but they are not hung up on providing a linear narrative.

In a recent phone conversation, Goese, who wrote the album’s lyrics, said, “The artwork that I did for the cover, featuring the pomegranate, is one acknowledgement of the myth of Persephone. And there are other images that I found in the lyrics. But we were interested in using what was evocative about Persephone to create our own story. That’s sort of how the myth evolved too – one storyteller picks up the thread from another down through the years.”

 

They started work on this music some five years ago, but originally presented it as part of a theatrical production by the multimedia company Ridge Theater, starring Julia Stiles. In 2010, it was produced at Brooklyn Academy of Music as part of the Next Wave Festival.

 

The theatrical presentation and the mythological story behind it are only two strands in a disparate web of influences that resonate with Songs for Persephone. Both Goese and Neill make their home in the Hudson River Valley. Both for its stunning natural surroundings and its history as a home for artists of all sorts, the valley is rich with reference points. Neill feels that these are subtly imparted to the music.

 

In a recent phone conversation, he said, “I found myself particularly interested in the Hudson River School of painters. These Nineteenth Century artists depicted the local landscape and the changing of season with a dimensionality and symbolism that seemed to have an affinity with what Mimi and I were after in Songs for Persephone.”

 

For Neill and Goese, these extra-musical influences – artwork, nature, and theater – are an important part of the music’s genesis. But the polystylistic nature of their music making adds still another layer to the proceedings.

 

Goese says, “I started in dance and theater and later moved to performance art. Singing came along later. But I don’t have the musical background or training that Ben has – I’m self taught.”

 

[youtube]http://www.youtube.com/watch?v=oG1XgKytxd0[/youtube]

She doth protest too much. Goese’s voice provided the steely, dramatic center to the work of late eighties band Hugo Largo. One part art rock and another dream pop, the group incorporated bold theatricality and ethereal experimentation, releasing two memorable full lengths, Arms Akimbo and Mettle, and the Drums EP, an alt-pop connoisseur’s delight. She’s also collaborated on several occasions with Moby and, under the moniker Mimi (no last name) released Soak, a solo album on David Bryne’s Luaka Bop label.

 

Goese is a powerful singer, but Songs of Persephone brings out the lyricism her voice also possesses. Cooing high notes and supple overdubbed harmonies are juxtaposed with the more muscular turns of phrase. Experience plays a role in Goese’s tremendous performances on the disc. But she also credits the musical creations of her collaborator Neill with spurring on her inspiration.

 

“Ben has been a terrific person with whom to work,” Goese says. “He’s inventive and willing to try new things. From the moment we first performed together, at a concert nearly a decade ago, I’ve felt an artistic kinship with him.”

 

One can readily hear why Neill’s music would be an engaging foil for Goese. His background as a producer, and his years of work designing the mutantrumpet, have encouraged Neill’s ear toward imaginative soundscapes. His 2009 album Night Science (Thirsty Ear) is an example of Neill’s nu-jazz arrangements and soloing at their very best.

 

On the current CD, Neill’s playing remains impressive; but his arranging and collaborative skills come to the fore. There are intricate textures to found, on which Neill’s trumpet and electronics are abetted by strings, bass, and drums, but it’s the melodies, floating memorably past, one after the other, that are most impressive here. Some of the melodic lines he crafts are imitative of the voice in their own right: it’s no accident that some of the most inspired music-making on Songs for Persephone are when Goese and Neill create duets out of intricately intertwined single lines.

 

Neill says, “The classical materials that I used as the basis of the compositions on Songs for Persephone were melodies from the Nineteenth century: from opera and symphonic music. Many of them were from relatively the same era in which the Hudson Valley painters worked. I found it fascinating to juxtapose these two genres that were in operation more or less at the same time.”

 

He continues, “I’d describe the material as fragments of melodies: small excerpts rather than recognizable themes. None of them are treated in such a way that most listeners will be able to say, ‘Hey that’s Berlioz,’ or ‘That sounds like Schumann.’ They were meant to be a starting point from which I would develop the music: it’s not a pastiche.”

 

At 7:30 PM on September 27th, Goese and Neill will be having an album release party at the Cooper Square Hotel, part of Joe’s Pub’s Summer Salon series.  Goese says, “It’s an interesting space – we’ll have glass windows behind us, which is unusual as compared with a more conventional stage. But it’s fun performing in non-standard venues. It allows you to try different things and to bring different elements into the mix in terms of theatricality, lighting, and the way that you play off of each other. I’m excited to see how Persephone changes as we take it into various performing spaces.”

 

-Composer Christian Carey is Senior Editor at Sequenza 21 and a regular contributor to Signal to Noise and Musical America. He teaches music in the Department of Fine Arts at Rider University (Lawrenceville, New Jersey).

by Christian Carey
Chamber Music, Composers, Concerts, Contemporary Classical, File Under?, New York

Jay Batzner on Slumber Music

The Sequenza 21/MNMP Concert is fast approaching. This free event will be at Joe’s Pub on Oct. 25 at 7 PM (reserve a seat here). The American Contemporary Music Ensemble (ACME) will perform a program that features composers selected from our call for scores. In the coming weeks, we’ll be hearing from a number of the composers and performers appearing on the concert. First up is Jay Batzner, who teaches at Central Michigan University and contributes regularly to Sequenza 21. He tells us about his piece on the program: Slumber Music.

I remember a lot about composing Slumber Music, which is a bit odd since most of the time I don’t retain memories about the act of composing. I was asked to write a piece for cello and piano for a multiple sclerosis fundraiser in 2008. My initial plan for the piece was to take a melody and start disrupting it and distorting it, much the same way that MS interferes with messages in the nervous system. I wrote my cello melody but I just couldn’t bring myself to act on my original plan. I liked the line too much to destroy it so I just chose to repeat it. When I started to add the piano into the mix, all I heard was a very thin and very sparse accompaniment.

My inner critic kept screaming, “You can’t have NOTHING going on in the piano! You’ve got to give them something worth playing! It is all too simple! Make it sophisticated and interesting!” My inner critic was about to win when, for one reason or another, I decided to stick to my guns. I’ve followed a lot of bad advice in my compositional past, changed my original ideas when I was told to do so, even though I was right, and I was done with that. The stillness in this music appeals to me. The last thing I wanted to do was throw it away because I was insecure.

The second movement unfolded in a similar manner. I had the piano chords and just started taking them wherever they were going to go. It was now the cellist’s turn to have direct and focused motion, floating around the harmonies that were propelling the action forward. The movement came out in one single chunk, maybe 45 minutes of time.

When I was done, I was in a sort of daze. I went for a walk in order to process the experience. My compositional process was undergoing a radical shift. I had been a planner, plotter, and schemer, someone who had an Idea for a piece and then wrote according to that form. Slumber Music really changed that. My plan for the first movement didn’t work; the piece wanted to be something else. Where no plan existed for the second movement, it came together almost too easily. And here was music I was happy with! Ten years ago, during the height of my scheming days, I hated my own music. I seemed to be turning things around.

There is a distinct before/after within me that hinges on this piece. I don’t write music the same way now as I did before Slumber Music. I am much happier with my product and I know when to listen to my inner critic and when to shut it up. Coupled with Goodnight, Nobody, which I wrote the same year, Slumber Music is really important to my writing because now I see how it put me on my current compositional path.

by Christian Carey
Concerts, Events, File Under?, jazz, New York

Trygve Seim makes NYC debut on 9/11

Last year, saxophonist Trygve Seim and pianist Andreas Utnem collaborated on Purcor, a recording for the ECM imprint (Seim’s sixth as leader). Drawing on material from a wide range of sources, including settings of the Mass, folk music, and Seim’s own compositions, it was among the recordings in frequent rotation when I got home from the hospital this past November. Needing a calm environment in which to regenerate and reflect, I found Purcor to be the perfect listening to accompany a healing respite.

Meditative yet soulful, earnest yet elegant, gently articulated yet substantively thoughtful, Seim and Utnem craft a series of duets that are spellbinding. Consistently succor supplying and diverse in mood and musical approach, the compositions on Purcor inhabit both jazz and an ecumenical kind of musical liturgy.

Given what they’ve crafted on the recording, I have no doubt that Seim and Utnem will provide an affecting evening of music this Sunday. Those seeking solace in artistic expression during this weekend’s commemoration of the September 11, 2001 attacks have many options from which to choose, including a marathon we’ve also mentioned as an excellent option. Seim and Utnem will doubtless provide calm in the midst of storms of media frenzy, terror alerts, and turbulent memories. Recommended.

In Concert
Trygve Seim / Andreas Utnem
September 11th, 7pm
Norwegian Seamen’s Church
317 East 52nd Street
New York, NY 10022-6302
(212) 319-0370

Free of charge

Trygve Seim: tenor and soprano saxophones
Andreas Utnem: piano, harmonium

by Christian Carey
Concerts, Contemporary Classical, File Under?, New York

Elbow Room




The US premiere of James Dillon’s Nine Rivers, a three evening long contemporary classical epic, will open Miller Theatre’s 2011-’12 season (details below).

I’ll be writing about the first evening of the piece for Musical America. That said, I’ve been assured by those in the know that you probably shouldn’t take this Gesamtkunstwerk as if it’s three separate evenings of music: it’s kind of like having your Siegfried without your Götterdämmerung.

Is Nine Rivers a postmodern retort to the Ring? Perhaps not in terms of narrative, but in terms of its ambitious scope and extended genesis, its not an inapt analogy. A Scottish composer associated with complex scores of penetrating intensity, Dillon has spent years creating this work for electronics, voices, strings, and brass. Nine Rivers also includes a strong multimedia component, with lighting by Nicholas Houfek and video design by Ross Karre. Steve Schick will lead the performers, a group of fifty musicians from the ensembles red fish blue fish, ICE, and the Crossing Choir. Without giving too much away, audiences will be in for quite a finale: all of the musicians perform at once in the last section of Nine Rivers.

Now I must confess that I had some small misgivings when I heard about the massed forces for the piece’s conclusion: call it the logistician in me. After all, I’ve never seen even close to fifty musicians on the stage of Miller Theatre! Will they all fit?

Fortunately, it appears that elbow room, while at a premium, will be adequate. I’ve been assured – via Miller’s twitter feed – that having choral musicians in the mix has been a space saver in terms of stage choreography: after all, they won’t be lugging instruments onstage. That said, the Crossing (also via twitter) reports that they still must contend with big scores that will require music stands. So, it’s likely to be cozy up there!

Below is a video of Steve Schick discussing Nine Rivers.



Event Details

    Nine Rivers by James Dillon

    Wednesday, September 14, 8:00PM

    Friday, September 16, 8:00PM

    Saturday, September 17, 8:00PM
    Columbia University’s Miller Theatre is located north of the Main Campus Gate

    at 116th St. & Broadway on the ground floor of Dodge Hall.

    All-access passes for Opening Night are now on sale online at www.millertheatre.com.

    Single tickets can be purchased online beginning August 15.

    The public may also purchase tickets through the Miller Theatre Box Office

    in person or at 212/854-7799, M–F, 12–6 pm beginning August 29.

by Christian Carey
Concerts, Contemporary Classical, Events, New York, News, Support

Music After: Remembering 9/11

[vimeo]http://vimeo.com/28274561[/vimeo]On September 11, 2011 the United States marks a decade since the deadliest terrorist attack on our soil, one that has left an indelible mark on the nation’s psyche as a whole. A number of musical tributes, from modest concerts to widely publicized record releases, will be taking place. One of the most unique and interesting is the marathon concert being curated/organized by composers Eleonor Sandresky and Daniel Felsenfeld at Joyce Soho, 155 Mercer Street in Manhattan. Music After, as the event is called, will begin at 8:46 a.m. on Sunday, September 11, 2011 and extend till just after midnight and will feature music by composers who were living in downtown Manhattan on September 11, 2001, a veritable “who’s-who” of the international new music scene including Philip Glass, Laurie Anderson, Joan LaBarbara, Phil Niblock, Michael Gordon, Phil Kline, Nico Muhly, Judd Greenstein, Morton Subotnick and Rosanne Cash, among many others.

Music After is as much a commemoration of community as it is a memorial for those lost on that morning ten years ago. “So many people I spoke with (after 9/11),” says Sandresky, “talked about how important it had been for them to join in their community and help out. It was definitely something that I had wanted to do as well but couldn’t. Living as I did then with the “pile”–as it was known–literally just around the corner, it was too overwhelming for me, but there were many that did volunteer.
“On the first anniversary [of 9/11],” adds Felsenfeld, “when so many large-scale memorials and commemorations were laid out, I remember thinking that the best way to actually acknowledge the event musically had less to do with ‘requiems’ and ‘threnodies’ and more to do with people. I was a few blocks from the World Trade Center that morning, I saw (and smelled and felt) everything. And I was certainly not alone. So I imagined a LONG concert where every composer or songwriter we could locate who either lived there or happened to be there would be represented with a short and modest work. Then the event becomes not about the fallen or the horror of the day, but about the sheer scope of composers–different kinds of composers, many of whom define what we think of in terms of various musical “scenes”–who were in the thick of the morning.” “This event,” says Sandresky, “is about bringing our community together to stand and sing and play together on this day. And we are coming together as a community and reaching out to our greater community with music.”

Felsenfeld adds that “it is the scope of the concert that makes its point: that so many were affected so directly. Even a four-hour concert would require us to leave out people, and we didn’t want to have to do that. Besides–and I will speak for myself here but suspect I’m not the only one who feels this way–every year September 11 is a difficult day to get through, and we liked the idea that there was a place where, from 8.46am, the moment the first plane hit, until the earliest moments of September 12, there would be somewhere for people in our own community to go. Even if they don’t come,–even if none of them come–it is just a good thing to have as an option.”

In this spirit of community, Music After is a completely grass-roots organized, produced and funded event. There are no corporate or institutional sponsors. Sandresky and Felsenfeld are, therefore, relying on the new music community to rally together to make this event happen, providing yet another avenue for participation for those of us who may not have been directly affected by the events of September 11, 2001 (because we did not live in New York or Washington) but who still bear the scars of this national tragedy. To that end, there are a number of ways to contribute: you can give to Music After’s IndieGoGo campaign or if you have a PayPal account and would like to contribute using that service, you can visit the event’s web site and click on the “give” tab; for large donations, please contact Eleonor Sandresky and/or Daniel Felsenfeld directly via musicafter911@gmail.com for further information on how to make your contribution. “As far as giving goes,” says Felsenfeld, “both Eleonor and myself are strictly volunteers–nothing is going directly to us–and the Joyce SoHo has generously donated their space for the day. All the money we need is going to pay for the people who are going to make the event happen that day: the performers, the crew, the tech, as well as the rental of the equipment. Almost everyone is working at a reduced rate, but with eighteen hours of music, over 50 composers, and somewhere around 75 performers as well as a full staff, you can see that we’ll need your help.”

by Armando Bayolo