Chamber Music, Composers, Contemporary Classical, Interviews, San Francisco, Violin, Women composers

Let’s Ask Christina Stanley

Christina Stanley a violinist and vocalist who received her MFA in Music Performance and Literature from Mills College, and her Bachelor of Music degree from San Francisco State University where she received a full performance scholarship and studied violin with Daniel Kobialka, Jassen Toderov and the  Alexander String Quartet. She is an active performing violinist, working as as a soloist as well as an ensemble.   The composer along with the other members of the Skadi Quartet will perform two new graphic scores to open The Composer’s Muse, the second night of the11th Annual Outsound New Music Summit.  Both scores are 40 x 40 oil and charcoal on canvas.  One will be played by the full quartet, and the other as a violin and cello duet.

The Composer’s Muse concert will take place onThursday, July 19th at 8:00 p.m.  All four nights of the festival will take place at the San Francisco Community Music Center,544 Capp Street, San Francisco.  Tickets are available at the door, or online through Brown Paper Tickets.  With the festival fast approaching, I was happy Christina had a moment to answer some of my questions.

S21:   Your alma mater, Mills College, is well known for creating composer/performers.  I’m wondering if in your student years before coming to Mills, if you ever felt pressure to become exclusively a composer, or exclusively a performer?

CS:  Yes, I did feel pressure to be exclusively a performer, though I’m not sure it was anyone’s fault other than my own. I wanted to achieve as much as I possibly could as a classical violinist, and learn all the standard repertoire, and as much of the 20th century as I could before moving into the 21st. However, I could never quite shake  that I had all this desire inside me to create, and I sometimes wondered If I’d chosen the wrong path, despite the fact that I loved playing violin so intensely and completely. After I finished my undergraduate degree, I moved to new York and was trying to figure out what to do with myself creatively. I was still writing songs, but at that time I also began recording myself playing violin and cello, improvising and relishing the dissonances and harmonies.  I was completely thrilled at the possibilities, and knew I would continue composing, though I didn’t know how.

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by Polly Moller
Classical Music, Composers, Concert review, Concerts, Contemporary Classical, New York, Percussion, Performers

Unlocking The Cage with Iktus Percussion and Friends

Le Poisson Rouge is a striking place.

This venue was the location of this past Sunday’s concert featuring Iktus Percussion (Cory Bracken, Chris Graham, Nicholas Woodbury, and Steve Sehman), pianist Taka Kigawa, and toy pianist Phyllis Chen. According to Iktus member Cory Bracken, one of the missions of the evening (focused entirely around composer John Cage) was to take some of his pieces that are almost exclusively performed in academic settings, and begin to inject them into the public concert repertoire. What the audience encountered, therefore, was a healthy mix of both often and not-so-often performed pieces by John Cage.

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by Jonathan Lakeland
Composers, Contemporary Classical, Experimental Music, Improv, Interviews, Premieres, San Francisco

Let’s Ask John Shiurba

John Shiurba is a composer and guitarist based in Oakland, California whose artistry embraces improvisation, art-rock, composition and noise.  In his composer capacity, he’s headlining the second night of the 11th Annual Outsound New Music Summit, an evening entitled The Composer’s Muse.  The concert will take place on Thursday, July 19th at 8:00 p.m. at the San Francisco Community Music Center, 544 Capp Street, San Francisco.  Tickets are available at the door, or online through Brown Paper Tickets.

Shiurba’s world premiere work for large ensemble, 9:9, is a suite of nine pieces written to be interpreted by nine players with a conductor.  (Any reader who is familiar with his work will recall his affinity for numbered concepts, in past works such as Triplicate and 5 x 5.)  The score will explore the demise of the print medium through nine different types of notation, all of which are derived from newspapers. The nine players will be called upon to interpret standard music notation along with graphic, textual and pictorial notation, allowing the ensemble some creative input in the interpretation. The form of the suite will be open, allowing the conductor and the players to spontaneously shape the way the music develops in real time.  Shiurba will serve as conductor of his own piece next Thursday night.  He was also kind enough to take time out to answer some of my questions.

S21:  Sequenza21 readers have read about you before in your role as a guitarist in SF Bay Area improvising ensembles.  How does your guitar playing inform (or not inform) your compositions?

JS:  My experience as an improvising guitarist perhaps affects my compositions mostly by way of contrast. When I seek to interject something composed into an improvising ensemble, I tend toward something that the ensemble wouldn’t otherwise do. So usually I choose pitched tight rhythmic phrases that contrast wildly with the mostly arhythmic timbral material that typifies my improvising. Whether or not my approach to the guitar actually affects the music that I write probably depends largely on what music I’m writing. In the case of one of my more rock oriented projects, where I’m writing actual guitar music, undoubtedly my own guitar language (and my limitations) will factor significantly in what I write. When I’m writing for other instruments, then probably not so much. I’m not much interested in creating ways of notating the things that I (and others) do in an improvised situation– I’m happy to just let that happen as it will, and write something to contrast it.

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by Polly Moller
Concerts, Contemporary Classical, File Under?, Opera

Victoria – Victoria (Opera)

Victoria Woodhull

In Fall 2012, composer/conductor Victoria Bond’s opera Mrs. President premieres at Anchorage Opera in Alaska. Its “out of town” tryout is on Monday July 9th … in New York at Symphony Space.

The opera’s subject is Victoria Woodhull, the first woman to run for president. Woodhull’s campaign in 1872 predates women’s suffrage. It was mired in controversy and scandal which, as we all know, makes it ideal material for an opera!

I was particularly pleased to learn that dramatic soprano Valerie Bernhardt is playing Woodhull. Val and I both sang at the Chatauqua Institute back in 1992. Her voice was already a mighty and beautiful instrument then and has only grown more impressive in the ensuing years.

Soprano Valerie Bernhardt

Need more inducement? Okay. Those in town seeking relief from the heat wave, remember: Symphony Space has lovely central AC and quite a nice bar to boot!

Mrs. President at Symphony Space

Monday, July 9th at 7:30 PM

Leonard Nimoy Thalia Theatre at Symphony Space

Broadway and 95th Street

Tickets: $20 (www.symphonyspace.org)

Opera website: www.mrspresidenttheopera.com

by Christian Carey
Classical Music, Contemporary Classical, The Business

Happy Trails, Ralph

[Ed. note: Composer and Peabody Institute faculty member Judah Adashi  has this appreciation of Ralph Jackson, retiring after 10 years at the helm of music-rights organisation BMI.]

L to R: Ralph Jackson, Judah Adashi, bassoonist Peter Kolkay, and Concert Artists Guild President Richard Weinert

I met Ralph Jackson in June 2001, when I received a BMI Student Composer Award. As the head of BMI Classical (and later President of the BMI Foundation), Ralph knew this to be a momentous event in a young composer’s life, not least because he himself had been a two-time recipient of the prize. One of the memorable charms of that initial encounter, as the winning composers gathered for dinner on the eve of the awards ceremony, was listening to Ralph recount his experience as a starry-eyed winner 25 years earlier. After dinner, Ralph welcomed all of us into the BMI fold.

To my surprise, this was only the beginning. My interaction with Ralph goes far beyond work registrations and royalty checks, though he has patiently fielded even the most mundane questions about these and other practical matters (always with the caveat, “remember, I am not a lawyer”). Ralph is continually on the lookout for opportunities that would be a good fit for particular composers on the BMI roster. It was Ralph who connected me with the Arc Duo, an ensemble that went on to commission, perform and record my music. And after several invitations from Ralph to apply for the BMI Foundation’s Carlos Surinach Fund Commission, I was proud to accept the 2006 award from him.

The fact that countless BMI composers could have written the preceding paragraphs captures the essence of Ralph’s generosity: he is personally invested in each one of us. From time to time, in conversations with my parents, they ask whether I might do well to hire an agent. I tell them it isn’t something I need or want to do; and besides, for all intents and purposes, I have one: Ralph Jackson. Apart from my family, it is difficult to imagine anyone taking as deep and genuine an interest in my music as he has over the past eleven years. When I look at the framed BMI certificates in my studio, I am buoyed by the thought of someone who has consistently believed in and supported what I do.

June 29, 2012 was Ralph’s last day at BMI, after 32 years of devoted service. He has decided to retire, to pursue his gifts as a visual artist, explore new paths, and spend time with his husband David and their beloved dog, Ringo. BMI has named Deirdre Chadwick to succeed Ralph as head of classical music, and I feel that I can speak for my peers in saying that we are immensely excited to work with her. But Ralph will always occupy a singular place in my musical life, and in the lives of so many of my fellow composers. To borrow Kyle Gann’s characterization of John Cage, Ralph has been “a walking, one-man healthy climate for new music.” He is the quintessential musical citizen, a joyous spirit who has made the world of contemporary music a better place.

by Steve Layton
Concerts, Contemporary Classical, File Under?, New York

NY Phil Celebrates Henri Dutilleux

On Tuesday, the New York Philharmonic celebrates French composer Henri Dutilleux, the recipient of the orchestra’s first Marie-Josée Kravis Prize for New Music.

Dutilleux has decided to use the prize money to commission three composers to write works for the Philharmonic in his honor. He’s already selected one – Peter Eotvos. Who would you recommend to Mr. Dutilleux as the other two commission recipients?


Alan Gilbert will conduct and Yo-Yo Ma is the featured guest soloist.

Program

Métaboles (1964)

Ainsi La Nuit for String Quartet (1976)

Cello Concerto — Tout un monde lointain (A whole distant world) (1970)

[youtube]http://www.youtube.com/watch?v=zhVe4V0cKwA[/youtube]

by Christian Carey
Contemporary Classical

Love And Death – San Francisco Ballet Tours Eshima’s RAkU

Meeting someone out of cyberspace can be fun. And so it was after a flurry of e- mails that San Francisco  Opera and San Francisco Ballet double bassist and composer Shinji Eshima and I met on a brisk April Sunday just before his 2 pm curtain for its Balanchine Masterworks Program, to talk about his SFB commission RAkU which the company tours to Hamburg, 26-27 June, and to London’s Sadler’s Wells on 19, 20, 23 September, and to DC’s Kennedy Center 13-18 December.

Eshima is immediately cordial–“you’re on time”–and leads us through the underground maze of The War Memorial Opera House until we arrive backstage where several dancers are warming up, and sees principal Damian Smith–“you’re looking good “–who isn’t. And then we decamp to the lounge to talk about his Japan-set score for Yuri Possokhov’s RAkU, which the company debuted in February ’11 to immediate acclaim, and which I caught–the audience was spellbound–when it was revived this winter. The composer, who’s dressed in a black suit and snappy tie, speaks in a quiet, even tone about his work on RAkU.

“It’s based on the story of the monk who burned down The Temple of The Golden Pavilion in Kyoto which is the most famous temple in Japan,” says Eshima, who is quick to point out his Buddhist background. “My grandmother was the first ordained woman minister in America and my family was very involved in the Buddhist temple in Berkeley.” The Buddhist concept of attachment, or in Eshima’s case the burning obsession of desire, drives his score, while the San Francisco Zen Center monks in the pit chant “We’re here to listen to your suffering ” to the same 3-note cell–Eshima translates it as ” I love here”–which expresses the desire of the monk–Pascal Molat–for the princess–Yuan Yuan Tan–who’s in love with the samurai prince– Daniel Deivson. Eshima and I wonder if it’s possible to break free of desire and hence suffering, but musical matters are more pressing, and the composer, as I’d requested via e-mail, brings the score.

“I wanted to use the harp here,” he says, pointing to the opening bars of the  “Prelude,” where it functions as both rhythm and color before darker hues are added by double basses and English horn. The sound is bare and heartbreakingly direct–the ” I love her” cell–and any composer who goes out this far at  the very beginning risks not being able to keep his audience with him for the duration. But Eshima’s instincts are right on the money, and honed no doubt by his long service in the opera pit where he’s absorbed how masters like Verdi do it. And Eshima’s sense of musical space is impeccable.

“You want to give space to the performers”, he says, meaning, of course, the musicians, but any music theatre work has to factor in the performer on stage and off, and Eshima’s “Warrior” honors both with its dense bacchanal like dance in 7/8, with dramatically percussive writing not just for percussion–conch shell, non-pitched drums, timpani, bass drum, wood block, marimba, harp, piano– but also in the winds–flutes, clarinets, and brass–bass trombones. And Eshima keeps its steady met–135 pulse interesting by spelling a 14 beat count as 4+4+4+2, and  2+2+2+2+2+2+2. Eshima’s intimate use of space is equally striking in “Kimono,”with iys oboe arabesque over a string drone which suggests the piercing mixed winds in gagaku–Japanese court music–as Yuan Yuan Tan’s kimono, in a true coup de theatre, slips off her and disappears above the stage.

Eshima leads us back to the musician’s locker room to his locker plastered with photos, and takes out his Charles Plumerel 1843 double bass which figures famously in Degas’ painting The Orchestra of the Opera. He runs his finger reverently over its pen under enamel inscription, And then he plays the opening and reiterated for four minutes Eb with which Wagner began his Rheingold prelude, and the connections between his RAkU “Prelude” and Wagner’s, are obvious. We are going into another world, and this is the key to the door.

by Michael McDonagh
Contemporary Classical

“This Is Just To Say: Live Art II” – Leonard Nemoy Thalia theatre at Symphony Space

You know it’s going to be an exciting evening when one of the performer’s bios states that, among other things, she has performed, “with robots locked inside a Van de Graff generator at Boston’s Museum of Science.” From that moment on, I was sold.

Ear To Mind produced the evening’s concert, at the Leonard Nemoy Thalia theatre at Symphony Space. Ear to Mind is a New York City based arts organization that “strives to present innovative programs that allow the public to experience contemporary music in non-traditional context.” What was heard on this evening was a truly remarkable display of modern art today.

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by Jonathan Lakeland
File Under?, NPR, The Business

All Songs Intern “Rips” Buying Music?

This week, one of the topics being avidly discussed on the blogosphere is a  post written on the All Songs Considered blog by NPR intern Emily White (read here).  There have been a number of passionate replies to her suggestion that those in her age group simply are not buying music: they’re too accustomed to “appropriating” it. David Lowery (of the band Camper Van Beethoven) provided an in depth and thoughtful response (a must read at the Trichordist here).  One can also read Ben Sisario’s article for the NY Times here and Jonathan Coulton’s blog post here.

All caught up? Good.

I won’t go through all of the merits and moral quandaries associated with file-sharing and streaming services. Full disclosure: I use NML regularly in my work (we subscribe at Westminster Choir College) and also have a paid Spotify subscription. While I’m a big proponent of physical media, and also feel that streaming services must work to do a better job to compensate artists, I am pleased that these technological options are available, as they are invaluable references for scholars and music lovers.

Thus, I’m certainly not interested in piling on or, goodness forbid, admonishing Emily White. In some ways, I feel sorry for her: a DJ and station manager who doesn’t have a record collection strikes me as someone who’s missed out on a very fun part of that gig. Instead, let’s zero in on those records. In the various posts on the subject of apathetic interns there is an almost unmentioned other segment of the populace that should be introduced into this conversation about purchasing music: young people who, you know, purchase music.

I support lots of artists by buying their music, often in physical, sometimes esoteric, formats. I feel about LPs the way that former Senator Phil Gramm feels about firearms, about which he famously said, “I have more of ’em than I need and less of ’em than I want.”

But I’m not the only one with this penchant for owning a physical artifact instead of ripping a friend’s CD. Why is it whenever I go to a record store I’m surrounded by people, many approximately Emily White’s age, who are digging through the bins and buying vinyl? New vinyl – nice 180 gram pressings of current albums. That’s a lot of latte money!

Maybe, in the midst of all of the doom and gloom about the decline of CDs as a distribution model, we are overgeneralizing by taking the casual listener as the barometer for future music sales. The casual listener has long “stolen” or, at the very least, freely acquired, music: well before the advent of file sharing and mp3s. Mix tapes, listening to the radio in a restaurant that doesn’t pay royalties, borrowing music from libraries, friends, etc.

Yes, the arguments regarding “fair use” settled some of these issues, but it took lengthy court battles to do so. At the time, most teens remained blithely oblivious of the issues at hand, continuing to dupe their friends’ copies of whatever they couldn’t afford that week at Sam Goody. What’s sad is that Emily seems to fall into this group of casual consumers: one might hope that NPR would attract folks who get the point of supporting those who entertain, educate, and even move them.

Physical product continues to be viable in the digital age, even if it proves to be a more modest stream of revenue than it was for artists during the boom years of the CD era. The physical product that seems to be on the rise at the moment is the LP, with good reason: it’s a very fine artifact. The bigger format helps – you can actually read the liner notes and the artwork can better be appreciated. Many audiophiles (myself included) love ’em.

That said, the industry should continue to explore other modes of distribution, new platforms that will help to keep them in business and recoup at least some of artists’ lost royalties. In no way am I suggesting that streaming media isn’t going to be the prevailing method of experiencing recorded music in the future. From an archival standpoint and one of accessibility, this is an exciting thing indeed. However, I can’t help but think that the lack of engagement with a record collection, except in the digital domain, divests the listening experience of some of its vitality.

Readers: what do you think? The comments section is open for civil discourse.

by Christian Carey
Bang on a Can, Concert review, Concerts, Contemporary Classical

Liveblogging the 2012 BOAC Marathon

Last year I decided to try my hand at liveblogging the Bang on a Can Marathon concert and had so much fun doing it, I figured I’d come back and do it again. Held in the World Financial Center, the marathon will begin at noon and last till midnight and is FREE, so y’all have plenty of time to get here, find a spot to sit, and enjoy the huge lineup of performers and composers the Marathon is bringing forth today (the day’s schedule can be found here).  If you attend, I’ll be sitting in the front row corner in the press section – feel free to come up and say howdy!

Since this puppy will probably be a bit lengthy when all is said and done, I’ll put the updates below the break.  (more…)

by Rob Deemer