Contemporary Classical, Experimental Music, Interviews, San Francisco

Let’s Ask Matt Davignon

Matt Davignon

Experimental music impresario Matt Davignon is known all over the San Francisco Bay Area for organizing unusual music performances.  In addition to being responsible for such events as the San Francisco Found Objects Festival, he’s a member of the Outsound Presents Board of Directors and the San Francisco Electronic Music Festival Steering Committee.  This Thursday evening, November 19, at 8:00 PM, Matt will present one of his DroneShift concerts at the Luggage Store Gallery, where he curates regularly.  The gallery is located at 1007 Market Street near 6th Street in San Francisco, near Powell Street and Civic Center BART. Admission is $6.00 – $10.00 sliding scale, with no one turned away for lack of funds.

I lured Matt into conversation with the assurance that there would be no artichoke hearts involved.

S21:  So how did your geographical wanderings bring you to San Francisco?

MD:  I was raised in Western Massachusetts, and moved to Santa Rosa, California with my family as a teenager. I moved down to San Francisco as a college student because I wanted to encounter the experimental music scene.

S21:  And how about your musical wanderings?

MD:  I started as a teenage bass player, who aspired (but lacked the motor skills) to be in a prog rock band. After moving to California in the early 90s, I was increasingly influenced by industrial music and ambient music (both of the 1990s variety and the Brian Eno variety).

By 1994 I was improvising, but using many different sound sources such as turntables, tape collage, household objects and drum machine. In the early 2000s I most frequently performed with just a turntable and CD player, improvising music by layering irregular loops of pre-recorded music. In 2004, I decided I wanted to put all the things I learned from my previous musical wanderings into one instrument. I was surprised to find that drum machine was the best choice.  It not only comes with a wide variety of sounds, but it also has the potential to be used melodically. Most importantly, since the drum machine can be played with one hand, the other hand is free to operate devices that process the sound.
(more…)

by Polly Moller
Contemporary Classical, Los Angeles

Last Night in L.A.: Preludes to a Festival

This coming Saturday is the official opening concert of the L.A. Phil’s exciting new festival, West Coast, Left Coast, but performances introducing the concept have now begun. REDCAT showed a “re-interpretation” of a noted performance piece with music by Morton Subotnick and choreography by Anna Halprin, and Jacaranda Music had another full audience for its concert last night as a prelude to the festival itself.

Parades & Changes, the Halprin-Subotnick performance collaboration from 1965 is coming to New York, and it provides a fascinating hour. The use of electronics in music has advanced so much in the past forty years, and can now be heard so often, that Subotnick’s music no longer sounded as radical or disturbing as it must have seemed then, but it held its own and contributed to the performance, which didn’t seem at all dated. When I got home, however, I did a search to find my LP of Subotnick’s Silver Apples of the Moon, once played so often. Gone. I don’t know when, or how. Surely the California pioneers in electronics in music should have had a place in a West Coast, Left Coast Festival!

The Jacaranda concert Saturday night was pure delight, and perfectly aligned with the festival’s theme. The program opened and closed with John Adams: Road Movies (1995) for violin and piano to open, and Shaker Loops (1978) for string sextet to close. The Denali Quartet brought in two friends to round out the performance of “Loops”, and this was a pleasure to listen to. The hit, however, was early Lou Harrison: Solstice (1949-1950) for celesta, tack piano, and flute, oboe, trumpet, two cellos and bass (including an instrument on its back, providing its strings as the target of mallets). This was Harrison attracted by Eastern sounds, but not yet comfortable with how much use to make of them. But it’s a lovely work. The fourth work on the program was by Ingram Marshall, whose work I don’t know. The concerts by the Master Chorale and by the Phil’s New Music Ensemble in a Green Umbrella concert will also give us works by Marshall, and I’ll wait until I’ve heard more before commenting.

The West Coast, Left Coast Festival looks on paper as if it can be more exciting then the last festival, Minimalist Jukebox, curated by Adams. Here’s the listing of events. And the LA Times has an excellent essay on Adams, here.

Today’s Philharmonic concert featured Luciano Berio and Franz Schubert, conducted by Gustavo Dudamel. The concert opened with Berio’s commentary on the fragments left from Schubert’s ideas for his Tenth Symphony, Rendering (1989). Instead of developing a hybrid work “in the style of” Schubert, Berio supplemented the fragments with his own ideas, carefully orchestrated so that the listener could distinguish between real and restoration. We then ascended to the higher realms with Berio’s Folk Songs (1964, with the 1973 version for orchestral accompaniment). The singer? Dawn Upshaw. Dudamel closed the concert with Schubert’s Unfinished Symphony. The Dude is gaining control of the audience; in today’s concert he got everyone to be silent for over a minute after the last notes as he slowly lowered his arms. Last week’s concert, Verdi’s Requiem, was the only concert so far without a major work written after 1900.

by JerryZ
Canada, Concerts, Contemporary Classical

Truly Canadian

Sunday, November 15th, the Esprit Orchestra and conductor Alex Pauk are giving what I think will be a really wonderful concert. It happens in Toronto, at 8PM in Koerner Hall at The Royal Conservatory (273 Bloor Street West, Toronto), with a 7:15Pm pre-concert chat with a composer and guest artists. That composer would be Alexina Louie, and my guess is the guest artists are Inuit throat singers Evie Mark and Akinisie Sivuarapik. First up on the bill is Louie’s work Take the Dog Sled, for two throat singers and ensemble.

Throat singing is an ancient traditional musical form/contest where two women join in a face-off, chanting back and forth in a rhythmic game. The point is for each to keep the rhythm going through all its elaborations; the one who either runs out of breath, misses, or starts laughing is the “loser” , but the loss is not nearly so important as the bonds formed. Louie here incorporates their singing into her piece for western ensemble, part of which you can preview in this clip from a documentary made about Kent Nagano and the Orchestre symphonique de Montréal‘s recent journey through the high north, to bring classical music and instruments to places that had never heard them live before:

[youtube]http://www.youtube.com/watch?v=wCYQW57EVoI[/youtube]

Following that will be one of the great evocative experiences of my own teen years: a performance of R. Murray Schafer‘s mysterious North/White for snowmobile (!) and orchestra. I think it may have a couple different versions now, but I first heard this near its premiere in 1973: as a teen in an agricultural region of Washington State, my modern classical education consisted largely of late-night radio listening, to the swelling and fading signal of the CBC wafting over the border from Alberta. One of those nights came an utterly strange rustling of orchestral music, eventually mixed with menacing sounds that I could never quite place; but they were textures, harmonies and sonorities that stayed in my head to this day. All I knew at the end was that the announcer’s voice told me this was some composer named R. Murray Schafer, and the piece was called North/White. I was taping the radio with a little cassette placed just next to it, and even years later I would sometimes pop the tape in to hear that moment again. Well, here it is in the flesh once more, and I’d give a lot to be there to hear it. The concert’s site tells us that “North/White is the composer’s highly personal statement on how industrial forces impact on Canada’s Northern mythology”; I’ll take that, and add that it certainly impacted my own personal mythology. (And you just name me one other piece for snowmobile and orchestra, huh?)

Rounding out the program are two very much non-Canadian works, but both I think very much a fit with the sound world that came before, and are both among my all-time favorites: Gyorgy Ligeti‘s classic Atmospheres, and Toru Takemitsu‘s Green (November Steps II).

If you’re anywhere close (or what the hell, use that New-World pioneer spirit, jump in the car and drive all night!), this is a must-hear.

by Steve Layton
Concerts, jazz

Wolfgang Digs Newport

Wolfgang Grajonca that is, who is better-known to us old hippies as Bill Graham, the late impressario of the Fillmores East and West and the man who brought the music to a thousand purple-hazed nights of our misspent youths. Graham taped and saved everything and you can stream hundreds of full concerts free (downloading costs a little money) at a site called Wolfgang’s Vault. Want to hear that dead band’s song before they were dead? You got it. Catch Steppenwolf doing “God Damn, the Pusher Man?” Stevie Ray demonstrating why no one else should ever be allowed to touch a guitar ever again. Jimi, the real Jefferson Airplane, even early Bruce.

And, if that isn’t enough, today Wolfgang’s Vault began adding concerts from the 50 years of Newport Jazz Festivals. There are three up now–the Jazz Messengers, Dakota Staton and a 1959 Basie set that gave me goosebumps when I listened to it earlier this evening. Talk about minimalism, you ain’t heard shit until you dig Freddie Green and the Count sliding into a groove. Get yourself over there.

Random thought: When I went into Starbucks this afternoon, they were playing Jimmy Durante’s version of “You must remember dis…a kiss is still a kiss” and I thought to myself–Greatest Album Never Made? Jimmy Durante sings Tom Waits.

by Jerry Bowles
Bang on a Can, CDs, Contemporary Classical, Downtown, New York, Odd, Performers

Multiple goodness

bagpipeJust a few weeks ago over at our CD Review section, Jay Batzner wrote about the new Julia Wolfe Dark Full Ride CD: “Each piece transfixes me.  I am writing my own music differently because of this disc.  I am so glad that Julia Wolfe exists, is writing music, and that such talented performers play the hell out of her stuff.”  It’s a really interesting Ride, each piece intensely working over some greater or lesser multiple of the same instrument.

If you’re a skeptical “show me” kind of person, free as a bird tomorrow (Nov. 10th) in NYC and maybe just a little crazy, you can test your own reaction to all of these works and the performers. The normal CD release concert has been jettisoned for this one, instead having each of the four pieces performed separately in venues familiar and not-so, scattered around Manhattan:

At 11 AM Matthew Welch is guaranteed to absolutely fill the air as he plays LAD on bagpipe with 8 more bagpipes on tape, at Roulette, 20 Greene Street (between Canal and Grand);

At 12 noon, the title piece Dark Full Ride for 4 drumsets (manned by the Talujon Percussion Quartet — David Cossin, Tom Kolor, Michael Lipsey and Matt Ward) will pound out at Dauphin Human Design, 138 West 25th Street, 12th Floor (between 6th and 7th Avenues);

At 1 PM Robert Black and the Hartt Bass Band will rock Wolfe’s Stronghold for 8 double basses, at the Chelsea Art Museum, 556 West 22nd Street (corner of 11th Avenue);

Finally at 2:30 PM Lisa Moore, Lisa Kaplan, Blair McMillen, Timo Andres, Kate Campbell and Isabelle O’Connell, all conducted by Sam Adams, will undertake the epic my lips from speaking for 6 pianos at Faust Harrison Pianos, 205 West 58th Street (between 7th and 8th Avenues).

julia wolfeJulia herself will be tagging along to each performance; if you happen to spot this face in the crowd you might go and say hi & thanks to the woman who penned all this glorious madness. It’s all free and open to whoever makes it, so pack a lunch, put on those walking shows and have a great hike!

by Steve Layton
Composers, Concerts, Contemporary Classical, Performers, Piano

“Somebody handed me a hammer”

So recalls Felix Heltmann of then-West Berlin, in a comment over at the BBC, “and without question I just started pounding away at the Wall. I was so excited that I got exhausted after some time and I gave the hammer to my other mate who started hammering away too. What a night…”

To celebrate that night on this night, NYers might want to head to Le Poisson Rouge, where admirable pianist Heather O’Donnell will be in town — she herself has lived in Germany now for some years — to give a commemorative concert thanks to the Wordless Music series. On the bill will be Walter Zimmermann‘s the missing nail (at the river), for piano & toy-piano, and Wüstenwanderung; Oliver Schneller‘s Five Imaginary Spaces and Tomorrow…, both for for piano & electronics; and Charles Ives‘ Three Quarter-Tone Pieces for Two Pianos (new version for piano & electronics).

Heather’s also taking her show on the road the next few days: tomorrow the 10th she’ll be at An die Musik in Baltimore with music of Schneller, Ives and Schumann; the 12th she’ll repeat that recital at the Goethe Institut in Boston; and the 15th she’s at the Ethical Society in Philadelphia doing Zimmermann, Ives and Schumann.

by Steve Layton
Composers, Concerts, Contemporary Classical, Miller Theater

November portraits

portraits

Miller Theatre at Columbia University is running a great little series of composer portrait concerts this month:

Saturday, Nov. 7th, Galina Ustvolskaya (1919-2006) is featured, with Chicago’s Fifth House Ensemble doing the honors. The program includes Ustvolskaya’s Trio (1949), Piano Sonata No. 6 (1988), Octet (1949-1950), Composition 2 (1972-1973), Piano Sonata No. 4 (1957), Composition 3 (1974-1975).

Then on Tuesday, Nov. 17th, we get a full plate of a true American “gnarly” individualist, Ralph Shapey (1921-2002). Miranda Cuckson (violin, viola, and artistic director), Charles Neidich (clarinet), William Purvis (horn), and Blair McMillen (piano) will join conductors Donato Cabrera and Michel Galante, The Argento Chamber Ensemble, New York Woodwind Quartet and Talujon Percussion Quartet for this rare panoramic essay of Shapey’s work: Five for violin and piano (1960), Interchange (1996), Movements (1960), Etchings (1945), Concerto for clarinet and chamber group (1954), and Three for Six (1979).

Things round off with a concert on Sunday, Nov. 22nd, devoted to Finnish composer Kaija Saariaho (1952- ). Violinist Jennifer Koh will join the International Contemporary Ensemble and conductor Brad Lubman in a concert full of gems: Terrestre (2002), Graal théâtre (violin concerto) (1994, rev. 1997), Lichtbogen (1985-1986), and Solar (1993).

All concerts kick off at 8PM. Columbia University’s Miller Theatre is located north of the Main Campus Gate at 116th St. & Broadway on the ground floor of Dodge Hall. For tickets, call the Miller Theatre Box Office at 212/854-7799, M–F, 12–6PM, or they can also be purchased online.

by Steve Layton
Commissions, Composers, Concerts, Contemporary Classical, Premieres

N.C. without the Y.

I’ve just been informed via press release, that our s21 blogging regular Lawrence Dillon is a “mid-career composer.”  It’s nice to know that he’s only half-done making great music and not already washed-up!

Said release was about the Thomas S. Kenan Institute for the Arts LINKS Commissioning Awards, and the four composers who’ll be getting premieres thanks to it, at the University of North Carolina School of the Arts (UNCSA) in Winston-Salem — whose composer-in-residence just happens to be… yes, Lawrence Dillon. And one of which is by… yes, Lawrence Dillon. But since his is the odd man out location-wise and not first up, I’ll hold off that one to tell you about a couple others:

First up is Laura Kaminsky‘s Wave Hill, in Watson Hall at UNCSA Saturday, November 7, 2009 with pianist Allison Gagnon and Violinist Kevin Lawrence.  The composer writes: “Wave Hill is a multi-movement work inspired by the eponymous 28-acre public garden and cultural center in the Bronx overlooking the Hudson River and Palisades. Wave Hill’s mission is to celebrate the artistry and legacy of its gardens and landscapes, to preserve its magnificent views, and to explore human connections to the natural world through programs in horticulture, education and the arts. Celebrating this special place through music, the piece evokes the garden’s changing landscape at different times of day and throughout the four seasons.”

Then on January 12, 2010, again in Watson Hall, David Maslanka will offer up an as-yet-untitled new work for two pianos and percussion, to be performed by The CanAm Piano Duo (Christopher Hahn and Karen Beres).

OK, now we can take a quick jaunt out of town and meet up with… yes, Lawrence Dillon. On January 15th, 2010 his brand-spanking-new String Quartet No. 4: The Infinite Sphere will be heard in Wolf Trap, Virginia, performed by The Daedalus String Quartet. The latest in Dillon’s Invisible Cities string quartet cycle, the fourth takes its inspiration from Pascal’s reference to an “infinite sphere, whose center is everywhere and whose circumference is nowhere.” The piece taps the potentials of classical circular forms and techniques to create an exuberant, wheels-within-wheels showcase for a virtuosic ensemble.

Leaving… yes, Lawrence Dillon… and rounding out this little tour of “mid-career” folk, we need to get back to Winston-Salem and then the Stevens Center by May 21, 2010, when Randall Woolf‘s new work Native Tongues will see light of day under conductor Ransom Wilson, the UNCSA Symphony Orchestra and “beatbox flutist” Greg Pattillo. Even the orchestra will be getting their chance to rap & scratch on this one, so it promises to be one lively affair.

To purchase tickets for these UNCSA concerts, or for more information, call (336) 721-1945 or visit www.uncsa.edu/performances.

by Steve Layton
American Music Center, Auction, Composers

Hey bidder bidder!

do i hear $50?Like to own a piece of potential history? Or maybe just somebody to lug your bags around? Grab some fare or flair, from fluff to full, all to be had at the American Music Center’s 70th anniversary online auction fundraiser. Proceeds will support the Center’s ongoing programs, which have been working to build a national community of artists, organizations, and audiences creating, performing, and enjoying new American music for a good chunk of the last century.

The list of auction items is eclectic, to say the least. I’m not really seeing the musical value in a gift certificate for some beef, or tickets to a comedy club (except maybe to feed that starving artist, and give them a few ideas for that next absurdist chamber opera)…  But there are quite a few truly special treats to be had: how about tickets to the New York City Opera complete with backstage tour? A private salon concert by the wonderful violinist Jennifer Koh? Commission your dream piece from Steven Stucky or Robert Xavier Rodriguez? Get some personal consulting on your composerly career from market-savvy composer Alex Shapiro? Vocal coaching with Paul Sperry? And my personal favorite — name your own David Rakowski piano étude!

The material’s even better for you autograph hounds: not only signed sketches and manuscripts from the likes of Stucky, Bernard Rands, Augusta Read Thomas, Tobias Picker, there’s the conductor’s score of  Three Occasions by Elliott Carter, signed by the grand old man himself! For the ‘multiples’ collector, there are special “Pulitzer Prize Packages” — each of which includes both a signed CD and signed score of their prize-winning composition — from Bernard Rands, David Lang, John Corigliano, and Melinda Wagner. All this and more, more more!

The bidding opens Thursday Nov. 5th and runs through Nov. 20th. Some seriously good stuff, some seriously useful stuff, some seriously silly stuff — no matter, it all goes to benefit the efforts of the most fundamental and over-arching organization in the U.S., for the advocacy of New Music and the people who make and play it.

by Steve Layton
Boston, Composers, Contemporary Classical, Interviews, Performers, Podcasts

Who Interviewed Amanda Palmer?

Amanda Palmer (photo by Martin Foster)
Amanda Palmer (photo by Martin Foster)

Amanda Palmer is a bona fide rock star.  She first made her name as half of The Dresden Dolls, and has since struck out on her own with a solo album called “Who Killed Amanda Palmer.”  In June of 2008 she teamed up with the Boston Pops for two nights, and this December they’re doing it again for a New Year’s Eve concert.  Amanda has also been pioneering new models of how the rock music industry can work (staying in nearly constant contact with her fans via Twitter plays a key role), and I wanted to see if that ingenuity could be translated into advice for the classical scene.  I interviewed her by phone last week, and we talked about the upcoming Pops show, her musical background and training, and her impressions of the classical music industry:

Part 1:

Part 2:
Amanda is performing in Singapore right now, and when she returns she has a series of shows along the Eastern Seaboard which culminate with the Pops concert on December 31.
P.S. Here’s the link to the Shadowbox repertoire discussionAmanda mentions.
by Galen H. Brown