A couple of years ago the composer Jason Barabba told me I had to meet Julian Day. Julian’s an artist/composer/writer/broadcaster from Sydney, and he just happens to be in Los Angeles this week participating in the closing night of Synchromy and Boston Court’s DuoFest and interviewing people like Henry Rollins (we’ll get to that). Ahead of tonight’s event, we had a minute to catch up with both of them.
How did the two of you meet?
Julian: It was an unlikely venue – a 13th century monastery in Tuscany. But we were as areligious then as we both are now.
Jason: It was the Cortona Sessions for New Music in 2011, an excellent new music festival bringing composers and performers together for performance and way too much eating of stunning food. I remember telling Julian he sounded British to me and not Australian, and he gave me that look that people give Americans when they don’t know how to respond to us.
Julian, what are you doing here in LA? I know you’re a composer, but I’d heard something about interviewing US musicians about their politics…
Julian: I’m jaunting around the country interviewing musicians about politics in the age of Trump. So far here I’ve caught up with hardcore punk legend Henry Rollins and UCLA scholar Shana L. Redmond. But my main task is to dust off my turntables to play in Ludwig Van, a music theatre work composed by Mauricio Kagel for Beethoven’s 200th birthday in 1970. It’s a riotous piece that you simply can’t miss – you may not hear it again for another 47 years.
Tell me about the piece.
Jason: Kagel’s Ludwig Van has always been a bucket-list piece for me. In my circle I’m fairly well known for having a bit of an antipathy for Beethoven, and so it makes sense that I should be involved in a new music concert that is all about Ludwig. Kagel’s score is the centerpiece of the night, surrounded by works by Ludwig himself, as well as John Corigliano and Clarence Barlow. We’re having an absurd amount of fun with it. The thing about the Kagel is, you can do almost anything you want, as long as Beethoven is the source. In some ways it makes it easy, but in many ways it is significantly more work than presenting a normal score. But, I’ve always wanted to do it, and we’re grateful to Boston Court for giving us the space and the support to put it on. Expect a disco ball, Julian on turntables with my complete set of Beethoven on vinyl, and a stage full of mind-blowingly-excellent musicians.
Julian: Jason isn’t the only one with a funny thing for Beethoven. I think he’s been a complex touchpoint for many composers over the past century – too willful, too bombastic, too ‘genuis’ – and it’s time we reclaim his obsessive, brilliant and dramatic ouevre and basically luxuriate in it.
How have the other DuoFest events been?
DuoFest has been a big step forward for Synchromy, and we’re enjoying the chance to try so many things out in one week. We brought along four duos that are either already collaborators us, or are people we have always wanted to work with; Aronson-Valitutto, Panic Duo, Aperture Duo and Autoduplicity. They have all shared the stage this week, and I’m just so pleased with how great they’ve all been to work with. We’ve premiered a few pieces: a gorgeous work by Andrew Tholl and a great new violin and piano piece from Juhi Bansal, and I wrote a new piece for Aperture Duo and Autoduplicity and a pair of singers. It’s a 6 and a half minute opera called Any Excuse Will Serve a Tyrant.
Would you like to share anything about the opera?
Jason: I had an idea for a piece for the Aperture Duo, and we were going to do that, but this year I suddenly felt like I had to compose pieces that were in some way dealing with the world (political/social/environmental) that we find ourselves dealing with. I needed to do something that made some manner of statement. I felt like one of the things we need is to remember how to be part of a society, and how to treat the people around us, so I thought back to the old Aesop Fables, and found The Wolf and the Lamb fit the bill perfectly. Since we had Aperture sharing a program with Autoduplicity, I brought in two singers that I love to write for, Baritone Scott Graff and soprano Justine Aronson to be my Wolf and Lamb, and I couldn’t be more happy with the result. They were stupdendous, under the baton of Geoffrey Pope and directed by the awesome June Carryl.
Julian, with your musicopolitical reporting, what was your take on the piece?
Julian: It’s really clever. Fundamentally it’s a beautifully scored vignette that combines comedy and pathos with dramatic flair. By using a very old fable Jason can also comment, with historical distance, on the turbulent politics the States is currently experiencing. I strongly urge my good colleague to set more Aesop fables to music as he’s a natural.
What are you both working on now that people can look forward to?
Julian:I’m working on an album-length composition for London pianist Zubin Kanga using electronics and theatrical staging, as well as a 24-hour choral piece which will premiere in Sydney in early September. And adjusting my crazy sleep patterns.
Jason: I just finished a commission for playwright Tom Jacobson’s new play, and am planning to take a short sabbatical from composing while I decide what needs to be said next. I hope to be able to create an entire set of Aesop micro-operas in the coming year, because Tyrant was way more fun to do than should be allowed. Once DuoFest is over, Synchromy will start making plans for the upcoming year, and we’ve got some very cool things on the table.
Tickets for Ludwig Van are available at bostoncourt.com/events/333/duofest-night-8-finale-ludwig-van.