The virtuosic Aperture Duo (Adrianne Pope and Linnea Powell) will be performing at Tuesdays at Monk Space this coming Tuesday, February 27. I had the opportunity to ask Adrianne Pope (violin) and Linnea Powell (viola) about the upcoming show, working with composers, and more. Here’s what they had to say:
Our Monk Space program has been incredibly fun to put together, as it features some of our favorite composers and people whose works center around memories, reunions, and reflections. Sciarrino’s short and fleeting “La Malinconia” and Georges Aperghis’ enthusiastic “Retrouvailles” are pieces that we’ve wanted to perform for years. The program also features two Aperture Duo commissions: a world premiere by Sarah Gibson and a commission by Nicholas Deyoe from 2015. These two commissions give a window into our wide ranging interests as a duo, as they are very contrasting in sound and style.
From whistles to claps, beautiful lyricism to deafening scratches, we aim to create programs that challenge the assumptions of what a violin and viola duo can sound like. This will show be no exception!
You’ll be premiering Sarah Gibson’s piece, tiny, tangled world at the concert. What has your experience been like with this new work?
Whether it’s performing, teaching, or composing, working with Sarah is always a joy for us. As a composer, Sarah has a perfect balance of clear ideas and flexibility. We got to workshop new sounds, different notation options and extended techniques from the very beginning stages. We have loved seeing it evolve each step of the way!
When Sarah gave us the final draft, we were thrilled to see how virtuosic and unique it is from our other rep. She even included a specific extended technique that was new to us! Her title, tiny, tangled world, has been in place from the beginning sketches, and it has been intriguing to see the work really come to fit the title perfectly.
How often have you worked with LA composers Sarah Gibson and Nicholas Deyoe in the past? Can you tell us a little about these experiences?
With Sarah, we have performed as colleagues, performed her works in other ensembles, and worked with and performed her composition students’ works. Tiny, tangled world is the first piece Aperture has worked on solely with Sarah.
With Nick, we have performed a little bit together, and we’ve played many of his works with different groups in LA. We recently got to work with his students at CalArts on new works, and we recorded 1560 for his most recent album, for Duane. 1560 was one of our first commissions and we can’t wait to play it again at the end of this month.
Besides being colleagues, both Sarah and Nick are good friends of ours and we jump on any opportunity to collaborate with them.
Any upcoming performances or projects you’d like to talk about?
In April, Aperture Duo is ensemble in residence with the Black House SoCal New Music Workshop at UC Irvine. We’re very excited to work with the selected composers and musicians there, it’s going to be a wonderfully creative workshop! In May we’ll be in residence in Northern California at Las Positas College and in June we’ll be performing at Bread and Salt in San Diego, where we’ll be premiering a new work by Courtney Bryan. It’s going to be a great spring! More information can be found on our website.
This coming Tuesday at Monk Space, Mojave Trio (Sara Parkins, violin; Maggie Parkins, cello; Genevieve Feiwen Lee, piano) will be performing along with SAKURA Cello Quintet (Michael Kaufman, Benjamin Lash, Gabriel Martins, Yoshika Masuda, Peter Myers), for a program of music by composers Daniel Silliman, Daniel Allas, Thomas Kotcheff, Kaija Saariaho, and Nico Muhly. I had the opportunity to ask cellist Maggie Parkins some questions about the piano trio as a genre, performing the works of living composers, and the program on January 9. Here’s what she had to say:
As a standard of the classical canon, how has the piano trio evolved over time in your opinion?
Here is a quote from Kaija Saariaho: “I have written many trios for different combinations, but have been hesitant to compose for a traditional piano trio, maybe because of its long and weighty tradition.”
The chamber ensemble of the piano trio with its plentiful classic beginnings of Haydn and Mozart, its deeper development of Beethoven and Schubert, to its late 19th century peak of a romantic explosion of Mendelssohn (Felix and Fanny), Brahms, Schumann (Robert and Clara) Dvorak and Debussy, etc., has left an indelible mark on the repertoire for three mostly compatible instruments.
The early twentieth century has left some fantastic staples such as, Ravel, Shostakovich, Faure, Frank Bridge, Henry Cowell, Korngold, and of course Ives. One can develop a long list of later 20th and early 21st century works but there seems to be a wane of multiple explorations into the genre by well-known composers as other types of chamber ensembles using different instrumental combinations have developed. Now we see sextets, duos, percussion groups, and many other variations that capture the contemporary landscape. Contemporary piano trios are generally used to “fill out” programs of concert length. One sometimes wonders why some notable 20th century composers such as Bartok, Stravinsky, Prokofiev or Barber didn’t write for piano trio.
The string quartet seems to have continued to capture the interest of composers more consistently than piano trio. There are multiple examples of quartets by Steve Reich, Philip Glass, Ben Johnston, and John Adams.
There are built-in challenges for matching the timbres of the strings to the keyboard. Perhaps it is the weighty tradition itself and the focus to find fresh new combinations that satisfies the aural palette.
What are your thoughts about performing music from the classical repertoire versus works by living composers?
As a cellist focused on small ensemble chamber music, I find myself in a unique and enviable position. Conservatory trained on an instrument steeped in tradition, I am lucky to have studied with fantastic teachers handing down their classic wisdom and knowledge. I have had some amazing experiences performing at great festivals such as Tanglewood, Taos, and Banff, and in wonderful orchestras as well.
At the same time I have gravitated toward and truly enjoyed working with living composers, having shared the camaraderie and challenge of exploring new techniques with the ability to discuss performance issues with the composer to be so rewarding. My sister, who is a composer, initiated me into her world of composition through improvisation and dance collaboration and further opened up my eyes to possibilities of interpretation. But guess what? I have decided that the two concentrations nourish each other. After a stretch of doing only new music I find myself listening to Beethoven or Brahms or performing a Bach Suite and thinking, “Now that is a really good composer!” How delightful to play a piece I have grown up hearing and knowing and playing. It is comforting.
My luck is having the opportunity and ability to do both. The thrill of premiering a new work and working hard on a piece to get it just the way a composer wants it is very enjoyable to me. Who knows, it could be a piece that gets played again and again.
Can you tell us about the works you’ll be performing on the program at Monk Space?
Yes, we are really excited by these new works for our ensemble. I have been really into Saariaho’s compositions for quite some time. This is the fourth piece of hers I have worked on. I find her voice so unique and commanding. You won’t be whistling a tune into the wee hours of the evening though. Her music is about abstract color, timbre and contrast. Close your eyes and listen. She takes movement such as trills into tremolo and glissando, puts it over the fingerboard and on top of the bridge, maybe inside the piano, and then the overtones pop out. Her language creates such a wide pallet, changing simple notions of loud and soft, and occasional new sounds. She has truly explored some of the now accepted techniques of sul ponticello and sul tasto. She isn’t afraid to make the motion just stop and meditate on static sound which develops over the longer periods of time. Her music is a little more challenging for the listener and it often needs several listenings, but what a lovely door to enter.
Like Saariaho, Jennifer Higdon is also interested in color as a basis for compositional beginnings. It influences melody for her. Higdon is quite appreciated for her soaring tunes, and Pale Yellow doesn’t disappoint with its glorious romantic feeling. The music has depth too and feels authentic.
Nicho Muhly’s piece is all about rhythmic drive. Its energy is fun with bookends of material that have funky asymmetrical meters and conversational dynamic writing. The middle has a long melody popping through against the chatter. It’s a really fun piece to learn and play.
Next Tuesday, November 21, cellist Nick Photinos of Chicago-based ensemble Eighth Blackbird will be performing works from his debut solo album, Petits Artéfacts at Monk Space, aided by pianist Vicki Ray. I asked Nick some questions about the album, performing, working with composers, and Eighth Blackbird. Here’s what he had to say:
Can you tell us about the process of recording your album, Petits Artéfacts?
The concept for the album happened after I premiered the Florent Ghys work, Petits Artéfacts, a 17 minute work of six small, tightly constructed pieces. I got thinking about all the short pieces I had played over the years and, when I started digging around, found that none of them had been recorded yet, so the content came together pretty quickly. So did the idea to collaborate with pianist Vicki Ray and percussionist Doug Perkins, two people I’ve played with for many years but not often enough. The recording sessions themselves happened in May and June of 2016 and January of 2017.
What are your thoughts on performing this music live? Does the live performance offer something the recording cannot, and vice versa?
The plan was always to tour this music live following the release, so it’s been really great to get this music out in the world more. As far as why go see this live, besides just that live music is and should be better than listening to recordings: the Ghys in particular has great accompanying videos that Florent made himself, so those are definitely worth seeing and something you can’t get from the album alone. A lot of the works also have more punch when seen live, from the politically-charged Little to the wit of the Norman.
Do you plan on more solo albums in the future?
I’ve started thinking about it, but I want to get as much mileage out of this album as I can, so that’s at least a few years down the road.
Did you work with any of the composers personally while recording the album? Can you tell us about this experience?
Not so much in the recording process itself, but I did work extensively with Florent for the editing and mixing process. I’ve loved his album Télévision, not just for the music but also the sound on the recording: full and rich but also close and present, with not as much reverb as a lot of solo classical albums have. He had a lot of great input and helped shape the sound of the recording in a big way.
So far we’ve been focusing on your work as a soloist in light of your new album, but you’re also the cellist for the Chicago-based new music ensemble, Eighth Blackbird. Can you tell us a bit about your experiences with Eighth Blackbird? In contrast with solo performing, what do you love most about performing with the group? Anything on the horizon for you guys that you’d like to share?
I’m the founding cellist of Eighth Blackbird, now in its 21st season, so it’s old enough to drink. There’s so much I love about the group–the repertoire, the staging and memorization–but it all comes down to simply getting to go to work every day, whether that’s at our studio or recently onstage in front of the Philadelphia Orchestra, and just play good music really, really well together, and have fun doing it. So much on the horizon for us, including a new album of a staged 90-minute work by Dan Trueman, called Olagón, that comes out on Nov. 10; performances of that and our regular rep; and this June the second year of Blackbird Creative Lab, our two-week summer festival in Ojai, CA that’s free of tuition, room, and board for accepted fellows.
Tonight, soprano Elissa Johnston will join the Lyris Quartet at Monk Space for what’s sure to be a beautiful night of music. In anticipation of the quickly approaching concert, I had the opportunity to interview Lyris Quartet members Alyssa Park (violin), Shalini Vijayan (violin), and Luke Maurer (viola) about the program, thoughts on collaboration, and more. Here’s what they said:
The program contains a set of lyrical, moving, and experimental works from a variety of composers, including Arvo Pärt, Pin Hsin Lin, John Tavener, David Hertzberg, and Evan Beigel. From a programming perspective, how do the pieces relate to each other, and/or how do they contrast?
Perhaps the unity of the concept for this program lies in the reflective and complex writings of each composer. Each of these pieces have their own unique meditative quality which is not to say that they lack power. On the contrary, because of the subtleties and contrasts within each piece, it creates a haunting beauty. We hope this selection of composers and their pieces will help the listener look inward and be able to escape all the chaos around us…to be in the moment and just feel. (Alyssa)
How often do you perform with vocalists? What has the process of collaborating with soprano Elissa Johnston been like?
We’ve had the opportunity to work with vocalists in a number of different settings. As the featured string quartet on Long Beach Opera’s production of David Lang’s The Difficulty of Crossing a Field several seasons ago, we had the rare chance to support an entire cast of vocalists. That said, when we get the chance to work with a singer in an intimate setting such as this, it is always a special treat. The beauty of the voice is the ideal to which all instrumentalists aspire, in phrasing, tone and timbre. Elissa is always such a joy to work with because she can grasp such a wide array of styles with her captivating voice. Not to mention, that she is a fabulous person and really fun to be around! (Shalini)
Both you and Elissa Johnston are known for performing a wide variety of works, both from the classical canon as well as living composers. Has this repertoire informed your playing in any ways you’d be interested in sharing?
We do have a great foundation of having played many of the celebrated works for quartet together, and it’s always great to revisit pieces from past eras after working on those from this century. We are fortunate to often have the chance to work directly with composers on new music for quartet. Indeed, three of the pieces on Tuesday’s program are by composers right here in Los Angeles! Years of collaboration with many composers definitely has expanded our own individual instrumental technique, and it has built up our ability as a group to listen and react to each other. (Luke)
For more information about the concert or to get tickets, check out Tuesdays at Monk Space.
The next Tuesdays at Monk Space concert will feature a unique opportunity to hear almost all of Luciano Berio‘s famous Sequenzas – all in one place! Berio wrote these solo pieces throughout his life, starting in the 1950s up until his death in 2003. Numbering fourteen in total, they speak to the unique possibilities of almost every orchestral instrument. The concert will take place in the warehouse at Monk Space, with a simultaneous performance happening in the Annex across the hall. Audience members are invited to move between the halls at their own pace (and maybe stop for some wine in between).
An all-star cast of performers will be lending their talents to these works, and are graciously donating their performances to this fundraising concert. I asked some of the performers about their challenges, triumphs, and overall experiences with these pieces. Here’s what they had to say:
Elizabeth Huston – Sequenza II (Harp)
I find it fascinating how Sequenza II uses nearly every known extended technique for the harp, while simultaneously making the piece cohesive using thematic material. Often, when composers use too many effects and bizarre techniques, it comes off as just a showcase of weird sounds, not a thoughtful piece of art. This is not the case with Sequenza II, however, which really showcases Berio’s skill as a composer. I also find it incredible how many new rhythmic, melodic, and dynamic themes I find every time I practice the piece. It’s incredibly dense.
I first performed it on my own showcase of all the Sequenzas. Like any piece with this level of complexity, you can practice it indefinitely and it always has room for improvement, which is simultaneously frustrating and rewarding. It’s very significant to me because the challenge of putting together the showcase was, like the piece, incredibly frustrating and rewarding, and resulted in one of the most fun projects of my life. The research put into all of the pieces to create a cohesive show made me really understand the incredible thing that is the Sequenzas, and how the evolution of the Sequenzas in many ways maps the evolution of western music as a whole. I applaud Aron for taking this on!
Stacey Fraser – Sequenza III (Voice)
I think the most interesting and challenging thing is that you need to remain humble and continue to revisit the score despite the number of times you may have performed it! There really are so many notes, subtleties and nuances that it is essential for one to continue to study the score, vocal and silent practice are critical. This is not an improvised piece, Berio notated every note and every vocal gesture. I have been singing the piece since I was a student in the late 90’s and I think the fun thing for me is to see how the piece has matured in my voice over the last 22 years. I have the technical facility to do a lot more in the way of actually making tone yet the “young me” somehow still emerges every time I take the piece out to practice. Those were the days of rock and roll – Nirvana, Soundgarden, Stone Temple Pilots and BERIO!
I first performed the piece on the stage of Borden Auditorium at the Manhattan School of Music on February 25, 1995 as part of their annual Festival of New Music. I was the first act on the program and the concert closed with Tan Dun’s Circle with Four Trios and he was indeed in attendance, I of course had no idea who he was at the time. Not only was it my first time performing the Sequenza III but this also marked my New City debut. I was a young soprano from Nova Scotia, Canada having just completed my undergraduate degree at the University of Toronto. I found myself enrolled in the Master of Music program at MSM and among a sea of 90 amazing sopranos, graduate and undergraduate combined. I figured out within my first month that if I wanted a solo opportunity in my first semester at MSM, it would likely only happen if I sang music that the other 89 sopranos would not be so interested in learning. I hoped and prayed that that my U of T training would allow me to tackle such a challenging work. Claire Heldrich, percussionist and Director of the Contemporary Music Ensemble entrusted me with the piece, she hadn’t even heard me sing but somehow my passion for new music convinced her that I could do it.
A few days before the concert I came down with sinusitis/laryngitis but by some miracle I was able to sing – I didn’t realize until my teacher Cynthia Hoffmann called me the following Saturday morning to tell me that a photo of my performance and a favorable review by Allan Kozinn was gracing the front page of the Arts Section of the Saturday edition of the New York Times. Although not a new music aficionado of contemporary music herself, Ms. Hoffmann was proud and felt that the piece was the key to me opening up my operatic voice; I believe she was correct. It is always fun revisiting the work, and I can’t help but feel like that 20 something year old naive soprano from Canada is somehow reflected in even my latest rendition of the piece.
Mari Kawamura – Sequenza IV (Piano)
This piece casts of variety of small sections with different characters that are sequenced one after another, and this demands of the pianist a great deal of concentration and delicate control. As the section move on, you have to change the technique immediately: the touch, speed of attack, amount of body weight…these constant shifts are the most difficult thing about this piece.
I first performed this piece last March, so our relationship is rather new. The more I learn it, the more charming and playful I find it to be.
Matt Barbier – Sequenza V (Trombone)
For me the most interesting parts about the trombone sequenza relate primarily to it’s place in the canon. It’s really the first piece in the trombone repertoire that asks a player to redefine their relationship with one’s instrument. It also has an interesting, and somewhat dubious, history, but I suppose it’s best to leave somewhat off the record. The biggest challenge for me is picking the sequenza back up as these moments arise. I always find it an interesting dichotomy when I return to the piece because the it’s ingrained on my memory for the view of a much less skilled trombonist, so my return visits always find me questioning if I’ve made the musical choice I’m remembering to cover a lack of skill or to embrace a past vision. I always enjoy trying to access my 22 year oldish brain and try to sort what was going on in there.
I first performed it in the fall of 2007. For me it’s gone from a piece that I thought would, at one point, be a repertoire cornerstone, but, as my relationship to traditional new music has changed, has really become something I view as quite old (it’s 51 years old). As something of that age, I came to feel that it’s important to know, but ultimately something to be moved past. Now my relationship with it is primarily in teaching it as a jumping off point with students who are more interested in exploratory techniques. That said, the piece does have a very nostalgic place for me as when I started to learn it I ended up having about ten days to do so for a master class with Mike Svoboda. That moment laid the foundation for our relationship and Mike has been an incredibly helpful resource as I’ve found my own creative path.
Trumpet player Daniel Flores has his mentor’s copy of Sequenza X, with handwritten markings from Berio himself.
Daniel Flores – Sequenza X (Trumpet)
For me, Sequenza X represents a unique blend of both technical challenge, and an opportunity to express oneself in a freer manner than one might find on a standard piece of trumpet literature. As you can hear throughout the different sequenze, Berio offered both a consistent set of textures and effects he wanted created, ranging from trilled notes on one pitch, frantic scale runs, and extreme dynamic contrasts, to more instrument native ideas. In the case of Sequenza X, Berio had both the great jazz trumpeter’s Miles Davis and Clark Terry on his mind, and really, jazz was certainly on the mind of Berio throughout. Whenever you hear the interval of a minor third from D natural to F natural in the first gesture of the piece, you are actually hearing Ray Noble’s “The Very Thought of You,” sang by Nancy Wilson in 1964! So, what I find most interesting about Sequenza X is the blend and balance of the evolution of Berio’s original ideas, coupled with the taste and information of what makes sense in the trumpet tradition.
I first performed this piece in 2015 at the Chosen Vale International Trumpet seminar, which was quite a year! I had the opportunity to learn the piece from two very special artists, the great Thomas Stevens, former principal trumpet of the LA Philharmonic, who premiered the first iteration of the piece, as well as the famous Italian trumpet soloist, Gabriele Cassone. In fact, I had to perform the piece in masterclass for both of them, which made me quite nervous, but things seemed to work out! That night, Thomas Stevens gifted Berio’s manuscript of the third iteration of the piece, which we play today, to Gabriele…what a special night that was!
So, Sequenza X has a very close place to my heart in that my teacher in Italy, Gabriele Cassone, worked directly with Berio in the recording studio, to create what many of us consider to be the benchmark recording of the piece. In fact, the score in front of me on stage is a copy of Gabriele’s part with Berio’s personal hand markings, as well as penciled in meters that were the genesis of what would become Chemins VI, otherwise known as Kol-Od, which Berio wrote specifically for Cassone.
I would definitely consider myself a 2nd generation student of Berio in that the information Cassone received was directly passed to me, and my relationship with the piece certainly has evolved from one of understanding the basic architecture of the work to that of being able to interpret the piece on a much more personal level, really striving to play it from the heart…to not worry about being surgical with the technique, but to play each and every gesture with as much freedom as possible. It never will sound the same twice, and in my opinion, that is the beautiful result of Sequenza X!
Mak Grgic – Sequenza XI (Guitar)
I find that the most interesting characteristic of the Sequenza written for guitar is also its biggest challenge. This might be the case with the others as well, but amongst the plethora of notes used in all the crazy permutations, which sometimes seem a bit repetitive, there is a clear progression and pathway from one “tonal” center to another. These tonal centers are sluggish to shift, as each lasts for a few pages easily. Battling through all the virtuosic material with grace while underlining such a global progression of musical mass is what intrigues me most with this piece and is also a very tasking thing to do well.
I performed this piece for the first time at Jacaranda Series, and had less time to prepare it than I would have hoped for. At that time, which I believe was a year and a half ago, I had told myself that it will be impossible to land every single of the notes, so I went for “the gestures”. The performance was just as nerve wracking as it was successful. Now, a year or so later, I have had the opportunity to play it a few times around, and have grown fond of its intricacies, which I hope will speak with grace and vigor at the performance on Tuesday.
Ashley Walters – Sequenza XIVa (Cello)
As a kid, I grew up playing both cello and percussion and I think part of why I love this piece so much is because it allows me to play both! In many ways, Berio set the precedent for composer/performer collaboration making the unique characteristics and capabilities of each dedicatee a central theme in many of his Sequenzas. In the case of this final Sequenza, Berio incorporates these Kandayan drumming cycles, which were shown to him by the great Sri Lankan cellist, Rohan de Saram. I first learned this piece 10 years ago and it has been a staple of my repertoire since.
Tom Peters – Sequenza XIVb (Double Bass)
Sequenza XIVb is a re-imagining of the cello Sequenza, by double bassist Stefano Scodanibbio with the blessing of Luciano Berio. The most challenging part is learning Stefano Scodanibbio’s crazy pizzicato harmonic techniques, something he was famous for. This will be my first performance of Sequenza XIVb.
Check out Tuesdays at Monk Space for more information about this event.
Brightwork newmusic (Sara Andon – flute, Aron Kallay – piano, Maggie Parkins – cello, Nick Terry – percussion, Tereza Stanislav – violin, and Brian Walsh – clarinet), joined by soprano Stacey Fraser, will be performing an eclectic set of works by Southern California composers on June 27 at Monk Space. I had the chance to hear some of Maggie Parkins’ thoughts about the upcoming concert and more:
The program includes a diverse set of works by Southern California composers. Can you tell us about your experience with these works? What do you hope to convey to the audience?
We are very excited to present these pieces by LA composers at Monk Space. We have performed all the works on the concert before, which is fantastic. Doing repeat performances of a new work is a great way for us to go deeper into the piece. Of course, the better you know a piece the easier it is to bring to life the composer’s vision. It is also more fun to present things you are familiar with because you can let go more in performance. It is great to play works by local composers because it strengthens our already burgeoning new music community. Also, you find yourself developing a bond with the composers that can last for years.
On the program are works by William Kraft, Chris Cerrone, Shaun Naidoo, Pamela Madsen, and Tom Flaherty (whose piece, Internal States,is a Brightwork commission). Have you worked with these composers before? What is the process usually like between the composer and performers when commissioning a new work for the ensemble?
We performed William Kraft’s Kaleidoscope at the annual Hear Now Festival a few years ago. Bill coached us before that performance. This is the second piece by Chris Cerrone we have performed. Last season we played the Night Mare with guest violist Cynthia Fogg. It’s great to collaborate with top notch guest artists! Soprano Stacey Fraser will join us for this concert on i will learn to love a person. She is a friend of the band and is amazing to work with. Shaun Naidoo of course was a dear friend of both percussionist Nick Terry and pianist Aron Kallay. It is still hard to believe that he passed away so suddenly five years ago. He was a larger than life fixture on the new music scene for years. His raucous energy lives on in his music, and we are honored to keep his memory alive by performing his music. In Pamela Madsen’s piece, Why Women Weep, for cello and electronics, I recorded myself speaking a text provided by the composer that I then play along with. I get to be my own accompaniment! Internal States is vintage Tom Flaherty; gorgeous lush harmonies, biting wit, rhythmically intricate ‘dancing’ figures. It’s a blast to play.
Brightwork newmusic is known for performing cutting-edge music from emerging composers, as well as classics from 20thcentury literature. What do you find similar/contrasting between these two areas?
The great thing about playing new music is the ability to work ‘hands on’ with the composer. Getting feedback and working through performance issues makes realizing their piece in front of their eyes a very satisfying process. The classics are like milestones; performing them is an honor. It’s like living with a piece of history when you perform a piece that has stood the test of time to become a cherished work.
Any future projects on the horizon you’d like to share?
The most exciting thing we have coming up is a recording project featuring three of the pieces on this concert!
Check out Tuesdays at Monk Space for more information about the upcoming concert on June 27.
It’s Lou Harrison’s 100th birthday! (Well, almost.) San Francisco-based pianist Sarah Cahill will be joining LA’s own Varied Trio (Shalini Vijayan, violin, Aron Kallay, piano, and Yuri Inoo, percussion) at Monk Space on April 4 to celebrate, performing a variety of Harrison’s works. I had the opportunity to ask Cahill some questions about the upcoming concert and more. Here is Sarah:
You’ll be performing several solo piano works by Lou Harrison at Monk Space, including Jig, Range-Song, Dance for Lisa Karon, Conductus from Suite, and Summerfield Set. Can you tell us bit about these works? Also, what are your thoughts about Lou Harrison’s music in general?
Even though Lou Harrison said “Equal temperament destroys everything,” and was far more fascinated by just intonation and other tunings, he wrote some extraordinary music for the equal tempered piano (which describes basically all modern pianos). His Jig and Range-Song have been played only rarely, if at all, since he wrote them in 1939. He was 22 years old, studying with Henry Cowell, who was in San Quentin at the time. In these pieces, he evokes Cowell with his chord cluster techniques. There’s a third piece from this set called Reel, and it’s sometimes called Reel for Henry Cowell. That gets played a lot, as opposed to Jig and Range-Song. Dance for Lisa Karon is a year earlier, from 1938, and the manuscript was discovered just a few years ago in someone’s house in San Francisco. Conductus is from the Suite which Lou Harrison wrote when he was studying with Arnold Schoenberg, and it resembles Schoenberg’s own Suite in that it uses a twelve-tone row but is not strictly twelve-tone. Summerfield Set is an exuberant three-movement work from 1988, and it’s the Lou Harrison we know and love, with dance rhythms and singable tunes. It’s dedicated to the keyboardist Susan Summerfield.
What do you find most compelling about commissioning and performing new works?
I love the surprise of receiving a new score, of bringing a piece of music to life and knowing it’s going to enter the repertoire and be interpreted by countless other pianists (after I have lots of time with it!). It’s exciting to explore a piece of music that’s completely unknown territory. And I love working with living composers, the exchange of ideas, the whole process of developing a piece and working towards a premiere or a recording.
What initially drew you to the piano, and what are your favorite (and/or least favorite) aspects about being a pianist?
I was initially drawn to the piano by a charismatic and beautiful teacher named Sharon Mann who is a Bach specialist. Because of her, playing Bach was everything to me. My least favorite aspect of being a pianist is the pressure of trying to learn a piece fast when ideally it should be given a year or two. My favorite part of being a pianist is immersing myself in practicing all day long, which is a luxury, and that feeling in performance that someone else is playing and I’m just listening– when the music seems to play itself. One other thing I find exciting is getting to the point where I know a composer’s work so well that I can identify mistakes in the score.
Do you ever compose? If not, what kind of composer do you think you would be?
I would be a terrible composer. I love the whole process of interpreting.
Microfest is teaming up with Tuesdays at Monk Space on March 14, featuring composer/performer duo Larry Polansky and Giacomo Fiore on guitars – with a variety of tunings. I had the chance to interview the performers about the program and more. Here are Larry and Giacomo:
The upcoming concert features microtonal works for two guitars by American maverick composers, including Ruth Crawford Seeger, Lou Harrison, James Tenney, Christian Wolff, and two new works that you will be presenting as composer/performers. As a collective, do you find something uniquely American about these works?
Larry Polansky: In the simplest sense — that they’re all American composers — yes. But more importantly, each of these composers, in very different ways, were (are, in Christian’s case) deeply embedded and woven into American culture and American music, particularly the most beautiful parts of each. None of them looked to Europe primarily as a model (though Lou looked often to historic Europe, and Christian’s musical and cultural viewpoint is pan-geographical and pan-linguistic).They emerge organically — like wildflowers — from the terrain American music in the best of all possible ways. Their ideas and music are not in contradistinction or opposition to other musical geographies or histories, but rather operate, as my friend the composer/poet Chris Mann would say, in a mammer that “doesn’t waste one’s own virtuosity”. They are all, in very real ways, related, and also to me personally. Three out of four of them were (are) among my closest friends, colleagues, collaborators, fellow musicians, mentors, and musical influences, and the one who left us before I was born (Ruth Crawford Seeger) has been a huge influence on my life and work.
Giacomo Fiore: Maybe—with the exception of my piece—I would say that all of the pieces share a degree of unpretentiousness. Each of them is clear in musical intent, generally focuses on a single idea or musical conceit, and doesn’t presume to unveil (or communicate!) some kind of cosmic truth. As I see it, those are characteristics of at least one branch of U.S. music—what we may call “American Experimentalism”—and I must say they’re what makes the genre so attractive for me both as a performer and in my research.
Can you talk a bit about your new piece, which you will be performing at Monk Space? What was the compositional process like for this work?
Larry: My piece, #4 (“34 More Chords: Charles Dodge in Putney” ) from the guitar duet 8 Fermentations has a happy history. 8 Fermentations was based on on a sketch for a never realized solo guitar piece for me by my friend and colleague — and wonderful composer — Charles Dodge. The piece is a tribute to his work, but written after he had stopped composing. For many years, Christian Wolff, Charles and I have had a regular lunch date. Some years ago, on a festival honoring Christian, I wrote him a solo guitar piece called 34 Chords: Christian Wolff in Hanover and Royalton, which I’ve played many times (as has Giacomo). 34 Chords… was intended as a gift to him to replace the “lost guitar piece” (now found) that Morton Feldman wrote for Christian. For me, it seemed logical to also write a similar piece for Charles, who had not “lost something” by no longer composing, but had in fact found a new passion (winemaking in Vermont!).
How has your experience as performers affected your work as composers, and vice versa?
Larry: For me, the older I get, the more all activities — most of life — become simply part of being a musician: composing, theorizing, performing, teaching, editing, researching, writing code…. living. For a number of felicitous reasons (including my close musical and personal friendship with Giacomo), I have been writing a lot more for guitar in the last few years. And fortunately for me, younger, gifted players all over the world seem to enjoy playing this material. I am however, very clearly, simply a composer who loves to play guitar (and not vice versa!).
Giacomo: Let me again clarify one thing—I don’t identify as a composer. I’m a performer and a musicologist, maybe I’d go as far as claiming to be a music theorist, but I don’t have the training nor the discipline to claim the title of “composer” (mainly out of respect for those who do have the credentials!). However, when I was asked to write a new piece for this concert, I figured I could use the opportunity to comment on some of the recurring tuning problems, approaches, and solutions that I’ve been exploring in my academic research as well as in my performance career, both as a soloist and in the duo with Larry. “Cognates” Is Just a Fancy Term for “Relatives”—as the title suggests—is not a particularly serious piece. It muses on tuning theory and its terminology (“cognates” are pitches who share the same name, but are tuned differently) and uses a fairly complicated tuning scheme for two guitars to try to show that these differentky-tuned pitches can be traced back to a common ancestor (both guitars tune the lowest string to D, which is the true fundamental of the piece). Nerdy stuff aside, the piece is simply an improvisational framework for Larry and me, referencing some of wacky the things we do in our playing, and serving as a small homage to the way he has inspired me as a musician, mentor, and friend over the past several years.
What do you find most compelling about microtonal music?
Larry: Pitch is so important in music that we are obligated to treat it with the respect it deserves, much as we treat other people with the cognizance of their individual extraordinary potentials, and the freedom and capacity to be what they want to be (not what they are told to be). If we use pitch, we should consider what pitches are, and can be. In that respect, as composers we should do what we can to contribute to the history and present of an unencumbered, ever-fecund world (universe) of musical pitch.
Giacomo: Before I answer that, let me say I’m not a fan of the term—maybe because it reminds me of microbes, or perhaps because it sounds overly fastidious. From a technical standpoint, much of the music Larry and I will play at T@MS is not microtonal—meaning it doesn’t necessarily feature tiny intervals. I prefer to think of it in terms of *tuning* music—music born out of concern about how we relate one note to the other. What I find compelling about that is manifold—I like how it puts me in touch with more rudimental aspects of music-making, forcing me to consider pitch (and its relationship to timbre) in a more attentive way. I also like how it questions commonly-held musical “givens”—that an octave should be divided into twelve equal parts, for example, or that every octave should feature the same pitches. Ultimately, though, I enjoy this music on a sensual and sensory level; I love the way it sounds, how it makes me marvel, and how it opens windows onto unforeseen musical worlds.
Tickets for the March 14 concert are available at http://tuesdaysatmonkspace.org/shows/microfest-presents/<./em>
Composer Nicholas Chase and violinist Robin Lorentz have a joint performance at Tuesdays @ Monk Space on February 21. This event will mark the world premiere performance of Chase’s electro-acoustic piece Bhajan, a four-movement work for electric violin and live electronics. This performance, celebrating the release of Bhajan as a new Cold Blue Music CD, will mark a rare return visit to Los Angeles for both musicians. I had a chance to interview both of them ahead of the concert. Here’s what they had to say:
What is the driving force behind Bhajan? What are the unifying elements across movements?
Exploration! That is the driving force behind Bhajan. There isn’t any aspect of it that isn’t designed as some form of investigation both theoretical and physical—including my friendship and musical relationship with Robin. I couldn’t have written this for someone else. Another violinist would have thought I was crazy!
The violin part in Bhajan is very simply constructed and focuses the tuning of the open strings. Virtuosity is a traditional western approach to a large piece like this, but my idea in was to take traditional virtuosic acrobatics out of the concerto scenario and bring the player back to the fundamentals of playing. As it turns out that approach brings out a whole different kind of virtuosity for both of us. So the investigation takes place on stage between the two of us, in a kind of musical conversation. That’s a good way to describe the piece: if you think of the four sections of the piece as parts of a conversation, you’ll hear how they evolve out of each other.
How did you first become involved with Hindi devotional music and Indian raga? What about this music speaks to you the most?
I’m not actually involved with Hindi devotional music and know very little about it. I studied North Indian Classical Music briefly with Rajeev Tharanath at the same time I was studying composition at conservatory. I had studied Schoenberg’s atonal serialism extensively and I felt like I that gave me an interesting springboard to dive into the deeper traditions of raga.
Rajeev discovered that I have a great ear for subtle tunings, tonalities and complex rhythms. I discovered that western formality—even serialism—was too constricting for me. What I love about raga is that within a single raga system the performer can shape her performance with limitless nuances and stylization. That makes the music both personal and alive. That is something I started putting into my writing early on in modular scores. Even though Bhajan isn’t modular, it tallies up everything I learned from writing those.
I started writing Bhajan during a research residency at Rensselaer Polytechnic Institute. At the time I was hanging out with acoustic technicians and I spent a lot of time talking and thinking about the physical phenomena of sound. I don’t know how I missed it early on, but I discovered that Hindustani music is also concerned with many of these aspects of sound making—with how the sound waves emanating from a string interact with sound waves emanating from another string!
I think it’s the unlikely but exquisite conscious union of science, skill, and craft that draws me to raga.
A good way to hear how I’ve brought all this into Bhajan, take a listen to Drshti, the second section of Bhajan, then listen to Ram Narayan’s performance of Raga Marwa on the sarangi. Wildly, I hadn’t heard this performance until after Drshti was recorded and mixed—I was surprised myself at how the two pieces echo each other. It’s exciting to think that I might have come to a musical conclusion outside of, but still reflecting, an ages-old tradition.
Bhajan was just released by Cold Blue Music in January 2017, but the performance at Monk Space will be its world premiere performance. What do you hope to communicate to the audience with the live performance of Bhajan?
You asked about my involvement with HIndi devotional music above. What I didn’t say is that, even though I’m not involved in devotional music, through nearly a decade of committed yoga practice which I had to take up for health reasons, I realized that making music is my devotion. It’s how I communicate back to the world and the “worlds beyond this world.” What I mean by that is scientifically, we understand that we’re all made up of vibrations. As musicians I think that we’re perhaps more, or at least differently, tied to an understanding of those vibrations. Bhajan is a celebration of the bridge between what we experience and its vibrational source and is a humble offering to that. You know, when someone waves at you, you wave back. Bhajan is me and Robin waving back!
How did you meet Nicholas Chase, and what was the collaborative process like with Bhajan?
I met Nicholas Chase through the CalArts Community and through The California EAR Unit. We were both heavily involved with Cal Arts at overlapping times and non overlapping times, so were aware of one another; but my first chance to work with Nick and get to know him was with the EAR UNIT. Nick wrote some musics for the Unit and so we worked, travelled and concertized together.
The collaborative process on Bhajan with Nick was indescribably and wonderfully prismatic. Every moment a new birth and breath…just like the piece. I love Bhajan so very very much. To have been involved with it in any way has been the richest gift.
You have performed for an incredibly diverse range of artists, composers, and projects. What have you gained from these diverse experiences?
Tickets for the February 21 concert are available at tuesdaysatmonkspace.org/shows/cold-blue-night.
The Laptop Ensemble from Cal State Long Beach is coming to Tuesdays at Monk Space on January 24 to perform Voyage, a reconceptualization of German lied by Schubert, Schumann, Strauss, and Brahms. In 2013 the group teamed up with a Korean theatre troupe led by Byunkoo Ahn and premiered the concept at the Spoleto Open Festival dei due Mondi in Spoleto, Italy. Nearly four years later, we are reimagining the concept once again in Germany with the same troupe. This time, we’re joined by local German singers and have some new works to premiere. The composers all come directly from the ensemble, something the CSULB Laptop Ensemble does almost all of the time.
Which leads to an important question: what is “Laptop Ensemble”?
The origin story begins with composition professors Martin Herman and Carolyn Bremer, who founded the ensemble in 2010. Composition graduate students Zach Lovitch, Andy Zacharias, Seth Shafer, and Brad Van Wick were already putting on elaborate concerts at the time. These concerts featured various analog and modular synthesizers, as well as electroacoustic music with live performance from laptops. After seeing these student-run concerts, Martin was so impressed by the group that they joined forces to create the Laptop Ensemble. From then on, the performers have always been alumni or current CSULB students. It’s always been a small group, typically around 5 or 6 members (with an all-time high of 13). In performance, however, the group is typically a quartet. The group is self-sufficient, writing all of their music mostly in Max-MSP. Their unique speaker arrays, following the PLOrk model, were built by founding member Zach Lovitch, Martin Brenner, and Martin Herman.
It was only a couple of years after formation that the group went to Spoleto to perform Voyage. This time around there are lots of new faces in the group, but most of the pieces are revised versions of works from the 2013 festival.
About the Program
The opener, Silbertöne by Seth Shafer, is nothing short of attention grabbing. It’s complete with punchy, arpeggiated synths and deep bass tones – a stark contrast to the violin samples that weave in and out throughout. Shafer is also the composer of Upon Return to Earth, a beautiful work that comes later in the program. Feldeinsamkeit, reimagined by the ensemble’s director Martin Herman, is both meditative and glitchy, with captivating sounds that trickle in and out. Long-time member Glen Gray wrote the next piece, Dein Angesicht. It is an abstraction of art song, with piano and voice filtered through an array of effects and electronic drone joining the duet later on. Assistant director of the ensemble Matthew Lourtie is the composer of Nacht und Trauma. His version is a complete turn from Schubert’s original Nacht und Träume (Night and Dreams). Sinken by Justin Kennedy is a stunning underwater sound world, with melodic whale calls and resonant percussion contributing to the landscape.
Three of the works are newly composed for the 2017 tour. George Wheeler, a lecturer at CSULB and stand-in member of the ensemble, wrote a new version of Ave Maria. It features arpeggiated harmonies over a bed of musique concrète and long melodic tones. These overlapping melodies, along with the arpeggiation, gradually become more dissonant and distorted before returning to consonance. Next is my own version of Schubert’s Du bist die Ruh. It begins with a new art song using the same text, which is filtered to sound as though it could be coming from off-stage. This leads to a duet of filtered singing bowls and a resonant, melodic bass, and a processed version of the same art song overlaid. The concert closes with a new piece by Oscar Santos-Carrillo, Abendroth. It involves four layered patches, which are largely influenced by hip-hop and industrial sounds. In fact, two of the patches are essentially filtered kick drums with effects. The piece begins with a sample of the original art song by Schubert, a nod to the sampling pervasive in hip-hop music, which then morphs into a larger cluster of sound.
For more information about the program, click here.