On Friday, November 16th, wasteLAnd will present a guest-curated concert at ArtShare combining the incredible work of Aperture Duo and Ashley Walters. Aperture and Ashley have each commissioned new pieces for this concert, from Erin Rogers and Trevor Bača, and have created a wonderful evening of solos, duos, and trios.
After our last WasteLAnd interview with Katie Young, I asked the WasteLAnd directors if they’d like to make a regular thing of interviewing their guest performers and composers. I think it’s illuminating to hear musicians interviewed by the people they’re working with; they have a far more detailed understanding of their projects than any outside journalist will. This is an ongoing project and one I hope to include other series and organizations in, so some details and formatting may change…but enough of me! The concert on the 16th at ArtShare is free and starts at 8, with free parking in the lot across Hewitt Street from the entrance.
Questions from wasteLAnd to A(sh)perture
wasteLAnd: All of us at wasteLAnd are big fans of the work you do in your separate projects as Aperture Duo and Ashley as a soloist. You’ve obviously played together a lot in wild Up and in other mixed chamber settings. What has it been like to work as a trio on a project where the curation is left to you? Flow of the evening, rep decisions, the rehearsal process, etc?
Ashley: I have long admired Aperture’s performances and their repertoire choices; it was a pleasure to be involved in this process with them! As three performers who value working with composers — performing on a series that promotes new works and also values collaboration — we thought it was appropriate to commission new pieces for this concert. Both Aperture and myself chose composers (Erin Rogers and Trevor Bača) with whom we already had a personal connection. Aperture will perform two works as a duo and I, two solos; these sets showcase each entity’s aesthetic. Choosing trio repertoire was quite easy! We all had a mutual love for the episodic writing of Apergis’ trio and the lush writing of Gubaidulina. Because we have performed together in the past I think we had a vision of what pieces would suit this ensemble. Thank you wasteLAnd for bringing us together!
wasteLAnd: Aperture as a duo, and Ashley in solo performances both have strongly formed identities. Everything feels decided and cared for to me. I’ve never seen Aperture or Ashley perform something that didn’t feel to me like you had already made it your own. How was the process of bringing your approaches together for the Gubaidulina and Aperghis trios that you’ve included on this concert?
Aperture: We’ve had so much fun working on these trios with Ashley! We all share an attention to detail, an eye for large shapes and structures, and a curiosity for sound. These traits have led to very productive and satisfying rehearsals. We have been able to really dig into this repertoire together, as Ashley is so well versed in the languages of the composers that she performs. As a duo, we each fill many musical roles in our repertoire. But with a third player, our roles are much more “tried and true” with high, medium, and low registers. Exploring this has been very enjoyable for us and we can collectively play so much louder, which is a treat!
wasteLAnd:Would you share a bit about your relationship with Erin Rogers and Trevor Bača and their world premieres written for this show?
Aperture: We met Erin Rogers in 2016 while sharing a bill with her saxophone/percussion duo Popebama at the Home Audio concert series in Brooklyn. We were blown away by their theatricality, virtuosic musicality, and communication as performers. We were smitten, and we’ve been following Erin’s work as a performer and composer ever since. She has since worked with Nicholas Deyoe and Ashley Walters, and this WasteLAnd show felt like the perfect opportunity to premiere her new work for us.
Ashley: In March of 2017 the Formalist Quartet presented the west coast premiere of Trevor’s work Akasha on the Monday Evening Concerts series. This challenging, 30 minute quartet has a large arc full of complex and beautiful sounds that shift subtly from one to the other. I was particularly taken with Trevor’s writing for the low range of the cello, which is highlighted in his new solo cello piece, Nähte. My experience working with Trevor was moving and memorable and I have since hoped that we would have the opportunity to work together again. I am honored that he has written Nähte for me.
The process of learning Nähte has been a true joy. It requires experimenting with sounds and crafting gestures, and then weaving one to the next. While the outward virtuosity of the Xenakis’ solo cello piece, Kottos, is in the left hand and its extroverted sounds, the virtuosity in Trevor’s piece is in the right hand and in the subtlety of sounds transitioning from one to another.
Ashley Walters – Deyoe – another anxiety
Questions from A(sh)perture to Erin and Trevor
Aperture: Can you tell us a little about this piece? What is it like to write for a duo as a member of a duo yourself?
Erin Rogers: Travelogue (2018) was written while touring Europe on a series of planes, trains, and buses. The title is a tribute to Joni Mitchell’s album of the same name, featuring an extensive collection of her songs that have been orchestrated. Theatricality is built into the piece through staging, text, and actions, both players doubling as train commuters and practicing musicians, while encountering a variety of notational geography.
Composing for duos is fulfilling. As a member of a duo myself, there is an accountability that comes from being 50% of a team and a fully committed band-member. The level of difficulty can increase, especially technically and rhythmically. Knowing that the musicians will rehearse with a familiarity of process and of each other, typically results in a dialogue and synchronicity not common in larger ensembles.
Ashley: What can you tell us about the process of writing, or the inspiration for, this piece?
Trevor: Collaborating with Ashley on the new cello solo — Nähte, the title is one of the German words for “stitches” — for the concert in November grew out of our work together last year when Ashley’s quartet — the Formalist Quartet — did the LA premiere of Akasha, my first string quartet, at the Monday Evening Concerts. The string quartet retunes the cello’s lowest string from C down to A, and it was during our rehearsals together then that I came to understand just how intensely Ashley’s cello — and her technique — glow, especially in the lower compass of the instrument’s range. I knew even then what materials I wanted to write the next time we worked together, and I knew too the sort of gestural (and even choreographic) language I wanted to invite Ashley into when it came time to work on a new piece. Fast forward to this year and Nähte is the result. The materials in the piece derive from some very precise workings-out of how the speed of the cello’s bow can be made to make very fast gestures even faster, and also from suffusing that type of thinking about the physics of the instrument with imaginings of Ashley’s body moving in, near, over and around the instrument: Ashley moves like a dancer when she plays, and so I wove a certain type of back-and-forth negotiation between left hand, right hand, arms, elbows and torso into the materials of the piece. When you listen to the music and watch Ashley at the same time, you’ll hear (and see) these wisps of very delicate sound flying from the lowest part of the instrument’s range, something like watching sparks or aerial contrails from a blue flame. The ‘tailoring’ of the music in this way was an important part of our working together, with the reward coming in the ways Ashley effects the music’s materials with both precision and a deep commitment to the sensuousness of the way the music moves.
wasteLAnd – A(SH)PERTURE at ArtShare-LA on November 16th is free, thanks to wasteLAnd successfully meeting the first tier of their fundraising goal. If they reach the next goal, the entire season will be free to all.