The second concert of WasteLAnd’s sixth season featured guest artists Adrianne Pope & Linnea Powell (collectively known as Aperture Duo) and Ashley Walters. The three artists curated the program, as well as commissioning two new pieces. It was a well-balanced mix of rising contemporary composers and the greats of the late twentieth century. I had assumed a collaboration between Ashley and Aperture Duo would feature string trios, so was surprised that they only collaborated on two. But the balance they struck by having two trios, two duets, and two solos had its own kind of perfect symmetry. The duo and soloist had space to express themselves in their familiar identities, and also as a powerful trio of collaborators.
The first piece of the night was Georges Aperghis’s Faux Mouvement (1995) for string trio. No surprises there, seeing as Aperghis is L.A.’s second favorite Greek composer after Xenakis, under whom Aperghis studied at IRCAM. Faux Mouvement is a curious little piece with modules of musical character that seem to exist in separate universes with little connective tissue. One measure whispers, another measure screams, and a third one sounds like footsteps crunching in the snow. Little by little, however, motifs and sounds harken back to earlier sections, and like puzzle pieces falling into place, the picture comes into view. The performers were flawless. They brought out the musicality of a complex piece, and they acted as a coherent stringed organism.
Following the opening trio, Ashley took center stage with Trevor Bača’s cello solo Nähte (2018). Bača explains in the program notes that ‘Nähte’ is German for stitches. The music is about the joining together of body, movement, color and time, over and over in rows. It’s like knitting a blanket with an image. Initially, changing color or stitch pattern feels arbitrary, but after several rows, the image begins to emerge. Like delicate stitches, the art palette relies on subtlety and cohesion. I also noted the unconventional use of a cello’s natural resonance space in this composition. Whether Walters played a straight pitch, a whispery harmonic, or a growling overpressured double stop, the musical sound seemed to emanate from the echoing resonance of the cello’s body. It could sound velvety, like a theremin, or earthy like a drum.
In terms of the A(sh)perture concert, Nähte was the calm before the storm. We had our quietude, and it was time to turn it up to eleven.
Aperture Duo took the stage next with crowd-pleaser Limun (2011) by Clara Iannotta. It’s a fun piece and one which I have heard them play before. The whole effect of Limun is the experience of eating a lemon, stretched out and amplified. In the first half, the violin and viola crunch and whistle, always ascending, sometimes in tandem and other times in counterpoint. It is musical, but it does set one’s teeth on edge. In the second half, the page-turners take up harmonicas and hold piercing chords. The first time I heard this piece the harmonicas were, to put it lightly, annoying. With Rachel Beetz and Erin Rogers playing them, however, I found them almost haunting. The end of the piece is my favorite moment: the violin performs a high ostinato melody among the stratospheric harmonicas while the viola slides downward, and all fade out in a beautiful consonance. To complete the lemon metaphor, it is the lingering freshness after the initial sourness. To Clara Iannotta and Aperture Duo: Bravissimo.
After a brief intermission, the concert resumed with the oldest piece of the night, cello solo Kottos (1977) by Iannis Xenakis. Ashley gave a textbook-perfect performance of this canonic work. Kottos requires the cellist to employ dozens of extended techniques and switch between them in very little time. The piece sounds like it could have been performed on a synthesizer just as well as on cello. It creates an uncanny valley between technological and acoustic sounds. At times, it even sounds like a voice. The middle section felt unmoored from the rhythm and tempo, but Walters brought it back together for the final portion. In contrast with Bača’s delicate solo for cello, the Xenakis is downright bombastic. It provides an excellent counterbalance to the quieter first half of the concert.
Erin Rogers’s commission for Aperture Duo was hands down my favorite piece of the night. Travelogue (2018) uses the violin and viola as musical instruments, foley objects, and the strange sounds accompanying everyone’s internal monologue while traveling. Pope and Powell got to speak, sing, recite, and argue throughout the piece. There was a bit of theatricality. At one point the two musicians are sitting too close together. They bump elbows and snap, “Excuse me, do you mind switching?” They then stand and wander around the stage space as far apart as they can. At another time, they set down their instruments and tap on iPads instead, playing with the very act of playing. When playing their instruments, Pope and Powell sound out the train doors, the clunks & bumps of railroad tracks, and the hiss of the engine and doors opening and closing at different stops. Like many “radio show” type pieces, it was a delight. I would even say that Rogers pulled out all the stops (Thank you, I’ll be here all night).
The final piece of the evening was Sofia Gubaidulina’s String Trio (1988), bringing the three performers together once again. Gubaidulina is a popular contemporary composer among string performers, and (I hope) she is well on her way to becoming a permanent member of the concert canon. If you aren’t familiar with Gubaidulina’s work, String Trio is a great entry point. String Trio sounds like one instrument cycling through timbres when in fact it is the three instruments playing two or three notes in turn. This establishes a sort of spatialization effect. When the three instruments play in harmony together, it feels seeing a Patrick Hughes painting in “superduper perspective.”
On the whole, the production was well-balanced inside and out. The six pieces flowed well together, beginning calm and quiet and gradually upping the energy and volume. The balance of performers – 3 1 2 1 2 3 – fed back into the atmosphere’s energy. All that, and the perfect split of the previous generation of avant-garde composers and the contemporary generation of composers embodies everything that the new music scene represents.
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.
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 Friday night, June 3, Aperture Duo, the violin/viola duo project of Adrianne Pope and Linnea Powell takes the stage at Boston Court for the next installment of wild Up!’s WORK series. Thankfully, Linnea and Adrianne found time between rehearsals to answer a few questions about the show and the duo. Enjoy, and see you Friday!
So, tell me a bit about Friday.
Adrianne: Po Pow!!
Linnea: On Friday night Adrianne and I are featured on a double bill for wild Up’s WORK series. WORK concerts highlight the influences and passions of members of the band and we’re excited to bring our chamber music project Aperture Duo to the series. This concert is a huge honor for both of us and we took the opportunity to bring some friends along and play some larger ensemble pieces.
A: It’s going to be a raucous show: we’re playing duos by George Aperghis, W.A. Mozart, Nicholas Deyoe, and a world premiere by Chris Rountree with our good friend and collaborator, Jodie Landau. We’re finishing the concert with a Julia Wolfe piece for 5 singing, stomping violins. Prepping for this concert with Maiani da Silva, Mona Tian, and Nicole Sauder has been a total blast.
What inspired you to start this duo? Were you friends before and wanted to do something together, or was it a specific body of work you wanted to explore and develop?
L: I moved to LA in 2013 and was pretty hungry for chamber music opportunities in town. A year later Adrianne showed up at a wild Up planning meeting and I basically accosted her to read through some duos.
A: I had no idea what I was getting into, but once we started reading Mozart, I was amazed at how well we clicked musically. Then we discovered a ton of similarities….both native surf-town-hippie-ville Californians, University of Michigan alums, amino acid fans, etc. We decided to set a goal for our reading rehearsals by preparing a full concert. We found a recently written duo by Clara Ianotta that we both loved and added it to the Mozart and Martinu.
L: I think we were both surprised at how well that first concert went. It’s a goal of every chamber musician to to be spontaneous and completely present on stage, and it definitely was the case for this show. We had so much fun performing and our audience loved it. After that we were hooked. Knowing that there was limited existing rep for violin and viola duo made it all the more enticing since we were both excited to commission new works.
We know each other through the new music scene, and I’ve of course seen you play with wild Up! and program works by local composers. So, imagine my surprise when a friend’s first comment after seeing Aperture Duo was about the Mozart – he said “that was the best Mozart K. 423 I’ve ever heard.” Is your interest in “the rep” similar to your interest in new music?
A: Absolutely. I love looking at a piece written today, then looking back at Mozart and realizing that badassery is timeless. Composers have always been and will always be breaking, rewriting, then breaking rules over and over again. Our focus is definitely on new music, but by performing music from multiple genres we become better interpreters and musicians. The styles inform each other.
L: It’s all there, no matter when a piece was written: form, contrast, phrasing, communication, sound-world, intent. Working with a composer on these concepts can make it easier because they can give us specific ideas, but we still do a lot of our own interpretation on every piece. And sometimes it’s really fun to say “they’re dead! let’s do what we want.”
Have you found any sticking points on the sort of genre-mixing you program? Or are you finding audiences to be as open minded as you are?
L: In general, the response to our programming has been super positive. With such closely related instruments, the common misconception is that all pieces programmed on a violin and viola duo concert will sound the same. We see this as a fun challenge, and we strive to program contrasting works.
A: We also put a lot of thought into the audience experience. We want our programs to hold the audience’s attention and we want them to actually feel things during our concerts…whether it’s bliss, curiosity, or total discomfort to the point of wanting to pull their hair out. We also like to ask the question of “what is beautiful?” This allows us to be creative with pushing the limits of our instruments’ sounds.
Who do you like to go hear in town?
L: There’s so much happening all the time! It’s super inspiring to see our friends in the new music scene putting themselves out there and programing shows with so much intent. We both try to see as many concerts as we can to support the thriving scene.
A: Besides local groups, I love to go to all kinds of different concerts…from Lila Downs to Andrew Bird to Patti Smith.
L: When my ears need a break I love seeing independent theater and dance.
What’s next for Aperture Duo?
A: This summer, we are excited to be in residence at Avaloch Farm, where we will work on rep for next season and workshop a commission with Noah Meites. In August, we’ll be performing at the Carlsbad Music Festival. We have lots of shows in the works for next season including an Aperture Duo and Friends concert with Richard Valitutto and some exciting commissions.
Anything else you’d like to add?