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.
Cellist Ashley Walters released her first solo album, Sweet Anxiety, on Populist Records last month. The music is complex and difficult—sometimes on its surface, sometimes in the hidden technical requirements—but Walters breathes life into each work with her astounding virtuosity. Beyond physical skill, however, Sweet Anxiety showcases her ability to find musical consequence across a range of compositional styles. The result is a stunning album, strengthened by its aesthetic diversity and yet unimaginable without Walters’s distinct talents.
The journey of this album is in the gamut of musical intent: some pieces clutch the wheel with caffeine-trembling hands while others gaze contemplatively out the passenger-seat window. To this end, Nicholas Deyoe’s For Stephanie (on our wedding day) works as an effective exposition for the record, a short juxtaposition of dramatic, lush chords against melodic fragments and sparkling timbral echoes. Walters’ impeccable balance guides the listener’s ears, pulling you in to reveal subtle verticalities before thrusting you back in your seat to bathe you in guttural drones. Deyoe’s writing here reveals a keen sense of energy and diffusion, which Walters embodies with astounding sensitivity. This understanding between Deyoe and Walters is particularly highlighted as the splashing, melodic climax dissolves into a passage of gorgeous tranquility, calmly rippling outwards until subsiding into the stillness.
And then, emerging from quiet tappings, comes the funk. Right as you are wondering if Walters had herself become ocean, the unmistakable percussive episodes, insect-like buzzing, and haunting melodies of Berio’s late Sequenza XIV zap the air with electricity. Along with Deyoe’s works, Sequenza XIV employs a more traditional musical rhetoric, building forward momentum in which listener expectations are resolved, subverted, or re-directed. In both Sequenza XIV and Another Anxiety, Walters sets these moments ablaze with acrobatic changes of technique, tone and dynamic. Furious passages are handled with intimidating virtuosity, but it is Walters’ right hand technique that stands out here. The control of bow pressure and position transforms even the most extended of techniques into musical devices rather than musical effects. This in particular makes the dramatic contrasts inherent to the language of these pieces especially effective and expressive.
On the other hand, quite literally, are Andrew McIntosh’s Another Secular Calvinist Creed and Wolfgang von Schweinitz’s Plainsound-Litany. Both works are patient, disciplined explorations of microtonal material—horizontal in Creed and vertical in Plainsound. The Schweinitz presents intervals of varied intonation and timbre, emerging and receding in succession. A meditative atmosphere is sustained through the gentle ease of Walters’s playing (a true feat given the technical difficulty of the piece), unfolding the material like an exposé of unhurried snapshots with shifting perspectives. Creed instead explores microtonal relationships melodically in the form of a 31-note scale. Ascending and descending, the lines slowly fragment into opposing forms before recombining into a final, climbing iteration. Missing from the sound recording is the theatre of contradiction embedded in McIntosh’s piece: Radically disjunct physicality is required to produce the smooth, conjunct musical material. Still, the inclusion of these two pieces offers a contemplative and unforced contrast to the more propulsive works on the album.
Perhaps most curious is the inclusion of Wadada Leo Smith’s Sweet Bay Magnolia with Berry Clusters. The piece inherits the uninhibited, reckless abandon of an improvisation—one which emphasizes performer intuition and awareness over formal archetypes. The task of communicating a work that is less about the plot than the language itself is a difficult one, but Walters succeeds brilliantly. Under her hands, piece oozes with personality, spinning out a trajectory of ideas and development with convincing and relatable motivation. Surrounded by works that treat time as a means of either thematic propulsion or suspension, Sweet Bay Magnolia stands instead with the Berio in its improvisatory bend, creating the impression that the listener is witnessing the piece’s conception in real time. And so, beyond the merits of the piece itself, Sweet Bay Magnolia helps rounds out the album in way that highlights the variety of stylistic intent included.
Sweet Anxiety is a showcase of musical aptitude, not only for Walters’ skilled performances, but for the interpretations and larger flow of the album. Its incorporation of distinct and diverse compositional approaches is bold and effective, and the commitment to conveying the sound world and personality of each piece makes for exceptionally moving moments. This album is, no doubt, both “sweet” and “anxious”—so much so that you may have to remind yourself there is just a single instrument. But that would be somewhat deceiving, because in truth this is music for much more than solo cello; it is music for Ashley Walters.
Each album has a distinct narrative, but the two releases are connected — two of Deyoe’s works appear on Walters’ album and Walters appears as both a member of the WasteLAnd ensemble and as a soloist on for Duane.
For this interview, Nick and Ashley reminisced about their collaboration over the past decade. Here, they present stories about their albums, music, and friendship.
First Impressions of Each Other
ND: I first met Ashley Walters in rehearsals for my second jury piece at UCSD (September-ish 2007), but I’d seen her perform with the Formalist Quartet a few times in the year before that. She was really astonishing in the quartet performances that I’d seen and I was really excited to get to work with her. She was detail-oriented, clear and direct in her feedback, and unbelievably positive. When we met, I was still really figuring myself out musically. I had a lot of insecurities that I was desperate to keep hidden and regularly felt like I wasn’t making music that was as interesting as that of my colleagues. Ashley was someone whose support and enthusiasm for my music made an incalculable difference in how I saw myself. As I became more confident in myself and my music, I began to feel much more free to develop my language (I’m not sure I’ve ever expressed these sentiments to Ashley). Daniel Tacke (who wrote a beautiful essay for my liner notes) and Stephanie Aston were two others who played pivotal roles for me. These were people who helped me question my work in a constructive way, helping me understand who I wanted to be musically.
AW: I met Nicholas Deyoe when we were grad students and neighbors in San Diego. I immediately noticed Nick’s presence and energy in rehearsals — he was professional yet sensitive; gregarious yet humble. I found tremendous energy and extreme contrasts in his music, which has biting, severe, and brutal sounds with moments of purity and sweetness. Whether I think of Nick in those early meetings or as a current collaborator and friend the word that always comes to mind to describe him is kind. He is a prominent force in the LA music scene not only because of his professional drive but because our community knows that he is invested in making connections with people and building strong friendships. I think there are many people who would consider themselves lucky to have met Nick.
ND: After this, Ashley and I started working together a lot, especially once we discovered that we were neighbors. Hearing Ashley’s perspectives on working with other composers, rehearsal preparation, and performance materials shaped my own approaches toward all things. I had the luxury of not only learning from her through our collaborations, but by drinking tea and talking about issues in other music, teaching, and life. She is thoughtful, direct, and never negative without warrant. If Ashley thought something was a problem, there was a good reason. She was the person to teach me that cello music is just as much about the person holding the instrument as the instrument itself (seems silly to make such an obvious statement) and that not all cellists have massive hands. She also demonstrated time and again that she would always strive to find a good solution for anything. Her dedication is remarkable and is something I witnessed immediately. In the 10 years we’ve known each other, I’ve only watched that dedication to her craft, her community, and her students deepen.
AW: Our first collaboration, For Stephanie (on our wedding day), was written for a momentous occasion — the marriage of Nick and Stephanie Aston. I am still touched to this day that our first collaboration was presented at such a personal event for two dear friends. During the process of creating this piece we spent as much time drinking tea and building our friendship through conversation as we did experimenting with sounds. This allowed us to connect first as friends and artists and then as collaborators not long after. [There is a work on each of our albums that was written for and performed at each other’s wedding. Six years after Ashley performed For Stephanie at my wedding, Stephanie performed Immer Wieder, which was composed for Ashley’s marriage to Luke Storm.—ND]
Then and Now
AW: In some ways it is impossible for me to imagine my career without the presence of Nick Deyoe — both as a colleague and as a composer. Releasing these two albums on the same day feels like the perfect celebration of a chapter in my life that has been enhanced by our work together.
As a performer, I try to be a portal between a composer’s voice and the audience’s experience. It has been a true honor that Nick has chosen me time and time again to be his ambassador of sound. Nick has challenged my technique and my own creativity; his music constantly inspires me to explore new colors and timbres on my instrument. I am a better cellist because of our work together. Nick’s musical language is unique but now feels completely familiar and comfortable to me. It’s like riding a bike — but his music is much more difficult than that!
ND: My relationship to pieces like another anxiety or for Stephanie are a lot different now than when I composed them four and eight years ago. At the time of creation, I was very focused on every detail, fussing over the sculpting of small moments. Now, as Ashley plays the pieces over and over again, across several years, I’m continually excited by the way she surprises me. At this point, I assume the time she has spent practicing the pieces surpasses the time I spent composing them. She has put incredible thought into every moment of the interpretation. She owns these pieces now, and it is an honor to watch her thought process unfold. In our early meetings refining her part for Lullaby 6, it felt like I was hearing her play an old piece. Ashley’s earliest interpretations were already nuanced and persuasive. It felt like she had already internalized the piece in a way that felt so familiar despite the music being completely new to us. [I truly think this work is a masterpiece, Nick. While it is an intensely difficult to play it was never anything but pure joy for me to uncover the nuances in your notation.—AW]
AW: Nick is often outgoing and effusive after concerts but the two performances that I remember and cherish the most are when he was speechless backstage — it was in those moments that I felt like we truly understood the magnitude of our collaboration. For me the performance of Nicks’s concerto, Lullaby 6 “for Duane,” is my most memorable — that night was not about virtuosity or even about collaboration — it was truly about friendship. Nick and I stepped on stage, he with a baton [“baton” is figurative, because I rarely use one.—ND] and myself with my cello, and together we celebrated the life of Nick’s father, Duane, who had passed away earlier that year. I was again honored to be asked to share a profound moment in Nick’s life through his music.
ND: Each new project we start together feels like it is embedded in everything we’ve already done while still moving forward. My collaborations with Ashley (similar to what I’ve done with Stephanie Aston and Matt Barbier) are what I use as a model when encouraging composition students to focus on building relationships with their peers. With these people, whom I’ve made so much music with over the last several years, a very different set of possibilities emerges. A new piece is a continuation of a long, thoughtful, and mutually respectful dialog rather than a fresh start. I am excited for every new musical relationship I begin, but maintaining the old ones is what I cherish about being a musician.
The Recording Process
AW: The collaboration between the composers and myself on this album extended past the composition/performance stage and into the recording process. Every composer (except Berio) was present when I recorded their piece. For me, recording solo repertoire in a large studio can feel lonely and isolating. However, in these sessions the energy of each composer was palpable through the glass. Wolfgang von Schweinitz brought his masterful ear and bolstered my own confidence with the fragile intonation in Plainsound-Litany. Wadada Leo Smith’s spirit in the booth was as contagious as it is on stage. The flexibility of his notation allows the performer to find her own voice and Smith provided constant support about the decisions I was making and the risks I was taking in my interpretation. Andrew McIntosh, a string player himself, is more frequently sitting in front of the mic than in the producer’s seat. (However, he is a talented producer in his own right, as you can hear on Nick’s album!). Knowing the great difficulty of his own piece, Andrew was my cheerleader throughout the process. Nick Deyoe was the first composer who joined me in the recording studio. Because this recording was documenting our first collaboration it felt like a special moment for both of us.
ND: All of the topics that Ashley and I keep discussing come back to collaboration. Making this album was a giant collaboration, involving 20+ people. My role composing the music, making the scores/parts, and editing the recordings feels, relatively, like a small part of everything that came together to make this album. This was the incredible work of 15 performers, 2 poets, a visual artist, a designer, and the miraculous producer/engineer pair of Andrew McIntosh and Nick Tipp. During our recording days last March, I spent time on both sides of the glass. I conducted Finally, the cylindrical voids tapping along and Lullaby 6 “for Duane,” and I sat next to Andrew in the control room for Immer Wieder and 1560. As a performer, I was trying to simultaneously think in-the-moment while considering what would make a good recording. Thankfully, Nick (Tipp) and Andrew (Mcintosh) were paying great attention to everything, taking notes, and also reading the room and managing the overall flow of the session. Recording challenging music is stressful for everyone, and having people who can help keep a productive flow while ensuring that everyone in the room is happy can’t be understated. On the other side of the glass, with the opportunity to listen more objectively (Immer Wieder, 1560), I was no less grateful to have Nick and Andrew’s sensitive ears reinforcing (and sometimes contradicting) what I was hearing. Their notes were crucial to me when I edited the album.
To learn more about the albums and the release party/concert that will take place on October 20th, visit here: http://deyoe-walters.brownpapertickets.com/
Pre-Order from Populist Records here:
Ashley Walters – Sweet Anxiety
Nicholas Deyoe – for Duane
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.
Perhaps the title here is a hair misleading – as far as we know, Ashley Walters, cellist, does not have anxiety. We do know that she’s on of the most active cellists in the LA scene, specializing in microtonal music and repertoire featuring extended techniques and alternate tunings. Ashley, a member of the Formalist Quartet, has appeared as a soloist on concert series such as Green Umbrella, wasteLAnd music, San Diego New Music, Beyond Baroque, and many others. Tomorrow evening, she plays a solo set at Tuesdays at Monk Space, entitled A Sweet Anxiety.
T@MS’ Social Media and Outreach Director, Cristina Lord, interviewed Ashley ahead of the concert. The interview was sent out via email to their list, and I asked if we could reprint it here for our readers. Here are Cristina and Ashley:
The program contains a challenging list of works that explore the sonic possibilities of the cello. From your perspective, does the combination of these particular pieces affect their meanings as a whole?
The works on this program represent what I believe to be milestones of the recent cello repertoire. While there are parallels in this collection of pieces — four use microtonality, all use extended techniques, and all bear the imprint for the performer for whom it was written — the pieces, nevertheless, arrive at dramatically different expressive destinations as a result of their explorations in technique and timbre.
You’ve been praised for your performances of Liza Lim’s Invisibility, a dazzling, unpredictable work that is part of Lim’s ongoing investigation of Australian Aboriginal’s ‘aesthetics of presence.’ The piece has an overall shimmering quality, and uses two kinds of bows to offer different possibilities of friction that explore harmonic complexities within the instrument. What aesthetic qualities have you found most enrapturing about this piece, and how does the work speak to you?
Liza Lim has reimagined the personality and voice of the cello in an absolutely unique way. Although the modified “guiro” bow provides visual and timbral drama, it is the retuned strings that truly define the essence of this piece to me. Three of the four strings are tuned lower, darkening and obscuring the cello’s familiar, swan-like voice. The open and ringing perfect fifths of standard tuning are replaced with tense and unruly dissonances.
Also on the program is Berio’s Sequenza XIV, a work inspired by the Kandyan drum rhythms of Sri Lanka. As such, the piece utilizes the cello as a percussion instrument in addition to its traditional role as a string instrument. Given the diverse range of techniques required in this piece, what did you find most challenging or interesting?
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.
You’ve worked closely with multiple composers, including Nicholas Deyoe whose piece another anxiety will be opening the concert at Monk Space. What do you enjoy most about collaborating with composers? What was the process like for Another Anxiety?
Nicholas Deyoe has been a friend and collaborator for the past nine years, during which time I have premiered twelve of his works. Our first collaboration, developed in secret, was a piece performed as a surprise dedication to the great soprano, Stephanie Aston on her and Nicholas’ wedding day. The process of our collaboration continues to evolve, but risk-taking and honesty have been our anchors throughout. The inspiration for the opening of another anxiety, with its tiny microtonal intervals, came from Nicholas’ observation that I could easily divide a whole step into four notes in the lowest positions of the cello. To me, such collaboration, is the epitome of being a new music performer. I am so proud to be presenting the results of my collaboration with Nicholas Deyoe and Wadada Leo Smith as part of my program at Tuesdays @ Monk Space.
Tickets are available at asweetanxiety.brownpapertickets.com.
Ashley Walters and Derek Stein, cellos, and Ryan Nestor, percussion, performed Nicholas Deyoe’s piece Erstickend at WasteLAnd’s concert back in April at Art Share. It was such a cool piece and killer performance that I thought it deserved to be heard/seen on here.
WasteLAnd’s second season at Art Share starts next Friday, September 19, with Justin DeHart performing John Luther Adams’ The Mathematics of Resonant Bodies. Details are at wastelandmusic.org.