With election day just a week away, Tuesdays@Monk Space offered Midterms: This Will Hurt Someone, a concert program devoted to contemporary music with a political viewpoint.
Grab it, by Jacob TV opened the show, preceded by a recorded track of coarse street talk that blended into an equally angry video. The four hands of HOCKET accompanied, and the raw stream of words was perfectly matched by a dense and powerful outpouring of piano notes. The music reflected the passionate resentment of those caught up in the wheels of a system intent on punishing the small time street criminal. Scenes of prison life and enraged inmates gave way at the finish to a hymn-like stretch that spoke hopefully of a life reclaimed after incarceration. Grab it is a stark reminder of the failings of American justice and how it perpetuates a violent underclass.
This Will Hurt Someone, by the late Matt Marks followed, arranged by pianist Thomas Kotcheff who accompanied vocalist Gregory Fletcher. The text for this piece is the final statement of R. Bud Dwyer, State Treasurer of Pennsylvania, asserting his innocence upon conviction of bribery in 1987. The music has an easy, sweet feel, and the entrance of a toy piano played by Sarah Gibson added a childlike innocence to the words. Fletcher sang calmly and gently, navigating the higher registers with a steady confidence. The music turned darker at times with lines such as “But in this nation, the world’s greatest democracy, there is nothing they can do to prevent me from being punished for a crime I did not commit.” Yet the placid character of the music continued, underlining the disconnect between the reality of conviction and Dwyer’s enduring sense of innocence. “This will hurt someone” were the last words spoken by Dwyer before committing suicide on-camera during the press conference. This piece is Matt Marks’ testament to an often misplaced confidence in our judicial system.
Counterpundit by Ian Dicke was next, a work that for piano and video performed by Aron Kallay. This opened with a quietly introspective piano line that attained a nostalgic sensibility at times. As the tempo increased, the music became more active and the video displayed a flag waiving in the breeze. Strong percussive beats were heard on the sound track of the video as the images became halting and choppy. As the piece proceeded, images of Hulk Hogan became increasingly intermingled with the flag until the video was dominated by wrestling personalities striking patriotic poses. Counterpundit was written during the 2016 election campaign and is an astute observation of how spectacle has replaced reasoned political discourse. The outcome of the election and the subsequent behavior of the present administration only amplifies Dicke’s central premise from 2016. The piece ended with a quiet introspective feel that seemed to be longing for a return to a more enlightened past.
Following the intermission Tonality, a ten-voice choir that specializes in music about justice issues, took the stage to perform “Her beacon-hand beckons”, the third movement of Caroline Shaw’s To the Hands. Lush four-part harmonies filled Monk Space with beautiful a cappella sounds and a peaceful sentiment. This perfectly matched the text, a freely paraphrased version of the inscription on the Statue of Liberty. The final line, “I will be your refuge…”, was particularly moving.
Philosophy of Furniture, by Natalie Dietterich followed, performed by speaking percussionist Derek Tywoniuk. A video projected a series of statements – ostensibly on the ideology of interior decoration and fashion – accompanied by loud, primal drum strokes. Tywoniuk shouted out the texts as they appeared on the screen, punctuating them with booming blasts and sharp raps. The contrast with the previous piece could not have been greater and the thunderous percussion created a compelling emphasis on the otherwise mundane stream words on the screen. The drift of the argument seemed to be that contemporary taste is overly influenced by money so that expensive furniture invariably acquired a higher status. “We proceed on false principals and imagine we have done a fine thing…” All of this unfurled seamlessly and Tywoniuk’s dexterity of was on full display as he attended to the many percussive elements while shouting out the spoken words at the correct instant. The text then took a most interesting turn. By describing the same processes that are at work in fashion, money was shown to similarly exert a decisive leverage on one’s political opinion. Philosophy of Furniture combines the quiet of subtle reasoning with explosive percussion to make a telling point.
Two pieces from widely known contemporary composers completed the concert program. “Which Side are you on?” the second movement of Four North American Ballads by Frederic Rzewski, began with a recorded vocal rendition of a Harlan County miners’ protest song. Rzewski’s take on the song, arranged for piano, followed immediately, full of strong chords and a sturdy texture that was ably realized by Thomas Kotcheff. The complexity and power of the music seemed to increase with each variation on the simple folk tune, filling the cozy Monk Space with a robust militancy and ending with a vigorous crescendo that drew cheers from the audience. Tonality closed the concert with Make Peace by David Lang, a composer known for his sensitivity and a strong sense of empathy. The close harmonies and delicate balance in the music were complimented by the house acoustics and excellent intonation by the singers. Make Peace was a gracefully tranquil ending to an often raucous examination of our current politics through contemporary music.
Midterms: This will Hurt Someone was a carefully curated and timely collection of diverse musical commentary on our political culture.
Next Tuesday, gnarwhallaby (Richard Valilutto, Matt Barbier, Brian Walsh, and Derek Stein) will be performing an adventurous program at Monk Space, including two world premieres and some recent commissions. I interviewed Matt Barbier (trombone) about the program, the future of gnarwhallaby, commissioning, and more. Here’s what he said:
On June 5, you’ll be performing “Lullaby 4” by Nicholas Deyoe, world premieres by Olga Rayeva and Daniel Tacke, and recent commissions by Elise Roy and Richard Barrett. Can you tell us a bit about the works on the program?
It’s a fairly personal program for us in a lot of ways, especially at the group’s current juncture. Nick’s piece was the first major work written for our iteration of the quartet and what we made our Carnegie debut with, so it’s always been a very special piece that’s at the core of our repertoire and the work that is most closely tied to us as individual players. Dan’s piece is quite exciting for us because we’ve played a pre-exising work of his that had no trombone, but did have voice (the change to trombone is questionable), so we’re looking forward to being able to have a work of his that we all play. His piece is based on Morton Feldman’s Half a minute, it’s all I’ve time for, which is an actual 30 second piece Feldman wrote for the original group that we’ve enjoyed playing over the years, but can be a little odd to program. We look forward to playing something that is based on it, but has a little more room to breathe. Elise’s piece is a bit like Nick’s in the sense that it was written by a friend who we’ve all known quite a while, however we mostly know Elise from performing with her (she’s a very good flutist on top of her great composing). Because of this, her approach to us is from a very different angle than Nick and a very different type of familiarity, but we look forward to them sharing that space. Olga’s piece is a bit of wild card for us. I met Olga when she was a fellow at the Villa Aurora and she came to a concert I gave that included Michelle Lou’s colossal HoneyDripper and really enjoyed it. From there we started conversing a little bit and she asked to write us a piece. It’s really excitingly out and feels, in certain ways, to tie to some of the more ethereal works written for the early Polish group, who, I think, everyone in the group feels a kinship (or fondness?) for. Richard’s piece is probably our ‘biggest’ commission to date and something that was in the works for quite a while. We’re big fans of his music and have been discussing doing a concert of his music for a long time. The idea of getting a new piece came up a few times and so I ended up just asking and he was, very kindly, interested in writing quite a large piece for four people in jumpsuits. His piece is in four movements, each based on an important jazz artist for him: Cecil Taylor, Thelonius Monk, Eric Dolphy, and Miles Davis.
Were all the works you’ll be performing on this program gnarwhallaby commissions? What do you enjoy most about commissioning new works?
Everything on the program was written for us by people we know, or got to know in the process. Commissioning new works for gnarwhallaby has been an especially rewarding process because our group exists as the third iteration of an ensemble founded in Poland in the late 1960’s and we’ve tried to be very cognizant of the instrumentation’s history when contributing new works. The Warsztat Muzyczny had a very particular bend to their own commissions and the Quartet Avance did a lot to keep the repertoire alive while adding their set of works that related but also reflected the generation that they were of. It’s been an exciting challenge to find composers whose music fits into that progression but also reflects our own interests, particularly as the first American group.
How did you get started as an ensemble? Has the group’s goals and/or focus changed since you formed in 2011?
Our origins come from CalArts where we were all students. We weren’t there together but everyone overlapped as MFAs (Brian’s last year was Matt’s first, Matt’s 2nd was Derek’s first, and Derek’s 2nd was Richard’s first). I (Matt) had a very keen interest in this one specific piece by Gorecki, which Brian, Derek, and I all played together before Richard arrived, and that interest led to finding a treasure trove of other works (over 60). At first our focus was to primarily revive that repertoire and occasionally add new pieces. However, over time our focus has really shifted to a much heavier focus on new works by people we like to work in close collaboration with.
What are your thoughts about how gnarwhallaby’s repertoire fits within the existing canon, either in the context of your particular instrumentation or in the wider context of chamber music?
It’s a fun group in a lot of ways given that we’ve got three instruments that can be quite loud and one that can only be…moderate? So our instrumentation has kind of violated some understood orchestration rules from it’s very origin, while also functioning as a micro orchestra. It has a very traditional but also somewhat unique place in the canon in terms of the way the ensemble functions. A huge portion of our repertoire functions as the clarinet, cello, and trombone as a meta instrument that fits with the piano. This isn’t a particularly new idea, but it is something that happens quite consistently from a wide range of composers so one wonders if it is something inherent to the nature of the group. On the personal side (as a trombonist that is), it fits in the canon in a very unique way because of this. Many composers (whether related to range, touch, velocity, color, etc.) demand that the trombone not only do things that’s not quite in it’s understood nature to do, but do them as well as the other three instruments. So it’s fairly unique in the canon of brass music that you’re being held against very idiomatic writing for instruments that do very different things than your own.
What’s in store for the future of the band?
Well we’re entering quite a new and kind of terrifying stage. Very shortly Richard will be leaving LA to get a doctorate at Cornell so we’ll have to sort out a new mode of existing and this will be our last show for a little while. We’re all quite close friends and we rehearse a lot over long periods of time. And drink lots of coffee. So we’ll have to, sadly, find a new mode. We’re planning Exhibit B, however. It’ll include music by Nicholas Deyoe, Michelle Lou, Andrew Greenwald, and Adriana Holszky. We’re also planning some more large scale concerts, including the full Barrett cycle.
For more information about the concert or to get tickets, check out Tuesdays at Monk Space.
Oboist Claire Chenette will be sharing her WORK with Tuesdays at Monk Space — specifically, a passion for cultivation, both in the worlds of new music and the fermentation of food. The program explores the often mysterious concepts of invisible processes over time, experimentation, and the complexity of crafting. The upcoming concert on April 17 will feature works by composers Helen Grime, Nicholas Deyoe, Ruth Crawford-Seeger, Toshio Hosokawa, and Marin Marais, along with a selection of her own handcrafted fermented foods. I had the opportunity to ask Claire some questions about the program and the inspiration behind it. Here’s what she had to say:
The concept behind your upcoming concert is fascinating. What interesting relationships do you find between the fermentation of food and creating music?
I’d like to answer this question with the help of fermentation expert Sandor Katz–“we use the same word —culture—to describe the community of bacteria that transform milk into yogurt, as well as the practice of subsistence itself, language, music, art, literature, science, spiritual practices, belief systems, and all that human beings seek to perpetuate”.
For me, fermentation and music are adjacent in the patterns of my daily life. I’ll be bringing an alpine-style cheese that I made last fall when I was brainstorming ideas and ordering music for this show. I’ll also be bringing a batch of sauerkraut that I made last Monday, the same day that I tied the reeds I’ll use on Tuesday. This show is part of Wild Up’s WORK series, and I can’t imagine a better or more real way to share not just my oboe playing, but my work and ways of working.
How did you get started fermenting your own foods, and do you have any favorites? What do you find most interesting about the process?
Some people approach fermentation for its health benefits. Traditionally, it was mostly about preserving the harvest pre-refrigeration. I was drawn to fermentation by my taste buds. The flavors of home ferments are often much more complex and interesting than anything I can find in the grocery store (which is why they go well with the music in this show, which is more complex and interesting than anything I can find on the radio). One of the most unexpectedly simple and delicious ferments I’m bringing is a carrot-ginger relish that I made using way-too-big, overwintered carrots that I found when I was digging up the garden this spring.
The most interesting thing about the fermentation process is that you can’t really control it, which means that what you create is bound to be unexpected. You set up a controlled environment, and then you tend to it while it does its thing. Microbial communities and time are transformative.
The concert at Monk Space features works by composers Helen Grime, Nicholas Deyoe, Ruth Crawford-Seeger, Toshio Hosokawa, and Marin Marais. Can you tell us a bit more about the works on the program? For example, do they relate to each other in any ways you’d like to point out?
Nick Deyoe wrote NCTRN 2 for me in 2015 and this will be my first performance. Virginia Woolf writes “The living poets express a feeling that is actually being made and torn out of us at the moment,” and that is the best phrase I can think of to describe NCTRN 2. I can’t imagine that it will be something anyone is expecting. With the traditions of fermentation on display, I wanted to bring in history and an older sense of innovation with the French Baroque composer Marais. Ruth Crawford’s “Diaphonic Suite” is playful and modernist. Hosokawa’s “Spell Song” is heart-wrenchingly lyrical and expressive. And Helen Grime’s “Arachne” is a perfectly crafted little story about what might befall you if you think you’re the best at weaving. A good reminder to take it easy on the crafting.
Anything else you’d like to share?
All of the ferments I’m bringing will be displayed on ceramic art by Saul Alpert-Abrams. Potter Shannon Garson writes “The privilege of using handmade pots is that they contain the idea of human endeavor, a link with other people, not with factories or corporations.” It is truly a privilege to bring Saul’s pottery to this event. His work will highlight the radical idea that a simple object can be a place where people can meet and share a life-affirming experience of beauty.
For more information about the upcoming concert and to purchase tickets, visit Tuesdays at Monk Space.
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.