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Posts Tagged ‘Zipper Hall’

Matt Cook of the Los Angeles Percussion Quartet on Holding the Lion’s Paw

Andrew McIntosh came up to me at a concert last week to invite me to hear the Los Angeles Percussion Quartet premiere his new piece, I Hold The Lion’s Paw, at Zipper Hall this Friday, April 10. I’ve loved LAPQ’s recordings, and immediately thought, “wait a second, why haven’t we done anything with them on New Classic LA?” Andrew introduced me to percussionist/LAPQ member Matt Cook, and here we are.

The Los Angeles Percussion Quartet

The Los Angeles Percussion Quartet

Fill us in on the show at Zipper this weekend.

On Friday, April 10th, the Los Angeles Percussion Quartet will play a new piece from Andrew McIntosh called “I Hold The Lion’s Paw.”  We are thrilled to premiere this in Zipper Hall because we can take advantage of the size and acoustics of such an incredible space.  We will have four stations set up around the audience to spread melodies in the air and move our sound around the hall. The goal is to create a concert experience that is tailored more towards our audiences’ ears rather than their eyes.

The other pieces on the concert will remain on stage and represent a more traditional chamber music concert experience. These pieces have been written for us by Los Angeles based composers Nick Deyoe, Joseph Pereira, and Shaun Naidoo.  For audiences that have never attended a percussion concert, they will be amazed by the virtuosity of percussionists as well as the diverse sonic possibilities of the art form.

With the music you choose to program and record, it’s obvious that space is important to you. Your records on Sono Luminus are recorded in 7.1 surround sound. Did the decision to record like that come from within the group, or from the recording team? Do you feel that the recordings work equally well on a stereo setup like most listeners have?

As opposed to a string quartet or those with piano, the percussion performance model is very fluid and always changing. We often have strict space constraints because of the large size of our instruments like timpani and marimbas.  Equally as often, we have high flexibility in space based on the kind of repertoire we choose and the smaller  instruments we could use to create it.

At each show, we try to use the space provided to give an audience the deepest experience possible. We tailor each piece and our instrument choices to do just that.

When we perform in a small space, we give an intimate experience of hand held instruments and use items that can fit on one small table. These concerts often explore rhythm or the nuance of softer sounds. When in a large hall, we choose music that can push the limits of the louder dynamic spectrum.

We are excited to perform this show in Zipper because the hall is sensitive enough capture subtle details with clarity and it is large enough to let us push the louder moments.

The spatial aesthetic of our albums began when we started our recording partnership with Sono Luminus.  Most of what they record is in 7.1 Surround Sound and designed to appeal to both the audiophile community and traditional lovers of classical music.

Their recording sessions typically use one tower of microphones in the center of the room with seven microphones pointing in every direction.  During the session, we place our instruments in four stations surrounding the microphones so they can capture the actual spatial sound image. This presents challenges when trying to execute tight rhythmic passages over a great distance, but it pays off when we are able to listen to a piece and feel like you’re sitting in the middle of the ensemble.

When our albums are released, they come with two discs – one stereo CD, and one BluRay surround sound disc.  To me, the stereo version still captures the beautiful details of the composition, our playing, and a large dynamic spectrum.  The stereo version is also how 95% of our listeners can hear the album (iTunes, Spotify, and mp3s, etc).  Having said that, sitting in the middle of a BluRay surround sound album with the production quality that Sono Luminus offers is an extremely rare and rewarding experience.

You have, in not a huge amount of time, put out an impressive number of records, nabbed a GRAMMY nomination, and managed to keep a very busy schedule of performances and events. You’re still in touch with our local scene here, though. Without being too blunt about it, what’s your secret?

We appreciate the kind thoughts and we feel fortunate that our work has been received so  well up to now.  With the individual realities of our family lifestyles, SoCal living proximity, and our creative work with other projects, it is not possible for us to be a “full-time” ensemble at the moment. We are also passionate educators so this makes presenting long tours challenging.

Dealing with our limited schedules, we have chosen to create most of our work by collaborating with composers who are associated with Southern California in some way. The Los Angeles art music community in 2015 is equally as diverse and exciting as anywhere in the world.  Although we do work with composers all over the world, since our ensemble’s birth we have made it our mission to highlight the music of Southern California. In doing so, we hope to extend the long tradition of new music on the West Coast by contributing what is happening right now.

Our relationships with these artists help propel our artistry and career as an ensemble. We work together to create an audience, a sound world, and relationships with music venues.

Percussion quartet is a genre that more and more composers are writing in. Is the medium becoming today’s equivalent of the string quartet in the late eighteenth and early nineteenth centuries? If so, why do you think that is?

Percussion repertoire is expanding rapidly… we love this! There are several reasons for this recent explosion of content.

75 years ago, composer John Cage challenged the expectations of classical music listeners and used percussionists to experiment in a variety of musical contexts.  He set the trend for many composers today to be ambitious in that way. He also established the trend for many percussionists to volunteer to experiment for composers and push the limits of what they could achieve behind an orchestra.

The large collection of instruments many of us have and the hundreds of sounds we can create is attractive to many composers. These sounds often can not be appreciated from behind a larger ensemble, so percussion quartet is a great outlet to explore them. For example, crumbling paper or bowing a cymbal is a kind of sound that requires very few other events to be happening in that moment so they can be heard.

Lastly, the pedagogy over the last 65 years has evolved and created an incredible vehicle for producing creative, talented, and ambitious students. These students create professional ensembles or become teachers to an even more evolved group of young students. A few decades ago, percussion training was limited to orchestral applications or drumset. Now, percussion ensemble playing is at least 50% of the education most modern percussionists receive.

With more and more pieces in the medium, and – I assume – more and more submissions as your reputation grows, what makes a piece stand out as something you want to play? What gets you excited?

Pieces can stand out to us for a variety of reasons.  It could be as simple as coming across a piece that fits a theme of an upcoming event – such as music for percussion and electronics, or music to be performed outside.

New pieces that get us  excited can vary as well.  We often get excited by “new classical” pieces that cross genres and invite interest from wide audiences.  We are equally as interested in meditative pieces that focus on subtle shifts in sound evolving over time.

In terms of choosing our repertoire, it is a fluid process. We always welcome new works and any composer to send us ideas.  With the limited touring schedule, it sometimes has to coincide with practicality of other pieces on the concert and what instruments are available with the time given.

What’s on the horizon for LAPQ?

After our show on April 10th, we head up to Fresno in May for the California Day of Percussion. We’ll adjudicate young ensembles, give masterclasses, and perform a show for hundreds of high school and collegiate percussionists.

LAPQ recently received our 501c3 non-profit status, so we are excited to be developing the long term growth of our group! We are in the process of solidifying our Board of Directors, fundraising, and long term planning over the next few months.

We are also preparing to record our third album with Sono Luminus. As part of this, we are talking to various composers and finding the right mix of artists to collaborate with to make the album special.  Part of this will be fundraising for a large scale commission, which we are very excited about!

Tickets to see LAPQ this Friday at Zipper Hall are available from $5 – $20 at the door. Full details are up on the facebook event page at More info and recordings are up on LAPQ’s site,

Interview: Justin Urcis, Executive Director of Monday Evening Concerts

If it weren’t for Justin Urcis and Monday Evening Concerts, I may never have found a way in to the new music scene in LA. Way back when I finished college, before the scene was as healthy and open as it is today, I was networking like crazy to find a job in music and largely getting ignored. Justin was kind enough to write back to me one day, and invited me to meet with him and, ultimately, intern with MEC. And let me tell you: if you want to meet a guy who can tackle an unbelievably gigantic task, running a season just as busy as those of many orchestras with large staffs, on his own, in what little extra time he has, then you want to meet Justin. I’m glad he had time to answer some questions.

Monday Evening Concerts has an enormous history, going straight back to Stravinsky in the 1930s, and getting to today by way of Boulez, the Arditti Quartet, and right up through Salonen and Stucky. Was taking charge of such a prestigious organization a few years ago, well, intimidating?

I suppose I was / have been too busy organizing things to worry about being intimidated. Someone had to keep the series going and somehow it ended up being me. That said, I do take the responsibility of running the series seriously and strive to present concerts of the quality and import that have made the series known and respected throughout the world.

With your series’ tradition of premieres from both luminaries of the avant-garde and up-and-comers, as well as performances of important pieces from the modernist and post-modern repertory, programming must be a bit tricky. What’s your approach?

The first consideration is that I will only program a concert that I would pay, and travel a reasonable distance, to hear. If a program does not meet that criteria, I cannot in good conscience ask an audience to buy a ticket or donate to support the event.

There are a lot of concerts I would pay and travel to hear but that are not appropriate for Monday Evening Concerts, such as a string quartet recital with works by Haydn and Schubert. I love those composers but the idea of presenting a traditional string quartet recital isn’t consistent with our mission.

A second consideration is whether anyone else in Los Angeles will present this program if we don’t; i.e. are we providing an experience that other organizations won’t. Obviously we don’t want to let other organization define us, but I think that MEC has always promoted concerts and events that are unique to Southern California. Last season REDCAT did a large Xenakis festival, so that seems less of a pressing concern for us in the near future. However, should a Xenakis piece fit just perfectly into a program or should we have an opportunity to present a special performer or ensemble playing Xenakis then we’d still do it. Last year the JACK Quartet played some short Webern pieces in between two quartets by Aaron Cassidy. The Cassidy quartets were classic MEC fare and it was the first time his music had even been heard on the West Coast. But I’m sure several string quartets each year play these short pieces of Webern in LA. So it’s not like audiences wouldn’t have had the chance to hear these pieces if we hadn’t presented them. However, the Webern fit just perfectly in this context so we presented it.

Clearly a lot of the programming reflects my personal tastes. That’s obvious from my first consideration. It’s difficult for me to articulate what qualities I’m looking for in music since there are so many. However, I do feel strongly that a concert should be something transcendent and spiritual, as vague and loaded as those terms may be. In a film we showed on Salvatore Sciarrino, Sciarrino said something like (I’m paraphrasing here), “When you go to a concert, it should really be a transformative experience. You should be transformed. Otherwise, what’s the point?” And I think he’s fundamentally right. There are a lot of options for entertainment nowadays. Life is short, and so while I have fun, I also take it seriously, knowing that we may not be around very long. And so, when an organization like MEC has really limited resources, and individuals decide to trust us with their money and generosity, we have an obligation to really do something that’s special and important for our culture. And each season, I feel this more strongly: that the concert has to be something special, that it can really change someone’s life, someone’s perspective on music, art, and humanity. And this can all be pleasurable (although at times it may not be, since it may also be disorienting, confusing, challenging, ugly, etc.). But it’s from this fundamental impulse that my desire for quality emerges. We certainly may not succeed all the time, but we need to keep trying.

More specifically, I spend a lot of time focusing on the pacing and contrasts in each program. I try to find compositions that will sound “just right” to follow another composition, even if they may seem unrelated. For the sake of our audience, I also try to provide a variety of styles throughout the season. I’m not in favor of presenting a series which clings to one type of aesthetic (i.e. only American experimental tradition, only Lachenmann and his descendants, only minimalism and its followers, etc). I think there are really great works in all of these traditions. Recently the series has presented a fair amount of recent European music. That’s probably because I’m finding a lot of that music interesting and because a lot of it is underrepresented here, so I feel more compelled to present it.

Every so often we’ll do something that may not seem especially new, but is unfamiliar. Last season we presented a 35 minute long a cappella passion by Heinrich Schutz. I happen to love Schutz, and especially his passions, but I quickly realized that these late works simply are not performed in LA. So we decided to present this sizable piece. Why not? I think MEC exists to take on projects like this. This meets the second consideration. We paired it with a very contemporary piece by Rolf Riehm which placed the Schutz in a contemporary context. I think this Riehm-Schutz combination is a good example of a Monday Evening Concerts program. Last month we paired organ works of Frescobaldi and Pasquini with a major piece by Klaus Lang. I’m sure the organ pieces were discoveries for much of the audience; I’m fairly familiar with Renaissance keyboard music and I had only known one of these three works before the concert.

Monday Evening Concerts has a distinguished history and I do consider this history when programming. I have my own interpretation of MEC’s history which may differ from others, but I see the organization as one that is constantly evolving and changing.

It’s important to state that I’m not coming up with all these programs on my own. On the contrary, I think our “secret” is that I rely heavily on friends, composers, performers, and anyone I can talk to for advice. Ultimately the programming is filtered through my sensibility, but I’m always speaking with people to get ideas and learn what’s out there. I’m not afraid to ask for help when I need it, and ask people to critique my ideas. It’s a constant process of refining and editing, and hopefully I do a good job, although I’m always nervous about the results.

Finally, none of the programming will work without great performers. All great music requires great performances. It doesn’t matter whether it’s Bach, John Cage, or Gerard Pesson. So we spend a lot of time trying to find the right performers for each piece and each concert. We have many really wonderful musicians based in Southern California and we invite them to perform frequently. (Composers from around the world have remarked on how well their music is performed here in Los Angeles). There are also marvelous performers elsewhere in the US and around the world, and we like to invite them as well, especially when they have special experience with a particular composer or tradition (i.e. Vincent Royer to play Radulescu, Mario Caroli for Sciarrino, JACK Quartet for Aaron Cassidy, Natalia Pschenitschnikova for Klaus Lang, etc, etc…). I think our audience enjoys hearing this combination of local and visiting performers which keeps the series lively and unpredictable. It’s also gratifying to watch local and visiting performers play together, which is an enriching experience for both and has the potential to foster new collaborations amongst them.

Tell me a bit about this season.

We’re midway into our 2011-2012 season. In December we presented the United States premiere of Gyorgy Kurtag’s major song cycle “…pas a pas…nulle part” which really had a major impact on our audience. Last month we presented the United States premiere of Klaus Lang’s “einfalt. stille.” for soprano, percussion, flute and viola which was particularly magical, and I marveled at the composer’s ability to create an incredibly rich sound world with such limited resources. Coming up is the United States debut of the Norwegian new music ensemble “asamisimasa.” Aside from being fantastic musicians, the group has developed a personal and idiosyncratic (in the best sense) repertoire which is quite refreshing. The music of Stefan Wolpe, Peter Ablinger, and Evan Johnson is featured in March, while our April concert highlights the many talents of Steven Schick, who will perform as a percussionist, speaker/actor and conductor in a program of Helmut Lachenmann, Kurt Schwitters and Aldo Clementi.

It must be very different to run a concert series than it is to run an ensemble or a venue. Can you talk about some of the work that goes into presenting this, and some of the differences?

I have never run an ensemble or a venue, but I believe I have enough of an understanding of the issues involved in administering both that I can accurately characterize some of the differences. An ensemble will have a fixed roster of performers and they will have a strong voice in determining the repertoire for the group. It is rare to have an outside party determine the repertoire for an ensemble unless it’s a music director, but even the music director will / should consider the desires of his / her performers in determining repertoire. The musicians should be enthusiastic about playing whichever music they are performing and not do it out of a sense of duty or obligation. Ensembles are also limited by their instrumentation. Because we do not have a fixed ensemble, I believe we have more opportunities available to us. Back to the Riehm / Schutz concert we did last season; I don’t think there are any ensembles out there that have 12 singers who sing Baroque music in addition to piano, violin, viola, cello, percussion, oboe, piccolo flute and contrabass clarinet! That said, I do regret that our concerts are often one-time affairs. The performers often put in an unbelievable amount of effort and time into learning and rehearsing demanding new scores only to play them once. This is not an ideal situation for them, but we don’t have the capacity to present multiple performances. Performers need to live with great music for many years to deepen their interpretations and an ensemble can provide this opportunity which we cannot (which is why we sometimes present ensembles or performers that have experience with certain pieces).

A venue has certain limitations as well. Our main venue is Zipper Concert Hall at the Colburn School although we do not use it for all of our productions It is a wonderful concert hall with superb acoustics and is an appropriate size for our events. However we do find occasions when we another venue is necessary. For example we presented Charlemagne Palestine several years ago in the First Congregational Church which has a monster pipe organ. This would simply not be possible in Zipper. So MEC has the flexibility of choosing venues based on their suitability for a given production.

Is there something that you are most proud of? I particularly remember when you managed to shut down a stretch of Grand Avenue for a performance of Ein Brise…

I am proud of introducing new music to our audiences and providing performers with opportunities to become more searching and creative musicians. I hope that we have done this on a number of occasions. It is especially gratifying when we have presented composers whose music should be better known, such as Frank Denyer, Horatiu Radulescu, Rolf Riehm and many many others.

From a logistical standpoint, shutting down Grand Avenue or obtaining 100% total darkness for our Georg Friedrich Haas concert were accomplishments, but I suppose the satisfaction would be no greater if I had shut down Grand Avenue for a rock concert or a random parade. Ultimately what’s important is the artistic experience. I’m always pleased when I’m told by a performer or audience member that a concert provided a lasting impression.

What’s something you’d like to work on, improve, or add, for the future of MEC?

There are an infinite number of possibilities, but they require funding. So the first answer to your question is that we’d like to increase the size of our budget. This would allow us to present more concerts and/or works with greater numbers of performers. I feel that our Sunday morning educational series at the Goethe Institut has been really wonderful and it would be great to begin recording these as they are a great introduction to composers and themes in contemporary music. I’ve thought about publishing short books on the work of various composers or producing documentaries. Collaborations with educational institutions are possible, as well as programs that introduce new music to younger audiences (i.e. under 18 years of age). There are also plenty of performers of early music and traditional repertoire that don’t get presented here in LA. It would be great to branch out and fill in some of these gaps. Opera, installations, and multiple performances of works are also dreams.

Being that you and your series are LA institutions, what is your favorite:

1. Neighborhood

While there are a number of neighborhoods I like for various reasons, I have to pick Vauban (It’s not in LA, but it’s the most intriguing neighborhood I’ve recently encountered and deserves to be recognized for its realization of some utopian ideals). Worth checking out!

2. Place to hear music

Anywhere that’s quiet and has decent acoustics.

3. Restaurant


4. Bar/hang out

I like hanging out at home.

5. Store

6. Thing to do/see

Practice piano.

Is there anything you would like to add?

Thank you for your interest in Monday Evening Concerts.

“Jazz Encounters,” the next Monday Evening Concert, is on March 26 at Zipper Hall. For details, visit