Second Inversion & A Far Cry

by Maggie Molloy

Philip Glass, Caroline Shaw, and Sarah Kirkland Snider are just a few of the composers you’ll see on the Boston-based A Far Cry‘s star-studded 2017-2018 season. This year Simone Dinnerstein premieres a new Glass piano concerto, the Miró Quartet breathes new life into Kevin Puts’ Credo, Luciana Souza lends her luminary voice to a new commission by five of today’s top women composers—and you can watch it all unfold on Second Inversion.

We are thrilled to continue our media partnership with A Far Cry this season, presenting live video streams on our website of each of their performances at New England Conservatory’s Jordan Hall!

Take a peek at the programs below and mark your calendars now:

Friday, September 22, 5pm PT / 8pm ET: Dinnerstein Premieres Glass
featuring Simone Dinnerstein, piano

Philip Glass: Symphony No. 3
J.S. Bach: Concerto for Keyboard and Strings in G minor, BWV 1058
Bach: Brandenburg Concerto No. 3, BWV 1048
Glass: Piano Concerto No. 3 (New AFC Commission)


Friday, November 10, 5pm PT / 8pm ET: The Blue Hour
featuring Luciana Souza, voice

The Blue Hour, a new AFC commission by Rachel Grimes, Angélica Negrón, Shara Nova, Caroline Shaw, and Sarah Kirkland Snider, is an evening-length song cycle based on the poem “On Earth,” by Carolyn Forché. Delivering the vocals with A Far Cry is the luminous young jazz vocalist Luciana Souza.


Friday, January 19, 5pm PT / 8pm ET: Albion
featuring Nicholas Phan, tenor

Matthew Locke & Henry Purcell: Selections from The Tempest and The Fairy-Queen
Ralph Vaughan Williams: Concerto Grosso

Benjamin Britten: Serenade for Tenor, Horn, and Strings, Op. 31


Friday, March 30, 5pm PT / 8pm ET: Loss and Resurrection
featuring the Miró Quartet

Ludwig van Beethoven: String Quartet, Op. 135 (arr. AFC)
Kevin Puts: Credo (arr. AFC)
Richard Strauss: Metamorphosen, study for 23 solo strings


Friday, May 18, 5pm PT / 8pm ET: Next Generation
featuring Alexander Korsantia, piano

W. A. Mozart / Ethan Wood: Variations on “Ah! vous dirais-je, Maman”
Galina Ustvolskaya: Concerto for Piano, String Orchestra, and Timpani
Benjamin Britten: Variations on a Theme of Frank Bridge, Op. 10

LIVE BROADCAST: Town Music Season Finale

by Maggie Molloy

Every end marks a new beginning—and as the 2016-2017 Town Music series comes to a close, artistic director Joshua Roman looks excitedly toward the future with a program of works by living (and thriving!) composers.

For this Wednesday’s season finale, Joshua conducts members of the Seattle Youth Symphony Orchestra as they perform alongside SYSO alums and musical mentors. The wide-ranging program draws from musical traditions old and new, near and far—featuring a tribute to Haydn by Pulitzer Prize-winner Caroline Shaw, the world premiere of a new jazz-inspired work by Gregg Kallor, a tango-infused chamber piece by Osvaldo Golijov, a string homage to Hindustani classical by Reena Esmail, and much more.

Join us as we broadcast the performance LIVE this Wednesday from Town Hall Seattle! Download our app or click here to listen to the broadcast online from anywhere in the world, streaming live on Wednesday, June 21 at 7:30pm PST.

Concert Program:

Caroline Shaw: Entr’acte
Reena Esmail: Teen Murti
Gregg Kallor: A Mouthful of Forevers (World Premiere)

—INTERMISSION—

Osvaldo Golijov: Last Round
Christopher Theofanidis: Visions and Miracles
Jessie Montgomery: Starburst


Town Music’s Every New Beginning concert is Wednesday, June 21 at 7:30pm at Town Hall. Click here for more information, and click here to tune in to Second Inversion’s live broadcast.

LIVE VIDEO STREAM: A Far Cry on Friday, May 26 at 5pm PT / 8pm ET

A Far Cry and members of Silk Road premiere Vijay Iyer’s “City of Sand.”

by Maggie Molloy

New and familiar works from all corners of the globe come together this Friday night at A Far Cry’s concert collaboration with members from Yo-Yo Ma’s Silk Road Ensemble. And although the concert itself is in Boston (and also completely sold out), you can still hear every minute of this musical tour de force right here on Second Inversion during our live video stream of the performance this Friday, May 26 at 5pm PT / 8pm ET.

Joined by Silk Road members Kinan Azmeh (clarinet), Sandeep Das (tabla), Haruka Fujii (percussion), Joseph Gramley (percussion), and Wu Man (pipa), A Far Cry explores music from across the ages and around the world, ranging from Bartók’s famous Romanian Folk Dances to a brand new world premiere of Vijay Iyer’s City of Sand.

The world-ranging program features composers and music from about a dozen different countries, including India, Iran, China, Syria, Hungary, Finland, Sweden, America, Japan, and more. Check out the full program below, and click here for program notes.

Kayhan Kalhor: Gallop of a Thousand Horses
Zhao Jiping: Sacred Cloud Music
Kinan Azmeh: Ibn Arabi Postlude
Béla Bartók, arr. Arthur Willner: Romanian Folk Dances
Kojiro Umezaki: For Zero
Vijay Iyer: City of Sand (World Premiere)
Sandeep Das, arr. Jesse Irons: Tarang
JPP and Marin Marin, arr. Karl Doty & Erik Higgins: Finnish and Swedish Fiddle Tunes
Kinan Azmeh: Bass Duo
Sapo Parapaskero, arr. Ljova & Osvaldo Golijov: Turceasca

Visit our website on Friday, May 26 at 5pm PT / 8pm ET to watch the sold-out performance LIVE. To learn more about our live-streaming video broadcasts of A Far Cry, click here.

LIVE BROADCAST: PROJECT Trio Plays Peter and the Wolf, Brooklyn-Style

by Maggie Molloy

You may have heard Prokofiev’s symphonic fairy tale Peter and the Wolf, but you have never heard it like this before. Tune in Wednesday at 7:30pm for a Second Inversion live broadcast of PROJECT Trio performing Peter and the Wolf—Brooklyn style.

Comprised of three classically-trained musicians with an ear for eclecticism, PROJECT Trio brings humor, charisma, technical prowess, and clever arrangements to classical repertoire and pop music alike. Expect jazzy basslines, beatboxing flute riffs, and plenty of personality.

For this concert, PROJECT Trio takes the classic tale of Peter and the Wolf out of Russia and into Brooklyn, turning the animals into other kids and the wolf-chase into a parkside showdown.

Catch their performance live this Wednesday at Town Hall as part of Joshua Roman’s Town Music series. And if you can’t make it to the show, tune in to Second Inversion’s live broadcast from anywhere in the world! Download our app or click here to listen to the broadcast online, streaming live on Wednesday, April 19 at 7:30pm PST.

Until then, here’s a sneak peek of the gang performing their rendition of another classical music staple:


PROJECT Trio performs Wednesday, April 19 at 7:30pm at Town Hall. Click here for more information, or click here to tune in to Second Inversion’s live broadcast.

LIVE VIDEO STREAM: A Far Cry on Friday, March 17 at 5pm PT / 8pm ET

On Friday, March 17 at 5pm PT / 8pm ET we continue our media partnership with Boston-based chamber orchestra A Far Cry with a live video stream of their next Jordan Hall performance at New England Conservatory! Join us here for West of the Pecos, a concert inspired by the vast open landscape of the American West. In this program, AFC delves into music from the last two centuries that explores these exciting, harsh, vibrant spaces. Legendary clarinetist David Shifrin joins AFC for Aaron Copland’s Clarinet Concerto.

 

Click here to read the full program notes for the performance, featuring this repertoire:

Diamond: Rounds for String Orchestra
Copland: Clarinet Concerto
Still: Mother and Child
Dvorak: American String Quartet

To learn more about upcoming live-streaming video broadcasts of A Far Cry, visit secondinversion.org/afarcry

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20150929 -- A Far Cry, photographed in South Boston, MA, USA on Tuesday, September 29, 2015. (Photo by Yoon S. Byun)

20150929 — A Far Cry, photographed in South Boston, MA, USA on Tuesday, September 29, 2015. (Photo by Yoon S. Byun)

LIVE VIDEO STREAM: A Far Cry on Friday, January 13 at 5pm PT / 8pm ET

On Friday, January 13 at 5pm PT / 8pm ET we continue our media partnership with Boston-based chamber orchestra A Far Cry with a live video stream of their next Jordan Hall performance at New England Conservatory! You can watch The Conference of the Birds right below. Click here to read the full program notes for the performance.

In the meantime, here are a couple of previews:

The Conference of the Birds is an exploration of the very heart of A Far Cry – the concept of dynamic shared leadership. Lembit Beecher’s new work references this idea in the context of an old Persian story, and Stefan Jackiw and Alexi Kenney’s duo of double concertos embody it on the stage.

Program:
Selections from Codex Calixtinus
Bach: Concerto for Two Violins in D Minor (Stefan Jackiw and Alexi Kenney, violins)
Beecher: The Conference of the Birds (premiere) 
Pärt: Tabula Rasa

To learn more about upcoming live-streaming video broadcasts of A Far Cry, visit secondinversion.org/afarcry

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20150929 -- A Far Cry, photographed in South Boston, MA, USA on Tuesday, September 29, 2015. (Photo by Yoon S. Byun)

20150929 — A Far Cry, photographed in South Boston, MA, USA on Tuesday, September 29, 2015. (Photo by Yoon S. Byun)

Women in (New) Music: Two Women and an Opera House

by Elisabeth Blair, with introduction by Maggie Molloy

It’s been a few years since the Metropolitan Opera featured a work by a female composer—113 years, to be exact.

saariaho

That century-long drought ends this month with Finnish composer Kaija Saariaho’s L’Amour de Loin, running now through Dec. 29 at the Metropolitan Opera House in New York City. Dazzling melodies, lush orchestration, shimmering electronics, modern LED set designs, and a heartrending French libretto by Amin Maalouf come together to tell a stylized tale of the 12th century troubadour Jaufré Rudel.

But we can’t all be in New York City to see it—so Classical KING FM 98.1 is bringing you the next best thing: a live broadcast of the matinee performance this Saturday, Dec. 10 at 10 a.m. PST.

love-from-afar

L’Amour de Loin (French for “love from afar”) first premiered at the Salzburg Festival in Austria in 2000, and quickly went on to become one of the most acclaimed operatic works of the 21st century. Scored for just three soloists, chorus, and orchestra, the opera offers an intimate look at the enduring power and purity of true love.

“In the midst of composing it, I understood that it was also my story,” Saariaho said in an interview with the New York Times. “I was at once the troubadour and the lady, these two parts of me that I try to reconcile in my life. To write music, concentration is necessary; an interior hearing. To be a woman, to be a mother, one needs to be always available and busy. It’s difficult to have, at the same time, your feet on the ground and your head in the sky.”

It’s difficult for anyone—but especially for women, who have been systemically and institutionally excluded from composition and other leadership roles throughout history. Saariaho’s Metropolitan Opera premiere is a triumph for women everywhere who are fighting to have their music heard—a triumph made possible by the bold footprints of the women who came before us.

The first and only other woman to break the ranks forcefully enough to see her work performed at the Met was English composer and suffragist Ethel Smyth, with her 1903 opera Der Wald: a richly orchestrated folktale of two young lovers and the witch who comes between them.

And so, with the Met’s century-long spell of male composers finally broken, we wanted to take you back in time 100 years and give you a closer look at just what it took for Smyth to become history’s first female composer on the Metropolitan Opera stage.

ethel-smyth-with-hat

Ethel Smyth’s adulthood began with a well-orchestrated protest.  When she was 19, her father forbade her to go to Leipzig to study music composition. She responded by refusing church, musical participation at dinner parties, riding, and speaking. Eventually her father, having become so frustrated with her that he kicked her bedroom door until the panel was “all but penetrated,” relented—and gave up disallowing her much of anything ever again.

She continually found creative solutions to the restrictions placed upon women at the time. In 1878, still 19 and now victoriously arrived in Leipzig, she dressed up as an elderly lady in order to attend an evening concert unescorted. The costume included drawn-on wrinkles and a rented wig, and the ruse was a success. She was plainly unafraid of public humiliation—a valuable quality in a woman whose life’s calling forced her to overstep social mores each day.

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A devout dog-lover, Smyth had a total of five dogs in close succession. Eight years before her death she devoted an entire book, Inordinate (?) Affection, to recollections of her animal companions that sometimes offer an unlikely and intimate view of the elite music world at the time.

In her memoirs she tells of a time that she spiritedly took up a dare and wore a French coachman’s hat while riding her bike down Piccadilly, leading her dog as she went. This may seem unremarkable now, but in the first decade of the 20th century, such a gender-bending public display was bold.

In a musical context she was also unafraid. In 1911 she put on a concert of her opera The Wreckers herself, stepping outside the main concert venues and securing a conductor, Thomas Beecham—who promptly forgot about this engagement. When it came time for the performance, he was nowhere to be found—so Smyth simply conducted the performance herself.

Combined with luck, money, and a high social status, these qualities—a refusal to engage with the male-determined status quo in the manner expected, boundlessly creative problem-solving, and bold ambition—helped her break through the ceiling of the classical music world.

But it was no easy task.

ethelSmyth’s memoirs recall a merry-go-round of failure, rejection, dashed hopes, extraordinary social maneuverings, disappointments, delays, cancellations, futile energies spent, promises broken, twists of fate, and every other kind of impediment, particularly in her fight to have her operas staged.

As she notes in one of her memoirs, What Happened Next, so many sudden, untimely deaths, dismissals and retirements occurred during or leading up to performances that she wondered whether her operas were cursed. Long-awaited contracts about to be signed would halt when the person responsible would be “swept off the scene by sudden illness.”

A producer in Germany, one Georg Pierson, had been working on the rehearsal sheets for a hoped-for premiere of Der Wald when he fell ill and soon thereafter died. (She wrote blithely but resignedly to her long-time companion Henry Brewster, “You will not be surprised to hear that I have killed Pierson.”)

derwaldpremiere

These events were generally disastrous for her plans, forcing her to start over, leverage new social capital, and follow what leads she could. She underwent trial after trial in this way, and her American adventure was no exception. Soon after she arrived for her five-week stay in New York City, Maurice Grau—the director of policy of the Metropolitan Opera House and the man who had booked Der Wald after its success at Covent Garden—died, after a brief illness.

By Smyth’s account, Grau’s successor was whiny, manipulative, and oppositional. In New York she also suffered from tonsillitis, a fever, and finally laryngitis, and she was only able to attend the final choral rehearsal. Although she granted that the press reviews were favorable overall, of the Met performance itself she remarked only, “I do not remember much about it except that the scene-painting and the quality of the orchestra were on a higher level than at Covent Garden and everything else far worse.”

The replacement director had also limited Der Wald’s run to just two performances in New York and one in Boston, and she felt she had travelled too far for too little return. She pronounced her consent to the New York City project as “one of the major foolish acts of my life.”

met-newspaper-clipping


“The cards put by kind Fate into [my] hands […] were good health, a fair dose of persistence and fighting instinct, and most important of all, a small independent income which rendered possible a continuous struggle for musical existence such as no woman obliged to earn her livelihood in music could have carried on.”

In her book Female Pipings in Eden, Smyth carefully details with typical clear-headedness how difficult a process it was for anyone, men included, to move a work from conception to performance. It began with writing the manuscript and parts, making costly engravings, and convincing publishers whom she suspected were of the opinion that “all this damned modern stuff ought to be put down by the police.”

If publication could be had, then a conductor was needed, and at the time conductors always worked with a committee of several dozen tradesmen, who avoided new music in favor of older, more crowd-pleasing stuff. Add to this already intimidating process the hassle of being a woman, and the obstacles became, as she points out, almost insurmountable.

“As things are today,” she wrote, “it is absolutely impossible in this country for a woman composer to get and to keep her head above water; to go on from strength to strength, and develop such powers as she may possess.”

Yet Ethel Smyth did the impossible, and even maintained a vibrant optimism while doing it. She delighted in the notion that any day now a “champion” of women in music, someone with all the power, will, and money necessary to make changes, would enter the scene. She suggested presciently that “the wireless, and future developments thereof that we cannot foresee, may help to break down many ancient taboos, this among the number.”

It is difficult to imagine maintaining such an optimism despite everything—and yet she did. But have we, who are swimming now in the internet and in globalism, yet arrived at that taboo-breaking moment?

Smyth was an exceptional human being and she broke exceptional ground in the face of great resistance. Yet it was apparently asking too much of society to invest in the talent, ambition, and vision of any other female opera composer in the past century who dreamed of a Metropolitan Opera debut.

smyth-saariaho

Thus we find ourselves at the end of a 113 year gap—the time between the staging of Ethel Smyth’s Der Wald and the current staging of Kaija Saariaho’s L’Amour de Loin—hoping that enough changes are taking place within the classical music world and society at large that we will not have to wait another century for the next woman composer to grace the stage.

Kaija Saariaho’s L’Amour de Loin runs through Dec. 29 at the Metropolitan Opera in New York City. KING FM 98.1 presents a live broadcast of the performance on-air this Saturday, Dec. 10 at 10 a.m. PST. Tune in at 98.1 or online at www.king.org.

Please click here for a full list of references.