The concerto may traditionally be a Western musical form, but composer and trumpeter Samantha Boshnack likes to take a more global approach.
Her international opus, aptly titled Global Concertos, is a collection of five distinct pieces written for world-class soloists from, well, all over the world. Accompanied by the B’snorkestra (an alternative chamber ensemble Boshnack founded in 2011), the five concertos feature the soloistic talents of Thione Diop on West African talking drum, Christos Govetas on Greek clarinet, Srivani Jade on North Indian vocals, Julio Lauregui on Latin American piano, and Thomas Marriott on American jazz trumpet.
Drawing from classical, jazz, rock, avant-garde, salsa, and world music traditions, the concertos combine written and improvisational elements to craft an entirely new sound that is truly global in its scope.
Though the tour de force originally premiered in May of 2015, the gang is back for another evening of international jams as part of the Earshot Jazz Festival, co-presented with Cornish at PONCHO Concert Hall this coming Monday, Oct. 24 at 8pm.
We sat down with Boshnack to talk about concertos, community, and the rest of the world.
Second Inversion: What was the inspiration behind Global Concertos?
Samantha Boshnack: Global Concertos arose from my desire to celebrate individual expression and virtuosity of musicians outside of Western classical music. I also felt inspired by the concept of a concerto—a large group working together to elevate and support an individual. All of the soloists featured are artists I deeply admire.
Traditionally in concertos, the virtuosity of the soloist is mostly displayed by their performance of the composer’s written material, although a concerto may contain improvised cadenzas. Global Concertos expands on this idea—in addition to my written material, there is also space for each individually virtuosic soloist to showcase their particular style of improvisation, aural tradition, rhythm/groove and ornamentation. While B’shnorkestra provides the accompaniment, its members are top musicians from jazz, rock, avant-garde, salsa, world, classical and more—providing the flexibility needed for works spanning the globe in their reach.
I created the B’shnorkestra in 2011 and have written a number of pieces for the group (we released our debut record Go to Orange in 2013). This felt like an exciting next step for us. I could still write ideas for the “orchestra” like I had before, but then I could also leave space for the soloist to showcase their brilliant musicality—and together we could create something different than anything either of us individually could.
For my concerto for vocalist Srivani Jade, I used a Rabindranath Tagore poem entitled Prarthona. Tagore wrote this before India gained its independence. He is describing his dream of how the new, awakened India should be. I chose this poem for lyrics because of its inspiring message extolling the power of unity and the strength of diversity. My goal in this project was to create a musical world that has “not been broken up into fragments.”
SI: The concertos feature a wide range of soloists playing instruments from all over the world. Can you describe a bit about what the concertos sound like?
SB: My goal when choosing soloists was to represent five different continents and also five different families of instruments. So I wrote for vocal, brass, woodwind, drum, and piano; and Asia, North America, Europe, Africa and South America are represented. I felt like I hit the jackpot, because I managed to accomplish those goals while also working with amazing soloists who are leaders in their musical communities. I was really inspired by each of them. As I was writing this work, I delved deep into each of their recording catalogues and tried to really hear how their voice would fit in each piece. In addition, I was trying to maintain my individual voice as a composer. I think they and I were both pushed outside of our musical comfort zone, making this a truly experimental work. It was maybe a bit scary.
Prarthona features Indian classical vocalist Srivani Jade. I wrote Srivani a melody with Tagore’s lyrics, which she learned by ear. Then we worked together to create sections for her to improvise over. The Concerto for Julio, written for pianist Julio Jáuregui, draws on Latin American roots and exploits the piano as a percussion instrument. In the Concerto for Christos, Macedonian multi-instrumentalist Christos Govetas, here on clarinet, brings a distinctly Balkan flavor to the proceedings.
While rhythm has always been a key component for me, the Concerto for Talking Drum takes that dynamic to a whole new level, as Senegalese percussionist Thione Diop brings his organic mastery of the West African talking drum to bear on this combination of African and Western motifs. Last is the Concerto for Jazz Trumpet, written for Seattle-native Thomas Marriott. As the most overtly jazz-oriented of the concertos, it is emblematic for its spontaneity. Each of these pieces has many sections in it, allowing me to explore different moods and styles within each culture.
SI: What are some of the unique challenges and rewards of studying, composing, and performing this music?
SB: This project (by design) created an opportunity to collaborate and experiment with some musicians that I would not normally get to work with. This was so rewarding for me. My compositional language expanded by adapting to the musical worlds of these diverse, top-notch soloists. The challenge was that I had to use different strategies and methods than usual in order to write for each soloist, because many did not read Western notation. I learned from and worked with each soloist individually to discover ways to successfully display their incredible talent within my compositions. The beauty is that music is universal, and the soloists could rely on their ear.
SI: What do you find most inspiring about collaborating with these soloists from around the globe?
SB: Having such a diverse group of soloists allowed me to explore so many musical palettes. Each tradition is so rich and deep. It was an honor to work with these soloists to create compositions for them to shine on.
SI: Women are extremely underrepresented in musical leadership roles, and especially in composing and band leading. How has being a woman shaped your experiences in these roles?
SB: It is certainly a great challenge. I think all women in leadership roles in all fields face the same challenges. We have to fight harder to have our ideas heard. My work mostly falls in the jazz realm of music (although I would say this project veered away from that), and jazz is so male-dominated.
I think you go through many stages of dealing with sexism—when you are younger you face different challenges then when you’re a bit older. Or sometimes you have an encounter in music that is so discriminatory that it knocks you down and you feel very defeated. But ultimately you love what you do, and you get back up again. I work with a lot of great men who understand the struggle and are supportive, but unfortunately not all are like this. I would say I find a lot of strength in my relationships with other women. They do understand the struggle and we can support each other in the hard times.
SI: What advice do you have for other women who are fighting to have their music heard?
SB: You’re not wrong in feeling that it’s hard, but I think it’s really important that we keep fighting.
SI: What are you most looking forward to with this performance, and what do you hope audiences will gain from it?
SB: It’s been interesting diving back into this music again for this performance. We premiered these pieces in May 2015. Like I said, for me—it was all a little scary then. This was the biggest show I had ever undertaken. Nineteen musicians—some I hadn’t worked with before, all new music—it was a lot. But we rehearsed hard and frequently, and pulled it off. Actually, I got a really fabulous live recording of the show which I am releasing on CD. This recording will be available for sale at the show, and online (pre-order on Bandcamp, release date November 18). So this time around, that feeling of “will it work?” is not in my brain. This time around we get to relax a little more into the work, I’m really looking forward to that. Because the soloists are all such great improvisers, the pieces are different this time and it’s so fun to hear what changes.
I hope the audience will gain a deeper knowledge and appreciation for all of the incredible and diverse talent we have here in our city.
The Global Concertos performance is Monday, Oct. 24 at 8pm at PONCHO Concert Hall. For additional information, please click here.
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