Renee Baker: When Two Close Kindred Meet

Article by Gabriela Tedeschi
Audio interview by Dacia Clay

The celebrated, multi-talented composer Renee Baker is joining Kin of the Moon this Saturday for When Two Close Kindred Meet, a concert featuring the world premiere of Baker’s Tyaga: Divine Life Suite.

Structured around the four stages of life in the Hindu faith, Tyaga guides performers in improvisation by allowing them to respond to a variety of media: graphic notation, original paintings, and other printed media. This kind of outside-the-box approach to music is standard for Baker, who is known for her unique notation techniques and innovating by combining multiple art forms. Serving as conductor, too, Baker uses her own system of highly expressive gestures to lead the musicians and give shape to Tyaga.

Renee is after a charged, soloistic, intuitive, committed, take-no-prisoners, uncompromising approach to sound-making,” Kin of the Moon violist and co-director Heather Bentley said. “Renee’s ideas and insights about what new music is and can be are monumental.”

Baker is also co-hosting a film screening this Thursday with the Northwest Film Forum at the Seattle Public Library in Downtown Seattle. She’s presenting two films, one of her own and one by Oscar Mischeaux, both of which she has scored with the Chicago Modern Orchestra Project, a chamber ensemble she directs.

Second Inversion’s Dacia Clay speaks with Baker about her Seattle film screenings, the world premiere of Tyaga, and her wide-ranging musical career. Listen to the full interview below.


Renee Baker presents two film screenings this Thursday, June 14 at 6:30pm at the Seattle Public Library in Downtown Seattle. For more information, click here.

Kin of the Moon premieres Renee Baker’s Tyaga this Saturday, June 16 at 8pm at the Chapel Performance Space in Wallingford. For more information, click here.

New Music for June: Red River, Wonderful Town, and LOTS of Women in Music

by Maggie Molloy

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Second Inversion and the Live Music Project create a monthly calendar featuring contemporary classical, cross-genre, and experimental performances in Seattle, the Eastside, Tacoma, and places in between! 

thvLYmNB

Keep an eye out for our this flyer in concert programs and coffee shops around town. Feel free to download, print, and distribute it yourself! If you’d like to be included on this list, submit your event to the Live Music Project at least 6 weeks prior to the event and tag it with “new music.”

New Music Flyer June 2018

 

Wayward Music Series
Concerts of contemporary composition, free improvisation, electroacoustic music, and sonic experiments. This month: sound collages, electronic textiles, radiophonic works, and more.
Various days, 7:30/8pm, Good Shepherd Chapel | $5-$15

PNB: Love & Ballet
Love takes many formsfrom literal to abstractduring Pacific Northwest Ballet’s four-pack of contemporary hits featuring music by Arvo Pärt, Sufjan Stevens, Joby Talbot, and Beethoven.
6/1-6/10, Various times, McCaw Hall | $37-$187

Seattle Philharmonic Orchestra: Zimmermann
An ardent pacifist and humanist, German composer Bernd Alois Zimmermann‘s abhorrence for his country’s actions during World War II resulted in compositions that cried for justice and brotherhood. Seattle Philharmonic performs his final work: “And turning around me, I saw all the injustice under the sun.”
Sat, 6/2, 2pm, Benaroya Hall | $20-$30

Ancora: Postcards
Ancora performs song suites from four corners of the world: Russia, Japan, Spain, and Iran. The program features songs by and Sergei Rachmaninoff, Bob Chilcott, Einojuhani Rautavaara, and Abbie Betinis.
Sat, 6/2, 4:30pm, Green Lake Church of Seventh-Day Adventists | $11-$14

Inverted Space Ensemble: UW Composition Studio
New music collective Inverted Space performs works by UW faculty composers Huck Hodge, Joël-François Durand, and Chuck Corey, as well as world premieres by student composers Aidan Gold, Irene Putnam, and Nikki Chang.
6/2, 7:30pm, UW Brechemin Auditorium | FREE

Tess Altiveros performs the role of E in Seattle Opera’s new production.

Seattle Opera: O+E
Journey to hell and back with a new twist on Gluck’s classic telling of Orpheus and Eurydice. A groundbreaking adaptation of the legendary tale reimagines the main characters as a modern same-sex couple and features an all-female cast and creative team.
6/2-6/10, 2pm/8pm, Seattle Opera Studios | $45

Seattle Mandolin Orchestra: The Wheel
The musical worlds of the U.S. and Iran come together in this concert featuring the Seattle Mandolin Orchestra and the Seattle Guitar Ensemble. An exciting new generation of Iranian and American composers will debut works for mandolin ensemble, guitars, strings, and voice.
Sun, 6/3, 7pm, Trinity Parish Church (Seattle) | $15-$25

Orca Concert Series: English Quintets
Seattle clarinetist and composer Sean Osborn reimagines 19 Beatles songs in his Quintet for Clarinet and Strings. Quintets penned by Samuel Coleridge-Taylor and Arthur Bliss round out this evening of English music.
Mon, 6/4, 7:30pm, Good Shepherd Chapel | $15-$25

Seattle Modern Orchestra: In Quest of Spirit
In their season finale, the Seattle Modern Orchestra performs British composer Jonathan Harvey’s Bhakti (Devotion): an epic 50-minute work centered around Sanskrit hymns from the Rig Veda and scored for chamber ensemble and quadraphonic tape.
Sat, 6/9, 8pm, Good Shepherd Chapel | $10-$25

Seattle Symphony Composer-in-Residence Alexandra Gardner.

Seattle Symphony: Wonderful Town
A world premiere by composer-in-residence Alexandra Gardner is performed alongside selections from Leonard Bernstein’s Broadway classic Wonderful Town and his cheeky Prelude, Fugue, and Riffs.
Thurs, 6/14, 7:30pm, Benaroya Hall | $22-74
Sat, 6/16, 8pm, Benaroya Hall | $22-74

Seattle Symphony: [untitled] 3
The sonic landscapes of the Southwest come alive through Alexandra Gardner’s playful Coyote Turns and Mason Bates’ richly-colored Red River. Ahmet Adnan Saygun’s lyrical Partita for Solo Cello completes this late-night program in the Benaroya Hall Grand Lobby.
Fri, 6/15, 10pm, Benaroya Hall Grand Lobby | $16

Brass Band Northwest: On the Town
Brass, jazz, and classical music combine in this sparkling program featuring three dances from Leonard Bernstein’s On the Town performed alongside George Gershwin’s Cuban Overture and other works.
Sat, 6/16, 7:30pm, Bellevue Presbyterian Church | $10

Kin of the Moon presents a world premiere by Renée Baker.

Kin of the Moon: Tyaga
Experimental chamber troupe Kin of the Moon performs the inimitable Renée Baker’s newest piece, Tyaga: Divine Life Suite. Scored for voice, viola, cello, percussion, electronics, and a whole lot of flutes, the piece will also feature guest improvising artists Gretchen Yanover and Greg Campbell.
Sat, 6/16, 8pm, Good Shepherd Chapel | $5-$15

Seattle Symphony: Copland Symphony No. 3
Aaron Copland’s Third Symphony, with its rousing Fanfare for the Common Man, comes to life alongside music of Leonard Bernstein and John Williams.
Thurs, 6/21, 7:30pm, Benaroya Hall | $22-74
Fri, 6/22 (Untuxed), 7pm, Benaroya Hall | $13-55
Sat, 6/23, 8pm, Benaroya Hall | $22-74

Westerlies Go West: Wednesday, May 23 at the Royal Room

by Maggie Molloy

Photo by John Abbott.

Far from your typical brass band, the Westerlies are a Seattle-bred, New York-based quartet known on both coasts for their bold artistry, impeccable finesse, eclectic musical interpretations, and remarkable versatility. Fresh off a tour with the indie folk band Fleet Foxes, the Westerlies are back in the Northwest this Wednesday for a show at the Royal Room in Columbia City.

Comprised of Riley Mulherkar and Zubin Hensler on trumpet with Andy Clausen and Willem de Koch on trombone, the Westerlies grew up together playing music in Seattle under the mentorship of pianist and composer Wayne Horvitz, who is the co-founder and music programmer of the Royal Room. The homecoming concert is made even more special by the fact that it will be Zubin Hensler’s last performance with the Westerlies, as he is leaving the group to focus on music composition, production, and his solo project twig twig.

The Westerlies performing with Wayne Horvitz at the Royal Room. Photo by Daniel Sheehan.

This Wednesday, you can expect to hear a little jazz, a little classical, some folk, roots, blues, and chamber influences—but no matter what the Westerlies play, the one element that remains constant across all of their music is the warmth, camaraderie, charisma, and humor of four longtime friends.

“Whatever ‘sound’ the Westerlies have stumbled upon is the result of four friends channeling these diverse interests through warm air, buzzing lips and conical brass tubes—with a lot of love and saliva in there too,” says Andy Clausen.

For a sneak preview, check out our in-studio videos of the guys performing works by Charles Ives, Andy Clausen, and Wayne Horvitz:


The Westerlies perform at the Royal Room Wednesday, May 23 at 7:30pm. For tickets and additional information, please click here.

Not Even Harry Partch Can Be An Island

by Michael Schell

Partch and musicians for “The Dreamer That Remains.” (1972, photo by Betty Freeman.)

No one lives up to the American Maverick sobriquet better than Harry Partch (1901–1974), whose hand-built instruments and 43-tone scale will be on display once again at this year’s Harry Partch Festival on May 11–13 at the University of Washington.

But as much as we admire the uniqueness and audacity of Partch’s career (see Harry Partch: Celebrating a Musical Maverick and Meet the Instruments of the Harry Partch Instrumentarium), even a gadfly like Partch has his influences—however disparate and contrarian they might be. Let’s take a look at a few of the raw ingredients that fed the cauldron of one of music history’s most unusual thinkers.

Neighborhood Roots

Partch spent much of his childhood in rural Arizona Territory where his neighbors included the Pasqua Yaqui people, who at that time were refugees from the ethnic cleansing policy of the Díaz regime in Mexico. Though Partch’s contact with the Yaquis must have been limited, as an adult he could remember hearing their music—the origins of a lifelong sympathy and appreciation for Native American culture.

In 1933, Partch landed a short but interesting job at the Southwest Museum in Los Angeles transcribing Native American songs recorded on Edison wax cylinders by the Museum’s founder Charles Lummis. Partch must have been struck by the diffuse and inflected pitch of many of the indigenous singers, whose vocal style was often closer to heightened speech than to Western folk or classical singing. Partch’s own intoning voice technique, honed in early works like the 17 Lyrics by Li Po, owes an obvious debt to this style.

Canción de los Muchachos (Isleta Pueblo), reprinted from Enclosure 3: Harry Partch.

One of the transcribed songs from an Isleta Pueblo resident impressed Partch so much that he quoted it years later in his short piece Cloud Chamber Music (which will be performed at the Festival’s closing concert). The tune is first heard on the Adapted Viola starting at 2:18 in Partch’s own recording:

A Mexican Maverick

Partch wasn’t the first modern composer to explore microtones. The 1920s, for instance, had seen a minor heyday of music based on quarter tones: intervals halfway between the adjacent keys of a keyboard tuned in conventional equal temperament. A few manufacturers even designed new instruments for this 24-notes-per-octave system. One of them was a piano that inspired Ives’ Three Quarter-Tone Pieces, one of the few enduring masterpieces of this vogue.

Partch with his Kithara II in 1959. (Photo by Danlee Mitchell.)

One man who leaped wholeheartedly into the interwar microtonal craze was the Mexican composer-conductor Julián Carrillo (1875–1965). Carrillo postulated a system that he called trece sonido (“13th sound”, meaning that it went beyond the usual 12 notes per octave) where the scale was divided not just into quarter tones, but into eighth and even sixteenth tones (creating, at least in theory, a 96-tone scale).

Partch mentions Carrillo’s work in his book Genesis of a Music, which, in addition to describing his own music and instruments also includes a fascinating and opinionated survey of intonation systems from antiquity through the mid-20th century. But being obsessed with acoustically pure intervals, Partch disdained any system based on equal temperament (with its irrational frequency ratios). And history, abetted by the difficulty of procuring instruments adapted to the trece sonido, has largely consigned Carrillo’s output to the novelty bin.

Nevertheless, Carrillo’s best-known piece, Prelude to Christopher Columbus, bears a striking resemblance to some of Partch’s mature compositions. Written in 1922 for soprano, flute, strings, quarter tone guitar and a special sixteenth tone harp, it was known to Partch through a Cuban recording made in the early 1930s, and later through the publication of its score by Henry Cowell in 1944. Listen to the microtonal plucked string tremolos and glissandos at 4:00 of the above video, and compare them to the similar timbres at 5:23 of Partch’s Daphne of the Dunes.

Meanwhile, Back in the Old World…

Partch had European influences too. There was the drama and music of Ancient Greece, as best Partch could grasp it from the scholarship of the day. And there were the very first European operas, developed around 1600 by such now-obscure foot soldiers as Peri and Caccini, eager to build a new and expressive technique for declaiming texts with fidelity to their natural contours and rhythms. To Partch’s way of thinking, things went downhill soon afterwards, derailed by such blasphemies as bel canto singing, equal temperament, and abstract forms like sonatas and symphonies.

Detail from “The Dreamer that Remains” (1972).

Europe finally started emerging from the Dark Age of the Three Bs around the turn of the 20th century. The sprechstimme in Schoenberg’s Pierrot Lunaire (1912) impressed Partch as a workable middle ground between overwrought operatic singing and accompanied rhythmic recitation (whose “inharmonic relation between instruments and voice” he found objectionable). Partch was also impressed by the simple and austere vocal writing in Satie’s Socrate (1919) which, though sung, closely tracks the natural flow of its French text.

And then there’s Carl Orff. Partch admired the archaic directness of the text settings in his Carmina Burana (1935–36). But it’s Orff’s musical adaptations of Greek dramas—works largely unknown outside the German-speaking world—that display the most tantalizing similarities to Partch.

The first of them, Antigonae, was premiered in Germany in 1949, a couple of years before Partch’s first big theater work, Oedipus. Antigonae was not produced in the US until 1968 though, so the earliest exposure Partch seems likely to have had to it was a 1955 recording on Columbia Records. Nevertheless, the parallels between the two works are remarkable, and the similarities would continue as both composers independently built their catalog of ancient drama settings: Orff with Oedipus the Tyrant (1959) and Prometheus (1968), and Partch with Revelation in the Courthouse Park (1960, an adaptation of The Bacchae) and Delusion of the Fury (1964–66, based on a Noh drama and an Ethiopian folk tale). All of these works emphasize the theatricality of ritual, which for Partch was a key element in corporeality: an integrated and meaningful artistic experience spanning multiple disciplines.

Production still from Partch’s “Oedipus” at Mills College in 1952. (Photo by Carl Mydans, Life Magazine.)

The first act of Orff’s Antigonae is a good showcase of these seemingly Partchian traits: the use of intoning voices and recitative (often on a single pitch), and the percussion-centric orchestra. Orff even calls for some new mallet instruments of his own design (conceived for his music pedagogy approach called Orff Schulwerk) to go alongside six pianos and a chorus of winds and double basses. One can compare Orff’s duet between Kreon and the Messenger with Partch’s duet between Oedipus and Tiresias, or the percussive jigs in Act I of Antigonae and the opening of Partch’s Revelation.

But Orff’s instrumentarium uses conventional 12-tone tunings, inhabiting a sound world established by Stravinsky in Les Noces, whereas Partch’s inventions reflect his legacy in the American tradition of percussion music (to which he was directly linked through his friendship with Lou Harrison), which emphasized an individualistic, build-your-own ethic.

Synthesis

Vaughan Williams said that art, like charity, should begin at home. And it’s when Partch drew from his own scraggly biography that he created his most admired works. The apogee of “hobo Partch” comes in The Wayward, a personal portrait of Depression-era Americana that includes the compositions Barstow, The Letter, San Francisco, and U.S. Highball, and which will comprise the centerpiece of the Harry Partch Festival’s evening concerts.

The Wayward masterfully combines borrowed concepts of the sort we’ve seen above with ideas that only Partch could have come up with: the custom tuning system and instruments obviously, but also the dialogue, themes and sonic evocations of a particular subculture that he had uniquely assimilated.

Partch’s ability to integrate both Classical and vernacular elements—to bridge, so to speak, the highest of the high and the lowest of the low, may be what most deeply defines his legacy. However wide one’s influences may range, it’s often the intimacy of authentic experience that produces the most compelling art.


The Harry Partch Festival is May 11-13 at the University of Washington’s Meany Theater. For tickets and additional information, please click here.

LIVE BROADCAST: Joshua Roman and JACK Quartet | May 10, 7:30pm PT

by Gabriela Tedeschi

Photo by Shervin Lainez.

The world-renowned JACK Quartet welcomes a fifth member this week at the Town Music season finale: acclaimed cellist Joshua Roman. With a program designed to conjure up vivid images and emotions, Roman and the quartet are using sound to paint pictures and tell stories that will linger in listeners’ minds. Perhaps the most evocative work on the program is a piece by Roman himself.

Photo by Hayley Young.

Roman, who leapt right into performing with the Seattle Symphony and around the world after studying at the Cleveland Institute of Music, began composing his own music in 2013. He was commissioned by Town Hall and Music Academy of the West to compose Tornado, a work that paints a portrait of the storms that were a fixture of his childhood in Oklahoma.

Tornado is also inspired by music traditions of the past: Roman quotes a theme from  Beethoven’s Pastoral Symphony and alludes to works of the Baroque era which use virtuosity to evoke sensations of nature. In an ode to the untameable force of a tornado, Roman has left elements of the piece up to chance and performer interpretation by writing microtone smears and aleatoric parts.

The first half of the concert will feature John Zorn’s exhilarating Ouroboros and Jefferson Friedman’s Quintet, a musical manifestation of the grieving process. Amy Williams’ Richter Textures also appears on the first half of the program, each of its seven parts inspired by a different painting from German artist Gerhard Richter and each seeking to musically portray the complex textures his visual art is famous for.

In addition to Tornado, the second half will feature three Madrigali libro sesto from Don Carlo Gesualdo, arranged by Ari Streisfeld for strings. Gesualdo—an unstable and murderous 17th century composer—is known for chromatic harmonies and diverse emotional expressions that make his music sound modern to contemporary audiences. Because removing the voices meant removing the lyrics, Streisfeld employs different timbral techniques to convey the meaning and emotions of the text to the audience.

Second Inversion is thrilled to offer a LIVE concert broadcast of the performance this Thursday, May 10 at 7:30pm PT. Click here to stream the performance live from anywhere in the world!

Program:

Jefferson Friedman: Quintet (2013)
John Zorn: Ouroboros (2017)
Amy Williams: Richter Textures (2011)

Intermission

Carlo Gesualdo: Selections from Madrigali libro sesto, arranged by Ari Streisfeld
     Lo parto, e non più dissi
     Beltà, poi che t’assenti
     Già piansi nel dolore

Joshua Roman: Tornado (2017)


Town Music presents JACK Quartet and Joshua Roman on Thursday, May 10 at 7:30pm at Seattle First Baptist Church. For tickets and additional information, click here.

New Music for May: Joshua Roman, JACK Quartet, and a Microtonal Music Fest

by Maggie Molloy

SI_button2

Second Inversion and the Live Music Project create a monthly calendar featuring contemporary classical, cross-genre, and experimental performances in Seattle, the Eastside, Tacoma, and places in between! 

thvLYmNB

Keep an eye out for our this flyer in concert programs and coffee shops around town. Feel free to download, print, and distribute it yourself! If you’d like to be included on this list, submit your event to the Live Music Project at least 6 weeks prior to the event and tag it with “new music.”

New music flyer May 2018 FINAL

 

Wayward Music Series
Concerts of contemporary composition, free improvisation, electroacoustic music, and sonic experiments. This month: avant-garde piano solos, Eastern-European cimbalom songs, a dark ambient memorial, and more.
Various days, 7:30/8pm, Good Shepherd Chapel | $5-$15

Live Music Project: 4th Annual Lecture-Concert
The Live Music Project celebrates its 4th birthday with a scintillating lecture from a cyborg, a centuries-spanning solo violin performance by Mikhail Shmidt of the Seattle Symphony, a ticket giveaway, and the most adorable cupcake toast this side of the Cascades.
Tues, 5/1, 6:30pm, Naked City Brewery & Taphouse | $30

DXARTS: Points vs. Fields
UW School of Music faculty performers Cuong Vu, Ted Poor, Richard Karpen, and Juan Pampin perform an ephemeral new improvisation for trumpet, drums, piano, and live electronics, programmed alongside Bernard Permegiani’s classic exploration of the meaning of sound itself, De Natura Sonorum for loudspeaker orchestra.
Tues, 5/1, 7:30pm, Meany Theater | $10-$15

Emerald City Music: Metamorphosis
A season-long celebration of Leonard Bernstein’s centennial ends with a special multimedia feature on the iconic conductor, plus performances of two composers whose work he championed during his lifetime: Strauss and Beethoven.
Fri, 5/4, 8pm, 415 Westalve Ave, Seattle | $40-45
Sat, 5/5, 7:30pm, Evergreen State College Recital Hall, Olympia | $23-$43

Matt Shoemaker Memorial Concert
Longtime friends and collaborators of the late Matt Shoemaker perform works in his honor ranging from experimental noise to sound art, dark ambient, and beyond.
Sat, 5/5, 7pm, Good Shepherd Chapel | $5-$15

Town Music: JACK Quartet with Joshua Roman
Cellist Joshua Roman joins forces with the JACK Quartet to perform his new piece Tornado, inspired by his roots in Oklahoma. Works by Jefferson Friedman, John Zorn, Amy Williams, and Carlo Gesualdo complete the program.
Thurs, 5/10, 7:30pm, Seattle First Baptist Church | $15-$20

Harry Partch Festival
Experience the handmade microtonal instruments of Harry Partch in this sprawling three-day music festival featuring new works composed for Partch’s instruments, as well as rarely-performed works from the composer’s archives. Master classes, demonstrations, and lectures, complete this homage to a uniquely American artist.
Fri-Sun, 5/11-5/13, Various times, Meany Theater | $10-$60

Portland Cello Project
Equally at home in rock clubs and concert halls, Portland Cello Project reimagines classical favorites and contemporary hits alike for their famous choir of cellos. Expect everything from Bach to Coltrane to Radiohead.
Tues, 5/15, 7:30pm, The Triple Door | $26-$35

Seattle Art Museum: John Cage’s Themes and Variations
John Cage is best known as one of the leading figures of the 20th century avant-garde in music—but much of his work crossed boundaries into performance art, theatre, and even visual art. His sculpture Not Wanting to Say Anything About Marcel recently joined the Seattle Art Museum’s collection. Learn more about his contributions to both art and music in this conversation with curators Catharina Manchanda and Carrie Dedon.
Wed, 5/16, 6:30pm, Seattle Art Museum | $10

Peter Nelson-King: Post Avant-Garde
Multi-instrumentalist and modern music rabble-rouser Peter Nelson-King presents an eclectic program of individualist piano music from the 1980s, featuring works by Robert Beaser, George Benjamin, Peter Sculthorpe, John Tavener, Augusta Read Thomas, Charles Wuorinen, and more.
Thurs, 5/17, 8pm, Good Shepherd Chapel | $5-$15

Seattle Pro Musica: Sacred Ground
Explore the intersections of music, spirituality, and the natural world in this program of nature-inspired works by Tõnu Kõrvits, Hyo-Won Woo, and Healey Willan.
Fri, 5/18, 8pm, St. James Cathedral | $12-$38
Sat, 5/19, 8pm, St. James Cathedral | $12-$38

Nat Evans: Flyover Country
Composer and interdisciplinary artist Nat Evans uses his family history across the last three centuries as a lens to look at ecological destruction, genocide of indigenous people, capitalism, and food systems in the United States.
Sat-Sun, 5/19-5/20, 8pm, The Grocery | $5-$20

Mostly Nordic: Finlandia
The Emerald Ensemble perform Jean Sibelius’s beloved hymn to Finland alongside 20th century works by Finnish composers Einojuhani Rautavaara, Jaakko Mäntyjärvi, and more.
Sun, 5/20, 4pm, Nordic Museum | $25

Music of Remembrance: Gaman
A world premiere by composer Christophe Chagnard explores the experience of Japanese immigrants who were forced into internment camps in the wake of the attacks on Pearl Harbor. Combining traditional Japanese and classical Western instruments, the piece brings a powerful story to life through the words and images created by three artists and poets during their captivity in the Minidoka camp.
Sun, 5/20, 5pm, Nordstrom Recital Hall | $30-$45

The Westerlies
Far from your typical brass band, this Seattle-bred, New York-based quartet is known on both coasts for their bold artistry, impeccable finesse, eclectic musical interpretations, and remarkable versatility. The band returns to the West this month for a one-night-only performance in Seattle.
Wed, 5/23, 7:30pm, The Royal Room | $5-$15

Frequency with Yura Lee: Dialogues
Guest violinist Yura Lee joins members of Frequency (violinist Michael Jinsoo Lim, violist Melia Watras, and cellist Sæunn Thorsteinsdóttir) for duos by Berio, Maderna, Ravel, and Watras. Also on the program is Dohnányi’s Serenade for string trio.
Sun, 5/27, 7:30pm, Meany Theater | $10-$20

Women in (New) Music: What Better Than Call An Interview?

by Lauren Freman

Quick! Imagine a genius. Don’t think about it, just, whatever comes to mind first. What do they look like? Do they wear glasses? How old are they? What color is their hair?

What color is their skin?

What’s their gender?

I’d wager a guess that most of us have a very specific image of the kind of person who counts as a genius. But there are glimmers of hope that the narrow parameters for the moniker are beginning to loosen: Shuri, the teenage tech-whiz character in the box-office record breaking film Black Panther, for example, or, more recently, Kendrick Lamar’s historic Pulitzer Prize win.

The fact is, we carry around our assumptions until they’re confronted. I was lucky enough to experience such a confrontation, when I sat down with new music chamber ensemble Kin of the Moon (comprised of Heather Bentley, Dr. Kaley Lane Eaton, and Leanna Keith), and dancer-choreographer Karin Stevens (of Karin Stevens Dance) to ask a few questions about their collaborative performance this Friday, What Better Than Call a Dance?

From left: Kaley Lane Eaton, Leanna Keith, Heather Bentley, Karin Stevens, Beth Fleenor.

The performance will feature original pieces by Bentley and Eaton, each inspired by dance forms running the gamut from waltz, tango, the Scottish cèilidh—and even EDM. Kin of the Moon’s more-or-less-through-composed music will be interwoven with improvised movement and music by Karin Stevens and clarinetist Beth Fleenor.

I admit I initially felt a certain skepticism around the name Kin of the Moon. This is a highly educated ensemble that plays intellectually complex, heady musicwhy choose a name that evokes a certain nag-champa-laden mysticism? Was that title truly serious enough to describe serious music that is to be taken seriously? I was surprised to find that the line came straight out of a poem from one of the most established figures in the English literary canon, W.B. Yeats. Strike one, assumptions.

What Better Than Call An Interview? with Kin of the Moon and Karin Stevens

We got exclusive access into the brilliant minds behind Kin of the Moon and Karin Stevens Dance. Join us as we discuss everything from W.B. Yeats, the #metoo movement, and of course, their April 20th performance What Better Than Call a Dance?

Posted by Second Inversion on Tuesday, March 27, 2018

 

Kaley Lane Eaton (KLE): I didn’t start composing until my last year of college, and I had never even thought about it until then. It had not even crossed my mind. I had been a concert pianist, I was winning concerto competitions, I was surrounded by classical music composers my entire life, studying opera, and all that. But I went to Whitman College and I took a course by the incredible Dr. Susan Pickett. She teaches a course called Women As Composers…I really had to reckon with the fact that I had never considered women as composerswhich was odd, given that I’m a woman musician, raised by a raging bra-burning feminist, who made sure that everything I consumed as a young child was feminist. And that says something, that even having a mother like that, who puts everything on the line to make sure that her daughter is aware that she can be anything, STILL I didn’t even know.

Karin Stevens (KS): It’s been essential to me to advocate for local new music, and to build this work that I do together with these amazing composers and artists in music in Seattle. Beth [Fleenor] and I go way back, we’ve done a lot of work together through various groups: the Seattle jazz composers ensemble, the Sam Boshnack quintet, she was a player in a work I did… playing music by Wayne Horvitz, Mike Owcharuk, Nate Omdal (just to give all those lovely people a shoutoutthat’s the advocate in me! We’ve gotta be building audiences for each other). For me, I hope that it’s another layer of the people that have come to support my work, to see music from another direction.

Leanna Keith (LK): I think part of it is that we try to focus on certain types of voices that you may not hear anywhere else. We tend to focus on a lot more female composers if we can. This particular show, it is genreless, going from all these different types of dance from the waltz to EDM, so it’s one of those things where, even if you’ve never heard anything like this before, that’s kind of the point.

Heather Bentley (HB): That EDM piece is really quite unique. This is one that Kaley put together.

KLE: Yeah, this is gonna be the final thing that concludes our pieces, but then [Karin and Beth] will come in on the bass drop. I write electroacoustic music, and I love EDM, I love dance, I love trap musicall of this stuff is really movement-based…We’re going to sing this Hildegard chant into this microphone that picks up our signal and takes little granules…and then turns them into a beat. So you’ll hear this kind of driving, four-on-the-floor beat that’s actually made out of our voices, from the Hildegard chant. So our singing will kind of dissolve into this beat that will emerge, and then [Karin and Beth] will join us

KS: —for the Finale.

KLE: It’s Hildegard and EDM, it’s like

LK: —Trap Hildegard!

Strike two, assumptionsthis time about the limits of what Serious Artists™ are allowed to draw inspiration from. To review: The finale of What Better Than Call A Dance? will be a club-music inspired dance piece, using electronics to manipulatein real-timea chant by an 11th century abbess into an EDM mix.

Incidentally, St. Hildegard von Bingen, said 11th century abbess, was a genius. She was a writer, scientist, composer, philosopher, playwright, medical healer, Doctor of the Church—and currently the only woman listed in the Wikipedia entry for “polymath.”

HB: When I was a kid, I always did many, many, many things…So, this is this idea that I’ve been trying on since #metoo. I should get a t-shirt, I want it to say “I’m a Genius Polymath.” As a woman, my first inclination is to be like “Oh, well isn’t that presumptuous?” I don’t know if I am a genius polymath or not, but why not say it anyway? …So that’s something to try on. I was asked to write a piece for the Thalia Symphony, and it’s going to be about the shape of the universe, which means I need to learn some astrophysics. So I said to myself “I can learn that, because I’m a genius polymath.” What if women—and especially younger girls—just had the sense that it was allowed to them, to say that about themselves, or just to have that self-knowledge? That takes a lot of ceilings away from one’s attitude.

KS: I’m fabulously excited about this side of Kin of the Moon, to be surrounded by all these women…The movements and sounds we make together matter—they have power, and have effect. So I’d like to imagine…that there is something beyond the traditional transaction of art consumption or aesthetic gesture—that we’re doing something that is important. We haven’t had a lot of support for our voices, especially in music…I’m just really excited to be a part of this energy that they’re building with their own music. I kinda don’t care if people like it or not.

LK: To be honest, this is very integral to what we do. The whole gender spectrum, and feminine identity, and these kinds of ideas, across age differences. Kaley, and myself and Heather, we span a rather different amount of time, and so have very different perspectives between the three of us…When we sit down and talk and start to make music together, we’re like, “What do we want to talk about in our music, what do we want to get across?” so a lot of this is what you’ll hear.

KLE: I have to add a little addendum to that article I wrote [“Things I Wish I Had Known When I Thought I Couldn’t Be A Composer”], that you have to just do it. You have to just commit, you have to just be like “I’m not gonna care if anyone tells me I can, I’m not gonna wait for funding, I’m not gonna wait. I’m just gonna do it, and I’m gonna advocate for myself, and I’m not gonna sit around being like ‘nobody wants to hear my music.” Who cares? Just, f***ing do it. So that is my number one advice for people, especially young women, who feel like “I don’t know if I can do this,” well, you can. Just do it.

Which is to say: strike three, assumptions.


What Better Than Call A Dance? is Friday, April 20 at 8pm at the Chapel Performance Space at the Good Shepherd Center. Tickets can be purchased at the door, on a sliding scale of $5-$15 (cash only). Click here for more information.

For a full transcript of the interview, please click here.


 

Lauren Freman is a multi-instrumentalist, songwriter, and composer, hell-bent on blurring the boundaries between high and low art. Follow her at www.freman.band, on Facebook, or on Instagram.