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.

 

Ecco Chamber Ensemble Makes Waves for Earth Day

by Maggie Molloy

Photo by Dan Mastrian, Jr.

Immerse yourself in the music of water this Saturday at the next On Stage with KING FM concert hosted by Second Inversion! We’re thrilled to welcome to the stage the Ecco Chamber Ensemble in a special Earth Day program featuring music about, inspired by, or in some cases, made from water.

Comprised of soprano Stacey Mastrian, flutist Sarah Bassingthwaighte, and guitarist Mark Hilliard Wilson, the Ecco Chamber Ensemble is dedicated to exploring the intersection of art and social change. For this Saturday’s program, titled Water is Life, the group explores the vital role of water in both our survival and our art, provoking listeners to think critically about humanity’s impact on Earth.

The concert juxtaposes adventurous water works by the likes of John Cage and Alvin Lucier with the oceanic art songs of Gabriel Fauré, Ralph Vaughan Williams, Mario Castelnuovo-Tedesco, Joaquín Rodrigo, José de Azpiazu, and John Corigliano. Also on the program is music of Toru Takemitsu, a composer who seamlessly blended the musical languages of East and West, exploring a “sea of tonality” in many of his works. Plus, the concert features new pieces penned by Ecco members Sarah Bassingthwaighte and guitarist Mark Hilliard Wilson.

Photo by Stacey Mastrian.

Some music on the program is even made from water itself. A world premiere by Stephen Lilly (written specifically for this event) features the ensemble performing alongside a block of melting ice, and audience members are invited to make their own music out of water for a piece composed by Cornelius Cardew.

Not only does the performance inspire audiences to listen to our environment, but it also urges us to take the next step: action. A portion of the proceeds from the concert, as well as audience donations, will go to the People for Puget Sound, a water advocacy group that has worked for the past 20 years on state, county, and municipal levels to create cleaner water for the native species and the humans in this area.

To learn more, we talked with the Ecco Chamber Ensemble about Earth, environmentalism, and the music of water.

Second Inversion: Water exists in many different forms. What are some of the nontraditional instruments or musical elements you are incorporating in this performance in order to capture its essence?

Photo by Britt Olsen-Ecker.

Stacey Mastrian: To quote the character Stefon from Saturday Night Live, “This place has everything”: an egg slicer, a bucket of rocks, bird-warblers, dripping ice, guitar drumming, a plastic bag, an oatmeal container, a photosensitive digital water instrument, and triangles and a pot lid in a bucket of water.

We also have electronic manipulation of the voice and the incorporation of physical theater with related utterances (Cage’s Song Books), recordings of water from all over the region and the use of vases, bowls, etc. (Lucier’s Chambers), and water sounds created digitally via transforming the sound of orating politicians (Lucier’s Gentle Fire, realized by Stephen Lilly, based on an idea of mine). 

Tom DeLio’s work that light for soprano playing percussion incorporates silences that aurally render the visual sparseness of poetry by Cid Corman, an American composer who lived in Japan.  Additionally, the consonants in the work bring to life the onomatopoeic elements of the nature images therein.

Sarah Bassingthwaighte: My piece, H2O, uses primarily unusual sounds, with no traditional notation. Key clicks, tapping on the guitar, rubbing our hands together and slapping our hands against our legs are sounds we’re using to represent rain.  We utilize the unvoiced syllable “p” to represent snow, egg slicer and dissonant harmonics to represent ice, crumpling paper and scraping the edge of a quarter along the string of the guitar to represent frost, bending notes to represent water droplets, and a soup pot with a whisk and spatula to create the sounds of a storm. 


Mark Hilliard Wilson:
My piece Wind and Water features an exploration of stillness and motion and internal drones on the guitar.  In the end it is ultimately an exploration of my testing your patience with having two players play in two different time signatures, or heartbeats if you will. Too often it seems that we hold an opinion that we will not yield on only to find that there can be another perspective that fits equally in the measure, so to speak, but just at a different division.

SI: What makes water compelling to explore through music? 

Stacey Mastrian: The sounds and images.  Water is interwoven throughout every aspect of our life, from our physical makeup, to our tears of joy and sadness, to the multitudinous descriptions of nature that we emphasize in poetry and music.

Mark Hilliard Wilson: Water is so mysterious and yet so normal, so essential to every day. What I find so compelling about water is its mutability.

Photo by Sarah Bassingthwaighte.

SI: What do you hear when you listen to water? Has putting this program together made you hear water differently?

Sarah Bassingthwaighte: Something I’ve noticed since working on this program is the constant presence of water in our lives. I’m listening to the waves of Puget Sound lap against the shore as I type this, I notice the sounds of the creek in the woods as I walk my dog, water as I pour my tea or brush my teeth or wash the dishes. I appreciate the great need for water after I go for a run. I even had the experience this last week, while backcountry skiing for four days, that we were at an elevation higher than any of the rivers or streams and had to melt snow for water for all of our needs. 

Stacey Mastrian: I am more closely aware of water now.  I am paying attention to it in all of its states and “see” the white noise, the distinct variances in dripping, and the changes in pitches and rhythm. This project also likely made people look at me differently, since for a while I was going around recording every single type of water that I encountered!

It definitely has made us all learn more about what is going on with water in our region and around the world, feeling even more strongly about the need for changes on our planet. Since I saw the film Chasing Coral at SIFF last summer (it is on Netflix—watch it!), I started thinking about the water on Earth as an entity that is ill; particularly striking to me was this description:  “A temperature increase of just 2 degrees Celsius may not seem like a lot in the air, but for marine life, this is like living with a constant fever.”  How would we feel going around with a 102.2 degree fever at all times and without having a reprieve for the rest of forever?

Photo by Stacey Mastrian.


SI: This program features a mix of classical works and experimental works. How do these two general styles differ in their interpretations of water?

Sarah Bassingthwaighte: Offhand, it seems to me that the more traditional works refer to water in terms of story—that something happened next to the water’s edge or that the water provided a setting for the story. The more experimental works seem to focus more on the sensory aspects of water (color, sounds, temperature, textures) or on our interpretation of these senses (how water is calming or invigorating).  

Stacey Mastrian: The more traditional works tend to be “about” water, and some of the more experimental works actually use water itself (or objects related to water) as sonic materials or to control some aspect of the work. This concert juxtaposes very new and more adventurous works with gorgeous art songs; with one exception (Fauré’s “Au bord de l’eau”) all of the works are from the 20th and 21st centuries.

Photo by Becca Bassingthwaighte.

SI: Many of the works on this program also feature aleatoric elements—how does this tie in with the concert’s broader themes of water, environmentalism, and social change?

Sarah Bassingthwaighte: A link between what we’re doing and social/environmental issues is that when we play much of this music, we are expected to improvisethat is, the music is affected by the choices we make and is not dictated to us.  Likewise, how we respond to the issues concerning water will require explicit choices and actions that we makeif we want safe drinking water (such as in Haiti), we will have to work to keep the water clean or to decontaminate it. If we’re running out of water (such as in Cape Town) we’ll have to create ways to preserve it. 

In our music, as in these issues surrounding water, we are asked to be resourceful and creative and to take action. 

Stacey Mastrian: Composer Stephen F. Lilly, on his new composition, Melt III:

Humans have spent centuries trying to control water—fixing the paths of some rivers while creating new channels for others, harnessing the power of its currents, and even using it to farm arid land. In this piece that relationship is reversed. The melting block of ice controls the pacing of the instrumentalists, whose dynamic levels and expressive abilities are constrained so as to balance with the delicate sound of dripping. To further bring the role of water to the foreground, the piece begins and ends with the water dripping on an empty stage.

As the crystalline structure of the ice breaks down, drop by drop, so does the ensemble slowly deconstruct the harmonic series of their lowest note–the open E produced by the guitar’s sixth and lowest string. However, this process is viewed as if through a microscope by the slow pacing of the piece, controlled and coordinated by the dripping of ice-melt. Thus, we are much more likely to focus on each individual event as it occurs rather than hear any overall relationship or trend, much in the same way a significant portion of the population cannot see beyond the current weather in their own backyard to the alarming trend threatening their very existence.


Second Inversion presents the Ecco Chamber Ensemble in Water is Life this Saturday, April 21 at 7:30pm at Resonance at SOMA Towers in Bellevue. Click here for tickets.

Timbre, Sound, and Subjective Time: Seattle Modern Orchestra Plays Orlando Jacinto Garcia

by Gabriela Tedeschi

Composer Orlando Jacinto Garcia takes it as a compliment when listeners tell him his music is strange. That’s what he’s going for.

“The reaction from someone that says, ‘Your music is very strange, but very beautiful,’ that doesn’t in any way, shape, or form offend me,” Garcia said. “On the contrary, I take that as kind of reaching the goal that I want.”

Garcia is less interested in traditional harmony and melody than he is in exploring the timbre and color of instruments with his music. Drawing influence from minimalist composers and the New York School of composers, including his former mentor Morton Feldman, he also works to change listeners’ perception of time.

“I usually do this by using materials that are somewhat restricted that slowly unfold over time with the hope that the listener will be caught up in the moment and once the work is over, they won’t know whether the work was two minutes long or two hours long,” Garcia said. “It creates kind of a subjective time as opposed to an objective or chronological time.”

This Friday, the Seattle Modern Orchestra presents the world premiere of Garcia’s new piece, the clouds receding into the mountains for viola and ensemble, featuring violist Melia Watras. the clouds receding manages to intermix musical fragments with long, angular melodic and harmonic lines, bringing the fragments together at the end of the piece in a more intuitive way to create the sense of subjective time. But because of this trademark quality, the form of the piece presented challenges for Garcia.

“Any time I write a piece for a soloist and an ensemble there are challenges because right off the bat, when you think of a solo work with an ensemble, you think of a traditional virtuosity,” he said. “My music is not really directed toward that virtuosity so I’m looking at some other aspects of technique and control from the soloists.”

Whenever Garcia writes works that feature a soloist, he has a specific performer in mind, one whose sound color and control of their instrument inspire him. Hearing Watras play during a Seattle Modern Orchestra performance in 2015 led him to begin working on this piece.

“Melia played The Viola in My Life by Morton Feldman, my mentor, and I was very taken by her playing,” Garcia said. “The sound that she has, the control that she has.”

Garcia stayed in touch with Watras after the performance and began discussing a work for a violist and chamber orchestra. Together, they approached the Seattle Modern Orchestra about premiering this piece.

As Garcia began to compose, he studied recordings of Watras playing in order to tailor the work to her specific strengths. Understanding her sound was pivotal for Garcia’s unique approach to the solo line. He wanted to create something beautiful and complex enough to keep the performer engaged, but also stay true to his aesthetic.

“The emphasis is on the beautiful sound and the beautiful tone that she has and her beautiful control over the instrument,” Garcia said.

Also on the program are Beat Furrer’s Aria for soprano and six instruments and György Ligeti’s Melodien for chamber orchestra. Furrer is known for his exploration of the human voice. In Aria, making use of extended techniques, he integrates the percussive soprano line with the instrumentals to create an eerie and suspenseful interlocking pattern of quick, jarring sounds.

Ligeti, pioneer of micropolyphony, utilizes a three-layered texture in Melodien, with a melody, secondary ostinato-like figures, and long, sustained notes in the background. Over time, he allows the layers to blur and interact, creating a beautifully dense, complex sound.

It’s the perfect ending to a program that brings texture and timbre to the forefront of music, exploring new ways to interpret time and layers of sound.


Seattle Modern Orchestra’s upcoming concert, The Clouds Receding, is this Saturday, April 14 at 8pm at the Chapel Performance Space at the Good Shepherd Center. A pre-concert interview with composer Orlando Jacinto Garcia will take place at 7:30pm. For tickets and more information, please click here.

For Lenny: Lara Downes Plays Leonard Bernstein

by Dacia Clay

This year, Leonard Bernstein would have been 100 years old. To celebrate, pianist Lara Downes took on a massive project called For Lenny that involves arrangements of Bernstein’s songs, new works dedicated to him, collaborations with artists from diverse genres, and an online component that includes extensive videos, podcasts and more.

As an artist whose work also moves between genres, traditions, and other boundaries, Downes feels a kinship with Bernstein. For example, of her time in the studio with beatboxer Kevin “K.O.” Olusola of Pentatonix she said, “You know, when I was in the studio with him and we were working on this beatbox version of ‘Something’s Coming,’ I just felt this freedom to try different things—both of us working together coming from vastly different ends of the American music spectrum and just having fun with it, and I thought, you know, we wouldn’t be here if it weren’t for Leonard Bernstein.”

In this interview, Downes talks more about who Bernstein was, about her love of American music, and about the experience of working with artists from such different corners of the musical world on one project.

The Artist and the Antihero: David Lang’s New Symphony Premieres in Seattle

by Maggie Molloy

The notion of the artist as the hero is one of the central tenets of the Romantic era, with composers from Beethoven to Berlioz crafting symphonies of enormous scope and heroic splendor. Composer David Lang turns that notion on its head in his symphony without a hero, which receives its world premiere this week at the Seattle Symphony, conducted by Ludovic Morlot. The program juxtaposes Lang’s new work against the epitome of the heroic symphony archetype: Richard Strauss’s epic tone poem, A Hero’s Life.

The titles are nearly exact opposites. As it turns out, so is the music. Second Inversion’s Maggie Molloy talks with Lang about his new symphony and the relationship between artist and hero in the 21st century.

Audio edited by Dacia Clay.

Music in this interview:

David Lang: child: “short fall” (Cantaloupe Music)
Sentieri Selvaggi; Carlo Boccadoro, conductor

David Lang:
the little matchgirl passion: “from the sixth hour” (Cantaloupe Music)
Los Angeles Master Chorale; Grant Gershon, conductor

Richard Strauss: A Hero’s Life: The Hero’s Battlefield (CSO Resound)
Chicago Symphony Orchestra; Bernard Haitink, conductor


Seattle Symphony performs David Lang’s symphony without a hero Feb. 8 and 10 at Benaroya Hall. For tickets and additional information, please click here.

Tones & Colors: Liza Stepanova on Art and Music

by Dacia Clay

Pianist Liza Stepanova says she structured her latest album, Tones & Colors (CAG Records), as if she were programming a recital. It’s divided into segments with names that sound like the rooms of an art museum: “Nature and Impressionism,” and “Conversations Across Time,” for example. Stepanova gave the album this structure because on it, she explores the relationship between visual art and music. In this interview, she talks specifically about two pieces from Tones & Colors—one by George Crumb, and one by György Ligeti—and the artwork that inspired them.

Music in this interview, from the album Tones & Colors (used with permission): “Adoration of the Magi” (from A Little Suite for Christmas, A.D.1979) by George Crumb and Infinite Column by György Ligeti.

A Mouthful of Forevers: An Interview with Gregg Kallor

by Maggie Molloy

Composer and pianist Gregg Kallor is used to being on stage during the premiere of most of his compositions—but at the Town Music season finale last night, he watched from the audience as Joshua Roman led members of the Seattle Symphony and Seattle Youth Symphony Orchestras in the world premiere performance of his new string orchestral work, A Mouthful of Forevers.

Based in New York, Kallor’s music fuses elements of classical and jazz to create a deeply personal musical language. We caught up with him during the dress rehearsal of his new piece to talk about music, poetry, and his new world premiere.

 

Second Inversion: What was it like hearing A Mouthful of Forevers performed for the first time?

Gregg Kallor: Exhilarating, nerve-wracking, gratifying, exciting—it was amazing. This is actually the first piece of mine that I have not been a part of the premiere of (as a performer or conductor).  It’s a different experience to sit in the audience and listen to it—but I couldn’t ask for a better advocate than Joshua Roman. It was so beautiful to watch these musicians whom I’ve never met all digging into this piece that I wrote. They’re all bringing their experience and their ideas. They really took it on as their own, and there’s no greater feeling than that.

SI: How would you describe the sound of this piece?

GK: I wanted to write something both lithe and lush—evocative vignettes with the grooving rhythms and shifting moods that Joshua navigates so beautifully.

SI: What was the inspiration for this piece?

GK: There’s an incredible poet, her name is Clementine von Radics, and she wrote a poem called “Mouthful of Forevers”; it’s also the title of a collection of poems that she published. It’s exquisite—it’s this heartbreaking, beautiful love poem and it’s talking about how both people have come into it with baggage and scars, but that makes the miracle of them finding each other that much more potent. It’s just beautiful. Her language is so honest and direct—there are no filters. I’m struck by a lot of her poetry—I’ve read that book ten times, but that poem in particular just really got to me and it was the inspiration for this piece.

SI: What was it like collaborating with Joshua Roman on this premiere?

GK: Joshua is one of the best musicians I’ve ever met. He’s extraordinary as a player, he’s a fantastic composer—now I’m seeing him conducting and it’s amazing. He’s just an extraordinary musician and a great, great friend, and I’m so honored and lucky that he’s championing my music.