The long-awaited Downton Abbey movie has just been released, as has its fantastic score by John Lunn. Lunn is the Emmy Award-winning composer of the soundtrack for the Downton Abbey TV show as well.
In this interview, he talks about his surprising musical roots in pop and minimalism, how you can hear those influences in the music for Downton, what it’s like to write for the show and the movie, and he even reveals (gasp!) a movie spoiler.
What do Brahms and Ligeti have in common? More than you might think. Violinist Augustin Hadelich brings the two disparate composers together on his latest album, highlighting the unlikely similarities between their violin concertos.
In this interview, Hadelich talks about what (on Earth) these two composers have in common, and how the two pieces inform one another when heard on the same recording.
For vacationers, beachgoers, and students fresh out of class, summertime is all about good vibes. But what about musicians and concertgoers? If the seasonal concert slump has put a damper on your summer, cheer up with Good Vibes Only: a one-night-only concert event featuring music for marimbas and vibraphones that’s sure to lift your end-of-summer spirits.
For Seattle-based marimbist Erin Jorgensen, the mastermind behind the concert, Good Vibes Only came about rather organically as a way to showcase local percussionists. Set for August 30 in the historic Washington Hall, the concert presents minimalist works in a laid-back atmosphere, with immersive visuals designed to enhance the music.
“Basically, I was thinking ‘summertime’: there are a lot of good players here, mallet music sounds very summery,” Jorgensen said. “And along those same lines, I love minimalism, so I wanted it all to be in that kind of vein.”
These things in mind, Jorgensen pulled together an all-star lineup—including local musicians Storm Benjamin, Rebekah Ko, Kerry O’Brien, Kay Reilly, and Melanie Sehman—to put together a program of minimalist and post-minimalist grooves for marimba and vibraphone. From the phasing patterns of Steve Reich to the bouncy, rhythmic melodies of Ivan Trevino and the funk-inspired energy of Marc Mellits, the concert showcases many different interpretations of minimalism.
And if the label of “minimalism” sounds too academic, Jorgensen certainly doesn’t want it to be. She has ambitious plans to create a one-of-a-kind concert experience for Good Vibes Only, complete with original lighting design and other DIY visuals. She’s working to tailor these visuals to the program, whether that be the colorful neon of Mellit’s “Gravity” or the more sprightly and summery marimba duet “2+1” by Ivan Trevino.
“I’ll just listen to a piece and get an idea or visual, and then think about how I can execute that myself without a big crew,” Jorgensen said.
The resulting concert environment envelops the audience in sound and color, transforming the way they experience the music. It also allows both the performers and the audience to connect with the music in a different way, free from the prescriptions of classical concert etiquette. For this performance Jorgensen and the rest of the musicians are forgoing the formal concert attire—and the stage.
“There’s something about that [formal] environment
that makes you expect a certain thing,” she said. “You definitely are in a
certain headspace, you’re dressed a certain way, you’re listening a certain
way, so I think if you can kind of circumvent that a little bit people can
enjoy it more.”
This ethos is behind the decision to eschew the hall’s raised stage for this concert, but it also guides a lot of Jorgensen’s other projects, whether that be her ambient Undertones Podcast or her Bach and Pancakes series, in which she performs Bach’s cello suites on marimba while the audience eats pancakes. What these all have in common is a more immersive, contemplative experience of the music—something that Jorgensen feels drawn to. Rather than taking the audience on a journey, she encourages a more laid-back, audience-guided listening experience where you’re welcome to close your eyes or daydream along with the music.
“I like being in those kinds of environments,” Jorgensen said. “I’ve done a lot of art shows with DIY lighting and things like that, and I think you can make that really magical. It’s also a product of being tired of people thinking that there’s only one way to do a concert, when really you can do it however you want.”
With its relaxed atmosphere and groove-driven tunes, the concert will provide something many of us might be in need of as the summer winds to a close: good music, good friends, and good vibes.
Good Vibes Only is Friday, Aug. 30 at 8pm at Washington Hall. For tickets and more information, click here.
In 2015, Amanda Gookin started a commissioning project called Forward Music Project. It premiered in 2017 at National Sawdust with seven pieces focused on issues that affect women and girls. Two years later, Gookin has returned with Forward Music Project 2.0.
True to its name, the project has taken big leaps forward. It now encompasses five new commissioned works that focus on more specific, personal issues for the composers, from body image to political oppression, sex positivity, and gender nonconformity. The performance includes electronics, video art by S Katy Tucker, and physically visceral cello playing from Gookin; the featured composers include Paola Prestini, Niloufar Nourbakhsh, Shelley Washington, Alex Temple, and Kamala Sankaram.
Forward Music Project 2.0 has an educational arm as well (Gookin is also a professor at Mannes and SUNY Purchase). Take a listen to find out more about the cellist’s latest step forward. To learn more about Forward Music Project 1.0, check out this episode of KING FM’s Classical Classroom podcast.
Alvin Lucier has spent the past six decades exploring sound—its physical properties, how it moves and morphs in space, and the ways in which we can manipulate our own auditory perception.
His music makes you listen differently. Instead of traditional notions of melody and harmony, his music plays with the very wavelengths of sound itself, placing you in the center of the acoustic phenomena and inviting you to hear the sound as it shifts and unfolds within the space.
We caught up with Lucier at the 2019 Big Ears Festival, which featured performances of his music by Joan La Barbara, the Ever Present Orchestra, and the composer himself—including his most iconic work, I Am Sitting in a Room.
In this interview, Lucier talks with us about the science of sound, the hallmarks of experimental composition, and what it takes to play his music.