There’s no place like home: the sounds, the smells, the secret places that shape our childhood experiences.
Robert Honstein’s Soul House explores memories of his own childhood home in New Jersey, with each movement inspired by a unique space within or nearby the house. From the playful to the introspective, he captures the fleeting moments that make a childhood house into a home. The title comes from an ancient Egyptian tradition of burying clay model houses in tombs with the deceased, intended as a vessel for the soul to inhabit in the afterlife.
We’re thrilled to premiere a brand new video for the piece, performed by Hub New Music and Urbanity Dance and captured by Four/Ten Media.
Hub New Music’s debut album Soul House is out now on New Amsterdam Records. For more details, click here.
“I wish I could live in India and America at the same time,” says Reena Esmail, the daughter of Indian immigrants who has become one of the most respected young composers in the United States; “I wish they shared a border, and I could build a little home right in between them. I know I can’t do that in the physical world, but this is where I live every day in my music.”
Esmail’s compositions straddle two of the world’s most sophisticated musical traditions. On one side is the art music of Europe and its system of tonal harmony that developed over the last 400-plus years, and on the other, Hindustani classical music from North India, organized around collections of tones known as raags that go back many centuries further. Studies at the Juilliard School and the Yale School of Music grounded Esmail in the practices of the West’s classical music, including its precise system of notation that allows performers of any background to interpret unfamiliar nuances. As a Fulbright-Nehru Scholar, she was able to spend a year in India studying the classical music of her ancestors, absorbing the oral tradition built on complex patterns and pitches that often can’t be categorized within Western norms.
Writing a Piano Trio has fulfilled one of Esmail’s oldest ambitions as a musician. Growing up as a talented pianist, trios with violin and cello were her favorite form of chamber music, and she won a life-changing competition that resulted in her performing Mendelssohn’s Second Piano Trio with members of the Los Angeles Philharmonic. She also counts Ravel’s Piano Trio as an all-time favorite work, noting, “So much of what I’ve learned about color and texture in my writing comes from Ravel.” After three years of work and a pile of sketches that is up to 300 pages and counting (with less that three weeks to go before the premiere), Esmail is still polishing off this substantial score that reckons with the rigorous tradition of the four-movement piano trio.
Authentic raags appear
in each movement of the trio, including the monsoon season raag known
as Megh that informs a chorale from the strings and other
gestures in the first movement. In a tempo marked “Ephemeral,” the smooth modal
phrases and long slurs highlight Esmail’s affinity with Ravel, who also looked
outside the Western canon to expand his shimmering soundscapes. Flutters,
slides and harmonics continue in the slow movement, creating a sense of
improvisatory freedom while the music slips in and out of time.
casting the quivering third movement as a scherzo, Esmail acknowledges her debt
to Mendelssohn (the king of those elfin, lighter-than-air diversions), but
moments of manic hilarity and sheer muscle recall a more subversive master of
the piano trio, Shostakovich. In the finale, a singing string melody supported
by “luminous” piano filigree surges to a droning climax marked “powerful,
broad, intense.” When the unhurried ending arrives with glimmering harmonics
and crystalline chords, this work completes an arc that places it squarely
within the storied lineage of the “classical” piano trio—while making it clear
just how irrelevant such boundaries truly are.
Steve Reich’s Music for 18 Musicians is not only a classic work of minimalism, but of contemporary music as a whole: its energetic and infectious grooves made it an instant success when it premiered, and it remains a favorite of both audiences and performers.
It’s not often, though, that so many musicians can
find the time and space to put together this roughly hour-long work, which is scored
for an expansive roster including four pianos, four female vocalists, and a
myriad of percussion, strings, and clarinets.
Last year Emerald City Music was able to overcome these logistical hurdles and assemble a dream team of local and visiting artists to perform the piece right here in Seattle. The performance included ambient lighting displays coordinated to the music, and audience members at the two sold-out Seattle shows were free to roam around the space, making for a laid-back and immersive listening experience.
Check out our exclusive video premieres featuring excerpts from the performance in the playlist below.
From jazzy tunes to folk and blues, the Westerlies can reimagine just about any style of music for brass quartet. In our latest Second Inversion in-studio session, they performed their own rendition Charles Ives’ “In the Mornin’,” a setting of the traditional spiritual “Give Me Jesus.”
heard the bittersweet melody in 1929, sung unaccompanied by Mary Evelyn Stiles,
and was inspired to arrange the song for voice and piano. The Westerlies took Ives’
tune one step further, rearranging the music for the warm, brassy tones of two
trumpets and two trombones.
“As Ives lent his own harmonic sensibility to the original melody, we took some harmonic liberties of our own in this arrangement,” they said. In keeping with the spirit of the music, they also added moments of improvisation, including a radiant trumpet solo by Chloe Rowlands.
We’re thrilled to premiere our video of the Westerlies performing their rendition of “In the Mornin’.”
Want more music from the Westerlies? Click here for another video from this session.
With fall now fully underway, it can often feel like there’s nothing but gray clouds on the horizon. Every once in a while, though, the sky clears up for a moment or an afternoon, reminding us that the sun keeps shining just beyond the clouds.
The simple pleasure of these moments is part of the impulse behind composer and vocalist Annika Socolofsky’s piece Turadh, which is titled after a Scottish word for a “break in the clouds.” A collaboration with the New York-based Parhelion Trio, the piece features the ensemble of flute, clarinet, and piano accompanying recordings of Socolofsky playing her 10-stringed Norwegian hardanger d’amore fiddle, an instrument she used to play for her grandmother at her home in rural Kansas. These evenings spent in the warmth of her grandmother’s home inspired a piece that provides its own unique warmth and resonance.
For their new video, Socolofsky and the Parhelion Trio draw on the talents of media artist and filmmaker XUAN, whose ambient lighting and experimental video editing present the piece in an elegant new light.
We’re thrilled to premiere the new video for Socolofsky’s Turadh.