Remembering Bern Herbolsheimer

Posted on January 14, 2016 by maestrobeats

Photo Credit: Rosetta Greek Photography http://rosettagreekphotography.com

We are deeply saddened to hear of Bern Herbolsheimer’s passing. Bern was an incomparable composer in the Northwest music community and has left a rich, warm, and inspiring impression on us all. He served on the faculties of Cornish College of the Arts & the University of Washington and had works premiered by Seattle Symphony, Pacific Northwest Ballet, and choirs all throughout the region.

Bern visited our studios just a few months ago and shared some beautiful insights about his piece, “Botanas,” written for and recorded by the Saint Helens String Quartet on American Dreams, recently released on PARMA Recordings (Navona). We will play this piece today in remembrance at 1pm on Second Inversion.

From Maggie Molloy‘s album review of American Dreams by the Saint Helens String Quartet:

Bern Herbolsheimer’s five-movement “Botanas” explores a very different perspective: the piece is based on the rich melodies, flavorful food, and exquisite culture of the Yucatán region of Mexico.

“I always have been interested in the similarities between food, cooking, eating, creating music, and consuming it with our ears,” Herbolsheimer said of his inspiration for the piece. “So I thought I would combine each movement with a traditional Mayan melody and the name of a traditional Mayan botana or appetizer.”

From spicy salsa to roasted squash seed humus to traditional tamales eaten on the Day of the Dead, each piece has its own lively and distinct flavor. And while each one may be just a little tidbit of flavorful timbres and textures, together the piece is an entire feast of dynamic colors and characters.

We are so thankful to have this piece, and many others by Bern, in our library to remember him for days, months, and years to come. Rest in Peace.

SECOND INVERSION PRESENTS: Gabriel Kahane & Brooklyn Rider at the Tractor Tavern

Posted on January 13, 2016 by maestrobeats

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Join Second Inversion and KING FM at The Tractor Tavern on Monday, February 1 at 8pm for a concert with Gabriel Kahane and Brooklyn Rider!

This show is in celebration of their new collaborative album, The Fiction Issue (also featuring Shara Worden) and will feature Kahane’s song cycle for string quartet and voice, Come On All You Ghosts. They will also perform works from The Brooklyn Rider Almanac, The Ambassador (both have been featured as Second Inversion Albums of the Week!), and Schubert’s Rosamunde, a Brooklyn Rider favorite.

Get your tickets, RSVP to the Facebook event, and invite your friends!

Not in Seattle? Check the tour schedules for both Gabriel Kahane and Brooklyn Rider to find out where they’ll be, together and separate, in city near you.

And to whet your appetite, a special preview of The Fiction Issue, available February 5:

ALBUM REVIEW: “Discreet Music” by Brian Eno

Posted on January 11, 2016 by maestrobeats

by Maggie Molloy

Editor’s Note: Brian Eno was a longtime friend and collaborator of the late David Bowie, who died this weekend after an 18-month battle with cancer. As we mourn the loss of this talented artist and creative visionary, we find comfort in knowing that his bold vision, fierce courage, and revolutionary music live on in the lives and art of his family, friends, fans, and collaborators. Bowie’s immeasurable contributions to the world of music extend far past the confines of rock, glam, pop, or classical genres, reminding us that when it comes to art, the sky is the limit—and a creative spirit like his belongs right up alongside the stars. Rest in peace, David Bowie.

Brian Eno, courtesy Warp Records

In this day and age, we tend to take music for granted. It’s always playing in the background, whether it’s in on the radio, in the car, around the house, in a movie, or—if you’re really old-school—on your vintage record player. But before technology made it possible for us to stream music wherever we are at all hours of the day and night, the notion of “background music” as we now know it simply didn’t exist.

It wasn’t until 1917 when the French composer and iconoclast Erik Satie first coined the term “furniture music”—that is, music played in the background while listeners engaged in other activities. He wrote many pieces which were meant to be just another piece of furniture in the room—each comprised of interesting colors and textures, pleasing to the ear but not intended to capture one’s full attention.

And in 1975, the British ambient music composer Brian Eno took this notion of furniture music one step further, creating something even more ambient, ethereal and—well, discreet.

Thus was born “Discreet Music,” Eno’s 30-minute ambient music masterpiece: a gentle immersion into the slow, warm sound waves of an EMS synthesizer. The inspiration for the piece came to him when he was left bedridden in the hospital by a car accident. An album of 18^th-century harp music was playing in his hospital room with the volume turned down toward the threshold of inaudibility—but he lacked the strength to get out of bed and turn it up.

“This presented what was for me a new way of hearing music,” Eno said, “As part of the ambience of the environment just as the color of the light and the sound of the rain were parts of that ambience.”

And now, another 40 years later, Toronto’s classical Contact ensemble has created a modern arrangement of Eno’s original “Discreet Music” for acoustic and electric instruments. Arranged by Contact’s artistic director and percussionist Jerry Pergolesi, the new recording is scored for violin, cello, soprano saxophone, guitar, double bass, vibraphone, piano, flute, and gongs.

Contact Contemporary Music

Aside from the expansion of musical instruments, Contact’s version of “Discreet Music” also expands the length of the piece. Contact’s performance is one hour long, so as to fill an entire CD—just as Eno’s original was 30 minutes long, so as to fill one side of a vinyl album.

And no, Contact did not just place a giant repeat sign at the end of Eno’s original score. “Discreet Music” was originally written as an experiment into generative composition: a type of self-organizing music created within compositional parameters predetermined by the composer. Such systems create pieces that could theoretically go on forever—static, ongoing musical material which never repeats exactly the same way twice.

In other words, it is music of process, not product.

In Eno’s original, he wrote two simple melodic lines and then hooked his synth up to a tape delay system that allowed the melodies to transform and evolve with very little input on his part. In Contact’s version, the band itself is the looping apparatus.

It may sound complicated, but the result is really quite simple: ambient, meditative music that’s best listened to while doing something else.

Contact’s recording was completed in one take, in keeping with the spirit of the original—allowing the music to organize itself. The recording is divided into seven parts which blend seamlessly into one another, with the textural details blossoming and transforming ever so slowly across the full 60 minutes.

The result is a mild and melancholy meditation into the process of music-making—a willingness to sit quietly and listen to one’s own surroundings as they merge and coalesce in ever-changing ways.

“We concluded that music didn’t have to have rhythms, melodies, harmonies, structures, even notes, that it didn’t have to involve instruments, musicians and special venues,” Eno once wrote of the mid-20^th century movement toward more experimental ways of writing music. “It was accepted that music was not something intrinsic to certain arrangements of things—to certain ways of organizing sounds—but was actually a process of apprehending that we, as listeners, could choose to conduct.”

And in that regard, Contact offers a fresh reinterpretation of the work, following the systems set in place by Eno while also expanding the music melodically, texturally, and timbrally.

“If there is a lasting message from experimental music,” Eno wrote, “It’s this: music is something your mind does.”

As performers, Contact makes the music their own—and as listeners, so do we. With precision, patience, and the utmost reverence, Contact recreates Eno’s ambient masterwork as an echo chamber of circling motives and mismatched musical textures. Each ripple of the repetitious melody is a perfectly crafted piece of the larger pattern, a discreet but unique little gem in and of itself.

So in the end, maybe “Discreet Music” really is just another piece of furniture in the room—but wow, what an incredible piece of furniture.

Cocolas in Cascadia: Q&A with Madeleine Cocolas

Posted on January 8, 2016 by maestrobeats

by Maggie Molloy

It was 2012 when the Australian composer and sound artist Madeleine Cocolas first moved away from the warm, sunshiny beaches of Australia and onto the cold, rainy waterfronts of Seattle. After settling into her new home in South Lake Union, Cocolas challenged herself to write a new piece of music every week for 52 weeks—and thus was born the “Fifty-Two Weeks” project.
Madeleine_Cocolas

Over the course of one year, Cocolas composed a series of 52 pieces wrapped up into a year-long blog chronicling her artwork, her travels, her successes, her struggles, and above all, her music. In the process, not only did she discover a lot about herself and her artwork, but she also discovered a lot about the beauty and mystical splendor of the Pacific Northwest.

Cocolas recently revisited her “Fifty-Two Weeks” project with a new debut album aptly titled “Cascadia,” which was released through the experimental music label Futuresequence this past December. A clear vinyl of the album comes out this Monday, January 11—and trust me, you’ll want to hear it on vinyl.

The album is a beautifully amorphous blend of ambient, experimental, electronic, and contemporary classical sound worlds with plenty of Pacific Northwest whimsy. In the span of just under 45 minutes, Cocolas explores new sonic lands, shimmering seascapes, twinkling piano melodies, textured lullabies, toy accordions, tape cassettes, and so much more.

We recently featured it as our Album of the Week on Second Inversion—but since we just can’t get enough of Cocolas’s ethereal and ambient dreamscapes, we invited her back to the station to talk about art, music, creativity, and all things “Cascadia.”

Second Inversion: What is the inspiration for the album’s title?

Madeleine Cocolas: The album’s title was directly influenced by Seattle and our beautiful surroundings, including the Cascades. Living in Seattle and the Pacific Northwest for the past 3.5 years has influenced my music immeasurably, and I feel like the music on “Cascadia” and my “Fifty-Two Weeks” project is a direct response and reaction to my surroundings here. It is impossible for me to listen to “Cascadia” and for it not to evoke feelings of my time here in Seattle.

SI: How would you describe the sound of “Cascadia”? What composers, artists, or styles of music most influenced your compositions?

MC: In terms of a genre, I would describe “Cascadia” as a bit of a mixture between ambient, experimental, electronic and modern classical. Whilst there are a range of styles and instrumentation on the album, I think the overall aesthetic falls under the ‘ambient’ umbrella. Artists that I have been influenced by would include Jóhann Jóhannsson, Julianna Barwick, Nils Frahm, The Dirty Three, Tim Hecker and Ben Frost amongst others.

SI: How is “Cascadia” similar to and/or different from your “Fifty-Two Weeks” project?

MC: “Cascadia” is essentially a refinement of my “Fifty-Two Weeks” project, with the exception of “The Sea Beneath Me” and “Moments of Distraction,” which were written after “Fifty-Two Weeks” had been completed. A big part of “Fifty-Two Weeks” was to explore and better define my compositional style, and to me, “Cascadia” best represents my “Fifty-Two Weeks” project and current compositional style.

On the other hand, “Cascadia” differs from “Fifty-Two Weeks” in that I was able to obsess over the details of this album in a way that I wasn’t able to when I was writing a piece of music a week. Even though much of “Cascadia” is based on “Fifty-Two Weeks,” I spent a lot of time reworking and rearranging the tracks, and I had it mastered by Rafael Anton Irisarri, so in that respect “Cascadia” is much more polished and refined than “Fifty-Two Weeks.”

SI: After writing music for 52 weeks and looking back at this large body of work, did you learn anything unexpected or interesting about your compositional style, musical taste, or creative process?

MC: When I started “Fifty-Two Weeks” I had no real expectations from the project apart from setting myself the challenge of writing 52 pieces. Looking back, the project achieved so much more than I anticipated and I did learn some incredible lessons.

In terms of creative process, I had previously been very stifled when it came to actually ‘completing’ compositions, and I didn’t really have many completed pieces that represented what I wanted to convey. Having weekly deadlines was an incredibly liberating way of being forced to finish a piece and move on to the next without overthinking things and obsessing over small, unimportant details, and I was really able to hone in on my creative process and unblock a lot of restrictions that I had unconsciously placed on myself.

In terms of my compositional style and musical taste, prior to “Fifty-Two Weeks” I had written a lot of piano and small chamber-based music without too much experimentation. During the project, I really challenged myself to listen to a much wider range of music, and found that I absolutely loved experimenting with found sounds, noise and electronic elements, and these have since become an integral part of my compositional style.

SI: How did you keep each week’s composition fresh, new, and exciting?

MC: Because” Fifty-Two Weeks” was such a long-running project, I knew the only way I was going to get through would be to try different things each week, otherwise I would get bored. I set myself certain challenges each week (e.g. using vocals, incorporating found sounds or collaborating with other artists) so that I wouldn’t fall into a rut. There were definitely some phases in the project where I did feel that I was lacking in inspiration (and I was honest about it in my accompanying blog), but I was generally able to think of new and interesting ways in which to challenge myself.

SI: Outside of composition you are also interested in printmaking, collage, photography, fashion, and street art—do these wide-ranging creative interests come out at all in your music?

MC: I often think that my visual and musical styles and tastes are quite different. My music is quite introspective and reflective, and when I imagine it in a visual sense, I think that it would be best represented by subtle, muted colors and fine textural details. On the other hand, I’m often drawn to visual art and fashion that is very bold, bright and loud, and I do wonder how the two relate and how one affects the other. In both musical and visual contexts though, I appreciate layered textures and unexpected combinations, so perhaps that’s the common underlying theme!

SI: I particularly enjoyed your experiments into found sound, samples, and more ‘collage’ style music (i.e. kitchen sounds in Week 28 and radio clips in Week 50). Have you explored any more of these musical ideas outside of the “Fifty-Two Weeks” project?

MC: I really enjoyed using found sounds during my project, and it is something I have continued with subsequently. I recently collaborated with Australian textile artist Monique Van Nieuwland on her exhibition “Ocean Forest,” whereby Monique recorded sounds of her weaving and I reworked and processed those sounds to create an oceanscape sound design to accompany her work. I actually ended up using the oceanscape I created for Monique as the basis of the first track of “Cascadia,” “The Sea Beneath Me.”

SI: What do you hope audiences will gain from listening to “Cascadia” and the “Fifty-Two Weeks” project?

MC: The music I have written for “Cascadia” and “Fifty-Two Weeks” is very personal to me, and evokes very specific feelings and emotions about my time in Seattle. I’m always interested to hear what feelings my music evokes in other people, which I imagine are different to mine, but I would love if “Cascadia” was able to convey a feeling of connection between my music and the beautiful and ethereal Pacific Northwest as well as feelings of tranquility, isolation and melancholy.

SI: What is next on the horizon for you?

MC: I spent the last half of 2015 re-scoring Alfred Hitchcock’s film “The Birds” as part of the Northwest Film Forum’s ongoing series “Puget Soundtrack,” and I performed the score live in December, which was fantastically fun! I’m hoping to polish that up a bit and release it as either an album, or a continuous score that can be played alongside the film (interestingly, the original film didn’t have a conventional musical score, so I was able to include all the original dialogue and sound effects when I re-scored it).

Currently I’m collaborating with choreographer Angelica DeLashmette on her evening-length dance performance “Being” which will be performed at Velocity in 2016. I’m also collaborating with musician Mathias Van Eecloo (Monolyth & Cobalt) on an ongoing 12-part series based on my “Fifty-Two Weeks” which I hope will be released sometime in 2016. And lastly, I’m looking forward to working on some more solo work and starting to think about my next album!

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Seattle New Music Concerts: January 2016

Posted on January 7, 2016 by maestrobeats

Second Inversion and the Live Music Project have teamed up to create a monthly, curated concert program insert featuring a list of upcoming contemporary classical, cross-genre, and experimental performances in the Seattle area.

We’ve rallied Seattle-area musicians and presenters to include the sheet below (double-sided when printed) in their concert programs to raise awareness and support of other new music events. We hope this initiative will grow the audiences and create a more centralized network of support for contemporary classical music performed in the Northwest!

Keep an eye out for the inaugural insert in concert programs around Seattle this month. Big thanks to On the Boards, Seattle Pro Musica, The Esoterics, Inverted Space Ensemble, Racer Sessions, and many more for paying it forward last month in December to spread the word about these events taking place in January:

Are you interested in being a part of this initiative? Drop us a line! Full info below with links:

Seattle Composers’ Salon
Informal presentations of finished works, previews, and works in progress by regional composers and performers in a casual setting that allows for experimentation and discussion.
January 8, 8pm, Chapel at the Good Shepherd Center | $5-$15

whateverandeveramen: Burns Night and Drinking Songs
An evening celebrating the poetry of Robert Burns. We will also raise a glass and raise our voices with the singing of traditional drinking songs. Tickets include a free beer.
January 13, 8pm, Naked City Brewery | $10

Inverted Space Ensemble: Earle Brown – A Retrospective
A concert featuring works by American composer Earle Brown, each from each decade of his career including graphic score commissions.
January 19, 7:30pm, Chapel at the Good Shepherd Center | $5-$15

Universal Language Project: The Way West
An event with music, words, and smoke inspired by the optimism and grandeur of the West. Works by Brian Cobb, Karen Thomas, & a commissioned premiere by Tim Carey with guest performers from Inverted Space Ensemble.
Januay 22, 8pm, Resonance at SOMA Towers (Bellevue) | $10-$25
January 23, 8pm, Velocity Dance Center | $10-25

Racer Sessions: CRY & Roar VI
The 6th anniversary festival of the Racer Sessions, a weekly (Sundays, 8-10pm) experimental and improvised music showcase featuring a different artist or group performing original work, followed by a jam session based on the concepts in their opening presentation.
8-10pm, Cafe Racer | FREE

Seattle Philharmonic Orchestra: Four Great Composer-Conductors
Music by Leonard Bernstein and the Northwest premiere of the Symphony No. 1 by Antal Doráti bookend this program of music by composers who were also influential conductors.
2pm, Benaroya Hall

UW Modern Music Ensemble
A performance featuring the “classics” of the modern era and hot-off-the-presses works from the best of today’s composers, including UW faculty and students.
7:30pm, Meany Studio Theatre | $10

Auburn Symphony: A World-Premiere Tribute to Auburn
Hear a world premiere, commissioned by the Seattle Commissioning Club, by Daniel Ott, along with Shostakovich’s Piano Concerto No. 2 (Christina Siemens, piano).
1/30 at 7:30pm & 1/31 at 2:30pm
Auburn Performing Arts Center (Auburn) | $10-$35

Wayward Music Series
Each month, Nonsequitur and like-minded organizations and artists present 10 concerts of contemporary composition, free improvisation, electronic/electroacoustic music, and sound art. Visit waywardmusic.org for dates, times, and artist info.
7:30 or 8pm, Chapel at the Good Shepherd Center | $5-$15