A home for new and unusual music from all corners of the classical genre, brought to you by the power of public media. Second Inversion is a service of Classical KING FM 98.1.
“I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange.” – FBI Special Agent Dale Cooper
The Inverted Space Ensemble got its start at the University of Washington and has, effectively, graduated. While at UW, they made a connection with Chuck Corey, Director of the Harry Partch Instrumentarium. Currently in residence at UW, the Instrumentarium is a collection of handmade microtonal instruments created by 20th century composer and iconoclast Harry Partch.
Many of Inverted Space’s members play in the Harry Partch Ensemble. They’re also big fans of Twin Peaks, the iconic TV show filmed in Snoqualmie and North Bend that came out in the 90s and that had a resurgence in 2017 when director David Lynch released a third season of the show called Twin Peaks: The Return.
This Friday, March 29, Inverted Space is bringing the Partchian spirit —and some Partch instruments—together with their love of Twin Peaks for a concert reinterpreting composer Angelo Badalamenti’s original score. Learn more in our audio interview with Inverted Space violinist and Artistic Director Luke Fitzpatrick.
Audio production by Dacia Clay. Audio engineering by Nikhil Sarma.
Music in this interview:
“Twin Peaks Theme” and “Love Theme” composed by Angelo Badalamenti, arranged by Luke Fitzpatrick and Jeff Bowen, and performed by Inverted Space
“Freshly Squeezed” by Angelo Badalamenti
Additional audio clips from the Twin Peaks TV series
The Inverted Space Ensemble presents Twin Peaks a la Partch this Friday, March 29 at 8pm at the Good Shepherd Chapel. Click here for more information.
For the past 10 years the Big Ears Festival in Knoxville, Tennessee has been bringing together composers, performers, and curious listeners from around the globe for an annual weekend of exhilarating and ear-expanding music. From ambient to electric, eclectic, experimental, and avant-garde, the festival showcases over 100 genre-bending artists each year in a celebration of the sheer delight and diversity of new music.
Second Inversion is thrilled to be attending this year’s festival. Keep an eye out for our very own Maggie Molloy at the event, and follow us on Facebook, Twitter, and Instagram for updates! In the meantime, check out our list of six can’t-miss living legends performing at this year’s festival.
Meredith Monk:
For nearly six decades, Meredith Monk has redefined and revolutionized contemporary vocal music and performance, weaving in elements of theatre and dance to create visceral musical experiences. At this year’s festival, catch her with her vocal ensemble performing Cellular Songs, a multimedia work exploring biological processes, genetic mutation, and the ways in which millions of tiny little cells can come together to form something extraordinary.
Friday, March 22, 9:15pm, Bijou Theatre Saturday, March 23, 12pm, Bijou Theatre
Art Ensemble of Chicago:
Over the past half-century the Art Ensemble of Chicago has grown beyond a mere band and into a way of life—a collective musical ethos that transcends the individual members of the group. Founded with the motto “Great Black Music: Ancient to Future,” the group draws from musical traditions across history and around the globe. Their live performances are a revelation: their wildly experimental brand of avant-jazz further amplified by loudly colored costumes and face paint. Catch them live this Sunday.
Sunday, March 24, 8:15pm, Tennessee Theatre
Kayhan Kalhor:
Kayhan Kalhor is a modern master of an ancient instrument: the
kamancheh, an upright Iranian fiddle with a melancholic tone and a rich musical
history. As a soloist and a member of Yo-Yo Ma’s Silk Road Ensemble, he has
spent his career traversing international borders and transcending musical
boundaries. This Saturday, hear him in an intimate solo performance that takes
traditional Persian music in new directions—and Sunday, catch him in a
cross-genre collaboration with Brooklyn Rider.
Saturday, March 23, 6pm, Church Street United Methodist Church (solo) Sunday, March 24, 5pm, Bijou Theatre (with Brooklyn Rider)
Joan La Barbara:
Joan La Barbara has spent the past 50 years exploring the furthest reaches of the human voice. A pioneer of extended vocal techniques, her acrobatic vocal stylings range from multiphonics to shrieks, squeaks, whispers, wails, moans, drones, and a whole slew of sounds you didn’t even know humans could make. Hear her singular voice live when she performs her own original works on Thursday, and come back Friday to hear her sing music of Alvin Lucier with the Ever Present Orchestra.
Thursday, March 21, 8pm, St. John’s Episcopal Cathedral (solo) Friday, March 22, 1pm, Bijou Theatre (music of Alvin Lucier)
Alvin Lucier:
Alvin Lucier has spent his 60-year career exploring not only music but the ways in which we experience sound itself. His historic compositions experiment with the resonance of spaces, the physical properties of sound, and the manipulation of auditory perception. This Friday, Joan La Barbara and the Ever Present Orchestra perform music from across his career—and on Sunday Lucier performs some of his own original works (including his landmark 1969 sonic exploration I am Sitting in a Room).
Friday, March 22, 1pm, Bijou Theatre (with Joan La Barbara) Sunday, March 24, 1pm, Ann & Steve Baily Hall at the KMA (solo)
Wadada Leo Smith:
“Creative music” is the descriptor Wadada Leo Smith has given to his expansive body of works. Over the past five decades, the trumpeter has cultivated his own inimitable musical language (and notation) informed by jazz and world music histories but deeply rooted in the present moment. This Saturday, he performs solo meditations on the music of Thelonious Monk—and on Sunday he teams up with two former bandmates to play Divine Love, an ethereal and immersive trumpet and percussion suite first released in 1978.
Saturday, March 23, 2pm, The Standard (solo) Sunday, March 24, 6:15pm, Tennessee Theatre (“Divine Love”)
The Big Earts Festival is March 21-24 in Knoxville, Tennessee. For tickets and more information, click here.
Mason Bates takes you inside the life and legacy of one of the greatest minds of the digital age in The (R)evolution of Steve Jobs, an opera exploring the intersections of technology, spirituality, and ambition.
The Seattle Opera just wrapped up its production of the Grammy Award-winning work last weekend, but you’ve still got one more chance to hear it: this Saturday, Classical KING FM 98.1 is broadcasting a live recording of the performance. Tune in on the radio or online from anywhere in the world this Saturday, March 16 at 8pm PT.
And in the meantime, step behind the scenes in this special crossover episode of Classical Classroom and the Seattle Opera Podcast! Second Inversion host Dacia Clay talks with Mason Bates about the place where classical music meets technology—and why this distinctly 21st century story lends itself to an operatic retelling.
For more backstage coverage (including costumes, libretto, technology, and more), check out the Seattle Opera Podcast, hosted by Seattle Opera dramaturg Jonathan Dean.
Classical KING FM 98.1 broadcasts Seattle Opera’s production of The (R)evolution of Steve Jobs this Saturday, March 16 at 8pm PT. Click here to tune in.
Step inside our Second Inversion music library with this special episode of Classical KING FM’s NW Focus LIVE—now available for on-demand listening!
Maggie Molloy, Second Inversion Editor.
Second Inversion Editor Maggie Molloy joins KING FM’s Sean MacLean on his weekly show to share a handful of live and local musical performances recorded right here in Seattle.
So, what’s on the playlist? We don’t want to give too much away, but suffice to say it features music from Seattle’s favorite brass quartet, a vocal ensemble with some serious bite, an ocean of percussion, and a whole lot more—including a brand new, unreleased recording captured in our studios just last month.
Plus: Maggie talks with Sean about the thrill of discovering new sounds, the surprising intersections of old and new music, and what makes Seattle’s new music scene so vibrant. Listen to the episode on-demand below!
This special Second Inversion episode of NW Focus LIVE originally aired on Friday, Feb. 22, 2019 at 8pm PT on Classical KING FM 98.1.
In celebration of International Women’s Day on March 8, we’re featuring a 24-hour marathon of women composers on Second Inversion. Tune in all day long to hear works by over 200 women who have helped shape, inspire, and expand the world of classical music.
Why women composers?
For much of classical music history, socially-prescribed gender roles excluded women from participating in composition. Women were denied access to musical resources, financial patronage, art and music networks, and performance and publication opportunities.
It had far reaching effects: what we now consider the Western classical music canon solidified around the music of white men, and even in the 21st century concert programs are still overwhelmingly dominated by the music of male composers. According to a survey of 89 American symphony orchestras, women composers accounted for only 1.7 percent of the total pieces performed in the 2015-2016 concert season.
Research conducted by the Baltimore Symphony Orchestra. Infographic by Rachel Upton and Ricky O’Bannon.
Second Inversion is working to help balance the scales. We’re proud to feature music by women composers today and every day on our 24/7 online stream and web publication.
Franghiz Ali-Zadeh: Music for Piano (Nonesuch Records)
Azerbaijani composer Franghiz Ali-Zadeh performs this solo piano piece, but with some prepared piano sorcery she manages to create the illusion of a duet. Just before sitting down to record, she draped her necklace over the middle range of the piano strings, making it sound like a string instrument called a tar (similar to a lute) that her father played. Music for Piano is a bold fusion of the traditional music of her homeland and adventurous experimental music of the present. The way she draws from her culture adds a philosophical and mysterious tinge to this lovely piano composition. – Rachele Hales
Pauline Oliveros: Suiren (New Albion Records)
“Listen to everything all the time and remind yourself when
you are not listening,” Pauline Oliveros said in her 1998 keynote address at
the ArtSci98 symposium. Over 20 years later, those words have come to
encapsulate the astonishing legacy left behind by this pioneer of experimental
and electronic art music.
During today’s marathon I’m excited to share Suiren, a piece of hers that was created and recorded in a massive cistern on the northeastern tip of the Olympic Peninsula here in Washington. Using nothing but their voices, a garden hose, and the cistern’s famous 45-second reverb, Oliveros and her Deep Listening Band craft a quiet, meditative soundscape that lulls you straight into sonic hypnosis. – Maggie Molloy
I lived in Houston for most of my life, and one of my favorite places there was the Rothko Chapel. The peace of the Chapel is thick and indifferent—an atmosphere created in large part by the giant Rothko paintings on all of the walls. For lots of reasons, it’s a place a I love and return to.
When Madeleine Cocolas moved to New York City, the Metropolitan Museum of Art was that kind of place for her—a place she loved and found herself returning to. Her album Metropolitan is a tribute to the museum. She took her nine favorite pieces from the Met and used software to analyze those visual works and turn them into sound. She then incorporated the sounds generated by the software into her compositions. For Rothko, No. 16, she represents the four major colors in Rothko’s piece with four chords, and the pitch of each note in her piece is determined by the intensity of the color.
Cocolas’s Rothko, No. 16 is happy and bright and weird and full of life. I love it and plan to return to it often. – Dacia Clay
Second Inversion’s 24-Hour Marathon of Women Composers is streaming worldwide all day on Friday, March 8. Click here to listen.
