Diary: How to Read John Cage

by Maggie Molloy

For a composer who once created an entire piece out of silence, John Cage certainly had a lot to say. So much, in fact, that he recorded a five-hour diary in the years leading up to his death.

Diary

Titled “Diary: How to Improve the World (You Will Only Make Matters Worse),” the piece is written in eight parts, traversing vast musical and philosophical territory—often within the span of just a few sentence fragments. Cage’s writing extends far beyond the music itself, all the way into the trivial details of everyday life and back out into the vast expanse of history, global politics, philosophy, science, and society—and all with an idiosyncratic dose of humor and wit.

Inspired by his fearless exploration into the art of sound, I made it my mission to read through his entire diary and create my own personal diary tracking the experience. Click on the icons below to read each installment!

Introduction Part I Part II Part III Part IV Part V Part VI Part VII Part VIII

Seattle Symphony’s Tuning Up! Festival

by Maggie Molloy

The Fourth of July is almost upon us, and you know what that means: parades, picnics, and barbeques abound! And while hot dogs, fireworks, and flag-covered clothing are a (somewhat) relevant expression of American independence, our county has a whole lot more than just cured meats and corny t-shirts to be proud of.

Tuning Up!Which is why this summer, the Seattle Symphony is turning off the barbeque and turning up the music with Tuning Up!: a two-week festival celebrating American musical creativity in the 20th and 21st century. This star-spangled celebration features nine concerts which traverse America’s vast musical landscape, from jazz to Broadway, avant-garde to minimalism, classics to Hollywood, and much more.

So whether you crave the jazzy grooves of George Gershwin or the swinging blues of Duke Ellington, you can hear it all during the Tuning Up! Festival. Maybe you prefer the massive soundscapes of John Luther Adams, the hypnotic minimalism of Philip Glass, or the movie magic of John Williams—the festival has all that too!

Suffice it to say, Second Inversion is all over this festival. Come visit us at the KING FM table in the lobby at the following events for music, magnets, and other free swag!


Stage & Screen: From Appalachian Spring to the Red Violin
Thursday, June 23 at 7:30 p.m.

From stage to screen to concert hall, these giants of American music transcended borders and paved the way for generations to come. Among them is Florence Beatrice Price: the first African-American woman to be recognized as a symphonic composer. The Seattle Symphony pays tribute with a rousing orchestral rendition of her ragtime classic, Dances in the Canebrakes. Plus, dancers take to the stage alongside the Symphony for a performance of Aaron Copland’s famous folk-inspired and Pulitzer Prize-winning Appalachian Spring.

The program also features Leonard Bernstein’s elegant Divertimento for Orchestra, poignant movie music from Schindler’s List and The Red Violin, and a heartwarming tribute to the late Marvin Hamlisch who, among his many accomplishments in music, served as the Principal Pops Conductor at the Seattle Symphony from 2008 until his death in 2012.


The Light that Fills the World: A Meditation in Sound & Light
Thursday, June 30 at 7:30 p.m.

In the face of trauma and political turmoil around the world, Seattle Symphony offers an intimate meditation in sound and silence, light and dark. Julia Wolfe’s My Beautiful Scream, written after the events of 9/11, opens the program with a slow-building and softly illuminating agony. What follows is utter silence: John Cage’s famous 4’33”.

The program also features Pulitzer Prize-winner John Luther Adams’ immersive, Arctic-inspired soundscape The Light That Fills the World, the delicate breath of Morton Feldman’s Piano and Orchestra, and Philip Glass’ scientific salute, The Light.

Plus, the Symphony invites you to submit your own Glass-inspired photographs to be featured during the performance. Deadline for submissions is this Friday, June 24.


In the White Silence: John Luther Adams’ Alaskan Landscapes
Friday, July 1 at 10 p.m.

To say that composer and environmentalist John Luther Adams is inspired by nature would be a bit of an understatement. He spent much of his life composing from a 16×20 ft. one-room cabin in the Alaskan woods, creating large-scale soundscapes which blur the line between nature and man-made instruments.

In 2013, the Seattle Symphony commissioned and premiered John Luther Adams’ Become Ocean, a 42-minute meditation for large orchestra which went on to win a Pulitzer Prize and a Grammy Award.John Luther Adams

And now, during this special late-night concert, the Symphony revisits one of Adams’ earlier explorations into sonic geography: the 75-minute soundscape In the White Silence. The piece unfolds slowly and patiently, translating the vast horizons of the frozen far north into a musical landscape of clean, radiant harmony and subtle transformation.


Looking for more in American music? Check out the Seattle Symphony’s Tuning Up! Festival Map below:

Tuning Up! Visual Guide

CONCERT PREVIEW: Northwest Symphony Orchestra Premieres Flute Concerto by Sarah Bassingthwaighte

by Maggie Stapleton

“Music has always been the constant in my life,” teenage Sarah Bassingthwaighte realized when it came time to make those big life decisions about college majors.

bassingthwaighte-sarah

Sarah started piano lessons at age 4, composing when she was 5 (she still has these early works, notated in very large script), and flute at age 9. A lingering interest in composition led to formal study at Indiana University (while pursuing a flute degree) with composers like Harvey Sollberger. Hearing some of the new ideas and new sounds that these composers came up with was eye-opening for Sarah – “There’s all this other stuff you can do!” – and she felt like a door had been opened. Little did she know, there would eventually be an entire house of doors.

0702 Siegel-Laufer 5-28-09House of Doors is a concerto for flute and orchestra which will be premiered by Merrie Siegel and the Northwest Symphony Orchestra under the baton of Anthony Spain on Saturday, April 30 at 8pm.
It was composed in the last 6 months, and it’s the first piece she’s written for flute that she is not premiering, which presented some challenges. “I had to see if my notation, my ability to communicate my ideas, worked. When I premiere my own piece, I just play what was in my head in the first place and I’m not even looking at the page. But now I have to see if it works!”

photo credit: Mark Manning

The inspiration for this concerto came from a Buddhist meditation exercise created by Anna Wise of the same name, House of Doors, and it was simultaneously “the most fun” and a “profound experience” for Sarah. Here’s how it works, in a nutshell: You’re in a house that you’ve invented and there’s a hallway with many doors. All the doors look different and you get to go and open any door you want, walk inside the room, look at it in as much detail as you can, walk around, see what’s there, change what you want. Then you leave, close the door, and you can go in another one. The idea is not just to hone your observation and imagination but also to get in touch with your ability to change things in your life.

To hear a sneak peek of House of Doors (the flute and piano reduction) click here!

seoul-door-consruction-screen

In Sarah’s first experience, she visited three rooms.

First, she walked into a room that initially looked like a normal bedroom, but on deeper examination she saw little plants and tendrils and deeper in, a dark jungle that went for miles and miles full of orchids and vines.

The next door was a dark, hot, uncomfortable red cave with an empty chair under a spotlight. It was a very scary place.

Through the last door, there was no floor, no ceiling, just sky. She stepped into the room and moved about how she wished. Flying, free, and fun.

Those images were powerful to Sarah and became the launching points for the piece. It was first notated graphically with just textures and a few descriptive words – it wasn’t until months after she started composing that notes and rhythms came about. “One thing I’ve loved about composing is connecting with the other arts. In this case, a feeling of motion, maybe dance, of visual arts and finding the place where they all meet and eventually ending up in my field, music, and creating the piece. Even within the field of music, Sarah’s had some variety and departures.

After her time at IU, Sarah took a break from classical music to play bass in punk rock bands. That seemingly “left turn” wasn’t totally unrelated to her classical training and she’s been able to find a link between all types of music. The directness and even some of the experimentalism in classical music transferred to the bands she was playing with and she found that a sense of attitude and sense of humor is present in both.

“I went into music and never looked back. I love it and I’ll never get bored of it.”

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The House of Doors Concerto for Flute and Orchestra will be performed on Saturday, April 30 at 8 p.m. at the Highline Performing Arts Center in Burien. For tickets and additional information, please visit this link.

NEW VIDEO: Steve Reich’s New York Counterpoint

by Maggie Stapleton

New York Counterpoint for amplified clarinet and prerecorded clarinets is one of many pieces in Steve Reich’s “counterpoint” series, in which one live performer typically plays against up to a dozen recordings of the same instrument. Reich aims to capture “the throbbing vibrancy of Manhattan” in this work, performed here by Rachel Yoder, who also recorded the backing tracks.

This is our first of three Steve Reich videos in collaboration with On the Boards Ambassador James Holt, who is presenting a concert dedicated to the music of Steve Reich on Tuesday, February 2 at 8pm:

Counterpoint | Phase – A hypnotic evening of music in a non-traditional setting from the American master of minimalism. 

LINEUP:
Nagoya Marimbas: Erin Jorgensen & Memmi Ochi
Cello Counterpoint: Rose Bellini
New York Counterpoint: Rachel Yoder
Violin Phase: Luke Fitzpatrick/Marcin Pączkowski

Pre-sales for this event are sold out. A limited number of tickets will be available at the door.

Stay tuned for our of video Violin Phase! Cello Counterpoint is now up and running

RY-2015

Rachel Yoder is a versatile clarinetist and teacher based in the Seattle area, currently performing with the Seattle Modern Orchestra, Madera Wind Quintet and the Odd Partials clarinet/electronics duo. Rachel is editor of The Clarinet, journal of the International Clarinet Association, and works as adjunct professor of music at the DigiPen Institute of Technology in Redmond, WA. She has performed and presented throughout the United States, including appearances at conferences of the International Clarinet Association, International Computer Music Conference (ICMC), and Society for Electroacoustic Music in the United States (SEAMUS). She holds a doctorate in clarinet from the University of North Texas, and also holds degrees from Michigan State University and Ball State University.

A Celebration of American Composers: Video Edition

In celebration of July 4th, we have compiled some of our favorite videos by American Composers. Thanks to all of the artists and composers for sharing their music and performances with us!

ALBUM OF THE WEEK: Orchestra Underground: Tech & Techno

by Maggie Stapleton

Founded back in 1977, the NYC-based American Composers Orchestra is dedicated to the creation, performance, preservation, and promulgation of music by American composers by way of concerts, commissions, recordings, educational programs, and new music reading sessions.  With an esteemed leadership of Derek Bermel, Artistic Director; George Manahan, Music Director; Dennis Russell Davies, Conductor Laureate; and Robert Beaser, Artistic Advisor Laureate this organization is in amazing hands.

Orchestra Underground: Tech & Techno is the fifth digital album from ACO.   Each piece was commissioned or premiered by ACO for Orchestra Underground, “a series stretching the definition of, and possibilities for the orchestra.  The series challenges conventional notions about symphonic music, embracing multidisciplinary and collaborative work, novel instrumental and spatial orientations of musicians, new technologies and multimedia.”  Orchestra Underground just celebrated its 10th anniversary season in 2013-14 and what better way to celebrate than with this collection of live recordings by Mason Bates, Edmund Campion, Anna Clyne, Justin Messina, and Neil Rolnick.

This release busts out of the gate with Edmund Campion’s Practice, a full-blasted introduction of orchestral forces, cresting and blending seamlessly into an electronic, computer generated outro in Campion’s cheeky musical response to the age-old question, “How Do You Get to Carnegie Hall?” Appropriate, seeing as most of the music on this album was recorded in Carnegie Hall’s Zankel Hall which seeks to host the latest contemporary sounds from classical, pop, jazz, and world music artists.

Like all of the music on this CD, the fusion of traditional orchestral instruments with electronic forces is brilliantly executed in Justin Messina’s Abandon.  This work is played to an electronic soundtrack Detroit techno from the early ‘90s during which they experienced a musical rebirth in the underground clubs.

Tender Hooks, by Anna Clyne features a pair of laptops operated by Jeremy Flower and Joshue Ott, which transmit and receive live data from the orchestra.  Each element of this recording combines standard notation, written instructions and graphic representation.  It also pays homage to one of the earliest electronic instruments, the Theremin!

Neil Rolnick collaborates with violinist Todd Reynolds, to present their instrument creation, the iFiddle.  As Rolnick puts it this is “not just a concerto for violin, but a concerto for a cyborg violin that has been intimately joined to a computer.”  This union definitely displays both elements of a traditional violin, and yes, I think cyborg describes it best.  This piece is strikingly accessible, with catchy violin melodies throughout.

The opening of Omnivorous Furniture by Mason Bates has the feel of “do your best robot dance,” inspired by down-tempo electronic music which soon leads way to full on dance party/funkadelic triptastic.  Mason Bates uses computer and drum pad with the orchestra in this work heavily influenced with British hip-hop.

If you’re looking for a gateway into electronically inspired orchestral music, this is a great disc!  If you’d like to purchase the collection, you can visit iTunes, Amazon, or the American Composers Orchestra.