October Concerts You Can’t Miss

by Maggie Molloy

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Second Inversion and the Live Music Project create a monthly calendar featuring contemporary classical, cross-genre, and experimental performances in Seattle, the Eastside, Tacoma, and places in between! 

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Keep an eye out for our this flyer in concert programs and coffee shops around town. Feel free to download, print, and distribute it yourself! If you’d like to be included on this list, submit your event to the Live Music Project at least 6 weeks prior to the event and tag it with “new music.”

October 2017 Concert Flyer

 

Racer Sessions
A weekly showcase of original music with a jam session based on the concepts in the opening presentation.
Every Sunday, 8-10pm, Cafe Racer | FREE

Wayward Music Series
Concerts of contemporary composition, free improvisation, electronic/electroacoustic music, and sonic experiments. This month: saxophone sextets, prepared guitar improvisations, music for speaking pianist, and more.
Various days, 7:30/8pm, Good Shepherd Chapel | $5-$15

Philharmonia Northwest: At the Japanese Garden
East meets West in this concert featuring Toru Takemitsu’s Three Film Scores for string orchestra and Kosaku Yamada’s Symphony in F Major, the first symphony ever written by a Japanese composer.
Sun, 10/1, 2:30pm, St. Stephen’s Episcopal Church | $15-$20

Tom Baker Quartet: Reunion Show
From 2004-2011 the Tom Baker Quartet performed unusual and avant-garde music across the Northwest and in New York City. Now they reunite for a one-night-only show at the Royal Room in Seattle.
Mon, 10/2, 7:30pm, The Royal Room | Donations

The Esoterics: GRAVITAS
Exploring themes of gravity in music, the Esoterics perform works by Robert Paterson and Steven Stucky alongside three world premieres by the winners of this year’s POLYPHONOS competition.
Fri, 10/6, 8pm, St. Stephen’s Episcopal Church, Laurelhurst| $15-$22
Sat, 10/7, 8pm, Holy Rosary Catholic Church, West Seattle | $15-$22
Sun, 10/8, 7pm, Christ Episcopal Church, Tacoma | $15-$22

STG Presents: Ludovico Einaudi
Known around the world for his chart-topping albums, famous film scores, and genre-crossing live performances, Italian composer and pianist Ludovico Einaudi brings his inimitable piano music to Seattle for an evening at the Moore Theatre.
Sat, 10/7, 8pm, The Moore Theatre | $39-$94

BetaSounds: A First Exploration
Dedicated to bridging the gap between modern audiences and classical music, BetaSounds presents an inaugural coffee shop concert featuring works by Britten, Barber, Bartók, Dvořák, and Ravel.
Mon, 10/9, 6pm, The Conservatory Coffee Shop | $15

SMCO: Music, Poetry, and the Influence of Communities of Color
Seattle Metropolitan Chamber Orchestra examines the search for an American musical identity, exploring the lasting influence of Black music in the classical world. Featuring music by Jessie Montgomery, George Walker, Silvestre Revueltas, and Aaron Copland, plus poetry by Claudia Castro Luna.
Wed, 10/11, 7:30pm, Fremont Abbey | $15-$25
Sun, 10/15, 2pm, Langston Hughs Performing Arts Institute | $15-$25

Seattle Modern Orchestra: In Time of War
Seattle Modern Orchestra presents historic works penned by George Crumb and Julius Eastman in response to the cultural and political turmoil of the 1970s.
Thurs, 10/12, 7:30pm, Good Shepherd Chapel | $10-$25

Jesse Myers: The Minimal Piano
Jesse Myers premieres his new piece for solo piano and six-channel soundtrack. Also on the program are minimalist masterpieces by John Adams, Philip Glass, and Steve Reich, plus new works for piano and electronics by Missy Mazzoli and Christopher Cerrone.
Fri, 10/13, 8pm, Good Shepherd Chapel | $5-$15

Seattle Symphony: [untitled] 1
This late-night, no-intermission concert brings to life the the dramatically shifting soundscapes of John Adams’ Road Movies paired with the restless momentum and searing imagery of Steve Reich’s Different Trains. All aboard!
Fri, 10/13, 10pm, Benaroya Hall | $16

The Sound Ensemble: Kammermusik
Paul Hindemith’s Kammermusik (German for “chamber music”) is performed alongside eclectic chamber works by Darius Milhaud, Michael Djupstrom, Judd Greenstein, and Seattle-based composer James Falzone.
Sat, 10/14, 7pm, Good Shepherd Center | $5-$15

Nosferatu: A Symphony of Horror
F.W. Murnau’s 1922 classic Nosferatu is beloved by horror fans and film buffs alike for its creepy story and stark images. Pianist Rick Friend and members of the Seattle Symphony bring this spine-tingling vampire tale to life as they perform the live score alongside the film.
Tues, 10/17, 7:30pm, Benaroya Hall | $35-$90

NOCCO: Echoes & Dances
The North Corner Chamber Orchestra opens its season with Roupen Shakarian’s Violin Concerto featuring concertmaster Victoria Parker. Works by Prokofiev and Poulenc round out the program.
Sat, 10/21, 2pm, University Christian Church | $25

Music of Today: Intercontinental Experimental Music Ensemble
This rare convergence of world-renowned musicians from four continents features visiting artists collaborating with University of Washington School of Music faculty members in a program of strings, percussion, keyboard, đàn tranh, guzheng, and live electronics.
Wed, 10/25, 7:30pm, Meany Theater | $10-$15

Emerald City Music: Andy Akiho
Brooklyn-based composer and steel pan player Andy Akiho takes over the Emerald City Music stage to curate an exclusive evening of his own compositions alongside the works of Arvo Pärt and Philip Glass.
Fri, 10/27, 8pm, 415 Westlake Ave, Seattle | $45
Sat, 10/28, 7:30pm, The Minnaert Center, Olympia | $10-$43

Sound of Late: Steelworks
Sound of Late presents the West Coast premiere of Anna Clyne’s Steelworks, written for flute, bass clarinet, percussion, and tape recordings from the last steelworks factory in Brooklyn. Plus, works by Sarah Kirkland Snider, Somei Satoh, and more.
Sat, 10/28, 8pm, Flutter Studios | $15

Second Inversion’s Top 5 Videos of 2016

Second Inversion is proud to produce video sessions in our studios and in beautiful venues around Seattle. You can peruse them all on our video page, but here are the top 5 viewed in 2016!

#5: Andy Akiho: in/exchange for string quartet and steel pan (featuring Friction Quartet)

#4: John Cage: Living Room Music (featuring So Percussion)

#3: Steve Reich: Cello Counterpoint (featuring Rose Bellini, cello)

#2: Gabriel Kahane: Bradbury (304 Broadway) from “The Ambassador” (featuring Gabriel Kahane and Brooklyn Rider)

#1: Steve Reich: New York Counterpoint (featuring Rachel Yoder, clarinet)

Stay tuned for more great videos to come in 2017!

ALBUM REVIEW: A O R T A from Vicky Chow

by Seth Tompkins

Pianist Vicky Chow’s recent release A O R T A is above all else a triumph of curation. Chow’s performance, the editing, and the mixing are all laudable as well, but the real story of this album is the strength of the playlist and its presentation. A O R T A is a rare instance of an album in which the delivery of the audio itself contributes to the artistic goals of the project in a meaningful way.

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Even before the music begins, curatorial strength shapes the album. A O R T A is packaged with only minimal notes and there is no explanation of the project’s genesis nor discussion of the artists involved or their biographies. While this may initially appear to be a simple stylistic choice in favor of minimalist packaging, after listening it is apparent that this lack of detail is, in actual fact, a bold statement about how well the music on this release hangs together. The lack of notes seen on A O R T A would diminish other albums, but in this instance, the dearth of information makes this release stronger. It is a symbol of how well-designed the album is as a whole, letting the music and its curation stand on their own.

However, if you are curious, a more detailed explanation of the release is available here.

 

Musically, the supreme design of A O R T A takes the shape of remarkable continuity between the first three tracks. These tracks, which encompass Christopher Cerrone’s Hoyt-Schermerhorn, Jacob Coopers Clifton Gates, and the first movement of Jakub Ciupinski’s Morning Tale, all for piano and electronics, flow seamlessly from each into the next. That is not to say that these pieces are continuous or homogenous; upon closer listening these tracks each yield interesting features deserving of investigation and fascination.

These first three pieces make up the programmatic section of the release. All three, while they do have their own individual characters, are touching meditations on real-world human experiences ranging from the concrete to the notional.

The smoothness with which the initial three tracks flow from one to the next is a perfect aperitif for the rest of A O R T A. Only when the second movement of Morning Tale arrives does this CD begin to deliver sequential sounds juxtaposed in a manner that obviously marks the beginning of a new track. This slight shift marks a turning point in this release; this is the point after which more surprising and disparate sounds can be expected.

 

Those disparate sounds take the shape of Molly Joyce’s Rave, and Daniel Wohl’s Limbs and Bones, all three of which explore different facets of the interaction of live piano with electronic sound. While these heady tracks are distinctly different from the first three pieces, they somehow fit together into the larger arc of this album. This continuity of artistic trajectory is further evidence of expert curation. These pieces, in this order, tell a story that is in and of itself a work of art.

Finally, A O R T A ends with Vick(i/y), by Andy Akiho. While the preceding six pieces lean toward the atmospheric, Vick(i/y) has a completely different character that trends toward immediacy. This piece was written for Vicky Chow (as well as for Vicki Ray – hence the title) and is the only piece on this release that is NOT for piano and electronics. Vick(i/y) is for prepared piano. Additionally, while the preceding pieces on A O R T A tend to individually remain within one or two sound areas, Vick(i/y) is a veritable symphony within a prepared piano. The extended range of sounds, combined with Chow’s presumed heightened intimacy with this music (which was written with her in mind), result in a piece that acts an exclamation mark. Vick(i/y) is Chow’s indelible signature at the end of an already markedly individualistic album.

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Even though A O R T A cycles through an expansive of range sounds and expressive modes, this disc never loses sight of the instrument at its center. Every bit of this music is completely focused on the piano, with all sounds either produced by or strongly referring to the instrument. Also always in sight here are the composers who inspired much of this music. Pieces on this album explicitly reference John Adams and John Cage while slightly more covertly recalling the music of Steve Reich, Erik Satie, and Thom Yorke.

A O R T A is packed with smart, fully-conscious music that is quite aware of the giants upon whose shoulders it stands. This awareness of the past, combined with bold steps toward the future and omnipresent consummate curation, results in a well-balanced and highly interesting release that is at once calming, stimulating, and invigorating.

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NEW VIDEO: In/Exchange by Andy Akiho with Friction Quartet

String quartet and steel pan? It’s an awesome combination, but we don’t really need to tell you that…

San Francisco-based Friction Quartet was recently in Seattle for a residency at Cornish College of the Arts and their friend, composer and steel pan virtuoso Andy Akiho, joined them at the Chapel Performance Space at the Good Shepherd Center for one of Second Inversion’s video shoots. This piece, In/Exchange, is Andy’s first composition for string quartet and steel pan.

Andy is a virtuoso steel pan player, and just as many composers would write on the piano, thinking about structure and harmony and translating it to other instruments, he relates his music back to the steel pan. This instrument has incredible timbres and melodic possibilities and In/Exchange is a perfect example of relating those possibilities to the string quartet. By doing so, Andy takes both the steel pan and the string quartet to places they have never been before.

In/exchange was commissioned by the Ethel String Quartet and the Jerome foundation, and premiered in Merkin Hall in New York City as part of the Tribeca New Music Festival.

ALBUM REVIEW: Liaisons: Re-Imagining Sondheim from the Piano

by Rachele Hales

I was excited – well, excited and scared – to be given the opportunity to review Anthony de Mare’s latest album of Stephen Sondheim “re-imaginings.”  Excited because Sondheim’s impact on me was very strong as I was one of many children who listened; scared because I didn’t want to find flaws in the interpretations that might underscore my devotion to the originals.  After listening to Liaisons: Re-imagining Sondheim From the Piano several times, I can calm similar worries other listeners may have by entreating you to remember that “the way is clear, the light is good/ I have no fear, nor no one should.”

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Thirty-six composers from a wide variety of backgrounds were commissioned by Anthony de Mare to re-imagine a Sondheim song of their choice as a solo piano piece.  The result proves that things change – but they don’t, when you make something that lasts.  Mark Eden Horowitz, author of Sondheim on Music: Minor Details and Major Decisions, puts it this way: “One of the reasons Liaisons succeeds so brilliantly is because Sondheim’s music is such a rich source for sounds, ideas, and approaches.”  Too true.  The pleasure of Liaisons is hearing how thirty-six other Sondheim fans engage with his music in their own ways.  There are thirty-seven selections in the 3-CD collection.  So many worth exploring, just one would be so boring.  Alas, it’s impossible to review them all here but you can listen to samples of each glorious one at the Liaisons Project website.  With that said…  Curtain up!  Light the lights!  Play it, boys!

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Once upon a time, all your favorite fairytales were combined into one story about loss and confusion.  Oh yeah, and nearly everyone dies.  Sondheim’s original prologue to Into the Woods acts as both exposition by introducing us to each character and also provides a path through the show.  Andy Akiho’s version takes us into the woods, where witches, ghosts and wolves appear, by maintaining the driving rhythm of the original but allowing each character’s narrative/personality to speak with the clever use of a prepared piano.  Dimes were used on the strings for the cow scenes, door knocks and narration utilized poster tack, and the witch is portrayed by clusters of credit cards.  Akiho’s use of these found objects to alter the timbre is just as effective and innovative as Sondheim’s witty spoken narrative.

When asked about his intent with the Into the Woods’ climactic ballad “No One is Alone,” Sondheim replied, “What I truly mean is that no action is isolated.”  One action you can take is to write a musical, only to find its score the subject of a landmark commissioning twenty-nine years later.  Fred Hersch drew from his jazz background to make subtle changes to the piece.  In doing so, he’s maintained the purity and simplicity of the original but plumped it up to create a lusher sound.  It feels less like an arrangement and more like a fantasia.

With Kenji Bunch’s selection we attend the tale of Sweeney Todd, the demon barber of fleet street.  Sweeney Todd is based on an urban legend (though some claim the story is true) from Victorian London about a barber who seeks revenge upon the corrupt judge who sentenced him to unjust incarceration, raped his wife and caused her insanity, and eventually kept Todd’s daughter Joanna as his ward for lustful reasons.  Todd’s revenge of choice?  Slitting the throat of the judge (and other clients) and partnering with his amoral landlady to grind the flesh, use it as fillings for her meat pies, and turn a handsome profit.  It’s a musical thriller that wonderfully sustains fear and anxiety throughout, which Bunch amplifies to horror-show levels with “low register rumblings, shrieking high clusters, and insistent rhythmic ostinato patterns.”

Venezuelan composer Ricardo Lorenz turns those meat pies into spicy empanadas with his “Worst Pies In London”/”A Little Priest” combo.  Mrs. Lovett’s cheeriness shines through here with help from a range of Latin American styles including tango, salsa, and merengue.  But is it any good?  Sir, it’s too good, at least.

“Green Finch and Linnet Bird” is Joanna’s song to the caged birds she identifies with while sequestered in the judge’s home.  Toward the end of the original number there’s a trill notated for the singer and Jason Robert Brown found his way into the arrangement through that trill.  Rather than focusing on Joanna, he’s chosen instead to paint pianistic portraits of the birds.  A charming notion, but the aviary became too complex.  He thought one was enough; it’s not true.  It takes two to play his “Birds of Victorian England.”

Hopping across the pond to a bit of American history now, we get a couple arrangements from Assassins, a show that’s about exactly what it says on the tin.  “The inverse of the American Dream is the American Nightmare, which confuses the right to pursue happiness with the right to be happy,” writes Horowitz.  In Sondheim’s opening song, “Everybody’s Got the Right,” our presidential assassinators/assassination attempters sing out this misguided philosophy (aim for what you want a lot/everybody gets a shot/everybody’s got a right to their dreams…) as they purchase their weapons from the gun proprietor.   Michael Daugherty inserts snippets of “Hail to the Chief” as reminders of the show’s subject and ends the piece by spinning out the opening chords until they “explode like a volley of gunfire.”

Sondheim turned the poem Charles Guiteau wrote the morning of his execution (“I Am Going to the Lordy”) into a cakewalk march to the gallows in “The Ballad of Guiteau.”  Guiteau’s trial was famous not just because he assassinated President Garfield, but also because he was, as one doctor testified, a “morbid egoist” who delighted in the attention he received during the trial.  A media sensation, he smiled and waved at spectators throughout the trial (and even as he walked up to the gallows, where he stopped to read said poem, going so far as to request that an orchestra play behind him while he read).  Right up until his conviction he thought he’d have a good chance of becoming president himself and considered running.  Why am I writing about history instead of music?  Because the way Jherek Bischoff plays Sondheim’s original histrionic promenade against moments of emptiness perfectly suits the sad, ridiculous insanity of Guiteau’s mindset.

Having just a vision’s no solution, everything depends on execution.  Anthony de Mare’s work on this project has, bit by bit and piece by piece, amounted to a thoroughly enjoyable collection that sounds like thirty-six composers having a musical conversation with America’s preeminent composer of musical theatre.  Liaisons offers up something familiar, something peculiar, something for everyone.

In this 2013 image released by ECM Records, Anthony de Mare, left, and Stephen Sondheim pose in New York. Pianist Anthony de Mare and three dozen composers had put their own imprints on songs Sondheim wrote over the past half-century, a tribute to the man who redefined Broadway. "Liaisons: Re-Imagining Sondheim From the Piano" was released last month as a three-disc set by ECM. It features 37 original compositions by an All-Star team of composers. (Nan Melville/ECM Records via AP)

Anthony de Mare, left, and Stephen Sondheim pose in New York. (Nan Melville/ECM Records via AP)

ALBUM REVIEW: “gathering blue” by RighteousGIRLS

by Maggie Molloy 

a4c991_c913dd5409b14917bab1efcae62f8915Blue is a color rich in symbolism. For many it represents peace, tranquility, mystery, and truth. But it may also be a symbol for trust, wisdom, faith, and, above all, harmony.

Lois Lowry’s science fiction novel “Gathering Blue” tells the story of a young orphan with a deformed leg living in a dystopian society that leaves disabled people to die in the fields. But her life is spared due to her talent in threadwork—and her greatest triumph occurs when she discovers the art of dyeing the color blue, the one color no one else in her cruel society knows how to make.

Contemporary classical duo RighteousGIRLS takes this notion of blue as a symbol for social (and musical) harmony and explores its full spectrum of dazzling and luminous shades in their debut album, “gathering blue.” Titled after Lowry’s novel, the album blends elements of classical, avant-garde, jazz, improvisation, and post-production techniques.

RighteousGIRLS, comprised of New York-based flutist Gina Izzo and pianist Erika Dohi, creates a colorful musical palette through their collaboration with a variety of dynamic New York artists. Featured composers include Andy Akiho, Ambrose Akinmusire, Pascal Le Boeuf, Christian Carey, Vijay Iyer, Dave Molk, Mike Perdue, Jonathan Ragonese, and Randy Woolf.

The album opens with a bang—literally. The duo introduces themselves with “GIRLS,” composed by album’s producer, Pascal Le Boeuf, and scored for two flutes, piano, and prepared piano. The theatrical showpiece utilizes a variety of extended techniques and unconventional acoustic sounds, creating a dynamic, idiosyncratic, and completely otherworldly musical experience. Izzo’s rhythmic flute playing hovers above an array of distinctive piano timbres. For Izzo and Dohi, nothing is off limits: Dohi uses palms, elbows, and forearms on the prepared piano keys while Izzo strums inside the piano itself.

The next piece moves beyond the musical score: Izzo and Dohi experiment with improvisation in “Accumulated Gestures” by Vijay Iyer. Featuring drummer Justin Brown, the piece explores the ever-evolving theme of rhythmic contrast, keeping the listener (and the musicians) constantly on their toes.

Improvisation is a key theme in “Anzu” by jazz trumpeter Ambrose Akinmusire as well. Titled after the Japanese word for “apricot,” the piece captures both the velvety sweetness and also the faint tartness of this vibrant fruit. Featuring Akinmusire himself on trumpet, the piece paints a gorgeous sonic landscape with slow and soulful trumpet and flute melodies dancing over a twinkling piano backdrop.

RighteousGIRLS picks up the pace again in their adaptation of “…nobody move…” by Randy Woolf. The intentionally chaotic piece employs an energetic groove that showcases Dohi’s avant-garde jazz piano chops.

The work is followed by a RighteousGIRLS rendition of Jonathan Ragonese’s solemn and contemplative “non-poem 1.” In direct contrast to the preceding piece, “non-poem 1” explores soft, meditative melodies surrounded by silence.

Andy Akiho’s “KARakurENAI” offers another dramatic change in musical texture. The piece, which features Akiho on prepared steel pan, crafts an entire orchestra of colorful percussive sounds accented by flute and piano embellishments. But this is not just any average old prepared steel pan—Akiho performs the left-hand ostinato with the cardboard tube of a dry cleaner coat hanger while poking out the right-hand melody with a wooden chopstick. Yes, a wooden chopstick.

The duo also performs Mike Perdue’s “Entr’acte,” written for two flutes and two prepared (and intentionally overdubbed) pianos. Quizzical and unconventional, the piece is titled after the French term for music that accompanies a theater set change.

Perhaps the duo is setting the stage for a tribute to one of the biggest names in contemporary classical: Milton Babbitt. The next piece on the album, titled “For Milton,” is a flute and piano duo written by Christian Carey in fond memory of the late composer. The piece showcases both Babbitt’s famous serialism as well as his affection for the soulful swing of early jazz.

The piece is followed by Dave Molk’s “Edge,” a RighteousGIRLS-commissioned piece that packs some serious punch. The flute and piano spew glitchy and jarring staccato melodies blurred by brief legato interludes.

And true to the blue color symbology, “gathering blue” also packs a little bit of mystery: a series of ethereal hidden interludes written by Le Boeuf weave together this fearlessly bold and vibrant album.

And somewhere between the serialism, the prepared steel pan ostinati, the elbow piano playing, and the brink of silence, RighteousGIRLS crafts a palette of blue hues richer and more diverse than you ever dreamed possible.