You like new music. We like new music. Let’s get together and talk about new music, drink a couple beers, and make some new friends along the way.
Join us TONIGHT, Tuesday, June 13 at 5:30pmat Queen Anne Beerhall for New Music Happy Hour, co-hosted by Second Inversion and theLive Music Project. Bring a friend, make a friend, have a drink, and discover connections with fellow new music lovers from all over Seattle!
Click hereto RSVP and invite your friends. Plus,sign up for alertsfor future happy hour dates and day-before reminders so you’ll never miss a beer—er, beat.
For over 40 years the annual Northwest Folklife Festival has served as a community celebration of local music and art at Seattle Center. Second Inversion is proud to be a part of that community, and is committed to showcasing vibrant and adventurous new music landscapes from all over the Pacific Northwest and far beyond.
So this Friday, we’re teaming up with Classical KING FM to show off some of our favorite local new music talents in our third annual KING FM and Second Inversion Showcase at the Northwest Folklife Festival.
Join us at the Center Theatre onFriday, May 26 at 8pmfor a triple billing featuring the Ecco Chamber Ensemble, TangleTown Trio, and the Skyros Quartet. Here’s a sneak peek of what’s in store:
The Ecco Chamber Ensemble builds concerts around the intersection of art and social change. Comprised of soprano Stacey Mastrian, flutist Sarah Bassingthwaighte, and guitarist Mark Hilliard Wilson, the group programs classical music from around the world and across history which sheds light on issues of our time and provokes us to consider our common humanity.
TangleTown Trio specializes in classical Americana; music inspired by the many unique genres of American music, including jazz, folk, and classic musical theatre. Comprised of mezzo-soprano Sarah Mattox, violinist Jo Nardolillo, and pianist Judith Cohen, TangleTown is the happy outgrowth of three friends, all enjoying successful solo careers, coming together to create something truly extraordinary.
The Skyros Quartet is known for their innovative and interactive approach to classical music both old and new. Comprised of violinists Sarah Pizzichemi and James Moat, violist Justin Kurys, and cellist Willie Braun, the quartet performs, teaches, and leads community events all over the U.S. and Canada. Passionate about the future of music, Skyros regularly performs new works by living composers, and is back by popular demand after having performed in our Second Inversion Showcase at the 2016 Folklife Festival.
KING FM and Second Inversion’s Folklife Showcase is Friday, May 26 at 8pm at the Center Theatre at Seattle Center. For more information on the festival,click here.
Got the Monday blues? Get happy with us tonight at the next Seattle New Music Happy Hour, co-hosted by Second Inversion and theLive Music Project.
Join us TONIGHT, Monday, April 24 at 5:30pm at the cozy Fireside Room at Hotel Sorrento in Seattle. (Note the new location!) Bring a friend, make a friend, have a drink, and discover connections with fellow new music lovers from all over Seattle!
Click hereto RSVP and invite your friends. Plus, sign up for alertsfor future happy hour dates and day-before reminders so you’ll never miss a beer—er, beat.
Rock out with Second Inversion this weekend at our next On Stage with Classical KING FM concert: a rock ‘n’ roll reprise of the Seattle Rock Orchestra Quintet performing with the mesmerizing Tamara Power-Drutis!
Back by popular demand after a rousing concert last season, the band is back to transform popular song into art song, performing a program that reimagines both classic and modern songs as intimate and emotional chamber works born for the recital hall.
So how about a preview? Watch our exclusive videos below of the band performing works last year by Radiohead, Beck, and Jeremy Enigk:
Radiohead (arr. Scott Teske): Nude
Beck (arr. Bischoff/Teske): Do We? We Do.
Jeremy Enigk (arr. Scott Teske): Ballroom
Plus, listen to the rest of last year’s setlist on-demand below:
Second Inversion presents the Seattle Rock Orchestra Quintet with Tamara Power-Drutis this Saturday, April 15 at 7:30pm at Resonance at SOMA Towers in Bellevue.Click herefor tickets.
For the Emissary Quartet, new music knows no bounds—geographical or otherwise. Comprised of four flutists living in four different cities around the U.S., the group is dedicated to expanding the flute quartet repertoire by commissioning and performing innovative new works.
Though scattered across the country, flutists Weronika Balewski, Meghan Bennett, Colleen McElroy, and Sarah Shin meet for performances and teaching residencies throughout the year, building a diverse catalogue of new works which explore the dynamic and expressive capabilities of their instrument.
We’re thrilled to premiere their latest project on Second Inversion: a brand new music video for composer Annika Socolofsky’s airy and ethereal “One wish, your honey lips,” shot and edited by Kevin Eikenberg for Four/Ten Media.
The video premiere serves as an exciting preview for the quartet’supcoming Seattle residency, which takes place April 18-22. Centered around the goal of inspiring young artists to get creative with classical music, the five-day residency features performances and workshops throughout the greater Seattle area.
To find out more, we sat down with Socolofsky and the Emissary Quartet to talk about flutes, feminism, and future projects:
Second Inversion: What was the inspiration behind “One wish, your honey lips”?
Annika Socolofsky:As a vocalist, I have long been obsessed with the nuanced resonance of the human voice, and in particular the timbral variation and inflection inherent to many folk vocal traditions. These highly expressive micro-variations deliver intense pangs of emotion that can be sung in the subtlest of ways. They are distilled, fleeting moments of suffering and joy that fall between the cracks of melody and harmony. This piece is about the music that exists in those cracks between the notes.
SI: What were some of the unique challenges and rewards of writing for this unique instrumentation?
AS:For me, writing for Emissary Quartet was less about the instrumentation, and more about working with four amazing and truly sensitive musicians. I knew I could trust their artistry, so I called for some very demanding and expressive nuance, as well as incessantly delicate shifts in their sound color. That said, the flute quartet repertoire is so heavily based on transcriptions that I wanted to write something that was really, truly for the flute and that explored the instrument’s unique resonance in the same way a singer resides in their own unique voice.
Kristin Kuster, one of my teachers from my days at the University of Michigan, is a huge proponent of the concept of “restrained virtuosity,” a variety of virtuosity that is about detailed and sophisticated artistry, rather than dazzling showmanship. EQ truly understands this sort of musicianship, which made working with them one of the most rewarding experiences of my career thus far.
SI: In what ways (if any) do you feel that being a woman has shaped your experiences as an artist? What advice do you have for other female-identifying artists who are aspiring to creative leadership roles?
AS:I’ve grappled with this question for some time, in large part because I’ve spent my entire life battling with gender norms and expectations. However, that exact fight with gender and sexuality has undeniably shaped my art more than anything else. There are infinite components to an artist’s identity and voice, and every one of them is essential to the process of creation. This is why it’s so important to advocate for oppressed voices in the arts—the more perspectives and stories and voices we can hear from, the better we can understand one another and grow together.
My advice to female-identifying artists who aspire to have a career in the arts is quite simply: you do you. There’s no “right way” to do this stuff, whatever your teachers might say, whoever your textbooks might celebrate. There is only one thing you can do better than anyone else in this world, and that is to be beautifully, unapologetically you.
SI: What do you find most inspiring about this particular piece, and what do you think makes the flute quartet such a compelling genre to explore?
Colleen McElroy (Seattle, WA):This piece feels so natural in many ways, that playing it evokes breathing for me. The beginning comes from nothing, and the combination of multiphonics and soft high notes allow the four of us to blend seamlessly into a single sound. Annika uses so many different flute sounds—traditional tone, harmonics, multiphonics, air sounds— in such an organic way that the flute quartet becomes more like a group of voices expressing a wordless melody rather than four independent instruments.
The flute as a solo instrument has been exploited by countless composers throughout music history. There is substantial literature for the flute in nearly every genre. Solo flute offers vast possibilities in timbre, articulation, dynamics, and many other parameters—and flute quartet offers the same times four! I’d love to see more composers exploring this uncharted territory. There is so much left to discover.
Weronika Balewski (Boston, MA):The complexity of this music manifests itself in subtle tone colors, micro-gestures, and tiny melodic shifts, all in imitation of the human voice. It’s challenging from a technical standpoint, but not in a flashy way. Rather, every note and gesture has nuance and dimension. I also love the simple unison melody, the way we each play it with our own nuances, and how beautiful harmonies and counterpoint emerge as the melody gets repeated and extended.
For most of the flute quartet’s history, people have thought of it as four melodic instruments, or as an ensemble with a very high bass voice. We have a standing invitation to composers to send us radically new ideas about how four flutes could sound together. We have not even begun to exhaust the possibilities. Annika’s piece is a stunning example of one composer’s reimagination of the ensemble—she took a look at the possible sounds we know how to make and put them together in a way that pushed us to the extremes of our playing, creating a new type of sound for the flute quartet.
Meghan Bennett (Austin, TX): I find the intricacy between the parts most unique about this piece. The voices interact in such a way that sometimes it’s hard to pick one voice from another—just when you think one voice is the “melody,” another emerges.
There is such great diversity in solo flute music, but this diverse range is not often seen in flute quartet repertoire. I think what makes the flute so appealing is that there are so many colors, articulations and extended techniques that serve to really capture audiences’ imaginations. These characteristics haven’t been explored fully in flute quartet music and I think that is what makes it such a compelling genre—there is still so much to discover.
Sarah Shin (New Brunswick, NJ):What I found unique about this piece is how Annika was able to create a homogeneous timbre with the group with the extended techniques. Usually when composers write with extended techniques, it’s for a special effect, but Annika really wrote these techniques in a way that treated them as if they’re normal notes played on the flute. This inspired me to open my mind and think outside of the box with the colors I produce on my instrument.
I think what makes flute quartet so compelling is the textures of sound four flutes can create. Yes, each flutist has their own tone, and flutes can create big and small sounds, but what makes flutes so different is the range of extended techniques they can do. Along with that, when one combines four flute sounds together and they blend well together, it’s a beautiful sound! There’s a richness and shimmer to the flute tone that I believe other woodwinds cannot create, and there is a lush sound to four flutes that is very beautiful.
The Emissary Quartet’s Seattle residency takes place April 18-22 and features collaborations with Seattle Music Partners, the University of Washington Chamber Music Lab and Flute Studios, and more.Click herefor a full list of Seattle performances, workshops, and events.