concert preview: Q&A with Dorothy Chang

by Maggie Molloy

In the world of classical composition, women who write music are far outnumbered by their male peers—and this imbalance is a sensitive issue for composers, musicians, and concert programmers alike.

Fortunately many music organizations are taking steps forward to break down assumptions and stereotypes within the music industry by highlighting the works of contemporary female composers. One such organization is Seattle’s own North Corner Chamber Orchestra (NOCCO).

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Known for their dynamic performances and adventurous programming, NOCCO’s 2015-2016 season features works by three different American women composers. The first concert, taking place this weekend, features a performance of Dorothy Chang’s eclectic and expressive Virtuosities.

Second Inversion sat down with Dorothy to ask her five questions about Virtuosities, female composers, and NOCCO’s upcoming season.

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Second Inversion: What is the story or emotion behind Virtuosities, and how would you describe this piece?

Dorothy Chang: Virtuosities for string orchestra was commissioned by the Manitoba Chamber Orchestra in 2012 in honour of its 40th anniversary season.  Given the occasion, I was inspired to write a work that celebrates music history and tradition while also embracing the new and innovative.  Virtuosities seeks to draw connections between the music of the past and present, either through points of intersection or through sharply contrasting juxtaposition.

In the first movement, “To dream, perchance to fly,” a lightning-fast tempo and continuous, overlapping rising figures are meant to create a breathless, whirlwind energy, referencing elements of Baroque virtuosity within a contemporary context.   Beginning in B minor, the movement quickly becomes tinged with chromaticism, with juxtaposed layers of contrasting material, as if creating one big swirl of musical activity combining the old and the new.

The second movement, “Souvenir,” is intimate and lyrical, inspired by the slow movement of Vivaldi’s Violin Concerto in A minor.  In Vivaldi’s movement, I’m struck by how a simple texture achieves such poignancy and expressivity.  Similarly, in my own second movement, I tried to feature the beauty of a simple melody-and-chordal texture, enriched with an expanded sound palette of distinct colours and timbres.

In the final movement, “Mechanica,” an energetic walking bass serves a constant driving pulse over which a hodgepodge of various short musical quotes and other musical references are spliced, layered and woven together.

 

SI: How is this piece similar to and/or different from your other compositions?

DC: This piece is different from my other compositions in that it uses quotation, and it references Baroque and Classical music in a way that I haven’t done before in my other works.   The mixing of tonality and atonality is something I do explore often in my music, though in this work the two languages are presented more as a dichotomy rather than the blended mixture that I might use more typically.

Also, this piece is in three movements; the multi-movement form is typical of most of my compositions.  When starting a piece, I usually find I have a number of ideas I’d like to explore, and I’ve found the multi-movement form a good way to incorporate contrasting characters and materials within a single work.   I’m also drawn to exploring larger structures that can be built through the succession of multiple movements, and to shape the dramatic arc they form, as if creating a musical or emotional journey.

 

SI: What composers, artists, or styles of music most influence your work?

DC: I am inspired by and influenced by different types of music that I’ve heard, performed or studied from my childhood to the present.  My first exposure to classical music was from learning piano, so the influence of Romantic music, particularly piano repertoire, is strong.  Although my music might not sound very much like Brahms, Rachmaninoff or Schumann, there is a strong emphasis on melodic lyricism, sweeping Romantic gestures and rich harmonies.

The influence of popular music and, in certain works, Chinese music is also present.  Once I became aware of contemporary music, the composers whose music influenced me most included Debussy, Stravinsky, Lutoslawski, Takemitsu and Ligeti.  More recently, the music that inspires me is wide-ranging, and could include anything that happens to catch my ear, be it contemporary, popular, world music, etc.  The influences may not be immediately apparent in my music, but I am always consciously aware of their presence in my work.

 

SI: Three out of the four NOCCO programs this season feature American women composers’ works. Why do you think this is a significant programming decision?

DC: It looks like a great season, and I’m delighted to be in such good company!  The issue of women composers and programming continues to be a rather sensitive one (I remember becoming acutely aware of the issue as the only female in my graduate composition program years ago), and I have to say that I look forward to the day when the programming of music by female composers is something that happens spontaneously through the programming of good music, period.

I do think this is happening more and more, though one still comes across contemporary music concerts that include no music at all by women composers.  In this day and age, with so many talented women composers writing exciting, engaging, and unique music, it does perplex me how this is even possible.

As for NOCCO’s season: I’m thrilled to see such diverse and innovative programming.   I honestly don’t know if the programming was done specifically with the intention of featuring women composers, though I’m certainly excited that important and influential voices such as Laura Schwendinger and Joan Tower are included.  If the listener hasn’t had the opportunity to hear the music of these composers, it’s wonderful for NOCCO to bring it to a new audience.

 

SI: What do you hope audiences will take away from listening to Virtuosities?

DC: Virtuosities was written as a work that would bring together various old and new elements, and each movement reflects on this theme in its own way.  My hope is that the audience will connect with the music and the emotion and intention behind it:  the breathless energy and excitement of the opening movement, intimate lyricism broadening into lush gestures in the second movement, and the rhythmic drive and quirky turns of phrase in the closing movement.   This is a celebratory piece that I hope will engage the audience, and perhaps inspire them to hear both traditional and contemporary elements in a new context.

 

Performances are Saturday, Oct. 31 at 2 p.m. at University Christian Church in the University District and Sunday, Nov. 1 at 7:30 p.m. at the Royal Room in Columbia City. In addition to Dorothy Chang’s Virtuosities, NOCCO musicians will also be performing Alfred Schnittke’s Concerto for Piano and Strings (featuring pianist Cristina Valdés), Jacques Ibert’s Three Short Pieces for Wind Quintet, and Mozart’s Symphony No. 29. For additional information and tickets, visit NOCCO.org.

LIVE CONCERT SPOTLIGHT: April 30-May 2

by Maggie Molloy

This week’s sensational concert spotlight has sound sculptures, steelpans, suspended chimes, and oh yeah, a supernatural piano.

Inverted Space Performs Jeff Bowen

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If you like Second Inversion, you’ll love University of Washington’s Inverted Space Ensemble. The local contemporary music group is committed to turning classical music on its head by showcasing diverse new works in adventurous performance spaces and casual concert settings.

This week, you can hear them perform an eclectic collection of new works for chamber ensemble by composer Jeff Bowen. The program includes a variety of pieces featuring imaginative instrumentation, including “what will sound (has already sounded)” for violin and electronics, “Pan, Sinking” for steelpan and 10 instruments, “Stalasso II” for flute, violin, cello, and piano, “Turbulent Field” for bassoon and harp, and a String Quartet.

The performance is this Thursday, April 30 at 7:30 p.m. at the Chapel Performance Space at the Good Shepherd Center in Wallingford.

Seattle Symphony’s [untitled 3]

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If you think playing piano is impressive, wait until you see international sound sculptor Trimpin’s latest work: a piano that can be played and conducted without even being touched. The Seattle Symphony Music Alive Composer in Residence is being featured in the final indescribable, undefinable [untitled] event of the Seattle Symphony season this weekend.

Like the other events in this casual, late-night series, [untitled 3] will feature musical works by contemporary composers who think outside of the box, off the stage, and beyond the concert hall. This weekend’s event includes the latest premiere from Trimpin, featuring the aforementioned magical piano, suspended chimes, a wandering soprano, and much more!

The event will also celebrate the 100th birthday of the late American composer George Perle by featuring performances of a selection of musical sound worlds from throughout his compositional career.

 

The performance is this Friday, May 1 at 10 p.m. in Benaroya Hall’s Samuel and Althea Stroum Grand Lobby.

Washington Composers Forum: Transport Series

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As 21st century music enthusiasts, we listen to electric guitarists nearly every day. Pop music, rock, jazz—electric guitar is everywhere. But you’ve probably never heard it like this before.

Italian-born guitarist Giacomo Fiore is a contemporary artist with an imaginative sound that reaches far beyond the idiomatic clichés of electric guitar. Currently touring in support of his recent album “iv: american electric guitars,” he is stopping through Seattle this weekend to perform a unique musical program focusing on electric guitar and effects.

The performance, which is put on by the Washington Composers Forum, will also feature Seattle’s own pianist and new music specialist Cristina Valdes performing with composer and pianist Rocco DiPietro. The two will be presenting original works by DiPietro, whose music is often inspired by community issues.

The performance is this Saturday, May 2 at 8 p.m. at the Chapel Performance Space at the Good Shepherd Center in Wallingford.

Portland Cello Project with Rachel Grimes

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Known for its unique urban culture and diverse arts scene, Portland has no shortage of talented artists—and as it turns out, they have no shortage of talented cellists, either. But you don’t have to travel south to see it; this weekend, you can experience Portland’s rocking cello scene firsthand from the comfort of downtown Seattle.

The Portland Cello Project is a group of cellists with a reputation for mixing musical genres and blurring the lines between classical and popular music. Their wide-ranging musical repertoire has something for everyone, from the cello-loving classical music buffs to the head-nodding indie rockers. They’ll be joined by pianist Rachel Grimes of the minimalist chamber music group Rachel’s.

Performances are this Saturday, May 2 at the Triple Door at 7 p.m. and 10 p.m.

LIVE CONCERT SPOTLIGHT: April 23-26

by Maggie Molloy

This week’s eclectic concert calendar is overflowing with river music, graphic scores, marimba music, and more!

Nick Norton, Nat Evans, and John Teske

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Most contemporary composers are not afraid to sprinkle a few unusual sonorities here and there—but few choose to use “wrong notes” as liberally as Los Angeles-based composer Nick Norton. This week, you can hear his piano piece “All the Wrong Notes” in all its erratic glory, performed by pianist Cristina Valdes.

The performance is part of an evening of new music featuring the works of composers John Teske, Nick Norton, and Nat Evans. The program includes performances of composed works for piano and graphic scores for small ensembles—including Teske’s “topographies,” a series of graphic scores which require the musicians to perform using contour maps composed of musical symbols.

As if that’s not adventurous enough, the performance will be preceded by a site-specific listening and tea event created by Seattle-based sound artist and composer Nat Evans. The piece, titled “New Forest,” is created from numerous field recordings of the second growth forests clear cut in the 1940s and 50s, accompanied by records pressed during the same era. Audience members can sip tea as they sit inside of an environment of Chinese ink calligraphic drawings listening to the sounds of the 1940s and 50s.

The performance is this Thursday, April 23 at 7:30 p.m. at the Chapel Performance Space at the Good Shepherd Center in Wallingford.

Joshua Roman Bellingham Recital

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Cellist Joshua Roman is a Seattle star who needs no introduction. He first made music headlines when he became the youngest principal player in Seattle Symphony history at age 22, and since then he has cultivated a remarkably diverse solo career. Most recently, he’s been working as Artistic Director of Seattle Town Hall’s Town Music series, as well as Artistic Advisor for yours truly, Second Inversion.

But this weekend, you can see Roman back on the stage for a special Festival of Music recital performance in Bellingham. He’ll be performing a wide range of virtuosic works, including Henri Dutilleux’s colorful “Trois Strophes sur le nom de Sacher,” Alberto Ginastera’s captivating Puneña No. 2 “Hommage a Paul Sacher,” and J.S. Bach’s classic Cello Suite No. 6 in D Major. Roman will also be performing an original work titled “Riding Light.”

The performance is this Friday, April 24 at 7:30 p.m. at the Western Washington University Performing Arts Center.

Longhouse Media and NW Film Forum Present: “Yakona” Film Screening and Live Performance

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It’s no wonder the sounds of the sea inspired so many Impressionist composers—the lull of rushing water can be inherently musical. And this weekend, you can experience the sights and sounds of the crystal clear waters of the San Marcos River in Texas, all from the comfort of a Seattle movie theatre.

Longhouse Media in partnership with Northwest Film Forum will present a film titled “Yakona” accompanied by a live performance of its musical score by Justin Sherburn. The word “yakona” means “rising water” in the language of the indigenous people of the San Marcos River, and the impressionistic film is a visual (and aural) journey through the waters of the river from prehistoric times through the modern era—all from the perspective of the river itself.

Performances are this Friday, April 24 and Saturday, April 25 at Northwest Film Forum on Capitol Hill at 7 p.m. Both the filmmaker and composer will be present, and there will be a free public reception both evenings at 6 p.m. in the lobby.

Inverted Space Presents Washington Composer’s Forum Commission Concert

11169760_936145579771368_8303959025926708823_oThe cream of the musical crop are coming together this weekend at the Washington Composer’s Forum Commission Concert. The University of Washington’s contemporary music ensemble Inverted Space will be performing works by the five winners of the recent Washington Composer’s Forum call for scores competition.

The program includes the methodical music of composer Scott Rubin, the eclectic soundscapes of composer and sound designer Nick Vasallo, the instrumental and electroacoustic creations of composer Onur Dülger, the melodic musings of composer Michal Raymond Massoud, and the mixed-media melodrama of composer and conductor Whitney George.

The performance is this Friday, April 24 at 7:30 p.m. at Brechemin Auditorium at the University of Washington School of Music.

Washington State Percussive Arts Society’s Day of Percussion

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Sometimes you get stuck in the rhythm of the daily work grind and forget to take time to experience new and exciting music. This weekend, escape the humdrum of your sluggish Sunday with a trip to Washington State Percussive Arts Society’s Day of Percussion.

 

The all-day event features masterclasses, clinics, performances, prizes, and play-alongs with a pretty impressive collection of percussion pros. They’ll teach you everything you need to know about pit and theater percussion, marching drumlines, marimba music, Ghanaian drumming, graphic scores, and even timpani mallet-wrapping. Among the festival’s many performers are the Seattle Seahawks Blue Thunder Drumline, for the 12th Man among you.

Day of Percussion is this Sunday, April 26 at University of Washington’s Meany Hall from 10 a.m. to 9 p.m. For a full schedule of events, check out the Washington State Percussive Arts Society website.

NEW CONCERT RECORDING: Seattle Modern Orchestra’s “Electro-Colors”

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[photo credit: Amy Bowen]

Second Inversion is pleased to present the audio from Seattle Modern Orchestra’s 2014-15 season opener, Electro-Colors, featuring the US premiere of Huck Hodge’s Alêtheia!

Participating Musicians:

Paul Taub, flute
Daria Binkowski, flute
Angelique Poteat, clarinet
Rachel Yoder, clarinet
Melanie Voytovich, percussion
Becca Baggenstoss, percussion
Bonnie Birch, accordion
Cristina Valdes, piano
Mayumi Tayake, piano
Eric Rynes, violin I
Kimberly Harrenstein, violin II
Rose Bellini, cello
Mary Riles, cello

Be sure to check our live concert archive for more live performances, and stay tuned for more upcoming Seattle Modern Orchestra performances!

LIVE CONCERT SPOTLIGHT: November 21 & 23

by Maggie Molloy

David Bazan and the Passenger String Quartet

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David Bazan is a Seattle singer-songwriter best known as the creative force behind Pedro the Lion, a local indie-rock band which broke up in 2006 when Bazan went solo. However, this weekend Bazan is joining forces with a new type of band: the Passenger String Quartet.

The Passenger String Quartet is a neoclassical Northwestern ensemble dedicated to playing avant-garde, experimental new works. The group recently collaborated with Bazan to create an album full of all new studio recordings of Pedro the Lion and Bazan solo songs. For the past couple months, Bazan and the quartet have been touring in support of the album, titled “David Bazan + Passenger String Quartet Volume 1.”

After a long series of sold-out shows across the U.S., this weekend Bazan and the Passenger String Quartet are bringing the tour back home with a performance at Seattle’s own Neptune Theatre. The show is this Friday, Nov. 21. Doors open at 8 p.m. and the performance begins at 9 p.m.

 

TangleTown Trio Presents “Night of the Living Composers”

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Halloween may be over, but that doesn’t mean you can’t indulge in a spooky, spoofy musical performance every once in a while. This weekend TangleTown Trio is presenting “Night of the Living Composers.” A most unusual performance, the concert features the works of several contemporary, living composers.

TangleTown Trio is a local ensemble composed of mezzo-soprano and composer Sarah Mattox, violinist and violist Jo Nardolillo, and pianist Judith Cohen. The group specializes in classical music inspired by different genres of American music, including jazz, folk, and theatre.

For this weekend’s performance, they are tackling the works of many local living composers, including Christophe Chagnard, Bern Herbolsheimer, Carol Sams, Randolph Hokanson, and several others. The concert features but one dead composer—see if you can tell which one is the ghost.

“Night of the Living Composers” is this Sunday, Nov. 23 at the Columbia City Theater. Doors open at 5 p.m. and the performance begins at 5:30 p.m.

 

The Piano Trio: Classic to Contemporary

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Over the centuries, the piano trio has grown to include an extraordinarily large and diverse repertoire, securing a name for itself as a staple component of chamber music. This weekend, violinist Michael Jinsoo, cellist David Requiro, and pianist Christina Valdes are celebrating that vast and vibrant repertoire with a performance titled “The Piano Trio: Classic to Contemporary.”

The program features piano trios ranging from the passionate, poignant Beethoven to the experimental, aleatoric Ives. The concert will also feature trios by Brahms and Garcia, rounding out a program of exceptional chamber works from throughout history.

The concert is this Sunday, Nov. 23 at Cornish’s PONCHO Hall at 7 p.m.