LIVE BROADCAST: Joshua Roman and JACK Quartet | May 10, 7:30pm PT

by Gabriela Tedeschi

Photo by Shervin Lainez.

The world-renowned JACK Quartet welcomes a fifth member this week at the Town Music season finale: acclaimed cellist Joshua Roman. With a program designed to conjure up vivid images and emotions, Roman and the quartet are using sound to paint pictures and tell stories that will linger in listeners’ minds. Perhaps the most evocative work on the program is a piece by Roman himself.

Photo by Hayley Young.

Roman, who leapt right into performing with the Seattle Symphony and around the world after studying at the Cleveland Institute of Music, began composing his own music in 2013. He was commissioned by Town Hall and Music Academy of the West to compose Tornado, a work that paints a portrait of the storms that were a fixture of his childhood in Oklahoma.

Tornado is also inspired by music traditions of the past: Roman quotes a theme from  Beethoven’s Pastoral Symphony and alludes to works of the Baroque era which use virtuosity to evoke sensations of nature. In an ode to the untameable force of a tornado, Roman has left elements of the piece up to chance and performer interpretation by writing microtone smears and aleatoric parts.

The first half of the concert will feature John Zorn’s exhilarating Ouroboros and Jefferson Friedman’s Quintet, a musical manifestation of the grieving process. Amy Williams’ Richter Textures also appears on the first half of the program, each of its seven parts inspired by a different painting from German artist Gerhard Richter and each seeking to musically portray the complex textures his visual art is famous for.

In addition to Tornado, the second half will feature three Madrigali libro sesto from Don Carlo Gesualdo, arranged by Ari Streisfeld for strings. Gesualdo—an unstable and murderous 17th century composer—is known for chromatic harmonies and diverse emotional expressions that make his music sound modern to contemporary audiences. Because removing the voices meant removing the lyrics, Streisfeld employs different timbral techniques to convey the meaning and emotions of the text to the audience.

Second Inversion is thrilled to offer a LIVE concert broadcast of the performance this Thursday, May 10 at 7:30pm PT. Click here to stream the performance live from anywhere in the world!

Program:

Jefferson Friedman: Quintet (2013)
John Zorn: Ouroboros (2017)
Amy Williams: Richter Textures (2011)

Intermission

Carlo Gesualdo: Selections from Madrigali libro sesto, arranged by Ari Streisfeld
     Lo parto, e non più dissi
     Beltà, poi che t’assenti
     Già piansi nel dolore

Joshua Roman: Tornado (2017)


Town Music presents JACK Quartet and Joshua Roman on Thursday, May 10 at 7:30pm at Seattle First Baptist Church. For tickets and additional information, click here.

LIVE BROADCAST: Roomful of Teeth on Friday, March 9 at 7:30pm PST

by Maggie Molloy

Classical vocal music is nice—but if you’re looking for a vocal ensemble with a little more bite, look no further than Roomful of Teeth.

The Grammy Award-winning a cappella ensemble is dedicated to exploring the vast and limitless musical possibilities of the human voice. In fact, Roomful of Teeth’s eight vocalists have studied singing traditions from around the world, including vocal techniques as diverse as yodeling, belting, Tuvan throat singing, Inuit throat singing, Korean P’ansori, Georgian singing, Sardinian cantu a tenore, Hindustani music, Persian classical singing, and more.

This Friday, Second Inversion is thrilled to offer a LIVE concert broadcast of the group performing as part of Town Hall’s Town Music series curated by Joshua Roman. Click here to tune in and stream the concert live from anywhere in the world on Friday, March 9 at 7:30pm PST.

Concert Program:
Caroline Shaw: Partita for 8 Voices
Intermission

Caleb Burhans: Beneath
Caroline Shaw: The Isle
Merrill Garbus: Quizassa


Town Music presents Roomful of Teeth on Friday, March 9 at 7:30pm at Seattle First Baptist Church. For tickets and additional details, please click here.

A Mouthful of Forevers: An Interview with Gregg Kallor

by Maggie Molloy

Composer and pianist Gregg Kallor is used to being on stage during the premiere of most of his compositions—but at the Town Music season finale last night, he watched from the audience as Joshua Roman led members of the Seattle Symphony and Seattle Youth Symphony Orchestras in the world premiere performance of his new string orchestral work, A Mouthful of Forevers.

Based in New York, Kallor’s music fuses elements of classical and jazz to create a deeply personal musical language. We caught up with him during the dress rehearsal of his new piece to talk about music, poetry, and his new world premiere.

 

Second Inversion: What was it like hearing A Mouthful of Forevers performed for the first time?

Gregg Kallor: Exhilarating, nerve-wracking, gratifying, exciting—it was amazing. This is actually the first piece of mine that I have not been a part of the premiere of (as a performer or conductor).  It’s a different experience to sit in the audience and listen to it—but I couldn’t ask for a better advocate than Joshua Roman. It was so beautiful to watch these musicians whom I’ve never met all digging into this piece that I wrote. They’re all bringing their experience and their ideas. They really took it on as their own, and there’s no greater feeling than that.

SI: How would you describe the sound of this piece?

GK: I wanted to write something both lithe and lush—evocative vignettes with the grooving rhythms and shifting moods that Joshua navigates so beautifully.

SI: What was the inspiration for this piece?

GK: There’s an incredible poet, her name is Clementine von Radics, and she wrote a poem called “Mouthful of Forevers”; it’s also the title of a collection of poems that she published. It’s exquisite—it’s this heartbreaking, beautiful love poem and it’s talking about how both people have come into it with baggage and scars, but that makes the miracle of them finding each other that much more potent. It’s just beautiful. Her language is so honest and direct—there are no filters. I’m struck by a lot of her poetry—I’ve read that book ten times, but that poem in particular just really got to me and it was the inspiration for this piece.

SI: What was it like collaborating with Joshua Roman on this premiere?

GK: Joshua is one of the best musicians I’ve ever met. He’s extraordinary as a player, he’s a fantastic composer—now I’m seeing him conducting and it’s amazing. He’s just an extraordinary musician and a great, great friend, and I’m so honored and lucky that he’s championing my music.

LIVE BROADCAST: Town Music Season Finale

by Maggie Molloy

Every end marks a new beginning—and as the 2016-2017 Town Music series comes to a close, artistic director Joshua Roman looks excitedly toward the future with a program of works by living (and thriving!) composers.

For this Wednesday’s season finale, Joshua conducts members of the Seattle Youth Symphony Orchestra as they perform alongside SYSO alums and musical mentors. The wide-ranging program draws from musical traditions old and new, near and far—featuring a tribute to Haydn by Pulitzer Prize-winner Caroline Shaw, the world premiere of a new jazz-inspired work by Gregg Kallor, a tango-infused chamber piece by Osvaldo Golijov, a string homage to Hindustani classical by Reena Esmail, and much more.

Join us as we broadcast the performance LIVE this Wednesday from Town Hall Seattle! Download our app or click here to listen to the broadcast online from anywhere in the world, streaming live on Wednesday, June 21 at 7:30pm PST.

Concert Program:

Caroline Shaw: Entr’acte
Reena Esmail: Teen Murti
Gregg Kallor: A Mouthful of Forevers (World Premiere)

—INTERMISSION—

Osvaldo Golijov: Last Round
Christopher Theofanidis: Visions and Miracles
Jessie Montgomery: Starburst


Town Music’s Every New Beginning concert is Wednesday, June 21 at 7:30pm at Town Hall. Click here for more information, and click here to tune in to Second Inversion’s live broadcast.

NEW VIDEOS: Daniel Bernard Roumain & Marc Bamuthi Joseph: Blackbird, Fly

Second Inversion presents two excerpts from BLACKBIRD, FLY: A concert for Voice, Body, and Strings recorded live at Town Hall Seattle on December 6, 2016!

BLACKBIRD, FLY weaves together an enduring tapestry of movement, narrative, music and Haitian folklore to engage audiences in dialog about critical questions of our time.

Steeped in hip hop aesthetic, this intimate duet between two preeminent sons of Haitian immigrants – composer/violinist Daniel Bernard Roumain (DBR) and arts activist/spoken word artist Marc Bamuthi Joseph – unveils their life stories in search of their identity and role models, and delves into universal themes of tolerance and inclusion.

Introspective yet uplifting, BLACKBIRD, FLY is a culmination of Roumain and Joseph’s recent collaborations with Atlanta Ballet, Boston Children’s Chorus, University of Houston, Yerba Buena Center for the Arts, and Opera Philadelphia. In each of these communities, Roumain and Joseph have created and premiered new works that offer myriad experiential arts education opportunities, youth empowerment and social engagement around our shared values.

LIVE VIDEO STREAM: “Blackbird, Fly” with Daniel Bernard Roumain and Marc Bamuthi Joseph

Join us tonight, Tuesday, December 6 at 7:30pm (PST), for a live video stream from Town Hall Seattle featuring composer and violinist Daniel Bernard Roumain with spoken word artist and arts activist Marc Bamuthi Joseph in “Blackbird, Fly,” a concert for voice, body, and strings. Together these two American sons of Haitian immigrants explore themes of family history, folklore, politics, and race, all of it coursing with the rhythm and energy of hip hop.

If you’re in Seattle, we’d love to see you there! Get your tickets here and be sure to hello at the broadcast table in the lobby.

Program Notes by Aaron Grad c/o Town Hall Seattle

Blackbird, Fly is the co-creation of Daniel Bernard Roumain and Marc Bamuthi Joseph, two powerhouse performers who demolish boundaries in their respective art forms. Roumain, otherwise known as DBR, combines his classical training in violin and composition with the energy of hip hop and pop music, whether he is accompanying Lady Gaga on American Idol or presenting a new orchestral piece at Carnegie Hall. Joseph is best known as a spoken word artist and a National Poetry Slam champion, but his career has spanned from acting on Broadway to arts activism in Oakland.

These two men, both born in the United States to Haitian immigrants, have used their personal histories and artistic talents as springboards to examine larger questions about our society’s past, present and future, especially as it relates to Black life in America. After coming together for a number of projects across the country, from the Atlanta Ballet to San Francisco’s Yerba Buena Center for the Arts, Roumain and Joseph distilled their collaboration into what they describe as “a concert for voice, body and strings,” a label that hardly captures the enormous range and impact of this evening-length duet.

Roumain’s music for Blackbird, Fly is a kaleidoscopic mixture of classical, rock and hip-hop sounds that he creates on several electric violins as well as piano and laptop. When he sends aggressive bow strokes through a heavily saturated distortion pedal, or when he holds the violin across his chest and strums it like a guitar, his sound and technique comes closer to Jimi Hendrix than any concert violinist. Other times he extracts a pure, clean tone from his violin, using subtle sound effects to thicken and amplify his musical gestures into textures that give the impression of an entire string ensemble playing.

Joseph’s words and expressive body movements likewise transcend any one style or narrative thread. Part storytelling, part folklore and part politics, his libretto touches on everything from fatherhood and friendship to mass incarceration and police bias, all infused with the fluid rhythms of hip-hop and spoken word. He introduces an international perspective, with vignettes that recall visits to Haiti, Paris, Tokyo and Senegal. There is also a deep sense of history as he reflects back on figures such as Huey Newton and Martin Luther King, Jr.

Blackbird, Fly is awash in paradox: It is personal but universal; it is high art and pop culture; it is unflinchingly honest and still joyful and optimistic; it is tender and vulnerable and outrageously powerful and virtuosic all at the same time. This is a performance that might generate more questions than answers, but isn’t that exactly what we need today if we hope to understand each other and ourselves?

© 2016 Aaron Grad.

CONCERT PREVIEW: The John Cage Musicircus

by Maggie Molloy

This Saturday, the circus is coming to town—the Musicircus, that is. Come one, come all for a most unusual evening of art, dance, music, and chaos.

musicircus-promo-photo

Created by the avant-garde and always-iconoclastic composer John Cage in 1967, the
Musicircus is more of a “happening” than a traditional classical music concert. The score invites any number of performers to perform any number of pieces (musical or otherwise) simultaneously in the same place.

And this Saturday, Seattle-based percussionist and Musicircus ringmaster Melanie Voytovich has planned a multimedia presentation of this innovative work at Town Hall.

The John Cage Musicircus will feature over 40 musicians, dancers, performance artists, and poets performing pieces written (or inspired) by Cage and his explorations into the avant-garde. Woven in among the chaos are live performances of many of Cage’s best-known works, including the Sonatas and Interludes for prepared piano, In a Landscape for (unprepared) piano, Child of Tree for amplified cactus, Third Construction for unorthodox percussion instruments, Cartridge Music for amplified small sounds, 45’ For a Speaker for spoken voice, and other works of all styles and artistic disciplines.

musicircus-promo-photo-2

Performers will be stationed all over Town Hall, with audience members encouraged to explore how the sonic and visual experience shifts as they wander freely throughout the circus, gawking at the oddities within. Like much of Cage’s work, the event erases the boundary between performers and audience members, beckoning even the most ordinary among us to run away and join the circus.

And so without further ado, allow me to introduce you to just a few of this weekend’s circus performers:


melanie-voytovichName: Melanie Voytovich

Performing: John Cage’s Third Construction and Composed Improvisation for snare drum

Describe your pieces in one word:
Third Construction: Historic
Composed Improvisation: Exploration

What makes your pieces unique? Cage composed Third Construction in 1941 during his time at Cornish. Through this work (and others in his Construction series), he sought to recreate the effects of tonality and harmonic progression upon traditional aspects of musical form—but using only non-pitched percussion instruments. The result was what Cage called a “micro/macrocosmic structure”: a musical form in which the grouping of units of time was the same on the small and the large scale.

Third Construction calls for four performers and a large assortment of exotic and unorthodox instruments, including a teponaxtle (Aztec log drum), quijadas (jawbone rattle), lion’s roar (a washtub with a small hole through which a rope is noisily pulled), and an assortment of cymbals, shakers, claves, tom-toms, and tin cans. By exploring these otherwise unconventional percussive colors and timbres within a controlled musical structure, Cage creates a work that is endlessly inventive—yet surprisingly unified.

Composed Improvisation for snare drum alone is similarly oxymoronic. Composed in 1987, the piece was composed using chance procedures derived from the I Ching: an ancient Chinese classic text that is commonly used as a divination system. The “score” for Composed Improvisation is literally just two pages of instructions which build the structure to the improvisation (number and duration of sections, use of implements, preparations, etc).


ania-ptasznikName: Ania Ptasznik

Performing: John Cage and Lejaren Hiller’s HPSCHD, live coded

Describe your piece in one word: Transparent

What makes your piece unique? In the year when HPSCHD first debuted, computers were in their infancy.

What was extremely complicated to do then is surprisingly simple now. This performance, among other things, is a reflection on the evolution of technology and the changes that have taken place since the work was first created.

Live coding is the act of composing music with computer code. Unlike Ed Kobrin, the original computer programmer behind HPSCHD, one can now create music in real time, on the fly. As I execute functions based the patterns of I Ching hexagrams, the code will be available for everyone to see. I intend to bring the audience into the bare, yet elegant language of the computer while providing a subdued backdrop to a room of human performers. What makes this piece unique, I think, is in the dualities that take place: between head and heart, “high art” and debauchery, visibility and invisibility, and human and machine.


kerry-obrienName: Kerry O’Brien

Performing: Alvin Lucier’s Silver Streetcar for the Orchestra and John Cage’s Diary: How to Improve the World (You Will Only Make Matters Worse)

Describe your pieces in one word: Shimmering

What Makes Your Pieces Unique? Alvin Lucier’s Silver Streetcar for the Orchestra (1988) is a solo for amplified triangle. Typically heard as part of an orchestra, the triangle is lucky to be struck once or twice each performance. There’s value in this: triangles can teach patience. But the triangle has other lessons to teach. In Silver Streetcar, Lucier instructs a percussionist to examine this instrument thoroughly, discovering the peculiar ways it can clang and quiver, reverberate and sing. With one hand, I’ll strike the triangle, varying the speed, intensity, and location of my striking, while with my other hand, I’ll dampen, mute, and manipulate the triangle to create further variations. As it turns out, there’s a world of complexity inside the shimmer of a triangle. 

Every so often, I’ll take a break from triangle playing to read the first few installments from John Cage’s Diary: How to Improve the World (You Will Only Make Matters Worse)a mashup of musings that may shimmer with relevance (or shimmer with contradiction) given America’s recent politics. If you listen closely, you might hear some of these musings amidst the Musicircus chaos.


ilvs-strauss

 

Name: ilvs strauss

Performing: John Cage’s Lecture on Nothing

Describe Your Piece in One Word: Wordy

What Makes Your Piece Unique? I’ll be using Cage’s text as a starting point for discourse, both literal and physical.

 

 


michaud-savage-2Name: Michaud Savage

Performing: John Cage’s Eight Whiskus, Aria, and 8 Mesostics Re: Merce Cunningham

Describe your pieces in one word: Someantics

What makes your pieces unique? These pieces speak to Cage’s interest in disparity and cohesion, seen realized in three inventive approaches: sketch, collage, and notation.


tom-bakerName: Tom Baker

Performing: The Cage Elegies (original work inspired by Cage)

Describe your piece in one word: Elegiac

What makes your piece unique? The Cage Elegies is a “conversation” between myself and John Cage. The piece uses Cage’s recorded voice as its main material, around which the electric guitar circles and interacts.

It is in three movements, entitled: 1) Nowhere 2) Middle 3) Questions, with improvisations as prelude, interludes, and postlude. Many aleatoric procedures were brought to bear on the composing of this work, including the spoken text and length of all sections. 


jesse-myersName: Jesse Myers

Performing: John Cage’s Sonatas and Interludes (for prepared piano)

Describe your piece in one word: Ever-changing

What makes your piece unique? The piano preparation process and sounds in this music are always changing. The music is a process in itself which transports the listener through a series of moods based on Indian aesthetics called ‘rasas.’ This music is alive as the sounds, preparations, music, and process is ever-changing.


bonnie-whitingName: Bonnie Whiting

Performing: John Cage’s Third Construction and 51’15.657″ for a Speaking Percussionist (an original, solo-simultaneous realization of Cage’s 45′ for a Speaker and 27’10.554″ for a Percussionist)

Describe your pieces in one word: Third Construction: Joyous; 51’15.657″ for a Speaking Percussionist: Multiplicity

What makes your pieces unique? Cage’s 45′ for a Speaker and his 27’10.554″ for a Percussionist are vintage pieces: music from the mid-50’s and part of a series of timed works that he enjoyed mixing together and referred to in notes and letters as “the ten thousand things.” A culmination of 14 months of work and study, this version is the first to feature one performer executing both pieces in their entirety.

Cage subjected several of his lectures to chance procedures, and the result is his quirky and imaginative 45′ for a Speaker. Additionally, this particular version of Cage’s 27’10.554″ score is a very faithful realization, focusing on a performer-determined search for most uniquely beautiful and interesting sounds: a fusion of traditional percussion instruments as well as an array of found-objects, non-percussive sounds, and electronic sounds.

This idea of simultaneity: of layering rather than true interpolation is one of the most fascinating branches of Cage’s output. He stumbled upon it in his work with collaborative (and life) partner dancer Merce Cunningham. In some ways, this realization of these pieces is a microcosm of the (later) Musicircus idea, making it a great fit for this event.


stacey-mastrianName: Stacey Mastrian

Performing: John Cage’s Experiences No. 2 for voice, The Wonderful Widow of Eighteen Springs for voice and closed piano, A Chant with Claps for voice and hand claps, and selections from Song Books for voice with or without theatre and electronics

Describe your pieces in one word:  Eclectic

What makes your pieces unique? The first three pieces I will perform come from the 1940s—early in Cage’s output—when the voice appears in a simple and unaltered manner but is paired in unusual ways, whereas the last grouping of pieces spans the artistic and stylistic gamut, employing speaking, singing in various modalities, other noises, and electronics.

Experiences No. 2 (1948), for solo voice to text by e. e. cummings, was originally written for a dance by Merce Cunningham. Cage writes a straightforwardly beautiful melody that is interspersed with measured silences, and the singer can choose a comfortably low key in which to perform the work. This performance will feature nine dancers from Souterre, with world premiere choreography by Eva Stone.

A Chant With Claps (194?) exists only in manuscript form, and C.F. Peters and the John Cage Trust have graciously granted me permission to perform this rarity. This very brief, unpublished work bears the dedication “For Sidney,” which likely refers to ethnomusicologist Sidney Cowell, the wife of Cage’s former teacher, Henry Cowell.

Guitarist Mark Hilliard-Wilson and I will perform a version of The Wonderful Widow of Eighteen Springs (1942), with alliterative, imagery-rich text fragments from James Joyce’s Finnegan’s Wake that describe the infant Isobel; Joyce himself said this passage was inspired by a piece of music. Cage’s piece has a rather conventionally notated melodic line, but it is composed of only three pitches, which gives it a chant-like quality.

Song Books (1970) embrace far more than singing. In this iteration I will be performing Solos for Voice No. 7 (which involves me building an object resembling a wigwam out of toothpicks and tissues), No. 43 (I utilize electronics and improvise a duet with myself), No. 53 (I vocalize in ten different styles and five languages), No. 57 (I must achieve immobility), No. 71 (I write a card with note or sketch in ink), and No. 78 (I take off my shoes and put them back on).


Name: Michael Schell

Performing: John Cage’s Cartridge Music

Describe your piece in one word: Noisy

What makes your piece unique? A milestone of live electronic music and a classic of indeterminate notation, this uncompromising work from 1960 directs the performer(s) to use ceramic phonograph cartridges with various objects other than a conventional stylus. These objects are then “played” by the performers, along with auxiliary sounds created by attaching contact microphones to various objects, the resulting mix being amplified and projected through loudspeakers.

Performers build their score independently using Cage’s graphic pages and transparencies. The result is a sound world built from typically “undesirable” sonorities (hum, white noise, mechanical shuffling), small sounds (sounds of soft amplitude that take on very different characteristics when greatly amplified), and sounds that partake of more conventional meaning (such as toys or standard musical instruments played unconventionally and amplified using contact microphones). What gives the work coherence is the common electromechanical origin of its sound sources, and the consistent, largely non-metric, rhythmic milieu enforced by its unconventional notation and performance directions.

In other words: this is a rare example of an indeterminately-notated, non-improvisational composition that has a recognizable character and always comes out sounding good.


maggie-molloy-headshotName: Maggie Molloy

Performing: John Cage’s Dream and In a Landscape for solo piano, and an original zine titled Diary: How to Read John Cage

Describe your pieces in one word: Translucent

What makes your pieces unique? Dream and In a Landscape are both pretty tame by Cage standards: there are no chance operations, no graphic notations, no amplified cacti, no screws or bolts inside the piano. In fact, each of these pieces is comprised of just a handful of notes and a whole lot of sustain pedal. The melodies drift slowly and freely from one hazy note to the next, with the pedal blurring all of it into a beautifully simple and ethereal dreamscape. And although these pieces are certainly a far cry from most of Cage’s more daring compositions, they are still unmistakably Cagean: the gently meandering melodies evoke his quiet nature, his slow, thoughtful manner of speaking—his utter willingness to lose himself entirely in sound.

If Dream and In a Landscape are explorations of Cage’s character, then my next piece is an exploration of his mind. Diary: How to Read John Cage is a zine I created in response to Cage’s monstrous five-hour art piece, Diary: How to Improve the World (You Will Only Make Matters Worse). Written and recorded in the years leading up to Cage’s death, the Diary’s contents range from the trivial details of everyday life all the way to the vast expanse of history, philosophy, and global politics—and all with an idiosyncratic dose of humor and wit. Over the course of eight weeks, I read and listened through Cage’s entire Diary and created my own personal diary tracking the experience. Copies of my John Cage Diary zine will be available free of charge at the Musicircus.


The John Cage Musicircus is Saturday, Nov. 19 from 7-10 p.m. at Town Hall Seattle. Second Inversion’s Maggie Molloy will present a pre-concert lecture at 6:30 p.m. For tickets and additional information, please click here.