Women in (New) Music: NOCCO Concert Preview and Q&A with Angelique Poteat

by Maggie Molloy

With the Winter Solstice rapidly approaching, the days are shorter and the nights are colder. Daily temperatures hover just around freezing and the sun sets before most people even leave the office.

It’s been a trying year in more ways than one, and as winter winds blow us straight toward the end of 2016, it’s easy to feel that the world is dark and cold—both literally and figuratively.

noccoBut the North Corner Chamber Orchestra (NOCCO) is combatting that coldness with music that is warm, radiant, and bursting with light. Their annual Winter Solstice Celebration this weekend offers a sonic respite from the cold and dreary December temperatures with performances Sunday at Magnolia United Church of Christ and Monday at the University Christian Church.

The celebration pairs classics by Stravinsky, Respighi, and Bach with a West Coast premiere of a new work by Seattle composer and clarinetist Angelique Poteat. Titled Floral Interactions, the piece is a garden of swirling melodies composed for eight wind players and two percussionists.

And since this is its very first Seattle performance, we asked Poteat to give us a sneak peek at what’s in store:

Second Inversion: How would you describe your compositional style? What are some of your major influences?

angelique-poteatAngelique Poteat: As a performer of a melodic, or linear instrument (clarinet), my music tends to be fairly melodic and very thematically oriented.  There is a great deal of layering of lines, which in turn influences my use of harmony.

I grew up listening to a plethora of musical styles, from country music and rock ‘n roll to church hymns and jazz.  A lot of this has found its way into my music, aside from classical influences like Bartók and Messiaen.  I feel that my music and style is constantly evolving.


SI:  What was the inspiration behind Floral Interactions? What does it sound like, and how did you choose this instrumentation?

AP: I wrote Floral Interactions in 2006 for the 21/21 New Music Ensemble at Rice University.  The instrumentation was requested by the ensemble.  My inspiration for the work came from several friends of mine, who at the time were reassessing their relationships with one another.  I wanted to capture some of the emotions involved with feeling like a friend is drifting away because of the introduction of a significant other.  With the exception of the climax, much of the piece is dynamically understated, with swirling, dense textures that are juxtaposed with moments of awkwardness and solitude. The title is a play on Florid, which describes the writing for each instrumental part.

SI: Women are extremely underrepresented in musical leadership roles, and especially in composing.  How has being a woman shaped your experiences in this role?

AP: In a society that promotes ideas like Affirmative Action, extra effort is being made to assure that female composers are given opportunities to have their music recognized.  As a composer in the “minority,” I have felt extra pressure to create music that is significant not only within my gender, but compared to all contemporary classical music that is being written today.

I don’t want to be categorized as a good “female composer,” or programmed as the “token female composer,” but instead thought of as an “outstanding composer,” period.   It is not so easy to cross that gender line, and maybe that means that my music has to be better than better.  I think all women, to some extent, feel that they have to put forth more effort than they should in order to be taken seriously.


SI: What advice do you have for other women who are fighting to have their music heard?

AP: Writing music is not easy!  Music has a great potential to affect people differently in very strong ways; someone out there will love what you write, and someone out there will hate it.  With that in mind, write what YOU love.  

If you’re writing music for live musicians, remember that you’re writing for people, and put care into writing each part.  Share your music with as many people as possible, and your excitement about it!  In today’s world, you have to be the greatest advocate for your music, especially in the face of adversity.  Your enthusiasm about your music will be contagious, and others who hear and like your music will also fight to have it heard again.

SI: What are you most looking forward to with the NOCCO Solstice Celebration, and what do you hope audiences will gain from it?

AP: This weekend’s NOCCO performances will be the first time Floral Interactions will be performed without a conductor!  I’m excited to hear the difference that a more “chamber music” approach to performing the piece will have on how the music is interpreted and coordinated.  I made a few small revisions to the work earlier this year, so we could call this the world premiere of the updated version and, at the very least, the West Coast premiere of the piece.

I love NOCCO’s idea of creating light during the darkest time of the year by sharing warmth and beautiful music, and this program will certainly feature plenty of that!  I’m grateful to be included in the Celebration, and I hope that audiences will feel inspired and moved by the experience.

Performances of NOCCO’s Winter Solstice Celebration are this Sunday, Dec. 18 at 7:30pm at Magnolia United Church of Christ and Monday, Dec.19 at 7:30 at the University Christian Church in Seattle. For tickets and additional information, please click here.

From John Cage to Afro-Cuban Jazz: Concerts You Do NOT Want to Miss This Season

by Maggie Molloy

Ahh, fall. The leaves are changing, the rain is sprinkling, the sky is cloudy, and the pumpkin spice marketing is in full swing. Those hot summer days are finally behind us and we’re back to our familiar, cozy, flannel-covered fall in Seattle. After all, October is a time for new beginnings, new adventures, and—most importantly—new music.


Seattle’s 2016-2017 concert season is jam-packed with fresh new music of every shape, style, and structure (or lack thereof). From John Cage to Afro-Cuban jazz,  Astor Piazzolla to Andy Warhol, Benjamin Britten to Brazilian poetry—there is something for everyone. Here are some of our top picks for the season:

On Stage with KING FM: Second Inversion is thrilled to host two concerts this year as part of the second season of On Stage with Classical KING FM! In March, we’ll present the Seattle Marimba Quartet with an eclectic program of classical favorites, modern marimba repertoire, and interactive drumming rhythms drawing from Afro-Cuban, Brazilian, and African musical traditions.

Then in May, back by popular demand, we present the Seattle Rock Orchestra Quintet with the mesmerizing Tamara Power-Drutis for a program that transforms pop songs into art songs, reimagining both classic and modern tunes as intimate chamber works for the recital hall. Check out our videos from last season for a sneak-peek of what you can expect.


Seattle Symphony: Ditch the conventional concert-going experience of strict seating, fancy attire, and three-hour long performances with Seattle Symphony’s [Untitled] concert series. This season you can catch landmark works by Witold Lutosławski (arguably Poland’s most innovative composer since Chopin), drench yourself in the dramatic soundscapes of Polish composer and singer Agata Zubel, explore the wide-ranging musical styles of Soviet era composers, and even enter into the twisted worlds of two of America’s most confounding cultural icons: pop artist Andy Warhol and jazz pianist Thelonious Monk.

And speaking of jazz: Seattle Symphony will also co-present their annual Sonic Evolution concert with Earshot Jazz this November. Grace Love and the Garfield High School Jazz Band join the symphony for an evening celebrating two extraordinary Seattle musicians: the incomparable composer and record producer Quincy Jones and the legendary blues singer Ernestine Anderson, both of whom attended Garfield High School.

Untitled Concert

Meany Center for the Performing Arts: Formerly known as the UW World Series, Meany Center is still just as committed as ever to bringing music from around the world to their Seattle stage. In November, they’ll feature the Grammy-nominated Imani Winds quintet, known around the globe for their dynamic playing, culturally conscious programming, and adventurous collaborations. Argentine tango composer Astor Piazzolla, Cuban-born jazz saxophonist Paquito D’Rivera, and Palestinian-American oud and violin virtuoso Simon Shaheen are just a few of the composers listed on this program.

In January, the New York-based Jack Quartet presents an evening of composed and improvised music along with visiting artists from the internationally acclaimed Six Tones Ensemble and UW School of Music faculty members Richard Karpen, Juan Pampin, Cuong Vu, and Ted Poor. And if you can’t make it to these concerts, don’t sweat—Second Inversion will be broadcasting them live on our online stream.


John Cage Musicircus: Come one, come all to the John Cage Musicircus this November 19! This multimedia concert “happening” features over over 60 musicians, dancers, performance artists, and poets simultaneously performing pieces from Cage’s expansive body of work, 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 much more!

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 building. Plus, Second Inversion’s own Maggie Molloy will present the pre-concert lecture, perform two piano works, and distribute free copies of her John Cage Diary series as a zine for audience members to take home!

john-cage-musicircusNorth Corner Chamber Orchestra: Celebrate those cozy winter nights with NOCCO’s annual Solstice Celebration, this year featuring the music of Stravinsky, Respighi, Bach, and Seattle composer Angelique Poteat. Then in February for Black History Month, NOCCO performs a program featuring a newly commissioned work by local composer Hanna Brenn and performance artist C. Davida Ingram alongside classics by two Pulitzer Prize-winning African American composers: Scott Joplin and George Walker. And in April, their season wraps up with a brand new world premiere by NOCCO’s principal clarinetist and composer, Sean Osborn, along with well-loved works by Rossini and Haydn.

noccoSeattle Modern Orchestra: These guys are starting their season off with a bang: three new premieres by living composers. First, a U.S. premiere by Lithuanian composer Vykintas Baltakas, then a West Coast premiere by German composer Wolfgang Rihm, followed by a world premiere by American composer Andrew Waggoner featuring Grammy-winning guest pianist Gloria Cheng.

The rest of the season features cutting-edge collaborations with University of Washington’s Solaris Vocal Ensemble and the Paris-based clarinetist Carol Robinson, a world premiere by SMO co-artistic director Jérémy Jolley, the 80th birthday of legendary Seattle trombonist Stuart Dempster, the 90th birthday of renowned Seattle clarinetist and composer William O. “Bill” Smith, and the centennial celebration of American composer Robert Erickson.

gloria-chengUniversal Language Project: ULP is back for another season of interdisciplinary and out-of-the-box collaborations between 21st century musicians and artists of all disciplines. In October: a multi-media work by Marcus Oldham about racial reconciliation (featuring Second Inversion regulars the Skyros Quartet). In January, composer Chris Stover showcases his works for chamber jazz ensemble featuring spoken word, found sounds, and dance inspired by Brazilian poets. Then in March, the season wraps up with a surreal, outer space-inspired performance featuring artist Erin Jorgensen with local musicians, the overtones of her 5-octave marimba merging with intimate whispering and beautifully minimal music in a small stab towards enlightenment.

erin-jorgensenEmerald City Music: Now in its inaugural season, Emerald City Music is on a mission to make classical chamber music accessible to broader audiences in Seattle and Olympia. And they’re not wasting any time: their inaugural season features 45 renowned guest artists from around the world. Each of the concerts offers a uniquely thematic glimpse into the chamber music repertory, featuring classical masterworks and newly composed music alike. Bookended by concerts featuring familiar works by Bach and Beethoven, this year you can also expand your classical music palette with cutting-edge performances of works by the likes of Henri Dutilleux, Thomas Adès, Benjamin Britten, Bohuslav Martinů, Percy Grainger, David Schiff, Per Nørgård, Ryan Francis, Thomas Koppel, and more.

dover-quartetTown Music Series: Curated by Second Inversion Artistic Advisor Joshua Roman, the Town Music Series programs cutting-edge and virtuosic chamber works which bring together the best of old and new classical traditions. Their 2016-2017 season kicks off with cellist Joshua Roman joined by violinist Caroline Goulding for an evening of dynamic duets by Halvorsen, Kodály, and Ravel. Stay tuned for details on the rest of the season!

joshua-romanWayward Music Series: If you’ve got wayward or otherwise unconventional music taste, the Wayward Music Series will keep you satiated all year long. Check their online calendar or subscribe to their newsletter for specifics on upcoming events, which span the new music gamut from contemporary classical to the outer limits of jazz, electroacoustic experiments to explorations of the avant-garde, eccentric instruments to unorthodox sound art, multimedia collaborations and much more.

wayward-music-seriesThese are just a handful of the new music happenings we’re most looking forward to this season—for more up-to-the-minute details on experimental, avant-garde, and otherwise unconventional music events around the Northwest, check out Second Inversion’s full event calendar!