SoundAdvice

2011 ACO Underwood New Music Reading Composer Videos

2011-06-10T14:49:00.000-07:00

We have been posting the blogs from the 2011 ACO Underwood New Music Readings posted on NewMusicbox.org, but nothing is better than video. Here are some comments from all the composers captured on video during the first day of the readings.

Before & After: Hear What One Composer Says About His Experience with the Underwood New Music Reading

2011-06-10T14:30:00.000-07:00

"This last week has been a busy one, so it wasn't until this morning (Thursday) that it hit me that the Readings were just around the corner! Coming up on the train from Philly tonight, it occurred to me that I'll most likely hear my piece tomorrow without ever having gone over it with ACO's Music Director George Manahan, and though it might seem a little counterintuitive, I kind of like that idea.", Composer Michael Djupstrom wrote in his blog on NewMusicBox.org. Read more from composer Michael Djupstrom about his experience with the 2011 ACO Underwood New Music Reading.

Underwood New Music & Jazz Composers Institute Readings

2011-06-10T14:19:00.000-07:00

From June 3-7, 2011, ACO presented a series of readings of new orchestral compositions. Beginning with the Underwood New Music Reading, featuring works by six composers (Friday & Saturday) followed by the Jazz Composers Institute Reading, featuring eight composers' works (Sunday & Monday). Hear the JCOI readings origin story from George E. Lewis and hear what UNM Readings composer, Kate Soper, has to say about her experience.

Playing It UNsafe

2011-03-04T08:30:00.000-08:00

Playing It UNsafe, ACO's R & D lab for cutting-edge new American orchestral music, culminates with the final concert tonight. Composers Sean Friar, Joan La Barbara, Laura Schwendinger and Henry Threadgill have completed their works and if you are a lucky member of the audience, you will get to hear how "UNsafe" music can be. We are eager to hear what you thought about the concert. Which piece did you think was the most "UNsafe?" Why? Which piece would you like to hear again? What do you think makes music "UNsafe?" Whether you attended the concert or not, we want to hear what you have to say.

2011-02-27T08:36:00.000-08:00

More about SHADINGS today at:
http://host.madison.com/article_05316078-4e99-5ff5-a78f-4b5c10921605.html

EarShot in the news

2011-02-23T07:01:00.000-08:00

It's been great hearing what our EarShot composers had to say about the Buffalo readings. Frank Oteri offers a fascinating look at EarShot in the current issue of Symphony.

Buffalo Readings Postscript (by Carl Schimmel)

2011-02-21T13:33:00.000-08:00

It's been a little over a week since the EarShot Readings in Buffalo, and I'm still thinking about the ways in which EarShot is and could be the link between "emerging" composers and audiences around the country.

First, kudos to Maestro Kraemer and the Buffalo Philharmonic Orchestra for the fantastic readings they gave, and for all their hard work -- thank you so much. It's always thrilling to hear a new work, but this is particularly the case when the piece is for full orchestra. And, thanks too to the staff and administration of both EarShot and the BPO, whose efforts made the event possible.

There are many obstacles to composers who are seeking to reach audiences with their orchestral works: they need an ability to write well for large ensembles, they need music directors who can and will take the time to look over new repertoire, they need orchestra administrations who support progressive music directors (but can still pay the bills), etc. Without any of these components, an orchestral composer is probably sunk. But at least as important as any of these is the need for a willing audience.

Who wants to listen to my music? I mean that seriously -- will you listen to my music, please? That is the implied question proposed by any composer when he or she presents a new work for performance. The unspoken answer is often NO. There are many reasons why someone might justifiably not want to listen to my music -- no free time, the weather is bad, the concert hall is uncomfortable -- but the reasons which pertain specifically to me and my music, while justifiable, usually can be traced to a lack of familiarity.

The research I conducted for my doctoral degree focused on the statistical modeling of the effects of repertoire decisions on orchestra ticket sales. Not surprisingly, the programming of works that are most familiar to audiences resulted in higher single-ticket sales. So for example, Carl Orff's Carmina Burana would typically result in higher sales than Beethoven's Symphony No. 1, even though Beethoven is a far more famous composer and few non-classical-music-lovers have ever heard of Carl Orff.

So what does this mean for contemporary composers? It doesn't sound like good news -- contemporary music is almost universally unfamiliar to audiences, except for film scores. To my surprise, contemporary music did not fare poorly in my study -- in fact, it did rather well, compared to works by composers such as Schubert or Weber or Franck. I can partly explain this unexpected result by the fact that contemporary composers are alive -- we are able to comment on the world in which our audiences live, and more importantly we are able to interact with our listeners. The right piece, by the right person, can draw audiences sometimes even if the musical language is relatively unfamiliar.

For better or worse, careers in many (perhaps all) disciplines are forged largely on interpersonal relationships. In Buffalo, Steve Stucky shared with us a story from his own life which perfectly demonstrated this phenomenon, and several of us discussed afterwards how tirelessly entrepreneurial the great composers were. Perhaps there were many other incredible composers in Beethoven's time whose music is forgotten today because they failed to connect with the right people. To a large extent the networking effect plays itself out between composers and the performers of their works. However, in our democratic society, I am certain that the most successful among us rely heavily on a solid relationship with our audiences as well. Composers like Philip Glass and Frank Zappa come to mind -- these are strong personalities who intrigue potential listeners as people.

What do orchestral audiences know about me? Almost nothing at all, except perhaps what is written on page 19 of the program, under the "Bios" section. If they knew that I grew up in Rhode Island, would they be more interested to listen to my music? Probably, if they live in Rhode Island. How about if they knew that I am sometimes inspired by grunge music from the 1990's? I suppose this would interest quite a few twenty- and thirty-somethings. What if they heard that I like to write music which uses dog chew toys and turkey gobbles? (I do.) According audiences the opportunity to meet and communicate with composers will give them a reason to listen.

Our ability to breathe and move around and sometimes even to talk gives us a leg up on folks like Beethoven and Orff. Even amateurs have this significant advantage over the geniuses who were composing by candlelight while the short French man sent armies into Russia. Fortunately for American audiences, there are hundreds of brilliant orchestral composers among us, deserving of a chance to be heard by a potential public. They simply need to be given a way of networking with both orchestras and concert audiences -- and that is where EarShot comes in. The key, I think, to making EarShot a permanent and vital institution lies in its ability to connect composers with audiences -- not solely to connect composers' music with audiences (although this alone would be a great service) -- and not just to connect composers with music directors -- but to connect the people who compose with potential listeners. I am convinced that this can happen, and I think it will be exciting to watch EarShot reach its full potential.

Programming women composers

2011-02-15T11:57:00.000-08:00

Last week the New York Philharmonic announced their 2011-12 season. There were some surprises -- Stockhausen's Gruppen -- was one of them, but as the New Music Box's Alexandra Gardner pointed out, not one women composer was to be found. Same was true of the Los Angeles Philharmonic's offerings for the upcoming season. A healthy debate is in progress and you can follow it on Twitter (the hashtag is #DWG) and also share your thoughts here. What do you think?

…and a thought about works by women... a composer speaks

2011-02-15T09:11:00.001-08:00

When Mozart and Beethoven wrote symphonies, most orchestras played premieres; the idea that an orchestra would play mostly the music of dead composers was an oddity. If one considers the amazing amount of great works commissioned and premiered by American orchestras in the first half of the 20th century and then consider how these same orchestras program now, one wonders if the next "Beethoven"would ever be performed. It's doubtful. The ACO has made a point of looking for these extraordinary voices and the Playing It UnSafe series takes this a step further, by challenging us to write music that pushes our boundaries musically and conceptually.

ACO asked me to offer some thoughts about the ongoing "webversation." Indeed there is a problem with the failure of orchestras to program works by women. The ACO has done an exemplary job of programming the music of women. On this upcoming Playing It UnSafe concert (March 4, 2011), two of the four composers represented are women (myself and Joan La Barbara.) When Miller Theater commissioned me in 2007 for a "Pocket Concerto", I was one of twelve composers commissioned--two of us were women. I remember having a discussion with a fellow composer over a decade ago, in which I found myself listing a very large group of very fine women composers. Today that list is so long it's hard to start..but to name some Shulamit Ran, Tania Leon, Victoria Bond, Augusta Read Thomas, Tamar Diesendruck, Chen Yi, Unsuk Chin, Stacy Garrop, the list goes on and on. Each of these composers, and nearly 100 more I could name, are exceptional in their own ways. It's a matter of having the music directors know--and I mean really listen to--their work. That takes time and effort. It also takes commitment to find great new voices, and not program for the wrong reasons--i.e. who's hot now, who will sell tickets etc. I do think that the considerations that go into programming do not always come from the best artistic concerns. As an artistic director myself (of the UW Contemporary Chamber Ensemble), it's not difficult for me to find really GOOD music by living composers and women. I make it a point never to program more than one DWG on each of my programs and often I program more than half the concert with works by women because I know these works, they are included in my regular listening.

I think that's what makes ACO's programming exemplary. A phenomenal advisory board and artistic director, each one a composer and musician with vision and artistic curiosity--leading them to really listen to the music--which inevitably brings them to program music by a more diverse set of composers.

2/11/11 – The Debrief (Austin Jaquith)

2011-02-12T07:51:00.003-08:00

On Thursday morning, the scheduled event was a debriefing from the mentor composers where they addressed significant aesthetic issues that each work brought up. In other words, we got to hear what they really thought of our pieces! I found this to be extremely helpful. None of us came to this event to get a patronizing proverbial pat on the back, and we were not disappointed. Each piece brought up issues well worth engaging. Most of the pieces elicited comments regarding form, pacing and aesthetic identity. These are of course some of the most difficult problems to sort out as a composer, and none of us created a piece that was above reproach. I suspect that time and experience will help sort out many of these issues, but we are clearly still a work in progress in that respect.

In conclusion, I can only express praise and gratitude for this event. The opportunity to experience an orchestral reading and performance has been a real inspiration to continue exploring orchestral music. Thanks to the BPO, the ACO, and all the individuals that made this event such a success!

2/10/11 – The Performance (Austin Jaquith)

2011-02-12T07:51:00.001-08:00

As we had anticipated, the performance tonight was a significant improvement over the readings. Many of the difficult passages were smoother, and executed with greater confidence. Although it was not surprising, it was striking. The audience seemed appreciative, and the composers were all happy with the performance. I can’t speak for the other composers, but I was exhausted afterwards. Listening to a performance of your own work is very draining, even though you are not participating in an active way. It is one of the oddities of being a composer! Despite being a bit worn down, the experience was inspiring, and very satisfying

2/9/11- Fantastissimo (Austin Jaquith)

2011-02-12T07:50:00.000-08:00

After much hand wringing and more than a little nervous energy expended, we finally got a chance to hear our pieces last night. Highly impressive from all fronts! The musicians played exceedingly well. They navigated easily through some fairly tricky passages and were able to give each piece more than a fair rendering. The conductor, Matthew Kraemer, clearly had studied the pieces extensively, and ran the rehearsal with considerable expertise. The work of the composers was impressive. Although the influences found in the pieces came from across the aesthetic spectrum, each one had a clear artistic presence. We began with Michael Foumai’s piece, “The Light-Bringer” which began with bold unisons alternating with expressive dyads. As the piece traversed its duration, we saw a number of textures, from exciting contrapuntal exchanges to dramatic tutti downbeats. The piece held together well, and ended with a beautiful orchestral diminuendo. Carl Schimmel’s composition, “Rite. Apotheosis.” included both subtle, evanescent textures as well bold, dramatic gestures. It was quite compelling. Nathan Kelly’s “The Legend of Pecos Bill” had a charming western character to it. It had a great sense of musical direction and clarity. Hats off to my fellow composers! My own composition, “Blaze of Autumn,” a rhythmically active and texturally dense composition came across with surprising accuracy for an initial reading.

After the readings we had a rare opportunity to sit down with representatives from every section of the orchestra. Because of the natural distance, both figuratively and literally, between performers and composers in the usual orchestral performance situation, it was fascinating and enlightening to see how the music came across to the performers, and what their experience of the piece was. Some of the topics that arose included how much information to include in the parts – especially with percussion, balancing visual clarity with rhythmic nuance, and appropriate uses of virtuosity in the orchestral setting.

In addition to discussing the pieces with the players, we also had a chance to hear some feedback from the mentor composers. The comments were limited to “nuts and bolts” considerations, which helped us as made minor revisions to the piece that night that will be included in tonight’s performance.

EarShot Day One

2011-02-10T10:09:00.000-08:00

Day one of the EarShot readings is in the books. Composers Michael-Thomas Foumai, Austin Jaquith, Nathan Kelly, and Carl Schimmel have received valuable feedback from BPO associate conductor Matthew Kraemer, BPO members, and mentor composers David Felder, Steven Stucky, and Robert Beaser. As the composers prepare for day two and the free public reading session, let's take a look at the first day.

Matthew Kraemer chats with Michael-Thomas Foumai as Austin Jaquith looks on

Nathan Kelly, Austin Jaquith and Carl Schimmel

Mentor composers Robert Beaser, David Felder and Steven Stucky

BPO members offer feedback

Felder, Kraemer and Beaser assess our composers' works

Day one done. Be sure to visit us for reports on days two and three.

good luck!

2011-02-09T15:00:00.000-08:00

It's striking to have an impressive body of musicians and composers all assembled in a room and to also have them comment on your work and then walk thru a door and hear an orchestra play it! what an orchestration lesson! everyone is saying "good luck" but actually, the composers get off fairly relaxed before the performance! nothing we can change now (though i have been plotting....) i heard a story of a conductor tell an orchestra in before a recording session with 5 mins before a break, now everyone take your part down a half step! tempting... tempting... :) -nathan

photo caption:
nathan kelly reviews his score during the first day's reading.
photo credit Enid Bloch

A.K.J - On the Way

2011-02-09T05:39:00.000-08:00

As I sit here anticipating my plane’s departure from Dayton, I am looking forward to the next three days immensely. I’m looking forward to meeting the other composers, participants and mentors, the conductor, and musicians from the BPO. I’m looking forward to hearing some great music. Most of all, I am looking forward to an opportunity that was a pleasant surprise, and promises to provide some valuable and difficult to acquire experience. I am reminded of an orchestration course I took in which the professor remarked early on that he wasn’t entirely sure what the point of the course was, since it was likely that none of us would ever have an opportunity work with a professional orchestra. This was a good dose of realism for sure, although none of us took the hint and dropped the class! In any case, I am happy to be beating the odds this week.

photo caption:
Austin Jaquith during the first orchestra reading with the Buffalo Philharmonic
photo credit Enid Bloch

Prelude to the readings

2011-02-01T13:14:00.000-08:00

We are all excited about the upcoming EarShot Buffalo Philharmonic readings and look forward to what participants have to say about this ground-breaking project. Be sure to check in this week for their observations leading up to the readings, and next week for their first-hand accounts of what's going on at Kleinhans Music Hall. The readings take place February 8-10, read more about EarShot and the Buffalo Philharmonic Orchestra.

Sound Off! Orchestra Underground: A Time and Place

2010-12-03T17:13:00.000-08:00

I know you've been waiting for it... Now is your chance to tell us what you thought about the concert!

Conductor George Manahan, Concertmaster Eva Gruesser, composer Chris Trapani

L to R: Cellist Maya Beiser, composer Doug Cuomo, conductor George Manahan

Here are a few questions to get the ball rolling...

- Which piece most clearly evoked a time and place?
- What surprised you most about the concert?
- Which piece did you enjoy the most? Why?

See what other people are saying and let us know what you think!

(By the way, if you filled out a SoundAdvice survey at the concert, look for your answers in the comments section!)

Orchestra Underground: A Time and Place

2010-12-03T12:07:00.000-08:00

ACO's second Orchestra Underground concert of the season is tonight! Rehearsals this week have gone really smoothly, even with all the complicated tech and challenges with setups, etc. Sometimes I feel like a broken record player saying this, but it has been really amazing to see everything come together throughout the week. We started this week with a string sectional, then had a percussion/piano/harp/mandolin sectional the next morning, then a full orchestra rehearsal that afternoon, and finally brought everything together with the soloists yesterday.

Highlights from rehearsal week include:
- Hearing the orchestra 'sing' in Jerome Kitzke's piece The Fire at 4 a.m. while working through the syllables with the composer.
- Two words: hexaphonic guitar. It sounds fantastic and Chris Trapani is a wizard.
- If Chris is a wizard, then cellist Maya Beiser is a sorceress. She was mesmerizing in rehearsal!
- High Line really seems to capture the spirit of the park in the piece; especially great is hearing the 'buildings' pop out of the texture

You can read more about the concert on our website here, or just come to the show and see for yourself! Tickets are almost all gone, so act fast!

Hope to see you tonight! If nothing else, check back for our next post, the latest installment of Sound Advice.

Playing it UNsafe

2010-10-18T12:30:00.000-07:00

We're excited to start our series of workshops today for Playing It UNsafe, the first and only professional research and development lab to support the creation of cutting-edge new American orchestral music through no-holds-barred experimentation, encouraging composers to do anything but “play it safe.”

The Playing It UNsafe program that starts today will last throughout the entire season, and includes a series of laboratory workshops and public readings, culminating in a concert on March 4, 2011 in Carnegie Hall's Zankel Hall. This afternoon, audiences will have their first opportunity to see and hear the composers’ works-in-progress at the opening lab workshop.

The composers participating in Playing It UNsafe are Sean Friar, David Heuser, Joan La Barbara, Laura Schwendinger, and Henry Threadgill, selected from a national search for their willingness to experiment and stretch their own musical sensibilities, and their ability to test the limits of the orchestra. Playing It UNsafe grew out of ACO’s ongoing mission to commission and perform new music that expands the range of possibilities for – and challenges conventional notions about – orchestral music.

In the coming weeks, Laura Schwendinger and Sean Friar will be joining us here at Sound Advice to write about their experiences with the program. Until then, you can find more information about Playing it UNsafe and read about each piece at http://www.americancomposers.org/unsafe/.

Sound Advice - Jazz Composers Orchestra Institute Concerts

2010-07-27T09:57:00.000-07:00

I know you've been waiting for it...
Now is your chance to tell us what you thought about the Wet Ink and ACO concerts!

Here are a few questions to get the ball rolling...

- What surprised you most about the concert?
- What piece did you enjoy the most? Why?

- How did you first hear about this performance?

See what other people are saying and let us know what you think!

(By the way, if you filled out a SoundAdvice survey at the concert, look for your answers in the comments section!)

Photo: Gil Rose conducting ACO in rehearsal at Miller Theater

Jazz Institute featured in NPR Blog!

2010-07-27T08:36:00.000-07:00

The week of the Jazz Composers Orchestra Institute has come to a close, but people are still talking about all of the incredible work that was done by the mentors, participants, and performers from both ACO and the Wet Ink Ensemble.
Reporter Lara Pellegrinelli attended many of the seminars and rehearsals and is blogging about the Institute over at NPR's 'A Blog Supreme'. Check out her posts here.

Let's hear from the JCOI participants...

2010-07-26T14:57:00.000-07:00

The Jazz Composers Orchestra Institute has come to an end, and we are glad that everyone had a great time! It definitely gave many an opportunity to explore new jazz ideas, learn from the resident mentors, and also enjoy the two concerts by Wet Ink and the ACO. Thanks to all who contributed in their very own way to make this institute possible!

During the Institute, we chatted with some of the participants during their lunch and dinner breaks to find out how they're doing at the institute...

The youngest composer participant at the JCOI, 17-year-old Phillip Golub, who studies in Santa Monica, Los Angeles, CA.

One of the three female composer participants at the JCOI, Nicole Mitchell, from Chicago.

Composer participant Juan Zhou, from China, shares with us her experience at the JCOI.

That's all for now, stay tuned for more webcam interviews from the institute!

First Day at the Jazz Composers Orchestra Institute!

2010-07-23T11:31:00.000-07:00

Here at Columbia University's Dodge Hall, where fellow composers and musicians gather to share their ideas on jazz and contemporary music composition. Attending seminars, workshops.. not forgetting high tea.. and most importantly meeting and interacting with new people!

Director at the Center for Jazz Studies at Columbia University, George Lewis and Program Director at the Center for Jazz Studies, Dan Beaudoin, tell us what JCOI is all about!

Also, resident composers Derek Bermel and Tania León share with us what jazz means to them and how it has impacted their musical life...

More chats with participants and resident composers at the JCOI coming up! Watch this space.

Underwood Readings in the New York Times!

2010-05-25T08:27:00.000-07:00

In case you haven't opened the paper yet today... just had to share that Steve Smith gave us a nice write-up in the New York Times for the Underwood Readings this past weekend:
"Behind the polished veneer of any orchestral premiere there lies a process of familiarization and toil, a process made unusually transparent by the American Composers Orchestra in its annual Underwood New Music Readings. The program, designed to give young composers access to an orchestra as well as crucial feedback from experienced colleagues, offers an invaluable glimpse behind the curtain, allowing audience members to witness firsthand the labor that goes into bringing new symphonic works to the stage."
You can read the entire article here.
Congrats again to our seven composers!

Romaneiro Ringtones... Ricardo wins the Audience Choice Award!

2010-05-24T09:48:00.000-07:00

At the close of this weekend's Underwood Readings, the audience got a chance to pick their favorite composer, awarding him or her a commission to create an original ringtone to be distributed by ACO.
The ballots were cast and counted and the winner was announced at the after-party:
Ricardo Romaneiro won the Audience Choice award!
Congrats Ricardo! We're all looking forward to your hand-crafted ring. I hope to hear it buzzing from the phones of music fans all over the city... but hopefully not in the middle of a concert...
Here's a link to his website so you can hear some of his other tunes.

Xi Wang talks about the inspirations for her piece Symphony No. 1

2010-05-22T17:00:00.000-07:00

Participant composer Xi Wang takes a break between sessions to talk about the inspirations behind her work Symphony No. 1.

Hannah Lash and Matti Kovler talk Elevator Speeches

2010-05-22T16:00:00.000-07:00

Composers Hannah Lash and Matti Kovler talk about their experience with the Underwood Readings, including the sessions on self promotion and learning how give a 30 second "elevator speech"

Ricardo Romaneiro checks in after his first feedback session

2010-05-22T15:45:00.000-07:00

Ricardo Romaneiro checks in briefly after the first feedback session with the mentor composers. His piece "Sombras" is receiving its first reading at the 2010 Underwood New Music Readings.

Eric Lindsay gives a samba lesson - video blog entry

2010-05-19T12:53:00.000-07:00

Check out our first entry from composer Eric Lindsay. Coming to you from Bloomington, IN before his flight to NYC, he talks about his work Samba Koocho Hairy Boocho, which will be read by ACO this weekend.

2010 Underwood Readings are underway!

2010-05-19T12:33:00.000-07:00

Hello all! After putting out a call for scores, receiving well over 100 submissions, selecting seven composers, and going through all the prep work of production schedules, parts preparation, travel booking etc. etc. etc...
The 2010 Underwood Readings are happening this weekend! All of the composers collect tomorrow evening to begin an intense weekend of readings and feedback sessions with mentor composers, conductors, and ACO musicians.
They'll also be checking in with our fans here on the SoundAdvice blog with short video diary entries to talk about their music and their experiences working with ACO.You can also follow one of our composers (Tamar Muskal), the conductors (Jose Serebrier and George Manahan), and ACO musicians Danielle Kuhlman on the NewMusicBox site.
I hope to see you at the readings on Friday morning and Saturday evening at Miller Theater at Columbia U, and feel free to leave comments and questions on the upcoming posts!

-John Glover, Ops Manager

The Nashville Experience

2010-04-09T09:15:00.000-07:00

This is Dan Temkin checking in again. I am writing after two days of hard work with Maestro Guerrero and the Nashville Symphony. It has been an amazing and intense process to bring to life four challenging and stylistically varied works within a few days time. I am truly amazed and impressed by how successful the final performances of each piece went, and we owe many thanks to Maestro Guerrero’s efficiency on the podium as well as to the professionalism of the orchestra who worked steadily with an open mind in order to perform our works so musically.

On Day 1 we were thrust into a live working rehearsal where the orchestra was hearing our music for the very first time; it was essential to work quickly and to try to understand what problems the orchestra could fix on their own and what problems we needed to point out verbally in order for the musicians to understand our compositional ideas. The musicians had prepared the music very well prior to the first rehearsal and many solo passages and complex percussion set-ups had been completely dissected before the first downbeat. This helped things run very smoothly and as problems arose, members of the orchestra asked concise, direct, questions, in order to solve any issues that were hindering the best performance of our music. After the initial reading we had a meeting with Maestro Guerrero, the librarians, and a few select players from the orchestra, where many suggestions were made to improve our pieces. This session was extremely helpful, but also very intense, as many of the details of our pieces were scrutinized in order to help us understand how our music could be made stronger.

On Day 2 we went back into the beautiful Schermerhorn Hall ready to move forward with our music. From the very first notes played by the orchestra it was clear that the previous day’s work had already sunk into the players’ minds. As each piece was rehearsed it seemed that many subtle nuances within each score were beginning to line up and the music was slowly crystallizing before our eyes and ears. The final performance of each work was exhilarating and I could not be more pleased with how my piece Regenerations sounded by the end of the rehearsal.

This has been a humbling and powerful experience for me. The insights I have gained into the way orchestras work in rehearsal and performance have been invaluable. I am so grateful to all of the people who have made this possible at ACO and Earshot. I want to especially thank Maestro Guerrero and NSO, as well as Emma McLeod, Robert Beaser, Jennifer Higdon, Edgar Meyer, Ed Harsh, Cindi Hubbard, John Glover, and Jenny Kampmeier. I also want to express my thanks to my colleagues Ryan, Chiayu, and Michael who are all immensely talented composers and insightful musicians; it has been an honor to share this experience with you.

Dan.

Photos:
1. Daniel Temkin speaks to the audience before the Nashville Symphony reads his piece.
2. A group shot of the whole Nashville EarShot gang.

EarShot Nashville Symphony

2010-04-05T21:30:00.000-07:00

I feel so fortunate to have the great opportunity to work with Nashville symphony. I am very excited about this reading and want to thank all the people who have supported and worked on this project.

This reading will be a sound realization of my work. For composers, listening to our own music to be performed live is the most exciting experience. I am eager to hear what the end result is, to meet the musicians and to learn from this reading.

Chiayu

Photos:
1. Chiayu Hsu addresses the audience before the Nashville Symphony reads her piece.

2010-04-05T07:54:00.000-07:00

Hello!

This is Daniel Temkin, checking in with the ACO community on the SoundAdvice Blog. Later this week I will be travelling to Nashville to participate in the ACO/Earshot Orchestra Readings with the Nashville Symphony. I’m obviously thrilled to have the opportunity to work with an orchestra that performs at such a high artistic level, and I no doubt will gain a tremendous amount of practical experience from the readings. I would very much like to thank everyone at ACO, Earshot, Meet the Composer, and NSO for making this opportunity available to young composers.

There will be four composers participating in the readings (me, Chiayu Hsu, Ryan Gallagher, and Michael Rickelton), and I think I can speak on behalf of all of us when I say that we are very excited and perhaps even a little anxious as the readings approach. Except when performing their own music, composers are not physically in control of the sounds being produced as their music is brought to life; instead they are required to prepare a set of thorough instructions (namely, a score and a set of parts) that must be interpreted carefully by instrumentalists so that the artistic ideas of a piece can come to fruition in concert. After a piece has been sent off to an orchestra or ensemble the composer is no longer directly in control of the music that has been created, and as performances approach there is often a sense of anticipation in the mind of the composer before the first notes are played. I certainly am feeling this excitement and anticipation at this time. Luckily for me, and for all of us working with NSO later this week, we can rest assured knowing that our “instructions” are in extremely capable hands.

More to come as the readings get underway…

Dan.

Photo:
1. The Nashville Symphony Orchestra on day one of the readings.

Sound Off! Orchestra Underground: Conversations

2010-02-12T09:01:00.000-08:00

I know you've been waiting for it... Now is your chance to tell us what you thought about the concert!

(Photo: Next Atlantis by Sebastian Currier, video by Pawel Wojtasik)

Here are a few questions to get the ball rolling...

- What surprised you most about the concert?
- What do you think about the incorporation of video in Next Atlantis?
- Which piece did you enjoy the most? Why?

See what other people are saying and let us know what you think!

(By the way, if you filled out a SoundAdvice survey at the concert, look for your answers in the comments section!)

Okay, I lied.

2010-02-12T08:48:00.000-08:00

I said that our "Sound Off" post was coming up next, but I couldn't resist sharing this real quick. Take a look at our composer portrait video for Paquito D'Rivera:

Linksplosion!

2010-02-11T08:38:00.000-08:00

You know, everything has been so busy around here, we've hardly had time to update our blog! We are smack dab in the middle of submission processes for two EarShot new music readings, our annual Underwood new music readings, submissions for this summer's Jazz Composers Orchestra Institute, and proposal submissions for the ACO/LVMH "A Greener New York City" commission. And of course we also have our next concert coming up on April 9th, Composers OutFront! concerts next week on February 22nd and one on March 21st, a fantastic online auction to help support our orchestra, not to mention we appointed a new music director! Also, did you know that you can listen to ACO recordings on Instant Encore?

Breathe in. Breathe out. Wax on. Wax off. I know it's a lot to handle, but you guys have never let us down before.

Up next: our (quarterly? concert-ly?) post where you can share your comments about what you thought of the concert, this time for our "Conversations" concert from January 29th. We received more comments from audience members than ever before, so be sure to look for yours! Until then, here's a shot of Paquito D'Rivera, Robert Black, Anne Manson, and the orchestra from our dress rehearsal at Carnegie:

Sound Off! Orchestra Underground: Traditions and Transmigrations

2009-12-02T13:49:00.000-08:00

I know you've been waiting for it... Now is your chance to tell us what you thought about the concert!

Here are a few questions to get the ball rolling...

- What surprised you most about the concert?
- Do you think that composers write differently when they are the soloist? How so?
- Which piece did you think was the most convincing? Why?

See what other people are saying and let us know what you think!

(By the way, if you filled out a SoundAdvice survey at the concert, look for your answers in the comments section!)

Photo: Erin and Colin Gee in rehearsal with ACO's Orchestra Underground

Rehearsing...

2009-11-28T12:27:00.000-08:00

Happy Thanksgiving everyone!
Quick post just to put up a few pictures - we're rehearsing all weekend for our concert on Monday (tickets at the Carnegie Hall website), pretty exciting stuff going on! I feel like we say this every time, but it is really amazing to see everything coming together after months of anticipation and preparation.It is amazing watching this orchestra shift from piece to piece. First a Chinese folk singer, then a jazz pianist riffing on 'Now's the Time' and finishing off the day qith a work dedicated to the traditions of the Navajo Indians. No rest for ACO musicians and never a dull moment...

Conductor Stefan Lano rehearsing with Huang Ruo and the orchestra

Percussionist Jonathan Haas rehearses Huang Ruo's Leaving Sao

Stefan Lano and pianist Donal Fox rehearse Peace Out

Donal Fox and Creative Advisor Derek Bermel

The Brotherhood/Sister Sol and Curt Cacioppo

2009-11-24T11:24:00.000-08:00

Just a few days ago on November 20th we had a fantastic program with Curt Cacioppo and an amazing group of kids from The Brotherhood/Sister Sol. Curt's brand new work When the Orchard Dances Ceased will be premiered next week (!) at Zankel Hall, when Curt will perform with the orchestra, singing in the Navajo Indian style and playing traditional Navajo instruments. At the event with Brotherhood/Sister Sol, Curt demonstrated some of the music and brought his instruments for the kids to try out. The kids had a great time, and we are very excited to be welcoming them to the concert next week!

Photos by Lyn Liston.

We've been busy! - Colin and Erin collaborate for our season-opener....

2009-11-23T14:14:00.000-08:00

Wow, the last few months have been really busy here at ACO! Between gearing up for our season opener concert at Zankel Hall, education programming, submissions for our New Music Readings programs, and our Composers OutFront! series, its hard to imagine that just a few months ago it was summertime and we were blissfully getting ahead on projects...

On October 30th we had our first Composers OutFront! concert of the season, featuring creative siblings Erin and Colin Gee at The Whitney Museum in a performance and discussion. ACO will be premiering Erin's new work Mouthpiece XVIII: Mathilde of Loci, Part 1 at our season opener concert on November 30th. (Psst - check out all of our season highlights here). For a "behind the scenes" look at Erin and Colin's collaboration process, as well as excerpts from the Composers OutFront performance, check out this video by our filmmaker Jeremy Robins:

Afterthoughts

2009-08-05T11:42:00.000-07:00

Wanted to say a quick note of thank you to the experience in Denver with the Colorado Symphony and EarShot. It's been two weeks and I'm still replaying the learning experience and new ideas that stemmed up from the whole process. It was a valuable experience to see musicians, conductors and composers work together to give birth to something new and beautiful. It was very precious to see the communications and feedbacks between the different parties, and to learn to observe the creation and execution of a new artwork from different perspectives. There are many details involved and it is not easy, but all the hard work is well worth the result because one of the most valuable asset in a genre is what's upcoming, young and alive.

A big thank you to the composer mentors, Robert Beaser, Derek Bermel, and Roberto Sierra for their guidance and mentoring through the process, conductor Delta David Gier for his feedback and dedicated work in interpretation, and the CSO and artistic director Alberto Gutierrez for their support. What's also exciting is to see a pretty good turn out from the audience part. The audience were enthusiastic when they entered the Boettcher Concert Hall with their smiling faces, looking eager to found out what's in store for them in these new work-in-progress. That's a testament to their respect, interest and openness to discover new voices. Also wanted to thank Lyn Liston and Ed Harsh for coming out there to give us mentoring and a presentation. The business side of composing is very important and the conversations and morning breakfasts (those were refreshing starts and one of the best memories!) were rewarding and informational.

Lastly, I wanted to thank my composer colleagues--what a great group we had! We were very encouraging and helpful with each other throughout the whole process, and were open to share our artistic comments with each other. Something to admire working with such a positive group.

-Angel

A great experience

2009-07-23T16:13:00.000-07:00

Just a quick note to say how much I learned from the Earshot readings with the CSO. I am still sorting through all of the feedback from the mentor composers, conductors, and orchestra musicians, and thinking hard about how to apply all of this information to my next orchestral piece!

I am so thankful for the amazing support we had at the readings. The organization of the readings was pretty much flawless, so special thanks to everyone who made that happen. Specifically, I'd like to thank the ACO folks (Michael Geller, John Glover, Jenny Kampmeier, and Lyn Liston), Ed Harsh from Meet the Composer, Alberto Gutierrez and Jessie Arian from the CSO, and of course the musicians of the CSO!

I thought Robert Beaser, Derek Bermel, and Roberto Sierra were really impressive - I knew they were very good composers, but I was grateful for their thoughtful analysis/criticism of the pieces, which is not always guaranteed with "well-known" composers.

I can hardly imagine more dedicated conductors than David Gier and Fergus Macleod. It was a pleasure working with Fergus on my piece, and I am still pondering some of the advice/comments that both conductors made about the four pieces, and about writing for the orchestra in general.

Finally, thanks to Angel, Jeremy and Yotam! Though all four of us seem to be quite different aesthetically, I also feel a "kinship" with you. I enjoyed getting to know your pieces, and am looking forward to hearing more of your music!

-Tim Sullivan

Intensity

2009-07-18T21:54:00.000-07:00

So I think that I survived the Earshot readings with the Colorado Symphony Orchestra. I made it to Chicago for some decompression (via a summer rock festival) and I feel lighter and heavier at the same time. The reason that I feel lighter is because the readings are over, but I feel heavier due to a sense of accomplishment and knowledge gained.

Firstly I want to thank (in no particular order) Lyn, Michael, John, Roberto, Robert, Derek, Ed, Delta David, Fergus, and the performers and staff of the CSO for such an immensely gratifying experience. Although my piece was completed two years ago, the reading sessions finally provided the necessary opportunity to learn what I needed to learn. I was successful with some of my ideas and visions, and others left me flat on my face. Ironically (or ironically not?), it was the adherence to my ideas with a ham fist and vise-grip that caused the most problems.

That leads to my assessment of the nature of what ACO and Earshot are trying to accomplish. The least successful elements of my piece were the result of relying too much on my mind's ear and my ideology. The orchestra is a living, breathing, imperfect organism, and writing for orchestra requires skill, preparedness, and efficiency. Although imagination, sincerity and humanity are what I value the most in art, I learned firsthand that these facets must be focused and distilled properly with such a large and varied ensemble. If modern orchestral music is to evolve, then composers must have room to grow through hearing their music. So hats off to Earshot: we need you now more than ever!

Lastly, I want to thank Angel Lam, Tim Sullivan and Yotam Haber for their support. It was quite humbling (after all, humble pie is the very best flavor) to be chosen to participate with three incredibly talented, kind, interesting and supportive people. I felt a strong kinship with them and am quite floored to be one of their peers.

Oh, and let's not forget Jessie for her selfless early morning airport runs. She deserves a medal.

Bye Denver!

-Jeremy Podgursky

caption:
1. Jeremy Podgursky applauds the orchestra at the close of reading his work Our Bliss, It Comes in Waves.

Feeling the Love

2009-07-18T10:08:00.000-07:00

It all seemed to happen so fast once it got started. For some time now, the ACO staff has been getting ready for the EarShot/Colorado Symphony New Music Readings. First there were the 180 scores that arrived in the office. Then there was the announcement about the four winners, followed by all sorts of detailed preparatory activities, followed by packing and getting to the airport to come out here to Denver.

What is truly wonderful about this is just how much all the work was worth it. First of all, there is the Colorado Symphony Orchestra who took on this tremendous project. They are a fantastic ensemble, and to have them embrace this initiative and offer the Readings is another reason to have more hope for the future of new music. And when I hear conductors David Gier and Fergus Macleod, mentor composers Derek Bermel, Robert Beaser, Roberto Sierra, VP for Artistic Planning Alberto Gutierrez, and Meet The Composer’s president Ed Harsh all supporting the four composers and genuinely wanting to help, it feels like we are indeed a community.

On Wednesday, after we arrived, we held a session primarily about promoting one’s music. It turned out that the question “how do I promote my music without offending the people I’m promoting it to” is still a hurdle for composers. (It’s good to know that composers care.) All of the folks listed above and a few others in the room did their best to convince these four that they can do it and offered “insider” advice on how to go about it. And if the advice is something the composers feel they can follow through on, I look forward to seeing what these four creative minds come up with.

-Lyn Liston, Director of Marketing, Education, and Outreach, American Composers Orchestra

caption:

1. Tim Sullivan (composer) and Fergus Macleod (conductor) review Tim's score before the second reading of his piece Polychrome.

Mad Music Part 3: Angel Lam

2009-07-16T23:00:00.000-07:00

Derek Bermel and Angel Lam take a break from the post-readings party hosted by Colorado Symphony to talk shop about Angel's work In Search of Seasons...

Reflections on a crazy day

2009-07-16T22:36:00.000-07:00

Wow. What a long, exciting, stressful, and rewarding day. I thought all of the readings went pretty well, and the orchestra sounded simply fabulous! Working and talking through my piece with Fergus was great, and I am anxious to see if the small adjustments we made will be successful. The feedback on all of the pieces from conductors, players and mentor composers was really amazing - even if I didn't agree with everything that was said, it was great to hear so many different perspectives, and some things really resonated with me. I'm excited to hear all of the pieces again tomorrow!

-Tim Sullivan

caption:
1. Tim Sullivan making corrections and adjustments to his work following the first day of the reading.

Mad Music 2 with Jeremy Podgursky

2009-07-16T13:11:00.000-07:00

Derek is back with Mad Music Part 2. Here he talks with composer Jeremy Podgursky immediately following his first read-through of Our Bliss, it Comes in Waves. Check it out...

after the first reading

2009-07-16T11:58:00.001-07:00

No train-wrecks, thankfully, but lots of rhythmic issues, all my fault. David Gier was patient and quickly worked through untangling those knots. We lost a good 10 minutes on issues that could have been resolved had I been more careful with simplifying my rhythmic notation, but once the CSO grasped what I intended, they rocked hard.

-Yotam Haber

caption:
1. Delta David Gier conducting the Colorado Symphony Orchestra.

Thoughts from Ed Harsh...

2009-07-16T11:02:00.000-07:00

We're lucky to have Ed Harsh, president of Meet The Composer, with us for these readings. Aside from giving time for individual consultations with each of the particiapnt composers in this reading, he's also tweeting about his experience hearing each of these new works as they roar through the hall. You can follow him here: http://twitter.com/MeetTheComposer
Or follow our hashtag for the event: #ESCOread

Here are a few of his reactions from hearing Jeremy Podgursky's Our Bliss, It Comes in Waves conducted by Delta David Gier:

-Pungent brass and bell scrambles vs. silences. Sustained strings transmute to smears of sliding color
-Shimmer and scramble again, two restrained roars. Chroma and economy
-Delta David Gier on podium: an image of assurance and commitment. Attending to details, elegantly bringing out the music

20 minutes before go-time

2009-07-16T10:34:00.000-07:00

Just heard Jeremy, Tim, and Angel's pieces read -- all were incredible, diverse, and beautifully (actually, miraculously) read by the CSO. Now we are on a 20 minute break and then it's my turn before the firing squad.

-Yotam Haber

caption:
1. fellow composer Jeremy Podgursky looks over Yotam's score Forward Ornament as the orchestra prepares to read it for the first time.

Mad Music! Part 1

2009-07-16T09:55:00.000-07:00

Minutes before the first reading, Derek Bermel talks with composer Tim Sullivan and conductor Fergus Macleod about the preparations before heading into day 1 of the readings session...

And Away We Go...

2009-07-16T09:09:00.000-07:00

It has actually started. After many long flights and grappling with time changes and altitude (this is the mile-high city after all...) I'm sitting in Boettcher Concert Hall listening to the orchestra's first pass through of Angel Lam's piece In Search of Seasons. Aside from the fact that the music unfolding is delicate, sensitive, and just plain lovely to hear, there is a palpable energy in the air. The musicians, the composers, all focusd on this very concentrated moment, the first stab at a new work.
Imagine what it felt like the first time Mahler threw a downbeat on his first "Titan" Symphony. Or the moment when Beethoven first heard three brash E-flat major chords blared out by an orchestra as he gave a sucker-punch to the symphonic world. Or better yet, don't. Come by tomorrow morning and hear and feel it for yourself. There is an undeniable energy to the first run-through of a new work... a terror, a joy... let's face it, it's just pretty darn cool.

-John Glover, Ops Manager

caption:
1. Delta David Gier leads the Colorado Symphony Orchestra.

You Can't Miss the Bear

2009-07-15T10:29:00.000-07:00

Well, here we are. Finally in Denver for the readings! After arriving last night, I've been spending the morning working with the folks at the Colorado Symphony and preparing for everyone's arrival. It is sort of wonderful how many different folks are descending on Denver today. All of the composers (both our young participants and the mentor composers who will be giving them critiques and guidance throughout the three days), industry folks like Ed Harsh from Meet the Composer and Michael Geller from ACO/EarShot, conductors David Gier and Fergus Macleod, and of course there are all of the hard working people here at the CSO who have so generously taken part in this reading. And then of course there are the students and new music enthusiasts in the area who are coming out of the woodwork to observe a seminar this evening and also the public readings on Friday morning at the concert hall downtown.

While I was trying to find my way to the performing arts complex (which is so fantastic) from my hotel, I got directions from a few folks. The consistent bit of information was "You can't miss the bear..." Indeed. On my way to the hall, walking down 14th street, I passed what might be my favorite piece of public art ever. I suppose he's holding up the convention center?

Looking forward to three terrific days!

-John Glover

Looking Forward to the Readings

2009-07-15T09:51:00.000-07:00

I'm in Milwaukee, WI, visiting family for the last four days, spending every moment I can submerged in cool Lake Michigan. I Flew in from Rome, Italy, where I'm living now, on July 10th, and am flying to Denver tomorrow morning. After reading the blog posts from my fellow composers invited for the readings, I am relieved to hear that I'm not the only one that has nightmares about part extraction and the spectacular train wrecks that could happen....
I wrote this piece in May 2009, at the MacDowell Colony. I had just started reading Italo Calvino's fascinating American Lessons - the Norton Lectures that he wrote for Harvard - and was inspired to begin a series of works based on each of the lectures, which I believe are universal, not just for writers.
For me, the most nerve-wracking part of launching a piece into the world is the first time I hear musicians rehearse it. Sometimes performers don't like to have a composer present at a first rehearsal, and I completely empathize. It's very difficult to make sense of a fresh score, never played before.
What is a modern, major orchestra like, I ask myself. Is there still a sense of the old totalitarian regime that once reigned under Toscanini? If the 4th desk second violin player has a problem, does he whisper it to the 1st desk 2nd violin, who whispers it to the concertmaster, who gingerly asks the conductor? What will happen if I want to say something to the orchestra? Will I be able to?
I know I won't sleep tonight, nervous and excited for the adventure to come. I'll see you all in Denver!
Thank you to all the hardworkin', fantastic folks at ACO and in Colorado who have made this amazing event possible -- I am really honored to have been selected.

-Yotam

The new work

2009-07-09T19:15:00.000-07:00

I'm honored to be able to take part in the EarShot Colorado Symphony Orchestra Reading. This is a very exciting opportunity because I cannot wait to hear this piece come alive.

This work has many meaningful memories for me, and it was a joy to complete this work as I reminisce on the beauty of seasonal changes and the unforgettable events and people that are associated with these seasons. Here are my original inspirations behind the work:

"I was born in Hong Kong and moved to Huntington Beach, California as a child. Strictly speaking, these two cities never gave me any true feelings of the seasons. Recently, I had the opportunity to further my graduate studies in the American Northeast. There, I finally experienced the real delight of seasonal changes.

Should I tell you some of my favorites?

Winter is always a mystery. Star-shaped, diamond-shaped and square-shaped snowflakes fly like mist in the red sky; they explode into a wild dance in the silent air. The long stormy nights often send me into deep thoughts. The most memorable moment is closing the door to the harsh cold world behind me and being embraced by the warmth of home. The joy is beyond what words can describe.

The end of winter is marked by the first roar of thunder from the distant sky. It is Spring's thunder--her awakening call. Suddenly the earth cracks and splits, the whole world turns into a running fragrant stream. We must hurry, the wonders of the world are waiting for our discovery.

In autumn, trees one by one catch on a fiery red. The sky is crisp and the air is light. I like to take a break while the northern wind is still friendly, to travel into the mountains looking for bears.

Summer is most mesmerizing. I lay in nature's never-ending greens while I watch the afternoon sun shine through the leaves. The southern breeze massages my lazy soul and I slowly drift into a dream. I would spoil myself and nap until the street lamps light. I love summer long.

As time goes by, I begin to understand more about the seasons. Seasonal change is a witness to our lives. The more splendid the scenery, the more romantic the atmosphere, the more details you know of their stories, the easier you feel lonely. We desperately need someone with whom to share and witness these beautiful moments together.

Occasionally, I come back to Hong Kong. It is busy, noisy and crowded, as always. However, the nature of this city keeps me high-spirited.

During these years, Hong Kong has changed a bit, somewhat, somehow. She has added to herself a firework season – firework festival every night at the harbor.

If you are planning to enjoy the fireworks tonight, don't forget to bring along that special someone, somebody to share the joy of the season with you – to be a witness to the glory in your life.

Have you found your favorite season yet?"

2009-07-08T16:52:00.001-07:00

Hey everybody-

We're very excited to welcome you to the Earshot readings in Colorado! It was inspiring to see so many great scores submitted; it's a shame they can't all be part of the readings. But we're very excited to hear these new works come to life, and we're all looking forward to two days of intense music-making and compositional growth.

Derek Bermel

Christmas in July

2009-07-06T07:33:00.000-07:00

Coordinating the logistics and practicalities of performances and readings of new music can be exhilarating... it can also be quite a bit of intense and occasionally frustrating work. All of the detail work of coordinating schedules, tracking parts, making sure bowings are handled, can sometimes - for a brief second - distract from the excitement of what it is that is actually happening.
There is one part of this job that has consistently been fun, however. Once we've determined the selected participants I get the job of calling them to tell them they've been selected. This is indescribably fun. It is a little bit like telling someone they've just won a new car or the lotto. I've had every reaction from people when I've given them news to let them know they've been selected: ranging from stunned silence or quiet graciousness to out and out laughing/screaming/yelling. Our develolpment director once said to me "I'm so jealous that you get to do that! I want to call them! It's like you get to be Santa Claus for these composers!"
Im pretty ok with this image. Merry Christmas in July.

-John Glover, Ops Manager

Anticipation

2009-07-03T22:08:00.000-07:00

Less than two weeks now until the CSO/EarShot readings, and I am admittedly having difficulty concentrating on anything else! I somehow managed to survive part extraction…is there anything more stressful, tedious and ultimately exhilarating than preparing orchestral parts? Even a week later, I still have irrational nightmares that a different measure was left out of every single part, and that somehow I failed to notice this in spite of multiple proof-readings! Alas, sometimes I have to open the files in Sibelius just to make sure…

My experiences with this piece are remarkably similar to what Jeremy Podgursky described in his post: it is my composition dissertation, which I worked on for about a year, and I have often wondered if it would ever receive a performance or reading. Though I have written other pieces for small orchestra, this was my first completed composition for full symphony orchestra, and though it was strenuous, I enjoyed working on it more than any other piece in recent memory.

I wasn’t required to write an orchestral work for my dissertation, and many people suggested that I write something more “practical.” While I understood the risks, I felt like it was necessary – I love orchestral music, and had an urge to write something big (relatively speaking, anyway). Upon completion, I dutifully submitted the piece to reading sessions and competitions, often with a MIDI recording (that I spent way too much time on considering how poorly it represents the piece!). After several rejections and a couple of honorable mentions, I figured the piece had just about run its course without a performance…and then the EarShot readings were announced!

I suppose at this point I am quite biased, but even back in November I thought the EarShot readings were a great idea. First off, I was amazed when I was told there was no need to send another score since I had already applied to the ACO Underwood readings – just fill out a brief online application, and voila, it’s done! In fact, it was so easy I completely forgot about it until I read about the Memphis readings after the fact! When John Glover called about the Colorado readings, I think my first reaction was something like a combination of disbelief (really?) and relief (I’m actually going to hear this piece?), and then as it settled in I started to get really excited. Like Jeremy said, I feel very fortunate to be selected.

Well, I better try to get back to work…looking forward to July 16-17!

-Tim Sullivan

First thoughts

2009-07-02T18:50:00.000-07:00

Being chosen for the Earshot/CSO readings has already provided enough excitement for me that I might be too tired to actually go to Colorado. The piece that I submitted was my masters thesis, finished in 2007 and cleared of two years worth of dust before being stuffed in an envelope. I figured before I received the call that I would probably never get to hear the piece, so I guess that my internal naysayer doesn't believe in the concept of delayed returns. Needless to say, I feel incredibly lucky to have been chosen to participate.

And I surely could not ask for a better potential learning experience with regards to composing for the orchestra. To work alongside experienced composers, conductors, and a seasoned, professional orchestra will help me understand the mistakes I undoubtedly made when I composed the piece (I have spent the last two years looking for someone else to blame, but no one ever came to mind). All of this mixed with an altitude of 5000 feet will surely leave permanent imprints, so I have ordered a crash helmet with a built-in powdered wig.

Part of my own personal whirlwind surrounding this opportunity has been the preparation of the parts for performance. There was something strange about going through the score and the parts again, a re-connection to what I was experiencing when I was actually writing the piece. I made a promise to myself that I would not edit any of the content of the piece while extracting the parts, and I am glad that I stuck to it. Maybe I am getting a little too mystical or indirectly acknowledging the existence of elves, but I feel like I would have tainted something by altering what I composed back then (kind of like revving up the DeLorean to try and create a slightly less frustrating Senior Prom memory). I am certainly not the only composer that has experienced such a connection whilst editing, so share and share alike (c'mon folks: we're bloggin' here).

Anyway, mine computer arm tireth. T-minus fifteen days. Thanks so much to John Glover, ACO, the CSO, and everyone else that made this possible. More to come.

by Jeremy Podgursky

Scores scores scores...

2009-06-16T08:32:00.000-07:00

One of the most incredible things about opening up a call for scores is that you realize how many composers there really are out there. Unlike singers, performers, actors (some of whom are also composers...) the act of composition happens almost entirely behind closed doors and in solitude. When ACO, or EarShot, sends out the word that they are accepting submissions for a reading the response never fails to surprise. My phone starts ringing constantly with people calling from every state and towns I've never even heard of. There are composers everywhere.
It brings to mind a concert I went to a year or so ago which featured Tania Leon conducting the Chicago Sinfonietta. The idea was for her to lead the group in a survey of women composers. She did one better and focused on living women composers. Between pieces she talked to the audience in her typically casual and inviting way. One thing she said struck me then, and seems even truer now that I'm receiving scores for these orchestra readings: "Composers are everywhere," she said. "They are your mailman, your accountant, and your next door neighbor."
Without being too dreamy-eyed about it, as I look over the stacks and stacks of scores that are sitting on the floor in my office it is both surprising and encouraging to know that there are so many people working with such dilligence and craft on new music for the orchestra. Teaching an old dog new tricks.
-John Glover, Ops Manager

images:
1. some of the scores submitted for the Colorado EarShot Readings in my office.

Memphis in Lisbon?

2009-06-08T14:18:00.000-07:00

It is now more than two weeks since our Memphis readings and almost everyday I receive an email from someone that was part of that incredible experience!

Now in Lisbon, I met with my fellow-Memphis-colleague Patrício da Silva for a dinner the other day. Have to say, I started missing the group! So, I came back to the blog and read all the notes from all of us. And then I realized something was missing from my entry!!!
I did not say goodbye to Linda Golding and (my fault) the names of Michael Geller and John Glover were not present on my previous entry...SORRYYYYYY!!! (I thought I had put them there...)

So, dear Michael Geller, John Glover and Linda Golding, I send you a big THANK YOU for all your support and very kind words! It was a pleasure to meet you.

From Lisbon with love,
Andreia Pinto-Correia

Memphis Mea Culpa?

2009-05-28T08:47:00.000-07:00

The Saga of the Dotted Eighth Rest from Day 2 of the Earshot Memphis Readings

Call it a flaw or tick in my personality, but unresolved issues, no matter how insignificant, manage to gnaw at me to the point of distraction. À propos of the discussion that I initiated in my typically heavy-handed way regarding the use of dotted rests in simple meters, here’s the deal, as far as I can determine after some rummaging through my personal score library. In simple meter (4/4, 3/4, etc., with the quarter note as the unit of beat) a single sixteenth-note that falls on a beat may be followed by either a dotted-eighth rest or a sixteenth rest and an eighth rest combination, in that order. Contrary to what I stated in our meeting, it is not a question of one being more correct than the other or one being used in a newer practice and the other being used in an older practice. It is also not a question of frequency of use (e.g., pieces having many instances of single sixteenth-notes on downbeats are not weighted toward the use of dotted-eighth rests, and pieces with few instances of single sixteenth-notes are not weighted toward sixteenth and eighth rest usage). One method over the other is also not a consistent publisher’s practice (the examples below confirm this) or a publisher’s practice with a single composer (compare A2 and B2 below).
A few examples to consider:

A. Use of sixteenth and eight rest combinations

1.) Arnold Schoenberg, ‘Pierrot Lunaire,’ Universal Edition, Nr. 5334, 5336, p. 5, m. 7, piano

2.) Serge Prokofieff, ‘Symphony No. 4, first version, op. 47,’ Boosey and Hawkes HPS 1366, p. 59, m. 117, clarinet parts

3.) Milton Babbitt, ‘Arie da Capo,’ C.F. Peters 66584, p. 2, m. 7, flute

4.) Béla Bartók, ‘3rd String Quartet,’ Boosey and Hawkes 9042, p. 19, four before rehearsal 29, violin 1, viola, violoncello parts

5.) György Ligeti, ‘Le Grand Macabre,’ Schott ED 8522, p. 2, rehearsal 1, bassoons and trombones parts

B. Use of dotted-eighth rests

1.) Igor Stravinsky, ‘The Rite of Spring,’ Kalmus and International scores, one after rehearsal 33 through rehearsal 34, numerous instances in the flute parts.

2.) Serge Prokofieff, ‘Symphony No. 2, op. 40,’ Boosey and Hawkes HPS 1111, pp. 160-161, numerous instances in the trumpet parts

3.) Igor Stravinsky, ‘Dumbarton Oaks Concerto in Eb,’ Schott, p. 10, rehearsal 9, violins part

4.) Elliott Carter, ‘A Mirror on Which to Dwell,’ AMP 7701, p. 33, m. 15, soprano part and violoncello part

5.) Pierre Boulez, ‘Memoriale,’ Universal Edition No. 18657, p. 20, one before rehearsal 28, violin 3 part

Clearly, publishing practice tells us that either method is acceptable. I have observed that whichever method is used, it remains constant for the duration of the piece. For your own practice, I advise that you select one way and apply it consistently. If you are ‘on the fence’ about it, I suggest using dotted-eighth rests. They produce cleaner results.

-Michael Gandolfi

P.S. As an undergraduate, I learned notation from Donald Martino, who was meticulous in every aspect of his composition. Although he practiced and preached the use of dotted-eighth rests, he also was fond of citing the Universal Edition of Berg’s ‘Wozzeck’ as the best resource for resolving notational issues. This edition uses the sixteenth and eighth rest combinations (!) Chalk-it-up to another example of the vagaries of practice and education in this wonderful art of ours!!
P.P.S. Isn’t it fitting that ‘Pierrot Lunaire’ and ‘The Rite of Spring’ employ opposing methods? Serendipity no doubt, but amusing nonetheless.

images:
1. Christian Baldini's score.

Beale Street Blues

2009-05-27T09:29:00.000-07:00

At the close of the readings all of the participants headed downtown to get a taste of the music (and the food) in Memphis beyond the orchestra. The first stop was the famed Beale Street where the composers were finally able to relax after two intense days of readings and take in some of the local bands, including the high-energy rockabilly band The Dempseys. What a great way to close the readings!

images:
1. The participant composers on Beale Street.
2. The Dempseys playing at the Blues City Cafe.

No Wasted Time

2009-05-25T14:47:00.000-07:00

When we met Mr. Michael Geller (executive director for ACO and staff for EarShot) after the long flight, this was the first thing he said.
"If anybody wants to go to the restroom you should do now, because you won't have time... for two days!"
He was right. Everything moved so quickly with consistent learning and inspiration. It was not just the reading, but the whole thing was a full course. Since I have to sacrifice my family whenever I travel, I like to make most of it when I am there. Indeed the sacrifice was worth it!
I thank everyone I met sincerely from the bottom of my heart.

-Jean Ahn

images:
1. Jean Ahn with Mentor Composer Michael Gandolfi while conductor David Loebel conducts the initial read-through of her work Salt.

Wonderful Atmosphere

2009-05-25T11:24:00.000-07:00

What a great pleasure to have been part of the first EarShot Network Readings!

The Memphis Symphony Orchestra conducted by their Music Director David Loebel did just a terrific job. Everybody in the orchestra had a wonderful approach to the music in front of them. Each of the four composers had a dramatically different approach to their work and this did not prevent the musicians from trying their very best and performing at a truly high level. Maestro Loebel knew the scores inside out and inspired the players with his professionalism.

A truly wonderful atmosphere. A great honor to have been a part of this, and I feel very grateful to have met Melinda Wagner and Michael Gandolfi. They are both great composers and

wonderful teachers. Their wise comments will be very much remembered!

A big pleasure to have met my three colleagues. All very talented composers and great people. We had fun together. To everybody involved in this: thank you so much for making this experience such a great one!

-Christian Baldini

images:
1. Christian Baldini speaking to the orchestra during the reading of his work while Maestro Loebel listens.
2. Concertmaster Susanna Gilmore tuning the orchestra before reading Christian's piece.

Missing Memphis

2009-05-23T15:57:00.000-07:00

Now back in Boston. What an extraordinary experience! I will never forget it. Maestro David Loebel is such an incredible musician and mentor! He was fantastic and knew the scores VERY well. The orchestra performed very well all of these incredibly different scores!

Our group was very good ( Jean, Christian and Patricio), all of us with different aesthetics and I did learn a lot from my colleagues too! We got along extremely well and got to spend some nice time together talking about many different things! The mentor composers were also very inspiring. Melinda Wagner and Michael Gandolfi gave us their support and advice. Their wisdom helped us taking the most of these experience. I will miss all these extraordinary people! Those two days seemed like...two weeks! Very intense!

-Andreia Pinto-Correia

images:
1. Andreia Pinto-Correia with condcutor David Loebel reviewing her score before the reading.

Day two in Memphis

2009-05-21T23:00:00.000-07:00

Day two in Memphis was as action-packed as day one! Jean Ahn’s two-movment work Salt and Andreia Pinto Correia’s three movement work Acanto were the centerpieces of the day, read expertly by the Memphis Symphony. Once again maestro David Loebel was more than up-to-the-challenge of these demanding pieces. We had some repeat audience members from the readings the night before. They obviously liked what they heard!
To back up a step, Melinda Wagner and I started the day by leading a lively discussion of the first day’s readings, which, as I wrote about in my first blog entry, featured the works of Patricio Da Silva and Christian Baldini. Following that, Jean Ahn and Andreia Pinto-Correia met with maestro Loebel in preparation for their afternoon readings. After a brief lunch, the readings took place during a two and one half hour period, followed immediately by a ninety-minute discussion/critique class of these two pieces. As was the case in the morning discussion, this too was lively! Melinda and I covered many topics including issues of orchestration, notation, composition and aesthetics, as well as the practical issues of communicating with a conductor and an orchestra in a time–constrained rehearsal situation: a slice-of-life in the real world of orchestral performance.
Following that, we had a working dinner in which representatives from the orchestra (concertmaster, principal bassoon, timpanist, principal horn, etc.), along with David Loebel, gave their critiques and commentary to all four composers, drawn from comment sheets that were prepared by members of their respective sections. As with all events, Linda Golding, Michael Geller, and John Glover were present. Amy Gill, the MSO’s Director of Operations was also present. This was a great way to conclude the formal proceedings of this event. Listening to these comments was a learning experience for all of us.
After a brief rest back to the hotel, I joined the composers along with Michael, John and Linda, for a night out on Memphis town. Alas, the timing was not right for a trip to Graceland, but we had great fun unwinding on Beale Street. I got an unexpected glimpse of the Gibson guitar factory, which for an electric guitarist is like a trip to the holiest of shrines. (My first ‘real’ guitar was a 1969 Les Paul custom, purchased new in that year. I should have kept it (!), but I later traded it for a 70’s ES-175 that remains the crown jewel of my guitar line-up. Not a bad exchange, but…)

-Michael Gandolfi

images:
1. Michael Gandolfi talks with Andreia Pinto-Correia during the reading of her work Acanto. Melinda Wagner (front) studies the score as well.
2. The group checks out a car on Beale Street.

from Memphis with love

2009-05-21T17:58:00.000-07:00

Two exciting days, with high energy and high focus. The Memphis Symphony is a great band/organization, and their contribution (artistic and beyond) nothing less than stelar. Many thanks to ACO for their vision and their commitment to new orchestral music in the US. Looking forward to genetic cloning so we can have more of you.

First day of Earshot New Music Readings with the Memphis Symphony Orchestra

2009-05-21T08:16:00.000-07:00

Yesterday was an action-packed, highly eventful day of travel, meetings, readings and discussion here in Memphis. The focus of the event, the actual readings, took place at the Clark Opera Center in Memphis. The late hour of the readings, 7:30-10:00 PM, did nothing to deter the focus and proficiency with which the Memphis Symphony read. David Loebel was terrific as well. To my surprise, an audience of about forty or so interested concert-goers was present, which gave a late-stage rehearsal feel to the event (almost like an open dress rehearsal). Patricio DaSilva's piece (in three movements) and Christian Baldini's elapsing twilight shades, a single movement work, were informed by two almost diametrically opposed aesthetic stances. The orchestra impressed with its ability to adapt to the different sets of challenges posed by these works. Today Melinda Wagner and I will give our commentary and critical assessments to Patricio and Christian and then we go straight to round two with the other two composers being read, Andreia Pinto-Correia and Jean Ahn. More on those sessions later...

-Michael Gandolfi

images:
1. Mentor Compsoer Michael Ganfolfi (far left) speaks to the participant composers after the first readings session.
2. A view from the bass section as David Loebel (conductor) leads the orchestra through Christian Baldini's work

Musical Chairs...

2009-05-20T19:52:00.000-07:00

Before the first set of readings all of the participants went out to dinner to get to know each other a little better and fortify themselves with some food before diving into the music. The tables were covered in butcher paper with crayons scattered about. What composer could resist... Michael Gandolfi scribbled out a bit of a phrase and one by one throughout the evening each composer added their own little bit to the tune.

EarShot readings - behind the scenes with four emerging composers

2009-05-20T10:10:00.000-07:00

Today begins the first day of the EarShot / Memphis Symphony New Music readings. Selected from a pool of hundreds of submissions, four emerging composers (Jean Ahn, Christian Baldini, Andreia Pinto-Correia, and Patricio DaSilva) have been selected to participate in an intensive two-day reading session with the Memphis Symphony and its music director David Loebel. Mentor composers Michael Gandolfi and Melinda Wagner will provide insight and guidance to the young composers. Check in here to get a behind-the-scenes view of what's on the participants minds as they live through the process of hearing their works realized.

images:
1. Memphis Symphony Orchestra preparing to read the first work. The readings were held at the Clark Memphis Opera Center

Sound Off!: Orchestra Underground Season Finale

2009-05-01T09:20:00.000-07:00

You've heard what the composers have to say for themselves, now is your chance to tell us what you thought about the concert!

Below are a few questions to get the ball rolling...

- What surprised you most about the concert?
- Do you think that composers write differently when they are the soloist? How so?
- Which piece did you think was the most convincing? Why?

See what other people are saying and let us know what you think!

The Ghosts Are Everywhere

2009-04-29T14:25:00.000-07:00

In putting the finishing touches on his final composition with ACO, Derek Bermel gathered his thoughts on his new work A Shout, A Whisper, A Trace.

"During the last five years of his life, the composer Béla Bartók lived and worked in New York City. As he approached the age of 60, in ill health and preoccupied with the destruction of his beloved native Hungary by the Nazis, he slowly began adapting to the unfamiliar surroundings. Yet he struggled with the new language, the cultural barriers, and the speed and complexity of New York.

"Bartók wrote home about his mixed feelings of hope, alienation, and despair to colleagues like the violinist Josef Szigeti and the composer Zoltán Kodály, to his two songs, who remained in Budapest, and to his small array of American piano students and supporters, from Boston to Seattle. The translated letters, published by St. Martin's press, document the humbling struggle of a master composer, trying to make sense of life in America, a place where he was virtually invisible.

"Years ago, while studying Thracian folk style in Bulgaria, I read Bartók's letters. At the time I had been mostly engaged with the correspondence concerning his early travels around Hungary. But as I began composing the final piece for my residency with ACO, I felt drawn to reexamine his later letters. The fresh perspective enabled me to reflect anew on my own experiences living in unfamiliar countries and cultures. I began to muse on the curiously ironic - yet utterly typical - manner in which Bartók's last years unfolded; so many immigrants have arrived in my hometown - New York - brimming with the hopes, fears, and yearnings associated with exile. These remnants exist today; the ghosts are everywhere, present and enduring, as much a part of the city as the buildings and rivers around us."

Go Behind the Scenes!

2009-04-28T15:32:00.000-07:00

Go behind the scenes with ACO Artistic Director Robert Beaser and guitarist Eliot Fisk as they explore the challenges of writing contemporary music for the guitar. Check out the video below, which is a continuation of our Composer Portrait Video series.

Film produced by Jeremy Robins.

Preparing the Piano

2009-04-27T14:00:00.000-07:00

What do a nine-pound steel ball, gaffer tape and small pieces of rubber all have in common? They help make classical music! In Thomas Larcher's piano concerto Böse Zellen, the soloist "prepares" the piano by placing different materials on the strings of the piano. Tape is placed across the strings, small pieces of hard rubber are placed in between, and a variety of balls are rolled across the strings to alter the sound of the piano. Throughout the piece, the soloist gradually "un-prepares" the piano, so that by the end of the work the instrument is back to its original form.

ACO presents Thomas Larcher and Böse Zellen in the U.S. premiere on May 1, 2009 at Carnegie Hall.

Burkina Electric

2009-04-24T08:07:00.000-07:00

When Lukas Ligeti isn't writing new music for ACO, he is often found playing with his band, Burkina Electric. The band brings together traditional popular music from the Burkina Faso region of Africa with contemporary electronic dance music, creating an innovative and pioneering sound in electronic world music. ACO teamed up with The Point in the Bronx to feature Burkina Electric on a recent Composers OutFront! concert. Check out the video below!

The Marimba, Illuminated

2009-04-22T10:21:00.000-07:00

Lukas Ligeti brings an innovative instrument to ACO - the Marimba Lumina. Ligeti's work Labyrinth of Clouds features the Marimba Lumina in a "concerto of sorts" for electronic percussion, live electronics, and orchestra.

"Modeled somewhat after its acoustic namesake, Marimba Lumina is an electronic MIDI controller that brings an extended vocabulary and range of expression to the mallet instrument family. Marimba Lumina's playing surface includes a traditionally arrayed set of electronic bars and some (not so traditional) trigger pads and strips (reminiscent of those early ribbon controllers). The instrument is played with special foam covered mallets. Although primarily a controller, Marimba Lumina has a built in synthesizer, and can thus function as a complete instrument, ready to plug in and play.

"As you may have suspected, Marimba Lumina adds a few tricks to the usual capabilities of the marimba. User definable "zones" allow portions of the instrument to respond to gesture in different ways. Augmenting the potential for expressive control, Marimba Lumina responds to several new performance variables, including position along the length of the bars, dampening, and note density.

"And for those looking for more possibilities, Marimba Lumina can identify which of four color-coded mallets has struck a bar. This allows one to program different instrumental responses for each mallet, or to implement musical structures in which one mallet selects a course of action while others modify or implement it.

"Living up to its namesake, the Marimba Lumina has LED illumination built into every bar, strip, and pad. These LED's can show key status, edit configuration, controller status or pad selection. Used pedagogically, they can help a player follow a MIDI sequence or the actions of another player. And for icing on the cake, they make it easy to play in the dark!"

Source: http://www.buchla.com/mlumina/

Sound Off! Orchestra Underground: New, Wired and Green

2009-02-20T18:13:00.000-08:00

You've heard what the composers have to say for themselves, now is your chance to tell us what you thought about the concert!

Below are a few questions to get the ball rolling...

-What surprised you most about the concert?
-Did you think that the three works on this program that utilized nontraditional media (electronics, film) made effective use of them?
-Which piece did you think was the most convincing? Why?

See what other people are saying and let us know what you think!

Hear It Again!

2009-02-20T18:10:00.000-08:00

All of us here at ACO are very excited by our new partnership with Instant Encore! Check out our page here where you can listen to streaming audio of past ACO concerts!

You Can't Get More New York Than That

2009-02-20T18:00:00.000-08:00

David Schiff on New York:

Even though I have lived in Oregon since 1980 I still remain a New Yorker--as people frequently point out in Portland, though not necessarily as a compliment. I grew up in the Bronx and New Rochelle, and was educated at Columbia, Manhattan School of Music and Juilliard--you can't get much more New York than that. So of course a performance at Zankel Hall is a thrill of a lifetime. Favorite places to eat? Lunch at Cafe Sabarsky in the Neue Gallerie and bagels and nova from Sable's and pizza just about anywhere.

Re-lighting "Stomp"

2009-02-20T17:55:00.000-08:00

David Schiff on the "re-lighting" of Stomp.

I always find that orchestration is the fun part of the compositional process, the icing on the cake. When ACO asked me to scale down the size of the orchestra for Stomp so that it could fit into Zankel hall, I quickly decided that instead of just doing a quick fix I would re-score the piece thoroughly--so much so that the new “re-lit” version (the piece was originally titled “Stomp”) is quite distinct from the original. Originally it was scored for a standard chamber orchestra with pairs of woodwinds and single brass plus drum set, xylophone and piano. The new version uses a wind section that is more like a jazz octet: flute, clarinet, two saxophones, horn, trumpet, trombone and tuba. These instruments have a lot more firepower than the original band, even though they are fewer in number, and their greater dynamic range allowed me to beef up the string and percussion writing. I think the new scoring is much more appropriate for the style and mood of the music.

Chinese Opera Re-wired

2009-02-16T14:24:00.000-08:00

Go behind the scenes in one of our Composer Portrait Videos to see how Fang Man created her new work for ACO and Music Alive Composer-in-Residence Derek Bermel!

film produced by Jeremy Robins.

Unleashing the Power of Metaphor

2009-02-16T09:26:00.000-08:00

Video/Sound Artist Kasumi (collaborator with Margaret Brouwer on BREAKDOWN!) talks about her artistic process.

For the past eight or nine years my work has consisted of creating time-based image and sound montage-like compositions – and - in addition to my own hand-painted and original film - almost entirely generated from fragments of found footage materials. The material is gleaned from public domain movies, 50's TV commercials, archival government propaganda, instructional, industrial, old sales films and so on.

Every image and sound I chose is deliberate: for formal artistic reasons as well as for unleashing the power of metaphor, central to human thought and communication – an upraised arm as the essence of evil, a defiant shout of protest, thumbs up, thumbs down. These significant moments - the key to image-making and central to our perception of certain crucial realities, become the building blocks – the vocabulary - of my work.

The syntax – which I call Video Recursion is an attempt at thematically composing these brief, fragmentary gestures and utterances into a multi-dimensional narrative and musical structure.

By juxtaposing, layering, cutting apart, ordering and re-ordering sounds and images already abundant with meaning, I can find and create further connections and analogies outside of their original context, causing the firing of neural networks for a deeper subconscious understanding. By doing this, I try to answer questions in my own mind - from "what does a gesture mean" to "how does a nation evolve into a military empire?"

The cultural and historical context, symbolic and emotional meaning, and the latent transgressive energy of the samples are set off against their purely formal qualities: movement, gesture, color, texture, pitch, timbre, cadence, tempo, rhythm, shape, dynamics, and so on.

These opposing qualities are continually in play with each other creating a tension that is central to the work, and as much as it could be said that the works are narrative constructions using found footage, it is equally true to say that it is the clips themselves, in their musical tone, that drives this work.

images:
1 and 2. VJ Kasumi in performance with DJ Spooky.

Rethinking the Operatic Medium

2009-02-13T14:33:00.000-08:00

Margaret Brouwer talks about how her love of opera led to collaborating with Video/Sound Artist Kasumi.

I have always been interested in writing an opera. When I was younger and still earning much of my income as a violinist, I played in an opera orchestra, and I loved it. In fact, I thought I would be an opera composer.
I loved the mix of music, theater, costumes, dance, etc., and the challenge of putting it all together to form a compelling presentation. So it was also very intriguing to me to combine my composing skills with the art form of experimental video and sound. Kasumi and I wrote BREAKDOWN pretty much simultaneously, sending small sections back and forth on a regular basis. I created all of the musical motives by imitating intervals or rhythms of the speech, or other sounds in the video. The music is completely related to events in the video at every moment throughout. This is similar to the way I would write an opera, where the music would be integral to the text and the meaning in the opera. So writing BREAKDOWN combined my interest in writing an opera with doing an experimental work with video. It was a terrific experience. It was very interesting bringing another element besides the music into the creative process, and I enjoyed it very much.

David Schiff 'Feels Good' about James Brown...

2009-02-13T14:21:00.001-08:00

David Schiff talks about his orchestral homage to James Brown "Stomp"

When I was an undergraduate at Columbia in the 1960s I saw James Brown perform several times at the Apollo Theater in Harlem. All of my friends were huge fans of soul music and Motown. Smokey Robinson and Aretha Franklin were our idols, but James Brown, celebrated as "the hardest working man in show business" was unique for the intensity of his performance style and the inspiring rhythmic energy of his music. The new version of Stomp written for ACO has more direct contact with Brown's musical style, but I think of the piece more as an evocation of his explosive stage presence than an imitation of his music than my previous one.

images:
1. James Brown the "hardest working man in show business".
2. David Schiff conducting the Reed Chamber Orchestra.

ACO is New, Wired & Green

2009-02-13T13:36:00.000-08:00

Welcome back to ACO's blog SoundAdvice, our outspoken corner of the web where you can gain insight into the creative process behind the world premieres on our upcoming February concerts. Stay tuned as we follow the rehearsal process over the next week leading up to our concerts on February 20 at Carnegie Hall at Zankel Hall in NYC and February 22 at the International House at UPenn.

Sound Off: Orchestra Underground Season Opener

2008-11-18T13:21:00.000-08:00

From jazz saxophonist Fred Ho to up-and-comer Clint Needham; you've heard what the composers have to say for themselves, now is your chance to tell us what you thought about the concert!

Below are a few questions to get the ball rolling...

-What surprised you most about the concert?
-Which piece would you most like to hear again? Why?
-This concert used many nontraditional instruments. What do you think about how these worked with the orchestra? Why?

See what other people are saying and let us know what you think!

Word On The Street

2008-11-18T13:11:00.000-08:00

Here are a few reactions to our recent season-opener concerts this past weekend in NYC and Philadelphia. The view from Philly is posted on Phawker.com and the New York Times weighed in on our performance at Zankel Hall at Carnegie Hall.

To Speak the Truth

2008-11-14T18:12:00.000-08:00

Excerpt from Fred Ho's Diary of a Radical Cancer Warrior: Fighting Cancer and Capitalism at the Cellular Level.

My sax playing is very strong, even stronger than before I entered surgery. After surgery, my diaphragm had to heal before I could play again. But now I play with a lot more power and control. This stems from the breathing exercises I've been doing, but also from the development of my CHI energy. I basically have out grown everything made for the bari sax. There isn't a big enough mouthpiece commercially made for me. I need reeds harder/stronger than the #5, the hardest commercially made. I play the horn now like a double-reed instrument, barely touching the reed with my embouchure. From the power of my breath alone, I can make it vibrate without touching it. My fingers have molded the ivory and brass to fit my hands. I have actually altered metal from years of my touch. It is truly man over metal. I have also discovered some very Daoist revelations:
The point of developing technique is to have NO technique;

The point of practicing and mastery is to develop CHI so that music can change the world (both social and natural);

I want my sound to bring down the walls of Jericho, to be a biblical-like force to crush the walls of poverty, exploitation and oppression;

I want to be as a soloist more powerfully expressive and convicted than a 70-piece professional orchestra; and to improvise as great as a sophisticated, complex notated score;

I want to have a band that is telepathic, taking what is notated on the written page to a higher level of expression beyond what even I as the composer-leader could ever imagine.

The war against cancer has brought about this transformation, revelation and application on my part. I have been tremendously humbled by this war and at the same time learned to fight on a cellular level and to apply a cellular approach to the technical, emotional, creative and spiritual challenges of making music. The cells of one’s sound is what is supreme, infusing one’s breath or CHI-energy to that cellular vibration of making one’s sound a life-force.”

Probably the MOST important transformation for me is to never harbor envy, jealously, competitiveness, to speak the truth (even if it is very critical of friends and loved ones, but to do so without comparison and always with compassion), to know that should I die soon, I will be happy and satisfied with what I’ve done, and to spend not an iota of energy of mine worrying or despondent about my condition (tho to take it seriously and fight with all of my being to win the war against cancer), but to devote my energy both in my personal war against cancer, but as a friend to all of you, to make us all better in our journeys as emotional, creative and intellectual beings on this planet.
1 Fred Ho during rehearsal
2 Fred Ho with Jeff Milarsky and the orchestra

Beautifully Paralyzed

2008-11-14T13:51:00.000-08:00

Keeril Makan on his work Dream Lightly:

In Dream Lightly, we are placed in a word that is beautifully paralyzed, or perhaps paralyzed by beauty. The music does not move; it has fallen asleep but is not aware of it. It is stuck in a continual repetition of similar thoughts, slightly changing and rearranging them, cast in subtlety changing environments.

The guitarist almost always plays harmonics. These are notes produced by lightly touching the string at certain points to create sounds that sound higher and more fragile than ordinary pitches. The world of harmonics hovers above the guitar, oftentimes slightly, but purposefully, out of tune with instruments played in a conventional manner. All of the music is derived from or in response to the guitar. It is not a concerto in the traditional sense, as the soloist and the orchestra are not antagonists. Rather it is as if the orchestra exists inside of the guitarist's head, helping, supporting, and coloring.

1 Keeril Makan with ACO Principal Cellist Gene Moye
2 Soloist Seth Josel with Jeff Milarsky and Eva Gruesser, ACO Concertmaster

Familiar Faces

2008-11-14T13:18:00.000-08:00

We asked Clint Needham (Chamber Symphony) tell us what he was feeling in anticipation of his second engagement with ACO. This is what he had to say!

I first worked with ACO as a participant in the Underwood New Music Readings. Coming to New York to work with the group again is exciting. Flying here, I couldn’t wait to get into the room for the first rehearsal! I’m looking forward to spending time in New York as well. Seeing old friends again and checking out other concerts around town.

This experience with ACO has been very different than the last time because I was commissioned to write a new work for the group. Last time I worked with the ACO, they read a piece I had already completed, but this time around I was writing a new work for a lot of familiar faces. The rehearsal process has been so much fun. These musicians are great and it has been wonderful working with them to bring this piece to life. As the concert draws near I just keep telling myself that my work is done and now it's up to the orchestra!

1 Clint Needham studying his score as the orchestra rehearses
2 Clint Needham and Jeff Milarsky during an early rehearsal

Welcome!

2008-11-14T13:14:00.000-08:00

Welcome to the new SoundAdvice blog, the latest version of ACO’s outspoken corner of the web! Here we post commentary from our audiences about the new and unusual music heard at recent ACO performances, as well as commentary from the artists and composers featured at ACO events. SoundAdvice was created as a way for listeners to provide feedback to composers and the orchestra, to allow you to be heard and to learn how your opinions compare to others, and most importantly, to promote discussion amongst musicians and audiences alike about new orchestral music. We firmly believe that engendering dialogue is one of the most important ingredients in the process of building new musical works into the repertoire, and that—like sports, politics, and cinema—everyone has an opinion!