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April is full of concerts, come see me at one of them!
Thursday, April 5, 7PM
Night Mixes
Face the Music
The Tank
151 W. 46th Street
New York, NY
The teen new music ensemble Face the Music plays my Night Mixes alongside Steve Reich’s Double Sextet and Philip Glass’s Glassworks. Check out this great NY Times article about Face the Music.
Why are you not answering?
Color Field Ensemble
The Gershwin Hotel
7 E. 27th Street
New York, NY
That’s right Thursday, April 5 is back to back Honstein. Dash over to the Gershwin after Face the Music’s set and catch the Color Field Ensemble with special guests Owen Weaver, Alejandro Acierto and Derek Johnson play my Why are you not answering? Music by Adam Haws, James Holt and Jeff Weston will also be on the show.
We Choose to Go to the Moon
Quince Vocal Ensemble
upTOWN underGROUND
201 W. 113th at 7th Ave (Adam Clayton Powell)
basement entrance
Quince is in town all the way from Bowling Green, Ohio and they’ll perform the Bari Sax and Soprano version of my We Choose to Go to the Moon. Advanced tickets only for this one. Spoiler alert, you get booze with the tickets.
Barton’s Blues
Kim Perlak
Cactus Cafe
2247 Guadalupe Street
Austin, TX
Guitarist Kim Perlak plays my Barton’s Blues for her CD release show at the Cactus Cafe. I’m happy to say I’ll be in town getting ready for Fast Forward Austin, so I’ll be at the concert. Come say hi!
Waterloo Dance Hall
Bel Cuore Sax Quartet
Fast Forward Austin
ND 501
501 North I-35
Austin, TX
Yes, Bel Cuore Sax Quartet is going to rock Waterloo Dance Hall and you should see that, but what I’m really excited for is the second annual Fast Forward Austin. Too many great things to mention. If you’re in Austin, don’t miss it, seriously.
NIght Mixes
Face the Music
Music at First
124 Henry Street
Brooklyn Heights
Face the Music once again plays my Night Mixes this time on a set with Angelica Negron’s El Gran Caleidoscopio and Steve Reich’s Double Sextet. The show is part of Wil Smith’s wonderful Music at First series. Bassist-composer Florent Ghys will also play a set.
Though it may have felt more like spring than winter, February and March were nonetheless a flurry of activity. Here are some highlights:
Copland House
For about four weeks I had the privilege of staying at Copland House, which as the name suggests was Copland’s house. Now outfitted for extended stay composer residencies, Copland House is a stunning place to work. Nestled in the woods, a stone’s throw from the Hudson, a studio with gorgeous floor to ceiling windows, and an entire house outfitted with modest, but tasteful, mid-century furniture, I thoroughly enjoyed my time at ‘Rock Hill’ as they call it. During my stay I managed to write a good chunk of music while also making my way through a ton of Copland scores, because that’s what you do when you’re in the man’s home. It was an unforgettable experience for which I’m extremely grateful.
Premieres
Before, during and after Copland House I had a handful of premieres. The first was with Ensemble ACJW at Skidmore College as part of Sleeping Giant’s collaborative piece Histories. The performance was repeated at Weill Hall. The local rag had a few things to say about that. Sleeping Giant teams up with the Deviant Septet for another reincarnation of Histories in late May at Issue Project Room. More on that later.
Next, the Color Field Ensemble premiered a new email song, I know the feeling. This piece completes the Why are you not answering? collection. Color Field were featured artists at the Red Note New Music Festival an annual event at Illinois State University in Normal, IL. New Yorkers, you can hear them play it again on April 5, when they’ll be joined by Derek Johnson and Owen Weaver for a set at the Gershwin Hotel on Vicky Chow’s Contagious Sounds series. Until then, check out the demo for the piece here.
Finally, the Hunter Symphony gave the official premiere of my new orchestral work This is Not Mother Nature. I’ve spent the past year working with the Symphony as their composer in residence. It was so much fun for me to spend time with the orchestra. Read more about the piece here. Recordings from the concert will be available soon.
Fast Forward Austin
While the big day is still two weeks away, we at Fast Forward Austin were still hard at work these past few months. In February we presented our first ever NYC show at the Gershwin Hotel. Owen Weaver and the Bel Cuore Sax Quartet were on hand for a great night. See what some folks had to say about it here and here. Then in March we teamed up with London based Nonclassical to help curate their SXSW showcase. A host of ATX artists were on the bill including Aiana string quartet, Line Upon Line percussion, the Bel Cuore sax quartet, bassist P. Kellach Wallach, and Owen Weaver. You can check out a few articles about the event on Feast of Music, The Austin American Statesman and WQXR.
This will be the third movement of Why are you not answering?. Color Field Ensemble premiered the piece at the Red Note Music Festival in Normal, Illinois but all you New Yorkers can see it on April 5 at the Gershwin. Special guests Derek Johnson, Owen Weaver, and Alejandro Acierto will join the Color Fielders for the show. It’s going to be really good! Details here.
Last weekend I had the pleasure of heading into the recording studio with my friends from New Morse Code. In addition to being hyper-skilled, intelligent, and sensitive musicians, Hannah, Mike and Anne (the morse coders) were down to earth and easy to work with. We spent a few hours recording my piece Patter. Maybe it’s because I spent so many Saturdays recording songs on a 4-track with my high school band, or maybe it’s all those a capella albums I did in college, but for whatever reason I love, love, love being in a recording studio. There’s something about it that gets me so excited about the process of making music. In recent years as it’s more and more been me behind the glass and someone else playing the tunes, I’ve also started to really enjoy the so-called ‘producer’ role. It’s a real challenge figuring out how to manage the time, energy, and flow in such a way that you leave the studio with satisfactory product. I feel like making a recording is as much about the music as it is the energy and vibe. It’s hard to do take after take and if people aren’t feeling positive and focused then things start getting hopeless fast. Anyway, I had fun. Give a listen to the results. Many thanks also to Firehouse 12 and our engineer, Greg DiCrosta for being awesome at what he does and easy to work with.
A bunch of things happening in the coming weeks. Come see one of them!
Patter at the 92Y Tribeca
On Saturday, January 28th at the 92Y Tribeca New Morse Code – Hannah Collins, Mike Compitello, and Anne Lanzilotti – play my trio Patter along with tunes by Andy Akiho, Matthew Barnson, Alejandro Vinao, Kurtag and Norgard. Timo Andres follows with a set of tasty ‘Lieder Ohne Worte’ inspired works. Details and tickets here.
Take a trip upstate! Friday, February 10 at Skidmore College, Ensemble ACJW presents the first ever Sleeping Giant collaborative project. The Sleepy Gs have teamed up to create a work responding to Stravinsky’s L’Histoire du Soldat. This concert features the world premiere of our work followed by a performance of L’Histoire. Details here.
If you don’t know about the Academy or Ensemble ACJW, check them out here. They are an illustrious bunch!
RE: You at the Hartt School
On Saturday, February 11 at the Hartt School of Music, Owen Weaver and Concert Black present my RE: You on Owen’s DMA Percussion recital. Owen has been a true champion of my music. He’s also a rock-star percussionist. To illustrate both points, watch this.
Ensemble ACJW, Sleeping Giant, Carnegie Hall!
Tuesday, February 14 at Carnegie’s Weill Recital Hall, Ensemble ACJW presents a repeat performance of Sleeping Giant’s Histories. Currently this show is sold out. BUT Carnegie might release tickets in the weeks leading up to the show. Check in with the Box Office to see if something comes up. Details here.
Fast Forward Austin in NYC
On Wednesday, February 23rd, at the Gershwin Hotel, Fast Forward Austin – the annual new music festival I co-direct with Ian Dicke and Steve Snowden – makes a special Big Apple appearance on Vicky Chow’s Contagious Sounds Series. 2012 FFA artists The Bel Cuore Sax Quartet and percussionist Owen Weaver perform along side special guests Vicky Chow and Concert Black. My pieces Waterloo Dance Hall and RE: You are on the program along with works by Graham Reynolds, Ian Dicke, Steve Snowden, Nick Sibicky, and Daniel Wohl. This is going to be a fun night!
Marionette was composed for Sleeping Giant’scollaboration with Ensemble ACJW. Tasked with creating a companion piece to L’Histoire du Soldat, each Giant crafted a very personal response to the Stravinsky. We called the collection Histories because through developing our responses it was as if we were all discovering our own personal histories with the work.
For my piece Marionette I approached L’Histoire like a puppeteer. I selected two beats of Stravinskian ephemera, and then cut, layered and reordered them to create something new. Geppetto-like, I carved musical phrases from this composite material. As the piece unfolds, the phrases develop in a tentative, somewhat awkward way, gaining confidence as they grow, yet never losing a sense of their intrinsic, mismatched construction. Eventually, the music fully embraces its jagged edges and rough hewn seams, reveling in its idiosyncrasies as it reaches a loud, boisterous culmination.
Marionette was commissioned by The Academy—a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education.
The premiere is coming soon, February! Until then, check out this nifty computer mock-up of the piece:
One of my most exciting projects of 2011 was a collaboration with the Sebastian Chamber Players on something we called the Vivaldi Project. Our goal was to produce a show that seamlessly interwove early and new music. 2011 happened to be the 300th anniversary of Vivaldi’s seminal work L’Estro Armonico, so we decided to create a set around these concerti. For my part I wrote a collection of interludes to go between the Vivaldi. While writing, I focused on a particularly interesting fact of Vivaldi’s career, his tenure as Music director at the famous Ospedale della Pieta, an orphanage for girls that specialized in musical training. Most of Vivaldi’s concerti, and almost certainly all of L’Estro, were written and performed at the Ospedale. I found this scenario irresistible and decided my interludes would be about the Ospedale, in particular the Ospedale at night time. I wanted to imagine the sound and feeling of the Ospedale after everyone was asleep and the day’s music had stopped.
We got a nice grant to support the development and presentation of the project and with the help of said grant we created a swanky blog. Check it out for posts about some of the string techniques I use, detailed thoughts on the concept, and audio of the piece as I wrote it.
The first performance was this past December in Hamden, CT. It was thrilling to hear my pieces back-to-back with the Vivaldi. I was unprepared for just how cool it felt to move from the introspective, atmospheric interludes to the brilliant, extroverted Vivaldi pieces. Maybe it was because I knew what was coming, but those few seconds of silence between an interlude and a Vivaldi were thick with tension and wonderful expectation. It really made the arrival of the Vivaldi feel surprising (not exactly the first word that comes to mind when thinking about Vivaldi). To give you a small taste of this electric juxtaposition I’m going to post recordings from the concert followed by the first 30 seconds or so of the Vivaldi concerto that follows. Below are short descriptions of the interludes and audio from the performance.
Barcarolle into A minor Concerto
This interlude features the Viola. A Barcarolle is a boat song, but my piece isn’t a song so much as music suggesting the possibility of a song.
This interlude features cello. The music is spare, plaintive and atmospheric. Perhaps it is one of the girls alone, pleading or in prayer. You’ll hear the cello pizzicato throughout. In the backgruond a slow, sliding violin melody passes over a flickering and fragile drone. A voice of strange noises emerges in dialogue with the cello as the music intensifies.
Notturno features Harpsichord and Double Bass. It is late night and a teacher plays quietly somewhere in the Ospedale. We continue to hear the nocturnal noises from the Barcarolle. Voices float in and out of the music, perhaps it is the sound of the harpsichordist humming along as he plays.
As part of Sleeping Giant’s December Q2 residency (in which we programmed a month’s worth of shows for Hammered!, more about that here), the folks at Q2 were kind enough to record my piece Is it Auburn? in the esteemed Greene Space. Tema Watstein, Mariel Roberts, Karl Larson and Owen Weaver joined forces for the task. You can see the results below. The played real well! I wrote a blog about it for Q2 and you can take peak at that right here.
This fall I’ve been working on a very cool project with two NYC based baroque ensembles: The Sebastian Chamber Players and Quodlibet. We hatched a plan for a program that would interweave Vivaldi Concerti Grosso from his Op.3 collection L’Estro Harmonico and a set of interludes written by moi. The idea was to create a new, contemporary context for these landmark Vivaldi pieces. It’s been a fascinating process. I’ve spent a lot of time listening to Vivaldi, researching his work, and thinking about those funny things they call ‘period’ string instruments.
We got a nice grant to support the development and presentation of the project. With the help of said grant we created a swanky blog devoted to the Vivaldi Project. You should check it out. There are audio samples of the interludes (here, here and here), posts about some of the instrumental techniques I’m using, and posts about the story behind my pieces.
The first incarnation of the Vivaldi Project goes down December 17th and 18th in Hamden, CT and Collinsville, CT.
Go here for info about the Collinsville show and here for info about the Hamden show.
About a month ago I went into the studio with Concert Black to record a demo of my piece RE: You. While I’ve spent some time in the studio recording other people’s music, I’ve never had the chance to do it with my music. Being able to hear everything in such pristine detail, while also having the ability to sculpt the balance and tone was pretty damn satisfying. We worked with Greg Di Crosta at Firehouse 12 studios in New Haven. There is an amazing vibe at Firehouse and Greg was excellent at getting a good sound and helping us stay on schedule. Many of you know I have secret plans to record all the email songs as my first album (Is it Auburn?, Why are you not answering?, andRE: You). If it ends up being half as fun as this session then I am PSYCHED. Here are some videos of Concert Black in action:
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