Tell me a little about the background for FILM.
FILM is a body of analog electronic music that was created for the feature film Tripoli Cancelled and the 3-channel video installation Two Meetings and a Funeral. The films were made by Naeem Mohaiemen and they premiered at documenta 14, one of Europe’s oldest exhibitions for contemporary art. Each work is rather different in tone. Tripoli Cancelled is a fictional film about a man who inhabits a desolate home that is gradually revealed to be an airport and Two Meetings and a Funeral is a 3-channel video installation about the history of the Non-Aligned Movement. Although the works are different in tone, I wanted to sonically bind them by using the same instrumentation for both soundtracks.
So often, albums of “score” are unable to stand apart from the structure of the film. Was this music scored to picture? Or were these composed with the film in mind and fitted to picture later?
For this record, the pieces were actually scored to the film. Naeem did shuffle some tracks around afterwards based on what he was feeling, but the pieces were initially tailored for specific scenes. There are also a couple of tracks on the record that didn’t quite make the final cut of the films, but they seemed interesting to me as stand-alone pieces so I brought them back.
Tell me a little about the compositional process for this music.
At the time l was in this analog synth wormhole and was making music with these machines, and thankfully the director was excited about that and he let me run with it. As a general inspirational source, he introduced me to John Carpenter’s score to Assault on Precinct 13, and from there I revisited some other synth driven scores from my 80’s upbringing, like Carpenter’s music to The Thing, the soundtrack to Legend by Tangerine Dream, Vangelis’s score to Blade Runner, Wendy Carlos’s soundtrack to the original Tron and some of David Lynch’s sound-design work for Blue Velvet and Dune. Lynch creates these powerful room tones in his films that have the presence of music. I just listened and absorbed these materials without being too analytical. From there I tried to maintain an intuitive approach, with lots of trial and error.
This is your second consecutive film-music release. Other than offering a visual reference, does scoring bring something unusual out of you compositionally that doesn’t surface while composing “other” music?
I actually started scoring when I was about 22 years old and fresh out of college, as a way to make a living and survive. It was really hard to make it as a drummer in New York, in 1999, and what started off as a means to an end, quickly changed into a sort of wellspring that got me interested in composing beyond film. It also informed my approach as a drummer. So the connectedness to something visual has always been with me and is somehow woven into all the music I write, for film and everything else. It’s an old piece of the root structure. With that said there are definitely some parameters that can be different when working in film as opposed to your own music. I suppose with certain kinds of film music, there’s a very specific function or intent that needs to be articulated and it’s the composer’s job to enhance that feeling and at the same time, hopefully, be inventive. Also your sense of duration and development is tied to the length of a scene. Actually, when I think about it, most of my albums to date are picture soundtracks, whether it's for film or an art piece. Fjoloy, Preamble and Landscape Studies were all made for museum pieces, as film installations. But unlike other films I’ve worked on, the directors gave me complete creative control and a lot of these pieces were actually made away from the picture, through conversations with the director.
Though the music on this release is taken from two different films, they seem to occupy a similar, somewhat disconnected, emotional space. When you’re writing, do you begin with the context of an emotional landscape, or do you write more based on sound and movement and let the synthesis of music, film and psychological context happen organically?
With these two films and also with Fjoloy and Preamble, the physical spaces are quite strong. They are almost like characters and a sort of deference is given to them. Tripoli Cancelled was shot entirely inside of a massive abandoned international airport in Greece. I had never seen abandonment on that scale; like 747 jets just languishing in ruin on a runway. It was an amazing backdrop for a film. There’s a solitary character that is either trapped inside of or living in this space. His loneliness and the sort of grandeur of the ruins got me thinking about room tones or the voice of the space singing back to the character. That was the foundational idea for the music and then it was more about intuition and experimentation from there.Qasim Naqvi's synth setup that he used on his album "FILM." (Qasim Naqvi)
This music is almost entirely performed on a modular synthesizer. How did you discover that instrument? What is it about the modular synthesizer that speaks to you?
Yeah, the music was created using a modular system that I put together, also an Arp Odyssey, and a few tracks were created on a Moog Model D. When I was working on my last record Chronology, (which was made entirely on a broken Model D) I got very exited about this medium and I started building a modular system. It’s like having a chamber ensemble of very unusual instruments at your fingertips and you orchestrate your ideas by patching these machines together and controlling voltage. It really felt like I was learning a new instrument, with its own set of structures, strengths and idiosyncrasies. Software synthesizers lack that, I feel. You can do anything with them very quickly and I was getting a little tired of that. There's something restrictive with modular devices and it makes you think a little harder about how to make interesting choices; you have to learn how to get them to speak. And when you do, they sound incredible.
As well as a composer, you’re a drummer. It’s interesting that that while there are certainly pulses and percussive synth attacks, there’s no actual percussion or drums on the album. And rhythmically — at least on the surface — the music is relatively simple, even approaching ambient music in certain compositions. How does your drumming musically inform your compositional process?
Yes, a lot my music prior to this release has been kind of maximal and I wanted to do something different and more stripped down. I wanted to zoom into the timbral space of the machines. In most cases, the pieces are made up of anywhere from 1-4 layers at most and to my ears it opened things up and enabled me to feel the vibrations of the different oscillators more clearly. Also the slow pacing and stark backdrops of the films pointed me in the direction of something very ambient and immersive. Playing complicated rhythms didn’t seem like the right way to go. It’s weird, with the whole drumming thing; it’s very much a different brain that I use. It’s more immediate and unconscious and with composing it’s almost the opposite. I guess for that reason when I do write rhythmically complex music, I’m not necessarily writing rhythms that I would play on the drums. Time slows down when I write and the analytical side creates other rhythms that my unconscious mind would never dream of making I guess. That bridge will be up and running some day.Composer and drummer Qasim Naqvi (Falkwyn de Goyeneche)
Are there other composers who’ve crossed into film that you think are doing particularly interesting things at the moment?
I’ve really been enjoying Mica Levi’s work, like from Under the Skin and Jackie. Johan Johansson’s scores for Sicaria and Arrival are also pretty awesome and I’ve been a fan of just about anything Jonny Greenwood has scored.
What new projects do you have on the horizon?
I’ve just started researching a piece for solo violin, percussion and modular electronics. The violin virtuoso Jennifer Koh has commissioned me to write a piece for a series that she’s curating at National Sawdust in March. It’s a great honor to be writing a piece for her and that’ll be taking up a big chunk of time. I also have some performances of my chamber music overseas with the group Stargaze and the Erebus Ensemble at the Spitalfields Festival in London and at the Rest is Noise Festival in Holland and I’m prepping for that. This is all largely thanks to Andre de Ridder; a fabulous conductor and curator who’s been a real strong advocate of my music and he’s been getting stuff performed abroad. I’m truly grateful to have someone like that in my life. Other than that, just trying to stay alive.
Ubiquitous, multiple Grammy-winning film composer Hans Zimmer and rock band Radiohead are collaborating on a new track to be included in "Blue Planet II," the sequel to the celebrated ocean documentary series "Blue Planet."
"ocean (Bloom)" is an orchestral arrangement of "Bloom," a song off of Radiohead's 2011 album The King of Limbs. Vocalist Thom Yorke has stated that the song was in part inspired by the original Blue Planet. As reported by Variety, Yorke said:
“‘Bloom’ was inspired by the original ‘Blue Planet’ series, so it’s great to be able to come full circle with the song and re-imagine it for this incredible landmark’s sequel,” he said. “Hans is a prodigious composer who effortlessly straddles several musical genres, so it was liberating for us all to work with such a talent and see how he wove the sound of the series and ‘Bloom’ together.”
The new version will feature the BBC Concert Orchestra with newly-tracked vocals by Yorke.
Watch Radiohead perform "Bloom" below.
John Ashbery, a Pulitzer Prize-winning poet known for his surreal and experimental style writing style, passed away on Monday at the age of 90. Listen to archival performances of the settings of his work, “No Longer Very Clear,” from WNYC FM's fiftieth anniversary concert, set by some of America's most renowned composers: Laurie Anderson, Philip Glass, and Milton Babbitt.WNYC's Fiftieth Anniversay Concert at Lincoln Center's Alice Tully Hall featured settings of text by John Ashbery by twelve established composers. (Alex Ambrose)
WNYC-FM’s 50th anniversary coincided with a very difficult time for the station: Mayor Rudy Giuliani had declared his intention to get New York City out of the broadcasting business by selling the licenses to WNYC – AM, FM, and TV (we broadcast PBS and various leased-time programs on UHF Channel 31). We’d just begun the process of negotiating with City Hall to not stand in the way of the sale of the TV license in return for the opportunity to buy the radio license ourselves, but our 51st anniversary was by no means assured.
Still, the event at Alice Tully Hall was meant to celebrate the station’s rich history and its deep connection with the contemporary music scene, in NY and around the country. The composer John Corigliano gave John Schaefer the idea of commissioning a bunch of composers to write short pieces for the occasion, and the poet John Ashbery was willing to contribute a new, unpublished poem, so the project quickly turned into a celebration not just of WNYC and the music scene, but of this oblique, dark, and possibly bleakly humorous work by Ashbery. “No Longer Very Clear” touched on familiar Ashbery themes like aging, memory, and regret; more than one composer, in speaking about it beforehand, noted that the title was appropriate to the occasion, with our own future so unclear.
The concert began with Ashbery reading his work.
John Ashberry introduces and reads "No Longer Very Clear"
Schaefer gave the composers no rules for setting the text: they could set it all, or part of it, or none of it.
Laurie Anderson set the entire text. Laurie Anderson's setting of John Ashbery's "No Longer Very Clear"
Philip Glass wrote an instrumental response (which now lives a second life as one of his piano Etudes)
Philip Glass' setting of John Ashbery's "No Longer Very Clear" Milton Babbitt set almost the whole text – and had a hilarious explanation for why he didn’t set a single, short word.
Milton Babbitt's setting of John Ashbery's "No Longer Very Clear
(And one composer, Raphael Mostel, set only the vowels!)
These performances were recorded June 13, 1994 at Lincoln Center's Alice Tully Hall on the occasion of WNYC FM's fiftieth anniversary.
British composer and pianist David Bruce draws from folk traditions such as gypsy music, flamenco, and klezmer as well as composers such as Janacek, Stravinsky, Berio, and Bartok in his work. He has composed for Yo-Yo Ma and the Silk Road Ensemble, the London Philharmonic Orchestra and Chroma, among others.
Bruce joins Jennifer Koh to discuss the meaning of his piece Marzipan and the complexities of composing folk music for virtuosic violin.
Building Brooklyn, written for the Brooklyn Youth Chorus’ Silent Voices project, evokes the full continuum of composer and singer-sonwriter Toshi Reagon's sound world: irresistible grooves, poignant blues harmonies, testimonial gospel melodies, all in the service of unrelenting honesty. Hers is a music based in the tradition of seeing things for how they really are, music that is without a single superficial moment. The truth of her music clarifies and ennobles the thinking of the listener. Put more simply: You are better after listening to Toshi Reagon’s music.
In Building Brooklyn, Reagon wrote a piece that explores the complexity and injustice of gentrification, a topic which is frighteningly urgent in her Crown Heights neighborhood. Particular to this piece is Reagon’s sense of irony. Poignant lines of erasure like "No, there never was a building, there never was a building here. No this never was a school, nobody taught here," are set to an upbeat, danceable rhythm, with the choristers smiling and getting down to the music. The final lines of the piece are set to what Reagon calls an "ironic gratitude": "It’s the moment when someone who takes your heart thanks you as if you gave it to them."
In this second Silent Voices documentary — the first features composer Kamala Sankaram's Keeping the Look Loose — we spoke with Reagon and the choristers about the current wave of gentrification, as well as how Reagon wove the many stages of injustice into a single, cohesive work.
Watch: Building Brooklyn with music and lyrics by Toshi Reagon, performed by the Brooklyn Youth Chorus.
Brooklyn Youth Chorus's Silent Voices was a multimedia, multi-composer stage work conceived, produced and performed by the chorus. Unfolding over the course of the chorus’ 25th anniversary season, and culminating in a world premiere at BAM’s Howard Gilman Opera House in May 2017, the work was co-commissioned by Brooklyn Youth Chorus, Brooklyn Academy of Music, and WQXR.
On May 5, 2017, London's long-time instrumental ensemble Penguin Cafe celebrated the release of their album "The Imperfect Sea" – a collection of originals and existing electronic music arranged for acoustic instruments –with a live performance at Le Poisson Rouge.
Originally formed in 1970s, Penguin Cafe Orchestra was the brainchild of composer and guitarist Simon Jeffes. Jeffes passed away in 1997, and his son Arthur resurrected the band, which currently includes members of Gorillaz, Suede and Florence and the Machine, in 1997. "The Imperfect Sea" is the third album by this incarnation of the band. Alongside original material, which intentionally mimics the layering of electronic music, "The Imperfect Sea" features covers of "dance" music by Kraftwerk, Simeon Mobile Disco and Rock Music.
Penguin Café includes: Arthur Jeffes, piano and dulcitone; Vincent Greene, viola and music director; Clementine Brown, violin; Oli Langford, violin; Darren Berry, percussion and various other things; Rebecca Waterworth, cello; Andy Waterworth, double bass; Des Murphy, ukulele and various other things; Neil Codling, cuatro and various other things
Listen to the full show, featuring introductions and on-stage banter by Arthur Jeffes, at the top of this page.
Control 1 Interlude/Franz Schubert (by Kraftwerk)
Now Nothing (by Rock Music)
Wheels Within Wheels (by Simeon Mobile Disco)
Music For A Found Harmonium
Air à Danser
engineers: George Wellington (technical director), Duke Markos (music mix), Edward Haber
"Petits Artéfacts," the forthcoming debut from Grammy-winning, Eighth Blackbird-founding cellist Nick Photinos, features new music from an impressive array of new and established voices, including Pulitzer Prize-winner David Lang, rocker-cum-composer Bryce Dessner and heralded composer-of-the-moment Andrew Norman.
In advance of the release, watch Photinos and ubiquitous percussionist Doug Perkins perform jazz pianist/composer Pascal Le Boeuf's teeth-rattling roller coaster ride Alpha.
The music is comprised of hard-grooving, stop-start cells and seemingly takes its cues from high-anxiety Hitchcock film music imbued with elements of vintage funk, John Bonham-style pummeling and free jazz. The intensity sits firmly at eleven the whole time and director Michael McQuilken's fast-cut and dizzying camera work only heightens the drama.
Petits Artéfacts is due August 25 on New Amsterdam Records.
It is possible that someone, somewhere has listened to an assortment of recent works by Terry Riley and not been utterly charmed, but it is best not to imagine what life must be like for such a person. Now 82 years old, Riley knocked the course of music history sideways with the highly repetitive, process-driven, open-form piece In C in 1964, but he has refused to repeat himself, instead producing a varied catalog of compositions in which the only constants are propulsive syncopation, a richness of ornamental detail, and melody.
Dark Queen Mantra, the titular piece on a new recording from the Sono Luminus label, unites two of the sound-worlds that have made up much of Riley's repertoire: the string quartet and the guitar. The bowed string players here are not his usual partners, the Kronos Quartet, but another bold Bay-area band, the Del Sol Quartet, who commissioned the piece in honor of Riley's 80th birthday, and it is a pleasure to hear Riley's music created and illuminated by a chamber group with a performance aesthetic that diverges from the very strong style of the Kronos crew.
The guitarist, on the other hand, is one of Riley's most longstanding musical collaborators. Riley has written his son Gyan whole volumes of Latin-influenced music for electric and acoustic guitar, and this Mantra is no exception: a sort of concerto for electric guitar and string quartet that delves from a sprightly tarantella into something more tuneful and wistful, and then deeper still into a distorted rock guitar tone, without ever losing a certain breezy, Spanish character.
Along with Dark Queen Mantra and The Wheel & Mystic Birds Waltz, a 1983 Riley quartet, Del Sol also offers here a piece by the legendary contrabass player and composer Stefano Scodanibbio, a longtime Terry Riley collaborator who passed away in 2012. Mas Lugares (su Madrigali di Monteverdi) is a sort of double homage to two other Italian masters: Claudio Monteverdi, whose madrigals emerge like ghosts from the Riley-like bustle of the opening movement, and Luciano Berio, whose own music was similarly haunted by the musical past.
Del Sol String Quartet: Dark Queen Mantra
Sono Luminus | Release Date: August 24, 2017
Available to Pre-Order on Amazon
The Brooklyn Youth Chorus' Silent Voices project – which premiered at the Brooklyn Academy of Music this past May – was one of the most socially aware artistic events in New York this year. The project commissioned 10 new works and created space for a sustained conversation about issues of social justice and empowerment among musicians, choristers and audiences alike.
Q2 Music documented conversations about the months of emotional and intellectual energy the choristers’ put into the project.
Keeping the Look Loose by composer Kamala Sankaram, with lyrics written by renowned prose-poet Claudia Rankine (Citizen, Don’t Let Me Be Lonely), is first subject of our two documentary videos. The piece is an anthem for young women, encouraging them to overcome the cultural scrutiny of their bodies.
“I wanted this to be an a capella piece because it's about the choir, it's about them. It's about their agency, and their power, and so I felt like they had to be the ones driving, driving the music forward and driving the journey forward,” says Sankaram. The choristers accompany themselves with claps and stomps throughout to “put them in their bodies and give them a little more power.”
With interviews conducted by Helga Davis, this video is a testament to not only to the truth of these young women’s experiences, but also to a tragically overlooked and rarely mastered gesture of activism: listening.
Watch: Kamala Sankaram's Keeping the Look Loose, with text by Claudia Rankine, below:
Brooklyn Youth Chorus's Silent Voices was a multimedia, multi-composer stage work conceived, produced and performed by the Chorus. Unfolding over the course of the Chorus’ 25th anniversary season, and culminating in a world premiere at BAM’s Howard Gilman Opera House in May 2017, the work was co-commissioned by Brooklyn Youth Chorus, Brooklyn Academy of Music, and WQXR.
The New York electronic composer Oneohtrix Point Never has remixed a piece by legendary Japanese composer Ryuichi Sakamoto.
"Andata" appears on Sakamoto's latest release async, an album conceived as a soundtrack to a film by Andrei Tarkovsky that does not exist. OPN subtly colors Sakamoto's tranquil, baroque-informed piano meditation and digital hiss with dated plucked synth counterpoint and syrupy organ-like swells.
Oneohtrix Point Never is the project of composer Daniel Lopatin, who has released seven full-length albums to date (his eighth, a soundtrack to the film Good Time, will be released on August 8). Lopatin often incorporates warped audio samples of sounds from YouTube, films and other "found" sources, referencing modern ambient music, ambient, New Age and No Wave styles. He recently released a single with Iggy Pop.
An upcoming remix album of async set for a September 8 release on Milan Records includes OPN's remix alongside remixes by Arca, Jóhann Jóhannsson and others.
Listen to Oneohtrix Point Nevers's reworking of "Andata":
Listen to Ryuichi Sakamoto's "Andata" from async:
On July 11th, chamber orchestra The Knights premiered Judd Greenstein's Flute Concerto during a live performance at the Naumburg Bandshell in Central Park. The concerto was written for Knights' flutist Alex Sopp, also a member of the groups yMusic and NOW Ensemble, and broadcast live on WQXR.
As Greenstein explains in the interview embedded below, Sopp is a longtime friend of his and the concerto reflects her relationship with the other musicians in The Knights, both as an ensemble member and soloist. On the onstage interview before the performance, he tells conductor Eric Jacobsen that the piece is about "people doing things that are similar, that are together, but yet have something individual to say."
Listen to Judd Greenstein's Flute Concerto at the top of the page, and his interview with Eric Jacobsen below.
The Knights' Eric Jacobsen interviews Judd Greenstein
David Lang is also co-founder and co-artistic director of New York's legendary music collective Bang on a Can. One of the most visible and performed contemporary composers, he has composed for the Internationl Contemporary Ensemble (ICE), Kronos Quartet, the New York Philharmonic and eighth blackbird. His score for director Paolo Sorrentino's film YOUTH was nominated for an Academy Award and he was awarded the 2008 Pulitzer Prize for Music for his The Little Match Girl Passion.
David Lang joins Jennifer Koh to discuss a composer's awareness of the works alongside which his/her own is being programmed, and an alternative approach to virtuosity, one soaked in subtlety, control, and reservation of emotion, both of which he explores and exemplifies in his Shared Madness composition low resolution.
Julia Wolfe is a composer who finds inspiration in folk, classical and rock music. She was a 2016 MacArthur Fellow, and her opera Anthracite Fields won the 2015 Pulitzer Prize. A co-founder of Bang on a Can, she's composed for the Bang on a Can All-Stars and singers and the Munich Chamber Orchestra, among others. Wolfe is currently writing a piece for the New York Philharmonic’s 2018 season.
She joins Jennifer Koh to discuss the history behind the title of her Shared Madness piece, Spinning Jenny, traditional folk technique, and the moment she discovered her love of music.
On July 12, cellist Mariel Roberts – an accomplished solo performer and also a member of Mivos Quartet – joined us in the studio to perform music by the late maverick composer Pauline Oliveros and Columbia University's George Lewis, off her latest album, Cartography.
The wildly virtuosic Spinner, by legendary composer and trombonist George Lewis, incorporates intricate runs of string harmonics and a rubber superball rubbed against the back of the instrument for a detailed and textured piece that also recalls the spontaneity of improvisation.
Pauline Oliveros's Thirteen Changes asks the performer to interpret thirteen descriptive sentences, including "solar winds scorching the returning comet's tail" and "elephants mating in a secret grove."Instructions for Pauline Oliveros' 'Thirteen Changes,' performed by Mariel Roberts (Hannis Brown)
Michael Gordon is a composer and co-founder of Bang on a Can known for a "maximalist" approach to composition. Recent works include Natural History, written for Oregon's Crater Lake, a recent bassoon concerto Observations on Air and The Unchanging Sea for pianist Tomoko Mukaiyama and the Seattle Symphony and Rotterdam Philharmonic Orchestra.
Gordon joins Jennifer Koh to discuss the changing definition of virtuosity, which Gordon interprets to be based on potential for connection and communication rather than athleticism, and how this concept is explored in his Shared Madness composition kwerk.
Mark Grey is a composer and sound designer from San Francisco. He has worked with the Phoenix Symphony, Kronos Quartet and California EARUnit. As a sound designer, Grey has worked extensively with John Adams as well as with Steve Reich and Philip Glass.
Grey joins Jennifer Koh to discuss the influence of Grey’s experience with technology on his approach to composition, and his re-construction of soundworlds from Paganini’s 20th caprice.
Paul Simon has always been attracted to new kinds of sounds. From his early band Simon & Garfunkel in the 1960s through solo albums like Graceland and Rhythm of the Saints in the '80s and '90s, up through his recent albums So Beautiful or So What and Stranger to Stranger, Simon has made music that does what the very best art can do: it resonates with our experience, re-frames it, and introduces new timbres and ideas.
Recently, Simon’s curious mind has brought him into the world of contemporary classical music, mining the microtonal sound world of Harry Partch for his last record, and, just last month, collaborating with 10 composers and the ensemble yMusic on a set at the Eaux Claires music festival. On this episode, we hear Simon's perspective on his career and his most recent projects, as well as exclusive audio from the festival collaboration itself.
Heard a piece of music that you loved? Discover it here!
0:18—Andrew Norman: Music in Circles | Listen
2:23—Paul Simon: Insomniac’s Lullaby | Listen
5:04—Simon & Garfunkel: Mrs. Robinson | Listen
6:09—The Penguins: Earth Angel | Listen
7:05—Tom & Jerry: Hey Schoolgirl | Listen
7:48—Simon & Garfunkel: Sound of Silence | Listen
8:13—Simon & Garfunkel: Bridge Over Troubled Water | Listen
8:48—Paul Simon: Still Crazy After All These Years | Listen
9:09—Paul Simon: Hearts and Bones | Listen
10:00—Boyoyo Boys: Son Op | Listen
10:41—Paul Simon: Diamonds on the Souls of Her Shoes | Listen
11:03—Paul Simon: Boy in the Bubble | Listen
11:30—Paul Simon: Homeless | Listen
11:58—Paul Simon: Graceland | Listen
12:53—Ladysmith Black Mambazo: The Alphabet | Watch
13:22—Paul Simon: Under African Skies | Listen
14:50—Paul Simon: Crazy Love, Vol. II | Listen
15:38—Eddie Palmieri: Ay Que Rico | Listen
15:53—Various Artists: Hausa Street Music | Listen
16:06—Various Artists: Oru Para Todos Los Santos | Listen
16:12—Various Artists: Songhay Gulu Drummers | Listen
16:24—Paul Simon: Further to Fly | Listen
17:08—Paul Simon: Obvious Child | Listen
18:58—Marcos Balter: Bladed Stance | Listen
20:56—Timo Andres: Safe Travels | Listen
23:40—Harry Partch: Cloud-Chamber Bowls | Listen
24:33—Harry Partch: The Bewitched, Scene One | Listen
25:14—Paul Simon: Insomniac’s Lullaby | Listen
26:27—Vincenzo Bellini: Casta Diva, from Norma | Listen
27:58—Sergei Prokofiev: Cello Sonata in C major, op. 119 | Listen
29:15—Paul Simon: Another Galaxy | Listen
31:44—Paul Simon: Kathy’s Song | Listen
32:14—Paul Simon: Train in the Distance | Listen
32:44—Paul Simon: Train in the Distance [acoustic demo] | Listen
35:08—Bob Dylan: The Ballad of a Thin Man | Listen
35:34—Gabriel Kahane: Veda (1 Pierce Dr.) | Listen
36:10—Paul Simon [arr. Gabriel Kahane]: Train in the Distance
37:32—Danny Brown: Ain’t It Funny | Listen
40:14—Paul Simon [arr. Robert Sirota]: America
42:32—Simon & Garfunkel: Sound of Silence | Listen
44:17—Simon & Garfunkel: America | Listen
46:15—Paul Simon [arr. Rob Moose]: Sound of Silence
Andrew Norman, Musical America's 2017 Composer of the Year, is a Los Angeles-based composer who draws inspiration from both the classical canon and modern media, like movies and video games. He is currently on faculty at the University of Southern California.
Norman’s music has been performed by ensembles including the Los Angeles and New York Philharmonics, the Philadelphia and Minnesota Orchestras, the BBC, Saint Louis, Seattle and Melbourne Symphonies among others. He recently won the Grawemeyer Award for Music Composition.
Norman joins Jennifer Koh to discuss performed silence as exemplary of delicate virtuosity, and the “deconstruction of technique,” through which Norman seeks to illicit a deliberately imperfect result, seen as flawed through the eyes of “classical” training but as expressively human through Norman’s eyes. These concepts are all at work in his Shared Madness composition Still Life.
Composer Daníel Bjarnason is currently artist in residence with the Iceland Symphony Orchestra, and is a member of Bedroom Community, the Icelandic record label and artist collective. In addition to recent and upcoming commissions for the Los Angeles Philharmonic, Cincinnati Symphony Orchestra, the Calder Quartet, and others, he's collaborated with musicians including Sigur Rós, Brian Eno, Efterklang and Ben Frost.
Bjarnason joins Jennifer Koh to discuss compositions as self-contained universes and the challenges inherent in maintain many disparate voices in a work scored for a solo instrument, both forces Bjarnason finds present in his Shared Madness composition First Escape.
Kaija Saariaho is a Grawemeyer Award-winning composer born in Helsinki, Finland, but currently based in Paris. Her studies and research at IRCAM, the Paris institute for research of electronic music and music technology, have had a major influence on her music, and her characteristically luxuriant and mysterious textures are often created by combining performance on acoustic instruments and electronics. Her opera L’Amour de loin was given its premiere at the Metropolitan Opera in 2017.
Saariaho joins Jennifer Koh discuss the tricky relationship between musical intricacy and performative virtuosity, and the extent to which extended techniques are (and aren’t) actually any less natural for a performer than conventional technique. Saariaho explores these complex dichotomies in her Shared Madness piece Sense.