EarShot Sarasota Orchestra - Composer Spotlight: Krists Auznieks

Currently pursuing doctorate at Yale School of Music with Aaron Jay Kernis and David Lang, Krists Auznieks’ most recent recognitions include Jacob Druckman Prize from Aspen Music Festival, Latvian National Grand Music Award for the best new work of the year, The Woods Chandler Memorial Prize from Yale, fellowships from Aspen Music Festival, NEXT Festival of Emerging Artists (NYC), Bennington Chamber Music Conference, and Norfolk Chamber Music Festival, winning works at The Chicago Ensemble’s Discover America XI and Kaleidoscope Chamber Orchestra competitions. His quintet “Piano” was featured in The New York Times among the week’s best classical music moments. His opera NeoArctic, co-written with British techno producer Andy Stott, won Danish Reumert Prize and will have its US premiere at The Kennedy Center in 2019.

Krists Auznieks' piece Crossing was selected for the EarShot Sarasota Orchestra New Music Readings, where it will be rehearsed and performed under the direction of conductor Christopher Rountree. A reading session on Saturday, March 16, 8PM is open to the public at Holley Hall. Click here for more information.

We spoke with Krists about his piece and the EarShot program.

Composer Krists Auznieks

American Composers Orchestra: What was your reaction to finding out your piece had been selected for the Sarasota Orchestra EarShot New Music Readings?

Krists Auznieks: I was thrilled: I received the news just a few days before New Year’s Eve and took it as an omen of a wonderful year ahead. The piece taps into something deeply personal and meaningful that I wanted to share with the world and I was hoping that the piece would have life beyond the first performance. The Earshot selection meant that the dream is gradually coming true.

ACO: Can you talk about what you experience when you hear an orchestra perform your music for the first time? What was it like to hear the Aspen Philharmonic Orchestra perform Crossing for the first time?

KA: Oh, it is very exciting: it is a culmination of endless hours of solitary work and hearing it come together in a beautiful place being surrounded by a marvelous community feels extraordinary. It is very healing. The connections that are made during and surrounding the performance — through sound, ideas, presence, and the sheer act of listening — always amaze me. You feel like there are invisible lines connecting history, being, community with something underlying and unspoken and projecting it all into the future. It is closest to time traveling I will ever get. Aspen PO was magical: the care Patrick Summers took, the attention to detail, you just could not believe it. People breathing in sync with fluid, not-having-yet-happened time.

ACO: What are you doing to prepare for the readings? Are there any changes you have made to your piece?

KA: I made plenty of revisions concerning balance, orchestration, and micro-timing; I also changed the last two minutes quite radically. The last section should subsume the rest of the piece completely and I don’t know how it can happen. Can eight minutes of mercurial shifts and crossings be eaten up by a large solid block of late Rothko?

ACO: What are you looking forward to about the workshops and readings? What do you hope to learn from the experience?

KA: I certainly want to find out the answer to my last question. I am looking forward to furthering the changes and getting to know the piece through the ears of other people: composers, musicians, the audience. I am also excited to hear pieces by fellow composers and see how they define and solve compositional problems. Sarasota Orchestra’s extensive experience with the tradition and new music alike is an asset that will contribute to rich interpretation of our pieces in unexpected ways. And what an honor it is to be working with the new music connoisseur Christopher Rountree: his energy and musical literacy are truly inspiring.

Krists Auznieks' piece Crossing will be performed by the Sarasota Orchestra, led by conductor Christopher Rountree, on Saturday, March 16, 8PM at Holley Hall. Click here for more information.

Learn more about Krists Auznieks at www.auznieks.com

Where We Lost Our Shadows - Performer Portrait: Helga Davis

Helga Davis is a vocalist and performance artist with feet planted on the most prestigious international stages and with firm roots in the realities and concerns of her local community whose work draws out insights that illuminate how artistic leaps for an individual can offer connection among audiences.

Helga Davis is a featured soloist in Pulitzer Prize-winning composer Du Yun and Palestinian artist Khaled Jarrar’s new multimedia work Where We Lost Our Shadows, which explores the timeless story of human migration and the resilient human spirit.

American Composers Orchestra presents the New York premiere on Thursday, April 11, 7:30pm at Carnegie Hall, Zankel Hall. Click here for tickets and more information.

Where We Lost Our Shadows - Composer Spotlight: Du Yun

Pulitzer Prize-winning composer Du Yun discusses Where We Lost Our Shadows, her new collaboration with visual artist Khaled Jarrar. The new multimedia work explores the timeless story of human migration and the resilient human spirit, featuring singer Ali Sethi, singer Helga Davis, and percussionist Shayna Dunkelman.

American Composers Orchestra presents the New York premiere on Thursday, April 11, 7:30pm at Carnegie Hall, Zankel Hall. Click here for tickets and more information.

EarShot Detroit Symphony Orchestra - Composer Spotlight: Marian L.H. Stephens

Marian L. H. Stephens is a native of Atlanta, Georgia. She has studied composition at the Royal Academy of Music in Stockholm, Sweden, and in 2007 became the first African American to receive the Doctorate of Music degree in Music Composition from Indiana University (Bloomington) Jacobs School of Music. Marian is the Founding Artistic Director of MLH Music Studio, which she established in 2010, where she is the lead instructor to students ages 4 to adult.

Marian's piece Out of Kilter was selected for the Detroit Symphony Orchestra EarShot Readings, where it will be rehearsed and performed under the direction of conductor André Raphel. Public performances will take place on March 6 and March 9 at the Fisher Music Center. Click here for more information.

We spoke with Marian about her piece and the readings.

Composer and educator Dr. Marian L.H. Stephens

American Composers Orchestra: What was your reaction to finding out your piece had been selected for the Detroit Symphony Orchestra EarShot New Music Readings?

Marian L.H. Stephens: I was very humbled, and excited, to learn that my piece, "Out of Kilter: sounding scenes from Black America," was selected for the DSO EarShot New Music Readings. As a professional composer, striving to be "heard," I welcome opportunities, such as this, that are designed to create new relationships between audiences, living composers, and their new music! On a personal note, my selection into the program allows me to teach my daughters, Nia, age 4.5, and Ava, age 2,  the importance of seeing one's dreams come to fruition. I want my girls to be proud of me. I want them to know about my continued efforts to make a very "musical" mark on this world. I thank EarShot for helping me do so!

ACO: You write in your program note that Out of Kilter is inspired by images from Chase Campbell's children's book Riding the Sphinx and Other Adventures at the Museum. Can you talk about a couple of the specific images, their meaning to you, and how they are represented through music?

MS: Atlanta area artist, Chase Campbell, and I have been friends for over 20 years. When I compose, I often look for inspiration from the visual arts realm. Mr. Campbell's works resonate with me because I can see myself, my family, and friends in them. "Out of Kilter" is a through composed work, made up of five, distinct sections. "The Connoisseur" is my most favorite image out of the five. To me, everything about the image looks forward with a great positive energy. The viewer looks forward at the central figure, as he looks forward at a painting, which features a man and woman embracing, as they look forward, into a bright future. The positive energy, I receive from this image, is similar to how I feel when I dance, and it is why I composed a light-hearted, loop-sided dance to accompany this image. 

Images from Riding the Sphinx and Other Adventures at the Museum by Chase Campbell

ACO: What are you doing to prepare for the readings? Are there any changes you have made to your piece?

MS: I haven't made any changes to my piece. I want to see if what I wrote really works. I am preparing for the readings by making sure that I can present simple, clear explanations about my music. I have been a music educator for over 20 years. I have taught pre-school students, as young as 2, and graduate students as old as 50. The one thing I have learned from these experiences is to "keep it plain!" This is my measure of success. I believe, if too much explanation is required, then a trip back to the drawing board is warranted!

ACO: What are you looking forward to about the workshops and readings? What do you hope to learn from the experience?

MS: I look forward to cultivating new relationships that will yield new collaborations. I welcome mistakes because they bring growth. So, my ultimate learning goal is to see how I can improve my writing, overall. Humans are creatures of habit, and it is very easy to compose the same "mistake" repeatedly. I want this opportunity to reveal the things that plague my writing the most. I want to walk away a better composer!

Marian's piece Out of Kilter was selected for the Detroit Symphony Orchestra EarShot Readings, where it will be rehearsed and performed under the direction of conductor André Raphel. Public performances will take place on March 6 and March 9 at the Fisher Music Center. Click here for more information.

EarShot Detroit Symphony Orchestra - Composer Spotlight: Brian Nabors

Composer Brian Nabors' music draws from combinations of Jazz/R&B and contemporary music. He is currently completing doctoral studies at the College-Conservatory of Music, University of Cincinnati, with professor Douglas Knehans. Brian's works have been performed the Cincinnati Symphony Orchestra, Detroit Chamber Winds and Strings, Zodiac Trio, Unheard-of//Ensemble, and the Contemporary Directions Ensemble at the University of Michigan. He has received awards from the Music Teachers National Association (MTNA), Alabama Music Teachers Association (AMTA), and the Birmingham Music Club.

Brian's piece Rise was selected for the Detroit Symphony Orchestra EarShot Readings, where it will be rehearsed and performed under the direction of conductor André Raphel. Public performances will take place on March 6 and March 9 at the Fisher Music Center. Click here for more information.

We spoke with Brian about his piece and the readings.

Composer Brian Nabors

American Composers Orchestra: What was your reaction to finding out your piece had been selected for the Detroit Symphony Orchestra EarShot New Music Readings?

Brian Nabors: I was more than elated! I view it as an incredible blessing and milestone in this early stage of my compositional career. I have been in love with the Detroit Symphony for quite some time and have always admired their diligence of promoting diversity, culturally enriching musical experiences, and overall support of new music. I very much look forward to what this experience will bring.

ACO: You mention in your bio that Jazz and R&B, combined with contemporary classical influences, feed into your compositional voice. Can you talk about some of your greatest influences from the worlds of Jazz and R&B? In what ways do Jazz and R&B show up in your compositions?

BN: I grew up in the 1990s-2000s, when smooth R&B and Neo Soul reigned supreme. There are several artists that I loved from that time as well as today. Everyone from Boys II Men, Maxwell, Toni Braxton and Musiq Soulchild, to jazz/funk acts like Chick Corea, Herbie Hancock, Wynton Marsalis, and Snarky Puppy continue to play a huge role in the cultivation of my compositional aesthetic. Location and culture also played a role in what I absorbed. I'm originally from Birmingham, AL. There's so much soul throughout the city! It has an eclectic mix of gospel, bluegrass, jazz, and R&B all tightly rolled into one! The main compositional traits from these worlds that often make it into my music are a heavy sense of rhythmic drive, a very complex system of harmonic activity, and intense visceral development of motives/themes.

ACO: Rise is an orchestra adaption of the first movement of your Concerto for Hammond Organ and Orchestra. In regards to your concerto, can you talk about the challenges and rewards of combining Hammond Organ and orchestra? In regards to Rise, how did you go about re-orchestrating the Hammond Organ part?

BN: The Concerto for Hammond Organ and Orchestra was such a massive and rewarding undertaking! There are several experiences I've had that definitely contributed to my integration of the instrument with orchestra. As a Hammond organist myself, I had the fortunate advantage of understanding how the effects (such as the drawbar harmonic system, percussion, and leslie/tremolo settings) would fit in such an ensemble of endless sound possibilities. I essentially scored the instrument as I would any solo instrument with orchestra, allowing the orchestration to be constructed in a way that is most supportive of the soloist. I would say the greatest challenge was working out the numerous sound possibilities with the stage setup of the organ. In the score, I've given quite a few options for obtaining balance with orchestra as the piece is scored for traditional Hammond models and well as Hammond's new digital line of organs. The instrument could be run through a hall's sound system with a monitor for the player, or the Leslie speaker could sit on stage with the player depending on the acoustic situation.

As for Rise, I took one week and tore apart the solo, assigning suitable portions to the most equally idiomatic sections of the orchestra. I often found myself adding additional melodies and passages to support which ever section was in the forefront at the time. The orchestration would sometimes be bare because I originally made room for the soloist. This was also an advantage as the open space allowed the different families of the orchestra to speak well. Also, I have four percussionists in the concerto and three in this piece, so it gave me a lot of ideas of instruments to add as well as timbral possibilities to enhance the orchestration.

ACO: What are you looking forward to about the workshops and readings? What do you hope to learn from the experience?

BN: I'm looking forward to everything! One of the things I'm especially excited about, in addition to the readings, are the educational workshops and visitations we'll be participating in. As an artist, these types of activities are particularly meaningful to me. Knowing where I've come from, I realize how fortunate I was to have visitations from artists and musicians who took time out to expose young people to the gift of the arts. I have very special memories of how the simple act of just seeing these people awakened all of the underlying potential that I had to become who I am today. I often tell my colleagues if you want your communities to experience the overwhelming power of classical music, it starts from the bottom. It is there that young people have the opportunity to develop a love and relationship with this music that then inspires them treasure it, support it, and care for its well-being. I also look forward to the incredible advice that I'll receive from the mentor composers as well as the various amounts of musical intricacies that I'll discover while working though the piece. It's truly an incredible experience like no other!

Brian's piece Rise was selected for the Detroit Symphony Orchestra EarShot Readings, where it will be rehearsed and performed under the direction of conductor André Raphel. Public performances will take place on March 6 and March 9 at the Fisher Music Center. Click here for more information.

Learn more about Brian at www.briannabors.com

Follow him on Facebook, Twitter, Instagram, and YouTube

EarShot Detroit Symphony Orchestra - Composer Spotlight: Kerwin Young

Kerwin Young is a prolific American composer and producer who has worked with iconic artists including Ice Cube, Mobb Deep, Busta Rhymes, and Public Enemy. His works have been performed by Music From China, Kansas City Symphony, Chicago Modern Orchestra Project, University City Symphony, and other well-known ensembles. As a film and TV composer, Young has worked on projects including the 1994 debut season of New York Undercover; the 1997 directorial debut of Goetz Grossman, Tar; KCPT's weekly news series Ruckus; and has composed and produced original songs for feature motion pictures such as Do The Right Thing (1989), Green Card (1990), Sister Act 2 (1992), and American Crime Story: The People Vs O.J. Simpson (2016).

Young studied music composition at the University of Missouri-Kansas City Conservatory of Music and Dance with Chen Yi, Zhou Long, and Jazz Messenger legend, Bobby Watson. In 2017, Young served as a U.S. Cultural Ambassador for Hip-Hop in Egypt, teaching music composition, production, media scoring, and business. 

Young's piece American Caravan was selected for the Detroit Symphony Orchestra EarShot Readings, where it will be rehearsed and performed under the direction of conductor André Raphel. Public performances will take place on March 6 and March 9 at the Fisher Music Center. Click here for more information.

We spoke with Young about his piece and the readings.

Composer and producer Kerwin Young

American Composers Orchestra: What was your reaction to finding out your piece had been selected for the Detroit Symphony Orchestra EarShot New Music Readings? 

Kerwin Young: I was ecstatic, and a bit surprised really. I've been applying to EarShot for about ten years or more, and to finally get in; well, I was extremely happy.

ACO: In your experience writing for orchestra, what have been the biggest challenges for you?

KY: I don't ever recall facing any challenges pertaining to orchestral writing. I spent six years (1994-2000) studying composition, instrumentation, and orchestration on my own. I began writing for orchestra in 1999, and in 2000, I had two full large works written on manuscript paper. In 2000, I met with the librarians at the Atlanta Symphony Orchestra, Steve Sherrill and Bob O'brien; for their critique of my work. They found nothing wrong with my works; except for my improper notation for a harp glissandi. My further pursuit in education posed more of a challenge than the music ever did.

My greatest challenge began when I applied to the Paris Conservatory in 2002. They told me that I was too old to be accepted. That hurt me more than anything. I've never experienced age discrimination. I waited seven years before re-applying to another school; which happened to be University of Missouri-Kansas City. By that time, I'd composed a decent amount of orchestral works that culminated for quite a strong portfolio.

ACO: Can you talk about any ways that your experience as a record producer (working with acclaimed artists including Ice Cube, Busta Rhymes, Public Enemy, Eddie Moore, and many others) has helped you become a successful composer of large-scale works?

KY: As a recording producer and song writer, I had experience early on with large scale works. Many of the albums I produced toward the start of my career followed the traditional practice of creating conceptual albums with interludes, and fully developed, interrelated themes. I wasn't calling myself a composer at that time, but I was doing the same thing to a certain extent. I was also writing music for industrial videos early on, and that also contributed to me writing long form works.

Another thing too, as a producer, I was also called upon to do remakes of older recordings. In 1994, I began composing; for the most part, transcribing parts from recordings; which included a lot of Gil Evans orchestrations for the early Miles Davis large ensemble recordings.

ACO: Your piece American Caravan is inspired by current events taking place in the Americas, highlighting themes of human migration, overcoming hardships, and seeking a better life. What is your process for composing music that evokes these real-life themes? Is there a period of research? Do you compose with specific images, stories, or personal experiences in mind?

KY: Hmmm… as a composer, I get to play God; manipulating sound, doing whatever I want. I get to approve or disapprove what's been notated; to be the sole authority that deems it either good or unworthy. I've always worked like this; trying to find a new sound or a new approach to something I may have previously done. For each new work, it's an act of sonic manipulation; just as if I were producing a song or an album. I have a few different work flows, but my main process goes like this: Subject - Mental Image - Sound. This order ties in with my passion for film scoring. Once I find an interesting subject, I research it long enough for it to set in my mind. I'll then develop a mental picture; like a movie. Next, I'll purchase a moleskine book specifically for work at hand, and I will begin sketching my ideas; creating a sonic image inspired from my mental image. Each dedicated Moleskine includes a rough outline of the entire work; including the tonal palette, dynamic arc, how many movements (if any), and the instrumentation. I never compose with a particular ensemble or musician in mind. I prefer to write what I want to hear, and that approach keeps my creativity fresh; not constrained by any parameters.

I also spend a lot of time composing away from my piano and guitar. I'll set out on a creative writing spree, with the intent to organize it later. This process allows me to escape the western plane of twelve notes, and to dive into the realm of microtonality and sonic frequencies. Much of this is linked with my passion for film scoring, and many times, I'll write an 8-15 minute work in 3-4 days from this process; either as a suite or a single movement work.

Another process is to compose via a digital workstation such as Digital Performer, Studio One, or Pro Tools. I begin via midi input into the computer, and that data will be rewired into Sibelius; where I may turn a small, one-minute idea into a fully developed work not shorter than eight minutes.

The challenging part and most time consuming task is inputting what I've written into Sibelius. With the necessity of working efficiently, I'm always mindful that I'll need to render parts at a later time. Great caution is taken when inputting into Sibelius; doing my best not to create potential challenges that would hinder me if required to export parts in a hurry.

ACO: What are you looking forward to about the workshops and readings? What do you hope to learn from the experience?

KY: Interacting with the young student composers and musicians during the scheduled workshops is very important for me. I'm just as excited to hear how my reduction for the student ensemble reads, as much as I am by the DSO reading. I'll have an opportunity to learn first hand whether or not I've done well at writing a playable reduction for our young sisters and brothers. And, with the DSO, I'm looking to fine tune my work, and to also learn just how far I can push the limits of difficulty.

For the readings, I'm definitely looking forward to hear the works of the other honored composers; to share in the excitement with them, and to share our creative processes and backgrounds; learning new and different approaches at what we do.

I dream of having a residency with a major orchestra, and this experience will definitely provide the necessary tools toward that achievement; providing both business and creative aesthetics.

Kerwin Young's piece American Caravan will be performed as part of the Detroit Symphony Orchestra EarShot Readings, which are free and open to the public on March 6 and March 9 at the Fisher Music Center. Click here for more information.

Learn more about Kerwin Young at www.kerwinyoung.com

EarShot Detroit Symphony Orchestra - Composer Spotlight: Anthony Tidd

Anthony Tidd is an international touring bassist, composer, and bandleader. Born and raised in London to Trinidadian parents, Tidd now lives in Philadelphia, where he is a master lecturer at The University of the Arts and Jazz Artistic Advisor at Kimmel Center. A Grammy Award winner, Tidd has recorded and produced records for multiplatinum artists such as The Roots, Lady Gaga, The Black Eyed Peas, Fergie, Pink, and many others. He has composed scores for major film and television projects, most recently Jay Z’s Paramount/BET docuseries, Rest in Power – The Trayvon Martin Story.

Anthony Tidd's piece Sa and Alatangana was selected for the Detroit Symphony Orchestra EarShot Readings, where it will be rehearsed and performed under the direction of conductor André Raphel. Public performances will take place on March 6 and March 9 at the Fisher Music Center. Click here for more information.

We spoke with Anthony about his piece and the readings.

Composer, bassist, and bandleader Anthony Tidd

American Composers Orchestra: What was your reaction to finding out your piece had been selected for the Detroit Symphony Orchestra EarShot New Music Readings?

Anthony Tidd: I was so excited and honored to have my piece considered and chosen to be read as a part of the Detroit residency. As a black composer, who is very interested in the orchestra and canon of orchestral music, one of the greatest challenges for me is to dedicate the time it takes to write for orchestra, to music which has little to no chance of ever being played or heard. This is one of the reasons why people within my community have such little experience, when it comes to composing for the orchestra and thus little to no investment in the future of the institution.

Residency programs like this do a lot to help in changing this reality, but obviously a lot more work needs to be done.

ACO: Your program note says that your piece is dedicated to your aunt Ruth Harper, who passed away last year after a long battle with cancer. Can you talk about the thematic material in your piece and any ways that it was inspired by your aunt or represents her life?

AT: Well, the piece, Sa and Alatangana is about life and as a part of this, also about death. When my aunt, who was also my godmother and my mother’s closest sister, passed away from a brain tumor, as well as being sad, I also started to think a lot conceptually about the different stages of life, growth, and even cancer itself. 

Actually, I also thought a lot about growth, from a biological point of view in the past, and also from the standpoint of looking at the fascinating universal laws which govern this. Inevitably such contemplation often leads one to the question of creation, God, and one’s own place within this vast universe. I have always imagined, and worked on the possibility of a correlation between the many universals outside of music, and music itself.

ACO: The name of your piece, Sa and Alatangana, comes from the two creator deities of the Kono people of Guinea. Why did you choose this name for your piece?

AT: As you mention, this name comes directly from a Guinean folkloric creation myth, which deals with  the dawn of creation, love, and eventually life and death, so it was a natural fit for what I was trying to express compositionally. As a part of the African diaspora, I am of course fascinated by such myths, and how they relate to some of the more widely disseminated myths of creation in the west, or religion.

I’m not really dealing with the religious aspect at all. What I am trying to deal with is intention, growth, symmetry, rhythm, patterns, “divine” proportions, etc.

ACO: What are you looking forward to about the workshops and readings? What do you hope to learn from the experience?

AT: It’s always great to be in a creative environment. I strive to keep myself emerged in situations where I can grow, learn, or assist others in this endeavor. But, as you know, this is not always so easy.

It’s also just going to be great to hear my music, and that of my colleagues, played by a great orchestra. I’ve learned so much in the past from such experiences (this is my third time having a piece played by an orchestra), so most of all I’m anxious to see if I actually learned anything the last two times! Hahaha!

I want to see how much closer I am with getting the limitations of “the page” to accurately represent what is in my head! Particularly in terms of trying to communicate the very specific rhythmic sense, which is arguably the most important part of the musical tradition that I am part of. We’ll see.

Anthony Tidd's piece Sa and Alatangana will be performed as part of the Detroit Symphony Orchestra EarShot Readings, which are free and open to the public on March 6 and March 9 at the Fisher Music Center. Click here for more information.

Learn more about Anthony Tidd at www.pirerecordings.com
Follow him on Facebook, Twitter, and Instagram

Phenomenal Women - Composer Spotlight: Joan Tower

American Composers Orchestra (ACO) performs Joan Tower's Chamber Dance, led by Music Director George Manahan, as part of its program Phenomenal Women on Friday, November 2, 2018, 7:30pm at Carnegie Hall's Zankel Hall. More information here

Joan Tower is widely regarded as one of the most important American composers living today. During a career spanning more than fifty years, she has made lasting contributions to musical life in the United States as composer, performer, conductor, and educator. Her works have been commissioned by many of the world's celebrated ensembles, soloists, and orchestras.

In 1990, Tower became the first woman to win the prestigious Grawemeyer Award for Silver Ladders. Tower's 2008 album Made in America, featuring three works recorded by Leonard Slatkin and the Nashville Symphony, collected three Grammy awards: Best Contemporary Classical Composition, Best Classical Album, and Best Orchestral Performance. Nashville’s latest all-Tower recording includes Stroke, which received a 2016 Grammy nomination for Best Contemporary Classical Composition.

We spoke to Tower about her first orchestral work, Sequoia, as well as Chamber Dance, written in 2006, which is featured on ACO's upcoming program Phenomenal Women on Friday, November 2, 2018, 7:30pm at Carnegie Hall's Zankel Hall. More information here

Composer Joan Tower. Photo by Bernard Mindich

American Composers Orchestra: Your first orchestral work, Sequoia, was commissioned by the Jerome Foundation and ACO and premiered with conductor Dennis Russell Davies at Carnegie Hall in 1981. We’d love to hear any memories that stand out from that experience. How did it affect the trajectory of your career? 

Joan Tower: It changed my entire life! Francis Thorne [ACO’s co-founder] kept bugging me to write a piece for ACO. I kept saying “no” because I felt wasn’t ready, but he was very persistent. He said, “Joan, you are ready! Just go for it!” So I wrote Sequoia kicking and screaming and not knowing what I was doing.

I remember Keith Jarrett was on the program, the famous jazz pianist, and the place was sold out basically because of him. Dennis decided to reorder the program so that I was right before intermission, following Keith Jarrett playing Alan Hovhaness. I was a total wreck. I thought, “Why did you change the order of the program? You can’t do this to me!” So, of course, Keith Jarrett finished playing this piece by Hovhaness and the place went bananas, because it was Keith Jarrett, and I thought, “Ok, that’s it, I’m finished.” Then my piece was played and they went nuts again! I thought, “It must be the energy of Keith Jarrett or something that’s carrying over.” I had all these explanations.

But then Zubin Mehta picked it up with the New York Philharmonic. [Sequoia] just launched this completely, incredibly crazy life. Then Leonard Slatkin picked it up with the St. Louis Symphony. He said it was a really unusual piece and asked me to be Composer-in-Residence in St. Louis. I thought, “You’ve got to be kidding me!” I was from the chamber music world, not the orchestral world. All I had was that piece [Sequoia], an orchestration of another piece, and that was it. I told him [Slatkin] that. I said, “You’re taking a big risk with me.” He said he was willing to take the risk. He wanted to help me write some more music for orchestra.

So Slatkin took me all over the place, recorded the piece, made me Composer-in-Residence … I wrote a Concerto for Orchestra for them and several other pieces. [Sequoia] did literally change my life.

Listen to Sequoia, performed by Zubin Mehta and the New York Philharmonic:

ACO: Chamber Dance, which ACO performs on November 2 at Carnegie Hall, was commissioned by Orpheus in 2006. Can you talk about your experience writing this piece and working with Orpheus? How did you come up with the title?

JT: I think Chamber Dance is a really good title. It's one of my better titles actually, because it is, to me, a dance between the musicians. It's a real chamber music piece, and it requires a lot of listening to each other, which is what Orpheus did. Writing for them was such an honor because they had figured out how to do that with fairly complicated music. I decided this definitely had to be a larger sounding chamber piece. It has duets and solos and groups and it covers a lot of different textures in the piece, where people are brought forward out of the group. They took it to Korea and they took it to Europe. I couldn't go to Korea because I fell on the platform at Penn Station and broke my knee, so I couldn't go to Korea, but I went to Europe with them, which was such a pleasure. It was like traveling with a large chamber group of terrific players, and I was even able to make changes to the piece here and there. So that was a fun piece to write.

ACO: The Boston Globe recently wrote that in the early 2000s you thought you were finished writing for orchestra, quoting you as saying, “I thought I’d spend my time in welcoming worlds.” What made you change your mind?

JT: I did think that was it and I was not going to write for orchestra any more. It was because I didn’t think the world was as welcoming as some chamber music worlds, the band world, the choral world ... At that time I really felt I wanted to spend time writing for players who were more welcoming.

But then, along came the Made in America project. It was a commission for community orchestras, which I had not dealt with before. I wasn’t sure about that world, I didn’t know what it was about, so I asked a violist who actually played in community orchestras. She said they don’t play as well as the professionals, but they actually love to do what they’re doing. That’s what they look forward to, coming to the orchestra rehearsal at night, which is more interesting, sometimes, than their day jobs. I thought that was really interesting. In fact, it made the decision for me and I decided to accept the Made in America commission.

What she [the violist] described was true. I went to 20 orchestras out of 65. I traveled around the United States to these smaller communities and I had a ball with these people, because they really did love what they were doing. It was mostly volunteers and they were there because they wanted to be there. They loved playing in the orchestra. There was a deep kind of care about not only their playing in the orchestra but also their community. They were very proud to do a good job as best they could. It was just a very different kind of world.

The first performance was by one of the most amateur orchestras [in the commission consortium]. He [the conductor] called me and said, “Look, my orchestra is probably going to struggle with this piece. Can I have the score a year early?” And I said, “No, because I haven’t even written it yet.” He said, “Well, can I be the first? You can use me as a guinea pig.” I said, “Absolutely. That I’m up for.” So I would send the work-in-progress to him from time to time. Then I checked out the parts I had written with some professional musician friends. They said, “This is too high for the first violins, this is too fast for the trumpet, blah, blah, ...” They really helped me. They saved me actually, because I wanted all these orchestras to be able to play the piece, of course.

The conductor who was my guinea pig was one of first to perform the piece with his orchestra. I went out there, Illinois I think, and I’ll never forget it. They treated me like a rock star. They picked me up at the airport and they took me to the best hotel and they took me to the best restaurant. I walked into the hall and the orchestra cheered me like I was some kind of rock star! This never happens in a major orchestra situation, never. They were so nervous because they had worked for six months, every week, twice a week on the piece and they wanted to do a good job. And they really pulled every bit of weight they could come up with to make this happen. It was just such a joy to watch the effort and the care of that kind of energy. So, I passed the test with one of the most amateur orchestras in the commission consortium, with the conductor's help too. From there the Made in America tour went on like that in all these communities, and it was a joy actually. The whole trip was wonderful.

Then Orpheus came along and said they wanted a piece from me. I thought Orpheus is this wonderful, wonderful chamber group. I couldn’t turn them down. So that kind of broke the ice for me to get back into more welcoming situations. Then Pittsburgh [Symphony Orchestra] came along a few years later and wanted a piece from me. So by that time I thought, “Ok, you don’t have to be so hardcore about this.” So I did two pieces for them, actually: Tambor and Stroke. And now New York has asked me, so I’m writing a piece for them.

ACO: A big part of ACO's seasonal activities are our programs for emerging composers, such as the Underwood New Music Readings, EarShot New Music Readings, and our Composer Yourself! program for high schoolers. What is some advice you think is important to give emerging composers?

JT: The musical advice I can give is to make sure you know what you have. You need to have musical control over the piece, and the only way you can have musical control over anything is to know what you have. You might not always have control over the orchestration, because that’s often new to emerging composers, but you should always know what the music is supposed to do. For me, that’s very important for writing an orchestra piece. That’s what I did with my first piece Sequoia. I knew I had control over the music. I didn’t have control over the orchestration as much as I wanted to, but I figured if I had control over the music itself, the orchestration would follow even if it was a little awkward. Orchestration doesn’t make the music, it’s the music that makes the orchestration.

Chamber Dance is featured on ACO's upcoming program, Phenomenal Women, on Friday, November 2, 2018, 7:30pm at Carnegie Hall's Zankel Hall. More information here

Phenomenal Women - Composer Spotlight: Alex Temple

American Composers Orchestra gives the world premiere of Alex Temple's Three Principles of Noir – featuring singer Meaghan Burke, directed by Amber Treadway, with costumes by Storm Garner – on Friday, November 2, 2018 at 7:30pm at Carnegie Hall's Zankel Hall. More information here

Alex Temple is a composer who loves both the Western classical tradition and the world of pop culture. Uncomfortable with stylistic hierarchies and the idea of a pure musical language, she prefers to look for points of connection between things that are not supposed to belong together. Temple's music has been performed by many prominent soloists and ensembles – including Mellissa Hughes, Timo Andres, Mark Dancigers, Chicago Composers Orchestra, Spektral Quartet, Fifth House Ensemble, Cadillac Moon Ensemble, and Ensemble de Sade – and she has appeared at venues such as Roulette, Exapno, the Tank, Monkeytown, Galapagos Art Space, Gallery Cabaret, and Constellation performing her own works for voice and electronics.

We spoke to Temple about her new commission from ACO, Three Principles of Noir, which premieres on ACO's program Phenomenal Women along with works by Valerie Coleman and Joan Tower – Friday, November 2, 2018 at 7:30pm at Carnegie Hall's Zankel Hall. More information here

Composer Alex Temple. Photo by Marc Perlish

American Composers Orchestra: Can you talk about your process for coming up with the idea for this piece?

Alex Temple: The idea of the three principles of noir is something I came up with almost a decade ago when I was spending a lot of time on film messageboards.  Each one is based on a particular movie:  the Double Indemnity principle says that it doesn't matter how well you plan it, you won't get away with it;  the Detour principle says that it doesn't matter whether you actually do it or not, you won't get away with it;  and the In a Lonely Place principle says that it doesn't matter whether you actually do it again, cause you're a bad person anyway.

The plot has been floating around in my head for quite a while too.  It was inspired by the moral unease of film noir, of course, but also by my longstanding love of time travel stories, by Erik Larson's account of the 1893 World's Fair in The Devil in the White City, and by the seething wit of Sweeney Todd and the feminist bitterness of Claire Messud's The Woman Upstairs.  I thought about turning the story into a piece of music for years, but I never managed to find the right context for it until I got the commission from ACO.

ACO: How did singer Meaghan Burke, director Amber Treadway, and costume design by Storm Garner become involved?

AT: I've been friends with all three of them for a long time.  Meaghan and I have worked together before, when I wrote Switch: A Science-Fiction Micro-Opera for Cadillac Moon Ensemble in 2013, and the original plan for this project was to write a sequel to that piece.  Eventually I scrapped that idea and brought in this story of murder and time travel instead.  Meaghan's numerous vocal styles — sultry cabaret, melancholy Sprechstimme, dreamy spoken flights of fancy — had a huge influence on how I conceived of the protagonist.

Storm is a polymath:  not only a costume designer but also a singer, composer, photographer and filmmaker.  Her work is always imbued with an experimental spirit — including our one previous collaboration, a polystylistic film called And In Her It Danced: An Inheritance, which included my piece This Changes Everything! in the soundtrack.  Amber, meanwhile, has been doing great work in the queer and feminist opera world, directing shows like Kate Soper's Here Be Sirens and Griffin Candey's Sweets by Kate, the latter at the Stonewall Inn.  I originally know her from Twitter, which she is the official best at.

ACO: Your bio describes your tendency to “look for points of connection between things that are not supposed to belong together” in your work. What are some things that “don’t belong together” in Three Principles of Noir?

AT: There are all kinds of styles and reference points at play in the piece:  tango, Weimar cabaret, atonal counterpoint, the Great American Songbook, Straussian Romanticism, Robert Ashley monotone singing, Andriessenish sound masses.  All of them relate in some way to the story, the mood, or the period(s) that the piece takes place in.  Theatrical music is a particularly good venue for this kind of eclecticism, because you can use the narrative to unite all the disparate elements.

ACO: Can you talk about your relationship with ACO and the path that lead you to receiving this commission?

AT: I first worked with ACO in 2011, when I wrote Liebeslied for Mellissa Hughes to perform with them at the opening concert of the SONiC Festival.  It was a great experience for all involved, so I was excited when we started talking about collaborating again.  It's taken several years to put all the moving parts together, including securing a grant from the MAP Fund, going through several different ideas for what the plot might be, getting collaborators on board, and — if I can be candid — delaying the whole project after Trump's election sent me into one of the worst depressions of my life.  I mention this because I believe that our cultural taboo against discussing mental illness makes it harder for people to find support, and I want to help erase the stigma by being open about my own experiences with it.

For a while I wondered whether I really wanted to write a piece with such a dark ending, under the circumstances.  One thing that helped me was Derek Bermel telling me not to let myself be defeated, and saying that now was my moment to be angry, to be vulnerable, to be subversive.  Three Principles of Noir isn't about modern fascism, but it certainly is about anger and vulnerability and subversiveness.

ACO: What can the audience expect at the world premiere of Three Principles of Noir, and what are you most looking forward to about the concert?

AT: Listeners should come prepared for bloody schemes, feminist rage, moral ambiguity, academic angst, memorable tunes, convoluted rhymes, electronic collages, and more swears than you'd probably expect to hear on stage at Carnegie Hall.  As for me, I'm just looking forward to finally being able to relax into the role of audience!

American Composers Orchestra gives the world premiere of Alex Temple's Three Principles of Noir on Friday, November 2, 2018 at 7:30pm at Carnegie Hall's Zankel Hall. More information here

Learn more about Alex Temple at www.alextemplemusic.com
Follow her on Twitter

Phenomenal Women - Composer Spotlight: Valerie Coleman

American Composers Orchestra gives the world premiere of Valerie Coleman's Phenomenal Women – a concerto for wind quintet and orchestra featuring Imani Winds – on Friday, November 2, 2018 at 7:30pm at Carnegie Hall's Zankel Hall. More information here

Valerie Coleman is among the world’s most played composers living today. The Boston Globe describes Coleman as a having a “talent for delineating form and emotion with shifts between ingeniously varied instrumental combinations,” and The New York Times has praised her “skillfully wrought, buoyant music.” With works that range from flute sonatas that recount the stories of trafficked humans during Middle Passage and orchestral and chamber works based on nomadic Roma tribes, to scherzos about moonshine in the Mississippi Delta region and motifs based from Morse Code, her body of works has been highly regarded as a deeply relevant contribution to modern music.

We spoke with Valerie about her ACO/Carnegie Hall commission Phenomenal Women. The work is inspired by Maya Angelou's poem and book Phenomenal Women, and honors Angelou, as well as Claressa Shields, Serena Williams, Michelle Obama, Katherine Johnson, and Immigrant Mothers, with solo interludes by members of Imani Winds. The world premiere is Friday, November 2, 2018 at 7:30pm at Carnegie Hall's Zankel Hall. More information here

Learn more about Valerie Coleman at www.vcolemanmusic.com
Follow her on Facebook