LIVE VIDEO STREAM: A Far Cry on Friday, September 22 at 5pm PT / 8pm ET

by Maggie Molloy

Philip Glass and J.S. Bach have a lot more in common than you might think. Cascading arpeggios, rapid scales, ever-shifting counterpoint—a transcendent, almost spiritual quality to their music. It comes as no surprise to learn that Glass studied the work of Bach closely under his famous teacher Nadia Boulanger.

But don’t just take our word for it: you can listen to both composers performed LIVE right here on Second Inversion tonight by the Boston-based chamber ensemble A Far Cry. Visit this page tonight, Friday, September 22 at 5pm PT / 8pm ET for a live video of A Far Cry’s 2017-2018 season opener, streaming right here:

Check out the program below, and click here for program notes.

Bach: Brandenburg Concerto No. 3, BWV 1048
Glass: Symphony No. 3
Bach: Concerto for Keyboard and Strings in G minor, BWV 1058

To learn more about our live-streaming video broadcasts of A Far Cry, click here.

Photo by Yoon S. Byun.


Please note: Due to restrictions, the live video stream will not include Simone Dinnerstein’s performance of Philip Glass’s Piano Concerto No. 3. Thank you for your understanding.

 

Second Inversion & A Far Cry

by Maggie Molloy

Philip Glass, Caroline Shaw, and Sarah Kirkland Snider are just a few of the composers you’ll see on the Boston-based A Far Cry‘s star-studded 2017-2018 season. This year Simone Dinnerstein premieres a new Glass piano concerto, the Miró Quartet breathes new life into Kevin Puts’ Credo, Luciana Souza lends her luminary voice to a new commission by five of today’s top women composers—and you can watch it all unfold on Second Inversion.

We are thrilled to continue our media partnership with A Far Cry this season, presenting live video streams on our website of each of their performances at New England Conservatory’s Jordan Hall!

Take a peek at the programs below and mark your calendars now:

Friday, September 22, 5pm PT / 8pm ET: Dinnerstein Premieres Glass
featuring Simone Dinnerstein, piano

Philip Glass: Symphony No. 3
J.S. Bach: Concerto for Keyboard and Strings in G minor, BWV 1058
Bach: Brandenburg Concerto No. 3, BWV 1048
Glass: Piano Concerto No. 3 (New AFC Commission)


Friday, November 10, 5pm PT / 8pm ET: The Blue Hour
featuring Luciana Souza, voice

The Blue Hour, a new AFC commission by Rachel Grimes, Angélica Negrón, Shara Nova, Caroline Shaw, and Sarah Kirkland Snider, is an evening-length song cycle based on the poem “On Earth,” by Carolyn Forché. Delivering the vocals with A Far Cry is the luminous young jazz vocalist Luciana Souza.


Friday, January 19, 5pm PT / 8pm ET: Albion
featuring Nicholas Phan, tenor

Matthew Locke & Henry Purcell: Selections from The Tempest and The Fairy-Queen
Ralph Vaughan Williams: Concerto Grosso

Benjamin Britten: Serenade for Tenor, Horn, and Strings, Op. 31


Friday, March 30, 5pm PT / 8pm ET: Loss and Resurrection
featuring the Miró Quartet

Ludwig van Beethoven: String Quartet, Op. 135 (arr. AFC)
Kevin Puts: Credo (arr. AFC)
Richard Strauss: Metamorphosen, study for 23 solo strings


Friday, May 18, 5pm PT / 8pm ET: Next Generation
featuring Alexander Korsantia, piano

W. A. Mozart / Ethan Wood: Variations on “Ah! vous dirais-je, Maman”
Galina Ustvolskaya: Concerto for Piano, String Orchestra, and Timpani
Benjamin Britten: Variations on a Theme of Frank Bridge, Op. 10

Staff Picks: Friday Faves

Second Inversion hosts share a favorite selection from their weekly playlist. Tune in on Friday, September 1 to hear these pieces and plenty of other new and unusual music from all corners of the classical genre!

Philip Glass: Mad Rush (Sony Classical)
Philip Glass, piano

Half hypnotic, half neurotic, Philip Glass’s Mad Rush for solo piano is a minimalist masterpiece. He first premiered the piece in 1979 for the Dalai Lama’s first public address in North America—because his actual arrival time was so vague, they needed music that could be stretched for an indefinite period of time. Thus was born one of the most iconic piano pieces of the late 20th century.

Performed here by the composer himself, the densely layered arpeggios circle and surround you, lifting you into a trance that almost seems to suspend time itself.  Maggie Molloy

Tune in to Second Inversion in the 2pm hour today to hear this piece.


David Lang: cage (in memory of john cage) (Warner Classics)
Conrad Tao, piano

It’s been becoming increasingly clear to me lately that John Cage’s music can be an extremely powerful gateway into a different universe of listening.  So, pieces like this one make more sense to me now than they used to.  This piece, like Cage’s music, is an inducement to listen with open ears – a reminder to hear music for what it is. – Seth Tompkins

Tune in to Second Inversion in the 6pm hour today to hear this piece.

 


George Shearing: “Sigh No More Ladies, Sigh No More” (Grouse Records)
Vancouver Chamber Choir; Jon Washburn, conductor

Don Pedro: By my troth, a good song.
Balthasar: And an ill singer, my lord.

No ill singers here!  This fun, jazzy version of “Sigh No More Ladies, Sigh No More” from Shakespeare’s Much Ado About Nothing is sung gloriously by the Vancouver Chamber Choir.  The lyrics are…  less glorious.  In the play, Balthasar croons that women should accept men for their cheating and bad behavior rather than hassling them about it.  He sings:

“Sigh no more ladies, sigh no more,
Men were deceivers ever,
One foot in sea and one on shore,
To one thing constant never
Then sigh not so, but let them go
And be you blithe and bonny,
Converting all your sounds of woe
Into hey, nonny nonny.”

Is it wrong that lyrics so backwards are so much fun to sing?
– Rachele Hales

Tune in to Second Inversion in the 11pm hour today to hear this piece.

Staff Picks: Friday Faves

Second Inversion hosts share a favorite selection from their weekly playlist. Tune in on Friday, July 14 to hear these pieces and plenty of other new and unusual music from all corners of the classical genre!

Trimpin: Above, Below, and In Between (Seattle Symphony Media)
Seattle Symphony; Ludovic Morlot, conductor

To say sound-sculptor Trimpin likes to think big would be an understatement—installations like a six-story-high xylophone, a tower of approximately 500 guitars (housed at Seattle’s Museum of Pop Culture), and an 80-foot installation that responds musically to the motions of passersby are just a few of his musical inventions.

In 2015 he was the composer in residence at the Seattle Symphony, during which time he created a site-specific installation and original composition for the Benaroya Hall lobby that was given its world premiere by the Symphony with Ludovic Morlot. Above, Below, and In Between was the name of his creation—and its centerpiece was a piano that can be conducted and played without being touched.

The resulting piece is a surround-sound fantasia of motion-controlled robotic piano, electronically activated chimes and horns, live orchestra musicians, and wandering soprano—a colorful kaleidoscope of sound and invention. – Maggie Molloy

Tune in to Second Inversion in the 2pm hour today to hear an excerpt from this piece.


Mamoru Fujieda: Patterns of Plants: The Fifteenth Collection (Pinna Records)
Sarah Cahill, piano

Mamoru Fujieda’s Patterns of Plants series is born of a fascinating, elegant creation process: an exquisite combination of nature and technology. The composer worked with the “Plantron,” a device created by botanist and artist Yuuji Dogane that measures electrical fluctuations on the surfaces of leaves of plants, and converted the resulting data into sound using computer programming. Through a process he has likened to searching “in a deep forest” for “beautiful flowers and rare butterflies,” Fujieda listened for musical patterns, and used them as the basis for composing short pieces, which he then grouped into collections reminiscent of Baroque dance suites.

The result is music that has a beautiful symmetry to it, is uniquely expressive in its own way, and is ultimately peaceful to the utmost. Other collections feature a variety of different instrumental combinations, but this Fifteenth Collection is performed on solo piano. It’s given highly sensitive consideration by pianist Sarah Cahill.
 Geoffrey Larson

Tune in to Second Inversion in the 3pm hour today to hear this piece.


Quentin Sirjacq: “Far Islands” (Schole Records)

“Far Islands” is the perfect song for stress relief.  Quentin Sirjacq’s enchanting minimalism gives one room to breathe and contemplate the spaces in between the sparse piano plucks and fuzzy synthesizer.  Sirjacq once stated that his music “is neither nostalgic nor romantic, but ‘reminiscent’”—this is a perfect description.  His delicate composition here is reminiscent, to use his word, of peacefully floating in a warm lake; it loosens the tension in your muscles and readies your mind for leisure.  Listening with a glass of wine in hand would be perfection. – Rachele Hales

Tune in to Second Inversion in the 8pm hour today to hear this piece.


Philip Glass: “Floe” from Glassworks (Sony Classical)
Michael Riesman and the Philip Glass Ensemble

As the second movement in Glass’ famed six-part chamber work, Glassworks, “Floe” holds a place of esteem in its own right, featured in the 1989 Italian horror film, The ChurchThroughout the movement, Glass layers contrasting timbres in the signature fashion that boosted the entire Glassworks album into popularity with a large audience, giving him widespread name recognition.

This recording by Michael Riesman and the Philip Glass Ensemble creates a beautiful, mystical trance from the outset and maintains a sense of timelessness throughout. Scored for two flutes, two soprano saxophones, tenor saxophone, bass clarinet, two horns, viola, cello, and synthesizer, Glass taps into this particular group of instruments’ blending abilities in such a way that the combined parts create an entirely new and greater texture for the whole. – Brendan Howe

Tune in to Second Inversion in the 9pm hour today to hear this piece.

Expanding the Piano Keyboard: Jesse Myers on Experimenting with Electronics

by Maggie Molloy

Pianist Jesse Myers. Photo by Lee Goldman.

When it comes to the piano, Jesse Myers likes to think outside the standard keyboard.

Last year, he created an entire percussion orchestra inside his piano for his performances of John Cage’s prepared piano masterpiece, the Sonatas and Interludes. This year, he’s forgoing the screws and bolts in favor of something a little more electric.

On Wednesday, July 12 at the Royal Room, Myers presents Living in America: a concert of solo piano works by living American composers. Urban, adventurous, and uniquely American, the program highlights the groundbreaking work of iconic minimalist composers, as well as brand new 21st century works for acoustic piano and electronics.

The first half of the program features John Adams’ misty and modal China Gates alongside Philip Glass’ half-hypnotic, half-neurotic Mad Rush and a selection of his virtuosic Piano Etudes. The second half showcases music for piano and electronics, including Christopher Cerrone’s 21st century urban nocturne Hoyt-Schermerhorn, Missy Mazzoli’s ethereal Orizzonte, and her swirling fantasia Isabelle Eberhardt Dreams of Pianos. Steve Reich’s pulsing, palindromic Piano Counterpoint finishes the program.

The evening also features a set of rarely-performed music for solo voice with electronics and piano, performed by soprano Stacey Mastrian. She lends her voice to two generations of American composers, ranging from Earle Brown and Morton Feldman to Kristian Twombly and Steve Wanna.

In anticipation of the concert, we sat down with Myers to talk about urban sounds, electronics, and expanding the sonic possibilities of the piano:

Second Inversion: What inspires you most about exploring the expanded possibilities of the piano?

Jesse Myers: Discovery. It’s not that I’m tired of the piano in the traditional sense—it’s really about the two words you just used: exploring and expanding. The Steinway grand is the benchmark of great American craftsmanship, and it has stopped evolving.

While new music is, of course, still being written for the piano, new music that involves electronics is a way for composers to personally contribute to a new sort of evolution of the piano.  I am not sure composers are thinking of their work in that way, but as a pianist and a curator of the repertoire, I can’t help but see their work in that light. 

The great thing about electronics, prepared piano, and extended piano techniques, is that at the end of the day, the good old acoustic grand piano is still there. Akin to the way Cage first prepared the piano with bolts and weather-stripping, the electronics drastically change the sound and our impression of the piano—but in the end it is easily returned to its original form.  

SI: What are some of the unique challenges and rewards of performing music that uses electronics?

JM: It used to be that I could show up and play a concert without any paraphernalia, and that’s nice and all, but I love my ever-expanding bag of tricks. The tinkering that is necessary in the practice of this repertoire, and the ability to perform a wider range of timbres in a solo performance while making use of the venue’s sound system are big payoffs to me. But, yeah, part of the reason I became a musician was so I didn’t have to get a haircut and wake up early—so if I can plug into a sound system and feel like a rock musician for a brief moment, I can feel closer to achieving my lifestyle.

There are certainly a great deal of challenges, and I’m sure that turns some musicians off to exploring music like this for themselves. Technical setups are unique to each piece, with varying arrays of requirements. This means that creating a program takes even more planning and practice to get it right. On top of that, these technical requirements can also make two pieces completely incompatible with each other in a single program.  Electroacoustic music often requires a couple different software applications, an ear piece for click tracks on some fixed electronics, foot pedals for cueing live electronics on more flexible ones, different settings on both hardware and software depending on the piece or venue, etc. 

SI: This program features all American composers—what are some of the overarching themes that connect the music of these composers?

JM: Urban sound.  All of these composers, with the exception of Adams, are living and working in New York right now.  To me, this imprints an unmistakable urban character into their music. There is a relentless activeness in this urban sound which is illustrated most clearly by the minimalist music of Glass and Reich.  The electroacoustic soundscapes of Mazzoli’s music have this wonderful sort of raw grittiness about them, and Cerrone’s work, Hoyt-Schermerhorn, is named after a New York subway station. Cerrone says “…the piece explores the myriad and contradictory feelings that often come to me late at night in my city of choice—nostalgia, anxiety, joy, panic.” There is a beautiful peacefulness among the urban activity in these works.

The electronics are also a theme that connects most of the works. The first half of the program (the Adams and Glass pieces) will have no amplification or use of electronics, while the last half will use an increasing amount of electronics. But there is an electronic connection between the two halves. The program starts with an acoustic piece that references electronic music.  The gates in the title, China Gates, refer to the gating of electronic music.  Adams uses sudden changing modes to mimic gating effects in electronic music. 

Conversely, the end of the program, Reich’s Piano Counterpoint, is an electronic work that references an acoustic one. Reich originally wrote the music for this as a work called Six Pianos in 1973.  In 2011, pianist Vincent Corver adapted the work for one piano and a pre-recorded soundtrack.  Four of the six piano parts are pre-recorded and the last two are combined into a more virtuosic single part, which I’ll play live and amplified.  In 2014, the Bang On a Can All Stars pianist Vicky Chow worked with the composer to further edit the piece and create a new flexible pre-recorded soundtrack that allows the performer to use a foot pedal to trigger the phasing of the other parts. Reich’s original version of Six Pianos asked for each measure to be repeated within a range of times—not a fixed amount of time. Since Corver’s version was backed by a fixed-length soundtrack, the most recent version is a truer realization of the original work’s flexibility. My performance will be the most recent, flexible version of the work. 

SI: How do the minimalist composers’ works differ from the 21st century works on the program?

JM: These 20th century minimalist works lack an extramusical association.  They are really about rhythmic structures and form. China Gates (which isn’t really about China or gates), for instance, is a famous, short minimalist work that uses recurring patterns that slowly change and shift apart over time, while making up a nearly perfect palindrome in its structure.

The music of Cerrone and Mazzoli in this program, which are 21st century works, tell a story or capture a vivid scene. So, the audience should be listening for entirely different things in the two styles. In the first half of the program, listen for minimalist patterns and structures (like palindromes), that ultimately lead the way for the second half to transport you into another scene altogether.

What is interesting, though, is despite the lack of an extramusical association, the works of Glass and Reich often capture the busy energy of a dense urban environment, which somehow creates a beautiful, weightless sense of calm.  In this sense then, the minimalist works do have the ability to move beyond the academic, form, and rhythmic structure that are the hallmarks of its style.

SI: What are you most looking forward to with this performance and what do you hope audience members gain from it?

JM: Playing in a relaxed bar setting should really gel with this music. I’ve always wanted to take music like this out of the standard classical concert venue. As someone who can’t take their instrument with them when they gig, bars and many other non-classical venues are off-limits.  But The Royal Room has a Steinway B, a great sound system, and a reputation for taking good care of local musicians—so I’m really excited to play in that environment.

I hope the audience gains an appreciation for the things I’ve come to realize as a musician. There is amazing music being created by composers who are alive and working in this country right now—it’s innovative, part of us, and who we are. Embrace technology. Accept that electronics and a reverence to the classical music tradition can coexist.


Living in America is Wednesday, July 12 at 7:30pm at the Royal Room in Columbia City. For details and additional information, click here.