A Mouthful of Forevers: An Interview with Gregg Kallor

by Maggie Molloy

Composer and pianist Gregg Kallor is used to being on stage during the premiere of most of his compositions—but at the Town Music season finale last night, he watched from the audience as Joshua Roman led members of the Seattle Symphony and Seattle Youth Symphony Orchestras in the world premiere performance of his new string orchestral work, A Mouthful of Forevers.

Based in New York, Kallor’s music fuses elements of classical and jazz to create a deeply personal musical language. We caught up with him during the dress rehearsal of his new piece to talk about music, poetry, and his new world premiere.

 

Second Inversion: What was it like hearing A Mouthful of Forevers performed for the first time?

Gregg Kallor: Exhilarating, nerve-wracking, gratifying, exciting—it was amazing. This is actually the first piece of mine that I have not been a part of the premiere of (as a performer or conductor).  It’s a different experience to sit in the audience and listen to it—but I couldn’t ask for a better advocate than Joshua Roman. It was so beautiful to watch these musicians whom I’ve never met all digging into this piece that I wrote. They’re all bringing their experience and their ideas. They really took it on as their own, and there’s no greater feeling than that.

SI: How would you describe the sound of this piece?

GK: I wanted to write something both lithe and lush—evocative vignettes with the grooving rhythms and shifting moods that Joshua navigates so beautifully.

SI: What was the inspiration for this piece?

GK: There’s an incredible poet, her name is Clementine von Radics, and she wrote a poem called “Mouthful of Forevers”; it’s also the title of a collection of poems that she published. It’s exquisite—it’s this heartbreaking, beautiful love poem and it’s talking about how both people have come into it with baggage and scars, but that makes the miracle of them finding each other that much more potent. It’s just beautiful. Her language is so honest and direct—there are no filters. I’m struck by a lot of her poetry—I’ve read that book ten times, but that poem in particular just really got to me and it was the inspiration for this piece.

SI: What was it like collaborating with Joshua Roman on this premiere?

GK: Joshua is one of the best musicians I’ve ever met. He’s extraordinary as a player, he’s a fantastic composer—now I’m seeing him conducting and it’s amazing. He’s just an extraordinary musician and a great, great friend, and I’m so honored and lucky that he’s championing my music.

Seattle New Music Happy Hour: Tuesday, June 13 at 5:30pm

by Maggie Molloy

You like new music. We like new music. Let’s get together and talk about new music, drink a couple beers, and make some new friends along the way.

Join us TONIGHT, Tuesday, June 13 at 5:30pm at Queen Anne Beerhall for New Music Happy Hour, co-hosted by Second Inversion and the Live Music Project. Bring a friend, make a friend, have a drink, and discover connections with fellow new music lovers from all over Seattle!

Click here to RSVP and invite your friends. Plus, sign up for alerts for future happy hour dates and day-before reminders so you’ll never miss a beer—er, beat.

Second Inversion at the Northwest Folklife Festival

by Maggie Molloy

For over 40 years the annual Northwest Folklife Festival has served as a community celebration of local music and art at Seattle Center. Second Inversion is proud to be a part of that community, and is committed to showcasing vibrant and adventurous new music landscapes from all over the Pacific Northwest and far beyond.

So this Friday, we’re teaming up with Classical KING FM to show off some of our favorite local new music talents in our third annual KING FM and Second Inversion Showcase at the Northwest Folklife Festival.

Join us at the Center Theatre on Friday, May 26 at 8pm for a triple billing featuring the Ecco Chamber Ensemble, TangleTown Trio, and the Skyros Quartet. Here’s a sneak peek of what’s in store:

The Ecco Chamber Ensemble builds concerts around the intersection of art and social change. Comprised of soprano Stacey Mastrian, flutist Sarah Bassingthwaighte, and guitarist Mark Hilliard Wilson, the group programs classical music from around the world and across history which sheds light on issues of our time and provokes us to consider our common humanity.


TangleTown Trio specializes in classical Americana; music inspired by the many unique genres of American music, including jazz, folk, and classic musical theatre. Comprised of mezzo-soprano Sarah Mattox, violinist Jo Nardolillo, and pianist Judith Cohen, TangleTown is the happy outgrowth of three friends, all enjoying successful solo careers, coming together to create something truly extraordinary.


The Skyros Quartet is known for their innovative and interactive approach to classical music both old and new. Comprised of violinists Sarah Pizzichemi and James Moat, violist Justin Kurys, and cellist Willie Braun, the quartet performs, teaches, and leads community events all over the U.S. and Canada. Passionate about the future of music, Skyros regularly performs new works by living composers, and is back by popular demand after having performed in our Second Inversion Showcase at the 2016 Folklife Festival.


KING FM and Second Inversion’s Folklife Showcase is Friday, May 26 at 8pm at the Center Theatre at Seattle Center. For more information on the festival, click here.

From Concert Hall to Capitol Hill Nightclub: Seattle Metropolitan Chamber Orchestra’s SPARK

by Maggie Molloy

When it comes to classical music, the Seattle Metropolitan Chamber Orchestra likes to think outside the concert hall. This Saturday, Second Inversion is thrilled to sponsor the launch of SMCO’s new SPARK performance series: an immersive concert experience that presents classical music old and new in nightclubs and other unexpected venues.

“It’s every musician’s dream for their friends who have no experience with classical music to enjoy this incredible art form as much as we do,” said Geoffrey Larson, Music Director of SMCO. “I wanted to provide a space to enjoy classical music without any rules, real or perceived: where audience members could have a drink, get up and dance, applaud and scream and shout whenever they want. I wanted to show how music of the classical genre can be relevant to our lives today—whether it was composed 300 years ago or three days ago.”

The series launch, which takes place amid the neon lights of the Fred Wildlife Refuge on Capitol Hill, features music from both eras. The concert unfolds as a fully-produced, continuous musical experience that oscillates between guest artist DJ Suttikeeree’s electronic dance music sets and SMCO’s electrifying classical music performances.

Under Geoffrey Larson’s baton, SMCO pairs a Vivaldi chamber concerto with Max Richter’s modern recomposition of the Baroque master’s famous Four Seasons. The centerpiece of the evening is Mason Bates’ infectious and aptly-titled Rise of Exotic Computing for sinfonietta and laptop, and a world premiere of a new work for horns and orchestra by William Rowe—co-commissioned and performed by SMCO and the Skylark Quartet—rounds out the program. Electronic interludes from DJ Suttikeeree provide both dynamic contrasts and fluid connections between the evening’s wide-ranging works.

“Suttikeeree will be spinning his own brand of electro-hop, mixing in fragments of the orchestral music our audience will hear onstage and providing a heartbeat that ties together the different genres throughout the night,” Larson said.

The first of its kind in Seattle, the SPARK series was created with the guidance of composer and producer Gabriel Prokofiev, whose orchestral arrangement of Sir Mixalot’s “Baby Got Back” premiered to viral success with the Seattle Symphony in 2014. The grandson of legendary Russian composer Sergei Prokofiev, Gabriel is also the founder of the Nonclassical record label and Club Night series based in London.

“Gabriel was extremely helpful in helping me strategize three things: what role the DJ should play in the event, how to structure the general ‘flow’ of the evening, and (to a lesser extent) what sort of music we should consider performing,” Larson said. “Through trial and error, Gabriel has come up with a pretty strong and unique concept for the flow of the larger Nonclassical Club Night events, and this sort of timing has been adapted into our plans for the SPARK series.”

Like Nonclassical Club Nights, the SPARK series aims to create immersive, cross-disciplinary performances that redefine the rules of classical chamber music, breaking away from the constraints of the traditional concert hall and sparking new and inspiring collaborations.


The SPARK series launch is this Saturday, May 20 at 8pm at the Fred Wildlife Refuge on Capitol Hill. Click here for tickets and more information.

Greek Myths and Microtonal Instruments: Harry Partch’s Oedipus

by Maggie Molloy

We all know the ancient Greek myth of Oedipus, the cursed king who slept with his mother—but you’ve probably never heard it told on hand-crafted, rainbow-colored microtonal instruments before.

All photos by Maggie Molloy.

That opportunity comes this weekend with a rare staging of Harry Partch’s avant-garde theatrical extravaganza Oedipus: A Music Theater Drama. The performances, which run May 5-7, are presented through the Harry Partch Instrumentarium currently in residence at the University of Washington.

A pioneer of new music, Partch was one of the first 20th century composers to work extensively with microtonal scales, creating dozens of incredible instruments specifically for the performance of his musical texts and corporeal theatre works. The Instrumentarium houses over 50 of his rare instruments, each hand-crafted out of wood and strings, gongs and glass, gizmos and gadgets.

Chuck Corey, Director of the Instrumentarium.

Directed and curated by Chuck Corey, the Harry Partch Instrumentarium puts on a handful of performances each year—but this spring marks the first time Corey and his microtonal music troupe are staging one of Partch’s full-fledged, evening-length theatrical works.

“I have had the opportunity to work with Partch’s instruments for nearly half my life, and am still amazed by some of the sounds he creates in his music,” Corey said. “Partch is best known for his just-intoned tuning system and the instruments he invented, but if he were not also a great composer I don’t think his work would have gained much of a following. For me, it is rewarding to perform his music and solve the problems his instruments present, and I remain impressed by his distinctive musical language.”

Based on Sophocles’ original Greek tragedy, Partch’s Oedipus is not quite a play and not quite an opera: the story unfolds through a combination of speech and song, augmented by the exotic harmonies of Partch’s notorious 43-tone scale.

“The voice can be used in a variety of ways in Partch’s work,” Corey said. “He often calls for intoning voice (words spoken on precise pitches), and in the case of Oedipus, we will cover the full range between speaking and singing. There are many passages in Oedipus where each character is at a different point on this spectrum.”

Oedipus floats freely in and out of Partch’s microtonal musical world, shifting between spoken monologues and hypnotizing musical settings, dramatic movement and dance. Partch’s orchestra of oddities is percussive, haunting, and hypnotic—almost ritualistic in its depth and drama.

In fact, Partch designed his instruments to be corporeal; he sought to involve the whole body and the entire person in the art. The result, for audience and performer alike, is a deeply immersive experience that brings together music, sculpture, dance, and drama in a fascinating culmination of Partch’s iconoclastic ethos.

To learn more about the magical and mysterious musical inventions of Harry Partch, take our photo tour below:

Diamond Marimba - Photo by Maggie MolloyDiamond Marimba:
This instrument is a physical manifestation of one of Partch’s most crucial theoretical concepts: the “tonality diamond.” Built in 1946, the instrument contains all twelve of Partch’s primary tonalities, each laid out in a series of thirds. It’s used as a prominent percussion instrument in many of his works.


Gourd Tree - Photo by Maggie MolloyGourd Tree: Built in 1964, the Gourd Tree is comprised of twelve temple bells attached to gourd resonators, each of which hangs suspended from a eucalyptus branch. Yes, a eucalyptus branch. The instrument is often played in conjunction with Partch’s Cone Gongs, which are made out of nose cones from airplane fuel tanks.


Cloud-Chamber Bowls - Photo by Maggie MolloyCloud-Chamber Bowls: Partch’s most iconic instrument, the Cloud-Chamber Bowls are made up of large glass gongs of varying sizes suspended in a wooden frame and played with mallets. Partch initially created the instrument in 1950 using Pyrex carboys discarded by the Radiation Laboratory at the University of California, Berkeley.


Chromelodeon - Photo by Maggie MolloyChromelodeon: The colorful Chromelodeon, built in 1945, is an adapted reed organ modified to conform to Partch’s tonality system. The instrument plays a 43-tone per octave scale, as opposed to a typical Western keyboard, which plays 12 tones per octave. In addition to a standard keyboard and a collection of stops, the Chromelodeon also includes an additional keyboard of Partch’s own creation called the “sub-bass,” located in the upper left corner of the instrument. Both keyboards have colored and numbered labels representing ratios of the tuning system. Oh, and also: the player has to furiously pump two foot pedals throughout the entire performance in order fill the organ’s bellows and create sound.


Kithara II - by Maggie MolloyKithara II: Towering at nearly seven feet tall, the Kithara II requires the performer to stand on a riser in order to play it. Built in 1954, the instrument has twelve sets of six strings which correspond to Partch’s primary tonalities; four of these sets employ Pyrex rods as movable bridges. The Kithara II is also Chuck’s personal favorite instrument in the collection.


Surrogate Kithara - Photo by Maggie MolloySurrogate Kithara: As the name suggests, the Surrogate Kithara was originally invented as a substitute for Partch’s original Kithara, and was created when he began writing music for the instrument that was too difficult for one person to play. The Surrogate Kithara features two sets of eight strings, each with a Pyrex rod that serves as a movable bridge.


Bamboo Marimba II - Photo by Maggie MolloyBamboo Marimba II (Boo II): Affectionately dubbed “Boo II,” the Bamboo Marimba II (built in 1971) consists of 64 tubes of mottled Japanese bamboo organized into six ranks. Each tube is open on both ends, and tongues are cut into the bamboo at approximately 1/6 of the length of the tube in order to produce a harmonic at 6/5 of the fundamental pitch.


Bass Marimba - Photo by Maggie MolloyBass Marimba: Built in 1950, the Bass Marimba features 11 bars made of Sitka spruce. Just to give you an idea of the massive size of this instrument, the top of the bars are five feet above the floor, and the player must stand on a riser six feet wide and over two feet tall in order to play it.  Each bar is situated over an organ pipe which serves as a resonator, and the lowest bar corresponds to a C2 on piano which, for those of you who don’t play piano, is pretty darn low. The instrument can be played with mallets or by slapping the bars with the pads of your fingers.


The Spoils of War - Photo by Maggie MolloyThe Spoils of War: Created in 1950, this instrument takes its name from the seven artillery casings that hang from the top of the instrument. The instrument also includes four Cloud-Chamber Bowls, two pieces of tongued bamboo, one woodblock, three steel “whang guns,” and a guiro. Just think of it as a Harry Partch drum-set of sorts.


New Harmonic Canon I - Photo by Maggie MolloyNew Harmonic Canon I: Built in 1945, the New Harmonic Canon I is a 44-stringed instrument with a complex systems of bridges. It was built specifically to accommodate a second tuning, allowing the performer to play in either one or both of the different tunings simultaneously. The strings are tuned differently depending on the piece, and are played with fingers, picks, or in some cases, mallets.


Harmonic Canon II - Photo by Maggie MolloyHarmonic Canon II: Nicknamed the “Castor and Pollux,” the Harmonic Canon II (built in 1953) features two resonating boxes with 44 strings across the top. Bridges are placed beneath the strings specifically for the tuning of each composition. Like all of Patch’s Harmonic Canons, the instrument may be played with fingers, picks, or mallets.


Adapted Guitar II - Photo by Maggie MolloyAdapted Guitar II: The ten-string Adapted Guitar II is a steel-string guitar which is played with a slide. Partch first began experimenting with adapted guitars in the 1930s, and by 1945 he began using amplification for them. The ten strings of the Adapted Guitar II are typically tuned either to Partch’s “otonality” or “utonality” (terms Partch used to describe chords whose pitch classes are the harmonics or subharmonics of a given fixed tone). Thankfully, the headstock is specially designed to allow the player to change the tuning within seconds.


Performances of Oedipus: A Music Theater Drama are Friday, May 5 and Saturday, May 6 at 7:30pm and Sunday, May 7 at 2pm at the University of Washington’s Meany Theater. For tickets and additional information, please click here.

New Composed Music: May 2017 Seattle * Eastside * Tacoma

SI_button2Second Inversion and the Live Music Project create a monthly calendar featuring contemporary classical, cross-genre, and experimental performances in Seattle, the Eastside, Tacoma, and places in between! 

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Keep an eye out for our this flyer in concert programs and coffee shops around town. Feel free to download, print, and distribute it yourself! If you’d like to be included on this list, submit your event to the Live Music Project at least 6 weeks prior to the event and be sure to tag it with “new music.”


Program Insert - May 2017

Racer Sessions
A weekly showcase of original music with a jam session based on the concepts in the opening presentation.
Every Sunday, 8-10pm, Cafe Racer | FREE

Wayward Music Series
Concerts of contemporary composition, free improvisation, electronic/electroacoustic music, & more.
Various days, 7:30/8pm, Good Shepherd Chapel | $5-$15

Eighth Blackbird with Will Oldham (Bonnie “Prince” Billy)
Will Oldham joins Eighth Blackbird for half the program with original songs and Frederic Rzewski’s Coming Together. The program also includes Bryce Dessner’s Murder Ballades, and David Lang’s Learn to Fly.
Thursday, 5/4, 7:30pm, The Neptune Theatre | $33.50

Harry Partch’s Oedipus: A Musical Theater Drama
The UW School of Music presents the rarely performed Oedipus by Harry Partch after the play by Sophocles. This performance is a “multi-genre theatrical work” featuring a unique collection of Harry Partch’s handmade instruments currently in residence at UW.
Friday, 5/5, 7:30pm, Meany Theater | $10-$20
Saturday, 5/6, 7:30pm, Meany Theater | $10-$20
Sunday, 5/7, 2:00pm, Meany Theater | $10-$20

Seattle Classical Guitar Society Presents Antigoni Goni
Award winning guitarist and renowned pedagogue Antigoni Goni performs a solo recital including music by contemporary Greek composers and others.
Saturday, 5/6, 7:30pm, Nordstrom Recital Hall, Benaroya Hall | $38

Angelo Rondello: Music of Our Sister Cities
Seattle Music Exchange Project presents pianist Angelo Rondello.  The program includes music of Seattle’s sister cities in Italy, Japan, Hungary, and Norway.
Thursday, May 11, 7:30pm, Nordstrom Recital Hall, Benaroya Hall | $20-$42

Seattle Symphony: Celebrate Asia
Seattle Symphony is joined by Indian composer, producer, and performer A. R. Rahman is their ninth annual celebration of the musical traditions of Asia, focusing this year on India and Japan.
Friday, 5/12, 7:00pm, Mark S. Taper Auditorium, Benaroya Hall | $40-$105

DXARTS: Music of Today
The UW School of Music and The Center for Digital Arts and Experimental Media (DXARTS) present a concert of audio and video by current DXARTS students and alumni.
Friday, 5/12, 7:30pm, Meany Theater | $10-$15

Gamelan Pacifica: Lou Harrison at 100 Years
Celebrate the centenary of Lou harrison with a rare opportunity to experience his music for gamelan and percussion live.
Saturday 5/13, 8:00pm, Good Shepherd Chapel | $5-$15

Seattle Rock Orchestra Performs The Beatles
In a Seattle Mother’s Day tradition, Seattle Rock Orchestra performs the Beatles.  Bring your mom.
Saturday, 5/13, 8:00pm, Moore Theatre | $25
Sunday, 5/14, 2:00pm, Moore Theatre | $25

Nat Evans’s Vertical Saxophone Aura Readings at Seattle Art Museum
Nat Evans presents an interactive work for saxophonists on escalators. Two saxophone players serve as personal sound escorts to museum patrons on the escalators leading up to the Seeing Nature exhibition.
Thursday, 5/18, 7:00pm, Seattle Art Museum | free-$20

Ecco Chamber Ensemble: Enough is Enough
Ecco ends their inaugural season with music that protests modern violence and points toward peace, including a premiere by Seattle composer Sarah Bassingthwaighte.
Saturday, May 20, 2:00pm, St. John United Lutheran Church, | $15

Seattle Metropolitan Chamber Orchestra: SPARK.1
This Capitol Hill performance marks the first event in SMCO’s genre-bending SPARK series.  Live SMCO musicians are joined by local DJ Suttikeeree and the Skylark Horn Quartet.
Saturday, May 20, 8:00pm, Fred Wildlife Refuge (21+) | $25

Seattle New Music Happy Hour: Monday, April 24 at 5:30pm

by Maggie Molloy

Got the Monday blues? Get happy with us tonight at the next Seattle New Music Happy Hour, co-hosted by Second Inversion and the Live Music Project.

Join us TONIGHT, Monday, April 24 at 5:30pm at the cozy Fireside Room at Hotel Sorrento in Seattle. (Note the new location!) Bring a friend, make a friend, have a drink, and discover connections with fellow new music lovers from all over Seattle!

Click here to RSVP and invite your friends. Plus, sign up for alerts for future happy hour dates and day-before reminders so you’ll never miss a beer—er, beat.