Thinking Outside the Voice Box: Stacey Mastrian on Contemporary Vocal Music

by Maggie Molloy

In order to be a contemporary classical vocalist, you’ve got to be prepared to do a lot more than just sing. Sometimes, you have to be able to act, speak, compose, or play the piano. Sometimes, you have to be able to interpret graphic scores, or trigger live electronics—and sometimes, when the situation calls for it, you have to be able to bark.

Those are just a few of the extramusical activities that are featured in Seattle-based soprano Stacey Mastrian’s Binary Solo+ performance this Wednesday, July 12 at the Royal Room, joined by pianist Josh Archibald-Seiffer. The program features rarely-performed works for voice with electronics and piano by two generations of American composers: the venerable Earle Brown, Morton Feldman, and Alvin Lucier, and the current generation—Mike Boyd, Stephen Lilly, Kristian Twombly, and Steve Wanna.

The pieces range from meditative and intimate to humorous and theatrical—but all are distinctly contemporary. Morton Feldman’s unpublished Lost Love for voice and piano is based on a poem by a Victorian realist, while Stephen Lilly’s Portrait in Song pokes fun at the clichés of the art song tradition, substituting lyrical melodies for a zoo of animal utterances.

The musical scores employed are similarly wide-ranging: the score for Steve Wanna’s Smriti forgoes traditional Western notation for a new musical language comprised entirely of dots and arrows. The score for Earle Brown’s “For Ann, 1 May ’94,” forgoes the concept of a “page” altogether—it is comprised of rectangular patterns scribbled on a bar coaster.

Mastrian’s performance is part of a double bill with pianist Jesse Myers, who will perform a program of works by iconic minimalist composers like Philip Glass and Steve Reich, as well as brand new 21st century works for acoustic piano and electronics by the likes of Missy Mazzoli and Christopher Cerrone. (Click here to learn more about that program.)

In anticipation of the concert, we sat down with Mastrian to talk about electronics, animal sounds, graphic scores, and the thinking outside the voice box:

Second Inversion: As a singer, you specialize in 20th and 21st century vocal works. What inspires you most about new music? What draws you to new and unusual sounds?

Stacey Mastrian: With new music, I am frequently challenged to step outside of my comfort zone.  It demands or permits me to do things that I otherwise would never consider doing, forcing me to continue learning and driving creativity.

I love the chance to contribute to works that have never been done before, works that have not been done often, or works that have not been performed in a way that has done them justice.  I enjoy collaborating with composers to create something new, as well as learning from those who worked with the composers (in the case of those who are no longer with us).  From a musical standpoint, it is an opportunity to participate in shaping history and in linking with the recent past so that we do not lose those connections.  It also has tinges of the revolutionary, in the political-social-musical disruptions that many of the pieces imply or overtly convey—sometimes seriously and at other times with humor.  Sharing this repertoire with new audiences is particularly thrilling.

As far as “new and unusual” sounds, in some cases it is the exploration of the sounds themselves that fascinates me, or the different ways of conceiving of music, of hearing, or of space.  In other cases, the plurality of options helps express the piece in a way that traditional singing might not:  there are times when bel canto singing in the harmonic language of the Romantic period can express grief beautifully, but sometimes that is not enough—sometimes atonality or shouting or noise can be the only response—from the gut, in a raw, theatrical way.  This is not to say that I do not care about solid vocal technique, but there is less concern about only the beauty of sound and more about what the sound conveys.

SI: How does your Royal Room program differ from more standard classical vocal repertoire?

SM: With standard classical vocal recital rep, one typically stands near the piano and sings beautifully for an hour.  In this program I sing, speak, play the piano, trigger live electronics on the computer, compose with water sounds I recorded, make noises with objects ranging from vases to bowls to teapots to an airplane nose cone, vocalize with ridiculous animal and battle sounds, and mime.

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

SM: With graphic scores, the challenge for me is “Where do I start?  I am not a composer!  Give me parameters!”  There is usually a framework with very specific rules, but the actual content is quite open.  The rewarding part of this work is that every time it teaches me to think outside of the box (haha).  It also is exciting to engage with a score that is so visually compelling and with a result that could be different each time.

With electronics the challenge is “WILL THEY WORK??”  There are so many variables between the hardware hookups and functionality and the software—sometimes the programs just crash, or due to randomness built into certain live electronics processes, they do not cooperate.  This is way more stressful than just singing.  The rewards of working with electronics, however, are many:  I love the way that they sound and the endless possibilities for combinations of options that are not possible otherwise.  The unexpectedness of live processing can be fun when it is not frustrating.  Also working with electronics means that I do not need an accompanist, which is useful for situations that require portability.

SI: What goes through your head when you’re looking at a graphic score for the first time? How do you make sense of it? Are there certain things you look for to orient yourself?

SM: My process looks something like this:

Look at it.  For a long time.  Decide it is impossible to perform because I will never have enough ideas. …or I have too many ideas and do not know where to start. Look at it again.  Think.  Jot down notes.  Repeat. Ask the composers (or performers who worked with them) a lot of questions. Be prepared for them to tell me to read the instructions again. Think some more. Throw away some ideas. Start over.

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

SM: With this performance, I look forward to giving several world premieres of works by longtime friends and colleagues and performing some works I have wanted to do for a while, as well as a few entertaining favorites. Performing with pianist Josh Archibald-Seiffer is always a pleasure, and I am honored that Jesse invited me to be a part of his program.

I hope that the audience will enjoy a new sonic and theatrical world—one filled with humor and humanity as well as links with art, everyday items, meditation, poetry and prose, theater, and technology. Mostly I just hope that people will come.  It is difficult to take a chance on a composer or a performer you may not know; it might be terrible and you waste an evening—but it might be amazing! And you either have that opportunity to experience it, or you miss it.

Also—come hear me bark.


Stacey Mastrian and Jesse Myers perform this Wednesday, July 12 at 7:30pm at the Royal Room in Columbia City. For details and additional information, click here.

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.

Electroacoustic Operas, Space Odysseys, and More: Summer Music in Seattle

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.”


June-July 2017 New Music Flyer

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

Harry Partch Celebration: Works Arranged for Partch’s Instruments
The UW School of Music and the Harry Partch Ensemble, under the direction of Charles Corey, perform three different concerts on the Partch instruments collection, including music by Partch, Lou Harrison, James Tenney, and more.
Wed, 5/31, 7:30pm, Meany Studio Theater | $10
Thurs, 6/1, 7:30pm, Meany Studio Theater | $10
Fri, 6/2, 7:30pm, Meany Studio Theater | $10

Seattle Pacific University: Symphony of Psalms (World Premiere)
In commemoration of SPU’s 125th anniversary, university ensembles perform a new work for choirs and orchestra by SPU Professor Emeritus Dr. Eric Hanson.
Fri, 6/2, 7:30pm, First Free Methodist Church | Free

Kaley Lane Eaton: Lily (World Premiere)
Lily is a brand-new electroacoustic opera by Seattle Composer Kaley Lane Eaton based on the experiences of Eaton’s great-grandmother, an immigrant to the US who fled Europe at the start of the second world war.  Performance includes projected images by Rian Souleles.
Fri, 6/2, 8pm, Good Shepherd Chapel | $5-15

Seattle Modern Orchestra: Mystic Clarinet featuring Carol Robinson
Paris-based clarinetist Carol Robinson joins SMO for works centered around Italian Composer Giacinto Scelsi, including a world premiere composed by SMO Co-Artistic Director Jérémy Jolley.
Sat, 6/3, 8pm, Good Shepherd Chapel | $10-$25

Seattle Symphony: The Merriman Family Young Composers Workshop Concert
Players from Seattle Symphony perform 10 world premieres by composers under the age of 18. Presented in partnership with the Harry Partch Instrumentarium currently in residence at UW, under the direction of Charles Corey.
Mon, 6/5, 7pm, Nordstrom Recital Hall | Free (RSVP encouraged)

Town Music: Every New Beginning (with SYSO)
Curated and conducted by Seattle favorite Joshua Roman, current Seattle Youth Symphony Orchestra members, alumni, and professional mentor artists perform works by a diverse group of living composers, including Pulitzer-winner Caroline Shaw and Gregg Kallor, who contributes a world premiere.  Also broadcast LIVE on Second Inversion.
Wed, 6/21, 7:30pm, Town Hall | $5-$20

Seattle Symphony: Ligeti’s Requiem
Paired with the fifth symphony of Gustav Mahler, the Seattle Symphony and Chorale perform György Ligeti’s Requiem under the baton of Music Director Ludovic Morlot.
Thurs, 6/22, 7:30pm, Benaroya Hall | $37-$122
Fri, 6/23, 8pm, Benaroya Hall | $37-$122
Sat, 6/24, 8pm, Benaroya Hall | $37-$122

Seattle Symphony: 2001: A Space Odyssey LIVE
Join Seattle Symphony for a screening of Kubrick’s masterpiece with the score played live.  The mind-bending classic prominently features György Ligeti’s Atmospheres.
Fri, 6/30, 8pm, Benaroya Hall | $38-$128
Sat, 7/1, 8pm, Benaroya Hall | $38-$128

Seattle Symphony: Helen Grime U.S. Premiere
Alongside works by Felix Mendelssohn and Carl Nielsen, Thomas Dausgaard leads the symphony in the U.S. premiere of Helen Grime’s “Snow” from Two Eardley Pictures, which had its world premiere at BBC Proms last summer.
Thurs, 7/1, 7:30pm, Benaroya Hall | $22-$122
Fri, 7/1, 12pm, Benaroya Hall | $22-$122
Sat, 7/1, 8pm, Benaroya Hall | $22-$122

Seattle Chamber Music Society Summer Festival: Recitals and Concerts
SCMS offers a variety of new music in this summer’s series, including multiple pieces by Aaron Jay Kernis and Lisa Bielawa (one is a world premiere), and Messiaen’s Quartet for the End of Time.
Mon, 7/3, 7pm, Nordstrom Recital Hall | Free
Mon, 7/10, 7pm and 8pm, Nordstrom Recital Hall | Free-$52
Mon, 7/24, 8pm, Nordstrom Recital Hall | $16-$52
Wed, 7/26, 8pm, Nordstrom Recital Hall | $16-$52

Jesse Myers & Stacey Mastrian: Living in America & Binary Solo+
In a double-header concert, pianist Jesse Myers and soprano Stacey Mastrian share the bill.  Myers performs solo piano music of John Adams, Glass, Reich, Christopher Cerrone, and Mizzy Mazzoli, while Mastrian performs wide-ranging music for solo voice with electronics and piano.
Wed, 7/12, 7:30pm, The Royal Room | Free

NUMUS Northwest: Saturday, January 28, 2017

We hope to see you at NUMUS Northwest this Saturday, January 28 at Cornish College of the Arts! We shared the full schedule last month and lately the NUMUS Northwest team has been giving you some close-ups and fun facts about the performers and presenters on social media. We’ll recap those below, but first, a few quick and friendly reminders:

When/Where: Saturday, January 28 from 9am-10pm at Cornish College of the Arts (Kerry Hall).

What to expect: Complimentary bagels, coffee, speed dating, workshops, performances, community building, and more throughout the day!

Admission: Students are admitted for free and general registration is $20 in advance and at the door. Please note: CASH ONLY at the door. There is an ATM nearby, if needed.

Meet NUMUS Northwest artist Paul Taub, who will be performing Pēteris Vasks’s Sonata for Solo Flute (Night/Flight/Night) on our evening concert! — Link in bio!

A photo posted by NUMUS Northwest (@numusnw) on

Meet NUMUS Northwest artist @legoldston who will offer an afternoon workshop titled “Defying Boundaries.” Workshop details: “A look at past and present examples of practices that aim at leveraging experimental, improvised and/or composed musics as tools for community-building, social and political subversion and awareness, and collective psychic nourishment. Source materials include live and recorded music, text, and traditional and graphic musical scores.” #seattle #seattlemusic #newmusic #cello

A photo posted by NUMUS Northwest (@numusnw) on

Meet NUMUS Northwest artist Aaron Grad, who will offer a workshop titled “What’s Your Story? Strategies for Publicizing a New Music Event” on Saturday, Jan. 28th! Workshop details: “This workshop explores how to publicize an event by emphasizing a compelling message or story. We will focus on two key skills: identifying a resonant message, and capturing it in a memorable summary. A mix of group discussion and hands-on practice will be led by Aaron Grad, a composer and consultant who writes program notes and marketing materials for the Seattle Symphony, Orpheus Chamber Orchestra, New World Symphony, Town Hall Seattle, and other purveyors of new and old music.” #seattlemusic #seattle #newmusic #publicity #workshop #cornishcollege #pnw

A photo posted by NUMUS Northwest (@numusnw) on

Meet NUMUS Northwest artists Jessi Harvey & Lena Console, who will offer a noon workshop titled “9 Things to Facilitate Collaborative Composition” on this coming Sat. Jan. 28th! Workshop details: “Learn more about facilitating a collaborative composition project for groups ranging in size, age, and background using strategies and expectations developed by a duo who has experienced the gamut. Realizing a final composition that represents a collective of diverse members can be daunting; amass your skills under categories including, ‘You are not the most important voice: Letting go of the composer ego,’ ‘Do the (not so) obvious,’ and ‘Reflect, reflect, reflect.’ As a final culmination, attendees will create their own miniature group composition using their newly found tools. Tiny instruments will be provided.” 📷: Sonja Harris #seattlemusic #workshop #cornishcollege #seattle #festival #tinyinstruments #pnw #numus17

A photo posted by NUMUS Northwest (@numusnw) on

Meet NUMUS Northwest artists @jolleyjt & @rosebellini who will offer a 4pm workshop titled "Fundraising & Cultivating the Medicis of Today" on this coming Sat. Jan. 28th! Workshop details: "The relationship between musicians and patrons of the arts has always been a reality of the artist’s life, yet not included or discussed in the music schools of today. Composer and co-Artistic Director of Seattle Modern Orchestra Jeremy Jolley, and cellist and professional fundraiser Rose Bellini will try to demystify the relationship between the creation of the art and the funding of it. After the presentation, Jolley and Bellini will answer questions and guide a conversation around the topic." #fundraising #cornishcollegeofthearts #seattlemusic #seattle #pnw #fundraise #numus17

A photo posted by NUMUS Northwest (@numusnw) on

See you there!

NUMUS Northwest: 2017 Schedule Announced

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NUMUS Northwest, a day-long event dedicated to the creation, performance, and experience of new music in Seattle, has announced their full schedule of sure-to-be inspiring performances, panels, talks, and community building! 

9:00-10:00 Registration

10:00-10:15 Welcome

10:30-11:30 Speed dating

12:00-1:00 Workshops

1:00-2:30 Lunch break

2:30-3:30 Concert: Cole, Cerrone, Cage

4:00-5:00 Workshops, talks, & demos

5:00-6:00 Happy hour

6:00-7:30 Dinner break

8:00-10:00 Concert: Oliveros, Vasks, Arteaga, Nono, Bassingthwaighte, Hagen

Tickets are on sale here! $20 general admissions and students are free with ID at the door.


More about NUMUS Northwest

Where: Cornish College of the Arts, Kerry Hall

When: Saturday, January 28, 2017 from 9am-10pm

Who: You! Students. Friends. Colleagues. Musicians. Artists. Creators. People who don’t know they like this kind of music (yet!)

Leadership:

  • Kerry O’Brien (Nief-Norf)
  • Jim Holt (Seattle Symphony)
  • Kevin Clark (New Music USA)
  • Shaya Lyon (Live Music Project)
  • James Falzone (Cornish College of the Arts)
  • Maggie Stapleton (Second Inversion/Classical KING FM)

Why: Inspired by the New Music Gathering, the leadership team (many of whom have attended at least one NMG) has a strong desire to recreate the community-building, collaborative-natured, and artistically-stunning event with a focus on musicians and artists in the Northwest.

Want to receive updates about NUMUS Northwest? Subscribe here

CONCERT PREVIEW: The John Cage Musicircus

by Maggie Molloy

This Saturday, the circus is coming to town—the Musicircus, that is. Come one, come all for a most unusual evening of art, dance, music, and chaos.

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Created by the avant-garde and always-iconoclastic composer John Cage in 1967, the
Musicircus is more of a “happening” than a traditional classical music concert. The score invites any number of performers to perform any number of pieces (musical or otherwise) simultaneously in the same place.

And this Saturday, Seattle-based percussionist and Musicircus ringmaster Melanie Voytovich has planned a multimedia presentation of this innovative work at Town Hall.

The John Cage Musicircus will feature over 40 musicians, dancers, performance artists, and poets performing pieces written (or inspired) by Cage and his explorations into the avant-garde. Woven in among the chaos are live performances of many of Cage’s best-known works, including the Sonatas and Interludes for prepared piano, In a Landscape for (unprepared) piano, Child of Tree for amplified cactus, Third Construction for unorthodox percussion instruments, Cartridge Music for amplified small sounds, 45’ For a Speaker for spoken voice, and other works of all styles and artistic disciplines.

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Performers will be stationed all over Town Hall, with audience members encouraged to explore how the sonic and visual experience shifts as they wander freely throughout the circus, gawking at the oddities within. Like much of Cage’s work, the event erases the boundary between performers and audience members, beckoning even the most ordinary among us to run away and join the circus.

And so without further ado, allow me to introduce you to just a few of this weekend’s circus performers:


melanie-voytovichName: Melanie Voytovich

Performing: John Cage’s Third Construction and Composed Improvisation for snare drum

Describe your pieces in one word:
Third Construction: Historic
Composed Improvisation: Exploration

What makes your pieces unique? Cage composed Third Construction in 1941 during his time at Cornish. Through this work (and others in his Construction series), he sought to recreate the effects of tonality and harmonic progression upon traditional aspects of musical form—but using only non-pitched percussion instruments. The result was what Cage called a “micro/macrocosmic structure”: a musical form in which the grouping of units of time was the same on the small and the large scale.

Third Construction calls for four performers and a large assortment of exotic and unorthodox instruments, including a teponaxtle (Aztec log drum), quijadas (jawbone rattle), lion’s roar (a washtub with a small hole through which a rope is noisily pulled), and an assortment of cymbals, shakers, claves, tom-toms, and tin cans. By exploring these otherwise unconventional percussive colors and timbres within a controlled musical structure, Cage creates a work that is endlessly inventive—yet surprisingly unified.

Composed Improvisation for snare drum alone is similarly oxymoronic. Composed in 1987, the piece was composed using chance procedures derived from the I Ching: an ancient Chinese classic text that is commonly used as a divination system. The “score” for Composed Improvisation is literally just two pages of instructions which build the structure to the improvisation (number and duration of sections, use of implements, preparations, etc).


ania-ptasznikName: Ania Ptasznik

Performing: John Cage and Lejaren Hiller’s HPSCHD, live coded

Describe your piece in one word: Transparent

What makes your piece unique? In the year when HPSCHD first debuted, computers were in their infancy.

What was extremely complicated to do then is surprisingly simple now. This performance, among other things, is a reflection on the evolution of technology and the changes that have taken place since the work was first created.

Live coding is the act of composing music with computer code. Unlike Ed Kobrin, the original computer programmer behind HPSCHD, one can now create music in real time, on the fly. As I execute functions based the patterns of I Ching hexagrams, the code will be available for everyone to see. I intend to bring the audience into the bare, yet elegant language of the computer while providing a subdued backdrop to a room of human performers. What makes this piece unique, I think, is in the dualities that take place: between head and heart, “high art” and debauchery, visibility and invisibility, and human and machine.


kerry-obrienName: Kerry O’Brien

Performing: Alvin Lucier’s Silver Streetcar for the Orchestra and John Cage’s Diary: How to Improve the World (You Will Only Make Matters Worse)

Describe your pieces in one word: Shimmering

What Makes Your Pieces Unique? Alvin Lucier’s Silver Streetcar for the Orchestra (1988) is a solo for amplified triangle. Typically heard as part of an orchestra, the triangle is lucky to be struck once or twice each performance. There’s value in this: triangles can teach patience. But the triangle has other lessons to teach. In Silver Streetcar, Lucier instructs a percussionist to examine this instrument thoroughly, discovering the peculiar ways it can clang and quiver, reverberate and sing. With one hand, I’ll strike the triangle, varying the speed, intensity, and location of my striking, while with my other hand, I’ll dampen, mute, and manipulate the triangle to create further variations. As it turns out, there’s a world of complexity inside the shimmer of a triangle. 

Every so often, I’ll take a break from triangle playing to read the first few installments from John Cage’s Diary: How to Improve the World (You Will Only Make Matters Worse)a mashup of musings that may shimmer with relevance (or shimmer with contradiction) given America’s recent politics. If you listen closely, you might hear some of these musings amidst the Musicircus chaos.


ilvs-strauss

 

Name: ilvs strauss

Performing: John Cage’s Lecture on Nothing

Describe Your Piece in One Word: Wordy

What Makes Your Piece Unique? I’ll be using Cage’s text as a starting point for discourse, both literal and physical.

 

 


michaud-savage-2Name: Michaud Savage

Performing: John Cage’s Eight Whiskus, Aria, and 8 Mesostics Re: Merce Cunningham

Describe your pieces in one word: Someantics

What makes your pieces unique? These pieces speak to Cage’s interest in disparity and cohesion, seen realized in three inventive approaches: sketch, collage, and notation.


tom-bakerName: Tom Baker

Performing: The Cage Elegies (original work inspired by Cage)

Describe your piece in one word: Elegiac

What makes your piece unique? The Cage Elegies is a “conversation” between myself and John Cage. The piece uses Cage’s recorded voice as its main material, around which the electric guitar circles and interacts.

It is in three movements, entitled: 1) Nowhere 2) Middle 3) Questions, with improvisations as prelude, interludes, and postlude. Many aleatoric procedures were brought to bear on the composing of this work, including the spoken text and length of all sections. 


jesse-myersName: Jesse Myers

Performing: John Cage’s Sonatas and Interludes (for prepared piano)

Describe your piece in one word: Ever-changing

What makes your piece unique? The piano preparation process and sounds in this music are always changing. The music is a process in itself which transports the listener through a series of moods based on Indian aesthetics called ‘rasas.’ This music is alive as the sounds, preparations, music, and process is ever-changing.


bonnie-whitingName: Bonnie Whiting

Performing: John Cage’s Third Construction and 51’15.657″ for a Speaking Percussionist (an original, solo-simultaneous realization of Cage’s 45′ for a Speaker and 27’10.554″ for a Percussionist)

Describe your pieces in one word: Third Construction: Joyous; 51’15.657″ for a Speaking Percussionist: Multiplicity

What makes your pieces unique? Cage’s 45′ for a Speaker and his 27’10.554″ for a Percussionist are vintage pieces: music from the mid-50’s and part of a series of timed works that he enjoyed mixing together and referred to in notes and letters as “the ten thousand things.” A culmination of 14 months of work and study, this version is the first to feature one performer executing both pieces in their entirety.

Cage subjected several of his lectures to chance procedures, and the result is his quirky and imaginative 45′ for a Speaker. Additionally, this particular version of Cage’s 27’10.554″ score is a very faithful realization, focusing on a performer-determined search for most uniquely beautiful and interesting sounds: a fusion of traditional percussion instruments as well as an array of found-objects, non-percussive sounds, and electronic sounds.

This idea of simultaneity: of layering rather than true interpolation is one of the most fascinating branches of Cage’s output. He stumbled upon it in his work with collaborative (and life) partner dancer Merce Cunningham. In some ways, this realization of these pieces is a microcosm of the (later) Musicircus idea, making it a great fit for this event.


stacey-mastrianName: Stacey Mastrian

Performing: John Cage’s Experiences No. 2 for voice, The Wonderful Widow of Eighteen Springs for voice and closed piano, A Chant with Claps for voice and hand claps, and selections from Song Books for voice with or without theatre and electronics

Describe your pieces in one word:  Eclectic

What makes your pieces unique? The first three pieces I will perform come from the 1940s—early in Cage’s output—when the voice appears in a simple and unaltered manner but is paired in unusual ways, whereas the last grouping of pieces spans the artistic and stylistic gamut, employing speaking, singing in various modalities, other noises, and electronics.

Experiences No. 2 (1948), for solo voice to text by e. e. cummings, was originally written for a dance by Merce Cunningham. Cage writes a straightforwardly beautiful melody that is interspersed with measured silences, and the singer can choose a comfortably low key in which to perform the work. This performance will feature nine dancers from Souterre, with world premiere choreography by Eva Stone.

A Chant With Claps (194?) exists only in manuscript form, and C.F. Peters and the John Cage Trust have graciously granted me permission to perform this rarity. This very brief, unpublished work bears the dedication “For Sidney,” which likely refers to ethnomusicologist Sidney Cowell, the wife of Cage’s former teacher, Henry Cowell.

Guitarist Mark Hilliard-Wilson and I will perform a version of The Wonderful Widow of Eighteen Springs (1942), with alliterative, imagery-rich text fragments from James Joyce’s Finnegan’s Wake that describe the infant Isobel; Joyce himself said this passage was inspired by a piece of music. Cage’s piece has a rather conventionally notated melodic line, but it is composed of only three pitches, which gives it a chant-like quality.

Song Books (1970) embrace far more than singing. In this iteration I will be performing Solos for Voice No. 7 (which involves me building an object resembling a wigwam out of toothpicks and tissues), No. 43 (I utilize electronics and improvise a duet with myself), No. 53 (I vocalize in ten different styles and five languages), No. 57 (I must achieve immobility), No. 71 (I write a card with note or sketch in ink), and No. 78 (I take off my shoes and put them back on).


Name: Michael Schell

Performing: John Cage’s Cartridge Music

Describe your piece in one word: Noisy

What makes your piece unique? A milestone of live electronic music and a classic of indeterminate notation, this uncompromising work from 1960 directs the performer(s) to use ceramic phonograph cartridges with various objects other than a conventional stylus. These objects are then “played” by the performers, along with auxiliary sounds created by attaching contact microphones to various objects, the resulting mix being amplified and projected through loudspeakers.

Performers build their score independently using Cage’s graphic pages and transparencies. The result is a sound world built from typically “undesirable” sonorities (hum, white noise, mechanical shuffling), small sounds (sounds of soft amplitude that take on very different characteristics when greatly amplified), and sounds that partake of more conventional meaning (such as toys or standard musical instruments played unconventionally and amplified using contact microphones). What gives the work coherence is the common electromechanical origin of its sound sources, and the consistent, largely non-metric, rhythmic milieu enforced by its unconventional notation and performance directions.

In other words: this is a rare example of an indeterminately-notated, non-improvisational composition that has a recognizable character and always comes out sounding good.


maggie-molloy-headshotName: Maggie Molloy

Performing: John Cage’s Dream and In a Landscape for solo piano, and an original zine titled Diary: How to Read John Cage

Describe your pieces in one word: Translucent

What makes your pieces unique? Dream and In a Landscape are both pretty tame by Cage standards: there are no chance operations, no graphic notations, no amplified cacti, no screws or bolts inside the piano. In fact, each of these pieces is comprised of just a handful of notes and a whole lot of sustain pedal. The melodies drift slowly and freely from one hazy note to the next, with the pedal blurring all of it into a beautifully simple and ethereal dreamscape. And although these pieces are certainly a far cry from most of Cage’s more daring compositions, they are still unmistakably Cagean: the gently meandering melodies evoke his quiet nature, his slow, thoughtful manner of speaking—his utter willingness to lose himself entirely in sound.

If Dream and In a Landscape are explorations of Cage’s character, then my next piece is an exploration of his mind. Diary: How to Read John Cage is a zine I created in response to Cage’s monstrous five-hour art piece, Diary: How to Improve the World (You Will Only Make Matters Worse). Written and recorded in the years leading up to Cage’s death, the Diary’s contents range from the trivial details of everyday life all the way to the vast expanse of history, philosophy, and global politics—and all with an idiosyncratic dose of humor and wit. Over the course of eight weeks, I read and listened through Cage’s entire Diary and created my own personal diary tracking the experience. Copies of my John Cage Diary zine will be available free of charge at the Musicircus.


The John Cage Musicircus is Saturday, Nov. 19 from 7-10 p.m. at Town Hall Seattle. Second Inversion’s Maggie Molloy will present a pre-concert lecture at 6:30 p.m. For tickets and additional information, please click here.