sign in sign up
<<
Home , Anna Clyne, Anne Akiko Meyers, Cello Concerto (Bates), Julia Wolfe, Mason Bates, Stride (composition)

GETTING OVER THE SHOCK OF THE NEW

CONTEMPORARY IS SYMPHONIC

MUSIC

Thomas Dausgaard conducts the Seattle Symphony GETTING OVER THE SHOCK OF THE NEW

AGE COMING OF BY GREG CAHILL

here is a creepy bloodlust to will premiere the rest of the it,” he says. “That alertness to what the com- the doom-mongering of clas- works in future seasons. poser actually wrote, rather than what might sical music, as though an Indeed, a look at major around have become standard practice, is an inspira- “T autopsy were being con- the shows that contemporary tion for me when working on music by dead ducted on a still-breathing body,” William symphonic works are slowly, but surely, mak- composers we can no longer ask questions of. Robin wrote in the New Yorker in a 2014 ing inroads into program schedules. For So much of what we perform is written by article about perpetual reports of the example, subscribers to the Chicago Sym- people long gone; it can be frustrating never genre’s death. “What if each commentator phony Orchestra’s 2020–21 season can to be able to ask them, never to see how their decided, instead, to Google ‘young com- expect a generous serving of Brahms, Cho- faces light up when they hear their music poser’ or ‘new chamber ensemble’ and write pin, Schubert, Schumann, Debussy, Ravel, coming to life. a compelling profile of a discovery?” and Scriabin. But the orchestra also will per- “So what a joy it is as performer and audi- That’s good advice, especially since form two world premieres of CSO-commis- ence to be around living composers and young composers are providing an infusion sioned works by American composer Gabriela enrich the experience of hearing and per- of new blood into the modern orchestra. Lena Frank and Finnish composer Magnus forming their music with the possibility of Sure, Beethoven, Mozart, Tchaikovsky, and Lindberg, as well as the first CSO perfor- getting to know them!” Brahms continue to dominate the calen- mances of Her Story, by Pulitzer Prize–win- In keeping with William Robin’s chal- dars of most orchestras, but anecdotal evi- ning composer . And guest lenge “to Google ‘young composer’ and dence suggests that new symphonic music conductor Tilson Thomas returns to present write a compelling profile of a discovery,” is making slow-but-steady inroads at the the CSO’s first performances of hisFour Pre- Strings asked several young composers concert hall. That is due, in part, to the ludes on Playthings of the Wind in December. about the state of the art of new symphonic efforts of Baltimore Symphony Orchestra First performed in 2016, Tilson Thomas’s music, including the challenges of getting music director , a former direc- semi-staged work is set to the poem of the their music performed. tor of the 57-year-old Cabrillo Festival of same name by Carl Sandburg, and features a Contemporary Music; Michael Tilson mixed ensemble of vocalists, a “bar band” Thomas, who two decades ago championed complete with electric guitars and drum set, 20th-century music through his influential as well as a chamber orchestra featuring solo American Mavericks series; former L.A. Phil turns for most of the musicians. music director Esa-Pekka Salonen, Tilson Meanwhile, British conductor and com- Thomas’ soon-to-be replacement at the San poser Thomas Adès will make his CSO Francisco Symphony; and a host of other podium debut and will conduct the first visionary conductors. CSO performances of his for , These days, the modern orchestra is start- featuring Kirill Gerstein, for whom the con- ing to reflect the times. certo was written. Case in point: The New York Philhar- “ is a living art form in con- monic, under principal conductor Jaap van stant development,” says Seattle Symphony Zweden, recently launched Project 19, a music director Thomas Dausgaard, who also sprawling, multi-season initiative to com- is chief conductor of the BBC Scottish Sym- mission and premiere 19 new works by 19 phony Orchestra and the Swedish Chamber women composers to mark the 100th anni- Orchestra. “Just as we see our time mirrored The -born, Grammy-nominated com- versary of the 19th Amendment, which in contemporary literature, theater, dance, poser of acoustic and has been gave women the right to vote. art, , and architecture, contemporary hailed by Time Out, New York as “dazzlingly It is the largest women-only commission- symphonic music offers insights into what inventive.” Her symphonic work includes The ing initiative in history. the giant band of a symphony orchestra is Seamstress for violin and orchestra. According to the New York Phil website, today. And that perception of what an orches- Project 19 was born of the conviction that tra is can change drastically as new instru- We are in a period of transition in terms of “an orchestra can participate in conversa- ments might be added, new sounds and an openness to bringing contemporary tions about social imperatives and even shapes developed, visuals added, and our orchestral music into the standard reper- change the status quo.” Through Project 19, sense of time is challenged.” toire in a meaningful way. Music directors the Philharmonic can mark a “tectonic shift Dausgaard’s faith in the revitalization of who are savvy to the fact that contemporary in American culture,” noted president and classical music is grounded in this genera- music is vital for the continuing develop- CEO Deborah Borda, by giving women com- tion of young composers. “As performers, we ment of the art form are leading the path for posers a platform and catalyzing representa- are often reminded by living composers how receptiveness. I’ve had the chance over the tion in classical music and beyond. important it is for them that what they actu- years to work with such visionary music Project 19 launched in February with ally wrote down in detail is being respected, directors as Marin Alsop, Cristian Măcelaru, the first six world premieres. The however challenging it might be to achieve and Esa-Pekka Salonen. It is important that

28 May-June 2020 / Strings PHOTOPREVIOUS PAGE: SEATTLE SYMPHONIY BRANDON BY ANNA PATOC, JENNIFER BY TAYLOR CLYNE the art form continues and develops with the for real dialogue between the past and the times—that it explores new techniques and present. It also allows for a diversity of new technologies whilst also re-examining voices in the orchestra repertoire, given and re-imagining its past. the overwhelming whiteness and maleness Contemporary compositions for the of the standard repertoire, and the unwill- orchestra keep the symphonic landscape ingness of orchestras to explore works by vibrant, alive, and relevant to the modern- female and non-white composers from the day audience that spans generations. It pro- past. New orchestral music is the most vides a connection to both the past and the exciting thing that is happening in the future, and audiences are ready and eager to symphonic landscape! If you love the expand their musical experiences. Yet, orchestra, there’s something new that you orchestral works that incorporate non- will absolutely love, as well. It’s just a mat- traditional elements such as electronics— ter of seeking it out, but the reward is sampling, pre-recorded tracks, live process- totally worth it. ing, and so on—can be more challenging for It’s very hard to get second or third per- orchestras with lower budgets, or orches- formances of orchestral works. There aren’t MARK O’CONNOR tras that are touring. avenues for commercial recordings, in most Fiddler, violinist, and composer O’Connor has I have received a lot of positive feedback cases, so you’re reliant on live recordings to worked in a variety of genres, from bluegrass to from audience members. Some works of “sell” the work to a conductor, and that’s if jazz to classical. His orchestral works include mine, like Within Her Arms, have particu- you’re lucky enough to get a recording at all. 2009’s Americana Symphony. He is the author larly struck an emotional chord with peo- I think the climate is good for music direc- of a series of method books and videos based on ple—I’ve often had audience members tors who want to program new work. Audi- his new American school of string playing. approach me after a concert to share how moved they were and how the music spoke I simply felt a calling to write new symphonic to their own personal experiences. My works beginning in the early ’90s, which led hope, and intention, is that I compose music to me quitting my day job as a Nashville ses- that invites an audience in rather than sion player. I have composed nine , alienates them. two symphonies, and a few overtures and If we can present suites to date, my concertos having been per- contemporary works formed over 700 times with symphony orchestra. It is a remarkable number consid- in an accessible way, ering the status quo for new pieces, with my without dumbing Fiddle Concerto remaining the most per- formed composed in the last down, then there 60 years. When I first began to introduce my pieces is no reason why to the symphonic landscape, the primary contemporary works hurdle was to convince orchestras that there was something else to play besides the classi- should not stand cal warhorses and masterpieces from Europe. alongside the classics Today, the orchestra scene has sold out to the rock, pop, movie soundtrack, and video-game of the genre. concert franchises, saving precious few per- JUDD GREENSTEIN formances for classical masterworks at that. The American composer and co-director of —Cheryl Frances-Hoad You would have a better chance of seeing a New Amsterdam Records is the curator of the percussion concerto programmed than any Ecstatic Music Festival in New York’s Merkin new today. Why? When you can Hall and a founding member of the NOW hire an impersonator of the pop star Prince Ensemble. His works have been commissioned from Vegas, or a Led Zeppelin cover band for by the Minnesota Orchestra, the Lucerne Fes- $10,000 and sell out three nights with the tival, and the North Carolina Symphony, ences are becoming less suspicious of new Pittsburg Symphony, it’s a win for the pocket- among others. work on a program, and are actually seeking book and, of course, a loss for great art and it out. I believe that if the orchestra is to instrumental music for the orchestras. Writing new work keeps the orchestra survive, it will be through embracing and I have caught a few of those perfor- from being a museum piece—and allows celebrating the new. mances to check them out—what a waste

COURTESYOF JUDD GREENSTEIN AND MARK O’CONOR StringsMagazine.com 29 of 80 talented musicians! They are largely the vast majority of concertgoers—per- for, but they receive a lot of micro-manag- buried by the rock band fronting them. I haps all that is needed sometimes is a “way ing from unimaginative marketing depart- still hope my most recent works, Americana in”—non-stuffy preconcert talks with ments. That’s usually the pushback against Symphony and Improvised Violin Concerto, composers, talking in plain English, and so new music. become a bigger deal like I hoped they on, are great. I’ve lost count of the people Are music directors becoming more would be. For me, they both should be who have told me that they didn’t think receptive to programming new orchestral more popular than my Fiddle Concerto, but they liked contemporary music, but they works? Absolutely, just look at Yannick in maybe the bandwidth is such that there is liked the piece of mine they just heard. If Philly, MTT in San Fran, Dudamel in L.A.— only room for a few success stories at once? we can present contemporary works in an to name just a few obvious standouts. The I hope not. accessible way, without dumbing down, real measure of the orchestra world is on The Charlotte Symphony recently pro- then there is no reason why contemporary the next tier, in places like Colorado [Brett grammed my Americana Symphony along- works should not stand alongside the clas- Mitchell], Memphis [Robert Moody], Cali- side of Gershwin and Copland for an sics of the genre. fornia [Donato Cabrera], and New Haven all-American program. It was great for me. In the UK we are lucky to have a vibrant [Alasdair Neale]. American conductors Two nights at about 75 percent house. contemporary music scene —there is always know how to bring new works to audiences, Therefore 3,000 people got to hear my room for improvement, but organizations and they are doing so in lots of beautiful music in all its glory next to the American like the BBC, the largest commissioner of ways. I’m fortunate to have started early, legends in all their glory. What’s not to new music in the UK, are a total godsend. and symphonic audiences feel a bit like fam- love about that? ily to me. It means a lot to me that orches- tras and audiences have embraced my electro-acoustic sound world.

MASON BATES CHERYL FRANCES-HOAD The innovative DJ and composer has been at The British composer’s works have been commis- the forefront of the effort to bring modern sioned by the BBC, the Surrey Philharmonic, electronic music to the classical concert hall. DOBRINKA TABAKOVA and the Manchester International Cello Festival, His 2012 Violin Concerto for violin and The Grammy-nominated British/Bulgarian among others. orchestra was commissioned by the Pitts- composer is the winner of the Lutoslawski burgh Symphony and premiered in 2012 by Composition Prize and the composer of a viola Every genre of music is a living art form, violinist . concerto, among other orchestral works. from church music to electro-acoustic music, so it’s vital that contemporary composers The orchestra has infinite possibilities, I remember hearing ’ [1985] keep adding orchestral repertoire to the and it will remain the definitive medium Harmonielehre as a student and being so canon. The ideas that can be expressed, and for deep musical expression. Long past the inspired by the possibilities of still being sounds created, by a symphony orchestra are death of modernism and the overreactions able to “comment” on what has come before, inexhaustible, so there’s absolutely no reason to it, we’re at a fascinating moment when and, at the same time, saying it with a voice why we shouldn’t continue to write reams of composers are using the orchestra with of your time and immersing yourself in that music in the 21st century. I think it’s vital, in more freedom than in any previous era. I sound world for a substantial length of order to keep the art form alive, that modern love concerts that time-travel, passing time. Symphonic works allow composers to works are created, even if the classics still put through three or four centuries in a two- create large structures, for their sound more “bums on seats.” hour period—including new works is just worlds to inhabit larger spaces. Who knows what the classics of the as important as including old works. I am particularly aware of this at the future will be? But I think contemporary Orchestral musicians and conductors are moment, as I am writing a Concerto for music can be accessible and appealing to far more innovative than they get credit Orchestra as part of my residency with the

30 May-June 2020 / Strings COURTESYOF CHERYL FRANCES-HOAD, , DOBRINKA TABAKOVA BBC Concert Orchestra. The first move- treat writing for orchestras the same choose from a wide, varied palette of ment, Tectonic, premiered last year and I way—I like to know the musicians. offerings that’s not just limited to the am now working on the second and third Having the support of these orchestras classical canon. The orchestra is a fantas- movements. Creating a work on that scale, has meant that the music I have written tic medium for composers to explore new which is completely abstract, with no nar- for them becomes part of their repertoire, sonorities, timbres, and different ways of rative or text, allows the ultimate artistic like the fanfare Orpheus’ Comet, which I telling stories. I’m constantly amazed by freedom. In order to continue our appre- wrote for the European Broadcasting the infinite possibilities of the same ciation of what it takes to create music on Union’s 50th anniversary in 2017, or the instruments we’ve been hearing for so that scale, we need to keep the thread of most recent Prom piece, Timber & Steel, for many centuries, and I want to hear what creativity alive. For example, I’ve written Sir Henry Wood’s 150th anniversary. But other composers have to say with this a number of works for choir and orches- orchestral performances are not easy, as exciting medium as well. tra, and involving that many people in the most works written by living composers I do feel that over the past few years performance of a new work certainly carry extra weight if they are a premiere. there have been important initiatives that makes a difference in the awareness of What is important for the longevity of are tackling the lack of representation new music. the genre is to create “modern classics” from not only living composers but also and make the “novelties” in the program women and other historically underrepre- familiar to the audience. [Still], in some sented and marginalized artists. I think respects, programming of new music has this is a great beginning and I’m hopeful found a formula as an opener or a “nov- more orchestras feel the urge to follow elty,” but increasingly there are more this shift, but I believe what’s most impor- adventurous offerings. tant is that these initiatives don’t end with I’m looking the project itself but rather create new structures that will allow for these voices forward to the day to be represented and heard beyond the duration of the project. in which it’s not a New music can reinvigorate the orchestra novelty to program and connect to new audiences that expand beyond the usual concertgoers. The more or commission diverse the programming, the better the a new piece by chance for people to see and hear themselves in the music. Living composers sharing their women or other stories and finding new, imaginative ways of composing for the orchestra have an incred- underrepresented ible potential to connect to listeners, who composers. will hopefully come back for more new music and might also be empowered to create —Angélica Negrón ANGÉLICA NEGRÓN something themselves. This imaginative Puerto Rican–born com- I just heard the poser, conservatory-trained violinist, and premiere of Tania León’s new piece “” multi-instrumentalist writes music for accor- as part of Project 19, and I heard a sound dions, toys, and electronics as well as cham- I’ve never heard before, which made me so ber ensembles. She has been commissioned by engaged, curious, and excited. It’s moments the Albany Symphony, All- like this that make me eager about creating In the last six or seven years, I have had Stars, A Far Cry, MATA Festival, loadbang, and listening. The possibilities are endless extremely fruitful associations with two The Playground Ensemble, and the American if we just create the space for these voices orchestras: the Orchestra of the Swan, Composers Orchestra, among others. Her to be heard. I am encouraged that it seems based in Shakespeare’s home town; and music has been performed at the Kennedy that a significant shift is starting to happen since 2017, the BBC Concert Orchestra. I Center, the Ecstatic Music Festival, EMPAC, [in programming new symphonic music], have had a relatively steady journey to get Bang on a Can Marathon, and the 2016 New but it’s not nearly enough. There’s a lot of to this point, writing mostly chamber and York Philharmonic Biennial. catching up to do, and I’m looking forward chamber-orchestra pieces before that, to the day when it’s not a novelty to pro- working closely with the Amsterdam Sinfo- The symphonic repertoire needs to also gram or commission a new piece by women nietta, Britten Sinfonia, and the Lithuanian reflect the times we live in, and living or other underrepresented composers. I’m Chamber Orchestra. I have always preferred composers are an essential part of this. looking forward to the day in which this is to write for musicians I know personally. I Listeners also deserve the chance to the new normal. n

COURTESYOF ANGELICA NEGRON StringsMagazine.com 31