Preamble to a Post: Studying the Arditti Quartet

Any string quartet that performs contemporary music today has listened to and admired the aesthetic rigor, musical commitment and amazing longevity of the Arditti Quartet.  I know there are others who - like me - have been listening to the Ardittis since childhood.  So, when I finally saw them live in 2012 - as opposed to years of listening to studio recordings - at the Darmstadt Summer Courses, it was a revelation to see their raw energy and the clarity of their interpretation of an incredibly difficult work.

The piece of which I speak is Brian Ferneyhough's String Quartet No. 6, a stylistic and instrumental triumph that I am continually intrigued by as a listener.  I had heard it once in recorded form, but seeing them perform live with absolute precision in microtonal unisons and complex rhythms made the music come to life through their virtuosity.  But even more, it was not just technically sound and true to the page: they had command of colors within a distinctive quartet sound that's all their own.

I've been intrigued with Ferneyhough's music from my vantage-point as a performer for years, and finally got to tackle some with Spektral this fall when we played his Adagissimo on a few concerts.  I've already had thoughts about that piece, but since I keep ruminating on the Sixth Quartet (and that Darmstadt performance) I'm planning to undertake a study of the wealth of materials available online about the Arditti Quartet's approach to the work.

So, I share those links with you intrepid new music listeners/performers/composers with the hope you'll discuss the results of my studies in a week or so.

In the meantime, here's video of the Arditti Quartet giving the work its world premiere, two years before I saw them play it in Darmstadt.  Even at this early stage in their interpretation you can see their unity of vision and cooly collected communication in the face of stern challenges.

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A Present for You, Unhidden

Composer/Bassoonist/Improviser Katherine Young is a good friend to the quartet, having written a suite of four ringtones for our Mobile Miniatures project and a fascinating arrangement of an Arthur Russell tune for our Chambers album release party this fall.  The arrangement of the coy "Hiding Your Present From You" is a joy to perform, both for its easy groove and satisfying sonic detail.  So, we're releasing it in a home-made recording on Soundcloud - a little mid-winter single for you.

We hope you enjoy the tune. If you want to learn more and hear the original Katherine has some great things to say about the song and her work in an interview from this fall.

Clarion Call: World Premiere by Augusta Read Thomas

This Sunday, our concert at Constellation will begin with the resonance of a harp.  Not a usual occurrence for one of our Sampler Packs, but we're all the happier that the incredibly talented and gracious Ben Melsky was willing to step in and join Russ as a part of our effort to make good out of a bad situation.  Even better still, those resonating tones are the initials of Mary Louise Gorno transformed into music for cello and harp by the infinitely skillful and energetic Augusta Read Thomas.

This performance will mark public premiere of "Clarion".  Just weeks ago, it was dedicated to Gorno at a private celebration in the home of University of Chicago president Robert Zimmer.  It's a true testament to the importance of the arts at U of C (to which we can attest by our weekly visits to Hyde Park) that this work was commissioned by and performed in the president's home.  In fact, much of the history of music is music written in just such a way: to celebrate weddings, coronations, beloved colleagues…the list goes on and on.  Augusta says, regarding the traits of this work inspired by Gorno "This short work is very soulful, and graceful, like her."

At just three minutes, it is a poetic feat that Augusta has captured so many sides of this prismatic character in such a short span of time.  Her collaborative spirit as a composer, and sensitivity to what performers can achieve and capture live, allows her such striking stylistic virtuosity.  Rehearsals and composition classes with her are imbued with the bubbling energies of her music and the more we've worked with her (whether at the University or on our Ringtones project), the more her passion for exploring musical characters has inspired us.  

You can hear the public premiere of "Clarion" in all its brilliantly clear lyricism and elegant optimism this Sunday on the Frequency Series.

European Travelogue in Photos

On Sunday Nov. 17 we bade farewell to Chicago and phone service with the ritual consumption of food and drink from Tortas Frontera.  Two weeks later, we're back in Chicago and moving on, but still relishing the memories of our first European tour.

Below you can see photos of our stay in Montreux to rehease with Rachel Kolly d'Alba and Christian Chamorel, preparing for our recording sessions on Chausson's Concerto.  Also, you can see our concert day in Lausanne and the Salle Paderewski where we performed, not to mention the amazing hall in La Chaux-de-Fonds where we recorded.  Then, we trekked onward to Aurelien's hometown of Nancy (through the Alps in a terribly small station wagon) to play a concert the day after our recording sessions ended.  No trip to Europe would be complete without giving an introduction to Chicago new music, so we gave the European premiere of Liza White's "zin zin zin zin" alongside Bartok, Britten, and Verdi.  Here's the story in pictures:

 [nggallery id=10]

European Travelogue in Photos

On Sunday Nov. 17 we bade farewell to Chicago and phone service with the ritual consumption of food and drink from Tortas Frontera.  Two weeks later, we're back in Chicago and moving on, but still relishing the memories of our first European tour.

Below you can see photos of our stay in Montreux to rehease with Rachel Kolly d'Alba and Christian Chamorel, preparing for our recording sessions on Chausson's Concerto.  Also, you can see our concert day in Lausanne and the Salle Paderewski where we performed, not to mention the amazing hall in La Chaux-de-Fonds where we recorded.  Then, we trekked onward to Aurelien's hometown of Nancy (through the Alps in a terribly small station wagon) to play a concert the day after our recording sessions ended.  No trip to Europe would be complete without giving an introduction to Chicago new music, so we gave the European premiere of Liza White's "zin zin zin zin" alongside Bartok, Britten, and Verdi.  Here's the story in pictures:

 [nggallery id=10]

Ringmasters: Erin Gee

Erin Gee is a unique composer and performer...not to mention a truly bold collaborator. Her work represents a striking deconstruction of the sounds of language alongside a luminous harmonic language.  Plus, her vocal performances are unlike anything I've ever seen.  Watching her manipulate the elements of human speech and vocal technique in such seamless and nuanced ways as you'll see below is truly unparalleled.

The striking sonorities of this piece shimmer on the edge of the borders of society and history.  Where are we in our travels that finds us in this strange place?  Allow your mind to delve into the depths of its associations along with this music:

What might such a virtuosic vocal performer and composer do with your text message alert or ringtone?

Ringmasters: David Lang

I first fell in love with the music of David Lang while reviewing his Little Match Girl Passion, and have been a fan ever since. David has a way of instantly depositing you into a space both enigmatic and at the same time uncannily familiar. Those lucky enough to have caught his Whisper Opera at MCA last year will remember how transportive was the multi-dimensional treatment of sound...while the traveling proximity of vocalist Tony Arnold created an intimacy usually reserved for secretive exchanges between confidants.

 

 

I'll be honest, we figured David for a long shot when we approached him about Mobile Miniatures, so it was thrilling to get a "yes" in response. He is one of the busiest composers in the biz, and yet this project seems particularly suited to his borderless approach to music. My favorite example, and one that literally sends chills down my spine every time I think of it, is his Départs project for a hospital morgue in Garches, France. David developed this piece to sonically accompany grieving families about to view their departed loved one. Imagine the artistic responsibility involved in taking on such a delicate moment...perhaps the most difficult of anyone's life. If you'd like to know more, RadioLab covered the project.

Ringmasters: Greg Saunier

 I've been in love with Greg Saunier's music since before I knew he wrote it.  I was introduced to his band Deerhoof after my freshman year of college with their album Holdypaws and I've been a fervent fan of ever since.  A dream came true when I got to play with Deerhoof in a brand new piece written by Marcos Balter for the band and Ensemble Dal Niente.  To say that playing with such dynamic musicians was a joy is an understatement...it was truly life changing.

Greg plays the drums like nobody else.  He attacks the set with abandon, limbs flying to sculpt a fury of sonic activity that always grooves in the deepest way.  Seriously, check out Deerhoof live:

That is unbelievable playing...he doesn't need a huge kit to make a world of sound.  And, the best part is he's a composer in his own right, having arranged his Deerhoof tunes for Dal Niente and working with yMusic.

Ringmasters: Christopher Jones

Christopher Jones' music is marked by finely detailed textures and a strong command of unconventional forms.  It turns in unexpected directions, following well-sculpted orchestrations and distinctive sonorities toward uniquely expressive musical landscapes.  As the opening energies of Strange Loop fade, expressively disorienting violin glissandi open up a slowly unfolding chain of melody and harmonic underpinning that moves forward inexorably, yet sumptuously.  Click the link above and take a short, satisfying musical journey.

Currently on faculty at DePaul University, Chris is a welcome addition to Chicago's musical landscape.  His ear for sonic development beg the question: could he be the composer to save your alarm clock or ringtone from its trite fate?

Ringmasters: Andrew Tham

Andrew Tham is a partner in crime with us Spektrals.  He's our support when we need an extra hand on many occasions and his work with Parlour Tapes+ is helping bring our debut release to light next month.  Plus, he's got a one-of-a-kind twitter feed (or I'd say the perfect distillation of the medium)...check out his timeline.

Even better, he's also a massively creative and open-minded person.  You can follow his travels through the musical landscape of Chicago and beyond on his blog, and check out his intriguing sonic meditation "Daydream" here:

Ringmasters: Luke Gullickson

 The soulful, carefully stripped down, and no b.s. music of Luke Gullickson is always a joy to encounter.  Classically trained and skilled as a player and composer, Luke passes on the pretense and creates in an arrestingly direct style.  He can be seen around Chicago and increasingly beyond with the infamous Grant Wallace Band.  If you've never heard this freaky folk trio in action, check out the first track from their upcoming album:

And, Luke frequently releases tracks under the name Golconda.  Listen up and dive deep into some great tunes:

Ringmasters: Suzanne Farrin

 The incredibly creative and poetic Suzanne Farrin is an articulate voice for contemporary music and a composer with a uniquely substantive flair for the dramatic.  You can hear her talk in-depth about here about her recent disc of works centered around the poetry of Petrarca, which covers a wide range of expression and color.

Below, check out the spaciously grand "Gli Occhi Miei" with Suzanne providing a tour de force of sound playing inside the piano and singing. 

Gli Occhi Miei from suzanne farrin on Vimeo.

Ringmasters: Seth Boustead

Seth Boustead is one of the leading advocates for new music in Chicago, wearing many hats as a composer, administrator, and broadcaster.  He is the Executive Director of Access Contemporary Music, which engages in a wide variety of efforts to bring many composers and countless pieces to light.  He also plays the advocate for the wider new music scene through his show on WFMT, Relevant Tones.

A particularly popular effort of ACM is their "Sound of Silent Film Festival", which brings new music and strangely wonderful old films together.  Here's a work by Seth from a past festival:

Ringmasters: Katherine Young

In the spirit of full disclosure: Katherine Young is a close personal collaborator of mine.  I'll be premiering an evening-long work for solo violin(s) that we constructed over the course more than a year on September 27 in Chicago.  Our piece, like much of her work, lives at the intersection of improvisation and notated music as well as exploring the potential of sounds that might seem too small to be significant at first glance.

The quartet is very happy to name her as a good friend as well.  She plays bassoon in the band Pretty Monsters, who opened for us at The Hideout in June, and she's working on an arrangement of this lovely Arthur Russell tune for our Oct. 26 Album Release Party.  

But, until you can hear the results of her ringtone creativity, why not check out one section of Katherine and my project (called: Diligence Is to Magic as Progress Is to Flight) and hear the gritty sound-world we created with a strangely prepared violin we bought on Amazon?

Ringmasters: Marek Poliks

Marek Poliks write music that "mines for expressivity in threadbare spaces, exhausted resources, and modes of interdiction." He lives on the edge of notated music, writing pieces that focus heavily on the performer's interaction with the score.  The complex, and visually beautiful notation inspires multiple modes of response from interpreters and the sonic results are similarly multivalent.

I had a real freak-out when I heard his string quartet "ordinances(B)".  The strangled shimmers and terrifying groans of the instruments create a haze of harmony that challenge my ear and imagination.  As the notes fade in and out of speaking, I wonder: "How much space can music occupy in the world, and in my mind?"