Previews

Each week, SFCV looks behind the scenes to give you a sneak peak of what's coming up on stages around the Bay Area...so you can learn about concerts before they happen.

Upcoming Concert
March 9, 2009
Our very own internationally renowned male a cappella ensemble Chanticleer celebrates the close of its 30th anniversary season with three commissions by composers of the same age. The program, titled "Composers/Our Age," showcases new works by Tarik O'Regan, Shawn Crouch, and Mason Bates. Premiering on March 17 in Berkeley, the program is reprised once in Santa Clara and three times at the San Francisco Conservatory of Music.

According to Chanticleer's Music Director Matt Oltman, the young men have written "very different and very remarkable pieces of music." It undoubtedly helped that two of them, Bates and Crouch, are choral singers well-versed in what sits well in the voice. While all the works are contemporary in their language, and "bursting with the creativity and inventiveness of youth," they have an accessibility that sets them apart.

O'Regan, born in London in 1978, has already won two British Composer Awards and been nominated for two Grammys (for Threshold of Night on Harmonia Mundi). and a BBC Music Award (for Scattered Rhymes, same label). His piece No Matter sets excerpts from Samuel Beckett's 1983 nihilistic poem Worstward Ho. "The poem itself is bits and pieces that Beckett wrote, trying to achieve as little as possible," says Oltman. "Tarik sets it in a rather monotonous stream of quarter notes with not very much pitch differentiation. Against that, these beautiful melodic lines weave in and out like little ephemeral gusts of wind that swoop in and around."

Crouch teaches at Hunter College and the Walden School for Young Musicians. With several awards under his belt, he has based his Garden of Paradise on poems by Iraq war veteran Brian Turner and the 13th-century Persian Sufi ecstatic Rumi.

"My younger brother served two tours of duty in Iraq in the Marine Corps," Crouch explains. "I was drawn to the visceral images Turner paints with his text, which reminded me of what my brother Kyle described when he returned from the Middle East. I strive to emphasize the lyrical qualities and changing colors of the poems, which emerge as arching musical lines that often layer upon themselves. There is heavy use of canonic fragments that 'dance' throughout the ensemble, much like the whirling dervishes that Rumi might describe in his poems. The composition brings the listener from descriptions of the desert landscape, through Turner's view of what it means to take a life, and finally to a place of acceptance."

Bates, who hails from the South, has made his mark with the Cabrillo Festival, California Symphony, New York Philharmonic, and Berlin Philharmonic; in May the S.F. Symphony will perform his work. A student of John Corigliano, David Del Tredici, and Samuel Adler, the Columbia- and Juilliard-trained composer works as a club DJ in San Francisco; he composes alternately for traditional instruments and laptop/electronica.

His Sirens contains siren songs set in five languages. Two movements are drawn from Homer's Odyssey. Also included is Heine's poem Die Lorelei, Italian poet Pietro Aretino's beautiful piece about the stars and how they're singing in the sky with a siren perched atop each star; a Quechuan text; and the "fishers of men" passage from the Book of Matthew.

"Mason's treatment of global mythological ideas is quite an achievement," says Oltman. "Each movement has a very different sound, mostly determined by the language. The Quechuan siren has an ecstatic rhythmic melody that would sound right on the dance floor of a club in the Mission, the German Lorelei song has a beautiful sonority with its own rhythmic motive, whereas Jesus basically screams at everyone in straightforward declamation."

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Upcoming Concert
March 3, 2009

Anyone who enjoys their pears and Stilton or their ham-and-pineapple pizza appreciates the blending of complementary flavors. Why, then, not sample a few electronics along with your opera, or take in modern music played on traditional Chinese instruments? The second Switchboard Music Festival on March 29 promises to serve up exactly such an eclectic feast.

Building on the success of last year’s inaugural festival, founders Ryan Brown, Jeff Anderle, and Jonathan Russell have programmed a “come-and-go-as-you-like,” eight-hour marathon of what they term “genre-bending,” innovative music. The performers are musicians who play and compose outside the box, creating sounds and rhythms from world music, heavy metal, jazz, or klezmer on classical instruments. Some are classically trained virtuosos now making music on electric guitars, found objects, accordions, and even laptops.

According to cofounder Russell, a composer and bass clarinetist, little institutional support presently exists for this type of music. “This music typically happens in clubs and not in concert halls where the more academic form of ‘new music’ is given a place,” says Russell. “We founded Switchboard in order to give a framework, a venue, and a recognition to highly creative music that isn’t currently formalized.” Anderle echoes that: “We also want to bring like-minded audiences together. They might enjoy other interesting groups that they would not be exposed to otherwise.”

Part of Switchboard’s mission is to highlight Bay Area talent, with a healthy mix of established musicians on the scene such as Paul Dresher, Pamela Z, and Adorno Ensemble, as well as emerging artists like the heavy-metal bass-clarinet quartet Edmund Welles and guitarist/composer Ryan Brown. Also on the bill are Zoyres, with an exciting new twist on Eastern European folk; dada percussionist Moe! Staiano; a “French circus meets Willie Nelson and Mingus” mishmash from Japonize Elephants; new sounds on Chinese instruments from Melody of China; Ted Brinkley and Neptune’s Rogue Apothecary, the experimental jazz big-band; Classical Revolution; and music composed by Ken Thompson, Damon Waitkus, Max Stoffregen, and Jonathan Russell himself.

Think “Bang on a Can” in New York — an organization that has clearly contributed to a more hip and casual presentations of serious art music — and you have some idea of where Switchboard is going. In addition to the annual Switchboard Festival marathon, founders would like to eventually present additional concerts, form an in-house ensemble, and even launch a record label. For now, this quirky show promises music that’s anything but vanilla. This music will move you, surprise you, and satisfy a wide range of musical tastes.

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Upcoming Concert
March 2, 2009
In a concert titled "Ye Sacred Muses — Music of the Chapel Royal" the choral group Clerestory gets back to its cathedral roots and music that inspired the ensemble's name. On the program are lesser-known a cappella works by Purcell, Byrd, Tallis, and Handel, side by side with a few compliations devoted to great Queens, and more familiar works by other greats (composers, that is). More »
Artist Spotlight
March 2, 2009

Fast becoming one of the world's leading lyric sopranos, Nicole Cabell talks about her upcoming concert at Hertz hall, her favorite music, and how she wears the mantle of "Singer of the World."

You came to the Bay Area to give a recital for Cal Performances at Hertz Hall in Berkeley on March 1. What did you sing?

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Upcoming Concert
March 2, 2009
For a "modern-dance company," ODC feels like an old friend. Actually, it's more than just a matter of sentiment. Known as the Oberlin Dance Collective when Brenda Way formed the troupe in Ohio in 1971, the now-geographics-free ODC took an old yellow bus to San Francisco in 1976, and became a vital part of the city's cultural fabric.

The upcoming spring season, ODC/Dance Downtown, takes place at the Yerba Buena Center for the Arts, March 12-29. It offers new music, new choreography, and a repertory of five recent favorites.

Way (winner of an American Academy in Rome Residency) is the choreographer for the world premiere of Memory of the Forest, to a score by Jay Cloidt, and Co-Artistic Director KT Nelson is introducing another premiere: Grassland, to music by Marcelo Zarvos.

Memory of the Forest is inspired by the life of Way's late mother-in-law, Iza Erlich. As a teenager in 1941, she walked away from the Warsaw Ghetto, traversing Poland, Germany, and Russia to find her future husband who had departed months earlier. Brenda Way

Erlich recorded her memories on a set of four audiotapes and always imagined that her story might be material for a dance. "Iza, a social worker by trade, believed in the power of art to communicate emotional experience," says Way. "Her story of intrigue, grit, and humor offers a hopeful note in our own tumultuous times." Working with Way are video artists David and Ha-Jin Hodge, and lighting designer and visual artist Elaine Buckholtz.

Creating the piece, Way says, has been "both a personal journey and an invigorating choreographic exploration. Working with dancers who put their amazing capacity on the line every day is a powerful way to explore meaning in my life."

Chin-Chin Hsu, Anne Zivolich, and Yayoi Kambara

Zarvos's score for Nelson's abstract Grassland is performed live by violinist Ren Mandel (long associated with dance, having married San Francisco Ballet star Joanna Berman), former Los Angeles Philharmonic cellist Gianna Abondolo, Berkeley Symphony concertmaster Franklyn D'Antonio, San Francisco Opera Orchestra violist Joy Fellows, with Zarvos on piano.

Works repeated from the last season include Way's Unintended Consequences: A Meditation, set on music by Laurie Anderson, and Origins of Flight, to music by Heinrich Biber, Arcangelo Corelli, and Johann Heinrich Schmelzer. Also on the program is Way's 1996 Weird Weather, to music by the Hohner Percussion Ensemble.

Also scheduled: Nelson's 2008 Hunting and Gathering, to music by Bryan Eno and David Byrne, and They've Lost Their Footing to music by the Swedish rock-folk group Hoven Droven.

A $20 "Small Plates" event is offered on March 19 at 6:30 p.m., featuring an hour-long performance, with complimentary drinks and appetizers.

 

 

The company consists of 11 dancers: Daniel Santos, Anne Zivolich, Yayoi Kambara, Corey Brady, Quilet Rarang, Elizabeth Farotte, Jeremy Smith, Aaron Perlstein, Vanessa Thiessen, Robert Dekkers, and Dennis Adams (apprentice).

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Upcoming Concert
February 28, 2009
The upcoming performance of two works by British composer Ralph (pronounced "Rafe") Vaughan Williams (1872-1958) has Marin Symphony musicians lavishing superlatives as if they were CEO bankers planning year-end parties during the housing boom. Jeremy Constant, the ensemble's concertmaster, believes that the opening number, Vaughan Williams' The Lark Ascending, for which he is violin soloist, has universal appeal, due to what he calls its "sheer beauty."
The thing to convey for me with Lark Ascending, even if you've never heard of it, don't know Vaughan Williams, or don't really go to classical music concerts, is that this is one of those things that, yes, everybody will pretty much agree, "that's beautiful." And its being beautiful is in fact what it's all about. It's like inviting people to come watch a stunning sunset. It's about sonorities, the beauty of what you're hearing, the beauty of what it's symbolizing, and the beauty of where it puts you mentally and emotionally when you're listening to it. It's this wonderful, meditative, relaxed, smile-on-your-face kind of thing.

Vaughan Williams wrote the work in 1914, inspired by George Meredith's poem of the same name in honor of the skylark, a European bird that soars some 300 feet above the ground calling out for a mate:

For singing till his heaven fills, 'Tis love of earth that he instils, And ever winging up and up, Our valley is his golden cup, And he the wine which overflows To lift us with him as he goes
Concertmaster Constant will be soaring himself, literally, before long: He's building an airplane in Livermore.

Whitman Choral Masterpiece

The second work of Vaughan Williams on the program has its soaring moments too, but the range of emotion is vast, being a choral setting of several poems of Walt Whitman (among other texts) on the imperatives, heartbreak, and need for perspective in facing the horrors of war.

Stephen McKersie, director of the Marin Symphony Chorus and Chamber Chorus, describes his three favorite sections of the work, which is titled Dona Nobis Pacem (Give us peace):

The second work of Vaughan Williams on the program has its soaring moments too, but the range of emotion is vast, being a choral setting of several poems of Walt Whitman (among other texts) on the imperatives, heartbreak, and need for perspective in facing the horrors of war. Stephen McKersie, director of the Marin Symphony Chorus and Chamber Chorus, describes his three favorite sections of the work, which is titled Dona Nobis Pacem (Give us peace):

I think one of the most spectacular movements is the second, "Beat, beat drums," which really goes into the carnage and horrors of war. "Reconciliation," too, which is the third movement, contains one of my favorite lines in the whole piece [see illustration below]. And the way it is interpreted musically is so absolutely gorgeous — it's a three-minute section that just floats. The other section I really like is the "Dirge for two veterans," which Vaughan Williams wrote 26 years before he finished the piece, when he was a younger composer. And the last movement, this really huge choral fantasy that ends up with total exhilaration.

Whitman and Vaughan Williams both saw the carnage of war up front and personal: Each tended the wounded — Whitman as a hospital orderly in the Civil War, Vaughan Williams as an ambulance driver in World War I.

Vaughan Williams wrote Dona Nobis Pacem in 1936, as storm clouds were threatening Europe with further calamity, in view of the rise of Fascism. Tragically, the warmongers were immune to artistic pleas from any quarter. Finishing up the Marin Symphony evening, after intermission, will be a welcome contrast to the intense first half: Bizet's Symphony in C, written as a student exercise when the composer was only 17, but lying buried and unplayed in the Paris Conservatory archives until it was rediscovered in 1935. Music Director Alasdair Neale summarizes the components of the contrasting halves of the program with an apt metaphor:

All three are wonderful pieces; they just show different sides of the face of classical music. The first half is a mixture of inspired contemplation and then a really deeply felt work, the Dona Nobis Pacem. The second half is just like a champagne cork popping for 30 minutes.
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Artist Spotlight
February 25, 2009

The soprano and teacher discusses her upcoming concert of André Previn songs, her professorship at Salzburg’s Mozarteum, and life on the links.

You performed songs by André Previn in a San Francisco Performances recital at Herbst Theatre on Feb. 25 at 8 p.m. This was the U.S. premiere. Have the songs been premiered in Europe? 

André came and played a concert for my voice class at the Mozarteum. So, the girls in my class sang these songs as a world premiere.

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Upcoming Concert
February 25, 2009
If there is any man who wants you to participate in Thomas Jefferson's "true secret, the grand recipe for felicity," it must be Charles Amirkhanian, the executive and artistic director of the Other Minds Festival. That secret is "A mind always employed is always happy," and Amirkhanin keeps his noggin-occupier very busy in planning and inspiring his festival, and hopes many will partake of the grand recipe themselves by experiencing the program first-hand at the San Francisco Jewish Community Center March 5-7.

Charles Amirkhanian finds new music out of the ordinary picture

What Amirkhanian does is put together a new-music gallimaufry. He scours the planet for "other" musical minds of widely divergent stripes. He cajoles them into coming to the Bay Area to be kidnapped off to the Djerassi retreat above Woodside, where they are encouraged to mind-meld or otherwise mutually exchange their intimate experiences in the musical arts. He brings them back to San Francisco to batten off the fruits of these employments in the three-day festival, and then watches as the excitement rubs off on attendees. As he puts it,

A lot of the composers are chosen because of their ability to speak about their music and their openness to other people that they might not have met and maybe have never heard of. I've found that, in going to music festivals all over the world, there's a lot of competition and a lot of difficulty that arises in fighting over rehearsal time and all sorts of jockeying that goes on, and I think that what we've been able to do — with the private residence where these people essentially arrive at San Francisco Airport and are thrust onto this 700-acre island of mountains and sculptures — is get people to bond together and feel like a team.

When they go into the city and do the performances, everybody's pulling for everybody else, and there's a great feeling in the panel discussions. People who have been talking [together] all week can tell little anecdotes about each other that inform the audience in a way that you can't do just cold.

Stimulating Variety

Among the unusual "finds" that attendees can expect, according to Amirkhanian, are:
  • Pieces of eight: Music for eight — count 'em! — cellos by Arvo Pärt and Maruicio Kagel. Amirkhanian says they have "a kind of spiritual impact and solidity to them that is just riveting."
  • Potboiler whistlings: Cambodian composer Chinary Ung's threnody to the victims of Pol Pot's genocidal policies makes the Del Sol Quartet literally whistle while they work at the music. Ung received his first musical experiences from the sounds of banana leaves, so there's no telling what experiences he may plant in the ears of concertgoers.
  • Exotic gems: Dobromiła Jaskot's pieces — "Just a jewel of a composition," says Amirkhanian about one of them by the 27-year-old Polish composer. "It's completely unknown in the United States, and so is she."
  • "Wrong" songs: For voice and guitar, by another unfamiliar composer, Brazilian Chico Mello (pronounced "MELL-you"). "They sound like mellow, Brazilian jazz songs," Amirkhanian explains. "But there's something wrong with each one of them, and it's so funny to hear how he moves from something that's very tame to something that just doesn't sound quite right, and he does it with real tongue-in-cheek. I think he's going to be a surprise hit."
  • Page-turner workouts: "Michael Harrison is kind of a cross between LaMont Young and Terry Riley. His piece uses arpeggios on [a specially tuned and dampened] piano running up and down, up and down, in different tempi, different meters, while a string quartet is playing chorale figures behind him. There are more notes per page than in John Adams. In rehearsal, we just died laughing because we couldn't turn pages fast enough!"
  • World premieres: By "microtonal legend" Ben Johnston, by the "enigmatic and intimately expressive" Catherine Lamb, by the "tension, yearning, and sadness"–evoking Linda Catlin Smith, and by arpeggio fanatic Harrison.
Rounding out the three-day event are works by guitarist John Schnieder; Two Studies on Ancient Greek Scales by the late, crazy-instrument maker Harry Partch; and two works by one of the most highly regarded Danish composers, little known in the U.S., but a favorite of mine based on his masterfully orchestrated recordings, Bent Sørensen. More »
Upcoming Concert
February 25, 2009
Walking into Paul Dresher’s studio, a casual observer might think it was a rehearsal space, an experimental sound lab, or an inventor’s workshop. It’s actually all those things, and Dresher, the award-winning composer, musician, instrument maker, and founder of the acclaimed Paul Dresher Ensemble, presides over each aspect with the eyes and ears of a Renaissance master.

On a recent afternoon, Dresher was in the studio — which takes up three large rooms on the upper floor of an old West Oakland warehouse — working on his latest music-theater production, Schick Machine. The evening-length work makes its world premiere March 7 at Dinkelspiel Auditorium on the Stanford University campus. Percussionist Steven Schick will be the solo performer. But, with a score by Dresher, text and stage direction by Rinde Eckert, and original instruments created by Dresher, Matt Heckert, and Daniel Schmidt, the production is a decidedly collaborative effort.

Schick Machine, which was commissioned by Stanford Lively Arts, is written for a solo performer, but features two characters: an inventor of musical instruments, and the musician who discovers them after the inventor’s death. The musician, not surprisingly, is a virtuoso percussionist — a character, says Dresher, who is “very much like Steven Schick.”

“He’s the person who can play all these things, who can actually discover sound in almost anything,” says the composer. “He comes across this trove of arcane instruments, and his task is to find out whether it has any value. That’s the question we’re asking: What is the value of sound?”

Dresher, whose previous works include the large-scale Soundstage and the chamber opera The Tyrant, says that Schick Machine has evolved into a larger meditation on the relationships between sound, memory, and emotion.

Still, Dresher fans might suspect that the production will transcend by virtue of sheer sonic invention. The instruments on display in the composer's studio offer a tantalizing glimpse of what the audience at Stanford (and, in the fall, at the Mondavi Center at UC Davis) will hear.

At one end of the studio sits Dresher’s latest creation, an enormous hurdy-gurdy. The instrument has a traditional crank, but at nearly 10 feet long, with seven strings and an electronic soundboard, it produces an eerie, one-of-a-kind singing sound.

Five Heckert-built instruments are nearby. One, called the Big Disc, is a large metal wheel powered by a high-velocity motor; Dresher activates it, and it spins and clashes, sending sound spiraling through the room. Others — a thrusting piece they’ve dubbed the Fencer, and an elegant construction called the Bird that, when set in motion, flaps in avian rhythm — add to the mechanized chorus.

Most intriguing is a large sound sculpture that Dresher calls the Field of Grass. It’s a grouping of wood blocks perched on metal rods. Inside each block is a ball bearing (“from tractors,” says Dresher); given a nudge, the blocks wave back and forth, tocking like metronomes. With its sculpted shape and hypnotic motion, the piece is as beautiful to watch as it is to hear.

In the next room, meanwhile, Schmidt is working on an old pipe organ that the group recently acquired and dismantled. He’s rebuilding it with new circuitry that allows the pipes to be played by mallets hitting strings, rather than the traditional keyboard.

It’s an impressive collection, much of it made from found objects. “A lot of it comes from Dumpsters, junkyards, or weird industrial suppliers you’d never deal with for traditional instrument-building or music-making activities,” says Dresher. The organ and hurdy-gurdy will provide melodic texture, says the composer, while text will be spoken and projected on a rear screen. But Schick Machine is all about percussion, and Dresher says that Schick — a virtuoso performer, percussion scholar, and veteran of the New York–based Bang on a Can All-Stars — will supply the work’s “X” factor. “That’s the world of percussion,” says Dresher.

“These aren’t instruments in the way a violin is an instrument. But when you hear them played, they’re no less interesting. A drum does a limited number of things, but a good musician can make a drum do anything.”

Which is why, as March 7 approaches, Dresher says he still isn’t sure exactly how Schick Machine will sound. “This kind of piece can’t come together in advance,” he says. “You can’t know what you have until you are literally doing it.”

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Upcoming Concert
January 30, 2009
Now in her absolute prime, Cecilia Bartoli has established herself as one of the greatest singers of this or any age. It’s not just her phenomenal technique and unique, rapid-fire coloratura, both of which will be amply demonstrated in her presentation of María Malibrán’s Salon Romantique. Nor is it simply a matter of vocal beauty, which she supplies in abundance. Rather, it is the fact that she employs her gifts with consummate musical intelligence. With Bartoli’s singing, the art of bel canto, which depends upon subtle nuance and inflection, has been given a new lease on life. While the recital is sold out, there is always a chance that tickets will be turned in, released, or scalped at the last minute. If you’ve never heard Bartoli in person, there’s nothing like it. The spirit in the hall will be tremendous. As is her graciousness. More »

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