Some Pointers for Concert Logistics

I have never been shy about my opinions on the logistics of running a concert. I think they’re tremendously important, and also often overlooked, with the result that many classical music concerts are considerably more tedious than they need to be, a state of affairs that does nobody any favors. Like it or not, presentation matters. Concert presenters who don’t take these details into account come across as disorganized and inadequately prepared. My frustration is amplified, I think, by the amount of time I’ve spent in the theatrical world. As anyone who’s done a play or musical can tell you, the rehearsal process devotes a lot of time to hammering out logistical details like set changes and lighting cues, a hammering out that’s almost never been done for the classical concerts I’ve been a part of. Granted, the logistics for classical concerts are usually less daunting — most string quartet performances don’t call for hundreds of light and sound cues along with various large pieces of scenery flying in and out from above, after all — but that makes it all the more irritating to see them muffed again and again and again.

Some time ago, after listening to me gripe about a concert that was particularly bad at this, a composer friend of mine asked if I wouldn’t be willing to put together some kind of checklist or document that outlines specific things that concert presenters should keep in mind when hashing out the logistics of putting on a show. This is that document.

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OFAN Mini: Reviews

I’ve always had a lot of thoughts about concerts. It kind of goes with the territory of being a composer/performer — when you spend so many of your waking hours picking apart your own playing and writing, it’s pretty hard not to do the same to others. For the most part, I kept those thoughts to myself, or at most talked about them with whoever I happened to see the concert with. That was fine as far as it went, but that wasn’t very far; when your thoughts just disappear into memory, it’s hard to build on them or notice larger patterns.

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Music Monday: Montgomery: Source Code

One of the things I find most interesting about other performer-composers is seeing their different approaches to writing for their own instrument. I’ve always been hesitant about writing for solo bassoon (other than a few bits of juvenilia, Rotational Games was the first solo piece I wrote for it), but many performer-composers write primarily or even exclusively for the instrument(s) they play. Jessie Montgomery falls more in the latter camp. Introduced to the violin at the age of four, her first compositions grew out of her improvisations, and most of her works are for string instruments in various combinations. She’s gradually been expanding her comfort zone — she recently earned a Master’s in composition and film scoring from New York University, and her second work for full orchestra will be premièred sometime next month.

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Old Friends And New

My first few months in LA were lonely. I moved out here to take the job I currently have as a music archivist, but none of my friends were moving with me, and since I work in a room by myself with a bunch of old sheet music, I don’t exactly have a cohort of coworkers to bond with. I tried out for a spot in a youth orchestra towards the end of that first summer, but I didn’t win the audition, so playing bassoon — which in college was a great way to branch out and meet new people — became, like composing, something I would have to do by myself, in the solitude of my apartment. There were weeks where the only times I used my voice were singing along with the car stereo on my ten-minute commute and saying “hi” and “thanks” to cashiers in grocery stores.

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Music Monday: Cuong: Moth

Unsurprisingly, my first exposure to Viet Cuong had nothing to do with nocturnal lepidopterans. Instead, it was in the fall of 2010 when the Yale Concert Band played his Ziggurat, complete with a custom animation projected behind us that, for some reason, involved flying bicycles. At the time, Cuong was finishing up a Master’s of Music degree at the Peabody Conservatory (where he also did his undergraduate studies) and preparing to begin an MFA in Composition at Princeton, where he’s currently pursuing his Doctorate. Despite still being in school, he’s accumulated a truly staggering number of awards and performances — on all six permanently inhabited continents, according to his webpage — and I’m honestly kind of surprised I haven’t encountered more of his works. (The YCB played another of his band pieces, Sound and Smoke, in 2012.) I’m sure that will change going forward; he’s an excellent composer and his fame is only going to continue to grow.

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The Scaffolding of Theory

My favorite internet comment of all time was one I saw way back in middle school, or possibly my first year of high school. It was in a music discussion forum the name of which I am too lazy to recall, and it read simply “Remember everyone! Music theory is a theory and not a fact!”, as tho someone somewhere out there was taking a valiant stand against the forces of analysis in favor of some kind of sonic creationism.

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Music Monday: Flanigan: Glacier

For most composers and audio engineers, speaker feedback is something to be ardently avoided. Not so for Lesley Flanigan, who builds her own assemblages of speakers, electronics, and wood, then carefully layers feedback from them to build hazy, beautiful soundscapes that often incorporate her own voice. She can do all this live in real time, and many of her works were conceived as site-specific installations for various museums and performing spaces, putting her somewhere in the nebulous overlapping regions of electronic composition, noise music, and performance art.

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Some Distractions

This has been a tough week. Trump’s victory in Indiana and Kasich and Cruz’s subsequent exits from the race have set the stage for one of our two main political parties to nominate a demagogue with worryingly fascistic tendencies and the open support of white supremacists as their candidate for President of the United States. I have nothing to say about this that hasn’t been said already with more eloquence and knowledge of political theory and history, but it’s loomed large in my mind all the same, draining my ability to sustain thought on other things. In addition, I’ve also been battering my head against several personal downers that, while thankfully not rising to the same level of threat to our polity, I still have no desire to discuss anywhere outside the confines of my private diary. So this week, instead of my usual essay, I’m going to share some of the media I’ve been consuming of late to help take my mind off things.

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Music Monday: Rzewski: The People United Will Never Be Defeated!

Zingers aside, tho, it’s hard not to get the sense from looking at Rzewski’s list of works that he has longstanding left-wing and anti-statist views. In addition to The People United Will Never Be Defeated!, for example, he has also written pieces about the 1971 Attica prison uprisings and a version of the Antigone story that emphasizes the title character’s role as a principled resister of an unjust government. So even if he’s deliberately fuzzy about them in interviews, I suspect that there are genuine leftist views lurking there in the background. Born in 1938 in Westfield, MA, Rzewski was not wanting for a traditional education. He attended Phillips Academy followed by Harvard and Princeton, where he studied with Roger Sessions, Milton Babbitt, and other modernist luminaries on their respective faculties. In 1960, he went to Italy to study with Luigi Dallapiccola and also to further his career as a contemporary pianist (he’s been playing since he was five years old, and has worked to a place of ferocious, if controversial ability (he sometimes improvises cadenzas in the middle of Beethoven piano sonatas, which some people are . . . less than excited about.).). While there, he was one of the co-founders of Musica Elettronica Viva, one of the first groups to experiment with live improvisation using electronic instruments, a group that is still active today, some fifty years later.

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Infinite Canvas

Late in season 9 of the United States version of The Office, there is a scene where Oscar Martinez, a gay accountant, comforts Angela Martin, another accountant, who is sobbing in his car over the ruins of her love life. On its own, with minimal setup, it would be a moving scene, but coming as it does after nearly a decade of storytelling, it has a depth that can only come from layers and layers of backstory. Oscar and Angela have been bouncing off each other for years, sometimes as friends, more often as enemies, and the accumulated weight of that past gives the scene in Oscar’s car an oomph that would be impossible to attain otherwise.

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Clever Accidents

I’m in the middle of writing an oboe sonata! And I really do mean in the middle — I’ve gotten past the initial stages of figuring out the opening and the basic musical materials, and now I’m in the messy central stretches of picking those materials apart and recombining them into a compelling path to the double bar. Sometimes I sit down beforehand and hammer out intricate plans for the innards of pieces like this, but sometimes I just dive in and figure out what the piece wants to be in the process of writing the thing. This piece very much falls into the latter category.

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Music Monday: Sheng: Clarinet Concertino

So had things gone a little differently, I could have wound up studying with the composer of the piece we’re featuring today. Bright Sheng* has been on the composition faculty of the University of Michigan since 1995, and his presence there was one of the many things that attracted me to that program. Still, getting rejected didn’t change my musical tastes, and I still find Sheng’s music as compelling as ever. Born in Shanghai in 1955, Sheng got his first musical training at the age of four when his mother began teaching him piano. During the Cultural Revolution, he spent seven years serving as a pianist and percussionist in a provincial theatre in Qinghai [Wikipedia], where he also found time to study the region’s folk music. When the Revolution ebbed and the universities re-opened, Sheng enrolled in the Shanghai Conservatory of Music, studying there from 1978–82.

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An Update on Pronouns

I generally don’t talk about the specifics of my personal life all that much on this blog, mostly because I think my actual life is pretty uninteresting. I mean, I’m obviously very free with my opinions on the media that I consume, but there’s a difference between knowing I had a lot of feelings about The Woman in Gold and knowing how many dates I’ve been on in LA, and with whom. I think I’m kind of a boring person, and I also put a pretty high value on privacy, at least as far as bloggers go. But this is one of those times where I need to step out from behind my veil of passwords and address something explicitly:

I’m trans. Specifically nonbinary, more specifically agender. They/them/theirs is the only correct set of pronouns to use when referring to me in the third person. This is not optional.

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Music Monday: Du: Kraken

Described by the New York Times as “an indie pop diva with an avant-garde edge”, Du Yun makes a point of being hard to categorize. Born in Shanghai in 1977, Du was drilled in the Western solo piano tradition from an early age, but in her own words she was “not your typical Chinese good student at all”. Her inclination towards the subversive was only amplified when she began studying composition at the Shanghai Conservatory of Music. It was rapidly becoming easier to access 20th–Century Western culture, but she describes the music as coming over in a wash — without Western contextual frameworks in place, Penderecki seemed on an equal footing with Pink Floyd, with everything up for grabs. Du embodies this eclecticism herself, being an active performer as well as having written everything from chamber operas to electroacoustic pieces to uncategorizable performance art spectacles. (She also has a dance pop album out called Shark in You which I have not listened to yet but am very eager to.)

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Music Monday: Mehmari: Villa-Lobos Variations

Many composers over the years have written variations on other composers’ themes as an homage to their friends and predecessors, and that tradition is alive and well today. André Mehmari was born in 1971 in Niterói, Brazil, and began studying music with his mother at the age of five. A precocious youth, he taught himself jazz improvisation by ear, and had established himself as a piano and organ teacher by the age of fifteen, with several compositions already under his belt. In 1995, he moved to São Paulo to study at the University of São Paulo*, and from there his career really took off, both as an active pianist (in multiple genres) and as a composer and arranger. He tours internationally, and has written works for major musical institutions both at home and abroad; he also enjoys an active life as a recording artist, with some of his albums being entirely improvised.

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Music Monday: Galbraith: Bassoon Sonata

Generally, when I discover a work via a recording instead of a live performance, it’s a recording on Spotify. I still like CDs, but my budget is limited, and if I bought a physical copy of every album I listened to online, I would literally be unable to afford rent or food. (I’d probably be able to build a pretty sizable room from all the jewel cases, tho.) Today’s piece is an exception: I first encountered it on a CD I bought on a whim at the final concert of the 2016 Meg Quigley Vivaldi Competition at the Colburn School, and on my very first listen, I fell in love. When I decided to write about it for Music Monday, I assumed that I’d be able to find it to link to on Spotify. The good news is that there is indeed a recording I can link to, but the bad news is that it’s a different recording, and one that I’m not very fond of. I’m still sharing it, because I think the piece holds up, but if you’re on the fence about it and have $10 to spare, the Nicolasa Kuster recording is superior in every way, and comes with a bunch of other interesting bassoon repertoire to boot.

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