Aaron Cassidy: going places, coming home

Composer/conductor Aaron Cassidy is coming home. A proud product of UB's composition program, where his mentor was David Felder, Cassidy has been a Senior Lecturer in Composition at the University of Huddersfield in the UK since 2007. His career has been flourishing, with performances by ELISION, Ensemble SurPlus, musikFabrik, Ictus Ensemble, ensemble recherche, and other prominent groups; his music is featured at the Donaueschingen, Ultraschall, Warsaw Autumn, Huddersfield, Darmstadt, and Gaudeamus festivals, along with the ISCM World Music Days. His works have been played in the United States, Mexico, Canada, Austria, the Netherlands, Croatia, England, France, Sweden, Switzerland, Germany, Portugal, Poland, Thailand, New Zealand, and Australia. ELISION has made two recordings of his music, with more to come. 

Cassidy returns to UB on February 23 for a residency that will include compositional masterclasses and seminars, lectures, and performance coaching. He will join the JACK Quartet -- a group that has long advocated his music -- for a composer reading workshop on February 25. (More about JACK's visit in an upcoming post.)

Cassidy's music can be characterized by an uncompromising dedication to instability and fragmentation. The received wisdom of performance practice is continually questioned and reasserted, often with intentionally unpredictable results. His recent works have experimented largely with the interaction of a performer with his/her instrument, introducing a decoupling of component performance techniques through a variety of extended tablature notations. Fracture is prioritized in timbral, structural, and rhythmic strata in such a way that resulting aural units are themselves only the byproducts or collisions of independent (and often cyclic) musical processes. The musical score becomes, then, both the locus of processual sediment and concurrently the cause of significant deterritorialization on the part of performer and listener alike.

Recent projects have included significant research of linguistic, semantic, and spatial theories, focusing in particular on heightened states of dislocation (as in Jakobson's analysis of aphasics or Deleuze and Guattari's writings on smooth and haptic space). It all may sound a bit abstract, but there's no denying the visceral impact of pieces such as I purples, spat blood, laugh of beautiful lips (2007). 

The latest from Felder

As Director of the Center for 21st Century Music and the June in Buffalo festival, David Felder is the force behind UB's status as an international destination for studies in composition and new music performance. At the same time, he has maintained a flourishing compositional career, with an enviable array of commissions, residencies, recordings, and honors. His latest project is a second Koussevitzky Foundation commission: a 35-minute work for soprano and bass singers, chamber orchestra, and electronics, titled Les Quatre Temps cardinaux, after the René Daumal poem that provides one of its texts. The other texts are by Pablo Neruda and Robert Creely (1926 - 2005), a member of the UB faculty for 36 years. Les Quatre Temps cardinaux will be played by a trio of illustrious ensembles: the Boston Modern Orchestra Project (BMOP) under Gil Rose; the group known as Signal, with Brad Lubman conducting; and UB's own professional chamber orchestra, the Slee Sinfonietta. Laura Aikin and Ethan Hirschenfeld will be the vocal soloists; watch this space for further news on the piece.

In other news, Felder's gripping work for flute and chamber orchestra, Inner Sky, will be played in the final concert of the 2011 Tanglewood Festival of Contemporary Music. Here's an excerpt of the piece played by the Slee Sinfonietta with Brad Lubman conducting.



You'll find several engaging videos relating to Felder's music at the Center's YouTube channel.

Synaesthesia

Many's the listener for whom a musical experience conjures visual images. For some, however, the experience is involuntary: different pitches and chords consistently give rise to specific colors, a phenomenon known as synesthesia. Alexander Scriabin, Olivier Messiaen, and Michael Torke are among the composers who have reported these correspondences, and it has inevitably influenced their music.

This Friday (Feb. 11) at 8 pm at the Burchfield-Penney Art Center, the Center for 21st Century Music is co-sponsoring a concert by A Musical Feast, titled "Sensory Crossovers: Synesthesia in American Art." The program includes Robert Muczynski's Gallery: Suite for Unaccompanied Cello; Kreisler's Coat by Jonathan Golove for cello and piano; Sequence pour un hymne à la nuit by Alain Margoni (1979); Ruth Wiesenfeld's stories still for cello and pre-recorded tape with voice; and Kodály's Duo for violin and cello. Golove, Fang Hew, and Carter Enyeart perform (in different pieces) on cello, while Claudia Hoca plays piano, and A Musical Feast's founder, Charles Haupt, joins in on violin for the Kodály.

While none of these pieces are by synesthetic composers, nearly all of them are inspired by visual images. Muczynski's Gallery was suggested by Burchfield's watercolors; a recording of Carter Enyeart playing the piece has recently been issued on the Centaur label. Golove took his cue for Kreisler's Coat from a description by E. T. A. Hoffmann (of the eponymous Tales) of a character who wore "a coat the color of C-sharp minor with an E-major colored collar." French composer Margoni was a student of Messiaen; Golove, who performs the work, finds echoes of Messiaen's "color chords" in it.

An enigmatic image - "a rotating lamp, illuminating for a moment only what happens to be within its beam of light" - spurred Wiesenfeld's piece, which makes use of a text by Samuel Beckett. Full program notes are available here.

Kodály's Duo completes the program, and while it doesn't have any specific visual genesis, it's always worth a listen. Here it is in a fine performance by violinist Kurt Nikkanen and cellist Daniel Gaisford.

Within EarShot

In a perfect world, every talented young composer would have the opportunity to hear his or her scores read by a committed professional orchestra. No matter how good your ear may be, there's simply no substitute for the experience of having live musicians engage with your work. Which is why EarShot, a program that teams emerging American composers with orchestras around the country, is such a valuable resource. Through EarShot, some 24 such composers have had readings by the Memphis, Colorado, Nashville, Pioneer Valley, and New York Youth Symphonies.

Earshot comes to Buffalo February 8 - 10 for the Buffalo Philharmonic New Music Readings, highlighted by a free concert by the BPO at Kleinhans Hall on Wednesday, March 9 (7 pm). No tickets are required for this event. Four composers, selected from a national call for scores, will hear their works read by the BPO under the baton of associate conductor Matthew Kraemer, and will receive feedback from mentor composers David Felder, Steven Stucky, and Robert Beaser, and the conductor and BPO principal musicians. The four composers selected, diverse in background and style, are Michael-Thomas Foumai, Austin Jaquith, Nathan Kelly, and Carl Schimmel. EarShot is a partnership among American Composers Orchestra, American Composers Forum, American Music Center, the League of American Orchestras, and Meet The Composer.

In conjunction with EarShot, the Center for 21st Century Music will present a concert at Kleinhans Hall's Mary Seaton Room on Tuesday, February 8 at 7 pm. Violinist Yuki Numata will play David Felder's Another Face, and pianist Eric Huebner will perform selections from György Ligeti's fiendishly virtuosic Etudes, plus rewarding works by György Kurtág and Steven Stucky. The balance of the program will be devoted to chamber works by Frank Zappa, played by Buffalo's eclectic Genkin Philharmonic. If you haven't heard this rock icon's concert music, don't be fooled: titles such as Peaches en Regalia, Igor's Boogie, Eat the Question, and Harry, You're a Beast belie a composer of considerable skill and imagination. 

Remembering Milton Babbitt

Milton Babbitt (l.) with Lejaren Hiller, c. 1980. Photo by Irene Haupt.

Milton Babbitt passed away on January 29 at the age of 94. Known as the first composer to extend serial techniques to sonic elements beyond pitch, Babbitt was arguably one of the most influential musical researchers of the 20th century. He was familiar to Buffalo audiences, not just through performances of his music at UB, but through his participation as a Senior Faculty member at June in Buffalo, most recently in 1994. One of Babbitt's students, Lejaren Hiller (shown above) became the Slee Professor of Composition at UB from 1968 to 1989.

Though Babbitt's music was known for its intellectual rigor, it is also filled with vitality and wit -- qualities that were abundant in the man himself. He was no stranger to controversy: his 1958 essay “The Composer as Specialist,” more famously known as “Who Cares if You Listen?” (a title given by his editor at High Fidelity magazine) set off a debate that still rages more than half a century later. But throughout his career he enjoyed the genuine respect of composers (such as UB's own Morton Feldman and David Felder) whose music was highly dissimilar to his own. An early pioneer of electronic music, he once said: "The new limitations are the human ones of perception." Prophetic words indeed. There have been a number of remembrances published during the past week, but Allan Kozinn's informative obit in The New York Times and Mark Swed's thoughtful essay in the Los Angeles Times are particularly worth reading.

Here's an odd little video to the first section of his most famous work, Philomel, for soprano and synthesizer.

Henryk Górecki (1933-2010)

Henryk Górecki, one of the leading composers of the Western-European avant-garde, passed away in his home city of Katowice on November 12th. He was 76.

Born in 1933 in Czernica, southern Poland, Górecki worked as a teacher before studying music in Rybnik with Bolesław Szabelski. In 1961, he studied in Paris, and his music was often heard at the Warsaw Autumn festivals in the late 1950s and early 1960s.

Like many of his contemporaries, Górecki's early works extended from the post-Webernian school of serialism. His orchestral work Scontri was controversial upon its premiere in Warsaw in 1960 due to its harsh articulations, and frantic, dissonant textures. In the mid sixties, with the work Refren (1965), which featured whole-tone-based harmonies, his work took a turn toward more straightforward modality and traditional expressivity.

Composed for Pope John Paul II's visit to Kraków in 1979, Górecki's Beatus Vir set biblical psalm texts for baritone, chorus and orchestra, and became something of a personal victory over the secular Soviet regime. Poland's political unrest inspired many of the composer's works, including 1987's Miserere for unaccompanied chorus, composed in remembrance of the violence in Bydgoszcz between the Polish military and members of the Solidarity movement. In 1992, the Symphony of Sorrowful Songs, Górecki's Third Symphony, was recorded by the London Sinfonietta under David Zinman, with Dawn Upshaw. The recording, which TIME magazine called "a transcendental meditation on mortality and redemption," became an international bestseller, projecting the reclusive composer into the spotlight and proving it possible for a contemporary composer to achieve significant success without compromising originality or substance.

Górecki's later years were plagued with poor health, and he was unable to compose much. His Fourth Symphony was scheduled to be premiered by the London Philharmonic in April, but was postponed due to the composer's health problems.

The Order of the White Eagle, Poland's highest honor, which was awarded to his contemporaries Penderecki and Lutosławski in years past, was awarded to Henryk Górecki in October, a month before his death.

Kronos Quartet's David Harrington said of the composer: "There is no one who can replace Henryk Górecki in the world of music. Many others have created beautiful, passionate, even exalted music. But Henryk found a way forward and beyond, through thickets of styles and fashions, that resonates of the single human being in communion with the power of the Universe. I miss him immensely."

In September of 2008, the Slee Sinfonietta performed Górecki's Concerto for Harpsichord and Strings. An excerpt is available here.

Guest Composer to Conduct Copland, Corigliano

The end of October marks the arrival of composer/conductor Matthias Pintscher in Buffalo. Pintscher will conduct the Slee Sinfonietta in a program consisting of crowd favorites: Copland’s Appalachian Spring and Corigliano’s Red Violin Suite (Soloist: Tim Fain).

Also on the program is Pintscher’s own songs from Solomon’s garden. Pintscher is fast gaining recognition internationally as a composer/conductor with numerous accolades. His recent activities include work with distinguished ensembles such as the BBC Scottish Symphony, Cleveland Orchestra and the Vienna Philharmonic. Tickets for the concert are available at the ticket office in Slee Hall at the University at Buffalo. (Advance: $12/$9/$5 Day of: $20/$15/$8) For more information on Matthias Pintscher, check out his very cool website.

Juilliard Composer Visits UB

This week, the Center for 21st Century Music and the UB Department of Music welcome the Emmy-nominated composer Bob Beaser.  Beaser will conduct master-classes for UB graduate composition students on Wednesday October 13th 2010 and lecture on his own works during the graduate composition seminar. Hailed as one of the most accomplished creative musicians of his generation, the Center is excited to host Beaser for this short residency in Buffalo. Beaser is currently Professor and Chairperson of the composition department at the Juilliard School.

CIKADA to Premier Work, Read Student Works

From October 17-22, the center will host Norway’s leading contemporary music ensemble CIKADA. Along with Magnus Andersson, the ensemble will premiere a new commission by David Felder, director of the Center for 21st Century Music and composition faculty of the UB Music department. The visiting ensemble will also conduct a workshop/reading session with the graduate student composers. The session will take place on Wednesday the 20th of October at 3.30pm and is free and open to public. The young composers involved include Chun-ting Pang, Joe Lake, Diana Soh and Jacob Gotlib.

Virtuosic Trio Plays New Music at UB

“Did you see that? There are Gods walking down the halls!” remarked Trevor Bjorklund, adjunct theory professor, upon bumping into the Trio of Magnus Andersen, Pascal Gallois and Rohan de Saram. Indeed, the center for 21st century music and the UB music department was fortunate to have powerhouse virtuosi Magnus Andersson, Pascal Gallois and Rohan de Saram visit for a week of masterclasses, workshops that culminated in an arresting evening concert. The concert program included contemporary music staples like the Berio Sequenza for Bassoon and Xenakis’s Kottos for Cello.
	Champions of their instruments, the trio have individually contributed to the development of contemporary music through their collaboration with established composers like Luciano Berio, and Ianis Xenakis to name a few. Now with the new formation of this yet unnamed trio, they are coming together to pass on their valuable experience and to spark a whole new genre of works for this instrumental combination. Student composers that benefited from the workshop include John Bacon, Felipe Ribero, Diana Soh, Ethan Hayden, Chun-ting Pang and Robert Philips whose piece was selected to be played as an encore in their evening concert.
Unassuming in their demeanor, they were approachable and generous with their time, offering anecdotes on their past experiences working with other composers and educating all that were in the room.

"In Low Key Buffalo, a New Music Milestone"

Wrapping up his series of articles and reviews on JiB 2010, Allan Kozinn of The New York Times contributed a lengthy writeup on several of the festival's concerts, including recitals by Signal, Ensemble SurPlus, and the Arditti Quartet.

While Kozinn had much to say about works by JiB master composers, including Steve Reich, Augusta Read Thomas, Olivier Pasquet, and David Felder, he also devoted substantial space to works by this year's participants, including Daniel Bassin, Matthew Heap, Ashley Wang, Emily Koh, Peter Van Zandt Lane, Huck Hodge, David Wightman, Ray Evanoff, and Jordan Kuspa.  Kozinn described Heap's Illicit Trysts as "an engagingly noisy, rhythmically sharp-edged essay, full of sudden starts and stops and colorful instrumental effects (including quiet sections that sounded as if they were a tape being played backward)."

Noted Kozinn, "Emily Koh’s beautifully eerie circum perceptio, built in layers of delicate string, piano and woodwind timbres, was another highlight of the Signal program. And Peter Van Zandt Lane’s Magana, with a repeating, syncopated clarinet figure taken up contrapuntally in the cello and percussion writing, was one of several student works that used Minimalist techniques as a springboard but headed off in different directions.

"Another, on the Ensemble SurPlus program, was Huck Hodge’s Apparent Motion, which began with a thoroughly Reichian figure and evolved into a harmonically fresh work with a variegated texture full of both sparkle and thunder.

Regarding Kuspa's Piano Trio, Kozinn wrote, "His writing here was sharply focused, carefully shaped and attuned to coloristic possibilities of the piano, violin and cello. The resulting four-movement work, animated and melodically opulent, sounded consistently alive and inspired."

You can follow Allan Kozinn (left), a writer whose interests range from Buxtehude to the Beatles, on Twitter at http://twitter.com/Kozinn, also via http://twitter.com/nytimesmusic.

"Steve Reich and More at June in Buffalo"

Allan Kozinn, writing about June in Buffalo for The New York Times, weighed in with some interesting observations gleaned from attending seminars led by Olivier Pasquet and Steve Reich. In the course of his thoughtful article, Kozinn touched on a hot topic in the new music world: where the boundaries lie between popular and classical music. Writes Kozinn, "Mr. Pasquet edged onto a fascinating subject when he played examples rooted in techno but meant to be heard as concert music. Mr. Pasquet described this style as 'nonacademic contemporary music,' an awkward description for a gray area that has become pretty crowded recently."

Kozinn also reported remarks by Reich regarding Popcorn Superhet Receiver, an orchestral work by Jonny Greenwood, the guitarist for Radiohead and the composer of the soundtrack score for There Will Be Blood.

“He is an interesting and serious guy,” Mr. Reich said of Mr. Greenwood (at right). “I suggest that instead of thinking in terms of popular music and classical music, we are going to be thinking more in terms of notated music and non-notated music. Instrumentation is no longer a defining issue.” 

Pictures at an Exhibition: UB Music Library celebrates 25 years of JiB under David Felder

Drawing from its extensive archives, UB's Music Library has assembled an exhibition of memorabilia celebrating a quarter-century of June in Buffalo under David Felder's leadership. In true 2010 fashion, the exhibition can be viewed at the library (112 Baird Hall on the Amherst campus) or online in the comfort of your home.  It includes photos, programs, posters, and other documents relating to the festival. Notes the Library's website, "More than 450 student composers have journeyed to Buffalo from around the world to have their music performed by performers of the highest caliber and to study with leading contemporary composers. As Nils Vigeland noted in his liner notes to the Electronic Music Foundation CD 033 (in 2001, referring to 25 years at that time from the beginning of the festival under its originator Morton Feldman in 1975):

In present-day America, twenty-five years is a long time to sustain an artistic organization. This recording reminds one of what extraordinary things can happen when gifted people decide to do something in the time and place where they live. And, they can happen in June, in Buffalo."

Online, one can view lists of master composers who have led seminars at JiB (with photos); a complete list of works performed since 1986; and some highly impressive lists of prominent ensembles and individual performers who have played at the festival. Whether you're a local listener, a proud JiB alum, or a new music researcher, you'll find much to enjoy at this exhibition. At left, a blast from the past: the press release announcing June in Buffalo 1986. Click to enlarge...

JiB in the Press

Only a few days into June in Buffalo 2010, the festival has already gained notable media attention. New York Times critic Allan Kozinn interviewed festival (and Center) director David Felder on the occasion of June in Buffalo's 25th anniversary. Felder had much to say about the vital process of training young composers, and the pivotal experience of hearing their work played by a world-class professional ensemble. He also offered some interesting observations on the dynamics of having one's music critiqued, whether by a master composer or one's peers.

The Buffalo News reviewed the opening concert of music by Steve Reich, performed by the exciting chamber orchestra known as Signal. Noted Geraud MacTaggart, "June in Buffalo is always interesting, and this year’s version of the venerable festival of modern classical music promises to be more of the same.

"Young composers get their works performed by world-class musicians and critiqued by master composers. For a solid week, all kinds of sounds come from the auditoriums and classrooms at the University at Buffalo’s Amherst campus, and people come from across the continent to sample them." Regarding the program, which consisted of Reich's classic Sextet (1984-85) and his recent, Pulitzer Prize-winning Double Sextet, MacTaggart observed, "While the composer’s musical pulse is one of the first things listeners discern in a Reich score, the way he plays with percussive colors, sliding them in and out of the beats, is one of his great contributions to the minimalist fabric of modern classical music."

In the well-read Sequenza21 website, composer/writer Rob Deemer observed, "That Signal, under the direction of Brad Lubman, could put together a stellar performance of Reich’s works did not come as a surprise – they have been methodically ticking off each of his major chamber works one by one since their inception in 2008. What was surprising, however, was the enthusiasm and unbridled joy with which they pulled the audience into the work; every single performer on both works seemed like they were having the time of their lives, and Lubman was practically dancing more than once during his conducting of the Double Sextet."

Above: David Felder. Photo by Irene Haupt.

Slee Glee

As is customary for June in Buffalo, UB's own Slee Sinfonietta plays a key role in the concert schedule this year, serving up two programs of music by JiB master composers. On June 2, James Baker leads the ensemble in David Felder's Tweener, Olivier Pasquet's Kasper, 6 Piano Etudes by Augusta Read Thomas, and Roger Reynolds's Aspiration.  

On June 4, Brad Lubman conducts the Slee Sinfonietta in works by Harvey Sollberger (New Millennium Memo), Felder (Partial [Dist]res[s]toration and Canzone XXXI), Thomas (Carillon Sky), and Bernard Rands (Now again - fragments from Sappho). Julia Bentley is the mezzo-soprano soloist in the Rands, and violinist Yuki Numata takes the solo role in Thomas's piece.  You can hear excerpts from Carillon Sky here and here.  

In case you're unfamiliar with the group, the Slee Sinfonietta is the professional chamber orchestra in residence at the University at Buffalo and the flagship ensemble of the Center for 21st Century Music. Founded in 1997 by David Felder, it is comprised of UB faculty artists, visiting artists, regional professionals and advanced performance students. Others activities include tours, professionally produced recordings, and unique concert experiences for regional and international audiences alike.  

A not-so-secret Laboratorium

Another European ensemble appearing at June in Buffalo 2010 is Ensemble Laboratorium. Like Ensemble SurPlus, the group is playing two concerts -- one featuring 20th-century classics (June 3):

Transparente - Oscar Bianchi
Glint - Jacob Druckman

Influence Liquide from Laboratorium - Vinko Globokar
Assonance VI - Michael Jarrell
déja - Bernard Rands
from behind the unreasoning mask - Roger Reynolds

...and the other comprising pieces by JiB participants (June 4):

A Fragmented Landscape - John Bacon

For Bass - Matthew Goodheart
January Miniatures - Joshua Groffman

A Matter of Truth - Hannah Lash
Cross-sightedness - Diana Soh
Chiaroscuro - Gabriele Vanoni
Night Spiral - Christopher Walczak
Cleave Orestes - Stephen Wilcox

Ensemble Laboratorium is based in Switzerland, but the group's members hail from fourteen countries on five continents. A primary goal of the ensemble is the development of an interactive exchange between the cultures represented by its members. This work takes the form of specific projects that explore the complete range of contemporary music -- from well and lesser known repertoire of the 20th and 21st centuries to newly commissioned works, including multimedia collaborations with artists from other fields. In addition to its JiB performances, the group's upcoming swing through New York state will include stops at two experimental music outposts in NYC: The Tank (May 31, June 11) and Issue Project Room (June 10). 

SurPlus value

Among the noteworthy ensembles participating in June in Buffalo 2010, one name in particular may be unfamiliar to American new music fans: Ensemble SurPlus. But this highly accomplished German group plays an important role in this year's JiB, performing works by Augusta Read Thomas, Lukas Foss, Harvey Sollberger, Alvin Lucier, Charles Wuorinen, and Brian Ferneyhough on June 1, and playing participant composers' pieces on June 2. (A full concert schedule is available here.)

Based in Freiburg, Ensemble SurPlus was founded in 1992 by the eminent pianist and conductor James Avery (1937-2009). The Ensemble performs chamber music ranging from duos to large instrumental combinations, and aims to give new or unknown works optimal performances, regardless of compositional style or technical and intellectual demands. Its credits include performances at numerous European festivals including Darmstadt, Musica Viva, Donaueschingen, and others. Ensemble SurPlus has also collaborated closely with the Experimental Studio of the German Radio (SWR). Numerous CD productions and recordings (Ferneyhough, Clark, Spahlinger, Mahnkopf, Wolpe with Heinz Holliger) document the great versatility of the ensemble. For further information and sound samples, visit the Ensemble SurPlus website.

Unburied treasures

The Center for 21st Century Music's official website contains a trove of fascinating archival material pertaining to June in Buffalo. You can view scans of JiB program books stretching back almost 20 years at this page, which also has links to photo galleries from the 2006-09 festivals.

At left, Gunther Schuller explains it all during a 2006 June in Buffalo seminar.

At right, Morton Subotnick makes a point at JiB 2008. Both photos are by the Center's gifted and indefatigable house photographer, Irene Haupt.

June in Buffalo concert schedule now posted!

Now available at the Center for 21st Century Music's official site, the complete schedule of concerts for June in Buffalo, including works by participating composers. As noted previously, a distinguished array of performers and ensembles will be on hand, including the Arditti Quartet, Signal, Ensemble Laboratorium, Ensemble SurPlus, and as always, the Slee Sinfoniettaand the Buffalo Philharmonic Orchestra. All concerts are open to the public, and many are free. With thirteen new music concerts in seven days, June in Buffalo offers an exceptionally rich experience for insiders and casual listeners alike. 

Olivier Pasquet

Wrapping up our series of posts introducing the senior faculty of June in Buffalo 2010, we present French electro-acoustic composer Olivier Pasquet. Noted for his multimedia collaborations, Pasquet will give two workshops during the festival as well as presenting his own work.  His workshops will explore Computer Aided Composition, demonstrating techniques for using computers to develop both electronic and acoustic pieces.

"Writing electronic music may seem like an easy task at first," says Pasquet. "All who have tried have realized that there is a difference between writing a piece that sounds either amateurish or too commercial and creating something truly unique. Electronic music is supposed to be opening new horizons towards melodic and rhythmic structures that are not limited by physical properties of natural instruments and its musicians. One can argue though, that the removal of all such intermediaries brings the composer a step closer to the ultimate barrier. Of course, we’re talking about inspiration.

Pasquet's own compositions will be heard as well, among them a work for voice and computer, and a collaborative project titled Haxan in which he and Mauro Lanza created a soundtrack for the early Swedish silent film of the same title. Here one can glimpse a bit of City of Flowers, an installation that "invites one to discover a poetic representation of the city."

A few words from a newcomer

Composer Hannah Lash, a PhD candidate at Harvard, is attending June in Buffalo for the first time this year. Hannah is a rising figure on the new music scene, with performances at the Times Center, Chicago Art Institute, Tanglewood Music Center, Harvard University, and on the American Opera Project's stage in New York City. She has written pieces for such artists and ensembles as the Arditti Quartet, Alarm Will Sound, harpist Yolanda Kondonassis, mezzo-soprano Abigail Fischer, and Ensemble NEM. Her recent orchestral work, Leave, was selected to be performed by Harvard University's Composer's Orchestra.

"I applied to June in Buffalo because it's solely dedicated to new music and specifically geared to emerging composers," says Hannah.  "Younger composers have the opportunity to share their music in masterclasses with an array of established composers. There are concerts every night featuring the music of the composers in residence at the festival. 

"I look forward to meeting many colleagues with whom I might not have contact otherwise, sharing my music with them, and hearing their work.  I'm also looking forward to interacting with the composers in residence, some of whom are former teachers of mine; it will be fun to reconnect. 

"Also exciting for me is a performance I'll have of my recent piece for Pierrot ensemble: A Matter of Truth.  The fact that this performance is not a premiere makes it almost more interesting for me; I had a wonderful premiere of it by Talea this past spring, and I'm fascinated to discover how another performance may differ and how other performers might interpret the piece. 

"This brings me to another very important reason why I applied to JiB, and that is the resident ensembles.  I've worked with the Arditti Quartet in the past, and also the Buffalo Philharmonic in a reading, but the rest I have not yet had the chance to meet.  Although not all of them will be playing my music, I'm really excited about the opportunity to meet and talk with them, and find out what each one is all about."

(Photo: Noah Fowler)

This year's June in Buffalo participants: some demographics

Year after year, June in Buffalo draws emerging composers from around the globe, offering an ideal opportunity to exchange ideas and network with colleagues in other territories.

Applications were submitted by some 90 composers from Australia, Brazil, Canada, France, Germany, Hong Kong, Italy, Japan, Puerto Rico, Singapore, Spain, Taiwan, the UK, and of course the USA. This year, about a third of the JiB applicants were accepted.

American conservatories were represented by the Juilliard School, Peabody Institute, Eastman School of Music, New England Conservatory, Cleveland Institute of Music, and the Cincinnati College Conservatory of Music, among others.

Universities included Columbia, Harvard, Yale, University of Pennsylvania, UC Berkeley, UCLA, UC San Diego, Chicago, Indiana, Michigan, and Wisconsin, plus scores of others. Foreign institutions included the National Conservatory of Paris, Hochschule fur Musik und Theater Hamburg, Robert-Schumann-Hochschule, Duesseldorf, the Conservatory Vincenzo Bellini in Parlermo, Universities of Huddersfield and Brunel (UK), Wilfrid Laurier and Montreal (Canada), Trinity College Dublin, and the Hong Kong Academy for Performing Arts.

Many participants find June in Buffalo to be an eye- and ear-opening experience, as they encounter composers whose aesthetic views diverge widely from the ones they cherish. Lively discussions -- whether in seminars or in late-night bull sessions over pitchers of beer and authentic Buffalo chicken wings -- can often prove illuminating, and the bonds formed in these encounters can last for decades.

A(nother) Musical Feast

We're taking a short break from June in Buffalo business to mention an upcoming concert co-presented by the Center for 21st Century Music and Buffalo's chamber music series, A Musical Feast. Taking place at the Burchfield-Penney Arts Center on April 15 (7 pm), the typically diverse program includes Tchaikovsky's Capriccio Italien, played by duo-pianists Claudia Hoca and Phyllis East; Schubert's well-loved String Quintet in C Major, with an ensemble led by series director Charles Haupt; and David Felder's November Sky for solo flute and tape, with Barry Crawford on flute. 

The latter work, composed in 1992, was released on an all-Felder Bridge Records CD that earned the title "Disc of the Year" (chamber music) from the American Record Guide, and landed on the Buffalo News Best of Year list as well. That recording is available through Amazon and iTunes, among others. Reviewing a live performance, Paul Griffiths wrote, "November Sky, a duet for flutist and computer, descending from piccolo screams to the cool dark of the bass flute...showed the importance to a composer of being around performers."

"Inspiring and rewarding:" John Bacon Jr. on June in Buffalo

Composer/percussionist John Bacon, Jr. has been a mainstay of Buffalo's jazz and new music scenes since the 1980s. As a performer, his impressive resume includes stints with the Buffalo Philharmonic, trombonist Roswell Rudd, Bobby Previte's Voodoo Orchestra West, the Maelström Percussion Ensemble, and many others. His compositions have been performed by the Amherst Saxophone Quartet and violinist Leroy Jenkins, among others. He is now enrolled in UB's doctoral program in composition. John offers the following thoughts on June in Buffalo:

"I have been living in the Buffalo area and working as a professional musician for many years.  My involvement with June in Buffalo has been as a student in the 1980's, as a performer in the 1980's and 90's and as an audience member throughout most of the life of the festival.  I recall meeting David Felder at an early festival when he first arrived at UB. He was investigating some specifics about almglocken in B-1 Slee and I tried to help him as best I could. I remember performing in the percussion section with the Buffalo Philharmonic Orchestra with Charles Wourinen conducting. I remember Steve Reich crediting the great Jazz drummer Kenny Clarke with being the inspiration for the rhythmic drive in his music.

"In 2009 I was finally able to participate as a composer. I have enjoyed all of my experiences with the festival and each of them holds something unique in my musical life, but participating as a composer was by far the most engaging of these experiences...You can't help but feel that the whole festival is happening for you.  The senior faculty  serve as mentors, inspiring and guiding the composers. The ensembles dedicate themselves to the wide variety of music. The staff organize and accommodate efficiently and effectively. The other composers bring their excitement and enthusiasm.  This mixture creates  an inspiring and rewarding experience.

"Last year I attended every event that the festival offered. Although quantity doesn't always equate with quality I must say that in this case, where the quality of every event is so high, seeing more of them is better... I am looking forward to this year's festival and again participating as a composer.  I will try to attend every event this year also.  I hope to see you there."

Announcing this year's participants!

Here's the list you've been waiting for: the emerging composers who have been invited to participate in June in Buffalo 2010. As always, each of the invited composers will have one of his/her pieces performed during the festival. We invite you to check out their websites, Myspace pages, Twitter feeds, etc...links below.

Shawn Allison
John Bacon, jr.
Daniel Bassin
Shiuan Chang
Chun Ting Pang 
Carl Christian Bettendorf
Juan Garcia Escudero
Ray Evanoff
Matthew Goodheart
Jacob Gotlib
Joshua Groffman
Matthew Heap
Huck Hodge
David Hudry
Emily Koh
Jordan Kuspa
Joseph Lake
Peter Van Zandt Lane
Hannah Lash
Felipe de Almeida Ribeiro 
Mischa Salkind-Pearl
Benjamin Scheuer
Diana Soh
Gabriele Vanoni
Christopher Walczak
Ashley Wang
David Wightman
Stephen Wilcox
William Zuckerman