"A Positive Signal"

Garaud MacTaggart of the Buffalo News offered another view of Signal's June in Buffalo concert on June 9. Headlined "A Positive Signal," MacTaggart's review praised the playing of this much-lauded group: "The same care and attention to detail that Signal displayed during their workshop for student composers on Tuesday afternoon was evidenced at Thursday night’s performance of scores by more mature composers. Given the level of material they had to work with in the later concert, the results were even more impressive.

"David Felder’s Journal from 1990 was the first composition on the evening’s program and it was clear from the start that if the bones of the score were sturdy, then Signal could flesh out the sound. Under the guidance of the troupe’s conductor, Brad Lubman, the music was revealed as a tautly constructed work but not one so tightly wound that emotion was banished..."

As in Daniel J. Kushner's review, MacTaggart reserved his highest praise for the classic score that ended the concert, Ligeti's Chamber Concerto, which "received a marvelous performance that had echoes of Debussy and Bartok with occasional brief stabs of sound reminiscent of the shower scene from Psycho as a change of pace. OK, that’s a bit of an overstatement but the change in sonic textures from loud to soft, from prickly to flowing had a logic to it that Lubman and Signal were able to convey with the conviction Ligeti deserved to receive. It was probably the highlight performance of the evening."

You can read MacTaggart's entire review here.

The Fickle Judge

To help wrap up our coverage of June in Buffalo 2011, we're pleased to welcome guest blogger Daniel J. Kushner, reviewing the June 9 concert with Signal and guest violinist Irvine Arditti. Daniel is a music critic whose work has been published by Opera News, The Huffington Post, NewMusicBox, and Symphony, among others.  His vivid and insightful writing can be found at  http://www.huffingtonpost.com/daniel-j-kushner and http://postpostrock.com. Though his subject matter ranges widely, he most often writes about the burgeoning musical region in which classically-trained musicians and artists from the world of indie rock are finding common ground. Here follows Daniel's review. 
_______________________

The Fickle Judge

By Daniel J. Kushner

June in Buffalo is a festival for the new music cognoscenti—a welcome destination for some, an alienating locale for others.  But new music sprawls itself out over a vast landscape, and great variety can coexist even with pieces of comparable aesthetic value.  The festival’s June 9 concert, featuring the New York-based chamber ensemble Signal led by conductor Brad Lubman, exemplified this truth.

The program began with David Felder’s 1990 work Journal for chamber orchestra.  Signal communicated with vibrant poignancy the sonorous, cataclysmic evidence of fear made audible, of some unspoken yet inescapable conflict.  Within the composition, melodies are not shaped and sheltered by phrases, but are rather splintered into three and four-note shards, and then dispelled into the ether.  If Felder’s Shamayim—a 2009 collaboration with filmmaker Elliot Caplan performed earlier in the week at the festival—felt cold and clinical, Journal exudes an emotional, reverberating warmth that doesn’t circumvent Felder’s arresting harmonic sensibility, but instead speaks through it.  The work is at times lush and lyrical, even while possessing a thin, fragile texture capable of some impending devolution—hinted at toward the outset—that never comes. 

Featuring a smaller configuration of Signal aided by solo violinist Irvine Arditti, Brice Pauset’s highly gestural and expressionistic Vita Nova (2006) evinced the atonal priorities so readily embraced in many compositional circles of academia.  While certainly intriguing, the piece seemed destined to retreat from my recollection into oblivion.  But why?  Clearly the composition was well constructed, with a keen spatial sense of orchestration and containing proven techniques of modern articulation, including the ingenuous effect of strumming the string instruments with guitar picks.  Its lack of readily discernible melodies is not in and of itself grounds for dismissal.

But if melody does not implant itself in the ear, some other compositional (component(s) may need to take its place—an alluring succession of harmonies, or a novel polyrhythmic device—to bridge the chasm between performance and memory (I took with issue with Hilda Paredes’s Ah Paaxo’ob of 2001, which closed the concert, for similar reason).  One doesn’t even necessarily need to remember a single note of the composition, but rather the response it elicited from within.  Ultimately, the hard reality is that it comes down to the decision of a manifestly fickle, yet unerring judge—emotional resonance.

Fortunately, György Ligeti’s Chamber Concerto (1969-1970) exemplified the atonal aesthetic at its most vibrant and engaging—from the bleary, circular phrases in the woodwinds to the crystalline dizziness of the harpsichord, to the ominous trills in the violins.  Each sonic occurrence seemed to impart some mystical coded meaning.   In the moment, Chamber Concerto struck me as more focused, less visceral yet more palpable, more ethereal yet less distant than the works I had heard earlier in the evening.

Was my response the effect of a placebo?  Does a piece by the venerated Ligeti immediately deserve more respect?  Perhaps vain pride would have me answer, “Yes.”  But, in the interest of being as much of a new-music-hipster as possible, the answer could just as easily be “No.”  In the end, I was drawn in by Ligeti’s use of technical proficiency through such musically volatile means, to achieve such emotionally immediate ends.

Jeffrey Stadelman: "Meaning is sedimented form"

On the eve of the opening of June in Buffalo 2011, we conclude our series of posts on this year's Senior Faculty with composer Jeffrey Stadelman, Associate Chair of UB's Music Department. 

Stadelman's music -- once described by a Los Angeles Times reviewer as "painterly . . . , deftly dispersed in time and glazed with a dry wit" --  has been performed in the U.S and Europe by a number of the leading groups active in contemporary music performance. This list of ensembles -- including the New York New Music Ensemble, Boston Musica Viva, the California Ear Unit, the San Francisco Contemporary Music Players, Het Trio, 175 East Ensemble (New Zealand), Earplay, the New World and Cassatt String Quartets, the League/ISCM and the June in Buffalo and Wellesley Conference Players, among others -- continues to grow as Stadelman's work attracts increasing attention in the U.S. and abroad.

Originally from Wisconsin, Stadelman studied composition as an undergraduate with Stephen Dembski at the University of Wisconsin-Madison, and went on to receive the Ph.D. in Music from Harvard University, where his principal teachers were Milton Babbitt, Earl Kim, Donald Martino and Stephen Mosko. Stadelman has since received commissions and invitations for compositions from, among others, the Fromm Foundation and Boston Musica Viva, Nuove Sincronie, Concert Artists Guild, Trio Italiano Contemporaneo, Phantom Arts, Bernhard Wambach, Elizabeth McNutt, Jon Nelson and UW-Madison. Grants and awards include those from Meet the Composer, Harvard University, Friends and Enemies of New Music, and the Darmstadt Summer Courses.

The composer taught at Harvard University during the 1992-93 academic year, and currently serves as Associate Professor of Music at the State University of New York at Buffalo, where he teaches composition and twentieth-century music. Stadelman's music is published by APNM and BMG Ariola. Recently completed and ongoing projects include Eight Songs, a collection for bass-baritone and piano; House Taken Over for the flutist Elizabeth McNutt, with and without electronics; a quintet for a University at Buffalo faculty quintet; and a violin concerto, entitled Pity Paid, for Movses Pogossian with the Slee Sinfonietta. The latter work was released as the centerpiece of an eponymously-titled CD in 2008 on the Centaur label. 

A number of recent electroacoustic works have been performed at June in Buffalo 2004, SEAMUS conferences (Ball State and University of Oregon), ICMC 2004 Miami, the University of North Texas/CEMI, the Boulder Museum of Contemporary Art, COMA 2005 (Vaxjo, Sweden), and other venues.

Also active as a writer on musical subjects, Stadelman has authored a number of analytic papers since 1986, and made presentations on Babbitt and Schoenberg at universities and festivals in the U.S. and Europe. 

Stadelman is a cogent thinker whose forthright remarks on composition are laced with wit in this interview by James Gardner of Radio New Zealand. Responding to a question about recent compositional paradigms, Stadelman says, "I tend to prefer the choral model, imagining not reflection and amplification of the lone voice—but instead repetition and massing of plural voices in a social context. That's what's so compelling about the origins of classical polyphony to me. A kind of splitting of the solo song, and then its multiplication..."

Brice Pauset

June in Buffalo always has a strong international flavor, drawing participants and faculty from around the globe.  French composer Brice Pauset travels from his home in Germany to join this year's Senior Faculty, bringing his unique musical and intellectual perspective to the festival. His background includes studies in piano, violin, electronic music at IRCAM, medieval philosophy (in which he holds a doctorate), along with Baroque musical practice and instrumental design.

Born in 1965, Pauset has studied with many of Europe's modernist heavyweights, including Pierre Boulez, Karlheinz Stockhausen, Gérand Grisey, Brian Ferneyhough, Franco Donatoni, Stefano Gervasoni, Klaus Huber, and Michael Jarrell, among others. Yet it's clear from interviews and writings that his Baroque forebears have had as profound an effect on his music as his contemporaries. A fascinating interview in Paris Transatlantic magazine illuminates his thinking. When writer Dan Warburton asked Pauset which century he would prefer to live in, given a choice, Pauset replied, "I think, of course, the fourteenth century. The Ars Subtilior. In the medieval epoch, there was no music as such--it was a part of a larger discipline including mathematics, philosophy, astronomy.. If you look around this room, we have mathematics--there are three computers (one of which doesn't work), and there is a philosophical dimension to this work.. (Pause.) Yes, I would go back to the fourteenth century. When music didn't exist." Pauset's moody, compelling Adagio Dialettico for piano and ensemble can be heard in this audio clip (with static image).

Hilda Paredes at June in Buffalo

Continuing our alphabetical series of profiles of the Senior Faculty for June in Buffalo 2011, we encounter Hilda Paredes, who has achieved renown as one of Mexico's leading composers. Paredes was born in Tehuacan, Puebla, Mexico, and has been a prominent music teacher at the National Autonomous University of Mexico (UNAM). Firmly established as one of the leading Mexican composers of her generation, her music is now performed widely around the world.

As an active participant in master classes at Dartington Summer School, studied with Peter Maxwell Davies and Richard Rodney Bennett. After graduating at the Guildhall School of Music, she obtained her Master of Arts at City University in London and completed her PhD at Manchester University.

Her collaboration with choreographers led her to receive the Music for Dance Award from the Arts Council of Great Britain in 1988. After taking part at the Garden Venture Opera Project in Dartington, she completed her first chamber opera "The Seventh Seed," released by Mode Records.

She has continued to be involved in the musical life of her native country, teaching at the National University in Mexico City, as radio producer of new music, as well as collaborating with the Orchestra of Baja California arranging traditional Spanish and Mexican songs.

  

Hilda now lives in London as a freelance composer, and has taught composition and lectured at Manchester University, the University of San Diego California, Mills College in California, as well as in Mexico, Spain, and Centre Acanthes in France. Her recently completed second chamber opera El Palacio Imaginado, commissioned by Musik der Jahrhunderte, English National Opera and the Festival of Arts and Ideas in New Haven, was premiered to much acclaim in both sides of the Atlantic.

Hilda Paredes has been commissioned by soloists, ensembles and orchestras around the world. Her music has been performed by internationally renowned ensembles such as Lontano, London Sinfonietta, Ensemble Modern, Neue Vocalsolisten, Ensemble Sospeso and Arditti Quartet and has been widely performed at important international festivals, such as Huddersfield in the UK; Eclat in Germany; Musica and Octobre en Normandie, in France; Wien Modern, in Austria; Akiyoshidai Music Festival, in Japan; Archipel, in Geneva; De Ijsbreker Chamber Music Festival, in Amsterdam; Warsaw Autumn, in Poland; Ultima, in Oslo; Melbourne Festival, in Australia; Festival of Arts and Ideas in the USA, Ars Musica in Bruxelles; Festival de Alicante, in Spain; Festival Internacional Cervantino in Mexico, amongst others. 

Here's a clip of Misplaced Flowers, a ballet choreographed by Joel Valentin-Martinez in 2010 to Paredes's music, performed here by the noted Chicago-based ensemble Fulcrum Point. 

David Felder speaks for himself

No overview of June in Buffalo would be complete without a few words on David Felder, who is not only Artistic Director of JiB, but also the Slee Sinfonietta and the Center for 21st Century Music itself. David Felder has long been recognized as a leader in his generation of American composers. His works have been featured at many of the leading international festivals for new music, and he earns continuing recognition through performance and commissioning programs. Felder’s work has been broadly characterized by its highly energetic profile, through its frequent employment of technological extension and elaboration of musical materials (including his “Crossfire” video series), and its lyrical qualities. 


He has earned numerous honors for his composition, and is widely recognized as an important teacher and mentor as well. He has served as dissertation advisor for over forty composers at Buffalo, many of whom are actively teaching, composing and performing internationally at leading institutions. 


David Felder served as Master Artist in Residence at the Atlantic Center for the Arts in February-March, 2010. During that time, the Atlantic Center created a series of video interviews with the composer, in which he speaks eloquently on various topics, including his thoughts on collaboration, working with visual elements, and the question of who he writes his music for. Three of these follow:

Eric Chasalow

Continuing our alphabetical look at the Senior Faculty of June in Buffalo 2011, we turn to composer Eric Chasalow, who has been described as "the rare composer who is as comfortable with electro-acoustic music as he is with music for traditional ensembles. ARRAY, the journal of the International Computer Music Association, wrote that his 2003 CD Left to His Own Devices "clearly establishes him as one of the leaders of our times...offering a wondrous fusion between distinct styles and mediums...." 

Chasalow's music has been embraced by performers throughout the world, with recent performances from Boston to Berlin and San Francisco to Seoul. 

A member of the Brandeis University faculty since 1990, Chasalow directs the Brandeis Electro-Acoustic Music Studio. He produces the biennial BEAMS Electronic Music Marathon, on the Boston CyberArts Festival. Since 1996 he has curated The Video Archive of Electroacoustic Music, an oral history project chronicling the pioneer electronic music composers and engineers from 1950 to the present. 

A product of the famed Columbia-Princeton Electronic Music Center, Chasalow studied composition with Mario Davidovsky and flute with Harvey Sollberger. He has been honored by the Guggenheim Foundation, National Endowment for the Arts, the Fromm Foundation at Harvard, the New York Foundation for the Arts, and the American Academy of Arts and Letters.


Says Chasalow, "Over the years, the technology available to me has changed dramatically, from the hand-made cutting and splicing of the analog studio, to MIDI automation and, currently, graphical computer-based sound editing environments. While the newer tools have made the process of realizing electronic music much easier, my fundamental musical approach to these pieces has not changed much. At the core is the tradition created by the work of Mario Davidovsky. In this tradition, one uses prerecorded sounds to expand upon the acoustical characteristics of the live instruments—the real origin of the 'hyperinstrument' concept. What may be obvious is that the timbre of a traditional instrument in performance may be changed by adding electronic components—a kind of heightened orchestration… While my studio technique derives from Davidovsky, the musical character is quite different. My instrumental writing is often at an energy level drawn from my experience with improvised jazz. My recent electronic music reflects this as well. By adding layers of manipulated recordings of spoken or sung text, the sound of the human voice often emerges in surprising ways." 

June in Buffalo 2011: schools of (compositional) thought

Further to our previous post announcing this year's participants in June in Buffalo 2011, here are some stats.

Some 80 composers applied to take part, from universities and colleges in Australia, Canada, Hungary, Israel, Mexico, Turkey, the UK, and of course the USA. Approximately 25 of the applications came from outside the US. Some 43 schools were represented:

Bard College
Boston Conservatory
Bowling Green
Brandeis University
Brooklyn Conservatory
Carnegie Mellon University

City University of New York
Cole Conservatory
Columbia University
Depaul University
Hartt School of Music at Hartford
Indiana University
Instituto Nacional de Bellas Artes
Juilliard School
Liszt Acadmy, Budapest
NEC/ Istanbul University
New England Conservatory

New York University (NYU)

Northwestern University
Oberlin Conservatory

Princeton University
San Francisco Conservatory

Stanford University
Tel Aviv University
University of British Columbia
University at Buffalo

University of California
University of California - Berkeley

University of Carolina

University of Chicago
University of Colorado
University of Florida

University of Georgia
University of Huddersfield
University of Illinois - Urbana
University of Iowa
University of Michigan
University of Montana
University of Northern Colorado
University of Pittsburgh

University of Sydney
University of Texas - Austin

University of Wisconsin
Yale University


From this deep and wide pool of applicants, 25 talented composers were chosen. Congratulations to all!

Announcing June in Buffalo 2011 participants!

Now comes the moment you've all been waiting for: the lucky composers who will have the opportunity to take part in this year's June in Buffalo festival, June 6 - 11:

Mate Balogh             Liszt Acadmy, Budapest



Per Bloland             Stanford


David Carter            Northwestern University


Shiuan Chang            New England Conservatory



Chun Ting Pang          University at Buffalo


Paul Clift              Columbia University

Juan Colon-Hernandez    University at Buffalo



Hanna Eimermacher               


Sivan Eldar             UC Berkeley



Juan Escudero                  

Ray Evanoff          University of Huddersfield

Michael Foumai          University of Michigan

Matthew Goodheart         UC Berkeley


Ted Goldman             Juilliard School


Jacob Gotlib          University at Buffalo

Ethan Hayden            University at Buffalo



Nathan Heidelberger     University at Buffalo

Friedrich Kern          New York University


Cherise Leiter          University of Florida

Kerrith Livengood       University of Pittsburgh


Brian Mark              San Francisco Conservatory

Jeff Roberts            Brandeis University

Kenichi Saeki           University at Buffalo

Matt Sargent            Hartt School of Music at Hartford


Francisco Trigueros     University of Chicago


Each of the invited composers will have one of his/her pieces performed during the festival by one of the top-notch resident musicians or ensembles. As always, June in Buffalo offers an intensive schedule of seminars, lectures, workshops, professional presentations, participant forums and open rehearsals as well as afternoon and evening concerts open to the general public and critics. 

Kagel Nacht

Tired of dull, predictable concerts? The antidote is close at hand.

This Tuesday, April 26, the performance event known as Kagel Nacht comes to Lippes Concert Hall at Slee Hall. Described by its creators as "a performance event featuring new interpretations of works by the seminal avant-garde composer Mauricio Kagel," it interweaves a melange of inter-connected and overlapping pieces, highlighting the most absurd and engaging of Kagel's prolific output. From the disconnected political ramblings of Der Tribune, to the meticulous puppetry/theater of Repetoire, to the squealing and scratching of Acustica, Kagel Nacht connects to listeners in a way rarely found in the classical music world.  

For American listeners, Mauricio Kagel (1931 - 2008) occupies an odd place in the pantheon of contemporary composers -- too famous to be considered a cult figure, but too idiosyncratic to be an icon. Born and educated in Buenos Aires, he served as a visiting lecture at Darmstadt in the late 50s, and taught at UB in 1964-65 as the Slee Professor of Music Theory. Dramatic elements were a constant presence in his work, which often overshot the boundaries of music composition to encompass theater and film.

According to the creators of Kagel Nacht, "Despite being one of the most radical and revolutionary 20th century European avant-garde composers, Mauricio Kagel's music has remained relatively obscure, especially here in the US.  In an attempt to change this, two musicians from New York City have spent the last 3 years researching Kagel's massive body of work, seeking out rare scores, recordings, and videos of his bizarre, often hysterically theatrical compositions.  The result is the performance-event known as Kagel Nacht.  Joining them will be a stacked deck of musicians from Brooklyn's artistic multiverse, performers deeply situated in the theater, performance art, classical, and experimental music worlds.  They will be performing a very diverse selection from Kagel's grand oeuvre, including 'classical' works (Music For Rennaissance Instruments), electro-acoustic compositions (Acustica),  absurdist ballet (Kontra-Danse), radio plays (Der Tribun), and some of his most daring and hilarious works of 'instrumental theater' (Staatstheater, Con Voce). With interpretations ranging from strict to fully recontextualized, Kagel Nacht breaths new life into these important and underperformed works by joining them into one, multi-stage, panoramic, evening-length event that brings a new meaning to 'musical theater.'" 

Kagel Nacht is currently touring the Northeast, performing for universities as well as underground venues, art spaces, and other communities, giving people access to the world of classical and avant-garde music through the universal appeal of Kagel's profound and absurd compositions.  In order to limit costs and emissions, they are traveling on a school-bus-turn-tour-bus, that runs on waste vegetable oil. Kagel Nacht will feature the musical and theatrical artistry of:

• Rick Burkhardt  - orator, accordion
• Stephe Cooper - producer, glockenspiel, guitar
• Sam Kulik - trombone
• Jordan Mclean - trumpet, conductor, arranger
• Jason Mears - clarinet, saxophone
• Roberta Michel - flute, piccolo
• Geoff Nosach - lighting, set design
• Sam Sowyrda - producer, conductor, percussion
• Dennis Sullivan - percussion

Here's a video of Kagel Nacht in action.  

Recent grad Leah Muir on UB: "a rare mix of performance, intellect, and experiment"

Leah Muir completed her doctoral studies in composition at UB in 2008, and is now living in Berlin. She reports:

"My doctoral study at Buffalo was a huge enrichment to my musical life and experience, and continues to be so -- in fact I think it is one of the few organizations in the US that could prepare me for the European musical life I found myself suddenly in. Right now, in fact, I am preparing for a Morton Feldman concert for the Crescendo concert series on June 10, of which I am in charge of musical direction and conducting. Morton Feldman seems to be around every turn I take.

"It was Amy Williams who first introduced me to the University at Buffalo at 19; she brought a group of composers from Bennington College to June in Buffalo. There I met David Felder, and never forgot him or my amazing musical experience during the program. I applied later to Buffalo for my Doctoral degree and was accepted on a Presidential fellowship, where I was able to gain four years of teaching experience. There I made extremely close musical relationships with musicians and composers in the program, and had many compositional breakthroughs with David as my teacher. David Felder demands excellence from his students, and I was pushed very hard to go as far as I possibly could with my own talents, and then maybe even farther. For that I am very grateful.

"Beyond my work at the Institut für Neue Musik, I have also some commissions to write this year. The first is my Doppelkonzert für E. Gitarre und Akkordeon, dedicated to Krassimir Sterev, Yaron Deutsch, Ajtony Csaba and the Mitteleuropäisches Kammerorchester to be premiered in Vienna, Austria in 2011. The second for the Münchener Biennale, is a 25 minute music theater piece to be premiered in May of 2012. Last year, I had a couple of important premieres, on Märzmusik and Wien Modern, and a slight foray into video brought on a sudden premiere at Soundtrack Cologne.

"Buffalo, where American experimentalism is still cherished, was instrumental to my development in these musical directions. David Felder, Cort Lippe and Jeff Stadelman provided an excellent scope of what is out there that is most intellectually stimulating in music, and also what reality is and could be for a composer in our current musical landscape. Beyond this, an idealistic and utopian approach to music is also coveted at the university, where experiment is fully encouraged and when followed, given free reign of the imagination. I find this mixture to be quite unique. Charles Smith and Michael Long are also an extremely important part of the program for me, because the sort of analysis they teach is rare and hard to find. In other departments, with Tony Conrad and Elliot Caplan also in the wings of the greats teaching there, I had the possibility to participate in some transmedial collaborations. Hallwalls, Soundlab and the Burchfield-Penney, beyond the University, provided yet another platform to branch out into a wider community, together with self-organized group of composers, we were able to play music and have a public." Here's Leah's unsettling and inventive Sound Bandage, scored for the offbeat combination of soprano and bass saxophones, cello, and "tape."

A student looks back

Moshe Shulman, PhD candidate in composition at UB, recently shared some observations about his music.

"2011 is my last year in Buffalo, NY. Since 2007 I was studying music composition mainly with David Felder but also with Cort Lippe and Jeffrey Stadelman one semester each. During these years I wrote for brass, woodwind, and percussion ensembles, two string quartets, mixed ensembles including voice, a little piece for piano and a couple of solo pieces. Some of these were successful, some came to be tryouts, one of these even received third prize in a Composition contest in Russia in 2009.


"When the time for writing dissertation piece came, writing for a larger ensemble with a soloist was an obvious choice, mainly because I don’t have anything like that in my portfolio. Another reason for writing a piece for solo violin with orchestra was personal. I started to play violin at the age of five and writing a dissertation piece 28 years later seems like a circle that has been completed. Thanks to David Felder, this project was approved, well-advised and will be realized on April 18th, 2011 in a recording with the Slee Sinfonietta and most talented musician and a friend, violinist Yuki Numata.

"Before getting to what I wanted to achieve in the dissertation work I will try to remember what aspects of music concerned me during these years. One of the first pieces I wrote within the walls of Buffalo University was Frozen Moments for flute, violin, cello and piano. Here are the program notes of that piece:

Frozen Moments is a piece about different states of motion and motionlessness. The piece introduces different musical moments of those states as well as arrivals and departures from them. First movement deals with the sound as motion and silence as static process. Second movement is concerned with repetitions as motionlessness and the motion between the repetitions. The third movement can be actually called anything but Frozen Moment. This movement is full of energy and motion however the static quality is present on a new level. The motionlessness is present within the motion as if one runs down the street and suddenly stops for a second. Beyond that, the motion-motionlessness states are in counterpoint in that movement which gives the listener an option to hear both actions at the same time.

"Another musical aspect that concerned me was writing for a certain instrument as if it were another instrument - for example, treating brass instruments like strings. “Subito” for Brass Quintet is the outcome of that idea. My Second String Quartet was written for the Copland House Project during November 2009. My thought was to create a set of short movements that would exist within a margin of extremes (whatever those extremes might be: speed, dynamics, motion, etc.). Some movements contrast in their extremes with other movements, while others contain their diversities within.

There were many other issues during the years, of course, but these made their way into the dissertation piece that, for now, is titled Kivunim.

"Kivunim is a Hebrew word and it can have multiple meanings. But the ones I am referring to can be translated as directions, movements, goal-oriented processes. Here, in some sense, I come back to the issue I was resolving in Frozen Moments. The soloist and the ensemble arrangement distribute naturally the roles of motion and motionlessness.

"The dissertation defense will take place on May 3^rd and everyone is welcome to attend, to listen and hopefully to enjoy."

Charles Wuorinen and the New York New Music Ensemble in residence

The incomparable Charles Wuorinen visits UB on Tuesday, April 19 in conjunction with a four-day residency by the New York New Music Ensemble, distinguished proponents of his music -- along with many other composers working in "the more rigorous end of the contemporary repertory," as The New York Times put it in a recent, admiring review.

At 7:30 pm on Tuesday, Wuorinen will conduct members of the New York New Music Ensemble in four of his works at Lippes Concert Hall at Slee Hall: Salve Regina: John Bull (1961, rev. 1997); The River of Light (1996); Fifty Fifty (2002); Metagong (2008). That concert will be preceded by a lecture/demonstration on his music at 3 pm.

On Wednesday (4/20), the NYNME will give readings of works by four fortunate students in UB's graduate composition program: Kenichi Saeki, Chun Ting Pang, Jacob Gotlib, Ethan Hayden, Nathan Heidelberger, and Felipe Ribiero.  And on Thursday, the NYMNE steps into the spotlight at Lippes to perform works by Ricardo Zohn-Muldoon, Tania Leon, Wuorinen, Alexandre Lunsqui, and Mario Davidovsky. Tickets for the latter event are available here.

Wuorinen is no stranger to Buffalo, having been a Senior Faculty member at June in Buffalo during the early 1980s, and in 2003.  His many honors include a MacArthur Foundation Fellowship and the Pulitzer Prize (the youngest composer to receive the award).  His more than 250 compositions encompass every form and medium, including works for orchestra, chamber ensemble, soloists, ballet, and stage.  

His newest works include It Happens Like This, a dramtic cantata on poems of James Tate to be premiered at Tanglewood in Summer 2011, Time Regained, a fantasy for piano and orchestra for Peter Serkin, James Levine and the MET Opera Orchestra, Eighth Symphony for the Boston Symphony Orchestra, and Metagong for two pianos and two percussion. He is currently at work on an operatic treatment of Annie Proulx’s Brokeback Mountain to a libretto by the author. (Wuorinen’s Haroun and the Sea of Stories based on the novel of Salman Rushdie was premiered by the New York City Opera in Fall 2004.) Described as "maximalist," his works have been recorded on nearly a dozen labels including several releases on Naxos, Albany Records (Charles Wuorinen Series), John Zorn’s Tzadik label, and a CD of piano works performed by Alan Feinberg on the German label Col Legno.

Founded in 1976, the New York New Music Ensemble is one of NYC's quintessential groups, noted for its authoritative interpretations of challenging "uptown" repertoire. With more than 120 commissions and 20+ recordings to its credit, it is one of the leading ensembles of its kind. Wrote the Times's Allan Kozinn in a recent review, "These are musicians for whom sharp-edged themes, complex rhythms, and dense harmonies hold no terrors, and they usually make the works they play, however thorny, sound fresh and vital."

A Sunday afternoon RendezBlue, 4/10 at 2 pm

As part of RendezBlue, a four-day exploration of Morton Feldman and the New York School presented by Buffalo's Burchfield Penney Art Center, A Musical Feast will present an intriguing mixed chamber music program on Sunday, April 10 at 2 pm, co-presented by the Center for 21st Century Music. The festival runs April 7 - 10; during that time, admission is free to the gallery and all concerts. 

Amy Williams, who along with her performance partner Helena Bugallo, make up the Bugallo-Williams Piano Duo, is Buffalo's favorite, wandering-pianist daughter. Hailed as "beyond brilliant" (San Francisco Classical Voice) and "simply stunning" (Gramophone), the Bugallo-Williams Piano Duo has been presenting innovative programs of contemporary music throughout Europe and the Americas since 1995. 

Williams makes a welcome return to our series, performing her own composition, Brigid's Flame, composed in memory of her father-in-law, and based on the life of Saint Brigid, who is associated with many symbols, including sacred flames, high intelligence, and poetic eloquence. Williams will also join cellist Jonathan Golove for Morton Feldman's Durations 2 for cello and piano, the first of a series of small ensemble works composed in 1960, in which Feldman relinquished some of the usual control exerted by the composer over the harmonic content of the music.

Mythological references rule in Greek composer Iannis Xenakis' Kottos, a challenging but approachable work for solo cello which will be performed by cellist Jonathan Golove. Moshe Shulman (b. 1978), takes the title of his 2009 work, Secret Messages, literally, i.e. he supplies no description of the piece,  composed for solo violin, since if he provided a description beforehand,  the work, which will be performed by Charles Haupt, the founder and Artistic Director of 'A Musical Feast,'  would no longer be secret.

A memorable performance of contemporary German composer Ruth Wiesenfeld's haunting work, stories still, for cello and recorded text by Samuel Beckett, was a highlight on the last program. Alice Teyssier performs the world premiere of the composer's intriguing inflexionen, for solo flute on this program.

Says Don Metz, Associate Director of the Burchfield Penney, "Following our success with Lecture on the Weather: John Cage In Buffalo, it became apparent that there was great interest in programming events that highlight the creative spirit in Buffalo during the second half of the twentieth century. In keeping with the Burchfield Penney Art Center’s dedication to the distinguished artists of Western New York, it became evident that tribute should be paid to composer Morton Feldman." In addition to the Musical Feast concert, the weekend includes film/video, spoken word, visual arts, and lecture presentations. 

Edmund Campion

Beginning an alphabetical series of posts on June in Buffalo 2011's Senior Faculty composers, Edmund Campion leads the way. As a composer specializing in electroacoustic music, his pedigree is impeccable: he received his doctorate at Columbia and studied at the Paris Conservatory with the late master Gérard Grisey. Major commissions for IRCAM and Radio France followed, among them Natural Selection for interactive electronics and a full-scale ballet titled Playback. ME (2003- present) a work for baritone and interactive software, "explores the rise and development of consciousness in its egotistical, patriarchal sense." ME, a highly theatrical piece with a generous dose of black humor, is based on texts by the poet John Campion. It calls for an "in-ear prompter" that feeds the singer computer-generated material, which he has to imitate in various ways, and a child's hula hoop, which is used as a prop in various ways throughout the piece. The fascinating details can be found here, at Campion's website.

Campion's distinctive sensibility also comes through in Outside Music, described by Boston Globe critic Richard Dyer as "a rambunctious piece for synthesizer and live instruments." Reviewing a performance at the Tanglewood Music Festival in 2006, Dyer wrote, "The synthesizer is constantly invading the personal space of the instruments by duplicating their timbres. The piece ends, like Haydn's 'Farewell Symphony,' when the players walk off the stage one by one, leaving the synthesizer unattended, playing on all by itself."

In addition to composing and teaching, Campion is the co-director of CNMAT, the Center for New Media and Audio Technologies at UC Berkeley. Visit CNMAT's website for an abundance of vital information on computer music and new music in general, including free downloadable software tools, publications, and audio/video for streaming.

A visit from Yehudi

On Wednesday, April 6, Pulitzer Prize-winning composer Yehudi Wyner visits the Center for 21st Century Music for a round of master classes. Wyner has created a diverse body of over sixty works for orchestra, chamber ensemble, solo performers, theater music, and liturgical services. In addition to composing and teaching, his active and eclectic musical career includes work as a performer, director of two opera companies, and conductor of numerous ensembles in a wide range of repertory. Wrote Anthony Tommasini of The New York Times, "A comprehensive musician, Mr. Wyner is an elegant pianist, a fine conductor, a prolific composer, and a revered teacher. His works show a deep understanding of what sounds good and is technically efficient."


Yehudi Wyner was born in Western Canada and grew up in New York City in a musical family. His father, Lazar Weiner, was an eminent composer of Yiddish Art Song as well as a notable creator of liturgical music for the modern synagogue. This early exposure paved the way for a Diploma in piano from Juilliard and further musical studies at Yale and Harvard Universities with composers Richard Donovan, Walter Piston, and Paul Hindemith. A Handel course at Harvard brought Wyner to the attention of Randall Thompson, who became a staunch supporter and friend. In 1953, Mr. Wyner won the Rome Prize in Composition enabling him to spend the next three years at the American Academy in Rome, composing, performing, and traveling. Since then, he has received many honors which include the 2006 Pulitzer Prize in Music for his Piano concerto Chiavi in mano, two Guggenheim Fellowships, a grant from the American Institute of Arts and Letters, and the Brandeis Creative Arts Award. In 1998 Mr. Wyner received the Elise Stoeger Award from Lincoln Center Chamber Music Society for his lifetime contribution to chamber music. His Horntrio was a finalist for the Pulitzer Prize in 1998, and in 1999 Mr. Wyner was elected to the American Academy of Arts and Letters.

Not only is Wyner a distinguished composer, but a teacher of distinguished composers. His students include:

• Robert Beaser
• Chester Biscardi
• Martin Brody
• Donald Wheelock
• Yu-Hui Chang
• Laurie San Martin
• Tom Johnson
• Lew Spratlan

During his visit, Wyner will give a presentation of his own music to the UB composition seminar, as well as giving individual lessons. Later in April (on the 19th), another Pulitzer Prize-winner, Charles Wuorinen, will visit the Center. Watch this space for further details.

Tom Kolor gets a bang out of UB (and vice-versa)

UB's music department has a distinguished tradition of percussion teaching. Legendary percussionist Jan Williams arrived in 1964 as a Creative Associate, joined the faculty in 1967, and taught at UB for nearly 40 years, achieving worldwide renown as an interpreter of contemporary music. He is now an emeritus professor.

Assistant Professor Tom Kolor has proven a worthy heir to this tradition. Through performances with the Talujon Percussion Quartet, New Jersey Percussion Ensemble, Ensemble Sospeso, and others, Kolor has earned a place as one of the top percussionists on the new music scene. As a soloist, he has given dozens of premieres by such composers as Milton Babbitt, John Zorn, Wayne Peterson, Tania Leon, and Jerome Kitzke. He has recorded for Bridge, New World, Albany, Capstone, Innova, Wergo, Naxos, CRI, Koch, Tzadik, North/South Consonance, and Deutsche Grammophon labels. At UB, Kolor directs the Percussion Ensemble, gives private lessons, and is the Principal Percussionist of the Slee Sinfonietta. 


Here are a couple videos of Kolor at work -- one of them serious fun (a Julia Wolfe piece, performed by Talujon), the other simply fun (a restroom sign "concerto" with violinist Todd Reynolds). 

Trevor Bjorklund: developing one's own identity

Continuing our series of posts on recent and soon-to-be graduates of UB's composition program, here are some remarks by Trevor Bjorklund, who graduated in 2010 and is currently serving as a Visiting Assistant Professor of Composition at the University of Pittsburgh.

Trevor's musical background is eclectic, to say the least. From the ages of eight to ten, he sang in the San Francisco Boys' Choir and performed in several productions of the San Francisco Opera. In the years that followed, he began composing while playing guitar, trumpet, euphonium, and percussion. He attended San Francisco State University as a composition major, winning the Theodore Presser Fellowship, and studied trombone with with McDowell Kenley. He graduated summa cum laude from SFSU with a Bachelors of Music in Composition while taking part in an exchange program in Trossingen, Germany. He stayed in Germany to compose and perform as a trombonist and drummer for the next 3 years.

His music has been performed in the United States, Germany, Korea, The Czech Republic, Italy, Switzerland, France, and The Netherlands, and at major festivals including June in Buffalo and the Darmstadt Ferienkurse. It has been played by internationally renowned groups and artists including the Arditti Quartet and Valerio Fasoli, and has been conducted by James Avery, Manfred Schreier, Christian Hommel, and Christian Baldini.

In addition to his activities as a composer of contemporary music, he continues to perform traditional and modern repertoire as a trombonist, and plays drums for the international funk band, Blind-Ass Chicken, in which he is a founding member and songwriter. These diverse interests and influences are reflected in his dissertation work for UB, Deus Ex Machina, which is scored for "large chamber ensemble and heavy metal trio." You can hear it here.

Says Trevor, "I arrived in Buffalo after having spent several years in the new music scene in Germany and was more than a little unsure about my role as a composer in general. What I found at UB was an entirely open environment that had no preconceived notions about what "good" or "real" music is (or isn't), and I found a small community of musicians developing their own identities in a variety of ways.

Trevor Bjorklund

"My composition teachers there (Jeffrey Stadelman for my first year and then David Felder) whole-heartedly supported the exploration and development of my own unique artistic personality. They were also extremely patient with me as I went through the shock of re-entery into the States after having lived abroad. I was provided with opportunities to hear my own creations performed by some stunningly talented and dedicated musicians. In fact, without David's gentle but consistent encouragement, I could never have even begun composing some of my most successful pieces... not necessarily successful because they are masterworks of the 21st century, but because they form an honest reflection of my own particular musical perspective. For me, creating honest work is the single most important thing an artist can do.

"Although Buffalo is a small city, seemingly remote from the larger American new music community, it is a place of where astounding musical events transpire. In my humble opinion, June in Buffalo has become one of the best, if not THE best, festivals for new music in America and trumps some of the more well-known European festivals. During my tenure as a graduate student and since, David Felder continually ups the ante, bringing in some of the best performers in the world to perform contemporary masterworks, read and perform student pieces, and lecture about their work.

"Another important aspect of my UB education was an excellent platform for professional development. I had the opportunity to teach a variety of important courses that prepared me (and qualified me!) for the post-graduate school world of American Academia. The constant and continued support and advice I received from my teachers and especially my advisor, David Felder, have led me to opportunities for performances and employment that would never have happened had I chosen a different path.

"I recently visited Buffalo and the feeling of walking into Baird Hall was like coming home. There is a family there, my family, and UB and I will remain lifelong friends."