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.)Read More
When asked in a 1991 interview with Bruce Duffie if his music was in some way specifically African-American, Olly Wilson Jr responded that “because [his] experience has been an African-American experience” his music necessarily reflects that, “[b]ut that is a very, very complicated kind of thing” and “there may not be discernible aspects of that music that you say, ‘Aha, that’s clearly from African American tradition.’”. So those seeing his name on a program of African-American composers and hoping for a jazz- or gospel-infused escapade are bound for disappointment.Read More
Rarely do pieces with exclamation marks in the title end well. Usually they’re a sign of desperate over-enthusiasm, and presage a pandering piece of peppy schlock, so determined to be relentlessly upbeat that all concerns for musical quality are cast carelessly aside. There are exceptions, but they’re few and far enough between that I approached Rehnqvist’s Arktis Arktis! with some trepidation. Happily, my misgivings were misguided.Read More
There are certain strands of contemporary music making that I don't spend a lot of time swimming in. Compositions built around shifting fields of textures is one — I am a melodist at heart, and such pieces often pass right over my head, leaving me mostly unmoved. Every now and again, tho, one comes along that is so skillfully, deftly done that it breaks thru, and in those moments I feel like I really get what this style of music is all about.
One such piece is Aeriality by Anna Thorvaldsdóttir.Read More
Andreas Makris was born 7 March, 1930 in Salonika, Greece, and spent the early years of his life there. His early piano studies were cut short by the outbreak of World War Two, but then his father traded salt and olive oil to a starving man in exchange for a violin, and Makris began teaching himself that instrument. After graduating from the national conservatory in Greece, he emigrated to the United States in 1950, and ultimately graduated from the Mannes School of Music in 1956, before going on to continue studying at the Aspen Music Festival and, subsequently, traveling to Paris to study with Nadia Boulanger. Instead of staying in France or returning to Greece as might be expected, he settled back in the United States, quickly taking a position in the violin section of the National Symphony Orchestra, where he played for 28 years.Read More
By now, even if you've only read half of these posts, you're probably familiar with the trope of the composer who starts writing music at a very early age and never looks back. It's true that many composers do follow this trajectory, but by no means is it the one and only life path, and today we feature a work by Margaret Brouwer (b. 1940), a composer who took a rather more roundabout route to the composing life.
Roundabout, but not entirely out of left field. Instead of diving into life with the intent to write music, Brouwer initially set out to be a professional violinist. (In an interview over at New Music Box, she says that one reason she was slow to come to composition was that she simply didn't know women could be composers, given the overwhelming maleness of the average concert program.) She majored in violin performance at the Oberlin Conservatory, and ultimately wound up living and working down in Dallas. She had quite a successful career, too, working as a freelancer for numerous recording gigs and also landing positions with both the Fort Worth Opera and the Dallas Symphony Orchestra. For many musicians, this is the dream life, and she was living it.
Over the years, tho, she had started writing music, at first for children at summer camps or for her friends to play, and she gradually began to ramp up her compositional activities. There was no big epiphany moment, but she ultimately decided that she wanted to switch over to writing instead of playing primarily. Since she was supporting two children as a single mother, she didn't want to strike out as a freelancing composer (a proposition even more financially risky than being a freelance performer), and went to Indiana University to earn a DMA in composition instead. As soon as she graduated, she managed to land a job teaching composition, and would go on to serve as the chair of the composition department at the Cleveland Institute of Music (where she is currently a professor emerita) from 1996 to 2008. Despite having little to show for her nascent compositional efforts prior to 1980, she's had a dazzlingly successful career, with commissions coming from major orchestras all around the country and a plethora of prestigious awards, up to and including the Guggenheim Award in 2004.
Unlike many composers who came of age in mid-century America, Brouwer resists being pigeonholed into one specific compositional style. She's quite happy to deploy the techniques of Minimalism and Serialism in the same work, despite the radically opposed foundations of these schools. (Indeed, in many ways Minimalism was founded in direct and strident opposition to Serialism.) This freewheeling stylistic eclecticism is more often a characteristic of the current generation of up-and-coming composers, but Margaret Brouwer beat us to the punch. (She is, of course, not entirely alone in this — there have always been elements of stylistic blending in American composition — but she does it exceptionally well.) As such, her pieces live in a wide variety of sound worlds, to the point that if you didn't know better, you might think they weren't all written by the same person.
With that in mind, today we're featuring a rather Neo-Romantic work, but it would be a mistake to flag Brouwer exclusively as a Neo-Romantic composer. Remembrances (1996) was written for the Roanoke Symphony Orchestra in memory of Robert Stewart, a close friend of Brouwer's. It begins with a dull pounding in the timpani followed by searching, aimless strings, conveying the ache and emptiness of loss. The brass and woodwind instruments enter gradually, building to a climax that launches a faster, murmuring section, seeming to conjure up fleeting memories of happier times. (Stewart was a sailor, among other things, and this music certainly seems to capture the rush of ploughing thru the waves.) After a stirring, expansive climax, the music ebbs to a darker, stiller place, echoing the opening sorrow.
Echoes of the faster music ensue, now scored more delicately, as tho only glimpsed faintly, from afar. This sets the stage for several intimate, lyrical woodwind solos, seeming to emerge like personal speakers at a wake, haloed gently with warm and resonant strings. These individualized memories dissolve into another collective tutti, one that, perhaps unintentionally, hints at "America the Beautiful". This memory sours, collapsing back into the rushing music from before, which builds to a reprise of the earlier climax, this time not ebbing away so much as disintegrating under the strain of the emotional intensity. An extensive coda ensues, projecting a final mood of hard-won acceptance, and maybe even hope.