"Dreams, Improvisations for Piano, combines sections from an earlier piece, Explorations. These selected movements are examples of reordering of musical material from the earlier piece, that give a kind of floating dream-like impression, in a similar manner as actual dreams seem to reorder and juxtapose experiences and events from reality in a new or unusual way, but with a different image or message. Dreams, Improvisations comprises six movements: Project, Dream 1, Dream 2, Improvisation, Dream 4, Dream 5."
"How can I not own my own composition? When music is fundamentally motion, what keeps everything separate? Is there a continuity to brokenness?" Ann explores these questions with her etude Three of a Kind for String Bass, Banjo, and Piano.
Nadya Kadrevis and Jeremy Shaskus
Nadya and Jeremy will present a selection from Trinity, a work in three parts: creation, destruction, and redemption. Part one will be performed on the March 6 salon.
From Nadya: "I was inspired by the parallels between Hinduism and Christianity when I was in India in 2013 shooting my documentary. The inspiration took form when I met Jeremy and we decided to collaborate on the music; staying true to the mythology developing in my mind, we created part one. The cello represents Brahmin the eternal pulse of life, the piano represents Shiva the creator/destroyer, and the soprano saxophone represents Vishnu the redeemer."
"I’ll be presenting the first version of a piece entitled '16 Harvesters, Optimum Saturation' for Neijing Ensemble.
My goal for this Salon is to present a particular process I’ve been working with to create pieces over the last few years. Often, generating meaningful and exciting content to begin framing and structuring a piece of a music can be difficult. The way I’ve started approaching this is by improvising textures, ideas and structures with other players. I met with bassist Carmen Rothwell several times to explore a variety of extended technique gestures she uses. In our sessions we developed these ideas further and improvised together. This gave inspiration for mini-forms and improvisational areas—which was my main goal for these initial sessions. Eventually, there was enough material discovered to structure a larger form and score which resembles more of an extended piece of music.
This first form is usually the first and very rough draft of the piece. There are always many improvising sections still in the form and the players get to navigate these and be creative. It’s these next attempts at reading through the form which provides me with the content and ideas to structure the next version. There is so much room for improvising that inevitably the ensemble comes up with a goldmine of great musical ideas I would never have thought of—and is especially true when the musicians are experienced and talented improvisers. The goal for me as a composer in this context is to elevate what an improvising ensemble might create on their own by constantly creating more compositional structures which incorporate what is spontaneously created. The cycle of improvising > structuring > improvising > structuring yields unique results which I could never achieve on my own in a room with a score and a pencil. Improvising is such a deep and powerful art form and to marry it with composition in a way that elevates both simultaneously is the goal of my experimentations.
With that in mind, I hope that in listening to this first version of the piece, one can hear the glimmers of more developed composition starting to shine through the improvising, and the improvising to shine through the composition."
Hear Ivan's new work and works by Neil Welch, Cole Bratcher, and Matthew James Briggs at the January 9, 2015 Salon. This month's salon will be preceded by a New Music Holiday Party, starting at 6:30pm.
"There is a word, 'Puhpohwee,' which in the Potawatomi Native American language translates as 'the force which causes mushrooms to push up through the Earth overnight." In some cultures language serves to illuminate the world rather than simply describe it. These languages express old things, old feelings and archaic values of the land. This solo composition is my reflection on the nature of indigenous language and its influence over our perception of the world. Through this composition I hope to give the listener a richer view of my own world, a view which might otherwise not be possible with my native tongue."
Hear Neil's Puhpohwee and works by Cole Bratcher, Ivan Arteaga, and Matthew James Briggs at the January 9, 2015 Salon. This month's salon will be preceded by a New Music Holiday Party, starting at 6:30pm.
Seattle Composers' Salon
An evening of music and discussion with Seattle composers:
Neil Welch Cole Bratcher Ivan Arteaga Matthew James Briggs
New Music Holiday Office Party
The January salon will be preceded by a New Music Holiday Office Party from 6:30-8 PM, allowing a chance for the composers, performers, and listeners of the new music community to have their own holiday office party. Live music by cellist Carson Farley, a casual CD exchange, and non-alcoholic cider and snacks. So please come early and feel free to bring any CDs you’d like to share!
Friday, January 9, 2015
New Music Holiday Office Party: 6:30-8:00 PM
Composers' Salon: 8:00 PM
Chapel Performance Space (link), 4649 Sunnyside Ave. N, 4th Floor