Skip to main content

New curator, John Teske

At the recent Salon in May, Tom Baker announced he will be stepping down as curator. Tom will still be involved as a board member and I (John Teske) will be taking over the Salon hosting, booking, and communications. I am excited to step into this role and look forward to continuing Tom's great work fostering the development, presentation, appreciation of new music in our community. If we haven't met and you'd like to have a piece on a future Salon, feel free to send me an email or catch me after a Salon. Also, if you're not familiar with my work, there are many listening samples on my website.

Tom and I thought it would be nice at this transition to give a recap of the Salon history: The Seattle Composers' Salon was first hosted by Christian Asplund in in the summer of 1999. He moved away shortly thereafter and Tom Baker became the host in the fall. The Salon was first held at the Mennonite Church in Lake City, then moved to Soundbridge at Benaroya Hall, and is now in residence on the Wayward Music Series at the Chapel Performance Space. Over the years, there have been more than: 80 salons, 300 compositions, 700 performers, and 130 individual composers. The Salon has commissioned new work, sponsored concerts, and held events such as Phil Kline's Unsilent Night, the New Music Holiday Office Party, and the Is That Jazz? Festival. The Salon has featured local, regional and national composers including John Adams, Gabriela Lena Frank, Joel-Francois Durand, Wayne Horvitz, and Martin Bresnik.

Popular posts from this blog

May 2018 Previews

Jay HamiltonMy Muse, & Equal Temperament, cello and pre-recorded dialogueThese two pieces are part of a work The End and Then…? presented on June 23rd at Velocity Dance Center Seattle. The show is mostly dance with music/dialogues begins with a funeral ends with a murder….and some of it funny. This is a one person performance (7 parts) I will be dancing during in the other 5 pieces sections.soundand.com/Gavin BorchertMazurka, for piano
Berceuse, for pianoPeter Nelson-KingThe Magpie’s Shadow, for solo pianoThe Magpie’s Shadow takes its inspiration from a poem sequence of the same name by Yvor Winters. Inspired by a line by Rimbaud - O saisons, o chateaux! - each poem is a single line of six syllables, a form invented by Winters. 28 poems are arranged in three sections, and my work has 28 aphoristic pieces based on each poem and grouped in the same section plan and same order. The poems depict mysterious, symbolic scenes in nature, possibly a dream landscape the narrator travers…

January 2018 Previews

Carson FarleyFilm Music, for piano, cello, and fluteFilm Music was composed for a commercial video project for sculptor R. Carlson. Originally scored for piano, string quartet, and synthesizer, this version has been arranged for piano, cello, and flute. Though I am usually a structural composer, this piece was written quickly and entirely from a visual perspective to conform to the visual content of the video project. It has a very simple surface texture with themes, transitions, and modulations from section to section.carsonicsproductions.com/Aaron KeytMusic for Wallace, for pianoWhile living in Somerville, MA for a couple years, we adopted an old, neglected spinet piano. We named the piano Wallace. I wrote an album of short, mostly simple pieces for Wallace, a few of which will be played at the Salon.Ian McKnightThe Trees Awaken, for alto flute, cello, and pianoThis tone poem describes a sleeping forest that comes to life with dancing tree folk before returning to its slumber. …

July Salon Previews

Susan Maughlin WoodSonatina for Violin and Piano, Parallel Plaid
I. Stim
II. Transist
III. Off ScriptSpectratta
"We are all on the spectrum."The inner world is complete unto itself, but invites understanding. I am adding a video element to my new sonatina Parallel Plaid to highlight ways in which people* anywhere on the ASD and so-called ADHD spectrums (i.e. everyone) both identify with, and to some extent are, ourselves, wind-up toys going about our lives single-mindedly. Focus is absolute, but fleeting in its direction. Intensity is laser-sharp, but short-lived and not easily controlled. *the complexity of people defies labeling, but insofar as labels exist, the spectrum model (think prismatic solid circle as opposed to single line) most closely represents our differences within a given shared aspect of humanity. For every aspect, the spectrum model is inclusive and shows that everyone shares certain traits and only differ in the degree to which they possess those traits a…