7 statements.

 

  1. Saying that the view of “the composer should be free of the expectations of the audience” is analogous to the “Why pass gun laws? Criminals will still get guns” view of gun control is not provocative; it is ignorant, petty, and cheap.
  2. Have some respect for your audience. They can make their own interpretations and form their own opinions. Get out of their way.
  3. Debate and criticism are healthy and inherently good activities.
  4. The lighting of the performance space and attire of the performers has nothing to do with the quality of the performance. There have been many bad performances given by well-dressed people in well-lit spaces.
  5. Anyone who is any good at anything trained and continues to train. They seek out instruction, take what they need from the instruction, and never stop improving their craft. No one is impressed with the fact that you never took a lesson; it’s not a badge of honor. At the same time, training and mentoring are not exclusive to the campuses of expensive private institutions and Big Ten powerhouses.
  6. A well-made piece can be any duration. I’d rather hear a well-made piece that lasts one minute than a mediocre piece lasting ten. On the other hand, we should not fear the evening-length composition. There are many well-made pieces lasting over an hour.
  7. Insulating yourself and your art with only the familiar is a recipe for becoming annoyingly stale and obnoxiously narcissistic. Take a hint from Christopher Hitchens and step away from your home turf every once in a while.

In Memoriam Ted Rounds

Two weeks ago, I received an email from my teacher, mentor, colleague, and friend Ted Rounds. The letter was addressed to many alumni of the percussion studio at Kent State University. In his straightforward and direct manner, Ted explained that he had end-stage cancer. Today, I received word that Ted had peacefully passed away last night.

The last 12 hours has brought an outpouring of beautiful tributes to Ted on social media. Many of them resonate with the same theme: a caring, thoughtful mentor who taught us the value of hard work. Yes, the hard work was taught with intensity, as anyone who survived percussion ensemble rehearsals will tell you. However, I will always remember Ted telling us that no matter what we are doing, no matter what the job was, we must do it with genuine care.

I think that will always be the word I return to when I think of Ted: care. I was a member of the percussion studio from 1999-2005, and then I was able to be around from 2006-2007 as a composer and then from 2011-2014 as a professor. While the people, literature, and practice room designs changed (except for the Lacquer, Chrome, and Thunder poster), the environment of family never left the corner of the hallway where the percussion studios are. You knew, as a member of Ted’s studio, that you always had a place to go, people to lean on, and a teacher who cared about you not only as a musician but as a person and as a friend. I think back to all of the good and bad times in my life: Ted was there, either in the distance as a friend offering help and advice, or right there as an advocate in my corner. When it came to those he cared about, the man gave a damn, and today those kind of people are few and far between. The world is a little less bright today. Chas Baker said it best in his thoughtful note about Ted: words fail. Chas is correct; what the hell do you say?

I’m sad that I have no pictures to post as a tribute. In their absence, I’d like to post a recording. It’s not of Ted performing or of a piece Ted wrote, but it’s a piece that, for me, reminds me of Ted whenever I hear it. It was the first major piece of percussion literature that I worked on with Ted: Andrew Thomas’ Merlin. It was in these lessons where I was able to learn the most about my teacher. He had a special connection with the piece, and his input about past performances went well beyond the technical considerations. Also, as a composition, the structure is very much like Ted: one part calm and contemplative, the other fiery, active, and intense. Both parts, though, are variations on the same progression. Without one there is not the other.

When I contacted Ted after receiving his correspondence from two weeks ago, I began by telling him that I had no idea what to say to him. I still don’t know what to say; again, Chas is correct. All I know is that I’m thankful. I’m thankful that I was able to work with Ted as his student, his assistant, his colleague, and his friend. Ted taught me a lot about music, but I also learned from him a certain spirit of individuality and honesty that I’ll carry with me for the rest of my life.

Allow me to close with a memory: My last performance as a percussionist at Kent State was in May of 2005. The KSU Orchestra and Choirs performed all of Carl Orff’s Carmina Burana. It’s a packed house; not one empty chair. We were a mixed bag of a percussion section, ranging from a graduate student to a couple of freshman. I’ll never forget the last note, the last fermata, the final cutoff. The crowd, as a crowd usually does at the end of that piece, jumps to their feet. All but one. There, in the front row of the balcony, in a t-shirt that reads “If it’s too loud, you’re too old,” is Ted, still sitting, arms raised in victory, beaming with genuine pride.

Thank you, Ted, for everything.

 

2016 UNK New Music Festival Call for Scores!!!

University of Nebraska Kearney New Music Festival XV

March 11-12, 2016

The University of Nebraska Kearney is excited to announce its New Music Festival XV, being held on March 11-12, 2016 on the UNK campus in Kearney, Nebraska. Deadline for receipt is November 1, 2015. There is no fee to submit to the festival. If selected, participants are responsible for their own transportation and accommodations.

Call for Scores: Composers are invited to submit scores no more than 12 minutes in duration. Works involving electronics, graphic notation, and open instrumentation are welcome. There are three categories for submission:

Category 1: The guest ensemble for this year’s festival will be the Verismo Trio (www.verismotrio.com). Pieces for the following instrumentation (no duets or solos) will be accepted:

Flute (doubling piccolo and alto flute)

Saxophone (soprano, alto, tenor)

Piano

Category 2: UNK Faculty and Student Performers. Solo and chamber scores for subsets of the following instruments and voices:

UNK Faculty: Flute (doubling piccolo and alto), Clarinet, Bass Clarinet, Trumpet, Euphonium/Tuba, Piano, Percussion (2), Mezzo-Soprano voice, Baritone voice.

UNK Students: Flute, Oboe, Clarinet, Bass Clarinet, Saxophone (Soprano, Alto, Tenor), Piano, Violin, Cello, Double Bass, Electric Guitar, Electric Bass, Soprano voice, Mezzo-Soprano voice.

Category 3: Solo and Chamber works where the composer provides the performer or is the performer. This includes fixed media pieces as well.

The following should be sent to UNKnewmusic@gmail.com:

  1. PDF scores with the date of composition and duration. Composers may submit up to two (2) scores for consideration. Do not send parts at this time.
  2. Links to recordings. If no links are available, you may attach a sound file. MIDI files will be accepted.
  3. A PDF with the following information:
    1. Composer’s name, contact information, and a short bio.
    2. Program notes and performance history for all submitted scores.
  4. List of any technical needs.

Questions can be sent to UNKnewmusic@gmail.com

Deadline for receipt is November 1, 2015.

Feldman and O’Hara’s “Three Voices”

Kayleigh Butcher’s excellent post about Feldman’s Three Voices, being performed this Thursday at High Concept Laboratories by Quince.

thisistheHCLblog

Kayleigh Butcher is a founding member of former High Concept Labs Sponsored Artists Quince Contemporary Vocal Ensemble. They perform Morton Feldman’s Three Voices on Thursday, August 6 at HCL

Morton Feldman Morton Feldman

Three Voices is a sublime piece that both mesmerizes and stupefies. 

The length, the tunings, the melismas, textures, the range, the relentlessness—it’s challenging in a way that is unlike any other piece in the unaccompanied solo voice repertoire, and certainly in ways that Quince could not have foreseen.

This piece was written initially for one singer to perform with two looming, black loudspeakers performing the other vocal lines rather than three live singers.

Frank O'Hara Frank O’Hara

Feldman wrote the piece in memoriam to Frank O’Hara, a NYC poet who was very good friends with Feldman. O’Hara was a prominent figure in “The New York School” of poets and was very inspired by music, dance, and painting (specifically…

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