Graffiti
Present Music
Kevin Stalheim, Artistic
Director
Innova 729
1. Elena Kats-Chernin: Village
Idiot
2. Randall Woolf: Motor City Requiem
3- 13. Armando Luna: Graffiti
1.
Elena Kats-Chernin: Village Idiot (2007) 16:47
Commissioned by Gwen and Jim Plunkett
for Present Music
Eric Segnitz, violin; Sharan Leventhal, violin; Brek Renzelman, viola; Karl Lavine, cello; Collins Trier, bass; Phillip Bush, harpsichord;
Terry Smirl, percussion; Dave Lussier,
trombone; Don Sipe, trumpet; Greg Flint, French horn;
Jason Seed, electric guitar; Stas Venglevski,
bayan accordion
2.
Randall Woolf: Motor City Requiem (2006) 9:37
Commissioned by Paul and Marilyn Meissner for Present Music
Eric Segnitz, violin; Jeffrey Yang,
violin; Brek Renzelman,
viola;
Karl Lavine, cello; Phillip Bush,
piano
Armando
Luna: Graffiti (2006), in 11
movements (21:18)
Commissioned by Ronald and Bett Jacquart for Present Music
3. Johann
Sebastian Bach 1:45
4. Bela Bartok 1:54
5. Dave
Brubeck 2:00
6. Chick
Corea 1:39
7. Alfred
Schnittke 1:52
8. Benny
Goodman 1:48
9. Arthur
Honegger 2:01
10. Franz
Joseph Haydn 1:41
11. Dimitri Shostakovich 1:48
12. George
Gershwin 3:02
13. Alberto
Ginastera 1:48
Additional funding for these commissions
and world premiere recordings has been provided by: the American Composers
Forum, the Argosy Contemporary Music Fund,
the Present Music Board of Directors, and
by a generous anonymous donor.
Kevin Stalheim, conductor; Eric Segnitz, violin; Susan Waterbury, violin; Brek Renzelman, viola; Karl Lavine, cello; Dan Armstrong, bass;Marie Sander, flute; William Helmers,
clarinet; Phillip Bush, piano; Terry Smirl,
percussion; Linda Siegel, percussion; Les Thimmig,
saxophones; Jonathan Winkle, trombone; Don Sipe,
trumpet
Village Idiot
In
September 2006 there was an exhibition of painters with schizophrenia in
Sydney, in which the paintings and drawings of my son were exhibited and for
which I wrote some pieces. During
the exhibition and accompanying events I witnessed some amazing artists at
work, including one poet who wrote a poem called ÒVillage Idiot.Ó
It
is often the case when the illness is acute, that through sheer incoherence of
speech and confused thoughts, sometimes something incredibly profound gets
spoken and then it disappears again into a mumbling sort of Ògibberish.Ó I am
so used to this with my middle son Alexander who has suffered from the illness
for the last eight years. Many pieces that IÕve written since his illness have
been inspired or influenced by him, even in indirect ways. As far as musical ideas grew, early on
I decided to give the E-guitar the role of the village idiot, though not so
strictly speaking, of course. The
combination of E-guitar, harpsichord and accordion was vital in establishing
the basic sound, which is built on a relentless force of energy for a length of
time.
-Elena
Kats-Chernin
Born in 1957 in Tashkent
(Uzbekistan), Elena Kats-Chernin studied in Moscow
before emigrating to Australia in 1975 where she
studied composition at the New South Wales Conservatory and then with Helmut Lachenmann in Germany. She has since become one of
AustraliaÕs leading composers, and her dramatically vivid music communicates a
mixture of lightheartedness and heavy melancholy, combining strong rhythmic
figures with elements of cabaret, tango, ragtime, and klezmer. Clocks (1993) for ensemble and
pre-recorded tape was an artistic breakthrough,
earning her widespread attention. In 1996 her Cadences, Deviations and
Scarlatti won the Sounds Australian Award; in the same year she was also
awarded the Jean Bogan Memorial Prize for the string
quartet piece Charleston Noir. Her score for the ballet Wild Swans,
choreographed by Meryl Tankard for the Australian Ballet in 2003, received
acclaimed premieres in Sydney and Melbourne and has since attracted millions of
listeners through subsequent performances, a recording on ABC Classics and a
high profile ad campaign by the British bank Lloyds TBS that uses her
music. Elena Kats-Chernin is published by Boosey
& Hawkes.
Motor City Requiem
I
grew up in Detroit in the 1960Õs.
Despite the townÕs scary reputation, I have very happy memories of my
neighborhood and the time I spent there.
Motown and soul music were in the air, black and white people got along
fine (as far as I could see), and our band of kids played around and wrestled
on the front lawns. Where we lived, there
was nothing to be afraid of. Then,
in 1967, the riots started. The
police raided a homecoming party for a Vietnam vet, which took place in an unlicensed
bar or Òblind pig.Ó A crowd
gathered and began to protest, someone started to break storefront windows, and
some others started looting. This led to widespread vandalism, fires, snipers,
and a state of war between the police and citizens. The national guard was brought in
and then the 82nd national airborne division. It ended after five days of some of the worst rioting in
U.S. history. Detroit has never
been the same since.
In
Motor City Requiem I try to capture the view of what Detroit was through the
glass of what it has become. Motor
City Requiem is for piano, string quartet, and a backdrop of electronic sounds
made from tiny distorted fragments of Motown songs. While there are no Motown songs in the instrumental parts, I
did try to capture some of that sonic atmosphere.
-Randall
Woolf
Randall Woolf discovered classical
music for himself in college, having spent high school in the usual garage-rock
bands. He studied composition privately from 1982 to 1987, taking 3 years of
counterpoint and harmony lessons in the Schoenberg tradition and later studied
orchestration and composition privately with David Del Tredici. In 1989, he was a fellow at Tanglewood. He resides in Brooklyn with his wife, pianist
and raconteuse Kathleen SupovŽ. His music ranges from the purely
traditional classical media to the entirely electronic and theatrical, though
he is happiest between these extremes. His work is frequently
performed by groups such as the Seattle Symphony, Pittsburgh New Music
Ensemble, the Paul Dresher Ensemble, Bang On A Can/SPIT Orchestra, American
Composers Orchestra, Dinosaur Annex, and the Society for New Music,
among others.
Graffiti
Éfor thirteen players is a homage as Òmusical graffitiÓ to
eleven famous historical composers.
LunaÕs
work comes at you with a nod and a wink as he uses the styles of Bach, Bartok,
Benny Goodman, Shostakovich and others as jumping off points for his own
gleefully raucous and busy idiom. Bits of the source composers glint through
LunaÕs vivid, squawking tropical forests of sound. The hide-and-seek aspect of
it amuses and surprises, and if you donÕt know the sources, you can still enjoy
the color and energy.
-Tom
Strini, Milwaukee Journal Sentinel
Armando Luna was born in 1964 in
Chihuahua, Mexico where he began his music studies with Maestro Juan Manuel
Medina. In 1980, Luna studied
composition with Mario Lavista at the National
Conservatory of Music. From 1989
to 1991 he furthered his studies and obtained a Masters Degree in composition
from PittsburghÕs Carnegie Mellon University. There he worked with Leonardo Balada,
Reza Vali and Lukas Foss. In 1990 and 1998 he obtained the grant for young composers
given by the Òfondo Nacional
para la Cultura y las ArtesÓ and in 2000 he was
distinguished as one of the composers of the ÒSistema
Nacional de Creadores de
Arte.Ó Since 1993 he has taught
Composition and Instrumentation at both the
National Conservatory of Music and the State of Mexico Conservatory.
Village
Idiot by
Elena Kats-Chernin
Recorded:
April 22, 2007 – Milwaukee Youth Arts Center
Recording
Engineers: Ric Probst and
Steve Kutgen of
Remote
Planet, Milwaukee, WI
Producers:
Elena Kats-Chernin and Kevin Stalheim
Mixing
& Editing: Kevin Stalheim and Ric Probst
Publisher:
Boosey & Hawkes,
NY/London
Motor
City Requiem by Randall Woolf
Recorded: January 7, 2007 – John Tanner Studio,
Milwaukee, WI
Recording
Engineers: Ric Probst and
Steve Kutgen of
Remote
Planet, Milwaukee, WI
Producer: Randall Woolf
Mixing:
Randall Woolf and Sheldon Steiger at MajorWho Media, NY, NY
Editing:
Eric Segnitz and Ric Probst
Graffiti
by Armando Luna
Recorded:
September 10, 2006 – Milwaukee Youth Arts Center
Recording
Engineers: Ric Probst and
Steve Kutgen of
Remote
Planet, Milwaukee, WI
Producers:
Armando Luna & Kevin Stalheim
Mixing
& Editing: Kevin Stalheim & Ric Probst
innova is supported by an endowment
from the McKnight Foundation
Philip
Blackburn: Director, design
Chris Campbell: operations
manager www.innova.mu