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Exclusive Interview with Gilbert Kalish

Ian — Fri, 04 Dec 2009 04:45:04 +0000

I had the pleasure today of sitting down with Gilbert Kalish, and Jeffery Meyer for another Sound Post interview. Topics on the table were: Kalish’s residency at Ithaca College, Beethoven’s Piano Concerto No. 4, his entry into the professional world of classical music, and what it is like to play under the baton of his former student, Jeffery Meyer.

Exclusive Interview with Gilbert Kalish from Ian Salmon on Vimeo.

Exclusive: Interview with Susan Waterbury

Ian — Thu, 29 Oct 2009 02:06:05 +0000

I had the pleasure of sitting down today with Susan Waterbury, Associate Professor of Violin at Ithaca College. In this Sound Post exclusive interview, Ms. Waterbury talks about the inspiration for her upcoming recital, the experience of collaborating with Jeffery Meyer, and the importance of musicians reaching out into their communities to spread their talent.

Susan Waterbury is Associate Professor of Violin at Ithaca College and a former member of the renowned Cavani Quartet. Waterbury has given masterclasses and recitals in major conservatories both in the US and abroad. She studied with Donald Weilerstein.

Check out her recital on Sunday November 1 at 4pm in Hockett Recital Hall at Ithaca College. Video after the link.

Exclusive Interview with Susan Waterbury from Ian Salmon on Vimeo.

Exclusive Interview: August Kleinzahler on Music I-LXXIV

Ian — Tue, 27 Oct 2009 01:14:44 +0000

Here it is! My exclusive interview with August Kleinzahler. If you aren’t familiar with this man, you soon will be.

Fighting jet lag from his recent trip to Birmingham, England, Augie sat down with The Sound Post for a midnight interview about his latest book, Music I-LXXIV. A collection of essays from his weekly column in the San Diego Reader and other publications, the New York Times praises the book, “The battered, roomy, intellectual charm of his poetry floods these music pieces; they’re offhanded and penetrating at the same time.”

In this Sound Post exclusive interview he discusses everything from the day he cut study hall and first tried his hand at poetry, to his hatred of iPods. This lighthearted interview really captures the man behind the words.

Augie won the 2008 National Book Critics Circle Award in Poetry. He has published ten poetry books, including “Sleeping It Off in Rapid City”, which the Times calls “one of the decades best collections.” Music I-LXXIV is his first venture outside of the genre. His essays range from 2-10 pages in length and are full of hilarity, history, and at times, downright absurdity. It represents the perfect bathroom or bedside read for musicians. And at the least, you will come out with a new list of recording to hear – and some to avoid (San Francisco Chronicle).

For more information about August Kleinzahler, explore the links below!

Poets.org profile, including extended professional biography

New York Times review of Music I-LXXIV

San Francisco Chronicle review

Purchase Music I-LXXIV

Exclusive: Interview With Conductor Jeffery Meyer

Colin Oettle — Fri, 02 Oct 2009 15:57:13 +0000

Today’s interview is with Dr. Jeffery Meyer. He is the Director of Orchestras at Ithaca College, Artistic Director of the St. Petersburg Chamber Philharmonic, and Artistic Director of the Water City Chamber Orchestra. Meyer will lead the opening performance of Ithaca College’s 09-10 season tomorrow night, Saturday October 3rd. One of the works on the program is Jeu de Timbres by Steven Stucky, who we interviewed yesterday (see his interview here).

Also scheduled is Ravel’s Ma Mère l’Oye (Mother Goose Suite), and Berlioz’s Symphony Fantastique, op. 14. The concert takes place tomorrow night, Saturday October 3rd, at 8:15pm in Ford Hall, Ithaca College.

Please click on through for the video interview and full written transcript.

Sound Post News: Hi everyone this is Ian with another Sound Post News Video Blog.

Here with me today is Dr. Jeffery Meyer, Director of Orchestras at Ithaca College, also the Artistic Director of the St. Petersburg Chamber Philharmonic. Thank you Dr. Meyer for being with us today.

We’re here to talk about the Ithaca College Symphony Orchestra. Tomorrow night, Saturday October 3rd, opens the 2009-2010 season. On the program is Stucky, Ravel, and Berlioz. Could you tell us a little bit about this program and what inspired you to choose this repertoire?

Jeffery Meyer: Well, the Berlioz is the centerpiece of the program. It’s interesting—I don’t know if you were paying attention—both one of the early concerts with Dudamel and LA Phil was Berlioz’s Symphony Fantastique. There’s an incredible recording available on iTunes with that performance. And also the debut of Alan Gilbert with New York Phil was also Berlioz. It’s interesting—I didn’t know these things were going on, but I don’t think it’s just in the air. I think this piece is a showcase for both orchestras and conductors. So it’s been on my list to do with this orchestra for some time. It is such a virtuosic showpiece for everyone involved. So the program started with that germ. And then I spoke to Steve Stucky earlier in the spring I think, about a piece that would be appropriate to do here. I’m not sure if you know, but Steve is turning 60 this year—so it’s a big anniversary—and I thought it would be the right time to do something of Steve’s. So he suggested this as a possibility. And the program then is filled out with Ravel. And the whole program then falls within this kind of French orchestral idea, so there’s a real unity to the program which I like a lot.

SPN: If you haven’t caught it yet, Steven Stucky did a great interview with us yesterday (link). He talked about his piece Jeu de Timbres—as he said yesterday, lots of French moments and we’ll see it tying together. So tomorrow night, first concert of the season, what do you look forward to most in working with the Ithaca College Symphony Orchestra as compared to your experiences with the St. Petersburg Chamber Philharmonic?

JM: Well there’s a few things. The exciting part about working with younger musicians: the growth rate is fast but of course the rehearsal cycle is over a longer period of time. With a professional orchestra you come in, you conduct 3-4 rehearsals, have a concert, and it’s done. But there’s a development process that happens over 5 or 6 weeks of rehearsal which is very exciting to partake in. And as a conductor I get to dig into these works in a deeper way than I do in some ways working with professionals, because I have to take apart everything. Nothing happens by itself really. So I get to know the work in a really intimate way. And then to watch the students grow is pretty fascinating and exciting. This is a very large undertaking for a first concert, and there’s a lot of younger players in this orchestra because there was a big incoming class this year. I sort of feel like I took most of the players, especially the first year players, and threw them into the deep end of the orchestral waters to see if they would swim, and they are.

SPN: As Mr. Stucky said yesterday, his piece Jeu de Timbres is a showpiece designed for a professional caliber orchestra, and he seemed pleased with how the orchestra is doing—and we all know Berlioz is not a walk n the park either.

JM: No, it’s virtuosic for everybody. Everybody has something to do. I don’t think there’s an instrument that’s not called upon to do something difficult and extraordinary. It’s a great piece. And Steve’s piece, it quotes Ravel as you know—I watched the interview this morning—and then we play Ravel right after that, so the program has a really nice flow to it.

SPN: So for the most part it’s very high energy, very French.

JM: Yeah, although the Ravel is certainly the most calm of all the pieces. Steve’s piece is brilliant—it was written as an encore so we’re using it as an opener. It sort of fills the same function to either start or end something with great energy. And then the Ravel is mostly calm, beautiful wind solos. It calls on every instrument in the wind section, including a very difficult contrabassoon solo, which Noah is doing a very good job on. And that’s a little bit more calm. The whole Ravel piece inhabits a more quiet, fairy like role. And of course Berlioz is off the deep end.

SPN: Certainly a concert to catch. Again the concert is at 8:15pm tomorrow night, October 3rd in Ford Hall at Ithaca College.

Exclusive: Interview With Steven Stucky

Colin Oettle — Thu, 01 Oct 2009 21:56:35 +0000

Our very own Ian Salmon conducted an exclusive interview with composer Steven Stucky regarding the performance of his work, Jeu de Timbres. The piece will be performed by the Ithaca College Symphony Orchestra this Saturday, October 3rd, 2009 in Ford Hall at Ithaca College under the direction of Dr. Jeff Meyer. Click to the full article for the video and transcript of the interview.

This is the premier of our video blog series, and will be followed by another interview tomorrow, October 2nd, 2009, with Ithaca College Director of Orchestras Jeff Meyer. So stay tuned, and keep an eye on our new videos page.

SoundPost News: Hi everyone, this is Ian from SoundPost News. I am very fortunate to have a very special guest today. I am here with Steven Stucky, Professor of Composition at Cornell University. He is associated with the Los Angeles Philharmonic, he was the recipient of the 2005 Pulitzer Prize in Music, and he is widely regarded as one of today’s leading composers.

Mr. Stucky, thank you so much for taking some time to speak with us today.

We are here to talk about one of your more recent works, Jeu de Timbres, which will be performed by the Ithaca College Symphony Orchestra, this Saturday, October 3, under the direction of Jeffrey Meyer.

Could you tell us about the 2003 commission of this work?

Steven Stucky: It was an odd project. The National Symphony, under Leonard Slatkin at that time, developed a project in which they were going to commission encores from something like 10 or 15 composers. So I’m not sure what the philosophy was—whether it was a kind of way of hiding the new music in a safe spot on the program, or it was a way of stretching their dollars—you know because an encore doesn’t cost very much, but I think there was a time limit of 3 to 4 minutes—this piece is 4 minutes—and it was scheduled to be played at the end of a concert in January 2004 that was part of a French music festival. So that led me down the French path. The title, Jeu de Timbres, has two meanings—you could say “play of colors” or something like that, and that’s not a bad description of the piece because it’s all about colorful orchestration and vivid textures and so on, which is a usual thing. But Jeu de Timbres is also a regular phrase of French musicians. It is the name of the Glockenspiel in French. And I suppose the Glockenspiel plays a little in the piece, so it makes little inside joke on the musicians to use that phrase.

SPN: Yesterday in rehearsal with symphony orchestra you spoke about certain distinctive French moments in this piece. You said it’s not something very unique to you, that it’s something to be found in your other works. Is there a particular French composer you identify with particularly?

SS: Well, Debussy. But there’s a longer answer which is to say that the whole tradition of early 20th century French music is kind of my home territory I think. I think Debussy is one of the greatest giants in the history of music. I think more on a daily basis about Ravel because of his lay of hand on the orchestra. So in this little piece, Jeu de Timbres, there is one Ravel quote and another kind of semi quote which you may notice or may not—doesn’t matter—but they do fit. In other words, it’s already a sound role where Ravel doesn’t sound out of place.

SPN: Speaking more about the ensemble and the director in particular, this is not your first time collaborating with Dr. Jeffery Meyer. What do you look forward to about hearing his interpretations of your pieces?

SS: Well you know what’s happened at Ithaca College over last few years is that a number of young, really bright, really energetic, really interesting people have joined the family. In fact, now over quite a long time. And so, those of us who are involved, especially in contemporary music at Cornell, have developed a really strong collaboration. Didn’t used to exist. These two places used to ignore each other. But there’s a very strong traffic now, especially for 20th century music, and Jeff Meyer is right at the center of that. He’s a very brilliant musician as a pianist and composer and conductor, I’ve been very impressed watching him work with the orchestra as a conductor. I watched him do rehearsals of Sally Lamb’s piece a couple of years ago and that was first time I saw what he could do. And we talked frequently. We’d hang out together and make a programs and scheme about his conducting course that he’s started. And talk about his programs in St. Petersburg, where he’s played my music. So it’s a great pleasure to finally be doing this here at home. I’ve lived in Ithaca for nearly 40 years and what I mainly do is write for orchestra, but we almost never hear it here. Because the infrastructure for my orchestral pieces usually doesn’t exist. But I’ll tell you this—the Ithaca College Orchestra—I heard a rehearsal yesterday—as we are speaking now. It was very very good. really very impressed. All throughout the orchestra, winds brass and strings, percussion. Really first rate. It doesn’t sound like a student performance at all.

SPN: You began teaching at Conrell in 1980 I believe, so do you feel the overall direction of music in the Ithaca community and the surrounding communites is really encouraging the new music scene?

SS: There is a surprisingly good audience here for the kinds of concerts that ensemble X used to put on, or the concerts they put on at Ithaca College. Chris Kim and Cindy Johnson are doing a lot at Cornell. Jeff Meyer and Steve Peterson and the choral program are also doing a lot. I’ve written a choral piece actually for Larry Doebler’s choral festival. They have a featured composer every year, and this year it’s me, so I’ll be on South Hill more often than usual this fall

SPN: So for our viewers who are going to be in the audience on Saturday night, you mentioned there’s going to be a small Ravel quote you might pick up, you might not.

SS: Yeah, don’t look for it. I always think if you go into concert thinking it’s an exam, and there’s some questions you have to answer along the way, you’re not going to enjoy it very much. I always think that the best advice to listeners, and I include myself, is relax and see what happens. Don’t think of it as an obstacle course, or as a lecture, or as a seminar or as something that has a specific content that you are supposed to be tuned into. In my aesthetic, music that doesn’t grab you because it’s lively or vivid or colorful or dark or dramatic or emotional—that somehow doesn’t immediately get your attention—is failing anyway. And that’s not the listener’s fault—its the composer’s.

SPN: If I were to flip the question from an orchestral musician’s standpoint, if you had to say anything to them two days out from performance, one rehearsal—dress rehearsal left, what would it be?

SS: Well they’re already doing very well. The piece is a little bit hard—in fact it’s not just a little bit hard, it’s quite hard—because it was meant to be a brilliant showpiece for a top professional orchestra. So the fact that they’re playing it as if they are a top professional orchestra, and that it sounds like a brilliant showpiece, means they’re doing the right things. I was an orchestral musician for a long time at a fairly low level—I mean college and community orchestras—I was never really a full fledged professional. But I played viola for probably 20 or 30 years in orchestras. I know what it’s like to be in there; it’s my favorite place to be, I miss it. And I try to write orchestral music always from the players point of view—that there’s something not necessarily easy—in fact often hard—but fun to work out. Engaging—real stuff in your part. Its true that tuba probably has mostly rests and footballs [editor's note: “footballs” refers to whole notes], but the strings and winds usually get something good to play.