The Samuel Andreyev Podcast

In this episode, I spoke with three composition students about the musical and professional landscape they are about to graduate into: Jonty Watt, of Oxford, England; Ben Schweitzer, of the University of Massachussetts Amherst, and Thomas McGee, of Williams College.  All three have one thing in common: they have all worked with me as private composition students over Skype, and though I have worked with some of them for years, we have never met in person.  They are candid about the challenges they are facing, as well as some of the ways in which the world of composition seems to be evolving.

More about Ben Schweitzer
More about Jonty Watt
More about Thomas McGee

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Podcast artwork photograph © 2019 Philippe Stirnweiss

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Clarinetist Richard Haynes performs music spanning the 18th to 21st centuries all over the world in a multitude of contexts. During the course of undergraduate study at the Queensland Conservatorium of Music and further study at the University of Arts Bern his teachers included Brian Catchlove, Paul Dean, Ernesto Molinari, Diana Tolmie, Donna Wagner-Molinari and Floyd Williams. 

Since his solo debut with the Queensland Symphony Orchestra at the age of 17 performing the Clarinet Concerto by John Veale, Richard Haynes has performed further concerti by Copland, Mozart, Rankine, Smetanin, Westlake and Xenakis to acclaim, won the title of Australia's Young Performer of the Year and the Australian Art Music Award for Performance of the Year and has received invitations to the academies of Acanthes, Bang on a Can, Darmstadt, Ensemble Modern, impuls and Lucerne Festival. Richard Haynes has maintained regular concert activity in Europe, the USA, Asia, Australia and New Zealand over the last 15 years and is a 1st Prize Winner of the International Concours Nicati Switzerland and the 2008 recipient of the Tschumi Music Prize.

More about Richard Haynes here
Order Richard's new CD, Ghosts of Motion

Musical excerpts, in order:
Samuel Andreyev, A Line Alone, for solo clarinet d’amore (2020)
Chris Dench, Ghosts of Motion, for solo clarinet d'amore (2020)
Richard Haynes, clarinet d'amore
from the new CD, Ghosts of Motion (www.cubus-records.ch)

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EPISODE CREDITS
Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Ian Pace is a pianist of long-established reputation, specialising in the farthest reaches of musical modernism and transcendental virtuosity, as well as a writer and musicologist focusing on issues of performance, music and society and the avant-garde. He was born in Hartlepool, England in 1968, and studied at Chetham’s School of Music, The Queen’s College, Oxford and, as a Fulbright Scholar, at the Juilliard School in New York. His main teacher, and a major influence upon his work, was the Hungarian pianist György Sándor, a student of Bartók.

He has played in many countries, recorded over 40 CDs, and given over 300 world premieres. He is Head of the Department of Music at City, University of London, where he has worked since 2010, having previously worked at Southampton University and Dartington College of the Arts.

More about Ian Pace

Excerpts from Ian Pace's forthcoming CD of the complete piano music of Brian Ferneyhough on Divine Art Records (in order of appearance):

• Brian Ferneyhough, Quirl (2011-13)
• Brian Ferneyhough, Lemma Icon Epigram (1981)

Thanks to Divine Art records for kindly authorizing the use of these excerpts.

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EPISODE CREDITS
Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

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In this episode, Samuel Andreyev presents a short introduction to the world of 'extended techniques', those unconventional ways of playing musical instruments that have become an almost ubiquitous feature of contemporary composition.

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EPISODE CREDITS
Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

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The Canadian composer, pianist and percussionist Andrew (Andy) Creeggan is equally at home in the worlds of classical composition and pop music. A member of the wildly successful Canadian band Barenaked Ladies from 1989 to 1995, he experienced fame early in life. Deciding that being a member of a band was not for him in the long run, he left to study composition at Montréal's McGill University. Since then, he has recorded and performed in The Brothers Creeggan, a band formed with his brother Jim Creeggan, and released three CDs of his compositions: Andiwork I, II and III (order from Bongo Beat Records). In addition, he has composed chamber music and worked as an arranger.

Musical excerpts, in order of appearance:
• Viola n° 5 (from Andiwork II)
• Tongue A (from Andiwork III)

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Podcast artwork photograph © 2019 Philippe Stirnweiss

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Bill Harkleroad was the longest-serving guitarist of Captain Beefheart's Magic Band, playing on such essential recordings as Trout Mask Replica, Lick My Decals Off, Baby and Clear Spot. His significant artistic and practical contributions to these works have largely gone unacknowledged. Bill subsequently formed the band Mallard, released masterful solo recordings including 2001's We Saw a Bozo Under the Sea, authored the book Lunar Notes, and taught extensively. He can be contacted for lessons here.

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ORDER SAMUEL ANDREYEV’S NEWEST RELEASE
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Edition Impronta, publisher of Samuel Andreyev’s scores

EPISODE CREDITS
Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Anthony Etherin is a formalist poet, a publisher, and a musician. He tweets poetry @Anthony_Etherin and archives his published works online at anthonyetherin.wordpress.com. He founded Penteract Press and he invented the aelindrome. He hosts a (neglected, but soon to be revised) YouTube channel. He lives in the United Kingdom, on the border of England and Wales.

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ORDER SAMUEL ANDREYEV’S NEWEST RELEASE
Iridescent Notation

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LINKS
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Edition Impronta, publisher of Samuel Andreyev’s scores

EPISODE CREDITS
Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Chris Dench was born in London in 1953. After periods living in Tuscany and West Berlin, the latter as a guest of the DAAD Berliner Kunstlerprogramm, he finally arrived to settle in Australia; he became an Australian citizen in 1992.

He has had works commissioned by ensembles and individuals on three continents and is particularly recognized as a composer for solo woodwind instruments, having composed fourteen pieces for the genre at last count.  He has enjoyed a close relationship with Australia's ELISION ensemble for over fifteen years; he has also had fruitful collaborations with other musicians, including, in the last few years, Kathleen Gallagher, Mark Knoop, Geoffrey Morris, Peter Neville, Marilyn Nonken, Michael Norsworthy, Carl Rosman, and the Libra ensemble.

His works have enjoyed extensive performances, recordings, and broadcasts in Europe, Australia, North America, and Asia, including the Huddersfield Festival, the Darmstadt Ferienkurse fur Neue Musik, Music of Changes in Los Angeles, the Clarice Smith Performing Arts Center at Maryland, the Hong Kong ISCM/ACL World Music Days, ForumMusic Taipei, and the Gobi Desert.

In 2002 Peter Neville, Guy DeBlét, Elizabeth Davis, Eugene Ughetti, Mark Knoop, and conductor Carl Rosman gave the long-delayed first performances of his 1994 percussion quartet beyond status geometry. More recently, ELISION recorded for NMC a disc of his music including ik(s)land[s] and the blinding access of the grace of flesh.

Chris Dench’s website

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MUSICAL EXCERPTS (in order):

Funk, by Chris Dench
Carl Rosman, clarinet; Peter Neville, percussion
From the NMC Records release ik(s)land[s]

Ik(s)land[s], by Chris Dench
ELISION
Deborah Kayser, mezzo-soprano
Carl Rosman, conductor

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ORDER SAMUEL ANDREYEV’S NEWEST RELEASE
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EPISODE CREDITS
Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

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The music of Franco-British composer Jonathan Bell is influenced by Franco-Flemish polyphony, American minimalism (Morton Feldman), and spectral music. He graduated from the Paris Conservatoire with 4 prizes, and the Guildhall School of Music and Drama (Doctorate in Musical Composition). Since 2007, he has collaborated intensely with the vocal ensemble De Caelis, which produces his music in numerous festivals (Île-de-France, European church music festival…), France Musique, and in collaboration with other ensembles (Links ensemble, choirs of several cathedrals). In Germany, he has received commissions from the Zafraan ensemble (Berlin) and SKAM (Stuttgart). In 2014-16, he followed a two-year IRCAM residency, where he developed the SmartVox web application, dedicated to the interpretation of computer-assisted speech polyphony. Since September 2017 he has been a lecturer in music at Aix-Marseille University and researcher at PRISM-lab-CNRS. In 2018, he was named a resident at the Casa de Velasquez/Membre de l’académie de France à Madrid; His music is played and presented in computer music symposiums ICMC (New-York), NIME (Porto Allegre), SMC and Tenor (Melbourne).

Jonathan Bell's website

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MUSICAL EXCERPTS (in order):

Fumeux Fume par Fumée, by Solange (14th century)
Ensemble P.A.N.

Common Ground, by Jonathan Bell
Judith Dodsworth, conductor

De joye interdict, by Jonathan Bell
Ensemble De Caelis
Laurence Brisset, conductor

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EPISODE CREDITS
Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Percussionist and drummer Art Tripp talks with composer Samuel Andreyev in a wide-ranging interview about his fascinating career working with John Cage, Frank Zappa, Don Van Vliet (Captain Beefheart), Robert Austin Boudreau, and many others. He also discusses meeting such luminaries as Morton Feldman, and performing avant-garde music by Stockhausen and others in the 1960s. His important contributions to albums such as Uncle Meat and Lick My Decals off Baby are covered in detail.

**
ORDER MY NEW CD
Iridescent Notation

SUPPORT THIS PODCAST
Patreon
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LINKS
YouTube channel
Official Website
Twitter
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Edition Impronta, publisher of Samuel Andreyev’s scores

EPISODE CREDITS
Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

Support the show