20 Years and Counting

The Fall of the Berlin Wall was one of the single most important events of the 1980's. In honor of the 20th Anniversary of the Fall, I asked my colleagues here in the States to write about what their memories of that day are. Here's what they wrote.

I was living and playing music, my romantic view of Berlin was that it was a city of tension and extremes, an island in the midst of two societies at odds with one another. A volatile city, a music center, an art center, a center for protest in Europe. When the wall came down we all sat in awe for not one of us had expected such an event in our lifetime….as we talked about it we all agreed that darkish volatile vibe and tension was to be lost forever (watch the Wim Wenders film “Wings of Desire”).
- Collin

The fall of the wall, though I shared in the triumph of the day, didn't really hit me until I visited Berlin, Germany and, specifically, Checkpoint Charlie in 1998, almost a decade later. The Checkpoint Charlie Museum was cold and reverently, but awkwardly, quiet, despite the number of visitors that day. I just remember trying to imagine what it must be like to want to escape the country of your birth so badly that you'd risk death to do it. Being from Texas, I immediately thought of the multitudes of Mexicans who do the same every day trying to find a better life across that line of hope. I felt humbled, and I felt guilty for feeling grateful that I was born into circumstances that spared me from making such decisions. I tried to find my journal from that trip so that I could share my feelings from that day in 1998, but I'll have to continue that search after this is already posted. However, I did find a photo of a section of wall still standing with part of what I believe to be the name "Yvonne" tagged over a section of a woman's face that had been painted on the wall previously. I always wondered who Yvonne was, and whether she made it to the other side. I hope so.
- Janet
Photo credit: Janet

I was 19 and studying music in college. Given the political awareness and love of history I developed in my 20s, I’m afraid the event wasn’t quite as momentous in my life as it should have been, consumed as I was with school and touring in a band. I do remember the images vividly, though, none more so than Tom Brokaw choking back tears. History has proven that fences and walls have never served their purpose or lasted long – Jericho, the Great Wall, the US/Mexico border fence, Berlin. But 11/9 – as transformative as 9/11 – seemed to close the chapter on a huge swath of 20th-century history, where whole continents lived in fear of what could happen. The fall of the wall represented – and represents – not a win in a war of ideologies, but a confirmation that ideologies don’t matter at all. A shared brotherhood has elevated the lives of many and recognition of that will ensure a better world.

Though it might sound dated today, I’m reminded of the Sting song, “Russians”, sung to portions of Prokofiev’s Lieutenant Kije at a funereal tempo, and which asks if our cold war enemies loved their children as well. Hard to believe that that song is that old. Harder still that anyone would have to ask that question.
- Sean

My memory is not about the actual fall, but rather about the reunification of Germany. When I was in high school, I went with my family to visit my aunt and uncle in Germany. We were in Kassel, which was a short drive to the former border between East and West Germany. My father, Aunt, and I drove across a bridge that went over a large stream: that bridge had been a border crossing checkpoint before the fall and reunification. There were still remnants of a chain link fence with barbed wire in the middle of the stream. My father had been stationed in Germany in the 60’s, while he was in the Army, and my Aunt had lived through WWII in Germany. It was incredible to watch them both experience what they thought would never be possible…having the freedom to walk across that bridge.
- Lea

I was 4 years old when the Wall came down, so my memories of it are mostly from text books and pictures. One of the most powerful speeches I have ever read has to be the one given by Ronald Reagan in 1987 about the wall:

We welcome change and openness; for we believe that freedom and security go together, that the advance of human liberty can only strengthen the cause of world peace. There is one sign the Soviets can make that would be unmistakable, that would advance dramatically the cause of freedom and peace. General Secretary Gorbachev, if you seek peace, if you seek prosperity for the Soviet Union and eastern Europe, if you seek liberalization, come here to this gate. Mr. Gorbachev, open this gate. Mr. Gorbachev, tear down this wall!
- "Remarks at the Brandenberg Gate. Ronald Reagan Presidential Foundation.

Tearing down the wall represented a new era of openess, acceptance and freedom. Hopefully we only have to learn that lesson once!

- Taylor

Terry Riley's "IN C" REMIXED - A Conversation with Bill Ryan

With the recent announcement of a new and AWESOME partnership between Innova recordings and Naxos of America I thought what better way to celebrate this historic event than to highlight our first NEW RELEASE with them (also AWESOME). I contacted and interviewed the projects master mind Mr. Bill Ryan who also happens to be the conductor / music director of The Grand Valley State University New Music Ensemble.

Bill, with all of the great versions of In C that already exist in recorded form what made you take the piece on? How is your approach different than all the others?
I agree that another version of In C wouldn’t be that interesting, so I decided to spin it a bit. Have the group record the piece as was intended, but then pass out our audio to a diverse collection of re-mixers to see what they would come up with. The piece has famously influenced many generations of musicians, and now these same people could get their hands on material from the actual piece to use as building blocks for their own work. I also can’t think of a more appropriate piece to remix, because in many ways, this piece is remixed by its performers every time it’s played.

Have you had much contact with Terry through the making of this recording and all the remixes? How has the project been received by the composer?
Four members of the ensemble and I met Terry in April 2009, during the In C 45th Anniversary concert at Carnegie Hall. We were invited to participate by the Kronos Quartet, along with dozens of other music luminaries. Because the whole event was all about Terry, I thought bringing up our project wouldn’t be appropriate (but I was dying to tell him!) I held off until everything was finished, then sent him a copy later in the summer. The five days it took for me to hear back from him were some of the most anxious of my life, but when he emailed back that he loved it, everyone involved in the project was just thrilled. Of course I hope others have positive things to say, but pleasing the composer himself will forever be the highlight for me.

What audiences in particular would you like to reach with this project?
Because of the different re-mixers participating, I think the audience potential for the album is limitless. What is most exciting to me is that through the CD, we’ll hopefully get the good word of Terry Riley out to people who might not have otherwise been exposed to him. So, hopefully fans of Kleerup’s Swedish disco pop buy the disc to hear his remix, but also stumble onto David Lang’s slow motion take on the piece, Zoe Keating’s gorgeous acoustic cello remix, or Mason Bates’ trip-hop take, and then are curious enough to check out the original In C as well. I think they’ll hear connections between it and whatever music they’re interested in—further evidence of how remarkable and timeless In C is.


Tell us a bit about the history of yourself and the Grand Valley State University New Music Ensemble? Your relationship with Innova?
I was hired by GVSU in 2005 to create a new music scene at the school. I teach composition, produce a new music concert series called Free Play, and direct the ensemble, which I founded in 2006. While the group is mostly known for recording a few minimalist classics, we’ve also performed works by composers including Stockhausen, Messiaen, Cage, Rzewski, Tenney, Lang, Mellits and even Radiohead. We also commission and premiere works every year, by both our students and guest composers.

I first worked with Innova in 2004 for a CD release of just my music, Billband. Then we worked together again on the Music for 18 Musicians CD in 2007, and now this release in 2009. I can’t say enough good things about them. They are incredibly personable, professional, and above all else, passionate advocates for their artists. Philip Blackburn and Chris Campbell are the label’s backbone, but there’s a whole team of people behind the scenes that help put their releases together.

You’ll be performing the piece in NYC at Le Poisson Rouge on November 8th, any other performances planned in the US? When? Where?
Not yet, but I’m hopeful that once people see the show there will be some interest from presenters. We’ve got a 90-minute program with live electronics and video, and an incredibly exciting opening act in the Slow Boys, and we want to share it!

What was your process in choosing the re-mixers for this project? Did you have any on your wish-list that didn’t come through?
I had already worked with several of the re-mixers on previous projects. For those I didn’t know, I had been following their music for some time, and others were recommended for me to check out. I’m a huge fan of everyone I asked, so for me this was a great thrill just to be able to assemble a project with all these terrific people involved who I deeply admire. Everyone I asked was incredibly enthusiastic and jumped at the chance to participate. There were a few that had other commitments and were just too busy to accept, but other than that the response was great.

This release of course follows up your wonderful Reich recording of “Music for 18 Musicians”, any idea what the next project will be?
Frankly speaking, two recordings two years apart is pretty exhausting. But, I’ve got another dozen or so projects I’d like to realize—however I’m not sharing until the time is right, and I’ve recovered from this one a bit!

Speaking of the Reich disc can you tell us a bit about the successes you had with that recording? (since it was released before our relationship with Innova).

That project, like the piece itself, was all very organic. It started as simply wanting to learn Music for 18 Musicians so we could get through it without stopping, and then progressed to an excellent performance on our campus, another performance at the Bang On a Can Marathon in New York, and then the recording. This may seem silly to those that didn’t go through the experience with us, but there was something very special about that group and that year. We spent a good portion of our lives preparing, and somehow the sweat, energy and enthusiasm we invested was captured on the recording. The Rest is Noise author Alex Ross took notice early on, and it seemed like everyone else followed his call.

David Aaron Carpenter & the viola Sing Out

These past two months have brought something not typically widespread – wonderful releases from talented violists, and excellent reviews to follow! The LA Times recently did a viola feature on this very topic, citing two of my latest favorite violists, Eliesha Nelson and David Aaron Carpenter. As a violist myself, I love to see such regard and praise come to the instrument, and am excited for the opportunity to help bring attention to these brilliant violists. In late September, I interviewed Eliesha Nelson, and graciously, David Aaron Carpenter recently answered the same questions concerning his experience as a violist. His debut album from Ondine, “Elgar & Schnittke Viola Concertos,” has received much critical acclaim, most recently winning the Gramophone Editor’s Choice Award in October 2009. He is one of the brightest viola talents to come along in many years. It’s wonderful to have such a star associated with the viola, and it makes me very optimistic we will continue to see more of this type of excitement towards viola releases. In Mark Swed’s words: “The viola…is the future.”

How did you first develop a love for music? What inspired you to begin playing?
I am fortunate enough to have an older brother and sister who play the violin. Growing up in a musical environment helped me obtain a passion and love for music. I never had a one-track career in mind to become a soloist, and my mother always believed in a well-rounded education for her children. I never would have foreseen that I would be making a career as a viola soloist, especially after attending a liberal arts college and majoring in political science and international relations.

Although this is not the case for myself, like many violists, you began your musical instruction on the violin and later switched to viola. What ultimately made you stick with the Viola, and what do you enjoy most about playing Viola as opposed to the Violin?
I started playing the violin at age 6 and gravitated to the viola at 11 years of age. In my opinion, the viola can sometimes be a very clumsy instrument to begin with for young players, and I always recommend starting on the violin to develop good habits for technique. I attended pre-college at Juilliard and Manhattan School of Music as a double major in both violin and viola and it was very liberating for me to approach different works on both instruments. In the process, I was always more inclined to the complex tone of the viola. Also, the repertoire on the viola is unique and the possibilities are endless.

Artur Nikish believed that 'a player's psyche depended upon the instrument he played,' and he characterized violists as being 'calm and good-natured.' It has also been often said that 'viola players are the least troublesome' in orchestral settings. Do you agree?
I agree, and think we need to change such a passive role! It is time that violists start to make a stand to change the status of the instrument. Violists have historically been the "least troublesome," and I believe that if we had more virtuosi like Lionel Tertis and William Primrose living in the classical or romantic eras, we would certainly have more extant masterworks for the viola repertoire.

What are some of your favorite compositions to play? Do you have an era you prefer?
This really changes depending on the project and composer that I am studying at any given point in time. I like all eras of music, which include the baroque, classical, romantic, and contemporary periods, although I have been recently focusing more on 20th century compositions. I am also interested in sensible transcriptions for the viola, especially those that are sanctioned by a particular composer.

As you have just recently released your first album, what did you enjoy most about the recording process? Least?
It was more than a dream to record the Elgar and Schnittke Concertos with the Philharmonia Orchestra directed by Maestro Eschenbach. The synergy of all parties involved was truly magical, and I am extremely proud of the product and outcome of the recording. Although there wasn’t any particular aspect that I enjoyed least, I must say that playing for 2 days straight was quite a strenuous undertaking.

If you could choose one composer, conductor or artist, deceased or living, to meet who would it be? Why?
Jacqueline Du Pre—to this day, I have never encountered in person or heard on record an artist who was the embodiment of musical intuition, emotional connection, and raw talent. Her artistry was the primary reason I gravitated towards the deeper sound of the viola.

When you're not performing or practicing, what activities do you enjoy?
I enjoy playing tennis with my brother and sister, and also like to read and keep apprised of world events, financial markets, and international diplomacy. When I am traveling, I try to make it a priority to attend museums and special cultural events that are occurring in each city.

Which composer would you most like--or would have liked--to contribute to the instrument's repertoire?
One of my favorite composers who never wrote but sanctioned a viola concerto will be featured on my next recording. I won’t disclose the composer’s name yet, but I am sure it will stir up some controversy!

There are countless viola jokes. Can you share a few of your favorites?
I have never heard of one before. ;-)

To see videos of David Aaron Carpenter's playing: http://www.youtube.com/user/violarocks45

Mephistopheles: The Interview

In Celebration of Halloween and the release of "The Devil's Music", I present an interview with the Lord of Darkness himself!

What are some of your greatest achievements?
Adultery, fast food, Barry Bonds, the mullet, Microsoft, advertising, the Axis of Evil (Josef, Adolf, George, Saddam), American Idol, taxes, outsourcing, Tom Cruise, Twitter, global warming, television, the banking bailout, Scientology, self-help books, Fox News, Wal-Mart, Oprah, etc. But I like to think that the best is yet to come.

You’ve been very active in politics and cable news lately. Why such a push now?
Have you been living under a rock? I haven’t been what you’d call idle for the past eight years or so.

Whose soul would you love to return?
Paris Hilton’s. Girl is hot, but her soul is about as shallow as one of those greeters at the Gap. Oh, well, it’s not the first time I’ve been blinded by sex.

What’s up with this whole 2012 end-of-the-world dealio?
Just a bunch of eschatological, pseudo-scientific mumbo-jumbo used to sell books and promote religious and other crackpot agendas. It’s also being used to hype an upcoming crap film with a bunch of overpaid Hollywood actors. In other words, much ado about nothing. By the way, the world will really end in 2013.

How do you feel about Peter Cook’s portrayal of you in the film “Bedazzled”?
Peter, with his usual brilliance, evoked all the facets of my personality—my playfulness and perversity, my cunning and corruptness, my sophistication and savagery. I’ve rewarded him with a very stimulating afterlife.

What is your preferred method of torture? Please apply to the living and the deceased.
For the living: Catholic school. For the deceased: Having to dwell on the repercussions of that particular form of education for all eternity.

Why are you in the details?
Because that’s how I roll.

Do you only eat that one kind of cake?
The truth is, I abhor Devil’s food cake. I’m more of a frozen yogurt kind of guy. After all, it’s kind of hot and dry where I live.

What’s with your preference for “taking the hindmost?”
Let’s leave my sexual preferences out of this, if you don’t mind.

Why the color red? Isn’t white technically the hottest color you can find in a flame?
It sure is, smartass. But what’s the sexiest color? That’s right, red. And whom do you think invented sex?

Why does hell freeze over?
In point of fact, it never does. It’s simply an expression that indicates the impossibility of achieving certain things. Like you ever making it to heaven.

Vampires. Fact or fiction?
Fact, most assuredly. History is replete with famous examples—Vlad the Impaler, Countess Elizabeth Bathory, Christopher Lee. But if you’re not convinced, I’ll have some friends of mine pay you a visit one night.

Boxers or briefs?
At the risk of sounding old fashioned, I still like the codpiece. Leather, of course.

Do you have any regrets?
The most wonderful thing about being Satan is that I have no regrets. The next most wonderful thing is making sure that everyone else does.

What role does music play in the life of Lucifer?
Music inspires my darkest and most transgressive impulses.

What would be your five desert island albums?
The Devil’s Music — Naxos compilation
Bedazzled soundtrack — Dudley Moore
Her Satanic Majesties Request —The Rolling Stones
Satan is Real — The Louvin Brothers
Dolly Parton Sings Led Zeppelin

You’ve been so, so busy for so many years … what’s next?
Consigning to eternal damnation the souls of everyone who came up with these idiotic questions.

NONCLASSICAL: A conversation with the ELYSIAN QUARTET

With our recent North American Launch of Gabriel Prokofiev's "Nonclassical" label we find ourselves fortunate enough to have two fantastic releases by the Elysian quartet. In sept we released Gabriel's string quartet no. 1 and now on Oct. 27th we'll release Gabriel's 2nd string quartet also performed by the Elysians. I can't rave enough about these recordings, it's also given Elysha Miracle and I a chance to interview the quartet in anticipation of this second round of Nonclassical releases....



First off of course we’ve become familiar with the quartet through its work with Gabriel Prokofiev and Nonclassical, can you tell us how this relationship came about?
Laura went to York University with Gabriel and they had a lot in common musically, both being interested in contemporary and electronic music. A few years later, when she had joined the quartet and we had started working with amplification and electronics, she rang him up and suggested a collaboration. He wrote his first ever string quartet for us, and it went so well that we commissioned him to write us another.

Of course on these Nonclassical releases of Gabriel’s string quartets your performances are also remixed, what’s the groups take on this part of the projects?
We thought it was a great idea, especially as Gabriel's music is so influenced by dance music in the first place, and when we heard the remixes we were all pleased with how they had turned out. They only use sounds from the original recordings, so the remix artists had to find ways of creating new music from original material without resorting to extra drums or beats.

Which remix is most fun to play? Which do you prefer listening-wise?
The remixes are not written to be performed live - they were made by people using sounds from the recordings and have had many many effects and layers put on them. We have talked about trying to turn them back into live pieces, but the complications have so far put everybody off! Listening-wise it would be far too cheeky to single anyone out...

Can you give us a little history lesson on the quartet itself? Maybe tell us a bit about each member?
The quartet got together at Trinity College of Music in 1999 and gradually morphed from a normal classical string quartet into what it is today, totally dedicated to contemporary, electronic and improvised music. A big turning point for us was playing George Crumb's music, and then also meeting Gabriel. Each member of the group has a very diverse background in classical, jazz, pop, and improvised music and everyone plays regularly with other groups, and on other instruments. This seems to bring many styles of playing into the group and gives us a great advantage and certain lack of fear when we improvise.

You have such a fun and energetic feel as a group. What makes you have such a unique approach to playing and ‘classical music’?
Thanks! I think we might come across like this because we all consider ourselves 'musicians' rather than 'classical musicians' and we bring our different musical experiences to the group. For instance, two of us used to play in a samba band, and that not only teaches you a lot about rhythm and feel, but also a great deal about group vibes. Also each one of us knows what it's like to play on stage in a pop/folk/rock context, which is usually so much more fun and relaxed than playing classical music. So I think subconsciously we probably bring a bit of that into our concerts.


Have you recorded projects for other labels? If so what were / are they?
We recorded a great project with British composer Max de Wardener last year, with cover art by Stanley Donwood (Radiohead collaborator), for Stanley's record label Six Inch Records. We have also contributed our improvising skills to some pop albums, and recorded our own EP of improvised music. We are also planning a few albums with other people next year - will let you know which label they come out on!

What music / art inspires the quartet as a group?
Wow big question. I think our various inspirations would be so massive it would be crazy to list them all! But as far as music goes you could definitely throw in the Crumb, and Gabriel, then Dai Fujikura, Reich, Stravinsky, Hot Chip, Melanie Pappenheim, Can, Janacek, Keith Tippett, Adem, Simon Fisher Turner... Art is a bit less relevant to us as a group, but individually I think we are all pretty modern in tastes...

I see from your facebook updates that you guys play in Germany from time to time, where else do you perform regularly and what rep do you play generally?
We have been to Belgium and France several times, and many other countries internationally, but mostly we perform in the UK. Our repertoire has become more and more fully improvised over the last two years, but we also play a lot of British and American contemporary music, most of which is either written for us or commissioned by us. Our concerts at the moment tend to be a mixture of very contemporary music and improvisation, sometimes both within the same piece.

Are the members involved in other music projects? What might those be?
Emma and Vince together are remix artists Geese and are becoming quite successful with their string instrument based remixes. Jenny and Emma play in Mercury-nominated Basquiat Strings, which is a jazz based project, and Laura is successfully carving out her own solo career with her music for cello with voice. All four of us are involved with other performers too: James Yorkston, Nancy Wallace, Adrian Crowley, Gilad Atzmon to name a few.

Ok so WoW you’ve worked with Damo Suzuki! how did this come about? Your impressions of Damo? Was this material recorded? How is CAN important to the quartet?
Damo is a pretty amazing guy, in that he makes his living going round the world improvising in a made up language every night. i'd like to make a living this way...seems like a nice life! He's usually very friendly and interesting, occasionally grumpy when he hasn't had enough sleep and has been flying around the world too much.. He is a total showman on stage with incredible charisma and a great voice. We've played with him twice now, and the first time was the best, at the Purcell Room on the South Bank, London. This was recorded, and Damo absolutely loved it, so it was then edited because it was VERY VERY long, and then...don't think it got released or anything. Hopefully one day... As a group we obviously listened to a lot more CAN prior to and after working with Damo, and I think we all took a lot of inspiration from the spirit and energy in that band. Obviously when we improvised with Damo it was an entirely different thing. But CAN are great. You can always learn a lot from bands like that.I can't quite remember how the collaboration came about.

Any future plans with Nonclassical? Plans on performing in the USA?
Nonclassical's pop imprint StopStart will hopefully be putting out Laura's solo album next year, and we are also discussing our future projects with them, but nothing is concrete as yet. We would absolutely love to go back to the USA after our very successful first time out there this March for SXSW, perhaps with composer Graham Reynolds who we met in Austin, or with Meredith Monk who we are working with next year. If anyone wants to book us a tour we'll be right there....

Become a fan of the Elysian Quartet on facebook: http://www.facebook.com/home.php#/pages/elysian-quartet

and the Nonclassical label and movement here:
http://www.facebook.com/pages/Nonclassical-The-MacBeth