Uncategorized

Jennifer Reason in Conversation with Christian Baldini

On November 20, 2021, we are featuring the very unusual work “Tabuh-Tabuhan” by Colin McPhee (subtitled as Toccata for Orchestra and 2 Pianos). For it, we will present two outstanding pianists that are in different stages of their lives. Jennifer Reason is much beloved in our region as a pianist, cultural leader,  artistic director, and also much admired classical music host at CapRadio (the local NPR Station). She is an incredibly versatile, all-round artist. She directs RSVP, a choir with a very important social justice mission, she plays lots of new music, lots of old music, she collaborates with the Rogue Music Project as Music Director, presenting new and/or unusual operas to local audiences. She’s a complete omnivore (I feel very identified with this!) and she comes with a lot of experience working with different kinds of orchestras, ensembles, and as a solo artist with recordings under her belt. For the McPhee we also feature an extremely talented Davis High School student, Adrián Zaragoza, as our second piano soloist. I have known Adrian’s family for a number of years and I’ve followed with great pleasure his ascending trajectory and growth as a musician. I am very glad that we can create these opportunities to foster our extraordinary, and very talented youngsters. They deserve these opportunities and we are here to help them.

In preparation for our performance I had the opportunity to ask Jen a few questions, and below are her answers:

Christian Baldini: Jen, first of all, what a pleasure it will be to feature you as our soloist at the Mondavi Center. This is a brilliant piece by a visionary composer. Without his music, it would have probably taken a lot longer for the music by John Adams, Steve Reich or Phillip Glass to come into existence. The clear inspiration he received during his time in Bali is what marked his path and musical development. What can you share with people who know nothing about this music? What can they expect from your performance of Tabuh-Tabuhan? What is very special about this piece?

Jennifer Reason: They can expect to get a bit of EVERYTHING. You will get the virtuosic fireworks you already expect from a piano concerto, only times two with the double grand pianos on stage! You will also get to have an out of the box experience, with churning rhythms and the glorious harmonic flavors of Bali, some deliciously subtle and some ferocious. This piece is a fascinating tour de force and an absolute joy to play. 

CB: Tell me about your musical upbringing. How did you start? What were your first steps?

JR: Well my mother was a piano teacher, so I was always clambering up onto her piano bench pretty much as soon as I could walk! She noticed how much I loved to move my fingers on the keys even as that tiny toddler, so she had me in formal lessons by the time I turned four. I will be forever grateful for that. 

CB: Who have been some of the most inspiring people in your life? And experiences? What are some of those essential before and after moments that made you realize you needed to change course?

JR: Oh, I could write a novel here. Life has such a way of bringing you just what you need, and it hardly is ever what you expect, right? My teacher Richard Cionco certainly ranks among the very top most inspiring people in my life. I started studying with him in high school, when I was on the fence about whether I loved music enough to devote myself to it or not. (Sports and a potential career in science among two of the things calling my attention away..) It was through him that I found my Yes: my own musical voice and my own passion for this special art form. If I hadn’t found him when I did, I wonder if I would have made a career in this business. I’ve gone with him now many times to festivals in Europe, but that first time he took me to Italy as a young college student changed my life forever. There was no turning back from a life in music, and music combined with travel, after that.

CB: You do a lot of social justice work through your RSVP Choir. Could you explain how you started with this wonderful project, what it means to you, and what you hope to accomplish in the coming years with them?

JR: Yes, I went to hear RSVP in a concert many years ago and was so blown away by their blend, versatility and musicality that I decided on the spot I had to sing with them. I auditioned and was lucky enough to be accepted by Julie Adams, the founder and former Artistic Director (and also my mentor) back in 2008. When it was Julie’s decision to retire, I was offered the directorship, which I have held now for coming up on 8 years. This project means the world to me: it is how I give back to our community, and how I use music to make a difference for the less fortunate among us. We have supported over 35 amazing local charities through our concert programs so far, and I hope to add as many groups to that number as possible! 

CB: You are an incredibly versatile musician. You are Music Director of the Rogue Music Project with other beloved musicians in our community (Carrie Hennessey, Kevin Doherty, Omari Tau and Sarah Fitch). How does this fit within all your other work? What are some of the exciting things coming up with this remarkable group?

JR: It fits like a glove! One of my primary goals in all my musical endeavors is to expand the canon, to create diverse and culturally relevant space for art making. (Much like the concerto we are performing together!) RMP does just that in its adventurous and boundary pushing theater experiences. Upcoming we are prepping “small bites” of collaborative works that include the music of Darius Milhaud, Boris Vian, William Mayer and more with dance! Some live and some via short film format!

CB: On top of all those hats you wear, you are also a much admired classical music host at CapRadio in Sacramento. Can you tell me what you like the most about this position? How does it fit within your life as a busy musician that performs in so many places and in so many capacities?

JR: I couldn’t ask for a more ideal position than hosting classical music for CapRadio. Most shows and rehearsals take place in the evening, so on air hosting during the midday is just perfect. But past that, and so much more importantly, I get to talk about music, hopefully in a way that educates, inspires and uplifts this community. It’s also a singular opportunity for connecting the greater community with local artists, as well as introducing people to neglected/ under-represented voices and music makers. 

CB: Imagine you have unlimited funds to put together a week-long festival. You could invite any orchestras, soloists, directors that you like. You can program any music that you’d like. What would you do? (if possible give 2 or 3 sample programs)

JR: What a fabulous question. I think I would combine everything I love: new music, education, and FOOD. We would invite all sorts of living modern classical composers and ensembles, with as great a focus as possible on diversity. In addition to multiple formal concerts a day, we’d have jam sessions or sightreading parties where people could sit around and make music together in casual spaces, (with free flowing drink of course!) the way it used to be done. We’d incorporate a mentorship component where young and particularly economically disadvantaged players could sit in with the pros. And then of course we would have all sorts of fine dining experiences incorporated as well! Perhaps every night a wonderful dinner show, or perhaps guest chefs or mixologists to create food/cocktails inspired by the music being performed! 

Jennifer Reason

Hailed as a pianist “in the league of Carnegie Hall,” a “rising star” whose playing is “lush, sensual and colorful: like a painting” (Sulzbach-Rosenberger, Germany), a “powerhouse” (Victor Forman, CPR), and one who possesses an “extraordinary skill” (D. Frantztreb, SCC), Jennifer Reason is a vibrant young performer in consistent demand, and the recipient of Sacramento Business Journal’s Top 40 Under 40 Award for 2016. She gave her first solo recital at the age of 5, and had acquired her first Staff Pianist position by the age of 12. She has since gone on to appear in solo and ensemble performances across 15 states and 11 countries, including such prestigious venues as Carnegie Hall, the Vatican, and the Liszt Academy in Prague. Festival appearances include the Festival of Peace and Brotherhood in Italy, the Interharmony International festival in Germany, the Schlern International Festival in Italy, and the Orfeo International Festival in Italy.
Dearest to Ms. Reason’s heart is collaborative work, and as such she is the Artistic Director of the Emmy-nominated ensemble RSVP, an acapella group that sings to raise money for local charities (www.rsvpchoir.org). She is also a founding member of the 15 year old contemporary sextet Citywater, currently Ensemble-in-Residence at CSU Sacramento (www.citywatermusic.com). Finally, she is the recently appointed Music Director of the Rogue Music Project, a music collective formed to challenge current perceptions of opera through unpredictable, adventurous, and socially conscious performances. (www.roguemusicproject.com).

She has shared the stage with such noteworthy artists/personalities as John Rutter, members of Journey, Tower of Power, Santana, and Sly and the Family Stone, Governor Jerry Brown and Billy Bob Thornton. When not personally performing, Ms. Reason enjoys working as Music Director for staged productions-including the world premiere of Max Understood in San Francisco and the Bay Area premiere/adaption of Shakespeare In Love-as well as maintaining a private piano studio. Her students have been accepted on scholarship to collegiate music programs such as the Hartt School of Music, University of North Texas, CSU Long Beach, CSU – Sacramento, William Jessup University and Cosumnes River College. Away from the concert hall, Ms. Reason is the Midday Classical Host for Capital Public Radio (www.capradio.org/music) and a Voting Member of the Recording Academy for the Grammys.


www.jennifer-reason.com

California, Chorus, Christian Baldini, composer, Experimental, Singer, Symphony Orchestra, Uncategorized

Composer Laurie San Martin in Conversation with Christian Baldini

On Friday, March 6, I will conduct the world première of Laurie San Martin’s work “what remains” at the Mondavi Center, especially written for the UC Davis Symphony Orchestra and University Chorus. Also on that program we will perform Beethoven’s only oratorio, Christ on the Mount of Olives, with Jacqueline Piccolino, Kyle Stegall and Daniel Yoder as our vocal soloists, and Beethoven’s Piano Concerto No. 4, with Andrei Baumann. I had the chance of asking Laurie San Martin some questions, and below are her answers.

Christian Baldini: Laurie, we’ve known each other for many years, I have had the honor and pleasure of conducting the world premiere of two of your works: a concerto for two marimbas and orchestra for Mayumi Hama and Chris Froh, and a new work for the Camellia Symphony Orchestra. This will be the first time that I’m conducting a work of yours for chorus and orchestra. When I asked you to write this piece for the UC Davis Symphony and the University Chorus, I mentioned to you that you’d be sharing the program with two major works by Beethoven (his oratorio Chris on the Mount of Olives and his Fourth Piano Concerto). Was this a daunting prospect, or how did you feel?
Laurie San Martin: First, let me say that it’s an honor to write for your orchestras and in particular,  the UCDSO. It’s nostalgic for me because I played in the UCDSO as an undergraduate student  many moons ago.  But also, these are my students and it is a joy to get to work with them in this way. As for Beethoven, his impact casts a long shadow, even 200 years later. HIs 4th piano concerto is my absolute favorite. 

CB: You’ve chosen two beautiful poems that really have informed each of the two pieces. How did you choose them, and how do you look for relationships between the texts and what you do in your music?
LSM: Gary Snyder is an important poet to the greater Davis area, and I found this particular poem For the Children to be beautifully done. While I was already working on the music of the Snyder movement, I came across Rae Armantrout’s Riddance and was immediately taken with it. The similar themes (about nature, the threat of climate destruction) brought these poems close together for me. The tone of each poem is very different but the dramatic balance made them easy to imagine being paired together.

CB: I think I can say without hesitation that your music has evolved and changed considerably in the last ten years. How would you describe how your interests and priorities have changed as a composer?
LSM: I have always been interested in harmony, counterpoint, rhythm, and  how these elements help build a piece. It sounds old-fashioned and in some ways, it is. In the past 10 years, I have heard  a lot of “sound-based pieces” or pieces that are devoid of pitch completely and instead use different shades of noise. Hearing so many pieces that experiment with sound has influenced the way I think about it as well.  

CB: Who were some of your compositional role models 20 years ago? And who are they now?
LSM: 20 years ago, I was finishing my dissertation on the music of Andrew Imbrie whose music offers so much integrity and craft. I was fascinated and inspired by Mario Davidovsky’s music. My playlist likely included Ursula Mamlok’s From my Garden, Dallapiccola’s Piccola Musica Notturna and the many, many piano etudes by my teacher, David Rakowski. More recently, I am interested in music by Unsuk Chin (Akrostichon-Wortspiel in particular). I heard the premiere of Spiral by Andrew Norman in June, 2018 and found it to be brilliantly crafted. My former colleague and good friend Yu-Hui Chang (her Binge Delirium is a go-to for percussion writing) and Kate Soper’s only the words themselves. There are many other composers and pieces that have caught my attention in the past 20 years but I think the most important thing I have done is to go to a lot of concerts. I think experiencing music live—any style of music—has a profound impact us as humans. And I think that has been the single most important part of my growth. 

CB: In your opinion, what is the meaning of art in our society? What can we do as artists to keep our mission relevant to more people?
LSM: Art communicates something that can’t always be said with words. Art is abstract and what we each take from a specific piece of art is as individual as we are. If we don’t retain our individuality in the world, then I think  we will be doomed. I think there is power in experiencing art– how it stirs ideas and emotions that every day life might otherwise leave dormant.

CB: Thank you for your time and for writing this wonderful piece for us. We look forward to sharing it with the audience!

LSM: Thank you for the opportunity. I’m so proud of the student performers and of our audience that continues to support the orchestra. I think it’s really important to program living composers and I’m grateful that you are doing so much to integrate the new and the old into your programming!

Laurie San Martin
Laurie San Martin (courtesy photo)

Laurie San Martin writes music that creates a compelling narrative by exploring the intersection between texture and line. Critics have described her music as exuberant, colorful, forthright, high octane, tumultuous, intricate, intense and rumbly. She writes concert music for chamber ensembles and orchestra but has also written for theater, dance and video. Her music has been performed across the United States, Europe and Asia. Most recently she has enjoyed writing for virtuoso soloists including violinists Hrafnhildur Atladottir and Gabriela Díaz, percussionists Chris Froh and Mayumi Hama, Haleh Abghari (soprano), Yi Ji-Young (Korean gayageum) and David Russell (cello).

Recent awards include the 2018 Andrew Imbrie Award in Music from the Academy of Arts and Letters, and a 2016 Guggenheim Foundation Fellowship. She has also received awards from Harvard University’s Fromm Foundation, the American Academy of Arts and Letters (Charles Ives Scholarship), League of Composers-ISCM, the International Alliance for Women in Music, and the ASCAP Morton Gould Young Composer’s Awards. Her music has been performed across the United States, Europe and Asia. As a composition fellow, she has attended the MacDowell Colony, Yaddo, Atlantic Center for the Arts, Norfolk Contemporary Chamber Music Festival, the Montalvo Artist Residency, and the Composers Conference at Wellesley College.

Laurie holds a PhD from Brandeis University in Theory and Composition. She has taught at Clark University and is currently Professor of Music at the University of California, Davis. Her music can be found on the Left Coast Chamber Ensemble’s 2005 CD “San Francisco Premieres”,  Ravello CD “Tangos for Piano” performed by Amy Briggs, New Focus Records CD, and  “Chamber Music from the APNM”.

Conductor, Music, Singer, Soloist, Symphony Orchestra, tenor, Uncategorized

Kyle Stegall in Conversation with Christian Baldini

On Friday, March 6, I will conduct Beethoven’s only oratorio, ”Christus am Ölberge” (”Christ on the Mount of Olives”) at the Mondavi Center with the UC Davis Symphony Orchestra and University Chorus, on a program that will also include Beethoven’s Piano Concerto No. 4, with Andrei Baumann, and the world première of “what remains” by composer Laurie San Martin. Below is a brief Q&A session with one of our three vocal soloists, tenor Kyle Stegall. Click on these links for interviews with Ms. Piccolino and Mr. Yoder.

Christian Baldini: Please tell us about your education and training. How did you start with music, and when did you decide to become a singer?

Kyle Stegall: I’ve been interested in professional singing and in teaching singing since my senior year of high school.  All three of my degrees are in Vocal Performance, and were granted by the Universities of Missouri, Michigan, and Yale.  My passion for communication is what has driven my studies, and the development of my performance and teaching career.

CB: What do you find remarkable about this work by Beethoven? What are your favorite moments in it?

KS: I am so looking forward to performing this dramatic and heroic work with Maestro Baldini and the musical forces at UC-Davis.  I am particularly fond of the moment in which the clarinet introduces the prayer theme in Christ’s opening aria.

CB: What are some of your favorite pieces of music, whether in the operatic realm, chamber music, or on the concert platform? Which works would you like to be singing next?

KS: I am lucky to have a career engaged with a great breadth of the classical repertoire.  I sing opera, recital, and concert work in equal proportions, which is actually quite rare.  I value the opportunity to communicate in such varied stylistic-idioms and performance environments.  Everything from the haute-contre repertoire of the French Baroque to world premieres of new repertoire for the solo voice, to staples of the recital canon, to large orchestrated works such as Christus am Oelberge hold consistent spots in my performance seasons.  I am particularly fond of the Bach evangelists, the cycles of Benjamin Britten, and orchestrated masses/oratorios of the classical and bel canto repertoire.  I’d like to find a spot for Britten’s War Requiem and Berlioz’ Les Nuits d’ete in coming seasons.

CB: What does art, and music in particular, mean to you? Is it relevant in our society today?

KS: Art and music are and will forever be relevant.  Art is an intensely potent force for awakening in large numbers of people a dormant respect for our shared, vulnerable humanity. What our world needs is community. What our world needs is emotional honesty.  Music is the crystallized sonic manifestation of these things.  The question isn’t whether or not art is relevant.  The question is whether or not we will make room in our hearts, budgets, schedules, and priorities for it.


Kyle Stegall2
tenor Kyle Stegall (courtesy photo)

 

Kyle Stegall’s performances around the world have been met with accolade for his “blemish-free production” (Sydney Morning Herald), and his “dramatic vividness” (St. Louis Post-Dispatch). A career spanning concert, opera, and recital stages has grown out of successful collaborations with many of the world’s most celebrated artistic directors including Manfred Honeck, Joseph Flummerfelt, Masaaki Suzuki, William Christie, and Stephen Stubbs.

In demand as an opera and concert soloist, Mr. Stegall is a celebrated interpreter of the Bach evangelists, and is often heard in the great oratorios of Handel and Haydn.  His operatic repertoire spans the haute-contre heroes of the French Baroque to modern premieres.

Mr. Stegall  is a proud alumnus of the universities of Missouri, Michigan, and Yale.

@stegalltenor http://kylestegall.com

Christian Baldini, Concert Hall, Conductor, Singer, Uncategorized

Daniel Yoder in Conversation with Christian Baldini

On Friday, March 6, I will conduct Beethoven’s only oratorio, ”Christus am Ölberge” (”Christ on the Mount of Olives”) at the Mondavi Center with the UC Davis Symphony Orchestra and University Chorus, on a program that will also include Beethoven’s Piano Concerto No. 4, with Andrei Baumann, and the world première of “what remains” by composer Laurie San Martin. Below is a brief Q&A session with one of our three vocal soloists, bass-baritone Daniel Yoder. Click on these links for interviews with Ms. Piccolino and Mr. Stegall.

Christian Baldini: Please tell us about your education and training. How did you start with music, and when did you decide to become a singer?

Daniel Yoder: My musical training started in 5th grade when I first held my trumpet and began assailing my family with the unavoidable tones of the beginning trumpet player.  Thankfully, I became proficient and learned the French horn, piano, and drums.  Music was always in the house, and I basked in all genres of music.  I began singing in the chairs and less of my church and then began singing in the choir.

CB: What do you find remarkable about this work by Beethoven? What are your favorite moments in it?
DY: What I find most appealing about this work is the operatic quality of the music, which serves to convey the gravity and value of the libretto and Messianic message.  As a Christian, I feel the textures and strength of the composition help the listener and performer alike understand the highs and lows of the drama preceding the coming Crucifixion and Resurrection.

CB: What does art, and music in particular, mean to you? Is it relevant in our society today?
DY:  Art, and the free expression of it in its many forms, is indispensable to me.  Society only benefits from the ability to sing, paint, sculpt, and it is a blessing to have the opportunity, as artists, to share what is inside us with the world.  While math and the sciences have their intrinsic value in society, art has its relevance in its ability to transform, edify, calm, encourage, and challenge us as humans.

Daniel Yoder HR

 


Native-American bass-baritone Daniel Yoder is delighted to be singing again with the UCDavis family!  He is a member of the San Francisco Opera Chorus, and has performed recently with companies including West Edge Opera, Pocket Opera, Diablo Symphony, Fresno Grand Opera, Sacramento Choral Society, Music in the Mountains, Sacramento Opera, Sinfonia Spirituosa, and Capella Antiqua of Sacramento.
Mr. Yoder has performed the bass solos of Handel’s Messiah, as well as the Requiems of Mozart, Fauré, Duruflé, and Malcolm Archer.  He has also recently performed the Mozart Mass in C.
Favorite operatic roles include Zurga in Bizet’s The Pearl Fishers, Gugliermo in Mozart’s Cosi fan tutti, Figaro in Mozart’s The Marriage of Figaro, Silvio in Leoncavallo’s Pagliacci, Leporello and Masetto in Mozart’s Don Giovanni, Achilla in Handel’s Giulio Cesare, Betto in Puccini’s Gianni Schicchi, and Claudius in Handel’s Agrippina.
Concerto, Dance, Experimental, Music, Symphony Orchestra, Tango

Composer Profile: Ann Cleare in Conversation with Christian Baldini

In preparation for our performance of her orchestral work phôsphors (… of ether) at the Mondavi Center (UC Davis), I had the pleasure of asking composer Ann Cleare a few questions about her music. Below are the answers:
Christian Baldini: First of all, congratulations on the recently announced success of your Ernst von Siemens Prize! This is such exciting news, and so very richly deserved for someone with your sense of imagination, refined sonic creations and unusual sensitivity. And thank you very much for agreeing to answer some questions for us. Do you consider yourself a quintessentially Irish composer? And if so, can you tell us more about how this might have influenced your upbringing, and your music in particular?
Ann Cleare: I’m not sure that I know what a quintessential Irish composer is! Being a composer in Ireland is a relatively new profession – Ireland didn’t have a Bach or Beethoven or Brahms. The country has a history of being the land of Saints and Scholars, and has produced some incredibly talented writers of words, but the writing of music is a much newer activity. In this sense, I don’t carry the weight of tradition that composers of other countries often do. I have always thought of composing as a place where I must define the territory and create my own rules, which then govern the structure of a piece. Unlike many people, the distinction between music, sound, silence, and noise has never been so great for me. I grew up playing tonal music but always felt confined by the limits of its language and thought that there was so much timbral and structural potential to be explored in the everyday sonorities around me, whether mechanical or natural. I don’t see any of this as being a particularly Irish approach, but somehow, being at a distance from the overbearing tradition that composers of other countries have to contend with, has allowed me to create my own sense of what music is or can be.
  
 
CB: You talk about 3 islands and a “composite” in your piece phôsphors (… of ether) – the timber, register and harmonic qualities of each of these groups affects the way you structure the piece. Can you tell us more about this?
AC: Yes, the differing timbre, registers, and harmonic qualities are in aid of distinguishing these three instrumental “islands” from each other – these are technical approaches to creating a sense of individual layers or places within a piece, and then a fourth ‘floating’ island navigates these three and draws out elements or matter that bring the islands into dialogue or exchange.
 
CB: Who would you say are some of the composers (in music history, or living ones) that have had a deep impact on your own music, and why?
AC: Probably the work of Iannis Xenakis. One of the most fiercely original musical minds of the 20th century, Xenakis held a multifaceted career as a composer, architect, and mathematician, and from these influences imagined and created sound in a way that no one else ever has. Particularly his piece Dämmerschein, which is like a ferocious natural force unleashed on the orchestral stage.
 
 
CB: Who are some important people that have inspired you in your education and training? Are there any people that you think you will will always be grateful to, and why?
AC: I love the W.B. Yeats quote that “education is not the filling of a pail, but the lighting of a fire”. There are a lot of people that I have studied with who have helped light lasting fires with me! In particular, Chaya Czernowin, one of my teachers at Harvard, who showed me the unseen depths of the worlds that I was exploring and how much further I could dig in to make them even more vivid. She also taught me to never rest on my laurels – that once a piece is written, it’s written, and it’s then necessary to move on and find new territory and new challenges.
 
CB: In your opinion, what is the role of art, and music more specifically in society nowadays? 
AC: I think that art should both challenge and reflect the world we live in – I believe that’s what it’s for. It saddens me when my work or work that I admire is described as high brow or inaccessible, when from my point of view, it’s dealing with the most universal of ideas and attempting to communicate them in a sincere way. When asked if my music is too challenging or harrowing for a listener, which it is often described as, I suggest that if you want to pretend the world is a lovely, comfortable place, then stay at home and find something mind-numbing to watch on TV (which, of course, there’s a time and place for…). I work and think hard about how I can make my ideas clear to a listener, to invite them into the experience, but not in a way that compromises or simplifies the complexity of the situation in question, and life is difficult and complex, art isn’t the place to escape from this.
 
CB: Sometimes we read or hear dooming comments that classical/symphonic music audiences are getting smaller and smaller or that only old people listen to concerts. Do you believe in this, and if so, what should or could be done to reverse this trend and invigorate our audiences?
AC: I sway between thinking that the concert hall is a wonderful thing, a unique place of concentration and community, to feeling straight-jacketed and claustrophobic by its expectations of an audience, who it often seems aren’t really considered in the experience. I would love to see more music happen outside of concert hall practices. I can imagine audiences still being capable of actively listening but without the confinement of concert hall behaviour. Programming needs attention too, as often, particularly with programmes of contemporary music, pieces that are programmed together that have absolutely nothing to do with each other, and contradict, rather than compliment each other. Would you go to see three or four different plays in a night? How confusing and overwhelming would this be? Yet several pieces of music are often squeezed into a few hours at a concert hall – making for a very confused experience for an audience. If we want audiences to be interested in the concert hall, we need to reconsider the many antiquated practices that don’t serve it well anymore.
 
CB: What do you seek to achieve with every new piece that you write? What is your main motivation for writing music?
AC: the music I write feels like a type of first language to me – I can express in sound what I often fail to express in words. Composing is where my fullest form of expression finds its outlet. Each piece encourages a listener to contemplate the complexity of the lives we exist within, exploring ideas of communication, transformation, and perception.
 
 
CB: Thank you very much for your time and for answering these questions in such a candid manner. We very much look forward to sharing your captivating music with our audiences here in Davis!
ann_miller_highres2-e1529570225165

Ann Cleare is an Irish composer working in the areas of concert music, opera, extended sonic environments, and hybrid instrumental design. Her work explores the static and sculptural nature of sound, probing the extremities of timbre, texture, colour, and form. She creates highly psychological and corporeal sonic spaces that encourage a listener to contemplate the complexity of the lives we exist within, exploring poetries of communication, transformation, and perception.

A recipient of a 2019 Ernst von Siemens Composer Prize, her work has been commissioned and presented by major broadcasters such as the BBC, NPR, ORF, RTÉ, SWR, WDR for festivals such as Gaudeamus Week, The Wittenertage fur Neue Kammermusik, International Music Institute Darmstadt, Bludenzer Tage zeitgemäßer Musik, IMATRONIC Festival of Electronic Music at ZKM, MATA Festival, Taschenopernfestival, Sound Reasons Festival in India, Shanghai New Music Week, Transit Belgium, GAIDA, Totally Huge New Music in Perth, Trattorie Parma, Rainy Days in Luxembourg, Huddersfield Contemporary Music Festival, and Ultraschall. Through working with some of the most progressive musicians of our time, she has established a reputation for creating innovative forms of music, both in its presentation, and within the music itself. She has worked with groups such as Ensemble SurPlus, 175 East, The Crash Ensemble, The Callithumpian Consort, Quatuor Diotima, The International Contemporary Ensemble, The Chiara String Quartet, Collegium Novum Zürich, ELISION, The National Symphony Orchestra of Ireland, Divertimento Ensemble, JACK Quartet, Ensemble Apparat, Ensemble Nikel, The Curious Chamber Players, Yarn/Wire, ensemble mosaik, The Experimental Ensemble of the SWR Studios, Talea Ensemble, österreichisches ensemble für neue music, The BBC Scottish Symphony Orchestra, ensemble recherche, TAK, Vertixe Sonore, Ensemble Garage, Argento Chamber Ensemble, The Fidelio Trio, oh ton-ensemble, Distractfold, Longleash Trio, and soloists such as Carol McGonnell, Richard Craig, Heather Roche, Bill Schimmel, Benjamin Marks, Patrick Stadler, Carlos Cordeiro, Ryan Muncy, Richard Haynes, William Lang, Laura Cocks, Lina Andonovska, Samuel Stoll, and Callum G’Froerer.

Recent projects have focused on creating experiential environments where sound is given a visual as well as sonic dimension, such works include eyam i-v, a series of five attacca pieces, centred around clarinet and flute writing in various solo, ensemble, electronic, and orchestral settings, spanning just over two hours of music that is continuously transformed in shape, time, and motion around the listener; rinn, a time travel chamber opera involving a multichannel sonic sculpture that the singers and actors wear, interact with, and are amplified by; spatially choreographed chamber pieces such as I should live in wires for leaving you behindanchor me to the land, and on magnetic fields; a newly-designed instrument that a musician simultaneously wears and plays in eölsurface stations, multi-layered theatre involving the staging of extended brass instruments, vocal ensemble, and visuals.

Current and future projects include new works for Ekmeles and solo trombonist William Lang, Liminalities – a collaboration with ensemble mosaik and visual artist Anna Rún Tryggvadottir in Reykjavik and Berlin, a chamber orchestra piece for Ensemblekollektiv Berlin, a series of songs for voice and piano for The Irish Art Song Project, an evening-length work for ELISION, a video opera version of her opera rinn, and the creation of an outdoor musical playground for children with sculptor Brian Byrne.

Ann studied at University College Cork, IRCAM, and holds a Ph.D. from Harvard University. Her scores are published by Project Schott New York and she is represented by the Contemporary Music Centre, Ireland (CMC).  She is Assistant Professor of Music and Media Technologies at Trinity College Dublin. As an artistic collaborator with Dublin Sound Lab, she will work on developing their programming and production of electronic music over the coming years. Ann is Projects Officer with Sounding the Feminists (#STF), a collective championing principles of equality, fairness, inclusivity, and diversity in Irish musical life.