Martin Bresnick's "Josephine (the Singer)" by Anne Lanzilotti

Excited to share this new viola version of Martin Bresnick's Josephine (the Singer) that I edited, now available through Carl Fischer Music:

Bresnick explains in his program notes:

Josephine The Singer takes it's title from Franz Kafka's last published story, "Josephine the Singer or the Mouse People" . This valedictory tale was Kafka's prescient mediation both on musical divas and also what he considered might be the future of the Jews as a persecuted minority in Europe in the 20th century.
The composition is an extended passacaglia on a subject derived from my earlier work Songs of The Mouse People. This subject itself is found to be consistent with the narrow intervals employed in most mouse melodies.

Hope you enjoy this slightly deeper "rat" version of Josephine (the Singer)! Here are a couple excerpts from the premiere (Live at NYU Black Box Theatre, New York, NY. March 12, 2015).

Music Publishing Podcast by Anne Lanzilotti

I talked to Dennis Tobenski about advocacy, commissioning, and collaboration on his wonderful Music Publishing Podcast.

Here are links to the people I mentioned during the course of our conversation: Leah AsherAshley BathgateMartin BresnickMeaghan Burke, Emily BookwalterDai FujikuraTed Hearne, Marina KiffersteinBernd KlugJennifer KohDavid Lang, James MooreAndrew NormanAnna ThorvaldsdottirScott Wollschleger, ICE (International Contemporary Ensemble)

Thanks so much, Dennis, for having me on the podcast!

Longleash at Scandinavia House by Anne Lanzilotti

Thrilled to be joining Longleash for this concert at the Scandinavia House featuring works by Anna Thorvaldsdottir and Ingram Marshall. Longleash pianist Renate Rolphing and I have been friends since were kids in Hawaiʻi! Can you spot us in this class picture...?


It's such a joy to reconnect with her in New York as adults and perform with her and the other wonderful musicians in Longleash. From Kettle Corn New Music:

Kettle Corn New Music presents up-and-coming chamber music trio Longleash, with special guest Anne Lanzilotti, in a program exploring the relationships between contemporary American and Scandinavian music. The program includes works by modern-day Nordic masters Hans Abrahamsen (Traumlieder) and Kaija Saariaho (Light and Matter), alongside New York-based composer Scott Wollschleger’s Brontal Symmetry. Guest violist Anne Lanzilotti joins the trio for works by Ingram Marshall and Anna Thorvaldsdottir. Kettle corn and beverages are included with admission. 

Obsidian Sound Sculptures at The Noguchi Museum by Anne Lanzilotti

I got another chance to play with these incredible obsidian sounding stones by Isamu Noguchi! Although they are normally not displayed publicly, The Noguchi Museum staff has been very generously allowing me to improvise on them and record the sounds to workshop a new piece I'm writing for the stones, strings and voice. The premiere of my piece will be part of a concert at The Noguchi Museum on Sunday, February 5, 2017 at 3pm. Here are a couple videos from last month when I was experimenting with different ways of playing the stones:

Concert description: In honor of the exhibition of Noguchi’s two sculptures Birth (1934) and Death (1934) together in the same gallery for the first time, The Noguchi Museum presents The Rhythm Method String Quartet featuring Alice Teyssier in a program entitled The Once and Future Maiden. In the same way that Noguchi sought a lifelong balance between figuration and abstraction, the various compositional voices on this program deal with fragmented portraits of women in life and death. In addition to my new piece, the program includes works by Dai Fujikura, Leah Asher, and Franz Schubert. The concert is free with museum admission. For more information, please visit:


Anatomy Theater by Anne Lanzilotti

Performing David Lang's Anatomy Theater with ICE this week at BRIC in Brooklyn as a part of the Prototype Festival.

From the BRIC website:

Based on actual 18th-century texts, anatomy theater follows the astonishing progression of an English murderess: from confession to execution and, ultimately, public dissection before a paying audience of fascinated onlookers. Through the miracle of opera, she sings through it all. anatomy theater conjures a time when “specialists” traveled from town to town in pre-modern Europe, conducting public dissections of the corpses of executed criminals, seeking evidence of moral corruption in the interior of the human body. It is an idea that resonates today when, out of fear, we assign evil to some bodies and not others. Written by Pulitzer Prize-winning and Oscar-nominated composer David Lang and world-renowned visual artist Mark Dion, anatomy theater is a tuneful and grisly theatrical event.

Here's a wonderful short interview with David Lang from this summer on NPR where he discusses the piece:

NYU Extended String Sextet by Anne Lanzilotti

The Extended Techniques for Strings course I teach at New York University is a survey of the broad range of techniques demanded of performers in twenty-first century music. The first semester of this two-part course is focused on acoustic techniques, seeking to broaden the students' confidence in interpreting and executing extended techniques for strings. The final "exam" is to plan, promote, and put on a concert of music by living composers with the other members of the class . . . and it's EXAM TIME!

NYU Extended String Sextet presents NEW SOUNDS featuring works by Louis Andriessen, Marcos Balter, Michael Bies, Garth Knox, Yasunao Tone, as well as premieres of new works by the performers: Debora Bang, Kate Barmotina, Tyler James, Daelyn Kauffman, Robert Pile, and Kyle Stalsberg.

Scholes Street Studio
375 Lorimer St, Brooklyn, NY 11206
Subway: L / J, Z, M to Lorimer, G to Broadway
Tickets: Free!

"Cut to a Different World": Andrew Norman by Anne Lanzilotti

I wrote an essay on Andrew Norman's Play for Music & Literature. Here's an excerpt:

“...the Centre Pompidou in Paris. Do you know this building?” Andrew Norman has suddenly switched subjects to architecture—his voice lights up. “Where the entire structure, all the innards of the building are on the outside—all the pipes, and all the vents, and all the support structure—you see everything, none of that is buried.”
My mind flashes to the escalator of the Centre Pompidou, riding up the outside of the building slowly as Paris reveals itself in layers of rooftops, threads of pedestrians. I happened to be in Paris this summer during Fête de la musique, an annual festival of music outdoors that feels more like an Ivesian maze of drum circles and Indie rock bands. Needing a respite from the chaotic buzz of the streets, a friend and I went to the opening of an exhibit at the Centre Pompidou on the Beat Generation. Entering the dimly lit exhibit, we found each artifact a treasure: the long single scrolled manuscript of Jack Kerouac’s On the Road from 1951 almost filled the length of the main room sprawled out in a long glass case.
Adventure and storytelling, noise and a mess of sounds that only reveal themselves through focused engagement with the narrative: all evoked in a moment with the image of the Centre Pompidou. Norman continues—“and that’s, I think, maybe a good metaphor for what I’m trying to do in music, because I want you, the audience, to see and hear everything that I’m doing. I want the music to wear its structure on the surface.”
The audience will have a chance to see what Norman is doing live on October 28 when the Los Angeles Philharmonic premieres the revised version of Play, his celebrated first symphony. Structured in three movements—or “Levels,” as they are titled—it is an intricately planned work dealing with themes of control, free will, hidden messages, and of course, playfulness. The key elements of Play are the things that inspire me in Norman’s music: physicality, the use of form to create narrative, and an interest in the experience of live performance.

Read the entire article here, and experience Play live with Gustavo Dudamel and the Los Angeles Philharmonic:

Friday, October 28, 2016 at 8PM
Walt Disney Concert Hall, Los Angeles

Monday, October 31, 2016 at 8PM
Louise M. Davies Symphony Hall, San Francisco

Update — November 29, 2016: Heartfelt congratulations to Andrew on being awarded the 2017 Grawemeyer Award for Music Composition for Play! In this interview with NPR, Andrew talks about the honor of receiving the award and also uses it as a chance to advocate for diversity.

Update — October 27, 2016: Thanks, Ted Gordon for the wonderful post on PSNY's Blog featuring Andrew Norman's Play that included Shaken Not Stuttered and the above article!

For additional reading, check out William Robin's profile of Norman in the New York Times and Alex Ross's piece on Norman in celebration of him being named Musical America's 2017 Composer of the Year.

Poolhouse Previews & Permutations by Anne Lanzilotti

Upcoming bicoastal concerts: music by Shaw, Wollschleger, and Norman!

Permutations brings together two soloists performing recent works from composers on both sides of the Atlantic in an evening of virtuosic string music. Paris-based violinist Alexandra Greffin Klein presents a rare NYC solo program of works by Carter, Felder, Saariaho, Hurel, and Canat de Chizy. New York City’s own Anne Lanzilotti presents works of young american composers - Shaw, Wollschleger, and Norman.

October 30th, 2016 @ 7:30PM
The DiMenna Center for Classical Music
450 W 37th St, New York, NY 10018
$15 / $10 students (cash only) Event details here:

The Source by Anne Lanzilotti

Headed out to Los Angeles this weekend to rehearse for The Source, Ted Hearne's oratorio based on the story of Chelsea Manning, a former intelligence analyst, known for leaking hundreds of thousands of classified military documents to WikiLeaks in 2010. The text of the oratorio is both from these documents (the Iraq War Logs and the Afghan War Diary) and Manning's own words.

In The Source, Hearne uses genre as an expressive parameter—both to engage with the text and to comment on it. A passage that suddenly falls into a musical theater idiom under the line, "and there was talk of spreading her legs!" comments on the sensationalism of scandal in the media. Recitatives are distorted with auto-tune that breaks when pushed to the limit of its function in categorizing pitch, reminding one of the limits of binary thought. In a post in January, Hearne shared some of his thoughts about genre, specifically in relation to gender in this passage:

Genre comes from gender. This was a word that described grammatical differences before it was adapted into a word used to separate all human beings into two discrete categories of men and women. Today, genres herd different works of art into single categories based on any number of possible attribute filters. Who determines which filters are relevant is also a matter of power.

How does the audience determine these filters in The Source? How do these filters affect how the audience perceives the text? This great piece by Corrine Ramey and this review by Zachary Woolfe both discuss these issues of perception.

But perhaps hearing it from the source herself is more powerful. Even though I've heard the text for The Source many times now, I still hear Manning's words as personal, human, honest. Although Manning is now in prison, she is an activist and writer. In a piece this summer for The Guardian, she called for an end to the ban on trans people in the military, stating "defining ourselves for who we are is one of the most powerful & important rights that we have."

For more information and tickets, please visit L.A. Opera's website.