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: http://www.carlfischer.com/B3462

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 is an excerpt from the premiere (Live at NYU Black Box Theatre, New York, NY. March 12, 2015).

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 [updated link to live recording and sheet music above]. 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.

"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)

www.permutations.org. Event details here: https://www.facebook.com/events/266057447128550/

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.

Garth Knox: Viola Spaces by Anne Lanzilotti

Thrilled to see these new video tutorials by Garth Knox on Viola Spaces (his extended techniques etudes)! Putting these here so they're in one place and easy to find; please follow evolvingstring and check back on Garth's website for updates.

A practical hands-on explanation of how to play "Beside the bridge" by Garth Knox, a concert study using "sul ponticello" playing. Demonstration by the composer himself. Video by Adam Hogan, sound by Douglas M Niemela at DXArts, UW, Seattle sheet music available here : https://en.schott-music.com/shop/viola-spaces-3.html

A hands-on demonstration of how to play "Ghosts", a concert study for viola by Garth Knox which explores the technique called "sul tasto", which means playing on the fingerboard.

A hands-on demonstration of how to play "One finger", a concert study for viola by Garth Knox which explores the technique called "glissando", which means sliding from one note to another with the same finger of the left hand.

A hands-on demonstration of how to play "Nine fingers", a concert study for viola by Garth Knox which explores the technique called "pizzicato", plucking without the bow.

A hands-on demonstration of how to play "Rapid repeat", a concert study for viola by Garth Knox which explores the technique called "tremolo".

A hands-on demonstration by the composer of how to play "Harmonic horizon", a concert study for viola by Garth Knox which explores harmonic, both natural and artificial.

A hands-on demonstration by the composer of how to play "In between", a concert study for viola by Garth Knox which explores quartertones.

A hands-on demonstration by the composer of how to play "Upn down, sideways, round", a concert study for viola by Garth Knox which explores some fancy (fun) bow techniques.

Viola Spaces is published by Schott and The new two viola versions can be found here.

Brunelleschi's Dome by Anne Lanzilotti

Walking through the streets of Florence surrounded by the glowing orange light of sunset and bright green shutters, it is still stunning every time one comes to a cross street where the dome of the Cattedrale di Santa Maria del Fiore suddenly comes into view. For musicians, this structure is of particular importance in relation to one of the major Renaissance works we study, Guillaume Dufay's motet Nuper rosarum flores, because the piece was written for the consecration of the dome in 1436. This particular motet is studied for its intricate use of proportions in the form, proportions that some scholars say were written based on those of the cathedral below.

Studying the work and reading Charles Warren's article, “Brunelleschi’s Dome and Dufay’s Motet,” in graduate school, I was intrigued to visit the cathedral and listen/see for myself how the proportions and the music felt in the space. Although Craig Wright’s “Dufay’s Nuper rosarum flores, King Solomon’s Temple, and the Veneration of the Virgin” outlines other possible explanations for the proportions of the piece—that it is not based on the proportions of the Florence Cathedral at all, and rather is based on the dimensions for the Temple of Solomon and symbolic number representation for the Virgin from a biblical passage—I am personally more intrigued and convinced by the architectural proportions as hypothesized in Warren’s article.

Returning to Florence this week, I was struck by the incredible feat of building the dome itself. The cathedral had been under construction for years, and it was only because there was a model of what the church might look like when completed with a large dome that the problem arose in the first place. Someone had a vision that the church would have an enormous octagonal dome even though it was clear for over fifty years that no one in Italy knew how to actually build it. The mystery of the dome was put forth as a competition, and goldsmith and clockmaker Filippo Brunelleschi rose to the challenge. In the process of building the dome, Brunelleschi solved countless problems and invented various machines over the years, taking risks, having incredible failures, all for the sake of problem solving and following through with a vision (Ross King's Brunelleschi's Dome goes into great detail and is fantastic further reading for those interested). Through these banalities, failures, and innovations, Brunelleschi was able to create a structure that still inspires and creates wonderment today.

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Continuum in Music, Architecture, and Academia by Anne Lanzilotti

Finally sitting down to process an incredible couple of days in Cyprus at the Continuum2016 conference on the Continuum in Music and Architecture hosted by the Centre Iannis Xenakis and the University of Cyprus Department of Architecture. It was a wonderful chance to meet scholars from all over the world and gather ideas, inspiration, and various wonderful teaching resources:

Keynote performer Peter Sheppard Skærved's speech set the tone by emphasizing the importance of making space for reflection—in one's craft as an artist, in the depth of one's knowledge and therefore ability to make a difference as a scholar, and finally in being aware of communities—the importance of continuum as self-awareness and global awareness.

Sharon Kanach presented a lecture on Scelsi's compositional process (and his influence on Xenakis's music), full of rich information and history from her experience working with both composers personally. Keynote speaker Athanassios Economou shared several interactive tools such as GRAPE from SWAP Plus, the online research and devel­op­ment depart­ment of SWAP Archi­tects. GRAPE, a parametric shape grammar interpreter, allows the user to visualize various manipulations/transformations of geometric shapes given various restrictions/rules.

Eight variations of one spatial relationship from GRAPE.

Eight variations of one spatial relationship from GRAPE.

Others presented research in progress, including Konstantina Kalfa's presentation on Villa Mache (continuum in the architecture and use of light in Xenakis's designs). Composers presented their own work, including Nicoleta Chatzopoulou, who talked about using silence as a landscape in musical composition. I presented a paper on Andrew Norman's The Companion Guide to Rome: Influence of Architecture and Visual Art on Composition, using Xenakis’s ideas about structure-in-time as a framework to analyze Norman’s music that is inspired by architectural forms.

Architectural drawing of Villa Mache

Architectural drawing of Villa Mache

It was inspiring to be around both young and established scholars who value critical thought, feedback, and making time for both rigorous academic focus and reflection. The arts allow us to perceive nuances in continuum if we have patience: in music, learning to support others' voices; in visual art, to literally be able to create/have perspective; in dance, to learn to support the weight of another human being. Gatherings such as these allow for that optimism and critique to find its place in the ongoing struggle for relevance and reflection in the arts/academia.

Harmonics, Waveforms, and the Overtone Series by Anne Lanzilotti

This week in our Extended Techniques for Strings class, the subject of different types of waveforms and timbre as harmonic spectrum came up. Posting these diagrams here for ease of reference (scroll down for a summary of basic terms):

Overtone Series on C, Partials 1–16 (Arrows indicate sixth tone or quarter tone alterations which occur naturally in the harmonic series). Yes, that's an alto clef. Diagram by Lanzilotti

Overtone Series on C, Partials 1–16 (Arrows indicate sixth tone or quarter tone alterations which occur naturally in the harmonic series). Yes, that's an alto clef. Diagram by Lanzilotti

The Natural Harmonic Series and Fractions of the String. Diagram by Lanzilotti.

The Natural Harmonic Series and Fractions of the String. Diagram by Lanzilotti.

Sine waves contain only the fundamental. Square waves (a form of pulse waves) and triangle waves contain only odd harmonics (with distinct amplitudes), giving them their individual sounds. Sawtooth waves have all partials present, but they decrease exponentially in relation to the ratio of the partial to the fundamental.

Harmonic spectra shown using musical notation. Diagram from Holmes's Electronic and Experimental Music

Harmonic spectra shown using musical notation. Diagram from Holmes's Electronic and Experimental Music

Some other terms that came up were:

  • frequency: pitch, measured in hertz (Hz) or cycles per second
  • amplitude: volume/loudness
  • timbre: tone color, determined by the set of harmonics or overtones in the sound
  • duration: how long the sound lasts (is audible)
  • envelope: overall shape of the amplitude of the sound over time including the attack, sustain, and decay of the sound