UNC Fall Performances by Anne Lanzilotti

Starting out the year with a performance of Caroline Shaw's In Manus Tuas tomorrow for the University of Northern Colorado School of Music convocation!

CarolineShaw_InManusTuasExcerpt.jpg

I'll also be playing chamber music on two faculty recitals this fall. First up: Euridice Alvarez, Willem Schalkwyk, and I perform the Loefller Two Rhapsodies for oboe, viola, and piano on September 7th. In October, I'll be performing Bridge Songs with Melissa Malde and Willem.

euri-faculty-recital-2017.jpg

Dai Fujikura: Chance Monsoon by Anne Lanzilotti

*****UPDATE: Now available worldwide! Dai Fujikura: Chance Monsoon

Dai Fujikura's new album Chance Monsoon is now out on Sony Japan and will be released on Minabel Records worldwide! The Rhythm Method recorded "Silence Seeking Solace" with Alice Teyssier last fall at Oktaven Audio. You can hear our recording streaming here for a limited time:

LIMITED time only streaming! Composed by Dai Fujikura, text by Harry Ross. Performed by Alice Teyssier (soprano) The Rhythm Method: Marina Kifferstein, Meaghan Burke, Anne Lanzilotti, Leah Asher (permission from Alice Teyssier, The Rhythm Method) to BUY score: http://www.daifujikura.com/un/shop.html

Building Curriculum Diversity by Anne Lanzilotti

I'm writing a series this month for NewMusicBox on the importance of (and resources for) building curriculum diversity. I will continue to update the links to the full series here as they are published:

Building Curriculum Diversity: Stereotype Threat

An introduction to the series, and to the concept of "stereotype threat."

Excerpt: One of my favorite things about teaching is that curriculum is alive, and therefore must be nourished so that it may change over time. . . . Students need role models, but beyond that, permission. I heard this same message from many of the scholars I interviewed: that just seeing the idea of success in the present was not the only important element, but also understanding that there is a precedent. The only way to show students this precedent, both historically and currently in the field, is curriculum that reflects the gender and racial diversity of our society.

Building Curriculum Diversity: Pink Noises

Part One is an in-depth interview with the author of Pink Noises: Women on Electronic Music and SoundTara Rodgers. Rodgers is a composer/performer as well as scholar, and she talks about her first experiences with electronic music, her inspirations, as well as the nuts and bolts of her craft.

Building Curriculum Diversity: Analytical Essays

Part Two focuses on Music Theory resources. In this interview, the editors of Analytical Essays on Music by Women ComposersLaurel Parson and Brenda Ravenscroft discuss their inspiration behind creating the book, and other resources available for scholars.

Building Curriculum Diversity: Technique, History, and Performance

Part Three examines music history and performance resources such as Anna Beer’s Sounds & Sweet Airs, performing organizations such as The Dream Unfinished, and performance practice resources like Maria Chavez’s Of Technique: Chance Procedures on Turntable.

Jennifer Koh, Maria Chavez, and Ashley Jackson (interviewed in Part Three, Building Curriculum Diversity: Technique, History, and Performance)

Jennifer Koh, Maria Chavez, and Ashley Jackson (interviewed in Part Three, Building Curriculum Diversity: Technique, History, and Performance)

Andrew Norman's "A Trip to the Moon" by Anne Lanzilotti

Andrew Norman's stunning new work A Trip to the Moon is "an opera for all ages." The work was co-commissioned by the Berliner Philharmoniker, the London Symphony Orchestra, and the Los Angeles Philharmonic. I got a sneak peak at the score and the chance to talk to Andrew about the work while researching/writing the program note for the UK Premiere (July 9, 2017 at the Barbican Centre). Read the full notes below, or download the notes and Andrew's synopsis.

If you can't make it to the London production, you can watch the Berlin production on Digital Concert Hall for FREE here.

Periapsis Emerging Artist Residencies by Anne Lanzilotti

I had an amazing time working with choreographer Wendell Gray II and the dancers and musicians of Periapsis Music & Dance this month in their first Emerging Artists Residencies. We had ten days to develop a work together, so instead of composing a piece and then bringing in a final product for Wendell to choreograph, I brought in different textures for the percussionist and I to experiment with over the course of the workshop, and eventually develop a piece based on the form of the dance. The goal of the way we were playing was to be able to focus on the dancers, to phrase with their movement and to have flexible material so that the music would fit exactly with the transitions, instead of asking the dancers to conform to set timings. Therefore, everyone in the room focused on a unified sense of movement in time.

Wendell Gray II works with Periapsis dancers Marissa Wiley and Isaac Owens

Wendell Gray II works with Periapsis dancers Marissa Wiley and Isaac Owens

Sarah Mullins, percussion

Sarah Mullins, percussion

Anna Thorvaldsdottir: A Part of Nature by Anne Lanzilotti

I wrote about Anna Thorvaldsdottir's Aeriality for Music & Literature.

Photo by Thorvaldsdottir

Photo by Thorvaldsdottir

In anticipation of the New York Philharmonic performing Anna Thorvaldsdottir’s Aeriality this week, this profile of Thorvaldsdottir discusses her inspirations from nature and her compositional process, and gives an in-depth listening guide to Aeriality.
Anna Thorvaldsdottir’s music is powerful and visceral. Merely saying that it represents nature does not express the depth of her compositional process. Many composers are inspired by the natural world, but what makes Thorvaldsdottir’s works unique is her imaginative rendering of nature—her ability to create the affect of tangible, physical landscapes through sound. She is enthralled by large-scale ensembles, and writes detailed orchestral scores that draw the listener in with layers of sonic perspectives. Read on

Experience Aeriality live with the New York Philharmonic May 19, 20, and 23 at David Geffen Hall.

Music Mondays: Hear by Design by Anne Lanzilotti

Music Mondays Presents: Hear by Design: Music of Andrew Norman

This coming Monday, May 1st, at 7:30pm at Advent Lutheran Church I'll be playing the New York premiere of Andrew Norman's new string quartet, Still Life, on a portrait concert of his works as influenced by architecture.

Jennifer Koh, violin

Variation Trio - Jennifer Koh, violin; Scott St. John, viola; Wilhelmina Smith, cello

Rhythm Method - Leah Asher, violin; Maria Kifferstein, violin; Anne Lanzilotti, viola; Meaghan Burke, cello

Trident Ensemble - Daniel Moody, countertenor; Owen McIntosh, tenor; Edmund Milly, baritone; Jonathan Woody, bass-baritone

Aaron Wunsch, piano

From the Music Mondays website:

Composer Andrew Norman’s music of “daring juxtapositions and dazzling colors” (New York Times) has made him one of the most widely admired young composers working today. His “staggering imagination” (Boston Globe) draws inspiration from disparate sources, including architecture, cinema, and video games – resulting in music that is fun, funny, and deeply moving. The fourteen performers include violinist Jennifer Koh ("one of our most thoughtful and intense musicians," New York Times), the Variation Trio, and string quartet The Rhythm Method ("uncompromising and unreserved," examiner.com) - with Andrew on hand to introduce his music.

PROGRAM

Andrew Norman: Stop Motion for String Quartet (New York Premiere)

Dufay - Nuper rosarum flores

Andrew Norman - Farnsworth: Four Portraits of a House

J. S. Bach - Two Part Inventions (arr. for strings)

Andrew Norman - The Companion Guide to Rome

Kurtág: Hommage à Ránki György

Andrew Norman - Still Life

LOCATION

Advent Lutheran Church
2504 Broadway
New York, NY 10025

For tickets, please visit: https://www.eventbrite.com/e/music-mondays-hear-by-design-music-of-andrew-norman-tickets-33777176444?aff=es2

IMG_1044.JPG

An Architecture of Society: Andrew Norman by Anne Lanzilotti

I wrote a profile of Andrew Norman for Neue Zeitschrift für Musik that is in the February 2017 issue. The publisher has generously allowed me to share a PDF of the English version of the article. Here's an excerpt:

Try. Split. Suspend. Switch. Play. Many of the titles for Andrew Norman’s recent works are both a window into formal devices used in the piece and an invitation for the audience to engage in active listening. Often, Norman presents a complex texture at the beginning of a work that is slowly untangled through actions in the orchestra—actions which sometimes contradict each other as the orchestra tries to resolve the formal puzzle of non-linear narratives. Processing these contradictions in a meaningful way requires both the calm ability to recognize them, and the empathy to take on different perspectives. Contemporary music requires one to confront pre-conceived notions of sound, and challenges the listener to process these contradictions in real time. Therefore, although listening to a classical music concert is often considered a passive activity, Norman is asking the audience to make it an active one by questioning their aesthetic assumptions and being open to problem-solving. Read on

You may access the German version (translation by Friedrich Heinrich Kern) here: "Architektur der Gesellschaft: Der US-Amerikanische Komponist Andrew Norman."

Wanderweg by Anne Lanzilotti

Excited to share my debut EP, Wanderweg! It includes a piece for Noguchi sounding stones, an amplification of beautiful construction noise, a sickly, stuck cover of "Hawaiʻi Aloha," and a walk over the Brooklyn Bridge.

Music by Anne Lanzilotti

Anne Lanzilotti, viola(s), mixing

Bernd Klug, mixing & mastering 

Credits for birth, death
Anne Lanzilotti, Noguchi sounding stones
Alice Teyssier, voice
Leah Asher & Marina Kifferstein, violins
Meaghan Burke, cello
Bernd Klug, recording engineer
Recorded at The Noguchi Museum, New York 

Cover Photography: Salvatore Lanzilotti

Law of Mosaics with A Far Cry by Anne Lanzilotti

In Boston this week to play Ted Hearne's Law of Mosaics and Andrew Norman's The Companion Guide to Rome with A Far Cry! Concert Thursday, April 6, 2017 at 7:00pm at the Isabella Stewart Gardner Museum. Tickets here.

Hearne's Law of Mosaics explores the idea of mosaics to an extreme. The piece asks: What does it mean to take things out of context? Do moments of beauty taken out of context lose their meaning? Is it enough to make a beautiful thing?

Read more about The Companion Guide to Rome here (or here if you really have a lot of time on your hands).

From A Far Cry's website:

A rare opportunity to hear A Far Cry's acclaimed album in a full live concert performance! Law of Mosaics features two brilliant works by Ted Hearne and Andrew Norman. In Norman’s Companion Guide to Rome, a 2012 Finalist for the Pulitzer Prize, A Far Cry explores the composer’s favorite churches in the Eternal City as nine separate string trios. In “Law of Mosaics”, Hearne creates a magnificent sonic patchwork, imaginatively spun by A Far Cry as a unified ensemble. 
In the words of the Washington Post: [the] dense, idea-intensive “Law of Mosaics” for strings focused more on pure music, cutting and knitting together sections from other works, deliberately upending any sense of narrative to explore new paths to meaning. Hearne’s writing is virtuosic, complex and imaginative — almost to the point of brutality — and A Far Cry played it with fierce dedication.