SPLICE Institute 2022 Concert 3 Program
featuring
Composer João Pedro Oliveira
Wednesday June 29, 2022
7:30pm EDT
Dalton Recital Hall, Western Michigan University
Livestream simulcast on SPLICE YouTube (unique link)
download program pdf (does not include notes/bios)
Titanium (2014): Vicki Ray and Keith Kirchoff, piano and toy pianos
A Escada Estreita (1999): Robin Meiksins, alto flute
Coalescence (2021): video
A tre (2009): Vicki Ray and Keith Kirchoff, piano
Heavy Metals (2015): Dana Jessen, bassoon
Kontrol (2019): Adam Vidiksis, percussion
Notes
TitaniumTitanium belongs to a group of four works that are inspired by elements of nature. Each of these pieces is related to the characteristics of the elements by which it is inspired. Titanium is a bright metal with low density and high strength and ductility. It is also corrosion resistant and has high temperature resistance. Its name is inspired by the Titans of Greek mythology.
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A Escada Estreita (The Narrow Ladder)
A sonnet of Portuguese poet Antero de Quental inspired this work: (Translation of poem)
In the hand of God, in His right hand My heart at last rests. From the enchanted palace of illusion I have descended step by step the narrow ladder. Like the mortal flowers, which adorn Childhood’s ignorance, vain remains I have ousted from the ideal and the Passion Their transitory and imperfect shape. Like a child on a dismal journey, Who clings to the mother’s bosom And crosses, vaguely smiling, Jungles, oceans, deserts sands... Sleep thy rest, freed heart, Sleep in God’s hand eternally!
The title itself relates not to the piece in its essence, but to a certain moment in the life of the composer. Sometimes it is necessary to let go some of our desires, wishes and ambitions, in order to become a happy person. This difficult process is described in some poetry and literature as a step-by-step descending of a narrow ladder, in order to leave the palace of illusions, and discover more pure and perfect reasons for life.
This work was commissioned by IARTES (Ministry of Culture of Portugal), and received the 1st Prize in Musica Nova Competition (Prague) 2005. This work was composed at the personal studio of the composer.
A Escada Estreita (Enge Treppe) für Altflöte und Elektronik (1999)
Diese Komposition wurde durch das Sonett von Antero de Quental inspiriert.
In der Hand des Gottes, in seiner rechten Hand, erholte sich endlich mein Herz. Aus dem Palast der verzauberten Illusionen stieg ich schritt für Schritt hinab die enge Treppe entlang. Wie bösartige Blüten, mit denen sie sich zieren kindliche Ignoranz, Beute, vergebliche Überreste verdrängte ich aus dem Ideal und der Leidenschaft ihre vergängliche und unvollkommene Gestalt. Wie ein Kind, in der Düsterkeit der Arbeitszeit, das die Mutter freundlich in den Armen trägt und überschreitet vage lachend, Dschungel, Meere, Sand der Wüste..... Schlaf deinen Traum, freies Herz, schlaf in Gottes Händen für alle Zeiten. (Übersetzung: Otto Spitzer)
Der Name der Komposition bezieht sich nicht auf ihren Inhalt, aber zu einem konkreten Moment aus dem Leben des Komponisten. Manchmal wird es nötig unsere Wünsche und Ambitionen zu verlassen, damit wir Glück erreichen können. Dieser schwere Prozess ist im Gedicht als Schrittweiser Abstieg einer engen Treppe beschrieben. Nur so können wir den Palast der Illusionen verlassen, und uns an die Erschließung sauberer und vollkommenere Gründe für unser Leben wenden.
Diese Komposition wurde bei IARTES bestellt und hat den 1. Preis im Wettbewerb Musica Nova (Prag), im Jahr 2005 erworben.
A ESCADA ESTREITA (1999)
Esta obra foi composta no estúdio pessoal do compositor e no Centro de Investigação em Música Electrónica da Universidade de Aveiro, tendo sido inspirada por um soneto de Antero de Quental, que se transcreve seguidamente:
Na mão de Deus
Na mão de Deus, na sua mão direita,
Descansou afinal meu coração.
Do palácio encantado da Ilusão
Desci a passo e passo a escada estreita.
Como as flores mortais, com que se enfeita
A ignorância infantil, despojo vão,
Depus do Ideal e da Paixão
A forma transitória e imperfeita.
Como criança, em lôbrega jornada,
Que a mãe leva no colo agasalhada
E atravessa, sorrindo vagamente,
Selvas, mares, areias do deserto...
Dorme o teu sono, coração liberto,
Dorme na mão de Deus eternamente!
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Coalescence
Coalescence is the process of joining or merging of elements to form one mass or whole. In this visual music piece, both visual materials and music join and separate themselves in distinct units, forming shapes and sounds that are the combination of elements joined together.
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A Tre
A Tre is a short piece written for early stage piano students. It was commissioned by the Associated Board of Schools of Music (UK).
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Heavy Metals
Heavy Metals, for bassoon and electronics, belongs to a group of several works for instruments and electronics that are inspired by nature's elements. Each of these pieces is related to the characteristics of the element that was used as inspiration.
In the case of Heavy Metals, the weight associated with physical matter is reflected in the use of gestures, phrases and musical elements that tend to progress toward the low frequencies, and then still are extended by the electronics. Also, certain sound distortions caused by the interaction between the electronics with the instrument propose a subtle reference to the rock style that proliferated in the 70s and 80s. This work was commissioned by the Seia Music Conservatory, composed in the composer's personal studio and at the Mexican Center for Music and Sound Arts.
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Kontrol
Kontrol is a virtual percussion piece. Movements correspond to sounds and sounds correspond to invisible instruments.
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Bios
Joao Pedro Oliveira
Composer João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance, composition and architecture in Lisbon. He completed a PhD in Music at the University of New York at Stony Brook. His music includes opera, orchestral compositions, chamber music, electroacoustic music and experimental video. He has received over 70 international prizes and awards for his works, including three Prizes at Bourges Electroacoustic Music Competition, the prestigious Magisterium Prize and Giga-Hertz Special Award, 1st Prize in Metamorphoses competition, 1st Prize in Yamaha-Visiones Sonoras Competition, 1st Prize in Musica Nova competition. He taught at Aveiro University (Portugal) and Federal University of Minas Gerais (Brazil). His publications include several articles in journals and a book on 20th century music theory.back to program
Pianist and composer Keith Kirchoff has performed throughout North America, Europe, and the Pacific Southwest. A strong advocate for modern music, Kirchoff is committed to fostering new audiences for contemporary music and giving a voice to emerging composers, and to that end has premiered over 100 new works and commissioned over two dozen compositions. Specializing on works which combine interactive electro-acoustics with solo piano, Kirchoff's Electroacoustic Piano Tour has been presented in ten countries, and has spawned three solo albums. Kirchoff is the co-founder and a director of SPLICE and the founder and Artistic Director of Original Gravity Inc. Kirchoff has won awards from the Steinway Society, MetLife Meet the Composer, the Foundation for Contemporary Arts, and was named the 2011 Distinguished Scholar by the Seabee Memorial Scholarship Association. He has recorded on the New World, Kairos, New Focus, Tantara, Ravello, Thinking outLOUD, Zerx, and SEAMUS labels.
You can follow Kirchoff on Twitter @keithkirchoff and learn more at his website: keithkirchoff.com.
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Described as “phenomenal and fearless,” Grammy nominated pianist Vicki Ray is a leading interpreter of contemporary piano music. Known for thoughtful and innovative programming which seeks to redefine the piano recital in the 21st century, Vicki’s concerts often include electronics, video, recitation and improvisation. As noted by Alan Rich, “Vicki plans programs with a knack for marvelous freeform artistry…what she draws from her piano always relates in wondrous ways to the senses.” As a founding member of Piano Spheres, an acclaimed series dedicated to exploring the less familiar realms of the solo piano repertoire, her playing has been hailed by the Los Angeles Times for “displaying that kind of musical thoroughness and technical panache that puts a composer’s thoughts directly before the listener.
As a pianist who excels in a wide range of styles Vicki Ray’s numerous recordings cover everything from the premiere release of the Reich You Are Variations to the semi-improvised structures of Wadada Leo Smith, from the elegant serialism of Mel Powell to the austere beauty of Morton Feldman’s Crippled Symmetries. Recent releases include David Rosenboom’s Twilight Language on Tzadik Records and Feldman’s Piano and String Quartet with the Eclipse Quartet on Bridge Records. Her 2013 recording of Cage’s The Ten Thousand Things on the Microfest label was nominated for a Grammy.
Ms. Ray’s work as a collaborative artist has been extremely diverse and colorful. She was the keyboardist in the California E.A.R. Unit and Xtet. Her chamber music contributions to the vibrant musical life in greater Los Angeles include frequent performances on the Dilijan, Jacaranda and Green Umbrella Series. She performs regularly on the venerable Monday Evening Concert series and was featured in Grisey’s Vortex Temporum on the 2006 celebration of the re-birth of the series. Vicki has been heard in major solo roles with the Los Angeles Philharmonic, the Los Angeles Master Chorale, the San Francisco Contemporary Music Players, the German ensemble Compania, and the Blue Rider Ensemble of Toronto, with whom she made the first Canadian recording of Pierrot Lunaire.
She is currently head of the piano department at the California Institute of the Arts, where she has been on the faculty since 1991. In 2010 she was awarded the first Hal Blaine Chair in Music Performance. For the past eight years she has served on the faculty at the Bang on a Can summer festival at the Massachusetts Museum of Contemporary Art.
For current information on upcoming concerts please go to: vickiray.net/concerts
Vicki Ray is a Steinway Artist.
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Robin Meiksins is a freelance contemporary flutist and improviser focused on collaboration with living composers. Chicago-based, she uses the Internet and online media to support and create collaboration. In 2017, Robin completed her first collaborative YouTube project, 365 Days of Flute. Each day featured a different work; each video was recorded and posted the same day. In 2018, Robin completed the 52 Weeks of Flute Project. Each week featured a workshop with a living composer, culminating in a performance on YouTube. Robin has since completed three other YouTube projects featuring exclusively works by living composers. She has premiered over 200 works and has performed at SPLICE Institute and Festival, the SEAMUS national conference, and Oh My Ears New Music Festival. Robin holds a masters degree from Indiana University’s Jacobs School of Music where she studied with Kate Lukas and Thomas Robertello. She also holds a Bachelors of Music with Honors from University of Toronto where she studied with Leslie Newman.
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Hailed as a “bassoon virtuoso” (Chicago Reader), Dana Jessen tirelessly seeks to expand the boundaries of her instrument through original compositions, improvisations, and collaborative work with innovative artists. Over the past decade, she has presented dozens of world premiere performances throughout North America and Europe while maintaining equal footing in the creative music community as an improviser. Her solo performances are almost entirely grounded in electroacoustic composition that highlight her distinct musical language. As a chamber musician, Dana is the co-founder of the contemporary reed quintet Splinter Reeds, and has performed with Alarm Will Sound, Amsterdam’s DOEK Collective, the San Francisco Contemporary Music Players, and the Tri-Centric Ensemble, among many others. A dedicated educator, Dana teaches at the Oberlin Conservatory of Music and has presented masterclasses and workshops to a range of students from across the globe. More at: www.danajessen.com.
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Adam Vidiksis is a drummer and composer based in Philadelphia who explores social structures, science, and the intersection of humankind with the machines we build. His music examines technological systems as artifacts of human culture, acutely revealed in the slippery area where these spaces meet and overlap—a place of friction, growth, and decay. Vidiksis is a sought-after champion of new works for percussion and electronics, performing as a featured artist in venues around the world. Vidiksis’s music has won numerous awards and grants, including recognition from the Society of Composers, Incorporated, the American Composers Forum, New Music USA, National Endowment for the Arts, Chamber Music America, and ASCAP. His works are available through HoneyRock Publishing, EMPiRE, New Focus, PARMA, and SEAMUS Records. Vidiksis recently served as composer in residence for the Chamber Orchestra of Philadelphia and was selected by the NEA and Japan-US Friendship Commission, serving as Director of Arts Technology for a performance of a new work during the 2020 Olympics in Japan. Vidiksis is Assistant Professor of music technology at Temple University and President of SPLICE Music. He performs in SPLICE Ensemble and the Transonic Orchestra, conducts Ensemble N_JP, and directs the Boyer College Electroacoustic Ensemble Project (BEEP). [www.vidiksis.com]
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