CMI 2018: 'Music Made Visible' Photo Gallery

We had an incredible time presenting our fifth annual Chamber Music Intensive in partnership with the University of Chicago Department of Music and the Reva and David Logan Center for the Arts, with support from the Associated Chamber Music Players. This year we had an absolutely lovely collection of participants, our second go-around teaching alongside pianist Daniel Pesca, and had the great good fortune of inviting violin pedagogue Lucy Chapman as our guest artist. And that's only the half of it...

(photos by unpaid interns Doyle Armbrust and Maeve Feinberg)


DAY 2: Masterclass with Spektral Quartet & Daniel Pesca


DAY 2: Baroque Dance Class with Haymarket Opera Choreographer Sarah Edgar


Day 3: Lucy Chapman Presentation & Masterclass


DAY 3: Sightreading Party


DAY 4: Final Concert


DAY INFINITY: LaCroix Boy

Finding Ourselves in Schoenberg

  (photo credit:  Marc Perlish )

(photo credit: Marc Perlish)

It’s always an interesting exercise to look back at the previous season in the summer months. Like revisiting New Year’s resolutions, it’s a good way to do a personal barometer check and hunker down for a think about questions like “In what elements were we most successful?”, “Did we accomplish what we set out to?”, “How did our goals change along the way?”, “What were our biggest learning experiences?”, “Did we make something meaningful?” Even the busiest summer feels a little like coming up for air, and it’s easy in hindsight for a reflection on the season to resemble a string of highlights and failures. This year has certainly seen it’s fair share of both of those, but I’m ending the season feeling differently about Spektral’s work than I ever have...

Like all seasons, 2017-18 was a long time in coming and was carefully planned in advance. The last few years of political and social unrest have left us raw – confused, wary, frustrated, unsettled, and with a renewed sense of commitment to celebrating diversity, and protecting things that are true. It often seemed this year like history was repeating itself, or perhaps that we as a society have not learned the lessons we should have. We’re armchair scholars of American history at best, but recent events had us thinking about how we might contribute to the current cultural climate in a more holistic way. As an ensemble that plays both contemporary and classical music, we felt that it was important to understand better, and share with our audience, the story of where we came from. The ideas for this season began with a desire to examine questions together like: “What was the path of art music across the 20th century into the present? How have we ended up with the wonderful plethora of compositional languages present in the world today?.” In so considering, we found the music of Arnold Schoenberg to be history’s forgotten link, and hence the birth of In Search of Futures Past.

Doing a string quartet cycle is a unique thing, and doing this one even more so. The explorer of atonality and creator of the 12-tone system, Schoenberg’s life and work spanned Romanticism, Expressionism, and Modernism. His four quartets are masterpieces of the repertoire, but aren’t often played – perhaps they are too out for the “traditional” string quartet, and too old-fashioned for the “new music” quartet (which made them perfect for us). Throwing ourselves into these works and contextualizing them with pieces by Schoenberg’s heroes, contemporaries, and composers inspired by his legacy was immensely satisfying. We searched for the underlying truth of his language and we progressed through these pieces in a way entirely our own. We invited friends who are experts in their fields to cast a bigger light on Schoenberg’s place in history with pre-concert talks. We invited local artists to help us create new connections: together, we paired the music of Schoenberg with a newly crafted beer inspired by a 1908 Viennese lager recipe, found shared experience through a performance at a Frank Lloyd Wright home, and explored other art forms (just like Schoenberg himself did) through painting. We collaborated with and learned from performers who have made Schoenberg a staple of their artistic lives. We worried about who would show up to our concerts of this “out there” music and had more standing-room only audiences than we’ve ever had. We took some of the programs on tour, and totally dorked out with the manuscripts of all four quartets at the Library of Congress. We printed ridiculous things on cakes and had champagne receptions. We played and sang and lived and asked questions of this music for an entire year.

Working on Schoenberg became a constant, a foundational practice that happened day in and day out no matter what else was going on. As always happens, we laughed together and cried together, but this year Schoenberg was always the soundtrack. Doyle and I had epic moves (I got a great new place, and he bought his first home!). Russ had his second child (Hi, Julian!). Maeve got to know Chicago better and absolutely killed during her first complete season. Through all of this and more, Schoenberg happened nearly every day.

On the other side of this work, I can tell you what we discovered musically: Schoenberg’s roots run deep. Across the chronological ordering of quartets 1-4, the intervals change shape, the harmonies become more abstract. But the line, the gesture, the use of dance rhythms and love of song shine through in all four quartets. However modernist his 12-tone system, to us Schoenberg will always be a true Romantic. By reading his letters and essays, I came to know his real confusion about why his music was so often misunderstood and criticized for not having heart. We’re confused about this, too.

I can also tell you what we discovered personally, and why I feel different this year than at the end of other seasons. While we may be putting Schoenberg to rest for a short while to bring out new programs for 2018-19, the wonderful feeling of process remains. One is not “done” with something when one is still growing. Finding things – like what we found in Schoenberg – sometimes gives an answer, but you can count on it to illumine more questions that make the asking more exciting, and the quest more full of energy. Cultivating these programs in these ways stretched us and made us better friends. This project made us hone in on a concept of sound, and an approach to gesture, that is like a living thing for us to take care of. This process made us think harder about our relationship to the city of Chicago, and the ways that we can be better community members. It probed us to reconsider what is worth hearing, and how we can be of greater service to music at large with what we perform and record (more on that later--shhh!). Most of all, I have the resounding sense that we found ourselves in part of a story that will continue to unravel across seasons to come.

With enormous thanks to Kiera Duffy for adding her voice to ours; Fred Sherry for showing us the way; David Fulmer for beautiful new notes; Berthold Hoeckner, Seth Brodsky, Jennifer Iverson, Jesse Rosenberg, Kate Desjardins, Sidney K. Robinson, and Brian Buckman for sharing their brilliance and talents with our audiences; Cliff Dwellers Club, the Lang House, and Hairpin Arts Center for helping to make our dreams come true, and Barbara Schubert at the University of Chicago, and Fawn Ring at the Art Institute of Chicago for making this season possible. Lastly, thank you to our amazing audiences, who went on this adventure with us and were there every step of the way!

– Clara Lyon

  (photo credit:  Marc Perlish )

(photo credit: Marc Perlish)

This Is What A Classical Concert Can Be

We created the CLOSE ENCOUNTERS series as a way to draw you further inside the music...something beyond you sitting politely with your hands folded in your lap. We've been astounded by the response to this interactive (and...shhhhh...don't tell anyone...FUN!) concert format, and the fact that it was launched with some, at times, seriously heady music (Schoenberg), we know it's a keeper.

Schoenberg's second quartet, fiercely delivered by world-class soprano Kiera Duffy, was complimented by a custom batch from Chicago brewery Illuminated Brew Works, inspired by an early 1900's recipe from Schoenberg's Vienna. The third found all of us in the great room of the Prairie-style Lang House, capping off our evening with a private tour of Frank Lloyd Wright's Emil Bach House. And our season closer provided you with canvases, paints, and instruction in German Expressionism...with a nightcap of us performing three of your paintings as graphic scores.

It's been an amazing ride, and YOU KNOW that we are going to outdo ourselves next season.

Thank you for making this season so memorable, and we hope you'll be generous in your support of our 2018/19 season, THE WORLD AROUND US!


CLOSE ENCOUNTERS: Sipping a Glass of 1908 Vienna

(photos by Marc Perlish)


CLOSE ENCOUNTERS: Concert and Cocktails at the Lang House

(photos by Marc Perlish)


CLOSE ENCOUNTERS: Paint Your Feelings!

(photos by Daniel Kullman)

You Painted Your Feelings!

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What a way to close the 2017/18 season! We are still riding high from the vibe at our final Close Encounters event, Paint Your Feelings!and are eager to fill you in soon on what we have in store for you next season. First and foremost, we were taken aback by how LOCKED IN you all were while painting. We'd finish a piece, and it would be silent...with you all feverishly brushing away at your creations. I guess we could have known that our audience is made up of a bunch of secretly-talented painters.

Special thanks to our art guru for the evening, Kate Desjardins, and to our friends from the Chicago Symphony's Overture Council who claimed so many seats that night. It was a blast, and you better believe we have plans to present more interactive shows like this one in the future. And a big high-five to the amazing photographer Daniel Kullman for these vivid pics! (make sure to credit him if you share!)

Finally, it was a singular pleasure for us to improvise pieces around your work. We can't think of a better way to cap off an evening making art together.

Till next time,
Clara, Maeve, Doyle & Russ

Chicago Classical Review: Spektral Quartet wraps Schoenberg series with metal virtuosity

"How many string quartets are there today that can make late Schoenberg seem like heavy metal?The Spektral Quartet wrapped its season-long survey of Arnold Schoenberg’s string quartets Sunday afternoon at the Art Institute. It’s a testament to the ensemble’s devoted local following that Fullerton Hall was quite respectably filled for a program that didn’t exactly cater to populist tastes.
....
A superb coda to the group’s ambitious and distinguished Schoenberg series. One looks forward to seeing what the Spektral Quartet will cook up for the 2018-19 season."

 

Read the entire article here

 

The Grand Finale to our 2017/18 Season!

Fireworks will be arriving early this summer...

This Sunday (5/20) marks the grand finale of our season with the final event of our Schoenberg cycle: In Search of Futures Past! We want to send you into the summer months in style, so here's what we have in store for you:

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This Schoenberg series has been all about discovery, so we're lucky to have two fantastic speakers providing the color commentary at the end of the concert: Northwestern University professor of musicology Jesse Rosenberg, and the Art Institute's own Paulina Lopez

And how about this venue? You'll be enjoying Schoenberg's Quartet No. 4, Elliott Carter's Fragments, and the world premiere of David Fulmer's verse, verses under a Tiffany dome in one of the best sounding rooms in Chicago. It's fancy, but you can dress however you like.

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Extra points for shaving your head like Schoenberg...

 

 

You do not need to purchase museum admission to attend the show, but getting your concert tickets in advance is a very good idea. You can grab those here. This is going to be one thrilling afternoon of music, and we can't wait to celebrate the close of our season with you!

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You Are Loved, Matt Marks...

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We're still reeling from the news that composer Matt Marks is gone. He was a phenomenally creative musician, and easily one of the funniest and smartest personalities in the new music community.

You don't expect your friends to just disappear...

We did this project called Mobile Miniatures a few years back, and guess who wrote the most gut-busting piece of the entire roster? Matt, of course. His wake-up alarm still cracks us up and saves us (and people around the world) from missing 6am flights to this day.

We'd like to honor Matt by making his piece (both the SFW and the NSFW versions) available for free from now till forever. 

You made us laugh hysterically...and consider our own hypocrisies, Matt. We miss you.

Love,
Doyle (for Spektral)

 

Reconditioning the String Quartet: An Interview with Wadada Leo Smith

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There are certain artists with whom you dream of coming into orbit, and Wadada Leo Smith is finally in our galaxy. Clara and I went to see his trio play Constellation a while back, when the Cubs were winning at sportsball or whatever – so it was a small house – and both of us were struck by the patience and nuance with which he infused his performance. Every note felt purposeful and considered, and more importantly, honest.

We feel very fortunate that he was willing to fly out for our upcoming Once More, With Feeling! series this Sunday (3/4), and we know that if you stop by, you'll leave with a changed and inspired brain to tackle your own creative projects – to dig in and uncover what it is you have to express.

Our correspondence with Wadada has been voluminous, so we thought we'd take a step back and ask him about his musical journey more globally...to help get our – and your – head in the game for what is likely to be a singular night of creativity and music-making.


Doyle Armbrust: Can you take us back to the origins of your life as a composer?

Wadada Leo SmithI began to compose at the age of twelve. My first composition was a work for three trumpets. When I felt the need to compose music I did not ask anyone to teach me or show me how to make a composition.

I started with the "notes" that I knew and went from those "notes" to other "notes" to make my composition.  After completing the score I asked two friends who also played the trumpet to play the music that I had composed. I learned from hearing that music within days after composing the music. From that moment to today I have never asked anyone, teachers or musician friends that I know, to show me what to do in a composition.

After composing my first piece of music, I went to my school's library to research what a composer did, and to look for information on other composers. After that I realized that I was a composer.....that wrote scored composition, and that composing was what I did. Over the years and with hundreds of compositions I continue to work on using my inspiration, skills, research and dream state to make the best art that I can. Soon I will have twelve string quartets. When my eleventh, (a set of six quartets) is finished, hopefully by the end of September, I will finish that quartet.

DA: Even though you were self-taught, you must have had influences, right?

WLS: Yes. I started composing string music in 1964 after hearing string quartets by John Lewis and  Ornette Coleman. Charles Ives and Bela Bartok and Debussy's music also played a part in my research of quartet music. And although these composers came later, after I had already started to write for the string quartet they all had an impact.

I saw in Debussy's works a larger possibility for creativity then I did in the music of Arnold Schoenberg and the Austrian school of composition. Coleman's music had the greatest influence, because his music and string quartet writing offering a fresh vision of how to employ freedom and creativity with the force inspiration to create a work of art – an idea that seem far from the formalized way that composers of Europe and the concert music schools of composition in the United States.

Lewis's string quartet music reflected a very good example of those schools of thought, and was clear enough to show me that I did not want to compose in that way. Ives's works suffered from him not hearing much of his music in performance; and his uses of "folk music" sources was also something I was not interested in doing. A lot of his works look at the same issues and often would have the same "tunes" imbedded in his works. And yet there are major master works coming from him: the fourth symphony, the piano sonatas, and
Three Places in New England are some of my favorite music.

DA: What inspired you to write for string quartet, specifically? 

WLSMy vision of music creation is in the string quartets. I understand something about the history, and the beginning of European music and string quartet writing. But what interests me about this history is that I can take those instruments out of their historical context, and recondition those instruments in a different world view, with a different meaning through my use of making art. And, because I came up in rural, segregated Mississippi, I don't need to prove anything to myself or others about composing. Therefore being mostly isolated in my development as an artist, it allowed me to be opened enough to consider any idea – a dream state where I am able to pursue any research that I feel is necessary to make sense to me in my art.

DA: So within this somewhat historically-codified realm of the string quartet, where does that freedom reveal itself?

WLSA majority of my string quartets have some language of the creative elements, Ankhrasmation, and a look at the ensemble form and what that investigation means – the collective ideas as to how to put the music together as a unit. Even in cases where there are clearly written lines, the artists in my RedCoral Quartet use their imagination to construct or shape the music lines, and therefore it's flow.

My scores are essentially non-metric, and a full page is a "bar" with no down and up beats.
Part of the horizontal flow of the music comes from the score but within ensemble the leadership shifts from person to person as the decisions for continuity keep changing from page to page.

DA: One of the elements that drew us to your ninth quartet is that it is inspired by four important women in history.

WLS: My String Quartet No. 9 is tribute to four women: Ma Rainey, Rosa Parks, Marian Anderson and Angela Davis, all of whom have had a profound effect on the arts, and who provided social commentary. They were activists concerned with the ideas of liberty and freedom for all people in America and around the world.


Chicago Tribune: Spektral Quartet confirms Schoenberg's power in stirring concert

 (photo credit: Erin Hooley for Chicago Tribune)

(photo credit: Erin Hooley for Chicago Tribune)

"The first great upheaval in modern concert life occurred more than a century ago, in Vienna, with the 1908 premiere of Arnold Schoenberg’s Second String Quartet, which elicited booing, heckling and laughter.
Audiences today are much more polite, though the consequences of the score’s emancipation of dissonance still are felt in concert halls, as many listeners are yet to warm to music that Schoenberg and his disciples felt was historically necessary.
But few can warm to scores that are not being played, so the Spektral Quartet has created an important series of programs presenting all four Schoenberg quartets surrounded by some of the richest music written by others around the same time. Saturday night’s stirring concert at the University of Chicago’s Fulton Recital Hall placed the Schoenberg Second Quartet among works by Anton Webern and Bela Bartok.
There was to have been a progression from the first work Webern wrote under Schoenberg’s tutelage, the “Langsamer Satz” of 1905, to Bartok’s First Quartet, which was contemporaneous with Schoenberg’s Second (on the concert’s bottom half). But travel considerations because of snow forced some rearranging of the order of pieces, with Bartok ending the program, creating a slight letdown.
Not that the playing was anything but ardent, precise and expressive throughout. Yet many in the audience were in no mood for anything after the transcendent Schoenberg and did not return from intermission. This was an unexpected confirmation of the Schoenberg’s power. All it requires are keen and committed performers, which it got in the Spektral and soprano Kiera Duffy."

Read the entire review here

Escaping the Straightjackets of the Past: A Conversation with soprano Kiera Duffy

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When we programmed Arnold Schoenberg's String Quartet No. 2 for this season, we decided to shoot for the moon in the soprano realm. We're still a little astonished that Kiera Duffy agreed to join us, given that the bands that typically lay claim to her calendar include the Berlin Philharmonic, Metropolitan Opera, and the Lyric Opera. In addition to a profound fluency in 20th century and contemporary music, we should say that Kiera is also a most chill hang. Rehearsals have been artistically stimulating, and also gut-bustingly entertaining. Schoenberg's 2nd is a life-and-perspective-altering piece for all of us, so we thought we'd ask her to go a little deeper on the subject.

Join us on February 10th at UChicago's Fulton Hall for SCHOENBERG THE EMANCIPATOR: a FREE performance of Schoenberg's String Quartet No. 2, Bartók's String Quartet No. 1, and Webern's Langsamersatz.

 

Doyle: You were our first round draft pick (look at me, pretending I understand sportsball), and yet there isn't exactly an abundance of sopranos willing or able to tackle this landmark piece. How did it become a part of your repertoire?

KieraWell, I'm very flattered that I was in the first draft! I like your sportsball talk!

I first performed the piece at Marlboro about 8 years ago. When they asked me to do it, I pretty much died, because I had studied the piece in college and was gobsmacked by it. But the recording that I had heard back then was with the giganto-voiced Evelyn Lear – I just assumed, based on that, that it was a piece that would never be in my rep. I soon would discover, however, that it had been recorded, as much modernist and contemporary repertoire has, by many different types of voices. Not just giganto.

Lucky for me, I got to perform the piece again with the Academy Program
[now titled Ensemble Connect] musicians at Carnegie about 4 or 5 years ago, with your very own Clara Lyon (!), and I just sang it again with the Solera Quartet this past November.

Every time I sing this piece, I am left by more satisfied and more mystified by it.

DA: So, Schoenberg 2. This is like late-Beethoven good. The last movement is nothing short of revelatory. How does a piece this magnificent remain mostly on the fringes of the mainstay rep?

KDI wish I knew. I'm with you on the late-Beethoven good. It is extraordinary and I weep every time I hear the "postlude" of the final movement. I don't know if it's the "Schoenberg" name that scares people away from programming it? I think a lot of people don't realize that this period in Schoenberg's development – 1907/1908 – is not in the language of the much later serial/dodecaphonic stuff, which, I admit, can be challenging to listen to. This work still has one foot in late-Romanticism while also crossing into atonality. And it's that combination that I find so personally thrilling. 

DA: Like Beethoven, it seems that Schoenberg had such a strong aesthetic and architecture in mind that the limitations of the instruments didn't really concern him. What is particularly challenging about the vocal writing in this piece?

KDAs is the case for Erwartung or Pierrot even, Schoenberg seemed to have no understanding of or (more likely) care for issues of balance between the voice and the ensemble. Sometimes the instrumental textures are a very dense thicket of sound through which my (again: not giganto!) voice is trying to peep through. What this means in practical terms is that we can't always obey Schoenberg's dynamic markings exactly as he wrote them (sssh, don't tell Arnie!). The other challenge – also very typical of Schoenberg – is the very wide vocal range. I think the first movement covers more than 2 octaves and the second movement is about the same. You've got to have sufficient color and sound in the low, middle, and high parts of the voice to sing Schoenberg.

DA: You recently joined the faculty at Notre Dame. I would imagine that you are encouraging your students to engage with Modernist and contemporary rep. Why is this important to you?

KDI am, in fact, teaching a course right now on 20th and 21st Century Vocal Literature and Performance Practice (MSM 60449/MUS 40449, in case you were interested...) and I'm absolutely loving it! When I went to school, this rep just really wasn't talked about much aside from a few hours dedicated to Wozzeck and Rake's Progress. But I don't think I'd heard about Ligeti or Stockhausen or Berio or even Saariaho or Ades until well into my professional life. I'm trying to make sure that that doesn't happen to our students, particularly because new music is being programmed so much more than it was even 20 years ago. So there's that.

Doing modernist and contemporary repertoire can be extraordinarily challenging, musically, technically, intellectually (though, to be clear, contemporary music is not always thorny or difficult to listen to), but it is *immensely satisfying* when you feel you have "conquered" these pieces. The other great thing about singing newer music is that you aren't wearing the straightjacket of centuries' worth of past performances. I would lose my mind if I had to sing bel canto. I mean, can you imagine having to sing the Mad Scene from Lucia with Joan Sutherland in everybody's ear or Casta Diva with the spectre of Callas or Caballe hanging around?! Awful!

Finally, I think the opportunity to work with an actual, living, breathing composer is so important. It is the thing I like most about singing repertoire of this time. The collaboration in it. As a performer of western "classical" music, you usually miss out on the genesis of the thing, so to have an opportunity to part of that is so nourishing. And I find it helps me connect better with the canonic composers. You realize that Mozart or Beethoven were also living, breathing people, and their pieces were not inevitable, as they can sometimes feel. 

DA: We discovered in rehearsal that you, Russ and I all have children around the same age. What is the most preposterous or funny thing your son has exclaimed when hearing you practice?

KDOkay, so my kid hates when my husband and I sing. Like HATES it. I don't know if it hurts his little ears or  if it's because we're not paying attention to him (probably the latter). But the second that we make a peep, he screams at the top of his lungs "NOOOOOOOOOOOOO!!!!!" And because he is actually running the show at our house, we comply with his demands.