Cory Smythe Bio BOUNDARIES

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Smythe is a longtime member of the New York based International Contemporary Ensemble and of Milwaukee’s Present Music. He has contributed to and collaborated in the construction of numerous premieres, including recent world premieres of solo piano music by composer John Zorn. Smythe has been a featured guest and/or soloist with the Boston-based Firebird and Radius ensembles, Chicago Symphony Orchestra’s MusicNOW, and the San Francisco Contemporary Music Players. He is the pianist in Tyshawn Sorey’s Alloy Trio, whose weeklong residency at the Village Vanguard was listed in a 2015 roundup of “Best U.S. Culture” in The Guardian.

After the first wave of gratitude and excitement had passed, I quickly began to realize how difficult and daunting it would be to guest program a Present Music concert. In the ten years or so that I’ve been involved with this group, I’ve been swept up in a remarkable run of immersive and imaginative concert experiences (a run that predates my involvement by about 25 years!), and I’ve marveled at Artistic Director Kevin Stalheim’s unerring knack for illuminating innovative, probing new works beneath twinkling party lights, bringing a repertoire I had long associated with nerdy specialists to improbably large, diverse, rapt audiences. I wanted to keep that streak alive and decided to look to my own formative experiences with PM for guidance. In those early concerts, the programs were built around the work of guest artists—like Mary Jane Lamond and Amy X Neuburg—artists whose own music, while consonant with the mission of a contemporary ensemble like PM, was to some extent unclassifiable, with its tendrils in multiple musical pots. These were artists who, like Present Music itself, tethered their musical innovation to a deep commitment to connect viscerally and emotionally with their listeners.

I thought, there’s no one I know who embodies these qualities more than Steve Lehman. A composer, improviser, performer, and generational talent whose work cuts across multiple scenes, Steve makes some of the most outlandishly original, impeccably crafted, and undeniably electrifying music you’ll ever hear. And by working at and across musical boundaries, Steve’s pieces have a way of mapping the whole world of contemporary music, its regions of sound and practice, and the networks of roadways knitting them all together. Tonight’s concert is drawn from these maps.

Guest Artistic Director’s Note

Photo Credit: Peter Gannushkin

Pianist Cory Smythe has worked actively with pioneering artists in new, improvisatory, and classical music, including drummer Tyshawn Sorey, violinist Hilary Hahn, and composers from Anthony Braxton to Zosha Di Castri. He has been featured at the Newport Jazz, Wien Modern, Nordic Music Days, Approximation, Takts, and Darmstadt festivals, as well as at Lincoln Center’s Mostly Mozart, where he was recently invited to premiere new work created in collaboration with trumpeter Peter Evans and pianist Craig Taborn. He has performed across the United States, Europe, and Asia, garnering praise for “the ferocity and finesse of his technique” (Washington Post). His newest album A U T O TROPHS, called “dazzling” by the Chicago Reader, comprises original pieces for piano and electronics and features guest appearances by saxophonist Steve Lehman. Smythe’s first record Pluripotent was praised by pianist Jason Moran, who called it “hands down one of the best solo recordings I’ve ever heard”. Alongside Hillary Hahn, Smythe was the recipient of a Grammy award for the double-disc In 27 Pieces: the Hilary Hahn Encores.

A former student of celebrated “spectral” composer Tristan Murail, Steve has woven techniques associated with French spectralism into his own unique musical language. To kick things off tonight, we’ll hear from another renowned spectral composer, Kaija Saariaho, whose gossamer Petals sends virtuosic cello playing up into a stratosphere of electronics. Steve Lehman’s Laamb is next, an adaptation from his most recent critically acclaimed record of collaborations with jazz and hip-hop artists, Sélébéyone. Two works of mine follow, one a duet for piano and saxophone (and live electronics), the next a world premiere made possible by Present Music, both of which likely betraying Steve’s influence on my own writing. Lehman’s microtonal string quartet Nos Revi Nella is next—a stunning work whose rhythmic trickery recalls basketball great Allen Iverson. Another piano and sax duo follows, this one by the legendary Anthony Braxton, also a former instructor of Steve’s and a true pioneer of music—composed, improvised, and otherwise. Next another microtonal string quartet, this time by musical visionary and cherished Wisconsin denizen Ben Johnston, whose storied and meaningful connections with the members of PM have been built over decades of work together. (I’m very grateful to have witnessed a little of this firsthand this week.) Not much can follow Johnston’s sublime rendering of Amazing Grace, but we’ll attempt to send you out dancing with an arrangement of another Lehman gem: Dub, from his first groundbreaking collection of music for octet, Travail, Transformation and Flow.

Steve Lehman Bio

presented lectures on a wide range of topics, including jazz pedagogy, rhythm cognition, and European notions of American experimentalism. His current scholarship, including a forthcoming contribution to the Oxford Handbook of Spectral Music, examines the overlapping histories of spectral composition and jazz improvisation.

Lehman received his B.A. (2000) and M.A. in Composition (2002) from Wesleyan University where he studied under Anthony Braxton, Jay Hoggard, and Alvin Lucier, while concurrently working with Jackie McLean at the Hartt School of Music. He received his doctorate with distinction in Music Composition from Columbia University (2012), where his principal teachers included Tristan Murail and George Lewis.

Lehman has taught undergraduate courses at Wesleyan University, the Conservatoire National Supérieur de Musique de Paris, New School University, and Columbia University, and has presented lectures at Amherst College, UC Berkeley, The Berklee School of Music, The Banff Centre, The Royal Academy of Music in London, and IRCAM in Paris, where he was a 2011 research fellow. He is currently a Professor of Music at The California Institute of the Arts, and lives in Los Angeles.

Program

PETALS (1988) Kaija Saariaho (b. 1952)cello, live electronics

LAAMB (2016) Steve Lehman (b. 1978)alto saxophone, piano, electronics

TWO ROOMS (2014) Cory Smythe (b. 1977)

alto saxophone, piano, live electronics

REENACTMENT (2017) —world premiere— Cory Smythe (b. 1977)piano, quarter tone guitar, violin, viola

NOS REVI NELLA (2010) Steve Lehman (b. 1978)string quartet

COMPOSITION NO. 6L (1971) Anthony Braxton (b. 1945)saxophone, piano

STRING QUARTET NO. 4 Ben Johnston (b. 1926)(‘AMAZING GRACE’) (1973)

string quartet

DUB (2008) Steve Lehman (b. 1978)piano, alto saxophone, string quartet (arr. Cory Smythe)

No Intermission (Run Time: 61 min)

Adrien Zitoun, cello

Marty Butorac, electronics

Steve Lehman, saxophone

Cory Smythe, piano

Eric Segnitz, guitar, violin

Naha Greenholtz, violin

Maria Ritzenthaler, viola

Described as “a state-of-the-art musical thinker” and a “dazzling saxophonist,” by The New York Times, Steve Lehman is a composer, performer, educator, and scholar who works across a broad spectrum of experimental musical idioms. Lehman’s pieces for large orchestra and chamber ensembles have been performed by the International Contemporary Ensemble (ICE), So Percussion, Kammerensemble Neue Musik Berlin, the JACK Quartet, the PRISM Saxophone Quartet, and the Talea Ensemble. His recent recording, Mise en Abîme (Pi, 2014) was called the #1 Jazz Album of the year by NPR Music and The Los Angeles Times. And his previous recording, Travail, Transformation & Flow (Pi, 2009), was chosen as the #1 Jazz Album of the year by The New York Times.

The recipient of a 2015 Guggenheim Fellowship and a 2014 Doris Duke Artist Award, Lehman is an alto saxophonist who has performed and recorded nationally and internationally with his own ensembles and with those led by Anthony Braxton, Vijay Iyer, Jason Moran, Georgia-Anne Muldrow, George Lewis, Meshell Ndegeocello, and High Priest of Anti-Pop Consortium, among many others. His recent electro-acoustic music has focused on the development of computer-driven models for improvisation, based in the Max/MSP programming environment. Lehman’s work has been favorably reviewed in Artforum, Downbeat Magazine, The New York Times, Newsweek, and The Wire, and on National Public Radio, the BBC, and SWR.

As a Fulbright scholar in France during the 2002-2003 academic year, Lehman began researching the reception of African-American experimental composers working in France during the 1970s. His article in the journal Critical Studies in Improvisation, “I Love You with an Asterisk: African-American Experimental Composers and the French Jazz Press, 1970-1980,” is based on his Fulbright research. More recently, Lehman has published writings and

Photo Credit: Willie Davis

SponSored in part by dave Keen and Judy perKinS

About The Program

Kaija SaariahoPETALS (1988)

Kaija Saariaho is a Finnish composer based in Paris, France. Saariaho studied composition in Helsinki, Freiburg and Paris, where she has lived since 1982. Her research at the Institute for Research and Coordination Acoustic (IRCAM) marked a turning point in her music away from strict serialism towards spectralism. Her characteristically rich, polyphonic textures are often created by combining live music and electronics.

During the course of her career, Saariaho has received commissions from the Lincoln Center for the Kronos Quartet and from IRCAM for the Ensemble Intercontemporain, the BBC, the New York Philharmonic, the Salzburg Music Festival, the Théâtre du Châtelet in Paris and the Finnish National Opera, among others.

Petals for solo cello was written abruptly in a few days, but evidently after a long unconscious preparation. The material stems directly from Nymphéa for string quartet and electronics. The name of the piece is derived from this relationship.

The opposite elements here are fragile coloristic passages which give birth to more energetic events with clear rhythmic and melodic character. These more sharply focused figures pass through different transformations, and finally merge back to less dynamic but not the less intensive filigration. In bringing together these very opposite modes of expressions I aimed to force the interpreter to stretch this sensibility.

Program Note by Kaija Saariaho

Steve LehmanLAAMB (2016)

In my most recent work, including Nos Revi Nella, Dub, and Laamb, delicate and highly nuanced spectral harmonies are integrated into a series of meticulously crafted rhythmic environments. Expressive timing, compound meter, rubato phrasing, changing tempi, and instrumental gesture are treated as a seamless continuum designed to explore the psychology of musical time and its connection to musical meaning.

Program Note by Steve Lehman

Cory SmytheTWO ROOMS (2014)

Two Rooms is, like much of the improvised music I love, partly commentary on other music—in this case, Alvin Lucier’s landmark composition “I am sitting in a room”. Lucier’s work involves recording his own voice, playing it back while rerecording the playback, playing that back while recording it again, and so on. In each new playback, his voice gradually degrades and, over the course of about an hour, gives way to an emerging collection of peculiar and spellbinding “room tones” unique to the acoustic properties of the room in which all this recording and playback take place. Lucier made two recordings of this piece, in two different rooms, each ultimately resulting in a particular collection of room tones. Two Rooms is built on a transcription of these two sonorities and an electronic delay that runs the saxophone and piano through a procedure that mimics Lucier’s. Whereas his is an hour-long meditative process, here the reconstructed room tones bloom over the course of short rhythmic chants, the piano and saxophone serving as both instigator and counterpoint, drawing

About The Program BOUNDARIES

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from a range of written and improvised material.

Program Note by Cory Smythe

Cory SmytheREENACTMENT (2017) —world premiere—

Reenactment started with my interest in the combination of piano and detuned guitar, the mingled sounds of which, for me, deepen the earthy twang of the guitar while making the piano warble like an upright in an old saloon. That evocation led me, in preparing for this piece, to want to learn more about the roots of what I think of as “country” music, and I ended up following that thread into a corner of the music world where present-day bands do faithful recreations of Civil War era tunes, preserving and renewing a repertoire of deeply disturbing, racist, and violent melodic turns of phrase. Reenactment is a short, tightly-wound ghost story premised on this lurid musical undertaking.

Program Note by Cory Smythe

Steve LehmanNOS REVI NELLA (2010)

Nos Revi Nella is dedicated to Allen Ezail Iverson, whose virtuosic command of changing speeds and spatial improvisation provided me with a crucial symbolic point of definition in composing this work.

Program Note by Steve Lehman

Anthony BraxtonCOMPOSITION NO. 6L (1971)

Anthony Braxton is recognized as one of the most important musicians, educators, and creative thinkers of the past 50 years, highly esteemed in the creative music community for the revolutionary quality of his work and for the mentorship and inspiration he has provided to generations

of younger musicians. Drawing upon a disparate mix of influences from John Coltrane to Karlheinz Stockhausen to Native American music, Braxton has created a unique musical system that celebrates the concept of global creativity and our shared humanity. His work examines core principles of improvisation, structural navigation and ritual engagement—innovation, spirituality and intellectual investigation. His many accolades include a 1981 Guggenhiem Fellowship, a 1994 MacArthur Fellowship, a 2013 Doris Duke Performing Artist Award and a 2014 NEA Jazz Master Award.

Composition No. 6L was composed in London as parts of a proposed recording project for Freedom Records. That recording date—which took place in the summer of 1971—represented an opportunity to document several areas of my work on a two-record set (for the first real possibility of decent distribution on a world level). All of the material for that date was selected with respect to the composite ingredients of the recording—and five of the compositions—including Composition No. 6L—were composed as a basis to solidify a spectrum of material that reflected my musical involvement (universe) in that period of time. This work is the fourth completed structure of that project and the reality of its procedure involves thematic structure as a basis for open collective improvisation. Composition No. 6L is conceived with respect to the traditional continuum of creative music in the sense of its overall conceptual focus and design. My decision to compose this work had to do with the respect I have long had for the composite tradition of the music as well as the challenge of maintaining real involvement with that tradition. This connection is important because tradition must be used to clarify the future—either in creativity or greater

About The Program (continued)

life participation. Composition No. 6L is dedicated to the creative instrumentalist Paul Desmond.

Program Note by Anthony Braxton

Ben JohnstonSTRING QUARTET NO. 4 (‘AMAZING GRACE’) (1973)

At first listen some find Johnston’s pieces inaccessible and complex, seeming to require a sophisticated ear to appreciate. But given the theory behind his music, it is possible that the problem isn’t our ears, but the way they’ve been trained. In Johnston’s opinion, his music is written in a way that the ear should much prefer, the “purer” way, in a musical methodology called “just intonation.”

This concept may seem complex to those are who familiar with traditional “equal temperament” tuning. In Western music, the scale has been divided into equal parts for easier notation. However, this renders the resulting harmonies technically out of tune. In just intonation, the scale is divided into unequal parts so that the harmonies ring true. The outcome is a vibrating tremor that adds a layer of richness to the music when played perfectly in tune.

Johnston grew up in Macon, Georgia, and by the age of 17 he had already written a great deal of music. Later on he entered the Navy and studied at the Navy School of Music. He eventually attended the College of William and Mary for his undergraduate studies, and the Cincinnati Conservatory of Music for his graduate degree. He supplemented his education by learning from those like Harry Partch, the famous “outsider” musician and instrument maker, and learning about unorthodox tuning.

The Kepler Quartet (Eric Segnitz, Sharan Leventhal, Brek Renzelman, and Karl

Lavine) was formally established in Wisconsin with the sole purpose of recording all ten of Mr. Johnston’s string quartets—a feat that can be compared to scaling a mountain in a pair of flip-flops. Fourteen years and 1,999 takes later, the quartet [could] finally say they reached the summit, having completed the most difficult task of their lives.

Excerpt from Sept. 2016 Wisconsin Gazette article by contributing writer, Rachele Krivichi

String Quartet No. 4 “Amazing Grace”, was commissioned by the Fine Arts Music Foundation of Chicago, and was first recorded by The Fine Arts String Quartet on Nonesuch in 1980. The String Quartet No. 4, perhaps Johnston’s best-known composition, has also been recorded by the Kronos Quartet. The Kepler Quartet also recorded it on a CD for the New World Records label, as part of a complete 10-quartet series documenting Johnston’s entire cycle of string quartets.

Steve Lehman (arr. Cory Smythe)DUB (2008)

See program notes under LAAMB.

About The Musicians

engagements with the Vancouver, Madison, Quad City, Burnaby, Kelowna, and National Repertory Orchestras. Greenholtz has also had an active career as an orchestra musician. In addition to her duties as current Concertmaster of both the Madison Symphony Orchestra and the Quad City Symphony Orchestra, she has also held positions with the Milwaukee Symphony Orchestra and the Louisiana Philharmonic Orchestra. She has also participated in prominent music festivals throughout the US and Europe.

MARIA RITZENTHALER (viola)Maria Ritzenthatler is enjoying her second season with the Cascade Quartet and as Principal First Viola with the Great Falls Symphony. She has extensive experience in performance and education. Maria received degrees in viola performance from UW Madison and Roosevelt University in Chicago, and complete two years of a Doctoral degree in performance at the University of Minnesota. Ritzenthaler formerly held positions in many orchestras including principal viola of the Civic Orchestra of Chicago, assistant principal of the South Bend Symphony, and the South Dakota Symphony as well as violist with the Chicago-based new music ensemble Anaphora.

ADRIEN ZITOUN (cello)Adrien Zitoun joined the MSO in 2001. He performs with the Philomusica String Quartet, resident at the WLC, teaches privately, and coaches MYSO. Zitoun studied cello in Paris, Geneva and Lyon. In the US, he earned his Artist Diploma and Masters from IU studying with Tsutsumi and Starker. In 2001 he won the Gold medal at the Fischoff Chamber Music Competition and in 2006 the Japanese Music Pen club award for best Chamber music recording. In 2016, Zitoun wrote Play Cello Today! for Hal Leonard. He recently received the 2017 CIVIC MUSIC Certificate of Excellence for Studio Music.

MARTY BUTORAC (electronicS)Marty Butorac graduated from the Lawrence University Conservatory of Music in 1982, studying under Robert Below, and in 1984 earned a Master of Music degree from Western Michigan University in performance and composition, studying under C. Curtis Smith. Marty has performed with Present Music since coming to Milwaukee in 1985.

ERIC SEGNITZ (guitar, violin)Eric Segnitz is a violinist, composer/arranger and a charter of member of Present Music. He attended the New England Conservatory and the Banff Centre for the Arts. As an orchestral player, Segnitz has performed with the Milwaukee Symphony Orchestra and held concertmaster positions with several regional orchestras. He has also worked in theater, television and film, and produced recordings in several genres.

NAHA GREENHOLTZ (violin)Canadian violinist Naha Greenholtz was born in Japan, and received her BM from Juilliard. Since her solo debut at 14, concerto appearances include

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2017-2018 SEASON

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All concerts performed in landmark Milwaukee venues on Saturdays at 5:00,

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Present Music’s 3rd annualComposeMilwaukee Concert

date: Saturday, June 10 at 3pm

location: Selig-Joseph-Folz Amphitheater in Kadish Park

cost: FREE!

A concert featuring Present Music’s ComposeMilwaukee community outreach and education program. Young composers and musicians will share original music from string quartets to hip-hop. The event will be held outside at the Selig-Joseph-Folz Amphitheater in Kadish Park, between Reservoir and Commerce Street. Free and open to the public!

Participants include:• Urban Ecology Center• Milwaukee Youth Symphony

Orchestra (MYSO)• Reagan IB High School• Bradley Tech

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BOUNDARIES

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About BOUNDARIES

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Present Music is Milwaukee’s internationally acclaimed new music ensemble. Celebrating 35 years of new music, Present Music commissions, performs, records and tours the music of living composers. In the past quarter century, more than 55 new works, by composers from around the world, have come into existence because of Present Music. Founded by Kevin Stalheim, Present Music works closely with many of the world’s most exciting and significant composers while supporting the talents of emerging voices. It nurtures the next generation of composers through its education program, the Creation Project.

board oF directorS:

Claudia Egan president

Lois Smithimmediate past president

Craig Williams vp audience development

David Keen treasurer

Nichole ChagnonCecile ChengHeidi DondlingerJessica FrankenReed GroetheLouise HermsenGeorge JacobiDavid Johnson Arthur Laskin Richard PieperFran RichmanKevin Stalheim

35th SeaSon committee:Margaret AnderaAdam CarrAnne CurleyScott EmmonsTim FrautschiLouise HermsenJulilly KohlerDennis KoisFran RichmanLaura RussartJohn ShannonCarol Voss

adminiStrative StaFF:Kevin Stalheim Founder & artistic director

Kristina Mousseaudirector oF marketing & audience development

Tai RenfrowoFFice & operations manager

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