Categories
Chamber Classical Compositions Concert Performers Personal Postclassical

Emergence: Linea Nigra in Concert

My octet for strings Linea Nigra (2015) will receive its world premiere this Saturday, October 3rd at 7:30 pm MDT, in the release of a prerecorded performance by the San Juan Symphony, conducted by music director Thomas Heuser. It will feature as part of a program entitled “Black Voices and A Ballet for Martha,” which opens the orchestra’s virtual 35th Season. The program also includes Jessie Montgomery‘s Voodoo Dolls (2012) for string quintet, and the suite from Aaron Copland’s Appalachian Spring (2012) in the original scoring for 13 instruments. The concert requires the purchase of digital access in order to view it.

I recorded a conversation with Thomas on September 30th which is viewable for a limited time here. I discuss the origins of Linea Nigra, the compositional techniques it employs, and how it relates to my own cultural story.

The piece will in fact receive a double premiere: a second prerecorded performance, by the Idaho Falls Symphony, will be released in a virtual concert also conducted by Thomas Heuser on Saturday, October 10th at 7:30 pm MDT. This program also includes Jessie Montgomery’s Starburst for string orchestra, Hanna Benn‘s Where Springs Not Fail, and the suite from Copland’s Appalachian Spring. Tickets are available here.

These performances will represent my debut on a symphony orchestra program. While my piece is for a chamber ensemble, the need for a socially distanced performance environment for the concert provided the opportunity for it to be included. The offer came out of the blue less than three months ago, and I am thrilled and humbled.

While I was more or less retired from an active life in music, this blog, my SoundCloud page and the writing I’ve done for I Care If You Listen have kept me just visible enough, it seems. Since June, I’ve been getting a lot of requests from musicians and ensembles looking for a Black composer to actualize their commitments to social equity in their programming. It’s sobering as to when and why this has come about, but I’m taking it as a call to action.

I have donated my earnings thus far from these engagements to Black legal justice causes and the families of the victims of police shootings and SIU incidents in the US and Canada. In several cases, the musicians who purchased my music have made matching donations in their communities; in San Francisco, Louisville and Vancouver, to name a few. It means a lot to me that my music can be part of something more than just art for art’s sake, but whether or not this is all just performative (not referring to musical performance but politically correct virtue signalling) depends on real systemic change happening.

Is this my emergence as a composer, decades late? Time will tell. Watch this space.

Categories
Boogie Chamber Classical Collaborations Composers Electronic Experimental Hip Hop Jazz Lists Orchestral Performers Postclassical R&B Soundtrack Toronto

Best of 2019

Layale Chaker & Sarafand Inner Rhyme

Flying Lotus Flamagra

Shafiq Husayn The Loop

Kaytranada Bubba

Anne-Sophie Mutter / John Williams Across the Stars

Anderson .Paak Ventura

Caroline Shaw / Attacca Quartet Orange

Solange When I Get Home

James Tenney Changes: 64 Studies for 6 Harps

Dwight Trible Mothership

Honourable mention: Marvin Gaye You’re the Man

Categories
Chamber Composers Concert I Care If You Listen Media Music Journalism Orchestral Percussion Performers Piano Postclassical Review Toronto

21C Music Festival 2019

My review for I Care If You Listen.

Categories
Chamber Compositions Postclassical

Linea Nigra, for string octet

Linea Nigra (2015) began as an orchestration of my piano piece Canon Chorale (2005). It is scored for string octet, in this case the same configuration as a double string quartet. Most of the structure and content of the earlier work are retained as a kind of continuo, to which newly devised material adds range and contrapuntal detail.

The general technique is a variation of first species counterpoint. A set of short melodies in each of the modes of C major are heard in two- to six-voice, note-on-note canons at the unison and octave, creating a sequence of block chords, or a chorale. The resulting harmonic progressions may have a cloud-like feel to them especially as melodic lengths and part density increase, and chord roots become ambiguous. Towards the end, faster melodic lines develop out of a recurring a triplet pattern.

The title of the piece reflects my own quest for my biological and cultural roots. Linea nigra (“black line”) thus references the vertical line that appears on a woman’s belly in some pregnancies, while it also suggests Black lineage and survival. It could also stand in the sense of a melodic line, printed or otherwise.

My great thanks go to Ashil Mistry, who suggested the instrumentation and generously edited the score, as well as directing the performance heard here.

Recorded July 3, 2016, London, UK
Scheme Ensemble
Ashil Mistry, conductor

Music and composer’s notes copyright Bruce A. Russell 2016

Categories
Chamber Collaborations Composers Electronic Hip Hop Jazz Lists Orchestral Percussion Performers Piano Pop Postclassical R&B Soundtrack

Best of 2015

Some great new discoveries and otherwise the usual company in abundance.

John Adams Absolute Jest · Grand Pianola Music San Francisco Symphony · Michael Tilson Thomas · John Adams (SFS Media)

Bang on a Can All Stars Field Recordings (Cantaloupe)

eighth blackbird Filament (Cedille)

Mahan Esfahani Time Present and Time Past (Archiv)

Morton Feldman · Erik Satie · John Cage Rothko Chapel [Gnossiennes, In a Landscape, etc.] Kim Kashkashian · Sarah Rothenberg · Steven Schick · Houston Chamber Choir · Robert Simpson (ECM)

Floating Points Elaenia (Luaka Bop/Pluto)

Kendrick Lamar To Pimp a Butterfly (Top Dawg · Aftermath · Interscope)

Steve Martland Band Martland (NMC)

Steve Reich Music for 18 Musicians Ensemble Signal · Third Coast Percussion · Brad Lubman (Harmonia Mundi)

Max Richter Sleep (Deutsche Grammophon)

Linda Catlin Smith Thought and Desire Eve Egoyan (Earwitness Editions)

Stephen Sondheim Liaisons: Re-Imagining Sondheim from the Piano Anthony de Mare (ECM)

Ann Southam Glass Houses for Marimba Taktus (Centrediscs)

Tennyson Like What EP (self-released)

Kamasi Washington The Epic (Brainfeeder)

John Williams Star Wars: The Force Awakens Gustavo Dudamel · William Ross · John Williams (Walt Disney)

reissues · remasters

Bernard Herrmann Obsession Special Archival Edition (Music Box)

The Spinners Spinners (BBR)

John Williams A.I. Artificial Intelligence Expanded Archival Collection (La-La Land)

John Williams Jaws and Jaws 2 (Intrada)

John Williams, Herman Stein, Hans J. Salter, Joseph Mullendore, Alexander Courage, Cyril J. Mockridge, Gerald Fried, Leith Stevens, Robert Drasnin, Fred Steiner and others Lost in Space 50th Anniversary Soundtrack Collection (La-La Land)

Categories
Chamber Choral Composers Electronic Jazz Orchestral Performers Piano Pop Postclassical R&B

Best of 2014

John Adams, The Gospel According to the Other Mary – Los Angeles Philharmonic, LA Master Chorale, Gustavo Dudamel

John Luther Adams, Become Ocean – Seattle Symphony, Ludovic Morlot

D’Angelo and The Vanguard, Black Messiah

Morton Feldman, String Quartet No. 1 – FLUX Quartet

Flying Lotus, You’re Dead!

Philip Glass, The Complete Piano Etudes – Maki Namekawa

Meredith Monk, Piano Songs – Ursula Oppens, Bruce Brubaker

Laura Mvula, With Metropole Orkest Conducted by Jules Buckley at Abbey Road Studios

Steve Reich, Radio Rewrite – Jonny Greenwood, Vicky Chow, Alarm Will Sound, Alan Pierson

Ann Southam, Glass Houses Vol. 2 – Christina Petrowska Quilico

tuku, moonday sessions:the black

reissues

Herbie Hancock, The Complete Columbia Album Collection 1972-1988 (rel. late 2013)

Odyssey, Happy Together (Expanded Edition)

Sly Stone & various artists, I’m Just Like You: Sly’s Stone Flower 1969-1970