Composer News 2020

Westminster Choir

Westminster Choir, conducted by Joe Miller, will be performing my Psalm 96 setting on their West Coast Tour. The choir is celebrating its centenary in 2020 and commissioned the piece to mark the milestone. (Dates below)

Friday, January 10 • 7:30 p.m.
Plymouth Church – United Church of Christ
Seattle, WA
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Sunday, January 12 • 4 p.m.
Cathedral of the Rockies
Boise, Idaho
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Thursday, January 16 • 7:30 p.m.
The Cathedral of the Madeleine
Salt Lake City, Utah
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Saturday, January 18 • 8 p.m.
Christ Cathedral
Garden Grove, CA (greater Los Angeles)
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Sunday, January 19 • 4 p.m.
St. James-by-the-Sea Episcopal Church
La Jolla, CA (greater San Diego)
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Christian Carey: Complete Organ Works 2008-2020

This year, Zimbel will publish my complete organ works (thus far). You may read more about the project in the program notes below.

Christian Carey: Complete Organ Music 2008-2020

Selections

Spiritual Variations I–III

Chanson Variations

Hymn: Add One More Seat to the Table

Prelude on Add One More Seat

Let the Water Rain Down (hymn)

Lullaby Prelude

Lullaby Fugue

Offertorium (Bob Morris)

Postludium (Andy Mead)

Golgotha (Ken Ueno)

Fantasy on Rondeau Carol 

Three and a Half Little Carol Settings

Program Notes

Spiritual Variations I–III were composed for organist Joseph Arndt. Each is based on tunes of American spirituals. Variation 1 features three spirituals, “Brethren We Have Met to Worship (Holy Manna),” “Poor Wayfaring Stranger,” and “What Wondrous Love is This?” Variation 2 is a chorale prelude on “Wherever I May Wander (New England).” Variation 3 is based on “I’m Going to Live So God Can Use Me.”  Using registration creatively to imitate a jazz organ is encouraged in the latter piece.

Chanson Variations is based on my setting of Clement Marot’s  Je suis Aimé de la plus belle, which was an anniversary gift to my wife Kay Mitchell. It was commissioned by the composer and organist Carson Cooman, and was the first in a number of fruitful collaborations between us.

Hymn: Add One More Seat to the Table

Prelude on Add One More Seat

The hymn Add One More Seat to the Table was a collaboration with my wife, poet/playwright Kay Mitchell. It was written to celebrate the retirement of Pastor Jeffrey Mays from Christ Congregation in Princeton, New Jersey. The prelude treats the hymn tune to embellishment and alternate harmonizations.

Let the Water Rain Down (hymn)

Lullaby Prelude

Lullaby Fugue

Let the Water Rain Down is another collaboration with Kay Mitchell, this time a baptismal hymn. It is dedicated to Christ Congregation, Princeton. The pieces based on the tune are a chorale prelude and fugue that contains a number of traditional elements, such as invertible counterpoint and stretto.  

Offertorium (Bob Morris)

Postludium (Andy Mead)

Golgotha (Ken Ueno)

Three pieces in more contemporary idioms that serve as gifts to their dedicatees, composer-colleagues Robert Morris, Andrew W. Mead, and Ken Ueno. Offertorium uses a 12-tone tow found in Morris’s composition Not Lilacs, while Postludium employs two rows found in the music of Mead. Golgotha is the sole work in this volume to use extended techniques, such as hand slaps to blur the pitch material, which are meant to foster gestural angularity typical of Ueno’s music.

Fantasy on Rondeau Carol 

Three and a Half Little Carol Settings

Rondeau Carol was a holiday gift to Kay and I from Carson Cooman. To return the favor, I wrote Fantasy on Rondeau Carol, treating the tune to reharmonizations and melodic variations. Three and a Half Little Carol Settings is a medley for Christmastime. It includes the carols “I Saw Three Ships A-Sailing,” “Bring a Torch, Jeanette, Isabella,” “Sussex Carol,” and a small quotation of another that will be left as a modest puzzle for interpreters. 

Christian Carey has created over eighty musical works in a variety of genres and styles, performed throughout the United States and in England, Italy, and Japan. Organists have played his compositions in many houses of worship, including St. Patrick’s Cathedral, Trinity Church Wall Street, Memorial Church at Harvard University, Princeton Chapel, and Grace Church in Newark, New Jersey. Other compositions have been performed by ACME, Aspen Contemporary Ensemble, Atlantic Chamber Orchestra, C4, Cassatt String Quartet, Chamber Players of the League of Composers, Harvard Choral Fellows, loadbang, Locrian Chamber Players, Manhattan Choral Ensemble, New York New Music Ensemble, Righteous Girls, Urban Playground Chamber Orchestra, Westminster Choir, and Westminster Kantorei. His score for the play Gilgamesh Variations was staged at Bushwick Starr Theatre in Brooklyn. Recordings: New Focus, Perspectives of New Music/Open Space, Tundra, and Westminster. Publishers: GIA and Zimbel.

Carey is Associate Professor of Music Composition, History, and Theory at Westminster Choir College in Princeton, New Jersey. He holds degrees from the Juilliard School (B.Mus. in Voice Performance), Boston University (M.M. in Composition), and Rutgers University (Ph.D. in Music).  He has served as a church musician in a variety of liturgical settings.

Westminster Choir Premieres New Carey work

This past summer, Joe Miller, Director of Choral Activities at Westminster Choir College, commissioned a piece from me to celebrate the centenary of both the college and Westminster Choir. They will premiere my setting of Psalm 96 on November 9th in Massapequa, New York and November 10th in Princeton (Details below).

Appear and Inspire: 100 years of Singing
Westminster Choir
Joe Miller, conductor

Saturday, November 9, 2019, 7:00 PM
St. Rose of Lima, Massapequa, NY

Sunday, November 10, 2019, 3:00 PM
Bristol Chapel, Westminster Choir College

Program Note

This setting of Psalm 96, “Sing to the Lord a New Song,” was written to celebrate the centenary of Westminster Choir College and Westminster Choir. It seemed to be an especially appropriate text to celebrate the college’s rich tradition of music-making and express hope for its continued vitality. As a composer, I always wish that choirs will undertake “new songs” and am most pleased that Joe Miller and Westminster Choir have agreed to perform one of mine. It was composed in August and September 2019 in New Jersey and Tennessee.

Christian Carey has created over eighty musical works in a variety of genres and styles, performed throughout the United States and in England, Italy, and Japan. His compositions have been performed by ACME, Aspen Contemporary Ensemble, Atlantic Chamber Orchestra, C4, Cassatt String Quartet, Chamber Players of the League of Composers, Harvard Choral Fellows, loadbang, Locrian Chamber Players, Manhattan Choral Ensemble, New York New Music Ensemble, Righteous Girls, Urban Playground Chamber Orchestra, and Westminster Kantorei. Recordings of his work appear on New Focus, Perspectives of New Music/Open Space, and Westminster Choir College labels. GIA publishes his choral music and an edition of his organ music is currently in preparation for Zimbel. 

Carey is Associate Professor at Westminster Choir College. He holds degrees from the Juilliard School (B.Mus. in Voice Performance), Boston University (M.M. in Composition), and Rutgers University (Ph.D. in Music).

Elliot Root – “Stay” (YouTube audio)

Eliot
Photo: Matthew Simmons

Elliot Root’s debut album Conjure is out August 25th via E.R./Thirty Tigers. Check out a YouTube audio stream of the lead off single “Stay,” and mark your calendar for one of the tour dates, below.

ELLIOT ROOT on TOUR
* with Rainbow Kitten Surprise

August 11

Boulder, CO

Non-Comm Radio Summit
August 25

Clinton, MS

Red Brick Roads Street Festival
September 2

Nashville, TN

Live on the Green
September 16

Bristol, TN

Bristol Rhythm & Roots Festival
September 29

Aspen, CO

Wheeler Opera House
October 1

Memphis, TN

1884 Lounge*
October 2

Jackson, MS

Duling Hall*
October 4

Baton Rouge, LA

Varsity Theatre*
October 5

New Orleans, LA

Tipitina’s Uptown*
October 10

Tulsa, OK

The Vanguard*
October 11

Lawrence, KS

Granada Theatre*
October 12

Columbia, MO

Blue Note*
October 17

Pensacola, FL

Vinyl Music Hall*
October 19

Tuscaloosa, AL

Druid City Music Hall*
October 20

Knoxville, TN

The Concourse at the International*

The Dream Syndicate: “Glide”

The Dream Syndicate - by Chris Sikich

The Dream Syndicate. Photo: Chris Sikich.


How Did I Find Myself Here?,  The Dream Syndicate’s first LP since 1988 will be released via Anti on September 8th.

 

THE DREAM SYNDICATE – 2017 TOURING SCHEDULE:

Sept 29 Portland, OR – Star Theater

Sept 30 Seattle, WA – Tractor Tavern

Oct 14 Oslo – Rockefeller

Oct 15 Göteborg – Pustervik

Oct 16 Stockholm – Kägelbanan Södra Teatern

Oct 18 Copenhagen – VEGA

Oct 19 Hamburg – Uebel & Gefährlich

Oct 20 Bonn – Rockapalast Crossroads Festival 2017

Oct 21 Berlin – Festsaal Kreuzberg

Oct 22 Groningen—Vera

Oct 23 Amsterdam – Bitterzoet

Oct 24 Paris – Centre Barbara Fleury Goutte-d’Or (FGO)

Oct 25 Turin – Spazio 211

Oct 26 Milan – Magnolia Segrate

Oct 27 Bologna – Locomotiv

Oct 28 Zurich—El Lockal

Oct 30 London – The Lexington

Oct 31 London—The Lexington

Nov 01 Leeds – Brudenell Social Club

Nov 03 Leuven – Het Depot

Nov 04 Athens – Gagarin

Dec 01 Somerville, MA—ONCE

Dec 02 New York, NY – Bowery Ballroom

Dec 03 Columbus, OH – Ace of Cups

Dec 04 Chicago, IL – Thalia Hall

Dec 05 Minneapolis, MN – Fine Line

Dec 06 St. Louis, MO – Off Broadway

Dec 07 Nashville, TN – High Watt

Dec 08 Atlanta, GA – The Earl

Dec 09 Relaigh, NC – Stag’s Head

Dec 10 Richmond, VA – Capitol Ale House

Dec 15 Los Angeles, CA – El Rey Theater

Dec 16 San Francisco, CA – Independent

Thursday: Sarah Cahill plays Harrison at LPR

Pianist Sarah Cahill appears at LPR on April 6th at 7 PM as part of her tour celebrating the music and birth centenary of composer Lou Harrison. She and I touched base earlier this week as she was preparing for her trip to the Northeast.

 

Hi Sarah. Thanks for taking time to talk with Sequenza 21. Which was the first Lou Harrison piece you played? When were you first aware of his music?

 

I don’t remember the first piece I played, but I became interested in him because of my fascination with Henry Cowell and Ruth Crawford and that circle of early 20th century American experimentalist composers.  And in the Bay Area, where I live, there’s a profound affection and devotion to Lou Harrison everywhere.  He taught at Mills College for many years, and lived fairly close by, in Aptos, and worked with many musicians I’m close to, including Larry Polansky, Robert Hughes, Jody Diamond, Willie Winant, Phil Collins, Julie Steinberg, and many others.

 

What was it like working with Harrison on his pieces? Tell us about the piece that you premiered.

 

I premiered a piece called Festival Dance for two pianos, with the pianist Aki Takahashi, at Cooper Union in 1998.  It’s a piece Lou Harrison wrote in the 60s and had never been played.  He was such a gracious person, always kind-hearted and relaxed.  He wanted us to emphasize the melodic line.

 

At LPR, you will be playing ‘Party Pieces.’ What was the collaborative process like in this composition – how did the “exquisite corpse” concept play out in the musical domain?

 

Lou Harrison, Virgil Thomson, John Cage, and Henry Cowell met frequently in Lou Harrison’s loft on Bleeker Street between Sixth and Seventh Avenues in about 1944 or 1945.  Lou Harrison explains it best: “Each composer present would write a measure, fold the paper at the bar line and, on the new fresh sheet, put only two notes to guide the next composer in his connection.  The next composer would write a bar, fold at the bar line and leave two more black spots and so on.  It seems to me that we would begin simultaneously and pass them along in rotation in a sort of surrealist assembly line and eagerly await the often incredible outcome.”  Last month I visited the Lou Harrison archives at UC Santa Cruz, with Lou’s great friend, composer/conductor/bassoonist Robert Hughes, and made copies of some of the manuscripts with my cell phone.  I’ll give copies to the audience at my concert on Thursday evening.

 

What are some of the other pieces you are playing at LPR?

 

I’m starting with two unpublished Lou Harrison pieces, Range-Song and Jig, that pay homage to his teacher and friend Henry Cowell, who was in San Quentin at the time, with Cowell’s famous chord clusters.  Then a movement of Cowell’s own Rhythmicana, dedicated to Johanna Beyer, so then I’ll play a short piece from Beyer’s Dissonant Counterpoint.  That will lead to the Conductus from Harrison’s Suite which he wrote while studying with Schoenberg (with a twelve-tone row).  Then a short piece by James Cleghorn, who was Harrison’s friend who suggested he take classes from Henry Cowell.  His son Peter Cleghorn will be in the audience to introduce that piece.  Then a pair of pieces, both composed in 1946 for a performance by the choreographer Jean Erdman: Lou Harrison’s The Changing Moment, not heard in New York since 1946, and John Cage’s Ophelia.  Both compositions reveal some of the emotional disturbance and identity crisis that affected both composers at the time.  Then a movement of Frank Wigglesworth’s Sonatina, and ending with the wonderful Summerfield Set that Harrison composed in 1988.  At LPR I have to stick to a sixty-minute program– otherwise I could go on and on and on with Lou Harrison and his circle, because there are lots of fascinating connections.

 

Tell us about the concerto? What was Harrison’s approach to orchestration in this piece primarily Western in conception, or does it incorporate non-Western instruments/allusions/tuning, etc.?

 

Lou Harrison’s Piano Concerto is one of the great concertos of the 20th century.  It’s gorgeous and epic and should be played a lot more often.  The piano is retuned in a Kirnberger tuning, as are sections of the orchestra.  There’s a great battery of percussion.  

 

What else is going on for you this season?

 

Later in the year I’m playing Lou Harrison’s great Concerto for Piano and Javanese Gamelan a few places around the country, and also playing a program of his piano works on three different instruments– equal tempered piano, tack piano, and piano in Werckmeister 3– in Tokyo and Fukuoka, at the invitation of the extraordinary composer Mamoru Fujieda.  I’m learning Messiaen’s Visions de l’Amen for next year, and Takemitsu’s Quotation of Dream (Say Sea, Take Me!) to perform at Interlochen in July.  And next month I’ll get to play Lou Harrison on Maui and the Big Island, along with Tania Leon, Ruth Crawford, George Antheil, and many others, at the invitation of a marvelous composer, Robert Pollock, who runs a concert series there.

Thanks again.

Thank you!

Sarah Cahill’s April-May 2017 Lou Harrison Tour Schedule

(Fall 2017 Lou Harrison tour dates will be announced in May 2017)

 

Solo Recital | Le Poisson Rouge | NYC
April 6, 2017 at 7pm
Link: http://lpr.com/lpr_events/lou-harrison-centennial-sarahcahill-april-6th-2017/

MicroFest North: Iconoclasts at 100 | Center for New Music | San Francisco, CA
May 7, 2017
Link: http://centerfornewmusic.com/calendar/

FULL: Harrison | Berkeley Art Museum | Berkeley, CA
May 10, 2017 at 7pm
Link: http://www.bampfa.berkeley.edu/program/full-2017-music-performance

Lou Harrison Centennial Celebration | New Music Works | Santa Cruz, CA
May 14, 2017 at 3pm and 7pm
Link: http://www.brownpapertickets.com/event/2721368

Solo Recitals | Ebb and Flow Arts | Hawaii
May 20-21 2017
Link: http://ebbandflowarts.org/

Moon Duo: “Lost in Light” (Soundcloud)

Moon Duo - Jasmine Pasquill

Moon Duo’s Occult Architecture, Vol.2 is out on May 5th, 2017 via Sacred Bones.

Moon Duo Tour Dates:
Sat. March 11 – Mexico City, MX @ Festival NRMAL
Wed. Mar. 15 – Newcastle, UK @ Northumbria University
Thu. Mar. 16 – Manchester, UK @ Band On The Wall
Fri. Mar. 17 – London, UK @ Heaven
Sat. Mar. 18 – Paris, FR @ Le Trabendo
Sun. Mar. 19 – Nancy, FR @ L’Autre Canal
Mon. Mar. 20 – Zurich, CH @ Plaza
Thu. Mar. 23 – Budapest, HU @ A38
Fri. Mar. 24 – Graz, AT @ Orpheum Extra
Sat. Mar. 25 – Vienna, AT @ Chelsea
Mon. Mar. 27 – Leipzig, DE @ UT Connewitz
Tue. Mar. 28 – Berlin, DE @ Bi Nuu
Wed. Mar. 29 – Copenhagen, DK @ Pumphuset
Thu. Mar. 30 – Oslo, NO @ Bla
Fri. Mar. 31 – Stockholm, SE @ Kagelbanan
Sat. Apr. 1 – Gothenburg, SE @ Pusterviks
Mon. Apr. 3 – Groningen, NL @ Vera Club
Tue. Apr. 4 – Amsterdam, NL @ Paradiso Noord
Wed. Apr. 5 – Eindhoven, NL @ Effenaar
Thu. Apr. 6 – Brighton, UK @ The Haunt
Fri. Apr. 7 – Leeds, UK @ Brudenell Social Club
Sat. Apr. 8 – Glasgow, UK @ Stereo
Fri. Apr. 21 – Chicago, IL @ Empty Bottle
Sat. Apr. 22 – Detroit, MI @ El Club
Sun. Apr. 23 – Toronto, ON @ Horseshoe Tavern
Tue. Apr. 25 – Montreal, QC @ La Sala Rossa
Wed. Apr. 26 – Boston, MA @ Great Scott
Thu. Apr. 27 – Brooklyn, NY @ Rough Trade
Fri. Apr. 28 – Philadelphia, PA @ Johnny Brenda’s
Sat. Apr. 29 – Washington, DC @ DC9
Sun. Apr. 30 – Cleveland, OH @ Beachland Tavern
Thu. June 8 – Ravenna, IT @ Beaches Brew
Sat. June 10 – Barcelona, ES @ Unload Club
Mon. June 12 – Bilboa, ES @ Kafe Antzokia
Tue. June 13 – Madrid, ES @ Caracol
Wed June 14 – Biarritz, FR @ Wheels and Waves Festival
Thu. June 15 – Montpellier, FR @ Le Rockstore
Mon. June 19 – Antwerp, BE @ Trix
Tue. June 20 – Brussels, BE @ Les Ateliers Claus
Sat. June 24 – Sat. July 1 – Roskilde, DK @ Roskilde Festival
Fri Aug. 18 – Parades De Coura, PT @ Parades de Coura

WHY? – “Proactive Evolution ” (Soundcloud)

yoniwolf_mohlhean_8337
Yoni Wolf of WHY?

The band WHY?’s latest LP, Moh Lean, came out this past Friday on Joyful Noise.
WHY?’s first release in four years, it supplies a shot of optimism during times that surely need it.

Upcoming Tour Dates:
03/16 – Cincinnati, OH – The Woodward Theater
03/17 – Chicago, IL – Thalia Hall
03/18 – Minneapolis, MN – The Cedar Cultural Center
03/19 – Omaha, NE – Reverb Lounge
03/21 – Englewood, CO – Gothic Theatre
03/22 – Salt Lake City, UT – Urban Lounge
03/23 – Boise, ID – Treefort Music Fest
03/24 – Portland, OR – Revolution Hall
03/25 – Vancouver, BC – VENUE
03/26 – Seattle, WA – The Crocodile
03/28 – Eugene, OR – The WOW Hall
03/29 – Berkeley, CA – The UC Theatre
03/30 – San Diego, CA – The Irenic
03/31 – Los Angeles, CA – The Regent
04/01 – Tucson, AZ – 191 Toole
04/02 – Phoenix, AZ – Crescent Ballroom
04/04 – Dallas, TX – Trees Dallas
04/05 – Austin, TX – Mohawk Austin
04/06 – Baton Rouge, LA – Spanish Moon
04/07 – Pensacola, FL – Vinyl Music Hall
04/08 – Atlanta, GA – Terminal West
04/09 – Asheville, NC – The Grey Eagle
04/11 – Carrboro, NC – Cat’s Cradle
04/12 – Washington, DC – Black Cat DC
04/13 – Philadelphia, PA – Union Transfer
04/14 – Cambridge, MA – The Sinclair
04/15 – New York, NY – Irving Plaza
04/17 – Toronto, ON – Lee’s Palace
04/18 – Detroit, MI – Magic Stick
04/19 – Grand Rapids, MI – Pyramid Scheme
04/20 – Bloomington, IN – The Bishop
04/21 – St Louis, MO – The Ready Room
04/22 – Madison, WI – UW Union South

Tickets at www.mohlhean.com