Jazz Composers Orchestra Institute Readings Expand in cooperation with EarShot
Buffalo Philharmonic Orchestra
American Composers Orchestra
La Jolla Symphony
Readings, Workshops, and Performances of New Works for Orchestra by Seventeen Selected Jazz Composers
The American Composers Orchestra (ACO) and Center for Jazz Studies at Columbia University (CJS), in cooperation with EarShot, the National Orchestra Composition Discovery Network, will present the second JCOI Readings in 2013. Three orchestras – the Buffalo Philharmonic Orchestra (April 23 & 24), ACO (June 3 & 4), and La Jolla Symphony & Chorus (September 19 & 20) – will workshop, rehearse, and give public readings of new works for symphony orchestra written by seventeen jazz composers.
Each of the three orchestras will workshop and perform between five and seven composers’ new works. Composers participating in the JCOI Readings will receive coaching from mentor composers and a professional music engraver as they write their new pieces. Once completed, each piece will be workshopped, rehearsed, and performed by one of the three host orchestras through the EarShot program. The new works will be heard in rehearsal, open public readings, and a public performance. Composers receive travel and an honorarium, as well as feedback from orchestra principal musicians, conductors, librarians, and mentor composers, and an archival recording of their work.
Buffalo Philharmonic Orchestra
April 23 & 24, 2013
Kleinhans Music Hall, 3 Symphony Circle, Buffalo, NY
The Buffalo Philharmonic Orchestra JCOI Readings will be led by BPO Associate Conductor Matthew Kraemer. The mentor composers for the readings are James Newton (UCLA), Anthony Davis (University of California, San Diego), and Nicole Mitchell (University of California, Irvine). The Readings will include an open rehearsal on April 23 at 10am, and a run-through of the composers’ pieces on April 24 at 7pm, which is free and open to the public.
BPO’s featured composers will be Gregg August, Anita Brown, Joel Harrison, Ole Mathisen, and David Wilson. Gregg August is influenced by Cuban and Brazilian music, and will incorporate in his new orchestral piece the rhythmic techniques used in Cuban rumba. Anita Brown's Disarming The Tempest strives to illuminate the plight of combat veterans suffering from PTSD. Wilson's new work, Springs of a Desperate Heart, draws on several musical and cultural influences of his life path, bringing together elements of Macedonian folk music and American jazz in the context of the symphony orchestra. Guitarist, composer, arranger, vocalist, and songwriter Joel Harrison has written a piece entitled The Other River. Ole Mathisen brings a tone poem called Mind’s Eye Inverted to the BPO JCOI Readings.
Conductor Gil Rose will preside for the ACO readings with mentor composers George Lewis (Columbia University), Anne LeBaron (California Institute of the Arts), and Paul Chihara (UCLA). The Readings will include an open rehearsal on June 3 at 10am, and a run-through of the composers’ pieces on June 4 at 7:30pm. Both events are free and open to the public.
ACO’s featured composers will be Jennifer Bellor, José Beviá, Courtney Bryan, Ingrid Laubrock, Andy Milne, Richard Sussman, and Sumi Tonooka. Jennifer Bellor, a Ph.D student in music composition at the Eastman School of Music, will bring a piece inspired by nature and chilly November weather. Pianist and composer José Beviá's piece Noit-Alimissa (Assimilation) is an effort to combine the influences of post WWII contemporary classical music with contemporary jazz. New Orleans native Courtney Bryan has titled her piece Shedding Skin, which is inspired by a poem of the same title by Harryete Mullen. Ingrid Laubrock's work Vogelfrei is inspired by photos she took of the various shapes and patterns formed by the electrical wiring used to power overground trains in Moers, Germany. Andy Milne uses concepts from classical homeopathic healing as a framework. Richard Sussman's Explorations For Orchestra will seek to bring a sense of the spontaneity, energy, and rhythmic drive of jazz improvisation to the orchestra without actually employing a jazz soloist or rhythm section." Sumi Tonooka's Full Circle was inspired by a dream she had after the JCOI Intensive in Los Angeles last year about orchestrating the curve in the yin and yang sign.
Led by Music Director Steven Schick with mentor composers Derek Bermel (ACO Creative Advisor), Anne LeBaron (California Institute of the Arts), and Anthony Davis (University of California, San Diego), the Readings will include a working rehearsal on September 19, and a concert-like run-through of the composers’ pieces on September 20 at 7pm, which is free and open to the public.
The La Jolla Symphony & Chorus’ featured composers will be Alan Chan, Tobin Chodos, Michael Dessen, Daniel Marschak, and Miya Masaoka. Alan Chan is a multi-faceted composer who has written for jazz big band, Western and Chinese instruments, and various percussion and chamber music ensembles. A bicycling enthusiast, he intends to explore the changing landscapes he often sees in biking dreams in his piece. Tobin Chodos' piece, Control Flow, is a meditation on the notions of power and control in music. Michael Dessen's new piece Slippages is inspired by his experiences with family members dealing with dementia and coma recovery. Miya Masaoka has created works for traditional Japanese instruments, chamber ensembles, mixed choirs, telematic performances and has designed interactive wearable textiles. Her piece, Other Mountain, investigates the proximity of danger that everyone faces and evaluates in their daily lives and was inspired by a visit to a lake nearby Fukushima, Japan, the location of the 2011 tsunami and nuclear disaster.
Tickets & InfoTickets are free. The ACO at Miller Theatre require reservations, please click on the following links for the open rehearsal and final readings .
The Jazz Composers Orchestra Institute is made possible by the Doris Duke Charitable Foundation’s Continuing Innovation Program, with additional funding provided by The Andrew W. Mellon Foundation, the Fromm Music Foundation and The Aaron Copland Fund for Music, and with public funds from the National Endowment for the Arts.