2011/College Career Retrospective - Part I

It's a strange thing to look back on one year, but even more so to look back on seven of them. When I think about it, it's totally ridiculous! So much has happened that I could never have imagined, but there's something of the 17-year-old me that is completely unchanged (I'm 24). I'm still trying to figure out what that is, and I'm sure I'll be thinking about it for a while.

This past year, alot of things have come into focus - I have an idea of what I want to do when I finish my second (and potentially last) college degree. This is partially due to being forced to think about it, but also knowing that whatever you do revolves around a moment, something that could destroy an idea, or really make it work.

In an earlier post, I wrote that I wasn't going to focus on large ensemble projects because I thought they weren't practical outside of an academic setting. This has remained true in my own creative work. This semester, I worked mostly on a duo project: FULL CIRCLE TIME MACHINE (with my friend Tara Mueller). FCTM has been a great way to develop alot of material with ease due to coordination with one other person. Before this year, Tara and I didn't know each other well, and had only worked together in classes, or much larger settings (such as last Spring's Inter-NEC installation CONSERVATORY SONIC EMERGENCY). In April, Tanya Kalmanovich put together an improv session in which we (and many others) were randomly assigned to play duo, and I really liked what happened. It sounded good, and since the beginning of this semester, we've performed about eight times in Boston.

This project has highlighted two things:

1.) In music, two can be a dream number for practical reasons.

2.) It's important to be in the moment - being alert to a creative spark can lead to a project that really lasts, and puts you in a good place.

That said, I think I'm always going to be able to adapt to my surroundings, and build meaningful projects. Boston is wonderful and I'll be sad to leave it if I do, but this is an important example of something that grew quickly from very little. We could have easily never played together ever again, but we're working it, and things like this can happen anywhere, at any time.

Shortly after our installation CONSERVATORY SONIC EMERGENCY, I decided to stop working on super-huge projects for a while. Some really great things came out of it, but it was tiring, and involved alot of different people .

All of this changed when I saw a score by NEC alum Burr Van Nostrand (class of 1972) in NEC's Grad Composition Seminar. Malcolm Peyton, who taught the class, told us that Burr was the most talented composer he's ever seen come through NEC, and that despite this, Burr's music hadn't been heard for over 20 years. The large score Mac brought in for us, Voyage in a White Building I, was only ever heard twice (both times were in 1969). It was such beautiful work, and there have been many developments in music/technology since then. With this in mind, I knew we had to revive the piece, and Burr's music in general.

This interest in Burr's work led to my meeting his publisher (see previous link), and seeking a EM grant from NEC to produce a concert of his music. Additionally, New World Records has become interested in releasing a record of both archival material, and new recordings of his work.

This concert is set to take place on April 22nd, and the logistics are slowly being worked out. The best part for me is that Burr himself is involved, and that's an uplifting thing to see. Many of his teachers are now my own, and several of his early collaborators will somehow contribute to the concert/project as well. As big a nightmare as large-scale projects can sometimes be, I think that they are totally worth doing, especially when they have the potential to impact so many people in a positive way.

To Be Continued, Always and Forever!

News(?)

3 months and no post, but stuff is happening, and all is well!

I was really bummed out after K moved to Sweden, but since than, things have been going much better all around (got a great postcard on my birthday, too). Call me crazy, but I'm going to miss trips to PA. Sending stuff overseas is cool, but nothing can top hours on the road...far away from Boston.

I'm starting to think about where I'll go when I finish school, and I'm applying for jobs in a few different cities. Hopefully, I can have something lined up by graduation. I'd like to work at a school in CT, NY, or PA, hopefully in a music department, admissions, or something else in that realm. After being in Boston for 7 years, I'm ready for a change, and more than the occasional excursion into the outside world.

This year, I'm cutting down on the amount of musicians I work with on a single project. Big groups are great, but they're not practical. By working with one or two people at most, it's easier to schedule rehearsals, do alot of performances, and constantly invent new material. It'll be better to work that way right out of school.

I'm not ruling big ensembles out. Hopefully, I can get grants to do that kind of stuff over time. It's alot easier to get folks to do things when there's money, and it's better for anyone involved. I've been fortunate to do some awesome things without having to worry about grants, but next year and beyond, we'll be on our own. We all have to pay our bills somehow, right? Everything happening around me now makes me feel really confident about my ability to make things work.

To Be Continued.

Deciding

to drive 8 1/2 hours at 2am with my best friend is possibly the craziest thing I've ever done.

Plymouth Performance & End of Semester

This past Sunday, I went to Plymouth to hear soprano Elisabeth Halliday & saxophonist Zach Herchen perform some of my work, including one little piece that I'd completely forgot I sent their way. I was blown out of the water by their energy, and am still feeling quite ecstatic about the whole experience.

They are raising money to commision voice/sax pieces, and record them. I worked with Zach over this past summer when he came to NEC for a new music institute and played my duos with a soprano. On the day of this performance, I was able to meet some friends of theirs in Brookline who were driving down to hear them. I find myself constantly harping on my love of car travel, as it is a rarity for me these days. It took us less than an hour to get there from the city. Had I taken a train, it would have been more of a schlep.

The venue was in a house owned by a doctor who regularly hosts performances there. The house (2 blocks from the waterfront) is quite old, and the second floor living space holds about 80-100 listeners. Plymouth is a relatively small town, but after a full semester of the city, it's particular atmosphere suggests something much more spacious, and simultaneously cozy.

After the performance, we went to Zach's parents house for a reception. They live right on the waterfront, and you could see Cape Cod hugging the ocean. Their audience was really wonderful - some people came a long way to hear them, and you could tell that everyone loves what they are doing. I felt like I was at some kind of family gathering. If I didn't know someone, I was still able to talk to them like I'd known them for years.

We got back to Boston around 6 or 7pm. I loved how such a getaway could be so close, and not require too much traveling. I'm always on the lookout for such things, and this was one of those days I loved every second of.

Anthony Braxton @ Weslyan University

About 2 weeks ago, I traveled to Middletown, CT to hear Anthony Braxton's Large Ensemble perform at Wesleyan University. This trip was special for a few reasons - I think the most important is that it was unexpected. I've been thinking about trying to visit Braxton at Weslyan for a while (at the suggestion of Joe Morris), and on somewhat of a whim, I threw out the idea on facebook. Joe saw this and informed me of Anthony's fall semester performances, and the next thing I knew, I heard from a friend who said he was up for making the trip to CT.

I drove down there with Dave Dominique, who I'd met at an NEC new music workshop this past summer. He's working on a Ph.D in composition at Brandeis, and also plays trombone. He's a longtime Braxton nut, and we decided to make the drive down about a week in advance.

On the day of the concert, I left NEC at 4 to go to North Station and catch the train to Brandeis, where I met up with Dave. Our route from Waltham to I-84 was a little complicated, because the GPS we were using was set to exclude toll roads. We were in Framingham when we figured this out, and immediately got on I-90. After that, getting to Middletown was a breeze. It took us less than 2 hours to get there from Brandeis.

The idea of going out to Wesleyan was daunting in the past, because there is no direct bus or train connection to Boston. What I didn't realize before is that Middletown is about 20 minutes from Hartford by car. Now, if I ever want to make the trip alone by bus, I'll be maybe a little less hesitant.

We were able to park on the campus and find the concert hall in time to sit and relax for minute before they started playing. Their concert was less than 90 minutes, with a very short intermission. I was completely overjoyed to hear and see this group play, and everyone we met after the concert was wonderful. Braxton warmly greeted us, and seemed really happy that a couple of students would drive there from Boston to hear his group. He invited us to have dinner with everyone at a local bar, with most of us at a big round table (they need these at UNO's!). Dave and I didn't know anyone there, but these people were really easy to talk to, and all of them had worked with him somehow. Dave asked him if we could join the group once a week next semester, and he said we could. We didn't leave Middletown until midnight!

Joe says we're the first active students who are going to try and go down there every week. I don't know if we'll be able to keep it up when the weather gets harsher, but either way, I'm excited to learn more about Braxton and his music, and I think these trips will be highly worthwhile.

Music for the TRIIIBE Installation

In Search of Eden for multiple performers &/or ensembles

JASON BELCHER

Notes on performance:

The stipulations here were made for the purpose of creating a sonic element for TRIIIBE’s installation In Search of Eden at the 808 Gallery at Boston University. However, they may be carried out in any space where there is artwork, interesting structures, or architecture. Stipulations that are specific to the 808 Gallery can be altered or omitted if the performance is elsewhere.

Each stipulation has a number (I-VIII). The numbers can be carried out in any order and should repeat at the will of the performers/ensembles involved. Stipulation V is for an ensemble of three or more - the others can be executed by soloists, or larger groups.

About the gallery and installation:

The 808 Gallery is located along Commonwealth Avenue and is part of Boston University. It is a large rectangular space with two rows of pillars that run in the direction of Commonwealth Avenue. In the Triiibe installation, there are seven large triptychs lining the windows along Commonwealth Avenue, with enough space between each triptych and the windows so that observers inside the gallery can stand between them, and be seen from the street.

About half of the gallery is being used for structures that the artists are building, and the other half is left largely open (except for a few small pieces, and the triptychs in the windows facing the street). There are also bushels of apples spread about the gallery, and a table with mugs and tea.

In Search of Eden -

I. Go to a corner of the gallery, and imitate something you hear from the opposite end of the room.

II. Go to a print, structure, or non-musician, and improvise something based on it, him, or her.

III. Alone or with an ensemble, improvise or play a piece in your repertoire as if you are performing for an audience in a concert hall. If another soloist or ensemble is doing this, make sure you are far away from them so both parties can be heard separately if a listener desires. No more than two ensembles or soloists should be playing at the same time.

IV. Go over to a musician and imitate what they are doing.

V. (Laser Tag) A group of more than 3 people should be spread around the open half of the gallery. Members of the group tag each other by shooting out single sounds of relatively short (but possibly varied) lengths. When a musician tags someone, they must make sure the person they tag notices that they have been tagged. When a musician has been tagged ten times, they must stop playing, and leave the open area. The game ends when all but one person has stopped, and there is no one left to tag. Games can be of various lengths. Limit fast motions (running etc.) to open spaces far away from prints, structures, and observers!

VI. Standing in front of a triptych, play something facing the window, possibly to passers by on Commonwealth Avenue. You may try to interact with them or get their attention if you wish.

VII. Stand outside the long rows of pillars, and play single sounds aimed down Commonwealth Avenue. Use ample silences between tones.

VIII. Take a break. Have a cup of tea. Be an observer.

12/4/2010

BU Installation

www.bu.edu/cfa/visual-arts/galleries/808/

Above is a link to an installation I visited at BU the other day. It runs until December 23rd - The artists have invited us (and any others) to contribute with sounds.