nF presents – Hub New Music

Program

(tap/click each work title to expand program notes)

Pedazos intermitentes de un lugar ya fragmentado (2022) - Angélica Negrón

Pedazos intermitentes de un lugar ya fragmentado (Intermittent Fragments of a Fractured Place) is a piece inspired by attempts at reconstructing memories connected to specific places and people. The piece is part of a series of pieces I’ve been writing recently which use field recordings taken from my trips to visit family and friends in Puerto Rico. It reflects on the construction of identity when attempting to create a sense of belonging in two places simultaneously as well as in the complexities that come with it. 

Commissioned by Arizona Friends of Chamber Music for Hub New Music’s 10th Anniversary. Sponsored by Boyer Rickel.

This work is held in exclusivity until June 1, 2025.

angelicanegron.com

Lines of acid dreams (2022) - James Diaz

In 2015 I composed the first version of Lines of acid dreams, however, I felt I could not find the proper ways to explore and materialize my conceptual framework. When the Hub folks contacted me interested in that piece at the beginning of 2022, I knew I could finally revive my timbral, folding, floating textural ideas. To be clear, the piece is not a programmatic journey of acid dreams. The “acid dreams” are, in fact, daily realities. 

Musically speaking, nothing stayed from the original but the title. 

Lines of acid dreams gravities within and without time. However, as we cannot separate time from space, the textures were imagined as different spaces or locations. At the same time, the textures/spaces are also in a constant sense of temporal transition. Similarly, the timbral counterpoint strives to create vocal sounds and unison-like moments in a 3D harmonic space.

And additionally, the four instruments playing almost entirely from beginning to end is a metaphor for twirling infinity lines, lines that intercut, contradict, and feedback mutually. 

Lines of acid dreams is dedicated to Hub New Music.

Commissioned by Hub New Music

jamesdiaz.co

What If We’re Beautiful (2023) – Daniel Thomas Davis

  • I. Song for L.H.
  • II. Prelude for J.W. & K.H.
  • III. Anthem for M.M.
  • IV. Arietta for M.A.
  • V. Verses for A.I. and H.R.

Program Notes

What if We’re Beautiful is an experiment in musical gift-craft. I don’t knit or crochet, but even so, I imagine these movements as something akin to handknit musical objects woven from modest sonic threads, each made with a particular recipient in mind. And although there are countless fine examples of composers making imagistic portraits or reflective dedications, I’ve aimed for something a little different here – each piece feels to be less portraiture of any particular person and more as an opportunity to make something enjoyable for a few folks I hold very dear. In doing so, it’s my hope that others who hear and play this piece – including my friends in Hub New Music – also find something meaningful, too. 

To be sure, the gifts offered in this piece are themselves the refraction of the countless and intangible gifts of queer (and queer-adjacent) friendship and joy I have received from the band of fellow travelers acknowledged in these movement titles. And although I didn’t immediately set out to write a piece about queer joy, that’s basically what happened here anyway; as the piece came together, it became increasingly clear to me that it’s also an appreciation of the boisterous, delicate, wacky, campy, and sorrowful joy that we can offer to one another.

Commissioned by Hub New Music.

danielthomasdavis.com

INTERMISSION

Spirits and Sinew (2023) - Jessica Meyer **WORLD PREMIERE**

I have loved New Orleans since the first moment I got there. Throughout the city there resides the palpable energy of both the living and the dead. Last time I was there, I took a walking tour and discovered some pretty spooky local stories about violence, ghosts, fires, and Voodoo. 

I also learned about Marie Laveau and the services she provided: she was a dedicated practitioner of Voodoo, healer, herbalist, and entrepreneur. Laveau was also known as a prominent female religious leader and community activist. 

My narrative for this piece explores a haunting, finding a way to be healed, and an “exorcism” of sorts – a pattern that can be found in many stories about New Orleans. The work also serves as a metaphor for the patterns that we keep subconsciously replaying in our own lives, and the hope that we can love ourselves enough to finally conquer the demons that haunt us. 

My deepest thanks to Hub New Music for asking me to write this work in honor of their 10th anniversary.

Commissioned by Hub New Music with additional support from the Cheswatyr Foundation

This work is held in exclusivity until June 1, 2025.

jessicameyermusic.com

Capriccio (2019) – Michael Ippolito

  • I. Lonely Journey
  • II. Pénombres du Soir (Evening Twilight)
  • III. Bacchanale-Phantasmagoria

Program Notes

Capriccio began as a response to the work of Hans Hofmann, the influential German-American artist and teacher. Hofmann’s best-known work is abstract, with great slabs of paint of simple shapes and lines that seldom represent anything directly, and the finest of these paintings are charged with intense emotion that is difficult to describe. Hofmann was clearly aware of the expressivity in his abstract art, giving his paintings evocative titles that demonstrate a poetic sensibility I found as irresistible as the images themselves. As much as I responded to Hofmann’s visual art when composing Capriccio, I also responded to these titles; I began to think of them as verbal frames to my musical canvas. 

Capriccio is in three movements, borrowing their titles from Hofmann’s paintings. The first movement, Lonely Journey, begins as a ponderous funeral march and is transformed as it traverses an imagined musical landscape. The second movement, Pénombres du Soir (Evening Twilight), is, like Hofmann’s painting, all about transitions between states. It begins with a shimmering, fragile texture and a sort of grotesque aria before transitioning into a scherzo – a flight of fancy that could have arisen in the space between waking and sleeping. The final movement, Bacchanale-Phantasmagoria, takes its title from two paintings. The Bacchanale is a scene of wild revelry, loosely drawn from Balkan dance music. The music gets wilder and wilder leading to the brief Phantasmagoria that concludes the piece; in the final moments the music becomes a fever dream of all the images in the piece, finally collapsing into ecstatic exhaustion.

Capriccio was commissioned by Hub New Music and Peabody Essex Museum (Salem, MA) in celebration of the museum’s Han Hofmann Exhibition “The Nature of Abstraction.”

michaelippolito.com


Hub New Music is:

Michael Avitabile (he/him) – flutes

Jesse Christeson (he/him) – cello

Gleb Kanasevich (he/him) – clarinet

Meg Rohrer (they/she) – violin/viola


'What's In a Decade' Program Notes

Since our organization’s founding in 2013, Hub has maintained an unyielding dedication to building a repertoire that is uniquely ours. With our instrumentation being both non-traditional and full of untapped artistic potential, it was clear from the onset that commissioning music would be the lifeblood of what we do.

Being active commissioners of new music has also fostered a creative community we cherish deeply. Over the years, the composers with whom we collaborate have become close colleagues and friends. Our artistic process forges relationships built on mutual trust, willingness to explore uncharted territory, and a desire to imagine something special to that time and place. The energy in that process is indescribable.

Creating a body of music that reflects the world we collectively inhabit is also a high priority in Hub. For us that means building a lexicon that transcends borders imposed by genre. It means curating large projects in which programmed works converse with one another around a central theme, like friends at a dinner party. It means creating a repertoire in which all voices are heard and valued equally.

For our tenth anniversary, we’ve asked an esteemed cohort of composers to usher Hub into our second decade. These composers offer us the opportunity to further push the envelope of our creativity, and build an ever larger community around the work we love. We’re beyond thrilled to celebrate our tenth birthday party in this way, and can’t wait to have you there.

hubnewmusic.org


nF Acknowledgements

nienteForte would like to give heartfelt thanks to our Season 13 donors and sponsors. We would also like to give acknowledge the following people and organizations who have offered their time and resources to make this season possible:

  • Michael Batt
  • Kari Bersharse
  • Sophia Blessinger
  • Maxwell Dulaney
  • Ray Evanoff
  • Chelsea Hines
  • Lisa Hooper
  • Megan Ihnen
  • Dylan Koester
  • Kyle Peeples
  • Heather Penton
  • Phillip Schuessler
  • Daniel Sharp
  • Rick Snow
  • Andrew Szypula
  • Alan Theisen
  • Hotel Peter and Paul
  • Kappa Kappa Psi Rho Chapter
  • Tulane University’s Music and Science Technology Program
  • Versipel New Music

Join the nF Community with a tax-deductible charitable donation!


Come to our next show featuring Collective Lovemusic from Strasbourg, France!

Sunday, April 16th 2023 – 7:00p – Dixon Recital Hall

New grants!

New grants!

nF is pleased to announce that we have been awarded two additional grants for our thirteenth season! We offer our gratitude to the New Orleans Jazz and Heritage Foundation for their continued support, and we offer our thanks for receiving our first award from The Amphion Foundation, Inc. Their generous contributions are essential for our mission in curating quality programming with renowned national and international ensembles and composers. Thanks so much, and congrats to all grantees!

nF Presents: Matthew Wright

Program

the love light is beaming through and gassing the whole scene

the love light is beaming throguh and gassing the whole scene

Matthew Wright (trombone)

with: mendel lee, kyle peeples, hayden outlow, heather penton, sydney rust, samuel tyree

and dakota wilburn as “the bass trombone player”


in and out of the game (2010) – eve belgarian

the hip gan (2007) – mw

mauf (2022) – mw

yonder (1995) – jane ira bloom

i have something to tell you – mw

in the silver forest (1983) – yehuda yannay

sol (1972) lr


Artist Bio

Matthew Wright:

plays trombone

performer/composer/pedagogue 

joined the Louisiana Philharmonic Orchestra in 2011. previously held a position with the Syracuse Symphony Orchestra and was a soloist with the Vermont Symphony Orchestra on their 2022 summer tour. performed with numerous orchestras, big bands, and chamber ensembles from Birdland to Beijing to New Orleans. made Carnegie Hall debut turning pages in recital. was in the first horn section to play with the band CAKE. recorded with Bela Fleck. recorded for Tyler Perry. recorded for Verve records. once shook Sparky Lyle’s hand. command performance for Solange Knowles. opened for the Gypsy Kings. opened for Jim Gaffigan. soloist with the Syracuse Symphony Orchestra while dressed as Santa Claus. premiered pieces by a few Pulitzer finalists, the fastest guitarist in the world, and some real jerks. does a mediocre JJ impression. played in orchestras backing James Moody, Andy Williams, Yo Yo Ma, Randy Newman, and Placido Domingo. as a composer, writes and arranges many pieces for solo recitals and for Versipel New MusicEagle Scout. caught a foul ball at mlb game. Michael Jordan’s former roommate. saw Jimmy Carter’s bible study. smoked a cigarette with Fred Rzewski. teaches privately online and as an adjunct at Loyola University New Orleans, the New Orleans Center for the Creative Arts, the University of New Orleans, and at Tulane University. primary teachers are Jeannie Little, Matthew Vaughn, Per Brevig, Steve Norrell, and Scott Hartman. as seen on Wrestlemania 30 (40:50).


Acknowledgements

Matthew Wright would like to give special thanks to Mendel Lee and nienteForte.

nienteForte would like to give heartfelt thanks to our Season 13 donors and sponsors. We would also like to give acknowledge the following people and organizations who have offered their time and resources to make this season possible:

  • Michael Batt
  • Amine Beklouche
  • Kari Bersharse
  • Sophia Blessinger
  • Maxwell Dulaney
  • Ray Evanoff
  • Chelsea Hines
  • Lisa Hooper
  • Megan Ihnen
  • Dylan Koester
  • Heather Penton
  • Zachary V. Pine
  • Phillip Schuessler
  • Daniel Sharp
  • Rick Snow
  • Andrew Szypula
  • Alan Theisen
  • Hotel Peter and Paul
  • Kappa Kappa Psi Rho Chapter
  • Tulane University’s Music and Science Technology Program
  • Versipel New Music

Join our growing nF community by supporting us in our Fall Fundraiser!

nF’s 22/23 Season

nF’s 22/23 Season

nienteForte is pleased to announce our 22/23 season featuring prominent local, national, and international artists!

As always, our events are free and open to the public.

Be sure to subscribe to our socials and our Eventbrite Calendar of Events for specific details.

As always, our events are free and open to the public. We welcome donations to support these outstanding artists and our organization!

Our Thanks to New Music USA!

Our Thanks to New Music USA!

nienteForte is proud to announce that we are a New Music USA Organizational Development Fund awardee! This support will be instrumental to our operations and artist support for this upcoming season. Thanks to New Music USA and congrats to all of the awardees of this fund!

nF Presents: Ji Weon Ryu

Program

Kokopeli (1990) – Katherine Hoover (1937-2018)

Self in Mind II (2018) – Jae Hyuck Choi (b. 1994)

Sequenza I (1958) – Luciano Berio (1925-2003)

Etude No. 5 (1974) – Isang Yun (1917-1995)

INTERMISSION

The Great Train Race (1993) – Ian Clarke (b. 1964)

Scrivo in Vento (1991) – Elliott Carter (1908-2012)

Sonatine for Flute and Clarinet (1961) – Andre Jolivet (1905-1974)

(with Daniel Parrette, clarinet)

I. Andantino

II. Quasi Cadentz

III. Intermezzo


Bio

Admired for her pure poetry...

Admired for her “pure poetry” and “beautiful technique and sound” (NFA Chronicle), Ji Weon Ryu holds The Mary Freeman Wisdom Chair as the Principal Flute of the Louisiana Philharmonic Orchestra since 2019 and serves in the same capacity with the Grammy-winning Albany Symphony Orchestra since 2017. 

Over the course of her young career, Ji Weon has been a guest flutist with distinguished ensembles such as the New York Philharmonic and the Verbier Festival Orchestra and has been a featured soloist with the Seoul Philharmonic Orchestra and the Louisiana Philharmonic Orchestra. As a principal flutist of various ensembles, she has performed in venues including Alice Tully Hall, Carnegie Hall, David Geffen Hall, Dvorak Hall (Prague), The John F. Kennedy Center, Musikverein (Vienna), and Seoul Arts Center and has worked with many acclaimed conductors such as Alan Gilbert, David Robertson, Fabio Luisi, Matthias Pintscher, Manfred Honeck, Thomas Daasgard, Tugan Sokiev, and Valery Gergiev to name a few.

A devoted orchestral musician, her performances have been broadcasted live on Medici TV and released to an exclusive album by iDAGIO. Her captivating control of tonal palette can also be heard on the world premiere recording with solo violist Richard O’Neill of Christopher Theofanidis’ Concerto for Viola and Chamber Orchestra, which has won the 2021 GRAMMY Award for Best Classical Instrumental Solo category.

With her unparalleled flexibility and virtuosity in a diverse panoply of musical styles, Ji Weon has won First Prize at the 2017 Artur Balsam Duo Competition, the 2016 New York Flute Club Competition, and the 38th National Flute Association Soloist Competition along with the Best Performance of Newly Commissioned Piece Award, and has received the 2017 Young Artist Award from the Kumho Asiana Cultural Foundation in South Korea.

Ji Weon has performed extensively as a recitalist and a chamber musician all over the US and South Korea. She regularly tours with the Frisson, an “explosive” New York City-based chamber ensemble as a founding member, and is a co-founder and the artistic committee of the Ensemble Blank, a contemporary group based in Seoul that strives to push boundaries of classical music repertoire and searches for unconventional concert venues. 

In addition to her appearance on stage, Ji Weon is also committed to teaching. She has given guest lectures and masterclasses at The Juilliard School, Manhattan School of Music, Berklee College of Music, Louisiana State University, Tulane University, and the University of Kansas. 

Apart from sharing classical music with audiences, Ji Weon enjoys arranging and performing pop tunes at the popular Instagram/YouTube channel, JHM Jams. One of the videos she featured has over 52k views and has been recognized by entertainment studio, Lionsgate and fashion magazine, Glamour.


Ji Weon holds a Master of Music degree in orchestral performance from Manhattan School of Music and both a Bachelor of Music degree and an Accelerated Master of Music degree from The Juilliard School. Her principal teachers include Robert Langevin, Carol Wincenc, and Young Ji Song.


Join nF in our mission to champion contemporary music in New Orleans!

nF Presents: Ensemble Linea (Concert 2)

Program:

Ensemble Linea’s Thursday Night program will showcase four new works by Tulane University Student Composers.

Permeation – Carli Knight (b. 1999)

Spoof – Jonathan Freilich (b. 1868)

Ever What – Cory Diane (they/them) (b. 1987)

Noon Blue Apples – Dylan Hunter (b. 1986)

Personnel:

Jean-Philippe Wurtz – conductor

Keiko Murakami – flutes

Andrea Nagy – clarinets

Carolina Santiago Martínez – piano

Ernst Spyckerelle – violin

Laurent Camatte – viola

Johannes Burghoff – cello

nF Presents: Ensemble Linea (Concert 1)

Program:

Ensemble Linea’s Wednesday night program features two multi-movement works whose movements will alternate throughout the concert. The concert is approximately 70 minutes long and will be performed with no intermission.

Vortex Temporum (1996) - Gérard Grisey (1946-1998)

Gérard Grisey completed Vortex Temporum – his magnum opus for six musicians – in 1996. His
meditation on sound and time served as a testament, as Grisey died two years later. Anne Teresa De Keersmaeker takes on Grisey’s polyphony with a danced counterpoint for six dancers. How can you visualise polyphony by dancing it? And how can a dancer embody a counter voice to polyphonic music? Inevitably the choreographer probes the issue: what is time? Dancing the question is in itself a kind of answer.
As the early Christian philosopher Saint Augustine wrote, time is self-evident – until, that is, one attempts to put into words what it is exactly. Time, as perceived by human beings, can shrink, expand, stand still or jump forward, depending on what is unfolding upon its canvas. In Vortex Temporum, Grisey has turned time into something tangible by listening to how sound, as a physical phenomenon, behaves in space, much in the same way air may only be perceived when the wind chases leaves through it. A short motif of four notes – an arpeggio from Ravel’s Daphnis et Chloé – snowballs from simplicity to complexity and back. Grisey makes the trembling of molecules –sound’s matter – perceivable by examining it on three different scales: with human eyes, through a molecular microscope, and by zooming out on it through a telescope – something Grisey calls it the time of ‘humans, insects and whales’.
De Keersmaeker laid out her choreography measure for measure, second by second against Grisey’s complex score. As she explains: ‘Grisey’s Vortex is an astonishing achievement: at once raw and refined, rigorously structured and wildly organic, primitive even. Just like Grisey, I have submitted a very simple dance phrase to a series of transformations, closely following the music but with an autonomous logic proper to dance.’
De Keersmaeker has chosen to stage an intricate intertwining of sound and movement. Each dancer is linked to one of the six musicians, and colours his or her dancing with patterns of movement proper to every instrument. Both the dancers and musicians travel around the stage following a pattern – a vortex – of swirling circles.
The piece is De Keersmaeker’s danced attempt at answering the unanswerable question, what is time?: ‘Time can be thought of as both linear and cyclical. That which we call ‘now’ – the crack between the present and the future that we live in – is in fact a permanent tipping point, a balancing act between memory and anticipation, leaning back and forth between the ghost image of the past and a desire towards the future.’


Rokh (2012) - Raphaël Cendo (b. 1975)

By avoiding almost anything resembling convention, Cendo practically redefines what music is, turning it on its head. The extended techniques used by Cendo cease to seem “extended” and instead become the most basic and fundamental — even obvious — ingredients for the intensely focused, self-referential entity that is Rokh I. The work’s point of inspirational origin is the terrifying mythological bird of prey found in Indian, Persian & Asian literature (perhaps most memorably in the One Thousand and One Nights). Cendo establishes the sonic credentials of the creature in the most dazzlingly vivid way, a counterpoint of violence formed from a myriad gestures, slides, twangs, thwacks, ruffles, slaps,
heavily compressed pitches, grindings, pops, clusters & whooshes. It’s as though we’ve become the miniaturized inhabitant of the great creature’s nest, confronted by activity on a massive and potentially very destructive scale.

Personnel:

Jean-Philippe Wurtz – conductor

Keiko Murakami – flutes

Andrea Nagy – clarinets

Carolina Santiago Martínez – piano

Ernst Spyckerelle – violin

Laurent Camatte – viola

Johannes Burghoff – cello

nF Presents: Black Meridian by MIATp

Black Meridian is approximately 70 minutes long and is performed without intermission and without applause breaks between compositions (although applause at any time during is welcomed)

Program

Part One: Event Horizon

Prelude: Once Upon Another Time – Sara Bareilles

Constant – Jeremy Valley & Alan Theisen *

Quand le bleu rencontre le vert – Scott Johnson *

The Clockmaker’s Doll – Mara Gibson *

Dark Star – Garrett Schumann *

||: Pop, Chew, Swallow :|| – Neil Anderson-Himmelspach

Part Two: Singularity

ein ton, eher kurz, sehr leise. – Antoine Beuger

Postlude: Outside of Space and Time – David Byrne & St Vincent

* composed for MIATp


Artists' Statement and Listening Guide

Black Meridian is a theatrical recital of new music for voice, saxophone, and electronics. The show takes as its central theme the distortion of space and time around the presence of black holes; a metaphor is drawn between this astonishing cosmic phenomenon and the inevitable tragedy of relationships marred by miscommunication and disastrous personal choices.

Part One, “Event Horizon,” shares its name with the boundary defining the region of space around a black hole from which nothing (not even light) can escape. Once an object crosses the threshold of the event horizon, it is doomed to be pulled into the black hole. Part One consists of six compositions arranged to parallel such a gradual, inexorable trajectory.

Singer/songwriter Sara Bareilles’ Once Upon Another Time functions as Black Meridian’s prelude, a memory of optimism, autonomy, and purpose. Constant (music, lyrics, and track production all co-created by songwriting team Jeremy Valley and Alan Theisen) is the “thesis statement” of the show, dramatically presenting the statement you are reading now. Quand le bleu rencontre le vert by Scott Johnson acts as a playful vocalise – a sultry, bluesy, flirty exchange between the two characters. This is the calm before the storm.

The Clockmaker’s Doll by Mara Gibson (after a poem by Rebecca Morgan Frank) flashes us backward a few centuries to examine Descartes’ grief after the death of his daughter. Gibson’s work is the motivating trauma behind the narrative tension of Black Meridian. Garrett Schumann’s Dark Star, on the other hand, is its responsorial rage aria. One envisions the protagonist invoking supernatural forces to cope with suffering articulated in Clockmaker’s Doll. Through this necronomicon heavy-metal demon-summoning phantasmagoria we are thrust headlong toward the event horizon. ||: Pop, Chew, Swallow :|| pushes the listener over that edge. Neil Anderson-Himmelspach’s composition is a deeply personal confession of the pleasures of opiates, the fury toward corporate exploitation, and the determination to break the cycle of addiction. The piece accelerates to a breakneck, breathless velocity. Annihilation appears inescapable. For some, a black hole is an abstract concept of physics; for too many others, it materializes in the shape of a small round pill.

At the center of every black hole exists a “Singularity” (the title of Part Two), a one-dimensional point in which gravity becomes unlimited and space-time curves infinitely. Here, the laws of physics as we know them cease to operate.

Music by the Wandelweiser Group is characterized by sparse, quiet soundscapes and ein ton. eher kurz. sehr leise. by member composer Antoine Beuger is no exception. Lasting at least twenty minutes, two performers alternate sounding a single tone (in this case the G above middle C) within the confines of their own 30-second time span. One of the performers will eventually choose permanent silence, leaving the other in bare isolation. When the still-questing partner abandons hope and embraces silence as well, the piece has concluded. The dimensions of time and space have been shattered for performers and audience alike.

A sphinxian ballad by eminent indie pop artists David Byrne and St. Vincent serves as a final reflection on our narrative. Perhaps time has reversed to the beginning of our story. Or possibly we find ourselves in a parallel universe wherein Byrne/St. Vincent’s song is the start of a new tale, much as Bareilles’ launched this one. Lessons have been learned, change has occurred, roles have been swapped, connections reformed.

Maybe it will be different this time.


About MIATp

MIATp is an avant-pop band making voice/saxophone/electronic sound worlds that are ancient and futuristic, funky and fragile. MIATp (AKA Megan Ihnen & Alan Theisen present…) had its roots as a contemporary classical duo but now combine experimental music, multiple pop genres, and theatre. With influences ranging from Björk to Sun Ra to Ligeti, MIATp shows have been praised as “a fresh look at what it means to be artists in the 21st century.” Microtones, hip hop beats, prog rock, jazz, silences, heavy metal – anything is possible at an MIATp show.