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Posts tagged 'Katherine Young'

Anthony Cheung's "The Real Book of Fake Tunes" in Chicago and New York

Players, students, and enthusiasts of jazz will be familiar with the many iterations of the "fake book"—a collection of lead sheets that has seen many versions throughout the 20th century, even an "official" edition as The Real Book in the 1970s. Anthony Cheung, no stranger to the long stylistic and compositional traditions of jazz, takes the "real book" as a starting point for his The Real Book of Fake Tunes, written for fellow Chicagoans Claire Chase and the Spektral Quartet. Cheung takes the architecture of a "Real Book" and designs his own plans for the classical instrumentation of string quartet and flute, recalling the dance or compositional suites of the 18th century while catapulting the listener into the 21st. 

On Thursday, April 13th, Claire Chase and the Spektral Quartet will perform The Real Book of Fake Tunes at Northwestern University, as a part of Chase's "Density" project, alongside a new commission by fellow PSNY compoer Marcos Balter. Later in the month, the ensemble will travel to New York to present The Real Book of Fake Tunes at National Sawdust, in a program that features a new quartet by George Lewis and Katherine Young's arrangement of Arthur Russell's Hiding Your Present From You

Katherine Young Premieres "bow breath crow" at London's Cut & Splice Festival

Since 2003, the Cut & Splice Festival has been a crucial resource and venue for electroacoustic and experimental music in the UK. Broadcast on BBC3's "Hear and Now" program, this festival has begun a new curatorial format where a single ensemble that curates and performs a series of concerts, co-sponsored by Sound and Music's "Composer-Curator" program.

This year's curator-performers are Manchester's Distractfold Ensemble, who will perform the world premiere of Katherine Young's bow breath crow on March 11th. Written for amplified string trio and spatialized electronics, bow breath crow will premiere in Hallé St. Peter's in Manchester, and will be recorded for broadcast on BBC3.

Check out Distractfold's "sneak peek" playlist for the festival below. 

Katherine Young Joins PSNY


(Katherine Young; photo: Peter Gannushkin)

We're thrilled to welcome composer and bassoonist/improviser Katherine Young to our roster of PSNY composers! Young's compositions exemplify the attention, intuition, embodied knowledge, and indeterminacy that comes from a deep understanding of instrumental possibilities, and her activities over the past ten years show a musical mind open to all of the possibilities of sound.

Young's music can actually proclaim that it is, in fact, "new"—not only new in aesthetic, organization, and style, but also in instrument, performance, and authority. Her scores call for techniques to extend the sonic possibilities of the instruments, and indeed often turning them into systems of body, wood, metal, and electronics. From her experience as a composer, performer, improviser, and collaborator, Young's work manages to be all of these things at once: intentional composition, intuitive improvisation, and close collaboration with performers. We're proud to offer three of Young's works written within the past eight years, each with its own unique sonic world. 

Composed in 2008, Underworld (Dancing) is written for tuba and Wurlitzer electric piano, with each instrument making space for the other within the dimensions of timbre and pitch. The score, which instructs each player within these dimensions, contains gestrual writing, graphic notation, and other innovations designed to allow the "work" to unfold as it is "worked" by the performers, with the instrumentalists reacting both to each other and to each other's instruments. The result is an aural game played between all of these actors, linked by Young's network of associations and resonances. 

Puddles and Crumbs, written in 2014-15 for solo trombone and electronics in collaboration with trombonist Weston Olencki, folds this instrumental dialogue onto itself, augmenting the trombone with electronic effects: reverberation, pitch-shifting, and distortion. A common technique of solo improvisers, routing the signal of an instrument through a chain of effects here actually creates four voices: composer, performer, instrument, and instrumental signal. Young writes that Puddles and Crumbs is a "loving embrace of the by-products, side effects, and detritus of performance." But we could also say that Puddles and Crumbs forces a re-evaluation of "performance" and "side effect", drawing the listener's attention to the middle ground between the two. 

slam creak bzzz, composed in 2012 and revised in 2015, is a string quartet, amplified and augmented to evoke the sound-worlds of mid-century epic cinema. Young translates the phantasmagoric sensory experience of the movie theater into the concert hall, mirroring the effects of cinematic sound design in her composition, which calls on the musicians to play the entire instrument's body, as well as the performer's own human bodies. Check out a recording of slam creak bzzz featuring the Mivos Quartet:

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