Faculty composers Aaron Jay Kernis and Christopher Theofanidis, on New Music New Haven

Aaron Jay Kernis, left, and Christopher Theofanidis

The New Music New Haven series kicks off on Thursday, Sept. 28, with a program that features violinist Chee-Yun and music by faculty composers Aaron Jay Kernis and Christopher Theofanidis and graduate-student composers. We spoke recently with Kernis and Theofanidis about their work, and about the series and its value to audiences and to the School’s composition program.  

Q (for AJK): First Club Date is a new piece. What was its genesis and/or inspiration and what are you exploring in the work?

AJK: My son Jonah is a young (14-year-old) cellist and loves jazz. There so little jazz or jazz-influenced repertoire for cello that I wanted to fill that gap a bit, so this piece runs the gamut of inspiration from ragtime to funk and Jonah’s favorite new band, Snarky Puppy.

Q (for AJK): Three of the work’s five movements will be performed on Thursday, Sept. 28. How does hearing a new piece typically inform further work on that music?

AJK: From the first rehearsal before the August premiere, I was collaborating with my son and Matt Haimovitz (who performed the premiere), tightening it, tweaking the cello part, and coaching him to be funky. I keep on at that until I feel the music is completely right – then I can let it go and move on.

Q (for CT) Flow, my tears was composed 20 years ago in memory of Jacob Druckman. Do you let a work live on its own or do you revisit it as it’s performed anew by different players?

CT: It’s one of the great joys of composing – coming back to an older work and hearing it performed by different artists of different ages, sensibilities, metabolisms, and life experiences. They each bring their own take and timing to it, and sometimes it is really amazing to me that music can stretch as much as it does in these differing interpretations. Although I usually am done writing and reworking the actual notes of pieces by the premiere (or shortly thereafter, if I make minor adjustments), I often do change my ideas about the pacing of the work based on later performances. In this case, apart from the scores of performances it has already had, it has also been performed on different instruments – the violin, viola, cello, and guitar, and even each of those instruments has its own way of breathing and its own logic, which affects the work and my own sense of what works best.

Q (for CT): The Violin Fantasy is a reframing of the second movement of your Violin Concerto. How does the solo part differ, if at all, from the original, and what persuaded you to present the piece as a stand-alone work?

CT: The solo part is exactly the same, but the orchestral part is a reduction into a piano part, so it is quite a bit different than the original version. It was fun finding a way to make 85 instruments work in just the piano, though! The violinist for whom it was written, Sarah Chang, wanted to do the second movement on a 30-city tour as part of a concert recital, but it had to be just for violin and piano. Thirty cities was an offer I couldn’t refuse! The piece was played in Tchaikovsky Hall in Moscow, in Thailand, in Japan, in South America – and all over the world.

Q (for both): How does teaching inform your work and vice versa?

AJK: I learn so much from my students, and their interests sometimes lead me into places and music I hadn’t know about. Also, they’re so good, how can one help but be inspired by their talent and inventiveness?

CT: One of the most important qualities in being a composer is being a good “editor” of yourself and your materials. I think teaching helps you become better at recognizing things that are happening in music and what is ultimately of value – your editorial sense kicks in when looking at other people’s music often more quickly than when looking at your own. I am much better now after so many years of teaching at stepping outside myself and looking objectively at what I am doing in my own music.

I think the decades of practical experience and the great journey in the arts that one lives are the most useful elements in teaching students. You see just how many ways things can work and be said musically, and it gives you a lot of ideas of how to help people who are just starting on their journey. Also, we all benefit from being truly who we are – not trying to be someone else- living what is most important to us – and I think that is maybe the most important thing we can pass on to a student as a model.

Q (for both): What opportunities does the New Music New Haven series afford students, particularly in terms of hearing works by their peers and receiving feedback? What does it mean to YSM’s composition students to have their work performed by peers and alongside music by their teachers? And what should audiences know, in general, about YSM’s composition department and students and the work that’s being produced here?

AJK: New Music New Haven is vital to bring student composers together with their performer colleagues (sometimes bringing about life-long collaborations), then getting critiques from composer peers and faculty. It’s one of the most important and vital elements of their education at YSM. Listeners should know that YSM has hosted and produced a few score of brilliant young composers over the years who have gone on to splendid careers out in the world. These concerts also give a window into the work of some of the most interesting established composers in the world (including the faculty), so these presentations are a spirited way to experience beautiful, fascinating music right here in New Haven (and via streaming).

CT: The students have works scheduled, rehearsed, coached by faculty, performed, and recorded (both audio and video) in our program – and then afterward, we all talk about the piece together as a group in the subsequent weeks, which helps everyone learn from the process. It is a rich experience from beginning to end and is kind of an idealized working situation for students to create; it is protective but realistic.

We try to foster a real sense of community in the greater program because these 12-15 composers will be running into one another for the rest of their lives and need one another; we choose people of an enormously broad stylistic variety and way of thinking and then try to cultivate respect and support between each of the composers.

The first New Music New Haven concert of the season takes place on Thursday, Sept. 28, at 7:30 pm, in Morse Recital Hall. Learn more about the program, which is free and open to the public, and the series.

Published September 27, 2017
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NYT: Yale Composers Showcase Their Works at New Music New Haven

Ani Kavafian, Lisa Morre, and David Shifrin | Photo by Chris Lee

Ani Kavafian, Lisa Moore, and David Shifrin | Photo by Chris Lee

The New York Times | By Vivien Schweitzer

It’s rarely a compliment to describe a composer as “academic”: the word is usually applied to those perceived as being sequestered on campus creating esoteric, dreary works. Conversely, being too “accessible” (i.e., not challenging enough) has also been deemed a negative. But there’s nothing pejoratively “academic” or “accessible” about any of the Yale faculty composers featured during a concert on Wednesday at WQXR’s Greene Space in SoHo.

David Lang, Hannah Lash, Christopher Theofanidis, Aaron Jay Kernis and Martin Bresnick represent an accessible aesthetic that draws on multiple stylistic influences. Some of their music has been championed by Bang on a Can, the lively genre-bending collective whose three founders, all Yale alumni, include Mr. Lang. The vocalist Helga Davis hosted Wednesday’s event, part of the NY Phil Biennial, and interviewed each composer and Alan Gilbert, the Philharmonic’s music director, onstage. MORE

Published May 26, 2016
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New Music New Haven features Kernis and Lang

LangKernis

David Lang, Aaron Jay Kernis

The New Music New Haven concert series at the Yale School of Music continues on Thursday, April 14 at 7:30pm, with the music of faculty members Aaron Jay Kernis and David Lang, along with new works by graduate student composers. MORE

Published April 6, 2016
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New Music New Haven features Theofanidis and Vees March 10

Christopher Theofanidis Photo by Matt Fried

The New Music New Haven concert series at the Yale School of Music presents a concert on Thursday, March 10 at 7:30 pm. The concert will feature the music of Christopher Theofanidis and Jack Vees along with new works by graduate student composers.

The program will include selections from two of Theofanidis’ operas: “Juliet’s Aria” from Heart of a Soldier, written in 2011 for the San Francisco Opera, and “El Salvador” from The Refuge, which Theofanidis wrote for the Houston Grand Opera in 2007. Both arias will be sung by Jazimina MacNeil, mezzo-soprano, with pianist David Fung.

Jack Vees’ Piano Trio (Hulk Smash!), written for three performers on two pianos, will be played by composition alumni Benjamin Wallace, Paul Kerekes, and Fay Wang. Vees’ Ambulant Music, for brass sextet, earned its title “for the simple reason that the performers do walk (on and off) as part of the performance,” says the composer. MORE

Published February 25, 2016
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New Music New Haven honors Jacob Druckman Feb. 11

Druckman-at-work-webThe New Music New Haven continues on Thursday, February 11 at 7:30 pm with a program honoring the legacy of long-time YSM faculty member Jacob Druckman.

Born in 1928, Druckman became chair of the Yale composition department in 1976 and remained a professor here until his death in 1996. In the 1960s, Druckman explored the use of electronics in music composition, becoming ” a skillful exponent of electronic music” (New York Times). MORE

Published February 8, 2016
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New Music New Haven series features Paul Lansky Nov. 19

Paul LanskyThe New Music New Haven series at the Yale School of Music continues on Thursday, November 19 at 7:30 pm, featuring the music of guest composer Paul Lansky alongside works by YSM composition students.

A pioneer in the field of computer music, Paul Lansky has been the recipient of numerous awards and accolades. His music has been widely performed and recorded. He has been the subject of the documentary My Cinema for the Ears,  directed by Uli Aumüller, and in 2002 was the recipient of a lifetime achievement award from the Society for Electroacoustic Music. He serves on the faculty of Princeton University. MORE

Published October 28, 2015
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Yale School of Music to be featured in 2016 NY Phil Biennial

Martin Bresnick, composer

The Yale School of Music and its New Music New Haven series will be highlighted in the 2016 NY Phil Biennial, a wide-ranging exploration of today’s music by an array of contemporary and modern composers. YSM’s performance will take place on May 25, 2016 at The Jerome L. Greene Performance Space at WQXR, the performance will be streamed live via webcast on WQXR’s new-music channel, Q2 Music, and Q2 Music’s Helga Davis will host the performance.

The program represents the past, present, and future of the composition program of the Yale School of Music, established in 1894, whose composition faculty has included Paul Hindemith, Krzysztof Penderecki, and Jacob Druckman. The program opens with songs by Yale alumnus Charles Ives — “our historically most distinguished student,” according to Yale composition chair Martin Bresnick — and concludes with a song by “one of our very promising current students (and fellow New Englander)” Hilary Purrington. MORE

Published October 27, 2015
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New Music New Haven features Martin Bresnick, Hannah Lash Oct. 8

Martin Bresnick, composer

Martin Bresnick, composer

The New Music New Haven series at the Yale School of Music presents its first concert of the 2015–2016 season on Thursday, October 8 at 7:30 pm.

The concert will feature pieces by YSM faculty members Martin Bresnick and Hannah Lash, as well as works by student composers.

Student works form the concert’s first half: Katherine Balch’s Maroon Creek, Brian Heim’s content repackage, and Tiange Zhou’s Study Laws of Motion. MORE

Published September 29, 2015
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WQXR’s Q2 Music to partner with Yale’s New Music New Haven

Martin Bresnick, composer

Martin Bresnick, composer

The Yale School of Music and Q2 Music announce a new partnership. Q2 Music, which is dedicated to the music of living composers, will broadcast music by Yale faculty and students, recorded live from the New Music New Haven concert series.New Music New Haven presents new works by graduate students in composition, and this partnership will bring students’ works to a broader audience. In addition, NMNH programs feature an established living composer, either YSM faculty or guests, and these featured works will be part of the broadcast partnership as well.

“Student composers are making some of most beautiful, inventive music today, music that deserves to be heard,” says Q2 Music’s Alex Ambrose. “Q2 Music has a commitment to working with younger composers and to serving those in the formative stages of their career. It’s exciting to share  the caliber of music-making from our neighbors at the Yale School of Music’s New Music New Haven series with an online audience, introducing listeners everywhere to the next generation of composers.”

Martin Bresnick, the director of the composition program at YSM, said: “Our Q2 Music partnership is an aural window to the world. It will reveal the sounds of the Yale School of Music’s New Music New Haven series to attentive listeners, and through that open window we hope to hear back from the connoisseurs and amateurs we know are out there.” MORE

Published August 25, 2015
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New Music New Haven features composer-pianist Vijay Iyer April 2

iyer-nmnhThe Yale School of Music presents a New Music New Haven concert featuring composer/pianist Vijay Iyer  on Thursday, April 2 at 7:30 pm. The concert features Iyer performing with the Brentano String Quartet, as well as new pieces by YSM student composers.

Iyer’s Time, Place, Action, a 25-minute quintet for piano and strings, was written for the Brentano Quartet’s “Fragments” project. In Iyer’s words, the ensemble asked composers “to start with a fragment by an Old Master, and create something out of it. I used a short fragment by Mozart and built something.” MORE

Published March 18, 2015
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