Posts Tagged ‘Bryce Dessner’
As I left the Crossing Brooklyn Ferry Festival on its closing night, Saturday, May 5, I couldn’t escape the feeling that I had wasted so much time—not at the festival itself, but long before.
I had grown up listening to music oblivious to the domineering constructs of ubiquitous genre definition, the invisible architecture of non-substantive taste. I’m not sure which attitude was worse—contented ignorance of how the conventions of constant classification had put unnecessary limits on my musical discoveries, or my more recent belief that the use of genre labels to separate real/perceived differences in music was a necessary evil.
Upon experiencing Crossing Brooklyn Ferry,however— the New York City festival that Bryce Dessner and Aaron Dessner of the band The National were commissioned by Brooklyn Academy of Music (BAM) to curate—genre distinctions emerged more grossly superficial than ever before.
Conceptually, the approach of the brothers Dessner seemed straight-forward and unadorned—invite artists and musicians whom they liked and respected to perform. The performances throughout the three-day festival, which began on Friday, May 3, were distributed among three separate performance spaces at BAM: the intimate Rose Cinemas, which hosted both musical sets and the screenings of nine short films by Bill Morrison, Matthew Ritchie, and others; the versatile BAMCafé, the site of performances by a truly eclectic mix of musicians—the Jack Quartet, Buke and Gase, yMusic, the Brooklyn Youth Chorus, and Oneohtrix Point Never among them; and the Howard Gilman Opera House, which functioned as a “main stage” for such artists as So Percussion, The Antlers, Tyondai Braxton, St. Vincent, My Brightest Diamond, and Beirut.
Above all, the genius of Crossing Brooklyn Ferry was in the logistics. The performances in each of the three venues overlapped with one another, with festival patrons moving freely from one space to the other. By design, one could catch the beginning 15 to 30 minutes of the film screenings, catch the middle of an Opera House performance, and then head upstairs to the café for the open bar and the end of another set.
The formality that audiences may have come to expect at performances by composer Judd Greenstein and The Yehudim, violist Nadia Sirota, the NOW Ensemble, and others was jettisoned. And by having three simultaneous options at any given time, the experience of the listener/viewer felt varied and organic. Yet because all of the scheduled performances are staggered, as opposed to scheduling acts during approximately the same block of times, the festivalgoer had more genuine choices with which to craft an individual experience of musical discovery. Instead of the masses herding themselves from one stage to the next at the pre-appointed time, it seemed impossible that any two people had the exact same experience.
Apart from Bryce Dessner’s annual MusicNOW Festival in Cincinnati, the Ecstatic Music Festival, established in 2011 by the above mentioned Judd Greenstein, is Crossing Brooklyn Ferry’s most immediate and relevant predecessor. The creative circles of both Ecstatic and Brooklyn Ferry are essentially concentric; several artists, including My Brightest Diamond, So Percussion, Buke and Gase, yMusic, Missy Mazzoli and Victoire, Jherek Bischoff, and Richard Reed Parry of Arcade Fire have contributed to both festivals.
Such artists are inherently uninhibited by the dichotomy of vernacular versus formal, to which I had subconsciously adhered. And both festivals are excellent environments in which to be stylistically unencumbered.
But while each festival begins with the premise “Let’s have makers of great music all play on one bill,” the central conceits that Ecstatic and Brooklyn Ferry each project to their audiences differ in telling ways. The qualitative difference lies not in the music itself, but in the way the music is presented.
The Ecstatic Music Festival has from its inception clearly delineated which artist was more “classical” and which was more colloquial in each of its collaborative performances: So Percussion with Dan Deacon, Anonymous 4 with The Mountain Goats, composer Rhys Chatham with Oneida, etc.
But the mere acknowledgment of these genre distinctions lend them a validity that I sense is unintended. The result seems to be a contradictory concession of sorts that says using genre distinctions are vital to explaining why genre distinctions are unnecessary. The paradox is typified in the festival website’s heralding of “contemporary ‘post-classical’ music.” If labels were truly inconsequential and ultimately irrelevant, there would be no reason to employ them in the setup. Somehow, it undercuts the authenticity and dynamism of Ecstatic, and credence is given to the invisible yet still perceptible wall between classical and non-classical.
The Crossing Brooklyn Ferry Festival seeks to showcase the aforementioned borough’s music scene , but makes no effort to address genre at all. This approach suggests a way toward ensuring that the once obtrusive architectural eyesores of musical labels are not merely just invisible, but altogether intangible.
Closing Arguments: The Ecstatic Music Festival, New Amsterdam Records, and the Seeds of “Post-Classical” (Part 2 of 3)
Since January 17, Judd Greenstein’s Ecstatic Music Festival has presented New York City audiences with one-of-a-kind collaborations between composers and performers who share the creative impetus to explore the musical environment between the monolith of “classical music” and the divergent “indie” aesthetic which draws from popular music traditions.
But beyond the readily observable stylistic hybrid, what has the Ecstatic Music Festival really been about? This three-part series delves into the seminal influences that contributed to the conception and execution of the festival, and what it means for the dialogue between traditional classical music and emergent compositional styles.
As an introductory descriptor, “indie classical” is apt. Hosted by the Kaufman Center at Merkin Concert Hall, Ecstatic Music Festival’s prominent associate presenter is the quintessentially indie classical New Amsterdam Reecords, the New York City-based label that Greenstein co-founded with Brittelle and Snider in 2007.
Sometimes referred to as NewAm, the label also functions as a presenting organization dedicated to the propagation of new music one could just as easily label as “contemporary classical,” “alt-classical” or as Time Out New York did, the appropriately chronological “post-classical.”
But New Amsterdam couldn’t have become post-anything without a pre-something. For the indie classical crowd, that something was Bang on a Can, the seminal collective formed in 1987 by another trio of composers–Michael Gordon, David Lang, and Julia Wolfe. Greenstein is quick to recognize Bang on a Can’s crucial impact while noting the differences between the two organizations:
Bang on a Can is totally essential to what New Amsterdam Records is and does, and the existence of New Amsterdam Records has never at any point been a response to anything Bang On a Can has done–those two things are both true. If Cantaloupe Records [Bang On a Can's record label] had thought that they wanted to put out the NOW Ensemble record in 2007, then maybe New Amsterdam Records wouldn’t exist, right? Because if in fact Bang on a Can were an organization that fulfilled the needs that my community at that time had, then it may not have been necessary to build our own community, but they’re not a limitless organization in terms of resources. They have to make choices, and I don’t fault them for that. It’s just to say, it’s not the case that we’re doing the same thing. If it were, we wouldn’t be doing what we’re doing. We would have been very happy to wind up as part of that organization….Now, it’s hard to imagine New Amsterdam being part of Bang on a Can. It’s hard to imagine the projects that we release and the shows that we do being under that rubric–they have very different characters.
Greenstein views his as the first generation of composers for whom the music of living legend predecessors such as Philip Glass, Meredith Monk and Steve Reich was the “lingua franca,” “the coin of the realm.” Glass’s Einstein on the Beach, more than 34 years after its premiere, even now is seemingly on the tip of every indie classical tongue. To the musical ear of composer and classical guitarist Bryce Dessner–who is best known in indie circles as a member of the rock band The National–the fully formed, prominent rhythms of Steve Reich are particularly inspiring for rock and electronica musicians. “Our drummer, Bryan Devendorf, warms up every night backstage by playing Reich’s Clapping Music with two hands. It’s usually performed by two players. Bryan has no real classical training, but Reich’s music really resonates with him.”
In addition to its compositional forebears, the Ecstatic Music Festival has benefited from the more recent precedent of New York City concert programming, which includes the MATA Festival, led by former Executive Director Missy Mazzoli, and the Look and Listen Festival, once co-curated by Sarah Kirkland Snider. Arguably most germane to Ecstatic, however, is Ronen Givony’s Wordless Music Series, which began in 2006. The series introduced new audiences to contemporary classical music by juxtaposing it with independent pop music in formal concerts. “[Givony] did an amazing thing in this city,” says violist Nadia Sirota, “just for having the balls to say, ‘Hey, this might be a little awkward, but here we are. I’m putting this in front of this.’ And I think what that’s evolved into is something really fantastic.”
By making collaboration of paramount importance to the vitality of the Ecstatic Music Festival, Greenstein has implicitly taken the evolution beyond Wordless Music while paying homage to earlier innovators of new music programming. “Where did people my age get the idea that you could put people from different musical worlds on the same program together?” the curator asks. “Obviously, it’s the Bang On a Can Marathon. I don’t think there’s any question about that.”
As a composer/performer who is well acquainted with the new music scene in New York and the distinctive repertoire that has populated it, Dessner recognizes the current open and flexible performance climate as a continuation of a storied past. He cites the loft culture of the 70s and 80s, clubs such as CBGB and Tonic, historic venues like Brooklyn Academy of Music and The Kitchen, and contemporary spots like Barbès in Park Slope and Zebulon in Williamsburg.
“New York City has always been a nexus of these interesting venues that are home to experimentation and cross-pollination between different musicians,” says Dessner. “There is a very vibrant and open community of musicians in New York City, and all kinds of music being made that defies easy categorization. This is just to say that the dialogue between genres and between musicians with different backgrounds and educations has been going on for a very long time.”
The Ecstatic Music Festival runs through March 28 at Merkin Concert Hall in New York City (129 West 67 Street). The festival is comprised of 14 concerts, during which participating artists who are “re-defining contemporary music come together for collaborations exploring the fertile terrain between classical and popular music,” according to the festival’s web site.
Featured musicians include: Nico Muhly with the Chiara Quartet; So Percussion with Dan Deacon; the Bang On a Can All-Stars, performing world premieres by Bryce Dessner, Karsh Kale,and Nick Brooke; Timo Andres and Gabriel Kahane; Nadia Sirota and Thomas Bartlett with Owen Pallett; Sarah Kirkland Snider with yMusic–and many others.
For more about the Ecstatic Music Festival, including ticket information, visit http://kaufman-center.org/merkin-concert-hall/ecstatic.