#chamber ensemble

Sleep D x Ad Lib Collective - Flashed Glass - electronica duo + percussion-heavy chamber ensemble in inaugural release from Play On Records (Melbourne)

Play On Records is proud to present Flashed Glass, a new record from electronic duo Sleep D and mixed chamber ensemble Ad Lib Collective. Culminating from a two-year project borne out of a live collaboration in a Melbourne underground carpark, the LP marries the euphoria of the concert hall and the club, presenting a rich sonic universe for the listener to discover. Having first been introduced at rehearsals for Play On’s 6th series in late 2018, the two groups hit it off, opting to perform a semi-improvised set together, rather than two separate sets as originally planned. They soon realised their pairing could unlock sounds they wouldn’t have otherwise found on their own, and their idea for further collaboration was born. Because Flashed Glass didn’t use formal notation in the creation process, this resulted in charts and maps to plot out each track. This influenced the artists’ sonic interpretations of vast open spaces, dystopian landscapes and expansive journeys. What’s culminated is a record that combines spacious, repetitive, ambient electronica with the gentle, lilting woodwinds, strings and acoustic percussion of modern classical. In March 2020, the two groups recorded at Head Gap studios in Preston — layering sounds, building melodies, and striking out what didn’t work — until the COVID-19 pandemic cut things short, twice, due to Melbourne’s dual lockdowns. This resulted in an accidental hybrid work, finishing as a mix of live professional recordings, and DIY home-recorded samples, with the latter including crushed plastic and pulverised sea shells. This marks the first release of Play On Records, a Melbourne-based label exploring the intersection of acoustic and electronic music. This release is available on vinyl and digital download.

Schoenberg - Pierrot Lunaire, op.21 (1912)

Since his tonal days, Schoenberg was fascinated by the psychological aspect of stories. His Pelleas und Melisande focuses on the psycho-erotic side of the romance, and similar themes come up in the Gurrelieder. Here, the text comes from a series of poems by Belgian poet Albert Giraud, following Pierrot [originally the comic arch-type from the Italian Commedia dell’arte but evolved into a Parisian street performer], who is used as a social critique through symbolism and a Modernist lens. A lot high concept stuff here, basically he criticizes the decadence of turn-of-the-century Europe, and also in a paradox makes fun of symbolist gestures such as these kinds of poems, and questions whether concept art like this is really valuable. Schoenberg takes 21 of the poems [three times seven, as he writes in the full title] and sets them as a melodrama for voice and chamber ensemble. The voice does not sing, rather the soprano speaks at different pitches and follows the shape of the score. Continuing with his love of numbers, he builds a lot of the songs out of seven-note themes. In the first part, Pierrot speaks of love, sex, and religion. In the second, about violence and blasphemy, and in the third he returns home but then reveals to be haunted by his past. While the music is atonal, Schoenberg follows conventional forms, and the work utilizes the chamber quintet for contrapuntal density. Listening to it does sound like the ramblings of a person who is overwhelmed by the hypocrisies of life and the confusion, doubt, and fear that comes from trying to navigate them. One of my favorite moments is in book three...at the beginning of the work Pierrot sings about the moonlight pouring over him like wine. In “The Moon-spot”, Pierrot notices a white smudge on his outfit, probably paint, but he thinks it’s the moon, and he screams about how he can’t get it off. What was a fun sensual ode to being drunk becomes an OCD attack full of regret. A haunting work.

Movements:

Part One

Mondestrunken (Drunk with Moonlight)

Colombine (Columbine)

Der Dandy (The Dandy)

Eine blasse Wäscherin (A Pallid Washerwoman)

Valse de Chopin

Madonna

Der kranke Mond (The Sick Moon)

Part Two

Nacht (Passacaglia) (Night)

Gebet an Pierrot (Prayer to Pierrot)

Raub (Theft)

Rote Messe (Red Mass)

Galgenlied (Gallows Song)

Enthauptung (Beheading)

Die Kreuze (The Crosses)

Part Three

Heimweh (Homesickness)

Gemeinheit! (Foul Play)

Parodie (Parody)

Der Mondfleck (The Moon Spot)

Serenade

Heimfahrt (Barcarole) (Journey Home)

by Audrey Williams

After playing with the same musicians for a while, I started to instinctively know how my chamber mates would react to and interpret various musical passages. I call this the ‘sweet spot’ of ensemble playing. This is the point where you don’t have to always mechanically think about what you’re doing anymore but can rather feed off the energy of your cast of players.

In a large orchestra setting, I usually feel like I can relax a little since the pressure isn’t on one person to present an artistic expression to the entire audience. On the other hand, playing in a small ensemble where I have to carry my whole section as the only principal player is a whole other ball of wax that requires so much more focus and effort. I was excited for the opportunity, but also nervous since I’d spent the past few years perfecting my solo cello act. I sought professional help from the Atlanta Symphony community school's chamber music intensive. I learned some helpful tips for anyone who's just getting started with chamber music:

Study the music and come to rehearsal with some ideas to try. You should look at a score and listen to a recording of the music (if you can find one) prior to rehearsal. This will help you come up with some musical ideas to experiment with and will make your rehearsals so much more productive.

Work as a group towards perfection. The group should work together to perfect phrasing, articulation, dynamics, intonation and balance.

Listen closely to what’s being played around you. You don’t want to trample over anyone’s solo nor should yours get lost in the fray either. You should listen to your ensemble mates to make sure you’re matching intonation and articulations. Instruments in the lower register may need to play out more so that the bass voice is audible. You may want to have an independent listener sit in on your rehearsal and critique your instrumentation balance if you’re not sure about what you’re hearing while you’re playing.

Practice thoroughly at home before coming to rehearsal. All members of the group should make a conscious effort to learn all notes and rhythms at home during individual practice sessions. The ensemble rehearsal is not the place to try to figure it out. This slows everybody down and takes time away from other music that needs to be looked at.

Make sure to have a copy of the full score, a tuner, and a metronome present whenever you rehearse. A full score should be readily accessible so that everyone can see how all of the parts are supposed to fit together.

Try to run through the entire piece or movement before you leave rehearsal. After you’ve had a chance to fix mistakes, phrasing, articulation, etc., you should try to pull everything together in a final play-through before you pack up. This will help to reinforce what you’ve rehearsed.

Ensemble chairs at rehearsal should be set up in the same arrangement that you’re planning to use in live performance. Rehearsals train your ears to hear your music a certain way, and if you’re seated next to someone different on stage, it will most definitely throw your ears and performance off.

These are just a few suggestions that should be helpful to any musician no matter their level of experience. As always, you should remember to have fun when you play! Music is a gift that should be enjoyed by all. Happy practicing!

Momentum (for Chamber Strings)

Here’s a one minute clip from a summer composition I’ve arranged for chamber strings. I relaxed the tempo, scaled back the aggressiveness and other refinements that ultimately make it easier to listen to.

Original (for String ensemble)

The First Piano Quartet has won the annual MiddleWestern Voice competition for best classical piece and has been accepted for publication in their 2017 Journal!

I am so proud of this piece and feel honored to have it accepted for publication

Stravinsky - L’Histoire du Soldat