Interview with University Brass Ensemble director Tom Kociela for the ensemble’s Spring Concert, “Sounds of Brass,” this Sunday, May 26th at 4:00pm in Fulton Recital Hall. Tell us what we can expect from this upcoming program.
The concert opens with music by Wagner from the opera Lohengrin. We then perform an exciting allegro vivace movement by Eric Ewazen, who is always a big hit with audiences. Other highlights include two movements from a demanding new work by Bruce Broughton, and a piece by David Uber, which includes sounds reminiscent of the old television recording studios. Each piece is very distinct and almost everything on the program was written specifically for brass. That is why I’ve titled the concert “Sounds of Brass.” I hope that everyone reading this will consider coming out on Sunday!
Looking back at your first year as Director of this ensemble, what changes have you seen? How has this ensemble grown?
This year has been one of great progress. I am very proud of the entire ensemble and the fact that the performance level continues to increase. The improvement from our first concert to the second was noticeable to everyone involved and to repeat audience members.
Listening closely to others and an enhanced awareness of note shapes are my main musical objectives for the ensemble. I am absolutely insistent on these two points because without them the end product is unconvincing and barely cohesive. Only when everyone is listening and willing to adjust can the end product be convincing. My whole approach is about context and consideration of others at all times. As for note shapes, well, the ensemble knows exactly what I mean and what a huge difference this makes. Each note must begin immediately and then there is usually some amount of taper in the middle of the note, maybe just a little or quite a bit – the context helps to determine this. When the entire ensemble commits to clear playing and constant adjustment the resulting product is very professional. I am happy to report that this is all happening more frequently as the weeks’ progress, but you will have to come hear for yourself. read more…
Angelina Ilieva, Lecturer in South Slavic and Balkan Literatures in the Department of Slavic Languages and Literatures at the University of Chicago, reports on the March 3, 2013 lecture and workshop:
Balkan Rhythm and Dance consists of two events that have become a staple for my Balkan Folklore class (SOSL 268/368, NEHC 20568/30568, CMLT 23301/3330, ANTH 2/35908). The leader of the Chicago-based ensemble Balkan Dances (Balkanski Igri), John Kuo, who also happens to be a University of Chicago alumnus, gave a lecture and demonstration about the music and dance rhythms in Southeastern Europe. The lecture was followed by a beginner’s dance workshop in which the members of Balkanski Igri taught the students the steps of some of the simpler circle dances.
Founded in 1964, the Ensemble Balkanski Igri was an outgrowth of the University of Chicago Folk Dancers and is dedicated to the research, teaching, and performance of the folk music and dance of all regions of the Balkansand Eastern Europe. The ensemble also produces concerts and provides logistical and community outreach support for concerts of such major artists as Esma Redžepova the “Queen of Romani (‘Gypsy’) Music”, Boban Marković “Golden Trumpet of the Guca Festival,” Goran Bregović, Ivo Papazov, Teodosi Spasov and others. The Ensemble co-sponsors an annual Spring Festival each Spring the University of Chicago’s International House. read more…
James Kallembach, Director of Choral Activities
This coming Saturday April 20th, the Rockefeller Chapel Choir and the UChicago Motet Choirs join together in the last of the season’s Quire & Place concerts. The concert will feature songs of mourning, including Mozart’s Requiem (his haunting, final work), in honor of those who have lost their lives to violence on our streets and in our public schools. Please tell me more about the repertoire on this concert? How does this music in particular serve to honor the victims of violence in our society?
Mozart’s Requiem is tragic on two levels. First, it is a sincere expression of mourning, told through the texts of the Catholic rite. Second, it is well known that Mozart struggled, and, indeed, failed to finish the work. It had to be completed upon his death. This must have been particularly painful for Mozart, as his wife was depending on this commission to secure funds after Mozart passed away. The commission was fulfilled, in the end.
The first half of the program is titled “Fragments of Mourning.” Mozart’s Requiem is a fragment, that is, an uncompleted sketch, and it will be performed in a manner that accentuates this fact. The first half takes movements and fragments from more recent composers and puts them in a sort-of “missa eclectica.” These short unaccompanied works are all “fragments,” in a sense. Furthermore, each one of these movements reflects the theme of “mourning” in a different sense. That is, the mourning of specific persons, the mourning of tragic events, and so on. There are single movements from works, and a fragment of Henry Purcell that is completed by the modern Swedish composer Sven-David Sandström. In addition, very recent music of composer Ted Hearne speaks more directly to violence in schools such as those on the South side of Chicago. One movement by Hearne is a quote from an interview with David Simon, creator of the television series “The Wire.” This television series deals directly with the issues in public urban schools. Another movement by Hearne is a translation of a South African protest song, and the music is his own unique spin on this genre. read more…
In addition to being a composer, you are also an accomplished pianist. This Friday, April 5th, you will perform a free solo recital at 7:00pm in Fulton Recital Hall. Can you share some about your program and explain how you chose your repertoire?
The program for my recital, in a lot of ways, focuses around Paris in the early part of the 20th century. There are works by French, Polish, and Russian composers that all relate to one another musically. Fauré, Debussy and Messiaen form the French center of the program, each with a distinct musical voice but all tapping into some form of veiling or blurring of boundaries, whether architectural, visual or spiritual. Scriabin does this as well, though he is Russian, but all the tempo and character indications in his ‘Black Mass’ sonata (which I will be performing) are in French and the music definitely holds some of that veiled smokiness. Then at the beginning of the program we have the two Poles: Chopin lived in France much of his life and one could arguably regard as equally French as Polish when it comes to his musical language, even in something as unmistakably Polish as the mazurka. Szymanowski finds a grittier, more dissonant approach in his mazurkas, but he was so tremendously influenced by Chopin (as were Fauré and Scriabin) that one can find consonance between the differing styles. read more…
On Saturday, March 9th, you will join the University Symphony Orchestra as a winner of the biennial Concerto Competition, performing Brahms’ Piano Concerto No. 1 in D minor. (Details) How long have you been working on this piece? What about this concerto makes it particularly enjoyable to perform?
I’ve been working on this concerto for over a year and a half now, although I’ve taken several pauses to focus on other repertoire. It is one of my favorite pieces to listen to. It has an incredible breadth in terms of its individual themes and gestures, its emotional range, the far-reaching relationships between movements, and the sheer overall length. Moreover, you can actually feel this breadth in your hand as you play the piece, because the piano part is full of bulky chords, octaves, and arpeggios that stretch the hand. All of this gives the sense of a young composer stretching himself and the boundaries of his art. It feels right to be playing this concerto at the same age that Brahms was when he was working on the piece. I’m pushing my pianistic abilities in the same way that he was pushing himself compositionally when he wrote the concerto, although it’s safe to say that he had the harder job. read more…
