Sunday, June 25, 2006
Sunday confession
I have a confession to make: today was the first day I played my instrument in a month. Hard to believe? There were a variety of reasons for my not-really-forced hiatus from the saxophone, including the conclusion of a tiring concert season, the stress of a job search while still teaching full-time, and a much-needed, extremely wonderful vacation to South Korea.
I'm not upset about it. Nor do I feel guilty. In the summer I usually take some time off from the saxophone—and I mean completely away from it. I do this 1) so I can recharge my mind and 2) ease off from all the hectic music-learning I have to do during the year. However, it's nice to come back to it—after having time away—because I can just take it slow, at my own pace, with nothing pressing, and it also gives me time to really focus on what are the problems with my playing. I like that a lot. A chance to rebuild and make myself a better player. So often during the year I don't have the time to really "practice" because all the time is spent learning new music for the next concert or series of concerts. This is magnified because I am mostly a new music performer, meaning it's hard to just fall back on repertoire I already know—I am constantly learning new music that has no performance history or precedent. I have to make the performance history. And often I have to make it with just one week to learn the music! It's all fun and exciting (and sometimes very stressful, like SPARK festival preparations) but I always like the time to dig back in to the basics of my instrument.
I learned this lesson of balance rather early on in my musical career. It happened the summer after my junior year of college. That year—and the two years prior to that—I lived, breathed, ate, drank, slept, and dreamed about the saxophone and its music. I practiced compulsively, until I was kicked out of the music building at night, swallowing my meals whole because time eating meant time not in the practice room, fingering through my music while riding the bus, not walking around without a set of headphones on, avoiding any sort of extracurricular social activity that didn't involve listening to or making music, waking up in the morning feeling like I hadn't slept at all. I had also just spent a year on the competition circuit, which meant keeping nearly 90 minutes of music memorized and at my fingertips all year long. Needless to say, at the end of that year I felt like I was headed for burnout. I was just sick of it all.
I realized pretty quickly that what I had been doing was a little unhealthy and that I needed to have some balance in my life—another interest to stimulate my mind and to transport me away from music. For me, that came in the form of tacking Japanese language and literature—a subject I'd already been doing coursework in—onto my schedule as a full-fledged academic minor. That summer I read Murasaki Shikibu's The Tale of Genji and got my wish. I was transported away, completely absorbed and engaged in the book. to make a long story short, I went on to write my senior honors thesis in Japanese literature on The Tale of Genji, but more importantly, I learned that achieving a sense of balance in one's life is not only healthy, but necessary.
posted by Brian Sacawa
10:23 PM
Thursday, March 09, 2006
Page turner
As a new music performer, one of the biggest problems I run into during any performance often has nothing to with the music's technical difficulty. It is rather, the dreaded, awful, and impossible page turns that make me nervous. Certainly, there have been many situations when I think I may have spent more time worrying about and devising creative ways to turn (or not turn) the pages of a particular work than acutally practicing it! All kidding aside, the issue of page turns in new music is one that every performer has confronted at one time or another. I've definitely become very adept at concocting unique and sometimes quite marvelous works of art from my music in order to keep the number of stands I use to a manageable and aesthetically pleasing two, because let's face it, 13 music stands strung out across the stage looks utterly ridiculous.
 There is hope for us, however, as the perennial page turning problem may just have been solved by pianist Hugh Sung, who serves as Director of Student Recitals and Instrumental Accompaniment at The Curtis Institute of Music in Philadelphia. I had the pleasure of collaborating with Hugh recently during a short foray into Philly. He's an abundantly outgoing guy with an infectuous personality and a wonderfully huge sound and technique on the piano to boot. One of the first things I noticed as I got ready for our rehearsal was that although I'd sent Hugh copies of each of the scores, they were nowhere to be found on his piano. In their place was a small thin device with a warm glowing screen. This gizmo, Hugh informed me, was a tablet PC. Before each rehearsal/performance, Hugh scans his music into the computer. During a performance he is able to advance each page of the score by pressing a small switch with his left foot, leaving his right foot free to pedal away, and thereby rendering the job of page turner obsolete. (No word of an instance or the consequences of a computer glitch or crash during performance, which seems to be the Achilles heel of this method. Beware of the ghosts of disenfranchised page turners!)
While the page-turner's union may organize a revolt once they get wind of Hugh's subversive actions, tech-savvy new music performers would be wise to take note. As a performer, it's awful that often one of the barriers we have to overcome in performance has to do with something as silly as page turns, or even if there will be enough stands in the hall to accomodate the number of pages in the piece we are performing. Memorization is certainly an option. However, in the real world when you receive a new piece of music one week before the premiere, memorizing it is simply out of the question. For the progressive performer, as well as those with the financial means, the tablet PC is a state-of-the-art solution to one of new music's most enduring dilemmas.
posted by Brian Sacawa
2:29 PM
Friday, January 13, 2006
Alsop w/ BSO
Much has been made about Marin Alsop's appointment as the Baltimore Symphony Orchestra's new music director-elect--a post she'll assume from out-going director Yuri Temirkanov beginning in the 2007-2008 season. There's the fact that she's the first woman to hold a position with a major U.S. orchestra. And there's also the fact that her appointment generated a lot of controversy, especially considering that nearly 90 percent of the orchestra's musicians criticized the search process heavily, arguing that their input wasn't given serious consideration. Be that as it may, the process is over, hopefully any bitterness has been put aside--she actually held a meeting with the musicians to talk about the search process and their feelings--and Maestra Alsop will lead the BSO full time, like it or not. Last night, Baltimore got a glimpse of the Maestra in action as she led the orchestra in a program featuring Christopher Rouse's Symphony No. 1, Mozart's Piano Concerto No. 12 in A Major, K. 414 with pianist Leon Fleisher filling in at the last minute for Piotr Anderszewski, who cancelled due to "an over-commitment of performance engagements in the coming weeks," and Dvorák's Symphony No. 7, op. 70.
To say the least, Alsop's appointment marks an immense change at the helm for the BSO. Gender aside, she's relatively young, is largely American-trained, and is known for giving new music more than a fair shot. The former was evident from the get-go last night as the program--and her tenure with the orchestra as far as Baltimore seemed concerned from the incredible welcoming standing ovation she received--began with Baltimore-native Chris Rouse's one-movement Symphony No. 1. Speaking to the audience from stage before beginning the work, she expressed her excitement about being there and gave the audience a glimpse into the work, explaining how Rouse built the piece around the pitches B-A-C-H and using the orchestra to illustrate her words sonically. I liked this. She wasn't "dumbing down" for the crowd, and her use of a little humor--"In the middle of the work, Mr. Rouse used the initials of many people he didn't like," which was followed by a cacophony of dissonance--was tasteful, effective, and right for the moment.
Alsop's address to the audience stirred memories of another charismatic former BSO music director--David Zinman. I used to love Zinman's programs with the BSO, the way he blended new American works with "old favorites." But not only that, he frequently spoke to the audience from stage, which I think makes everyone feel a little more comfortable, especially those that might be wary of a new piece of music--or a piece of new music. It's an interesting switch to have swung from one extreme (Zinman) to another (Temirkanov) and back (?) now with Alsop (?).
I've noted before that the criticism often slung at Temirkanov might not entirely be a result of his own doing. There was a whiff of that last night. During the Rouse, the orchestra really seemed to be defying Alsop's ictus. At times her hands would go down, come up, and start back down before the orchestra produced any sound. While there's usually a degree of conductor-orchestra lag time, this seemed so incredible that I had to take note of it. Despite this, the orchestra sounded fabulous all night long--the sound was warm, coordination was excellent, and the intonation was very close to perfect--although I thought I detected a drop in energy somewhere in the middle of the Dvorák.
 Walking out of the Meyerhoff after the show was interesting as I tried my best to eavesdrop on as many conversations as possible. As you might expect, everyone was buzzing about the Maestra. Actually, there was a lot of buzz both before and after the concert, something the review in today's Sun captures well. (Interesting that the article doesn't speak a lick about the program, her conducting, or the performance.) Many of the comments I heard, and of course I could only hear a small sample, sounded slightly disappointed, like she might not of lived up to the hype that the BSO had created. "Well, she is the first woman conductor of a major orchestra in the United States." "It wasn't really what I was expecting." "She's different than I thought."
It's understandable that people might have been slightly disappointed. First of all, the program wasn't all that flashy. In contrast to Temirkanov's programs, which featured many a warhorse, there weren't any truly recognizable works on Alsop's program last night that Baltimore concert goers might be able to sing in the shower the next morning. Second, she's got kind of a strange style. It's not flamboyant. It's not grandiose. She doesn't get up there and put on a show. But that's the thing, there are conductors who don't put on a show but still exhibit a certain power over an audience. I hope I don't get struck by lightning by saying that her conducting style isn't all that special. It's a little tight. She tends to lurch at the orchestra bent over slightly most of the time. And another thing that might of contributed to an audience member's disappointment last night given the grandness with which her appointment was announced, is that she is a rather diminutive presence on stage--physically, not musically. Hey, although I'm pretty sure her height didn't affect my opinion of her performance, I'm just saying . . .
I hope Baltimore embraces Alsop. And I hope she puts a little spice into the orchestra. If anything, her commitment to new music should be applauded and welcomed. Her track record indicates an interest in fresh, inventive programming--something Baltimore hasn't had much of in a while. If she isn't the second coming of Christ, who cares? Speaking of that, after the show, J enjoyed a Resurrection and I an Ozzy at the Brewer's Art for a nice end to the evening.
posted by Brian Sacawa
9:51 PM
Monday, December 19, 2005
A joyful NOISE
 Tonight we performed Phil Kline's Unsilent Night in Tucson's First Annual boom box Christmas parade--an event that, judging by this year's enthusiasm, will only get better and more exciting each time. We had a good crowd--filled out by several youngsters and three very fanatical four-legged groupies--and could have been confused for an angry mob walking down the street had it not been for the ethereal sounds emanating from our boom boxes. This evening's festivities began as we gathered outside of Centennial Hall just as another large crowd was loitering outside, waiting for the performance of Oklahoma! to begin inside. Tapes and CDs were distributed, directions were given, and the we pushed PLAY. What a sound. Those waiting for the musical turned around to stare and wonder what the hell we were doing! But it seemed like they were enjoying the music--and perhaps secretly wishing they'd brought their boom box so they could ditch the musical. Their loss, I say. The journey down University Ave was fraught with strange looks here and there but then always a smile as we passed by. On 4th Ave we were invited inside a grocery store to parade around the aisles but denied access to Che's Lounge by the bouncer despite some of the patrons' passionate pleas. It was a very beautiful event and everyone had a great time making a really big noise. Thanks to everybody who came out.
posted by Brian Sacawa
10:47 AM
Sunday, October 30, 2005
Revolution 3
By now, we've realized that the web has changed the topography of today's music scene. It's taken classical music and new music (the punk rockers of classical music) a little more time than the popular music industry to realize this, but I think most understand the importance of this movement in terms of getting your music heard whether you are a composer or performer, building a loyal fan base, and staying in touch. Some have chosen to harness this power and some have not. Lest those who haven't need any more convincing, here are a few quotes from an article about MySpace.com in this month's WIRED magazine:
"For this generation of musicians, the mass market and the hit-making apparatus it supports are relics of a bygone age. The new reality is that their audience isn't listening to radio or vegging out in front of MTV. The audience is online."
. . . the virtue of blogging:
"By frequently updating their blog and swapping in new songs on their page, the Hawthorne Heights guys were able to give fans a reason to return [italics mine]. That increased the online buzz, and the fan club grew fast, eventually, topping 200,000--a direct marketing list that any major-lavel act would kill for."
. . . the impact:
"But whether MySpace ultimately succeeds or fails is beside the point. Its dramatic emergence is the first conclusive evidence of a new era in which the distance between audience and artist is greatly diminished."
I don't have any illusions. Classical and new music will never rise to the popularity of indie rock or popular music. That's not to say that these strategies won't help us reach a wider audience online. MySpace might not be the answer for us--a lot of the pages look very cookie-cutter, and now that it's emerging from the underground, the culturati may deem it passé (especially since Rupert Murdoch owns it now). No matter, take the idea of MySpace--delivering all the stuff that's cool to do online on one site (Friendster, Blogger, MP3, craigslist)--and do your own thing with it. But while I'm working on those changes to my site, I set up a profile on MySpace Music.
posted by Brian Sacawa
11:27 AM
Tuesday, August 16, 2005
Do the new
Allan Kozin's got an astute article in today's Times that addresses the issue of "whether orchestras can find the will and the flexibility to tap into hot works when they turn up, or whether their idea of exciting programming is simply to group repertory favorites under facile thematic banners, with the occasional premiere thrown in dutifully and the word "exciting" splashed across the brochure." In particular, Kozinn is referring to 2005 Pulitzer Prize-winning composer Steven Stucky's Second Concerto for Orchestra, which he heard recently at Tanglewood. After this year's Pulitzer was awarded, there was a great deal of discussion on the issue over at Sequenza21 and NewMusicBox (whose discussion link has disappeared but is doing a nice service with the Pulitzer Sonic Gallery). Anyway, it's nice to see a reaction in the MSM:
While intending no disrespect to the Tanglewood Music Center or its superb young musicians, who produced a fantastic performance, I wondered why I had had to drive 150 miles to hear a student orchestra play it, some 17 months after a premiere that, by all accounts, was a success and four months after its Pulitzer?
Where, to put it differently, were the New York Philharmonic, the American Composers Orchestra, the Orchestra of St. Luke's, the American Symphony Orchestra and all the other orchestras that while away the musical season in a city that regards itself as the center of the musical universe? And what about orchestras elsewhere that might have picked up on the work, then brought it to New York on tour?
If you are an orchestra administrator, and you've just clucked your tongue and muttered, "He knows perfectly well that it doesn't work that way," maybe it's time to think again about how it can work, or should. Maybe now orchestras might change their tune? I'm not going to hold my breath.
posted by Brian Sacawa
7:50 PM
Saturday, August 13, 2005
Alter ego
Erik Spangler is not just another composer with a Ph.D from Harvard University. He's also a DJ/turntablist. Known as DJ Dubble8, Erik synthesizes his interest in music for the concert stage with his passion for beat-making into some really cool stuff. I'm proud to boast that the first of his experiments into this realm was a piece called pastlife laptops and attic instruments, which was written for me and premiered last October at an integrated multimedia concert of electro-acoustic music that featured the unsurpassed video artistry of Johnny DeKam. Erik's remixed the track and it's now available on a CD titled Tomkins County Organic: homegrown beats vol. I, which can be purchased at CD Baby. Check it out! Incidentally, the live version of pastlife recorded at the whatWALL? show back in October will be included on my debut album, American Voices. (What's the hold up, you ask? Well, there were a few issues in the first master. It's being remastered and will be off to the record company within a week or so. Hang tight.) More info on DJ Dubble8 at Sonicbids. And watch out next spring for Hybrid Groove Project.
posted by Brian Sacawa
11:47 PM
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Praised by The New York Times as "an inventive musician . . . fresh and surprising," saxophonist Brian Sacawa has firmly established himself as an important contemporary voice for his instrument. He is active as a soloist, recitalist, and chamber musician throughout the United States and is the co-founder of the new music duo Non-Zero with percussionist Timothy Feeney.
He has given premieres of over thirty works by both established and emerging composers, including Michael Gordon, Bright Sheng, Andrew Mead, Oliver Schneller, Ken Ueno, Beata Moon, Hillary Zipper, and Scott McAllister, among many others. Named the Baltimore CITYPAPER’s Critic’s Choice for Classical Music in 2002, he is the recipient of awards for solo performance from both national and international competitions.
Sacawa's versatile career has led to appearances with the St. Petersburg Philharmonic, the Detroit Symphony Orchestra, the New World Symphony, Harvard Group for New Music, New Music Brandeis, Bargemusic, and at meetings of the ISU Contemporary Music Festival, World Saxophone Congress, North American Saxophone Alliance, and New England Saxophone Symposium.
Brian holds degrees from the University of Michigan, the Peabody Conservatory, and the University of Massachusetts – Amherst, where he studied with Donald Sinta, Gary Louie, and Lynn Klock. He has recorded for the Equililbrium, Naxos, and BiBimBop recording labels.
See Brian's other blog
Sounds Like Now
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