Trimpin's Sound Arch is selected as public art installation for the re-opening of the new Libbey Bowl
In mid-December, the Festival office had a nice surprise visit from Trimpin. He shared with us that he was in Ojai to present his proposal to Ojai's Art Commission for the public art installation which will coincide with the opening of the new Libbey Bowl in 2011...and now, I am happy to report that the good news is out! Trimpin's amazing interactive "Sound Arch" was selected out of 30 applications.We'll have some pictures of the model to share soon,but right now, read the Ojai Valley News blog for the full story!
-- Posted by Gina Gutierrez
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( 2.9 / 744 )So every summer, the staff at the Festival goes from 6 to hundreds. A big chunk of that expansion is the many wonderful interns who devote the first few weeks of their summer to making the Festival happen. Last year, we were lucky to snag Margaret Crites, a budding composer, former Ojai resident, and all-around lovely person. I asked her to write a few paragraphs on what the Festival meant to her, and here is her response.
"Being a composer and new music enthusiast is a rare and lonely thing in Waco, Texas, where gospel hymns and country music reign as music's main cultural expression. But there is a small collective of us avant-garde-concert-music-loving-folks out in west Texas, and we constantly exchange about what pieces we're hearing, what we're writing, what is happening in the "new music" world. I feel especially privileged with my experience as an intern at the Ojai Music Festival this past summer, because I've got a unique outside experience to share. The OMF 2009 was a front row seat to watching how this world of contemporary musicians, contemporary composers and contemporary loving audiences come together to experience fantastic art, the kind future "history of twenty-first-century music" textbooks will be talking about.
In our efforts to begin a new music ensemble at Baylor University, my percussionist friend and I have looked towards OMF's guests eighth blackbird as a model. What's more, having worked with them this summer I have even been in contact with them a few times to ask about arrangements of Bresnick pieces, etc. They are so kind to respond quickly, despite their crazy schedules, and I'm grateful that I met them and that they value giving a few words to a young musician now and then.
My own performing and composing these past 7 months has also been encouraged towards a new professionalism since I experienced that of the musicians in the festival. The collaborative mindset, the musicality and preparedness with which they approached the works, the time and dedication offered: these things continue to inspire me now. I remember David Gordon's "Quasi Sinfonia" or Steven Mackey's guitar playing in "Slide", eighth blackbird's consistently fresh expression of contemporary (and not so contemporary, i.e. Pierrot Lunaire) literature, and I am inspired daily to continue pursuing today's world of aural art.
Though I may be the minority in Waco, Texas, the OMF gave me a place to be among people that love contemporary music as much if not more than I did. What's more, I was around those who have been at the craft a lot longer than I have! That I saw and even partnered with today's contemporary musicians and those who appreciate them; this experience continues to encourage me today along my own musical path and I won't forget the music I experienced at the OMF! I certainly will be back."
Margaret? We're totally saving you a place here!
- Christiana Thomas
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After a long journey from SF (after his two week residency with the SF Symphony) to LAX instead of Santa Barbara (due to multiple canceled flights from the storms!), George Benjamin arrived in Ojai late Monday afternoon. George has heard all about Ojai from many of his friends (Pierre Boulez, Pierre-Laurent Aimard, Messiaen, and Betty Freeman), however this was his first trip to Shangri-La. Unfortunately, he never saw our trademark sunshine. Nevertheless, we had a very productive 30 hours together. Tom Morris also was in town and the three of us spent time together refining the rehearsal schedule (see a picture of us working at the Ojai Valley Inn--thanks for hosting George!), talking about how he wants his opera Into The Little Hill produced ("scary" was one of the words he used to describe his vision at the end!), picking a silent film that he will improvise to following the Friday night concert (a benefit for donors $250+...you can make your gift now if you haven't already: link), and what fantazias he wanted performed on the Sunday morning concert (his favorite is #7). We had a great dinner at Ojai's newest restaurants, Osteria Monte Grappa, which is on Signal St, just a two blocks north of Libbey Bowl. We met the owner and he said he will stay open late for our patrons during the Festival (don't miss this delicious food!). I enjoyed seeing many of you at our home events in Ojai and Encino. Special thanks to Esther and Tom Wachtell, as well as Judith and Ron Rosen for hosting these gatherings. All of us came away loving George's wit, intellect, and sensitivity, as well as interested in learning more about his music. A number of friends of long time supporters came to these events and it looks like our ticket sales will continue to surpass the previous several years.....I hope you have your tickets already (if not, here is your chance)!
- Jeff Haydon
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( 2.9 / 592 )The Symphony Magazine's Jan/Feb issue includes a feature article on how the classical music world has been taking on the blogosphere. Naturally, it mentions Festival alumni, pianist Jeremy Denk who has a fabulous blog, and eighth blackbird's Tim Munro, who was blogging before, during, and after this past year's Festival.
- Gina Gutierrez
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( 2.9 / 544 )Russ Irwin, one of our fantastic board members, has been taking in the George Benjamin concerts up in San Francisco. Here, he offers a review:
Last night, George Benjamin (Ojai Music Festival Music Director 2010) began his San Francisco Symphony residency in a concert conducted by David Robertson (OMF Music Director 2008). These Friday 6.5 Series concerts begin at 6:30 which provides the conductor, and in this case the composer, a chance to talk about the music with the audience. It also allows them an opportunity to provide live orchestral examples during the discussion. This was particularly helpful for the composition which was to be performed directly afterwards, Dance Figures from 2004.
Before bringing Benjamin onto the Davies Symphony Hall platform, Robertson had introduced us to his music by immediately launching into Jubilation (1985) for large orchestra and children’s choir. There was no question that Benjamin’s music would command our attention when the pulsing claves, played by both an orchestra percussionist and children of the choir, were interrupted by a fanfare from the horns and the rest of the brass; this was followed by the rest of the orchestra joining in and the children singing. We were treated to music which was distinctive in its texture, dynamics and rhythms. The waltz in the middle section of the piece is a true gem of orchestral color. Jubilation ends with the orchestra playing softly and the children beautifully singing notes so high that it is clear that this composition was created for their voices.
Dance Figures is an orchestral expansion of a set of piano miniatures and consists of nine very short movements. After discussing and listening to a few of the movements, and with the knowledge that the nine are in a specific order that provide a narrative throughout, the entire piece was played. It felt like an old friend was visiting when we heard “our” movements, but this time, we heard their neighbors and could appreciate the continuity inherent in the composition. It was quite evident that the distinguishing elements of Benjamin’s early work had grown into an engaging language which doesn’t feel obligated to use all the forces present at once, but retains the energetic shifts in dynamics and rhythm using few, many or all of the instruments. There was not one instrument in the orchestra that didn’t have a prominent moment during the piece. One of the movements, “Song”, features the unlikely pairing of solo viola and two trumpets. Robertson had introduced Benjamin by referring to his music in two ways: a combination of Green Day, RadioHead, Messiaen and Hildegard of Bingen; and, as the musical translation of the fluttering of a butterfly’s wings. For me, a distinctive voice, which had only been known to me by his spectacular composition for two violas (Viola, Viola), had been revealed. I can empathize with Robertson’s having to come up with words to describe Benjamin’s music to the audience beforehand. As is usual, the music spoke for itself. The audience signaled its appreciation of Benjamin’s music by energetic applause for both compositions and the discussion.
Benjamin’s residence in San Francisco got off to a great start.
Next week, Benjamin becomes conductor of his own music and that of Ravel and Messiaen. His presence in San Francisco is part of the Symphony’s project to celebrate its Centennial which is coming up in 2011-12. This Project has Benjamin passing the baton to Yo-Yo Ma at the end of this month. For me, beyond next week’s concerts, I have two things to look forward to: Part Two of this year’s Project San Francisco and this year’s Ojai Music Festival with Music Director George Benjamin.
- Russ Irwin
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