At the end of a performance,
an
audience’s
applause
is
usually
directed
toward
the
performers
on
stage.
Often times audiences aren’t
thinking,
however,
of
the
individuals behind the scenes:
the composers. The Student
Composers’ Concert at the
School of Music, Theatre &
Dance aims to do the opposite,
by showing off new works from
different student composers at
the University.
This will be the second of five
different composer showcases
put on by the Composition
Department this school year.
Each concert features new
works from various students in
the Composition Department,
each one different from the
last. Douglas Hertz, a second-
year Master’s student in SMTD
said “every single concert is a
whole new experience.”
With
an
abundance
of
concerts at the music school,
there’s usually some sort of
central theme or consistent
type of instrumentation. These
recitals, however, differ from
these as they contain pieces
of varying themes and with
a wide variety of different
instrumentations.
“Everyone is exploring new
styles all the time,” Hertz said.
“It’s kind of hard to stylistically
pigeonhole any of the concerts,
or any of the composers for that
matter.” Often, composers use
these concerts to show off new
works they’ve been writing.
SMTD is known throughout
the world for its distinguished
composition
program.
Graduates of the program have
had works played by countless
major
symphony
orchestras
and have won awards from
major organizations, including
several Grammys. However,
even with all of this legacy,
the department is constantly
exploring different ways to
create new music.
The relationship between
composer and performer is
especially strong at the School
of Music. With many strong
departments
of
performers
at their disposal, composers
often take advantage of the
notoriously
talented players
at the School of
Music — and the
relationship
is
mutual.
“People seem
to really respect
and
appreciate
composers
and
new music in a
way
that
feels
really
genuine
and
inspiring,”
Hertz said. “And
I
think
that’s
part of the lifeblood of being a
composer here, is that you have
such collaborative enterprises
with instrumentalists, in a way
that might not exist at other
schools.”
Seeing this collaboration is a
really unique experience, and
it’s something that often leads
to some truly magical moments.
The school is proud to be a
promoter of fresh music, and
these collaborations between
composer and performer are
no better example of that.
The School of
Music,
among
other things, is
known
for
its
promotion
of
new music, and
the Composition
Department is at
the forefront of
this movement.
Hertz said that
performers
are
“hungry for new
music,” and the
Composition
Department
is
happy to deliver.
The program consists of a
diverse group of pieces, written
over an expansive period of
time.
“We
don’t
limit
when
the piece has to have been
composed,”
Hertz
said.
“However,
they
have
to
be shared with their [the
composer’s] studio teacher… so
sometimes people will put on
a piece from a few years back;
pieces that they might have
revised and are premiering
a new interaction — it’s very
open.”
For composers, hearing their
work realized can be an even
more incredible experience.
Hearing a digital recording
of
their
piece
performed
by
electronic,
or
MIDI,
instruments can only do so
much.
“MIDI only goes so far,”
Hertz said. “It takes live
performers to really take a
piece to that next level.”
The
Student
Composers’
Concert is an opportunity to
see new music be realized. It’s
a transformative experience
for composers and audiences
alike.
Hearing
performers
put expression into different
composers’ work is an amazing
experience.
Fall 2018 — 5E
The Michigan Daily — michigandaily.com
Legends King Crimson
play Michigan Theater
I don’t think King Crimson
has ever been a band that’s
influenced by the times, as
in, I think it’s its own thing. I
don’t think it’s trying to follow
anybody else or trying to do
something that fits in,” said
Jeremy Stacey, one of King
Crimson’s three drummers, in
an interview with The Daily.
“It’s its own beast, as it were.”
Jumping in early on the
progressive
rock
movement
of the ‘70s, King Crimson was
formed in London in 1968.
Currently an eight-piece lineup,
2017’s King Crimson includes
founding
member
Robert
Fripp (guitarist, composer and
producer), Tony Levin (bass),
Jakko Jakszyk (vocals, guitar),
Mel Collins (flute, saxophone),
Gavin
Harrison
(drummer,
multi-instrumentalist),
Pat
Mastelotto
(drummer,
multi-instrumentalist),
Bill
Rieflin
(drummer,
multi-
instrumentalist) and Stacey.
In ‘69, they opened for The
Rolling Stones in London. In
the ‘80s, they toured under a
different name (“Discipline”)
after a brief disbanding. Now,
King Crimson is coming to the
Michigan Theater in the final
leg of their North American Fall
Tour.
King Crimson is, and always
has
been,
a
collection
of
incredibly impressive musicians:
Fripp played guitar on David
Bowie’s “Heroes,” (a tune which
the group covered in Berlin in
2016). Bassist Tony Levin has
played with the likes of Peter
Gabriel and Paul Simon. Stacey,
who joined the group in 2016,
has worked with an unbelievable
diversity of artists, including
Noel Gallagher, Eurythmics and
Joe Cocker.
“[King Crimson is] the most
different thing I’ve ever done,”
Stacey noted, most likening his
experiences with the band to
working with jazz in his 20s.
“I was always doing lots of
things with lots of different
people. I think the thing about
jazz is that you improvise,” he
said. “To improvise, you have
to understand how the form
of the piece goes, otherwise
you get lost. It was very good
for listening, which I think is
the most important thing [as a
musician].”
Unconstrained in his work,
Stacey is the epitome of King
Crimson’s charm: A bit nostalgic,
a bit novel and just restless
enough to be fearless.
“For me, my whole life has
been musical,” Stacey explained.
“I always feel like I’m on a
journey. I’m very interested
in doing extremely different
things, and the more extremely
different, the better… I don’t
want to be typecast in any way.”
A fan of the simpler tracks,
Stacey’s favorite song to play live
is “Starless,” from the group’s
1974 album Red.
“It’s one of my favorite pieces
by King Crimson. I also get to
play drums and keyboard [on it],”
Stacey said. “There’s a freedom
to playing whatever I feel on the
night. I think (it’s) my favorite
moment of the gig, normally.”
This
autonomy
Stacey
mentions is laced throughout
King Crimson’s work: Each
piece is malleable to the group’s
interpretation.
“I feel that I’m involved in
it more than I’ve been in other
projects,” Stacey said. “It’s not
like doing a job. There is input,
and it’s a very in the moment
form of input on stage … I can’t
compare it to anything.”
The
experience
often
transcends description.
ARYA NAIDU
Senior Arts Editor
SMTD’s ‘Student Composer Showcase’ debuts
RYAN COX
Daily Arts Writer
It’s a
transformative
experience for
composers and
audiences alike.
Read more at
MichiganDaily.com