Here is Lesser Gods by composer Drew Dolan, as premiered on our May Season 2 closer by Andrea Vos-Rochefort, Drew Dolan, and Kristofer Rucinski:
We had a great second season and will be sharing more photos and videos from recent concerts in the coming months.
Season 3 will be announced later this summer! Our team is going global and we’ll be presenting music with new formats and from new locations. New podcast episodes are on their way as well. Stay tuned!
Join us in one week on May 18th at The Hoffner Lodge in Northside Cincinnati for the final concert of our second season: Cincinnati – Chicago.
Percussionist Colleen Phelps joined us in March for a Solo Soundbox concert at the Listing Loon in Northside, Cincinnati to premiere six works by Nashville and Cincinnati composers. Here she is performing Cristina Spinei‘s Triple Shot. Catch both Cristina and Colleen on next week’s New Concerto Project!
Read about the New Concerto Project in this week’s CityBeat, online here.
Commissioning a piece can be a genuinely scary process. We, as performers, take a leap of faith and put the fate of the performance into someone else’s hands when we decide to ask a composer to write something for us. The performance date is already set, and we’re committed, even though we don’t actually know what it’s going to sound like! It’s a process that only works with a significant amount of trust and open communication between the composer and performer. Thankfully I have that with Rachel.
Choral composer Alice Parker compares the process of composing to cooking. You would never make a gourmet meal without knowing who is going to sit at the table. With a good performer/composer relationship, performing new commission rather than an existant concerto feels like visiting someone’s home kitchen as opposed to a restaurant. There’s plenty of good food in restaurants, like there’s plenty of great concerti you can buy sheet music for. But having someone create a dish just for you really is delicious. Rachel knows my playing well enough to know my likes and dislikes, my strengths and weaknesses, and how to lean into the gestures I enjoy performing. Likewise, I knew her work well enough to trust that the piece would fit my personality and performing style.
I’m looking forward to performing On A Paper Nautilus, and adding it to my repertoire. I hope you enjoy it as much as I do.
Pianist Holly Roadfeldt is known for her insightful performances of new music.
We’re excited to have her join us tonight at 8.30 the Hoffner Lodge in Northside in the next installment of our Solo Soundbox series!
CSB: You are known for your frequent work with new music and collaboration with living composers – what initially drew you to new music and when did this interest start?
HR: My interest in contemporary music began the first time I heard Crumb’s Makrokosmos I on a field trip when I was in junior high. I thought it was incredible. When I realized I could play brand new music as an undergrad at Eastman I was hooked. I premiered quite a few pieces on Eastman’s student composers concerts. It never stopped! As a student, I adored playing music written by classmates.
CSB: For our readers who might not be familiar, could you talk a bit about your work with Kirk O’Riordan on The Preludes Project?
HR: I’m not sure I can talk a little bit!
My relationship with Kirk began when we were both students at Indiana University. I played concerts with him in a sax/piano duo, he has conducted several concertos that I performed with orchestra and symphonic band, and I have premiered a number of his works. I also married him!
For the Preludes Project, the idea started in 2013 when I was hired to perform all of Chopin’s Op. 28 Preludes with Compagnie Marie Chouinard, a modern dance ensemble from Montreal. This live performance, which occurred as part of the Williams Center’s Footlight Performance Series at Lafayette College, entirely changed my perception of these preludes. Hearing them while seeing a modern choreographic interpretation of the music invited even more possibilities of discovery. I became fascinated with the expressive potential of these small pieces, and hoped to help the genre continue—and since our present-day ears already perceive the music in a completely different way from when the preludes were initially heard, it made sense to challenge the expectations of contemporary audiences.
At the end of 2013, I began commissioning 15 composers to write preludes for me. For three seasons, I performed newly composed works on the same program as preludes by Bach, Rachmaninoff, Debussy and Chopin. Every concert was slightly different yet the response by audiences was astounding. Not only did they accept the newly composed preludes alongside the standard repertoire as a logical historical progression; they also listened to their favorites with more wonder and more inquiry. While I noticed this as I was talking to audiences from the stage, it was also evident in the many questions I received from attendees after the concert.
I was happy to record Kirk O’Riordan’s Twenty-Six Preludes for Solo Piano along with Chopin’s Op. 28 Preludes and have it be released by on PARMA’s Ravello label a few months ago. It is wonderful to perform new music for ears that are accustomed to a contemporary language, but it is also fabulously rewarding to perform new music for people who are not sure what to expect. After three years, I gave 59 prelude premieres by 15 living composers for 44 audiences and 33 full-length recitals in 16 states. It is still going even though I am starting new projects! I am really happy with how it turned out.
CSB: What are your relationships to the other composers on the program?
HR: Kirk is my husband, my best friend, and long-time musical collaborator.
I met Tony at a new music festival/conference in Indiana a few years ago and we kept in contact. He will be at the concert, which is fantastic!
I met Charlie on Twitter a few years ago and played his Metropolitan on a concert I was doing featuring New York and Philadelphia composers. He wrote 2 preludes for my Preludes Project and the one I am playing here was just premiered a few weeks ago. We talk a few times a year and I was happy to spend time with him, his wife Micka, and his parents after I premiered Focus.
I haven’t met Julia except on social media! I love this story, though. Garrett Shatzer decided to play matchmaker with composers and performers on Twitter. He said he thought Julia should write a piece for me. I am not sure how many other musicians took him seriously, but I contacted Julia immediately and asked her if she was interested. I am so happy she wrote this piece and I hope to meet her in person soon.
CSB: How do you personally approach learning a newly composed piece?
HR: I like to approach a newly composed piece in the same way I approach learning one that has been around for 100 years or more. I love the first read-through. I like to get the big picture as soon as possible. I find the characteristics that resonate with me the most and then I begin my own psychological study. Why did the composer write this? What does s/he want to convey? Then, I do the more important work: what does the composer not know is there? That is what I really explore. It is really important to me especially with composers early in their career. No one would be surprised if you said other people see something in you that you don’t see. The same goes for the music. The underlying character is what is interesting to me. I only have this conversation with composers after I have known them for a while. Most composers trust me to do what I need to do, but I am really private about the process in the beginning. Just as it is highly personal for a composer when s/he is writing the piece, it is highly personal when I start learning it. I don’t like it to be rushed. It may take me a few performances, therefore, to really blend our voices. As much as I love premieres, I love preparing a piece believing I am doing the ground work for the fifth performance.