To celebrate our upcoming concert, New Music 101: Intro to Electronica, Metropolis Ensemble and composer Jakub Ciupinski are delighted to offer the mp3 of an inspiring electro-acoustic work by Jakub. "The Architect's Brother" premiered in 2006 at the Juilliard School's Peter Jay Sharp Theatre accompanying the choreography of Adam Weinert. You can download it here, absolutely free, for a limited time.

The Architect's Brother as performed by Vassilis Varvaresos (piano), Marko Pavlovic (celesta), Rachel Brandwein (harp), and Eugene Lifschitz (cello).

• Download the mp3...

(right-click to download the mp3s, ctrl-click on a mac)

Labels: composerseries, jakubciupinski, newmusic101

The Groanbox Boys released their new album Gran Bwa at Metropolis Ensemble's concert, GROANBOX on January 28, 2009 at Le Poisson Rouge. The worldwide CD release party for Gran Bwa followed intermission at the concert, with a special performance by The Groanbox Boys. Get the album today on iTunes and CD Baby.

Gran Bwa is named after the Haitian Vodou loa (spirit) of the woods. Creole for great wood (from the French grand bois), Gran Bwa is the great spirit who resides deep in the woods and is associated with the gateway between the spirit world and the living world, the management of time, and medicinal healing. Read more...

Looking for more of The Groanbox Boys? The trio invites you to a special concert at Jalopy Theatre in Brooklyn, on January 24 (10:30pm, $10 cover). Check out their official site, MySpace, and YouTube.

Labels: composerseries, groanbox, groanboxboys, michaelwardbergeman

Composer David Bruce shares insights about his new work, Groanbox, featuring Michael Ward-Bergeman on accordion, The Groanbox Boys, and the Metropolis Ensemble:

As a composer whose music has long incorporated folk elements, it has been an incredibly exciting challenge to write a piece for these two groups of outstanding musicians. I titled my piece simply Groanbox, (itself an old American term for the accordion), and wrote a piece which is not at all like a traditional 'concerto', but rather a piece in which the two groups merge as one, along with the two styles of music. I suppose it's a sort of imaginary folk-music I'm writing, played by the largest and most virtuoso village band you've ever seen. Read more...

This past year, David introduced A Bird In Your Ear, a new opera based on an old Russian folk tale originally published in 1903 called "The Language of the Birds," which received its world premiere in March 2008. In this scene below, a Bird with Golden Plumage (soprano Yulia Van Doren) arrives to thank Ivan (tenor Sungeun Lee) for saving her children. She offers to grant him a wish, and so he asks to understand the language of the birds.



You can watch more from this performance of A Bird in Your Ear by Bard College Orchestra and Choir conducted by James Bagwell, and learn more about the work. The opera will also be presented at the NYC Opera VOX Festival on May 1-2, 2009.

Looking for more from David Bruce? Carnegie Hall is featuring his commissioned work Piosenki, which is available as a free download. The work reflects on snapshots of childhood found in the poems of the Polish poet Julian Tuwim, and features a lagerphone similar to the Freedom Boot used by The Groanbox Boys in their upcoming concert with Metropolis Ensemble on January 28, 2009.

Labels: composerseries, davidbruce, groanbox

This is part of our composer series on Ryan Francis. In this post, Ryan talks about his new piano concerto, the featured work in Metropolis Ensemble's upcoming concert Loop.

Composed concurrently to his Piano Etudes, Ryan Francis's Concerto for Piano and Chamber Orchestra brings together two creative directions that he has been pursuing in his music. One is a post-minimalistic style driven by rhythmic relationships within a simple, diatonic harmonic scheme, exemplified by Remix for violin and piano. Straights of Anian represents the other, post-spectralist style, evoked through coloristic texture and less concerned with metric rhythm. In the Concerto, the solo piano and chamber ensemble engage in an intimate and dynamic dialogue, as in Luciano Berio's Points on the Curve to Find.



Music credits: Luciano Berio, Concerto II (Echoing Curves), Andre Lucchesini piano, Luciano Berio, London Symphony Orchestra; Red Seal; B000003GAZ. Ryan Francis, Remix, Wayne Lee violin, Daniel Spiegel piano. Ryan Francis, Straights of Anian, Pacific Orchestra. Ryan Francis, Digital Sustain for Piano, (MIDI rendering). Special thanks to Ania Dabrowski.

Labels: composerseries, loop, ryanfrancis

This is part of our composer series on Ryan Francis. In this post, Ryan discusses his new piano etudes, featured in Metropolis Ensemble's upcoming concert Digital Sustain.

Since Frédéric Chopin, the genre of piano etudes transformed from their intention as studies towards improving one's pianism to unfettered exemplars of imagination and virtuosity that pushed piano technique to the limits. In the last century, Conlon Nancarrow removed the performer from the form, composing the first pre-electronic pieces for player piano that are physically impossible for any human to perform. Ryan has used the current version of piano player rolls – MIDI maps – to expand human piano technique in his etudes.



Music credits: Frédéric Chopin, Etude #1 in C, Op. 10, Maurizio Pollini piano; Deutsche Grammophon: B000001G5H. Ryan Francis, "Digitial Sustain" for Piano, (MIDI rendering). Conlon Nancarrow's Etude No. 1; player piano. Ryan Francis, "Harlequin" for Piano, (MIDI rendering). Special thanks to Ania Dabrowski.

Labels: composerseries, digitalsustain, ryanfrancis

This is part of our composer series on Ryan Francis. In this post, Ryan talks with Metropolis Ensemble's Artistic Director, Andrew Cyr, about his compositional background.

Conceptual inspiration abounds in the music of composer Ryan Francis. Although Maurice Ravel and Gyorgi Ligeti are not two names you normally hear uttered in the same breath together both share an intellectual playfulness and compositional intrepidity that Ryan identifies with.

An example of Ryan's playfulness and engagement with new materials and ideas is his orchestral White Deep Blue, which opens with an exact acoustical rearrangement of the '90s electronic hit Pearl's Girl by Underworld and continues into his own compositional flourish.

The visual arts also translate into Ryan's music on both abstract and more literal levels – one example being the reinterpretation of Joan Miro's canvas Woman Bird and Star into an eponymous musical piece.



Music credits: Maurice Ravel, Trois poèmes de Stéphane Mallarmé "Soupir", Dawn Upshaw, soprano; Nonesuch: B000005J0T. Gyorgy Ligeti, Violin Concerto, InterContemporain Ensemble, Saschko Gawriloff, violin, Pierre Boulez conductor; Deutsche Grammophon: B000001GLN. Underworld, "Pearl's Girl"; Tvt: B000003RJN. Ryan Francis "White Deep Blue", The Juilliard Orchestra. Ryan Francis "Woman Bird and Star", The Juilliard Orchestra. Special thanks to Ania Dabrowski.

Labels: composerseries, digitalsustain, ryanfrancis

This is part of our composer series on Ryan Francis. In this post, Ryan offers his thoughts on his new Piano Concerto, the featured work in Metropolis Ensemble's spring concert, Loop.

This concerto feels like an arrival point for me artistically that has been in the works for the past four years. I've been exploring a lot of seemingly (to me, at least) disparate musical concepts, but this concerto is the crucible in which I'm forging them all together. On the one hand, I've written a good deal of music that deals more with textural as opposed to 'metric' rhythms, and I also have a parallel string of pieces that are concerned with electronic influence on acoustic music, which are much more metrically complex, while retaining more harmonic clarity.

My interest in electronics has influenced the concerto on both an aural level and a process level. While the concerto's orchestration is often designed to create 'electronic' tambors, I also decided to forego my traditional paper-and-pencil-exclusively method of composing, in favor of working with MIDI maps.

This new method of working allowed me to explore and develop textures that I probably would have never discovered were I simply working with my hands on a keyboard, and this influenced the soloist's part in particular. I would write with grids, unconcerned with playability, and would then transcribe them into mensural notation and revise and revise until they were completely idiomatic. The result has been that the piano writing is often utterly different than my previous work, which was my goal.

Each of the movements were developed out of piano etudes that I have been writing for the past year, and the form of each movement reflects the same sort of obsessive quality of an etude, although I allowed myself to be a little more expansive as well; this is a concerto, after all!

• The first movement could almost be a chorale, were it not for the sharp syncopated disjunctive melodic contours that cut through the texture.


• The second movement is a sort of musical jacob's ladder; constantly rising musical gestures that are also continuously falling.


• The third movement is more about color than the others, and less rhythmically driving as well, although there is a gentle repeated note pulse that runs through much of the movement.


• The final movement is comprised of two basic layers: a light, distant textural one, and a foreground built on constantly evolving loops of material.

Labels: composerseries, loop, ryanfrancis

Metropolis Ensemble commissioned a new arrangement for chamber orchestra of Erik Satie's Sports et Divertissements from London-based composer David Bruce for our spring concert Loop.

Sports et Divertissements was originally written for piano and narrator in 1914 as a multi-media project of sorts. Satie provided piano music to drawings made by Charles Martin, a French illustrator from the Beaux Arts and Art Deco traditions. First published and performed in the early 1920s, Satie's twenty brilliant thumbnails sketches illuminate Martin's drawings with whimsical verbal and musical images of outdoor sports and amusements.

David Bruce offers his thoughts on creating a chamber orchestra arrangement:

Satie's Sports et Divertissements presents itself in such a deliberately humble, almost self-depricating manner that it's easy to overlook the quality of Satie's inventiveness. Indeed, I think I only really appreciated the true depth and subtlety of Satie's art once I began the process or orchestration.

From the instruments available, I tried to pick an orchestral palette which resonated with the subject matter of the individual pieces, (ranging as it does from circus clowns to and octopus in its cave) and in doing felt a sense of polishing up a tiny gem to reveal an extraordinary richness and strangeness. The tiniest of fragments which might whizz past in the piano piece and which might seem unremarkable, suddenly jumped into life... its true significance seeming stronger than ever.

Most notable were a wealth of connections with Satie's Parisian contemporaries, particularly Debussy and Stravinsky... connections which had only been marginally apparent to me in listening to the piano version. What we now think of as a Stravinskian orchestral sound is particularly evident in the pieces that evoke the circus or the comedia del'arte characters - the combination of 'earthy' circus music sounds with the particular kinds of harmony and repetitive patterns Satie uses bring out the Stravinsky connection especially strongly - and makes one reconsider the extent of the influence Satie exerted on the great Russian composer.

More about Erik Satie...

Labels: composerseries, davidbruce, eriksatie, loop

This is part of our composer series on Avner Dorman.

Inspiration has many names. Avner Dorman's inspiration for his Concerto in A first came from Bach's Harpsichord Concerto No. 4 in A Major (BWV 1055). In 1995 while serving in the Israeli army, he heard the Bach performed on the radio. "I found the bright sound of the violins doubling the piano's top line very exciting, and then and there I improvised the opening tutti."

Avner takes us on a journey through the composition of his concerto: from Bartok and Ravel to jazz, rock, and Israeli horahs.



The second movement of the concerto features a long A-flat major seventh chord, influenced by avant-garde musicians including minimalist Brian Eno, jazz great Keith Jarrett, and Velvet Underground's John Cale.

Some of Avner's more novel devices appear in the third movement. He borrows techniques for the violin and harmonic progressions from The Police and Nina Simone. "I got even more ecstatic about the piece when I realized that using the traditional harmonic vocabulary enables me to effortlessly integrate jazz, pop, and rock elements into the piece."



Music credits: Dorman's Concerto in A performed by the Metropolis Ensemble featuring Eliran Avni on piano, Andrew Cyr conducting. Bach's Concerto in A performed by the Columbia Symphony Orchestra featuring Glenn Gould on piano, Leonard Bernstein conducting.

Labels: avnerdorman, composerseries, onrecord

We're excited to introduce you to renowned Israeli composer Avner Dorman, whose complete chamber orchestra concerti are featured in Metropolis Ensemble's upcoming fall concert, On Record.

Through a series of recordings, Avner discusses the intimate details of each of his concertos, including his inspiration, important motifs, and some of his personal story along the way. We hope these posts will provide you a unique behind-the-scenes look at this bright young composer, and reveal a creative process that is as surprising and engaging as the works themselves!

Labels: avnerdorman, composerseries, onrecord