During his graduate studies at the University of Wisconsin-Madison, alumnus J. Griffith Rollefson embarked on several international research trips while writing his dissertation, “European Hip Hop and the Politics of Postcoloniality.” Throughout Europe, he frequented hip hop shows, clubs, record shops, and open mic nights to observe and interview the people who consider this artform among the most politically conscious of all. Hip hop studies was then an emerging field in the United States, with institutions such as McNally Smith College in St. Paul, the University of Arizona, and Wellesley College in Massachusetts, offering coursework on the subject.
After graduating in 2009 with his PhD in historical musicology, Rollefson began writing Flip the Script, a book based on his dissertation, examining how the children of immigrants from the former colonies of Europe imagine hip hop as a way to both understand and voice their relationship to society. Flip the Script (which Rollefson defines as “to upend a situation and/or rap a text”) was recently published by the University of Chicago Press and is now available for purchase.
Rollefson is currently an associate professor of popular music studies at the University College Cork, National University of Ireland. The Mead Witter School of Music is pleased to feature the following Q&A with Rollefson about his increasingly relevant work in hip hop culture, a wide-ranging field that encompasses the studies of race, class, gender, nationality, and politics.
Interview conducted by Kyle D. Johnson, a dissertator in piano performance.
You write that hip hop studies should “engage more directly and systematically with the tools of postcolonial theory.” What is postcolonial theory and why is it important to hip hop studies?
Postcolonial studies involves understanding how the past resonates in the present. How the past is never past. In short, if the “colonial period” started when Columbus “sailed the ocean blue” over 500 years ago and ended a little over 50 years ago, we need to imagine how that period might have had some lasting impact. And of course, we then need to think about what we should do if that impact is a negative one, as is overwhelmingly the case. The resonances are profound and very real. In the US, for instance, colonial processes have resulted in the world-changing beauty of the spirituals, jazz, rock and roll, and hip hop, but they have also resulted in the seemingly endless systemic marginalization of the very people who created those most American of musics – marginalization “from the plantation to the penitentiary,” as Wynton Marsalis put it.
Hip hop is unique both in its directness and in the depth of its contradictions. We simultaneously laud hip hop as the ultimate politically conscious music and decry it as the most vapid commercial expression of materialism, sexism, homophobia, and violence. Something’s gotta give with this contradiction – and I think I offer some good, and potentially illuminating answers in the book.
Postcolonial theory helps us assess and address historical impact by focusing on the continuities between slavery and commercial exploitation, from Georgia cotton, Jamaican sugar, and Honduran bananas to South African diamonds, Indian textiles, and Iraqi oil. Of course, these theories also help us account for cultural fields like music. The idea of “the forest and the school” is a good starting place to describe how processes of colonization remove “the forest” – that is, the natural resources (including, let’s remember, people) – and leaves “the school” – be it a missionary school or a grammar school, both of which are training grounds for assimilation into Euro-American ideologies. There’s a famous quip attributed to Jomo Kenyatta, the first president of independent Kenya, that goes: “When the missionaries arrived, the Africans had the land and the missionaries had the Bible. They taught how to pray with our eyes closed. When we opened them, they had the land and we had the Bible.”
How have current events in Europe, such as the refugee crisis, affected the state of modern-day hip hop in Europe?
Rappers will be the first to tell you that the “refugee crisis” is manufactured; they believe that Western Europe is slowly dying and needs immigration, but refuses to adapt for purely bigoted reasons. Sound familiar? I’ve talked to artists who’ve made this exact point – the Turkish German, Chefket and the Black Brit, Juice Aleem, for instance, who recognize foreign labor as a historical constant that gets conveniently forgotten in times of cultural navel gazing. Syria had been in crisis for years before it got widespread European attention as families began fleeing for their lives en masse. And notably, a quick look into the instability in Syria reveals deep and unresolved histories of colonization by France and the UK. This is why I say we need to listen to these voices. They really are on the front lines of history.
How is American hip hop related to European hip hop?
Through studying European hip hop we can see that “double consciousness”—the African-American feeling of “unreconciled” two-ness—is a particular American form of what is really a global postcolonial experience. This argument suggests that postcoloniality explains why hip hop was born in the South Bronx in the collaboration of African American, Puerto Rican, and other Caribbean communities. In my class, Planet Rap: Global Hip Hop and Postcolonial Perspectives, I look not only at African-American artists, but at Puerto Ricans, Filipino Americans, Chicanos, and Native Americans to understand how the United States is a postcolonial nation – the first postcolonial nation, really. And to underscore another point I make to my students – the “post” in postcolonial doesn’t mean that the colonial resonances are over. In most cases, they’re just coming to the fore. Germany, for instance, is just now beginning to own up to its colonial history. And France and the UK are doing their darnedest to explain away, forget, or Brexit their way out of their colonial complicities.
You’ve asserted that hip hop artists have a better perspective on the conditions of their society, over governments or geopolitical authorities. What makes hip hop unique in its ability to offer that “frontline” perspective?
In the consensus view of the artists I interviewed, it’s political “consciousness” that attracted them to hip hop in the first place. Something resonated with them – the music “spoke to them.” Again and again, I heard rappers describe the artform as a “vehicle,” “channel,” or “opportunity” to grab the microphone and finally be able to say something to their own societies – societies that usually don’t want to listen. Hip hop is unique both in its directness and in the depth of its contradictions. We simultaneously laud hip hop as the ultimate politically conscious music and decry it as the most vapid commercial expression of materialism, sexism, homophobia, and violence. Something’s gotta give with this contradiction – and I think I offer some good, and potentially illuminating answers in the book. These artists are indeed humans and have all the complexities we all have. They might play to stereotypes, but in doing so they force us to interrogate our own misconceptions.
If someone wanted to explore the current world of European hip hop, which artists would you recommend?
I’d recommend starting with some of the classics, like MC Solaar (France), Roots Manuva (UK), Advanced Chemistry (Germany), and Scary Éire (Ireland). My current playlist includes more recent artists like Stromae, Les Nubians, Sidi-O, and Oxmo Puccino (France/Belgium); Juice Aleem, Lowkey, and Lady Leshurr (UK), Amewu, Chefket, and Samy Deluxe (Germany), and Lethal Dialect and Rusangano Family (Ireland). FauxSounds.com has actually just invited me to annotate a “Flip the Script European Hip Hop” playlist for their website. Check that out for a nice sampling and some brief background details: http://www.fauxsounds.com/faux-sounds/2017/10/18/professor-j-griffith-rollefson-flip-the-script-european-hip-hop
Now, for some background on you. How did you go from dissertation to Flip the Script? Why did the University of Chicago take an interest in your work?
Well, if you consider that I wrote my first seminar papers on European hip hop for UW-Madison Professors Susan Cook and Pamela Potter in 2003-2004, then we could say it took well over a decade. Back then word was that Turkey would become an EU member any day. Needless to say, a bit has changed since I started the research. At that time, the EU was providing an inspiring model of what an international community of the future might look like, and now we’re on the slippery slope to ethno-nationalism on both sides of the Atlantic.
In 2006, after my coursework, I started a yearlong fieldwork project funded by the Berlin Program for German and European Studies. That trip was centered in Berlin, but included multi-month trips to Paris and London where I worked with hip hop communities: going to shows, clubs, record shops, open mic nights, community centers, observing and doing interviews in any place where hip hop community happened. In 2008, I returned there with funding from the German Academic Exchange Service, known as DAAD, and then embarked on shorter trips until I moved to the UK and Ireland with my family in 2013. In fact, although Flip the Script centers on Berlin, Paris, and London, the book concludes with a look at what I call the “postcolonial whiteness” of Ireland’s brilliant hip hop critiques about their colonial past and neocolonial present. What’s interesting in this case is that it gets us thinking about race and colonialism together. As you may know, racial difference was a centerpiece in the logic of British domination of Ireland.
Elizabeth Branch Dyson at the University of Chicago Press showed interest in the manuscript early on and then held my hand throughout, encouraging me to get the book exactly right over the last five years or so. I suppose the lesson there is patience. I’ve had the privilege of being able to be patient, and it has paid off.
Outside of your work on Flip the Script, give us an update on what you’ve been up to since earning your PhD.
I’ve become a dad, served as a church choir director and an adjunct professor in Southern California, won an ACLS New Faculty Fellowship (which was, essentially, the “Great Recession Stimulus Plan for Young Scholars”) which took me to UC Berkeley, held a lectureship at the University of Cambridge and, finally, landed a tenure-track job at University College Cork, National University of Ireland. I should also say that spending the last four years as a European resident really helped me finish the research and added a level of personal understanding of the fragile realities of displacement and immigration.
Where can people go to get more information on you, Flip the Script, and possibly future projects you’re involved with?
The book’s companion website – EuropeanHipHop.org – is quickly becoming a clearinghouse for all sorts of links, syllabi, podcasts, and news.
January 26, 2017
UW-Madison Musicians to present “Thank You” concert to Mead Witter Foundation
The University of Wisconsin Mead Witter School of Music will bring two quintet ensembles to the Performing Arts Center in Wisconsin Rapids for a free concert on Thursday, February 9 at 7:30 p.m. The concert celebrates the Mead Witter Foundation’s $25 million gift to the University of Wisconsin for construction of a new performance center in Madison. The PAC is located at 1801 16th St. South, Wisconsin Rapids.
Following an afternoon of clinic sessions with local students, the Wisconsin Brass Quintet, the Wingra Wind Quintet, and Scott Teeple, UW-Madison conducting professor, along with the Lincoln High School Wind Ensemble will present the free public concert designed to educate as well as entertain. The February 9 concert is open to the public free of charge. Besides thanking the Foundation for its support, the concert furthers the UW mission of public service through spreading the “Wisconsin Idea.” About 50 music students from area high schools are expected to attend the afternoon clinic sessions and evening concert.
In the fall of 2015, the Mead Witter Foundation commemorated a century-long relationship between the Witter and Mead families with the University of Wisconsin by providing major funding that enabled the UW-Madison to construct its new music performance building in one phase, rather than in multiple phases over time. In appreciation of the gift, UW-Madison named its music school the Mead Witter School of Music, and the large concert hall within the performance building will be known as the Mead Witter Foundation Concert Hall. The new performance building will be sited at the corner of University Avenue and Lake Street adjacent to the Chazen Museum of Art in Madison.
Wisconsin Brass Quintet
Regarded as one of the “superb brass ensembles in the USA” (Musicweb International) and praised for “remarkable musicianship and versatility” (International Trumpet Guild Journal), the widely acclaimed Wisconsin Brass Quintet (WBQ) has maintained a position at the forefront of brass chamber music since the group’s founding in 1972. WBQ is one of three faculty chamber ensembles in-residence at the University of Wisconsin-Madison School of Music. In addition to its regular concert series on the campus, the Quintet performs extensively throughout the Midwest and nationally, including appearances in New York at Weill Recital Hall and Merkin Concert Hall. Current members of WBQ are John Aley and Matthew Onstad, trumpets; Daniel Grabois, horn; Mark Hetzler, trombone; and Tom Curry, tuba.
Wingra Wind Quintet
Since its formation in 1965, the Wingra Wind Quintet at the University of Wisconsin-Madison Mead Witter School of Music has established a tradition of artistic and teaching excellence. The ensemble has been featured in performance at national conferences such as MENC (Miami), MTNA (Kansas City), and the International Double Reed Society (Minneapolis). In addition to its extensive home state touring, the quintet has been invited to perform at numerous college campuses, including the universities of Alaska-Fairbanks, Northwestern, Chicago, Nebraska, Western Michigan, Florida State, Cornell, the Interlochen Arts Academy, and the Paris Conservatoire, where quintet members offered master classes. New York Times critic Peter Davis, in reviewing the ensemble’s Carnegie Hall appearance, stated “The performances were consistently sophisticated, sensitive, and thoroughly vital. Current members of Wingra Wind Quintet are Stephanie Jutt, flute; Aaron Hill, oboe; Marc Vallon, bassoon; Joanna Schulz, horn; and Amy McCann, clarinet.
Wisconsin Chapter of the Percussive Arts Society Presents “Wisconsin Day of Percussion”
January 21, 2017 at the Mead Witter School of Music
Hosted by Anthony Di Sanza, professor of percussion, and the UW-Madison Percussion Studio
On January 21, 2017 the Wisconsin chapter of the Percussive Arts Society will present the all-day Wisconsin Day of Percussion in the Humanities Building at the University of Wisconsin-Madison Mead-Witter School of Music. The Wisconsin DOP is an annual event, hosted this year by Anthony Di Sanza and the UW-Madison Percussion Studio, that showcases the diversity of percussion, including drum set, Brazilian drumming, marching percussion, orchestral percussion, timpani, cajon, keyboard percussion sight reading, drum circle, and much more.
The day will include multiple performances, clinics, and presentations, starting at 8:30 AM and ending at 7 PM. Percussionists of all experience levels are encouraged to attend. In addition, there will be many sessions that non-percussionist band directors will find helpful to understand and teach the percussive arts. An all-day pass is available for $15 and are purchased at the door.
Headlining the day’s events will be Doug Waddell, who performs with the Chicago Lyric Opera and Grant Park Symphony, and Dave Stanoch, a percussionist with notable singers including George Clinton, Sheryl Crow, and Bonnie Raitt. Stanoch is an alumnus of UW-Madison.
Other concert performers will include the UW-Madison World and Western Percussion Ensembles; the Percussion Ensemble of the Wisconsin Youth Symphony Orchestra; the College All Star Percussion Ensemble, college soloists and selected high school percussion ensembles.
In addition, a high school and middle school Percussion Ensemble Festival will be held in conjunction with the DOP. University faculty will coach the participating schools in 30 minute sessions, providing each school with a meaningful and rich educational experience.
Each year the DOP is held on one of Wisconsin’s college/university campuses, inviting percussionists of all ages and experiences to attend and participate in the myriad clinics, concerts and presentations. Past DOP events have been held at UW-River Falls, UW-Whitewater, UW-Milwaukee, UW-Stevens Point and UW-Oshkosh. The last time the DOP was held on the UW-Madison campus was in 1999, with Professor Emeritus James Latimer serving as host. This was during professor Latimer’s final semester at UW-Madison prior to his retirement after more than three decades of service to the School of Music.
For more information regarding the Wisconsin Day of Percussion and the HS/MS Percussion Ensemble Festival, please visit the Wisconsin PAS home page:
BRASS, BRASS AND MORE BRASS – With No. 3, UW-Madison cements a tradition as a Brass Hub of the Midwest
On September 30 and October 1, 2016, the newly renamed Mead Witter School of Music will welcome the internationally acclaimed Stockholm Chamber Brass to campus for a third annual Brass Fest. The quintet’s tour of upstate New York, Michigan and Wisconsin will be their first-ever appearances in the United States.
Brass Fest III will also mark the first time that high school students will play an active role, attending master classes and performing on stage in a final Festival Brass Concert. Area high schools planning to attend include Middleton, Madison East, Madison West, Edgewood, and Memorial.
A number of major instrument makers and music companies, many located in Wisconsin, will also be on hand to display their wares. The School will also offer commemorative fund-raising t-shirts; scroll to bottom to learn more.
The events will include a concert with Stockholm Chamber Brass on Friday, September, 30, at 8 PM, and a second concert on October 1, also at 8 PM, with the Stockholm Chamber Brass, the Wisconsin Brass Quintet, UW-Madison student performers and selected high school students. Both concerts will be held in Mills Hall in the Humanities Building.
Tickets: $20 for Friday’s concert ($5.00 non-music students); $15 for Saturday’s concert ($5.00 non-music students). Buy tickets here or at the door.
“We are expanding the festival because our mission is to perform and to teach,” says Daniel Grabois, assistant professor of horn and member of the Wisconsin Brass Quintet. “We are motivated by the Wisconsin Idea, and we are making every effort to bring what we do to the population of the state. There are many students in the state who play brass instruments, and we want to include them in our educational mission. We also want to build on the successes of the past two years – many people enthusiastically attended the festival, and we want to make it better, more exciting, and more inclusive.”
Stockholm Chamber Brass, formed in 1985, consists of some of Scandinavia’s leading brass musicians. Its five members are all prize winners at major international solo competitions, including the ARD-Wettbewerb, CIEM Geneve, Markneukrichen and Toulon. Their international breakthrough came in 1988 when Stockholm Chamber Brass won 1st Prize at “Ville de Narbonne,” the most prestigious international competition for brass quintets.
Stockholm Chamber Brass has performed at Bad Kissingen Sommer, the Schleswig-Holstein Music Festival, Niedesächsische Musiktage, International de Musique Sion Valais, the Prague Spring Music Festival, the Budapest International Music Festival, Festival Internacional de Santander, the Soundstream Festival in Toronto, the Belfast Festival at Queen’s, the Umeå International Chamber Music Festival and the Stockholm New Music Festival. The ensemble has also performed at various brass festivals, including the Lieksa Brass Week, the International Trombone Festival in Helsinki, the Melbourne International Festival of Brass, Epsival Limoge and the Blekinge International Brass Academy.
Stockholm Chamber Brass has received glowing reviews for its CDs. A reviewer at American Record Guide writes, “I cannot imagine that a better brass quintet has ever existed.”
The ensemble’s repertoire consists mostly of original compositions and their own arrangements of older and contemporary music. Their interest in new music has resulted in over thirty compositions written specifically for the ensemble. Stockholm Chamber Brass has worked with a long list of leading composers, including Anders Hillborg, Sven-David Sandström, Pär Mårtensson, Britta Byström, Henrik Strindberg Piers Hellawell and Eino Tamberg. The ensemble has also collaborated with leading brass soloists Håkan Hardenberger and Christian Lindberg.
The current members of the Stockholm Chamber Brass are Urban Agnas, trumpet; Tom Poulson, trumpet; Jonas Bylund, trombone; Annamia Larsson, horn; and Sami Al Fakir, tuba.
The Wisconsin Brass Quintet, formed in 1972, is one of three faculty chamber ensembles in-residence at the University of Wisconsin-Madison Mead Witter School of Music. Deeply committed to the spirit of the Wisconsin Idea, the group travels widely to offer its concerts and educational services to students and the public in all corners of the state.
The Wisconsin Brass Quintet includes John Aley, trumpet; Matthew Onstad, trumpet; Mark Hetzler, trombone; Tom Curry, tuba; and Daniel Grabois, horn.
New this year: Commemorative Limited Edition T-Shirts, featuring our new Brass Fest III logo on the front and “Mead Witter School of Music” on the back. Prices from $11 to $14; all proceeds will support the School of Music. Send an email to t-shirt sales if you’d like to buy one.
By Katherine Esposito
It all started with an idea for summer fun, in the midst of a verdant paradise, at a family home he’d visited every year since he was a wee toddler. Now he was a 19-year-old cellist who wanted his college friends to hang out and play music at his grandma’s lake house. They could play string quartets practically in their sleep. Why not invite a few neighbors to hear them?
Paradise was tiny Caroga Lake, New York, a 54-square mile town in the lower Adirondacks that is home to 1,200 permanent residents and booms to 4,000 every summer. In 2012, the cellist, Kyle Price, asked a group of friends from undergrad at the Cleveland Institute of Music to join him, and they wound up performing Bach and Mendelssohn as an opener for the Philadelphia Orchestra at the Saratoga Lake Performing Arts Center as well as at two other venues. Not bad for a first stab at a music party.
Kyle dubbed the event the Caroga Lake Music Festival, and an annual tradition was born. In 2015, in its fourth year, the Caroga Lake Music Festival offered four weeks of free concerts at venues ranging from Fulton-‐Montgomery Community College in Johnstown, the Canada Lake Marina (on floating barges), several churches, a nursing home, on a farm and in New York City.
Kyle, now a master’s student and Collins Fellow at UW-Madison, studying with professor Uri Vardi, plans a fifth festival for 2016 and has even bigger ideas: he is cultivating support to evolve it into a year-round arts center located on the site of Sherman’s, a long-shuttered amusement park. He’s created an official nonprofit, the Caroga Arts Collective, and established a board of directors sprinkled with names from big companies like L.L. Bean, Borden Dairy and two law firms – all people with summer homes in the area.
Somehow he’s doing this around a full-time schedule as a music student. “It’s tough,” he says, with a laugh. “Recently, I’ve been needing to go back there to present things, meaning I miss class here, but the teachers have been great.” His classes mostly include performance-based classes such as chamber orchestra with conductor James Smith and chamber ensembles with professor Parry Karp, but he’s also enrolled in Jazz Improvisation with saxophone professor Les Thimmig.
It was the Internet that got him hooked on Madison.
Price, who is originally from Columbus, Ohio, knew nothing about the university until he watched a YouTube video about the National Summer Cello Institute, an intensive week-long camp for cellists organized by professor of cello, Uri Vardi. The camp has been held at UW-Madison since 2010 and offers classes that explore connections between body awareness, musical expression, and injury prevention. “I was literally sitting with my cello in front of my computer in a practice room, and I came across a video that linked to the NSCI,” he says. “There was this funky word, Feldenkrais, and a video of Uri explaining Feldenkrais and how it relates to performance. And I decided, I totally have to go to this. It was my main priority, cello-wise, for the summer.” (Feldenkrais is a technique that helps people to increase ease and range of motion.)
By the time he graduated, he also had decided that he wanted to apply for a master’s degree at the UW-Madison School of Music, a behemoth compared to the 350-student Cleveland Institute of Music. “I didn’t know much more about the school, but Uri was someone I wanted to study with.” He’s been impressed with the city and the university. “It was amazing, meeting all these undergrads – some are double or triple majors. Everyone is so smart and the faculty is amazing.”
Of Vardi, Kyle says: “It’s been fantastic. He’s pretty brilliant. He tries to get you out of your habits, so you have options to work with, then you can expand your palette. His teaching goes way beyond the cello in a lot of ways. It made a big impact on my life, and on playing the cello.”
Prof. Vardi has similar praise for Kyle. “He’s a mensch,” he says, with a twinkle in his eye. “He has a good heart and appreciates beauty. He wants to improve life for society. And he’s one of the most musical students I’ve ever worked with.”
All of these, he said, are why Vardi nominated Kyle for the Collins Fellowship, a full graduate scholarship funded by longtime School of Music supporter Paul Collins.
His intuition was accurate. In 2015, Kyle was a winner in the Yamaha Young Performing Artists Competition and a finalist in the G. Gershwin International Music Competition. After graduation next spring, he plans to devote himself full-time to growing the Caroga festival, plus freelancing and composing music.
Kyle has high hopes for the future of the festival, now an annual tradition that has captivated those who live in the Hudson and Mohawk Valleys of central New York state. It may have begun as a lark, but it’s brought deep pleasure to the small community. “We have a mix of audience: the experienced ones who’ve been to Saratoga and New York City, and people who are completely brand new and who are experiencing classical, jazz, even alternative music for the very first time,” he says.
People like Jim Hinkle, from Johnstown, who in 2014 penned a letter to editors of the Leader Herald, a local newspaper. Wrote Hinkle: “My knowledge of music is extremely limited. But now I am hooked on this concert series. It took some time for me to figure out whom they they talking about when they correctly pronounced Debussy. It’s not De Bu Sea like I had been taught. There are still play dates left. I urge you to not watch television but go to the free concert, sit in back and if the music is not right for you, leave during the applause. It’s OK. Please give it a chance, as I did.”
On December 4-6, 2014, the UW School of Music will host the 4th Annual UW/MMSD Jazz Festival, an educational jazz festival featuring workshops and performances by high school big bands from Madison and Middleton, the UW Jazz Orchestra and UW Contemporary Jazz Ensemble, UW jazz faculty, and New York trumpet star Ingrid Jensen.
This 4th annual edition of the UW/MMSD Jazz Festival represents the expansion of the festival into a multi-day event featuring an internationally recognized guest artist and also marks the first time that UW Madison will be the host campus. In its new venue, the festival will continue its original mission of bringing together participating schools in a non-competitive festival environment to focus on students’ peer learning and the exchange of information, developing idiomatic jazz and improvisation skills, building a community of young jazz musicians and connecting them with working professionals, and inspiring student performers to deepen their involvement with the jazz idiom.
Watch the Ingrid Jensen Jazz Quintet perform “At Sea,” at the Berklee College of Music, April 2012
The festival’s expansion and its move to UW Madison as its host campus coincide with a major expansion of UW-Madison’s jazz studies program. Spearheaded by jazz pianist Dr. Johannes Wallmann who joined the School of Music faculty in 2012, the jazz program has added five new jazz ensembles, several new academic jazz courses, and a high school Honors jazz band. In the fall of 2014, the jazz program welcomed new instructors of jazz drums and jazz trombone along with its first cohort of students in the newly re-launched undergraduate jazz major.
2014 UW/MMSD Jazz Festival featured artist Ingrid Jensen has been a major figure on the international jazz scene for over 20 years. Her three CDs for the ENJA label and her latest CD, “At Sea,” won her nominations from the Canadian Juno Awards, including an award in 1995 for Vernal Fields. In addition to her work as a leader of the quartet Project O and the quintet Nordic Connect, Jensen is a featured soloist with the Maria Schneider Orchestra, with whom she recorded four albums, including the Grammy Award-winning “Concert in the Garden” and “Sky Blue,” the former of which was also named Jazz Album of the Year by the Jazz Journalists Association. She regularly places in Downbeat magazines Critics’ and Readers’ polls.
Ingrid Jensen recently made her Madison debut as a member of Terri Lyne Carrington’s Mosaic Project. She is also a member of Darcy James Argue’s Grammy-nominated Secret Society; the Juno-award winning Christine Jensen Orchestra; has been featured on Gil Evans’ Porgy and Bess at the San Francisco Jazz Festival under the direction of Maria Schneider; and has appeared as a guest in the festival’s “Tribute to Woody Shaw and Freddie Hubbard,” alongside Terence Blanchard, Eddie Henderson, Bobby Hutcherson and Kenny Garrett. Other musicians Jensen has performed and or recorded with include Madelaine Peyroux, Ron Carter, Mullgrew Miller, Steve Wilson, Jeff ‘Tain’ Watts, Dr.Lonnie Smith, Marc Copland, Bob Berg, Gary Thomas, Gary Bartz, Jeff Hamilton, Bill Stewart, Terri-Lynn Carrington, Geri Allen, Geoffrey Keezer, Billy Hart, George Garzone, Chris Connor, Victor Lewis, Clark Terry, Frank Wess, Badal Roy, Mike Clark, Jason Miles and Global Noize, Dr. Billy Taylor and the DIVA Big Band. Her performances as a leader and as a featured soloist have taken her around the world from Canada to Japan, Australia, South America, South Africa, the Caribbean and to almost every country in Europe and Scandinavia.
Schedule of events:
Thursday, Dec. 4: Trumpet master class with Ingrid Jensen. 1:30 PM, Music Hall.
Thursday, Dec. 4: Small-group jazz improvisation masterclass with Ingrid Jensen and the UW Contemporary Jazz Ensemble. 7:30 PM, Music Hall.
Friday, Dec. 5: Concert with Ingrid Jensen and the Johannes Wallmann Group. 8PM, Morphy Hall.
Saturday, Dec. 6: Headline concert featuring bands from Madison’s East, West and Memorial High School, Middleton High School, the UW Jazz Orchestra, and Ingrid Jensen. 6 PM, Music Hall.
Brass, jazz and three composers–American George Crumb, Cecilia McDowall of the United Kingdom, and France’s Jean-Philippe Rameau — will be showcased this year at the UW-Madison School of Music in the form of five multi-event guest artist festivals, starting in October and continuing through April. Funding is provided by the Vilas Trust and Anonymous Fund at UW-Madison. We thank them for their support.
Some events are ticketed (click here for info). Tickets will go on sale one month ahead of time. All other events at the School of Music, including dozens of faculty recitals, student ensembles and individual guest artists, continue to be free.
Our 2014-15 festivals include:
Wednesday, October 8 — Monday, October 13, 2014
Brass music is often known for its swagger, but it is also famous for delicate polyphonies and burnished tones. We invite the public to experience the beauty of brass first-hand at a festival featuring both a full array of music and musicians, many at the height of their careers.
Performers will include famed Norwegian tubist Øystein Baadsvik, the only musician to have created a career as a tuba soloist, rather than becoming a member of an orchestra or accepting a teaching post. His multi-faceted musical career as a soloist, chamber musician and recording artist has taken him all over the world. Øystein Baadsvik’s international career began in 1991 when he was awarded two prizes at the prestigious Concours International d’Exécution Musicale in Geneva.
Baadsvik will be joined by hornist Jessica Valeri (BM, UW-Madison, 1997) of the San Francisco Symphony Orchestra, Michigan’s Western Brass Quintet, UW-Madison’s Wisconsin Brass Quintet, renowned brass composer and blogger Anthony Plog, new UW-Madison faculty tubist Tom Curry, as well the best brass players and conductors at the University, including a Brass Choir led by conductor Scott Teeple.
Events will include concerts, solo recitals, masterclasses, brass coachings, a colloquium and a reception.
Click here for full schedule.
The 4th Annual UW-Madison/Madison Metropolitan School Jazz Festival
Wednesday, December 3 — Saturday, December 6, 2014
A festival featuring workshops and performances for college and high school jazz performers. This marks the first time that UW-Madison will host the event.
This festival will feature Ingrid Jensen, trumpeter, bandleader, artist-in-residence at the University of Michigan and part-time faculty member at the Peabody Conservatory. Ingrid Jensen has been a major figure on the international jazz scene for over 20 years. Her three CDs for the ENJA label and her latest CD, “At Sea,” won her nominations from the Canadian Juno Awards, including an award in 1995 for Vernal Fields. In addition to her work as a leader of the quartet Project O and the quintet Nordic Connect, Jensen is a featured soloist with the Maria Schneider Orchestra, with whom she recorded four albums, including the Grammy Award-winning “Concert in the Garden” and “Sky Blue,” the former of which was also named Jazz Album of the Year by the Jazz Journalists Association.
Jensen is a member of the Mosaic project with Terri-Lynn Carrington, Esperanza Spaulding and Geri Allen; the Darcy James Argue’s Grammy-nominated Secret Society; the Juno-award winning Christine Jensen Orchestra; has been featured on Gil Evans’ Porgy and Bess at the San Francisco Jazz Festival, under the direction of Maria Schneider; and has appeared as a guest in the festival’s “Tribute to Woody Shaw and Freddie Hubbard”, alongside Terence Blanchard, Eddie Henderson, Bobby Hutcherson and Kenny Garrett.
The festival will include master classes in jazz trumpet and improvisation, open rehearsals, a Saturday high school clinic, and performances with UW jazz ensembles and high school big bands from Madison and Middleton.
This festival is free and open to the public.
Click here for full schedule.
“Seventy Degrees Below Zero”: A concert series and residency showcasing the music of British composer Cecilia McDowall
Friday, February 19 through Sunday, February 23, 2015
In 2009, after premiering a McDowall work, “Framed,” UW-Madison trumpet professor John Aley discovered for himself what he describes as the “challenging, energizing, poetic, clever, tongue in cheek, and utterly beautiful” music of Cecilia McDowall.
Our festival, organized by Aley, will feature the first-ever United States residency of British composer Cecilia McDowall and the US premiere of her symphonic work “Seventy Degrees Below Zero,” commissioned by the City of London Sinfonia and the Scott Polar Research Institute, based in Cambridge, England.
Often inspired by extra-musical influences, McDowall’s writing combines a rhythmic vitality with expressive lyricism. She has won many awards and has been short-listed several times for the British Composer Awards. Her music has been commissioned and performed by leading choirs, including the BBC Singers, ensembles and at major festivals both in Britain and abroad and has been broadcast on BBC Radio and worldwide.
“Seventy Degrees Below Zero” is a cantata for solo voice (to be sung by faculty tenor Jim Doing) and orchestra, inspired by a phrase written by British captain Robert Falcon Scott to his wife, prior to his death while returning from an expedition to the South Pole: ‘Dear, it is not easy to write because of the cold – 70 degrees below zero.’ ”
Joining us on Saturday will be Michael DuVernois of the UW-Madison IceCube Particle Astrophysics Center, only recently returned from the Antarctic, who will present an entertaining and educational talk, complete with historic and modern photographs, on the progression of Antarctic exploration from the heroic age through modern science on the coldest, highest, driest continent.
Other works to be performed during the three-day festival include the first US performances of “Regina Caeli,” for four trumpets and four trombones, and “Cavatina at Midnight,” for clarinet, cello and piano. Her haunting choral works “Ave Regina” and “Ave Maris Stella” will be performed by the UW Chamber Choir, directed by Bruce Gladstone. In addition to Jim Doing, faculty performers will include pianists Christopher Taylor and Martha Fischer, clarinetist Linda Bartley, soprano Elizabeth Hagedorn, oboist Kostas Tiliakos, trombonist Mark Hetzler, trumpeter John Aley, cellist Parry Karp, percussionist Anthony Di Sanza, violist Sally Chisholm, and others.
In 2008, the Phoenix Chorale won a Grammy Award for “Best Small Ensemble Performance” for its Chandos CD, “Spotless Rose: Hymns to the Virgin Mary,” which included a work, “Three Latin Motets” by Cecilia McDowall.
“Honoring George Crumb at 85”
Sunday, March 22 and Monday, March 23, 2015
George Crumb has been a major force in American composition since the 1960s when his Ancient Voices of Children set to texts by Garcia Lorca provided an evocative and deeply personal response to late modernist serialism. The winner of both a Pulitzer Prize and Grammy, Crumb continues to compose new works, most recently his American Songbooks, that celebrate the magic and mystery of life. Crumb’s music often juxtaposes contrasting musical styles and quotes from pre-existing works, and his use of extended instrumental techniques shows his predilection for new sound colors. Many of Crumb’s works include programmatic, symbolic, mystical and theatrical elements, which are often reflected in his beautiful and meticulously notated scores.
Crumb’s 85th birthday provides an opportunity to celebrate this composer through concerts, workshops, and master classes featuring guest artists as well as our own faculty and students. The program will include a performance of the “Crumb Madrigals” by Chicago duo Due East and a concert by New York-based violinist Miranda Cuckson, as well as a performance of “The Violinists in My Life,” written by faculty composer Laura Schwendinger.
Cuckson is highly acclaimed for her performances of a wide range of repertoire, from early eras to the most current creations. In demand as a soloist and chamber musician, she appears in major concert halls, as well as at universities, galleries and informal spaces. She has performed at such venues as the Berlin Philharmonie, Carnegie Hall, the Library of Congress, Miller Theatre, the 92nd Street Y, Guggenheim Museum, and many more.
Nunc (Latin for “now”) was founded in 2007 as “Transit Circle ” by artistic director and violinist/violist Miranda Cuckson, and was renamed and incorporated as a not-for-profit organization in 2012. Nunc is devoted to presenting high-caliber performances of music of current, recent and older eras, through distinctive programming that highlights their innovations and contributions.
Due East (Erin Lesser, flutes; Greg Beyer, percussion) actively promotes new music and seeks to expand the flute and percussion duo genre through frequent commissions and premieres. Their first recording, Simultaneous Worlds, is available on Albany Records. Their second recording, Drawn Only Once, is a multi-media CD/DVD now available on New Amsterdam Records. Noted critic Steve Smith gave it a rare 5.0-star rating in Time Out New York, calling it “spellbindingly beautiful.”
Click here for full schedule.
Read a review of Miranda Cuckson in the New York Times.
Multiple events; check back later for more details.
A year-long festival marking the 250th anniversary of the death of French Baroque composer Jean-Philippe Rameau.
The UW-Madison and community partners will offer a series of public events beginning this fall and culminating in April with two concert performances of Rameau’s one-act opera, Pygmalion, by the Madison Bach Musicians.
Learn more about Rameau here.
For 80 years, UW-Madison’s Summer Music Clinic has provided its campers with the chance to learn new skills through a variety of different classes and performance opportunities.
According to program manager Anne Aley, Summer Music Clinic offers two instructional sessions—one for middle school students, which was held the week of June 16, and one for high school students, which concludes Friday, June 27.
Read the full story here: