Clexical

Laurentia Woo

Clexical is a student-led nonprofit organization 501(c)(3) that aims to democratize access to contemporary music. Laurentia founded the Clexical team based on her personal struggles as a young musician to find contemporary pieces to play and learn about. The collective frustration with the limited resources for exploring modern music inspired her to establish a platform dedicated to enhancing access to contemporary compositions. Through Clexical, they aim to spotlight underrepresented composers, organize workshops and concerts for children with limited exposure to contemporary classical music, and explore innovative trends. Their shared vision drives Clexical’s mission to make contemporary music more inclusive and accessible for all, creating a space where individuals can explore, learn, and grow through the power of music.

  1. 2월 7일

    Ep. 22: Interview with Jeff Scott

    Welcome to Clexical, the podcast dedicated to contemporary classical music! I’m your host, [Kweku Adusei-Poku]. Here you will listen to conversations with living contemporary composers about their work, their journey as musicians and their thoughts on the current new music scene. Join us as we explore and influence the vibrant world of contemporary classical music. To learn more about our work, please visit www.clexical.org. You can find videos of all the interviews we’ve done so far, the outreach programs we’ve done with schools and libraries, and our weekly blog posts discussing the current new music scene. Today’s interview will be conducted by Laurentia Woo.   Jeff Scott is a Grammy Award winning composer and educator. He defines his work as an intersection between European classical tradition and African American cultural expression, what he calls Urban Classical Music. Rather than a hybrid or compromise, his music is a reclamation that draws from the harmonic rigor of Western art music and the rhythmic vitality, emotional depth, and communal spirit of Black American life. It’s shaped by his urban upbringing and the stories that surround him.   Born in Queens, NY, Scott began playing the french horn at age 14, when he received a scholarship to attend the Brooklyn College Preparatory Division. His further education includes a bachelor’s degree from the Manhattan School of Music where he studied with David Jolley, and a master’s from SUNY at Stony Brook where he studied with Willian Purvis. He later continued his horn studies with Scott Brubaker and the late Jerome Ashby.    For more than 20 years following, Scott served as the French hornist of the Imani Winds. This position allowed him to perform at Carnegie Hall, Walt Disney Concert Hall, the Kennedy Center, and countless other prominent stages. His most recent commissions and performances include collaborations with the Detroit Symphony, the Orpheus Chamber Orchestra, the St. Paul Chamber Orchestra, Chamber Music Detroit, and other notable ensembles and soloists across the country.   As an educator, Scott believes in inviting his students and performers to hear themselves in the classical music canon. His goal is to allow them to see their stories, their neighborhoods, and their ancestry reflected in concert halls. He wants his audience to feel the urgency and beauty of music from the lived experience.

    36분
  2. 1월 24일

    Ep. 20: Interview with Chaya Czernowin

    Chaya Czernowin (χaja t͡ʃɛʁˈnobin) is an acclaimed composer and educator. Her work is characterized by attempts to find alternative temporalities, changing perspectives and scale, and fragmentation, all coupled with a high emotional intensity. She makes direct reference to the use of metaphors as a means of reaching an unfamiliar sound space and the use of noise and physical parameters such as weight and textural surface, and an inquiry of the handling of time. These ways of thinking fuse her work with multi-sensory content and work to reach a sonic expression into the subconscious that goes beyond style, conventions, and rationality.   Although born and raised in Israel, Czernowin continued her studies in Germany through the DAAD grant, the US, Tokyo, through the Asahi Shimbun Fellowship and American NEA grant, and finally back in Germany through a fellowship at the Akademie Scholl Solitude.    Czernowin considers teaching to be an important aspect of her continued compositional development. She held professorship at UCSD and was the first woman to be appointed as a composition professor at the University of Music and Performing Arts in Vienna from 2006-2009, and at Harvard University where she has been the Walter Bigelow Rosen Professor of Music. Along with Steven Kazuo Takasugi and Jean-Baptiste Jolly, she has founded the summer Academy at Schloss Solitude, a bi-annual course for composers.   Czernowin’s works have been performed in most of the significant new music festivals in Europe and also in Japan, Korea, Australia, US, and Canada. Her works have been commissioned by Vlaamse Opera Belgium, IRCAM Paris, Mannheim Stadtheater, and the Deutsche Opere Berlin.   Her opera Infinite Now, commissioned in 2017, combines materials of the first world war with the short story “Homecoming" by Can Xue. This opera was chosen as the premier of the year in the international critics survey of Opernwelt.

    33분
  3. 2024. 06. 03.

    Ep. 18: Interview with Osnat Netzer

    Osnat Netzer /osˈnat ˈnɛtsɛʁ/ is a composer, performer and educator. Osnat creates her compositions collaboratively, tailoring her work to the performer’s sensibilities, physicality and improvisational inclinations. She takes inspiration from cognitive linguistics, and in dialogue with the embodied experience of physical forces, such as potential and kinetic energy, resulting in compositions that are rich in musical languages and connected to the fulsome pursuit for tension and relaxation. Born in Haifa, Israel, Netzer studied composition and piano at the Jerusalem Academy of Music and Dance, where her primary composition teacher was Menachem Zur. She came to the United States in 2003 for graduate studies in composition with Robert Cuckson at Mannes school of Music and continued her studies with Lee Hyla at New England Conservatory, where she earned her doctorate in 2011. In 2019, she joined the faculty of DePaul University, where she is now Associate Professor of Composition and Musicianship. Netzer’s works have been commissioned and performed by Ensemble Dal Niente, ICE (International Contemporary Ensemble), Patchwork, mezzo-soprano Lucy Dhegrae, bass David Salsbery Fry, saxophonists Kenneth Radnofsky, Doug O’Connor and Geoffrey Landman, Spektral Quartet, and Winsor Music, among many others, published by Edition Peters and earthsongs, and recorded on Bridge Records and New Focus Recordings. Her opera, The Wondrous Woman Within, was described as “riotously funny” in The New York Times when its first scene was performed at New York City Opera’s VOX festival in 2012 and “challenging and fascinating” by critic Amir Kidron when it received its World Premiere in a sold out run at Tel Aviv’s Cameri Theatre in 2015. As a pianist and performer, she regularly plays and conducts new music by fellow composers, as well as her own songs and compositions. Also a committed and passionate educator, Netzer teaches at The Walden School and has served on the faculties of New England Conservatory, Longy School of Music of Bard College and Harvard University.

    37분
  4. 2024. 06. 03.

    Ep. 17: Interview with Christopher Cerrone

    Christopher Cerrone (b. 1984, New York) is internationally acclaimed for compositions characterized by a subtle handling of timbre and resonance, a deep literary fluency, and a flair for multimedia collaborations. Balancing lushness and austerity, immersive textures and telling details, dramatic impact, and interiority, Cerrone’s multi-GRAMMY-nominated music is utterly compelling and uniquely his own. Cerrone’s opera, In a Grove (libretto by Stephanie Fleischmann), jointly produced by LA Opera and Pittsburgh Opera, was called “stunning” (Opera News) and “outstanding” (Pittsburgh Post-Gazette) in its sold-out premiere run directed by Mary Birnbaum in March 2022. Other recent projects include The Year of Silence, based on the story of the same name by Kevin Brockmeier, for the Louisville Symphony and baritone Dashon Burton; A Body, Moving, a brass concerto for the Cincinnati Symphony; Breaks and Breaks, a violin concerto for Jennifer Koh and the Detroit Symphony; The Insects Became Magnetic, an orchestral work with electronics for the Los Angeles Philharmonic; The Air Suspended, a piano concerto for Shai Wosner; and Meander, Spiral, Explode, a percussion quartet concerto co-commissioned by Third Coast Percussion, the Chicago Civic Orchestra of the Chicago Symphony and the Britt Festival. Upcoming projects include Beaufort Scales, an oratorio for voices, electronics, and video commissioned by Lorelei Ensemble to premiere at Mass MoCA; a new percussion quartet co-commissioned by Sandbox Percussion, Blow Up Percussion, and the Park Avenue Armory, and new large works for the LA Philharmonic and Roomful of Teeth. Cerrone’s first opera, Invisible Cities, a 2014 Pulitzer Prize finalist, was praised by the Los Angeles Times as “A delicate and beautiful opera…[which] could be, and should be, done anywhere.” Invisible Cities received its fully-staged world premiere in a wildly popular production by The Industry, directed by Yuval Sharon, in Los Angeles’ Union Station. Both the film and opera are available as CDs, DVDs, and digital downloads. In July 2019, New Amsterdam Records released his GRAMMY-nominated sophomore effort, The Pieces that Fall to Earth, collaborating with the LA-based chamber orchestra, Wild Up, to widespread acclaim. The Arching Path, from 2021 (In a Circle Records), features performances by Timo Andres, Ian Rosenbaum, Lindsay Kesselman, and Mingzhe Wang and was nominated for a 2022 GRAMMY. His most recent release, a studio version of In a Grove, was named one of the best recordings of 2023 by The New York Times: “A vividly immersive thriller... not a word or note is without purpose, and both are captured, if not enhanced, in this richly produced recording.” Cerrone won the 2015–2016 Samuel Barber Rome Prize in Music Composition and was a resident at the Laurenz Haus Foundation in Basel, Switzerland from 2022–2023.

    28분

소개

Clexical is a student-led nonprofit organization 501(c)(3) that aims to democratize access to contemporary music. Laurentia founded the Clexical team based on her personal struggles as a young musician to find contemporary pieces to play and learn about. The collective frustration with the limited resources for exploring modern music inspired her to establish a platform dedicated to enhancing access to contemporary compositions. Through Clexical, they aim to spotlight underrepresented composers, organize workshops and concerts for children with limited exposure to contemporary classical music, and explore innovative trends. Their shared vision drives Clexical’s mission to make contemporary music more inclusive and accessible for all, creating a space where individuals can explore, learn, and grow through the power of music.