Passages and the Legend of Tiss: Aperture Duo and Walsh Set Trio

Tuesdays @ Monk Space kicks off the Fall with a double bill of two Los Angeles mainstays! Apeture duo (Adrianne Pope and Linnea Powell) and Walsh Set Trio (Brian Walsh, Trevor Anderies, Colin Burgess) combine forces for a mind bending show of free improvisation and polished small chamber performances. Including a world premiere by Kurt Isaacson.

Program

Aperture Duo: Passage

Aperture Duo brings echoes of the Louisiana Bayou and the noise of nascent species to Tuesdays at Monk Space, with commissions by Noah Meites and Kurt Isaacson.

nascent species by Kurt Isaacson (2016), World Premiere

Water and Power by Noah Meites (2016)

Limun - Clara Ianotta (2011)

Walsh Set Trio: the Legend of Tiss

Legend of Tiss
Three
Cable Sloth
The Imp
Userman
The Madness of Hans Pedder Bonden
(All works by Brian Walsh)


An Interview with Aperture Duo

Passage includes a world premiere of nascent species by Kurt Isaacson, and you are premiering Noah Meites' Water and Power, a few days prior. Could you talk a little bit about the program and your thoughts on bringing these new works to life? How do they relate to Clara Iannotta's Limun? We named this concert Passage to highlight our program’s three very contrasting works. The Iannotta, Meites, and Isaacson are each a microcosm of a world, complete with their own distinct languages and sound vocabulary. Passage focuses on the transition between these three sound worlds, both for us as artists and for the audience. Part of the joy of working on this program has been sculpting the details of  each of these destinations.
Do you have any favorite pieces you’ve performed as an ensemble thus far, or any particular composers you gravitate towards, and why? We’ve loved working on so many pieces, it’s hard to choose favorites! As a duo, we both really enjoy sinking our teeth into challenges. Some of our favorite pieces have pushed us to digest new notation, learn new extended techniques (such as singing while playing) and push the limits of our instruments. We love working with composers who bring us into their creative process through workshops and experimentation.
What’s your favorite aspect of performing new music? It’s extremely satisfying to be a part of the creation of a piece and interpreting composers’ musical intentions. Hearing about the inspiration for a piece firsthand and communicating it to new audiences is incredibly fulfilling for us. We love talking to audiences after our shows to hear their perspectives; the responses are sometimes totally out of left field from what we expect! As a violin and viola duo, there is a limited amount of music already written for our ensemble and it’s exciting for us to expand the repertoire by commissioning new works. The possibilities are endless! The future is now!
What are your thoughts and goals towards reaching audiences? What do you hope to communicate? One of our goals as musicians is to challenge our own, as well as our audience’s, perception of beauty.  When we look at visual art, we are able to look away if we perceive something as ugly, negative, or jarring at first glance.  Often when we look again, our perceptions change. To keep our listeners engaged and perceptive to new sounds, we program contrasting concerts that let our audiences reflect on the similarities and differences between pieces, and ultimately form their own opinions.


An Interview with Brian Walsh

How does your experience as a composer affect your playing, and how has your experience performing The Legend of Tiss evolved over time? Being able to both compose and perform has deepened my love and respect for both disciplines. Being a composer aids in the structure of my improvisations, and informs my interpretations of other composers music. As with all the music the trio plays, we strive to find new paths through the compositions every time we perform them. The Legend of Tiss gets a little bit weirder every time we play it.
What inspired you to create your own ensemble? Improvisation is an integral part of my artistic life, so forming this ensemble came out of necessity. When the three of us first played together, we knew that we had a special bond. The trust and respect that comes with playing with the same musicians over a long period of time is truly irreplaceable.
What draws you to improvisation and jazz? I've been drawn to improvisation since I was a kid. It has always been the perfect way of expressing myself without worrying about making sense.
How does your ensemble find its place within the new music community, and what are your artistic goals within that community? We find ourselves straddling the creative music, new music, and straight ahead jazz communities. We strive to dump everything from those three communities into a pot and vigorously stir.
Are there any particular projects you’re itching to do in the future? We're hoping to record a new album this year. It will explore the dams of Northern Los Angeles.

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