On Saturday January 16, as part of Villa Aurora's 20th year celebration, Tuesdays @ Monk Space presents an evening with LA's Varied Trio, who bring their eclectic sensibility and mix of instruments to this iconic space. The concert includes the premiere of a new work by Tristan Xavier Köster.
Double Ikat, Part Two (1989) — Paul Dresher (b 1951)
Three Movements for Violin and Vibraphone (2007) — Joseph Pereira (b 1974)
Tight Sweater Remix(2005/2009) — Marc Mellits (b 1966)
I. Exposed Zipper
II. Trans Fatty Acid’s Rein
III. Mechanically Separated Chicken Parts
Memory Fragments (Wir sind noch nicht zu spät) (2015) — Tristan Xavier Köster (b 1993)
~World Première, commissioned by Varied Trio~
An Infinite Moment (2007) — Donald Womack (b 1966)
Varied Trio (1987) — Lou Harrison (1917 – 2003)
II. Bowl Bells
IV. Rondeau in Honor of Fragonard
The title refers to a style of weaving common in South East Asia in which both the threads of the warp and weft are dyed to create the pattern or image. For me, the title thus relates to the interrelationships of the three instruments and to the title of the choreographic work from which it sprang. I wish to thank Brenda Way for creating much of the atmosphere which infuses the work; Lou Harrison for providing the inspiration to create my most blatantly lyrical work to date; and Willie, Julie, and David for working closely with me throughout the composition, rehearsal, and revision of the piece. The last section of Part Two of the work is an homage to North Indian sitarist Nikhil Banerjee, one of the finest musicians of this century, who died at far too early an age in 1986.
— Paul Dresher
Three Movements for Violin and Vibraphone
This piece takes its influence from Bach Violin Sonatas and Partitas, and more specifically, from the “implied harmonics” that lie within them. In these pieces Bach integrates a bass line and all the harmonies needed into a single line. This creates a sense of ambiguity and tension that I wanted to focus on, expanding it to the timbral qualities produced by both instruments. For example, the violin harmonics amplify the natural vibraphone overtones, which sound two octaves higher than the fundamental pitch. And the pizzed artificial harmonic notes on the violin have the percussive sound of the attacks on the vibes. The instruments work out their own implications simultaneously, pushing and pulling to create situations of identities. This piece was written with my good friend Michelle Kim’s playing in mind and was premiered in 2007, in Fort Lee, New Jersey.
— Joseph Pereira
Tight Sweater Remix
Tight Sweater Remix is a Piano and Marimba version of Tight Sweater, arranged for the Strike duo, which was originally written for Piano, Cello, and Marimba and was commissioned by Real Quiet and the Muzik 3 Foundation in 2005. Of the six original movements, three seemed to work quite well for Piano/Marimba duo. It is music that is tightly composed, with rapidly shifting patterns of notes and rhythms. The two instruments combine, mix, and "remix" in ways that present each one as half of a combined larger instrument. Linear melodic lines are formed from vertical sounding harmonies; funky bass lines can dictate harmonic textures while chordal sounds can inspire melodic writing occurring between the instruments.
— Marc Mellits
From that moment as a child when you first found a memory, the lifelong journey through memory began. We spend one part of our lives living in recollections, the other part making those for the future. Traveling back through our own time, though, is not simple. We are not indexed chronicles, but rather complied fragments of haphazardly chosen moments. Linearity is lost in favor of randomness. Specificity of time and place loses to generality, disintegrates until only feeling is remembered.
This piece progresses through remembrance of its own past, an attempt to make something coherent from the wayward thoughts, those we call upon, those we bury.
— Tristan Xavier Köster
An Infinite Moment
At its core, An Infinite Moment is about paradox. It is both simple and profound, transparent and mysterious. It is at once tinged with joy and sadness, and suggests both permanence and ephemerality. It breathes deeply, drawing in the air of ancient mountains, cool autumn days, the warmth of the sun, things that cannot last but will always be there. It is lyrical, soaring music that one should lose oneself in, if only briefly.
— Donald Womack
Begun in 1986 and completed Feb 4, 1987, the Varied Trio was first performed as a quintet with the composer and William Colvig joining the Abel-Steinberg-Winant Trio on February 28, 1987, in Hertz Hall, Berkeley, California. First performance of the trio version May 14, 1987 at Mills College.”
Recordings: “New Albion Records 015 and 036 (Abel-Steinberg-Winant Trio). Note: The Varied Trio was written for the performers featured on this recording, and the composer supervised this project.
About the Ensemble
Three of Los Angeles’s premiere chamber musicians — Yuri Inoo, Aron Kallay, and Shalini Vijayan — form the Varied Trio, a fearless chamber ensemble dedicated to the music of the here and now. Explorations in color, rhythm, and melody are born from the unique combination of violin, piano, and percussion. The trio’s repertoire ranges from icons of the genre, such as Lou Harrison’s Varied Trio, to new works created specifically for the group by the leading composers of today.
Varied Trio, formed in the Spring of 2014, has been performing actively in Southern California. In the first season, the trio has premiered a work by Karl Kohn, and commissioned a piece by Takuma Itoh. In the 2014-2015 season, the trio premiered a work by Dennis Aman and Jason Heath. Future works to be premiered by the trio will include works by Tristan Köster, Brian Shephard, and Bill Alves.
The trio has performed and given masterclasses at schools such as Occidental College, CalArts, Pierce College, Harvey Mudd College, and took part in the Hear Now Festival and Tuesdays@Monk Space concert series.
A native of Kanagawa, Japan, Yuri Inoo is musician and educator in the Los Angeles area. She has studied percussion under David Rosenthal at San Francisco State University, where she received her Bachelor of Music degree, graduating summa cum laude, and receiving the Most Outstanding Senior Award.
Yuri has received her Master of Music and Doctorate in Musical Arts degree in Percussion Performance at the University of Southern California, studying under Erik Forrester, minoring in Music Education, Instrumental Conducting, and Music Industry.
During the years at USC, she has performed and collaborated with artists such as Yo Yo Ma, John Williams, Steve Reich, Donald Crockett, Stephen Hartke, Morten Lauridsen, Paul Chihara, Evelyn Glennie, and members of NEXUS. An advocate for new music, she held the teaching assistant position for USC’s award-winning Contemporary Music Ensemble under the direction of Donald Crockett, where she performed Micro-Concerto written by Steven Mackey.
Yuri is currently the percussion instructor at Occidental College, University of Redlands, Idyllwild Arts Academy, the Principal Percussionist with the Redlands Symphony in Redlands, California, and an active freelancer with other regional orchestras and chamber ensembles in Southern California.
Grammy–nominated pianist Aron Kallay‘s playing has been called “exquisite…every sound sounded considered, alive, worthy of our wonder” (LA Times). “Perhaps Los Angeles’ most versatile keyboardist” (LaOpus), Aron has been praised as possessing “that special blend of intellect, emotion, and overt physicality that makes even the thorniest scores simply leap from the page into the listeners' laps” (KPFK). Aron’s performances often integrate technology, video, and alternate tunings; Fanfare magazine described him as “a multiple threat: a great pianist, brainy tech wizard, and visionary promoter of a new musical practice.”
Aron has performed throughout the United States and abroad and is a fixture on the Los Angeles new-music scene. He is the co-founder and board president of People Inside Electronics (PIE), a concert series dedicated to classical electroacoustic music, the managing director of MicroFest, Los Angeles’s annual festival of microtonal music, and the co-directer of the underground new music concert series Tuesdays@Monk Space. He is also the co-director of MicroFest Records, whose first release, John Cage: The Ten Thousand Things, was nominated for a Grammy award for Best Chamber Music Performance. Aron has upcoming recordings on MicroFest, Cold Blue, and Populist records. In addition to his solo work, Aron is currently a member of the Pierrot + percussion ensemble Brightwork newmusic, the Varied Trio, and the Ray-Kallay Duo. He is on the faculty of the University of Southern California and Chapman University.
Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times, is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and is Principal Second Violin of Kristjan Jarvi’s Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. A member of the New World Symphony in Miami Beach, Florida from 1998-2001, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. In Los Angeles, she is featured regularly with Grammy Award–winning Southwest Chamber Music and can be heard on their Grammy–nominated Complete Chamber Works of Carlos Chávez, Vol. 3 and the Encounters of William Kraft. Shalini was a member of the first violin section of the Pacific Symphony Orchestra for ten seasons and served as Principal Second Violin of the Opera Pacific Orchestra from 2003 to 2008. She has appeared on over a hundred film scores including The Incredibles, Ratatouille, Star Trek, Up, and Avatar, as well as on every season of the television show Lost.