OHAM: Samuel Adams Table of Contents

OHV 411 a-e

Samuel Adams

with Maura Valenti

Yale University – Center for Studies in Music Technology

June 8, 2010

TABLE OF CONTENTS

Side a

Defining self as “composer, instrumentalist, and occasional conductor” – born in San Francisco, grew up in Berkeley, CA – piano studies with Jean Ishimaru (Suzuki), Chip Brimhall, and Sharon Mann – ending classical piano studies because of an unsatisfactory performance in a competition – objection to “learning other peoples’ notes” – began playing jazz around Berkeley in high school – attending Crowden School (grades 5-8) – history of Crowden – beginning to play bass to meet Crowden’s string instrument requirement – studying classical bass with Michelle Burr – teaching himself to play jazz bass – Jazz School in Berkeley – intuitive nature of improvisation and composition – importance of structure – dual experience as composer and performer – “stylistic island hopping”: concert music, electronics, jazz, performing on bass and piano in various contexts – conducting – first conducting experience with Dresher Ensemble at Stanford – logistical reasons for conducting his own work – physicality of music performance – musical and artistic backgrounds of parents – family as a microcosm of the Bay Area musical community – alternative education at Crowden – Lick-Wilmerding High School in San Francisco – discovering affinity for working by hand – handwriting scores – playing and listening to jazz in high school – ambivalence about geographical identity as a composer/musician – wish for a more exciting new music scene in San Francisco – the Le Poisson Rouge performance space model –

Side b

Comparing San Francisco and New York new music scenes – Stanford University – studies with Mark Applebaum – presence of Brian Ferneyhough – intersection of composition and improvisation – Applebaum’s work: “Mouseketeer” sound sculpture, graphic notation – working in the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford – Disklavier and electronics project for Jean-Claude Risset – free-improvisation and trans-idiomatic improvisation and Stanford Improvisation Collective – performing John Zorn’s “Cobra” – limitations of free-improvisation – value  of creating new contexts to exist in – Wayne Shorter – Steve Lehman – having a personal voice vs. choosing a variety of influences – Odd Brand – role of improvisation in Piano Step – writing for Lisa Moore – influence of Applebaum and Ferneyhough on idea of physicality of performance – Aves Nostradamus – extended techniques – Lachenmann – percussion in Pare – hip-hop –

Side c

Working with electronics at Stanford – Gain – field recording – sonic environment of Japan – preference for electro-acoustic music – Paul Dresher – expressive potential of electronic music – electronic component of Gain as most expressive work – untitled choir/small ensemble/electronics piece – building the instrument to accompany it – working with text by Emerson – ambiguity and elusiveness of titles – personal and individual experience of listening to music – influences – John Adams – Thomas Adès, influence on Pare – Keith Jarrett, influence on improvisation – Salvatore Sciarrino – lesser influence of Brian Ferneyhough – form and expressivity in Sibelius – Ingram Marshall – Alcatraz as first remembered profound music experience – Martin Bresnick as teacher –

Side d

Sam playing the piano.

Side e

Reconsidering what “classical” music and composing means – Steven Vitiello – uniting diverse influences – El Sistema – colleagues: Adrian Knight and Chris Cerrone – defining success.  [recording ends after 10 second pause]