Violist Anne Lanzilotti releases her debut solo album, focusing on the art of transcription, with repertoire by Caroline Shaw, Andrew Norman, Anna Thorvaldsdottir, and Lanzilotti herself. Featuring premiere recordings of the viola versions of all these works, "in manus tuas" is a celebration of the expressive and lyrical side of the contemporary viola repertoire by one of its most accomplished and active advocates.
|Anne Leilehua Lanzilotti, viola, Karl Larson, piano|
|01||i. with shifting change|
i. with shifting change
|02||ii. to be so tickled|
ii. to be so tickled
|03||iii. my tongue-tied muse|
iii. my tongue-tied muse
|04||iv. so far from variation|
iv. so far from variation
|05||v. confounded to decay|
v. confounded to decay
|06||in manus tuas|
in manus tuas
|Anne Leilehua Lanzilotti, viola||6:35|
|Anne Leilehua Lanzilotti, viola, Sarah Mullins, percussion||11:29|
|Anne Leilehua Lanzilotti, viola||7:53|
|09||Transitions (for solo viola, originally cello)|
Transitions (for solo viola, originally cello)
|Anne Leilehua Lanzilotti, viola||12:03|
Violist and composer Anne Leilehua Lanzilotti’s debut full length recording, “in manus tuas,” explores the art of transcription and its implications for contemporary repertoire. In the digital age, the distinction between transposition (available to us at the click of a button) and transcription becomes even more important, as the latter demands consideration not only of an accommodation to the literal register of the new instrument, but also of that instrument’s characteristic voice, and invariably, of the transcriber’s relationship to the instrument and the repertoire. On this lyrical recording, Lanzilotti presents the premiere recordings of the viola versions of several works originally written for violin or cello (and the premiere recording of her work outright), asserting the dynamism of the transcriber’s art.
Andrew Norman is well known for his comprehensive command over the extended technique language for strings and his implementation of that vocabulary in the service of expressive music that is full of character. In his Shakespeare inspired Sonnets (2011), the five movements explore a different composite texture between piano and viola in their evocation of fragments from the Bard’s poetry. The first features a mournful melody in the viola as Messiaen-esque chords accumulate energy in the keyboard. In the second movement, “to be so tickled,” ricochet articulations in the viola and coquettish arpeggios in the high register of the keyboard egg each other on in a rolling series of giggles. The halting, fragile articulation in the viola in “my tongue-tied muse” suggests the discomfort of communicating through resistance and difficulty — in Lanzilotti’s note she refers to this texture as the “stutter technique.” The piano plays sparse, hollow voicings as the viola struggles to assert a more full-throated voice. In “so far from variation,” pointed accents interrupt an ascending motive and consistently send it back to the first note of the phrase, frustrating its efforts at stringing together a longer line. The final movement, “confounded to decay,” opens with delicate harmonics in the viola that climb up the partials of the overtone series as the piano plays descending figures that reframe the music’s scalar context. The work ends with the piano alone, in an exploration of embedded melodic implication within the resonance of sustained chords.Read More
Originally for solo cello, Caroline Shaw’s in manus tuas was inspired by hearing a Thomas Tallis motet. Fragments of Tallis’ piece are heard in deconstructed form, though Shaw’s focus is less on a recomposition or manipulation of existing material than on an elongation of poignant expressive moments. After an expansive arpeggiation passage, Shaw’s work turns inward to close with strummed and plucked chords before two final bowed sighing gestures.
Lanzilotti’s Gray (2017) for viola and auxiliary percussion was originally written as a collaborative piece with dance, though the version heard here was recorded as a work for sound alone. In the original cross-discipline format, the pacing of the sections is determined by the dancers, acknowledging their unique physicality, and Lanzilotti preserves that spirit of variability in this audio performance.
Norman’s Sabina is inspired by the refraction of light as it comes through stained glass windows in a church. Drawing an analogy between white light and white noise (the former containing all the colors of the spectrum and the latter containing equal presence of all pitches), Norman tracks an evolution from darkness to illumination, as unfiltered sound emerges through a haze of harmonics. The work reaches ecstatic heights as the open strings and natural harmonics are allowed to ring freely, capturing the moment when the sun’s rays are seen directly through the prism of the glass. Eventually, Norman returns to the veiled sounds of the opening — the light is again hitting the window at an angle.
Icelandic composer Anna Thorvaldsdóttir’s Transitions was originally written for cellist Michael Nicolas. Transitions explores an expressive dichotomy between flexible “human” material and rigorous “mechanical” gestures. Airy bow sounds, percussive hits, shrouded double stops, skittering ponticello fragments, and singing melodic phrases alternate throughout the piece, establishing a multi-dimensional dialogue between the different characters of the performer’s persona.
Throughout this recording, Anne Leilehua Lanzilotti’s performances pinpoint the essential communicative elements of each piece. Beyond simply advocating for a new body of transcribed work for viola, “in manus tuas” also asserts core aesthetic values that are traditional to string writing even as they integrate experimental techniques.
– D. Lippel
Anne Leilehua Lanzilotti is a "leading composer-performer" (The New York Times) dedicated to the music of our time. In Fall 2019, Lanzilotti will begin her tenure as the new Curator of Music at The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute.
Lanzilotti has performed with contemporary music ensembles such as A Far Cry, Alarm Will Sound, International Contemporary Ensemble (ICE), Ensemble Échappé, and Ensemble Signal. As a recording artist, she has played on albums from Björk's Vulnicura Live and Joan Osborne's Love and Hate, to Dai Fujikura's Chance Monsoon and Ted Hearne's The Source. Lanzilotti’s current commissioning initiative, The 20/19 Project, includes new works by Anna Thorvaldsdottir, Andrew Norman, and Scott Wollschleger.
As a composer, Lanzilotti is interested in translating sounds from everyday life onto traditional instruments using nontraditional playing methods. Her compositions often deal with unique instrument-objects, such as her commissions from The Noguchi Museum involving sound sculptures or the Akari Light Sculpture installation, and collaborations with Nina C. Young and Senem Pirler. Lanzilotti has been featured as a composer-performer on Tulsa Living Arts OK Electric Festival, the Dots+Loops series and Sound School series in Australia, and a guest composer at Thailand International Composers Festival.
To reach new audiences and share contemporary music, Lanzilotti has published articles in Music & Literature and Neue Zeitschrift für Musik, and written program notes for London Symphony Orchestra. Lanzilotti's dissertation is an analysis of Andrew Norman’s The Companion Guide to Rome showing the influence of architecture and visual art on the work. As an extension of the research, she created Shaken Not Stuttered, a free online resource demonstrating extended techniques for strings.
A passionate teaching artist, Lanzilotti is viola and composition faculty at Point CounterPoint (Vermont) and Montecito International Music Festival (California). Previously she was on the faculty at New York University, University of Northern Colorado, and Casalmaggiore International Music Festival. Lanzilotti is a co-founder and Artistic Consultant for Kalikolehua — El Sistema Hawai‘i, a free orchestra program for underserved youth.
Dr. Lanzilotti studied at Oberlin Conservatory of Music, Yale School of Music, and Manhattan School of Music. In addition, Lanzilotti was an orchestral fellow in the Rundfunk-Sinfonieorchester Berlin and the New World Symphony. She participated in the Lucerne Festival Academy under Pierre Boulez, and was the original violist in the Lucerne Festival Alumni Ensemble. Her mentors include Hiroko Primrose, Peter Slowik, Jesse Levine, Martin Bresnick, Wilfried Strehle, Karen Ritscher, and Reiko Füting.
Andrew Norman (b. 1979) is a Los Angeles-based composer of orchestral, chamber, and vocal music.
Recently praised as “the leading American composer of his generation” by the Los Angeles Times, “one of the most gifted and respected composers of his generation” by the New York Times, and the “master of a uniquely dazzling and mercurial style” by the New Yorker, Andrew is fast becoming one of the most sought after voices in American classical music.
Andrew’s work draws on an eclectic mix of sounds and performance practices and is deeply influenced by his training as a pianist and violist as well as his lifelong love of architecture. Andrew is increasingly interested in story-telling in music, and specifically in the ways non-linear, narrative-scrambling techniques from movies and video games might intersect with traditional symphonic forms. His distinctive voice has been cited in the New York Times for its “daring juxtapositions and dazzling colors,” in the Boston Globe for its “staggering imagination,” and in the L.A. Times for its “audacious” spirit.
Andrew’s symphonic works have been performed by leading ensembles worldwide, including the Berlin, Los Angeles and New York Philharmonics, the Philadelphia and Minnesota Orchestras, the London, BBC, Saint Louis, Seattle, San Francisco, and Melbourne Symphonies, the Orpheus, Saint Paul, and Los Angeles Chamber Orchestras, the Tonhalle Orchester, the Royal Concertgebouw Orchestra, the Orchestre National de France, the Ensemble Intercontemporain, and many others. Andrew’s music has been championed by some of the classical music’s eminent conductors, including John Adams, Marin Alsop, Gustavo Dudamel, Simon Rattle, and David Robertson.
In recent seasons, Andrew’s chamber music has been featured at the Bang on a Can Marathon, the Chamber Music Society of Lincoln Center, the Wordless Music Series, the CONTACT! series, the Ojai Festival, the MATA Festival, the Tanglewood Festival of Contemporary Music, the Green Umbrella series, the Monday Evening Concerts, and the Aspen Music Festival. In May of 2010, the Berlin Philharmonic’s Scharoun Ensemble presented a portrait concert of Andrew’s music entitled “Melting Architecture.”
Andrew was recently named Musical America’s 2017 Composer of the Year. He is the recipient of the 2004 Jacob Druckman Prize, the 2005 ASCAP Nissim and Leo Kaplan Prizes, the 2006 Rome Prize, the 2009 Berlin Prize and a 2016 Guggenheim Fellowship. He joined the roster of Young Concert Artists as Composer in Residence in 2008 and held the title “Komponist für Heidelberg” for the 2010-2011 season. Andrew has served as Composer in Residence with the Boston Modern Orchestra Project, Opera Philadelphia, the Los Angeles Chamber Orchestra, and the Utah Symphony. Andrew’s 30-minute string trio The Companion Guide to Rome was named a finalist for the 2012 Pulitzer Prize in Music, and his large-scale orchestral work Play was named one of NPR’s top 50 albums of 2015, nominated for a 2016 Grammy in the Best Contemporary Classical Composition category, recently won the Grawemeyer Award for Music Composition, and was described in the New York Times as a “breathtaking masterpiece,” “a stunning achievement,” and “a revolution in music.” His most recent orchestral work, Sustain, was lauded as “a new American masterpiece” by the New Yorker, ”sublime” by the New York Times, and “a near out-of-body acoustic experience that sounds like, and feels like, the future we want” in the Los Angeles Times.
Andrew is a committed educator who enjoys helping people of all ages explore and create music. He has written pieces to be performed by and for the young, and has held educational residencies with various institutions across the country. He recently completed a children’s opera, A Trip to the Moon, that brings together professional musicians with amateur and untrained community members of all ages. Andrew joined the faculty of the USC Thornton School of Music in 2013, and he is thrilled to serve as the director of the L.A. Phil’s Composer Fellowship Program for high school composers.
Andrew recently finished two piano concertos, Suspend, for Emanual Ax, and Split, for Jeffrey Kahane, as well as a percussion concerto, Switch, for Colin Currie. Upcoming projects include collaborations with Jeremy Denk, Jennifer Koh, Johannes Moser, yMusic, Leila Josefowicz, and the San Francisco Symphony.
Andrew’s works are published by Schott Music.
Caroline Shaw is a New York-based musician—vocalist, violinist, composer, and producer—who performs in solo and collaborative projects. She was the youngest recipient of the Pulitzer Prize for Music in 2013 for Partita for 8 Voices, written for the Grammy-winning Roomful of Teeth, of which she is a member. Recent commissions include new works for Renée Fleming with Inon Barnatan, Dawn Upshaw with Sō Percussion and Gil Kalish, the Orchestra of St. Luke’s with John Lithgow, the Dover Quartet, TENET, The Crossing, the Mendelssohn Club of Philadelphia, the Calidore Quartet, Brooklyn Rider, the Baltimore Symphony, and Roomful of Teeth with A Far Cry. The 2018-19 season will see premieres by pianist Jonathan Biss with the Seattle Symphony, Anne Sofie von Otter with Philharmonia Baroque, the LA Philharmonic, and Juilliard 415. Caroline’s film scores include Erica Fae’s To Keep the Light and Josephine Decker’s Madeline’s Madeline as well as the upcoming short 8th Year of the Emergency by Maureen Towey. She has produced for Kanye West (The Life of Pablo; Ye) and Nas (NASIR), and has contributed to records by The National, and by Arcade Fire’s Richard Reed Parry. Once she got to sing in three part harmony with Sara Bareilles and Ben Folds at the Kennedy Center, and that was pretty much the bees’ knees and elbows. Caroline has studied at Rice, Yale, and Princeton, currently teaches at NYU, and is a Creative Associate at the Juilliard School. She has held residencies at Dumbarton Oaks, the Banff Centre, Music on Main, and the Vail Dance Festival. Caroline loves the color yellow, otters, Beethoven opus 74, Mozart opera, Kinhaven, the smell of rosemary, and the sound of a janky mandolin.
Anna Thorvaldsdóttir’s music is composed as much by sounds and nuances as by harmonies and lyrical material. It is written as an ecosystem of sounds and materials that are carried from one performer - or performers - to the next throughout the progress of a work. All materials continuously grow in and out of each other - as a performer plays a phrase, harmony, texture or lyrical line, it is being delivered to another performer as it transforms and develops, passed on to be carried through until it is passed on again to yet another. Anna’s music is often inspired in an important way by nature and its many qualities, and the qualities she tends to be inspired by are often structural, like proportion and flow, as well as relationships of balance between details within a larger structure, and how to move in perspective between the two - the details and the unity of the whole.
Anna’s music is frequently performed internationally, and has been featured at several major venues and music festivals such as Lincoln Center's Mostly Mozart Festival in NYC, the Composer Portraits Series at NYC's Miller Theatre, the Leading International Composers series at the Phillips Collection in Washington DC, Big Ears Festival, Spitalfields Music Festival, ISCM World Music Days, Nordic Music Days, Ultima Festival, Lucerne Summer Festival, Beijing Modern Music Festival, Reykjavik Arts Festival, Tectonics, and the Kennedy Center in Washington DC. Her works have been nominated and awarded on many occasions - most notably, Anna is the recipient of the prestigious Nordic Council Music Prize 2012 for her work Dreaming, the New York Philharmonic's Kravis Emerging Composer Award in 2015, and Lincoln Center’s 2018 Emerging Artist Award and 2018 Martin E. Segal Award.
Some of the orchestras and ensembles that have performed Anna's work include International Contemporary Ensemble (ICE), New York Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic, BBC Symphony Orchestra, London's Philharmonia Orchestra, San Francisco Symphony, Iceland Symphony Orchestra, Ensemble Intercontemporain, NDR Elbphilharmonie, Bang on a Can All-Stars, Yarn/Wire, The Crossing, the Bavarian Radio Choir, Münchener Kammerorchester, Los Angeles Percussion Quartet, Avanti Chamber Ensemble, Royal Stockholm Philharmonic, Vienna Radio Symphony Orchestra, BBC Scottish Symphony Orchestra, Helsinki Philharmonic, CAPUT Ensemble, Oslo Philharmonic, and Either/Or Ensemble. In April 2018, Esa-Pekka Salonen lead the New York Philharmonic in the premiere of Anna’s work Metacosmos, which was commissioned by the orchestra, and the work received its European premiere with the Berlin Philharmonic in January 2019, conducted by Alan Gilbert. Metacosmos will receive its UK premiere at the BBC Proms 2019. Anna is currently Composer-in-Residence with the Iceland Symphony Orchestra. In spring 2019, she is also Composer-in-Residence at the Royal Academy of Music in London.
Anna holds a PhD from the University of California in San Diego.