Zosha Di Castri: Tachitipo

, composer

About

Canadian composer Zosha Di Castri releases this stellar collection of music for various instrumentations, featuring the JACK Quartet, pianist Julia Den Boer, Yarn/Wire, the International Contemporary Ensemble, Talea Ensemble, and the vocal ensemble Ekmeles. Her compositions are an expression of searching artistry, mapping explorations into the nature of experience onto musical parameters, including tightly structured forms, a rich timbral/textural language, and nuanced text setting.

Audio

Composer Zosha Di Castri’s debut album “Tachitipo” features several of her eclectic chamber and solo works, both acoustic and electro-acoustic, written between 2010 to the present, and in performances by top-notch ensembles and artists (mostly New York-based) who have long-standing collaborative relationships with the composer.

Di Castri’s music reflects her restless intellect, and her compositional process is often expressed in terms of working through an abstract extra-musical idea through sound. These sound-thought experiments extend to her compositional methods themselves, often birthing and developing her music in close collaboration with her performer colleagues, as is the case with many of the works on this recording. “Tachitipo” also features a unique collaboration with one of the top recording engineer-producers for classical music, Martha de Francisco, and the internationally recognized conductor, Lorraine Vaillancourt, founder and musical director of the Nouvel Ensemble Moderne in Montreal.

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The opening track on the recording, The Animal After Whom Other Animals Are Named, was written for the vocal ensemble Ekmeles and explores aging, both as a function of the voice but also in a more general sense. Using a wide range of vocal techniques that alternately focus on timbral idiosyncrasies and theatrical possibilities, Di Castri creates unusual textures that are in constant flux. Text fragments are looped and layered, sometimes featuring the sonic qualities of the words as divorced from their content and sometimes highlighting their semantic meaning in a more direct fashion.

Throughout Cortège, an ensemble work written for thirteen players, we hear Di Castri returning ominously to a haunting sonority that serves as a pivot to all of the other material in the piece. Of the work, she writes, “composed in a block-like manner, contrasting textures are juxtaposed in a rich sonic patchwork.”

Of all the works on this recording, Quartet No. 1 is the least programmatic in the sense that it is not a manifestation of an extra-musical concept realized in sound. Grounded in a compositional process that involved experimenting with sound files in an audio editing software, Di Castri has created a tactile, highly detailed library of string quartet sounds that are fresh and unique to this piece. The work toggles between these meticulous textures and moments of ethereal suspension. The quick shifts between contrasting materials create a rich landscape as the moments in the piece unfold and also trigger the listener’s recollection of material that has receded and later reasserted itself.

Describing Dux, Di Castri writes, “using falling cyclical canons that grow in complexity, and energetic outbursts from the extremes of the instrument, this piece can be read as an abstract reflection on the political climate in the U.S., the year it was written (2017).” Disjunct, mechanistic phrases combining glissandi, dense chordal sound masses, and wide registral leaps give the piece a vigorous physicality. Underlying the surface energy is a metaphor between the “leader” (dux) and “follower” (comes) in a traditional canon and the blind allegiance we witness in populations eager to step in line behind an autocrat.

La forma dello spazio for flute, clarinet, piano, violin, and cello, is inspired by the mobile sculptures of Alexander Calder and Lee Bontecou. Di Castri writes, “I wanted to create a composition in which musical gestures appear to be fairly static, yet are permitted a certain flexibility. Alluding to the idea of mobiles, La forma dello spazio has the musicians spatialized around the room.”

The title piece, for the two-pianist, two-percussionist quartet Yarn/Wire, is a “reflection on writing and the machines we use to execute our ideas.” Di Castri turns to the vintage manual typewriter as her inspiration for building a vocabulary of sounds. Tachitipo alternates between quasi-improvisatory textures featuring microtonal washes of pitch to tightly controlled, rhythmic ensemble mechanisms. At twenty four minutes, it is a monumental piece spun out of a meditation on work that progresses incrementally, one key stroke at a time.

– D. Lippel

how many bodies have we to pass through, a work composed collaboratively by Di Castri and percussionist Diego Espinosa Cruz, can be heard in Cruz' performance as a bonus video track -

  • Producer: Martha de Francisco
  • Tracks 1, 2, 4–6 recorded at Oktaven Audio, Mt. Vernon, NY, May 2018
  • Track 3 produced and recorded using the facilities of Program Production at Banff Centre, Banff, Alberta, July 2018
  • Recording engineers: Ryan Streber (tracks 2, 6); Charles Mueller (tracks 1, 4, 5); James Clemens-Seely (track 3)
  • Assistant engineers: Kseniya Degtyareva, Lilita Dunska (track 3)
  • Bonus video track recorded at The Columbia Institute for Ideas and Imagination, Reid Hall, Paris, February 2019
  • Videography and recording engineer: David Adamcyk; camera operator: Antonia Fritche
  • Editing and mixing: at the Schulich School of Music at McGill University and CIRMMT
  • Editing and Mixing Engineers: David Adamcyk (Tracks 6,7), John Castillo (Tracks 1, 2, 4, 5), Kseniya Degtyareva (Track 3, 4), Zosha Di Castri (Track 6), and Haruka Nagata (Tracks 2, 4, 5)
  • All tracks mastered by James Clemens-Seely, July 2019
  • Album Artwork Design, Layout and Printing by Kiva Stimac, Popolo Press (Montreal, Canada)

Zosha Di Castri

Zosha Di Castri is a Canadian composer/pianist/sound artist living in New York. Her work, which has been performed internationally, extends beyond purely concert music including projects with electronics, installations, and collaborations with video and dance. She has worked with such ensembles as the BBC Symphony, San Francisco Symphony, Montreal Symphony Orchestra, the National Arts Centre Orchestra, the L.A. Philharmonic, the Chicago Symphony Orchestra, the New York Philharmonic, the NEM, Ensemble Cairn, and the groups included on this album among others. Zosha is currently the Francis Goelet Assistant Professor of Music at Columbia University and was a fellow at the Institute for Ideas and Imagination in Paris during 2018–19, while working on this recording project.

http://www.zoshadicastri.com
14 Nov, 2019

Zosha Di Castri: Tachitipo Release Event

Composer Zosha Di Castri celebrates the release of her debut recording Tachitipo with a release event at Tenri Cultural Institute on Sunday November 17th at 6pm. The event will feature performances by pianist Julia Den Boer and percussionist Diego Espinoza. Tachitipo includes performances by the International Contemporary Ensemble, Talea Ensemble, Yarn/Wire, Julia Den Boer, and the JACK …

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Reviews

The New Yorker: Notable Recordings of 2019

Included on Alex Ross' list of Notable Recordings of 2019

AnEarful: Best of 2019

Color. Texture. Emotion. Craft. All those virtues are fully on display on this stunning portrait debut from Di Castri, a Canadian composer with whom I was completely unfamiliar. If you’re in the same boat, paddle over and climb aboard a luxury liner packed with talent. In the engine room are Di Castri’s compositions, which demonstrate an astonishing facility with a variety of forces, from vocal group to string quartet, and from solo piano to chamber ensemble. Then, you have the staterooms, appointed with such luminaries as Ekmeles, Talea Ensemble, JACK Quartet, Julia Den Boer, International Contemporary Ensemble (ICE), and Yarn/Wire, each one performing at the top of their game. That’s no mean feat when you consider something like the opening track, The Animal After Whom All Other Animals Are Named (2013), which has Ekmeles dishing out all manner of vocal effects while engaging in a fractured duet with glitched-out electronics. It’s a gauntlet thrown and one ably picked up by Cortège, which has Lorraine Vaillancourt through a dark funhouse of tension, release, and smart orchestration.

String Quartet No. 1 (2016) is like raw steak tossed into the JACK’s cage: they attack the score with gusto and make quite a meal for all of us. While deeply connected to the tradition, Di Castri also approaches it with a disarming freshness. May it be played often by string quartets everywhere. Dux (2017) also gives Den Boer a lot to chew on, whether it’s the keyboard spanning runs or techniques seemingly derived from Cage and Nancarrow. Unlike those two masters, however, Di Castri seems to be leading with her heart more than her head. La Forma Dello Spazio (2010), performed by ICE, is next, all flashing swords and lances, like knights on skittish horses. The percussion part adds atmosphere and the inventiveness continues to the very last note.

Yarn/Wire, a quartet of two pianos and two percussionists, now have, in the title track (2016) a new piece that should long find a place in their repertoire. Named after a brand of typewriter, it’s a showpiece for both players and composer, full of wit, charm, and moments of limpid beauty. And if all of this variety has you wondering if there's is anything she can't do, witness Diego Espinosa Cruz Gonzalez performing how many bodies have we to pass through, a deep exploration of percussive possibilities. The name Zosha Di Castri is memorable all on its own, but this knockout album guarantees it will be on the lips of anyone who loves new music. Shell out for the CD - it comes in a letterpress package by Kiva Stimac that is the ideal visual and tactile companion to the sounds within. Dare I say it's the perfect stocking stuffer?

-Jeremy Shatan, 11.30.19, AnEarful

Sequenza21: Schell's Picks for 2019

A Canadian composer based in New York who, as befits her professed “restless” personality, is fond of sudden stylistic juxtapositions in the mold of Zappa and Zorn (and Europeans like Neuwirth and Goebbels). Like the best of them, Di Castri can pull this off without sounding disjointed

-Michael Schell, 12.31.19, Sequenza21

Avant Music News

Tachitipo, a set of five works composed between 2010 and 2017, is the first monograph recording from composer Zosha Di Castri. Originally from Calgary, Alberta in Canada and now resident in New York, where she is on the faculty of Columbia University, Di Castri began composing through the Edmonton, Alberta Symphony Orchestra’s Young Composers program and went onto double major in composition and performance. Di Castri is a pianist as well as a composer, and sometimes will use improvisation as a way of forming compositional ideas.

The pieces on Tachitipo demonstrate Di Castri’s versatility in composing for different instrumental groupings; included are works for chamber ensembles and small orchestra, a string quartet, a solo piano work and a piece for voice and electronics. The pieces for orchestra and mixed chamber ensembles show Di Castri’s aptitude for handling contrasts and similarities of instrumental compass and color. In a recent interview, she named Debussy as an early influence; the importance of timbral relationships in her music would seem to bear out the continuing importance of his example.

Cortège, composed in 2010 for the Acanthes Festival in Metz, France, is scored for thirteen piece orchestra. The piece, played here by the Talea Ensemble, is study of contrasts: dark and bright, light and heavy, as muffled drums are played off against the voices of flute and clarinet, and the mood alternates between a compressed, nervous energy and a melancholy languor. La forma dello spazio, also from 2010, is a quintet for flute, clarinet, piano, violin, and cello, commissioned by the Banff Center and realized here by members of the fine International Contemporary Ensemble. The piece was inspired by mobile sculptures and does seem to capture something of their motion: skittering violin and piano and rising and falling undulations on clarinet provide movement over the undertow, sometimes explicit and sometimes implicit, of suspended tones. The writing features nice timbral fusions of violin, clarinet, and piano in the upper registers.

Di Castri’s String Quartet No. 1, composed in 2016, was first played by the ten finalists in the Banff Centre’s International String Quartet Competition for that year. The piece, energetically played on this recording by the JACK Quartet, opens with a discordant flourish and rides a series of surges and retreats—of dynamics, of swift and slow glissandi, of unsettling harmonics. A subtle rhythmic coherence runs throughout and binds together this otherwise episodic work.

Other pieces included on Tachitipo are the mechanical typewriter-inspired, long title track of 2016 for two pianos and two percussionists, played by the incomparable Yarn/Wire; 2017’s Dux, a solo piano piece performed by Julia Den Boer; and the vocal and electronics work The Animal After Whom Other Animals Are Named (2013), a commission from the Canada Council for the Arts performed here by Ekmeles.

-Daniel Barbiero, 12.9.19, Avant Music News

New York Music Daily

Zosha Di Castri is one of the most fascinating and distinctive composers to emerge from the New York indie classical demimonde in the last decade or so. She loves contrasts, paradoxes and disquieting timbres, and doesn’t shy away from darkness or social relevance. She also has a refreshing sense of humor and a healthy distrust of technology. She and a series of ensembles are playing the album release show for her brilliantly thematic new one, Tachitipo (streaming at Bandcamp and named after an 19th century typewriter) at the Tenri Institute this evening, Nov 17 at 6 PM. Cover is $15/$10 stud/srs and includes a copy of the album.

It opens on a creepy note with The Animal After Whom Other Animals Are Named, a creepy choral setting of a Nicole Sealey text sung by the ensemble Ekmeles in haunted-house counterpoint balanced by ghostly resonance. Imagine Pauline Oliveros at her most allusively disturbing.”Tell me I am not the point at which all light converges…blistering wood on the pyre,” one of the guys in the choir coldly intones.

Likewise, Cortège – a processional for chamber orchestra – juxtaposes frantic, Bernard Herrmann-esque terror with steadier motives and suspenseful atmospherics, drawing on the ancient Roman wartime siege narrative that inspired Leonard Cohen’s song Alexandra Lost. It’s a stunning, troubled piece: the whole procession lurches on, as if they have recovered.

The JACK Quartet blister and bluster through Di Castri’s String Quartet No. 1, fleeting moments of poignancy often subsumed by what the composer calls “squeaky insectile chatter, zips, squeals, ricochets, and lightning-speed hocketing glissandi.” It calls for ridiculous extended technique: the quartet dig in and make strange magic out of it, all the way to a welcome, calmly horizontal interlude before the frenzy returns.

Pianist Julia Den Boer plays Dux (latin for “leader”), a cynical diptych reflecting “polarizing juxtapositions” in the wake of the fateful 2016 Presidential election. Much of it is update on an old Rachmaninoff trope, crushing lefthand stomping the life out of any hope offered by the right (politically, the reverse would apply). As with the previous two numbers, calm when it occurs is only momentary, Den Boer returning to breathlessly shifts between frantic scampering and cold crush.

Lorraine Vaillancourt conducts a quintet of flutist Emi Ferguson, clarinetist Joshua Rubin, pianist Cory Smythe, violinist Joshua Modney and cellist Mosa Tsay in La Forma Dello Spazio. Inspired by Bontecou and Calder mobiles, it begins as a coyly amusing study in keening, sustained/fleeting contrasts enabled by extended technique but winds up as an icily starry deep-space tableau.

Piano/percussion quartet Yarn/Wire play the album’s title track, which seeks to reclaim the heritage of the typewriter from its role in keeping an emergent pink-collar class in their place. Di Castri also touches on how technology ostensibly meant to empower us often has the opposite effect. “I believe we create art in the hopes of transcending the everyday, to connect with others, to reach towards moments of opening, clarity or understanding, and yet the tools we’ve invented to facilitate this pursuit can result in isolating us even further, curling the body back in, onto itself,” she explains. The rest of her extensive album liner notes have a similarly rare eloquence.

The piece itself comes across as a sardonic mashup of mechanical Louis Andriessen-style satire, lingering, gamelanesque noir set piece and irresistibly sly sonic cartoon. As its emerging vistas grow more desolate, the effect packs a wallop. Look for this on the best albums of 2019 page at the end of the decade. We don’t have far to go.

-Delarue, 11.17.19, New York Music Daily

AllMusic

This is the debut album of music featuring composer Zosha Di Castri, performed by various chamber musicians from the New York area. The pieces are diverse in several respects -- they are electric or acoustic, programmatic or abstract -- but they suggest a composer with a distinctive style. All were composed between 2010 and 2016. The Quartet No. 1 for string quartet was commissioned for the Banff International String Quartet Competition, and it poses considerable challenges for the players, both individually as a group. All of the music has a virtuoso aspect, splendidly realized by the performers here, and the virtuosity is often deployed to create a rather aggressive atmosphere. This may be contrasted with quieter elements, as in Dux for solo piano, where an "often bombastic, unpredictable, powerful, scattered" leader (or "dux") line is sharply opposed to its follower line. Especially evocative is the title track, whose name refers to an 1823 Italian typewriter model. The work is not so much about suggesting a typewriter as "a reflection on writing and the machines we use to execute our ideas." Di Castri notes that many of the early "typewriters" (the term referred to both the machine and the user) were women, and there are other feminist aspects in the music and its production. A sometimes difficult but always direct and appealing debut.

-AllMusic, 12.23.19

Midwest Record

Di Castri sends out art chick alert vibes right from the start on this set that's devoted to sound and texture more so than to mere music to make its point. So arty it could give David Byrne lessons on how to make music via art school, this takes up where most left leaning eggheads leave off.

-Chris Spector, 11.14.19, Midwest Record

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