Knoxville, a city of just under 200,000 residents, was vibrant during this year’s Big Ears Festival. It is impossible to experience this festival without experiencing Knoxville itself. Wonderfully woven into Old City, downtown, and World’s Fair Park, Big Ears makes Knoxville feel like a quaint European city.
Big Ears is a festival focused on connecting pop, classical, and experimental music. The inaugural Big Ears took place in 2009 and featured composers such as Phillip Glass and Pauline Oliveros. This year’s festival honored Oliveros, who passed last November, by opening the festival with Nief-Norf performing the composer’s Single Stroke Meditation. Oliveros taught us to listen; she composed for “ear-minded people.” It was fitting to begin a festival with her practice of approaching the world with open ears. The Mill & Mine, a concert and event venue in the historic Old City, was filled with people of all ages trying to center themselves before four days of beautiful and confounding music, art, and film.
Big Ears offered an endless supply of entertainment, all in close proximity, letting you freely flow from one exhibition to the next. With international acts such as Colleen, Gavin Bryars, Anna Meredith, DakhaBrakha, Frode Haltli, Nils Økland, and Wu Fei, among many others, attendees would have been extremely hard pressed not to experience something completely new. Acts such as Wilco, Blonde Redhead, Tortoise, and Deerhoof brought more familiarity. Members of Wilco spread their influence to every corner of the city, performing solo and with collaborators.
We spoke with artists Cecile Schott (Colleen), Jamie Stewart (Xiu Xiu), Anna Meredith, Andrew Bliss and Kerry O’Brien of Nief-Norf, Wu Fei, Frode Haltli, and Melinda Lio. They provided insight to a plethora of differing music styles and approaches, and they remarked on Knoxville’s inspiring environment. One specific message remained the same to them: music is a free-flowing art form that can be composed from any background and in many styles.
Nief-Norf performed Michael Gordon’s “Timber” [an hour-long composition for six percussionists playing wooden simantras (2x4s)] in front of hundreds that packed in around their circle at the Mill & Mine. This was a wonderfully meditative piece that was also a measure of endurance for the performers.
There were so many fun and challenging performances during the festival it is hard to recount all of them. We will recap a few that really resonated with us. Wu Fei played her guzheng,an ancient Chinese instrument, in a packed in the gothic revival-style St. John’s Cathedral. The Chinese folk songs echoing around the room were foreign to a Tennessee Catholic church, but it did provide a religious-like experience that was also bright and thought-provoking. Plucking the guzheng, Fei’s demeanor was very intense. Each song was followed by a loud sigh that would signal the end. She was insightful and playful between songs, pausing between songs to make jokes or give the audience some education about the instrument. She revealed that this performance marked the first time she played two guzheng at once. One could never have guessed.
Anna Meredith, British composer, producer and performer, weaved electronic and acoustic sounds through up tempo dance songs that got the audience moving on the first night of the festival. As the last leg on her first U.S. tour, Anna Meredith brought energy and her fierce personality to the stage at Big Ears. Her band included a tuba, drums/percussion, guitar, and cellist – with Anna Meredith at the helm. If she wasn’t banging on a drum, whipping out her clarinet, or bringing the digital sounds, she was dancing – and so were we.
Being a fan of Twin Peaks and Xiu Xiu, this performance at Tennessee Theatre was on our list of must see events. Xiu Xiu’s performance was everything we had hoped for. It was eerie and dramatic, bringing you into their vision of Lynch’s cult television show. The performance ended with Shanya reading an entry from Laura Palmer’s diary wherein she curses Bob for everything and wishes for death. Right as she finished reading, Jamie stopped drumming and embodied Leland Palmer by singing Mairzy Doats while dancing mad and sporadically.
At the Square Room, Philip Jeck spun records and created a sometimes harsh but mostly calm listening experience. As we watched him meticulously shift the sounds we were fascinated while also being lulled into a trance.
Colleen performed both on Friday at the Mill & Mine and at The Standard on Sunday. The Standard offered a more intimate environment. She invited everyone to sit down and enjoy the performance. She picked her viola de gamba and carried us to another place with her voice, which was also looping in time. Her cover of “Pearl’s Dream” by Walter Schumann from James Agee’s Night of the Hunter was mesmerizing and thoughtful considering Agee is from Knoxville.
Kaitlyn Aurelia Smith performing Saturday at the Mill & Mine hypnotized the audience with the intriguing, analogue sounds of her Buchla synthesizer. A dark and roomy Mill & Mine buzzed with curiosity as the audience, enchanted by original, digital artwork swarming in vibrant colors behind her, danced and swayed to upbeat, yet thoughtful music. Her music entrenched in natural sounds, made you feel like you were outside in the woods dancing around a fire.
Michael Hurley performed both in the Tennessee Theatre and at the Standard. We saw Hurley at the Tennessee Theatre, which was decked out for Wilco’s performance later that evening. Hurley offered what only he can, stories of lonely but often whimsy folk that is familiar because his influence runs deep in early and modern folk and rock music. The large theatre environment left us longing to see him in a more intimate environment that The Standard might have offered, but the Pilot Light – a small dive close by – may have been an even more ideal space for Hurley to share his playful storytelling in song.
Numerous panels focusing on a variety of issues and topics that let curious audience members further entrench themselves. We attended one such panel discussing Pauline Oliveros’ life and works; presented by The Wire (UK) with Alvin Curran and Emily Manzo as speakers. Curran painted a vivid picture of Oliveros life, influence and inclusivity in her music-making. Curran highlighted her discontent with the status quo, a discontent that allowed her compositional “experiments” to open the ears and minds of her students and peers. Her ideas resonate so perfectly with what Big Ears accomplishes. Curran, thoughtfully reminiscing on Oliveros’ love of finding music in various sounds around us, asked the audience to “burst into spontaneous music-making.” Curran conducted a 30-second humming orchestra of attendees’ voices that was both beautiful and surprising to the audience. Concluding the panel we were allowed to participate with many others in a group meditation as well as Rock Piece by Pauline. With our fellow attendees, we made sound with the natural, local environment – with Tennessee rocks. Each rock contributed its unique note to the group’s music. The most resounding experience of the festival, this piece, composed by one of the utmost accomplished, and inspiring composers of our time, brought strangers together growing not only our ears but opening our minds to Oliveros’ world of sound-making.
The lineup was one of the most eclectic and interesting ones you’d find at any U.S. music festival, and like the rocks, each performer provided a unique experience that built upon the history, evolution and connectivity of modern music, new music, noise music, and pop music. Among the festival attendees, volunteers, guests, and artists, everyone was open to new sounds and ideas. After the final performance of the festival (Xiu Xiu at the Mill & Mine), Cecile (Colleen) wandered up toward the stage and asked how Shanya was producing those sounds. It is this curiosity and intrigue that makes Big Ears Festival such a unique experience.
Welcome to Sonosphere the podcast that explores the sounds all around us; in art and music movements through history.
This is part 5 of our Birth of Modern Music Series on European composers of the early 20th century from the atonal compositions of Austria’s Schoenberg to the realization of total serialism of Olivier Messiaen we continue our coverage with German composer Karlheinz Stockhausen and the evolution of electronic music. This episode we’ll hear from Stockhausen scholar Joe Drew; thanks to Ben Siler as the voice of Stockhausen.
Stockhausen tracks in order:
Gesang Der Junglinge
Aus Den Seiben
Gesang Der Junglinge
WWII wreaked havoc in the world, as Schoenberg was fleeing Germany, young soldiers in Italy, Greece, Germany and Great Britain were fighting on all fronts – a few of these soldiers would become the leaders of the musical scene after WWII and they were stained by the tragedies they witnessed in this war, one of which was Karlheinz Stockhausen.
Hardly anyone had a lasting impact on electronic music as did Stockhausen.
This month’s podcast episode features Karlheinz Stockhausen – check out this playlist featuring his work.
Welcome back to Sonosphere’s Birth of Modern Music series featuring modern European, classical composers that inspired the experimental, avant garde art and music scenes of the 50s, 60s and resonate in music composition today.
In the first episode of the series we highlighted Arnold Schoenberg whose atonal works ushered in a new school of composers. Then we moved to Erik Satie whose Vexations and other “sonic experiments” influenced his peers and John Cage who discovered the piece years later. After that we covered Edgard Varese, a peculiar composer who sculpted sounds in a way never accomplished previously. Today we will delve into the life and works of Olivier Messiaen.
Messiaen escaped the world of composition’s shift to serialism through religion, nature, and birdsong, but he had a profound influence on the evolution of electronic music composition through composers like Karlheinz Stockhausen, Pierre Boulez, and Xenakis.
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Thanks for listening!
Songs in this month’s episode:
- Des Canyons Aux Etoiles I: Le Desert
- Des Canyons Aux Etoiles II: Les Orioles
- Preludes: La Colombe (The Dove)
- Quartet for the End of Time
- Turangalila – Symphonie
- Mode de valeurs et d’intensites
- Meditations sur le mystere de la Sainte Trinite
photo: Catalogue d’Oiseaux: styriarte.com
This month’s episode highlights French composer, Olivier Messiaen.
Messiaen famously thought birds to be the “greatest musicians existing on our planet.” From a Nazi concentration camp, to the halls of the Sainte Trinité church in Paris, Messiaen’s compositions influenced by birdsong, the Catholic religion, and modern atonal music alike, set him apart as one of history’s greatest modern composers.
Ahead of this month’s episode we have prepared for you a playlist of Messiaen’s compositions. Check it out!
The ultimate “underground” modernist artist in Paris, Satie didn’t get a lot of credit when he was alive for his work. He was largely forgotten until John Cage found his Vexations composition fifty years after his death.
His music “did not resolve as it should according to tonal laws” says our guest Dr. Caroline Potter. She talks with us about how Satie broke from Parisian tradition and led an avant-garde scene which influenced ambient and minimalist artists for years to come.
Join us as we traverse the eccentric life and work of Erik Satie.