Tuesday Night New Music: Carroll, Li, Yu, Bettany, Wong, Chan, Lanning, Sang, Shimshoni, Ha, Clarke & Zhong

NEC: Jordan Hall | Directions

290 Huntington Ave.
Boston, MA
United States

The newest works from the next generation of composers.

Tuesday Night New Music is a student-run, faculty-supervised concert series directed by Brooks Clarke ’22 MM under the supervision of composition chair Michael Gandolfi.

Watch Livestream from Jordan Hall

  1. Marie Carroll | L’appel du vide (2022)

    Nikita Manin, clarinet
    Ben Eidson, saxophone
    Lemuel Marc, Kimberly Sabio, trumpet

    Caroline Jesalva, violin
    Julian Seney, viola
    Francesca Ter-Berg, cello
    Hannah Dunton, Leo Weisskoff, double bass
    Rihards Kolmanis, guitar

    Yoona Kim, ajaeng
    Marie Carroll, koto
    Anwei Wang, guzheng
    Nico Daglio Fine, Henry Wilson, percussion

    Emmett Mathison, piano
    Kaia Berman-Peters, accordion
    Chihiro Asano, Kaia Berman-Peters, voice

  2. Pengyi Li | Normalized (2021)

    Honor Hickman, flute
    Weiya He, erhu (live recording)                                               
    Xiaoqing Yu, violin
    Miruna Eynon, cello
    Diego Martinez, double bass
    Stratis Minakakis, conductor


    Program note

    How can several things with different ideologies coexist? In this work, I have given each instrument a specific "ideology".(each instrument has 3-4 independent sounds) They are independent and autonomous, yet they influence each other, creating a symbiotic relationship in a subtle way.(This shows the common sound that all instruments have, such as irregular glissando and distortion sound. Also, the commonality between each individual sounds.) At the beginning of the work, every part is divided into three camps according to its own "ideology", but then the three lineups sometimes have to work together in order to reach a certain goal, and finally they gradually unite and then move forward together, and finally each voice can "reunite”. In the end, the voices were "unified". During this process, the ideology itself was not affected in any way. The parties gradually found common interests (similarities between each other's materials) to develop together. I believe that this "Normalize" also is a necessity in this era .....                                                                   
    – Pengyi Li

  3. Qingyang Yu | Peace in the Clouds (2022)

    Haowen Wang, guitar


    Program note

    This is the first time I have tried to write for solo guitar. The piece is inspired by the suffering of the victims in Ukraine in this catastrophic month, March of 2022. The tempo of this piece changes very dramatically so as to reflect the different aspects of the catastrophe. The music begins with very heavy, slow motions, indicating the painful lives of the victims. Shortly thereafter, the music transfers to very extreme, intense textures, which represent the weapons, guns, and bombs going off everywhere. The music still includes lyrical and melodic parts, which is telling the audience that those victims are eager to seek for the peace that is now only happening in the clouds of their hometown, which is the exact name of the piece.  
    – Qingyang Yu

  4. Stellan Connelly Bettany | Piano Prelude No. 2 (2022)

    Mathew Lanning, piano

  5. Aaron Wong | Armeria (2022)

    Aaron Wong, piano, electronics


    Program note

    Armeria, for piano and electronics, is part of a larger collection of pieces each centered around a specific plant or flower. Also known as “thrift” or “lady’s cushion”, Armeria is a perennial that flowers in spring, producing small clusters of flowers in pink and white. The piece takes its form after this flowering process, from bulb to seed heads. Attention is given to the transitions from one state to the next, highlighted with changes in color, density, and harmony. The sound world is created entirely from piano and processed piano material.                                    
    – Aaron Wong

  6. Kei Wing Chan | 無聲— Silence (2022)

    Li Shan Tan, prepared harp
    Kei Wing Chan, live electronics     


    Program note

    Those people who died in the sound of gunfire.
    Those animals that disappeared in the sound of bullets.

    Those plants that were destroyed in the sound of fire. 

    They are not silent, they are just covered by sounds that hurt them.    
    – Kei Wing Chan

  7. Mathew Lanning | Dark City, setting for four cellos (2022)


    Asher Kalfus, Miruna Eynon, Jonah Kernis, Mathew Lanning, cello


    Program note

    I dreamt that I was traveling through the dark, vast wilderness of Alaska; deep in the dark pine forests of the panhandle was the city of Juneau, a dark, dimly-lit town surrounded by dark towering trees and starlight in the deep black sky. Something is off; the world is surreal around me. But then, the adventure continues to the riverside shoreline of Anchorage, where the thundering arctic waters roll down the valley next to the skyscrapers in the early morning.                                                
    – Mathew Lanning

  8. Frank Sang | The Great War of Archimedes (2019)

    Graham Lovely, French horn
    Matthew Mihalko, Justin Park, trumpet
    Elias Canales, trombone
    James Curto, tuba


    Program note

    This piece is based on a Japanese movie I watched. The movie is about a genius mathematician named Tadashi Kai who discovers discrepancies related to the estimated cost to build a battleship. He tries to uncover the conspiracy in the military. I found that my process in writing this piece was just like what Kai did in the movie. Like Archimedes, he figures out everything by calculations and formulas. Which is similar to what I did. I did a lot of calculations to figure out the harmony, intervals, polyphony, transpositions, and modulations. Also, the process of doing these calculations was exciting, intense, and intriguing. It feels just like a battle. There is, however, also a sense of peace in it.      
    – Frank Sang

  9. Tamir Shimshoni | “…and the walls came tumbling down.” (2022)

    Kimberly Sabio, Justin Park, trumpet                                              
    Hannah Messenger, French horn     
    Jason Sato, Changwon Park, bass trombone


    Program note

    The book of Joshua of the Old Testament tells the story of the fall of Jericho. The Hebrew people sent two spies into the city to gather information, and they hide from the local soldiers at the house of Rahab, a prostitute. In return for helping them, Rahab and her family are spared when the city is taken by the Hebrew forces, who destroy the city walls with the power of horn fanfares. When I was thinking about writing a piece for Brass Quintet, I recalled the powerful imagery of a brass fanfare so powerful it could topple stone walls. But this story is significant to me for another reason. When we weretaught this story in school, they told us that Rahab wasn't a prostitute, but a "food seller" (in Hebrew it... sort of makes sense). This blatant falsehood was the first time I realized that people in positions of authority can and do lie to you. 
            In this piece a process is created of transformation between one tuning system and another. It starts with a classic, traditional brass texture - monorhythmic fanfare,
    using an open, full sound, wide spacing, and standard equal temperament. Over the course of the composition, more and more "grit" is introduced into the sound in terms of both intonation and timbre, until by the end of it, the opening material is restated, now using just intonation.                                                                                   – Tamir Shimshoni

  10. Changjin Ha | Romance V (2022)

    Doyeon Kim, percussion


    Program note

    The Romance series is an endeavor to explore the ugly side of love: Romance I and II explore jealousy; III and IV tackle the struggles of a taboo relationship. Romance V and VI discuss a scene of infatuation, slowly building to obsession and finally culminating in violence. Mirroring this chaos, the pattern of melody followed by coined tam-tam becomes irregular, with igniting emotion. However, as with all consuming passion, it eventually reduces itself back to ashes. 
           The vibraphone melody refers to George Crumb’s Ancient Voices of Children, from the Notebook for Anna Magdalena Bach, titled “Bist du bei mir.”            
    – Changjin Ha

  11. Brooks Clarke | Corinthians 3:15 (2022)

    Natalie Boberg, violin
    Aiden Garrison, viola
    Mathew Lanning, cello
    Isabel Atkinson, double bass
    Zoe Cagan, flute
    Erica Smith, clarinet
    Kip Zimmerman, oboe
    Lemuel Marc, trumpet
    Weza Jamison-Neto, trombone
    Steven Needham, tuba
    Ross Hussong, percussion                
    Brooks Clarke, conductor


    Program note

    But if someone’s work is burned up, that one will suffer loss; the person will be saved,* but only as through fire.                                                       
    – Brooks Clarke

  12. Shiwen Zhong | Peaceful Lake (2022)

    Bo-Wen Chen, violin
    Jonah Kernis, cello
    Boyi Fa, piano


    Program note

    The peaceful lake at night is very nice and intriguing, which gives us a lot of imagination of different sceneries. When we observe different lakes at night, sometimes we can feel the color of watercolor painting, which will leave a lot of ethereal space; sometimes we can perceive some fierce scene, such as the unstable flowing lake and swinging trees. In general, this piece wants to show people the quiet scenery of the lake at night, giving us a lot of imagination of obscure colors...
    _ Shiwen Zhong