Donnacha Dennehy: Composing With Frequency

[Music] Listener supported WNYC Studios. [Music] This is Meet the Composer. [Music] The first time I encountered the music of Donica Denihi, I was sight reading the viola part of a new theater piece about Ireland's great famine, called The Hunger. I had a bunch of music to learn for that session, and a cursory glance at my part was shown a long string of repeating eighth notes that seemed pretty simple. So the first rehearsal comes, the conductor gives a downbeat and wham. My part starts whizzing by at a blister in pace. Crazy to reach string harmonics around every turn, and the meter is in constant flux. I learned a couple things that day. Number one, this composer not only writes rad music, his scores are so well written and so clear that they look deceptively simple. And number two, I really need to start preparing more thoroughly for first rehearsals. [Music] From New York Public Radio's Q2 Music, this is Meet the Composer. The show that takes a deep look into the minds of contemporary classical composers. Today on our show, Composer Donica Denihi. I'm Donica Denihi. Donica has been praised by the wire for inhabiting a sound world all his own. He's received commissions from basically a laundry list of amazing people, including Don Upshaw, Icebreaker, the percussion group of the Hague, the San Francisco contemporary music players, Cronos Cortet, among many many others. Today on the program we're tracing the evolution of Donica's music. From his childhood, recording 25-minute long recorder sonatas into a tape recorder, through the epic work we're hearing a bit of right now, Gra August Boss. [Music] Donica's music has a way of combining the physics of resonance with a keen sense of poetry, and recombining old instruments in creative, surprising ways. A little while back, Donica joined us in the Q2 Music studio to talk to us about how he got his start. [Music] Donica, thank you for joining us in the studio today. Thank you Nadia. So where did this obsession with music and resonance and sound come from? What was your childhood like? How did you first become interested in music? I would say to mine is not the standard childhood for someone who's involved in so-called classical music. In that my parents were not musicians at all. In fact, they hate me saying this was true. We didn't have a record player in the house. We'd radio, so it's not like we had no technology in TV. So I became interested in music. I started at school, teen whistle and recorder and things like that. And really came up with this very, very fast. They bought a record player. It was very exciting, piano or whatever. He was a writer, radio player. That inspired me to instantly start composing. So I was 9 really, so it's quite late. So I would write these 25 minute recorders. I wish you had a recording of this 25 minute record. I do. Yes, they're on cassettes at home. I used to play them into a cassette player and then transcribe them. And so I wrote a whole load of compositions started instantly. And so I started then the flute and then taking composition classes with this guy, a wild character called William York. He was from England and he had set up the Dublin's in Fonia. And then I think there had been some scandal about how it was organized. He had to leave the country in the hurry. But that was an awful loss to me because he was so inspiring. He used to love my lessons with him. And he'd introduced me to stockas and everything. So I went to see stockas and when I was 10, it was a massive education. So I mean my tastes were fairly clear almost early on because I liked the energy of stuff like the brand number and concert as well. And then Irish traditional music as well, which I used to play. And I certainly never stopped. I mean I kind of thought I was going to be a composer from after two weeks of music lessons. And I never really veered from that career path. I never had much doubts. It's kind of weird. So for me, one of the real hallmarks of your music is your use of the harmonic series. Do you think you could explain a little bit about what the harmonic series is? Wow, that's a tall order. Thank you. Yeah. If you think of any sound that we hear, let's say an A that the orchestra tunes to A440. Let's say you play that A on a piano. So let's say it's a piano concerto. So they have to tune to the piano. That A isn't just that pitch. What 440 means is that it vibrates at 440 times per second. That actually produces the A sound. And we can have a computer make that perfect sine wave 440. Absolutely. Which is the most pure version of a pitch. Exactly. Yeah. Whereas when you play it on a piano or a clarinet or a noble, you're getting all these overtones as well. In fact, that's what defines the timbre. So you get all these upper overtones that are produced. And they, as it were, give that A its particular type of sound. Every naturally occurring sound that you hear as a pitch has higher overtones. And so you can actually analyze this these days since computers. And that's what the spectral composers did. They analyzed individual notes like an A and a trombone or an E or whatever. And looked at the way that spectrum developed and then orchestrated us. The spectrum of those overtones. What sort of drew you to the harmonic series and to that style of writing? Yeah. I have been interested in the harmonic series for a while. When I was a grad student at the University of Illinois, I remember this presentation given by this musical just called "Leve Copleacov" on new trends in European music, whatever. And he played this piece by Gerard Grise called "Modulacium". I thought, "Wow! I haven't heard anything like this. This really knocked me." And so from that moment on I became really interested in what could be done musically using the overtones series. And also became really interested in people like Lamont Young. And the stuff committed to that was really amazing. And that was really amazing. And so from that moment on I became really interested in what could be done musically using the overtones series. And the stuff committed to the American experimental tradition James Tenney, what he was doing with the overtones series. And it just seemed to make real sense for me in terms of being able to create these amazing pitch-tomber combinations. This is pianist Lisa Moore performing Donica's "Stainless Staining" for piano and electronics. A piece that uses this spectralish concept of orchestrating overtones in combination with this relentless, almost reckless energy. This is almost in a way exactly what we're talking about, a kind of a rhythmic use of material that's derived from the overtones series. So you have this piano which is playing an equal temperament, although often choosing notes that are within let's say a spectrum of overtones. And then accompanied by all these detuned pianos on soundtrack. And it's helpful leather really. It doesn't relate to this piece. When you say detuned pianos, how are they tuned differently? In a way, detuned is maybe a bit of a misnomer they're reaching, so that they all produce pitches within a massive overtones series based on a G#. And that G# actually doesn't even exist in the piano because it's lower. I imagine a G# was quite lower, so I can get a hundred overtones. I have seven pianos on tape which are re-tuned to give all these notes to any overtones series against Lisa Piano. [Music] (upbeat music) - The timbers you get by mixing live piano with these retune pianos are just so, so effective. It seems like you're pretty comfortable manipulating electronics or using that as a tool in your music. - Yeah, yeah. I mean, in a way, while I started off as an acoustic composer, but then I did a lot about electronic music when I was a grad student in Illinois, and then in the early days of crash, a lot of the pieces were involving electronics and instruments and video electronic instruments. - Let's turn to a piece that you wrote, which actually doesn't incorporate any electronics at all. However, when I listen to it, that's actually kind of a surprise. In other words, the sonorities that you're creating in this, but it's essentially a really old form, which is the piano trio. - Yeah. - Sound completely modern and totally fuzzed with. (upbeat music) - The piece I'm talking about is bulb. How did you write this piece? Or what is the electronic sounding element that I'm hearing? - Yeah, no, you're absolutely right. I mean, sometimes when I hear this live, I keep on getting shocked even though it's my piece. I go, where's the electronic transformation or is that being amplified now? And it's not. It's the way the overtones interact with each other in this world. And I actually think, I did deliberately set out to write a piano trio that was almost like a wall of sound, piano trio, because the idea of a piano trio, you think it is quite nice music where the melody is exchanged between the cello and the violin and then the piano shouldn't dominate too much. And nice someday tea with cucumber sandwiches. And I mean, not that there are great masterpieces of the piano trio. And cucumber sandwiches are delicious. They are really delicious, yeah. Do you cook the crusts? Of course. (laughing) How else would you have a cucumber sandwich? Well, the Irish, not English, so we wouldn't, we would leave the crusts on. No, you can have high tea at the shellburn where you don't cut the crusts, actually. But low tea sort of has the crusts. Low tea has the crusts. So anyway, with, I mean, you've hit on something that's kind of important to me. I often think of Ligatee's atmospheres. It's a really important piece because that started off as a piece that he was writing in the studios in Cologne. And he found that the technology was too cumbersome to realize it. So he realized it using an orchestra. And electronic sound had influenced the way he approached writing for the orchestra. And that's definitely the case of me. I love that because especially sort of in my childhood, when we were talking about electronic music, it was often electronics trying to imitate, poorly sort of, trying to imitate acoustic instruments. So you had kind of early general MIDI sound tracks with fake trumpets and whatnot. And everyone was like, "That's so powerful." So I love this approach, which you're saying, Ligatee took and you as well, where you're inspired by things that can be, or were first achieved electronically, to write basically in a new idiom for these very, very old instruments. Yeah, I mean, I think it makes sense that as a composer, you should try as much as you possibly can and being true to yourself to try and create something new in some sort of way. And that sounds very grand, but I think it's a noble enough intention. (upbeat music) Stuff that I do, I often think of my pieces for instruments and re-tuned instruments as being also kind of pieces in themselves and also a-tudes for my thinking about how I would write just normal acoustic music. (upbeat music) And I'm really influenced by things I've done with electronics and trying to recreate that just in the acoustic realm. And that's a big thing involved that I wanted to write, have these sonarties, where you heard these pulsing sonarties, which you can't imagine these three instruments producing that sound, and yet you can, if you pick these pictures. (upbeat music) (upbeat music) Let's listen for a couple minutes as Donica stacks seemingly more and more voices into these thick, over-stuffed textures. It's easy to forget there's only ever three people making the sound. (upbeat music) (upbeat music) (upbeat music) (upbeat music) To listen to more of Bulb or any other piece from today's program, you can go to Q2Music.org. When we get back, we'll hear about eccentric European modernists, gender confusion and Irish culture. Stay tuned. (upbeat music) (upbeat music) (upbeat music) (upbeat music) (upbeat music) (upbeat music) Q2Music's first podcast, Meet the Composer, is finally here. Subscribers to the MTC podcast get not only immersive, plush interviews with some of the most innovative, brilliant and weird composers out there. They get exclusive recordings of music performed by some of today's hottest ensembles. On August 12th, podcast subscribers can download an exclusive track by Andrew Norman as part of our bonus track series. It's all available at Q2Music.org and on iTunes. From New York's Q2Music, this is Meet the Composer. They show that minds the brains of classical musicians. (upbeat music) This kind of a stunning directness to the pedagogy of classical music. As a violinist, you can study with a woman, who studied with a guy, who studied with the dude, who studied with the Joaquin, who premiered the Brahms violin concerto. In composition, the same roles apply. There have even been entire composition studios, whose membership has made up most of a major musical movement, such as the second Fiendy's school's Schurneberg and his students' Bairg and Faberin. Along those lines, today's guest Irish composer, Donica Denihi, he's had a pretty interesting musical education. You spent some time in Paris with the spectral icon Gerard Grise, can you talk a little bit about that experience? You know, I actually wrote to Grise, and I sent him some of my music at the time when I was kneeling like, 'cause I was thinking of returning to your home. He wrote me this lovely note, it was really powerful music, and that I could come and study with him with a Paris concerto, if I want. So I actually turned up at the Paris concerto, and I could see instantly he was really disappointed when he saw me because he thought I was a woman, because my name ends in an A. And instantly I could see, oh, this is not what he expected. And, but so I sat in a few of those classes and I found them very hierarchical, you know, his words from the master, you know, disrespect, but, and they were all writing the same type of music and all the same type of surface. Now others like James Tenney thought of it in a much more kind of platonic theoretical way that this is the overtone series you know you have the first harmonic, the second harmonic, the third harmonic and they have this particular kind of tuning teacher and he would just write these pieces that kind of traverse in a kind of monolithic way through the overtone series and really beautiful pieces like critical band. Whereas the French guys did it more based on an analysis of real sounds. So I found what's amazing when you use this kind of stuff in your harmony is that you actually produce timbre as well. It's not just harmony, that's the amazing thing and it's hard to just sort of say unless you do it and you feel it and you can even feel it like the way things resonate. You really produce these kind of new timbres, that's what drew me to it. What I didn't like about French spectral music on the surface in terms of the gestures of the way the pieces worked, it was all part of this kind of modernist discourse. So you felt like even though they were using this tool which you find incredibly evocative and very, very attractive, they were just applying that to a whole style of modernism that didn't really appeal to you. Yes, yeah. Now there were pieces that for me were real landmarks. In particular, Gries et, Nésa Spassacoustique, this collection of seven pieces, that's a real important statement. Then it became kind of an acceptable style and people became more concerned with the kind of surface of it and what was allowed. A certain type of spectrally influenced modernism which didn't really interest me because I was more interested in the kind of ecstatic repetition which comes more from minimalism or post-minimism. So what happened after you studied with Gries et for a little bit, where did you move it? Well, I actually didn't end up studying with a person and I decided, I actually decided to go to Holland. So I went to go to the Institute of Synology and actually I ended up mainly hanging out with Luria and Jason who became a kind of mentor. It's polar opposite. Luria wouldn't do anything with overtones but I really clicked with Luria. He didn't seem too disappointed that I wasn't a woman. Yeah, well when I think about Gries et's music, I can sort of, I almost visually picture it in a very visually different way than I picture Andreessen. Who's music, well how would you describe the music of Luria and Jason? Luria is more interested in the kind of visceral type of music. It's strongly influenced by Stravinsky in a way that but it's Stravinsky on acid sort of a minimalistically applied as it were. He's really strong on this kind of motonic gestures which then suddenly slab into each other. And also he's politically engaged. So I mean there was always, I always had an attraction to Andreessen's music since I heard "Dustass". It has this kind of real excitement. He took a lot from minimalism but it was dirtier. He felt it was his, he had made his own, I mean it was obvious he was massively influenced. If you listen to the music before he discovered early minimalist and he discovered them just as they were happening. And then what happened when he discovered like early glass and wash it was a huge change in his music. But it's his music too, you know, and it really feels strong. And you know sometimes if you feel not, you know it's a slow morning, stick on the stars. Wow. So after studying in Ireland, Illinois, Paris and the Netherlands, Donica found himself back in his hometown of Dublin with a job as lecturer at Trinity College. Worried he would fall into a purely pedagogical, performance-free lifestyle, Donica said about founding his own new music group, the Crash Ensemble. That's right. Sort of another hat that you wear. Yeah. Is that sort of a radically different job than that of composer? No, not really. I mean when I returned to Ireland after these studies, I was a bit worried that, because I'd got a job in Trinity, lecturing in music. And I was a bit worried that that would become my life then. I actually was in fear of it. I mean I really enjoyed it but I didn't want that just to be it. So I sort of out of panic. So I have to set up my own new music ensemble, because I won't have an outlet for my music otherwise in Dublin. It's interesting because I feel like there are so many composers where their brass ring is sort of an academic teaching post. So they can just sit there in their studio and write music and teach and have their little quasi-monastic existence. But I guess that was really not only not what you wanted, but kind of horrifying to you. It was, yes, I was terrified of that. Because I also, in a way, they didn't harm me because they wanted me to teach everything in a way. When I first started, it was teaching 20 hours. So it wasn't that they were sort of what we wanted you to compose. And I mean now they are, but I think at the start they probably, they didn't care whether I composed or not. It was to teach classes and conversation and in music technology. And you could easily just get into that. And I suppose I didn't want to just compose an isolation because I thought there would be no outlet for me to hear it. You know, you have a feedback mechanism when you have an ensemble. And it was vital for me, I think, in developing my voice. I mean, I felt really lucky. It was hard work though. And the other days I would often stay up through the night. Really, because I'd have to be writing these new lectures that I was setting up the group and composing. And I'd very little sleep for a while. This piece is called "Junk Box Fraud." And it was the first piece he wrote for Crash and it's an inaugural year of 1997. So bear in mind, Donica is developing curricula both in composition and music technology while taking a crash course in Arts Admin, so to speak. This piece is a great example of how Donica expertly blends electronics with acoustic instruments. [Music] Do you feel like you're inspired by the possibilities of technology or do you feel like you're using technology to sort of create an attainable mental thing? I'm not inspired necessarily by technology. I'm not a techie at all. In fact, I have a new phone that I got through AT&T. And it's Android. I barely know how to operate it. It's like, "Oh, man." And then I try to text it really. And so I'm not inspired. I'm not trying to get the newest people who are early adopters. Alan Pearson, for example, he knows instantly how to use it. And so I'm actually not like that. But what I do think of it is I can accomplish things that I can't necessarily accomplish without it. And in particular, that's a kind of sonic thing. I'm really interested in it for kind of new sonic possibilities. And especially in these pieces where I'm using, where essentially different instruments and reaching the instruments and then bringing out elements of the resonance. And there I find technology really useful. So the first piece of years that I ever did here was "Grog" a sposs, which we'll hear in just a little bit on the show. But one of the things that strikes me about that piece is how kind of Balzi it is to write a piece called "Love and Death" and how much emotional content there is in this work. Is this something that has always been really sort of a big influence in your music? I'd certainly got tired with titles like "Synchronism" and things like that. And so, you know, music for so long was trying to be completely removed. And it's almost like this a scientific kind of thing. But there was a kind of conversion for me along the way. I had been a proper grad student and properly ironic. And I love irony in music as well. And even when I set up "Crash" you know, I had these pieces like "Junk Box" for all, they're full of kind of energy, but they have a kind of ironic age to them as well. And I suppose around 2005 I wrote this piece for violin and orchestra, which is quite a vertically emotional in places. And I really felt this was a kind of a change where I didn't mind having this in my music. But you know, I needed it, so I needed it as an headless. And so I thought, well, if I needed it should be in the music. [Music] But you have to be wary of it too. I don't want to even know there's a strong emotional content in my music. I also wanted to try and be a new way of expressing it and not to neo-romantic or anything like that. But somehow using new materials I still allow it in. I mean there are huge disadvantages to being ours because we don't have this massive structure like they have in other European countries for supporting new music. But there are also advantages and that is the sense of liberty and I actually wouldn't give up the liberty for the other things. So in a way I feel the liberty to do what I want. So I suppose for mellastic harmonic on certainly became more overt. [Music] Donaco's imbuing his work with his very human experiences can come across as almost audacious. It grips you. It puts your life in illuminating relief. I actually need to write music you know it's a fundamental need. It's probably a diagnosable mental disorder. Let's listen for a few minutes. [Music] [Music] [Music] To hear more of this piece elastic harmonic or any other piece from the program you can go to our website q2music.org/meatthecomposer. Stick around because after the break we'll hear how Irish shan no singing is blended with the harmonic series to create something totally new. Stay tuned. [Music] You don't have to be near a computer to listen to q2 music. The wqxR app makes it mobile. Listen to the best in new music wherever you want whenever you want. Download the wqxR app for free to stream q2 music on your phone or tablet. From New York Public Radio's q2 music this is Meet the Composer. I'm Nadia Sarota. The first time I heard Donaco Danny's music I'm on the podium. I'm sitting with Bob Hurwitz president of none such record. I'm Adder rehearsal for the Bang and a Can All Stars. In the concert in Cork City which is City of the South of Ireland. I drove especially to hear them. We're sitting in his car and he says I have something I want to play for you. And we're in the mid-summer forming Grogry's boss. And in walks Donaco Danny he with this amazing Irish accent. And he's playing Grow August Boss. This is always one of the most reliably emotional musical experiences that I have. I am just blown away. No matter how many times I always think I'm prepared for it. But every time I do it it's really very intense overwhelming emotional experience. And blown away because this music doesn't sound like anybody else's music. Music atop was very vibrant, very fresh, very very contemporary. So, paint and colorful and expressive. It's non-stop. So you have to have this breathless drive in your playing. His approach is extremely rigorous and dead-fastly kind of detailed. It's a powerful, it's emotional. It's music that has a tremendous sense of dynamism and urgency. With multiple meetre changes and lots of accents and driving rhythms that went from beginning to end. And makes an immediate impact, a powerful impact on listeners of all kinds. And there's a real intensity, it's fear. And by fear I mean you kind of hear immediately where the piece is going. It's not nebulous. The writing is skilled and exacting. It speaks very directly. And there is great energy. That's what I find so distinctive. It's incredibly exciting. Very innovating. Sort of, I don't know. It makes your blood move. You would call it through and bend your head. My name is Eurla Olin-Arch. My name is Dawn Upshot. I'm Alan Tearson. Hi, I'm Lisa Moore. And I would lay my head upon your breast. And through my neck tender voice. You seem to be as a composer quite into the written word. Do you think your father was a writer has influenced your attraction to specific texts or poetry? Yeah, I'm more and more interested in the written word and the way that my music can engage with the written word and semantics. And it's definitely got to do with my father being a writer. It's also got to do with the kind of veneration of writers in Irish society. The poet is a respectable position to have in our society still. Our president is a poet. The people know who are poets and writers. And so there's a huge kind of joy in language and different ways of expressing yourself. I will arise and go now. For always and night and day. I hear a late water lapping with rolls out for the shore. But I can no roadway around the pavement's grey. I hear it in the dark shore. I become more and more interested in the voice as well. Not only in Grog's boss, I since wrote a song cycle on Yates for Dawn Upshot and Crash Ensemble. And it's based on the poems of WB Yates. Life and death in your heart is dressed. Always switching in spring. I felt a real power as a composer to do my reading of those texts. Sometimes slightly against what might be the obvious reading of the text. And I really took joy in that. And some of it wouldn't even be apparent to me. It'd be tough to listen to quite a lot. and then suddenly, oh yeah that's why it's, and so I really love that interaction. It kind of frees up an emotional part to me because that can be quite structural as well in human music and somehow when I deal with meaning it also frees up some other part of me. It's also like writing for voice as well that frees up something from it. I take really particular approaches to the six poems that I set here which are really kind of about in a way the unsustainability of love and yates anger at time and what time does just we're all angry at times. And I am to appear out of the way. In 2007, Donica wrote a landmark work for his group The Crash Ensemble with the Irish singer Irla O'Lennard entitled "Graw August Boss" which means love and death in Gaelic. The piece uses a lot of the techniques we've been talking about today including the overtone series explicit emotional content and tightly pulsing harmonies. So Donica, this piece obviously just has I feel like a very successful manipulation of real emotion and real feeling and energies. There are so many different components to this music. They seem kind of familiar and somehow they sort of end up becoming something completely other. I know this is a broad question but how did you sort of develop this compositional voice? Well, I suppose there is one quite unfamiliar ingredient in that which is this Shann-Nose vocal tradition and that term "Shann-Nose" means old style in Gaelic. Shann is old and knows his style. Well, that's a kind of unaccompanied vocal music that is transmitted orally and since they don't know how long but it definitely goes back hundreds and hundreds of years, you know, predating the family. And so that is an ingredient in this which is familiar to those who know Irish traditional music. But somehow when it's when it was sort of contaminated with my own musical voice something new came out of it. It's like cooking something and suddenly you've got a new taste. [Music] I think one of the things about this final piece that we're going to talk about that is so moving is just the Shann-Nose tradition and the way that Erylo Leonard is just obviously doing something that he's very good at and cares quite a bit about. [Music] [Music] Believe it or not, this is the same singer Erylo Leonard when he was 14 singing Ashling Gale, Bright Vision, one of the same songs Donica used as at a departure point for Cora August Boss. That electronic sounding reverb is actually just a piano with the sustain pedal depressed. So we're hearing the strings of the piano vibrating sympathetically with Erylo's voice. The effect is totally acoustic. [Music] So the Irish Shann-Nose tradition in a weird sort of way after independence. So I don't know how to independence from Britain in 1922. It's quite lace really. The power of the Catholic church was had then become immense because the Catholic church was kind of associated with the resistance against English rule. And of course these Shann-Nose songs are about intimate love, about wanting death to release you from the power of it. And so I actually wanted to really concentrate on that, which I thought had been less paid attention to because of the way that the power of the Catholic church had tried to sanitize the tradition. I mean that's not been the case in the last 20, 30 years. But I'll tell that. Yes, you know. So what are the two songs that you're using? One is Ashling Gale, Bright Vision, which is about a woman who becomes pregnant. She starts with if in the act, the act of making love that she becomes pregnant, she doesn't want that he would deny it. And then the other is Tom Schienter, the humour, which means I'm stretched on your grave. So it's kind of a bit obsessive. So that's why the piece is kind of obsessive. It really is an exercise and sort of obsessing about these things. In Sunday, yeah. Shantak in Sunday, yeah. We're going to listen to a hefty chunk of this piece now, like four minutes or so. But I wish we had time to play more. Like Donica said, this piece is obsessive. This is the interior of the fever brain. [Music] [Music] [Music] [Music] [Music] [Music] [Music] Nielov, Nielov, Nielov, Shinto, hinsen lia. Isk'm me fa me fa me fa me fa me fa me fa shinto, Shinto ha. Me fa me fa me fa me fa me fa me fa shinto, Shinto ha, hinsen lia. Hi, I'm Jonathan Stone from East Orange, New Jersey. Meet the composer was produced by Nadia Sarota and Alexander Overington. Thanks to Hannes Brown, Alena Savage Rebuckley and Paulus Van Horn. Our executive producer is Alex Ambrose. A very special thanks to Irola O'Linnard, Dawn Upshot, Lisa Moore, Alan Pearson and None Such Records. Links to all the music featured on today's show, along with Donica Denny's website, are available at qtumusic.org/meatthecomposier. Thanks to new music USA for their flexibility with the use of the Meet the Composer name, which became famous through their legacy organization founded by composer John Duffy. Also, special thanks to our Kickstarter supporters, including Randy Asratti, Philip Schroeder, Laura Cartman, Patrick Glyn, Ben Whisquita and Margaret Hunt. You're listening to New York's Qtumusic, part of Classical 105.9WQXR. Qtumusic is a listener supported online station devoted to the music of living composers. Qtumusic is home for immersive festivals, live webcasts and on-demand concerts from today's leading music performance. Find us at Qtumusic.org, and online at qtumusic.org. www.ctumusic.org