Bach Marathon Hour Five: 11pm to midnight
Your host is Kamyron Williams
This hour’s lineup, with performer bios and program notes:
Brian Reitzell (Los Angeles, CA, USA) featuring Chase Spruill
Blood Aria (from the television series Hannibal), composed by Brian Reitzell and Chase Spruill
Brian is a multi-instrumentalist, music supervisor and film score composer. He was the drummer in Redd Kross and Air before handling the music for iconic films such as ‘Lost in Translation’, ‘Friday Night Lights’ and ‘The Virgin Suicides’ as well as TV shows such as ‘Hannibal’. Chase Spruill was a resident musician at Community MusicWorks from 2012-2017 and currently records, tours and performs with the director of the Philip Glass Ensemble Michael Riesman.
Kristen Watson (Upton, MA, USA)
“Schlummert ein, ihr matten Augen” from BWV 82a, Ich habe genug
Soprano Kristen Watson, hailed for her “blithe and silvery” tone (Boston Globe) has made solo appearances with the Orpheus Chamber Orchestra, American Classical Orchestra, Mark Morris Dance Group, Handel & Haydn Society, Boston Baroque and Emmanuel Music at such venues as Walt Disney Concert Hall, Alice Tully Hall, Carnegie Hall and Boston’s Symphony Hall. Opera audiences have heard Ms. Watson in such roles as Anne Trulove in The Rake’s Progress and Tytania in A Midsummer Night’s Dream, and as a versatile crossover artist she has made several solo appearances with the Boston Pops under Keith Lockhart. Originally from Kansas, Ms. Watson holds degrees from Carnegie Mellon University and Boston University.
Lauri Hyvärinen (Vantaa, Finland)
Preambula in D minor for electric guitar, composed by Lauri Hyvärinen
Laurihyvarinen.com
Mark Steinbach (Providence, RI, USA)
Toccata con Fuga in D moll, BWV 565
Mark Steinbach is University Organist, Curator of Instruments, and Senior Lecturer in Music at Brown University, where he teaches applied organ and seminars on topics such as historic performance practices and Olivier Messiaen. Mr. Steinbach concertizes and teaches frequently throughout the United States and Europe. A passionate advocate of both historic and new music, he premiered compositions of Brown University composers Eric Nathan and Wang Lu at Notre-Dame de Paris and Berlin’s Nikolai-kirche in summer 2016. He was in residence for 5 days at Xi’an Conservatory of Music in Xi’an China in 2018 to teach and perform a solo recital in the new concert hall. He recorded “New Music and Bach for Organ” on Gottfried Silbermann’s magnum opus of 1755 in Dresden in summer 2019 (expected digital and CD release 2020.
Vic Rawlings (Northampton, MA, USA)
Cello Suite No. 5, BWV 1011: Sarabande
Vic Rawlings is a musician, instrument builder, sound installation artist, filmmaker, and freelance teacher based in Northampton, Massachusetts. Collaborators include Seijiro Murayama, Greg Kelley, Bhob Rainey, Liz Tonne, Michael Bullock, Mazen Kerbaj, Ikue Mori, Jake Meginsky, Sean Meehan, and Jason Lescalleet. Visiting artist/teaching residencies include Oberlin Conservatory, MIT, Harvard, UC Berkeley, UC Davis, Princeton, Dartmouth, Wesleyan, Smith, and Amherst Colleges, as well as homeless shelters, correctional facilities, and primary and secondary schools. He has performed throughout North America and Europe at venues including The Stone, Jordan Hall, The Gardner Museum, The Philadelphia Museum of Art, and countless galleries and series. Festival appearances include Victoriaville (Quebec), Musique Action (France), and Vision (NYC). Labels include Grob, RRR, Sedimental, Absurd, Emanem, Boxmedia, Audio Dispatch, H+H, Chloe, and Rykodisc. He has performed works by John Cage, Karlheinz Stockhausen, and Cornelius Cardew and has worked directly with 20th/21st century composers Alvin Lucier, Michael Pisaro, Antoine Beuger, and Christian Wolff. He recently co-directed a feature-length film, Linefork, an immersive observational documentary offering a rare and intimate glimpse into the lives of unheralded banjo legend Lee Sexton and his wife, Opal, in the Appalachian Mountains of Eastern Kentucky. Linefork is a project of the Harvard Sensory Ethnography Lab. Vic Rawlings plays prepared cello and open circuit electronics in the form of an instrument self-made from exposed circuit boards and speaker cones..the sense of danger, the awareness that the music is poised permanently on the edge of disintegration and collapse. Despite its refusal to make the slightest concession to the listener, the music draws you in and doesn’t let you go. –The Wire www.vicrawlings.com