Tag: New Amsterdam

Uncomfortably Serious and Disarmingly Fun: The Irreplaceable Matt Marks

[Ed note: On May 11, 2018, the composer, performer, and new music organizer Matt Marks, 38, died unexpectedly in St. Louis. Testimonials from friends and colleagues sharing reflections on his humor, candor, and inspiring work as a music maker have poured in across social media where Matt was a vibrant, pull-no-punches presence. Perhaps illustrating the far reach of his impact, many of these messages were prefaced with variations of “I only met him IRL once, but our friendship here meant so much to me.” Online and off, Matt Marks was a point of community connection, and the absence of his voice—especially in the days leading up to the annual New Music Gathering he helped to found—has been difficult for many. Reflecting on this vital role he played in the field, Will Robin offered to share this interview he conducted with Marks in 2015. Spending a bit more time in the company of Matt’s conversation seemed a perfect way to celebrate him. Acknowledgments to Ted Hearne for the title inspiration.—MS]

As a historian of the recent past, I am in the incredibly fortunate position of being able to speak with the musicians whom I study. Most of the composers and performers I interviewed for my dissertation on the so-called “indie classical” scene were in their late twenties to early forties; I never thought to worry that a subject might pass away before we could talk. That one of them died last week is an unfathomable tragedy, from which the world of new music is still reeling. Matt Marks seemed like the kind of composer who would simply exist forever, whose presence would always be palpable. From his work as a founding member of Alarm Will Sound, to his heartfelt and hilarious compositions, to his organizational efforts with New Music Gathering, to his sardonically prolific Twitter account, it was impossible to overlook Matt or his essential role in the new music community.

In September 2015, I spoke with Matt in the sunny Brooklyn apartment that he shared with Mary Kouyoumdjian, a fellow composer who would become his fiancée, and their menagerie of adorable pets. I was primarily interested in his role in the scene around New Amsterdam Records, the label that released his first album, which was a main subject of my dissertation. The condensed interview transcript that you read below thus focuses primarily on Matt’s life, and less on his music; I hope that the many tributes that we will surely be reading in the coming weeks equally emphasize his compelling artistry. But what I think it does address, importantly, is that community doesn’t just “happen”: it requires the tireless labor of people like Matt to make it happen.

For me, despite—or perhaps because of—the incisive humor and postmodern irony that swirled through his music and writing, at the core of Matt’s work was a willingness to be publicly vulnerable, and to provide his listeners and readers with a sense of his entire self. This is maybe why it’s so hard to feel his absence, especially for those of us who primarily knew him virtually. His sometimes-insightful, sometimes-stupid, always-entertaining tweets are all still there; his music is so insistently written in his own voice, with his own voice. All you have to do is check your timeline and cue up his Soundcloud, and there he is again. On our screens, in our ears, in our presence.

Here is our conversation.

Matt Marks, a.k.a mafoo

Will Robin: Could you tell me a little bit about your musical background, up until college?

Matt Marks: I don’t come from a musical background. My dad owned an auto place and my mom worked with him. It was very much a car family: my brother was into cars, worked with them, my dad raced cars, all of that. I’m from Downey, California, so like L.A. I started taking piano lessons in second grade and got pretty into that but was never really a pianist-pianist, just played and had a good facility for it. And then in sixth grade I started French horn. When I got into high school I started getting more serious with horn, and actually the first big thing I did was—kind of out of the blue—auditioned for the LA Philharmonic High School Honor Orchestra, the first year they did that. I won first chair French horn. That kind of gave me a big ego boost, to “Oh, maybe this is something serious.” I joined more orchestras around there and did a bunch of playing: it was very much horn, horn, horn, classical music, Mahler, everything like that. In high school, I had my Stravinsky thing; I listened to The Rite of Spring and had my mind blown. That was a big thing for me, hearing The Rite of Spring. At this point, I was still pretty ignorant of new music or new music groups, or whether that could be a thing.

I went to Eastman. I did my undergrad there in horn. Like a lot of classical musicians, I started off trying to be really good at my instrument, and not necessary being like, “I’m going to win a job,” but just like, “I guess that’s what I’m supposed to do.” Practicing horn a lot, playing horn a lot, and trying to win auditions and placements at Eastman, stuff like that. My sophomore or junior year, I played the Ligeti Piano Concerto and that kind of blew my mind, and that was this thing for me of like, “Holy shit, this is a new type of music that I don’t even understand yet.” I did a rare thing for me, which was I took the score to the library and was like, “I’m going to sit down and listen to this because it looks really hard.” And then I got lost on the first page. I was like, “What the fuck is going on?” Which is funny, now, because I listen to it and I’m like, “This is such an easy piece,” [hums and snaps the rhythms] but for some reason there was so much going on in the 12/8 and 4/4 stuff that I couldn’t follow it. I practiced it and learned it: in the horn part there are a lot of microtonal partials and stuff like that, which is something I eventually got kind of into. Within two to three years, I went from “Holy shit. What the fuck is Ligeti? How do I do this?” to then soloing on the Ligeti horn concerto at Miller Theatre for the New York premiere of that, and that was one of Alarm Will Sound’s first gigs. That was my senior year, so that would have been 2002.

WR: What was your involvement at the beginning of Alarm Will Sound, which developed out of Ossia, the student new music ensemble at Eastman?

MM: We came to New York, did that [Miller Theatre concert], and it was a success. I think we got a good review. So that was the first kind of like, “Oh, man, maybe we can actually be a thing.” At that point, there was Kronos Quartet, there was Eighth Blackbird, there was California Ear Unit, and a bunch of string quartets. And from my perspective, all the other chamber groups were people who tried to play CMA [Chamber Music America], and tried to just be a chamber group and play colleges, and play hard music or whatever, or French wind quintets or whatever, or brass quintets—I was very plugged into brass quintets, and that was pretty bro-y. What’s your instrument?

WR: Saxophone.

MM: Oh yeah, sax quartets, you know, all that shit. And there’s something really beautiful, but also kinda bro-y about traditional chamber groups—I don’t know, whatever, there’s probably something bro-y about new music groups. When we started, Alan [Pierson] and Gavin [Chuck] were like, “We want to make this a real thing, an actual group with members.” And I was like, “Sure!” But I also had no idea whether that would stick or what. I graduated and then went to London to study at the Royal Academy of Music for a year, so I was like, “Sure, if you want to fly me down to play some gigs, okay,” and they did. And that was our first year where we had somewhat of a season, and it was weird because I was in London the whole time so I would just periodically fly back. I left and moved back to the states, first to New Haven and then to New York. I moved to New York in 2004, and from then on it was kind of like, “Okay, now I’m here” and it was actually a pretty interesting time to be in New York for new music groups and shit like that.

You know, I’m your typical composer narcissist so I can just keep talking about myself: feel free to stop me.

I wasn’t really particularly interested in playing random orchestral gigs, and eventually working my way up to getting a Broadway show and playing Mama Mia or whatever.

WR: What was it like starting out in New York?

MM: It was pretty shitty for a few years. I knew just a few people in the city, and I was like, “I guess what I’m supposed to do is try to hound gigs, just make friends with horn players and brass players and bro out, and try to get gigs.” And I did that to a certain extent, but it was never really my thing. I wasn’t really particularly interested in playing random orchestral gigs, and eventually working my way up to getting a Broadway show and playing Mama Mia or whatever. So I pretty soon off decided that wasn’t the track for me, or at least I tried for a while and was like “I don’t have the heart for this. This is not my thing.” It took me a couple years, but I started meeting more people who were involved in new music. I eventually went to Stony Brook for a master’s in horn. At that time, I was starting to write music more—mainly electronic music and weird noise music on my sampler, and building my confidence for like, “Maybe eventually this will be something that’s not just on my headphones.”

At that point, there were maybe about seven Alarm Will Sounders living in the city. We started playing together and doing our own things. I started playing with Caleb [Burhans] and stuff. [Soprano Mellissa Hughes] was like, “Oh, you’re making music. You should keep doing that, and I’ll sing on some of it.” So we started working together. And after a few years, we had A Little Death, Vol. 1, my weird pop opera. That just came out of my weird sample pieces and pop pieces, and having an actual good singer to sing on it. I had that and recorded it and didn’t really know what I was going to do with all that material. Around that that time I started writing more for instruments—Mellissa, myself, and James Moore started this weird chamber group called Ensemble de Sade. It was basically this S&M-themed chamber ensemble, but it was also kind of satirical and making fun of itself. This was at that time when – I guess we’re still in that time – when classical music was all about tearing down the borders between audience and performers. Performers were trying to dress more casually, inviting people from the audience to join them. And we were generally into the idea, but we had this idea of being this satirical ensemble that was the opposite of that, like “Fuck that, there should be more distance! The audience is beneath us and we’re the top, and they’re lucky to be here!” So we put on a couple performances where we all dressed in tuxes and we were all super slick looking. We came out and we would be mean looking, play shit and finish and just leave, and not even acknowledge the audience. We had this dominatrix who would instruct the audience when to clap, and they weren’t allowed to clap unless she told them. We had all these restrictions on them—they had assigned seating, they couldn’t sit near their friends, they were really far from each other. I had been reading a bunch of Marquis de Sade at the time, and so this idea came from 120 Days of Sodom. The audience was seated, and they were super restricted and couldn’t talk, and if they did she would yell at them—she had a switch and shit. And then we had this separate section that was a VIP section with friends of ours. We let them sit there and we let them talk, and gave them food and wine. Some of the people who came were pissed about it, but some were like, “OK, I’m in a theatrical thing.” We did a few of those and that was pretty fun, and through that, basically, Ensemble de Sade and Newspeak, the two of us formed the New Music Bake Sale.

Marks on stage

Marks on stage with Mary Kouyoumdjian (left) and Lainie Fefferman
Photo by Tina Tallon

WR: What appealed to you about New Amsterdam Records—which released The Little Death, Vol 1.—and its scene?

I am interested in this idea of classical music that is appealing to people who weren’t bred to appreciate it.

MM: It’s less of a scene as in like, everybody’s going to the same concerts all the time and hanging out, and bro-ing out. It’s more that they tapped into something interesting that was happening in the mid/late 2000s that seemed pretty cool. And it’s funny, because we talk about it in the past tense because maybe it’s not as much of a thing anymore? But I am interested in this idea of classical music that is appealing to people who weren’t bred to appreciate it. I like this idea of classical music, or pop music written by classical musicians, that is a little bit more immediately appealing to people who aren’t trained to understand how classical music works. That doesn’t mean I think that that’s the only music there should be or anything like that, but I think that the people involved in New Amsterdam are all people who are very interested in pop and involve it in their work in some way. Some people more explicitly than others, I think. Some people take ideas from pop music and involve them in music that’s clearly written in a modernist tradition, or in a classical tradition. And some people like me are more explicit with it, where it’s like, “We’re going to make music that’s pretty much like pop, but with influences from outside of pop.” I think that’s interesting, and it was a unique movement or scene or whatever for a while. I think it got pigeonholed by a lot of people outside of New York and also in New York as being like, “Oh, we’re going to make classical music more fun – or more accessible.” I think a lot of people think that it was really focused on accessibility, or trying to be hip.

WR: What were the early New Amsterdam shows you performed in like?

MM: The vibe at that time at a lot of these things was playing for people or going to their shows to support them, but also, “Oh, this will be genuinely good so I’m going to go check this out.” With Little Death, when we did it and I had the small choir, I think I paid them $100 or something like that. I don’t know if that’d be possible now. That was 2010, and those people are now touring all over the world and shit, or teaching at USC. There was something kind of special about that. We got like a hundred bucks for it, but it was a day’s work and it was fine. I do feel a little bit like it’s gotten a bit spread out though: there’s not the same feeling of everybody’s going to come to everybody’s show and everybody’s going to play on everybody’s show.

WR: How has the new music scene changed since you’ve been active in it?

MM: I’ve been in New York eleven years as of September. It’s funny. I feel like I’ve gotten a bit disconnected from it, mainly because I’ve become more involved in my own things, and I’m also kind of a horrible homebody. It’s hard to get me to go out. In the event I have children of my own, I’m a little worried, because I won’t go to any shows. I always find a reason to miss shows. What are the scenes right now that I think are cool? I really dig the vibe of Hotel Elefant, Mary [Kouyoumdjian]’s scene.It’s a good mix. They tend to be younger—late 20s, early 30s. I guess I like that vibe a lot because, similarly to how I was maybe five years ago or whatever, people are just willing to try shit out and do things, and they aren’t necessarily worried about like, “Okay, this many rehearsals means I need to get paid this much and blah blah blah.” There’s a lot of vitality with younger people, because even though they have less economic freedom, they’re just down to do weird shit.

WR: What are the most interesting things you’re seeing these days?

MM: I think San Francisco will be seeing more cool stuff. The fact that we did New Music Gathering there was really interesting. There’s a ton of stuff happening in San Francisco, and when we were there, a lot of it came on our radar and we were like, “Oh wow, this is great.” We’ll see what happens in Baltimore, but I know that there’s a lot happening there. Part of what we’re trying to do with New Music Gathering is to be like, “Hey, there are all these really great scenes. Let’s go to these places.” Rather than just be like, “Let’s do it in New York where we live.” Let’s go to these places that have these interesting scenes and shine the light on them and let them show the world what they’ve got, and also have other people there too.

WR: What do you think is the significance of the entrepreneurship rhetoric that’s become a significant part of the discussion in classical and new music?

MM: It’s a tricky thing, because I do think that it’s really important to think creatively about how you’re going to run the business that is either yourself or your ensemble or your label or whatever it is, and I think people are getting better at doing that. And I think that’s something that sadly hasn’t been really taught at schools at a practical level. Schools have their entrepreneurship program or arts leadership program which, if you’re a horn player and you’re there to play the horn, you just don’t engage with. I would have gladly foregone taking the mandatory humanities class that I didn’t care about at all to take a class on how to put on a show, how to program a concert, how to schedule rehearsals. That could be a fucking semester class, just scheduling rehearsals. The most stress in my life is about scheduling rehearsals, promoting things. That’s terrifying, and I just learned it from being in New York and doing it the wrong way for ten years. That said, I don’t think you can think too capitalistically with it. Classical music, I don’t know how well it would ever survive as something that is purely capitalistic, purely something people just spend money on.

WR: Those are all my questions. Is there anything else you wanted to add?

MM: Who do you want me to talk shit about?

The New Music Gathering Co-Founders

The New Music Gathering Co-Founders: Matt Marks, Mary Kouyoumdjian, Daniel Felsenfeld, Lainie Fefferman, and Jascha Narveson
Photo by Tina Tallon

The Inside and Outside of New Music According to the Times

This past week saw two articles about contemporary concert music published in the New York Times which intended to shine light on two important evolutions within the music community. It is not often that one gets such a parallax viewpoint on the subject of new music in the mainstream media, and the opportunity allows those of us who are active in the profession not only to digest and react to what is being said but also to gain a better sense of how our world is seen from “outside the beltway,” so to speak.

The first article, “Emboldened Orchestras Are Embracing the New” by chief music critic Anthony Tommasini is written with a perspective from within the confines of the concert hall. In it, the author investigates whether or not, as he puts it, “those who have campaigned for contemporary music [can] declare victory” as audiences and ensembles seem to be gradually becoming more open to new works as well as music from the past century that until recently had been anathema to traditionalist concertgoers. Of course his findings are mixed, as one could expect from such a wide swath of institutions and genres to choose from; Tommasini outlines the sliding scale upon which the acceptance of new music is most easily gauged, with chamber ensembles on the tolerant end and opera weighing down the other, as relatively few examples of full-throated support for new works can be found on the opera stage today.

While the article effectively (albeit lightly) touches on the various aspects of contemporary music in today’s traditional music scene, it also reflects some of that scene’s intransigence when it comes to breaking through the historical and stylistic firewalls that many ensembles and audiences have constructed. That intransigence is most acute when Tommasini brings composers from the early and mid-20th century into the discussion; with examples that include Bartók and Janáček, the article does little to refute the idea that these composers can and should still be thought of as “contemporary.” The fact that very few living composers are mentioned throughout the article does little to strengthen the argument that things are looking up on the contemporary side of things. Recordings by two younger living composers are included in the online version of the article, but as they were both performed by the American Composers Orchestra, an opportunity to prove that established traditional ensembles are adding new music to their repertoires is missed.

The second article focuses on the evolutionary branch of new music that started with the Kronos Quartet, matured under Bang on a Can, and has blossomed with an ever-growing number of composers and chamber ensembles whose music and presenting style represent an intentional shift away from the traditional concert hall and the stylistic traits that are associated with that venue. Written by Allan Kozinn and entitled “Club Kids Are Storming Music Museums,” the article springboards off the museum mentality that is inherent in most traditional music organization by suggesting that this new generation of composers and performers see all of the hubbub mentioned in Tommasini’s article as “beside the point.” Looking at the various aspects of this relatively new movement, Kozinn touches on what the characteristic traits are, the musical establishment’s reaction and recent embrace of the major players, and closes with a prediction that this non-traditional approach may strengthen into its own musical lineage in the same way other popular styles grew apart from their roots rather than affect a wholesale change on concert music itself.

As with Tommasini’s work, I found it too easy to lose the forest for the trees in this article. My gut reaction when I first read it was disbelief that this trend was being presented as being something new, as many of the changes and innovations that were mentioned seemed old hat to those of us who live and breath new music. It also struck me that the overall focus was very NYC-based, which caused me to throw out an open question on Facebook asking if others could give me examples of this new trend that were happening outside of Brooklyn and Manhattan—the ensuing conversation wandered through many issues that the article raised and culminated in Kozinn himself weighing in on my assumptions and nudging me towards his initial intent of the piece, the aforementioned separation into a stand-alone musical style that is both related and distinct from classical music.

I came away from both of these articles with some observations, not about the subject matter at hand, but about myself and my own thoughts on the changes that have been swirling throughout concert music over the past several years. As with several other articles that have come forth over the past year on new music, I found myself bifurcated between elation that the subject was being covered at such a high level and dismay at both the perceived simplification and tight focus on the Big City scene (an admitted bias I have from growing up in the cornfields outside of Chicago).

Upon reflection, I am realizing that it is too easy to discount such introductory explanations. Over time articles like these will help to erode the last vestiges of conservatism that has reigned for too long in the concert hall. Similarly, it is too easy (for me, at least) to cast too wide a net when I make musical associations; I find myself clumping many composers who are associated with the New Amsterdam label, for example, when their style and language couldn’t be more different. I feel that the shift that Kozinn mentions is not based on a school of musical language as previous innovations have been, but rather a social and generational concept that is both a culmination and a rejection of years of reaction against the bitter style squabbles that occurred in the past. To this end, I hope to see more articles like Tommasini’s and Kozinn’s to further the conversation.