Performing two world premieres of original musical compositions from world-renowned artists, PresentMusic is hosting the intO tHe WiLd event this Wednesday and Thursday, the 25th and 26th, at the Jan Serr Studio in Milwaukee. Tickets are still available and discount prices are available for students.
The performance will feature Pulitzer Prize Recipient and Academy Award Nominee David Lang with his own take on a rock anthem staple. In addition, celebrated violinist and vocalist Carla Kihlstedt plans to commemorate the 100th birthday of influential illustrator Edward Gorey in a Tim Burton and Edgar Allen Poe-inspired vein, highlighting some of his gothic drawings.
A piece by highly-acclaimed contemporary composer Kamran Ince called then, nothing will debut as well, centering around concepts of existentialism. Also shown will be a new composition, Copper Canvas, by Grammy Award Nominated and Pulitzer Prize Finalist Andy Akiho, dealing with the periodic table and the 29th element.
Akiho visited the University of Wisconsin-Milwaukee this past Monday to teach a brief masterclass on percussion instruments and gave an interview explaining his unique creative thought process. Here is what he had to say about his upcoming works and personal artistic journey so far.
Was there any sense of collaboration and partnership with the other artists a part of the performance?
Andy Akiho: There usually is more with the performance as I’m writing. This piece, not so much, but there was a lot of collaboration.
I felt very connected to them while working, especially yesterday in the studio. You really get to know people fast. That’s inspiring to me, meeting all these incredible musicians and working with them in such an intense way. Then, by the time of rehearsal, I felt like I already knew them.
When did you first meet everyone?
Andy Akiho: Yesterday. I didn’t meet everybody until last night for the first rehearsal. It was great because I didn’t even meet them at first, I just walked in and they were already rehearsing, so I got to hear them before I caught names or anything.
Have you worked with the majority of these people before? Or was everything completely brand new?
Andy Akiho: Yeah, I’m meeting everybody. I’m kind of new to the Milwaukee scene, to be honest.
What do you think of Milwaukee so far?
Andy Akiho: Awesome. I’ve been to Milwaukee before, but I’ve never collaborated with the music scene here. That’s really exciting because it’s good, vibrant, and inspiring.
Your piece is based around the periodic table of elements, namely number 29 that signifies copper. What was the reasoning behind this creative thought process? Why these things specifically?
Andy Akiho: It was really coming from more of an intuitive place and feeling the energy from that. There’s not too much of a backstory on it. There will be one day, maybe.
I want to focus on the music first. Then there was me figuring out what I’ve done and trying to come up with a title that made sense.
Also there was the alliteration of a previous piece I had called Cobalt Canvas. It was based after cobalt and around the number 27. That one had a little of a double meaning because of the history of the metal.
I want to learn more, but really it could have just been called piece, sonata, or something. There’s not too much significance in the title yet.
Do most of your compositions not have a backstory then, or do these associations come to you in time?
Andy Akiho: No, it’s so different. Sometimes the title might come first. Usually the title comes way later. I am very indecisive with titles. I still don’t know if this is the right title for this piece, but it is now. Even if I don’t believe it’s a good title and I wish I would have maybe thought of something else, because I commit to them. I live with that.
I am okay with this one. I think it fits the piece. It’s made me more aware. Even when we are saying copper, I’m looking at these stained glass windows, and I feel like I’m seeing copper everywhere.
How long did this piece take to write?
Andy Akiho: I would say a couple of months.
How much did you work on the composition? Like every day, or more sporadically?
Andy Akiho: It was pretty sporadic initially. I came up with the cells first. I wanted it to be a very organic process.
I did think of the motive first. That’s the thing, it is in 29. I wanted that to be the kind of structure of the piece. I was able to color around that, build it, modulate, and take in other places.
It’s hard for me to even talk about it because it’s so fresh. It’s so new. There’s a lot of me in there.
Have you ever had a favorite collaboration in your whole career or one that has stuck with you?
Andy Akiho: One of my favorites is Seven Pillars with Sandbox.
Probably tied for that is Sculptures with Jun Kaneko and the Omaha Symphony. He’s an amazing visual artist. I really got to know him and they’ve become almost like family.
I got to live with the sculptures. I don’t even know how to put down the words. That’s an understatement. I was in warehouses with thousands of his sculptures, some like 14 feet high ceramic.
It was a lot of fun and super inspiring. I ended up playing on these sculptures.
How do you play on sculptures?
Andy Akiho: One is made of bronze. It has all these tabs sticking out and they make different pitches. You can bow them, you can strike them. And they weren’t made to be played on but they sounded great.
Have you played anything else that is not considered a typical instrument as a part of your work?
Andy Akiho: Definitely the sculptures. A ping pong table.
You are mostly known for playing the steel pan. How would you describe your relationship with that?
Andy Akiho: It’s the instrument I have the most facility in. I’m a percussionist but I feel at home with the steel pan. Melodically, harmonically, I feel the patterns in the steel pan more. Intuition comes from there more, going down the edges.
But I like to improvise or play on anything that are not instruments.
Do you have any other favorite instruments besides the steel pan?
Andy Akiho: It’s funny. The steel pan might not even be on my top five favorite instruments.
I think my favorite instrument is still probably the cello.
Do you have any instruments that, when you are writing these pieces, speak to you more?
Andy Akiho: They all speak to me a little bit. I like the challenge of new instruments that I have never written before.
Is there any feeling or emotion you hope audiences perceive and leave with after the premiere?
Andy Akiho: I want a very personal connection that they take. That’s why I don’t even have notes, especially if I don’t have anything specific to say. You know, the whole copper 29 concept, none of that really matters. I want people to walk away with their own experience, their own journey from it.
That might be a little bit too serious but I do care. I want the audience to get something out of that. I want to write something that when I’m sitting in the audience, I will be able to take something away from them. Even though it’s my own piece, selfishly for myself, I want to be inspired by what the performers bring to the music. I want everyone in general to have their own experience.
Hopefully a positive one; maybe that’s not necessarily the right word. They’re spending their night there. I want it to be memorable and special. You know, they could be anywhere else, watching tv, sleeping, out partying. If they’re going to be there, I want them to enjoy it, for it to be worthwhile.
Only happening for two nights and presenting brand new music from all around the globe, tickets for intO tHe WiLd can be purchased at PresentMusic.