March 2017 continues, as does my female-composer-a-day series! I met Kate at Columbia back in 2005? 2006? Her music is crazy virtuosic. If you click on her name in the word cloud you can see a couple of interviews I’ve done with her.

Back in July 2011, at Exapno New Music Community Center, I interviewed composers Matthew Hough and Kate Soper about their music. We listened to clips and projected the scores so that the audience could follow along. The afternoon began with Matthew’s “You should all be shot! [2]”, written in 2011 for alto flute and alto saxophone, the latter of which replaces the spoken word of the original 2009 version. In this piece, the performers interpret texts written by Matthew; the recording features Nicole Camacho on alto flute and Matthew on alto sax:

MW: Can you describe what you and Nicole are doing in this recording?

MH: I lived in this area [of Manhattan] for a long time and when I left I wrote these little stories, almost like a diary, these things that happened to me which were sort of horrific and funny at the same time. When I wrote the piece the original conception was Nicole, who’s the flute player and a friend of mine–I basically read aloud these stories and she played along; she had a part, but she was doing a lot of improvisation based on the material that I gave her. However, I was doing this concert [recently] and I was concerned–the stories have a lot of cursing in them, and really nasty stuff happens–so because there were young kids coming to this concert, I thought “how could I censor it and still do the piece,” and I thought maybe I could just play the saxophone and “read” the stories while I’m playing.

MW: Just to clarify, you’re not a saxophonist.

MH: Yeah, I’m not really. I’m sort of channeling, not just the text, but the way I feel when I’m reading the stories, because for a while it was hard for me to even read them without getting really worked up and animated. And then there’s this whole other level to it; I can’t really play [the instrument], but that interests me, the idea of that type of limitation.

Next was Hough’s “Since We Don’t Understand…,” a work from 2007 for piano and guitar, recorded by Eric Wubbels (piano) and Matthew (guitar).

MW: This piece is a lot different from the first piece by you we heard today. What happened for you, artistically speaking, between 2007 and 2011?

MH: Definitely a lot changed during that time. It’s hard for me to talk about without being disparaging of my younger self…I was thinking a lot back then about “can I be a composer?” I wanted what I did to be really good, I wanted people to really like it, and so in this piece I chose notes and harmonies that are pretty pleasant for people to hear. At a certain point I realized I was thinking too much about how I was being perceived and not thinking hard enough about why I’m doing what I’m doing and what composition means for me.

The second half of the afternoon began with a video clip of Kate’s emotionally charged “Only the Words Themselves Mean What They Say,” written in 2011, with lover’s-quarrel text by Lydia Davis, record by Kate (soprano) and Erin Lesser (flutes).

MW: This is definitely a virtuosic work, for both instruments. What was your inspiration for writing such a gymnastic vocal line?

KS: I’ve been a singer/songwriter for a long time and once I joined the ensemble Wet Ink in 2006 I started singing more new music. I’m really interested in finding ways to push myself vocally and see what I’m capable of. I tend to write very difficult material for instruments; I wanted to write this piece for Erin Lesser, who’s the flutist in our ensemble, and I wanted to do something where I felt like I was challenging myself to the level that I challenge my colleagues. I just wanted to kick it out there and see: what’s the highest note that can come out of my mouth, and the lowest one, and what kind of freaky sounds can I make with my voice.

Next was Kate’s “Prelude: May Kasahara” from her cycle Voices from the Killing Jar, written in 2010-2011 and recorded by Kate and the Wet Ink Ensemble. Kate’s program note for this movement reads: “In ‘Prelude: May Kasahara,’ the titular sixteen year-old of Haruki Murakami’s The Wind-Up Bird Chronicle speculates on the true nature of the force underlying all human existence. In increasingly agitated fragments, she describes the essential malevolence of this force and admits its influence on her to commit acts of violence and cruelty.”

MW: How did you go about writing the words for this piece?

KS: For me, both singing and writing texts were something that when I was younger I felt prohibited from doing because I assumed I was unqualified, not having a vocal or a writing degree. Also, I’m constantly searching for texts and it’s really difficult to find something like the Lydia Davis where I feel like “yes, this is exactly what I want to work with,” so it finally occurred to me that I could just use the Murakami novel [as a basis] and make my own words. This whole cycle is about allowing myself to craft the narrative in terms of writing the texts and selecting these books and plays that have really meant a lot to me.

 

This interview originally appeared in the October 2011 ETM newspaper.

Say hello to Kate Soper! Kate’s a New York City-based composer and vocalist and is a co-director of the Wet Ink ensemble.  She graciously agreed to answer a few questions about herself for me yesterday. Below is a video of my brief interview with Kate, which is followed by a piece she wrote this year, called Voices from the Killing Jar, where you can here her sing (the track playing underneath the interview is also by Kate, called Wolf).