Bang On A Can’s Julia Wolfe wins a Pulitzer Prize, gears up for more New York events

by | Jun 4, 2015 | Culture, Music

Photo: Courtesy of Peter Serling

Photo: Courtesy of Peter Serling

Like Loser’s Lounge or ETHEL, Bang On A Can is a great New York City collective that you can always depend on for a quality-oriented musical event. Comprised of Julia Wolfe, David Lang and Michael Gordon, Bang On A Can was founded in 1987. Almost three decades later, the group is active as ever – their annual Bang On A Can Marathon will be held this year at the Winter Garden at Brookfield Place (230 Vesey Street) on June 21st from 12 p.m. to 10 p.m., in addition to a June 14th appearance at Long Island City’s Noguchi Museum with TIGUE.

While the idea of being a long-running collaborative and prolific musical collective alone makes for a great story, it isn’t even half of what Bang On A Can has going on. They produce a U.S. Department Of State-endorsed project called Found Sound Nation, which engages at-risk youth around the world with original audio and video creations. They oversee the People’s Commissioning Fund, which helps crowd-fund the creation of new musical compositions from rock, experimental and classical musicians alike. They have a record label, Cantaloupe Music. Plus, they have spin-off groups like the Asphalt Orchestra, of which more is said about below.

Julia, who recently earned a Pulitzer Prize for her “Anthracite Fields” composition, took the time to answer some questions about what a concert-goer can expect from the upcoming Marathon. As you’ll read below, the founders of Bang On A Can have a lot of exciting things going on both individually and collectively.

Photo: Courtesy of Peter Serling

Photo: Courtesy of Peter Serling

Congrats on your Pulitzer Prize Award. How has your life changed since earning that honor?

Bang On A Can’s Julia Wolfe: Thank you so much. It has certainly been a lively time. I have been hearing from so many friends and relatives and fellow composers in the field, and that has been really fun. I am happy for the interest in “Anthracite Fields” and for the attention that it has brought to the Pennsylvania coal mining region where, from the turn of the century until the 1950s, miners worked underground in dangerous conditions to fuel the nation. I interviewed miners and children of miners during the research process of the piece and it has been incredibly moving to share “Anthracite Fields” with them. They were also very excited to hear about the Pulitzer.

The Bang On A Can ensemble is known to be a classical group with rock and other non-classical influences. Who were some of the musicians who inspired you most in your amateur days?

J: Well, I am not sure that the musicians were ever amateur as they have been seriously developing their craft from early on. But there have certainly been important role models — like composers Steve Reich, Philip Glass, and Meredith Monk who created their own ensembles to play their highly original music. Also the Kronos Quartet is a great inspiration.

Bang On A Can has helped commission new works by members of The Dirty Projectors, The National and The Books through the People’s Commissioning Fund. Are there any bands or artists you strive to one day collaborate with or help commission a piece?

J: We have worked with so many amazing musicians from different musical genres including Ornette Coleman, Yoko Ono, David Byrne, as well as members of Sonic Youth and Wilco. At the same time we collaborate with really interesting younger artists just getting their start, like composer/steel pan virtuoso Kendall Williams, who will be performing his music with his Crossfire Steel Orchestra on this year’s Bang On A Can Marathon.

What do you wish more people knew about Bang On A Can in general?

J: Hearing this original new music is a life-changing experience. The music is bold and rich with color and sound. I would love for everyone to hear it, experience it. This year at the Bang On A Can Marathon, they will get to hear the high energy Asphalt Orchestra — a guerrilla “new music marching band” that performs by moving through the space. The Bang On A Can All-Stars are an exciting hybrid of classical and rock sensibilities.

For someone who has not yet been to a Bang On A Can event, how would you describe the “Marathon” you have taking place on June 21st at the Winter Garden?

J: The marathon is a wonderful smorgasbord of new ideas in music. It is a 10-hour continuous concert of exciting works all performed in a very relaxed and welcoming setting. People come and go as they like — listen to a few pieces, grab a coffee, come back and listen some more. There is a feeling of celebration and adventure. We are so happy that the concert is FREE to the public so that everyone can come and experience it. Some of the works are driving and rhythmic and groove-based while others are ethereal, celestial. The range is quite remarkable. The performers come from all over and this year one of the special guests is a pop icon from China. Her name is Gong Linna and she will be performing with our virtuosic house band, the Bang On A Can All-Stars.

What lies ahead for the group after the Winter Garden?

J: Shortly after the marathon at the Winter Garden, we all head north to the Berkshires where we hold the Bang On A Can Summer Festival at MASS MoCA. This is a three-week residency where brilliant musicians from all over the world converge to make music 24/7 in America’s largest contemporary art museum. We fill the galleries and halls with performances throughout the month and it all culminates in the summer marathon. So if you haven’t had enough after June 21 in NYC, come join us for more in northwestern Massachusetts in July!

And what’s ahead for Julia Wolfe beyond Bang On A Can?

J: This fall at BAM’s Next Wave Festival [December 2-6, 2015], my art-ballad “Steel Hammer” will be realized in a theatrical version under the direction of Anne Bogart and her SITI Company with the Bang On A Can All-Stars. “Steel Hammer,” just released last year on CD, was inspired by my love of the legends and music of Appalachia. The text is culled from the over 200 versions of the John Henry ballad. The various versions based on hearsay, recollection, and tall tales, explore the subject of human vs. machine in this quintessential American legend. I add voices, banjo, mountain dulcimer, bones, harmonicas, electric guitar, and body percussion to the mix in this hybrid classical ensemble.

Finally, Julia, any last words for the kids?

J: Do what you love. Be your own self. Dream big. Appreciate life. Be generous.

 

-by Darren Paltrowitz

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