Dancing Composer

Catching Up

2012-01-21T14:38:00.000-08:00

I've been trying to go to more of my friends' and colleagues' concerts lately. It seems like every week I have over twenty invites to events that I would love to go to, but never get around to hearing. Last week was the Metropolis Ensemble's Music Box, a concert featuring six world premieres of newly commissioned works for solo harp with resident artist Bridget Kibbey. Solo harp concerts are rare and can be difficult to pull off; the last one I attended was a Juilliard Pre-College Division senior recital ten years ago. But this program was incredible! Not only is Bridget a unique virtuoso, but she is also a dynamic speaker with a magnetic stage presence.

Bridget, composer Ricardo Romaneiro, and myself

Double Trouble.

My beautiful sister! This girl has the most eclectic taste in music and is always down for a concert date.

I've Heard That Before...

2012-01-03T21:02:00.001-08:00

Today my sister emailed me a link to the song "Es hora de bailar" by the '90's house-merengue hip-hop duo Sandy y Papo. A few seconds into it and a heard a very familiar loop, a four bar phrase that served as the summer anthem for 2009 from Pitbull's "Hotel Room Service." I was shocked that the lick had been around for so long and that Pitbull would blatantly rip it off. But upon further 'research' I discovered that Sandy y Papo didn't write it either. Apparently in 1992 a British house music group, The Nightcrawlers, were the first to use it in their song "Push the Feeling On." All three versions are below. (If you don't have time to watch all three videos, you must at least watch The Nightcrawlers' version!)

Sandy y Papo:

Pitbull:

I guess the different versions serve as a testament to the versatility of a strong, good tune. Just like "Llorando se fue" which later became Lamabada, then Taboo, then JLo's (and Pitbull, again!) On the Floor and finally Wisin y Yandel's Pam Pam. I wonder how many people know that it originated as a Bolivian folk song. This is Los Kjarkas, who recorded it in 1981:

2011-12-01T07:52:00.001-08:00

I've been watching the new Parangole DVD which is making me want to go back to Brazil! The musicians are soooo good! Probably because they start when they're this young:

Meia Noite's two-year-old nephew. He loves Timbalada, isn't he the cutest?

From

2011-11-28T17:52:00.001-08:00

I'm just seeing this video of a piece I did with KDNY in 2009. From is my absolute favorite work that I've collaborated on with Kathleen Dyer. It's for four dancers and string quartet, performed here by the Voxare String Quartet. Enjoy!

KDNY - From at Alvin Ailey Citigroup Theater

Blind Ear + MuSe

2011-11-21T12:33:00.001-08:00

Friend, fellow composer, and co-founder of MuSe Yui Kitamura produced an incredible Sounds of Arts Festival at The Secret Theater in Queens this weekend. I was thrilled when Yui invited Blind Ear to be a part of the program; I've known Yui for ten years and always had fun working with her on small collaborations when we were both at Juilliard. Blind Ear teamed up with Cadillac Moon Ensemble and percussionists Frank Tyl and Chihiro Shibayama for the performance.

It was the first Blind Ear concert that I performed in alone and I must admit, I was a bit nervous. (Jakub is getting married in India!) But everything went smoothly and it was fun to add Yui as a new Blind Ear composer. It remains true that although we use the same technology and the same basic instrumentation in a performance, each composer's individual style comes across distinctly.

Photo Credit: Yui Kitamura

2011-10-19T17:36:00.000-07:00

How do you get to Carnegie Hall?

Sneak in with the band! :-)

2011-10-17T08:11:00.000-07:00

Some pictures from the premiere of Synched in Mikkeli, Finland with St. Michel Strings.

Backstage with composer Marc Satterwhite and Maestro Jose Serebrier

St. Michel Strings, world premiere of Synched

2011-10-04T13:19:00.000-07:00

Here's the program for tomorrow's concert with the St. Michel's Strings. I've been enjoying my time in Mikkeli immensely. I'll post more later!

http://www.mikkelinkaupunginorkesteri.fi/ohjelma.html

2011-09-28T07:51:00.000-07:00

They don't call him The Real Diehl for nothing! ;-)

Dizzy's Club Coca-Cola

New friends, composer Gity Razaz, Aaron Diehl, and me. Sorry Aaron, I just had to post this. Now I can go back to packing for Finland!

Wonderland

2011-09-20T19:14:00.000-07:00

The video of Andrea Miller's dance Wonderland is up! Jakub and I created the sound design for this project. Aren't the dancers of Gallim amazing? They make me wish I never stopped taking dance classes.

www.vimeo.com/28818287

Photo: Christopher Duggan

Aaron Diehl at Dizzy's Club Coca-Cola

2011-09-18T14:16:00.000-07:00

I'm so excited for Aaron Diehl's performances this week at Dizzy's! Aside from being an extraordinary jazz pianist and composer, Aaron is one of my best friends. His music is just as refined and elegant as he is, saturated with a unique charm that is increasingly rare in today's jazz scene. I'll be there, Manhattan in hand, enjoying the best jazz that New York has to offer.

Jazz at Lincoln Center - Dizzy's Club Coca-Cola Calendar of Events

The Real Diehl

Photo Credit: John Abbott

Stumbled Upon!

2011-07-29T13:05:00.001-07:00

Hello Miss Piano!

2011-06-25T07:15:00.000-07:00

The pictures from the Greeley Square photo shoot are in! Ryan met me early (for me!) Tuesday morning to get some shots in before it started raining. And here they are! I'm pretty sure no other composer has had a photo shoot with a bright, sparkly pink piano in the middle of NYC. I just love it!

Yes, that is glitter on my nails, and yes, I'm still wearing it :-)

Think Pink!

2011-06-20T16:04:00.001-07:00

Have you seen the pop-up pianos gracing the streets of NY recently? This fun celebration of public arts is the product of Sing for Hope, a non-profit organization that mobilizes professional artists in volunteer service programs that benefit schools, hospitals, and communities. Artists and designers including Diane Von Furstenberg, Isaac Mizrahi, and Jen Mazer volunteered their talents in creating the 88 pianos that will live on the streets until July 2nd. After the project ends the pianos will be donated to local schools, hospitals, and community organizations.

I fell in love with Mizrahi's glittery pink piano entitled "Hello Miss Piano" so this week I'm doing a photo shoot with my good friend and supremely talented artist Ryan Hartley Smith. After all, there's nothing better than some glitter, bows, and bling to make a composer's photo pop. I'm sure Miss Piano will find a loving home after her stint on 33rd and Broadway!

Coming Soon!

2011-06-14T08:00:00.001-07:00

Writing Mahler Remixed for the New York Chamber Music Festival was a fun and challenging project. I decided to use our composition technique from Blind Ear and write mostly loops that formed together creating a whole piece. The loops were based on elements of music in Mahler's quartet. Here's the link to the Symphony Space website. I am so excited for this festival and can't wait to hear the other composers' reflections on the quartet!

http://www.symphonyspace.org/event/6994-ny-piano-quartet-a-tribute-to-mahler

2011-06-07T10:58:00.000-07:00

At the soundcheck for Andrea Miller's Wonderland with Gallim Dance, Baryshnikov Arts Center.

Inspiration

2011-05-30T11:48:00.000-07:00

Dia Art Foundation Beacon, NY

Trendy macrobiotic restaurant Grilled cheese with bacon and fries at John's Diner with Ryan Hartley Smith

Café Noir

Sol LeWitt

Governor's Island impromptu picnic

Willyburg artists BBQ

Zebulon, Kakande: balafon + cello + flute + kora = magic!

in a Funk

2011-05-18T21:07:00.001-07:00

Oh noooooo! Funk carioca has come to america! And who has introduced it to us? Beyonce! Maybe she picked it up on her trip to Rio last year...It's in her new single Run the World (Girls) The funk beat starts at 0:50 in the video:

http://www.youtube.com/user/beyonce?blend=1&ob=5

From gaiola das popozudas (funk carioca):
http://www.youtube.com/watch?v=yma3o7Vhqfs

More Funk! MC Drao:
http://www.youtube.com/watch?v=JhQ1rXwoJKU&feature=related

I actually like it :-)

Catching Up...

2011-05-16T10:09:00.000-07:00

I've neglected this little blog for too long, hopefully I can return to some more consistent posts. I just registered for LMCC's Artists Summer Institute: www.lmcc.net/arts_services/summer_institute

I hope I get in! I really need to buckle down and finish writing our business plan for Blind Ear. It would be nice to meet with other artists who are looking for some business advice as well.

Speaking of Blind Ear, we just put up two new videos from a recording session at NuBlu!

http://vimeo.com/23051169 All percussion with Frank Tyl, Sean Statser, Luke Rinderknecht, Britton Matthews, and Meia Noite. The first video is my music and the second one is Jakub's. Notice how different we are? http://vimeo.com/23566658

2010-11-22T18:16:00.000-08:00

Our new blog entry for Blind Ear. We're all about the drums!

www.blogspot.com/blindearmusic

Montevideo

2010-11-05T08:01:00.001-07:00

View from my hotel:

Program for the concert:

My ticket! Can't wait for the concert!

http://www.sodre.gub.uy.asp1-4.websitetestlink.com/Sodre/Sodre/Servicios/Ossodre/tabid/73/Default.aspx

2010-10-29T18:30:00.001-07:00

Spanish Bio for OSSODRE concert

2010-10-26T19:47:00.000-07:00

Nacida en el estado de Connecticut, Estados Unidos de América en 1984, Cristina Spinei recibe constantemente encargos de directores de cine y de coreógrafos. Sus ballets han tenido gran éxito en varias ciudades importantes en los Estados Unidos, incluso Seattle y Nueva York. Spinei es considerada una de las compositoras mas importantes de la nueva generación.

Realizó estudios de composicion, piano y dirección de orquesta en la Escuela de Música Juilliard de Nueva York con Christopher Rouse, graduandose con Diploma de Bachiller de Musica, y Master of Arts en composición. Ha recibido numerosos encargos para componer nuevas obras, incluso del Cuarteto de Cuerdas Ebony, del Trio ETA3, Kathleen Dyer Dance NY, London Central School, Mary Seidman Keystone Dancers, Metropolis Ensemble de Nueva York, Instituto Coreográfico de Nueva York, Pacific Northwest Ballet Company, St. John’s Church, Treetops Chamber Music Society y muchos otros. Cristina Spinei ha recibido becas de estudio y premios de varias instituciones, incluso de Connecticut Commission on Culture and Tourism Grant for Composition, el Premio de Composición de la American Music Center, premio de la Foundation for Contemporary Arts, y encargos del New York State Council on the Arts, y de la Institution of Arts Recognition and Talent Search.

La Kathleen Dyer Dance Company de Nueva York esta ensayando en estos momentos un nuevo ballet que han encargado a Cristina Spinei. El Cuarteto de Cuerdas Ebony estrena su nuevo cuarteto en el Festival Internacional de Trinidad en Noviembre 2010, en el cual la compositora ha de participar dando clases maestras de composición y piano.

A Mild Rant

2010-09-17T20:07:00.000-07:00

This week was full of meetings with potential collaborators and some of my dearest mentors that I've worked with in the past year. I love trading stories (and occasional gossip) with people whom I have had professional relationships. After an intense collaborative process it's nice to step back and relate to one another in a relaxed atmosphere. There was a common theme to our discussions this week that spanned art forms: the lack of respect and savvy among young artists. I heard horror stories of dancers cursing out their choreographer in the middle of a rehearsal. And other ones think it's fine to text and dance at the same time. Or they just walk out in the middle of a rehearsals; apparently they feel confident enough that they're irreplaceable. And this came from three separate choreographers.

Nothing that dramatic has happened to me but I have noticed an apathetic attitude that too many young musicians have. I saw it when I was invited to speak about the importance of being a musician-slash-entrepreneur at a university in NY. While I was talking to the class of about 15 I could tell that more than half of the room would rather be practicing their instrument. They had no knowledge of arts organizations that offer grants to young artists, no will to network with peers outside of their own small circle, and no desire to turn their art into something that transcends our current structures. After I gave out my email address and offered them each a chance to play in a Blind Ear concert, only one person contacted me.

At another event I had to work with a group of musicians that I had never met before. I emailed them weeks before our concert and asked them to watch a five minute video that would help them learn the piece. For our first rehearsal I brought them all coffee and tried to make small talk while we waited for everyone to arrive. I received the same glazed-over expressions from them as I did when speaking at the university. It's a look that drives me crazy! It was as if nobody wanted to learn new music or a different method for performing new music. When I asked them if they had received my emails and watched the video only one guy replied with, "umm, i sorta watched some of it." Some of it? It was only five minutes! The worst part about it is that the musicians' resentful attitude was actually encouraged by some of their mentors.

I think it is a minority of young musicians who are this unprofessional. The fault lies partially with conservatories that emphasize only craft and not business. When I was in school I only was allowed to take a one semester business of music class as a Masters student. I fought to take it as an undergrad but there was no way a rigid conservatory would bend the rules for something they obviously didn't consider important. As compensation I got them to sponsor me to attend the annual Crain's Arts and Culture breakfast where I slipped Peter Gelb a CD of my music. To me as a co-owner of a performing ensemble the ability to answer an email is just as important as the ability to play well. I would rather use a musician who I know is enthusiastic and responsible than one who is apathetic and unresponsive. I wish I could teach a business class to conservatory freshmen that underscores the importance of communication and initiative. I probably would have fewer names on my "Do Not Hire" list.

Short Break

2010-09-11T19:59:00.000-07:00

I'm in the middle of composing two string quartets and editing a string orchestra piece, perfect Saturday night ;-) Since I haven't blogged in a while I guess this break from string music might as well be productive. Whenever I need to clear my head from whatever I'm working on I always watch my favorite music videos on YouTube. Currently I'm in love with both versions of Danza Kuduro and a Jorge Vercilo song, Himalaia. I can't decide which version of Kuduro I like better, I think I'm leaning more towards the Don Omar, although the Lucenzo video makes me want to be in that crowd dancing. I've noticed that a lot of music videos have been shot in Cuba recently. And JALC just announced that they'll be going there in October, I want to go too!!!

Anyway, here are the videos. If you're procrastinating like me I hope you enjoy them!

Clip from Bahia

2010-06-16T20:03:00.000-07:00

I just found this clip when I was organizing my videos. I filmed this during Carnaval in Bahia this past February. This was my absolute favorite part of the entire week of festivities. Does anyone know what this song is? I'm obsessed with it!

Che Cazzo?!

2010-04-26T06:05:00.000-07:00

I awoke this morning eager to read the local newspaper. I expected to see a tell-all story that exposed the manipulative and twisted world of Miss Italia Nel Mondo (USA). Last night after our pathetically 'organized' pageant I was interviewed by Martin B. Cassidy of The Advocate about what my experience was like at Miss Italia. In my head, the article would have read something like this:

Miss Italia USA is a pageant that seeks to unite women of Italian heritage across the world to promote and foster awareness of Italian culture. It's a shame that it falls back from this lofty mission and dissolves into a platform for payola and politics; unless that is the Italian 'culture' that they wish to be known for. It was obvious from the beginning that the competition was fixed; some girls even wrote the name of the girl they thought would be chosen, sealed it in an envelope, and gave it to the director after the pagaent. Of course the predictions were accurate. If the winner was already known, why put the other girls through three days of inferno? The 46 contestants were locked down in a hotel that had recently been converted from the old YMCA. Four girls to a room, two beds, one bathroom, and absolutely no leaving whatsoever. That meant 36 straight hours with the pageant directors and staff who spoke only broken english and cared more about their Moschino shoes than any of the actual contestants.

Italians are known for "la bella figura." It applies not only to how they dress but also to how they appear to others in their actions and reputations. It's this very mindset that encourages their self-serving and arrogant behavior. The contestants for Miss Italia USA were merely pawns to make the organizers appear important. The girls were paraded around downtown Stamford in see-through micro dresses, left alone waiting in the rain for 30 minutes outside of the Palace Theater at 8am, and forced to smile after six hours of rehearsal while dancing the World's Corniest Dance for the owner of the pageant. Throughout these events were dispersed intervals of machismo that thankfully were lost in translation to most of the contestants.

The pageant has nothing to do with culture and everything to do with cash. The contestants should have been able to speak about what they would do to promote Italian culture and what being an Italian-American means to them. The girls who were chosen as finalists spoke instead about eating Italian food and wanting to make "lifelong friends." So now the stereotypes encouraged by Jersey Shore, the Sopranos, and Jerseylicious have just been enforced by an organization that wants to eradicate this image. Bravo.

Of course this isn't the article that I awoke to read this morning. I was partially surprised because The Advocate loves bashing Italians any chance they get. I guess not rich Italians though. Too bad I only had twenty dollars in my wallet when the reporter interviewed me. Money talks, and apparently it's fluent in Italian!

Concerts!

2010-04-25T20:11:00.000-07:00

I'm so excited for the upcoming Blind Ear concerts! We're repeating the performances from Beyond the Machine for three separate events. One is a concert and the Dalton School, then a technology conference at the Skirball Center for Performing Arts and the third is part of the Gamper Music Festival in Maine. I've never participated in a summer music festival so I'm really looking forward it. The theater was a swimming pool that has been converted and the acoustics are supposed to be phenomenal. I love converted spaces for concert halls, like the Brooklyn Lyceum and the new club underneath the Hudson Hotel. They just have so much charm.

BEYOND THE MACHINE

2010-04-04T14:08:00.000-07:00

Blind Ear and Gallim Dance at Beyond The Machine, Rosemary and Meredith Wilson Theater. Photos by Jill Steinberg.

Huellas

2010-03-06T21:06:00.000-08:00

Last night I was listening to La Mega while taking a break from writing new loops for Blind Ear's upcoming show. There was a song that came on the radio that was different from everything else they were playing; the announcer said it was a classic but they speak so fast I didn't understand anything else. Parts of it were familiar, it's based on afro-brazilian rhythms but it's in spanish. Something about it was reminiscent of Joao Bosco. I woke up this morning with the song in my head so I was determined to find out what it was.

I had only remembered one word form the refrain, "cuidado" but that's all that it took to find out in my Google search that the song is Huellas by Joe Vasconcellos. He's a fantastic Chilean artist whose father is Brazilian. I love the influence of both cultures in his music. My favorite version of Huellas is on his myspace page, http://www.myspace.com/joevasconcellos

2010-02-02T05:54:00.000-08:00

Here are the videos of my piece JOLT, premiered by the Metropolis Ensemble at Le Poisson Rouge!

Jolt - 1st and 2nd Movements from Metropolis Ensemble on Vimeo.

Jolt - 3rd Movement from Metropolis Ensemble on Vimeo.

World premiere performance of Cristina Spinei's Jolt (2009), performed on November 20, 2009 at Le Poisson Rouge in New York City. Featuring Britton Matthews, Meia Noite, and Luke Rinderknecht on percussion, and Metropolis Ensemble led by conductor Andrew Cyr. Video by Jim Larson and Adam Merritt; sound by Ryan Streber.

Learn more: metropolisensemble.org

2010-01-26T08:19:00.001-08:00

I feel very grateful for having received so many grants in the past few months. I decided that I would like to help my friends and colleagues develop their own proposals as a way of showing my appreciation. Last night I sent out an invite on Facebook letting people know about my project and today my inbox was flooded with messages! I wish that I could help everyone but that's not going to be possible. At the very least I can direct people to websites that have lists of grants and tips for writing them.

On another note, I received this snotty email from a magazine editor that I had written to. Maybe I'm being too sensitive but I was a little taken aback by the tone of his note. Here's an excerpt:

I must tell you that if we feature a composer, it would be Philip Glass, as he has had such an impact on the dance world. So that's the reality. (There was more but I shouldn't put everything)

Does Philip Glass really need another article? I mean, I think it has become a cliche for a dancer to choreograph to his music. Everyone does it. What about giving emerging composers who are making their own impact a chance? Guess not, in the arts world it's just more of the same...

2010-01-24T16:13:00.000-08:00

I just got back from the KDNY performance at the Westport Country Playhouse. It went really well, it was good to see the show again so close to home! This time the dance was to the recordings that we made with the Voxare Quartet. It would have been too hard to get the musicians to come to CT for the two performances.

I love the Westport Country Playhouse, it has so much charm. It was originally a cow barn built in 1835. Joanne Woodward was the driving force behind its recent restoration and the theater looks great! Here are some pictures from their website.

Before:

(circa 1930)

Today:

2010-01-21T06:31:00.000-08:00

This Weekend!

Treading Puddles’ dance piece at Westport Playhouse
By Scott Gargan, Correspondent
Published: 06:17 p.m., Tuesday, January 19, 2010

Two Fairfield County artists -- a Norwalk choreographer and a Stamford composer -- have teamed to produce the contemporary dance performance, "Treading Puddles," presented by New York City-based KDNY this weekend at the Westport Country Playhouse.

The choreographer, Kathleen Dyer of Norwalk, has presented dances by her company, KDNY, at national performing arts festivals for the last 15 years. However, those productions were but short excerpts; "Treading Puddles" is Dyer's first full production of her repertory work. "This is a really big deal for me," said Dyer, a native of Alabama. "This is the first performance that's all us."

First presented at the Ailey City Group Theatre in New York City, "Treading Puddles" is rooted in what Dyer termed neo-classical dance -- a combination of traditional ballet, contemporary dance and theatrical elements, including full sets and elaborate costumes.

The premiers that make up "Treading Puddles" -- "Evergreen," "From" and "Wide Asleep" -- are inspired by Dyer's experiences with motherhood, from the anxiety of pregnancy to the stress of dealing with five young children.

"Wide Asleep came from the fact that I have a lot of kids and I'm up all night," she said, laughing. However, Dyer stressed that "Treading Puddles" conveys a more general theme about "overcoming, looking past and moving forward from obstacles," and she encourages audiences to exercise their own narratives and interpretations. "That's the beauty of art," she added.

The composer, Cristina Spinei of Stamford, first met Dyer last year at a KDNY performance at the Pomegranate Gallery in the SoHo neighborhood of New York City. The two artists exchanged ideas and Spinei, who has a long-held penchant for dance, began work on compositions for "Treading Puddles."

"I love writing music for dance," said Spinei, a former ballet dancer who has also contributed music to Mary Seidman and Keystone Dancers and the New York Choreographic Institute. "I like the physicality of dance and I thought my music would fit." Spinei said her compositions utilize a wide range of styles, from the classical string quartet of "From" to the electronic sounds and recorded human breathing of "Wide Asleep."

While each artist has her own unique artistic motivation and style, both are excited to present their work to a local audience. During an interview last week, Dyer expressed anxiety over performing "Treading Puddles" to "people I know very well.

"It's terrible scary," she said. "There is an element of anonymity in New York that this performance will not have."

Spinei, a music teacher in Darien, plans to invite many of her students and friends to attend the performance. "I want to show my own kids what I do," she explained. "I think (Dyer's) work appeals to any audience. There's something in it for everybody."

2010-01-20T08:34:00.000-08:00

This was the first "sketch" of JOLT that I later orchestrated and made into the piece for three percussionists and chamber orchestra. The beginning is pretty much the same in the orchestral version but the rest I changed completely. Hope you enjoy!

Jolt from Metropolis Ensemble on Vimeo.

Cristina Spinei's Jolt (2009), performed on May 6, 2009 at the Americas Society in New York City. Featuring Jenny Lin on piano, Meia Noite on berimbau, Britton Matthews on percussion, and Rachel Calin on bass. Presented by the Metropolis Ensemble led by conductor Andrew Cyr. Video by Gareth Paul Cox and Kyrié Cox; sound by Bill Siegmund.

Learn more: http://metropolisensemble.org

2010-01-17T09:27:00.000-08:00

I finally get to put the "dancing" part back into this blog. The other night I went out salsa dancing at Gonzalez y Gonzalez for the first time. I had been wanting to go there for probably two years now but never got around to it. It's a delightfully kitschy place with a large florescent sombrero outside and brightly painted walls inside. The dance floor is a decent size and the dancers there were great. Why is it that the old men are always the best dancers? There was gentleman there that looked like he was in his late sixties who was definitely the center of attention. His moves were so fluid but extremely confident at the same time. And the band was great too. I only wish they had played another set. Salsa crowds are funny sometimes; there is a mix of professionals who don't want anyone to get in their way, there are the show-offs who do their 'tricks' and then look around to see who was watching them, and then there are the people there who just want to have a fun time. When the band finished playing and the DJ came on everyone cleared the dance floor. Lady Gaga couldn't get the crowd moving, neither could Rihanna. It seemed like everyone was there just to dance salsa.
I love going to places that have live music and dancing, next on my list is Barbès in Brooklyn.

Great band!

The decor:

Me and friend/fellow composer Giti

The perfect salsa shoes. I danced for four hours straight!

2010-01-15T11:51:00.000-08:00

Yesterday I was interviewed by the Fairfield County press for my upcoming performance with KDNY Dance in Westport, CT. Ever since I was a teenager I always strived to get myself in the Sunday Arts section of our local paper. When I found out that I had gotten accepted to the Juilliard Pre-College program at 16, I had my mom call the paper to do a story about me and my sister. I was so excited to have the reporter interview us at my house along with a photographer. From that point on I've been a bit of a publicity hog. I became my own publicist and got myself featured in articles every year after that. One was for a premiere of a choral piece at a church, another was for a small company that I started to compose music for weddings, and there were more about upcoming performances in and around CT.

I've talked with some composers and conductors about their views on publicists and most think that it's a waste of time and money. Sometimes I wish that I would have some help me with promoting concerts and upcoming events. I tried out a PR firm for a concert in the fall but nothing came out of it that I couldn't do myself. I'm curious to know what everyone else's experience has been. Is it better to do your own PR or is it worth having a representative work for you?

2010-01-12T09:36:00.000-08:00

I just got a grant from the Foundation for Contemporary Arts!!!! I'm so thrilled! They provide funding for projects that create unique opportunities for artists. Now I get to go back to Brazil and create an outdoor procession-like performance of a new work for percussion. I have so many ideas, I can't wait to see how this turns out. Thank you to the Foundation for Contemporary Arts!

2010-01-04T12:23:00.001-08:00

Our Blind Ear interview for BBC radio aired on New Year's Eve! I didn't even know it was going to be broadcast; a musician from New Music Detroit actually let me know that he heard it. Tom Lane did an excellent report, I'm thrilled with how the interview turned out. I'm having some trouble trying to upload audio files on this blog, so here's the link to the interview:

www.myspace.com/cristinaspinei

2009-12-19T14:56:00.000-08:00

I'm officially finished with all projects! The KDNY dance Treading Puddles went up in the beginning of December at the Alvin Ailey Citigroup Theater. Right after that performance I had to prepare for an open workshop at Juilliard with Blind Ear and choreographer Andrea Miller. Then an interview with BBC about Blind Ear. I guess that's a legitimate excuse for not blogging as often as I'd like to. I hate that feeling after a performance when everything you've worked so hard for is finished. To me one of the greatest parts about being involved with a premiere is the people that I meet. Those hours that you spend together waiting for the technical people to finish running tests, or those hurried coffee breaks in between rehearsals. It's hard to keep up with everyone once a performance is done but I have managed to recruit a few musicians from my recent shows to join in with our Blind Ear concerts.

So now I'm planning what I'll do next. On a business end, I have to finish writing my business plan for a meeting next week with SCORE. I've found a really great mentor there who has a background in the arts and in marketing. It couldn't be a more perfect match. I encourage anyone who is starting a small business or who would like to market themselves to set up a meeting with one of their counselors. They offer great advice and it's free! Other than that I have one more dance to composer for KDNY in 2010 but I'm looking for more commissions. I think I'd like to take a short break from writing for dance. In the past two years I've written almost exclusively for dance companies: Pacific Northwest Ballet, Mary Seidman and Keystone Dancers, NY Choreographic Institute, and KDNY. I love collaborating with choreographers but I would like to work with a musician on my next project. I've talked with my friend Emily Thomas about composing a flute concerto for her. She's an amazing flautist with an incredible affinity for new music. Hopefully we can get the grants to make it happen...

REVERB

2009-11-09T19:53:00.001-08:00

Cristina Spinei: Bio from Metropolis Ensemble on Vimeo.

JOLT

2009-11-06T07:14:00.000-08:00

Last week I did a video interview for my upcoming premiere JOLT with the Metropolis Ensemble. This is the most excited I've ever been about a composition, in addition to the chamber orchestra I had three percussionists to work with!!! I'm posting the music that inspired me to write JOLT. This is from the Festa de Yemanja in Salvador, Bahia, Brazil.

BEHIND THE SCENES: Blind Ear Music Video Shoot

2009-07-29T12:15:00.000-07:00

Location: The Brooklyn Lyceum & UWS

BLIND EAR MUSIC VIDEO

2009-07-06T20:20:00.000-07:00

The Blind Ear video is finished! Now we're putting together our next concert at the Gershwin Hotel, July 21st.

http://www.youtube.com/watch?v=DhESejIckYU&feature=channel

Pictures from Brazil

2009-02-22T19:49:00.000-08:00

Homecoming

2009-02-09T09:26:00.000-08:00

I'm back in the freezing cold East Coast. I miss Brazil but I have a lot of planning to do for the debut of Blind Ear at the Gershwin Hotel on February 26th. Luckily Jakub and I have found 12 fabulous musicians who are willing to perform for us for free. I just need a few more violinists and we're done with the programming. (Why is it always so hard to find violinists? There are so many of them!)

I'm Eating...What?!

2009-02-01T06:54:00.000-08:00

One of the things I love most about Salvador besides the music is the food here. For a month I've been living on feijoada, muceca de peixe, acaraje, acai, and an abundant about of pimenta (hot sauce). I've noticed waiters giving me funny looks when I drench my plate with pimenta or when I eat things that have no english translation for them. The waiters inevitably ask my Brazilian friends if I know what I'm doing and still look at me like I'm a crazy gringa.

Last night I went to a 24 hour cafe geared for tourists that unfortunately had english translations under all of the items on the menu. I found out that "combi," one of the best post-concert snacks, isn't hamburger meat at all but "the insides of the cow." Or in other words cow intestines (and who knows what else). Ugh, I don't think I would be able to eat that at 3am again knowing what it is. Another one of my favorites carne de sol isn't the salted, dried beef that I thought I was eating. It's translation on the informative menu was "salted ass" which was then clarified as donkey. With as much carne de sol as I've been eating here I probably consumed an entire donkey by now!

Maybe I'm a little too squeamish but knowing what I'm eating ruins it for me. I think I would rather remain happily clueless rather than knowing that I ate horse and donkey and intestines, and skunk, although all of it is delicious. Tonight I'm going to a restaurant that is actually a stone masonry by day and a "ghetto comfort food" restaurant by night. I'm told that they have no menus and the waiters just bring out food. I'm sure I'll enjoy my mystery meat!

Vevé Calasans

2009-02-01T06:35:00.000-08:00

The other night I had the privilege of meeting one of Bahia's most prolific composers. Every singer in Brazil sings at least one of Vevé Calasans' hundreds of songs. Maria Bethânia, Jauperi, Carlinhos Brown, Margareth Menezes, and Saul Barbosa are just a few of the singers that have recorded his music. Vevé's work embodies the culture of Bahia. Each song conjures up the images, scents, and feeling of Salvador.

At every concert I have been to here his song E D'Oxum is performed. Everybody knows all of the lyrics and the Afro-Brazilian dance that goes along with it. But not too many people know about Vevé or any of the composers behind the most popular Brazilian music. I guess in every culture it's difficult for a composer to gain recognition for their work.

Museo do Ritimo

2009-01-13T05:49:00.000-08:00

What do you get when you cross a singing polar bear, a fashion show, ballet, and a live beer commercial? A Carlinhos Brown concert at the Museu do Ritimo! If Fellini had been a musician he would have produced a concert exactly like the one I saw on Sunday. Carlinhos Brown created the Museu do Ritimo especailly for his concerts, it's a whimsical space in the shell of an old building. I've always said that the greatest musicians and composers have created their own space to present their work and this is a great example of that. The concert opened with a fashion show accompanied by the music of two percussionists. The entire performance had to be over four hours long. There were guests including Margareth Menezes, Saul Fernandez, and a classical pianist. Brown even took the time to talk about the importance of classical music in contemporary culture. He's an extremely important figure in Brazilian music and I wish americans knew more about him other than the famous song "Magdalena." I'm going to try to post some of the video here.

Christmas in Connecticut

2008-12-27T15:31:00.001-08:00

After party

2008-12-22T07:06:00.001-08:00

MAMA a modern folktale ended its run at La Mama yesterday. I still can't really believe that it's over. The past few weeks that's all I've been thinking about and working on. I always hate the day after a show ends! We had a great audience and everyone was so enthusiastic about the performance. The only thing slightly nagging at me is that none of my friends or colleagues from Juilliard showed up. I always make it a point to go to other people's performances to check out what everyone has been working on. I was very surprised that Gary and his girlfriend Maria to came to the show. I don't know him too well but he showed support for me anyway.

Website!

2008-12-09T06:16:00.000-08:00

My website is up! www.CristinaSpinei.com Thank you Yasna!

Cristina Spinei: Composer/Berimbau Player

2008-12-08T20:51:00.000-08:00

I think I've found my slash. In our multi-tasking obsessed world it's common for people to claim expertise in their many varied accomplishments, e.g. entrepreneur/actor/tibetan throat-singer. So I thought that I should distinguish myself further from all of the other female composers out there by adding a slash to "composer." In my quest to find the perfect niche I toyed with the label composer/accordion player. We have an accordion lying around at our house complete with "how to" books and polka sheet music. I seriously practiced one day but gave up shortly after realizing that I would have to start lifting weights if I was going to hold that thing all day. That and the dorky stigma attached to accordion players didn't do much to convince me.

Next I went to an old violin that I had "borrowed" from high school. Anyway I thought it was a violin until the G-string actually tuned down to a D. Which made it not quite a viola, but definitely not a violin. It was some kind of weird in-the-middle hybrid of the two. Not a good "slash" instrument either.

Then it hit me. I needed a lightweight instrument that didn't require a lot of strength or ear training prowess or breath control (which is a shame because I'd love to be able to play the didgeridoo) What better way to do that than with the berimbau? Perfect, it can only produce two pitches. I still need to practice but it's fun because it's such a cool sound!

I'll be debuting my berimbau skills during MAMA next week. It'll be the official start of my new career ;-)

Addictive Music

2008-12-01T12:40:00.000-08:00

I've been listening to Burkina Electric all day. I loooove their music and I'll play it incessantly until I won't want to hear it for another month. I always do that with music. This summer it was Joao Bosco's Odile Odila. It was a song that I'd listened to when I was little and it stuck with me. But I didn't know who sang it or what the title was until I heard it this summer at my friend's bachelorette party in the Hamptons. We were all in the pool with the music blaring when it came on. I jumped out of the water and ran to the CD player soaking wet to locate the song on one of those predictable world compilation CDs. Anyway, after I downloaded it at home I listened to it a billion times a day. I wonder what music is going to be next...

2008-11-28T18:41:00.000-08:00

I can't believe I've let nine months go by without adding another post to this blog! I'm getting ready for a performance in December at LaMama Theater. Mary Seidman and Keystone Dance, along with guest dancers are performing an evening length dance December 18-21. It took me a full year to learn Logic and compose the music. I'm so happy with how it sounds, it's been a fantastic collaboration!

http://www.lamama.org

Beginnings...

2008-02-21T14:03:00.000-08:00

My love of classical music started at the Stamford City Ballet under former Balanchine ballerina, Allegra Kent. For four years I happily jetéd, relevéd and pliéd my way towards my dream of becoming a prima ballerina – until I was told at the tender age of eleven that my “duck feet” and “bubble butt” were better suited for some other type of dance. I traded in my pointe shoes for piano lessons and took my knowledge of movement with me when I started developing my new found love, composition. As a composer I thought that I could be accepted regardless of my physical appearance. The snide remarks and incredulous looks that I sometimes receive have proven opposite.

Composers’ image in society is in desperate need of a makeover. The public can easily name contemporary musicians and conductors such as Yo-yo Ma and James Levine, but not many people can name a contemporary composer. Composers, the people who should be the greatest advocates and promoters of classical and contemporary music, are not even on the public’s radar. This is partly our own fault. There is a pervasive inability among administrators and musicians to realize that their elitist attitudes are isolating listeners. In school, composers are expected to suspend their originality and devote years of non-compositional study towards getting a doctorate. Once the composer receives the doctorate and finds a teaching job he or she inflicts the same mind numbing career path on all of his or her disciples. Have you seen the transformation of a composition student through a doctoral program? It’s a scary metamorphosis that makes every composer more like the other one with each year that passes. Some composers survive with their personalities intact but most emerge as elitist composer-robots. Maybe I’m exaggerating a little but that is the precise reason why our society isn’t aware that composers exist.

Throughout my eight years at Juilliard I have been going to the Copacabana, S.O.B.’s, Satalla, and other clubs where outstanding bands perform for some of the best dancers in New York. You can sense the energy of these places from two blocks away, with the music of Oscar de Leon, Johnny Pacheco, and El Gran Combo pulsing through the streets. I always separated my love of salsa and samba from my Juilliard studies. I remember sneaking out of the dorms every Tuesday night not wanting anyone to know where I was going. Classical composers, if we want to be taken seriously, don’t go out during the week to salsa clubs, especially not when there’s an ear training exam early the next morning. Between sneaking out of the dorms and sneaking into the clubs I began to realize that what contemporary music needs is dance. We’ve lost all sense of movement and rhythm in our music and replaced it with complex gestures and intricately orchestrated textures. Because we have separated movement from our music we are left with a stiff, aging audience and an indifferent public. I discovered from frequenting Latin clubs and from my trip to Bahia, Brazil that when both music and dance are equally combined the culture is explosive.