As I watch the Red Sox battle for their post-season lives, I am sending out a little preview to my upcoming weekend.

I seem to be going back to my roots on Saturday. When I was just a young’un, I was completely turned on by the Beatles Rubber Soul album. Much to my parents’ chagrin, this album was what made me really decide to become a musician. Although I’ve left rock music behind in a past life, the music still moves me on many, many levels.

So, on Saturday I will join the very well-known Beatles tribute band Mostly Moptop for a special performance celebrating the life and music of John Lennon at the Dix Hills Performing Arts Center at Five Towns College.

This concert holds special meaning for me. There were three events that defined the 1980s: John Lennon’s death, the Challenger disaster, and the tearing down of the Berlin Wall. I’m delighted that I can contribute to a concert honoring John Lennon, one of my musical heroes. And, coincidentally, Five Towns College–where I teach–is home to the John Lennon Center for Music and Technology.

**********************************************************

Many of you will remember my 2007 Balkan tour which took me to Bulgaria, Serbia, and Greece. In Bulgaria I was the guest and featured artist of the AmBul Festival of American and Bulgarian Music which takes place annual in the capitol Sofia. I was approached this year by the Festival’s artistic director Geoffrey Dean to appear in a film clip discussing American composer Steve Reich who is celebrating his 75th birthday this year and who is the focus of this year’s Festival.

So…the film clip, which was shot with the help of the Audio/Visual Dept. at Five Towns College, is of me discussing Reich, his importance as a composer, and his influence on me as a composer–I am basically ‘riffing’ in front of the camera, and having fun doing it. I also play a short selection from my favorite of his compositions, Desert Music.

The reason I chose Desert Music is that it was really the first piece I had heard by a major–and LIVING–American composer. It was my freshman year at New England Conservatory, and both the faculty and student composers were constantly discussing Desert Music; the recording (album…LP…) with Michael Tilson Thomas conducting had been recently released…the buzz was a-buzzing…I had to hear it…

…so I bought it. It spoke to me in ways that classical music hadn’t really before. It may have been the repetitive nature that evokes primal nature and jazz/rock music, but I could relate to it. It has had–and continues to have–its influence on my work.

I hope you enjoy it.

Until soon,

Demetrius

Film clip talking about Steve Reich for 2011 AmBul Festival

So…I have finished my semester commitments at Five Towns College, just in time to start my 48-hour whirlwind preparation for Portugal. My semester was a busy one, but also successful. I know that we are being advertised–and that some of us are being featured–in an upcoming issue of Chamber Music America, and that the College has requested that Jazz Times interview me personally for an upcoming article on film-scoring. That, plus the fact that the College is commissioning me to write a new choral piece for them are good signs for continued success in the future.

On Thursday, I leave for Portugal to begin my month-long artist residency at ARTErra Residences Rurais Artisticas (notice my photo and write-up in their blog). The goal of this residency, as you all know, is to compose the music for my new CD, which I will entitle Painting. I want this music to be about relationships: human, to nature and environment, to spirituality, to our times. Ideas have begun to creep into my consciousness…some are being rather insistent about it. The interesting thing is to see what will actually happen; will the ideas stay to the fore and evolve into fully bloomed works, or will they dissipate when I am engaged in a completely different environment that will influence (I don’t want to utter the overused word ‘inspire’) new ideas to take shape? Who knows?

And getting back to ideas, I have a ‘sound’ in mind that I went into this project with–not only a musical sound, but one of color…instrumentation. I have a band together of colleagues who are interested and willing to record with me; a septet (instrumentation a secret for now). The sound is like my recent music: modal, a melodic mix of post-classical and jazz improvisation and world music elements. Very me. However, there is this nagging sensation of wanting to go back to my roots and doing a funk/soul album with vocals…trying to beat that one back, but with all of the good wine and fish and sunshine, I don’t know what is going to come out of it all…it will be an adventure, though…it’s *always* an adventure…

The real adventure will be to see if I can handle peace and quiet to work. I live in NYC…I like dirt and noise, after all…

Speaking of adventure, once again I have to deal with traveling with an instrument plus the added issue of taking a laptop. I wish I could take my new tenor, but, alas, there’s just no way they’ll let me on with that with all of the regulations now (which change from airline to airline and from country to country). I was going to only take my flute, which I thought would be a calming influence since I had such an intense playing season, but I’ll be playing exclusively (I think…see above paragraph…) saxophone on this album, and the people at the residency tell me that everyone is expecting a solo concert or two of saxophone music, so I’ll bring my soprano sax, which I know will be on the CD (I think…again see above…) and it’s in the same key as the tenor, just an octave higher.

My concern for traveling actually had me check out the possibility of purchasing a curved soprano sax since they can fit in most carry-on luggage…yes, I know…after looking at one and holding it…yes, they’re like a cute little teapot…but…I couldn’t…especially after hearing the snickers from my colleagues…I mean, I’m 6′ 3″…it just doesn’t look or feel right…yes, image IS everything, I’m afraid…

And speaking of images, Grammys, Grammys, Grammys…what *are* you doing?

As you see, numerous categories, including Latin Jazz in entirety, Chamber Music, Best Classical Album, most American Roots Music, and distinctions between male and female vocalists no longer seem to exist.

There has been backlash, most of it coming from the Latin Jazz community–God bless them–but I haven’t heard much from the classical community, who seem to still be wallowing in the misery of orchestral bankruptcies to raise their weary heads in protest.

I’ll link this again because it’s important!

From what I gather, the final push for this revamp came when Esperanza Spalding won for Best New Artist over Justin Bieber, whom I *refuse* to link to. The supposed fury was that the Grammys ‘were out of touch with reality’ (mostly from the ones making money off of Bieber) and that things had to change…hence the elimination of 31 categories.

Now, artists in fringe forms…everything save pop, it seems–who had some chance of recognition have been denied this opportunity. I am angry on numerous levels, not the least being the fact my colleagues (and myself, mind you!) have been edged out of any international award recognition for our recordings. This also makes me want to reconsider my recording project somewhat now that Chamber Music, Jazz Instrumental, and World Music categories are eliminated–all of the categories I could be in. Of course, what else am I going to do? Call up Bieber and say “hey, let’s do a bubblegum pop album for the over-40 crowd”…uh, no…

So I’ll carry on as planed, of course…the adventure…

Next time you hear from me–and it will be soon–will be my blogging from Portugal. I will be updating regularly about the creative process to give you insight into my psyche…man, that’s scary…

Yours,

Demetrius

I have just posted a video from my performance t the 2nd Dushanbe International Jazz Festival, May 3. 2010, Dushanbe, Tajikistan. This is my collaboration with the Tajik traditional band Mizrob, performing my composition Open Letter to Dushanbe, which is based loosely on Mingus’ Open Letter to Duke, and was dedicated to the people of Dushanbe for their kindness and hospitality. This piece combines jazz with traditional Tajik music.

The words in the 2nd section, sung in Tajik, basically mean, ‘I look at you with undying love, but even though you turn away, I know your heart calls me, too’

Demetrius Spaneas, alto saxophone, composer
Mizrob, traditional Tajik ensemble
Sponsored by the Bactria Cultural Centre, Dushanbe, Tajikistan

Enjoy!!!

Cassandra is a project which i have been wanting to undertake for many years. Her temptation, empowerment, descent into madness, and eventual destruction make her the perfect subject for a one-act, one-woman contemporary opera.

The monodrama’s structure will be based on both Ancient Greek tragedy and the Eleusinian Mysteries. The Mysteries were ritual ceremonies that gave birth to the concept of the individual as distinct from society; they also served as the basis of Greek drama. The opera will use contemporary multimedia theater to achieve the same effect as Ancient Greek drama and ritual, which sought to stimulate all of the participants’ senses. This multimedia performance will allow the onstage transformation of Cassandra to have a transformative effect on the audience. The idea of Jungian archetype and meaning of ritual play a central role in this transformation.

Cassandra must be a transformative experience. Our challenge is to use today’s technology and the techniques of contemporary art to bring about a ‘ritual’ (in the sense of a transformative experience) that evokes ancient times yet is evidently relevant to the challenges of everyday contemporary life. Through her burden of suffering, Cassandra will present the audience a chance to transcend spiritual or psychological constraints of contemporary life. Cassandra, in this way, will serve as a catalyst for the transformation of the audience

Jacquelyn Familant, soprano
Demetrius Spaneas, composer and saxophone
Adam Blanshay, director
Kate Light, libretto
Danny Bonner, camera and post production

Since my last post was about 2010 and all of the surprises it held (especially since, as I mentioned, I assumed it would be a ‘quiet’ year), I’ve decided to write a little about the major projects that I have cooking for 2011. Most of these are for the spring, as the summer and fall are only now beginning to take shape. Again, I never know what will actually happen, but in many ways, that’s a lot of the excitement of it all…stressful at times, but exciting overall.

Strangely enough, one of the major upcoming events in 2011 was signed on December 30th. This would be the reissue of my first two solo CDs–When Wind Comes to Sparse Bamboo (2003) and From a Far-off World (2006)–which were originally released on Capstone Records. The Capstone catalog, which is now facilitated by Parma Recordings and under the profound stewardship of Bob Lord, will release the CDs through the Naxos Online Library, as well as Amazon and iTunes, as part of their new ‘Capstone Collection’. I am very pleased that these recordings will have a new life, and perhaps a new audience. This will happen in the first part of 2011.

This past weekend ushered in another stage of a major multi-year project. Many years ago, I had the idea to create a multimedia monodramatic opera entitled Cassandra, based on the enigmatic character from Greek mythology (Iliad, Orestia, and others). After some failed attempts at finding grant funding, I put together a very strong artistic team (Jacquelyn Familant, soprano; Adam Blanshay, director; Kate Light, librettist; Sylviane Jacobsen, set designer; others) and we have decided to make this happen for 2013. This weekend, we filmed a scene from the opera (a recitative and aria, titled The Cup of Agony, which, by the way, we created, rehearsed, and staged starting two weeks ago) to use for both grant applications and other methods of fundraising and publicity. The film of this scene will go up on my youtube channel by week’s end.

Speaking of my youtube channel, I will be posting new live performance videos from my festival performances in Tajikistan and Poland very soon. Stay tuned!

Many of you know about my work promoting American women composers abroad, especially to women composition students in the former Soviet Union that have no proper role models. On March 10, I have the honor of presenting a solo concert for the Women’s Work 2011 series, featuring many of the composers whose works I have promoted, and many new ones, as well. This series has been undergoing a difficult time due to having their funding and support cut last-minute with no warning, and past any deadlines to apply for other funding. Below is a link with series director Beth Anderson-Harold talking about this year’s plight and concerts. The project is now fiscally sponsored by Fractured Atlas, and any support or donation is considered a charitable donation.

Women’s Work 2011

I am truly delighted with my collaboration with sculptor Laura Evans. Laura and I have created a project entitled Corpus Apparatus. This work is a visual/sonic installation that will be presented as both a featured work in Laura’s show at the Boston Sculptors Gallery from March 15 to April 17, 2011, and as a featured work for the TransCultural Exchange 2011 Conference on International Opportunities in the Arts: The Interconnected World, April 7-10, 2011. My music is an acousmatic (electronic music, created in the studio and using as source material recordings of me created specifically for this) piece which will emanate from within the sculpture. My electronic score to Corpus Apparatus won the CAP award from the American Music Center this fall. This award is to fund the final production and presentation of the work.

2011 will also start off with a bang compositionally. The wonderful German pianist Suzanne Kessel has engaged me to write a new work for her that also utilizes her playing ‘percussion’ as well as piano. I have decided to use Tibetan singing bowls as the ‘percussion’ instrument. The new piece, with a working title of Breathe, will be premiered this year in Germany and other European locations.

I will also be collaborating as both composer and performer with the wonderful Boston-based choreographer Rebecca Rice in a performance to be held at New York City’s Merce Cunningham Studio. Details of this June 13 performance soon to follow.

Amidst all of the major projects, the numerous other smaller concerts scattered throughout the year, some intense recording sessions, and a very heavy teaching schedule, I am in fact planning on composing and recording a new CD that combines new compositions, improvisation, world music, and electronics. All I am saying at this point is that it will happen…you’ll have to wait for details…:)

As always, i am humbled and honored by your continued interest and support. I wish you all a wonderful, successful, and peaceful New Year.

Warmly,

Demetrius

"Cassandra", stage for filming, Jan 02, 2011

Since I will be in Tajikistan during the presentation, I am unable to attend (yes, missing yet another performance and presentation of my music due to performing on another continent…), so if anyone attends, please let me know how it was.

Demetrius

Here’s the info:

What if? 60x60x60
And, the New Media Curious Festival party!
Next Thursday April 29 730 PM
Media artist Gene Gort and composer/sound artist Ken Steen of New Media New Music New England bring us an audience participatory experiment in audio and video called What If? 60×60×60. The project uses 60 video clips and 60 sound compositions that are 60 seconds in duration each. Contributors of the clips were selected from a call to New England mediamakers. During the event, audience members select one number each from a video and audio designated list. These selections will determine the evening’s program of 60 works, resulting in a 60 minute screening. What If? 60×60×60 investigates the serendipitous relationship of sound and moving image in terms of coincidence, shifting context and potential meanings that result. Check out the online version of the project at http://www.nmnmne.org/what_if.php and http://www.nmnmne.org. Gene Gort, Ken Steen and Boston mediamakers will discuss the experimental project following the screening.

And after that, stay for the New Media Curious Festival Party! Have some snacks, sip a refreshing UFO lager and chat up all the friendly, fascinating people in art, experimental moving images and technology in Boston and beyond!

See the Festival Poster!

Greetings,

It is my pleasure to tell you that the NMNMNE’s (New Media New Music New England) project What If? (60x60x60) is now up on-line for public access.

http://www.nmnmne.org/what_if.php

For the project, there was a competition for both composers and film makers to create works of 60 seconds. The idea is that the viewer can choose (or let the website choose at random) any combination of music and video. The website will sync up the two.

My composition, The Ballad of Olga D., was chosen for this project. This was especially fun for me since this piece is the first ever stand-alone electronics-only work that I have ever composed (not counting electronics-only film scores). The one non-electronic component is me speaking the Russian word “Zdravstvuite! (Здравствуите!)”, which means “hello”…you can probably tell by the inflections in my voice what the piece is about (hint: think Russian club scene…).

There are lots of really interesting works that will give you, the viewer, endless hours of random pairing fun!

Thanks again to NMNMNE for putting together this very cool project, and for choosing my work to be a part of it!

Demetrius

This multimedia work for soloist, electronics, and film is based on a Postmodern view of a Native American sunrise ceremony. The opening flute is purely improvised, while the later saxophone melody is presented in heterophony with the electronic tracks. In performance, the soloist performs both alongside and within the film by standing behind a scrim, interacting with the on-screen action. This was my collaboration with Uzbek film maker Nikolay Leonuv, and had its premier at the Omnibus Black Box Music and Vision Festival in Tashkent, Uzbekistan in February 2008.

Other composers featured on the concert include Eric Chasalow, David Ianni, Russel Pinkston, and Justin Casinghino. The concert will take place at Edward M. Pickman Concert Hall at the Longy School of Music in Cambridge, MA on April 27th, 2009 at 8PM.

To be held at the Media Center at O’Leary Library at the University of Massachusetts at Lowell, April 26th, 2009 at 2PM.

Much of my creative work explores the ideas of ritual and mythology and how these effect our spiritual and psychological evolution. This program, “Mythology and Modern Perception” presents multimedia pieces that touch upon everything from ancient rituals to Jungian archetypes to modern views of where we came from and where we are going.

This program is the result of numerous collaborations with composers and film makers in 3 continents.

This is the first US presentation of this program; I have presented this at concerts and festivals throughout Europe and Asia during the 2007-08 concert season. Works include: Bogojevich/McDermott “Bajalica”, Harizanos/Tsangas “Aeolian Windbag”, Spaneas/Leonuv “In Celebration of Sunrise”, and Susman/Bilich “Native New Yorker”.

Note: This is a one-hour continuous presentation of music and film beginning at 7PM.
Note: Themes and images may be disturbing for children under 13.