Interview: Brandon Carcamo - Composer and Guitarist

Brandon Carcamo is a New Orleans based composer and guitarist. Carcamo recently won the 2020 ACG composition competition with his piece 'Solace' for guitar choir. 'Solace' was planned to be premiered during ACG Fest; however, due to current circumstances the festival has been cancelled. Instead of letting the premiere die, the piece has taken new life through the SOLACE PROJECT. In this interview, we discuss Brandon Carcamo's experience in the time of COVID-19, his compositions, and specific challenges composing for guitar ensemble.

How did you get into classical and jazz guitar? 

I first got into jazz guitar when I was around 12 years old. For a few summers, I used to go to these jazz camps where I was introduced to the musical culture of New Orleans and where I was able to learn directly from experienced musicians in the city. I also went to a performing arts high school called the New Orleans Center for the Creative Arts (NOCCA), which was also instrumental in my growth as a musician. My transition to classical guitar is actually very recent. I decided to take a stab at it about halfway through college, and after I had my first lesson, I knew that it would play a big role in my life. I was very fortunate to have some amazing teachers who pushed me in the right direction. After that, I started gravitating more towards classical guitar, but I do go back and forth with classical and jazz sometimes.

When did you start composing? 

I first started composing when I was in college, and it was mostly for film scoring. I wanted to be a film score composer for a time, and so I would try to find any opportunity where I could write music for someone else’s project. I eventually did get the chance to work on a few student films and even partake in a few film scoring competitions, all of which were invaluable experiences for me as a young composer. They really helped in honing my composing “chops”. Besides that, I haven’t written too much music that isn’t related to film scoring. I’m only just now starting to write music for classical guitar, and I’m getting more comfortable with it the more I grow as a player.

What inspired you to write “Solace”?

I wrote this piece thinking of the things we tend to turn to in a time of distress and how that itself is a beautiful expression of our humanity. I used some minimalist textures because I wanted the piece to sound sort of dreamlike, as if the things we find solace in put us in this trance of comfort.

What are some challenges you faced writing for guitar ensemble? 

I think the main challenge that I faced in writing for guitar ensemble was just keeping each part as interesting and engaging as the others, especially when you have to consider how to make each part slightly different in the level of difficulty. The other big challenge for me was creating interesting textures on guitar. I’m more comfortable with the variety of orchestral textures coming from my experience with film scoring, but with guitar, it’s something I had to think about. After writing this piece, I’m starting to think more now about how I can translate orchestral textures to guitar. 

We are living in an unprecedented time due to COVID-19, how has this pandemic affected you both personally and as a musician? 

Obviously this pandemic has been traumatizing to us all worldwide. My father tested positive for COVID-19, and while he is fully recovered now, it was difficult to see him in the state he was in. Like so many others right now, I’m just trying to get by emotionally. As for music, all gigs in the universe have been cancelled for every musician, and I am no exception to that. I’m just trying to share music online right now and do my best to stay connected with others. 

What are some ways you’ve seen musicians pivot during this time of social distancing that has inspired you? 

It really makes me happy to see the output of music that fellow musicians have been sharing over the internet. It’s been really inspiring to watch all of the solos, duets, and orchestras perform virtually. I think this is encouraging more people to share their music and connect with others online. It has definitely inspired me to do just that.

For the health and safety of the guitar community, Austin Classical Guitar has had to change the approach to premiere your piece. What do you hope musicians gain from performing “Solace” in a time of social distancing? 

I know this is cliché, but my hope is that this experience brings us closer together during this pandemic. I know it’s an unusual way to premiere a piece, but we are living in unusual times, and we just have to make the most of it. Even though we are living in a time of social distancing, we don’t have to stay disconnected. I also don’t think there are too many virtual guitar orchestras out there, so I really think that this piece can do something special for us and the world. I’m really hoping that this performance inspires others to share their art, especially our own members of the classical guitar community.

by Jess Griggs

'together' Artist Profile: Celil Refik Kaya - Composer

We are thrilled to be collaborating with some incredible artists for our January 24-26 season centerpiece together. Composer and guitarist Celil Refik Kaya has created a beautiful and moving new work for these shows: There Is Life In This Room. We asked Celil to tell us a bit about the process and a bit about himself. 

Austin Classical Guitar: Tell us about together? What has this project meant to you so far, has anything surprised you?

Celil Refik Kaya: I believe this project is very enlightening in an age that people are disconnected from each other. Today, we as a society are more disconnected than ever. When we think about a family, it is like the smallest country. Family members love, trust and support each other. We should achieve this as humanity as well. When I heard the interview with the young patient, it was one of the most touching things I have ever heard, and I dedicated “There is life in this Room” for her. The title is taken from her interview expressing her feelings and life in the hospital room. I believe the commissioned pieces that we will hear for this project will change the way people see each other, and will guide us to have superior empathy toward each other. 

ACG: What do you wish everyone knew about the process of creating, collaborating on, and sharing new music and new art?

CRK: Today new music and arts in general should be supported more. Performing, composing and sharing beautiful projects as artists are possible thanks to the support of people. People often don’t realize how important music is in our lives as a whole. It is everywhere—we almost don’t live a moment without it. New music and arts in general reflect our civilization, and people should realize how important this is not only for today but also for future generations. All the creation, collaboration and sharing process comes with a tremendous amount of work, practice and sacrifice just so we change people’s lives and touch people’s souls.

ACG: What’s it been like working with this team?

CRK: Working with the Austin Classical Guitar team is a wonderful experience. They are full of creative ideas and every project is meaningful and immortal in my opinion. I always think of an artist as a person of creativity rather than imitator or craftsman. Although we don’t create from nothing, the unique ideas come from an artist’s mind and this is what ACG is doing. Over the years, I enjoyed collaboration with Matthew Hinsley, Joe Williams and all my other friends in ACG team. I was able to express myself as composer and performer. 

ACG: Tell us a little about what else you have going on - how can people learn more about you?

CRK: I have a busy performing schedule while teaching classical guitar privately. For the future, I have 4 CD projects coming up with Naxos records. I will be continuing recording the works of Agustin Barrios Mangore, Jorge Morel and Carlo Domeniconi. Sometime around next year my 4th recording, the music of Joaquin Rodrigo, will be released. I am currently planning on publishing new works that I have written including Five Turkish Folk Dances for solo guitar, Dicle ve Fırat (Tigris and Euphrates) for trio and many others. My recordings are on Naxos Records and can be found on iTunes, Amazon and Spotify. Some of my compositions, recorded by me and my colleagues, are on Youtube. People can also visit my website for more information about concerts and other news.

If you would like to know more about the inspiration of 'together,' we invite you to read this article by Artistic Director, Joe Williams, and Education Director, Travis Marcum.

by Matt Hinsley

'together' Artist Profile: Alejandro Montiel - Guitarist

We are thrilled to be collaborating with some incredible artists for our January 24-26 season centerpiece together. Guitarist Alejandro Montiel has been with us since the beginning of this series playing in both i/we and dream, and many others. We asked Alejandro to tell us a bit about this project and a bit about himself. 

Austin Classical Guitar: You’ve been part of this series form the beginning. i/we, dream, together. What’s it mean to you?

Alejandro Montiel: I can’t believe this is the third and final one! It has all been building up to “together” - this idea that we are never alone. “i/we” dealt with the very real and terrifying act of uprooting your family to seek a better life for them. Through his harrowing story, our protagonist appealed to our shared sense of humanity. “dream”’s universal message of hopeful fear of the future in our youth successfully bridges across generations because we all share in the experience of growth, and we all remember how difficult it was (and in some cases still is). While I’m sad to see it end, “together” seems like the natural stopping point to the story Joe has been telling for the past three years. I’m so incredibly proud and fortunate to have played a small part.

ACG: What do you wish everyone knew about the process of creating, collaborating on, and sharing new music and new art?

AM: Birthing a new chamber work varies from one piece to the next. Sometimes the process is quite easy and will quickly comes together. Other times, it’s incredibly difficult and we’ll have to roll up our proverbial sleeves. Eventually, the piece reveals itself and the story begins to take shape. It’s during these “ah hah!” moments when I regain my sense of magic and wonder at the power of music - and it never gets old!

ACG: What’s it been like work with this team?

AM: It’s a bit like going to camp: I get to see old friends, make new ones, and then there’s a big performance at the end! For three years (four if you count “Persona”), the ACG team has had the difficult task of putting this production together and making it run smoothly. Their tireless professionalism never ceases to amaze and inspire me. 

Working with spectacular musicians is always a highlight of my year. In the past four years I’ve learned so much from Hakan Rosengren, Louis-Marie Fardet, Esteli Gomez, DaXun Zhang, Chris Lyzak, Ta’tyana Jammer, Travis Marcum, and Line upon line, but it’s two-thirds of the trio at the core of the pieces whom I’ve learned the most from. Jennifer Choi’s ability to do anything and everything on the violin is frightening, but so amazing to watch from five feet away. Isaac Bustos, my friend and Texas Guitar Quartet brother, is someone I always look forward to working with because he makes it ridiculously easy. Jenni and Isaac are two of a handful of people I’ve played with in the past 25 years who share in my musical sensibilities, and I’m incredibly lucky I get to perform with them. 

Of course, there’s Joe Williams. Every time he calls, I always say yes without asking what I’m doing. I know that whatever the project is, it will be beautiful, magical, and spiritually rewarding. It’s Joe’s vision we are bringing to life - his lead we are choosing to follow and believe in. I’m going to do my very best to help.

ACG: Tell us a little about what else you have going on - how can people learn more about you?

AM: This spring semester, I start my 11th year at Sam Houston State University in Huntsville. In addition to being part of Conspirare’s world-premiere recording of Nico Muhly’s “How Little You Are”, the Texas Guitar Quartet has been hard at work on an album of new compositions which we hope to have ready by next year. I’ve been arranging a few pieces (one of which will be performed in “together”) which should yield some exciting new collaborations! I’m also traveling to Virginia, New Orleans, and Brownsville with the quartet as part of a few festivals and residencies, and we’re planning a multi-week summer tour of Mexico.

While I personally keep a very low online profile, people can learn a little bit more about my main project, the Texas Guitar Quartet via our website.

---
If you would like to know more about the inspiration of 'together,' we invite you to read this article by Artistic Director, Joe Williams, and Education Director, Travis Marcum. 

by Matt Hinsley

'together' Artist Profile: Russell Pinkston - Composer

We are thrilled to be collaborating with some incredible artists for our January 24-26 season centerpiece together. Composer Russell Pinkston has created to beautiful and moving new works for these shows: AloneTogether and Nobody Tells You. We asked Russell to tell us a bit about the process and a bit about himself. 

Austin Classical Guitar: What has this project meant to you so far, has anything surprised you?

Russell Pinkston: It’s truly an honor to be part of this project. I think what ACG has done the past two seasons is wonderful, both artistically and in terms of the underlying concepts. I am sure that “together” will be just as powerful and well-produced and I hope that my little pieces will contribute in some small way. I’m especially looking forward to working with these great musicians!

 ACG: What do you wish everyone knew about the process of creating, collaborating on, and sharing new music and new art?

 RP: I first got into writing music when I was playing in a “Prog Rock” band in New England, back in the late sixties and early seventies. We had a pretty big following and we played all over the northeast, mostly doing our own music. We lived in a rambling old farm house in Vermont, which had a separate outbuilding where we practiced and worked out our songs and arrangements. For a songwriter/arranger, there’s just nothing quite like the experience of coming up with a new idea, sharing it with your friends/fellow musicians the same day, working out the arrangement collaboratively, and then performing it together onstage – sometimes that very night. And best of all, to be playing your own music for people who know you, have come to hear you, and really appreciate what you’re doing – that’s an amazing experience! Since leaving rock ‘n roll and becoming a “Composer” with a capital “C,” I haven’t had that kind of musical fellowship very often, and I miss it. Writing music for other people to perform is a very different, much more solitary experience. But when I finally get to hear what I’ve written played, especially by such outstanding musicians as I have been privileged to work with over the years, it’s no less of a joyful and satisfying experience. Delayed gratification, if you will! One of the pieces I wrote for this event is called “Alone, Together,” and it’s about the joy of communal music-making, and how it can lift us up when we’re feeling isolated.

 ACG: What’s it been like work with this team?

 RP: Well, I’ve certainly enjoyed my conversations about the project with Joe and Travis, and I’m looking forward to working with the musicians in the near future. I hope they like what I’ve come up with for them!

 ACG: Tell us a little about what else you have going on - how can people learn more about you?

 RP: Since retiring from UT after 35 years of teaching there, I’ve been splitting my time between Harpswell, Maine, and Austin. One of my great joys has been starting to study classical guitar (with Joe Williams). I was a self-taught electric blues/rock guitarist back in the day, but I never really knew what I was doing. I’m loving the experience now – practicing a lot, unlearning bad habits and discovering the wonderful literature for this instrument. Playing classical guitar is right up there with sailing these days – at least, when I’m up in Maine! There’s more of my music, for anyone interested (including some of my rock ‘n roll) on my website. Thanks for listening!

If you would like to know more about the inspiration of 'together,' we invite you to read this article by Artistic Director, Joe Williams, and Education Director, Travis Marcum.

by Matt Hinsley

Interview: Matthew Lyons - Composer, Performer, Arranger

Matthew Lyons is an Austin based composer, performer, and arranger. Lyons was recently commission by the ACG Trio for their November 24th performance at Skyspace. In this interview, he discusses his compositions, and specific challenges and inspirations for the Skyspace piece. 

Earliest experiences in music? 

My earliest musical memory is listening to Beatles albums on cassette in the car - I had the albums memorized by color as opposed to name, so I’d say “Green one!” (perhaps that was Rubber Soul, for example).

I began studying guitar in 3rd grade. I took classical lessons, but wanted to be in a rock band. A pivotal moment was playing a song I wrote in the 5th grade talent show about my two Dachshunds, with my friend Chris playing rhythm guitar. When I ended the song by laying on the whammy bar (attached to the bridge of the guitar, moves the pitch up and down) all the other kids present thought that was just the coolest.

 

What led you into composition?

I’ve always written music, since I began taking guitar lessons. As my playing evolved, so did my compositional language. I chose to study classical guitar for my undergrad, but my teacher encouraged me to lean into composing more. After I developed a hand injury that made further classical guitar studies no longer an option, I decided to start studying composition at UT Austin, and quickly realized that I was on the right path.

Can you talk about some of the themes you explore in your music? Both as a composer and performer?

Each of my pieces tends to take on a different narrative - the only themes I can think of in my music are more abstract, such as a focus on colorful, jazz-inspired harmony, and themes and textures that both engage the audience while sometimes challenging them. It’s important to me that whatever might be interesting or engaging about my music is apparent on the surface. As a guitarist-composer, anything I write for guitar always has the intention of stretching the existing repertoire in some way. One thing I’ve experimented with recently is guitar and live electronics with a computer processing sound in real time.

What are some influences in your work? 

My favorite composers are J.S. Bach and Maurice Ravel, even though my music doesn’t sound at all like the former. Within the current climate of “classical music” (whatever that even means any more) I find myself gravitating towards composers and styles that are openly influenced by minimalism,”post-minimalism,” and/or popular styles. My favorite living musician is the jazz pianist Brad Mehldau - I listen to his music probably more than all other music combined. Something about it resonates with me - his integration of classical technique and form into original compositions and  jazz versions of popular songs (including Radiohead and The Beatles). The Beatles have always been my favorite band, and the charm of their music and personalities is something I can only try to emulate.

What are you hoping to accomplish with this composition in Skyspace? 

Just as the gazers’ focus in the installation shifts between the sky and the changing colors of the installation, I want the music to be on the threshold of attention, sometimes engaging the audience more and other times falling into the background of the overall experience.

How does the unusual venue inspire or shape your composition?

As I mentioned before, exploring colorful harmonies and the expressive relationship they create is one of my main compositional impulses. When I went to check out the space, experiencing the slowly shifting colors seemed to me like a great analog for slowly changing harmonic progressions. As someone who has music synesthesia, I associate certain colors with certain harmonies - not so much poetically as literally. The shifting colors of the sky - from brighter, to red, to dark blue - influenced the harmonic structure of the piece. 

What challenges does it present? 

Some practical issues include the fact that the piece is about a third the amount of time that the audience will be in the installation (although people can technically come and go as they please), and so when and how exactly to start and end will be unconventional for both audience and performers.

More information about SkySpace can be found on UT-Austin's website. 

by Jess Griggs