Composer fuses classical and rock at Miller

Whether students prefer the rhythmic beats of hip-hop, the powerful edge of rock ’n’ roll, or the eloquence of classical orchestration, Miller Theater’s Composer Portraits series will satisfy their musical appetites. From February until the beginning of May, students will have access sonic experiences that appeal to their particular tastes without stepping off campus.

Miller Theater’s Composer Portraits series features seven artists, one of whom is Julia Wolfe—a unique composer who has secured a niche in classical, rock ’n’ roll instrumentation. Wolfe’s two dynamic, multi-faceted pieces, “Cruel Sister” and “Fuel,” will resound in Miller Theater on Thursday, Feb. 3 at 8 p.m.

Wolfe’s vibrant blue eyes and wild blonde curls complement her energetic personality. This passionate energy translates into musical collisions of beauty and noise.

“It’s a fusion of performance practice,” Wolfe said, describing her upcoming show. “I think it’s pretty rock ’n’ roll, even though it’s played with very classical instrumentation—definitely the Jimi Hendrix aesthetic on cello and viola.”

In 1987, Wolfe, along with two other composers, started Bang on a Can, an organization dedicated to breaking down the barriers between musical genres. From this contemporary music haven, Wolfe moved out into the New York musical world and began working with Signal.

“Signal is a large contemporary chamber ensemble with flexible instrumentation,” Lauren Radnofsky, cellist and co-artistic director of Signal, said. Radnofsky’s partner, Brad Lubman, is conducting Wolfe’s pieces for the Composer Portraits series on Thursday.

“Julia and I have worked together in other ensembles for the past 10 to 12 years,” Lubman said. “The chemistry between Signal’s musicians goes beyond the fact that they are a top-notch group of players.”

This chemistry is tangible when the all-string ensemble performs “Cruel Sister” and “Fuel.” The musicians play with unconventional roughness throughout both pieces and bring waves of intensity to the music with cross-rhythms and musical tension.

Inspired by the dramatic arc of an old English ballad about two rivaling sisters, “Cruel Sister” has more of a narrative line than “Fuel” does. Wolfe splashes notes and rhythms on her musical canvas in such a way that she replicates a story through music. This 30-minute piece tells a “grizzly tale, but in a beautifully metaphoric way—it’s all about lust and greed,” Wolfe said.

“Fuel” is “Cruel Sister”’s “wild, scary baby,” Wolfe said. “It is in some way an examination of the subject of fuel, which is something that’s been on people’s minds right now, especially in terms of its political reference.”

Bill Morrison, a filmmaker based in New York, shot scenes at ship harbors in Germany and in New York to enrich the sonic patterns in “Fuel.” The film will be projected behind the ensemble during the 20-minute piece.

In the newly popularized indie music scene, Wolfe’s pieces fit in perfectly. Her contemporary style is attracting a younger crowd of musicians and composers. Experimentation with noise, sound, and sampling—something that Wolfe has been doing for years—is now becoming a trend.

“This feels like a very natural portrait,” Wolfe said. “There’s a lot of crazy and fun rhythmic activity in the pieces, which is very indicative of most of my music. It’s a sonic experience.”