Upcoming Performances Part 2: International Women’s Brass Conference

Shortly after the New Music on the Bayou Festival, my colleagues and I will be traveling to Glassboro, New Jersey for the 2017 International Women’s Brass Conference, hosted by Dr. Amy Schumaker Bliss at Rowan University. If you haven’t had a chance to attend an IWBC, it’s a wonderful conference, with lots of great performances, presentations, and exhibitors. Of particular interest to horn players is Featured Artist Michelle Baker, Second Horn of the MET Orchestra (she recently announced her retirement after 27 years with the orchestra). I had the opportunity to work with her for a brief time at the Round Top Festival Institute. She’s a fantastic performer and teacher, and an all-around nice person! For more information about Baker’s career, see Barbara Jöstlein Currie’s interview with her in the May 2017 issue of The Horn Call.

At this year’s IWBC I’ll be involved in two performances, as well as running an exhibit table for Mountain Peak Music.  The first performance will feature Black Bayou Brass in performances of music by Gina Gillie and Adriana Figueroa Mañas. Here’s our program:

Trio for Brass, Gina Gillie (b. 1981)

  1. Fanfare and Chorale

Triad, Adriana Isabel Figueroa Mañas (b. 1966)

  1. Magic Dreams

Scenes from The Bayou, Gina Gillie

The first work by Gina Gillie is one of our favorites in the repertoire, and makes a great opener. It’s published by Veritas Musica Publications. If you’re looking for a fun, challenging, and musically rewarding work for brass trio be sure to check it out.

Adriana Mañas has composed some very fine works for brass trio, including her Three Chorals and Triad. Magic Dreams, the final movement of Triad, is notable for the variety of timbres and articulations it employs. It makes for a nice contrast with the opening work on our program.

We’re especially excited about performing the newly-commissioned Scenes from the Bayou. We premiered this work locally back in March, and are looking forward to sharing it with a larger audience. This commission was funded in part by the Meir Rimon Commissioning Assistance Program of the International Horn Society, and is a substantial addition to the repertoire. Here is a video compilation of several excerpts from the premiere.

On the last day of the conference I’ll be collaborating with several University of Wisconsin-Madison alums (Gina Gillie, Sarah Gillespie, Stacie Mickens) for a performance of Gina Gillie’s Horn Quartet No. 1. Like her brass trio compositions, Gillie’s horn quartet is a really strong work with lots of great writing for all four parts. Like Paul Hindemith’s Sonata for Four Horns, the final movement of Gillie’s quartet is a set of variations on Ich schell’ mein Horn. Here’s a recording of the piece with the following performers: Gina Gillie, Mark Robbins, Gustavo Camacho and Becky Miller.

If you’re planning to attend the conference, we’d love to see you at either (or both) of the above performances, or at the Mountain Peak Music booth. I’ll also be posting regular reports to this site during the conference. If you won’t be attending the 2017 IWBC , I hope you’ll consider attending some kind of a conference or festival this summer. They are wonderful opportunities to hear great performances, and to network and connect with friends and colleagues.

Upcoming Performances: 2017 New Music on the Bayou Festival

New Music on the Bayou

The spring semester is winding down, but my colleagues and I are gearing up for several performances this summer. First up is the 2017 New Music on the Bayou Festival, May 31-June 3 in Monroe, LA and Ruston, LA. Now in its second year, this year’s festival is shaping up to be even more exciting than the inaugural season last year. An impressive array of composers and performers have been brought together for a few intense days of rehearsals, performances, and presentations, and if you are within driving distance I highly recommend coming out for one or more of the events. As with last year’s festival, a few ensembles will be featured, including the Implosion Percussion Group, and Trio Mélange, a voice, horn, and piano trio comprised of faculty at the University of Louisiana-Monroe.  We’ll be performing two works, For Jessica, by Jason Mulligan, and Connect All. We All Connect., by Oliver Caplan.  Both works were chosen for the festival through a competitive submission process, and we are excited about sharing them with audiences here. Contrary to some opinions about contemporary music, not all of it is highly abstract, esoteric, or demanding on traditional audiences. In fact, these two works are very accessible, and the horn parts are rewarding to play. Don’t take my word for it, though! Listen for yourself, and see what you think. Here’s a sample recording of Oliver Caplan’s Connect All. We All Connect, linked from the composer’s Soundcloud account. Caplan writes the following about this work:

Are we individual actors, alone together? Or are we bound by our common humanity? Connect All. We All Connect. explores the interconnectedness of people in today’s world. At times fragile and questioning, at times confident and affirming, the piece ultimately sounds a message that we are our best selves when we embrace heartfelt connection.

The performers aren’t listed, but they really sound great! Perhaps this piece will strike you (as it did me) with its simple beauty and profound message. If you want to hear more new music, be sure to check out the New Music on the Bayou Festival this summer!

Brass Trio Performance Videos

Here are some videos from two of our recent brass trio performances. The first is from our recent faculty recital at ULM, and features excerpts from Gina Gillie’s Scenes from the Bayou, a work we commissioned with assistance from the International Horn Society’s Meir Rimon Commissioning Assistance Fund. It’s a great piece, full of catchy melodies and fun writing for all three parts. We’ll be performing the piece again this summer at the International Women’s Brass Conference in at Rowan University in New Jersey.

Next is our complete Contributing Artist Performance at the 2017 Mid-South Horn Workshop. We performed Diversions for Brass Trio, by Roger Jones, another composer who, like Gina Gillie, really knows how to write well for brass trio.

One interesting thing for me with this work is that I performed it as a member of the same ensemble (but with different personnel) back in 2011 at the Big 12 Trombone Conference in Lubbock, TX (you can check out the recording here). Both performances went really well, I think, and it was quite interesting for me to listen to these two recordings back to back and hear how my playing has changed in the last six years.

Upcoming Projects, Part 2: June Recording Session

cropped-412093_10151188927572199_2111445695_o4.jpgThis is the second in a series of posts about some upcoming activities this semester and beyond. You can read the first one here. In addition to my normal performing and teaching schedule, I’m very excited to be involved in two recording projects, the first slated for June 2017, and the second for January 2018. Here’s a brief description of the first one.


Music of Eurico Carrapatoso: I’m honored to be collaborating with colleagues Claire Vangelisti and Richard Seiler on a recording featuring the music of Portuguese composer Eurico Carrapatoso. Carrapatoso is well known in his native Portugal, and is beginning to get some exposure here in the U.S.  Vangelisti and Seiler will be recording several of his works for voice and piano, and I’ll be joining them for three soprano, horn, and piano works:

  • Duas porcelanas musicais
  • Sete melodias em forma de bruma
  • Dois poemas de Miguel Torga

All three are substantial, multi-movement compositions, with fun (and challenging!) horn parts. I’m planning to write more about the details of this project in a future post, and one interesting challenge for me in the preparation of the music has been the choice of equipment. Carrapatoso’s writing for horn tends to emphasize the high range, with lots of light, lyrical passages above the staff, often in harmony or in counterpoint with the voice. Here’s an example of one from the first movement of his Dois poemas de Miguel Torga:

carrapatoso1

And another one from his Sete melodias em forma de bruma:

carrapatoso2

While certainly playable on a standard double horn, these passages and others like them fit well on a descant horn. We performed the Sete melodias em forma de bruma at the 45th IHS Symposium in Memphis, and for that performance I used a Paxman 40M descant horn, on generous loan from a colleague in the Shreveport Symphony. I’m planning to use that same instrument for our recordings in June, although I’m not entirely sold on which mouthpiece to use. My normal mouthpiece, a Houser GS12, works pretty well, although I’m considering some other options tailored more for the high horn. Updates to come!

 

 

 

Fall 2016 Semester Preview

Chamber Arts Brass Quintet: Marilynn Gibson, Micah Everett, James Boldin, Jack White, Myron Turner

Chamber Arts Brass Quintet: Marilynn Gibson, Micah Everett, James Boldin, Jack White, Myron Turner

With the first week of classes at ULM finished, I now have the chance to catch my breath and post a few thoughts about the upcoming semester.

Ten Years of Teaching: This semester marks the beginning of my 11th year at ULM. I’m extremely grateful that after ten years of full-time college teaching, I still enjoy it! Though working in higher education is not without its challenges, I remain optimistic and excited about my career. I’m planning to post a few more reflections about this, but for now I’ll just leave it as-is. As a throw-back to my first year of full-time teaching, see the picture of our faculty brass quintet at top left, taken in December of 2006.

New Low Brass Faculty: Related to the above post, one of the reasons I still enjoy my job is the opportunity to work with faculty who are both dedicated and gifted. This semester we welcome a new member to the brass faculty at ULM, Dr. Jeremy Marks. It should be noted that our previous Low Brass professor, Dr. James Layfield, recently won a position with the United States Air Force Band in Washington, D.C. Congratulations to both Dr. Marks and Dr. Layfield on their new positions!

Upcoming Recital: On October 4th I’ll be giving a solo recital, collaborating with Dr. Richard Seiler on piano. It’s been awhile since I gave a strictly solo horn and piano recital, having performed with lots of other combinations (horn and percussion, horn and organ, horn and voice) over the last few years. Our program will feature all transcriptions and arrangements, the majority of them by yours truly. More on the program in a future post.

Recording Projects: Now that Solo Training for Horn is on shelves, I will be turning my attention to two recording projects. The first is a collaboration with ULM voice professor Dr. Claire Vangelisti for a recording of voice, horn, and piano works  by Eurico Carrapatoso. We’ve performed several of his very fine compositions over the years, and are looking forward to recording them for this project. Following that will be my second solo CD, this time a collection of my own transcriptions and arrangements for horn and piano and horn with other combinations of instruments. Both projects are still in the planning phase, and I’ll share more details as we move forward.

Orchestra Concerts: Though not a full-time orchestral musician, my work with the Shreveport Symphony, Monroe Symphony, and Rapides Symphony orchestras keeps me plenty busy. I feel very lucky to perform with these groups regularly, and to have the opportunity to play major repertoire with great horn sections. Some highlights of the 2016-2017 season include Brahms’s Symphony No. 3 with the Shreveport Symphony and Tchaikovsky’s Symphony No. 5 with the Monroe Symphony.

Commissions: Black Bayou Brass has been very active recently in commissioning new works for brass trio. Among these is a new work by Sy Brandon, Inventions for Brass Trio, and a forthcoming work by Gina Gillie. Brandon’s commission was funded by an eleven-member consortium of brass trios, and Gillie’s commission was made possible through a grant from the International Horn Society’s Meir Rimon Commissioning Assistance Fund. One of our trio’s missions is to promote and premiere new works, and we are very excited about performing these new pieces.

Upcoming Blog Posts: I have several posts planned for the coming weeks, including reviews of recent recordings and publications, helpful websites for practicing, planning recital tours, and various other topics. Be sure to follow Hornworld for the latest updates.

To close I want to wish all my students and colleagues a great fall semester!

Upcoming Conference: 48th International Horn Symposium

79941_photoAfter a very successful New Music on the Bayou Summer Festival, I’m looking forward to attending the 48th International Horn Symposium, hosted by Alexander Shuhan and the Ithaca College School of Music. As with last year’s symposium, I’ll be posting brief updates each day about concerts, lectures, and other events. The list of Featured Artists is fantastic as usual, including several performers that I’ve not had the opportunity to hear live. For more information, you can consult the official program book, which is available online. In addition to attending as much as possible, I’ll be performing with Trio Mélange on a Contributing Artist recital, and giving a presentation titled Solo Training for Horn: Exercises and Etudes for Standard Solo Repertoire. For more information about the ensemble and our upcoming performance, check out this press release, and for more details about the presentation, check out this post. Although I will of course talk about the forthcoming publication, the presentation will include lots of other helpful tips and hints for practicing some of the most common solo literature. On a personal note, I’ll be staying with relatives in Ithaca, and look forward to spending time with them as well as attending the symposium.

After the symposium I’ll be dialing things back a little bit, although I do have a few reviews and other summer projects in the works. Safe travels to everyone traveling to the IHS Symposium, and I hope to see you there!

 

Upcoming Performances: New Music on the Bayou Festival

Next week I’ll be performing in several concerts for the inaugural season of the  New Music on the Bayou Summer Festival. This event will involve numerous composers and performers from throughout the region and across the country, and I’m really looking forward to it! Here’s a brief description of the festival from its website:

The New Music on the Bayou Summer Festival is a chance for contemporary composers to work with professional performers during the rehearsal process and to have their new works performed by professional ensembles and musicians in an intense four-day festival. The festival features concerts at traditional and non-traditional venues. All submissions will be eligible for the Black Bayou Composition Award monetary prize.

Concerts will take place in several different venues, including concert halls on the University of Louisiana-Monroe and Louisiana Tech University campuses, a local art museum, an art crawl, and even a national wildlife refuge! The festival promises to be not only a great venue to hear new music, but also a tour of the area’s many attractions. You can peruse the festival website for more details on the above.

The festival’s organizers, Dr. Mel Mobley and Dr. Gregory Lyons, have done a fantastic job coordinating all of the various elements: composers, performers, venues, rehearsal space, etc. With rehearsals set to begin next Tuesday and the first concert on Wednesday, individual preparation by the musicians is imperative. I personally like the challenge of preparing new and unfamiliar works, and feel that all of the works our group will be performing are high quality (though sometimes quite difficult). Here’s a listing of the composer, title, and instrumentation of the works I’m involved with next week. You can follow the links to each composer’s website for additional information and audio/video samples of their music.

Each work presents some unique and rewarding challenges, but here are a few general observations.

  • Range/Endurance: New music can sometimes be unreasonable in terms of range and endurance requirements, but the above pieces are actually very playable. They aren’t simplistic by any means, but they do take into account the actual possibilities of the instruments. As a performer, this is much appreciated! Believe it or not, after playing lots of brass trio music brass quintet is a bit easier on the face.
  • Rhythm: This has probably been the most challenging (at least for me) in terms of individual preparation. A few of the pieces have lots of mixed/asymmetrical meter, and in past experiences I’ve found that rhythms which seem clear cut during individual practice can become much more difficult to “feel” during ensemble rehearsals.
  • Dynamics/Articulation/Timbre Spectrum: As one might expect with new music, composers often want to break away from the traditional sounds of a particular instrument or ensemble. None of these works calls for any unusual or rare extended techniques, but they do make full use of the dynamic and articulation spectrum, as well as multiple timbres (everything from ff flutter tongue to pppp stopped horn).

Other than Covering, which I’ve performed multiple times, all of these pieces are brand new to us, and we look forward to rehearsing them for the composers as well as performing them during the festival. If you are in the area and looking for something to do after Memorial Day, check out one or more of the concerts on the New Music on the Bayou Festival. On a larger note, if you are a performer, consider seeking out and advocating for new music. Working with living composers can give you a fresh perspective as a performer, which will carry over into other areas of your musical career.

Upcoming Brass Trio Recital

blackbayoubrassBlack Bayou Brass will be performing a faculty recital at ULM on Thursday, March 24th at 7:30 p.m. in the Emy-Lou Biedenharn Recital Hall. We’ll be joined by several guests for this multimedia performance, which includes the world premiere of a new work for brass trio by Roger Jones. In addition we’ll be performing two brief works for brass trio and piano (with Deborah McClung-Guillory, a member of ULM’s piano faculty), Abe Lincoln’s Songbook, by Douglas Hill (with Jay Curtis, narrator), and Capital Dances, by Steven Winteregg. Here is some more information on each work, adapted from our program notes.

Bandera for Trumpet, Horn, Trombone, and Piano, by Kerry Turner (b. 1960) Kerry Turner’s music is ubiquitous in the horn world, especially his original works for horn quartet.  He also has some very fine works for brass ensemble, including this trio for brass with piano. When compared to the brass quintet, brass trio is a more limited medium, but the addition of a piano opens up a whole new realm of harmonies and textures. Here are some more details, taken from the composer’s notes in the score:

In the summer of 1979, I was employed on the Mayan Ranch in Bandera, Texas, located about sixty miles south of San Antonio. It was there that I encountered all of the excitements as well as the hard work associated with ranch life. Cooking breakfast out on the trail for ranch guests, cleaning out ancient tarantula-ridden bunk houses, and chasing away rattle-snakes and water-moccasins were some of the typical duties I had to perform. It was here that I experienced the traditions of the Old West that were to later influence my compositional style. Bandera for trumpet, horn, trombone, and piano is a tribute to these people who keep alive the venerable cowboy life.

Bandera has been recorded on the album Unlikely Fusion.

Heart of the Andes, by Daniel Baldwin (b. 1978) Baldwin’s music is accessible, fun to play, and musically fulfilling. Inspired by the landscape painting of the same name by American artist Frederic Edwin Church (1826–1900), Heart of the Andes conveys the breadth and grandeur of the original work. The following information about the painting is found on the website of the Metropolitan Museum of Art, www.metmuseum.org/toah/works-of-art/09.95/.

Fully ten feet in breadth and rich in botanical detail, The Heart of the Andes is Church’s largest and most ambitious painting as well as the most popular in his time. It represents the culmination of two expeditions to Colombia and Ecuador in 1853 and 1857, inspired by the writings of the world-renowned naturalist Alexander von Humboldt. Humboldt conceived the equatorial landscape of the New World as a kind of laboratory of the planet in which the range of climatic zones, from torrid to frigid, could be studied from the jungles at sea level to the perpetual snow of Andean mountains such as Chimborazo, in Ecuador, represented in Church’s picture. Within its classical landscape format, the artist literally attempted to convey the variety of earthly life, most conspicuous in the lush foreground. At its three-week premier in 1859, The Heart of the Andes was housed in a huge windowlike frame and illuminated in a darkened room by concealed skylights. Twelve thousand people paid a quarter apiece to see it in New York, whence it toured Great Britain and seven other American cities until the eve of the Civil War.

Originally scored for clarinet, bassoon, horn, and piano, the piece can also be performed by any trio combination with piano. The textures and harmonies are reminiscent of Eric Ewazen, and it makes a very nice addition to the brass trio repertoire. During the performance we will be projecting an image of Church’s painting onto the rear wall of the stage.

Capital Dances, by Steven Winteregg (b. 1952) Winteregg has written a number of works with horn, many of them for Richard Chenoweth. We’ve known about this great trio composition for some time, but haven’t had the opportunity to program it until now. This being a presidential election year, we thought the political theme of the work would be quite fitting. The following information is from Chenoweth’s liner notes to the recording Flights of Imagination: Chamber Music of Steven Winteregg.

Commissioned by the University of Dayton Brass Trio, Capital Dances was inspired by the cartoon dance sequences of political cartoonist Jules Feiffer. These dance sequences followed an imaginary performer through various dance movements accompanied by satirical political commentary and often ended with an engaging twist or thought. In Capital Dances, Steve composed a musical version of these political dances, attempting to capture the spirit of the artistic commentaries.

Sketchbook for Brass Trio, by Roger Jones (b. 1944) Jones has written two other works for our trio, and we are excited and honored to perform the premiere of his latest composition for us. Here are his notes about the piece:

Sketchbook for Brass Trio is a Suite of four movements designed to be performed as a whole or in various reorganizations including fewer movements if needed by the performers. The work, written in 2014 and dedicated to the Black Bayou Brass, in residence at the University of Louisiana at Monroe, is designed to provide ensembles with recital material that is colorful, playable, and interesting to the audience as well as the performers. Each movement is named with a sketch concept. No actual drawings inspired the writing. Players are encouraged, if desired, to find one or more sketches to display for each movement before or during the performance. It is the composer’s hope that this work will bring some pleasure to both performers and audiences.

A slideshow of various paintings and other public domain artworks will accompany this performance.

Abe Lincoln’s Song Book, by Douglas Hill (b. 1946) These charming arrangements of several of Lincoln’s favorite melodies are a delight to play, and are available for several different combinations of instruments. Hill writes the following about this unique work:

Abe Lincoln’s Song Book” was written in 2008 in celebration of Abraham Lincoln’s 200th birthday on February 12, 2009. This Brass Trio (Trumpet, Horn, Trombone) with narration has a selection of Abraham Lincoln’s favorite melodies. Lincoln felt a deep love and abiding respect for all kinds of music, similar to his extraordinary ability to feel compassion and respect for all kinds of people. These wonderful little songs capture a glimpse of his time and his place on this earth. Through Lincoln’s favorite songs we can celebrate the boy who became that most remarkable man who grew beyond us all as an example of a timeless, extraordinary human being.

We’ve chosen seven of our favorite arrangements for this performance, which will be narrated by Jay Curtis, General Manager of KEDM Public Radio in Monroe. To hear an excerpt from the piece, see the video below, which features the Contrapunctus Brass Trio with the composer narrating.

We hope that you can join us for this concert!

 

Semester Preview

calendarAlthough classes here just resumed last week, things are already in full swing, and this promises to be another exciting spring semester. As usual, I am looking forward to a variety of performances and other activities with my students and colleagues. Rather than list every single upcoming performance and project, I thought it would make more sense to mention a few of the highlights for each month. More details coming in future posts!

January

  • Recruiting tour with Black Bayou Brass

February

March

  • Black Bayou Brass Faculty Recital: This program on March 24th will feature a number of newer works for brass trio and brass trio with piano, including the world premiere of Sketchbook for Brass Trio by Roger Jones
  • Palm Sunday, Good Friday, and Easter Sunday performances

April

  • Northeast Louisiana Horn Ensemble Concert
  • Canadian Brass Concert: The world-renowned brass quintet will be giving a free concert in Shreveport, and our studio will be making a short road trip for the performance.
  • Performance of Paul Basler’s Missa Kenya with the Monroe Symphony Chorus: It’s been a few years since I last performed this substantial piece, and I’m looking forward to doing it again!

Recurring events each month include performances with the Shreveport Symphony Orchestra and Monroe Symphony Orchestra, who are performing lots of great repertoire. In addition, I anticipate finishing up work on Solo Training for Horn, my second publication for Mountain Peak Music. This companion to Solo Duet Training will contain exercises and etudes for one horn based on several solo works not covered in the first book. I have about 50% of the material prepared, and am on track to finish in April or early May. Including time for feedback and revisions, I hope to have the book ready (or nearly ready) by the 48th International Horn Symposium.

Best wishes to all my colleagues for a great semester!

Horn Symposium Update No. 5

IMG_0946Today, my last day at the 47th International Horn Symposium, was certainly memorable. I’ll post again in a few days with summary comments about the entire week I’ve spent here in Los Angeles, but I also wanted to write a few things about today in particular while they were fresh in my mind. Here we go.

  • Lecture – An Introduction to Solo Duet Training for Horns My presentation went very well, I thought, and had good attendance. The duets seem to be interesting to a wide range of horn players, which was definitely my intention. Thanks again to Gina Gillie for volunteering to demonstrate some of the duets with me.
  • Recital – Denise Tryon and Stefan Dohr This was my first time hearing Denise Tryon perform live, and her playing was superb. She premiered several new compositions that she recently commissioned, as well as the Neuling Bagatelle. She shared the recital with Stefan Dohr, who I have had the opportunity to hear multiple times this week, first on the Schumann Konzerstuck, then in the Berlin Philharmonic Horn Quartet, and on two solo recitals. Rarely have I heard a horn played with so many colors, contrasts and varieties of shading and nuance. His playing is incredibly interesting to listen to!
  • Recital – Chamber and Solo Music I attended this performance primarily to support my colleague and friend Gina Gillie, but I also heard some great playing by the other performers on the program. It was an interesting mix of the following: a familiar work; Mozart Horn Quintet (Emily Reppun, horn); an old work in a new guise; Bach’s Chaconne from the Violin Partita No. 2/arr. by David Jolley for brass trio (Tawnee Pumphrey, horn); original contemporary works, including two selections from Ricardo Matosinhos’s Low Horn Etudes (Marc Gelfo, horn) and Gina Gillie’s The Great Migration for Two Horns and Piano (Gina Gillie and Jeffrey Snedeker, horn). Though all of the performances were pretty solid, I especially enjoyed hearing the new works performed by Gelfo, Gillie, and Snedeker. There was a freshness and energy about their playing that really made these works stand out.
  • Evening Concert – A Sojurn, A Celebration, and A Farewell: A Night Honoring the American Horn Quartet I could write a lot about this evening’s performance, the final live concert by the AHQ, but I will try to keep my comments brief. I’ve written about the group before here, so if you would like more information please follow the link. For many reasons this was a very important and special concert, and the AHQ rose to the occasion with a brilliant performance featuring new and old selections from the group’s repertoire. The emotion and energy they brought to the stage was heightened, and it came across to the audience, who gave the group an extended ovation. They played two encores, and I think their second selection, an arrangement of Carly Simon’s “Nobody Does it Better,” aptly sums up the entire program and career of this singular ensemble.
IMG_0947

I will be leaving Los Angeles tomorrow, but the sounds, emotions, and other experiences from this week will stay with me a long time. As always, my thanks go out to Annie Bosler and Andrew Bain for putting together a fantastic symposium. [Photos above: Interior of the Cathedral of Our Lady of the Angels, venue for the AHQ’s final concert, and a picture of a lit building in downtown Los Angeles.)