Robert Van Sice (Yale) and his innovative program in chamber music and contemporary percussion gave rise to a new quartet – early names didn’t survive, but the
Original members, from left: Jason Treuting, Doug Perkins, Todd Meehan, Tim Feeney.
Why “Sō”?
“The Sō in Sō Percussion comes from 奏, the second character in the compound Japanese word 演奏 (ensou), to perform music. By itself, so means “to play an instrument.” But it can also mean “to be successful,” “to determine a direction and move forward,” and “to present to the gods or ruler.” Scholars have suggested that the latter comes from the character’s etymology, which included the element “to offer with both hands.” 奏 is a bold, straightforward character, but lends itself to calligraphy with a certain energy that gives so a springy, delicate look.”
– Jenise Treuting
Featuring David Lang’s the so-called laws of nature and Evan Ziporyn’s Melody Competition.
Frank Olinsky (creator of the MTV logo) designed the striking (haha) cover art. He went on to design five of Sō Percussion’s album covers.
Their first NYC studio was at 71 Box Street in Greenpoint, right next to the Pulaski bridge into Queens. Adam Sliwinski and Lawson White lived in the upstairs loft; they built 16 foot-high shelves to house all of the gear on the lower floor.
(it’s a hotel now)
Our first overseas trip was to compete in the Luxembourg Competition. Quartets from all over the world convened at this unique event. Sō placed second overall and received the concerto prize. More importantly, we met and performed for some of the luminaries of the time from groups like Nexus, Kroumata, and Amanda.
On the way to the final round, our rental car ran out of gas and we had to take a taxi to the concert hall, ditching the car by a snowy roadside.
Jason Treuting’s amid the noise was Sō’s first album of original music.
Laura Kuhn of the Cage Trust set Sō up with a once-in-a-lifetime opportunity to have dinner with Merce Cunningham and ask him about his work with John Cage.
The best stories were the most relatable ones: tossing some “Bob Rauschenberg” paintings on the top of the VW tour bus, stopping to forage for mushrooms off the New Jersey Turnpike. (ok, that second one is pretty peculiar to Cage)
A dream come true!
The Kronos Quartet asked Sō to be the percussion section for this epic, nearly two-hour rendition of Terry Riley’s “In C” at Carnegie Hall to celebrate the 45th anniversary of the work.
And guess who came!
Amy Garapic, Matt Evans, Carson Moody, Michael Anderson, David Degge, Michelle Purdy, Elliot Wallace, Mika Godbole, Ellery Trafford, Nate Hartman, Frank Tyl, Nate Tucker, Hyejin Kim, Robert Fullex, Jacqueline Russo, Suzanne Berndt, Jeff Barudin, Victor Caccese, Jeff Eng, Yumi Tamashiro, Kevin Laskey, Xavier Verna, Mary Chuhay
“If you think about it, drums are the new violins.”
And read Kozinn’s review of our first BAM show Imaginary City HERE
“Time and again…you found yourself smiling in a quiet amazement that could verge on disbelief.”
Featuring world premieres of Steve Mackey’s It Is Time and Dan Trueman’s neither Anvil nor Pulley!
Sō first taught the Writing for Percussion course during the 2011-2012 school year, which yielded new works such as Caroline Shaw’s Taxidermy and Viet Cuong’s Water, Wine, Brandy, Brine. Now, they expand their duties to include coaching chamber music, performing concerts on campus, and collaborating with guest artists.
