CAP UCLA presents Eighth Blackbird featuring Will Oldham (Bonnie “Prince” Billy) Sat, Apr 21, 2018 | The Theatre at Ace Hotel
Photo by Saverio Truglia East Side, West Side, All Around LA Welcome to the Center for the Art of Performance
The Center for the Art of Performance is not a place. It’s more of a state of mind that embraces experimentation, encourages a culture of the curious, champions disruptors and dreamers and Photo by Saverio Truglia supports the commitment and courage of artists. We promote rigor, craft and excellence in all facets of the performing arts. Center for the Art of Performance presents
2017–18 SEASON VENUES Eighth Blackbird
Royce Hall, UCLA Freud Playhouse, UCLA The Theatre at Ace Hotel Little Theater, UCLA featuring Will Oldham Will Rogers State Historic Park
UCLA’s Center for the Art of Performance (CAP UCLA) is dedicated to the advancement (Bonnie “Prince” Billy) of the contemporary performing arts in all disciplines—dance, music, spoken word and theater—as well as emerging digital, collaborative and cross-platforms utilized by today’s leading artists. Part of UCLA’s School of the Arts and Architecture, CAP UCLA curates and facilitates direct exposure to contemporary performance from around the Sat, Apr 21 at 8pm | The Theatre at Ace Hotel globe, supporting artists who are creating extraordinary works of art and fostering a Running time: Approx. 75 mins. | With intermission vibrant learning community both on and off the UCLA campus. The organization invests in the creative process by providing artists with financial backing and time to experiment Funds provided by AVK Arts. and expand their practices through strategic partnerships, residencies and collaborations. As an influential voice within the local, national, and global arts community, CAP UCLA serves to connect audiences across generations in order to galvinize a living archive of our culture. cap.ucla.edu #CAPUCLA MESSAGE FROM THE ARTIST Murder Ballades featuring Will Oldham (Bonnie “Prince” Billy) People are obsessed with murder. This might seem like a recent thing—it’s hard to find a tv drama that doesn’t depict murder at some and even many David Lang: learn to fly (2008) points (GoT, anyone?)—but people have been riveted by artistic depictions of salacious, gruesome murder for millennia. The murder ballad, an American Bryce Dessner: Murder Ballades (2013, expanded 2015) staple from the 1800s, has its roots in Northern Europe from the mid-1600s 1. Omie Wise-Young Emily and earlier, depending on how and what you count. What made it distinctly 2. Hocket American when imported is that it lost its supernatural ties, became more 3. Dark Holler visceral, more human. Bryce’s takes on both well-known murder ballades 4. Lewisburg and his creation of new ones honors the tradition by exploring the full range 5. Wave the Sea-Brushy Fork of human emotion found in these songs, from heightening the sweetness 6. Underneath the Floorboards and innocence to creating a desolation and calculated coldness all too 7. Pretty Polly-Tears for Sister Polly appropriate to the actual events. 8. Down in the Willow Garden
The episodic, specific nature of Murder Ballades is countered with the grand Intermission emotional arc and universality of Coming Together: through repetition, one prisoner describes his descent from sanity into madness. While this is specific Frederic Rzewski: Coming Together (1971), arrangement by Matt Albert text from a specific person, the strength of the piece is that it could be (2000/03) spoken by anyone, that anyone could feel this, in that place and under those Will Oldham, speaker circumstances, and becomes more powerful by doing so. Will Oldham: Songs (to be announced from the stage), arrangements by These folk songs and stories, specific and common, are followed by newer Lisa Kaplan folk songs by Will Oldham (Bonnie “Prince” Billy). There is a gut-wrenching Will Oldham, voice and guitar honesty and unvarnished beauty to both his voice and his music that makes Will a perfect narrator for the Rzewski and his music a perfect finish to the Murder Ballades was commissioned by Eighth Blackbird and Lunapark and program, and we’re incredibly honored to be performing with him tonight. funded by The Doelen Concert Hall, Rotterdam, Muziekgebouw aan ‘t IJ, Amsterdam, and Muziekgebouw Frits Philips, Eindhoven, with the financial —Nick Photinos, Cellist and Co-Artistic Director of Eighth Blackbird support of The Van Beinum Foundation, The Netherlands, with additional support from Museum of Contemporary Art, Chicago.
Eighth Blackbird Nathalie Joachim, flutes Nick Photinos, cello Michael Maccaferri, clarinets Matthew Duvall, percussion Yvonne Lam, violin Lisa Kaplan, piano
Eighth Blackbird is ensemble-in-residence at the University of Richmond. Nathalie Joachim is a Burkart Flutes & Piccolos artist. Michael J. Maccaferri is a D’Addario Woodwinds Artist. Matthew Duvall proudly endorses Pearl Drums and Adams Musical Instruments, Vic Firth Sticks and Mallets, Zildjian Cymbals, and Black Swamp Percussion Accessories. Lisa Kaplan is a Steinway Artist.
Photo by Nathan Keay an album-length work performed by Sō Percussion (Brassland). Dessner’s PROGRAM NOTES music—called “gorgeous, full-hearted” by NPR and “vibrant” by The New York Times—is marked by a keen sensitivity to instrumental color and texture. David Lang: learn to fly (2008) He earned his bachelor’s and master’s degrees from Yale University. Dessner formed the instrumental quartet Clogs, and in 2001, co-founded the critically David Lang is one of the most highly-esteemed and performed American acclaimed, Grammy-nominated band The National. About Murder Ballades, composers writing today. He was the recipient of the 2008 Pulitzer Prize in the composer writes: Music for the little match girl passion, a rewriting of the libretto to Bach’s St. Matthew’s Passion, and the recording of the piece was also awarded a 2010 “When Eighth Blackbird asked me for a piece, I immediately knew what to do: Grammy Award for Best Small Ensemble Performance. Lang has also been the let great American folk music inspire a great American new music ensemble. recipient of the Rome Prize, Le Chevalier des Arts et des Lettres, and Musical The ‘murder ballad’ has its roots in a European tradition, in which grisly details America’s 2013 Composer of the Year. Lang’s simple song #3, written as part of bloody homicides are recounted through song. When this tradition came of his score for Paolo Sorrentino’s acclaimed film Youth, received many awards to America, it developed its own vernacular, with stories and songs being told nominations in 2016, including the Academy Award and Golden Globe. In and retold over the generations. addition to his work as a composer, Lang is Professor of Composition at the Yale School of Music and co-founder and co-artistic director of New York’s “In Murder Ballades I re-examine several of these old songs, allowing them legendary music collective Bang on a Can. His music is published by Red to inspire my own music. Omie Wise, Young Emily, Pretty Polly and Down in Poppy Music (ASCAP) and is distributed worldwide by G. Schirmer, Inc. About the Willow Garden are classic murder ballads, tales of romantically-charged learn to fly, the composer writes: killings that are based on real events. Hocket, Dark Holler, Lewisburg, and Underneath the Floorboards are my own compositions, with Dark “With learn to fly I wanted to make a music that danced and pushed forward, Holler loosely modeled on the clawhammer banjo style which would have in the hope that it would encourage the musicians to do so as well.” accompanied many of these early folk songs. Brushy Fork is a Civil War era murder ballad/fiddle tune, and Wave the Sea and Tears for Sister Polly are original compositions woven out of the depths of the many months I spent Bryce Dessner: Murder Ballades (2013, expanded 2015) inhabiting the seductive music and violent stories of these murder ballads. “ 1. Omie Wise-Young Emily 2. Hocket Murder Ballades was commissioned by Eighth Blackbird and Lunapark and 3. Dark Holler funded by The Doelen Concert Hall, Rotterdam, Muziekgebouw aan ‘t IJ, 4. Lewisburg Amsterdam, and Muziekgebouw Frits Philips, Eindhoven, with the financial 5. Wave the Sea-Brushy Fork support of The Van Beinum Foundation, The Netherlands, with additional 6. Underneath the Floorboards support from Museum of Contemporary Art, Chicago. 7. Pretty Polly-Tears for Sister Polly 8. Down in the Willow Garden Frederic Rzewski: Coming Together (1971), arrangement by Matt Albert (2000/03) Bryce Dessner is one of the most sought-after composers of his generation, with a rapidly expanding catalog of works commissioned by leading Born in Westfield, Massachusetts in 1938, Frederic Rzewski studied with ensembles. His orchestral, chamber, and vocal compositions have been Charles Mackey, Walter Piston, Roger Sessions, Milton Babbitt and Luigi commissioned by the Los Angeles Philharmonic, Metropolitan Museum of Art Dallapiccola. His compositional career has had many phases; his music from (for the New York Philharmonic), Kronos Quartet, BAM Next Wave Festival, the late 1960s and early 1970s (Les Moutons de Panurge, Coming Together) Barbican Centre, Edinburgh International Festival, Sydney Festival, Eighth combine elements of written and improvised music, which in the seventies Blackbird, Sō Percussion, New York City Ballet, and many others. Recently led to a greater experimentation with forms in which style and language are Dessner was tapped to compose music for Alejandro Iñárritu’s film, The treated as structural elements (The People United Will Never Be Defeated). Revenant, which received a 2016 Golden Globes nomination for Best Original He briefly returned to experimental and graphic notation (Le Silence des Score. Recordings include Aheym, a Kronos Quartet disc devoted to his Espaces Infinis, The Price of Oil), before exploring new uses of the twelve- music (Anti- ); St. Carolyn by the Sea on Deutsche Grammophon, with the tone technique in the 1980s (Antigone-Legend, The Persians). His more Copenhagen Phil under Andre de Ridder; and Music for Wood and Strings, recent work adopts a more free and spontaneous approach. Eighth Blackbird commissioned Frederic Rzewski to write two pieces: Pocket Symphony (2001) insight into his performance ethos: “I thought it would be better if there was for sextet, and Knight, Death and Devil (2008) for sextet and string quartet. sort of an implied character. Somebody that people could live with. If they About Coming Together, Rzewski writes: had the record in their house, they could feel 100 percent comfortable about living with that person. I just mean that when they hear the voice, they’re “Coming Together was written in November and December of 1971 in response allowed to disassociate it from the life—the lives—of the singer. Hopefully, to an historical event. In September of that year, inmates at the state prison people identify the songs with themselves, and not with the singer.” of Attica, New York, revolted and succeeded in taking possession of a part of the institution. Foremost among their demands was the recognition of Tonight’s selection of songs will be announced from the stage and are all their right to be treated as human beings. After several days of fruitless original tunes composed by Will Oldham. negotiations, Governor Nelson Rockefeller ordered state police in to retake the prison by force, justifying his action on the grounds that the lives of the ABOUT EIGHTH BLACKBIRD guards whom prisoners had taken as hostages were in danger. In the ensuing violence 43 persons, including several of the hostages, were killed and many Nathalie Joachim, flutes Nick Photinos, cello more wounded. One of the dead was Sam Melville, a prisoner who had played Michael Maccaferri, clarinets Matthew Duvall, percussion a significant role in organizing the rebellion. In the spring of 1971, Melville had Yvonne Lam, violin and viola Lisa Kaplan, piano written a letter to a friend describing his experience of the passage of time in prison. After his death the letter was published in the magazine Ramparts. Eighth Blackbird is “one of the smartest, most dynamic contemporary As I read it I was impressed both by the poetic quality of the text and by its classical ensembles on the planet” (Chicago Tribune). Launched by six cryptic irony. I read it over and over again. It seemed that I was trying both entrepreneurial Oberlin Conservatory undergraduates in 1996, this Chicago- to capture a sense of the physical presence of the writer, and at the same based super-group has earned its status as “a brand-name…defined by time to unlock a hidden meaning from the simple but ambiguous language. adventure, vibrancy and quality….known for performing from memory, The act of reading and rereading finally led me to the idea of a musical employing choreography and collaborations with theater artists, lighting treatment. designers and even puppetry artists” (Detroit Free Press).
“The text is as follows: ‘I think the combination of age and a greater coming Eighth Blackbird first gained wide recognition in 1998 as winners of the together is responsible for the speed of the passing time. It’s six months now, Concert Artists Guild Competition. Over the course of two decades, the group and I can tell you truthfully few periods in my life have passed so quickly. I has commissioned and premiered hundreds of works by composers such as am in excellent physical and emotional health. There are doubtless subtle David Lang, Steven Mackey, Missy Mazzoli, and Steve Reich, whose Double surprises ahead, but I feel secure and ready. As lovers will contrast their Sextet went on to win the 2009 Pulitzer Prize. A long-term relationship with emotions in times of crisis, so am I dealing with my environment. In the Chicago’s Cedille Records has produced eight acclaimed recordings and four indifferent brutality, the incessant noise, the experimental chemistry of food, Grammy Awards for Best Small Ensemble/Chamber Music Performance, the ravings of lost hysterical men, I can act with clarity and meaning. I am most recently in 2016 for Filament. They were named Musical America’s 2017 deliberate, sometimes even calculating, seldom employing histrionics, except Ensemble of the Year, and in 2016 were the inaugural recipients of Chamber as a test of the reactions of others. I read much, exercise, talk to guards and Music America’s Visionary Award and the prestigious MacArthur Award for inmates, feeling for the inevitable direction of my life.’” Creative and Effective Institutions.
Eighth Blackbird’s 2017-18 season marks debuts in Turin, Milan, Budapest, Will Oldham: Songs (to be announced from the stage), arrangements with the Philadelphia Orchestra and Cincinnati Ballet, tours through 11 states, by Lisa Kaplan and the release of Olagón, a new album featuring music by Dan Trueman, poetry by Paul Muldoon, and sean nós singer Iarla Ó Lionáird. Eighth Blackbird Singer-songwriter Will Oldham’s music has been linked to Americana, folk, celebrated its 20th anniversary in 2016 with tours of music from Filament roots, country, punk, and indie rock, and Will himself has been described as an and Hand Eye, as well as keystone performances celebrating Steve Reich’s “Appalachian post-punk solipsist” with a voice that is “a fragile sort-of warble 80th birthday, a fresh round of raucous shows with “Appalachian post-punk frittering around haunted melodies in the American folk or country tradition.” solipsist” (The Wanderer) Will Oldham (Bonnie “Prince” Billy), and world Now primarily known as Bonnie Prince Billy, the name he has used for most premieres by Holly Harrison, Pulitzer Prize-winner David Lang, and Ned of his musical output since 1998, Will’s explanation of his numerous monikers McGowan. —including Palace Brothers, Palace Songs, Palace Music, and others—offers an Eighth Blackbird’s mission—moving music forward through innovative performance, advocating for new music by living composers, and creating a legacy of guiding an emerging generation of musicians —extends beyond recording and touring to curation and education. The ensemble served as Music Director of the 2009 Ojai Music Festival, has held residencies at the Curtis Institute of Music and at the University of Chicago, and holds an ongoing Ensemble-in-Residence position at the University of Richmond. The 2015-16 season featured a pioneering residency at Chicago’s Museum of Contemporary Art: a living installation with open rehearsals, performances, guest artists, and public talks. In 2017, Eighth Blackbird launched its boldest initiative yet with the creation of Blackbird Creative Laboratory, a tuition-free, two-week summer workshop and performance festival for performers and composers in Ojai, CA.
Eighth Blackbird’s members hail from the Great Lakes, Keystone, Golden, Empire and Bay states. The name “Eighth Blackbird” derives from the eighth stanza of Wallace Stevens’s evocative, imagistic poem, Thirteen Ways of Looking at a Blackbird: “I know noble accents / And lucid, inescapable rhythms; / But I know, too, / That the blackbird is involved / In what I know.”
Eighth Blackbird is managed by David Lieberman Artists, Hazard Chase and Paola Castellano.
Photo by Saverio Truglia Art in Action Design for Sharing
“Art in Action is somewhere between an academic symposium and the “Design for Sharing enriches and supports learning, social awareness and vibrancy of an eagerly awaiting coloring book. This is where we explore in responsible cultural arts citizenship creating a new generation of artists public to release the energetic potential of sharing ideas together.” and audiences.” —Kristy Edmunds —Kristy Edmunds Design for Sharing (DFS) is our free K-12 arts education program that provides public Art in Action, our free public engagement program, offers a wide range of experiential school students from across the Los Angeles metro area access to the performing arts, art activities around the ideas emanating from the work of artists on our season. Through both at UCLA and in their own classrooms. The arts provide a gateway for students to workshops, lectures, master classes, films, salons and art-making forums, Art in Action explore shared ideas across communities and culture–sparking their curiosity and imag- provides a platform for our UCLA and Los Angeles communities to exchange ideas and ination. Since 1969, Design for Sharing has provided performances, workshops and school participate in shared cultural experiences. residencies to almost a million public school students, offering a diverse array of music, contemporary dance, and innovative theater. cap.ucla.edu/dfs This season, we’re continuing two ongoing initiatives and introducing a third. Writing the Landscape returns with new takes on the Poetry Bureau and special activities with our This season, the following CAP artists library partners, exploring how the impulse to make something results in an altered land- will participate in Design for Sharing programs: scape, or new view. Hearing Beyond Listening devises ways to “listen better,” with artist- curated playlists, personalized music maps, intimate salons, and the now popular, CAP Dancenorth/Lucy Guerin Inc Gabriel Kahane Listening Lab. A new series of programs, Facing the Blank Page, takes direct inspiration AteNine João Donato from this season’s the theater is a blank page. Activities throughout the season will ONIX Ensamble Antonio Sanchez & Migration investigate how we transmit traces of ourselves through the written word, movement, Kronos Quartet Kyle Abraham/Abraham.In.Motion sound and imagery. cap.ucla.edu/ArtInAction House Rules The Executive Producer Council CAP UCLA EXECUTIVE is CAP UCLA’s philanthropic leadership PRODUCER COUNCIL PHOTOGRAPHY PLEASE NOTE: Occasionally when our group that develops and contributes re- Murray Hidary Photography, video and the use of any shows at The Theatre at Ace Hotel are not sources vital to the Center’s programming Georgina Huljich recording equipment is strictly prohibited sold out, we will invite the audience to move and mission. The Council is comprised of Anne Jarmain at all times during performances at all in closer to the stage to fill in empty seats individuals who champion the creative Renee Luskin UCLA campus performance venues and to create a more intimate atmosphere development, presentation and public Ginny Mancini at The Theatre at Ace Hotel. Any/all press for both the audience and artists. Patrons dialogue with contemporary performing Katie Marsano Alan M. Schwartz ALWAYS have access to their ticketed seats artists by providing direct support for the photography must be approved in writing Roslyn Holt Swartz in advance by the Center for the Art of if anyone else is sitting in them, regardless Center’s annual programming. They are Bradley Tabach-Bank Performance representative. For press of whether or not we have invited people to engaged in the artistic and curatorial Leslie White inquiries and to make a request to cover move in. 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A much heralded collaboration between two creative forces addressing the experience of reading and the power of language.
Ann Hamilton & SITI Company the theater is a blank page
Sat Apr 28 - Sat May 12 | Royce Hall
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