Miller Theatre at Columbia University 2014-15 | 26th Season

Composer Portraits Mivos Quartet Marnie Breckenridge, soprano Jody Redhage, and voice Nathan Schram, Robert Simonds, Edward Poll, conductor

Thursday, February 5, 8:00 p.m. From the Executive Director

I’m excited to announce that last month Miller Theatre was honored with the ASCAP- Chamber Music America Award for Adventurous Programming. This is the fourth time the award has been given to Miller Theatre, and the second time during my tenure as Executive Director. It’s a great honor to be recognized by these two national organizations.

The award recognizes Miller’s commitment to making contemporary music a vibrant part of life in , so it’s apt that we’ll continue our winter programming tonight with a celebration of one of New York’s brightest young , Missy Mazzoli.

The first Mazzoli piece I heard was an excerpt from her opera,Song from the Uproar, but I quickly discovered how versatile a she is. Tonight, you’ll hear an excerpt from her new opera, solo works, and string quartets—Death Valley Junction is a special favorite of mine. This repertoire paints a diverse picture, but it’s still only a slice of her rapidly growing body of work; I’m excited for what’s ahead.

Our Portrait on February 19 features Italian composer Stefano Gervasoni, whose work I was introduced to by the ensemble Yarn/Wire. They made their Miller debut at a Pop-Up Concert season last year, the start of what is now an ongoing collaboration. Not only is Gervasoni’s work exciting, dynamic, and extremely difficult, but this Portrait presented the opportunity to collaborate with two other young New York ensembles. Like Yarn/Wire, Ekmeles and the Mivos Quartet made their Miller debuts at recent Pop-Up concerts. All three ensembles are well on their way to major careers, and I love that Miller can be a showcase for their talents.

I hope there’s lots of new music in your plans for 2015 – we certainly have a great lineup to share with you at Miller Theatre!

Melissa Smey Executive Director

Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. Miller Theatre is ADA accessible. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. Miller Theatre at Columbia University 2014-15 | 26th Season

Composer Portraits Thursday, February 5, 8:00 p.m. Missy Mazzoli

Missy Mazzoli (b. 1980)

Death Valley Junction (2010) Mivos Quartet

Dissolve, O my Heart (2010) Robert Simonds, violin

A Thousand Tongues (2009) Jody Redhage, cello and voice

Harp and Altar (2009) Mivos Quartet

INTERMISSION

Onstage discussion with Missy Mazzoli and Melissa Smey

Tooth and Nail (2010) Nathan Schram, viola

His Name is Jan (2013) Marnie Breckenridge, soprano; ETHEL; Edward Poll, conductor

Quartet for Queen Mab (2015) world premiere Co-commissioned by Miller Theatre and ETHEL’s Foundation for the Arts ETHEL

This program runs approximately one hour and forty-five minutes, including intermission.

ETHEL’s commission of Quartet for Queen Mab was made possible with support from the New York State Council on the Arts.

Major support for Composer Portraits is provided by the National Endowment for the Arts and the Francis Goelet Charitable Lead Trusts. About the Program

Introduction by

“I want people to find something out about themselves through my music, something that was inaccessible before, something that they were suppressing, something that they couldn’t really confront…. I really think of my motives, my melodies, my harmonies, as being these things that are very much alive. For example, what happens if this motive is in a spiral? What does that mean? What does that look like? How does that translate musically?” —Missy Mazzoli

The typical Mazzoli piece is calm and edgy, slow and hyper-energetic, solemn and intense, hypnotic and wild. The typical Mazzoli piece dreams as it furiously dances. The typical Mazzoli piece is many things at once. The typical Mazzoli piece is made for audiences in concert halls and bars, opera theaters and art galleries. The typical Mazzoli piece uses electronic means—samples, especially—along with the voices of centuries-old instruments. The typical Mazzoli piece is designed for friends—she plays keyboards in the group Victoire and has close connections with other , including those performing tonight—but there are also many typical Mazzoli pieces that are not.

Born in a small town in Pennsylvania in 1980, Missy Mazzoli studied at Yale, at University, and, on a Fulbright, in The Hague with and Martijn Padding. She then settled in New York, where she was executive director of the MATA Festival (2007-10) and now teaches at Mannes.

Her career as a composer began in 2004-5 with pieces she wrote mostly for herself or for small groups. A first orchestral piece,These Worlds Within Us (2006), won an ASCAP Young Composers Award and was taken up by the Minnesota Orchestra after its Yale première. Her growing reputation led to commissions from eighth blackbird (Still Life with Avalanche, 2008), Carnegie Hall (The Sound of the Light, for five instruments, 2008) and the (Harp and Altar, 2009). She was also busy from this time writing scores for Victoire, whose debut , Cathedral City, was released in 2010. Violent, Violent Sea, composed for the League of Composers Chamber Orchestra, was first performed here at Miller Theatre in June 2011, and was followed by works for the Albany Symphony (Holy Roller, 2012) and the Detroit Symphony (River Rouge Transfiguration, 2013). Through most of this time she was also at work on an opera, Song from the Uproar, which came out of her fascination with the life and writings of the Swiss explorer Isabelle Eberhardt and was presented at the Kitchen three years ago. Next month sees the release of her second album with Victoire, Vespers.

Program Notes by Missy Mazzoli

Death Valley Junction (2010) Death Valley Junction is a sonic depiction of the town of the same name, a strange and isolated place on the border of California and Nevada. The “town” is to three people and consists of a café, a hotel, and a fully functional opera house. Death Valley Junction is dedicated to Marta Becket, the woman who resurrected and repaired the crumbling opera house in the late 1960s and performed one-woman shows there every week until her retirement in 2012 at age 87. The piece begins with a sparse, edgy texture – the harsh desert landscape – and collapses into a wild and buoyant dance. Marta Becket once compared herself to the single yellow flower that is able to, against all odds, flourish in the desert. This piece attempts to depict some of her exuberant energy and unstoppable optimism, and is dedicated to her.

Dissolve, O my Heart (2010) Dissolve, O my Heart has its roots in a late-night conversation over Chinese food and cupcakes with violinist Jennifer Koh. She told me about her Bach & Beyond project, a program that combines Bach’s Sonatas and Partitas with newly commissioned works, and asked if I would write a piece that referenced Bach’s Partita in D minor. This request was, to put it mildly, utterly terrifying; the last movement of the Partita, the Chaconne, is undoubtably the most famous piece of solo violin literature in the world. It overwhelmed Brahms, has been subject to hundreds of transcriptions and over the past two centuries, and is dizzying in its contrapuntal complexity. But something about Jennifer’s enthusiasm was infectious, and I agreed to the project before I realized what I was getting myself into. Jennifer seemed to approach Bach through the lens of contemporary music, and I realized that this was what this new piece should do as well.

About the Program Dissolve, O my Heart begins with the first chord of Bach’s Chaconne, a now-iconic D minor chord, and spins out from there into an off-kilter series of chords that doubles back on itself, collapses and ultimately dissolves in a torrent of fast passages. The only direct quote from the partita is that first chord, which anchors the entire piece even as it threatens to spiral out of control. The title comes from an aria in the St. John Passion, but has many potential interpretations.

Dissolve, O my Heart was commissioned by the and was premiered in 2011 as part of their Green Umbrella Series in Disney Hall.

A Thousand Tongues (2009) A Thousand Tongues was commissioned by cellist and vocalist Jody Redhage. This piece is a short but intense response to the following text by Stephen Crane:

Yes, I have a thousand tongues, And nine and ninety-nine lie. Though I strive to use the one, It will make no melody at my will, But is dead in my mouth.

Harp and Altar (2009) Harp and Altar was commissioned by the Kronos Quartet. At its core, this piece is a love song to the Brooklyn Bridge. The title comes from a poem by Hart Crane, in which he describes the Brooklyn Bridge as “that harp and altar of the Fury fused.” The borough of Brooklyn is impossible to describe, but the Brooklyn Bridge seems to be an apt symbol for its vastness, its strength, and its history. Halfway through the work the vocalist Gabriel Kahane’s pre-recorded voice enters, fragments of the lines below from Crane’s poem, The Bridge.

Through the bound cable strands, the arching path Upward, veering with light, the flight of strings, Taut miles of shuttling moonlight syncopate The whispered rush, telepathy of wires. Tooth and Nail (2010) Tooth and Nail was inspired by the extraordinary musical traditions of Uzbekistan, where jaw harp (also called Jew’s harp or mouth harp) plays a prominent role. The jaw harp player consistently plucks the instrument, creating overtones and melodies by changing the shape of his or her mouth, and the central Asian style takes this technique to wild and beautiful extremes. I have created my own version of this music, based on my memories of hearing Uzbek jaw harp players. The electronic part is made up almost entirely of viola samples, allowing the live viola to play in counterpoint with itself.

His Name is Jan (2013) His Name is Jan is the opening aria from my opera-in-progress , a collaboration with librettist based on the film by Lars von Trier. Breaking the Waves was commissioned by Opera and Beth Morrison Projects and will premiere at Opera Philadelphia in September 2016. Set in the Scottish Highlands during the 1970s, Breaking the Waves tells the story of Bess McNeill, a naïve young woman who falls deeply in love with Jan, a hardened but compassionate oil rig worker. The two marry despite objections by local church leaders. When Jan is paralyzed in an accident, he insists that Bess seek new lovers, and in her guilt and despair Bess comes to believe that her promiscuity is healing Jan’s broken body. She finds herself caught precariously between her devotion to God and her fierce determination to keep her husband alive at any cost. In this opening aria Bess asks the church elders for permission to marry Jan.

Quartet for Queen Mab (2015) Queen Mab is an elusive creature from folklore and literature, a tiny fairy who drives her chariot into the nose of sleeping people. She enters their brains, eliciting dreams of their heart’s desire. This quartet embraces the wildness of Queen Mab’s journey and the dreams that result; Baroque ornaments twist around long legato lines and melodies ricochet between players. The music follows a sort of intuitive dream logic but returns again and again to the opening material, resulting in a sort of insistent, insane ritornello. The work was commissioned by ETHEL, with support from ETHEL’s Foundation for the Arts, and by Miller Theatre.

About the Program Texts and Translations

His name is Jan libretto by Royce Vavrek

His name is Jan His name is Jan. You do not know him. His name sounds like church bells, He’s from the rig. Jan, Jan, Jan… God has given me a man, His name is Jan. You do not know him, Jan, Jan, Jan… A Norwegian man A funny name for a man. Jan, Jan, Jan… An outsider has wormed A man that I’m to love forever. His way inside of me. With your permission. Jan from the rig. With your permission.

His name is Jan. He wants to marry me. Holy matrimony: when two people are joined in God. I want to be his wife: Mrs. Jan from the rig.

His name is Jan, And God will be witness To our covenant. The whole community Will know our love. Jan’s love of me. My love of Jan. Jan is my shaggy-faced man. Jan is my strange, beautiful music. About the Artists

ETHEL Ensemble-in-Residence at the Grand Ralph Farris, viola Canyon Music Festival’s Native American Dorothy Lawson, cello Composers Apprenticeship Project and Kip Jones, violin at Denison University, and is Resident Corin Lee, violin Ensemble at The Metropolitan Museum of Art’s Balcony Bar. Acclaimed as “unfailingly vital” (), and “downtown’s reigning Founded in 1998, ETHEL is comprised string quartet” (), ETHEL of Ralph Farris (viola), Dorothy Lawson invigorates the contemporary music (cello), Kip Jones (violin), and Corin Lee scene with exuberance, intensity, and (violin). exceptional artistry.

ETHEL performs adventurous music Mivos Quartet by celebrated composers such as Philip Olivia De Prato, violin Glass, , Phil Kline, Andy Joshua Modney, violin Akiho, , John King, John Zorn, Victor Lowrie, viola , Anna Clyne, Kenji Bunch, Mariel Roberts, cello JacobTV, , Marcelo Zarvos, Evan Ziporyn, Judd Greenstein, Terry The Mivos Quartet, “one of America’s Riley, Kimo Williams and Mary Ellen most daring and ferocious new-music Childs. ensembles” (The Chicago Reader), is devoted to performing the works of ETHEL’s 2014-15 season celebrates contemporary composers, presenting the diversity of regional American new music to diverse audiences. Since music, anchored by tours of the multi- the quartet’s beginnings in 2008 they media work ETHEL’s Documerica, a have performed works by emerging and collaboration with virtuoso Kaki established international composers King, “Music of the Sun” concerts with who represent varied aesthetics of Taos Pueblo flutist Robert Mirabal, contemporary composition. Mivos and “Grace,” featuring music by Ennio is invested in commissioning and Morricone and Jeff Buckley. ETHEL is premiering new music for string quartet, particularly in a context of by Mei Ann Teo and composed by Jon close collaboration with composers Bernstein. Recent modern opera roles over extended time-periods. Recent include: Mother in David T. Little’s Dog collaborations include works with Mark Days with Montclair Peak Performances Barden (Wien Modern Commission), Dan (and upcoming in 2015 at Ft. Worth Opera Blake (Jerome Commission), Richard and Los Angeles Opera), Sierva Maria in Carrick (Fromm Commission), Patrick Peter Eötvös’s Love And Other Demons at Higgins (ZS), Sam Pluta (Lucerne Festival Glydebourne Festival Opera, La Princesse Commission), Kate Soper, Saul Williams, in Philip Glass’ Orphée and Margarita Scott Wollschleger, and Eric Wubbels Xirgu in Golijov’s Ainadamar with Opera (CMA commission). Mivos is committed Parallele, her Berkeley Symphony debut to working with guest artists, exploring in Chin’s Cantantrix Sopranica with Kent multi-media projects involving live Nagano, and her Ravinia Festival debut video and electronics, creating original in Jake Heggie’s To Hell And Back with compositions and arrangements for the Philharmonia Baroque, co-starring Patti quartet, and performing improvised LuPone. Breckenridge is a featured soloist music. The quartet has appeared on on the 2012 New World Records album concert series including Wien Modern of Victor Herbert songs and recently (Austria), Transart (Italy), Music at the made her European and Asian debuts as Phillips (Washington, DC), Lucerne Cunegonde in Candide with the English Festival (Switzerland), HellHOT! New National Opera, Prague State Opera, and Music Festival (), Festival on tour in Japan where she was reviewed International Chihuahua (Mexico), as being “note perfect” (Prague Post) and Edgefest (Ann Arbor), Asphalt Festival “simply terrific” Opera( Magazine, UK). (Germany), and Aldeburgh Music (UK). Learn more at www.mivosquartet.com. Jody Redhage, a passionate advocate of creative new music and chamber music, Soprano Marnie Breckenridge’s has been called “a new music dynamo” versatility of roles range from highly (MusicWorks). Redhage has premiered acclaimed performances of Lucia di over 100 works, including almost 30 that Lammermoor to Emily in Rorem’s Our she has commissioned for her voice, cello, Town. Her excellent acting credits and and electronics from some of today’s most musicianship have brought her into talented composers. An active composer the worlds of television, voice-over and herself, she writes for the band Rose & theatre where she recently composed the Nightingale, a group of improvising the vocal lines for and sang the lead in multi-instrumentalists. Equally Wake at the Connelly (NYC), directed experienced and comfortable as a player of classical, new music, jazz, rock, pop, Hailed by The New York Times as an improvised music, and recording session “elegant soloist” with a sound “devotional work, Redhage is a mainstay within with its liquid intensity,” Nathan Schram several active and groundbreaking New is the violist of the Bryant Park Quartet York scenes, contributing to the ever- as well as a member of the Carnegie Hall increasing 21st century blur of musical trained ensemble Decoda. Working with boundary lines. many of today’s great composers he has premiered music by Steve Reich, Becca Redhage is a member of Best New Artist Stevens, Nico Muhly, Timo Andres, Grammy-winner Esperanza Spalding’s Gabriel Kahane, David Bruce, Brooks Chamber Music Society band, traveling Frederickson, Elliot Cole, and Brad to five continents to support the release Balliet. He is also a founding member of of Spalding’s third record, featuring a jazz the string trio Speed Bump, an ensemble trio, string trio (violin, viola, cello), and devoted to improvisation and performing backup vocalists. Redhage often works their own compositions. Nathan explores as a recording session player, and has other musical interests by playing with performed and recorded for a vast array of an array of adventurous ensembles such artists including My Brightest Diamond, as Alarm Will Sound, ACME, New York Fall Out Boy, Sufjan Stevens, Esperanza Baroque Incorporated, Le Train Bleu, and Spalding, Neil Diamond, Sara Bareilles, the Wordless Orchestra. Jay-Z, Beyoncé, and Chromeo. Apart from performing, Nathan is the Redhage was a presenter on Audience Founding Director of Musicambia, a and Community Engagement for New York based initiative establishing the 2015 Chamber Music America a network of music conservatories Annual Conference, and has received within prisons and jails in the United grants from the NYC Dept. of Cultural States. He is an Alumnus of Carnegie Affairs, NY State Council for the Arts, Hall and Juilliard’s Ensemble ACJW, Chamber Music America, and the Hertz and a prizewinner of the 2007 Primrose Foundation. Her critically-acclaimed International Viola competition, the 2006 solo album of music for voice, cello, and Corpus Christi Competition, electronics, Of Minutiae and Memory, was and a First Prize winner of the 2008 released on New Amsterdam Records. ASTA National Solo Competition. He Please visit www.jodyredhage.com for studied at Indiana University with Alan more information. de Veritch and at the Escuela Superior de Música Reina Sofia in Madrid, Spain with Diemut Poppen and Yuval Gotlibovich.

About the Artists Nathan has performed chamber music Edward Poll, from Bryn Mawr, Pa., is a alongside Itzhak Perlman, Colin Carr, Gil Rita E. Hauser Conducting Fellow at the Kalish, Phil Setzer, Atar Arad, Joshua Bell, Curtis Institute of Music, where he works Ron Leonard, and Jonathan Carney. under the mentorship of Yannick Nézet- Nathan has performed chamber music Séguin. Mr. Poll was assistant conductor alongside Itzhak Perlman, Colin Carr, Gil at the 2014 Glimmerglass Festival, and Kalish, Phil Setzer, Atar Arad, Joshua Bell, recently made his debut with the Buffalo Ron Leonard, and Jonathan Carney. Philharmonic at the invitation of JoAnn Falletta. He has conducted workshops of Robert Simonds is the Principal Second new compositions for Opera Philadelphia Violin of the Louisville Orchestra and and Washington National Opera. a member of the Cabrillo Festival of Contemporary Music in Santa Cruz, CA. Also a composer, Mr. Poll is the winner In addition to performing the music of of an ASCAP Morton Gould Young leading contemporary composers, Rob is Composer Award and two Singing City also dedicated to working across genres prizes, His first opera, based on Lorca’s and has produced and performed in small play, Yerma, was premiered in New York ensemble partnerships with indie-folk at the NOMADS Festival. His second artists Joe Pug, Ben Sollee, Tobie Milford, opera, in process, is set to religious texts and The Low Anthem. by Auden and Yeats. His works have been performed by NonSequitur and Rob began his professional orchestral Beth Levin, among others. He was a career with the Richmond Symphony summer fellow at the European American Orchestra, which was followed by Musical Alliance in Paris from 2006 to a longtime position in The Phoenix 2008, and studied composition at the Symphony. He regularly returns to Freie Universität in Berlin in 2010 and Arizona to play with the Downtown 2011. Chamber Series, as well as the recently opened Museum. Mr. Poll received a bachelor’s degree in His work in Arizona also includes composition from Columbia University, performances with the Arizona Music where he studied with Fabien Lévy and Fest Orchestra. As a substitute , . He holds a master’s degree he has worked with the orchestras of in orchestral conducting from Mannes Minnesota, Cincinnati, Indianapolis, College, where he studied with David St. Louis, Columbus, and Virginia. For Hayes and Joseph Colaneri. several summers he was a member of the Colorado Music Festival in Boulder. About Miller Theatre

Miller Theatre at Columbia University is the leading presenter of new music in New York City and one of the most vital forces nationwide for innovative programming. In partnership with Columbia University School of the Arts, Miller is dedicated to producing and presenting unique events, with a focus on contemporary and early music, jazz, and multimedia. Founded in 1988, Miller has helped launch the careers of myriad composers and ensembles, serving as an incubator for emerging artists and a champion of those not yet well known in the U.S. A four- time recipient of the ASCAP/Chamber Music America Award for Adventurous Programming, Miller continues to meet the high expectations set forth by its founders—to present innovative programs, support new work, and connect creative artists with adventurous audiences.

Advisory Committee Paul D. Carter Mark Jackson Margo Viscusi* Mary Sharp Cronson* Eric Johnson Mr. and Mrs. George Votis* Stephanie French* Philip Mindlin Cecille Wasserman* Marcella Tarozzi Goldsmith Linda Nochlin Elke Weber Karen Hagberg Peter Pohly I. Peter Wolff* * Miller Theatre Advisory Board member Columbia University Trustees Jonathan D. Schiller, Chair William V. Campbell, Benjamin Horowitz A’Lelia Bundles, Vice Chair Chair Emeritus Ann F. Kaplan Mark E. Kingdon, Vice Chair Lisa Carnoy Jonathan Lavine Esta Stecher, Vice Chair Kenneth Forde Charles Li Rolando T. Acosta Noam Gottesman Paul J. Maddon Armen A. Avanessians Joseph A. Greenaway, Jr. Vikram Pandit Andrew F. Barth James Harden Michael B. Rothfeld Lee C. Bollinger, Marc Holliday Claire Shipman President of the University Kyriakos Tsakopoulos Columbia University School of the Arts Carol Becker Dean of Faculty Jana Hart Wright Dean of Academic Administration Miller Theatre Staff Melissa Smey Executive Director Charlotte Levitt Director of Marketing & Outreach Brenna St. George Jones Director of Production James Hirschfeld Business Manager Nora Sørena Casey Marketing & Communications Associate Megan Harrold Audience Services Manager Katherine Bergstrom Artistic Administrator Taylor Riccio Production Coordinator Rhiannon McClintock Executive Assistant

Aleba & Co. Public Relations The Heads of State Graphic Design Thanks to Our Donors Miller Theatre acknowledges with deep appreciation and gratitude the following organizations, individuals, and government agencies whose extraordinary support makes our programming possible.

$25,000 and above Francis Goelet Charitable Lead Trusts Dow Jones Foundation H. F. (Gerry) Lenfest National Endowment for the Arts

$10,000 - $24,999 William V. Campbell Fritz Reiner Center for Contemporary Music The Fan Fox and Leslie R. Samuels Foundation The Aaron Copland Fund for Music at Columbia University The Evelyn Sharp Foundation Mary Sharp Cronson The Gladys Krieble Delmas Foundation Margo and Anthony Viscusi New York State Council on the Arts $5,000 - $9,999 The Amphion Foundation CLC Kramer Foundation Craig Silverstein Ann and Gordon Getty Foundation

$1,000 - $4,999 Rima Ayas Carol Avery Haber / Haber Family Jessie and Charles Price Barbara Batcheler Charitable Fund Peter Pohly Susan Boynton Karen Hagberg and Mark Jackson Christopher Rothko Paul D. Carter Donella and David Held Cecille Wasserman Hester Diamond Roger Lehecka Janet C. Waterhouse R. H. Rackstraw Downes Philip Mindlin Elke Weber and Eric Johnson Marcella Tarozzi Goldsmith Linda Nochlin Anonymous Christine and Thomas Griesa Jeanine and Roland Plottel

$500 - $999 Oliver Allen Stephanie French Marian M. Warden Fund of the Foundation for Regula Aregger Claude Ghez Enhancing Communities Mercedes Armillas Mary and Gordon Gould Katharina Pistor ASCAP James P. Hanbury James Sharp Elaine S. Bernstein John Kander J. P. Sullivan Cedomir Crnkovic / Cavali Foundation Mark Kempson and Janet Greenberg Cia Toscanini Kristine and Joseph Delfausse Paul J. Maddon Kathryn Yatrakis

$100 - $499 Gail and James Addiss June O. Goldberg Mary and Andrew Pinkowitz Richard Gray Edmée B. Reit Roger Bagnall Barbara Harris Monique Rinere in honor of James F. Rinere Sandra and Marc Bernstein Bernard Hoffer Carol Robbins Andrew Birsh Alan Houston and Lisa DeLange Esther Rosenberg and Michael Ostroff Jim Boorstein Frank Immler and Andrew Tunick William Ryall Alexandra Bowie and Daniel Richman Sandra and Malcolm Jones Mariam Said Elizabeth and Ralph Brown William Josephson Eliisa Salmi-Saslaw Caplan Family Foundation Rebecca Kennison James Schamus and Nancy Kricorian Richard Carrick and Nomi Levy-Carrick L. Wilson Kidd, Jr. Elliot Schwartz Rashmy Chatterjee Sandra Kincaid Anita Shapolsky Ginger Chinn and Reggie Spooner Barbara and Kenneth Leish Timothy C. Shepard and Andra Georges Gregory Cokorinos Arthur S. Leonard Gilbert Spitzer and Janet Glaser Spitzer Merry Conway Richard H. Levy and Lorraine Gallard Peter Strauss Norma Cote Peter C. Lincoln Jim Strawhorn David Demnitz Patricia Lowy and Daniel Frank Larry Wehr Vishakha Desai and Robert Oxnam Caroline and Anthony Lukaszewski Seymour Weingarten Rosamund Else-Mitchell Marghretta McBean Ila and Dennis Weiss Peter and Joan Faber Gerald McGee Elizabeth Wheeler Ruth Gallo Susan Narucki Anonymous Marc Gilman as of January 20, 2015 This Spring at Miller

Composer Portraits

Thursday, February 19 Stefano Gervasoni (b. 1962) “Something identifiably Italianate has persisted in Stefano Gervasoni’s music,” claims ’s Andrew Clements, “whether in its moments of playful allusion or expansive lyricism, its disorienting changes of direction or its Sciarrino-like scurries.”

Thursday, March 5 (b. 1964) Augusta Read Thomas returns with a program including Resounding Earth, a percussion tour-de-force that brings together bells from around the world to create a “transfixing shimmer” (New York Times).

Bach, Revisited Series season tickets still available!

Thursday, March 12 Michael Gordon + Bach Michael Gordon blends “the fury of punk rock, the nervous brilliance of and the intransigence of classical modernism” (New York Times), and this inquisitiveness draws him to Bach, a harmonic and structural innovator.

Thursday, April 9 Helmut Lachenmann + Bach An eye-opening dialogue between two composers who redefined the role of solo strings, this program features Bach and Lachenmann works for solo violin and cello, an early Lachenmann trio, plus a contemporary companion to Bach’s Two-Part Invention.

Friday, May 8 Sofia Gubaidulina + Bach Sofia Gubaidulina shares a special affinity with Bach: both artists’ music is influenced by their faith, and they share a unique blend of emotional transcendence and compositional rigor. Upcoming Events

Tuesday, February 10 doors at 5:30 p.m., music at 6:00 p.m. POP-UP CONCERTS Curtis 20/21 featuring the Curtis Guitar Studio

Thursday, February 19, 8:00 p.m. COMPOSER PORTRAITS Stefano Gervasoni Yarn/Wire Mivos Quartet Ekmeles

Tuesday, February 24 doors at 5:30 p.m., music at 6:00 p.m. POP-UP CONCERTS JACK Quartet

Saturday, February 28, 8:00 p.m. Church of St. Mary the Virgin EARLY MUSIC From The Imperial Court Stile Antico

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