Cal Performances Presents

Saturday, March , , pm Zellerbach Hall ’s Ayre featuring , soprano with Orquesta Los Pelegrinos

PROGRAM

Stephen Hartke (b. ) Meanwhile—Incidental music to imaginary puppet plays ()

I. Procession II. Fanfares III. Narration IV. Spike-fi ddlers V. Cradle Songs VI. Celebration

Timothy Munro fl utes Michael J. Maccaferri clarinets Matt Albert viola Nicholas Photinos cello Lisa Kaplan Jorge Liderman Matthew Duvall percussion –

George Crumb (b. ) Vox Balaenae (Voice of the Whale) Cal Performances dedicates this concert to the memory of our friend and colleague, for amplifi ed fl ute, cello and piano () Jorge Liderman, who died on February , . A member of the Music Department composition faculty here at UC Berkeley since , Jorge was a well-loved teacher Vocalise (...for the beginning of time) and an internationally acclaimed composer. His prolifi c output was commissioned Variations on Sea-Time and premiered by prestigious ensembles, soloists and music centers the world over. Sea Th eme Cal Performances has had the honor of presenting many of his works in recent years, Archeozoic [Var. I] most recently in November  in a program to celebrate his th birthday, fea- Proterozoic [Var. II] turing Cuarteto Latinoamericano, guitarist David Tanenbaum and pianist Sonia Paleozoic [Var. III] Mesozoic [Var. IV] Rubinsky; and in March , Liderman’s musical setting of Th e Song of Songs re- Cenozoic [Var. V] ceived its world premiere in Hertz Hall. Jorge Liderman was instrumental in advising Sea-Nocturne (...for the end of time) Cal Performances when the fi rst Edge Fest of new music was launched in , and he served as an active member of Cal Performances’ Board of Trustees. Timothy Munro fl u t e s Nicholas Photinos cello We remember Jorge as a talented musician, a congenial colleague and a generous man. Lisa Kaplan piano We will miss him greatly.

INTERMISSION

24 CAL PERFORMANCES CAL PERFORMANCES 25 Program Program Notes

Osvaldo Golijov (b. ) Ayre () Stephen Hartke: Meanwhile () tuned a half-step lower in order to both change its timbre and to open the way for a new set of natural I. Mañanita de San Juan (Dawn of Stephen Hartke (b. ) has been hailed by harmonics to interact sometimes even microton- St. John’s Day) Th e New York Times as one of America’s “Young ally with those of the cello. Th e percussion array II. Una madre comió asado (A Mother Roasted Lions.” His music refl ects the diversity of his mu- includes  wood sounds, plus four cowbells, two Her Child) sical background, from medieval and renaissance small cymbals, a water gong, and a set of bongos. III. Tancas Serradas a muru (Walls Are polyphony, of which he was once quite an active Finally, there is a set of three Flexatones, whose Encircling the Land) performer, to very personal syntheses of diverse tone is rather like that of small Javanese gongs, and IV. Luna (Moon) elements from non-Western and popular music. so I have given this new instrument the name of V. Nani He has enjoyed commissions and performances Flexatone Gamelan. VI. Wa Habibi (My Love) from numerous groups throughout the world, in- Meanwhile is played as a single movement, VII. Aiini Taqtiru (My Eyes Weep) cluding the New York Philharmonic, the National with six distinct sections: “Procession,” which VIII. Kun Li-Guitari Wateran Ayyuha Al-Maa’ Symphony Orchestra, the BBC Philharmonic, and features the Flexatone Gamelan; “Fanfares,” with (Be a String, Water, to My Guitar) the Moscow State Philharmonic Orchestra, among the piccolo and linked together much IX. Suéltate las cintas (Untie Your Ribbons) many others. He recently completed a full-length as a puppeteer and his marionette; “Narrative,” in X. Yah, Anna Emtzacha (Oh God, Where , Th e Greater Good, or the Passion of Boule de which the bass clarinet recites the ‘story’ of the scene Shall I Find You?) Suif, for Glimmerglass Opera. In , he was in an extravagant and fl amboyant solo reminiscent XI. Ariadna en su Laberinto (Ariadne in awarded the Charles Ives Living Composers Award of the reciter in Japanese bunraku; “Spike-fi ddlers,” Her Labyrinth) from the American Academy of Arts and Letters, which requires a playing technique for the viola the purpose of which is to free him from the need and later the cello that stems from Central Asian Dawn Upshaw, soprano to devote his time to any employment other than ; “Cradle Songs,” the outer parts of music composition. Mr. Hartke’s music is available which feature natural harmonics in the viola and Orquesta Los Pelegrinos on CD on CRI, ECM New Series, EMI Classics, cello combined with bell-like ninth-partial har- Timothy Munro fl u t e s Naxos American Classics and New World Records. monics from the piano; and “Celebration,” where Michael J. Maccaferri clarinets Stephen Hartke lives in Glendale, California, and the fl utist and clarinetist take up Flexatones to play Eric Ruske horn is Professor of Composition at the University of the closing melody. Bridget Kibbey harp Southern California. About Meanwhile, the com- Matt Albert viola poser writes: —Stephen Hartke Nicholas Photinos cello Meanwhile was composed on a commission Mark Dresser double-bass from eighth blackbird and the Barlow Foundation. Matthew Duvall percussion It is one of several works of mine that has grown : Vox Balaenae () Adrien Brogna guitar, ronroco from a long-standing fascination I have had for Michael Ward-Bergeman hyper-accordion various forms of Asian court and theater music, Born in , George Crumb is one of the most fa- Jeremy Flower laptop and in preparing to write this piece, I studied video mous composers of our time. He is the recipient of clips of quite a number of puppet theater forms, numerous awards, including the  Pulitzer Prize Cal Performances dedicates this concert to the memory of our friend and colleague, Jorge Liderman, –. ranging from the elegant and elaborate, nearly life- in Music and a Grammy for Best Contemporary sized puppets of Japanese bunraku, to Vietnamese Composition for Star-Child, and has received Exclusive Tour Management: Opus  Artists,  Park Avenue South, th Floor North, New York, New York . water puppets, both Indonesian and Turkish shad- six honorary degrees. He has taught at Hollins Ayre was commissioned for Dawn Upshaw by Th e Corporation through the generosity of Th e Maria and ow puppets, and to classic Burmese court theater College, the University of Colorado at Boulder, Robert Skirnick Fund for New Works. Th e world premiere was given at the Judy and Arthur Zankel Hall, Carnegie Hall, that mixes marionettes with dancers who look and SUNY Buff alo and for  years at the University of , on March , , by Dawn Upshaw and Th e Andalucian Dogs. act like marionettes. Pennsylvania at Philadelphia, retiring from teach- Th is piece is a set of incidental pieces to no ing in . His teachers included Eugene Weigler, Dawn Upshaw appears by arrangement with IMG Artists,  West th Street, th Floor, New York, New York . puppet plays in particular, but one in which the Boris Blacher and Ross Lee Finney. Recordings of Ayre are available exclusively on Deutsche Grammophon. ensemble has been reinvented along lines that Crumb began composing as a teenager, though clearly have roots in these diverse Asian models. he discourages performances of most of early work; Dawn Upshaw has recorded extensively for the Nonesuch label. She may also be heard on Angel/EMI, BMG, Deutsche Th e piano, for instance, is prepared for much notable exceptions are the Th ree Early Songs () Grammophon, London, Sony Classical, Telarc, and on Erato and Teldec in the Warner Classics family of labels. of the piece with large soft mutes to resemble a for voice and piano, the Sonata for Solo Violoncello Cal Performances’ – season is sponsored by Wells Fargo Bank. Vietnamese hammered dulcimer. Th e viola is () and Variazioni () for orchestra. His Five

26 CAL PERFORMANCES CAL PERFORMANCES 27 Program Notes Program Notes

Pieces for Piano () marks the beginning of his in a specifi c place and, paradoxically, at the same from Jewish to Arab to Christian,” Golijov says. Much of Ayre calls for the simplicity and di- mature period, and was followed with numerous time to transcend borders and cultural boundar- “How connected these cultures are and how ter- rectness of utterance natural to a singer of folk works that garnered him popular and critical suc- ies. At his childhood home in Argentina, Golijov rible it is when they don’t understand each other. songs. Dawn Upshaw grew up in the s and cess, among them Black Angels (), for electric heard European chamber music, Jewish traditional Th e grief that we are living in the world today has s in a politically active household in which she string quartet; Ancient Voices of Children (), chants and klezmer melodies, as well as encoun- already happened for centuries but somehow har- joined her parents and older sister in an informal for mezzo-soprano, boy soprano, oboe, mandolin, tering the new tango pioneered by . mony was possible between these civilizations.” singing group. Th at early experience serves her harp, amplifi ed piano and toy piano, and percus- A crucial turning point in his career as composer Like Berio, Golijov draws upon a highly eclectic well in some of Ayre’s most touching and intimate sion; Makrokosmos, volumes  and  (, ), came in the form of a commission from conduc- and personal selection of sources. Th e texts are moments, notably the lovely ninth song, “Sueltate for amplifi ed piano; and Vox Balaenae (). tor Helmuth Rilling to write a large-scale musical in Ladino (the lost language of the Spanish Jews, las Cintas,” one of two written by Golijov’s close About Vox Balaenae, the composer writes: telling of the Passion story in commemoration of the Sephardim), Arabic, Hebrew, Sardinian and friend and frequent collaborator, composer-pro- Vox Balaenae (Voice of the Whale), composed the th anniversary of Bach’s death in . La Spanish. Th ese words encompass a wide range ducer Gustavo Santaollala. in , is scored for fl ute, cello and piano (all Pasión según San Marcos combines the vibrancy of of human experience, from love and jealousy, to To the largely historic texts, the composer amplifi ed in concert performance). Th e work was Latin American musical traditions and Jewish li- raucous rage and to religious yearning and prayer. adds a poignant commentary from the contem- inspired by the singing of the humpback whale, a turgical chant while remaining true to the spirit of Golijov explains that “the idea is to create a ‘forest’ porary Palestinian poet Mahmoud Darwish, an tape recording of which I had heard two or three the Bach Passions. and for Dawn to walk in it. Th ere is no real sense eloquent poet of exile, whose plea is astonishingly years previously. Each of the three performers is re- Soprano Dawn Upshaw has been an impor- of ‘form’—in the sense of Beethovenian develop- timely and timeless: “Be a string, water to my gui- quired to wear a black half-mask (or visor-mask). tant muse and collaborator for Osvaldo Golijov. ment—but rather lots of detours and discoveries.” tar,/ Conquerors come, conquerors go…/ It’s get- Th e masks, by eff acing the sense of human projec- His fi rst work for her, the beguiling song Lúa Golijov has scored the work for a richly colored ting hard to remember my face in the mirrors./ Be tion, are intended to represent, symbolically, the descolorida (), was subsequently incorporated chamber ensemble. Th e music originates both as memory for me/ So I can see what I’ve lost./ Who powerful impersonal forces of nature (i.e., nature into La Pasión and, in another orchestration, forms found objects—a Sephardic lullaby or a Christian am I after these paths of exodus?” Th e fi rst appear- dehumanized). I have also suggested that the work the centerpiece of his Th ree Songs for Soprano Arab Easter hymn—and from original melodies. ance of these words stands in stark contrast to the be performed under deep-blue stage lighting. Th e and Orchestra (). She created the title role “Most are well-known melodies that I arranged,” rest of the work—this is the only portion of the form of Vox Balaenae is a simple three-part design, in (), Golijov’s fi rst opera, writ- the composer has said, “but some I made up. For work that is spoken and in English. Th e Darwish consisting of a prologue, a set of variations named ten with the playwright and example, for the fi rst song I took a Sephardic ro- poem returns again in the tenth song, now frag- after the geological eras, and an epilogue. based upon the life of Federico García Lorca. Th at mance. I don’t know if it ever had music but I mented and alternating with a haunting setting of same year, Carnegie Hall invited Dawn Upshaw to wrote a tune for it.” Th e tale told in the song takes a th-century Sephardic call to prayer by Yehudah —Nicholas Photinos curate a two-year series of programs for the legend- a most unexpected turn, beginning with the epic Halevy. Th is is for four voices only, all of them ary auditorium as well as to help inaugurate the and quickly turning sardonically personal. “I love belonging to Dawn Upshaw—one speaking the new Zankel Hall, an innovative underground per- how the song zooms and telescopes from a huge words of Darwish, the other three, electronically Osvaldo Golijov: Ayre () forming space designed to embrace a wide range battle to an unrequited love story.” Th e purity of layered, singing the Sephardic call to prayer. Th e of musical traditions. It was perhaps inevitable Dawn Upshaw’s soaring voice is put to use in the fi rst appearances of the prayer are for two voices Ayre: A Counterpoint of Cultures that both the soprano and the hall would turn to high-lying cantilena of yearning in that fi rst song, characterized by Golijov in the score as “Harsh/ Osvaldo Golijov to create a work that celebrated echoing the klezmer-tinged clarinet solos inspired Pain.” Th ese are joined eventually by a third sung “Most people are principally aware of one culture, the artist and the new venue. equally by , one of the world’s most voice labeled “In Wonder.” As this voice begins to one setting, one home; exiles are aware of at least Th e initial inspiration for Golijov’s Ayre came celebrated klezmer innovators. But a very diff erent soar, it grows nearer; the pained voices begin to two and this plurality of vision gives rise to an aware- from the desire to create a companion work for and wholly unexpected side of the soprano’s musi- recede. In the words of Halevy: “Oh God, where ness of simultaneous dimensions, an awareness Luciano Berio’s Folk Songs (), a pioneering cal character is evident in the wild-eyed ranting of shall I fi nd You?/ Your place is high and hidden./ that—to borrow a phrase from music—is contra- work that draws upon traditional melodies from the third song “Tancas Serradas a Muru,” based on And where shall I not fi nd You?/ Your glory fi lls the puntal.”—Edward Said, Refl ections on Exile () America, Armenia, Sicily, Genoa, Sardinia, the an th-century Sardinian song. “I told her, look, World.” In this mingling of long-distant past and Auvergne and Azerbaijan. this is a theatrical situation,” says Golijov. “Imagine the present day, in this perpetual counterpoint of Osvaldo Golijov’s life and music refl ect an enor- Golijov’s Ayre—meaning “air” or “melody” that you are at the front of a mob basically come to cultures, Ayre fi nds blessed grace. mously complex personal geography. Born into in medieval Spanish—largely centers on south- overthrow the power.” Th e raw, snarling energy of an Eastern European Jewish family transplanted ern Spain with its intermingling of three cultures the vocal setting perfectly suits the crazed dance of —Ara Guzelimian, Dean of Th e Juilliard School, to Argentina, he was profoundly infl uenced by (Christian, Arab and Jewish) in an era before the fury that ensues. Former Senior Director and his years in , that unique crossroads of expulsion of the Jews in the late th century. Th e Artistic Advisor, Carnegie Hall overlapping, intertwined, and confl icting cultures. varying degrees of coexistence and confl ict among His work grows naturally out of these experi- these cultures have continued to reverberate into ences, true to music’s ability to be deeply rooted our own time. “With a little bend, a melody goes

28 CAL PERFORMANCES CAL PERFORMANCES 29 Texts Texts

Osvaldo Golijov: Ayre If Heaven was on Earth Th ey would grab it too!

. Mañanita de San Juan (Dawn of St. John’s Day) . Luna (Moon) Traditional Sephardic Romance Translation by Osvaldo Golijov Instrumental

In the morning of St. John’s Day Moor and Christians went out to war. . Nani Th ey were warring, they were dying, Five hundred on each side. Traditional Sephardic lullaby Translation by Osvaldo Golijov Rondale, admiral of the seas, Was taken captive. Sleep, my sweetheart, sleep… His sword broke, and in the middle of the battle-cry Sleep, apple of my eye. He found himself in prison and started to cry. Your father is coming, And his spirits are high. Th e princess heard him from the heights of her castle: “Don’t cry, Rondale, don’t harm yourself. Open the door, wife. I’ll give you  gold marks and Open the door Whatever else you want; Because I’m coming, You’ll marry me, my vineyards and brooks.” Tired from ploughing the fi elds.

“May bad fi re burn your vineyards, I will not open to you. Your brooks, and your homes. You are not tired. I have a wife in —that’s the one I marry.” I know you are coming From the house of your new love. When the princess heard this, She had him killed. . Wa Habibi (My Love)

. Una madre comió asado (A Mother Roasted Her Child) Translation by Hala Halim

Traditional Sephardic song, after Jeremiah’s Lamentations My Love, My Love, Translation by Osvaldo Golijov What has befallen you? Who saw you and grieved for you, And a mother roasted You who are righteous? And ate her cherished son: My Love, what is the sin of our times and our children? Th ese wounds have no cure. “Look at my eyes, mother. I learned the law with them. . Aiini Taqtiru (My Eyes Weep) Look at my forehead, mother, I wore the philacteries there. Traditional Christian Arab Easter Song Translation by Hala Halim Look at my mouth, mother: I learned the law with it.” My eyes weep without pause . Tancas Serradas a muru (Walls Are Encircling the Land) For there is no rest Until God reveals Himself and gazes from the sky. Translation by Remo Bodei I raised my prayers in Your name, O God, Walls are encircling the land Do not withhold your ear, Seized with greed and in haste, Listen to my voice and come today. please turn page quietly 30 CAL PERFORMANCES CAL PERFORMANCES 31 Texts Texts

. Kun Li-Guitari Wateran Ayyuha Al-Maa’ (Be a String, Water, to My Guitar) . Suéltate las cintas (Untie Your Ribbons)

Text by Mahmoud Darwish, from “Eleven Planets in the Last Andalusian Sky” in Adam of Two Edens (Jusoor and Text by Syracuse University Press, ) Translation by Osvaldo Golijov Translation by Clarissa Burt Untie the ribbons of your hair and your skirt: Be a string, water, to my guitar, Let’s devour the night until dawn comes, just like this, Conquerors come, conquerors go… It’s getting hard to remember my face in the mirrors. Barefoot girl. Be memory for me So I can see what I’ve lost. We don’t need the sky when you have my back And I embrace your waistline, just like this. Who am I after these paths of exodus? I own a boulder that bears my name Your silvery waistline. On a tall bluff overlooking what has come to an end. Seven hundred years escort me beyond the city walls. If tomorrow, in the village, you laugh by yourself, wait, Time turns around in vain to save Keep the secret in which you carry me, just like this. My past from a moment that gives birth To the history of my exile Weed, fl ower, honey and sand. In others and in myself.

Be a string, water, to my guitar. . Yah, Anna Emtzacha (Oh God, Where Shall I Find You?) Conquerors come, conquerors go… Heading south as nations decompose Text by Yehudah Halevy On the compost of change. Translation by Osvaldo Golijov

I know who I was yesterday, Oh, where shall I fi nd You? But who will I be tomorrow Your place is high and hidden. Under the Atlantic fl ags of Columbus? And where shall I not fi nd You? Your glory fi lls the World. Be a string to my guitar, water, be a string. Th ere is no Egypt in Egypt, no I have sought Your nearness. Fez in Fez, and Syria is too far away. I called upon You with all my heart. And in going out to meet You No hawk on the fl ag of my people, I found You coming toward me. No river running east of a palm tree besieged By the Mongols’ swift horses. . Ariadna en su Laberinto (Ariadne in In which Andalusia did I meet my end? Her Labyrinth) Here, in this place? Or there? Traditional Sephardic romance Translation by Osvaldo Golijov I know I’ve died, leaving behind what is Best of what is mine in this place: my past. “Why do you cry, fair child? Why do you cry, white fl ower?” I’ve got nothing left but my guitar. Be a string, water, to my guitar. “I cry because you leave me.”

Conquerors come, conquerors go.

32 CAL PERFORMANCES CAL PERFORMANCES 33 About the Artists About the Artists

Osvaldo Golijov has received numerous com- Her acclaimed performances on the opera including the million-selling Symphony No.  Orchestra, solo performances at the Melbourne missions from major ensembles and institutions in stage comprise the great Mozart roles (Pamina, by Henryk Górecki. Her discography also in- Arts Festival and Bangalow Festival, and record- the United States and Europe and is the recipient Ilia, Susanna, Despina) as well as modern works by cludes full-length opera recordings of Mozart’s Le ings for Australian radio and commercial CD of a Mac Arthur Fellowship, among many other Stravinsky, Poulenc and Messiaen. From Salzburg, Nozze di Figaro; Messiaen’s St. Francoise d’Assise; release. He has also participated in the Carnegie awards. His music is performed regularly by musi- Paris and Glyndebourne to the Metropolitan Stravinsky’s Th e Rake’s Progress; ’s El Hall Training Workshops and the Pacifi c Music cians such as , Miguel Harth-Bedoya, Opera, where she began her career in  and has Niño; two volumes of Canteloube’s Songs of the Festival. Composers he has worked with include Dawn Upshaw, Luciana Souza, , the since made nearly  appearances, Dawn Upshaw Auvergne and a dozen recital recordings. Her most Elliott Carter, Steve Reich, Osvaldo Golijov, St. Lawrence, Kronos and Borromeo quartets, and has also championed numerous new works cre- recent release on Deutsche Grammophon is Th ree Oliver Knussen, Brett Dean, Aaron Jay Kernis, such orchestras as the Boston Symphony and Los ated for her including Th e Great Gatsby by John Songs for Soprano and Orchestra, the third in a series Joseph Schwantner and Peter Sculthorpe. Timothy Angeles Philharmonic. He has been composer-in- Harbison; the Grawemeyer Award-winning opera, of acclaimed recordings of Osvaldo Golijov’s mu- was previously Publications Coordinator of the residence at Merkin Hall in New York, the Spoleto L’Amour de Loin, by ; John Adams’s sic. Ms. Upshaw has also recorded several beloved Tasmanian Symphony Orchestra, and he writes a USA Festival, the ’s nativity El Niño; and Osvaldo Golijov’s Nonesuch discs of music theater repertoire, which blog about life in eighth blackbird at http://www. Music Alive series and the Marlboro Music and chamber opera Ainadamar and Ayre. she has performed with the Chicago Symphony eighthblackbird.com/blog. Ravinia festivals, among others. Ms. Upshaw’s – season opened at and the Cleveland and Philadelphia orchestras, as Notable works include a one-act opera, London’s Barbican Centre, where she created the well as at London’s Proms Festival and on radio Michael J. Maccaferri (clarinets) has been per- Ainadamar (“Fountain of Tears”), with a libretto role of Simone Weil in an oratorio written for her and television. forming as clarinetist with the Chicago-based con- by David H. Hwang, commissioned by the Boston by Kaija Saariaho, . She repris- Dawn Upshaw holds honorary doctorate temporary music ensemble eighth blackbird since Symphony Orchestra for the Tanglewood Music es her celebrated portrayal of in degrees from Yale, the Manhattan School of its founding in . Over the past decade, he has Center; a set of folksongs, Ayre, featuring Dawn Golijov’s Ainadamar with the Chicago Symphony Music, Allegheny College and Illinois Wesleyan been heard on stages around the United States and Upshaw and commissioned by Carnegie Hall; and Opera Boston and at the Barbican Centre. She University. She began her career as a  win- abroad and in recordings on the Cedille and Naxos the sublime La Pasión según San Marcos, commis- tours North America with eighth blackbird, and ap- ner of the Young Concert Artists auditions and labels. Michael has been a member of the Cabrillo sioned by Helmuth Rilling for the European Music pears at the Kennedy Center in recital with pianist the  Walter W. Naumburg Competition, and Festival Orchestra and has performed with the Festival to commemorate the th anniversary of and at London’s South Bank Centre was a member of the Young Hong Kong Philharmonic Orchestra. As a soloist J. S. Bach’s death, and most recently his cantata with Richard Goode. She also begins a three-year Artists Development Program. he was featured in Ralph Shapey’s Concerto for Oceana, featuring Luciana Souza and the Atlanta association as Artist Partner with the Saint Paul In fall , Ms. Upshaw was named a Fellow Clarinet and Chamber Group with the Chicago Symphony Chorus and Orchestra. Th e releases of Chamber Orchestra, with whom she performs of the MacArthur Foundation, which was created Contemporary Chamber Players under conduc- his works on the Deutsche Grammophon label are both in Minnesota and at Carnegie Hall. to recognize “talented individuals who have shown tor Cliff Colnot. Michael is currently on faculty continually met with critical acclaim, garnering It says much about Ms. Upshaw’s sensibilities extraordinary originality and dedication in their at the University of Richmond and the University many awards, including several Grammy Awards. as an artist and colleague that she is a favored part- creative pursuits and a marked capacity for self-di- of Chicago, where he serves as lecturer in chamber In January and February , Lincoln Center ner of many leading musicians, including Richard rection.” Th is fi ve-year award, popularly known as music. In the – academic year, he also presented a Festival called Th e Passion of Osvaldo Goode, the , , and the “genius grant,” noted her as “a new model of a serves as E. P. Allen Visiting Professor of Music at Golijov, which featured multiple performances of Esa-Pekka Salonen. In her work as a recitalist, performer who is directly involved in the creation DePauw University. his major works, chamber music, late nights of and particularly in her work with composers, of contemporary music.” tango and klezmer, and a night at the Film Society. Ms. Upshaw has become a generative force in con- Eric Ruske (horn), a Chicago native born in , Most recently, he was appointed the fi rst composer cert music, having premiered more than  works Timothy Munro (fl u t e s ) is fl utist with Chicago- graduated from Northwestern University and was in residence for Lincoln Center’s Mostly Mozart in the past decade. From Carnegie Hall to large based new music sextet eighth blackbird. As part later a member of Cleveland Orchestra and the Festival in August . and small venues throughout the world she regu- of this ensemble, Timothy performs all over the Empire Brass Quintet. Currently, Mr. Ruske is larly presents specially designed programs com- United States, and is a visiting faculty member at a horn soloist and Associate Professor at Boston Joining a rare natural warmth with a fi erce com- posed of lieder, unusual contemporary works in University of Richmond, University of Chicago University. His orchestral solo engagements mitment to the transforming communicative pow- many languages, and folk and popular music. She and DePauw University. Born in Brisbane, have included Cleveland Orchestra, Baltimore, er of music, soprano Dawn Upshaw has achieved furthers this work in master classes and workshops Australia, Timothy studied fl ute at the University Indianapolis, and Milwaukee Symphonies. An ex- worldwide celebrity as a singer of opera and concert with young singers at major music festivals, con- of Queensland, Oberlin College and Australian tensive recording artist, Mr. Ruske’s discography repertoire ranging from the sacred works of Bach servatories, and liberal arts colleges. She is a mem- National Academy of Music. His teachers in- includes the Strauss and Glière horn concerti, two to the freshest sounds of today. Her ability to reach ber of the faculty at the Tanglewood Music Center, clude Michel Debost, Margaret Crawford and discs of virtuoso transcriptions for horn and piano, to the heart of music and text has earned her both and is Artistic Director of the Vocal Arts Program Patrick Nolan. Timothy has played with profes- a disc of solo horn repertoire entitled, Just Me and the devotion of an exceptionally diverse audience, at the Bard College Conservatory of Music. sional orchestras, chamber groups and new music My Horn (all on the Albany Records label), and the and the awards and distinctions accorded to only A four-time Grammy Award winner, Dawn ensembles around Australia. Highlights include complete Mozart horn concerti (for Telarc). the most distinguished of artists. Upshaw is featured on more than  recordings, concerto performances with the Queensland

34 CAL PERFORMANCES CAL PERFORMANCES 35 About the Artists About the Artists

Bridget Kibbey (harp) is a recipient of an Avery Matt Albert (viola) was born and raised in ber music ensemble eighth blackbird. Winners of de Janeiro, Belo Horizonte and Belém. Recording Fisher Career Grant, the recent winner of Concert Winchester, Virginia. He is a founding member the Naumburg Chamber Music Award and the on the Belgian label GHA Records, Mr. Brogna Artists Guild  International Competition of eighth blackbird, with whom he has received Concert Artists Guild International Competition, and the trio is preparing a  release directed by and Astral Artists’ National Auditions. She en- numerous awards, including fi rst prizes at the where they were the fi rst contemporary ensemble Françoise-Emmanuelle Denis. joys presenting well-loved masterworks for the Naumburg, Concert Artists Guild, Coleman and to win fi rst prize, eighth blackbird is also a mul- harp, as well as stretching the boundaries of the Fischoff competitions. With the other members tiple recipient of the CMA/ASCAP Award for Michael Ward-Bergeman (hyper-accordion) is a instrument—with premiers by composers Agocs, of eighth blackbird, he holds concurrent teach- Adventurous Programming. Th e ensemble is in passionate performer, songwriter and composer. Birtwhistle, Boulez, Carter, Rands, Read-Th omas, ing positions at the University of Richmond and residence at the University of Richmond and the His sensitive and creative approach to music mak- Turnage and Yusopov. Her solo performances the University of Chicago. He has recorded with University of Chicago. In his time outside eighth ing has led to performances and collaborations have been broadcast on NPR’s Performance Today, the ensemble for Cedille Records, with their blackbird, Mr. Duvall occasionally performs with with world-class musicians and composers from WQXR, WRTI’s Crossover and A&E’s Breakfast most recent disc, strange imaginary animals, win- groups such as the Cabrillo Music Festival and So across a wide range of genres. He works frequently with the Arts. As hailed by Th e New York Times, ning two  Grammy Awards. As a soloist, he Percussion, but is more likely to be found at home with composer Osvaldo Golijov, most recently on “she made it seem as though her instrument was performed the Berg Violin Concerto with Bruce with his wife and kids (dress-up is a very popular the soundtrack to Francis Ford Coppola’s Youth waiting all its life to explode with the gorgeous col- Hangen and the Oberlin Orchestra and the Weill game, Matthew often assuming the roll of “the Without Youth, and on Azul, a cello concerto writ- ors and energetic fi gures she was getting from it.” Violin Concerto with Barbara Schubert and the prince”). Matthew Duvall endorses Pearl Drum ten for Yo-Yo Ma. In April , Michael premiered She may be heard on the Deustche Grammophon University of Chicago New Music Ensemble. and Adams Musical Instruments. his composition Th ree Roads at Carnegie Hall. Th e label, in Golijov’s Ayre and Berio’s Folk Songs with His principal teachers include Kenneth Sarch, work was commissioned by the Carnegie Hall Dawn Upshaw, and most recently self-released Gregory Fulkerson, Kurt Sassmannshaus and Lisa Kaplan (piano) is the founding pianist for Corporation and written for the vocalist Christina a solo album of th-century repertoire, entitled Almita Vamos. He has performed throughout the eighth blackbird, one of the premier new music Courtin. He has recently been awarded the fi rst Love Is Come Again, coined “a strong contender for Chicago area with the Chicago Sinfonietta, CUBE, groups in the world. She has toured and performed commission ever given by the Terezín Chamber this year’s most distinguished debut CD” by Time Light Opera Works and Corky Siegel’s Chamber all over the country and has won numerous honors Music Foundation, for a work to be written for Out New York magazine. Blues. Matt holds degrees from Oberlin College and awards including the prestigious Naumburg soprano Dawn Upshaw in . Michael has and Conservatory (B.Mus. in violin and B.A. in Chamber Music Award. With eighth blackbird brought his music making to many venues around Nicholas Photinos (cello) is the founding cellist English), the Cincinnati College-Conservatory of Kaplan has recorded four discs for Cedille Records, the globe—from the local pub to the Sydney for eighth blackbird, which has won several com- Music (A.D. in chamber music) and Northwestern including their most recent CD, the Grammy-win- Opera House. He has performed on numerous re- petitions, including the Naumburg and Concert University School of Music (M.M. in violin). ning strange imaginary animals. She holds degrees cordings, on television, and on several major mo- Artists Guild Competitions, has been featured on from Oberlin Conservatory, Oberlin College, tion picture soundtracks. Michael is a graduate of CBS’s Sunday Morning and in the New York Times, Mark Dresser (double-bass) is an internationally University of Cincinnati’s College-Conservatory the Berklee College of Music in Boston. performs throughout the United States, Asia and acclaimed bass player, improviser, composer and of Music and Northwestern University. In addition Europe and currently gives  to  concerts an- interdisciplinary collaborator. A major focus has to her love of music and the arts, she enjoys adven- Jeremy Flower (laptop) is an active participant nually. He teaches at the University of Richmond been extending the sonic and musical possibilities ture travel. Ms. Kaplan has hiked to the summit in the underground electronic music worlds of and the University of Chicago. Solo work includes of the double bass through the use of unconven- of Mt. Kilimanjaro, braved the Australian outback Boston and New York—playing down-tempo and recital performances throughout the country and tional amplifi cation. A chapter on his extended and had close encounters with grizzly bears in minimal techno in many clubs as well as count- appearances as soloist with orchestras in California techniques for contrabass, “A Personal Pedagogy,” northern Alaska. less house parties and after-hours events. He has and Ohio. Nicholas has taught at the Bang on a appears in the book ARCANA. He is documented also proven to be a sought-after performer in the Can Summer Festival and has also performed as a in more than  recordings including nearly  A virtuoso student of Odair Assad at the contemporary music world working with Osvaldo member of the Canton and Columbus Symphony CDs as a soloist, bandleader or collaborator. For Conservatoire Royal de Musique de Mons, - G ol ijov, D aw n Up s h aw, M a rk Dre s s er, A n n a C ly ne , Orchestras. He has toured with Björk as part of the  years, he lived and worked in New York City, year-old Belgian guitarist Adrien Brogna (guitar, Bradley Kemp, Jeremy Udden, Jamie Haddad and Icelandic String Octet, and his interest in jazz has where he recorded and performed with some of the ronroco) has a already been honored with wide- many others. Mr. Flower is a frequent collaborator led him to perform with violinist Zach Brock and strongest personalities in contemporary music and spread critical and public praise. Recent notable of Osvaldo Goliojov, and has helped create lap- singer Grazyna Auguscik, among others. His prin- jazz including nine years with Anthony Braxton. In performances include Ayre in June  with so- top parts for the Grammy-nominated song cycle cipal teachers include Andor Toth, Jr., Irene Sharp, , he was nominated for a Grammy Award. He prano Dawn Upshaw, and with Belgian guitarist Ayre () and one-act opera Ainadamar, which Lee Fiser, Hans Jorgen-Jensen and Grace Vamos. is Professor of Music at University of California, Magali Rischette and the Orchestre de Chambre won two Grammy Awards (). Mr. Flower Nicholas is a graduate of Northwestern University, San Diego. de Wallonie at the Th éâtre Royal de Mons. Mr. and Mr. Golijov recently completed the fi lm score the Cincinnati College-Conservatory of Music Brogna is also a member of the Alki Guitar trio, for Francis Ford Coppola’s newest movie, Youth and the Oberlin Conservatory of Music. He has Matthew Duvall (percussion) is a founding which toured Brazil in August  visiting Rio Without Youth. recorded for the Cedille and Naxos labels. member of the Grammy Award-winning cham-

36 CAL PERFORMANCES CAL PERFORMANCES 37