Earplay San Francisco Season Concerts 2007-08 Season Herbst Theatre, 7:00 PM Pre-concert talk 6:15 pm

Earplay 23: Facets and Lines Monday, November 12, 2007

Mark Applebaum, , Liza Lim, Wayne Peterson, Laurie San Martin, Barbara White

Earplay 23: Unorthodox Journeys Monday, February 11, 2008 Peter Maxwell Davies, Aaron Einbond, Morton Feldman, Richard Festinger, Martha Horst, Claude Vivier

Earplay 23: Intricate Inventions Wednesday, May 28, 2008 as part of the San Francisco International Arts Festival Christopher Burns, Peter Maxwell Davies Beat Furrer, Hèctor Parra, Salvatore Sciarrino February 11, 2008 elcome to Earplay’s 23rd San Francisco season. Our mission is to nurture new chamber music --composition, performance, and audience--all vital Wcomponents. Each concert features the renowned members of the Earplay ensemble performing as soloists and ensemble artists, along with special guests. Over twenty-three years, Earplay has made an enormous contribution to the bay area music community. The Earplay ensemble has performed hundreds of works by more than two hundred , has presented more than one Earplay hundred world premieres and commissioned new works each Donald Aird season. Memorial This season links the rich variety of new chamber music being created here in our own backyard as well as abroad Composers Competition with the music of the 20th century. A “mini-survey” of music by renowned English Sir Peter Maxwell Davies serves as Downloadable application at: a gateway between the traditions of the late 20th century to the www.earplay.org/competitions new music of the 21st century. We hope you enjoy the concert and join us in May! Deadline: March 31, 2008 Stephen Ness President, Board of Directors www.earplay.org Special Thanks To: Dennis Wadlington, Sherman-Clay San Francisco Girls Chorus Earplay CNMAT, U.C., Berkeley Earplay Staff Jae Alejandrino Advisory Board Board of Directors Nicole Andersson Jennifer Burke, Industry Richard Felciano Stephen Ness, president Aislinn Scofield Aaron Einbond May Luke, secretary executive director Sheri Greenawald William Kraft Dan Scharlin, treasurer Scott Koué Scott Koué technical director/stage manager Jensine Martinez Wayne Peterson Terrie Baune musician representative Terrie Baune John McCallum , Chen Yi Mary Chun scheduling coordinator Thalia Moore Steve Ness Christopher Wendell Jones Bill Beckerman Kevin Neuhoff bookkeeping services Ellen Ruth Rose Karen Rosenak Max Rosenak Crystal Chun Wong Ji young Yang Eric Zivian SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER HERBST THEATRE Monday Evening, February 11 at 7:00 p.m. The Herbst Theatre Owned and operated by the City and County of San Francisco through the Board of Trustees of the War Memorial of San Francisco The Honorable Gavin Newsom, Mayor EARPLAY 23: Unorthodox Journeys TRUSTEES Mary Chun, conductor Thomas E. Horn, President Nancy H. Bechtle, Vice President Wilkes Bashford Tod Brody, flutes Terrie Baune, violin Belva Davis Peter Josheff, Ellen Ruth Rose, viola Bella Farrow Karen Rosenak, piano Thalia Moore, cello Claude M. Jarman, Jr. Mrs. George R. Moscone MajGen J. Michael Myatt, USMC (Ret.) Guest Artists Paul Pelosi Charlotte Mailliard Shultz Ji young Yang, soprano Emily Onderdonk, viola Eleni Tsakopoulos-Kounalakis Lisa Weiss, violin Dan Reiter, cello Elizabeth Murray, Managing Director Michael Seth Orland, piano Eric Zivian, piano Gregory P. Ridenour, Assistant Managing Director Daniel Kennedy, percussion Kevin Neuhoff, percussion

Featured Artists Ji young Yang Ellen Ruth Rose Peter Josheff

Pre-concert talk 6:15 p.m. A conversation with Aaron Einbond, Martha Horst and Richard Festinger

Earplay is funded in part by the Fund for Music, the Alice M. Ditson Fund of Columbia University, the Amphion Foundation, the Ann and Gordon Getty Foundation, the Argosy Foundation Fund for Contemporary Music, the Bernard Osher Foundation, the James Irvine Foundation, the Ross McKee Foundation, the San Francisco Grants for the Arts, the William and Flora Hewlett Foundation, the Zellerbach Family Fund and Generous Donors. Program Donors (since January 2007)

Aaron Einbond Beside Oneself (2007) $10,000 + Paul & Ellen McKaskle World Premiere Argosy Foundation Jane Berstein and Nancy & Howard Mel Contemporary Robert Ellis Samuel Nichols & Laurie Music Fund Andrew W. Imbrie (in San Martin Ellen Ruth Rose and electronics The James Irvine memoriam) Pablo Ortiz Foundation Ruth Knier Kurt Rohde Meet the Composer, Wayne Peterson Mathew Rosenblum A Meet the Composer Karen Rosenak Allen Shearer & Claudia Peter Maxwell Davies Hymnos (1967) Commissioning Stevens Peter Josheff and Eric Zivian Music/USA Commission $200 + Ushio Torikai The San Francisco John & Mary Caris Grants For the Arts John Chowning Up to $50 Martha Callison Horst Creature Songs (2007) The William and Flora Patti Noel Dueter Frances L. Bennion Hewlett Foundation Richard & Patricia Taylor Linda Bouchard Earplay commission/World Premiere Lee Kenneth Bruchmeier

$5,000 + Ernestine S. Cohn Mary Chun, Ji Young Yang, Anonymous (2) $100 + Alice Berg Cronin Terrie Baune, Ellen Ruth Rose, The Aaron Copland Tod Brody Lori Dobbins Thalia Moore Foundation William Beck & Yu-Hui Barbara and Sanford Ann and Gordon Getty Chang Dornbusch played in three movements Foundation Seth Brenzel & Malcolm Donald & Stephanie Steven Smith Gaines Friedman Intermission Raymond & Mary Chun Konstantin Gavrilov and $3,000 + Jane Galante H. Cross Carol & Brooke Aird Mark Haiman & Ellen Ellinor Hagedorn Claude Vivier Paramirabo (1978) Alice M. Ditson Fund of Ruth Rose Stephen J. Harrison Mary Chun, Tod Brody, Lisa Weiss, Columbia University Kenneth Johnson Bud Hazelkorn Dan Reiter, Michael Seth Orland American Composers Christopher Wendell Louis Karchin Forum, Bay Area Jones Arthur Kreiger Chapter Antoinette Kuhry & Lin Mantell Amphion Foundation Morton Feldman i met heine on the rue fürstenberg Thomas A. Haeuser Amelie C. Mel De The Bernard Osher Amy Miller Levine (1973) Fontenay Foundation Nora Norden Wendy Niles Mary Chun, Ji Young Yang, Tod Mei Fang Lin William Schottstaedt Brody, Peter Josheff, Lisa Weiss, The Ross McKee Donald and Phyllis Dan Reiter, Michael Seth Orland, Foundation Sutherland Kevin Neuhoff The Zellerbach Family Foundation $50 + Linda Allen Richard Festinger Diary of a Journey(2003) $1,000 + Mark Applebaum Applera Mary Chun, Peter Josheff, Herbert W. Bielawa Richard Festinger Terrie Baune, Emily Onderdonk, Ann Callaway May Luke Thalia Moore, Eric Zivian, Kitty Brody John Mugge & Ronald James & April Carlson Daniel Kennedy Caltabiano Hal Fischer Bari & Stephen Ness Guillermo Galindo John and Lee Hause $300 + Valerie Herr Mary Chun William Kraft Margaret Dorfman Arthur Kreiger Ea r p l a y Co m p o s e r s : Tw e n t y -Th r ee Ye a r s Notes on the Program

Eliane Aberdam Leo Eylar Massimo Lauricella Eric Sawyer Sarah Aderholdt Fredrik Fahlman Richard Lavenda Ralph Shapey Aa r o n Ei n b o n d , Beside Aa r o n Ei n b o n d Thomas Adès Richard Felciano Mario Lavista David Schiff John Felder (2007) viola and electronics, Donald Aird Anne LeBaron David Schober Oneself (b. 1978) is a Ph.D. Eleanor Alberga Morton Feldman Yinam Leef Philippe Schoeller Richard Aldag Richard Festinger Fred Lerdahl Arnold Schoenberg candidate in com- Alexis Alrich Irving Fine Peter Scott Lewis Allen Anderson Tom Flaherty Jorge Liderman Most people think what could I do, I position at the Mark Applebaum Andrew Frank Peter Lieberson Allen Shearer think what shouldn’t I do. What I should University of Robert Basart David Froom György Ligeti Sheila Silver do perhaps is involved with the fact that Ross Bauer Pablo Furman Liza Lim Reynold Simpson , Berkeley where his Bruce Christian Bennett Guillermo Galindo Scott Lindroth Paul Siskind I’m Jewish and what is known as Jewish Arthur Berger Michael Gandolfi David Liptak Ronald Bruce Smith paranoia. I don’t feel comfortable enough teachers include Edmund Campion, Jonathan Berger Guy Garnett Zhou Long David Soley to feel that everything is on my side and Luciano Berio Stacy Garrop Jing Jing Luo Cindy Cox, Jorge Liderman, John Harvey Sollberger Christophe Bertrand John Gibson Witold Lutoslawski that it’s going to work just the way I want Claudio Spies Thow, and Andrew Imbrie. He was Herb Bielawa James Giroudonv Drake Mabry it. --Morton Feldman Susan Blaustein Glenn Glasow John MacDonald Jeff Stadelman born in New York and has studied Stephen Blumberg Daniel Godfrey Steven Mackey Kurt Stallman Linda Bouchard Alexander Goehr Katherine Malyi Dorrance Stalvey with John Corigliano, at Harvard with Pierre Boulez Perry Goldstein Ursula Mamlock Eitan Steinberg Mario Davidovsky, at the University Martin Boykan Michelle Green In Beside Oneself the violist Frank Stemper Carolyn Bremer Mark Grey of Cambridge with Robin Holloway, David Meckstroth Mark Stickman alternates obsessively among a Benjamin Britten Stephen Michael Gryc Marjorie Merryman and at the Royal College of Music, Ann Callaway Susan Harding Olivier Messiaen repertoire of gestures, testing Kotoka Suzuki Ronald Caltabiano Lou Harrison Donal Michalsky the different responses they elicit London with Julian Anderson as a Edmund Campion Ellen Ruth Harrison Darius Milhaud Toru Takemitsu James Carr Stephen Hartke Bruce Taub from the electronics. Not until British Marshall Scholar. His work is Elliott Carter Hugh Hartwell Paul Moravec John Thow performed by numerous ensembles Chris Chafe Jonathan Harvey Gustavo Moretto Leilei Tian the end can she settle on a tenor Yu-Hui Chang Hans Werner Henze Tristan Murail Ushio Torikai and he has received several awards. Eric Chasalow Martin Herman incantation that unites the other Thea Musgrave Joan Tower Yi Chen Jennifer Higdon He is studying this year at IRCAM Hyo-Shin Na Christopher Trapani gestures and the electronics into a Miguel Chuagui Vincent Chee-yung Ho William Neil Bertram Turetzky plaintive call. The work takes as its through a Fulbright Scholarship to Timothy Vincent Clark Sunji Hong Olga Neuwirth Jason Uech Steven Clark Martha Callison Horst Roger Nixon point of departure Temper for bass France and Berkeley’s Georges Ladd Aaron Copland Joan Huang Joao Pedro Oliveira Galina Ustvol’skaya i Lee Hyla Prix de Paris. Eleanor Cory Henry Onderdonk David Vayo and live electronics, written Igor Iachimciuc Cindy Cox Pablo Ortiz Curt Veeneman Ruth Crawford Seeger Victor Ialeggio for the 2006 Festival MANCA in Gabriela Ortiz Claude Vivier George Crumb Shintaro Imai Jose Antonio Orts Caspar Johannes Walter Nice, France. Computer analyses of Beth Custer Andrew Imbrie Krzysztof Penderecki Xi-Lin Wang ete r a x w e l l a v i e s Marc-Andre Dalbavie Charles Ives complex sounds from the viola and P M D Jeffrey Perry Anton von Webern Greg D’Alessio Edward Jacobs are treated as models, (1967) Luigi Dallapiccola Stephen Jaffe Wayne Peterson Daniel Weymouth Hymnos James Dashow David Jaffe Alexander Post Scott Wheeler resculpted, and combined to produce clarinet and piano Laurie Radford Mario Davidovsky Ping Jin Barbara White David Rakowski Peter Maxwell Davies Betsy Jolas Frances White a new environment in which their There is always a temptation to betray Adriana Verdié de Vas Christopher Wendell Jones Shulamit Ran Beth Wiemann yourself, I was determined not to do it. Romero Peter Josheff Bernard Rands distinctions are blurred. Olly Wilson Tamar Diesendruck Louis Karchin Maurice Ravel .... When you have a creative urge, you Lori Dobbins Arthur Keiger Belinda Reynolds Mark Winges can’t stop writing. You don’t have to have Franco Donatoni Hi-Kyung Kim Steve Ricks Walter Winslow I dedicate Beside Oneself to the memory Kui Dong Earl Kim Andrew Rindfleisch Stefan Wolpe a reason to write; you just fulfil your own Jérome Dorival Jerome Kitzke Jody Rockmaker Charles Wuorinen of great composer and teacher Andrew needs. Players seem to enjoy playing the Jacob Druckman Barbara Kolb Kurt Rohde Iannis Xenakis Imbrie. The final elegaic melody is a pieces, and I hope that ultimately we can Mathew Rosenblum Edwin Dugger Anthony Korf Pagh-Paan Younghi tribute to his saying “music is singing and Joel Durand Paul Kozel Morris Rosenzweig bridge the division between the language Isang Yun David Dzubay William Kraft Chris Roze and the public. I do feel, on a good day, Eric Zivian dancing.” --A.E. Jason Eckardt Meyer Kupferman Virginia Samuel that perhaps one can do something to George Edwards Gyorgy Kurtag Laurie San Martin Ricardo Zohn-Muldoon Aaron Einbond Bun-ching Lam Carlos Sanchez-Gutiérrez Ellen Taafe Zwilich heal. ---P.M.D. Mirtru Escalona-Mijares David Lang Marc Satterwhite piano. A series of exchanges follow, M a x w e l l (b.1934) as instruments enter alternately to Da v i e s Mission: is one of the deliver fragments of children’s melodies

most significant that seem familiar. Because Vivier’s works are never exactly cheerful, the figures in post- arplay nurtures new chamber music. EARPLAY links audiences, War European extremely calm, lengthy final section performers, and composers through concerts, commissions, and comes as no surprise: like the disturbing music. He rose to prominence in late recordings of the finest music of our time. consensus amongst the instruments, e 1960s with neo-expressionistic music- all parties concerned appear to have theatre pieces Eight Songs for a Mad awakened from a nightmare. King and Vesalii Icones, ---Martine Rhéaume Founded in 1985 by a consortium of composers and musicians, EARPLAY scores Worldes Blis and St. Thomas is dedicated to the performance of new chamber music offering audiences Wake, and the opera . Many a unique opportunity to hear eloquent, vivid performances of some of of his works were composed for the today’s finest chamber music. Earplay concerts feature the Earplayers, Cl a u d e Vi v i e r a group of seven artists who, as a group, have developed a lyrical and distinctive chamber sextet of Fires of (1949-1983) is ferocious style. EARPLAY has performed over 400 works in its 23-year London. Davies was appointed Master considered by many history including 107 world premieres and 47 new works commissioned of the Queen’s Music in 2004. to be the greatest by the ensemble. The 2007-08 season reinforces EARPLAY’s unwavering composer Canada track record of presenting exceptional music in the 21st century. has yet produced. Cl a u d e Vi v i e r Murdered at the age of 34, he left (1978) Paramirabo behind 49 compositions in a variety flute, violin, cello and piano of genres, including opera, orchestral It has been said that the title Paramirabo works, and chamber pieces. In the derives from an error on Vivier’s part. early 1970s, he studied composition He wanted to give his work this title as with Stockhausen in Cologne. A visit a reference to the capital of Suriname, to Bali in 1976 proved pivotal, causing a South American country that Vivier him to re-evaluate his ideas on the appears not to have visited. The result role of the artist in society. Visionary is a work imbued with an imagined form works that followed featured texts in of exoticism that, on hearing, brings to an invented language, modal melodies mind a “story in music” for children. harmonized by a complex overtone The flute’s pastoral naivety, the violin’s series, and shimmering orchestration. lyricism, the piano’s ambivalence, and Called by György Ligeti “the greatest the good-naturedness of the cello French composer of his generation, solo all make the instruments seem other advocates include Mauricio like characters, and one can clearly Kagel, Kent Nagano, Reinbert de discern a dialogue amongst them. A Leeuw, David Robertson, and Dawn Individual donations are vital to Earplay’s success. We hope you will consider calm and peaceful situation established Upshaw. making a contribution. If your company has a matching policy, that will be by the flute, violin, and cello is quickly Reprinted by kind permission of Boosey & an additional benefit. See our website for information on making donations: disrupted by a violent passage in the Hawkes. www.earplay.org. upon the spirit of all living things of Er i c Z i v i a n (piano) Ke v i n Ne u h o f f Ma r t h a Ca l l i s o n Ho r s t Ireland to part the storm and allow grew up in Toronto, (percussion) is a (2007) Canada, where he soloist and new music Creature Songs them onto land. soprano, violin, viola, cello attended the Royal chamber musician Both poets are turning to nature’s

Conservatory of who has performed Earplay commission/world premiere inner spiritual powers, but to different ends. Whereas Whitman M usic . At t he age of 16 he w a s acce pted with the CabrilloFestival, the Oakland In this song cycle Creature Songs, turns to a lowly spider’s struggle to as a double major at the Curtis Institute Ballet, Left Coast Chamber Ensemble, I attempted to pair poems from understand the workings of his inner of Music in Philadelphia, studying the Other Minds Festival, New different writers that explore the Soul, Amergin evokes the power of composition with Ned Rorem. Since Century Chamber Orchestra, and the spiritual connections between living all living creatures in order to capture receiving his degree from Curtis in Paul Dresher Ensemble. He holds the things and man. The poems I chose the physical universe around him. 1989, Mr. Zivian has continued his post of principal timpanist with the are by Whitman (19th century studies in both piano and composition, International Carmel Bach Festival American poet), Amergin (1500 receiving a Master of Music for studies Orchestra, the Western Opera BCE Irish poet), and Sassoon (20th The final song of the set is the with Peter Serkin at The Juilliard Orchestra, the Berkeley Symphony, century British poet). This song beautiful poem by Siegfried Sassoon School and a Master of Musical Arts and the Fremont Symphony, and is cycle was commissioned by Earplay called Everyone Sang. This poem was degree from the Yale School of Music principal percussionist with the Marin and was written during the summer written as a celebration of the signing (1995), where he studied composition Symphony. of 2007 at the MacDowell Colony in of the Armistice on November, 11, with Jacob Druckman and Martin Peterborough, NH. 1918, which brought World War I Bresnick. Mr. Zivian is pianist with the to an end. Sassoon images a joyous Sc o tt Ko u é (technical director/ Left Coast Chamber Ensemble and song emerging from all of humanity. the Clavion Quartet. stage manager) is a sound recordist, In “A Noiseless Patient Spider” editor and designer with thirty years from his famous poetry collection During the poem, the poet at first of experience in film, advertising and Leaves of Grass, Whitman uses the speaks of feeling a delight “as prison the theater. His work can be heard spider’s endless attempts to launch birds must find in freedom.” By the Da n i e l Ke n n e d y e nd of t he poe m , t he song and joy is so (percussion) is a special- in over thirty films including The filaments into its vast surrounding as all consuming that, in fact, birds and ist in the music of the Legend of Drunken Master (starring an allegory of man’s struggle to find man merge together: “Everyone was twentieth century, and Jackie Chan) and the award-winning spiritual connections with powers a bird and the song was wordless.” is a member of Earplay Titanic. His credits on these and other greater than himself. As in much This wonderful depiction of man and the Empyrean projects include sound supervisor, of his transcendentalist poetry, Whitman is turning to objects of and bird unifying in song through Ensemble. He received his M.F.A. sound editor, creator of specialized nature as a way of understanding the a celebration of peace is another degree from the California Institute sound effects and Foley recordist. mystic dimensions of life. vision of the connections between all of the Arts and his D. M. A. from living things that I wished to explore the State University of New York at The Song of Amergin is an through this musical work. --M.C.H Stony Brook. Mr. Kennedy, who has ancient Druid incantation from recorded widely, is both Instructor approximately 1530 BCE. According of Percussion and former Artistic to Milesian mythology, when the first A Noiseless Patient Spider Director of the Festival of New • Gaelic settlers came to Ireland, they A noiseless patient spider, American Music at California State went to battle with the Tuatha Dé I mark’d where on a little promontory it stood, University, Sacramento. Danaan, who prevented them from isolated, entering Ireland with a magical storm. Mark’d how, to explore the vacant vast Amergin sang this invocation, calling surrounding, It launch’d forth filament, filament, filament, out of And I was filled with such delight Li s a We i s s (violin) Da n Re i te r (cello) itself; As prisoned birds must find in freedom, A Bay area native, is principal cellist Ever unreeling them—ever tirelessly speeding them. Winging wildly across the white Weiss has earned with the Oakland Orchards and dark—green fields; on— international recog- East Bay Symphony, And you O my Soul, where you stand, on—and out of sight. nition as a chamber Festival Opera Or- Surrounded, detached, in measureless oceans of musician including chestra, Diablo Ballet space, Orchestra and Everyone’s voice was suddenly lifted; awards in the Portsmouth and Ceaselessly musing, venturing, throwing, seeking the And beauty came like the setting sun: Coleman competitions, and as a Fremont Symphony. His solo work spheres to connect them, My heart was shaken with tears; and participant in the Marlboro Festival. has included ’s Till the bridge you will need be form’d, till the ductile horror She performs as concertmaster and Three Meditations (OEBS, 2000) and anchor hold, Drifted away … O, but Everyone soloist with Philharmonia Baroque, Robert Schumann’s Cello Concerto Till the gossamer thread you fling catch somewhere, (Fremont Symphony, 2002). Dan is also O my Soul. Was a bird; and the song was wordless; the and is also a member of the American singing will never be done. Bach Soloists, the Arcadian Academy, a former Earplay member (1989-90). -- (1819-1892), first published in 1870 --Siegfried Sassoon (1886-1967), first and BMV 2000. As a guest artist, she As a composer, Dan has written varied published in 1919 has appeared with many chamber chamber works. Song of Amergin ensembles including the Artaria I am the wind which breathes upon the sea, Quartet, Musica Pacifica, American I am the wave of the ocean, Baroque, and Philomel.

I am the murmur of the billows, Ma r t h a Ho r s t M i c h a e l Set h has taught music I am the ox of the seven combats, r l a n d (piano) theory and history O I am the vulture upon the rocks, studied with Margaret at San Francisco Kohn and is a graduate I am a beam of the sun, State University, East A native of San of the UC Berkeley I am the fairest plant, Carolina University, Music Department, Francisco, Em i l y I am a wild boar in valour, and University of California, Davis. n d e r d o n k where he studied harpsichord with I am a salmon in the water, She is currently an Assistant Professor O received her bache- Davitt Moroney and composition with in Theory and Composition, at Illinois I am a lake in the plain, lor’s and master’s Gérard Grisey. He later continued State University. Martha Callison I am a word of science, degrees at the Man- his study of composition with David Horst began her formal composition I am the point of the lance in battle, hattan School of Sheinfeld. studies at where I am the God who creates in the head the fire. Orland has appeared extensively in she studied with Ross Bauer, David Music and went on to post-graduate Who is it who throws light into the meeting on the the Bay Area as a chamber musician. Rakowski, and John Chowning at studies at Boston University and the mountain? Orland is on the music faculty at UC CCRMA. She has attended several New England Conservatory of Music. Who announces the ages of the moon? Berkeley and also teaches there in the national and international festivals Her teachers include James Buswell, Who teaches the place where couches the sun? Young Musicians Program where she has studied with composers Raphael Bronstein, Arianna Bronne, Who, if not I? such as , Mario Daniel Kobialka, and Karen Tuttle. --Anonymous (circa 1530 BCE) Davidovsky, Sir Peter Maxwell Davies, She has since performed as principal and Oliver Knussen. violist with around the Everyone Sang country including the Santa Fe Pro Everyone suddenly burst out singing; Arte Chamber Orchestra. � and credits Margaret Fabrizio with Three years later Stefan Wolpe El l e n R u t h R o s e Mo r t o n Fe l d m a n (viola) relocated to introducing her to the fortepiano became his teacher, though they spent the Bay Area in 1998 during her graduate work in early i met heine on the rue much of their time together simply (1973) after having spent music at Stanford University. She fürstenberg arguing about music. Then in 1949 soprano, flute, clarinet, violin, cello, piano, several years in has found the balance between old the most significant meeting up to Cologne, Germany, and new music, and between old and and percussion that time took place—Feldman met new pianos, to be an ongoing, most My whole generation was hung up on the John Cage, commencing an artistic where she first became immersed in satisfying pursuit. Since 1990, she has 20 to 25 minute piece. It was our clock. association of crucial importance to contemporary music. As a member We all got to know it, and how to handle been on the faculty at UC Berkeley, music in America in the 1950s. Cage of the experimental ensembles Musik it. As soon as you leave the 20-25 minute where she teaches musicianship and was instrumental in encouraging Fabrik and Thürmchen Ensemble, and piece behind, in a one-movement work, contemporary chamber music. Feldman to have confidence in his as a frequent guest with Frankfurt’s different problems arise. Up to one hour you think about form, but after an hour instincts, which resulted in totally Ensemble Modern, she toured and a half it’s scale. Form is easy - just the intuitive compositions. He never throughout Europe, premiering and division of things into parts. But scale is worked with any systems that anyone recording countless works. She has Guest Artists another matter. You have to have control has been able to identify, working performed as soloist with the West of the piece - it requires a heightened kind of concentration. Before, my pieces were from moment to moment, from one German Radio Chorus and appeared Ji Yo u n g Ya n g like objects; now, they’re like evolving sound to the next. at the Cologne Triennial, Berlin (soprano) made her things.--M.F. Biennial, Salzburg Zeitfluss, Brussels San Francisco Opera Ars Nova, Venice Biennial, and debut this season as Ri c h a r d Fe s t i n g e r Budapest Autumn festivals. Ms. Rose the Young Shepherd Mo r t o n Fe l d m a n (2003) holds degrees in viola performance in Tannhäuser, also (1926-1987) A key Diary of a Journey clarinet, violin, viola, cello, piano and from The Juilliard School and the figure in modern appeared as Pamina (The Magic percussion music, Feldman’s Northwest German Music Academy; Flute for Families) and Julia Agnes and a degree in English and American compositions went The journey depicted in Diary of Lee (Appomattox). The Korean a Journey is an imaginary one, or, history and literature from Harvard through several phases. He was native is a first-year Adler Fellow more accurately, a journey of the University. a pioneer of aleatoric music and who participated in the 2006 Merola imagination. Of course all creative indeterminate music, and in requiring Opera Program. Last spring the works comprehend a journey of the soprano appeared with San Francisco improvisation. His compositions are imagination, but the approach to Ka r e n Ro s e n a k characterized by their quietness, (piano) is an “almost Opera Center as Miss Jessel in The mining the imagination may differ slowness, and often by their extreme native” of the Bay Turn of the Screw at Lincoln Theater vastly. This particular journey is length, especially in his later music. Area. She was in Yountville. Yang began her formal not the outcome of formalistic founding member/ studies at Seoul National University At the age of twelve he studied piano calculations, nor is it the outcome pianist of Bay Area and holds both bachelor’s and with Madame Maurina-Press, who of any overtly or covertly political master’s degrees from the Manhattan had been a pupil of Busoni, and it new-music groups Earplay and or utopian vision, nor of any guiding School of Music, as well as a post- was her who instilled in Feldman the Empyrean Ensemble, and she necessity to fuse, or demolish, barriers graduate diploma from the New a vibrant musicality. At the time he currently performs with those groups. between, disparate musical eras or England Conservatory. was composing short Scriabin-esque She studied modern piano with Carlo traditions. Based on the conviction pieces, until in 1941 he began to study Bussotti and Nathan Schwartz, that musical thought is inherently composition with Wallingford Riegger. untranslatable to other modalities, the music chronicles a journey guided Miroglio-Aprudo Duo, the Washington composer Libby Larsen and librettist To d Br o d y (flute) exclusively by ear and instinct in a Square Contemporary Music Society, and Philip Littell, and commissioned by the has been in the fore- search for an itinerary (to extend the the Redwood Symphony Orchestra, and Sonoma City Opera. front of contemporary metaphor) that leads through intuitive the San Francisco Chamber Orchestra. music activity in northern connections to distant, unexpected, His music has been widely performed by preternatural spaces. numerous groups in the U.S., Europe, and California through his performances and re- In the beginning the performers are Asia. . a s ke d t o i m b u e t h e m u s i c w i t h a m a g i c a l Mr. Festinger studied composition at cordings with the San Francisco Contemporary Music Players, Earplay, Pete r Jo s h e f f quality of anticipation. As the music the University of California in Berkeley (clarinet) is active both and the Empyrean Ensemble. He begins to grow, the piano suddenly with Andrew Imbrie. Since 1990 he as a composer and a maintains an active freelance career, bursts out in a brief extroverted has been a professor of music at San performer. Based in display, the ensemble swells, and a Francisco State University. teaches at the University of California, the San Francisco Bay sudden, dramatic transition introduces Davis, and directs the San Francisco Area, he is a founding a long clarinet solo, set against a darkly Bay Area Chapter of the American luminous accompaniment of low string Composers Forum. member of Earplay, a member of chords and bowed vibraphone. The Performers the Paul Dresher Ensemble, the reappearance of the piano incites the Ma r y Ch u n (con- Empyrean Ensemble, and the Berkeley ensemble to turbulence, finally giving ductor) has pre- Contemporary Chamber Players.

Te r r i e Ba u n e miered the works He has performed with most of the way to gentle reminiscences of earlier (violin), in addition of many composers, new-music ensembles in the Bay music, evocations that become more to being a member elaborate and expansive, culminating in including Area, including the San Francisco of Earplay, she is Co- an intense counterpoint between two earthquake romance Contemporary Music Players and Concertmaster of duos, violin and viola against cello and I Was Looking at the Ceiling and Then I Saw Composers Inc. the Oakland-East clarinet, and setting the stage for the the Sky, which she conducted in Paris, final toccata-like game of tag between Bay Symphony, Concertmaster of Hamburg, and Montreal. In demand the vibraphone and piano. -- R.F. the North State Symphony and a as a collaborator for new lyric work member of the Empyrean Ensemble. and traditionl operatic repertoire, she Her professional credits include Ri c h a r d Fe s t i n g e r ’s has worked with opera companies in concertmaster positions with the Th a l i a Mo o r e (b. 1948) music has been Europe and the U.S. such as Opera de (cello), attended the Women’s Philharmonic, Fresno performed throughout Lyon, La Monnaie, Kosice State Opera, Juilliard School of Philharmonic, Santa Cruz County the , and Hawaii Opera Theater, Opera Theater Music as a scholar- Symphony, and Rohnert Park in Europe and Asia. His of Saint Louis, Opera Idaho, the Texas ship student of Lynn Symphony. A member of the National works have been com- Shakespeare Festival, Cleveland Lyric Harrell, and received Symphony Orchestra for four posed for innumerable ensembles, Opera, Pacific Repertory Opera, the years, she also spent two years as a her bachelor’s and master’s degrees in including Parnassus, Earplay, the San Los Angeles Music Center Opera and member of the Auckland Philharmonia 1979 and 1980. Since 1982, Ms. Moore Francisco Contemporary Music Players, San Francisco Opera. In Fall 2006 Orchestra of New Zealand, where has been Associate Principal Cellist of the New York New Music Ensemble, the she premiered Every Man Jack, a new she toured and recorded for Radio the San Francisco Opera Orchestra, Alexander String Quartet, the Left Coast chamber opera based on the life New Zealand with the Gabrielli Trio and in 1989 joined the cello section of Ensemble, the Alter Ego Ensemble, the of writer Jack London, written by and performed with the New Zealand the San Francisco Ballet Orchestra.