Sunday, May 1, 2016, 7pm Zellerbach Hall
Kronos Quartet Sun Rings Composed by Terry Riley
Kronos Quartet David Harrington, violin John Sherba, violin Hank Dutt, viola Sunny Yang, cello
With special guest Volti Robert Geary, conductor
Willie Williams, visual designer Laurence Neff, lighting designer Mark Grey, sound designer Brian H. Scott, lighting supervisor Brian Mohr, audio engineer 19 PROGRAM
Terry RILEY (b. 1935) Sun Rings (2002) for string quartet, chorus and pre-recorded spacescapes Sun Rings Overture Hero Danger Beebopterismo Planet Elf Sindoori Earth Whistlers Earth/Jupiter Kiss The Electron Cyclotron Frequency Parlour Prayer Central Venus Upstream One Earth, One People, One Love
Kronos Performing Arts Association, production management Janet Cowperthwaite, producer Laird Rodet, project development Don Gurnett, project advisor David Dvorin, recorded sound transformation Mark Logue, associate video director Sidney Chen, artistic administrator/chorus liaison
Sun Rings runs approximately 90 minutes with no intermission.
Sun Rings was commissioned for the Kronos Quartet by the NASA Art Program, the National Endowment for the Arts, The Rockefeller Foundation’s Multi-Arts Production Fund, Hancher Auditorium/University of Iowa, Society for the Performing Arts, Eclectic Orange Festival/Philharmonic Society of Orange County, SFJAZZ, Barbican, London, UK, University of Texas Performing Arts Center, Austin (with the support of the Topfer Endowment for Performing Arts), and the Brooklyn Academy of Music. Additional contributions from Stephen K. Cassidy, Margaret Lyon, Greg G. Minshall, and David A. and Evelyne T. Lennette made this work possible.
Cal Performances' 2015-2016 season is sponsored by Wells Fargo.
PLAYBILL PROGRAM NOTES
About Sun Rings I dedicate Sun Rings to Dr. Donald Gurnett, The 10 “spacescapes” that comprise Sun Rings whose brilliant mind has wandered the solar were begun in August of 2001 and finished in system and beyond for a lifetime, who inspired July of 2002. They were written as separate mu - and launched all of us Sun Rings collaborators sical atmospheres with the intention to let the with his twinkle and the depth of his under - sounds of space influence the string quartet standing, and who generously shared with us writing and then to let there be an interplay be - some of the Universe’s secrets. tween live “string” and recorded “space” sound. —Terry Riley, August 2002 In some movements, the intention was to place the quartet in such a way that it felt like Overwhelming as it was to be given the NASA they were traveling through spatial atmos - archive as a starting point for a visual piece, it pheres, as a symbolic representation of the wan - was clear to me that the performance environ - derings of space probes Voyager and Galileo as ment for Sun Rings had to be more than just a they moved through what must have been the planetarium experience or a physics lecture. incredible atmospheres of our solar system. The spectacular photographs from Hubble and In some cases, fragments of melody that I ob - Voyager have become so very well known that served in these sounds became the basis for I was keen to find something less discovered, themes that were developed in the quartet writ - less familiar, so often what we are seeing dur - ing. The addition of the two movements with ing the performance is an abstraction based the choirs was to further emphasize that this more loosely on the mood of the composition work is largely about humans as they reach out as a whole. from earth to gain an awareness of their solar Nevertheless, an amount of space imagery system neighborhood. was naturally going to make up part of the When Dr. Donald Gurnett handed me these design and spending time with Don Gurnett at original NASA recordings, which were to be the University of Iowa led me to sources of rare the point of departure for this challenging ad - moving footage sent back to earth from space - venture, my thoughts became filled with im - craft via a 1970s version of digital video. Next to ages stimulated by locales as distant as Jupiter the imagined visions of space that we have seen and Uranus. I could almost feel myself pro - in science fiction movies, the raw images are ex - pelled through space as one atmosphere gave tremely rough in quality, but their authenticity way to another. conveys enormous emotional power. Space is surely the realm of dreams and Further inspiration for the visuals came imagination and a fertile feeding ground for quite directly from the Voyager missions. I poets and musicians. Ancient astrologers were discovered that there is informational material aware of the significant influences of planetary on board the spacecraft called “The Golden movements on our lives. I feel these influences Record,” which is addressed for the attention of are somehow responsible for this amazing col - anyone they happen to run into along the way. laboration, which has been so enthusiastically The extraordinary optimism of providing such undertaken by all the participants responsible material is only outweighed by the confidence for its outcome. of including diagrammatic instructions for said Do the stars welcome us into their realms? aliens as to how to playback videotape and vinyl I think so or we would not have made it this far. recordings. The information package includes Do they wish us to come in peace? I am sure of drawings of what human beings are and where it. If only we let the stars mirror back to us the our planet is located. Along with this there are big picture of the universe and the tiny precious photographs of everyday scenes from around speck of it we inhabit that we call Earth, maybe the world—people, houses, roads, cars, animals, we will be given the humility and insight to love musical instruments—presenting the world as and appreciate all life and living forms wherever it was in 1977. (Several of the actual images our journeys take us. from the Golden Record appear in the final PROGRAM NOTES movement of Sun Rings .) The two Voyagers “sounded like part of nature, but not like any have now traveled far beyond our solar system, sounds I had ever heard before.” so I began to think of them as eccentric emis - Harrington knew right away that the com - saries from our world, carrying information poser to best bring these sounds into the work about us into deep space, not knowing that they of Kronos would be longtime collaborator have already become an anachronism; like sen - Terry Riley. When it came time for Riley to hear ior citizens carrying school photographs of their the sounds firsthand, Harrington says, “I grandchildren unaware that those they hold so wanted to see the expression on his face.” He dear have already grown up and changed be - soon realized they were about to embark upon yond recognition. a fascinating project, something unlike any - I’ve had a lifelong fascination with astron - thing they had done before. omy, both in the very practical sense of spend - Among the sounds that Harrington and ing nights stargazing and in a more personal Riley listened to from Gurnett’s collection were sense, building my own picture of a relationship those from the plasma wave receivers on the between cosmology and theology. Facing the twin Voyager spacecraft that carried out the enormity of the universe produces emotions historic 12-year exploration of the outer planets: that range from comforting awe to hopeless Jupiter, Saturn, Uranus, and Neptune. Many insignificance and Terry Riley’s composition are familiar with the breathtaking pictures of speaks to both these extremes. The nature of the Jupiter’s moons and Saturn’s rings taken by subject matter always indicated that Sun Rings Voyager; however, the plasma wave sounds, and would be a contemplative work, but combined even the existence of such sounds, are not with Terry’s response to 9/11, the piece walks widely known. the line between supplication and mourning, It is common to think of space as a silent perhaps even verging on despair, whilst some - black vacuum. Since sound waves need air in where in space there is a permanent memory of order to propagate and there is no air in space, more comfortable, more innocent times. it seems to make sense that space is totally —Willie Williams, August 2002 soundless. However, the space around and between the planets is not a total vacuum; it is Sun Rings filled with an ionized gas called plasma—a gas by Blake Marie Bullock so hot that its individual atoms are separated Shattering the confines of the familiar and com - into their constituent electrically charged parti - fortable, pursuing an innovative idea alone and cles. The “plasma waves” that can propagate in sometimes in darkness, the explorer leaves the this medium have characteristics similar to world we know behind in search of new both sound waves and radio waves. sounds, sights, and discoveries. This spirit Although a sensitive microphone could in thrives in both space exploration and the works principle be used to detect these waves, the of the Kronos Quartet, Terry Riley, and Willie best way is to use an electrical antenna and a Williams, and they merge on stage in Sun Rings. simple radio receiver. Reflecting on his early The NASA Art Program contacted Kronos pioneering work, Gurnett says, “When we first in spring 2000 with an open invitation to take launched a plasma wave receiver into Earth sounds of space and weave them into music. orbit in 1962 we were astonished to find that The sounds of space came from plasma wave space was filled with such a rich variety of fas - receivers built by physicist Don Gurnett and cinating sounds.” flown on a variety of Earth-orbiting and plane - “What really got me going was when I met tary spacecraft over a period of 40 years. with Professor Gurnett and he told me about Listening for the first time to these eerie how he developed these devices and what these whistles, sirens, and booms collected from sounds actually were,” says composer Terry hundreds of millions of miles away, Kronos Riley. “It gave me a very visceral feeling. I artistic director David Harrington recalls they started to look at space a little differently.”
PLAYBILL PROGRAM NOTES
The visuals for the final movement of Sun Rings were inspired by The Golden Record, an information package carried into space by the Voyager spacecrafts, which includes photographs of everyday scenes from around the world—as it was in 1977.
A variety of phenomena in space can be The plasma waves recorded by Prof. Gurnett detected via the plasma waves they make: were not adjusted to accommodate our musi - whistling sounds made by lightning; birdlike cal taste or the limited capability of our ears— sounds called “Chorus” that are sponta - the sounds represent the true frequency at neously produced by electrons trapped in the which the signals were detected in space. This magnetic fields that surround planets such as means that theoretically, if humans could some - Earth and Jupiter; whistling sounds from the how live out where these space probes were, charged particles that cause the Northern and if we had sensitive enough ears, we could Lights; and at Jupiter, a roaring boom from a hear these very sounds. Luckily, we have space - turbulent shock wave that forms upstream craft to go where no human ear ever has gone. of the planet in the high-velocity plasma Visual designer Willie Williams reflects, “It streaming away from the Sun called the solar was an arresting experience to hear the vast wind, somewhat analogous to a sonic boom range of audio material collected from the dif - from an airplane. ferent spacecraft.” He describes the noises as PROGRAM NOTES
“ranging from piercing, strident white noise to sical phrase. However, at other times the instru - the beautiful birdsong-like sounds of Chorus.” ments take over in melodies the space sounds He was also touched upon learning what else, only subtly suggested, and in other places the besides the instruments, was included on the piece moves in an all-together new direction. spacecraft. “When exploring the Voyager “I conceived the 10 movements of Sun Rings archive I discovered that there is a package of to be a variety of spacescapes,” Riley says. “I pic - informational material on board in case the tured an imaginary audience traveling with craft is discovered by alien life forms some time Kronos in and around the planets, hearing the in the distant future. There are drawings and quartet and choir as they journeyed through the pictures of what human beings are and where distant sounds of exotic atmospheres.” we live, plus everyday scenes from around the “The space sounds are embedded in our world. Naturally these images were collected sounds,” Harrington says. The end product is prior to the Voyager launches so they describe a an 85-minute experience—a layering of differ - world in a very different mood to our own. ent sounds and human voices. They seem so innocent and optimistic, espe - Similarly, the visual design makes direct cially when contrasted with images from the references to the original space sounds only present day.” occasionally. “Some times I have used im - Of course, the world has changed dramati - agery specific to the source sounds,” Williams cally since the launch of the Voyager spacecraft says, “but more often what we are seeing dur - in 1977. Riley’s work on Sun Rings took a defin - ing the performance is an abstraction based itive turn after the unforgettable attacks of more loosely on the mood of the composition September 11, 2001. as a whole.” “I saw how the country was changing, and I Today the Voyager spacecraft are further knew the meaning had to be motivated by away from Earth than any human-made object peaceful intentions—not revenge or patriot - has ever been, and they climb deeper into space ism, but real meaning about where we are as everyday dutifully carrying out their mission, human beings, and where we should be going,” and quietly carrying their messages from Earth. Riley reflects. Inspired by and intermixed with the visions and Though he contends he is not making a po - spirit of Voyager, Sun Rings hopes to take both litical statement in this composition, Riley its creators and its audience to a place where notes that some of the wording accompanying we’ve never been. Sun Rings contains messages about humanity and compassion. In what may be the most introspective of all the movements, “Prayer Blake Marie Bullock lives in Southern California. Central” serves as the opportunity to reflect in She earned her bachelor’s degree in astrophysics what Riley calls a “polyphony of prayers that from the University of California, Berkeley, and a goes drifting up.” master’s degree in astronomy from Wesleyan Certain sounds from the original Voyager University. She writes both science journalism recordings surface throughout the performance and fiction, and is currently working on a novel. where Riley isolated what he found to be a mu - Her fiction has appeared in VerbSap magazine.
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Kronos Quartet singer” Asha Bhosle; Inuit throat singer Tanya For more than 40 years, the Kronos Quartet— Tagaq; and the Romanian gypsy band Taraf David Harrington, John Sherba, Hank Dutt, de Haïdouks. Kronos has also performed live and Sunny Yang—has pursued a singular artis - and/or recorded with artists such as Paul tic vision, combining a spirit of fearless explo - McCartney, Allen Ginsberg, Zakir Hussain, ration with a commitment to continually Rokia Traoré, Tom Waits, Rhiannon Giddens, re-imagining the string quartet experience. In Howard Zinn, Betty Carter, David Bowie, and the process, Kronos has become one of the rock bands The National, Nine Inch Nails, and most celebrated and influential groups of Sigur Rós. In dance, the famed choreographers our time, performing thousands of concerts Merce Cunningham, Paul Taylor, Twyla Tharp, worldwide, releasing more than 50 recordings Eiko & Koma, and Paul Lightfoot and Sol León of extraordinary breadth and creativity, (Nederlands Dans Theater) have created pieces collaborating with many of the world’s most with Kronos’ music. intriguing and accomplished composers and Kronos’ work has been featured prominently performers, and commissioning more than in film, including two recent Academy Award- 850 works and arrangements for string quar - nominated documentaries: the AIDS-themed tet. A Grammy winner, Kronos is also the only How to Survive a Plague (2012) and Dirty Wars recipient of both the Polar Music Prize and the (2013), an exposé of covert warfare. Kronos also Avery Fisher Prize. recorded full scores by Philip Glass (for Since 1973, Kronos has built a compellingly Mishima and Dracula ) and by Clint Mansell eclectic repertoire for string quartet, perform - (Noah, The Fountain, and Requiem for a Dream ) ing and recording works by 20th-century mas - and has contributed music to 21 Grams, Heat , ters (Bartók, Webern, Schnittke), contemporary and other films. composers (John Adams, Osvaldo Golijov, The quartet tours extensively each year, ap - Aleksandra Vrebalov), jazz legends (Ornette pearing in concert halls, clubs, and festivals Coleman, Maria Schneider, Thelonious Monk), including Carnegie Hall, Lincoln Center Out of rock artists (guitar legend Jimi Hendrix, Brazil - Doors, Big Ears, BAM Next Wave Festival, the ian electronica artist Amon Tobin, Icelandic Barbican in London, WOMAD, UCLA’s Royce group Sigur Rós), and artists who defy genre Hall, Amsterdam’s Concertgebouw, Shanghai (performance artist Laurie Anderson, com - Concert Hall, and the Sydney Opera House. poser/sound sculptor/inventor Trimpin, and Kronos is equally prolific and wide-ranging on singer-songwriter/poet Patti Smith). recordings, including the Nonesuch releases Integral to Kronos’ work is a series of long- Pieces of Africa (1992), a showcase of African- running, in-depth collaborations with many of born composers that simultaneously topped the world’s foremost composers, including: Billboard ’s Classical and World Music charts; “Father of Minimalism” Terry Riley, on projects Nuevo (2002), a Grammy- and Latin Grammy- such as the NASA-commissioned Sun Rings nominated celebration of Mexican culture; and (2002) and The Serquent Risadome (2014); the 2004 Grammy winner, Alban Berg’s Lyric Philip Glass, including an all-Glass CD in 1995 Suite, featuring renowned soprano Dawn and the premiere of String Quartet No. 6 in Upshaw. Among the group’s recent releases are 2013; Azerbaijan’s Franghiz Ali-Zadeh, featured Aheym: Kronos Quartet Plays Music by Bryce on the 2005 CD Mugam Sayagi ; Steve Reich, Dessner (Anti-, 2013) and two 2014 Nonesuch including Kronos’ recording of the Grammy- releases: Kronos Explorer Series, a five-CD winning composition Different Trains (1989) retrospective boxed set; and the single-disc A and WTC 9/11 (2011); and many more. Thousand Thoughts, featuring mostly unre - Kronos has also collaborated with perform - leased recordings from throughout Kronos’ ca - ers from around the world, including the reer. Last year brought the release of Tundra Chinese pipa virtuoso Wu Man; Azeri vocalist Songs by Derek Charke as well as a boxed set of Alim Qasimov, legendary Bollywood “playback Terry Riley’s music written for and performed ABOUT THE ARTISTS by Kronos. Music publishers Boosey & Hawkes fashion. With the groundbreaking In C —a and Kronos have released two editions of work built upon steady pulse throughout; short, Kronos Collection sheet music: Volume 1 (2006) simple repeated melodic motives; and static and the new Volume 2 (2014), featuring six harmonies—Riley achieved an elegant and Kronos-commissioned arrangements by com - non-nostalgic return to tonality. In demon - poser Osvaldo Golijov. strating the hypnotic allure of complex musical With a staff of 11 based in San Francisco, the patterns made of basic means, he produced the nonprofit Kronos Performing Arts Association seminal work of the so-called “minimal” school. (KPAA) manages all aspects of Kronos’ work, Riley’s facility for complex pattern-making including the commissioning of new works, is the product of his virtuosity as a keyboard concert tours and home-season performances, improviser. He quit formal composition and educational program. KPAA’s Kronos: following In C in order to concentrate on Under 30 Project features a unique commis - improvisation, and in the late 1960s and early sioning and residency program for composers ‘70s he became known for weaving dazzlingly under age 30. KRONOS PRESENTS is a new intricate skeins of music from improvisations presenting program showcasing Kronos’ com - on organ and synthesizer. At this time, Riley missioned works, artistic projects, and musical also devoted himself to studying North Indian collaborations through an annual festival, edu - vocal techniques under the legendary Pandit cation and community activities, and other Pran Nath, and a new element entered his events in the Bay Area and beyond. music: long-limbed melody. From his work In 2015 KPAA launched a new commission - in Indian music, moreover, he became inter - ing and education initiative— Fifty for the ested in the subtle distinctions of tuning that Future: The Kronos Learning Repertoire. With would be hard to achieve with a traditional Carnegie Hall as lead partner, KPAA is com - classical ensemble. missioning 50 new works—by five women and Riley began notating music again in 1979 five men each year for five years—devoted to when both he and the Kronos Quartet were on contemporary approaches to the quartet and the faculty at Mills College in Oakland. By col - designed expressly for the training of students laborating with Kronos, he discovered that his and emerging professionals. Kronos will pre - various musical passions could be integrated, miere each piece and create companion mate - not as pastiche, but as different sides of similar rials, including scores and parts, recordings, musical impulses that still maintained some - videos, performance notes, and composer in - thing of the oral performing traditions of India terviews, to be distributed online for free. and jazz. Riley’s first quartets were inspired by Through this model, Kronos’ Fifty for the Future his keyboard improvisations, but his knowledge will provide young musicians with both an in - of string quartets became more sophisticated dispensable library of learning and a blueprint through his work with Kronos, combining rig - for their own future collaborations with com - orous compositional ideas with a more per - posers. Kronos, Carnegie Hall, and an adven - formance-oriented approach. turous list of project partners that includes This three-decade-long relationship has presenters, academic institutions, foundations, yielded 25 works for string quartet, including a and individuals, have joined forces to support concerto for string quartet, The Sands , which this exciting new initiative of unprecedented was the Salzburg Festival’s first-ever new music scope and potential impact. Cal Performances commission; Sun Rings , a multimedia piece for is proud to be a Legacy Partner of Kronos’ Fifty choir, visuals, and space sounds, commissioned for the Future initiative. by NASA; and The Cusp of Magic , for string quartet and pipa. Kronos’ album Cadenza on Terry Riley (composer ) first came to promi - the Night Plain , a collection of music by Riley, nence in 1964 when he subverted the world of was selected by both Time and Newsweek as tightly organized atonal composition then in one of the 10 Best Classical Albums of the Year
PLAYBILL ABOUT THE ARTISTS in 1988. The epic five-quartet cycle, Salome Mark Grey (sound designer ) made history as Dances for Peace , was selected as the top classi - the first sound designer for the New York cal album of the year by USA Today and was Philharmonic at Avery Fisher Hall ( On the nominated for a Grammy in 1989. Transmigration of Souls , 2002) and the Metropolitan Opera ( Doctor Atomic , 2008; Willie Williams (visual designer ) works with Nixon in China , 2011; The Death of Klinghoffer , light and visual media to create performance 2014; and several other productions). For over environments and installations. He is best two decades, professional sound design rela - known for his 30-year working relationship tionships have led Grey to premiere works by with rock group U2, where his combination of such artists and organizations as John Adams, hi-tech media and lo-tech eccentricity has re - Steve Reich, Philip Glass, Terry Riley, Kronos ceived much acclaim, particularly in their Zoo Quartet, and Boosey & Hawkes Music Pub - TV and 360 tours. Williams’ work with George lishers. He designed and toured extensively Michael, R.E.M., and David Bowie has also with Kronos Quartet for many years and has been praised as being both conceptually and been a close collaborator of composer John technologically groundbreaking. Adams for more than two decades. In 2008, Performing arts projects have included col - Grey was composer-in-residence with the laborating with Laurie Anderson, Marianne Phoenix Symphony, whose recording of his Faithfull, and the Montreal dance company La oratorio, Enemy Slayer: A Navajo Oratorio , was La La Human Steps. He has an ongoing rela - released the following year on Naxos Records. tionship with Kronos Quartet that includes the In 2011, two large-scale works by Grey received design of Music from Four Fences as well as their world premieres: Mugunghwa (at Walt Sun Rings. Disney Concert Hall in Los Angeles) and Fire Williams has been honored by his peers with Angels (at Carnegie Hall). He has undertaken numerous industry awards, and his work has commissions for the Atlanta Symphony Orch - been profiled in Time magazine, Creative estra and the Los Angeles Philharmonic, and is Review, and Wired . writing an evening-length opera FRANKEN - STEIN for the Théâtre Royal de la Monnaie in Laurence Neff ’s (lighting designer ) work as the Brussels. In 2016, commissions will be pre - Kronos Quartet’s lighting designer was synony - miered by the Atlanta Symphony and Berkeley mous and inseparable from Kronos perform - Symphony, and at the New York Philharmonic’s ances for decades. From 1986 until his death in Biennial festival. 2014, Neff designed many of Kronos’ produc - tions, including Live Video (the group’s first fully Don Gurnett (project advisor ) started his engi - staged concert), George Crumb’s Black Angels , neering and science career by working on Tan Dun’s Ghost Opera , and Gabriela Ortiz’s spacecraft electronics design as a student engi - Altar de Muertos . Neff, who also acted as neering employee in the University of Iowa Kronos’ production director, was responsible for Physics department in 1958, shortly after the the unique visual aspects of the quartet’s con - launch of Explorer 1. After completing his BS certs, having worked with the group on more in electrical engineering, he switched to physics, than 1,000 concerts throughout the world. where he received his MS and PhD degrees. He Neff also worked with the Paul Dresher spent one year as a NASA trainee at Stanford Ensemble (designing Slow Fire , Power Failure, University, and was hired as an assistant and Pioneer ), George Coates Performance professor in the Department of Physics and Works (designing RareArea , Actual Sho, and Astronomy at the University of Iowa in 1965, Right Mind at the Geary Theater), and various with promotions to associate professor in 1968, other theater and dance companies including and to professor in 1972. ODC San Francisco, Beach Blanket Babylon , In 1962, he pioneered the study of space and Rinde Eckert. plasma waves and radio emissions with the ABOUT THE ARTISTS launch of a very-low-frequency radio receiver expert on Apple’s Logic Pro software, his text - on the Injun III spacecraft. Since then he has book, Logic Pro 9: Advanced Music Production, flown similar instruments to most of the plan - now in its third edition, has been adopted by ets in the solar system, most notably on the educational institutions worldwide and is the Voyager 1 and 2 flights to the outer planets, the basis for Apple Computer’s certified training. Galileo mission to Jupiter, and the Cassini mis - Dvorin is currently a professor of music com - sion to Saturn. He is currently working on a position and electronic music at California State spacecraft-borne radar to search for sub-sur - University, Chico. face water on Mars. He is author of over 370 sci - entific publications and has received numerous Volti is a professional new music ensemble awards for his research. In 1998, he was elected under the direction of founder and artistic to the National Academy of Sciences. He regu - director Robert Geary, dedicated to the discov - larly teaches both undergraduate and graduate ery, creation, and performance of new vocal courses in physics and astronomy, and has su - music. The ensemble’s mission is to foster and pervised 50 graduate thesis projects. showcase contemporary American music and composers, and to introduce audiences to con - David Dvorin (recorded sound transformation ), temporary vocal music from around the world. an Emmy-nominated composer, author, and The group has commissioned nearly 100 new educator, has had his music performed in nu - works by emerging as well as established com - merous new music and multimedia festivals posers. Boasting a 36-year track record of some around the United States and Europe, includ - of the most imaginative and innovative reper - ing the Carmel Performing Arts Festival, Big toire yet composed, Volti’s dedication to fresh Sur Experimental Music Festival, Wet Ink, American music has earned six ASCAP awards Palais Idéal, Sound & Vision Festival, SEAMUS, for adventurous programming. Learn more at Kansas City Electronic Music Arts and Alliance, VoltiSF.org. 60x60 Project, FirstWorks/Pixilerations, and Robert Geary , founder and artistic director the Macedonian SOCOM Festival. His multi - of Volti, the Piedmont East Bay Children’s media piece As Alice , written for the California Choir, and the Golden Gate International E.A.R. Unit, was featured in the ensemble’s Choral Festival, also directs the San Francisco 2011 –2012 concert touring season. Dvorin is Choral Society. Geary’s dedication to today’s active as a performer on both guitar and elec - choral music has fostered the careers of several tronics. Some of his current performance proj - leading composers and has led to nearly 200 ects include his chamber-jazz duo Pull-String, new works. He has conducted in dozens of with violinist Matej Seda, and the electro- countries and has served as a clinician and guest acoustic duo Zap!, with multi-reeds player conductor in the US, Finland, Denmark, and Randy McKean. Regarded internationally as an Singapore.
Volti Kelly Ballou Diana Pray Sidney Chen Yuhi Aizawa Combatti Cary Ann Rosko Samuel Faustine Elisabeth Eliassen Rachel Rush Julian Kusnadi Shauna Fallihee Colby Smith Roderick Lowe Monica Frame Ben Barr Peter Dennis Mautner Cecilia Lam Jeff Bennett Philip Saunders Sharmila G. Lash William Betts Tim Silva Sara LeMesh Joel Chapman Cole Thomason-Redus
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Production Credits Hurtig, Chuck Swanson, Jon Lomberg, Daniel Sounds sourced courtesy of Dr. Donald A. Osborne, Dave Sentman, and Alan Title. Gurnett, Dept. of Physics and Astronomy, Uni - versity of Iowa. Terry Riley extends special thanks to Kronos, Janet Cowperthwaite, Don Gurnett, Mark Grey, Voice “One Earth, One People, One Love”: David Dvorin, Bert Ulrich, Willie Williams, Alice Walker. Larry Neff, Alice Walker, and Ann Riley.
Video sequences created at Punk Films, London, by Willie Williams, Mark Logue, and For the Kronos Quartet/ Marina Fiorato; additional editing by Tim Kronos Performing Arts Association Zgraggen, San Francisco. Janet Cowperthwaite, managing director Sidney Chen, artistic administrator Imagery sourced courtesy of NASA; Jet Mason Dille, development manager Propulsion Laboratory; Jon Lomberg; Dr. Scott Fraser, sound designer Donald A. Gurnett; Punk Films, London; Willie Gregory T. Kuhn, production and artistic Williams; Dave D. Sentman and Daniel L. services director Osborne of the Geophysical Institute University Reshena Liao, communications and marketing of Alaska; Alan Title, Lockheed (TRACE is associate a NASA Goddard Small Explored Mission Nikolás McConnie-Saad, office manager (SMEX); the TRACE science instrument was Kären Nagy, strategic initiatives director developed by the Stanford-Lockheed Institute Hannah Neff, production associate for Space Research); David Keleel; US National Lucinda Toy, business operations manager Oceanic and Atmospheric Administration; US Fish & Wildlife Service. Kronos Quartet P. O. Box 225340 John Lobel, Light & Sound Design, stage set San Francisco, CA 94122-5340 construction www.kronosquartet.org www.facebook.com/kronosquartet Special thanks for support and assistance to Twitter: @kronosquartet Don Gurnett, Bert Ulrich, Jurrie J. van der Woude, Mark Logue, Wally Chappell, Kathy The Kronos Quartet records for Nonesuch Kurth, Van Jarvis, Stage Electrics/London, Judy Records.