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Kronos Quartet Sun Rings Composed by Terry Riley

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Kronos Quartet Sun Rings Composed by Terry Riley 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.
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