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The Philharmonia Orchestra of Yale New Music New Haven The Yale School of Music Thomas C. Duffy, Acting Dean The Philharmonia Orchestra of Yale Shinik Hahm, music director New Music New Haven Martin Bresnick, director Friday, March 31, 2006 8:00 p.m., Woolsey Hall aaron jay kernis New Era Dance (1992) ryan vigil [ untitled ] (2006) melissa mazzioli These Worlds In Us (2006) jennifer graham Endurance (2003-06) INTERMISSION martin bresnick Grace (2000): Concerto in 3 movements for two marimbas and orchestra I. Pendula and the Center of Gravity (The Puppet Theatre) II. Of the Heaviness of Matter (only a god is a match for matter) III. Grace Will Return (most purely in a puppet or a god) Robert Van Sice and Eduardo Leandro, marimbas robinson mcclellan Gone Today (2006) jacob cooper Odradek (2006) PHILHARMONIA ORCHESTRA OF YALE Program Notes Aaron Jay Kernis: New Era Dance (1992) Commissioned for the 150th anniversary of the New York Philharmonic, Aaron Jay Kernis’s NEW ERA DANCE is a multilayered, virtuosic work for orchestra, with a sampling of electric bass and collage of sound effects. Seeking to write, as he says, a ‘larger than life’ work, the composer drew upon the pulsing, rhythmic music that blares on the streets of his neighborhood, the Washington Heights section of New York City: Latin salsa, crackmobile rap, gypsy-camp folk. Disco and 50s jazz were also added to the tumultuous mix. The title is taken from a World War 1 ragtime dance, but also suggests Kernis’s response to events taking place around the time he wrote NEW ERA DANCE: the summer of 1992. The LA riots had recently ended, the presidential election of Bill Clinton was approaching, and in the middle distance was the millennium. ‘All these things’, says Kernis, ‘represented new eras in one form or another.’ -Dennis Bartel One of the youngest composers ever to be awarded the Pulitzer Prize, Aaron Jay Kernis has become among the most esteemed musical figures of his genera- tion. He has written works for many of America’s foremost musical institutions and artists, including the New York Philharmonic, the San Francisco Symphony, the Birmingham [England] New Music Group, the Birmingham Bach Choir, the Minnesota Orchestra, the Saint Paul Chamber Orchestra, Aspen Music Festival, and Los Angeles Chamber Orchestra, Christopher O’Riley, Renée Fleming, Pamela Frank, Paul Neubauer, Carter Brey, Joshua Bell, Nadja Salerno-Sonnenberg and Sharon Isbin. Aaron Jay Kernis was born in Philadelphia and began his musical studies on the violin; at age 12 he began teaching himself piano, and, in the follow- ing year, composition. He continued his studies at the San Francisco Conservatory of Music, the Manhattan School of Music, and the Yale School of Music, working with composers as diverse as John Adams, Charles Wuorinen, and Jacob Druck- man. In addition to the 1998 Pulitzer Prize for his String Quartet No. 2 (musica instrumentalis), his many awards have included the 2002 Grawemeyer Award in Music Composition for the cello and orchestra version of Colored Field, the Stoeger Prize from the Chamber Music Society of Lincoln Center, a Guggenheim Fellow- ship, the Rome Prize, two NEA grants, a Bearns Prize, a New York Foundation for the Arts Award, and three BMI Student Composer Awards. Currently he serves as the Minnesota Orchestra’s New Music Advisor. Mr. Kernis joined the Yale Faculty in 2003. Ryan Vigil: [ untitled ] (2006) My untitled work for orchestra is taken with an exploration of color and texture. At all points, the process of composition centered on the effective combination of instruments to create a continually shifting orchestral tapestry. The work favors a dense instrumental fabric, where a number of simple parts combine to create a 2005-2006 SEASON multi-layered sound mass. This mass expands, contracts, stops, starts, and goes through a variety of transformations in terms of register, density, and specific in- strumental makeup. The composition inhabits a variety of sonic regions. While these regions are differentiated by the deployment of varied rhythms, pitches, and instrumental combinations, it is hoped that the primary importance placed on the basic aspect of the work’s sonority acts to unify the composition. Active as a composer, conductor, pianist and teacher, Ryan Vigil holds a Master of Arts degree from Tufts University and a Bachelor of Music Degree from the Manhattan School of Music. His principle teachers have been Marti Epstein, Aaron Jay Kernis, John McDonald, and Elias Tanenbaum. Ryan’s music has re- cently been featured at the Oregon Bach Festival, Music05 (Cincinnati, OH), June in Buffalo, the Rivers Music School’s Annual Seminar on Contemporary Music for the Young, the New England Conservatory’s Summer Institute for Contemporary Piano Performance, and the Tufts Composers Winter Music Festival. Recent en- gagements as pianist include performances of David Claman’s UnPact at Merkin Hall, and Erik Satie’s Les Fils des Etoiles at Jordan Hall. Over the past few years Ryan has given numerous solo and collaborative recitals including appearances as part of the Composer at the Keyboard series (Zeitgeist Gallery), the Goddard Chapel Recital Series (Medford, MA) and the Framingham State College Summer Concert Series. In addition, he has been engaged as accompanist by the New England Con- servatory, Rivers Music School, Tufts University, and Pine Manor College, amongst others. Formerly Director of Music at the United Methodist Church of Newton, Massachusetts, Ryan is currently pursuing his Master of Musical Arts degree at the Yale School of Music where he studies with Martin Bresnick. Melissa Mazzioli: These Worlds In Us (2006) The title These Worlds In Us comes from James Tate’s poem “The Lost Pilot,” writ- ten about his father’s death in World War II: (excerpt) My head cocked towards the sky, I cannot get off the ground, and you, passing over again, fast, perfect and unwilling to tell me that you are doing well, or that it was a mistake that placed you in that world, and me in this; or that misfortune placed these worlds in us. This piece is dedicated to my father, who was himself a soldier during the Vietnam War. In talking to him it occurred to me that, as we grow older, we accumulate PHILHARMONIA ORCHESTRA OF YALE worlds of memory within us, worlds that can contain an astounding amount of pain. I like the idea that music is a window into both the painful and joyful worlds in the composer, and my piece depicts this vast array of emotions. These Worlds In Us was written during a very difficult time in my life, and I would not have been able to write it without the support of my mother and father, Stephen Taylor, David Lang, Martin Bresnick and the rest of my family and friends. Thank you for making my wildest dreams come true. Missy Mazzoli graduated from Boston University in 2002, where she studie composition with John Harbison. In 2002 she received a Fulbright grant and trav- eled to the Netherlands, where she studied with Louis Andriessen at the Royal Conservatory of the Hague. In 2004 she was composer-in-residence at STEIM, Amsterdam’s center for electronic music. During her time at Yale she has studied with Aaron Kernis, Martin Bresnick and David Lang. Missy won a Charles Ives Scholarship from the Academy of Arts and Letters in 2003 and first prize in composition at the 2003 Fontainebleau summer course. In 2005, along with composers Judd Greenstein and David T. Little, she founded Free Speech Zone Productions, an organization dedicated to presenting concerts of new music and film. Missy performs as a pianist with the band Hills Not Skyscrapers, with whom she recorded an album of original compositions in 2004. They will perform in Amsterdam this fall as part of the 2006 Gaudeamus New Music Festival. She was recently a featured composer at Merkin Hall’s Ear Department Series, hosted by Michael Gordon. Next year new works commissioned by Alea III and Present Music will be premiered. www.missymazzoli.com www.fszproductions.com Jennifer Graham: Endurance (2006) Compositionally, Endurance is based in my belief in the power of simplicity, and my desire to create a piece out of the most basic musical materials possible. Constructed from a single scalar line (an idea inspired by Arvo Pärt’s “Cantus in Memory of Benjamin Britten”), the music is in perpetual motion as the main mo- tive grows and diminishes throughout each voice in the orchestra. While the entire work is derived in some way from this central musical idea, it is not clearly heard until the end of the piece, when the cellos and bassoons repeat it as an incessant ostinato which drives the music to its conclusion. I began Endurance in the desert of Joshua Tree, California in spring of 2003, and completed it, after intermittent work, in March of this year in New Haven, Connecticut. I would like to thank Martin Bresnick and David Lang for their valuable input as I was writing this piece, and also my family, without whom I would not know the true meaning of endurance. Jennifer Fontana Graham was born and raised in the San Francisco Bay Area, where her early childhood consisted of banging her head against the piano in frustration, writing songs and short pieces, attending every rock concert she could find, and picking up and dropping musical instruments on a whim. She later com- 2005-2006 SEASON mitted to more rigorous musical study after hearing Igor Stravinsky’s Rite of Spring and Steve Reich’s Music for 18 Musicians, and received a Bachelor of Music degree in composition from the Eastman School of Music in 2004. An active performer as well as composer, Graham’s background includes performance in dance, classical piano, Balinese and Javanese gamelan, electronic music and voice.
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