OTHER MINDS 20 MARCH 6, 7, & 8, 2015 SF JAZZ CENTER SAN FRANCISCO

A FESTIVAL OF UNEXPECTED NEW MUSIC INSIDE: STILLS HERE A PHOTOGRAPHIC HISTORY OF OTHER MINDS AT TWENTY MARCH 6, 7, & 8, 2015 WELCOME TO OTHER John MINDS Goodman 20 is represented by Elins Eagles-Smith Gallery

49 Geary St, Suite 509 Message from the Artistic Director 14 Other Minds 20 Composer Bios 36 San Francisco, CA 94109 Exhibition & Silent Auction 16 Other Minds 20 Performer Bios 46 415 981 1080 Concert 1 21 Other Minds Staff Bios 52 [email protected] Concert 1 Program Notes 22 Giving Birth to Other Minds 54

THOUGHTS FROM COMPOSERS Concert 2 27 Other Minds: A Timeline 62 image: Concert 2 Program Notes 28 Stills Here: A Photographic History 68 Bowing Figure #2 of Other Minds . 2014, 40 by 30 inches Concert 3 33 About Other Minds 92 Oil and wax on panel Concert 3 Program Notes 34 About The Festival 94

Festival Supporters 96

The 20th Other Minds Festival is presented by Other Minds in see more at eesgallery.com association with the Djerassi Resident Artists Program. ©2015 Other MindsTM All Rights Reserved.

—JOHN CAGE (JANUARY 19, 1989) FOR CHARLES AMIRKHANIAN ON HIS 44TH BIRTHDAY 5TH ANNUAL TASTING EVENT

March 14th at

651 Howard Street

Entertainment by

Use Motown Monday DJs promo code Op uw gezondheid! DRINK Congratulations, Other Minds. $ Uitstekende nieuwe muziek. drink2015.strangertickets.com for 5 off The A PROUD SPONSOR OF THE OTHER MINDS FESTIVAL EAST BAY EXPRESS is very proud to support OTHER MINDS 20 and the creation of revolutionary new music

1625 POST STREET SAN FRANCISCO, CA 94115 415.922.3200 HOTELKABUKI.COM Art Box designed by Scott Courtenay-Smith HOTEL KABUKI IS A JOIE DE VIVRE HOTEL Cold Blue music

“For more than three decades, Cold Blue Music has been highlighting the work of composers working on the outer edges of contemporary music.” —Alexandra Gardner, NewMusicBox “I don’t see the point in art that doesn’t take any risks. Fortunately, Cold Blue does that for us, and does it all the time.” —Harold Budd “A distinctive body of music—a virtual Cold Blue ‘school’—forged in the wake of American musical experimentalism.”—International Record Review “I use the word ‘gorgeous’ when describing Cold Blue’s recordings…. It’s a wonderful catalog of treasures.”—Richard Friedman, Music from Other Minds (KALW) “The Cold Blue label … setting the highest standards in an area of musical endeavor where banal facility can be a danger.” —The Wire magazine “Each release from Cold Blue is a letter from an alien civilization.” —Fanfare magazine

music by John Luther Adams • Gavin Bryars • Michael Byron • Harold Budd • Barney Childs • Rick Cox • Michael Fahres • Michael Jon Fink • Jim Fox • Kyle Gann Peter Garland • Christopher Hobbs • John Kuhlman • Daniel Lentz • David Mahler • Ingram Marshall • Read Miller • Thomas Newman • Charlemagne Palestine Steve Peters • Larry Polansky • Christopher Roberts • David Rosenboom • Phillip Schroeder • Chas Smith • James Tenney • Stephen Whittington

www.coldbluemusic.com Located in the heart of the culturally diverse San Francisco Bay Area, AT THE Mills College is a leader in electronic and computer music, the recording arts, and experimental media. Home to the internationally renowned FOREFRONT OF Center for Contemporary Music, Mills offers you a creative environment EXPERIMENTAL to pursue your graduate education in music. MUSIC GRADUATE DEGREES HAPPY BIRTHDAY, Î MFA in Electronic Music Î MFA in Music Performance OTHER MINDS— Embrace new sounds and musical and Recording Media and Literature fellow champions of new music! forms while pursuing your individual Î MA in Composition approach to music at Mills College. You can work closely with distinguished professors who are also extraordinarily gifted artists, such as Fred Frith, Pauline Oliveros, Roscoe Mitchell, Chris Brown, Maggi Payne, John Bischoff, James Fei, and Les Stuck as you find your own voice. MAKE A STATEMENT. Mills music graduates go on to succeed as innovators across all musical genres.

www.mills.edu/music Djerassi Resident Artists Program LVDSURXGFRVSRQVRURI radiom.org 2WKHU0LQGV)HVWLYDO streaming thousands 5HFRJQL]HGDVRQHRIWKHZRUOG¶VPRVWSUHVWLJLRXVDUWLVWUHVLGHQFLHV'MHUDVVL5HVLGHQW$UWLVWV 3URJUDPKDVDFFHOHUDWHGWKHFUHDWLYHSURFHVVRIPRUHWKDQDUWLVWVVLQFHLWVIRXQGLQJLQ of hours on demand of 'MHUDVVLKDVDGXDOPLVVLRQ7RQXUWXUHFUHDWLYLW\DQGSURYLGHVSDFHDQGXQLQWHUUXSWHG WLPHWRZULWHUVSKRWRJUDSKHUVFKRUHRJUDSKHUVSDLQWHUVSOD\ZULJKWVVFXOSWRUVSRHWVPHGLD radio interviews and DUWLVWV¿OPPDNHUVDQGFRPSRVHUV7RSURWHFWSUHVHUYHDQGUHVWRUH±LQSHUSHWXLW\±DFUHV Newly released RIZLOGFRDVWDOJUDVVODQGVDQGUHGZRRGIRUHVW from Other Minds Records concerts with the creators of 20th century new music 7KH'MHUDVVL3URJUDPDQQXDOO\ZHOFRPHVWKH2WKHU0LQGV)HVWLYDOFRPSRVHUVIRUD¿YH Om Live GD\UHVLGHQF\RIFROOHJLDOLQWHUDFWLRQDQGSUHSDUDWLRQSULRUWRWKHLUSHUIRUPDQFHV Digital Downloads 38%/,&72856RIWKH'MHUDVVL3URJUDP¶V Recorded In Concert SURSHUW\DQGVFXOSWXUHFROOHFWLRQRSHQIRU UHVHUYDWLRQVRQ0DUFK,QIRUPDWLRQDQGDOLQN at the Other Minds WRUHVHUYDWLRQVDWZZZGMHUDVVLRUJWRXULQIR

Festival $OLPLWHGQXPEHURI35,9$7(72856DUH Now available at webstore.otherminds.org DYDLODEOHIRUJURXSVRIWR3OHDVHFDOO or from your favorite internet vendor  IRULQIRUPDWLRQDYDLODELOLW\

& Coming Soon 7KH'MHUDVVL3URJUDPLVDQRQSUR¿W F   

Modern Hits (An Anagram For “Other Minds”) EXPLORATORIUM SCHWARTZENBERG, SUSAN RUJDQL]DWLRQWKDWUHOLHVRQFRQWULEXWLRQVIURP Vintage Electronic Music LQGLYLGXDOVDQGSKLODQWKURSLFRUJDQL]DWLRQV from Bay Area Hemi-Demi-Semi-Luminaries March 12, 1987. Composer, conductor, musicologist & raconteur Nicolas Slonimsky, 92, IRULWVRSHUDWLRQV:HZHOFRPH\RXUVXSSRUW in conversation with Charles Amirkhanian, Speaking of Music at the Exploratorium, San John Bischoff , Sheila Booth, Anthony J. Gnazzo, Francisco. Listen free at radiom.org as the maestro discusses musical modernism and 'RQDWHRQOLQHDWZZZGMHUDVVLRUJ Jan Pusina, Carter Scholz, Ramón Sender, plays a Chopin Étude with an orange and sings his Wagnerian arrangement of “Children Ivan Tcherepnin Cry for Castoria,” an old radio advertisement. Foothill College Music Technology presents Michael Nyman Records

NEW RELEASE THE PIANO SINGS 2

MICHAEL NYMAN SYMPHONY NO. 11: This disc is the second HILLSBOROUGH MEMORIAL collection of piano music ‘A powerful, moving and fitting tribute … an which Nyman has performed extraordinary work, surely destined to become one and released on MN Records. of the great symphonies of the twenty-first century’ It covers a wider range, in The Foothill College (Pwyll ap Siôn, Gramophone Magazine) terms of both chronology and Music Technology dynamics, than ‘The Piano 7YVNYHTVɈLYZH Symphony No. 11: Hillsborough Memorial represents Sings’ which launched the comprehensive course of the culmination of Michael Nyman’s thinking around label in 2005. the tragedies connected with Liverpool Football Festival of electro-acoustic music @ Foothill College study that leads to an A.A. Degree MNRCD131 Club. 25 years after the Hillsborough disaster, he PU4\ZPJ;LJOUVSVN`HUK*LY[PÄJH[LZ says that he hopes it will make a small but significant Featured Artists of Achievement in Pro Tools and Music contribution to the healing process still necessary Pamela Z / Matt Davignon / Mark Trayle Technology. Both on-campus and online courses for the families of the lost fans. Tom Dambly / Matt Ingalls / Eric Kuehnl in recording arts, digital audio production, songwriting, MNRCD136 music business, digital video, and performance are Both concerts @ 8PM H]HPSHISLH[[PTLZ[OH[Ä[`V\YZJOLK\SL Lohman Theatre, Foothill College Also available on MN Records Foothill College students enjoy one of the newest facilities in Northern More info & tickets California - our InterDisciplinary Arts Center has 30 workstations where For more details on these and all other recordings available on MN Records electroacoustica.org students from every area of the arts work side by side. please visit the SHOP on MICHAELNYMAN.COM The Foothill College Music Technology program allows students to develop the core ZRPSSZULLKLK[V^VYRPU[OLLU[LY[HPUTLU[ÄLSK*V\YZLZPUT\ZPJWYVK\J[PVU"[LSL]PZPVU CDs, MP3 and lossless downloads of all recordings released on MN Records YHKPVHUK]PKLVNHTLH\KPV"HUKLTLYNPUNTLKPHLUZ\YLNYHK\H[LZSLH]L[OLWYVNYHT^P[O are available from the SHOP.

a strong foundation in industry fundamentals. Former students have gone on to work for Polygram ‘PIANO’ 3CD BOX ‘COLLABORATIONS’ 3CD BOX PIANO TRIOS 1992-2010 9LJVYKZ

Recording / Editing / Mixing / Mastering / Avid Pro Tools / Ableton Live Visit /MichaelNymanMusic to be first to find out about Apple Logic Pro / Game Audio / Electronic Music new releases, concerts and other Michael Nyman events.

MN Records is managed by launchmusicinternational.co.uk Learn more at foothill.edu/musictechnology STRING QUARTETS 1-3 THE PIANO SINGS FACING GOYA MESSAGE FROM THE ARTISTIC DIRECTOR

On the occasion of our 20th festival, with us. We’re acknowledging some mile- a distinctive feature of our event that bears before has taken hold of a new generation of Mardikian & Pepo Pichler, Cissie Swig, Harry Finally, this year we’re dedicating our third I thought it might be nice to stage a stone birthdays as well: Tigran Mansurian, 75. fruit in the quality of our panel discussions fans under thirty. We’re grateful to assist in Bernstein & Caren Meghreblian, Alan Farley, and last concert in remembrance of the reunion. Michael Nyman and yours truly: 70. And this and the experiences taken away by our this regard, and we’re gratifi ed to have such Michael Tilson Thomas, Nora Norden, Andy 100th anniversary of the genocide of Arme- year, at our pre-concert reception, Pauline guests. Our thanks to the Djerassi Program an overwhelming reception for our work in Gold & Karen Cutler, Mitchell & Kristin Yawitz, nians that took place in the Ottoman Empire. For two decades, the annual Other Minds Oliveros, at 82, received our lifetime achieve- and to its staff and board for welcoming us. 165 countries and territories through our radi- Jacqueline Hoefer, Philip Glass, Dennis Many Armenians you meet will have direct Festival has sought out and presented some ment award—the OMie—in recognition of OM.org website, where you can stream the Russell Davies, Patti Deuter, Carl Djerassi & knowledge of a family member savaged of the world’s most thought-provoking and her exceptional contributions to experimen- Other Minds, with its live concerts, weekly sounds and voices of many legendary and Diane Middlebrook, John Goodman & Kerry during one or another of the repeated at- talented “outsider” talents and made a point tal music. (Last year’s fi rst award was pre- radio broadcasts of new releases on KALW many obscure fi gures in one-of-a-kind inter- King, and many others. But they couldn’t do tacks on this Christian people between 1894 of never repeating a featured artist. Why? sented to synthesizer pioneer Don Buchla.) FM, its ever-expanding historical archive of views and concerts. Finally, these recorded it alone. We value especially the hundreds and 1922. They had lived peacefully in that Because there are so many brilliant minds in audio fi les on radiom.org, and its CD releases broadcasts that were heard just once locally of you who give more modest amounts and region for thousands of years previously. this fi eld of new music who deserve to fi nd a As always, we strive to emphasize women and digital download projects, takes the long over KPFA FM in Berkeley have proven to are the rock solid base of the Other Minds platform for their work in San Francisco. composers, elders & juniors, composers of view of experimental music history. We like have lasting value. philanthropic pyramid. Thank you. We’re honored to have with us the most color, unusual instruments, and wildly varying to make connections between the past and prominent composer from the Republic of But this year, for the fi rst time, we’re inviting styles of music. And for the fi rst time, we’ve present, preserving and pointing out the Clearly, this is a labor of love on the part of all For this commemorative booklet on the Armenia, Tigran Mansurian, in addition to the back some of favorite past participants— invited a full orchestra—from the Ruth Asa- historical line of what’s lead to today’s most involved—our board, our staff , and our vol- occasion of our 20th festival we’ve included renowned Armenian soprano from Vienna, our “alumni”—to celebrate with you in style. wa School of the Arts—to perform with us. provocative music. We do this with CD re-re- unteers. The activities of Other Minds would an extra selection of photos by our docu- Hasmik Papian. Movses Pogossian, a violinist And we’ll honor two beloved fi gures—Lou We’re just praying the stage of SFJAZZ will leases of pieces we feel have lasting impor- not be possible without major foundation and mentarian John Fago, who’s been present now living in Los Angeles, also will perform. Harrison and Peter Sculthorpe—whose accommodate them! tance, our original recordings of unpublished governmental support. And, very signifi cantly, every year with his trusty Leicas, capturing Also on our last concert, I’m presenting my music refuses to die though they’ve departed music, and our digitized radio programs from we have a loyal and ever-increasing group the spirit of our work in his inimitable style. I audio impressions of a trip to Armenia by this earthly plane. Strongly infl uenced by Our composers have been meeting pri- 1949-1995 on KPFA Radio plus other collec- of dedicated individuals who, year after year, met John in Telluride, Colorado, where I had performing “Miatsoom,” comprising the non-Western styles, their music and their vately this past week at the spacious, idyllic tions that are fi nding their way to us. A recent have donated funds to keep this improvable produced a predecessor event called Com- ambient sounds of the country sampled lives share many parallels, not the least of and mind-expanding ranch environment example is the complete 1987 New Music and very non-commercial dream alive. poser-to-Composer. and reshaped digitally. Appropriately for this which is their embrace of melodies that are of the Djerassi Resident Artists Program in America Festival in Philadelphia, produced festival, the word translates “Reunion.” And overtly beautiful. Woodside. There, they’ve discussed their by the ensemble Relâche. Meanwhile, other Let me take this opportunity to mention a You can read about that and the beginnings here we all are! work, shared lovely meals, rehearsed, and organizations are approaching us to help few who have gone beyond the call of duty, of the Other Minds Festival in a special article We off er a hearty welcome back to Don talked shop, getting to know one another preserve their legacies, and we want to rise starting with my co-founder Jim Newman, giving the background of why and how we Byron, Frode Haltli, Tigran Mansurian, Miya better and enjoying some “down time” from to the challenge. and continuing with Peggy Dorfman, James do our event in this unusual format—private Masaoka, Michael Nyman, Pauline Oliveros, the stressful schedules that defi ne their daily McElwee, Agnes Bourne, Curtis Smith & meetings followed by public concerts. David Tanenbaum, Maja S.K. Ratkje, and Er- routines. This component of the Other Minds Look around you: There’s a tremendous Susan Threlkeld, Bill Huie, Liz & Greg Lutz, Charles Amirkhanian rollyn Wallen, all of whom have continued to Festival nurtures the spirit and strengthens surge of new music creation, both here and The Edward Hutchins Family, Rena Bransten, Executive & Artistic Director grow in stature since their fi rst appearance the resolve of our dedicated creators, and is abroad, and a hunger to know what’s gone Margot Golding, Owsley Brown III, Anita

14 15 EXHIBITION & SILENT AUCTION

Scores by Other Minds 20 composers are on view in the lobby throughout the festival and will be sold by silent auction to the highest bidder. Bidding forms are available in the exhibition are and at the sales table. Bids will be accepted through intermission on Sunday, and winners will be announced at the sales table after the concert that evening. Special thanks to Meredith Monk who had to postpone her appearance until OM 21 but who graciously donated a score page for our anniversary event. Pauline Oliveros’ Twins Peeking at Koto (2014) Framing of this exhibition was made possible Don Byron’s Untitled (2014) thanks to framing and mounting by Peter Kirkeby Associates. Frames were donated by Crown Point Press of San Francisco. We’re grateful to our friends at both organizations. Minimum bid for all score pages will be $200.

THOUGHTS FROM COMPOSERS: “I enjoyed both concerts tremendously, but I was most taken by Dhomont. I thought the fi rst of the two musique concrete pieces he played was maybe the best and most exciting pure electronic music I have ever heard, and that includes Stock- hausen, Subotnick, Cage, Berio and all of ’em… His musical imagination and his sense of drama was astonishing. Thank you for bringing him here.” —JOHN ADAMS (MARCH 9, 2004) Amirkhanian’s Marathon (1997) Tigran Mansurian’s Havik (1998) Miya Masaoka’s Where I Was Walking, I Heard a Sound (2003) 16 17 Errollyn Wallen’s song “About Here”

Miya Masaoka’s Tilt (2014) Meredith Monk’s Our Lady of Late (1972) Maja S. K. Ratkje’s In Dialogue with Rudnik (2014) 18 19 CONCERT 1

FRIDAY, MARCH 6, 2015 Peter Sculthorpe Intermission SFJAZZ CENTER From Kakadu (1993) 7 PM PANEL DISCUSSION Grave Maja S.K. Ratkje, Kathy Hinde, LED BY CHARLES AMIRKHANIAN Comodo & Frode Haltli Misterioso Birds and Traces II (2015, world premiere) 8 PM CONCERT Cantado Maja S.K. Ratkje, voice and electronics David Tanenbaum, classical guitar Frode Haltli, accordion ESTABLISHED LEGENDS, Kathy Hinde, robotics and projections EMERGING LEGENDS Lou Harrison Scenes from Nek Chand (2001–02) Peter Sculthorpe The Leaning Lady String Quartet No. 14 “Quamby” (1998) The Rock Garden Prelude The Sinuous Arcade with Swings In the Valley in the Arches On High Hills At Quamby Bluff David Tanenbaum, National steel guitar Del Sol String Quartet Charles Amirkhanian Stephen Kent, didjeridu Rippling the Lamp (2007) for violin and pre-recorded tape David Tanenbaum appears with generous Kate Stenberg, violin support from James Schuyler Miya Masaoka appears with generous support Miya Masaoka from the Doris Duke Foundation String Quartet No. 2 “Tilt” Maja S.K. Ratkje, Frode Haltli, & Kathy Hinde appear (2014–15, world premiere) with generous support from the American-Scandinavian Del Sol String Quartet Foundation, Norway House Foundation, and Barbro Osher Pro Suecia Foundation. Performance of Peter Sculthorpe’s work generously supported by Stephen and Deborah Wolfe

21 CONCERT 1 has a cone resonator inside the body that In the “Lento” portion, Burkhard fashions “I thought about translating that kind of acts as a kind of amplifi er. Invented in the late a melody that oscillates between move- experience to a musical sense, like a top that PROGRAM NOTES 1920s for players to be heard with jazz bands, ment and stasis. A sinuous line periodically is tilting and maybe going to fall, something the instrument has been revived by National comes to rest on a held tone, then moves that is partly kinetic movement, partly sonic Reso-Phonic which now produces an exotic again, coming to rest on a diff erent pitch, movement, and partly gravity. The balance array of these wonderful instruments. The and so forth. It reminded me of having seen and imbalance—our sense of sonic equilibri- score, commissioned by Other Minds, is a clear refl ected image of a Japanese lamp um—I think these things are felt deeply in our dedicated to Charles Amirkhanian & Carol on a watery surface that was periodically bodies and our ears. Law, with thanks for many kindnesses, and to disturbed so that the image shattered, then Peter Sculthorpe Lou Harrison well-tempered tuning that he wanted. Thus, David Tanenbaum, who was willing to play it.” came to rest in its focused form—thus, the “In “Tilt” I use mircotones, as well as param- From Kakadu (1993) Scenes from Nek Chand (2001–02) for his last completed piece, well into his title Rippling the Lamp. eters of density and time to create arcs of Peter Sculthorpe used the guitar as a solo Our soloist, guitarist David Tanenbaum, eighties, Lou Harrison essentially invented Charles Amirkhanian tempi and rhythm (loosely termed) in pur- and chamber instrument frequently, working writes: “Lou Harrison’s relationship with the a new instrument. More than twenty com- Rippling the Lamp (2007) In my work, the live solo violin merges with suing this notion. Perhaps the full title of this mostly with the great Australian guitarist guitar began in 1952 with a little piece in a posers have now written for this modifi ed In working with the performers to prepare pre-recorded overlaid violin drones, then piece should have been TILT, TIP, AND FALL!” John Williams. Here is Sculthorpe’s note letter to a friend, but for the next half century guitar, whole CD’s are coming out on it, and a the second Other Minds New Music Séance moves away from them in major and minor Maja S.K. Ratkje, Kathy Hinde, about From Kakadu: it was sporadic at best. After 1978 there was Doctoral Thesis has been written about it. I was inspired by the candlelit setting of the turns plus occasional musical quotations & Frode Haltli nothing, although a small army of guitarists Swedenbogian Church and the playing of (Burkhard’s Concerto, Op. 69 and Brahms’ Birds and Traces II (2012) “The terrain of Kakadu National Park, in the approached him repeatedly. The more I per- “I did the premiere of Scenes from Nek Chand Kate Stenberg to create a mini-séance of a First Violin Sonata in G), interrupted once by World Premiere north of Australia, stretches from rugged sonally asked him for a piece, the grumpier (2001-2) on the Other Minds Festival at the piece that would quote music of composers sounds of European and American ambu- Maja S. K. Ratkje and Kathy Hinde premiered mountain plateaux to coastal tidal plains. he seemed to get, and after I directed a fi ve Palace of Fine Arts on March 7, 2002 with past against a disembodied, pre-record- lance sirens, also played on violin. the fi rst version of Birds and Traces in March From Kakadu is the sixth work of mine that day 80th birthday celebration of his music Lou in the audience. I’d like to thank Charles ed violin track. At about the same time The solo part is partly composed and partly 2010, in the fi elds of Aldeburgh, one of the takes this terrain as its point of departure. in 1997 with no new guitar music off ered, I for working his magic with Lou, and thus I chanced upon a recording of the slow improvised by the performer, within specifi c largest stop-over fi elds for migrating birds in Several of the works employ similar melodic basically gave up. changing our guitar world for the better. Here section of a one-movement Violin Concerto perameters. The pre-recorded violin sounds UK. The work was created during a week- material, and much of this work is based is Lou’s note about the piece.” (1943) by the Swiss composer Willy Burkhard were performed by Kate Stenberg who also long residency at Aldeburgh Music as part of upon the main theme of my orchestral piece “So it was an utter shock when Charles (1900-1955) that somehow reminded me of “While mother played an afternoon of Mah contributed many ideas to the fi nal version of Faster Than Sound, a series of residencies Kakadu (1988). Amirkhanian called in 2001 to inform me that the modal music of Lou Harrison. Of further Jongg with friends, we children listened to the work that is dedicated to her. set up to promote crossover works includ- I would be premiering a brand new guitar interest to me was the fact that Burkhard had “From Kakadu is in four sections: “Grave,” “Co- piece that he had just talked Lou into writing records or the radio. We heard a lot of Ha- ing electronic media, curated by the music been a close family friend of Eva-Maria Zim- Miya Masaoka modo,” “Misterioso,” “Cantando.” The fi rst and for the Other Minds Festival. It turned out waiian music and I can remember the sliding magazine The Wire. mermann’s family in Bern, and that the piece String Quartet No. 2, “Tilt” (2015) third sections are based upon the Kakadu that one of Lou’s hesitations about the guitar and waving guitar tones over a gap of almost was premiered on January 26, 1945, exactly World Premiere Birds and Traces draws on the long and melody; the fourth section grows from it into over the years had been the relative lack of eighty years. The wonderful sculpture and seven days after my birth. On that occasion The composer writes, “I was walking in Cen- borderless migration of birds as inspiration. a long, singing line. This work is an intimate sustain and volume of the classical guitar. He architecture of Nek Chand, near Chandigarh it was performed by soloist Stefi Geyer, with tral Park in NYC near where I live, and, like a Using themes of spring, birds and the eff ects one, being concerned with the deep content- said there was a diff erent guitar he wanted to set me to composing three small pieces in conductor and commissioner Paul Sacher, kid, I was trying to balance on a log with my of climate change, their residency involved ment that I feel whenever I return to Kakadu. use, and he couldn’t identify it until he heard it. admiration. My friend Dave Scully very kindly whom I once had had the pleasure to meet, arms outstretched and tilting one way and local children re-interpreting Norwegian This feeling is ever-present in the dance-like I made several trips to Lou’s house with trunk lent his richly-toned steel guitar for me to leading the Zurich Collegium Musicum. then the other. I began thinking about the songs about birds and spring, making origami second section, and in the singing line, and its loads of guitars, and he rejected them all until explore for composing. National Reso-Pho- act of leaning and tilting, and the balancing birds and mapping migration routes. The counterpoint, of the fi nal Cantando.” he immediately recognized in the National nic Guitars of San Luis Obispo loaned an point. One can be close to the point of falling, resulting work was presented as a concert Steel the sound he yearned for. Lou then instrument to the consummate artist David but within that range, there is a spectrum of performance featuring acclaimed Norwegian set about working with the National Reso- Tanenbaum for the premiere performance. nuances and tension and a sense of gravity phonic Company to modify the frets into the Unlike the classical guitar, the National Steel that is at play. 22 23 accordionist Frode Haltli, three installation Peter Sculthorpe Even as a teenager, however, Sculthorpe had While no documents actually record a histor- The two outer movements are both marked The third movement, On High Hills (recalling rooms alongside facts on bird migration and Quartet No. 14, “Quamby” (1998) become aware of two darker sides to his ical massacre on that particular spot, the sto- Inquieto and characterized by what Sculthor- also the mountain township of White Hills, a traces from their working process. The Fourteenth Quartet was one of several Tasmanian idyll. One was the island’s early ry bears a strikingly close resemblance to an pe described as the “especially important” virtual ghost town when Sculthorpe was a scores Sculthorpe composed in the late 19th century history as a British penal colony. attested massacre at Cape Grimm in 1828, questioning interval of a falling tritone. Only child) is a “calm and lyrical,” somewhat wistful, The new version of Birds and Traces, Birds 1990s and early 2000s, in which the elder (Sculthorpe only later would discover that while “Quamby” was reported elsewhere to after completing this music, directly related recollection of Sculthorpe’s own childhood, and Traces II, is a collaboration between the composer revisited his Tasmanian youth his paternal great-grandfather had arrived in be the name of an Indigenous warrior shot in in his mind to the massacre legend, did he which he described in his 1999 memoir as three artists Ratkje, Hinde and Haltli, and is a and childhood. He was prompted by the Tasmania from England in 1842 as a 16-year- 1832. The “legend” caught Sculthorpe’s inter- realize that it reminded him of the famous being happy yet solitary. The introduction special adaptation for a performance at the task of writing a book of autobiographical old convict). The other dark history was the est as a child, and inspired his later attempts, question motive “Muss es sein?” (Must it and coda include what Sculthorpe calls SFJAZZ Center for the Other Minds 20th memoirs that was published to coincide “Black Wars” of the 1820s and 1830s, the last as a young graduate in the 1950s, to collect be?) in the fi nal movement of Beethoven’s “seagull sounds,” produced by bowed har- Anniversary Festival. with his 70th birthday in 1999, under the title stand of the island’s embattled Indigenous every piece of information he could uncover last quartet (Op. 135), the very question that monic glissandi, a personal trademark of his Sun Music: Journeys and Refl ections from remnants, already systematically hounded about the “extinct” musical culture of the seemed to him to be raised by the Quamby string works from the late 1960s onwards. Maja Ratkje writes, “Birds And Traces II is an A Composer’s Life. It included an especially off their traditional lands and devastated by Tasmanian Indigenous tribes. legend: must such a tragedy really have The movements main melody, the original audio-visual composition combining voice moving account of his childhood, and the title imported European diseases. befallen Indigenous Tasmanians at the hand version of the tune he later also reused in and electronics, accordion and installation of the fi rst chapter, “My Country Childhood,” Sculthorpe chose to address these issues in of White settlers? the opening “Hills” movement of My Country art. Birds fl y around a world with no borders, also became the title of his orchestral piece, The story told to settler children like this “Tasmanian” quartet, composed on com- Childhood. It is traceable to his adolescent guided by their instincts. Flocks of mecha- My Country Childhood (1999). Composed Sculthorpe in the 1930s and 1940s was that mission from the Chamber Music Society of In the Prelude, the second violin introduces association of the tune and mood of the song nized origami bird sculptures are gradually a year earlier in 1998, while he was actually Indigenous people had all “disappeared” his home-town of Launceston. He later also the “Must it be?” motif, above susurrating “Somewhere Over the Rainbow” from the Wiz- animated on migration routes around the writing the book, the Fourteenth Quartet, as early in colonial times, a few survivors being adapted the Quartet as a work for chamber ostinatos and drones from the rest of the ard of Oz, with the Tasmanian highlands. globe. We have long been fascinated by Sculthorpe has pointed out, was not only shipped “for protection” to Flinders Island, orchestra, entitled simple Quamby (2000). ensemble, the didjeridu gradually emerging birdsong. Is it a language? Music? Improvisa- “concerned with my feelings about mountain- before dying of imported diseases. Time Later still, he reincorporated changes made toward the end and breaking into its charac- After returning to the questioning music of tion? An alarm call? In our understanding and ous landscapes in northern Tasmania”; but had veiled even outright acts of genocide in for Quamby into the fi nal revised version teristic, growling overtones. the work’s opening, the fi nal movement, At relationship with birdsong, it’s these things also “in writing this work, I set out to compose legend. On visits to Westbury, near Launces- of String Quartet No. 14, dated September Quamby Bluff , includes at its center a more and much more. The second movement, In the Valley, is left the kind of string quartet that I longed to write ton, Sculthorpe’s father told him the legend 2000. refl ective episode (come preghiera) with a of Quamby Bluff , where native inhabitants to the strings alone. It also opens with the hymn-like tune, also closely related in many “The music partly draws on Norwegian in my youth.” Thus, from the vantage point of were said to have been hunted down and tritone fi gure, but now slower, and more of its features (including its 5/4 time) to the traditional music, adapted through the lens a mature and successful composer, the work herded over a precipice by colonial troops. intense, its contrapuntal treatment solemnly second movement of My Country Childhood. of contemporary music and the electronic recaptures the mood of enthusiasms of his Their death cries, “Save me,” or “Quamby” in portentous. Sculthorpe originally entitled the Sculthorpe intended the short coda to bring avant-garde. Recordings of young En- student days—for music like Delius’s Sea the local language (so the legend went), were movement, From Legges Tor, after another “some resolution at the close.” glish-speaking children re-interpreting Nor- Drift, and Mahler’s Der Abschied. In a letter supposed to have given the spot its name. It natural mountainous spot in Tasmania, and wegian songs (in Norwegian!) about birds and to a fellow college student written during a was a generic story, a vestige of colonial guilt as he pointed out, the music “is sombre and —Graeme Skinner, spring, are manipulated and played back live, vacation spent back home in Tasmania at at such brutality dressed up with a touch of somewhat threatening, like the rocky peak Sono Luminus Records, 2014 interwoven with live vocals and accordion. A his family’s Georgian homestead, “Mount sentimentality and perpetuated, paradoxical- itself.” mechanized ensemble of swanee whistles Esk” in 1948, young Sculthorpe indicated he ly, by generations of the descendants of the join the chorus of abstracted bird imitations. had adopted “a kind of Pantheism…gradually, fi rst white settlers for him consumption as a The form of the music is a journey on which through my love of pastoral things, of old “gothic” tale for children. the listener can explore Ratkje, Hinde and buildings, of country churches, of birds and Haltli’s interpretation of nature, the mechan- trees…Mount Esk is wonderful now…Pastoral. ical and the acoustic, through live-controlled Green, green…green.” electronics in sound and visuals. Birds and Traces II creates an orchestra of calls from the earth’s nature that is under threat.” 24 25 CONCERT 2 GLORIOUS RAVAGE a panoramic free jazz song cycle by LISA MEZZACAPPA

SATURDAY, MARCH 7, 2015 Charles Amirkhanian Pauline Oliveros film and animation by SFJAZZ CENTER Dumbek Bookache (1986) Twins Peeking at Koto (2014, world premiere, JANIS CRYSTAL LIPZIN 7 PM PANEL DISCUSSION Ka Himeni Hehena commissioned by Other Minds) LED BY CHARLES AMIRKHANIAN (The Raving Mad Hymn, 1997) Pauline Oliveros, accordion KATHLEEN QUILLIAN Marathon (1997) Frode Haltli, accordion 8 PM CONCERT ALFONSO ALVAREZ Charles Amirkhanian, Miya Masaoka, koto voice, with pre-recorded tape IMPROVISED Don Byron (ACCORDING TO PLAN) Errollyn Wallen Selections announced from stage The Errollyn Wallen Songbook: Don Byron, clarinets Guru John Betsch, drums About Here Cameron Brown, bass featuring What’s Up Doc? Aruàn Ortiz, piano FAY VICTOR Psalm Road NICOLE MITCHELL Errollyn Wallen appears with generous support North KYLE BRUCKMANN from John S. Foggy and Trinity Laban Conservatoire Daedalus of Music and Dance CORY WRIGHT Errollyn Wallen, voice and piano Pauline Oliveros appears with generous support VINNY GOLIA Del Sol String Quartet from Barbara Bessey DARREN JOHNSTON Don Byron appears with generous support from MICHAEL DESSEN Intermission the Robert D. Bielecki Foundation premieres JOHN FINKBEINER MYRA MELFORD OCTOBER 1&2, 2015 MARK DRESSER at BRAVA THEATER TIM PERKIS San Francisco, CA KJELL NORDESON JORDAN GLENN www.gloriousravage.com Divination (2012), photomontage by Vanessa Woods

27 CONCERT 2 Errollyn Wallen I am delighted to be joined in Road, North I’ll set you free, The Errollyn Wallen Songbook and Daedalus by San Francisco’s own Del Sol Free from yourself. PROGRAM NOTES The composer writes, “It is a delight and an String Quartet. “My set tonight is dedicated I’ll set you free. honor to be invited back to Other Minds. I to Charles Amirkhanian in celebration of his Free from your money... can honestly say that meeting Charles 70th birthday.” Amirkhanian and Carol Law in London, ap- About Here pearing at Other Minds and being a resident Guru Dedicated to my friends at the Djerassi for a month at the Djerassi Resident Artists I have the answer. Resident Artists Program Program in 1999 changed my life. Charles The answer’s in the bottle, I sit upon the hillside Charles Amirkhanian Charles Amirkhanian rain for performance by their music director had heard my songs and saw something The bottle’s on the mountain Among the redwood trees Dumbek Bookache IV (1986) Ka Himeni Hehena David Robertson, two of his E.I. players, and special in them. These songs (words and And the mountain’s by a river I ask for nothing special but a glimpse of the The text of this work was composed during (The Raving Mad Hymn, 1997) the composer on December 19th, 1997 at the music) sprang unbidden to me and began And the river runs to me. moon in the sun. an April 1986 month-long concert tour of This text-sound composition is in the rhyth- Cité de la Musique in Paris. as a secret part of my musical life; they were I have the answer. A rare moon. Australia and incorporates occasional place mic sound poetry style of my earlier live per- written for my own pleasure and for me to And it’s what you want to hear names (Adelaide, Geelong) of that country. It formance works Dutiful Ducks, Church Car Charles Amirkhanian sing. I have been amazed at the journey they And I’ll tell you what to eat …just grateful for the air out here was composed originally for two live voices and Dumbek Bookache. It was inspired by Marathon (1997) have subsequently been on. I will be forever And I’ll tell you what to wear. And a view of heaven, and taped percussion accompaniment, a trip to the Hawaiian island of Maui, during The breathless pace of a marathon is repli- grateful to Other Minds for being an import- And the road is not too long Such a view of heaven. realized on a Fairlight synthesizer at the which time I became fascinated with names cated in the headlong rush of this two-voice ant part of that journey. And the way is not too hard. Australian Broadcasting Corporation. All on various streets with Hawaiian names on sound poem and the overlapping divisions I sit upon the hill. But I, only I have the answer. performances to date of the work have been very elongated sings and subsequently pur- of the word (mara, thon). It was composed “Many of my songs have been performed by on an airplane riding toward San Francisco other singers from all genres, featured in fi lms I sit upon this hilltop, by the composer with two pre-recorded chased several Hawaiian dictionaries. For nobody wants to be alone, in anticipation of presentation at the Opus — and their longest journey has been to outer I hear coyotes cry. voices (his own). The roots of the com- Nobody wants to be a fool The Hawaiian language contains only 7 con- 415 Marathon, a day-long event featuring Bay space on the NASA STS-115 mission with The life behind me pales. poser’s background as a percussionist are And you want to live forever. evident in the contrapuntal writing for voices sonants along with the 5 vowels familiar to Area composers and presented by Common astronaut Steve MacLean. Many have been Somehow up here, in which words are transformed into percus- most Romance languages. These latter are Sense Composers Collective. recorded on my albums Meet Me at Harold And nobody wants to be alone Soon I know there’ll be a full moon, sion objects. combined in various inventions to form dip- Moores, Errollyn and Brodsky Quartet’s Nobody wants to be a fool The word is reminiscent of the fundraising A new moon up here. thong-like sounds and intermixed with glottal Moodswings. In 2006 The Errollyn Wallen And you want to live forever The interpolated voices in this version (IV) stops and extended emphases to make up drives I did on KPFA Radio over the years Songbook was published by Peters Edition I’ll set you free. I sit upon the hillside. are those of three former American pres- for the scarcity of consonants and to form and therefore carries with it a certain trepi- who publish many of my concert works. Among the redwood trees. idents: Woodrow Wilson, Warren Harding, the quantity of various words necessary to dation. We’d interrupt programming of music And the answer’s in a bottle Among the scattered stars and Calvin Coolidge. Version IV was included defi ne the world of Hawaiian culture. and talk to raise funds (the concept was “About Here and Road were composed at And the bottle’s on a mountain I see a full moon, in a theatre piece commissioned by visual created at KPFA in the early Fifties and now Djerassi, and it feels good to bring them And the mountain’s by a river A blue moon artist Carol Law and the composer, commis- The piece is written in four-part counterpoint is used by public radio and television every- back home. The fi lm for Daedalus, featur- And the river is mine. and can be performed by two voices with where). Some composers’ names fi gure in ing dancer Tom Sapsford, is from Jordan sioned by the Newport Harbor Art Museum Up here. in Southern California. Entitled “Veto,” the two pre-recorded on tape or other various the piece (Babbitt, Bazelon, Thomas Oboe Town, the multi-media show which I took to Nobody wants to be alone work commented on the abuses of Ameri- combinations. It was composed at the Bel- Lee) the last to which my friend composer Edinburgh Festival in 2001 with the Errollyn Nobody wants to be a fool can politics during the Iran-Contra period. lagio Study and Conference Center in Italy Charles Boone responded by nicknaming Wallen Company. The fi lm is by the digital And you want to live forever - after preliminary work at the Tyrone Guthrie himself Charles “Bassoon” Boone. fi lm partnership honey brothers—Mark and I’ll set you free, Centre in the Republic of Ireland and com- Daniel Goddard. Free from yourself. missioned by the Ensemble Intercontempo-

28 29 What’s up Doc? Psalm Sky I need to feel cold, Are these the things you would have Pauline Oliveros for Evie Alice Booton-Mersh ochre red Feel the sea, talked about? Twins Peeking At Koto Sometimes I get so lonely that on this horizon I wanna be a part of ice and storm. Are these his wings you would have for two accordions and koto (2015) I eat the television How near, how far did you fall into light? as I drive I want to hold you, dreamt about? World Premiere Sometimes I get so lazy that Evie Alice, were you born without fear? Your cold, cold heart, But how things change Pauline Oliveros writes, “Twin Peaks is a San I eat the television And did the sun shine, shine down on you? This road is mine My arms outstretched to greet the dawn. Francisco landmark at the end of Market St. And did it shine on you? Ah, near the geographical center of the city. The REFRAIN I’m gonna sail by night and think all day, Yet stay the same Ohlone Indians may have used Twin Peaks as What’s up Doc? Here’s one — here’s human life like North I’ll sail by night and I’ll think all day, a lookout point before the Conquistadores What’s up Doc? any other new child The Seven Mountains Can you still fi nd him? I’ll sail by night and I’ll drink all day of came. In any case a lot of peeking goes on Is it the words you say But save her, feed her Will you still fi nd him? North. from Twin Peaks. The 360 degree view is Or the way you say it? And tell the world, who ought to When the wind is in the north, of course inspiring. Since two accordions know her name, When the mountains sigh. North He is fallen, implied twins the title for the new piece was Sometimes I get so cold that I, And be her cradle That is when I’ll take my boat Fallen to the sea irresistible. The peaks are the most famous I hug the television For what glory in your arms. And sail without a cause. Sometimes I get so crazy that Daedalus Yes, you can fi nd him twins in the city. I hug the television How near, how far did you fall into light? I’ll sail by night and think by day, “With game-like options for the players Twins Evie Alice, were you born without fear? I’ll sail by night and I’ll think by day, Is this the life you would have hoped for? Peeking at Koto is an interactive improvisa- The tears fall in my soup And did the sun shine, shine down on you? I’ll sail by night and I’ll think all day of Is this the life you would have died for? tional trio. Each player is listening to one or And dance around the room And did it shine on you? North. But how things change To the tune that’s in the news both of the other players to react by shad- Everyone sings And did it shine? When the stars are beating fast, Yet stay the same owing some aspect of what is heard, or by Everyone is smiling When the dark is light, responding in time. Each has one occasion Is the life you would have wished for? The colours on the screen That is when I’ll steal my way to listen as a soloist ignoring the other two Is this the life you would have killed for? Confound my misery Road And I’ll gird these spirits tight. though one or the other may be shadowing or But how things change responding to the solo. Sometimes I get so weary that Sun I’ll sail by night and think by day, Yet stay the same I drink the television going down I’ll sail by night and I’ll think by day, “The metaphor of Twin Peaks may be heard on Palo Alto I’ll sail by night and I’ll drink all day of or not. For me it is an essential part of San Sometimes I get so churlish that Can you still fi nd him? as I drive North. Francisco where there is wild life at its center.” I drink the television Will you still fi nd him? Moon …of North, What’s up Doc? He is fallen, What’s up Doc? turning up Don Byron When I lighted to this place, Fallen to the sea Mmm…is it the words you say on Palo Alto Selections to be announced from When I smelled the sea, Or the way you say it? as I drive the stage I knew I’d be here again, This road is mine It’s where I want to be.

All song texts © Errollyn Wallen. Reprinted by permission. 30 31 CONCERT 3

SINCE 2002

SUNDAY, MARCH 8, 2015 Charles Amirkhanian Tigran Mansurian SFJAZZ CENTER Miatsoom (Reunion, 1994-97) Romance for Violin and Strings Pre-recorded tape (2011, U.S. Premiere) 7 PM PANEL DISCUSSION Movses Pogossian, violin LED BY CHARLES AMIRKHANIAN Tigran Mansurian SOTA Orchestra, Bradley Hogarth, 8 PM CONCERT Canti Paralleli (2007–08, U.S. Premiere) Conductor (texts by Paghtasar Dpir, A CENTENNIAL MEMORIAL: Yeghishe Charents, Avetik Isahakyan) Michael Nyman THE ARMENIAN GENOCIDE Song of the Lost Love Symphony No. 2 (2014. U.S. Premiere) Because of Love SOTA Orchestra, Bradley Hogarth, On the Blue Lake Conductor An Evening… My Soul Snow on the Mountains Hasmik Papian appears with generous support Autumn Song from Anita Mardikian and Pepo Pichler My Quiet Evening... Michael Nyman appears with generous support Hasmik Papian, soprano from Christopher and Alice Allick Tigran Mansurian appears with generous support SOTA Orchestra, Bradley Hogarth, from Caren Meghreblian and Harry Bernstein Conductor

Intermission

33 CONCERT 3 ous Karabakh, and our excellent tour guide, Tigran Mansurian and represents and re-presents new material, Baidzar Grigorian, at the National Museum of Romance for Violin & Strings (2011) old material of mine and of other composers PROGRAM NOTES History in Yerevan. US Premiere (such as Brahms’ Symphony No. 1), as well Tigran Mansurian writes, “When the classical as ideas of mine that have already been pre- The fi nal mix was done with engineer Ed Her- composers write instrumental “romances,” sented in orchestral form, or by the Michael rmann of Garuda Records in San Francisco. sometimes the synthesis of the singing Nyman Band in proto-orchestral and even, Assistance with digital signal processing nature imposed by the “romance” genre with as the opening movement of Symphony No. was provided by Alex Artaud of the Tribu decorative musical gestures becomes truly 5 the 6th movement of my String Quartet Studio in El Cerrito, California. Miatsoom captivating. No. 2. Charles Amirkhanian There was little fuel for automobiles and the Ben Amirkhanian in is dedicated to my father, Benjamin Vresh Miatsoom (Reunion, 1994-97) city thoroughfares and highways lay virtually Yerevan, with mon- Amirkhanian, who will celebrate his 100th “What kind of musical structure would it be if “Symphony No. 2 began its life as Pozcatek, uments to Komitas birthday this Summer. Born on July 17, 1915, its melodic foundation were based on tunes a ‘Michael Nyman Band’ ‘soundtrack’ that Notes by the composer: silent. But always there was music. Vartabed and William This half-hour tape piece explores the Saroyan. in Fresno, California, three months after the bearing the characteristics of Armenian me- I wrote for the Michael Nyman Band to sounds of the Republic of Armenia as expe- Armenians are a most musical people, genocide order of April 24, 1915, his middle dieval spiritual taghs? A tagh is an Armenian accompany a selection of sequences from rienced by myself and my father Benjamin and one of the most revered fi gures in the name translates as “Revenge.” However, as form of monadic song writing, taking fl ight post-war Polish fi lms that I selected and Amirkhanian during our fi rst (and only) trip country is the late composer Komitas, whose anyone who knows him will attest, he is a kind, from emotional expression and expansive in edited in 2009. That work has already been there in August 1994. Both he and I were documentation of Armenian folk and liturgi- peace-loving gentleman. form and rhythm. Acquaintance with them reworked as Pozcatek for piano trio (re- born in Fresno, California, in 1915 and 1945 cal music dating from the late 19th and early enables one to appreciate fully the folk music corded by the Fidelio Trio for MN Records) Tigran Mansurian respectively, and only had heard about our 20th Centuries saved a cultural heritage collecting of my spiritual father Gomitas who and a song cycle Ex Votos Songs with texts Canti Paralelli (2007–08) homeland from friends and relatives who had of inestimable value. An unexpected and preserved our music by transcribing hun- transcribed from Mexican Ex Votos, hence US Premiere visited there. The experience of seeing the profound occurrence took place the day of deal of the raw material of the work. But dreds of songs in the early 20th Century. the possible subtitle for this symphony: Ex Tigran Mansurian writes, “Canti Paralleli land and visiting with the people fi rsthand our arrival as the long-serving Catholicos of the fascinating infl ections in English and the Photos. The symphony consists of four inter- was written between 2008 and 2012, fi rst “This is the question that I contemplated while was an overwhelmingly moving personal the Armenian Orthodox Church, Vazken I, unique sonorities of the Armenian language connected movements.” as a work for soprano and piano, and later writing Romance for violin and string orches- experience for us together. The piece is died. This event was met with an outpouring enrich the tapestry of the soundscape. in a version for soprano, piano and string tra. I made this composition at the suggestion The work was premiered in November 2014 called Miatsoom (Reunion) and was commis- of sadness by the population as a whole, not orchestra. At the heart of the work are four of my good friend, the Moldovan-Austrian by a youth orchestra in Mexico City, at the sioned by New Radio and Performing Arts unlike the death in the U.S. in 1963 of John F. Thanks to all the wonderful people who pairs of poems, each by one of 4 Armenian violinist Patricia Kopatchinskaja, and I dedi- re-opening of a refurbished movie theatre, with a grant from Meet the Composer. It was Kennedy. One segment of the composition graciously allowed us to record them for classics (Baghdasar Dpir, Yeghishe Charents, cated it to her.” and the performance there was accompa- composed between 1994 and 1997. features liturgical music performed by a con- this work. They include our relatives Yuri tralto and organist at the Yerevan church of and Eugenie Amirian, and Narine and Avetik Isahakyan, Vahan Teryan). Each pair nied by a miscellany of clips from historical Michael Nyman The soundscape of the country had been al- Soorp Sarkis, as the microphone is pointed Maria Vartanian, three folk musicians at the of poems both complement each other and Mexican fi lms of the 20th Century. The com- Symphony No. 2 (2014) tered radically at that time by socio-econom- at the feet of mourners shuffl ing past the countryside church of Gehrart, the com- create a relationship of contrast between poser intends the music to stand on its own, US Premiere ic events pursuant to the dissolution of the cleric’s open casket. posers Tigran Mansurian, Ashot Zohrabian themselves. This way, every one of the songs and, as the references to famous scenes in Michael Nyman writes, “The series of 19 sym- Soviet Union. Due to the ongoing war with and Aram Satian, composer Lazar Saryan in the pair is featured more completely Mexican fi lms are less familiar in the U.S., has phonies that I started writing in December Azerbaijan, an economic boycott and lack of During the course of this composition you will who volunteered his antique clock chime, thanks to the vicinity of the song resounding decided to omit them for this presentation. 2012 as a 70th birthday present for myself foreign investment had crippled the country hear my father Ben speaking with relatives the Armenian Folk and Minstrel Ensemble before or after it. This is the U.S. premiere of Symphony No. 2. in March 2014 is more or less half complet- in the post-Soviet era. The fabled fountains and friends who explain the origin of his directed by Rouben Altounian, translators “As I was nurturing in me these Canti Paralleli ed and might deserve as many words of of the capital city of Yerevan were unable to family name, show him the sights of the Nellie Malkashian, Hamo Moskofi an and towards their mature state, I would relive in explanation as there are notes. Suffi ce it to function. At the time of our visit, electricity country, and sing him the songs they have Harut Mugurditchian, a government offi cial, memory Plutarch’s “Parallel Lives” that I had say that the symphonies are conceived in the and hot water were available for only one been handing down for generations. Ordi- Vladik Hagopian, General Secretary of the read years ago.” form of an extended network that ‘archives’ hour in the morning and one in the evening. nary ambiences and incidents form a great Supreme Soviet of the Republic of Mountain- CHARLES AMIRKHANIAN CHARLES 34 35 THOUGHTS FROM COMPOSERS: FEATURED “The atmosphere there (San Francisco and Djerassi) was fi lled with music and human warmth.” position, the fi rst compilation of electronic His music is available on two solo CDs, Walk- he has led residencies at many universities, ARTISTS —TIGRAN MANSURIAN (MARCH 31, 2004) music by American women composers, the ing Tune (Starkland Records) and Mental Ra- including Harvard and Columbia, and was a only compilation of George Antheil perform- dio (New World Records) and also has been visiting Professor at MIT and at SUNY Albany, ing his own piano music, and fi rst recordings released on Cantaloupe, Centaur, Wergo, teaching theory, saxophone, improvisation, of unpublished music by Marc Blitzstein. Other Minds, Perspectives of New Music and and composition. Fylkingen, among other imprints. As a radio producer, Amirkhanian pioneered the broadcasting of minimalist music, Amirkhanian resides in El Cerrito, California, sound poetry, radio happenings, and, with with his wife visual artist and psychotherapist record label, a weekly radio program, and person with pathbreaking composers. And Richard Friedman, the World Ear Project, Carol Law. commissioning new work annually from com- from 1988-1991 he co-directed, with John Lif- bringing continuous recordings of ambient posers around the world. ton, the Composer-to-Composer Festival in sounds to the airwaves, beginning in 1970. Telluride, Colorado, which served as a model Many of his hundreds of interviews with com- He also established an ambitious website for the Other Minds Festival. posers, performers, poets and intermedia Frode Haltli Charles Amirkhanian (radiOM.org) that provides access to new artists are available for listening on radiOM. Frode Haltli (b. May 15, 1975, in Levanger, Nor- Charles Amirkhanian, co-founder with music information for listeners in 165 coun- For his work at KPFA he received the Letter org, the second website of Other Minds, way) began playing the accordion at the age Jim Newman in 1992 of Other Minds, is its tries and territories. Beginning with a collec- of Distinction from the American Music designed to preserve the voices and work of of seven. As a child he played folk music but Executive & Artistic Director. Born in Fresno, tion of 4000 reel-to-reel studio and aircheck Center in 1984 and the Deems Taylor Award cutting edge artists. soon moved into diff erent forms. Playing mu- California, on January 19, 1945, he recently tapes from the KPFA archives transferred from ASCAP in 1989. At Other Minds, he Don Byron sic by composers such as Per Nørgård, and Amirkhanian has been awarded numerous celebrated his 70th birthday. As a composer, in 1999 to Other Minds, a 14-year project of received the 2005 Letter of Distinction from New York-born Don Byron (b. November Arne Nordheim, as well as classical music, he composer commissions from the National he is renowned for his text-sound composi- digitizing unique analog audio fi les has blos- the AMC and in 2009 the ASCAP/Cham- 8, 1958, Bronx, NY) is a singular voice in swiftly developed virtuosic instrumental skills Endowment for the Arts, Westdeutscher tions that employ speech sounds in rhythmic somed into one of the most impressive online ber Music America Award for Adventurous an astounding range of musical contexts, and a deep understanding of new music. Rundfunk (WDR), Meet the Composer, the patterns resembling percussion music, with reference libraries of experimental classical Programming of Contemporary Music. In exploring widely divergent traditions. As BBC, the Australian Broadcasting Corpora- infl uences from Ernst Toch, Gertrude Stein, music. This rich preservation site, with univer- 1999 he was awarded the fi rst Ella Holbrook clarinetist, saxophonist, composer and In his early years he won numerous national tion, the 1984 Summer Olympics, the Arch Steve Reich, and Clark Coolidge. He also sal free streaming access, is supported by a Walker Fellowship for a year-long residency arranger, he redefi nes every genre of music contests, raising interest in and appre-ciation Ensemble and Ensemble Intercontemporain composes electroacoustic essays incorpo- generous organizational partner, The Internet at the Rockefeller Foundation’s Bellagio he plays, be it classical, salsa, klezmer, hip- of the accordion to unprecedented heights. and other organizations. His music has been rating acoustic ambient sounds alongside Archive, based in San Francisco. Study & Conference Center on Lake Como hop, funk, rhythm & blues, gospel, or any jazz Haltli studied at the Norwegian State Acade- choreographed by Bill T. Jones, Anna Halprin, more traditional instrumental music sources in Northern Italy, where he established an style from swing and bop to cutting-edge my of Music, then at the Royal Danish Music Amirkhanian served as Music Director of Margaret Fisher, Nancy Karp + Dancers, to create disjunct, trance-like dreamscapes electronic music facility for the foundation downtown improvisation, documented on Conservatory in Copenhagen, graduating KPFA Radio in Berkeley (1969-1992) and and Richard Alston (Ballet Rambert). From and hörspiels. and composed a ten-movement tape work more than a dozen of recordings as band- in 2000. Executive Director of the Djerassi Resident Pianola (Pas de mains, 1997–2000) for WDR 1975-1986 he performed theatrical realiza- leader, including the Grammy-nominated In addition to programming and directing the Artists Program (1993-1997). From 1977-1980 Cologne. tions of his sound poetry with projections and Jazz Times Record of the Year 2004, Since then, he has established links with Other Minds Festival since 1993, Amirkha- he was a full-time instructor in the Interdis- by Carol Law at venues such as the Stedelijk Ivey-Divey. For the past two decades, Byron several composers, notably Maja Solveig nian has led the organization in producing ciplinary Creative Arts Department at San In addition to his work as a composer, Museum (Amsterdam), the Walker Art has been consistently voted best clarinetist Kjelstrup Ratkje who is one of several who many additional concerts devoted to the Francisco State University. In San Francisco, percussionist and poet, Amirkhanian has Center (Minneapolis), the San Francisco by leading international music magazines. have written especially for him; others in- work of the American experimental tradition Amirkhanian hosted and programmed the produced several pivotal commercial Museum of Modern Art, New Langton Arts He is a 2012 Doris Duke Performing Artist, clude Bent Sørensen, Rolf Wallin, Atli (Cage, Cowell, Rudhyar, Nancarrow, Hov- Exploratorium’s highly regarded Speaking of recordings, including the complete works for (San Francisco) and throughout Australia. a recipient of Guggenheim and US Artists Ingólfsson, Hans Abrahamsen, Jo Kondo haness, Antheil and others), establishing a Music series (1983-1991), bringing live audi- player piano of Conlon Nancarrow, the fi rst More recent performances have been in Fellowships. In 2009, he was awarded the and Sam Hayden. ences together for intimate conversations in compilation of American text-sound com- Berlin, Beijing, Linz, Huddersfi eld, Moscow Rome Prize and was a fi nalist for the Pulitzer and St. Petersburg. Prize for Composition. Also a gifted teacher,

36 37 Haltli has a broad repertoire of contemporary 2946, with the NY Little Symphony, the work propriety. He vigorously pursued alterna- In the course of time he developed an sensitivity and his understanding of the spirit classical works, including several concertos was awarded the following year’s Pulitzer tive “just intonation” procedures that, in his increasingly simple and almost liturgical kind of the age fi nd expression in his attempt to for the accordion. In 2012 Haltli released Prize, eliciting Ives’ dismissive comment, capable hands, had the capacity to melt the of style, characterized mainly by the organic rebuild musical bridges that were crumbled ‘Arne Nordheim Complete Accordion Works’ “Prizes are for boys.” most hardened heart. His Main Bersama-Sa- synthesis of ancient Armenian musical in the fi nal years of the twentieth century. (Simax Classics) to great critical acclaim. ma I, for suling, French horn and gamelan is traditions and contemporary European He has played regularly with the trio POING, Lou Harrison In 1951 he taught at Black Mountain College one of the most cherished examples, as is composition methods. His oeuvre comprises Mansurian’s music is lyrical. And the lyrical alongside saxophonist Rolf-Erik Nystrøm and Born in Portland, Oregon, on May 14, 1917, Lou in North Carolina, but by 1953 he was back his “Chaconne” from the Suite for Violin and orchestral works, seven concerti for strings images of his music possess a suggestive double bass player Håkon Thelin. They have Harrison’s musical style was, in the words of in California, taking up residence in rural American Gamelan, composed in collabora- and orchestra, sonatas for cello and piano, power that, despite its reductionist slant, commissioned more than 60 works from Leta Miller, “ shaped by the San Francisco Aptos, near Santa Cruz, and setting to work tion with Richard Dee. three string quartets, madrigals, chamber nonetheless makes it sound emotional. composers all over the world and recorded of the 1930s. There he studied composition on a series of works embracing Pacifi c Rim music and works for solo instruments. Tigran Mansurian was a guest composer several albums. The group performed at with Henry Cowell; accompanied such danc- infl uences. In 1963 he, along with Victor Lou Harrison was, to date, the only composer at Other Minds Festival 10, at which time Other Minds 12 in 2006, playing three works er/choreographers as Carol Beals, Bonnie Jowers, Robert Hughes and Gerhard Samuel actually to appear at two Other Minds Festi- In a short time he became one of Armenia’s he performed Havik with violist Kim Kash- by Ms. Ratkje, including the vividly titled Ron- Bird, Tina Flade, and Lester Horton; and began a small summer festival that evolved vals—OM 2 (1995) and OM 8 (2002), shortly leading composers. He established strong kashian and percussionist Joel Davel, as well do-Bastard-Overture-Explosion (2004). He staged high profi le percussion concerts with in the long-running Cabrillo Music Festival of before his death at 85 on February 2, 2003. creative relationships with international as his adaptations of ten songs transcribed also performed her Gagaku Variations with John Cage. At the Golden Gate Exposition Contemporary Music. performers and composers such as Valentin by Komitas, both in their American pre- the Del Sol String Quartet. on Treasure Island in 1939 he fi rst heard a live Silvestrov, Arvo Pärt, Alfred Schnittke, Sofi a In 1967 he met his life partner William Colvig mieres. The concert took place at the Yerba Indonesian gamelan orchestra (an ensemble Gubaidulina, and Edison Denisov, as well as who helped him invent instruments replicat- Buena Center for the Arts Theater on March Frode Haltli has developed several transcul- composed primarily of percussion, including performers Kim Kashkashian, Jan Garbarek, ing the Balinese gamelan but with his own just 4, 2004. As are most other of our festival tural music projects, in India, China, Japan, metallophones with various types of resona- and the Hilliard Ensemble. intonation tunings. Chief works of this period concerts, the performance is available for North Korea, and Egypt. He has also played tors, and gongs of various sizes, shapes, and are La Koro Sutro for chorus and gamelan, Mansurian was the director of the Komitas free streaming at radiOM.org by searching by music rooted in Norwegian traditional music. orientations). In the city itself he frequent- The Suite for Violin and American Gamelan Conservatory in the 1990s. He has recently the composer’s name. On his 2007 recording “Passing Images” ed the Chinese opera, which welcomed (ECM), Haltli is joined by trumpeter Arve and the puppet opera on gay themes Young retired as an administrator and teacher, and audiences for 25 cents a show. He and Cage Charles Amirkhanian fi rst met Mansurian Henriksen, viola player Garth Knox, and Caesar. He completed four symphonies and Tigran Mansurian concentrates exclusively on composition. delighted in rummaging through the city’s during a trip to Armenia in 1994, and he vocalist Maja Ratkje, for a selection of lyrical numerous concerti. Tigran Mansurian, the son of Armenian par- And his music is gaining wide circulation automobile junkyards and import stores for recorded the composer, seated at a piano explorations of folk themes couched in the ents, was born on 27 January 1939 in Beirut thanks to ECM Records in Munich, where anything that would ping, bong, or twang, and Ned Rorem, a long-time acquaintance, and in the Komitas Conservatory, discussing his form of contemporary improvised music. (Lebanon), where he attended the French producer Manfred Eicher has continued to spent hours testing the pitch and resonance guest at Other Minds 9 in 2003, summarizes reverence for the work of Komitas Vartabed Catholic School. 1947 his family moved to record a large selection of his music. of fl ower pots in the local nurseries.” Lou Harrison’s oeuvre thusly: “In general he (1869-1935), the orphan and later priest, who Frode Haltli teaches accordion at the Norwe- Armenia, fi nally settling in the capital Yerevan is a melodist. Rhythm has a signifi cant place Mansurian has said that his models were the preserved over 2000 traditional Armenian gian Academy of Music in Oslo. He resides Harrison’s musical interests and activities in 1956. Mansurian studied at the Yerevan in his work, too. Harmony is unimportant, Armenian composer Komitas and Claude folk songs. A choir formed by Komitas to tour in Svartskog, Norway, with Maja Ratkje and were wide-ranging, spanning Baroque and Music Academy and completed his PhD at although tonality is. He is one of the fi rst Debussy. He adopted a terse and econom- and sing his arrangements of these songs, their two young children. More information pre-Baroque music, the Renaissance period, the Komitas State Conservatory where he American composers to successfully create ical mode of expression which in a mystical was praised by no less than Claude Debussy. may be found at his personal website, www. Native American music, studies in twelve- later taught contemporary music analysis. a workable marriage between Eastern and kind of way combines ancient and modern Tragically, half of the collection was de- frodehaltli.com. tone composition with Arnold Schoenberg in Western forms.” elements. Mansurian’s music refl ects the stroyed during the 1915 genocide and Komi- Los Angeles, and a career reviewing music Early in his career he became acquainted with the music of Pierre Boulez, and was heritage of the venerable musical tradition of tas, suff ering from post traumatic stress, was at the New York Herald Tribune under chief Additionally, Harrison is one of the great soon able to make deft use of complicated Armenia, dating back more than a thousand institutionalized and spent the last 20 years critic Virgil Thomson. He was introduced to students of intonation over many centuries. modern compositional techniques, placing years and ranging from the melodies of medi- of his life in unimaginable emotional pain. Charles Ives and helped reconstruct that He concluded that the use of equal temper- him outside the mainstream of offi cial Soviet aeval ecclesiastical chant to specifi c scalar elder composer’s Symphony No. 3. When ament, dating from the advent of the grand composers. systems and musical forms. The composer’s he conducted the world premiere on April 5, piano, sounded a death knell for musical

38 39 Listeners to Amirkhanian’s Miatsoom on Since forming and directing the San Fran- Nyman fi rst made his mark on the musical More recently, his music was used in the Park Rangers football club, perennially on the our third concert, will hear en excerpt from cisco Gagaku Society, Masaoka has been world in the late 1960s, when he invented the Oscar nominated fi lm, Man on Wire. cusp of relegation from the Premier League. Mansurian’s passionate spoken introduction creating new ways of thinking about and term ‘minimalism’ and, still in his mid-twenties, In 2008 Nyman was appointed Commander to Komitas, and the reason for his profound performing on the Japanese koto. She has earned one of his earliest commissions, to Nyman has created music to accompany the of the Most Excellent Order of the British infl uence found in Mansurian’s present music. developed a virtuosic and innovative ap- write the libretto for Birtwistle’s 1969 opera silent movies of pioneering Soviet fi lmmak- Empire (CBE). proach, including improvisation and expand- Michael Nyman Down By The Greenwood Side. er Dziga Vertov. His score for Man With A ing the instrument into a virtual space using As one of Britain’s most innovative and cel- Movie Camera (2002) was followed by two Michael Nyman appeared at Other Minds 11 computer, lasers, live sampling, and real time ebrated composers, Michael Nyman’s work His 1974 book Experimental Music: Cage and more— for The Eleventh Year and A Sixth in 2005, performing his solo piano accom- processing. encompasses operas and string quartets, Beyond, explored the infl uence of John cage Part of the World, both dating from the late paniment to the motion picture Manhatta, as fi lm soundtracks and orchestral concertos. on classical composers and was widely read 1920’s. His personal label MN Records has well as excerpts from The Piano. His Ballad Masaoka has been developing koto interfac- Far more than merely a composer, he’s also in England, where such fi gures as Corne- released music from both scores on a single of Kastriot Rexhepi, along with his String es with midi controllers since the 1980’s orig- a performer, conductor, bandleader, pianist, lius Cardew, Gavin Bryars, John White, and CD, Vertov Sounds. Quartet No. 3, were performed with the Del inally with Tom Zimmerman, co-inventor of author, musicologist and now a photographer Howard Skempton were retreating from Sol String Quartet at the Yerba Buena Center His reputation among highbrow critics is built Miya Masaoka the Body Glove. Since then, she has she has and fi lmmaker. Although he’s far too modest post-serialism by writing static, Satie-infl u- for the Arts. upon an enviable body of work written for a Miya Masaoka (b. January 3, 1958, Washing- worked at STEIM, Amsterdam, CNMAT, and to allow the description “Renaissance Man,” enced music. wide variety of ensembles, including not only ton, D.C.), musician, composer, and perfor- with Donald Swearingen to build interfaces his restless creativity and multi-faceted art In 1976 he formed his own ensemble, the his own band, but also symphony orchestra, mance artist, has created works for 17, 21 with the computer and koto, at times using has made him one of the most fascinating Campiello Band (now the Michael Nyman choir and string quartet. He has also written and 25-string koto, laser interfaces, laptop pedals, light sensors, motion sensors and and infl uential cultural icons of our times. Band) and over three decades and more, widely for the stage. His operas include The and video and written scores for ensembles, ultrasound. With the koto connected directly the group has been the laboratory for much Man Who Mistook His Wife For a Hat (1986), chamber orchestras and mixed choirs. In her to her laptop, she records her playing live, At this stage of a long and notable career, he of his inventive and experimental composi- Facing Goya (2000), and the critically-laud- performance pieces she has investigated and processes the samples in real time. This might forgivably have been content to rest tional work. ed Man and Boy: Dada (2003). He has also the sound and movement of insects, as well new koto is able to respond dynamically and on his considerable laurels. Yet instead of provided ballet music for a number of the as the physiological responses of plants, the interactively in a variety of musical environ- looking back on a lifetime of achievement For more than 30 years, he had also enjoyed world’s most distinguished choreographers. human brain, and her own body. Within these ments, and improvise with the processed that ranges from his award-winning score for Pauline Oliveros a highly successful career as a fi lm com- And in 2008, he published the sumptuous varied contexts of sound, music and nature, sounds. the fi lm The Piano to the acclaimed opera Pauline Oliveros (b. May 30th, 1932 in poser, the role in which—sometimes to his photo-book Sublime. He has exhibited his her performance work emphasizes the The Man Who Mistook His Wife For A Hat, Houston, Texas), composer, performer and Ms. Masaoka studied with Wayne Peterson, slightly rueful regret—he is probably best photographs and has begun making motion interactive, live nature of improvisation, and via a string of high-profi le collaborations humanitarian is an important pioneer in Eric Moe and Alvin Curran at San Francisco known by the general public. pictures as well. refl ects an individual, contemporary expres- with everyone from Sir Harrison Birtwistle American Music. Acclaimed internationally, State and Mills and Japanese music with sion of Japanese gagaku aural gesturalism. to musician Damon Albarn, he’s still looking His most notable scores number a dozen for four decades she has explored sound— Togi Suenobu and Seiko Shimaoka. She has Born on March 23, 1944, in Stratford, London, forward, pushing the boundaries of his art Peter Greenaway fi lms, including such clas- forging new ground for herself and others. performed improvised music with Steve to a secular Jewish family, Michael Nyman Masaoka’s work has been presented in with a diverse and prolifi c burst of creativity sics as The Draughtsman’s Contract, The Coleman, Fred Frith, her husband George now divides his time between London and Through improvisation, electronic music, ritu- Japan, Canada, Europe, Eastern Europe and as energetic and challenging as any new and Cook, the Thief, His Wife & Her Lover and Lewis, Ornette Coleman, and Dr. L. Subra- Mexico City, where his Symphony No. 2 al, teaching and meditation she has created a she has toured to India six times. Venues iconoclastic young kid on the block. Prospero’s Books; Neil Jordan’s The End Of maniam. She has been commissioned by was premiered by the Chavez Orchestra, a body of work with such breadth of vision that include V2 in Rotterdam, Cybertheater in The Aff air; the Hollywood blockbuster Gatta- the Bang on a Can All-Stars, and the Rova Indeed, he says he discovered his stylistic youth symphony, on December 1, 2014, at it profoundly eff ects those who experience Brussels, Elektronisch Festival in Groningen, ca—and, of course, his unforgettable music Saxophone Quartet, and has taught at San direction playing an aria from Mozart’s Don the gala re-opening of a long-derelict movie it and eludes many who try to write about it. the Cleveland Performance Art Festival, for Jane Campion’s 1993 fi lm, The Piano, the Francisco State and Bard College. Masaoka Giovanni on piano in the style of Jerrry Lee theatre that the composer convinced city “On some level, music, sound consciousness The Electronik Body Festival in Bratislava, soundtrack album of which has sold more was born in 1958 in Washington, D.C and Lewis, which “dictated the dynamic, articu- offi cials to refurbish. He is the father of two and religion are all one, and she would seem Slovakia, Radio Bremen, Germany, Festival than three million copies. He also co-wrote raised in San Mateo, Califonia. She currently lation and texture of everything I’ve subse- daughters and, along with fellow composer to be very close to that level,” stated John of Lights, Hyberadad, India, and the London the score for the 1999 fi lm Ravenous with his resides in Brooklyn and San Francisco. quently done.” Gavin Bryars, is a supporter of the Queens Rockwell. Oliveros has been honored with Musicians Collective. friend and sometime protégé, Damon Albarn.

40 41 awards, grants and concerts internationally. for the Arts and many private foundations. Ratkje has received awards such as the return to his native country he realized that to Sculthorpe has earned appointments as an Whether performing at the John F. Kennedy She now serves as Distinguished Research International Rostrum of Composers in be true to himself he had to develop an aes- Offi cer of the British Empire, Offi cer of the Center in Washington D.C., in an underground Professor of Music at Rensselaer Polytech- Paris for composers below 30 years of age, thetic identity less dependent on Europe and Order of Australia, Fellow of the Australian cavern or in the studios of a West German nic Institute and Darius Milhaud Composer the Norwegian Edvard prize (work of the more in tune with region of his own origins. Academy of the Humanities and Lifetime radio station, Oliveros’ commitment to inter- in Residence at Mills College. Oliveros has year) twice, second prize at the Russolo Member of the American Academy of Arts action with the moment is unchanged. She been vocal about representing the needs of Foundation, and in 2001 she was the fi rst Peter Sculthorpe Sculthorpe’s stylistic breakthrough resulted and Letters. can make the sound of a sweeping siren into individual artists, about the need for diversity composer ever to receive the Norwegian Peter Sculthorpe was the original voice in via a request from a Sydney Symphony another instrument of the ensemble. and experimentation in the arts, and promot- Arne Nordheim prize. Her solo album «Voice», Australian music, combining an eclectic and Orchestra’s commission from Sir Bernard In 2006, Sculthorpe was a guest composer ing cooperation and good will among people. made in collaboration with Jazzkammer, got constantly-evolving style rooted in classic Heinze who asked for “something without at the 12th Other Minds Festival. Charming Through Deep Listening Pieces and earlier a Distinction Award at Prix Ars Electronica forms with an intense interest in the indige- rhythm, harmony or melody.” The result was and articulate, he charmed us all, including Sonic Meditations, Oliveros introduced in 2003. In 2013 she was nominated for the nous music of his native land and the Pacifi c Sun Music I, composed in 1965 somewhat fellow elder statesman Per Nørgård from the concept of incorporating all environ- Nordic Council Music Prize for her vocal Rim. His determination to document in sound under the spell of Varèse, that evoked a Copenhagen. Due to his prominence in mental sounds into musical performance. work. the socio-environmental character of certain Australian quality the composer later Australian society, Sculthorpe had made To make a pleasurable experience of this Australia has made Sculthorpe the country’s developed into a full-blown identity, roughly the acquaintance of the Queen of Denmark, requires focused concentration, skilled mu- Ratkje is active as a singer/voice user and best-known composer and “the voice of the parallel to that of Aaron Copland’s here in an Australian, and regaled us with tales of sicianship and strong improvisational skills, electronics performer and engineer, as a nation”. His Piano Concerto was for many the U.S. In this work an ensemble of strings, sneaking out on castle balconies for a smoke which are the hallmarks of Oliveros’ form. In soloist or in groups such as SPUNK. Other years the most-performed serious orchestral brass and percussion are divided into groups with Her Majesty Queen Margarethe II. performance, Oliveros uses an accordion collaborations are with Jaap Blonk, Joëlle work by an Australian composer. of varying timbre, at one point employing a During his time with us at OM 12, his 16th which has been re-tuned in two diff erent Maja S.K. Ratkje Léandre, Ikue Mori, Zeena Parkins, Stephen cluster of 59 adjacent quarter-tones, and String Quartet received its world premiere in systems of her just intonation in addition to Maja Solveig Kjelstrup Ratkje, composer and O’Malley, Lasse Marhaug, POING and many Sculthorpe was born in Launceston, Tasma- later developing into canons of displaced a version for string quartet with didjeridu electronics to alter the sound of the accordi- performer (born Dec. 29th 1973 in Trond- more. Ratkje has performed her own music nia, on April 29, 1929. As a young lad he was glissandi. obbligato. The Del Sol Quartet performed on and to explore the individual characteris- heim, Norway), fi nished composition studies for fi lms, dance and theatre, installations, and briefl y introduced to the famous pianist and Beginning with abstract tone poems, with Stephen Kent and subsequently record- tics of each room. at the Norwegian State Academy of Music numerous other projects. She makes large composer Percy Grainger, a meeting that left Sculthorpe evolved toward basing his ed that work and three others (Nos. 12, 14, in Oslo in 2000. Her music is performed art installations with SPUNK and deals often a lasting impression. Pauline Oliveros has built a loyal following music on programmatic themes of liberation and 18) in similar versions for Sono Luminus worldwide by performers such as Klangfo- with visual arts in her work. She has made through her concerts, recordings, publica- Unable to earn a living after studying at the and social commentary drawn from Austra- Records. Another work of Sculthorpe’s heard rum Wien, Oslo Sinfonietta, The Norwegian music for a radio play by Elfriede Jelinek, and tions and musical compositions that she has Melbourne Conservatorium from 1946-1950, lian history. This lent his work not on OM 12 was From Saibai, performed by Radio Orchestra, BBC Scottish Symphony in 2003, she played a part in her own opera, written for soloists and ensembles in music, he returned to his native island to run a hunt- only an innovative musical quality but a Kate Stenberg, violin, and Eva-Maria Zimmer- Orchestra, Fretwork, TM+, Cikada and based on the texts from the Nag Hammadi dance, theater and inter-arts companies. ing, shooting and fi shing store there. But soon socially relevant one. mann, piano. Bozzini string quartets, Quatuor Renoir, Library. She has been soloist her own work She has also provided leadership within the thereafter, he won a scholarship to study at crashEnsemble, Pearls for Swine Experience, with orchestras such as The Norwegian music community from her early years as Wadham College, Oxford, taking classes un- Soon Sculthorpe rose to a position of In 2012, while Other Minds 20 was in the Torben Snekkestad, Marianne Beate Kielland, Radio Orchestra, Klangforum Wien, Avanti! the fi rst director of the San Francisco Tape der composer serial composer Egon Wellesz. unprecedented prominence in Australia, planning stage, Sculthorpe enthusiastically SPUNK, Frode Haltli, POING and many more. Chamber Orchestra and BBC Scottish Sym- Music Center (now known as the Center and with his energetic work as a teacher, accepted an invitation to return for a curtain Portrait concerts with her music has been phony Orchestra. for Contemporary Music at Mills College ), Sculthorpe was composer-in-residence developed a following of like-minded voices call in San Francisco. Sadly, he later fell ill and heard in Toronto and Vienna, she has been director of the Center for Music Experiment Her scores are found at the Norwegian Music at Yale University while visiting the United that transformed Australian composition. fi nally died at the age of 85 on August 8, 2014, composer in residence at festivals like Other during her 14 year tenure as professor of Information Centre and her records are States as a Harkness Fellow in 1966-67, and Likewise, his political stances, championing in Sydney. His passing was mourned nation- Minds in San Francisco, Nordland Music music at the University of California at San released on Tzadik, Rune Grammofon, ECM Visiting Professor at the University of Sussex Aboriginal rights, gay rights and progressive ally and he was given a state funeral that he Festival in Bodø, Avanti! Summer Festival in Diego to acting in an advisory capacity for and many other labels. Her homepage may in 1972-73. Appointed Reader in Music at the policies, lent him a moral stature not usually would cheerfully have traded for a one last Finland, Båstad Chamber Music Festival and organizations such as The National Endow- be visited at www.ratkje.com University of Sydney in the late Sixties, he associated with contemporary composers in joyful party. Huddersfi eld Contemporary Music Festival. ment for the Arts, New York State Council long was a Professor in Musical Composition other lands. (Personal Chair) at that university. Upon his 42 43 works written for him is Hans Werner Henze’s Cambridge Companion to the Guitar. and Northeastern Guatemala on the Gulf of outstanding jazz artists. Her multi-media premièred her Concerto for Percussion guitar concerto An Eine Aolsharfe, which he Honduras, the land was rechristened Belize show Jordan Town, a modern day song cycle and Orchestra for the Young Musician of premiered throughout Europe and recorded David Tanenbaum is currently Chair of the in 1973. Errollyn Wallen was a precocious with dance and fi lm, was a sell-out hit at the the Year Award in 1994. Spirit Symphony— with the composer conducting, Terry Riley’s Guitar Department at the San Francisco young pianist who, after studying with the Edinburgh Festival. The Errollyn Wallen Song- Speed-Dating for Two Orchestras was fi rst fi rst guitar piece, Ascención, four works by Conservatory of Music, where he received best teachers at home, eventually left for book, published by Edition Peters, comprises performed at the fi nal event of the ‘Listen up!’ David Tanenbaum 1998 Pulitzer Prize winner Aaron Jay Kernis, the 1995 Oustanding Professor Award, and advanced abroad. twelve of her songs for voice with piano Festival at the Royal Festival Hall in 2004 and Recognized internationally as an outstanding and Scenes from Nek Chand, commissioned he has been Artist-In-Residence at the Man- accompaniment. won the 2005 British Composer Awards in performing and recording artist, a char- by Other Minds and the last work by the late hattan School of Music. Wallen gave up her training at the Dance the BBC Radio 3 Listeners’ Award catego- ismatic educator, and a transcriber and Lou Harrison. Tanenbaum currently is work- Theater of Harlem, New York, to study com- Her talent for composing vocal music is ry. The Philharmonia Orchestra conducted Tanenbaum (b. September 10, 1956, in NYC), editor of both taste and intelligence, David ing with Terry Riley on a series of 24 guitar position at the universities of London and affi rmed by acquaintance Wallen’s more by Martyn Brabbins premièred Mighty studied guitar with Rolando Valdez-Blain, Tanenbaum is one of the most admired pieces, has toured extensively with Steve Cambridge. She founded her own Ensemble classical vocal works: Are You Worried About River, an orchestral work to commemorate Aaron Shearer and Michael Lorimer, attend- classical guitarists of his generation. He has Reich and Musicians, was invited to Japan in X, with its motto ’We don’t break down barri- the Rising Cost of Funerals is a song cycle for the 200th anniversary of the Abolition of ing the San Francisco Conservatory and Pea- performed throughout the United States, 1991 by Toru Takemitsu, and has had a long ers in music… we don’t see any,’ refl ecting her soprano and string quartet commissioned by Slavery, in February 2007 at Holy Trinity body Conservatory. He was born September Canada, Mexico, Europe, Australia, the association with the Ensemble Modern. As a genuine, free-spirited approach and eclectic the Birmingham Contemporary Music Group Church, Clapham. The Orchestra of the 10, 1956, in New York City, where his father, former Soviet Union and Asia, and in 1988 chamber musician he has collaborated with, musicianship. Her music moves freely among and recorded on her classical solo album Swan commissioned Wallen’s Cello Concer- Elias Tanenbaum, was a noted composer he became the fi rst American guitarist to be among others, the Kronos, Shanghai, Alex- infl uences ranging from Bill Evans to gospel, “The Girl in My Alphabet.” Another perfor- to premiered by Matthew Sharp in 2008, as and teacher, and resides in Emeryville, CA. invited to perform in China by the Chinese ander and Chester String Quartets, dancer Bill Evans, blues, Schubert, and Charles Ives. mance at the Southbank New Music Biennial well as a Concerto Grosso for piano, violin, He was a participant in Other Minds 8, per- government. He has been soloist with the Tandy Beal and guitarist Manuel Barrueco. Laurie Anderson’s whimsy inspired her as 2014 just was released for download on NMC double bass soloists and strings premièred forming the world premiere of Lou Harrison’s Los Angeles Philharmonic, San Francisco He is currently a member of the World Guitar well. Her song “What’s Up Doc?” begins Records. that same year. Scenes from Nek Chand but in equal tem- Symphony, Minnesota Orchestra, London Ensemble, which regularly tours Europe. perament. The music was intended for Na- Sometimes I get so lonely that Wallen’s operatic project Another America is Sinfonietta, the Oakland Symphony, Vienna’s Her original music for the 2012 BBC drama tional steel guitar in just intonation and later I eat the television . . . an exploration into the black condition, past, ORF orchestra, with such eminent conduc- David Tanenbaum’s three dozen recordings, One Night won the 2013 FIPA d’Or for Best an instrument with a customized fret board The tears fall in my soup present and future. Various episodes of the tors as Esa-Pekka Salonen, Kent Nagano and which refl ect his broad repertoire interests, Original Music in a Television Series. Her enabled him to present the work as intended, And dance around the room work have been performed by The Royal John Adams. can be found on New Albion, EMI, Nonesuch, works Principia and Spirit in Motion were Ars Musici, Rhino, GSP, Albany, Audiofon, and as he will at this year’s OM 20, along with To the tune that’s in the news Opera House, BBC Television and Sadler’s commissioned for the opening ceremony of David Tanenbaum has been a featured Bayer, Acoustic Music Records, Bridge, From Kakadu by Peter Sculthorpe. And everyone sings and everyone is smiling Wells. Her opera The Silent Twins, about the the 2012 Paralympic Games and their pre- soloist at many international festivals, Stradivarius and others. His 2002 recording The colours on the screen love-hate relationship of black twin girls, was miere was watched by a capacity audience including those of Bath, Luzern, Frankfurt, as soloist with Esa-Pekka Salonen and the Confound my misery . . . commissioned by Almeida Opera and fi rst of 80,000 people and broadcast to a billion Barcelona and Vienna as well as numerous Los Angeles Philharmonic in John Adams’ performed in 2007. It is based on real live people around the world. What’s up Doc? guitar festivals. In 1989, as President of the Naive and Sentimental Music was nominated events as depicted in the book by Marjorie What’s up Doc? Second American Classical Guitar Congress, for a Grammy as the Best New Composition. Wallace and was composed to a libretto by Errollyn Wallen was awarded an MBE for her Now is it the words you say he commissioned fi ve new works, including He has produced many editions of guitar mu- the acclaimed playwright April de Angelis. services to music in the Queen’s birthday Or the say you say it? Rosewood by Henry Brant for a large guitar sic, including the David Tanenbaum Concert Her choral music includes When the Wet honors list in June 2007. And in February Wind Sings, a work for 40 voices that was 2015 she was elected an Honorary Fellow of orchestra, which he’s conducted more than a Series for Guitar Solo Publications. He has Wallen’s song “Daedalus” appears alongside Errollyn Wallen premièred by the Tallis Scholars in 2003 Mansfi eld College, Oxford, in recognition of dozen times on four continents. also written a series of three books, The Es- songs by Björk, Sting, Elvis Costello and Errollyn Wallen, whose fi rst name was alongside Thomas Tallis’ Spem in Alium, the her distinguished contribution to scholarship sential Studies, which analyze the etudes of Meredith Monk on the Brodsky Quartet’s While his repertoire encompasses diverse inspired by the actor Errol Flynn, was born work that inspired it. in the fi eld of contemporary British music Sor, Carcassi and Brouwer and complement CD Moodswings. Her two solo albums “Meet styles, David Tanenbaum is recognized as on April 10, 1968, in Central America’s only and her exceptional achievements as a com- his recordings of those works on GSP, and Me at Harold Moores” and most recently one of today’s most eloquent proponents country with English as its offi cial language: The BBC has been involved in the commis- poser. She made her West Coast debut in his chapter on “The Revival of the Classical “Errollyn” feature her songs in her own voice/ of new guitar repertoire. Among the many British Honduras. Located between Mexico sioning of some of Errollyn Wallen‘s most March 1999 at the fi fth Other Minds Festival Guitar in the 20th Century” appears in the piano performance and in collaboration with popular orchestral works: Colin Currie in San Francisco. She resides in London. 44 45 THOUGHTS FROM COMPOSERS: PERFORMERS “If I were to tell you fully how thrilled and honored I was by the attention of Other Minds and Hirzenberg Music Festivals in Switzer- she has appeared at Carnegie Hall, the opera it would need seven pages.” land; Chengdu Festival of Contemporary festival of Cincinnati, and in San Francisco, —NED ROREM (MARCH 11, 2003) Music in China; Santa Fe Opera in NM; Chau- Dallas and Toronto. tauqua Institution, Chautauqua, NY; Candle- light Concerts, Columbia, MD; University of A central part of her repertoire is Bellini’s Nor- Vermont Lane Series in Burlington, VT; and Hasmik Papian ma which she has sung in Vienna, Stuttgart, the bi-coastal Pacifi c Rim Festival co- pre- “Drop-dead gorgeous … pure magic … heaven- Mannheim, St. Gallen, Turin, Trapani (Festival sented by the University of California, Santa ly … divine … the biggest success of the sea- Luglio Musicale), Warsaw, Marseille, Mont- Cruz and Brandeis University in Waltham, MA. son … sensational … the best of all possible pellier, Nantes, Angers, Avignon, Monte Carlo, An avid educator, Brad is currently the band Normas … Aida really celestial … fi nally again Orange (Festival Les Chorégies), Hedeland director for Ruth Asawa San Francisco Del Sol’s seven commercial CD releases a great Verdi-Soprano. These are some Festival (Denmark), Stockholm, Montre- School of the Arts High School. Prior to have been universally praised by critics, of the praises from the international press al, Vancouver, Detroit, Denver, Baltimore, moving to the Bay Area, Brad taught music including Gramophone, which hailed the over the last few years describing soprano Washington DC, at the Met, in Rotterdam and for one year at the Gunma Kokusai Academy quartet as “masters of all musical things,” Hasmik Papian. Amsterdam (the production of The Nether- Bradley Hogarth in Ota Gunma, Japan. Diverse in professional Del Sol String Quartet and The Strad, which lauded the ensemble’s lands’ Opera has also appeared on DVD). At the age of 27, Bradley Hogarth has activities, he also conducts brass choirs The San Francisco based Del Sol String “gloriously opulent, full-throated tone.” With The Armenian artist graduated from the Hasmik Papian is very successful also as performed extensively throughout North and wind ensembles and is an arranger for Quartet, two-time winner of the top Chamber its deep commitment to education, Del Sol Komitas Conservatory in Yerevan, fi rst as a a concert singer. She has sung the sopra- America, Europe, and Japan. Since moving various types of ensembles. Music America/ASCAP Award for Adventur- has reached thousands of K-12 students violinist, then as a singer. After her debut at no-part in Verdi’s Requiem in Nice, Marseille, to the Bay Area, he has performed with the ous Programming, is breaking the boundaries through inventive school performances, the Armenian National Opera as Rosina (Il Orange (twice at Chorégies d’Orange), San Francisco Symphony, SF Opera, SF Brad completed a double major in trumpet of classical music in riveting performances of workshops, coaching and residencies. The Barbiere di Siviglia) and Mimì (La Bohème), Paris (Salle Pleyel, Théâtre Mogador and Chamber Orchestra, SF Contemporary performance and music education at the new music with a global pulse. Quartet members also have worked closely Hasmik Papian soon started an international Théâtre des Champs Elysées), Bonn, Utrecht, Music Players, Eco Ensemble, Music in the Eastman School of Music and also spent a with student composers, musicians and fac- career and was invited since to some of the Amsterdam (Concertgebouw), Warsaw Vineyards Festival, Bay Brass, Modesto Sym- semester in Germany at the Hochschule This critically acclaimed group of high energy ulty artists at universities across the country, most prestigious operatic stages in the world: (‘Beethoven Easter Festival’), in Gothenburg, phony, Oakland East Bay Symphony, Marin für Musik Freiburg. He graduated with his master musicians explores new ways to including Dartmouth, MIT, Brandeis, North- Vienna State Opera (Donna Anna in Don Santiago de Compostella, Barcelona (Teatro Symphony, and Symphony Napa Valley. In masters in trumpet performance at the interact with audiences, composers, and eastern, University of New Mexico, University Giovanni, Rachel in La Juive, Leonora in La Liceu and Palau de musica catalan) and the summer of 2012, Brad was a featured San Francisco Conservatory of Music artists across cultures and art forms. of California at Berkeley and Santa Cruz, Forza del Destino, Abigaille in Nabucco, Lisa in Mexico (at Palacio Bellas Artes, among soloist with the Brevard Music Center Or- in 2012. His principal teachers have been the Manhattan School of Music and the in Queen of Spades, Tosca and Aida), La Del Sol’s members are violinists Kate Sten- others); Britten’s War Requiem in Salzburg chestra, playing the Henri Tomasi Concerto Mark Inouye, James Thompson, Anthony San Francisco Conservatory of Music, Scala Milan (Abigaille in Nabucco), Teatro berg and Rick Shinozaki, violist Charlton Lee, and Linz; Janacek’s Glagolitic Mass at the for Trumpet and Orchestra. He also spent Plog, and Roger Bobo. among others. Liceu Barcelona (Aida), Bastille Opera and cellist Kathryn Bates. Since its inception Gewandhaus Leipzig. She sang Beethoven’s three summers touring as Principal trumpet Paris (Mathilde in William Tell and Lisa in in 1992 at the Banff Centre for the Arts, the 9th Symphony in Palermo, Montreux and with the National Youth Orchestra of the The Queen of Spades—also available on Quartet has worked its magic performing on Tokyo as well as in Budapest (CD-recording, Netherlands, one summer with the Spoleto DVD) and the Metropolitan Opera New York prominent concert series worldwide, includ- Naxos). At the Arsenal Concert Hall in Metz, USA Festival Orchestra, and one summer (Aida, Norma, Lady Macbeth, Leonora in Il ing the Kennedy Center, Library of Congress, she sang the soprano role in Gustav Mahler’s with CCM Spoleto Festival. Last summer, Trovatore). She has sung at the state operas Smithsonian Museum and National Gallery 4th Symphony and, to sensational acclaim, Brad attended the Pacifi c Music Festival in of Berlin, Munich, Stuttgart, Hamburg and of Art in Washington DC; Symphony Space in Four Last Songs by Richard Strauss. At the Sapporo, Japan. Dresden, in Zurich, Geneva, Madrid, Seville, New York City; Other Minds Festival of New Rome, Bologna, Palermo, Ravenna, Lyon, Festival de Radio France in Montpellier, she Music in San Francisco; Cabrillo Festival of Toulon, and Nice, in St. Petersburg, Moscow, appeared, among others, in the title role of Contemporary Music, Santa Cruz, CA; Davos Tel Aviv, Seoul, Tokyo, Mexico City, Santiago Pizzetti’s Fedra (CD-recording). de Chile and Sao Paulo. In North America,

46 47 In the course of her unparalleled career, she In 2012 she recorded a solo CD, Scenes from A Bay Area native, she was raised in a He is a Prizewinner of the 1986 Tchaikovsky His discography includes “Blooming Sounds” has sung with such notable conductors a New Music Séance, with pianist Eva-Maria dynamic musical family of professional musi- International Competition, and the young- and “In Nomine,” solo violin CDs of world as Riccardo Muti, Georges Prêtre, Michel Zimmermann, at Skywalker Studios with cians. Kate Stenberg holds degrees from the est-ever First Prize winner of the 1985 USSR premiere recordings of Kurtág, Mansurian, Plasson, James Conlon, James Levine, Myun producer Judith Sherman, (Other Minds San Francisco Conservatory and the East- National Violin Competition, previous win- Avanesov, Felder, Segerstam and music by Wun Chung, Gennady Rozhdestvensky and Records OM 1019) with several world pre- man School of Music. When she’s not busy ners of which included David Oistrakh and Prokofi ev and Hindemith, both on the Albany Valery Gergiev. She has appeared together mieres including Amirkhanian’s “Rippling the tearing through new music scores, she can Gidon Kremer. An active chamber musician, label, as well as 2009 release of Kurtag’s Stephen Kent with Nikolai Ghiaurov, Sherill Milnes, Ruggero Lamp.” Other works in the compilation are be found doing Tai Chi in the park or hiking Mr. Pogossian has performed with mem- “Kafk a Fragments” for soprano and violin With beginnings in Uganda, and the seed Raimondi, Leo Nucci, René Pape, Thomas by Alan Hovhaness, George Antheil, Ronald the toughest trails in the Sierra Nevada. bers of the Tokyo, Kronos, and Brentano on Bridge, which includes a unique video sown there of a lifetime of interest in global Hampson, Renato Bruson, José van Dam, Bruce Smith, Josef Matthias Hauer, Pelle string quartets, and with such artists as Kim documentary on the work with the composer, cultures, it is no surprise that Stephen Kent Placido Domingo, and Grace Bumbry Gudmundsen-Holmgreen, Amy X Neuburg Kashkashian, Jeremy Denk, Lynn Harrell, Ani and a DVD of an unedited live performance. has traveled the world, living at various times and Henning Christiansen. “The excellent and Ida Kavafi an, and Rohan de Saram. He In his review of the recording, Paul Griffi ths in Africa, England, Spain, Australia and, for Hasmik Papian lives in Vienna, Austria. She is duo plays all of them with tenderness and frequently collaborates with the Apple Hill writes: “…remarkable is Pogossian’s contribu- the last 15 years, The San Francisco Bay married and has a daughter. high spirits.”—San Francisco Chronicle Chamber Players, teaching annually at their tion, which is always beautiful, across a great Area. In Australia, in 1981, as Music Director summer music festival in New Hampshire. range of colors and gestures, and always of Circus Oz he fi rst connected with Austra- Stenberg’s focus lies with the string quar- Movses Pogossian is the Artistic Director seems on the edge of speaking—or beyond.” lian Aboriginal culture and the Didjeridu. tet repertoire that she helped foster as a of the critically acclaimed Dilijan Chamber Upcoming releases include a Schoenberg/ co-founder of the Left Coast Chamber En- Music Series, which performs at Zipper Hall Webern DVD, recorded at Schoenberg’s Inspired by the power of the land, and the semble and Real Vocal String Quartet before Movses Pogossian in downtown Los Angeles, and is currently in Brentwood home (with Kim Kashkashian, support the group gave to Aboriginal issues, her success with Del Sol. She can be heard in Movses Pogossian made his American debut its ninth season (http://dilijan.larkmusicalso- Rohan de Saram, and Judith Gordon), and he learnt circular breathing and wrote music recordings with the San Francisco Contem- performing the Tchaikovsky Concerto with ciety.com). Complete Works for Violin by Stefan Wolpe, for brass instruments, sounding unmistak- porary Music Players, Maestro Ustad Ali the Boston Pops at Symphony Hall in 1990, both for Bridge Records. ably like the Didjeridu. While he has always Akbar Khan, Stratos and New Music Works about which Richard Dyer of the Boston A committed proponent of new music, had great respect for Aboriginal people Kate Stenberg Globe wrote: “There is freedom in his playing, Movses Pogossian has premiered over 50 Since earning his advanced degrees from and their culture Stephen has never tried Kate Stenberg appeared at Other Minds 1 as Kate Stenberg’s devotion to working with but also taste and discipline. It was a fi ery, works, and works closely with composers the Komitas Conservatory in Armenia and to imitate traditional styles on the Didjeridu. fi rst violinist of the Alyeska Quartet in a mem- livingt composers has remained her passion centered, and highly musical performance…” such as György Kurtág, Tigran Mansuri- the Tchaikovsky Conservatory of Music in Instead he has pioneered his own unique orable performance of Early That Summer for nearly 25 years, culminating in solo and Movses Pogossian has since performed an, Leif Segerstam, Paul Chihara, Vache Moscow, Mr. Pogossian has held teaching po- style, with the Didj at the center of his many by Julia Wolfe on the very fi rst concert in the quartet performances in many countries with orchestras such as the Brandenburger Sharafyan, and Artur Avanesov. In July of sitions at Duquesne, Bowling Green, Wayne compositions in contemporary music. Widely history of the Other Minds Festival. Just fol- including Europe, Canada, China and South Symphoniker and the Halle Philharmonic in 2008, he made his debut at the Darmstadt State, and SUNY Buff alo Universities. His regarded as one of the pioneering innova- lowing her piece, Conlon Nancarrow reached Korea. Her solo playing was described by Germany, the Sudety Philharmonic in Poland, Festival in Germany. principal teachers were L. Zorian, V. Mokat- tors in the modern world of the Didj [Didge, out from his seat to the composer who had New Music Box as “highly virtuosic and deep- the Tucson Symphony, the El Paso Sympho- sian, V. Klimov, and the legendary Louis Kras- Didjeridu, Didgeridoo] he was a founder of taken a bow and was walking back down ly communicative . . . a startlingly powered ny, the Scandinavian Chamber Orchestra ner. Movses Pogossian is currently Professor the groups Trance Mission, Lights in a Fat the aisle and raved about the music, happily interpretation, full of character and presence” of New York, and the Toronto Sinfonia. His of Violin at the UCLA Herb Alpert School of City, Beasts of Paradise & Furious Pig and surprising our youngest participant. Stenberg at the Other Minds “New Music Séance.” recent and upcoming performances include Music. He resides in Glendale, California with has made fi ve solo CD’s, with more imminent performed music by Francis White at Other recitals in New York, Boston, Ann Arbor, and his wife, Los Angeles Philharmonic violinist releases concentrating on the Didj forthcom- Minds 2 in 1995, and subsequently has ap- concerts in Korea, Japan, Germany, Armenia, Varty Manouelian, and their three children. ing. peared numerous times as fi rst violinist of the and Cyprus. Del Sol String Quartet and as soloist.

48 49 A recurring presence throughout Stephen’s Don Byron Quartet Currently the John Betsch Society features Brown has also performed and recorded with As a composer, Ortiz has received commis- recording career from Lights In a Fat City the pianist Jobic LeMasson, bassist Peter Gi- Art Blakey’s Jazz Messengers, George Rus- sions from the Woodwind Quintet Ensemble to Oil & Water has been producer Simon ron, a working unit of 6 years and childhood sell, The Dewey Redman Quartet, and vari- of Santiago de Cuba; Música de Camara Or- Tassano. His new project, Living Labyrinths friend trumpeter/vocalist Longineu Parsons ous ensembles led be Mr. Shepp, Mr. Cherry, chestra in New York City; Oyú Oró Folkloric (Family Tree), a live recording, is a record of expressing the range of contemporary music Mr. Rudd, Mr. Richmond, and Joe Lovano, Mr. Dance Company in New York City; YOUME & his fi rst time meeting with a computer (pro- from deepest blues to immediacy of the Brown has performed and/or recorded with Aruán Ortiz Milena Zullo Ballet in Rome; José Mateo Bal- grammed by Greg Kuhn) in Oakland’s Chapel moment infused with swing and sensitivity. Donald Byrd, Booker Ervin, Ted Curson, Lee Aruán Ortiz is an internationally acclaimed let Theater in Cambridge, MA; and University of the Chimes, on the Summer Solstice. This Betsch resides presently in Paris. Konitz, Chet Baker, Betty Carter, Etta Jones, Cuban pianist, award-winning composer, and of Albany Symphony Orchestra in New York. is the fi rst of a new trilogy of solo Didjeridu John Betsch Lou Donaldson, George Cables, Joe Locke, a solid producer and educator. In late 2013 and early 2014, he composed releases Stephen is working on. Born October 8, 1945, in Jacksonville, Florida, Tony Malaby, and Jane Ira Bloom. and directed the score for the feature fi lm, John Betsch’s mother was church organist Named “the latest Cuban wunderkind to “Sin Alas,” released in Fall 2014. Musical collaborations are at the heart of and choir director and older sister dramatic He’s helped young people around the world arrive in the United States” by BET Jazz, this Stephen’s work some of his more recent soprano singer. Began playing drums in to nurture their interest in and passion for classically trained violist and pianist from Ortiz has also played, toured or recorded collaborations include, artists as diverse school orchestra there at age 9. While a stu- jazz and is on the faculty of the New School Santiago de Cuba, considers himself “a with Esperanza Spalding, Joe Lovano, Terri as Tuvan throat singers Chirgilchin, Korean dent at Fisk University in Nashville, Tenn., be- University. At present, Mr. Brown performs curious person who loves music,” and por- Lyne Carrington, Andrew Cyrille, Oliver Lake, Samulnori Drummers, frame drum wizard gan playing and recording professionally with and/or records in duo with Sheila Jordan, trays his music as an architectural structure Rufus Reid, Henry Grimes, Cindy Black- Glen Velez, Japanese Taiko luminary Leon- organists Bob Holmes and Kossie Gardner, Cameron Brown with various ensembles led by Joe Lovano of sounds, incorporating contemporary man-Santana, Don Byron, Lenny White, Greg ard Eto, Markus James & the Wassonrai, fl ute pianists Bill Chelf and Beegie Adair, bassists Bassist, composer and educator Cameron and Jason Rigby, as well as with Ben Riley, classical music, Afro-Cuban rhythms, and Osby, and Wallace Roney, among others. legend Paul Horn, Airto Moreira, multi-media Jerome Hunter, Chuck Sanders, trumpeter Brown (b. December 21, 1945 in Detroit) be- Lisa Sokolov, Jay Clayton, Archie Shepp, Don improvisation as primary material for his group Magnetic Poets at the Torino Olym- Louis Smith, reed player Bill Pruett. gan his career in the mid-Sixties, recording in Byron, Dave Ballou, Steve Slagle, Jeremy compositions. pics, and vocalist Eda Maxym’s new band Europe with George Russell and Don Cherry. Steig, Marco Tamburini and Carl Stormer. Imagination Club, in which he plays guitar & While a student at Berklee School of Music in These important innovators remain life-long He has received a number of awards such as other instruments, as well as the didj. He also Boston, Betch played gigs with Charlie Mari- inspirations and infl uences. Beginning in 1975, the Doris Duke Artist Impact Award (2014), spent a day opening for His Holiness the ano, John Lee Hooker, and Ernie Watts. After Mr. Brown anchored some of the most im- Artist-in-Residence at Pocantico Center at Dalai Lama, at Stanford University. military service, he became a student of Max portant ensembles of the Seventies, Eighties, the Rcokefeller Brothers Fund (2014), Latin Roach and Archie Shepp at the University Nineties, and on into the current century. Jazz Corner’s Arranger of the Year (2011) for Past projects and collaborations of note of Massachusetts Amherst, performing with his contribution on the album, “El Cumban- include, Zap Mama, Habib Koite & Bamada, them both in addition to Marion Brown and Sheila Jordan, Roswell Rudd, Archie Shepp chero” (Jazzheads) by fl utist Mark Weinstein; Megadrums, Omar Sosa, Badi Assad, Herbie others in the area. and Beaver Harris were his mentors and Semifi nalist, Jas Hennessy Piano Solo Com- Hancock & Wayne Shorter, Steve Shee- bandleaders. He has enjoyed special rela- petition, Montreux, Switzerland (2001), and han, Mino Cinelu, Michel Portal, Boukman Betsch has played with Roland Alexan- tionships with master drummers: Art Blakey, Best Jazz Interpretation, Festival de Jazz in Eksperyans, and the legendary ex-Doors der Quintet, Ted Daniels big band Energy, Dannie Richmond, Philly Joe Jones, Edward Vic, Spain (2000). drummer, John Densmore, among many Kalaparusha Maurice McIntyre, Abdullah Blackwell, Eddie Moore, Idris Muhammad, others. He continues to perform around the Ibrahim, vocalists Jeanne Lee and Abbey Billy Hart, Joe Chambers, Lewis Nash and world. Lincoln, Archie Shepp Quintet, saxophonists Matt Wilson as well as Mr. Harris. The Don Dewey Redman, Steve Lacy, and Jim Pepper, Pullen/George Adams Quartet, featuring Henry Threadgill Sexte t, pianists Kenny Dannie Richmond, developed into an intense Werner, Marilyn Crispell, violinist Billy Bang, and rewarding partnership which lasted near- and many others. ly ten years.

50 51 THOUGHTS FROM COMPOSERS: OTHER MINDS “For me it was a great experience. We talked together and listened together, the spirit of music Through engineer Phill Sawyer, he was intro- eventually obtaining a Master’s Degree in STAFF was everywhere.” duced to Thomas Buckner, then setting up Library and Information Science form San —RANDY WESTON (MAY 19, 2002) his legendary 1750 Arch Concerts and 1750 Jose State University. For the past 8 years Arch Records label, and after helping design Stephen has worked as the Librarian for Oth- a state of the art recording studio at the er Minds cataloging their extensive collection Berkeley address, he was hired to engineer Blaine Todd of historical interviews and concert record- live concert recordings beginning in 1972, lat- Blaine Todd holds a B.A. in Literature from ings, most of which are available for stream- er broadcasting them over KPFA each Friday San Francisco State University and Aarhus ing at radiom.org. Stephen remains delighted night from that Fall for over a decade. For University in Denmark. He assumed the role and amazed that he now gets paid to listen to, 1750 Arch Records, he traveled with Charles of Director of Development & Communica- and learn about, new and avant-garde music. Amirkhanian to Mexico City in April 1977 to tions in December 2013. Prior to Other Minds record the complete player piano works of he worked as an associate editor at Fran- Conlon Nancarrow, now re-released on the cis Ford Coppola’s short fi ction magazine Other Minds CD label. He also engineered “Zoetrope: All-Story.” An active guitarist, he Adrienne Cardwell Carole Goerger Robert Shumaker many of the multi-track electroacoustic text- performs in several Bay Area projects includ- Adrienne Cardwell (b. 1976, California) has Carole Goerger brings over 25 years of Robert Shumaker, concert recording engi- sound pieces by Amirkhanian, some of them ing Common Eider, King Eider, the Andrew been hugging tape recorders since the age bookkeeping experience to Other Minds. neer for the Other Minds Festival, is a veteran released on the LP Lexical Music. Weathers Ensemble and as a soloist. He also of two. Her personal explorations in fi lm She ran her own bookkeeping business of audio recording in all its forms: multi-track helps curate Editions Littlefi eld, a sub-label of Andrew Weathers and sound developed into a work history in from 1998 until 2008. In 2007, she began rock studio recordings, location recordings He later worked with Mike Cogan at Bay Full Spectrum Records. Andrew Weathers (b. 1988) is a American multimedia archives. She has been working focusing her expertise on the nonprofi t of symphonic music, studio production Records in Oakland until 2010, where, among composer, improviser, & organizer originally with audiovisual media for over 15 years. sector beginning with a small music non- of experimental music, live radio concert other projects, he recorded the complete from Chapel Hill, NC currently based in For the past eight years she has served as profi t in Eugene, Oregon. In 2008 she began broadcasting, and preservation of analog string quartets of George Antheil with the Oakland, CA. He studied music composition project director and archivist for Other Minds work with Emge & White CPAs in Eugene, a recordings in digital media. Del Sol String Quartet, for Other Minds at UNC-Greensboro and electronic music at managing the preservation and access of the bookkeeping company servicing the majority Records. He has digitized hundreds of reel to Mills College, where he organized the annual organization’s analog and digital recording of nonprofi ts in the Eugene area. At Emge Born February 11, 1948, in Oakland, he was reel tapes from KPFA broadcasts for Other Signal Flow graduate thesis festival. collections. As a visual artist her favored me- & White she worked with over 35 compa- raised in Berkeley where he emerged on Minds’ RadiOM.org preservation project. He In addition to solo performances & record- diums include celluloid, sound, video, textiles, nies per month until moving to Alameda in the Bay Area music scene as a rock drum- also serves as location recording engineer ings, he heads up the Andrew Weathers ink, and plaster. December 2011. She began her work at Other mer with The Answer (“what everyone was for the San Francisco Contemporary Music Stephen Upjohn Ensemble, and works regularly with Talk Minds in April 2012. looking for in 1965,” he jokes), a Beatles-infl u- Players, Composers, Inc., and the San Fran- Stephen was born and raised in Southbor- More, Parties, Tethers, Yung100, and in enced band that signed with White Whale Re- cisco Girls Chorus. ough, Massachusetts, a small rural town 30 collaboration with Eric Perreault, Seth cords. He began to work in recording studios, miles west of Boston. After receiving a B.A. Chrisman, & others. While maintaining a busy fi rst at Coast Recorders and Western United from Harvard University, where he studied performing schedule, Weathers helps run Full Studios, and later at Pacifi c High Recording, fi lm and electronic music, Stephen em- Spectrum Records and works as a freelance where his clientele included Quicksilver Mes- barked upon 20 plus year career as a sound, mastering & restoration engineer. At Other senger Service, Van Morrison, Judy Collins video, and lighting technician for a variety of Minds, he is the Operations Coordinator, in and Jeff erson Airplane. universities, large conventions centers, and charge of concert and Other Minds Records luxury hotels. Then, seeking new challenges production. and a less stressful work life, Stephen moved to San Francisco and returned to school,

52 53 THOUGHTS FROM COMPOSERS: GIVING BIRTH TO “I can’t think of a time where I have been so stim- ulated and encouraged in my musical pursuits. OTHER MINDS Thank you so very much for this experience that I will forever remember and that will so positively infl uence my career.” —JOAN JEANRENAUD

In the early summer of 1986 I found We had rented out our home in the East After a week in private deliberation, the pub- Featured guests at the fi rst myself at the Ideas Festival in Telluride, Bay for months ahead but felt compelled lic was invited to a public conference to hear Composer-to-Composer Festival in Telluride, Colorado, Colorado. How I got there was a strange to cancel Europe. Taking advantage of the the featured guests in panels and lectures. August 1988. L. to R. Charles story that, in retrospect, augured the free months ahead, we set off on a motor These talks were indisputably enriched by Amirkhanian, Stephen Scott, birth of the Other Minds Festival. trip through the American southwest with a camaraderie the previous meetings had Lou Harrison, John Lifton, no plans whatsoever other than to camp fostered. critic Margaret Barela, Lepo It’s no exaggeration to say that if there had Sumera, Sarah Hopkins, Terry out, visit the spectacular national parks, and Riley, Laurie Spiegel, Peter been no catastrophic nuclear accident at record ambient sounds for future composing Lifton, himself a pioneer of computer music Sculthorpe, Brian Eno, Kyle Chernobyl, near Kiev in the Ukraine, there projects. composing, and his artist-writer wife Zoline, Gann, Bill Colvig, Denys Bou- might never have been an organization called ran the Telluride Institute, fostering many ar- liane, Ingrid Schmidthusen, Other Minds. Actually, I was in Tasmania When we got to Colorado, we contacted our tistic projects, particularly with the participa- Virko Baley, Vincent Plush, Paul de Marinis. when I heard the news of the dangerous old friends Pamela Zoline and John Lifton in tion of native Americans. Their collaborator radiation leaks. With my artist wife Carol Law, Telluride. They were in the midst of producing in the Ideas Festival, John Naisbitt, author I was on a 30-day concert tour of Australia, their annual Ideas Festival and we attended of Megatrends 2000, was well-connected and we were about to wind things up and this exciting event. The gathering, then in its to movers and shakers across disciplines continue on to Western Europe to give other second year, operated on an unusual model. nationally and had provided the access to scheduled performances, when we learned The object was to bring together 20 articulate such compelling and contradictory voices as that there was heavy pollution blowing west- guest speakers from the Left and Right, like Shirley Williams, Tom Hayden, Al Gore, Lee ward from the USSR. The French govern- writer Edward Abbey and politician Newt Gin- Atwater, and Amory Lovins. The festival was ment was assuring its citizens that the milk grich, in a private conference, enabling them both ingenious and inspirational. And the in Eastern France was safe to drink there. to locate common ground between them landscape, exquisitely beautiful and situated There were 33 nuclear plants in that country without being observed by press or public. at the heady elevation of nearly 9000 feet, and the government didn’t want to spread The intention was to discourage grandstand- took one’s breath away, literally. There was panic. But the Australian press, not as invest- ing and the assertion of unsupportable talking something about meeting in this environment ed in the nuclear industry, was bluntly stating points, moving toward that fi ne Quaker con- that released the human capacity to connect. the truth—danger was on the horizon and cept of consensus. After a week of intimate the reactor might even melt down in coming conversation, I was struck by the openness When the festival concluded, Lifton confi ded weeks with devastating eff ect. and honesty of the unfolding interpersonal to me how much he missed his composer and intellectual play. There also was an friends from London. We started to discuss unusual depth of relationships that resulted in how the model of the Ideas Festival could genuine, creative problem solving. apply to a conference for composers. As

most music festivals don’t allow time for each BILL ELZEY 54 55 Laurie Anderson reading aloud the manifesto on censorship signed by the assembled composers at C-C 1990. L. to R. John Lifton, I Wayan Sadra, Pauline Oliveros, Anderson, Geri Allen, Ge Gan-ru, Gerhard Stäbler, Robert Morris, Hugh Davies, Larry Polansky, Amirkhanian, James Tenney.

participant to get to know other composers, with the resulting jealous factionalism, we decided to launch a new annual event orga- nized around this promising model.

Two years later, in the Summer of 1988, our fi rst Composer-to-Composer Festival took place, and the following three years we con- tinued with seed funding from the Rockefeller Foundation, in recognition of the quality and diversity of our panelists and our goal of spreading an understanding of the work of living composers. In 1988 our distinguished guests included Terry Riley, Lou Harrison, Laurie Spiegel, Peter Sculthorpe, Brian Eno, Sarah Hopkins, Kyle Gann, Paul de Marinis, and others. The private sessions generated intense discussions among the partici- pants, and it was clear that the time given to just talking shop and enjoying the rarifi ed Telluride scenery bonded the participants in a way that gave normally-isolated artists an infusion of new commitment to their careers.

The public concerts and panels were held

Struggling with the were held over several days and nights at the wording of the manifesto jewel box Sheridan Opera House built in 1913 on censorship. L. to R., I as a burlesque theatre on the main street of Wayan Sadra, Jim Tenney town. It was fi lled to capacity for every event, (head in hands), Larry C-C 1990. Manifesto edited with many audience members traveling from Polansky, Laurie Ander- by Henry Brant and signed by son, Roger Reynolds, and all participating composers.

Pauline Oliveros. JOHN FAGO 56 57 out of town. And the town’s cafes were fi lled of Alan Hovhaness, Zakir Hussain, and Louis I told Jim about my work with Compos- Meeting of the Board with audience members who could interact Andriessen, among others. er-to-Composer. Although that project of Other Minds, July 28, 1994, home of Jim with their favorite composer during lunch couldn’t continue in Telluride, we discussed Newman, San Fran- time. Although these were wonderful experiences how the concept could be relocated to cisco. L. to R. Howard for all involved, by 1991 we came to accept Northern California since now there would be Baumgarten, Baraka Sele, By the end of the week, the featured artists that there was no natural audience for exper- an ideal, scenic meeting site for the private Kent Nagano, Charles truly did not want to leave Southwestern imental music in Southwestern Colorado. We Amirkhanian, Terry Riley, composer sessions—the 600-acre Djerassi Jim Newman. Painting by Colorado, and it was clear that the pri- found ourselves unable to raise the neces- Program ranch—and a variety of perfor- Guatemala-born artist vate-plus-public meetings format was a sary funds to continue on the grand scale mance venues in San Francisco from which Alfred Jensen, Acrobatic runaway success. The seeds of the future we’d established. to choose for our public concerts. Rectangles: Per 14 (1968), Other Minds Festival had been planted. inspired by Mayan archi- tecture. After four years of producing Compos- During the cold winter months, the Djerassi The following year in Colorado, 1989, we er-to-Composer, and after serving 23 years Program was on hiatus, so it could house brought John Cage and Conlon Nancarrow, as Music Director of KPFA Radio in Berkeley, the guest composers and provide space for whom I interviewed together onstage before I, and my wife Carol Law, were off ered the meetings in its spacious studios. Under Car- the most rapt audience I can remember. In positions of co-directors at the Djerassi Res- ol’s and my leadership, the Djerassi Program 1990, with Jesse Helms attacking the NEA ident Artists Program in the remotest area Board of Directors agreed to be the principal and calling for an end to funding artists, the of Woodside, California, 40 minutes south of co-sponsor for the private composer resi- assembled group issued a proclamation San Francisco. dencies of this new festival. re-asserting the rights of artists to voice dissent. One of our number, Laurie Anderson, When I announced on KPFA’s air that I was Jim agreed to contribute the seed funding for placed a call to UPI, and the next day head- leaving the station at the end of Novem- the festival each year (which he generously lines around the country, in newspapers large ber 1992, I received a telephone call from has continued to do for two decades) and C-C co-founders Charles legendary San Francisco art gallerist and Amirkhanian and John and small, proclaimed, “Telluride Composers I was fortunate in meeting Baraka Sele, the Lifton, 1991. Denounce Helms.” That same year, Henry fi lm producer Jim Newman who was one performance program director of the Yerba Brant wrote one of his “instant compositions,” of our most generous listener-sponsors. “I Buena Center for the Arts, about to open and a vigorous performance of his partially really rely on your programs to let me know its doors in November 1993. That month, as improvised Elevation 8750ˇ was played by what’s happening in music, Charles. Is there part of the complex’s grand opening, the fi rst the assembled guest composers and a local anything I can do to keep you connected to Other Minds Festival took place, with a cast Telluride choral ensemble. The fi nal year I music in San Francisco?” of artists that comprised Conlon Nancar- was involved (1991), we enjoyed the company row, Trimpin, Philip Glass, Foday Musa Suso, (TOP) JEANNE NEWMAN / (BOTTOM) CAROL LAW CAROL JEANNE NEWMAN / (BOTTOM) (TOP) 58 59 Meredith Monk, Julia Wolfe, Robert Ashley, In truth, the inclusive nature of Other Minds Each year New Music America, as it came to By good fortune, our opening festival, pro- Since those early years, we’ve held our fes- For others in America, diff erent pathways Jon Jang, Barbara Monk Feldman, Thomas concerts also was inspired by my years at be called subsequently, moved from one city duced on a shoestring, inspired others to tival concerts at the Cowell Theatre, Project were explored. But the key is not to take Buckner and Jai Uttal. the very progressive KPFA Radio and the to the next, stopping in Minneapolis in 1980, come forward with funding to continue. First Artaud, the Palace of Fine Arts Theatre, the anything for granted.” democratic format of New Music America, San Francisco in 1981 (highlighted by Nancar- among our foundation supporters was the Jewish Community Center of San Francisco, Our focus, though a broad one, was to sup- begun in 1979 in New York City as a count- row’s fi rst appearance outside Mexico since William & Flora Hewlett Foundation, whose and now the new SFJAZZ Center. We’ve This, in a nutshell, exemplifi es the spirit that port composers who were extending what er-balance to the predominance of well-or- 1947), Chicago in 1982, and so forth. To fur- program offi cer, Melanie Beene, met with us hosted 192 diff erent featured festival com- animates Other Minds. I thought of as the American Experimental ganized and -funded “uptown” composers. ther publicize these events, I co-hosted live at Jim Newman’s home and made a commit- posers from all parts of the world, presented And now, with our pioneering and free online Tradition, emanating from the pioneering At that time, virtually all of the institutional radio broadcasts over the revolutionary new ment that solidifi ed our base of support. Mind hundreds more performers, premiered and archive of recorded interviews and con- work of Charles Ives, Henry Cowell, John support for contemporary music was in the NPR satellite broadcasting system. Thus, in you, we had only an underpaid staff of one, commissioned a vast array of new pieces, certs—radiOM.org—the panels, concerts Cage, Lou Harrison, Harry Partch, and others hands of academic institutions and the “cere- 1981, 1982 and 1985 (Los Angeles), audiences along with Jim and myself virtually volun- and become widely known and respected and other proceedings of the Other Minds who had broken with the strictly European bral” wing of contemporary composers. The in regions that were unfamiliar with new mu- teering. But we had high hopes and altruistic globally as a desirable destination for leading Festival, both on video and via audio re- models in music and were looking to fashion “downtown” composers found themselves sic were suddenly and dramatically exposed dreams. edge composers and performers. cordings, reaches 50 times more than the new languages. Our composers welcomed marginalized because of their involvement to this work that doesn’t require theoretical 1000-1500 people who attend our concerts outside infl uences from world music, impro- with minimalism, rock, jazz, or world music. analysis to enjoy. What can one say about Jim Newman other As I look back over our 20 years of gath- in person. visation, jazz, electronics, unusual intonations So in 1979 they were led by producer Mimi than that Other Minds never would have erings and realize that now many of our and instrumentation, and experimented free- By the time of the fi nal festival in Montréal come into being without his dogged hard participants no longer are living, it seems Johnson, music critic John Rockwell, and Of course we don’t accomplish all this in a ly with every musical parameter, along with in 1991, there seemed to be no way to go work and guidance. Our visionary co-founder, auspicious that the Other Minds Festival other rebels, in organizing a week-long series vacuum. Thanks so much to all of you who the concept of the composer-performer. forward for the large assembly of individu- whose life already had been devoted to major has captured a snapshot of music history of concerts and panels at The Kitchen—New have provided consistent and generous Music New York—that coincided with the an- als nurtured in the NMA system. Therefore, projects of music, performance art, the visual not yet fully codifi ed. But I’m gratifi ed that Furthermore, recognizing that many com- fi nancial support. Thanks also to the many nual gathering of the American Music Critics the time was ripe for a new annual event to arts and fi lm, labored tirelessly as graphic much of what is taken for granted in new posers never came to the Bay Area because board and staff members who have lent a Association. Each composer, no matter his or emerge, and when John Cage died suddenly artist, fundraiser, bookkeeper, web designer music today—everywhere one turns—is their best music didn’t conform to the hand to do the hard administrative work of her level of achievement and fame, was paid in August 1992, the need only seemed more and guiding spirit, from the very beginning. an extension of the pathways laid out by the traditions of orchestral or chamber music our day-to-day operation. It’s been a blessing a uniform fee and was given 15-20 minutes profound. He has been abetted by a long-expanding continuum of the American Experimental forces, we decided we would honor these to have your support and involvement in to present their work in evenings that were roster of arts-minded board members who Tradition and that Other Minds has played an outsiders. Another focus was to incorporate Having secured a promise from the Yerba making Other Minds Other Minds. full of variety with wildly varying styles. If one have brought their own personal contacts important role in its vigorous development music by women, people of color, improvis- Buena Center to stage a festival, all that was thing wasn’t to your liking, the next thing likely and advice to bear on our progress. and survival. Now next time your travel plans are dashed ers, and people from diverse age and cultural needed was a name. Finally, Jim Newman could be. And most of the music critics in unexpectedly, do your best to make lemon- groups—the greater the variety, the better. came up with a winning inspiration: He As American maverick composer Ben John- America had been lured into covering the ade out of those lemons. I urge you to And with Jim Newman’s devotion to, and referred me to a dismissive, unsigned notice ston, who turns 88 on March 15th, told me by event, making it national news. recall the story of a cancelled trip to Europe deep knowledge of jazz, we made it a point to in The New Yorker kvetching that Cage’s ep- phone from rural Wisconsin in January, “We that gave scores of musicians a wonderful include prominent members of the creative itaph might read that he composed music in ought to use music to integrate ourselves. trip to Northern California that they never music scene, the avant-garde wing of this other people’s minds. Rising to the challenge, And for me, that meant we shouldn’t simply expected! African-American art form. Jim said, “We’ll be those other minds!” repeat the European classical model but adapt it to our own situation here. For exam- ple, I returned to the very building blocks of THOUGHTS FROM COMPOSERS: harmony and sought to integrate physics and “There have been few advocates of exploratory new music as committed and dedicated as Charles music by re-imagining the harmonic series Amirkhanian and his Other Minds organization. rather than blindly adopting Equal Temper- Unequivocally upholding the right of music to be ament. non-commercial, Other Minds continues its daring sponsorship of trailblazing, original artists.” —HENRY BRANT 60 61 OTHER MINDS: February 11, 1999 March 16–19, 2000 March 8-10, 2001 Films by and about Frank Zappa, A TIMELINE Bowed Piano Ensembles Other Minds 6 Other Minds 7 Terry Riley, Pandit Pran Nath, Project Artaud, San Francisco (Carl Stone, Director) Cowell Theater, Fort Mason, Leon Theremin, Karlheinz Stock- Project Artaud San Francisco hausen, George Antheil, Percy Stephen Scott directing ensem- Grainger, and others. bles from Colorado College and Talinn, Estonia. June 10, 2000 November 12-15, 2001 Sirens, Doorbells, Propellers: Henry Brant: Ice Field— March 5-8, 2003 Antheil And The Birth Of Ameri- Spatial Narratives For Large & Other Minds 9 March 25–27, 1999 January 29, 1993 1995 November 21-24, 1996 Harold Budd, Henry Brant, Belin- can Musical Modernism Small Orchestra Groups Palace of Fine Arts Theatre Other Minds 5 An Evening With György Ligeti Other Minds Website Launch Other Minds 3 da Reynolds, Ingram Marshall & San Francisco Public Library Davies Symphony Hall, Cowell Theater at Fort Mason YBCA, San Francisco & Hertz David Wessel, et al San Francisco Panel with Paul Lehrman, Benja- December 2, 2003 Pianist Volker Banfi eld per- Co-founder Jim Newman Hall, UC Berkeley forms the American premiere designs and launches the Other min Lees, David Raksin, moder- Radiom.org Launch of Études for Piano, Books 1 & 2, Minds website, one of the earliest 1999 ated by Charles Amirkhanian. Launch party for RadiOM.org hosted by Charles Amirkhanian, new music Internet resources November 10-12, 1997 Other Minds Records Launched at the headquarters of partner with spoken introduction and talk Other Minds 4 June 11, 2000 Internet Archive. Presidio, San by the composer. January 29, Cowell Theater, Fort Mason, The fi rst OM Records release is American Mavericks Festival Francisco. 1993, Hertz Hall, UC Berkeley (in March 30–31, April 1, 1995 San Francisco “The Virtuoso Pianolist,” featuring Davies Symphony Hall, collaboration with Cal Perfor- Other Minds 2 Rex Lawson performing player YBCA, San Francisco piano rolls, including the world San Francisco mances). February 15, 2004 October 21-22, 1998 premiere recording of Stravin- George Antheil concert by the Music Is The Air I Breathe Bang On A Can All-Stars Play sky’s rolls of Les Noces, made San Francisco Symphony in Delancy Street Theatre, November 4–7, 1993 December 10, 1995 Eno’s Music For Airports for Pleyela in Paris in the 1920s. April 15, 1999 Commissioned by Other Minds association with Other Minds. San Francisco Other Minds Festival 1 Henry Kaiser, Lukas Ligeti, YBCA, San Francisco In cooperation with the Pianola New Offi ces In The Fog Building and premiered by the San Fran- Miya Masaoka Slide lecture by Amirkhanian Institute, London. cisco Symphony under Michael Film about avant-garde singer (See complete list of composers Japonesque, Pier 9, SF Premiere performance of Other Minds establishes its and world premiere of Ballet Mé- Tilson Thomas. The music was Cathy Berberian, presented by for each OM Festival listed on San Francisco the group also doing music by offi ce in a former casket factory canique in its original version for awarded the Pulitzer Prize in Other Minds at the Armenian pages 96–97.) Yerba Buena Lang, Gordon, Pamela Z, Wolfe, on 333 Valencia Street, Suite 16 player pianos, sirens, airplane 2002. Film Festival. Center for the Arts (grand open- Ziporyn & Plonsey. 303, in San Francisco, a decade propellers, doorbells and per- ing), San Francisco February 15, 1996 before the gentrifi cation of its cussion. Michael Tilson Thomas, Double Exposure conductor. now-hip neighborhood. March 7-9, 2002 December 12, 2004 November 7, 1998 Other Minds 8 Bali Symphony November 12, 1994 Eleanor Alberga & Thomas Opus 415, Number 4 Staff pictured above: Mari Hatta, Palace of Fine Arts Theater, Knuth Hall, San Francisco Pandit Pran Nath & Terry Riley Bowles, two pianos Marathon John Binkov, Jennifer Shyu, San Francisco State University. First Unitarian Church, Cowell Theater at Fort Mason, YBCA Forum, San Francisco Debra Pughe San Francisco San Francisco California Symphony & Gamelan 26 composers in collaboration November 8–10, 2002 Sekar Jaya perform studio re- with Common Sense Compos- Eyes & Ears: The Other Minds cording of Bali Symphony, jointly ers Collective. Film Festival composed by José Evangelista Castro Theatre, San Francisco (OM STAFF) CHARLES AMIRKHANIAN; (BALLET MÉCANIQUE) TERRENCE MCCARTHY; (AMIRKHANIAN, BRANT, MTT) MARTY SOHL MTT) MARTY (AMIRKHANIAN, BRANT, TERRENCE MCCARTHY; MÉCANIQUE) AMIRKHANIAN; (BALLET CHARLES STAFF) (OM 62 63 and I Nyoman Windha, com- March 6, 2006 Shumaker, to preserve the reel- November 2, 2007 June 15, 2009 Panel with John Duff y, Ana- missioned by Other Minds with A Civil Rights Reader to-reel originals. The fi les are 18 Microtonal Ragas Revenge of the Dead Indians hid Ajemian, George Avakian, funds from the James Irvine Kanbar Auditorium, Jewish hosted by The Internet Archive St. John’s Presbyterian (In Memoriam John Cage) moderated by Charles Amirkha- Foundation. Barry Jekowsky Community Center of San in San Francisco. Church, Berkeley Film by Henning Lohner. nian. Sandra Soderlund, organ; conducts. As of 2015, the work Francisco. F ANAHID AJEMIAN Kabuki Sundance Cinema, Abel-Steinberg-Winant Trio, et still awaits its public premiere. John Cage’s Solo for Voice 58, San Francisco al. Exhibition of manuscripts and Complete (4) string quartets of realized by singer Amelia Cuni, memorabilia. (Pictured below: Daniel Bernard Roumain, with composer Werner Durand and Anahid Ajemian, Henry Cowell, March 4–6, 2004 Del Sol Quartet. Videotaped by two percussionists. October 9, 2009 Maro Ajemian) Other Minds 10 Monthly concerts (9) of selected CBS Evening News and featured February 24, 2007 Lester Bowie Tribute Concert YBCA, San Francisco in its “On the Road” series with A New Music Séance Herbst Theatre artists in a club setting, including March 6–8, 2008 Steve Hartman. Swedenborgian Church, Vytautus Germanivicius, Tolga, Other Minds 13 Members of the Art Ensemble Blevan Blectum, The Blobettes, San Francisco January 7, 2005 May 20, 2007 Kanbar Auditorium, JCCSF of Chicago Roscoe Mitchell, Music From Other Minds Crank, Charles Céleste Hutchins, Famadou Don Moye, and guests Matt Ingalls, Bonnie Barnett, Second of three concerts in this Guitarist David Tanenbaum series. World premieres by Dan Corey Wilkes, James Carter, The radio program, heard weekly, Brian Sacawa, Dorsey Dunn, & December 6, 2008 Becker, Ronald Bruce Smith and Premiere of new work for guitar Frank Lacy, John Jang and Peter is launched by producer Richard Christopher Willits. Bernard A New Music Séance Charles Amirkhanian. and electronics by Ronald Bruce Barshay, performing on the tenth Friedman on KALW-FM Radio Francis Kyle, curator. Smith, with works of S. L. Weiss Swedenborgian Church, anniversary of the death of the in San Francisco. As of this and Lou Harrison. San Francisco great trumpeter and compos- writing (February 2015), over 425 May 14, 2007 er Lester Bowie. Produced by December 3, 2005 March 4-6, 2010 diff erent programs have been Radiom.org Redesign Launch Masonic Temple, Berkeley, CA Jazz in Flight in collaboration A New Music Séance Other Minds 15 broadcast, mostly featuring Performing Arts Library & (Residence of Curtis Smith & with Other Minds. Sukari Ivester, Swedenborgian Church, Kanbar Auditorium, JCCSF recent commercial releases December 8–10, 2006 Susan Threlkeld) San Francisco Museum, San Francisco curator. of non-commercial new music. Other Minds 12 Most still are available to stream On the 90th anniversary of the “Summoning the specters of Kanbar Auditorium, JCCSF April 19, 2010 at http:/otherminds.org/mfom birth of composer Lou Harrison, October 11, 2007 November 12, 2009 musical forbears, channeling the Edgard Varèse: Other Minds launches a com- Dennis Russell Davies & Maki Henry Cowell: spirits of their successors.” The The One All Alone December 2006 pletely updated and redesigned Namekawa, Two Pianos The Whole World Of Music fi rst of three day-long candlelit Kabuki Sundance Theatre, February 24–26, 2005 Other Minds Staff : RadiOM.org website, enabling Herbst Theatre, San Francisco Valley Presbyterian Church, marathons of maverick music San Francisco Other Minds 11 Adrienne Cardwell, Emma listeners in 165 countries and ter- Third of three concerts in this Portola Valley, CA (2005-2008), bringing together Works by Balduin Sulzer, Adam YBCA, San Francisco Moon, Adam Fong, CA, Joninna ritories to access thousands of series. World premieres by Steed composers from the past with Fong, Chen Yi, Philip Glass, and American premiere of a fi lm Simpson, Stephen Upjohn, Jann hours of recordings of digitized Cowart, Ingram Marshall and Ma- Sarah Cahill, piano; Wendy Hill- those of today in chamber J.S. Bach (arr. Kurtág). by Dutch producer Frank LaPointe programs from the KPFA Music moru Fujieda. Portrait concert, house, soprano; Colorado String April 26–December 28, 2005 music for piano and for violin-pi- Scheff er. Including interviews Department archives given to “Ruth Crawford and Her Milieu.” Quartet Brink ano. Sarah Cahill, piano solo; with Pierre Boulez, John Cage & Other Minds in 1999. Adrienne Hemlock Tavern, San Francisco Kate Stenberg & Eva-Maria Elliott Carter. Cardwell, Archivist, and Stephen Zimmermann, violin and piano. March 5–7, 2009 November 13, 2009 Upjohn, Librarian, work hand Curated by Charles Amirkhanian. Other Minds 14 Henry Cowell: in hand with Fantasy Studios, World premiere of music by Kanbar Auditorium, JCCSF The Whole World Of Music Berkeley, and engineer Robert Leo Ornstein. Presidio Chapel, San Francisco (BRINK) AMIRKHANIAN; (CIVIL RIGHTS READER): JIM BLOCKT; (2006 STAFF) AMIRKHANIAN (2006 STAFF) READER): JIM BLOCKT; RIGHTS (BRINK) AMIRKHANIAN; (CIVIL O COURTESY (COWELL) JIM BLOCK; RICHARD FRIEDMAN; (SÉANCE) & DAVIES) (NAMEKAWA (NEWMAN, AMIRKHANIAN, KAISER) ADRIENNE CARDWELL; 64 65 September 27 & 29, 2010 March 13, 2011 Attending the opening of the September 2012 November 2-4, 2012 April 14, 2013 Music for 100 electric guitars, Rudhyar In Retrospect Alan Hovhaness futuristic new concert complex Other Minds Staff : Nancarrow At 100: Calefax Reed Quintet performed by composer Rhys Swedenborgian Church, San Centennial Celebration Harpa and the Nordic Music Peter Esmonde, Richard A Centennial Celebration Home of Jim Newman & Jane Chatham and a volunteer corps Francisco, & Valley Presbyterian First Congregational Church, Days Festival in Reykjavík, Friedman, CA, Cynthia Mei, UC Berkeley Museum of Art, Ivory, San Francisco of players from around the world. Church, Portola Valley, CA Berkeley Charles Amirkhanian and Carol Adrienne Cardwell, Michael Pacifi c Film Archive, Hertz Hall, Encore: The Out of Tune Guitar. Law, lead a group of 15 followers Straus UC Berkeley Amsterdam-based ensemble Supported by a grant from the Performances of music by Dane Şahan Arzruni, piano. through the natural wonders performed the world premiere James Irvine Foundation. Rudhyar by Ives String Quartet, of rugged Iceland, concluding Presented by Cal Performances, of Conlon Nancarrow’s Study No. Sarah Cahill, piano, and David with the lighting by Yoko Ono Berkeley Art Museum, Pacifi c 44 in a new arrangement, along vJune 19, 2011 Abel & Julie Steinberg, violin & Rare fi lms, curated by Peter and Sean Lennon of the Imagine Film Archive & Other Minds. with works by Michelangelo Ros- February 27, 2014 Zofo Concert piano. Panel with Leyla Rudhyar Esmonde, a radio broadcast on Peace Tower on an island, with Panels, fi lms and concerts. si, and Frederic Rzewski. Calefax Other Minds Gala Concert Home of Margot Golding, and biographer Deniz Ertan. Ex- “Music from Other Minds” with a last-second emergence of the Guest speakers included Yoko fi lms of Nancarrow’s Studies 2, Duende Restaurant & Bodega, San Francisco hibits of paintings, manuscripts music by Henning Christiansen Northern Lights in the back- Sugiura-Nancarrow, Felix 3c & 18. Oakland, CA and correspondence. Meyer, Kyle Gann, Peter Garland, Music for piano four-hands, and Nam June Paik produced ground. Trimpin, Rex Lawson, Dominic World premieres by Donald including a revival of Harold by Charles Amirkhanian, and a Murcott, Helena Bugallo, Amy June 7, 2013 Buchla, electronics, and Craig Shapero’s Sonata (1941), com- panel & concert with works by March 2, 2011 February 29, 2012 Williams, Chris Froh, Graeme G100 Preview Concert Taborn, piano. posed for Leonard Bernstein & George Brecht, Yoshi Wada, Composers Fellowship Concert Composers Fellowship Concert Jennings and Charles Amirkha- The Lab, San Francisco Shapero to perform. Eva-Maria Dick Higgins, Alison Knowles, October 27, 2012 Meridian Gallery, San Francisco The Lab, San Francisco nian. Films by Alban Wesly and Zimmermann & Keisuke Naka- Hannah Higgins, Yoko Ono, Philip Nancarrow At 100 Rhys Chatham’s Guitar Trio & February 28, March 1-2, 2014 James Greeson. Performances Winners of a young composers’ goshi. piano. Corner, Tomas Schmidt, and Preview Concert The Out of Tune Guitar per- Other Minds 19 Works by John Cage, along with by Trimpin, Rex Lawson, Calder competition: Nicholas Chase, Adam Overton, produced by Piedmont Pianos, Oakland, CA formed under the composer’s SFJAZZ Center, San Francisco competition winners E. Edward String Quartet, Percussionist Lisa Coons, Ben Hjertmann, Adam Fong. leadership. Davis, Peter Swendsen, John P. With pianolist Rex Lawson and Chris Froh, violinist Grame Jen- and Zibuokle Martinaityte, had Hastings, and Jen Wang. Root- sound sculptor Trimpin. nings, and the Bugallo-Williams their work performed one day October 10, 2014 October 1-10, 2011 stock Percussion Ensemble. Piano Duo. First exhibition of before OM 16 and spent a day November 17, 2013 Morton Feldman: Other Minds New Music Trimpin’s “Nancarrow Percus- at the Djerassi Program with A Secret Rose For Bunita Marcus Tour Of Iceland sion Orchestra,” commissioned the featured guest composers. March 1-3, 2012 Craneway Pavilion, Studio/home of Clive McCarthy by OM & BAM, and made with Produced by Adam Fong. Other Minds 17 Richmond, CA & Tricia Bell, San Francisco leftover parts from the original JCCSF Nancarrow experiment in Mexi- Marc-Andrew Hamelin, piano, in March 3–5, 2011 September 15–17, 2011 co City. a 70-minute solo work. Other Minds 16 Something Else: September 22, 2012 Kanbar Auditorium, JCCSF A Fluxus Semicentenary John Cage & Friends February 28, March 1-2, 2013 March 6-7-8, 2015 Sundance Kabuki Cinemas, Film Festival Other Minds 18 Other Minds 20 KALW-FM Radio, SOMArts Roxie Theatre, San Francisco JCCSF SFJAZZ Center Cultural Center, San Francisco Day-long centennial celebration of composer John Cage, with rare fi lms and video, curated by Peter Esmonde. (OM STAFF) CAROLE GOERGER; (NANCARROW PERCUSSION ORCHESTRA BY TRIMPIN) AMIRKHANIAN; (SECRET ROSE) MOLLY DE COUDREAUX MOLLY ROSE) TRIMPIN) AMIRKHANIAN; (SECRET BY ORCHESTRA PERCUSSION (NANCARROW GOERGER; CAROLE STAFF) (OM (GOLDING, ZOFO) AMIRKHANIAN; (FLUXUS, LUCIANO CHESSA) AMIRKHANIAN; (ICELAND) AMIRKHANIAN AMIRKHANIAN; (ICELAND) CHESSA) LUCIANO AMIRKHANIAN; (FLUXUS, ZOFO) (GOLDING, 66 67 STILLS HERE A PHOTOGRAPHIC HISTORY OF OTHER MINDS

As a child, I looked forward to The Christian In 1988, although it seemed a departure from Science Monitor’s daily arrival in our mailbox. almost everything photographic I had done My interest in photography grew as I followed before, Pamela Lifton-Zoline proposed that I images from around the world by their chief document a gathering of composers during photographer, Gordon Converse. That one the fi rst Composer-to-Composer Festival could travel near and far recording decisive in Telluride. I am truly grateful to Pamela moments resonated with my dreams for the for opening the door to that opportunity. It future. Converse made a strong impression initiated a collaborative friendship with on me when he said, “If I have succeeded as Charles Amirkhanian that continues today, a photographer, it is because I have gone to now twenty-seven years later in the celebra- the work with an open heart.” tion of this twentieth Other Minds Festival. Thanks to Charles, for decades I’ve had the I come from a family of artists. With a artistic license and resources to create a cartoonist father and a painter for a mother, visual record of composers and musicians making images was part of daily life. During gathering together to better understand and college I studied the writing and works of Paul nurture each other’s work. Klee, especially The Thinking Eye. Later the lives and photographs of Sumner Matteson, In the role I’ve happily played across these Walker Evans, Dorothea Lange, Henri annual episodes, I’ve found perhaps the best Cartier-Bresson and Robert Frank drew me thing a photographer can fi nd, an ongoing further into ‘documentary-style’ photography, project that as Rilke wrote of a dear old habit, inspiring me to pay close attention to what is came and stayed and never gave notice. mysterious and good. John Fago johnfago.com THOUGHTS FROM COMPOSERS: “Other Minds, both as a convocation of contemporary composers from many places in the world, as a round- table, and in its publicly presented concerts, is a splen- didly varied, stimulating, and beautiful thing. Intense OM 1 (1993) Listening session with Jon Jang, Julia Wolfe, Charles admirations and friendships can form in its course and Amirkhanian, Foday Musa Suso, Barbara Monk Feldman, Philip Glass. surely every artist fi nds a new shine in his spirit from Photo blueprint series by Carol Law. Director’s house at Djerassi these assemblies and concerts. May it thrive!” Resident Artists Program. Former home of Pamela Djerassi, in whose

—LOU HARRISON (AUGUST 1, 1996) JOHN FAGO BY PHOTOS memory the Djerassi Resident Artists Program was founded. 68 69 OM 3 (1996) front: Charles Shere, George Lewis, LaMonte Young, OM 2 (1995) Pianola performer Rex Lawson speaking. (l to r) Ashot Marian Zazeela, Charles Amirkhanian. Rear: Lukas Ligeti, Jim New- Zograbian, William Colvig, Calliope Tsoupaki, Frances White, Lou man, Miya Masaoka, Olly Wilson, Kui Dong, Ionel Petroi, David Raksin, Harrison, Terry Riley, and Alvin Singleton, in the Composer’s Studio. Mitchell Clark, Frederick Rzewski and Henry Kaiser.

70 71 OM 5 (1999) The late jazz reed playing great Sam Rivers shares a laugh with Jim Newman, who, until very recently continued to perform on his baritone sax.

OM 4 (1997) Hafez Modirzadeh (left) describes the moment when ever-curious Henry Brant (right in hoodie) picked up the karna while the former was playing soprano sax: “Henry sounding “cOMe hOMe!” to every one of us, realizing love beyond all shape and shadow of form.” OM 5 (1999) Errollyn Wallen, António Pinho Vargas, and Mary Ellen Childs

72 73 OM 6 (2000) seated: Hyo-shin Na, Aki Takahashi, Leroy Jenkins, Hamza El Din, Scanner (aka Robin Rimbaud, on ground), Jacob ter Veldhuis. OM 7 (2001) Andrew Hill, jazz pianist and composer, standing: DJ Spooky (Paul Miller), Christian Wolff , Peter Garland. signing one of his classic LPs.

74 75 OM 7 (2001) front (l to r): Glen Velez, Alvin Curran, Charles Amirkha- OM 8 (2002) Houston is not that far from Havana. The distance nian. rear (l to r): Aleksandra Vrebalov, Andrew Hill, Jim Tenney, Hi between the hometowns of Pauline Oliveros (l.) and Tania León (r.) are Kyung Kim, Gavin Bryars, Jim Newman, Chris Brown, Willie Winant. bridged at the Djerassi ranch.

76 77 OM 8 (2002) Lou Harrison. His fi nal composition (commissioned by Other Minds) Scenes from Nek Chand was premiered by David Tanenbaum on March 7, 2002 at the Palace of Fine Arts Theatre. He succumbed on February 2, 2003. OM 11 composer John Luther Adams OM 9 (2003) Stephen Scott (center) and the Colorado College wrote, “The mighty Sequoia has fallen.” Bowed Piano Ensemble.

78 79 OM 10 (2004) Inside the “Estaciones de Luz” site specifi c sculpture by Mark Reeves. Back trio: Joan Jeanrenaud, Francis Dhomont, fi lmmaker and translator Hamlet Sarkissian. Down in the V-hole: Tigran Mansurian, Hanna Kulenty, Werner Durand, Keiko Harada, and Amelia Cuni.

OM 10 (2004) Armenian composer Tigran Mansurian’s emotional delivery is heard by Werner Durand (arms folded), Amirkhanian (with recorder), Joan Jeanrenaud and Mark Grey (on couch, right), and Polish composer Hanna Kulenty (leaning in, right), in the Djerassi composer’s studio. OM 11 (2005) Fred Frith rehearsing music for two hands and two feet.

80 81 OM 12 (2006) Australian composer Peter Sculthorpe (1929–2014) OM 12 (2006) Maja S.K. Ratkje with Frode Haltli, signing her who was scheduled to attend OM 20, passed away last August. donated score page.

82 83 OM 13 (2008) Morton Subotnick and Wadada Leo Smith, long time colleagues on the faculty of California Institute of the Arts.

OM 13 (2007 Thirteen signaled bad luck for German composer Dieter Schnebel, left. Backstage, OM trustee Mitchell Yawitz proposes to go OM 14 (2009) Soft-spoken American maverick composer Ben onstage for the group photo representing our missing colleague, who Johnston, whose early work with Harry Partch confi rmed his love of recovered from illness too late to make the fl ight to California. new intonation systems.

84 85 OM 15 (2010) Polish wunderkind Paweł Mykietyn (right) gives rehears- OM 16 (2011) Balinese percussionists I Nyoman Suarsana and al feedback to members of Del Sol String Quartet, Charlton Lee, Kate I Nyoman Suwida left behind their 80 degree homeland to perform Stenberg, and Rick Shinozaki. with guitarist I Wayan Balawan.

86 87 OM 18 (2013) The recorders that year were Renaissance vintage, OM 17 (2012) Norwegian composer Simon Steen-Andersen’s eyeball not 21st Century digital. L. to R. front: Sunleif Rasmussen, Michala Petri, projected live at the San Francisco Jewish Community Center’s Kanbar Amirkhanian, Anna Petrini, Mattias Petersson; behind: Craig Taborn, Auditorium, in performance with scandinavian ensemble asamisimasa. Aaron Gervais, G. S. Sachdev, Jim Newman, Dohee Lee, Paula Matthusen.

88 89 Portrait of John Fago (r.) as OM Archivist Bernard Francis Kyle installs a OM 19 (2014) Charles Hutchins, (pointing), describing his system of show of photos taken at Composer-to-Composer and the fi rst nine OM translating line drawing into music to Amirkhanian (l.) and Blaine Todd Festivals. Shot by Charles Amirkhanian with one of Fago’s Leicas at OM (r.), with Ryan Jobes (far left) keeping an eye on the projection screen. 10, 2004, Yerba Buena Center for the Arts Forum, San Francisco.

90 91 ABOUT OTHER MINDS

Founded in 1993, Other Minds in San Francisco is a leading orga- Board of Directors Charles Céleste Hutchins George Lewis Other Minds Staff Festival Volunteers Robert Shumaker nization for new and experimental music in all its forms, devoted Sound Recording Engineer to championing the most original, eccentric and underrepresent- Andrew Gold Sukari Ivester Lukas Ligeti Charles Amirkhanian Allan Cronin ed creative voices in contemporary music. From festival concerts, President Executive & Artistic Director studio1500 Eric Kuehnl Meredith Monk Ella Lindgren fi lm screenings, radio broadcasts and the commissioning of new Graphic Design Caren Meghreblian Jim Newman works, to producing and releasing CDs, preserving thousands of Vice President Susan McBride Jason Moran President Emeritus Jeremy Graham Claire Huie interviews and concerts and distributing them free on the Internet, Silvia Matheus Other Minds has become one of the world’s major conservators Mitchell Yawitz Kent Nagano Brian Sumstine Richard Friedman Andrew Weathers Videography of new music’s ecology. Secretary Operations Coordinator Yoko S. Nancarrow Festival Staff Mike Melnyk For more information, Jim Newman Board of Advisors Blaine Todd Michael Nyman Bay Package Productions Performance photography visit www.otherminds.org Treasurer & Co-founder Director of Development & Muhal Richard Abrams Videography Terry Riley Communications Charles Amirkhanian Laurie Anderson John Fago Executive & Artistic Director Adrienne Cardwell David Robertson Photography Louis Andriessen Preservation Project Director Dennis Aman Ned Rorem Azat Fishyan Other Minds Gavin Bryars Carole Goerger 333 Valencia Street Mark Applebaum Armenian Translator Frederic Rzewski Business Manager Suite 303 John Duff y Kevin Guzmán San Francisco, CA Dan Becker Morton Subotnick Stephen Upjohn Transportation 94103-3552 Brian Eno Librarian George Freeborn Tan Dun USA Ruth Goldfi ne Fred Frith Richard Friedman John Goodman Scott Siler www.radiom.org Trimpin Host, “Music from Other Minds” THOUGHTS FROM COMPOSERS: Philip Glass Box Offi ce Associates www.otherminds.org “Hurrah for Other Minds. It’s delightful to see your Chinary Ung Dennis Aman [email protected] programs. So rich and imaginative in mixing music Ryan Jobes David Harrington Host, “Music from Other Minds” from around the globe… I imagine Ives and Cowell Julia Wolfe Backstage Assisstant are rejoicing in their musical heavens. Peering Program printed with generous down on your rare Avant-garde festival… Other Ben Johnston Dan Becker support from Margaret Dorfman. Minds shines out in the USA. There’s nothing like it.” Host, “Music from Other Minds” —JOHN DUFFY, COMPOSER & FOUNDER, MEET THE COMPOSER Joëlle Léandre

92 93 Other Minds 1 (1993) Other Minds 4 (1997) Other Minds 7 (2001) Hanna Kulenty Other Minds 14 (2009) Other Minds 18 (2013) ABOUT Robert Ashley Henry Brant Chris Brown Tigran Mansurian Michael Harrison Aaron Gervais Thomas Buckner Paul Dresher Gavin Bryars Jon Raskin Dobromiła Jaskot Dohee Lee THE FESTIVAL Philip Glass Mamoru Fujieda Alvin Curran Ben Johnston Paula Matthusen Jon Jang Hafez Modirzadeh Andrew Hill Other Minds 11 (2005) Catherine Lamb Mattias Petersson Barbara Monk Feldman Laetitia Sonami Hi Kyung Kim John Luther Adams Chico Mello Michala Petri Meredith Monk Carl Stone James Tenney Maria de Alvear John Schneider Anna Petrini Foday Musa Suso Donald Swearingen Glen Velez Charles Amirkhanian Linda Catlin Smith Sunleif Rasmussen Conlon Nancarrow Visual Brains Aleksandra Vrebalov Billy Bang Bent Sørensen G.S. Sachdev Trimpin (Sei Kazama & Hatsune Ohtsu) William Winant Marc Blitzstein Chinary Ung Craig Taborn Jai Uttal Pamela Z Fred Frith The 20th Other Minds Festival is presented by Other Julia Wolfe Other Minds 8 (2002) Phill Niblock Other Minds 15 (2010) Other Minds 19 (2014) Minds in association with the Djerassi Resident Artists Other Minds 5 (1999) Ellen Fullman Michael Nyman Natasha Barrett Mark Applebaum Program. Now in its 20th edition, the annual Other Minds Festi- Other Minds 2 (1995) Linda Bouchard Takashi Harada Daniel Bernard Roumain Lisa Bielawa John Bischoff val of New Music invites nine of the most innovative artists from Muhal Richard Abrams Mary Ellen Childs Lou Harrison Evan Ziporyn Chou Wen-chung Joseph Byrd around the world to the San Francisco Bay Area for a four-day Don Byron Luc Ferrari Tania León Jürg Frey Donald Buchla residency at the Djerassi Resident Artists Program in Woodside, Lou Harrison Alvin Lucier Annea Lockwood Other Minds 12 (2006) Tom Johnson Charles Céleste Hutchins California, and three days of concerts, panel discussions, and Mari Kimura António Pinho Vargas Pauline Oliveros Tara Bouman Kidd Jordan Myra Melford symposia in San Francisco. Known for featuring illustrious guest Rex Lawson Julian Priester Ricardo Tacuchian Daniel David Feinsmith Carla Kihlstedt Roscoe Mitchell performers, a signifi cant number of world premieres, and pro- Ingram Marshall Sam Rivers Richard Teitelbaum Joëlle Léandre Paweł Mykietyn Wendy Reid ductions that incorporate new technologies and multidisciplinary Terry Riley Margaret Leng Tan Randy Weston Per Nørgård Gyan Riley John Schott collaborations, the Festival brings together composers who rep- Alvin Singleton Errollyn Wallen Maja Ratkje resent all points of the musical spectrum and push the creative Tan Dun Other Minds 6 (2000) Other Minds 9 (2003) Peter Sculthorpe Other Minds 16 (2011) Other Minds 20 (2015) possibilities of their respective disciplines. Calliope Tsoupaki Hamza el Din Jack Body Ronald Bruce Smith Louis Andriessen Charles Amirkhanian Frances White Peter Garland Ge Gan-ru Markus Stockhausen I Wayan Balawan Don Byron Ashot Zograbyan Annie Gosfi eld Evelyn Glennie Han Bennink Frode Haltli Leroy Jenkins Daniel Lentz Other Minds 13 (2008) Kyle Gann Tigran Mansurian Other Minds 3 (1996) David Lang Stephan Micus Michael Bach Janice Giteck Miya Masaoka Laurie Anderson Paul D. Miller/DJ Spooky Amy X Neuburg Dan Becker David A. Jaff e Michael Nyman Kui Dong Hyo-Shin Na William Parker Elena Kats-Chernin Jason Moran Pauline Oliveros Henry Kaiser Robin Rimbaud/Scanner Ned Rorem Keeril Makan Agata Zubel Maja S.K. Ratkje George Lewis Aki Takahashi Stephen Scott Åke Parmerud David Tanenbaum Lukas Ligeti Jacob ter Veldhuis Dieter Schnebel Other Minds 17 (2012) Errollyn Wallen Miya Masaoka Christian Wolff Other Minds 10 (2004) Ishmael Wadada Leo Smith Harold Budd THOUGHTS FROM COMPOSERS: Ionel Petroi Alex Blake Morton Subotnick Gloria Coates “I feel that the Other Minds Festival provides one of David Raksin Amelia Cuni John Kennedy the few opportunities for any group of composers Frederic Rzewski Francis Dhomont Ikue Mori to meet in a stimulating environment for the pur- Charles Shere pose of exchanging ideas: musical, philosophical, Werner Durand Tyshawn Sorey world views. This type of program could be a model Olly Wilson Mark Grey Simon Steen-Andersen for other institutions in the country.” La Monte Young Keiko Harada Øyvind Torvund —TANIA LEÓN (APRIL 12, 2002) Stefan Hussong Ken Ueno Joan Jeanrenaud Lotta Wennäkoski 94 95 Maximalist Expressionist James Schuyler: In Support of Alvin Curran & Susan Levenstein Alfred Heller Dale Weaver FESTIVAL ($5000 and above) ($1000–$2499) David Tanenbaum Thomas Horn & Silvia Matheus Geoff rey Hosker Simone Wedell SUPPORTERS Christopher & Alice Allick Dennis & Kerri Aman Roselyne Chroman Swig Jim Melchert Andrew Hoyem Jay Williams Mark Applebaum & Benjamin V. Amirkhanian: The David & Sylvia Teitelbaum Joan Friedman In Memory of Roopen & Araxie Fund, Inc. Murray Newman Duo Huang William Zschaler Americanian Rena Bransten Steven & Deborah Wolfe: In Jonathan Parker Lorraine & Sylvia Kaprielian Impressionist Dan Becker Memory of Peter Sculthorpe ($125–$249) Margaret Dorfman Michael Tilson Thomas & Margot Knight Joshua Robison Norman Bookstein & Post-Modernist Jack & Mary Aslanian The Other Minds Festival would not be possible without the Bill Huie Elizabeth Lauer: In memory of Gillian Kuehner ($500–$999) loyalty and enthusiasm of our donors and sponsors. We gratefully Neo-Classicist Louis Lauer Deirdre Bair acknowledge these individuals and institutions for their generous Charles Celéste Hutchins Agnes Bourne Anonymous ($250–$499) support of Other Minds programs between January 1, 2014 and Scott Lewis: In Memory of Larry Balakian Edward Hutchins Leslie Swaha January 31st, 2015. Molly Davies Charles B. Amirkhanian & Anonymous CJ Becker Carol L. Law: In Memory of Every eff ort has been made to ensure the accuracy of this listing; Jim Newman & Jane Ivory Levon Der Bedrossian Denny Abrams Dennis Mackler Charles & Aznive Kaprielian please contact Other Minds regarding errors or omissions. John E. Beebe Electro-Acoustic New Mexico Community Paule Anglim Ruth & Bill Maginnis: In honor of Robert Bralove ($2500–$4999) Foundation & the Marthanne Joseph Weber James Bergstrom Scott Atthowe & Patricia Dorminy Fund William Brooks Adah Bakalinsky Thomas Emma Moon: In Memory of Brian Bock & Susan Rosin Beatrice Keram John Goodman & Kerry King Steve & Barbara Burrall Tricia Bell & Clive McCarthy Thomas Benét Charles Boone & Josefa Marsha O’Bannon Vaughan: In honor of Lorraine Honig Catherine di Napoli Barbara Bessey: In Support of Terry Bryll Charles Amirkhanian Rodney & Anne Pearlman Pauline Oliveros Ronald & Renate Kay: In memory Patti Deuter: In memory of John Chowning Ruth Braunstein of Howard Baumgarten Michael S. Osborn David Gladstein Sara Sackner & Andrew Behar Anita Mardikian & Pepo Pichler: Robert Corbett David Bullard George Freeborn David Sansone Philip Glass In Support of Hasmik Papian Peter Esmonde Gloria Cheng & Lefteris Padavos Nina & Claude Gruen Kathy G Sherman Andy Gold & Karen Cutler Susan McBride Marcia Fein Helen Conway Aaron Siegel & Olya Gurevich Dan Slobin Liz & Greg Lutz Caren Meghreblian & Charitable Foundation John S. Foggy Clark & Susan Coolidge Harry Bernstein: In Support of THOUGHTS FROM COMPOSERS: The McElwee Family Jay Stamps & Daphne Tan “Nothing could prepare us for the enthusiastic Tigran Mansurian David Hornik Kyle J. Goldman Allan J. Cronin and France response from the audience at Yerba Buena which Mitchell & Kristen Yawitz Kate Stenberg Winddance Twine made this one the most successful performance Meyer Sound: In honor of Timothy M. Jackson Marsha & Ralph Guggenheim of our career… We are NOT overdoing it! We simply Samuel Adams Marcia Tanner Daniel Dodt never came across such an artistically, profession- Benjamin Johnston ally and humanly rewarding event!” Nion McEvoy Trimpin —WERNER DURAND AND AMELIA CUNI (MARCH 31, 2004) Hollis Lenderking Zucchini Toast 96 97 Karen Duncan Thomas Sepez Charles Calhoun Bill Leikam Robert Shimshak Bonnie Wright Paul D. Lehrman Charles Hutchins

Richard Felciano William Sharp Linda S. Colnett Eleanor K. Lindgren Neal Shorstein Termeh Yeghiazarian Leah Levy Douglas Zody

Steven Frus Eric Smigel Bob Culley David Lennette Bob Shumaker and Janet Garvin Micro-Tonal Gareth Loy Institutional Grantors (up to $59) Ron & Pamela Harrison Mimi Mott-Smith & John Reinsch Paul Dresher & Philippa Kelly Betty W. Locke: In memory of Jen Shyu Linda Mankin Aaron Copland Fund for Music Lillian Shooshan Anonymous Frank Hirtz Mary Stoffl et Victoria Elliot Barbara A. Smith Kitty Margolis American-Scandinavian Donna Look Elizabeth Barlow: In honor of Foundation Chris Houston Aki Akiyama (Takahashi) Janet Elliott John Snover Craig Matsumoto John Goodman Margaret Maker Amphion Foundation Dina & Neil Jacobson Charles J. Tateosian Peter Felleman John & Lois Solomon Robert May Julia Bartlett Sonia & Dan Martin Ann & Gordon Getty Foundation Elmer & Gloria Kaprielian Lydia M. Titcomb Georgia Finnigan Kent Sparling Myra Melford: In Honor of John Bevacqua Patrick & Madeline McMenamin David Wessel Anotnia & Vladimer Kulaev Nancy Karp & Peter Jones Bronwyn Warren & James Sandra Fisher Kitaj: In Honor of JoAnn Stenberg John Bischoff Cultural Heritage Fund Petrillo Margaret Fisher Tasia Melvin Susan Miller Dione King Roger Stoll Robert Bonotto Barbro Osher Pro Suecia Electra Yourke Jim Fox Lynne Murphy Pauline Oliveros: In honor of Eric Kuehnl Jack Stone & Barbara Foster Foundation Yael Burstein Anna Halprin Minimalist Joan Halperin: In Memory of Bari & Stephen Ness Allan Liu Phuong & Dale Vance, Jr. Bernard Osher Foundation ($60-124) David Halperin John Diamante Leggo Perdu Edwin Outwater Jonathan Longcore Stephen Vincent: In honor of BMI Foundation Anonymous Susan & Robert Hersey Sabine Erlenwein Clare Reilly: Sonia and Stephen P. Pacheco Charles Amirkhanian Les Wedding Timothy Lynch Center for Cultural Innovation Janice Abdulian John Hillyer William Farley Paul Pappas Patricia Walters Mariana Ricci Foundation for Jack & Carol Margossian Roxie Haydostian-Jizmejian: Robert & Keren Abra Jessica Feldman: In Celebration Contemporary Arts In Memory of Mary Danayan In Memory of Mel Henderson Robert & Martha Warnock Michael Robin MaryAnn & Bill McDonald of Les Hutchins’ and Sonia Stephen & Claudia Haydostian Werner’s marriage Grants for the Arts/ Alan Rath Jane Wattenberg Paul Rodriguez Arthur Antheil McTighe: In Aechternacht San Francisco Hotel Tax Fund Karl & Ann Karlstrom Memory of Justine Antheil Jeannette Redensek Dianne Weaver: In Honor of Jim Adi Gevins Craig Amerkhanian & Cherrill M. Spencer McTighe Newman & Charles Amirkhanian James E. Robison Foundation Michelle Sinclair Greg Kelly Wade Greene Jane & Larry Reed Sara Stadler Charles & Diane Paskerian: Susan West: In honor of Juniper Networks Anne & Robert Baldwin Howard B. & Wendy B. Kleckner John Handy In honor of Hasmik Papian Martin Rokeach Michael Gold Steve & Ella Steinberg New Mexico Community Bill Berkson & Constance Jane Kumin Stephen Harrison & Susan Freier Terry & Ann Riley Fred Rosenblum Richard A. Wilson Elizabeth Stuart Foundation Lewallen Jinx Langemak Wayne & Laurell Huber Tim Savinar & Patricia Unterman Louise Rosenkrantz & Joanne Chow Winship Andy Via National Endowment for the Arts Patricia Bourne Eugene Turitz Jinx Langemak Judy & Larry Johansen organ seehandler B. Wahlbeck Norway House Foundation Tod Brody: In Honor of John Lee Susan Rubio Charles Amirkhanian Elise & Ralph Kazanjian Pacifi c Harmony Foundation JM Sharp Dr. Fritz M. Brunner Anne LeBaron Phaedrus Foundation 98 99 Robert D. Bielecki Foundation Hotel Kabuki

Thendara Foundation Claire Huie, Videography RARE & PECULIAR, JUST LIKE YOU William & Flora Hewlett Internet Archive SAVE Foundation THE K & D Catering Works Zellerbach Family Foundation KALW-FM Radio March 4-6, 2016 Trinity Laban Conservatoire SFJAZZ Center of Music & Dance Kermit Lynch Wine Merchant DATE Silvia Matheus, Videography In-Kind Donors Clive McCarthy & Tricia Bell Affl igem Brewery Patrick McMenamin Ape Do Good Printing Minuteman Press Atthowe Fine Arts Storage Charlie Morrow Bay Area Video Coalition Jim Newman & Jane Ivory Barbara Bogue Ojai Festival Crown Point Press PKirkeby Fine Arts & Framing Djerassi Resident Artists Program San Francisco Contemporary Gavin Bryars (UK) Music Players East Bay Express Michael Gordon Phil Kline SFJAZZ Center East Bay Monthly Nicole Lizée (Canada) OTHER Meredith Monk SFWeekly INVESTIGATE MANY HIDDEN TREASURES John Fago Photography Cecilie Ore (Norway) Studio1500 John Oswald (Canada) AVAILABLE EXCLUSIVELY Fantasy Studios Lasse Thoresen (Norway) Wilbur Hot Springs Dan Feldman MINDS Pianist Eve Egoyan (Canada) FROM THE OTHER MINDS WEBSTORE Flux Quartet John Foggy, The Fog Building Nordic Voices

Four Barrel Coff ee

Ruth Goldfi ne webstore.otherminds.org

Marc-André Hamelin 100 21 FULL SPECTRUM RECORDS good music since 2008

RELEASES FROM

Beast Nest | Sarah Davachi | Tim Feeney

glou glou | Austin Glover | Nick Hennies

Eric Perreault | Radere | Wes Tirey | Andrew Weathers

fullspectrumrecords.com “…hypnotic” The Metaphysics of Notation is an elaborate pictographic score (NY Times)
by composer Mark Applebaum. It was featured on Other Minds 19. “…riveting” (The Australian)
“…transfixing…sumptuous” (SF Chronicle)
Peter Sculthorpe’s Complete String Quartets with Didjeridu
with the Del Sol Quartet & Stephen
Kent, Didjeridu Now available for purchase through Amazon or in the Lobby. www.delsolquartet.com

Thalia Moore, Ellen Ruth Rose, Terrie Baune, Peter Josheff, Brenda Tom, Tod Brody, Mary Chun, conductor Since 2005, broadcasting Celebrating 30 years of stellar musical performance in San Francisco the latest releases from Music from Thalia Moore, Ellen Ruth Rose, Terrie Baune, Peter Josheff, around the world BrendaMarch Tom, 16, 2015 Tod Brody, Mary Chun, conductor Other Minds ZOUN Terry Riley 6WULQJ7ULRÝRoss Bauer Pas de Deux:RUOG3UHPLHUHÝ$,5':,11(5 'DQLHO7DFNHIm RückblickÝ&KULV-RQHV&HOHEUDWLRQ3LHFH:RUOG3UHPLHUHÝ Produced by Dennis Aman KALW-FM 91.7 Rich Festinger Double Take:RUOG3UHPLHUHÝ&KHQClarinet Ensemble Kitka In C Re-Do: Terry Riley’s In C, re-written Real Vocal String Quartet by 51 artists from multiple genres DEATH WITH INTERRUPTIONS Brava Theater 2781 24th Street (at York), San Francisco A NEW OPERA BASED ON JOSÉ SARAMAGO’S NOVEL SUHVDOH‡GRRU VWXGHQWV SAN FRANCISCO ODC THEATRE TICKETS: THU, MAR 19 AT 8PM | SAT, MAR 21 AT 8PM www.leftcoastensemble.org Support provided by the Andrew W. Mellon Foundation Distinguished $30 General Admission www.switchboardmusic.com Achievement Award granted to Professor Thomas Laqueur. $15 Under Age 30 People of all ages, abilities and financial means are welcome at CMC - join us! soundfreshound Private Lessons Summer Music Camp Ensemble Classes Concerts and Hall Rentals grittygyg y stellar Theory & Musicianship Instrument Rentals hypnnoticsensory Performance Opportunities Scholarships & Financial Aid presentingsentingntingting ininnovative music and sou sound challengingchallenglll inn san diegodieg since 1997 surprisingraucousraucouaucous unapologeticpristine freshsoundmusic.comsoundmusic.comd raw Mission District Branch (Main) Richmond District Branch galvanizinng 544 Capp St. San Francisco 741 30th Ave., San Francisco (415) 647-6015 (415) 221-4515 stunningstunnini www.sfcmc.org **WORLD PREMIERE THE DEMO APR 1 & 2 Experience the world premiere performance of The Demo, a music and multimedia extravaganza reimagining Douglas Engelbart's groundbreaking *Pre-Show Event* 1968 tech demo. Set simultaneously in the A Conversation about our Digital Future 1960s and today, Stanford Live’s upcoming with Jaron Lanier and Sebastian Thrun Thu, Apr 2, 5:00pm, Bing Concert Hall The Demo premiere of will include RESERVED SEATING $20 re-enactments of the demonstration. Learn more about the events surrounding The Demo at: live.stanford.edu/livecontext 7:30PM WED, APR 1 & THURS, APR 2 RESERVED SEATING: $40 / $55 / $65

BING CONCERT HALL STANFORD UNIVERSITY

LIVE.STANFORD.EDU 650.724.BING (2464) “No other city has an organization quite like Other Minds, catching all the things that would otherwise fall between the cracks” - Alex Ross of The New Yorker OTHERMINDS.ORG