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Home , Carla Bozulich, Ethel (string quartet), Ghost Opera, Kronos Quartet, Laurie Anderson, Lee Konitz Nonet

Kronos Quartet: 40th Anniversary Celebration with special guests and for : Landfall message from the center

Welcome to a celebration of an unparalleled four decades of For all of us, having these two artists perform alongside innovation, artistic precision and integrity of purpose from Kronos on the same program is a rare and wonderful a group that has collectively and cohesively perceived the experience not soon likely to be repeated. topography of modern , its vibrant and myriad landscape of performers, composers, ideas and inspirations and has One experience that we hope will soon be repeated is Saturday pushed its boundaries, expanding the fence line of the familiar, night’s collaboration between Kronos Quartet and Laurie simultaneously creating a new landscape in contemporary Anderson. The fact that these two forces of nature in new music while redefining the art of the ensemble. music have not come together before Landfall is almost unbelievable, but it is also a powerful testament to these The enduring and utterly engaging Kronos Quartet is artists’ inherent and oft-exhibited drive to explore every no stranger to this hall, nor to the public presenting possible creative collaborative path. Now that their artistic arm of UCLA. trajectories have collided we are thrilled to witness the resulting storm of energy, and hope the future holds more of it. Kronos Quartet has appeared more than a dozen times as part of the performing arts program at UCLA and has appeared The stage performances we will enjoy together this weekend on the Royce Hall stage with the likes of , punk- only tell a part of the story of these engaging and generous cabaret progenitors The Tiger Lillies, legendary Indian singer artists. Kronos Quartet hit campus early in the week to share , alongside fellow classical-music innovators Bang thoughts and stories with UCLA students and the campus on a Can and more. community during an informal discussion in the Schoenberg Music Library. Thursday morning the ensemble performed Kronos Quartet has been praised over the years for the for 1200 middle-school children in a free Royce Hall concert inclusiveness of its repertoire, the uncanny ability of this titled Around the World with Kronos as part of our educational mission-driven ensemble to be as inclusive of its audience as it program Design for Sharing. Wu Man joined an “arts is with collaborators from across the music spectrum. encounters” class to perform and inform a group of students from campus-wide disciplines on the beauty, mystery and Indeed, what other contemporary music program will you possibility of the . see this year that will include not only the trippy emotional journey that is ’s Black Angels (the piece The artists you will encounter this weekend are more than that inspired David Harrington to found Kronos Quartet composers, more than performers. They are educators, light- four decades ago) alongside ’s classic und bringers and way-finders, leading us to a new sensation, a new Isolde, plus a world premiere of a new work from a leading sphere of discovery in the art of performance. alternative-folk-rock guitar hero, not to mention a virtuosic moment from the woman who is making the pipa a household We are very proud to honor them all this weekend. Welcome name in contemporary music, performing the and thank you for being part of the celebration. premiere of a Philip Glass work.

It’s all here, with us and we couldn’t be more delighted.

This evening marks a special return to Royce Hall from Nels Cline on guitar and Wu Man on pipa. For those of you who joined us in the 2010-2011 season for the lustrous evening with Wu Man, in her first headlining Royce concert, or enjoyed Nels Cline’s major contributions to the Alice Coltrane Tribute, we thank you and glad you’re with us again.

Kronos Quartet with special guests Wu Man and Nels Cline: 40th Anniversary Celebration

Fri, Mar 14 David Harrington John Sherba Violin Royce Hall Hank Dutt 8pm Sunny Yang Steve O’Shea Lighting Supervisor Scott Fraser Sound Designer Performance duration: Brian Mohr Technical Associate Approximately two hours; One intermission PROGRAM Quartetto per archi Spectre * John Oswald DIG DEEPER in the Pop-up Library Orion: + Philip Glass (arr. Michael Riesman) Kronos Quartet: Beethoven to Bali with special guest Wu Man, pipa Los Angeles premiere Music Librarian David Gilbert will Sim Sholom + Alter Yechiel Karniol share a special resource guide and (arr. Judith Berkson) items from the UCLA Collection. Prelude from Tristan und Isolde + Aleksandra Vrebalov Royce Hall West Lobby (arr. ) Views from Here to the Heavens (for Scott Fraser) * Nels Cline with special guest Nels Cline, guitar World Premiere

INTERMISSION MEDIA SPONSORS: Black Angels George Crumb Thirteen Images From the Dark Land I. Departure 1. Threnody I: Night of the Electric Insects 2. Sounds of Bones and 3. Lost Bells 4. Devil-music 5. Danse Macabre II. Absence Supported in part by 6. Pavana Lachrymae the Colburn Foundation 7. Threnody II: Black Angels! 8. Sarabanda de la Muerte Oscura 9. Lost Bells (Echo) III. Return GREEN ROOM SPONSOR: 10. God-music 11. Ancient Voices 12. Ancient Voices (Echo) 13. Threnody III: Night of the Electric Insects

For Black Angels: Laurence Neff, Lighting and Stage Designer, Brian Mohr, Sound Designer Calvin Ll. Jones, Technical Director * Written for Kronos + Arranged for Kronos Krzyzstof Penderecki (b. 1933) John Oswald (b. 1953) Quartetto per archi Spectre (1990)

Kronos revisits a group milestone—the quartet’s first ever-staged Canadian composer John Oswald is well known for his development production (designed by Larry Neff), Live Video (1986)—in this reprise of “audioquoting” techniques, which have challenged contemporary performance of Penderecki’s early work for . One in a notions of artistic ownership. series of early ’60s pieces that would garner the young Polish composer an international reputation, the Quartetto per archi overflows with In 1990, Oswald’s notorious recording Plunderphonic had to be musical events and textures. Layers of lightly tapping bows give way to destroyed as a result of legal action taken by Michael Jackson. In 1991, the crackle of plucked strings, barely audible bowed harmonics, sudden a sequel was released, featuring thoroughly reworked soundtracks by low-register growls, and more. This is tantalizing music, the sound musical artists as diverse as the Doors, Carly Simon and . of intriguing extremes: high and low, gentle and harsh, explosive and Discosphere, a retrospective of soundtracks, was released in 1992 hushed. followed by Plexure, the third of the Plunderphonic series. A retrospective CD box set of Plunderphonic works has been called Penderecki also brought this fearlessly inventive approach to writing “mind-numbingly amazing” by Peter Kenneth in Rolling Stone, and for strings to his large-ensemble works of the period, including 1959’s made Spin Magazine’s Top 10 in 2001. critically acclaimed (featuring 42 strings) and the harrowing Threnody for the Victims of Hiroshima (1959-61), a ten-minute piece for A Governor General Media Arts , Ars Electronica Digital 52 strings that remains one of the most popular of Penderecki’s works Musics and Arts Award winner, as well as the fourth inductee throughout the world. It was also with the Threnody that the composer into the Canadian Broadcasting Corporation Alternative Walk of Fame, debuted a new form of optical notation for his work. Like so many Oswald has also been nominated to third place in a list of the most inventions, this one was born of necessity. internationally influential Canadian musicians, tied with Céline Dion. Oswald is Director of Research at Mystery Laboratory in Canada. More “I had to write in shorthand,” Penderecki says, “something for me to information about his current activities can be found at www.pfony.com. remember, because my style of composing at that time was just to draw a piece first and then look for pitch….I just wanted to write music Oswald composed three string quartets commissioned by Kronos in the that would have an impact, a density, powerful expression, a different early 1990s: Spectre (for 1001 string quartet reflections), preLieu (after expression….I used to see the whole piece in front of me—Threnody is Beethoven), and Mach (for string and heavy metal quartets), followed by very easy to draw. First you have just the high note, then you have this a 4th quartet, entitled Fore. In Spectre, Oswald interweaves Kronos repeating section, then you have this cluster going, coming—different playing in concert with multiple overdubs of his recordings of Kronos. direction from the one note, twelve, and back—using different shapes. In this sense, Spectre is written for a thousand-member string Then there is a louder section; then there’s another section, then there with all instruments played by Kronos. It was the composer’s first is the section which is strictly written in 12-tone technique. Then it composition for live musicians in 15 years. goes back to the same cluster technique again, and the end of the piece is a big cluster, which you can draw like a square and write behind it About Spectre, Oswald writes: fortissimo….I didn’t want to write in bars, because this music doesn’t work if you put it in bars.” “The camera’s shutter blinks and a moment of the visual world is frozen on film. Still, there is no audible equivalent to the snapshot in the time Born in Debica, near Krakow, in 1933, Krzysztof Penderecki was it takes to sound. Sound takes time. Recordings of Kronos fill Spectre. introduced to music at an early age by his father, a lawyer and violinist. Successive moments happen often at once. In concert the musicians add Enrolling at the Krakow Conservatory at the age of 18, he graduated in a final overdub to a string orchestra of a thousand and one reflections. 1958 and was soon appointed professor at the Musikhochschule. This wall of sound of veils of vibration of ghosts of events of past and future continuously present is a virtually extended moment. An In 1959, Penderecki’s works Strophes, , and Psalms of occasional freeze marks a moment’s gesture.” David won first prizes in the 2nd Warsaw Competition of Young Polish Composers of the Composers’ Union. Following the subsequent John Oswald’s Spectre was commissioned for the Kronos Quartet by the successes of Anaklasis and Threnody, Penderecki went on to compose Wexner Center, Canada Council and for the Performing such major works as the multiple award-winning St. Luke Passion Arts, and appears on Kronos’ Nonesuch recording Short Stories. (1966) and the The Devils of Loudon (1967), based on Aldous Huxley’s book of the same title. His extensive body of work now boasts four and seven symphonies, including 1996’s Seven Gates of (a.k.a. Symphony No. 7), commissioned by its namesake city for the “Jerusalem—3000 Years” celebrations.

The recipient of many awards and honorary degrees, Penderecki numbers among his most recent honors a 1998 “Foreign Honorary Membership” in the American Academy of Arts and Letters; the 2000 Cannes Classical Award for “Living Composer of the Year”; the 2001 Prince of Asturias Award for the Arts; and the 2002 Romano Guardini Prize of the Catholic Academy in Bavaria.

Video by Alexander V. Nichols, Larry Springer, and Dan D. Shafer. Philip Glass (b. 1937) Orion: China (2004) Arranged by Michael Riesman

Born in Baltimore, Maryland, Philip Glass is a graduate of the University of and the . In the early 1960s, Glass spent two years of intensive study in Paris with and while there, earned money by transcribing ’s Indian music into Western notation. By 1974, Glass had a number of innovative projects, creating a large collection of new music for The , and for the Mabou Mines Theater Company. This period culminated in , and the landmark opera, for which he collaborated with Robert Wilson.

Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra, and film. His scores have received Academy Award nominations (, The Hours, Notes on a Scandal) and a Golden Globe (). Symphony No. 7 and Symphony No. 8, along with Waiting for the Barbarians, an opera based on the book by J.M. Coetzee, premiered in 2005.

In the past few years several new works were unveiled, including Book of Longing (Luminato Festival) and an opera about the end of the Civil War entitled Appomattox ( Opera). His Symphony No. 9 was completed in 2011 and was premiered by the Bruckner Orchestra in Linz, Austria on January 1, 2012 and his Symphony No. 10 received its European premiere in France in 2013. Teatro Real Madrid and the commissioned Glass’s opera , about the death of Walt Disney, which premiered in January 2013 while the Landestheater Linz premiered his opera Spuren de Verirrten on April 12th, 2013. Upcoming projects include a song cycle for Angelique Kidjo and the Brussels Philharmonic as well as an opera Wu Man based on ’s The Trial for Music Theatre Wales.

Inspired by the challenge to create a work for a world audience on the “Since 1964 I have been actively engaged in musical encounters with occasion of the Athens Cultural Olympiad in Summer 2004, Philip composers from musical traditions different than my own. I began Glass conceived an evening-length work that contemplates the Earth’s working with Ravi Shankar in 1964 as his music assistant on the film relationship to the constellations as interpreted by the world’s many Chappaqua. Our friendship flourished and led to a musical recording cultures. Conceived in ten movements, the original version of Orion Passages in 1989. … I recently completed an opera Sound of a Voice featured the Philip Glass Ensemble in collaboration with seven of featuring Wu Man the pipa virtuoso, which premiered at American the world’s most esteemed composer/performers who performed live Repertory Theater in Boston. Though we have known each other for with the Philip Glass Ensemble. Each guest performer was chosen years and often talked about working together, this has been our first for their unique mastery of a global musical tradition and worked in opportunity to do so. close collaboration with Philip Glass to incorporate their individual perspective into the composition. Wu Man was one of the seven In the same way that civilizations are united by common themes, history collaborators; her section, Orion: China, was subsequently arranged for and customs, we singularly and together are united by the commonality pipa and string quartet. of the natural world-- rivers, oceans, the organic environment of forests and mountains. And the stars. Stargazing must be one of the oldest About the original version of Orion, Glass writes: pastimes of humanity. It led to astrology, astronomy, measurement of the seasons and the very beginnings of science. I think no single “Orion was commissioned by the 2004 Cultural Olympiad and experience of the world speaks to us so directly as when we contemplate premiered in Athens in June 2004 preceding the Olympic Games. the infinity of space, its vastness and countless heavenly bodies. In this For this special event I assembled a group of renowned composer/ way the stars unite us, regardless of country, ethnicity and even time. performers to collaborate with me on an evening length work that, in its multinational format, is intended to reflect the international character Orion, the largest constellation in the night sky, can be seen in all of the Olympiad itself. I collaborated with Mark Atkins (didjeridoo) seasons from both the Northern and Southern hemispheres. It seems from Australia, Wu Man (pipa) from China, (kora) that almost every civilization has created myths and taken inspiration from Africa, UAKTI (multi-instrumentalists) from Brazil, Ravi Shankar from Orion. As the work progressed, each of the composer/performers, (sitar) from India, Ashley MacIsaac (violin) from Nova Scotia, Canada, including myself, drew from that inspiration in creating their work. In and Eleftheria Arvanitaki (vocalist) from Greece. this way the starry heavens, seen from all over our planet, inspired us in making and presenting a multicultural, international musical work.” Alter Yechiel Karniol (1855–1929) Richard Wagner (1813–1883) Sim Sholom (c. 1913) Prelude from Tristan und Isolde (1865) Arranged by Judith Berkson (b. 1977) Arranged by Aleksandra Vrebalov (b. 1970)

This of Sim Sholom is inspired by a recording made The Kronos Quartet commissioned Aleksandra Vrebalov’s arrangement by Cantor Alter Yechiel Karniol around 1913. Karniol was born in for of the Prelude and from Richard Wagner’s Dzialoszyce, (near Krakow), and sang in Hungary in a number Tristan und Isolde (1865) for the 2012 Uppsala International Sacred of congregations before being invited by the Hungarian congregation Music Festival. Two aspects of that sentence give one pause. First, a Ohab Zedek in to be its cantor. He returned to to gentle adjustment is needed: what we now call the Prelude was for officiate at the Great Synagogue of Odessa, but after the 1905 pogrom Wagner the Liebestod or “Love-death,” while he designated the opera’s erupted he returned to the United States and eventually resumed closing moments Isolde’s Verklärung or “Transfiguration.” Second, officiating at Ohab Zedek. Wagner’s Tristan at a festival of sacred music?

Karniol was noted for his extraordinary range and his intensely The idea is less far-fetched than it may seem at first glance. Wagner, emotional, improvisatory style. He made the recording of Sim Sholom after all, founded a cult (with himself as demiurge), a pilgrimage site that this arrangement is based on in New York for , at Bayreuth, and even a “festival-play for the consecration of a stage,” backed by a male chorus. The text is the final blessing of the weekday . (“To sit five hours: the first stage of holiness!” sneered the service, which says, in part, “Grant peace, goodness, blessing, grace, master’s one-time acolyte .) The enigmatic chord kindness, and compassion upon us and upon all of Your people .” of F, B, D#, and G# in Tristan’s second measure is widely considered a musical epiphany, the moment when major-minor tonality began an Arranger Judith Berkson is a , pianist and composer who also irreversible slide into liquefaction—a grand narrative that abides even in performs as Liederkreis. Her solo record Oylam was released on ECM our postmodern times. (Vrebalov’s arrangement, incidentally, makes use Records in 2010. She has performed at the Vox of Wagner’s own concert ending for the “Love-death”/Prelude.) Festival, the BrucknerTage in St. Florian, Picasso Museum Malaga, Jewish Culture Festival in Krakow, and Joe’s Pub and the American The word Verklärung offers even weightier grist for the mill. Klar in Festival of Microtonal Music in New York. She collaborated with Kronos Verklärung is cognate with clear, “free from darkness.” In Christian Quartet in 2010 in a performance of Schubert songs, arranged for string theology, transfiguration denotes the radiant fusion of human and quartet and analog keyboards, and an from Mileva, a forthcoming divine: Jesus was transfigured when “his face did shine as the sun, and opera by Aleksandra Vrebalov. In 2011 she received a Six Points his raiment was white as ,” and his disciples saw him in glory Fellowship and is writing an opera about Viennese cantor Salomon conversing with Moses and Elijah. During her transfiguration, Isolde Sulzer for chamber ensemble, voices, organs and percussion, which gazes upon the lifeless Tristan and sees him “ever brighter, brightly will premier in New York in 2012. shining, borne in starlight high above.” Tristan and Isolde, though, are no Christians, and they spurn the day and its illusions in favor of night— Judith Berkson’s arrangement of Sim Sholom was commissioned for the realm of truth and oneness and desire’s annihilation in Wagner’s the Kronos Quartet by the David Harrington Research & Development reading of ’s Buddhist- and Hindu-tinged Fund, and is part of a five-song cycle dedicated to the memory of philosophy. Tristan shines and Isolde is transfigured because, like stars Harold Goldberg. in the night sky, blackness swallows them up.

Schopenhauer may also offer a clue as to why Vrebalov chose to arrange the Liebestod and Transfiguration for both live and recorded performers. It is surely not a matter of numbers alone: the notion that Wagner wrote only ear-splitting music for bloated forces is slander, and some of the most haunting passages in Tristan and the master’s other operas comprise mere wisps of sound. In The Recording Angel, his penetrating study of phonography, Evan Eisenberg suggests that recording, which seems to give listeners access to disembodied sound, helps us to “hear what Schopenhauer heard”: to perceive music as “the true reality” and the visible world as “Maya” (illusion). The idea that music is intrinsically noumenal and immaterial is of course open to question, but Vrebalov’s arrangement, mingling musicians seen and unseen, sounds “real” and spectral, invites concert audiences to meditate on the primal mysteries at the heart of Tristan.

David Harrington, Kronos’ founder and first violinist, became mesmerized by the Tristan “Love-death”/Prelude after seeing ’s film Melancholia (2011), in which Wagner’s music serves as soundtrack to the end of life on Earth. He subsequently fell under the spell of a desperately beautiful performance by the under that was recorded in 1943. In Harrington’s view, works such as ’s , ’s String Quintet major, and Wagner’s song of passion (in both the profane sense of “sexual love” and the religious meaning of “suffering”) are “sacred” for their density, magnetism, and the vulnerability they convey. “No religion has a monopoly on the sacred,” he says. The delicacy and open-hearted fragility of the Prelude, qualities Nels Cline (b. 1956) heightened in Vrebalov’s distillation of Wagner’s score, represent for Views from Here to the Heavens Harrington “the place where we humans are in our most direct contact (for Scott Fraser) (2014) with the vastness of the universe, and where the resulting friction between us and the world meets the friction of the bow on the string.” Like , , , and countless About Views from Here to the Heavens (for Scott Fraser), Cline writes: others since 1865, Kronos, Vrebalov, and today’s audiences are sure to be transformed by the blinding light and otherworldly darkness of Tristan “I first met and heard Scott Fraser play at a show featuring many und Isolde. ‘electronic’ musicians in what may have been 1976 or ‘77. Scott was playing ‘space drone’ guitar with lots of delay and whatnot. I was playing – Marion Lignana Rosenberg improvised duets with a young man named Lee Kaplan, who attempted to negotiate his Serge Modular synth monolith while I played electric Aleksandra Vrebalov (b. 1970), a native of the former Yugoslavia, left guitar. I remember hearing Scott and getting his gist right away. With in 1995 and continued her education in the United States. She his round spectacles and ponytail and spacey guitar (a Strat, I think), holds a B.A. in Composition from Novi Sad University in Serbia, a M.M. I pegged him as a rock guitarist who, after years of Prog and Kraut from San Francisco Conservatory of Music and doctorate in composition Rock immersion, was becoming interested in and, well, a from the . She lives in New York City. kind of LEGIT space rock. It was cool! We later met and re-met over and over again as our paths crossed through recording sessions and Vrebalov, named 2011 Composer of the Year by Muzika Klasika (for mutual friendships with many great musicians. Scott was always mild- her opera Mileva, commissioned by the Serbian National Theater mannered, cool, calm, collected. I recorded some memorable music for its 150th anniversary season), has received awards by American in his house on Arbol in which he has his beautiful little studio. David Academy of Arts and Letters, Vienna Modern Masters, ASCAP, Meet Harrington, somehow knowing that Scott and I have this not-close the Composer, Douglas Moore Foundation and two Mokranjac Awards, but mutually warm and respectful history, asked me if I would write given by Serbian Association of Composers for best work premiered in a piece to honor Scott on the double occasion of his 60th birthday and the country in 2010 and 2012. simultaneous 20th anniversary of working for/with Kronos. Both these actual dates have well passed, but nonetheless this piece now exists to Vrebalov has had her works performed by the Kronos Quartet, David commemorate these occasions with (I hope) continued warmth and Krakauer, , Jorge Caballero, Serbian National Theater, and respect. Belgrade Philharmonic, among others. Vrebalov has been commissioned by , Youth Chorus, Barlow Endowment, “Section I: This composition begins and ends with an F major tonality. Clarice Smith Performing Arts Center, Merkin Hall, San Francisco Banal as this may seem, it is F for Fraser. But the opening tonality in Conservatory, Louth Contemporary Music Society (Ireland). Her works really A major over F, which thus includes both the major and minor have been choreographed by Dusan Tynek Dance Theater (NYC), third (if you are thinking ‘F’). This tension is intentional, and the Rambert Dance Company (UK), Take Dance (NYC), and Providence monolithic drone power of this section is intended to present a dramatic Festival Ballet. Her music has been used in two films dealing with arrival: the birth of Scott Fraser, as well as the concomitant ‘weight’ of atrocities of war: Soul Murmur directed by Helen Doyle (Canada) and sentient existence. It is also a reference to the aesthetic of that music I Slucaj Kepiro by Natasa Krstic (Serbia). heard Scott play back in the ’70s, with some harmonic flavor or intensity added by yours truly. Though the string voicings are low in relation to Vrebalov’s string quartet …hold me, neighbor, in this storm… was the gobs of distortion the guitar brings here, I intend for it to be a bit written for and recorded by Kronos for the album Floodplain. Her muddy and even off-putting. The funereal tempo must be honored; string quartet Pannonia Boundless, also for Kronos, was published by though not mournful; it is SERIOUS (like Scott’s arrival). Boosey & Hawkes as part of the Kronos Collection, and recorded for the album Kronos Caravan. For more information please see www. “Section II: This section is the opposite of Section I in that it is more aleksandravrebalov.com. about interior space/reflection. Musically it is a kind of to the next more indeterminate sections – a bridge from an inner sentient Aleksandra Vrebalov’s arrangement of the Prelude from Tristan und life to the cosmos. The last little pizzicato notes foreshadow the Isolde by Richard Wagner was commissioned for the Kronos Quartet by concluding ‘song’. the David Harrington Research and Development Fund. “Section III: This is where we all get to explore and have fun while endeavoring to create sonic representations of the ethereal, of space and communication to and from worlds outside those of only planet Earth. I intuited that Scott had, at least as a younger man, given much thought and even fantasy to the ideas, theories, and facts about space. I sensed a fascination with – if not love of – things magical and/or cosmic from him early on, and these ‘phases’ intend to conjure this. The directions in Phase One intend to suggest airless or arid weightless floating mystery. There are no ‘mistakes’ possible here unless things become too dense or agitated. But pizzicato interruptions and other outbursts are encouraged as representations of the unpredictable. In Phase Two, the crinkling of plastic food wrap is meant to mimic the sound of a scratchy record spinning. The static from the guitar is meant to mimic radio transmission attempts/noise, and the Stroh violin and guitar are meant to pose as randomly-received music – either sent from Earth in an attempt to communicate with life forms outside of Earth, or simply randomly received on the radio one night on the beach alone while on vacation with one’s or something... If successful or enjoyable, these two ‘phases’ could go on longer than suggested on the score.

“Section IV A: Here begins a sort of agitated and (I hope) exciting sonic pulsation/groove. Rhythmic bowing on open strings with the left hand eliciting harmonic overtones emerges out of Section III and grows in confidence/intensity. Cues to change back and forth come from Violin 1. Perhaps only 2 changes back and forth will be sufficient; this can be determined/agreed upon in rehearsal. Players are encouraged to color ‘outside the lines’ by on their instruments, playing behind the bridge – whatever sounds effective and free and adds to the rush.. We are building up to...

“Section IV B, a.k.a. the ‘Mahavishnu section’: This part must be played with a combination of abandon and rhythmic confidence. It is meant to allude to a seminal ’70s ‘fusion’ band called The Mahavishnu Orchestra, though it is a mere reference. The cycled part will feature guitar ad lib, and getting back to the top of the written line will be a crucial cue! I sense that both Scott and I are happily damaged by the aesthetic of this band and this period of music history. The section ends with a loud, long-held chord that echoes the first Section, and during it I (guitarist) will do a cadenza of sounds, loops, and semi-pure mayhem, gradually bringing us down to ...

“Section V: This is a very sparse partial recapitulation of the written ensemble material from the opening Section. It is meant to sound lonely but slightly sweet. The (possibly irritating) high A and E held by Violin 1 are not to be played too loudly – this sound should be almost electronic-sounding in its purity and sonic ubiquity. It is meant to represent the persistence of sound and of people such as Scott’s lifelong absorption into the world of sound; it beckons but at times also overwhelms.

“Section VI, a.k.a. ‘Simple Song for Scott’: My fervent hope is that this moment be ever-so-slightly sweet and yet elegiac. It is simply ‘touchdown’ – landing back on Earth and/or into our body, sensing and humbly celebrating sentient being; Scott’s quiet dignity and intelligence alongside intimations of what may very well be the Divine is all life forms. Repetition, though brief, attempts to create a mild trance... The piece ends (perhaps unexpectedly) on an F Major #11 chord: the Lydian mode, the most poignant harmonic configuration I know. As my brother would write: ‘a deep bow’. To Scott Fraser.”

Nels Cline’s Views from Here to the Heavens (for Scott Fraser) was commissioned for the Kronos Quartet by the Angel Stoyanof Commission Fund in honor of Scott Fraser’s 60th birthday.

Nels Cline George Crumb (b. 1929) Black Angels (1970) Crumb has been honored with festivals devoted to his music from Los Thirteen Images From the Dark Land Angeles to Moscow, and from Scandinavia to South America. He is the I. Departure winner of a 2001 Grammy Award and the 1968 Pulitzer Prize in Music, 1. Threnody I: Night of the Electric Insects and was named Musical America’s Composer of the Year in 2004. He 2. Sounds of Bones and Flutes retired from his teaching position at the University of Pennsylvania 3. Lost Bells after more than 30 years of service. Awarded honorary doctorates by 4. Devil-music numerous universities and the recipient of dozens of awards and prizes, 5. Danse Macabre he makes his home in Pennsylvania. Crumb’s music is published by II. Absence C.F. Peters and the ongoing series of “Complete Crumb” recordings, 6. Pavana Lachrymae supervised by the composer, is being issued on Bridge Records. 7. Threnody II: Black Angels! 8. Sarabanda de la Muerte Oscura About Black Angels, Crumb writes: 9. Lost Bells (Echo) III. Return “Black Angels was conceived as a kind of parable on our troubled 10. God-music contemporary world. The work portrays a voyage of the soul. The three 11. Ancient Voices stages of this voyage are Departure (fall from grace), Absence (spiritual 12. Ancient Voices (Echo) annihilation) and Return (redemption). 13. Threnody III: Night of the Electric Insects “The numerological of Black Angels, while perhaps not Things were turned upside down. There were terrifying things in the immediately perceptible to the ear, is nonetheless quite faithfully air... they found their way into Black Angels.” —George Crumb reflected in the musical structure. These ‘magical’ relationships are variously expressed: e.g., in terms of length, groupings of single tones, George Crumb’s Black Angels, inspired by the Vietnam War, draws durations, patterns of repetition, etc. ... There are several allusions from an arsenal of sounds including shouting, chanting, whistling, to tonal music: a quotation from Schubert’s Death and the Maiden whispering, gongs, maracas, and crystal glasses. The score bears quartet; an original Sarabanda; the sustained B-major tonality of God- two inscriptions: “in tempore belli” (in time of war) and “Finished on Music; and several references to the Latin sequence Dies Irae (Day of Friday the Thirteenth, March, 1970.” Wrath). The work abounds in conventional musical symbolisms such as the Diabolus in Musica (the interval of the tritone) and the Trillo Di Crumb was born in Charleston, West Virginia, in 1929. He studied Diavolo (the Devil’s Trill, after Tartini).” at the Mason College of Music in Charleston and studied for the Master’s degree at the University of Illinois, Champaign-Urbana. Kronos’ recording of Black Angels is available on the Nonesuch He continued his studies at the Hochschule für Musik, Berlin, and recording of the same name. received a DMA from the University of Michigan, Ann Arbor. Kronos’ 2008 production of George Crumb’s Black Angels was Crumb’s music often juxtaposes contrasting musical styles. The supported by a grant from the National Endowment for the Arts as part references range from music of the Western art-music tradition to of American Masterpieces: Three Centuries of Artistic Genius, with hymns and folk music to non-Western musics. Many of Crumb’s additional support from the Williams Center for the Arts/Lafayette works include programmatic, symbolic, mystical and theatrical College. Kronos’ original staged version was commissioned by Hancher elements, which are often reflected in his beautiful and meticulously Auditorium/University of Iowa in 1988. notated scores. Laurie Anderson for Kronos Quartet: Landfall LOS ANGELES PREMIERE

Sat, Mar 15 PERFORMERS Royce Hall 8pm Performers Laurie Anderson

Performance duration: Kronos Quartet Approximately 70 minutes; David Harrington Violin No intermission John Sherba Violin Hank Dutt Viola DIG DEEPER in the Pop-up Library Sunny Yang Cello Kronos Quartet: Beethoven to Bali Music Librarian David Gilbert will Creation and Production share a special resource guide and Laurie Anderson Music and Text items from the UCLA Collection. Liubo Borrisov Erst Programming Royce Hall West Lobby Bob Currie Dramaturg Jacob Garchik Transcriptions Laurie Anderson, Kronos Quartet and Jacob Garchik MEDIA SPONSORS: Konrad Kaczmarek Electronics and software design Shane Koss Audio rig design Brian H Scott Lighting designer

Production and Performance Scott Fraser Brian Mohr audio engineer Steve O’Shea lighting supervisor

Supported in part by Landfall was commissioned by , Australia; Barbican, ; Clarice Smith the Colburn Foundation Performing Arts Center, University of Maryland, College Park; Peak Performances @ Montclair State (NJ); Perth International Arts Festival, Australia; Stanford Live, Stanford University; and Texas Performing Arts at The University of Texas at Austin. Additional project support was provided to the Kronos Performing Arts Association by the National Endowment for the Arts. GREEN ROOM SPONSOR:

ABOUT THE PROGRAM

These are stories with tempos. Threaded through the stories in Landfall is an account of Hurricane Sandy that blew through New York just as I was finishing the work. I’ve always been fascinated by the complex relationship of words and music whether in song lyrics, supertitles or voice over. In Landfall instruments initiate language through our new text software erst. In addition, the conflict between spoken and written text fractures the stories as well as creates an eye/ear polyphonic structure.

The blend of electronic and acoustic strings is the dominant sound of Landfall. Much of the music in this work is generated from the and delays of unique software designed for the solo viola and reinterpreted for the quartet. In addition, there were elements of the optigan, a keyboard that uses information stored on optical discs.

–Laurie Anderson

I have hoped that Laurie Anderson would write for Kronos since first encountering her work 30 years ago. She is the master magician musician who has always inhabited those secret places where technology has personality, where “real time” is questioned and where all the elements of performance meet and combine into music. Her process is to gather and continue to gather potentially useful aspects as she sculpts a shape. Her sense of play and fun and her continuous experimenting make her the ideal chemist [or is it alchemist?] in the laboratory of music. As Laurie discovers new essential elements, the world of thought is more encompassing and shapes of the future are becoming more apparent. What a thrill it is for Kronos to join her in Landfall as we explore what emerges together.

—David Harrington, Kronos Quartet ABOUT THE ARTISTS

Kronos Quartet Kronos’ work has also featured prominently in a number of films, For 40 years, the Kronos Quartet—David Harrington (violin), John including two recent Academy Award–nominated documentaries: the Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello)—has AIDS-themed How to Survive a Plague (2012) and Dirty Wars (2013), pursued a singular artistic vision, combining a spirit of fearless an exposé of covert warfare for which Kronos’ David Harrington served exploration with a commitment to continually re-imagining the as Music Supervisor. Kronos also performed scores by Philip Glass string quartet experience. In the process, Kronos has become one of for the films Mishima and Dracula (a restored edition of the 1931 Tod the most celebrated and influential groups of our time, performing Browning–Bela Lugosi classic) and by for the Darren thousands of concerts worldwide, releasing more than 50 recordings of Aronofsky films The and . Additional extraordinary breadth and creativity, collaborating with many of the films featuring Kronos’ music include 21 Grams, Heat, and True Stories. world’s most intriguing and accomplished composers and performers, and commissioning more than 800 works and arrangements for string The quartet spends five months of each year on tour, appearing in quartet. In 2011, Kronos became the only recipients of both the Polar concert halls, clubs, and festivals around the world including Lincoln Music Prize and the Avery Fisher Prize, two of the most prestigious Center Out of Doors, BAM Next Wave Festival, Carnegie Hall, the awards given to musicians. The group’s numerous awards also include a Barbican in London, WOMAD, UCLA’s Royce Hall, Amsterdam’s Grammy for Best Performance (2004) and “Musicians Concertgebouw, Concert Hall, and the Opera of the Year” (2003) from Musical America. House. Kronos is equally prolific and wide-ranging on recordings. The ensemble’s expansive discography on includes Kronos’ adventurous approach dates back to the ensemble’s origins. collections like Pieces of Africa (1992), a showcase of African-born In 1973, David Harrington was inspired to form Kronos after hearing composers, which simultaneously topped Billboard’s Classical and George Crumb’s Black Angels, a highly unorthodox, Vietnam War- World Music lists; 1998’s ten-disc anthology, Kronos Quartet: 25 Years; inspired work featuring bowed water glasses, spoken word passages, and Nuevo (2002), a Grammy- and Latin Grammy–nominated celebration electronic effects. Kronos then began building a compellingly diverse of Mexican culture; and the 2004 Grammy-winner, ’s Lyric repertoire for string quartet, performing and recording works by 20th- . Among the group’s latest releases are (Smithsonian century masters (Bartók, Webern, Schnittke), contemporary composers Folkways, 2010), in collaboration with musicians from Afghanistan (, , Aleksandra Vrebalov), legends and Azerbaijan; Music of (Nonesuch, 2011), and (Ornette Coleman, Charles Mingus, ), rock artists Aheym: Kronos Quartet Plays Music by (Anti-, 2013). (guitar legend , Brazilian electronica artist , Music publishers Boosey & Hawkes and Kronos released sheet music and Icelandic indie-rock group Sigur Rós), and artists who truly defy for three signature Kronos-commissioned works in Kronos Collection, genre (performance artist Laurie Anderson, composer/sound sculptor/ Volume 1 (2006), a performing edition edited by Kronos; Volume 2 will inventor Trimpin, interdisciplinary composer/performer Meredith be released in 2014. Monk). In addition to its role as a performing and recording ensemble, the Integral to Kronos’ work is a series of long-running, in-depth quartet is committed to mentoring emerging performers and composers collaborations with many of the world’s foremost composers. One and has led workshops, master classes, and other education programs of the quartet’s most frequent composer-collaborators is “Father of via the San Francisco Conservatory of Music, the State Minimalism” , whose work with Kronos includes Summer School for the Arts, Carnegie Hall’s Weill Institute, The Dances for Peace (1985–86); Sun Rings (2002), a multimedia, NASA- Barbican in London, and other institutions in the U.S. and overseas. commissioned ode to the earth and its people, featuring celestial sounds Kronos is undertaking extended educational residencies in 2013–14 at and images from space; and Another Secret eQuation for youth chorus UC Berkeley’s Cal Performances, the Clarice Smith Performing Arts and string quartet, premiered at an April 2011 concert celebrating Center at the University of Maryland, the Special Music School at the Riley’s 75th birthday. Kronos commissioned and recorded the three Kaufman Music Center in New York City, and the Malta Arts Festival. string quartets of Polish composer Henryk Górecki, with whom the group worked for more than 25 years. The quartet has also collaborated With a staff of ten based in San Francisco, the non-profit Kronos extensively with composers such as Philip Glass, recording a CD of his Performing Arts Association (KPAA) manages all aspects of Kronos’ string quartets in 1995 and premiering a new work in 2013, among other work, including the commissioning of new works, concert tours, projects; Azerbaijan’s Franghiz Ali-Zadeh, whose works are featured on concert presentations in the San Francisco Bay Area, education the full-length 2005 release Mugam Sayagi; , from Kronos’ programs, and more. performance of the Grammy-winning composition (1989) to the September 11–themed WTC 9/11 (2011); and many more. One of KPAA’s most exciting initiatives is the Kronos: Under 30 Project, a unique commissioning and residency program for composers under In addition to composers, Kronos counts numerous performers from age 30 that has now added five new works to the Kronos repertoire. By around the world among its collaborators, including the Chinese pipa cultivating creative relationships with emerging and established artists virtuoso Wu Man; Azeri master vocalist , legendary from around the world, Kronos and KPAA reap the benefit of decades of Bollywood “playback singer” Asha Bhosle, featured on Kronos’ Grammy- wisdom while maintaining a fresh approach to music-making. nominated CD You’ve Stolen My Heart: Songs from R.D. Burman’s Bollywood; Inuit throat singer Tanya Tagaq; indie rock band The KRONOS QUARTET MANAGEMENT National; Mexican rockers Café Tacvba; sound artist and instrument builder Walter Kitundu; and the Romanian gypsy band Taraf de Kronos Performing Arts Association Haïdouks. Kronos has performed live with the likes of Paul McCartney, P. O. Box 225340 , Zakir Hussain, , Noam Chomsky, San Francisco, CA 94122-5340 USA Rokia Traoré, , David Barsamian, Howard Zinn, Betty Carter, and , and has appeared on recordings by such diverse www.kronosquartet.org talents as , Dan Zanes, DJ Spooky, Dave Matthews, www.facebook.com/kronosquartet , , and Don Walser. In dance, the famed Twitter: @kronosquartet #kronos choreographers , Paul Taylor, Twyla Tharp, and Eiko & Koma have created pieces with Kronos’ music. Janet Cowperthwaite, Managing Director Wu Man continually collaborates with some of the most distinguished Laird Rodet, Associate Director musicians and conductors performing today, such as , Matthew Campbell, Strategic Initiatives Director , Christoph Eschenbach, Gunther Herbig, Cho- Sidney Chen, Artistic Administrator liang Lin, Yo-Yo Ma, David Robertson, Esa-Pekka Salonen and David Scott Fraser, Sound Designer Zinman. She is a principal member of Yo-Yo Ma’s Silk Road Project and Christina Johnson, Communications and New Media Manager performs regularly throughout the U.S., Europe and Asia with Mr. Ma Nikolás McConnie-Saad, Office Manager as part of the project’s ensemble. Since 1993, Wu Man has also regularly performed and recorded with the Kronos Quartet, their most recent Hannah Neff, Production Associate work together being the multi-media work, A Chinese Home directed Laurence Neff, Lighting Designer, Production Director by Chen Shi-Zheng. This work was inspired by a visit Wu Man made Lucinda Toy, Business Operations Manager to Yin Yu Tang, the reconstruction of a Chinese village homestead at the Peabody Essex Museum in Massachusetts and is a musical and Wu Man theatrical journey through different time periods of Chinese history Recognized as the world’s premier pipa virtuoso and as a leading performed with film accompaniment. In addition to playing the pipa, ambassador of Chinese music, U.S.-based, Chinese-born musician Wu Wu Man worked with David Harrington on composing the music for Man has carved out a career creating and fostering projects that give this piece. She also sings, acts and plays percussion and an electric pipa this ancient instrument a new role in today’s music world, not only when performing A Chinese Home. introducing the instrument to new audiences, but commissioning and premiering over a hundred new works to grow the core repertoire. Other recent projects have seen Wu Man rediscover, and A Grammy Award-nominated artist, her adventurous musical spirit showcase the musical traditions of her homeland, projects she has also led to her becoming a respected expert on the history and has dubbed “Wu Man’s Return to the East”. In September 2010 preservation of Chinese musical traditions, reflected in her recorded and Wu Man released a new solo recording, Immeasurable Light, on live performances and multi-cultural collaborations. Traditional Crossroads that combines reconstructed ancient pipa melodies with her own contemporary compositions. The project was a Having been brought up in the Pudong School of pipa playing, one of collaboration between Wu Man and University of Arkansas Professor the most prestigious classical styles of Imperial China, Wu Man is now of Ethnomusicology, Dr. Rembrandt F. Wolpert. One of Dr. Wolpert’s recognized as an outstanding exponent of the traditional repertoire areas of expertise is music manuscript scrolls discovered early in the as well as a leading interpreter of contemporary pipa music by today’s 20th century in the Mogao Buddhist Caves in Dunhuang in the Gansu most prominent composers such as , Philip Glass, the late Lou province of Central Asia that contained a set of 25 pieces notated in Harrison, Terry Riley, , and many others. tablature for pipa. Another is lute versions of music dating from the Tang Dynasty (618-907) that had been preserved in Japan. Working Adamant that the pipa, a lute-like instrument with a history of more together, they translated the ancient tablature to create base tunes, some than two thousand years, does not become marginalized as only existing of just a few notes. Wu Man then built upon these to create appropriate for Chinese music, Wu Man has striven to develop a place fuller tunes, with the aim of retaining the spirit of the original fragment. for the pipa in all art forms. Projects she has instigated have resulted in She also composed her own works for this recording and performed all the pipa finding a place in new solo and quartet works, concertos, opera, of the layered pipa parts, in addition to singing and playing percussion. chamber, electronic, and jazz music as well as in theater productions, film, dance and collaborations with visual artists including calligraphers In 2009 Wu Man was asked curate two concerts at Carnegie Hall as and painters. Wu Man’s role has developed beyond pipa performance part of the ‘Ancient Paths, Modern Voices’ festival celebrating Chinese to encompass singing, dancing, composing and curating new works. culture. Wu Man and the artists she brought to New York from rural These efforts were recognized when she was made a 2008 United States China for the festival also took part in two free neighborhood concerts Artists Broad Fellow. and a concert presented by the Orange County Performing Arts Society in Costa Mesa. Wu Man’s travels in China to find the musicians were Born in , China, Wu Man studied with Lin Shicheng, Kuang documented on a film, Discovering a Musical Heartland – Wu Man’s Yuzhong, Chen Zemin, and at the Central Conservatory of Return to China and she was profiled on PBS’s NewsHour with Jim Music in , where she became the first recipient of a master’s Lehrer. The experience of visiting rural China and working with these degree in pipa. Accepted into the conservatory at age 13, Wu Man’s artists, and the threat of these musical traditions disappearing, has audition was covered by national newspapers and she was hailed as a resulted in a Wu Man forming long-term artistic relationships with the child prodigy, becoming a nationally recognized role model for young musicians. pipa players. She subsequently received first prize in the First National Music Performance Competition among many other awards, and she Wu Man’s exploration of matching the pipa and Chinese music participated in many premieres of works by a new generation of Chinese traditions with music from other cultures has continued when she composers. was asked to curate, perform and produce new recordings as part of the acclaimed 10-volume CD-DVD series co- Wu Man’s first exposure to western came in 1979 when produced by the Aga Khan Music Initiative and she saw and the Boston Symphony Orchestra performing in Recordings. She has recorded a CD and DVD with Tajik and Uyghur Beijing. In 1980 she participated in an open master class with violinist musicians that will be released by Smithsonian Folkways in early 2012, and in 1985 she made her first visit to the United States as a with tours of Central Asia and the U.S. to follow. member of the China Youth Arts Troupe. Wu Man moved to the U.S. in 1990 and was selected as a Bunting Fellow at the Radcliffe Institute of Wu Man has performed as soloist with many of the world’s major Advanced Study at . In 1999 Wu Man was selected , including the Austrian ORF Radio Symphony Orchestra, by Yo-Yo Ma as the winner of the City of Toronto Glenn Gould Protégé Boston Symphony Orchestra, Chicago Symphony Orchestra, Los Prize in music and communication. She is also the first artist from Angeles Philharmonic, Moscow Soloists, Nashville Symphony, German China to have performed at the White House. NDR and RSO Radio Symphony Orchestras, New Music Group, New York Philharmonic, Symphony Orchestra and the Stuttgart FOR LANDFALL Chamber Orchestra. Her touring has taken her to the major music halls of the world including Carnegie Hall, Amsterdam’s Concertgebouw, Laurie Anderson the Great Hall in Moscow, the Kennedy Center, Lincoln Center, Opera Laurie Anderson is one of America’s most renowned — and daring — Bastille, Royal Albert and Royal Festival Halls and the Theatre de la creative pioneers. She is best known for her multimedia presentations Ville. She has performed at many international festivals including the and innovative use of technology. As writer, director, visual artist and WOMAD Festival, Festival, Festival d’Automne in Paris, vocalist she has created groundbreaking works that span the worlds of Henry Wood’s BBC Promenade, Hong Kong Arts Festival, La Jolla art, theater and . Summerfest, Le Festival de Radio France, Lincoln Center Festival, Luminato, NextWave!/BAM, Ravinia Festival, Silk Road Festival, Her recording career, launched by in 1981, includes the Sydney Festival, Tanglewood, Wien Modern and the Yatsugatake Kogen soundtrack to her feature film Home of the Brave and Life on a String Festival in Japan. (2001). Anderson’s live shows range from simple spoken word to elaborate multimedia stage performances such as Songs and Stories for Wu Man has recorded for various labels, including a recording of Moby Dick (1999). Anderson has published seven books and her visual Tan Dun’s Ghost Opera with the Kronos Quartet on Nonesuch, a work has been presented in major museums around the world. solo recording, Wu Man – Pipa From a Distance for Naxos, and two recordings with the Silk Road Ensemble and Yo-Yo Ma for Sony In 2002, Anderson was appointed the first artist-in-residence of NASA Classical. Recent recordings include: Off the Map with the Silk Road which culminated in her 2004 touring the End of the Ensemble on World Village and In A Circle Records; Terry Riley’s The Moon. Recent projects include a series of audio-visual installations and a Cusp of Magic with the Kronos Quartet on Nonesuch; Traditions and high-definition film, Hidden Inside Mountains, created for World Expo Transformations: Sounds of Silk Road Chicago featuring Wu Man’s 2005 in Aichi, Japan. In 2007 she received the prestigious Dorothy and Grammy-nominated performance of ’s Pipa Concerto Lillian Gish Prize for her outstanding contribution to the arts. In 2008 with the Chicago Symphony Orchestra on the CSO Resound label; she completed a two-year worldwide tour of her performance piece, and the Grammy-nominated recording of Tan Dun’s Pipa Concerto Homeland, which was released as an album on Nonesuch Records with Yuri Bashmet and the Moscow Soloists on Black Onyx. Wu Man in June 2010. Anderson’s solo performance Delusion debuted at the has also released a CD of world music entitled Wu Man and Friends Vancouver Cultural Olympiad in February 2010. In October 2010 a on the Traditional Crossroads label that blends Chinese, Ukrainian, retrospective of her visual and installation work opened in Sao Paulo, Ugandan and Appalachian music; and she is featured on a recording Brazil and later traveled to Rio de Janiero. In 2011 her exhibition of new of Orion with the Philip Glass Ensemble for the Orange Mountain visual work titled Forty-Nine Days In the Bardo opened in Philadelphia, label. In 2005 Nonesuch released an homage to the composer of classic and Boat, her first exhibition of paintings, premiered at the Vito Bollywood songs, Rahul Dev Burman featuring the Kronos Quartet, Wu Schnabel Gallery in New York. She has recently been appointed as a Man, singer Asha Bhosle and tabla player Zakir Hussain called You’ve three-year fellow at both EMPAC, the multi media center at RPI in Troy, Stolen My Heart, which was nominated for a Grammy Award for Best NY, and PAC at UCLA. Anderson lives in New York City. Contemporary World Music Album Liubo Borrisov is a bricoleur working with digital, electronic and Nels Cline organic media. In his works, he explores the interface between art, Guitar explorer Nels Cline is best known these days as the lead guitarist science and technology. His multimedia installations, performances and in the band . His recording and performing career – spanning digital video paintings have been featured internationally, including jazz, rock, punk, and experimental – is well into its fourth decade, with the New Interfaces for Musical Expression, ICMC and SIGGRAPH over 160 recordings, including at least 30 for which he is leader. Born in conferences, the Lincoln Center Summer Festival, NYC and the Los Angeles, Cline has received many accolades including Rolling Stone Kennedy Center, , DC. anointing him as both one of 20 “new guitar gods” and one of the top 100 guitarists of all time. He received baccalaureate degrees in Mathematics and Physics from Caltech and a doctorate in Physics from Columbia, where he also studied Beyond Wilco, he leads The Nels Cline Singers (featuring Scott electro-acoustic music at the Computer Music Amendola and bassist Trevor Dunn), and plays with Fig (a collaboration Center. He holds a masters in Interactive Telecommunications from with Yuka Honda), BB&C (a with Tim Berne & Jim Black), Pillow NYU’s Tisch School, where he was a Global Fellow in the performing Wand (a duo with guitarist ), and a new duo project with arts. He has taught at Harvestworks, the Columbia University Graduate jazz guitar prodigy . A few of the other musicians with whom School of Architecture, Planning and Preservation and is currently he has performed and/or recorded include: Ramblin’ Jack Elliot, Yoko an associate professor at Pratt Institute’s Department of Digital Arts, Ono, Jeff Gauthier, , Carla Bozulich, , , Brooklyn. Tinariwen, Julius Hemphill, Charlie Haden, Wadada Leo Smith, , and Lee Ranaldo. The new album by The Nels Cline Singers, Robert Currie is an artist living and working in New York City and Macroscope, will be released in 2014. Ann Arbor Michigan. He is currently making a double chorus piece in the form of fifteen sonnets about pronouns.

Jacob Garchik, multi-instrumentalist, composer, and arranger, was born in San Francisco and has lived in New York since 1994. At home in a wide variety of styles and musical roles, he has become a vital part of NYC’s downtown and Brooklyn scene, playing with the Nonet, Ohad Talmor/Steve Swallow , The Four Bags, Slavic Soul Party, and the John Hollenbeck Large Ensemble. Since 2006 Jacob has contributed dozens of arrangements and transcriptions for the Kronos Quartet of music from all over the world. His arrangements were featured on Floodplain (2009) and Rainbow (2010). His solo cd The Heavens: the Atheist Gospel Trombone Album (2012) has received wide acclaim. Konrad Kaczmarek is a composer, musician, and programmer whose music combines live audio processing and improvisation, drawing from his diverse musical and technical background. His freelance work programming and performing have taken him to the Kunstnernes CAP UCLA celebrates award-winning Hus in Oslo, Norway, The New Zealand International Arts Festival, ensembles that are changing the landscape of The Whitney Biennial Performance Series, the Next Wave festival at BAM, “Works and Process” at the Guggenheim, Bargemusic, The contemporary music one note at a time. Stone, Joyce SoHo, and the 92nd Street Y. He received a B.A. in music from Yale, a MMus in composition from University of London, Goldsmiths, and is currently pursuing his doctoral degree in composition at Princeton.

Shane Koss, born and raised in rural Maryland, twiddled and fiddled his way through Berklee, Los Angeles and London to find himself in NYC where he now stays up way too late making strange noises and TUNE-IN beating his computers into submission. The latter has helped him design studios and performance rigs both stateside and abroad. FESTIVAL L.A. Brian H Scott is a New York based lighting designer. Most recently he designed an Installation Project by Ann Hamilton at the Park Avenue Armory entitled the event of a thread. As a member of SITI Company he has designed lighting for Cafe Variations, Trojan Women Thu-Sat, Mar 27-29 (After Euripides), Antigone, American Document in collaboration with the Dance Company, Under Construction, WhoDoYouThinkYouAre, Hotel Cassioepia, Death and the Ploughman, Royce Hall bobrauschenbergamerica (Henry Hewes Design Award 2004), War of the Worlds Radio Play, and Macbeth. As a member of Austin, Texas Schoenberg Hall based Rude Mechanicals he has designed light for numerous projects including Lipstick Traces and Method Gun. ABOUT ERST

Erst is a custom-built software which enables musicians to interact Imani Winds featuring with text systems, extending the language of musical performance Simon Shaheen: into the realm of narrative. Composers can configure deterministic relationships or design probabilistic connections between musical and Zafir visual events. Musical gestures can activate the visual bringing text to life by sampling words, phrases, timings, alphabets and symbols. ETHEL featuring : ...And Other Stories LAURIE ANDERSON WORLDWIDE TOUR REPRESENTATION:

Pomegranate Arts www.pomegranatearts.com An evening with yMusic [email protected]

Director Linda Brumbach eighth blackbird Associate Director Alisa E. Regas General Manager Kaleb Kilkenny Still in Motion Director of Booking Julia Glawe Associate General Manager Linsey Bostwick Office Manager Susannah Gruder

FOR FURTHER INFORMATION CONTACT: cap.ucla.edu/tuneinla Canal Street Communications Cooper Holoweski, Studio Manager www.laurieanderson.com [email protected] The boards of CAP UCLA and Design for Sharing would like to thank all the members who have made a choice to join them in supporting arts education and the art of performance at UCLA.

GUARDIAN Patricia & William Flumenbaum Tamara Turoff Keough John Schwartz Baret C. Fink Dr. Irene Goldenberg Aliza & Michael Lesser Martha Kauffman & Dr. Jerry Markovitz & Susan Levich Michael Skloff CHAMPION Cameron Jobe Bea & Leonard Mandel Dr. Christopher & Dr. Audree V. Fowler Dr. Lewis & Sandra Kanengiser Mel & Margalit Marshall Glennis Waterman Deborah Irmas Joseph P. Kaufman Merle & Gerald Measer Samantha & John Williams Renee & Meyer Luskin Robert & Milly Kayyem Sandra J. Klein & Steve & Jan Winston Ginny Mancini Joanne Knopoff Donald McCallum Arline Zuckerman Dr. Richard S. Ross Dr. Sheelagh Boyd & Phylis Nicolayevsky Dr. & Mrs. Armin Sadoff Larry Layne Michael & Suzanne Scott ADVOCATE Ralph & Shirley Shapiro Ronald L. Johnston & Joan Lesser Gil & Joanne Segel Anonymous Diane Levine & Robert Wass Susan & Leonard Nimoy Muriel & Neil Sherman Dr. Yoshio & Ron Watson Claude Petite Laurie & Rick Shuman Mrs. Natsuko Akiyama Werner & Mimi Wolfen Astrid & Howard Preston Jennifer Simchowitz Mimi & Sherman Andelson Dr. William J. Resnick Judith Taylor Dr. Scott & Digna Beasley BENEFACTOR Ronnie Rubin Donna L. Dees & Linda Engel & Alan Benjamin Anonymous Cynthia Chapman & Neil Selman Timothy P. Tobin Bunny Wasser & Dean V. Ambrose Man Jit & Srila Singh Alice & Norman Tulchin Howard Bernstein Gail & James R. Andrews Saletta Smith William Turner Donna & Richard Besone Barry Baker Lester & Carolyn Stein Joan & Joe Wertz Marjorie Blatt Helen & Peter Bing Carol & Joseph Sullivan Dr. Albert & Marilouise Zager Stephanie & Harold Bronson Mary Farrell & Stuart Bloomberg Dr. Elwin V. Svenson & Stuart & Carol Zimring Margot Rogers-Calabrese & Valerie & Brad Cohen Ann Svenson Joseph Calabrese Dr. Ellen Smith Graff & Sue & Doug Upshaw PARTNER Stephen Davis Mr. Fred Cowan Michael Sopher & Debra Vilinsky Anonymous Vanessa & Brian Dokko The Feintech Family Carol & Arnold Vinstein Leslee Hackenson & Roger Allers Lorenzo Doumani Sandra B. Krause & Stephanie Snyder & Sylvia & Joseph Balbona The Edlow Family William B. Fitzgerald Michael Warren Gil Valenzuela & Randy Barbato David & Linda Ellis Eliane Gans-Orgell Judy Fiskin & Jon Wiener Susan & Stephen Bauman William Escalera Fariba Ghaffari Carla B. Breitner & Gary Woolard Rosanna Bogart John Fellows Dr. Allan Swartz & Ronald & JoAnn Busuttil Beverly & Chester Firestein Roslyn Holt Swartz SUSTAINER Dr. Fereshteh & Khossrow Diba Peter Weiner & Diane Kessler Anonymous (3) Dr. Paul & Patti Eisenberg Margaret Gallegos John Liebes Robert C. Anderson Olga Garay & Kerry English Abner & Roslyn Goldstine Joanne & Joel Mogy Kathleen Flanagan & Billie & Steven Fischer Deborah Glusker Edie & Robert Parker Keenan Behrle Sherry & Matthew Frank David Gray John & Kathleen Quisenberry James Blakeley Rose Gilbert Linda & Jerry Janger Jaclyn B. Rosenberg Stephanie Delange & David Body Caryn Espo & David Gold Kerry Korf Gene & Maxine Rosenfeld Dr. & Mrs. Thomas Brod Judy Abel & Eric Gordon Marilyn K. Levin Alan M. Schwartz Matthew Michael & Carol & Irving Greines Hon. Sherrill D. Luke Anne-Marie & Alex Spataru Laurence Chrysler Linda Essakow & Karin & Herbert Machleder Deedee Dorskind & City National Bank Stephen Gunther Michael & Phyllis Marks Bradley Tabach-Bank Roberta Conroy Dr. Robin Garrell & Laura & James Maslon Joyce Craig & Beryl Weiner Helene & Prof. Edwin Cooper Dr. Kendall Houk Laurie McCray Patty & Richard Wilson Jennifer & Royce Diener Marti Koplin Paulette & Ronald Nessim Karyn Orgell Wynne Linnea Duvall Morelle Lasky Levine Sarah & William Odenkirk Marcie & Howard Zelikow Rose & Al Finci Bernard & Peggy Lewak Anne Osberg Sandra & Neil Gafney Karen & Peter Locke Joseph & Marjorie Perloff PATRON Sanford & Pat Gage Pauline & Roger Mayer Linda Peterson Anonymous Lori & Robert Goodman Leslie Mitchner Solomon Riley, Jr Barbara Abell Stanley & Linda Goodman Dr. Jeffrey & Jacqueline Perloff Nancy & Brad Rosenberg Drs. Helen & Alexander Astin Jackie & Stan Gottlieb Margaret Quon Caron & Colin Sapire Anna Wong Barth & Scott Barth Pattikay & Meyer Gottlieb Lynda & Stewart Resnick Ina Sinsheimer Dr. Lee & Ann Cooper Ann & William Harmsen Dr. Ari & Mrs. Ann Rosenblatt Kimiko & Harry Stavros Jay & Nadege Conger Lois Haytin Bernard “Bud” Heumann & Mary Lou Steinmetz Marina F. Day Hanna Heiting Patricia Rosenburg Robert Suiter Dr. Bruce & Barbara Dobkin Lisa & Steven Hilton Linda McDonough & Robert Uhl Laura Donnelley Susan & David Hirsch Bradley Ross Nancy & Alan Voorhees Mary & Robert Estrin Tim Scott & Nancy Howard Roth Family Foundation Harold Williams Fiona & Michael Karlin Rita Rothman Bonnie & Paul Yaeger

This listing represents memberships from November 1, 2012-January 15, 2014. If you have questions or would like further information on how you can support CAP UCLA please contact Yvonne Wehrmann at [email protected] or (310) 794-4033.