BROOKLYN ACADEMY OF MUSIC PIERRE BOULEZ and ENSEMBLE INTERCONTEMPORAIN PINABAUSCH ~ZTHEArERVVUPPERLAL BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer BAM Majestic Theater June 16 & .17, 1988 PIEmu: BOULEZ and ENSEMBLE INTERCONTEMPORAIN Music Director and Conductor Pierre Boulez Musicians Sopbie Cherrier, flute; EmmanueUe Ophele, flute; Didier Pateau, oboe; Alain Damiens, clarinet; Andre Trouttet, clarinet; Olivier Voize, clarinet; Guy Arnaud, bass clarinet; Jean-Marie Lamothe, bassoon; Jacques Deleplancque, hom; Jens Mc Manama, hom; Antoine Cure, trumpet; Jean-Jacques Gaudon, trumpet; Jerome Naulais, trombone; Vincent Bauer, percussion; Michel Cerutti, percussion; Daniel Ciampolini, percussion; Jean-Guillaume Cattin, percussion; Patrice Lefevre, percussion; Philippe Mace, percussion; Pierre-Laurent Aimard, piano; Alain Neveux, piano; Marie-Claire Jamet, harp; Jeanne-Marie Conquer, violin; Jacques Ghestem, violin; Maryvonne Le Dizes-Richard, violin; Garth Knox, viola; Jean Sulem, viola; Cbrichan Larson, cello; Pierre Strauch, cello; Frederic Stocbl, bass. Presented as part of Support for Pierre Boulez and Ensemble InterContemporain has been provided by Association Fran~se d'Action Artistique. Additional funds have been provided by the New York State Council on the Arts and the Friends of BAM. The BAM fucility is owned by the City of New York and its operation is supported in part with public funds provided through the New York City Department of Cultural Affuirs. The New York International Festival of the Arts, Inc. is an independent non-profit organization whose board of directors con­ sists of leaders in the arts, business, foundations, and international affuirs. The Festival and events are supported by corpora­ tions, foundations and individuals. Founding Sponsor: American Express Company; Prime and Major Corporate Sponsors: The Chase Manhattan Bank, The Hearst Corporation, The May Department Stores Company, Morgan Stanley Group Inc., Pan Am, Louis Vuitton; Prime and Major Foundation Sponsors: The Aaron Diamond Foundation, The New York TImes Com­ pany Foundation, The Rockefeller Foundation, Helena Rubinstein Foundation, The Fan Fox and Leslie R. Samuels founda­ tion; Public Services: Metropolitan Transportation Authority. PROGRAM Thursday, June 16, 1988 with soloists Pierre-Laurent Aimard, piano Garth Knox, viola Hommage a Pierre Edison Denisov (b. 1929) Diademes Marc-Andre Dalbavie (b. 1961) Intermission Symphonie, opus 21 Anton Webem (1883-1945) Concerto, opus 24 Anton Webem Oiseaux Exotiques Olivier Messiaen (b. 1908) Friday, June 17, 1988 with soloist Sophie Cherrier, flute Desintegrations Tristan Murail (b. 1947) Derive Pierre Boulez (b. 1925) Memoriale ( ... explosante-fixe . originel) Pierre Boulez Intermission Suite, opus 29 Arnold Schoenberg (1874-1951) Contemporary music cannot rely merely on some means of luck and lots of good will to flourish. It requires a permanent ensemble whose coherence is assured through continuous rehearsing, an ensemble that would regu­ larly resume, with increasing familiarity, the works it has premiered and instigated. From this point of view, the founding of the Ensemble InterContemporain marks an important oote. Pierre Boulez ENSEMBLE INTERCONTEMPORAIN was found­ Garth Knox pursues an active career as a soloist, giv­ ed by French conduC1Dr~mposer Pierre BouIez in tm ing recitals on the radio, along with numerous cham­ as a permanent group of musicians dedicated to the per­ ber music concerts and broadcasts. He has been violist formance of twentieth century music. It works closely with the Ensemble InterContemporain since 1983. with IRCAM, the Institute for Research on Coordina­ tion of Acoustics and Music, which Pierre Boulez SOPHIE CHERRIER (flute) is a native of Nancy, created in 1970 at the request of French President France, and studied at the Conservatoire de Region of Georges Pompidou, performing music from IRCAM Nancy and at the Conservatoire de Paris. She studied composers and participating in the center's experiments. flute with Alain Marion and chamber music with Chris­ The Ensemble's repertoire, however, is drawn from the tian Larde. entire range of this century's music, from Debussy, She has won major first prizes in flute and chamber Ravel, Prokofiev, and Stravinsky to Cage, Carter, Glass, music and she received the fourth prize at the Jean­ and Reich. In the first ten years of its existence, the Pierre Rampal international competition. Ensemble InterContemporain achieved the unparalleled She joined the Ensemble InterContemporain in 1980 feat of performing works by over 250 twentieth cen­ and has been performing duets with Jean-Marie Cot­ tury composers. tet. She teaches flute at the Conservatory of the 12th Arrondissement (in Paris) and at the Teachers College. PIERRE BOULEZ (Music Director and Conductor) Among the many compositions she performs, her for over forty years has been active in evolving music, filvorites include Mozart's quartets for flute, violin, viola composing and conducting. Stimulated by studies with and cello, Le Marteau sans Maitre, and the Boulez Messiaen, Boulez experimented with Asian, African sonatina. and European musical influences, and influenced by Rene Leibowitz, who studied with Schoenberg and PROGRAM NarES Webern, he adapted twelve-tone composition into his Edison Denisov: Hommage a Pierre work. Boulez gradually gained prominence as a con­ Hommage d Pierre is the sign of my admiration and ductor, as with the Domaine Musical Ensemble which of my friendship for Pierre Boulez, who remains for he founded, and in 1971 he became conductor of both me always one of the greatest composers of our century. the New York Philharmonic and BBC SYmphony Orch­ The work is constructed around horn phrases and estra. From the mid 1970's he has concentrated his ener­ develops its material around the note B flat. Hommage gies on IRCAM including study of computer generated d Pierre was written for the 60th birthday of Pierre music. Boulez and premiered March 31, 1985 at Baden Baden by the Ensemble InterContemporain under the direc­ PIERRE-LAURENT AIMARD (piano), after hav­ tion of Peter Eotvos. ing obtained four first prizes at the Conservatoire The piece lasts approximately seven minutes. National Superieur de Musique of Paris, received the Edison Denisov* first prize in the Olivier Messiaen International Com­ petition (Concours International Olivier Messiaen) in Marc-Andre Dalbavie: Diademes 1973 and the second prize in the Geneva International For solo altered viola, electronic ensemble and Competition (Concours International de Geneve) in instrumental ensemble, Diademes was commissioned 1976. by the Ensemble Itineraire and first performed June A member of the Ensemble InterContemporain since 16, 1986, and "realized" at IRCAM. The portion "aide its inception, he has pursued a parallel career as a soloist II la composition" was conceived on a Macintosh in most of the countries of Europe and South America, (Apple) using the computer labguage LeLISP (Chal­ in the U.S., Canada, and New Zealand. He has played lioux) and its extension FORMES (IRCAM), permit­ with the symphony orchestras of Boston, Chicago, Lon­ ting the generation offilter processes through harmonic don (the Philharmonia), Berlin, Toronto, Leningrad, rules. Dresden, Geneva, and Paris, under the direction of such The synthesized portion was made through two conductors "as Boulez, Ozawa, Celibidache, Davis and TX816's (Yamaha) controlled by two KX88's (Yamaha). Previn. The utilization of the modulation of frequencies was entirely controlled by a Macintosh that had been set GAIirH KNOX (viola) was raised in Aberdeen, Scot­ to programs produced by IRCAM. The altered portion land. He studied viola with Frederick Riddle at the is realized through a pair of "harmonisers" computing Royal College of Music in London, where he obtained and transposing the actual sound and time. the first prize for viola, as well as several prizes for Three groups of instruments are called for in the chamber music. He subsequently studied with Peter score: an electronic ensemble; a traditional instrumen­ Schidloff and Paul Doktor and became interested in tal ensemble composed of winds (2 flutes, 1 oboe, 2 contemporary music. He plays with the Ensemble Koe­ clarinets, 1 bassoon) brass (l horn, 2 trumpets, 1 bass nig, the Fires of London, and the London Sinfonietta, trombone) percussion, and strings (3 violins, 1 double and has given numerous performances of the concertos bass); a solo viola, altered by a "harmoniser" and an of William Walton, Jonathan Lloyd and Wolfgang echo chamber (the latter affecting the joining of the two Rihm. ensembles). The piece is divided into three connect­ In 1979, Hans Werner Henze dedicated his Sonata ing movements and is of approximately Zl minutes for Viola to Mr. Knox, who played the world premiere duration. performance of the work and subsequently recorded Marc-Andre Dalbavie* it for Ricordi. *Translated from the French [Continued] Anton Webern: Symphonie, opus 21 the material of the piece, its microforms, its systems The Symphonie op. 21 was composed in 1928 and of development, has as its sO,urce analysis of some dedicated to Webern's daughter, Christine. It was decompositions or some artiftcial reconstructions of Webern's second purely instrumental piece after 12 harmonic or inharmonic spectrums. years of concentrating on production of vocal works, The greater part of the spectrums originate orches­ and was his ftrst composition for orchestra since 1913.