Sponsor

July 6 –28, 2013

July 16 Alice Tully Hall Starr Theater, Adrienne Arsht Stage Hanggai Band

Tobshuur, banjo, and höömii vocals Yiliqi (Ilchi) Guitars and sanxian Ailun Drums and percussion Yeerbuluo Wulazihan Vocals and amne huur Hurizha Morin khuur and höömii vocals Batubagen (Bagen) Guitars, sanxian, and vocals Yilalata (Shang Li) Bass guitar and vocals Niu Xin

Approximate performance time: 1 hour and 10 minutes, with no intermission

Major support for Lincoln Center Festival 2013 is provided by The Andrew W. Mellon Foundation. The Lincoln Center Festival 2013 presentation of Hanggai Band is made possible in part by generous support from China International Culture Association. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Lincoln Center Festival 2013 is made possible in part with public funds from the New York City Department of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts. LINCOLN CENTER FESTIVAL 2013 HANGGAI BAND

Program

Program order and selections are subject to change.

Hong Galu

Jiao Di Nana

Brothers

Mini Tobshuur

Golden Autumn

Gobi Road

Drinking Song

Togur Jin Mountain

Xiger Xiger

Hai Ran

Bagen Song

Hu He Na Mu Ji Le

Heshut Hero

Hometown Mountain

Baifarg

Wuren du Xi

Four Seasons

Juan Zoude Ren (“He Who Travels Far”) LINCOLN CENTER FESTIVAL 2013 HANGGAI BAND

About Hanggai Band punk band T9), which is an element that In a country dominated by pop music, trad - influences Hanggai’s music greatly. Besides ing cultural heritage for Westernization, their focus on Mongolian folk music, the Hanggai Band has defeated the odds by group also cites many Western rock bands, making crossroads in the Chinese music including Pink Floyd, Radiohead, and Rage industry with their modern take on tradi - Against the Machine, as some of their tional Mongolian folk music. “Hanggai” is an most important musical influences. In ancient Mongol word referring to an idyllic 2008 Hanggai released their first album, landscape of sprawling grasslands, moun - Introducing Hanggai , which showcased tains, rivers, trees, blue skies, and white their more traditional sound. But after tour - clouds; not only is it the band’s name, it also ing both domestically and internationally, describes the band’s mission—giving listen - the group began to make a subtle change, ers a glimpse of a place they have probably moving away from the more straightfor - never been, from a time they have proba - ward, traditional sound captured on their bly never experienced. first album. Today their live shows reveal the players’ rock sensibilities and show - China is a country of nations, comprised of case their ability to truly cross over from a 55 different minority groups inhabiting var - traditional-instrument constructed sound ious parts of its vast region. Music is the built around a rock framework to a new way many of these groups are able to sound—one that is a richer, more complex retain their distinct identity in the midst of blend of cultures. cultural assimilation. Mongolia is one of those sub-nations within China, and Hanggai Hanggai has played at some of the world’s Band is a modern pioneer, ushering their leading international festivals since 2009, native music into the modern world. Most including Roskilde Festival in Denmark; of the band’s members come from Inner Lowlands Festival and Zwarte Cross Mongolia, which covers a vast portion of Festival in the Netherlands; Lotus World China’s north, but their founding occurred Music & Arts Festival in Indianapolis, In- in Beijing, the capital of the Republic of diana; Chicago World Music Festival; Sziget China and the country’s cultural center. Festival Budapest; Wacken Open Air (W:O:A) in Germany; Festival Músicas do Mundo Hanggai formed in 2004 when Yiliqi and for - (FFM) in Sines, Portugal; Sydney Festival; mer bandmate Xu Jingcheng rediscovered and World of Music, Arts, and Dance festi - the beauty of traditional Mongolian music. vals (WOMAD) in Abu Dhabi, the U.K., The band has now grown to seven players, Grand Canary Islands, Australia, and New who are either ethnic Mongolians or ethni - Zealand. Last month the band performed cally Han Chinese: Batubagen (Inner on the African continent for the first time. Mongolia), Yiliqi (Inner Mongolia/Beijing), Yilalata (Inner Mongolia), Hurizha (Qinghai), Hanggai made their Australian debut at the Yeerbuluo Wulazihan (Xinjiang), Niu Xin Sydney Festival in January 2011, followed (Inner Mongolia) and Ailun (Inner Mongolia). by shows at WOMADelaide, and a three- week tour of Australia the following year. In Before starting Hanggai Band many of the U.S., Canada, and Japan, the band has the members were part of Mongolia’s performed at the Bonnaroo Music and under ground punk scene (especially Yiliqi, Arts Festival in Manchester, Tennessee; who was frontman of the Beijing-based Millennium Park’s summer concert series, LINCOLN CENTER FESTIVAL 2013 HANGGAI BAND

Music Without Borders, in Chicago; Har- wooden-framed sound box and a head - bourfront Centre Summer Festival in Cana- stock carved into the likeness of a horse. da; and the Fuji Rock Festival in Japan. Both strings are made of horse hair: the larger (male) is made from 135 strands of The band completed their second album in stallion tail hair, and the smaller (female) is 2012, He Who Travels Far , which show - made from 105 hairs from a mare’s tail. cased the new sound the band has devel - White stallion hair is preferred for the con - oped over the past few years and captured struction of the strings—quality materials the energy of their live shows. After a busy are a vital element of the construction of 2012 tour schedule, which brought Hanggai the instrument—and good ones sound like to Europe, Japan, Taiwan, Australia, the U.S., steel strings. The morin khuur is a versatile and Canada, they started working on a new instrument that can play both Western and CD. The band recorded in various studios in Mongolian styles of music well. When Beijing in May 2013 with producer JB playing, the goal is to produce clear, quality Meijers, and new material is scheduled for sound, which means not changing the vol - release later this year. ume or frequency. This quality depends on the finger force used for touching the About Hanggai Band’s strings, pressure from the bow, and ability traditional instrumentation to produce constant sound after the bow changes directions on the strings. When Hanggai Band’s distinctive sound is the played correctly, the sound produced is result of the fusion of traditional Mongolian elegantly described as: “expansive and instruments and techniques that are not necessarily familiar to Western audiences. unrestrained, like a wild horse neighing or Following are some of these unusual instru - a breeze in the grasslands.” ments and a description of their origins. Traditional Mongolian music is primarily The national instrument of Mongolia, the vocal, instrumentation coming second. morin khuur is on the list of Masterpieces Höömii (or “overtone singing”) is a vocal of Oral and Intangible Heritage of Huma - technique from Western Mongolia in nity by UNESCO. It is descended from the which a single vocalist produces up to chuurqin , an instrument created during the three vocal octaves simultaneously. Höömii Tang Dynasty (600 –800 C.E.), however, the was used for a variety of purposes, includ - exact history of the morin khuur is only ing religious and secular ceremonies, matter of myth. Multiple festivals are held herd ing, and hunting. It is also used for its in Mongolia each year to celebrate the calming effects, and many say listening importance of the morin khuur in the coun - actually promotes good health. For both try’s history and culture. It is also kept in folk-religious and political reasons, höömii many Mongolian homes as a symbol of is only performed by men. Producing these peace and happiness. Besides entertain - vocals is a test of physical strength, and ment purposes, the morin khuur has also extensive training from childhood is required. been used by Gobi farmers in the Mongolian steppes for calming and healing their The tobshuur is a fretless, two-stringed camels. Its full name is morin toloyai tai lute developed by nomadic tribes from the quyur , which means “fiddle with a horse’s western region of Mongolia. This tradi - head.” The morin khuur is a two-stringed, tional instrument, which sounds similar to bowed instrument with a trapezoidal, a Western banjo, is carved from a single LINCOLN CENTER FESTIVAL 2013 HANGGAI BAND

piece of wood with two strings made of plucked idiophone found in Mongolia. twisted horse hair (or nylon), a peghead However, this instrument is not exactly carved into the likeness of a swan, and specific to Mongolia or the Far Eastern two breathing holes on the front. The body, region. Actually, more than 1,000 different which is usually covered with baby camel’s types of these toy-like instruments have hair, can be constructed from any type of been found all over the world, and each wood, but larch and pine are usually used. goes by a different name depending on its The tobshuur was one of the first nomadic region. Jaw harps are considered to be instruments created, known for its light - one of the first instruments ever created— ness and transportability. Accompanying tra - so old, in fact, that its origins and prolifera - ditional long songs and epics, the tobshuur tion are somewhat unknown. Yet, the adds especially to recitation of Mongolian instrument is believed to have originated oral history with regular, repeating patterns. in China around the 4th century BCE and its propagation extended from Asia to In Chinese, sanxian literally means “three- Europe on the Silk Road (206 BCE –220 stringed,” which is the perfect description C.E.). The instrument is very simple: a for this instrument: a three-stringed, fret - two-pronged, usually rounded metal frame less Chinese lute. There are smaller and with a thin wood or metal reed, and some larger versions, but both feature an incredi - type of string to be plucked or pulled by bly long fret board. The three silk strings the player. The player holds the frame to are plucked with a plectrum (usually made his mouth, which forms a resonance cav - from animal bone) or with the fingers. ity, and activates the instrument’s tongue Sanxians are similar to the Japanese by either plucking it with the fingers or shamisen and Western banjos with a strong, rich, dry, and somewhat percussive jerking a string attached to the end of the tone. It is best used as an accompanying instrument. Technically, the instrument instrument, especially with singing, but it is can only produce one pitch, but if the also used in ensembles and orchestras that player alters the shape of the mouth cav - feature traditional Chinese instruments. ity, he, or she, can produce multiple pitches. Historically, the sanxian was one of the most Also, the instrument can have multiple popular Chinese folk instruments. Recently, reeds attached to the frame, allowing the however, there has been a major decrease in player to produce a greater variety of professional players due to unreasonably pitches. The mouth harp produces a deli - high-priced instruments, a decline in its inclu - cate, percussive, and barely audible sound sion in orchestras, and the small number of that must be amplified in a group setting. solo arrangements written for it. While used as traditional instrumentation across a variety of cultures, the amne huur Also known more commonly as a jaw harp is used to represent contemplation in or mouth harp, the amne huur is a type of Mongolian folk music. —Marion Kirkpatrick LINCOLN CENTER FESTIVAL 2013 HANGGAI BAND

Lincoln Center for the Performing Arts $1.2 billion campus renovation completed (LCPA) serves three primary roles: presen - in October 2012. ter of artistic programming, national leader in arts and education and community rela - Lincoln Center Festival has received tions, and manager of the Lincoln Center worldwide attention for presenting some campus. A presenter of more than 3,000 of the broadest and most original perform - free and ticketed events, performances, ing arts programs in Lincoln Center’s his - tours, and educational activities annually, tory. Now in its 18th year, the Festival has LCPA offers 15 series, festivals, and pro - presented nearly 1,260 performances of grams including American Songbook, Avery opera, music, dance, theater, and interdis - Fisher Artist Program, Great Performers, ciplinary forms by internationally acclaimed Lincoln Center Books, Lincoln Center Dia - artists from more than 50 countries. To logue, Lincoln Center Festival, Lincoln date, the Fes tival has commissioned more Center Out of Doors, Lincoln Center Vera than 42 new works and offered some 137 List Art Project, Midsummer Night Swing, world, U.S., and New York premieres. It Martin E. Segal Awards, Meet the Artist, places particular emphasis on showcasing Mostly Mozart Festival, Target Free Thurs - contemporary artistic viewpoints and mul - days, and the White Light Festival, as well tidisciplinary works that push the bound - as the Emmy Award –winning Live From aries of traditional performance. Lincoln Center , which airs nationally on PBS. As manager of the Lincoln Center campus, Acknowledgements for Hanggai Band LCPA provides support and services for Management Mina Tosti the Lincoln Center complex and the 11 res - Tour Manager Willem Maijnckens ident organizations. In addition, LCPA led a Sound Engineer Naho Yamada Lincoln Center Festival Stockhausen on Stockhausen

“Sometimes music vibrates beyond the clouds, and we can no longer hear its echo,” wrote the late visionary composer Karlheinz Stockhausen. “Very rarely it is truly infinite; then it makes us forget the earth.” This month Stockhausen’s seminal, instrumental opera, Michaels Reise um die Erde (Act II of his opera Donnerstag and part of his monumental career-capping seven opera cycle Licht), gets its long-overdue North American premiere in a celestial state-of-the-art staging by Carlos Padrissa. In 2004, Stockhausen sat down for a conversation with radio host Reinhard Ermen to discuss his Licht cycle and provided some personal insights into Michaels Reise um die Erde.

Reinhard Ermen: Donnerstag (“Thursday”) is the first part of your Licht (“Light”) cycle that was finished. Why did you begin with that day of the week? Karlheinz Stockhausen: There are three main figures in Licht: Michael, Eve, and Lucifer— cosmic spirits that appear again and again and determine the events. For me, the main figure is Michael, who I revere as the sovereign of our universe, and that is why the Michael- Day, “Thursday,” which is the day of learning, comes first. Each day, these three main spirits interact in a different way, and each spirit has his own day: Monday is the Eve-Day; on Tuesday the conflict between Lucifer and Michael takes place; on Wednesday the three collaborate; on Friday, the day of temptation, Eve and Lucifer come together; Saturday is the Lucifer-Day and the day of death and resurrection, and on Sunday is the mystical marriage, as I call it, of Eve and Michael.

RE: Michaels Reise is a staged concert, without singers. What is Michael’s Journey and how should I imagine this piece? KS: Michael is a trumpet player who makes a seven-stop journey around the world, which is represented by an orchestra consisting of 28 musicians. In the course of his journey, Michael encounters a female basset-horn player from the Beyond who actually takes him back with her. I could have portrayed the journey using singers, but I found it especially interesting to experience it solely through instrumental sounds. So I decided to characterize the journey by the sonic atmospheres that we would hear in the places that Michael visits.

RE: How did you decide to portray Michael by the sound of a trumpet? KS: Before Licht I had composed Sirius, in which there are four main performers, one for each cardinal point. The trumpeter, who in Sirius represents the East, is responsible for the sunrise. Every day, for months, I rehearsed Sirius, in which my son, Markus, played the trumpet part. He learned it by heart and performed it many times. So it was logical that I chose the trumpet as a main instrument in Licht. I really did not invent the connection between Michael and the trumpet. Michael is sometimes portrayed holding a long, medieval trumpet, for example in a sculpture in the Strasbourg Cathedral. In the same way, I believe it is accurate to associate Lucifer with the trombone and the tuba, and Eve with the basset-horn and sometimes with the clarinet or flute. The fact that Eve played woodwind instruments in Licht has a deeper meaning, I believe…In a sense Donnerstag is also a promise of a more harmonious era following the suffering on this Earth, this human existence.—Translated by Jayne Obst, edited by Charles Sheek

Michaels Reise um die Erde is performed July 18 through 20 at Avery Fisher Hall. For tickets and information visit lincolncenterfestival.org. presents

The Table is Set

AMERICAN TABLE CAFE AND BAR by Marcus Samuelsson, which opened in late September in Alice Tully Hall, is the latest dining option available to Lincoln Center patrons, joining Lincoln Ristorante on Hearst Plaza, indie food & wine in the Elinor Bunin Munroe Film Center, ’wichcraft in the David Rubenstein Atrium, The Grand Tier in the Metropolitan Opera house, Arpeggio in Avery Fisher Hall and the Espresso Bar, also in Avery Fisher. The restaurant is operated by Marcus Samuelsson Group (MSG) and Restaurant Associates (RA). Marcus Samuelsson, the youngest chef ever to be Marcus Samuelsson awarded a three-star review by The New York Times and the winner of the James Beard Award for both “Rising Star Chef” (1999) and “Best Chef: New York City” (2003), craft- ed the menu along with long-time associate Nils Noren, MSG’s Vice President of Restaurant Operations. American Table Cafe and Bar by Marcus Samuelsson serves food that celebrates the diversity of American cuisine, drawing on influences and regions from across the country. Dishes on the menu, which is offered for both lunch and dinner, include Smoked Caesar Salad, BBQ Pork Sliders, Cauliflower Soup, Scallop Sausage Curry, Turkey Meatball Sandwich, and Tacos Duro Wat. The bar features a cocktail menu designed by consulting master mixologist, Eben Klemm, as well as a selection of rea- sonably-priced wines. Marcus Samuelsson’s recently published memoir, Yes, Chef, chronicles his remark- able journey from being orphaned at age three in his native Ethiopia to his adoption by a family in Göteborg, Sweden, where he first learned to cook by helping his grandmother prepare roast chicken. He went on to train in top kitchens in Europe before arriving in New York, first taking the reins at Aquavit. He has won the television competition Top Chef Masters on Bravo as well as top honors on Chopped All Stars: Judges Remix. His current New York restaurant, the wildly successful Red Rooster, is located in his home base of Harlem. American Table Cafe and Bar seats 73 inside, plus more space outside on the Alice Tully Hall Plaza. Diller Scofidio + Renfro, the designers of the critically acclaimed Alice Tully Hall, have transformed the glass-walled space with lounge-like furniture in warm, rich colors, a long communal couch, tree-trunk tables, and lighting that can be dimmed to adjust the mood. The design—an eclectic reinterpretation of Americana—draws its inspiration from the cafe’s culinary focus. The restau- rant is open seven days a week from 10:30 a.m. to 11 p.m. It doesn’t take reservations, but the number for infor- mation is 212.671.4200.