ARTIST PROFILE

Third Coast Percussion is a Grammy Award-winning -based in Cooperation with Pacific’s Conservatory of Music present percussion quartet. For fifteen years, the ensemble has created exciting and unexpected performances that Third Coast Percussion constantly redefine the classical music experience. The ensemble has been SEAN CONNORS praised for “commandingly elegant” ROBERT DILLON (New York Times) performances, the PETER MARTIN “rare power” (Washington Post) of their DAVID SKIDMORE recordings, and “an inspirational sense 2 : 3 0 PM , Sunday, November 17, 2019 of fun and curiosity” (Minnesota Star- Faye Spanos Concert Hall Tribune). Third Coast Percussion University of the Pacific maintains a busy tour schedule, with past performances in 33 of the 50 states plus international tour dates in Colombia, the United Kingdom, “PERPETULUM” Lithuania, Taiwan, Germany, Italy, the Netherlands, Canada, and Poland. A direct connection with the audience DONNER (2016) DAVID SKIDMORE (b. 1982) is at the core of all of Third Coast Percussion’s work, whether the BEND (2016) PETER MARTIN (B. 1980) musicians are speaking from the stage about a new piece of music, inviting the RESOUNDING EARTH, MVT. II. PRAYER (2012) (B. 1964) audience to play along in a concert or educational performance, or inviting DEATH WISH (2017) GEMMA PEACOCKE (B. 1984) their fans around the world to create

PERFECTLY VOICELESS (2018) DEVONTÉ HYNES (B. 1985) new music using one of their free mobile apps. The four members of Third Coast are also accomplished — INTERMISSION — teachers and make active participation by all students the corner stone of all their educational offerings. APHASIA (2010) MARK APPLEBAUM (B. 1967) The quartet’s curiosity and eclectic taste have led to a series of unlikely ORDERING-INSTINCTS (2014) ROBERT DILLON (B. 1980) collaborations that have produced exciting new art. The ensemble has PERPETULUM (2018) PHILIP GLASS (B. 1937) worked with engineers at the , architects at the Frank TORCHED AND WRECKED (2016) SKIDMORE Lloyd Wright Foundation, dancers at Hubbard Street Dance Chicago, and musicians from traditions ranging from the mbira music of Zimbabwe’s Shona people, to indie rockers, to some of the world’s leading concert musicians. Third Coast Percussion 4045 N Rockwell, Chicago, IL 60618 Third Coast Percussion served as 518-573-9428 . thirdcoastpercussion.com ensemble-in-residence at the University of Notre Dame’s DeBartolo Performing Season Sponsor: C. A. Webster Foundation Arts Center from 2013-2018. (Bio continued inside.) (Bio continued.) Coast also hold degrees from the Eastman and rhythm in a player piano performance, A commission for a new work from School of Music, Rutgers University, the New BEND translates these shapes into composer Augusta Read Thomas in 2012 led England Conservatory, and the Yale School volume, tone, and gesture. The to the realization that commissioning new of Music. composer’s experience with the piano rolls musical works can be—and should be—as PROGRAM —through a blurry, decades-old video— inspired an unconventional sound palette collaborative as any other artistic partnership. Donner / Torched and Wrecked Through extensive workshopping and close created with alternative techniques on two The compositions of Third Coast contact with composers, TCP has premiered marimbas. Percussion member David Skidmore are and commissioned new works by Philip performed regularly in concert halls and Resounding Earth Glass, Jlin, Tyondai Braxton, Augusta Read universities across the country. In 2011, his Grammy-award winner Augusta Read Thomas, Devonté Hynes, Georg Friedrich multi-movement work Common Patterns in Thomas was Mead Composer-in- Haas, Donnacha Dennehy, Glenn Kotche, Uncommon Time was commissioned by Residence with the Chicago Symphony , David T. Little and Frank Lloyd Wright scholar Sidney K. from 1997-2006. She is the 16th ever today’s leading up-and-coming composers Robinson to commemorate the 100th University Professor (of five current through their Emerging Composers Anniversary of Taliesin, home of the Frank University Professors) at The University of Partnership Program. TCP’s commissioned Lloyd Wright School of Architecture. In 2007 Chicago, and she was named one of the works have become part of the ensemble’s his piece, Unknown Kind, was premiered at Chicago Tribune’s “Chicagoans of the core repertoire and seen hundreds of Carnegie Hall. He has also received Year” in 2016. performances across four continents. commissions from the Rush Hour Concert Resounding Earth is scored for four The quartet has put its stamp on iconic Series in Chicago, and several leading percussionists playing bells (and bell-like percussion works by John Cage and Steve percussion soloists and pedagogues. instruments) from a wide variety of Reich, and Third Coast has also created first Donner and Torched and Wrecked come cultures and historical periods. The piece recordings of commissioned works by Philip from Skidmore’s cycle of works entitled was conceived as a cultural statement Glass, Augusta Read Thomas, Devonté “Aliens with Extraordinary Abilities,” all of celebrating interdependence and Hynes, Gavin Bryars, Donnacha Dennehy, which explore the idea that the same piece of commonality across all cultures; and as a David T. Little, , and more, in music can move at several different speeds at musical statement celebrating the addition to recordings of the ensemble’s own the same time. The movements of this cycle extraordinary beauty and diversity of compositions. In 2017 the ensemble won the take their cryptic names from memorable TCP expression inherent in bell sounds. Grammy Award for Best Chamber touring experiences. While Donner is an Bells can be used to celebrate grand Music/Small Ensemble Performance for their acoustic work, Torched and Wrecked includes occasions, hold sacrificial rites, keep a recording of Steve Reich’s works for an electronic audio track—David’s most record of events, give the correct time, percussion. intensive work with electronic composition to celebrate births and weddings, mark Third Coast Percussion has always date—which expands and reinforces the live funerals, caution a community, enhance maintained strong ties to the vibrant artistic percussion. Video artist Xuan was any number of religious ceremonies, and community in their hometown of Chicago. commissioned to create accompanying video are even hung around the necks of They have collaborated with Chicago for this and other movements in the cycle. animals. institutions such as Hubbard Street Dance Resounding Earth was commissioned Chicago, the Chicago Children’s Choir, the BEND by The University of Notre Dame's Civic Orchestra of Chicago, and the Adler Renowned as a soloist, chamber musician, DeBartolo Performing Arts Center, with Planetarium, performed at the grand opening and educator, Third Coast Percussion’s Peter additional funding from The Virginia of Maggie Daley Children’s Park, conducted Martin was Assistant Professor and Director Commonwealth University School of the residencies at the University of Chicago and of Percussion Studies at Virginia Arts, Department of Music, and the the Civic Orchestra of Chicago, created multi- Commonwealth University in Richmond Chamber Music America Classical year collaborative projects with Chicago- before returning to Chicago in 2013 to pursue Commissioning Program, with generous based composers Augusta Read Thomas, TCP full time. Peter has composed music for funding provided by The Andrew W. Glenn Kotche, and chamber ensemble Eighth many of the group’s educational and concert Mellon Foundation, and the Chamber Blackbird, and taught tens of thousands of projects in recent years. Music America Endowment Fund. students through partnerships with the His quartet BEND draws inspiration from People’s Music School, the Chicago Park the player piano compositions of Bruce Goff, Death Wish District, Rush Hour Concerts, Urban a wonderfully unconventional architect and Gemma Peacocke is a composer from Gateways, and others. amateur composer. Many of Goff’s piano rolls New Zealand who currently resides in The four members of Third Coast were highly stylized geometric designs Princeton, NJ. Gemma’s music works in Percussion met while studying percussion perforated into the scrolls, resulting in music both acoustic and electronic sound worlds, music at with Michael that created very clear sonic “shapes.” and she is interested in how music can Burritt and James Ross. Members of Third Whereas these shapes would create the pitch amplify the voices of under-heard groups of people. She is a co-founder of Kinds of Perfectly Voiceless that served as a musical Performing Arts Center at the University of Kings, a collective of US-based composers interlude between choreographed pieces. Notre Dame as part of its 10th anniversary. focused on producing immersive and This work was commissioned by the Perpetulum inclusive work. Charles and Joan Gross Family Foundation. About her piece Death Wish, Peacock The project was supported in part by an Through his operas, his symphonies, writes: “I wrote Death Wish after watching a award from the National Endowment for the his compositions for his own ensemble, short film featuring New Zealand survivors of Arts, the Third Coast Percussion New Works and his wide-ranging collaborations with sexual assault. One of the survivors, Fund, and the Elizabeth F Cheney Foundation. artists ranging from Twyla Tharp to Allen Hinewirangi Kohu-Morgan, spoke about the Ginsberg, Woody Allen to David Bowie, Aphasia out-of-control spiraling of her life for many Philip Glass has had an extraordinary and years and how she developed what she Mark Applebaum is the Edith & Leland unprecedented impact upon the musical called a ‘death wish.’ In the piece I thought Smith Professor of Composition at Stanford and intellectual life of his times. about the spooling and unspooling of energy University. Always an “outside the box” Although percussion instruments have and how we are all bound and driven by thinker, his compositions include a work for played a vital role in much of Philip forces both within and beyond ourselves. three conductors and no players, a concerto Glass’s music, and a number of his works “With the greatest of respect for for florist with symphony orchestra, and music have been arranged for percussion by Hinewirangi Kohu-Morgan who has used her notated on the face of a wristwatch. His TED other musicians, Glass had never life to create art and music and to help Talk, “The Mad Scientist of Music,” has been composed a work for percussion survivors of abuse and those who have seen by more than three million viewers. ensemble until TCP commissioned perpetrated abuse. “I ōrea te tuātara ka patu Applebaum is also an accomplished jazz Perpetulum. Glass, who was 81 years old ki waho. Aroha nui.” pianist and builds electroacoustic sound- when he composed this work, harkened sculptures out of junk, hardware, and found back to childhood memories of his first Perfectly Voiceless objects. At Stanford, Applebaum is the experience with percussion instruments. Devonté Hynes is a British singer, founding director of [sic]—the Stanford Though Glass’s primary musical songwriter, composer, producer, and author, Improvisation Collective. instrument was the flute, he had the now residing in New York City. He just Aphasia is a work for solo vocalist, notable opportunity to participate in a percussion released his fourth studio album under the as the composer says, “for its absence of live class while a student at the Preparatory name “Blood Orange,” and previously singing.” Instead, this work (which has gained Division of the Peabody Conservatory in released two albums as “Lightspeed great popularity among percussionists) his hometown of Baltimore. Perpetulum Champion.” He has produced for artists such consists of a recording of several transformed blends an almost child-like exploration of as Solange Knowles, Sky Ferreira, and Carly voice samples from baritone Nicholas the sounds of percussion with Glass's Rae Jepsen, and has made his own solo Isherwood and a series of specifically signature musical voice. appearances on the Pitchfork and Coachella prescribed physical gestures to be performed The work is in three sections, with a Music Festivals. Hynes plays cello and piano, live. These gestures include familiar everyday cadenza between the second and third and recently performed some of Philip Glass’s motions such as turning a key, eating a section. Glass proposes some general etudes as part of an all-star lineup for Glass sandwich, or buckling a seatbelt, and are concepts and instruments for the cadenza concerts at Carnegie Hall and the Kennedy synchronized with the samples, but unrelated but leaves it to the performers to compose Center. Hynes also has a background in in meaning. this segment of the music themselves. dance and has worked with ballet dancer Perpetulum was commissioned for Third Maria Kochetkova and choreographer Emma Ordering-instincts Coast Percussion with lead support from Portner in his own music videos. Third Coast Percussion member Robert the Maxine and Stuart Frankel Foundation. Hynes composed the music for an entire Dillon has enjoyed a career as an orchestral, The work was co-commissioned by evening-length program featuring Third Coast solo and chamber musician, as well as an Elizabeth and Justus Schlichting for Percussion and Hubbard Street Dance educator for all ages, and since college, has Segerstrom Center for the Arts, Bravo! Chicago, with new choreography created by pursued music composition as an additional Vail Music Festival, San Francisco Emma Portner, Jon Boogz, and Lil Buck, expressive avenue. Performances, Town Hall Seattle, which premiered in Chicago in September Ordering-instincts draws a big sound from a Performance Santa Fe, the University of 2018. To create this 75-minute opus, Hynes very compact setup of instruments. The four Notre Dame’s DeBartolo Performing Arts composed music with synthesized and percussionists share eight wooden planks, an Center, and the Third Coast Percussion sampled sounds, which he then sent to TCP octave of loose crotales and two tom-toms, New Works Fund, with additional support who experimented with instruments to create from which they create a variety of different from Friedrich Burian, Bruce Oltman, a live performance version of the music, sonic colors in tightly interwoven rhythms. All MiTO Settembre Musica, The Saint Paul which they then recorded and sent back to musical content arises from the composite of Chamber Orchestra's Liquid Music Series, Hynes for feedback, then eventually to the all the players together; no one player’s part and the Percussive Arts Society. choreographers to create the dance. Tonight’s forms a complete voice by itself. Ordering- —notes courtesy TCP program features a section of this program, instincts is dedicated to the DeBartolo 64TH SEASON Board of Directors 2019/20 Donors* Officers Sustainer $3000 and up Supporter $50-99 2019-2020 Dwane Milnes, President C A Webster Foundation Ron Allison Evelyn Perl Presented in Cooperation with Michael Spencer, Vice Pres. Ed & Paula Almaas Sara Milnes, Treasurer John & Gayle Perl Ann M Chargin University of the Pacific Conservatory of Peter Meyer, Secretary Benefactor $1000-2999 Carol Clark Music, Peter Witte, Dean Mary Jensen Members Alan Hitt Lee Miller Ensemble Ari Janet Bonner Dwane & Sara Milnes Diane Morgali Marilyn Draheim Michael & Helen Spencer 2:30 PM Sunday, September 22, 2019 Fred & Ann Muskal Jonathan R Latta Don Peterson Faye Spanos Concert Hall Glenn Pillsbury Patron $500-999 RECEPTION FOLLOWS Robert Calcagno Larry & Kitty Ruhstaller Steve Schermerhorn Reuben & Nelda Smith Carl Serpa Marilyn E Draheim Quatuor Arod Glenn & Rhonelle Pillsbury Nancy Snyder Patricia Shands Linda Wheeler 2:30 PM Sunday, October 20, 2019 Artist Selection Sponsor $250-499 Rita Wilcox Faye Spanos Concert Hall Richard & Ann Filson RECEPTION FOLLOWS Michael Spencer, Chairman Friend Under $49 Ira Lehn Kathleen Hart Peter Meyer & Cynthia Rence Bev Blum Third Coast Percussion Glenn Pillsbury Jim & Conni Bock Patricia Shands Hilary Silver 2:30 PM Sunday, November 17, 2019 Renata Brika Faye Spanos Concert Hall Past Presidents Donor $100-249 Judith Buethe Dick Archbold & Joyce Burris Eric & Patricia Hammer RECEPTION FOLLOWS Carole Gilbertson Michael Spencer Christine Beckstrom Ronald Stockmann Seraph Brass Quintet Janet Bonner Janet Bonner Frank & Lynelle Wiens Roy Childs James Zimmerman 2:30 PM Sunday, February 16, 2020 Kathe Underwood Martha Tipton Patricia Cox Faye Spanos Concert Hall Sharon Elizondo In Kind RECEPTION FOLLOWS Frank Dick Sara & Dwane Milnes Mary Jensen Jonathan & Melissa Latta Mary Millar Glenn Pillsbury Winds of Frisson Mary Chamberlain Michael & Helen Spencer Helen Kessel McCrary Marvin & Bune Primack 2:30 PM Sunday, April 5, 2020 Barbara Sarkany Gore Marty Weiner Piano Service Virginia Short McLaughlin UOP Conservatory of Music Faye Spanos Concert Hall Wilfred Mitchell, PhD Gordon & Esther Schmierer RECEPTION FOLLOWS Tasha Stadtner Jerold & Judith Yecies Marjorie Williams Sheldon Yucht TO OUR AUDIENCE Alfred Rageth . The use of cameras and recording Robert Adams, MD devices of any kind is forbidden. Founder Endowments . There is no smoking in the building. Walter H. Perl, 1956 John & Gayle Perl . Please turn off cellular telephones Information/Donations Estate of Kathe Underwood and disengage audible signals on § Friends of Chamber Music Legacy Donors digital devices during concert. PO Box 4874 Carole & Phil Gilbertson . Concert programs are subject to Stockton, CA 95204-0874 Dwane & Sara Milnes change without notice. 209-956-2868 Michael & Helen Spencer 209-946-0540 . Seating is unreserved for the *Through 8/30/2019 2019-20 Season. www.chambermusicfriends.org § . Contributions, including memorials, Legacy Donors have made provision for bequests are tax deductible to the extent allowed by law. 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