CUBE Coming Soon! Fantasy The Viola Fantasy concert, on Friday, March 28, features four virtuoso viola CUBE’s The Latest Buzz from CUBE players in that high- Spring Season Contemporary Chamber Ensemble lights the beautiful, dark silken voice in a Nutshell Winter 2008 of the viola. The program includes world premieres by composer n Sounding the Sacred IV Eleanor Cory; Sam Cole, former composi- Sunday, February 3, 4pm CUBE’s 2008 Spring Season tion student of Patricia Morehead, now Augustana Chapel studying at Oberlin; and Hungarian Lutheran School of Theology Sounding the Sacred IV composer Gyula Fekete, professor of 1100 E. 55th St., Chicago Sounding the Sacred IV, on Sunday, February 3rd, features 20th century sacred composition at the Liszt Academy in Budapest. The program also features n Commonwealth and secular music for violin, flute, oboe, trumpet, piano, and voice. works for viola and piano by Lawrence Connections: Daniel Schwandt, featured guest artist and organist with the Lutheran Axelrod and Sebastian Huydts. CUBE Live on WFMT, 98.7FM School of Theology, will perform three chorale preludes by Helmut Walcha. Monday, February 4, 8pm Guest violists are Frank Babbitt of Canadian mezzo-soprano Chantelle Grant will sing Hugo Distler’s Geistliche Kon- the Lyric Opera of Chicago Orchestra; n Viola Fantasy zerte, op. 17 for voice and organ and “A Song” by Bongani Ndodana Breen Daniel Golden formerly of the Lon- Friday, March 28, 7:30pm from his opera Orange Clouds . Ms. Grant is a graduate of the Glenn Gould don, Ontario Symphony; and Claudia Gottlieb Hall, School at the Royal Conservatory of Music in Toronto, a student of Roxolana Lasareff-Mironoff, member of Pinotage Merit School of Music Roslak. Oboist Patricia Morehead is featured in Flor Peeters’s Arioso for Oboe and the Santa Fe Opera Orchestra. 38 S. Peoria St., Chicago and Organ, op. 74b and Daniel Pinkham’s Variations for Oboe and Organ. Guest n Chicago Connections trumpeter Jon Weber is featured in the Harald Genzmer Sonata for Trumpet and Chicago Thursday, April 3, Noon Organ and Jan Bender’s Wedding Sonata, Op 49, no. 2. The concert also includes Music Center Concert Hall Connections Le Merle Noir by Olivier Messiaen performed by flutist Janice Misurell-Mitchell In this free noon-time concert on April Columbia College and Larry Axelrod, piano, and Hermann Schroeder’s Concertino for oboe, violin 3rd CUBE performs Two Poems for solo 1014 S. Michigan Ave., Chicago and organ. flute/alto flute by Rick Baitz, Gymel for n Groovin’ High, two oboes by Robert Ceely, Found on the Groovin’ Low Commonwealth Connections Street for and piano by Sebas- Sunday, May 11, 8pm Our WFMT program on Monday, February 4th, will feature Canadian mezzo- tian Huydts, Slipstream for solo flute Ganz Hall soprano Chantelle Grant as guest vocal soloist. She will perform works by and electronics by Kotoka Suzuki and a Roosevelt University, world premiere for oboe, percussion and Canadian composers — Pierre Mercure Dissidence, John Beckwith “Mrs. 430 S. Michigan Ave., Chicago piano by Marybeth Bradfish. Brown’s soliloquy” from Night Blooming Cereus, Jack Behrens “Looking Back”, (see pg. 3 for description) Performers are CUBists Caroline and Patricia Morehead It’s Dangerous to Read Newspapers — and an aria Pittman, Christie Miller, and Patricia from South African composer Bongani Ndodana Breen’s Orange Clouds. Morehead, with guest artists Sebastian CUBE’s Caroline Pittman performs Two poems for solo flute/alto flute by Huydts, piano, and Alicia Cordoba Tait, Rick Baitz, who lived for a time in South Africa, and Canadian composer oboe. A round table discussion with Mary Gardiner’s A Resonane in Time for flute, clarinet and piano with Rose the composers moderated by Rick Baitz Sperrazza, clarinet and Larry Axelrod, piano. The Avalon String Quartet will will follow the concert. perform Apologia at Umzimvubu by Bongani Ndodana Breen and Ladders of (continued on p. 3) Anxiety by Patricia Morehead. Larry Axelrod will perform a solo piano work by New Zealand composer Jack Body.

Chantelle Grant as Winnie Mandela in an opera project by Bongani Ndodana-Breen CUBE Circuits • Winter 2008 1 It truly is Cuba Sí amazing… Music for social activism by Lawrence Axelrod by Janice Misurell-Mitchell sions would encourage dialog about our Initially there had been some As many of my friends in and around I traveled to Cuba for six days this past two cultures and also that I would learn reticence among the students—only CUBE know, I adore travel. In my travels, September with several colleagues as more about classical music in Cuba. a few spoke at the first session, but by when possible, I try to find composers part of a conference on “Useful Art”, or With the aid of a translator, I spoke the second they felt more comfortable, or performance opportunities to link art that includes aspects of social activ- about how music may reinforce, particularly when I found myself sans my love of travel with my love of music. ism. Sponsored by Cáthedra de Arte illuminate or undermine particular translator (he had to leave to translate In thinking about when I would have Conducta, an arts program hosted by political concepts. We discussed vari- for the rest of our team) and several stu- time for a more lengthy trip this year, the Instituto Superior de Arte in Havana, ous aspects of national anthems, and dents helped out, creating a real dialog. I decided that South Africa would be the project was conceived by Cuban how a particular performance may be At the third session, which was mostly a very interesting place to visit. I also visual artist and University of Chicago a flash point for political discussion. about contemporary flute music and know some musicians now residing in faculty member Tania Bruguera. My They loved watching a DVD of Jimi extended techniques, I was pleased to the U.S. who are from there, and have colleagues were Chicagoans Tom Mitch- Hendrix performing the Star Spangled see that their repertoire included recent heard about various aspects of music life ell, Bernadine Dohrn and Bill Ayers; our Banner at Woodstock, and they eagerly works by Takemitsu, and that they were in the country. group, “Team Havana” thus included a gave many interpretations of his very open to new sounds and improvisa- And here is where the internet scholar, two political activists and an guitar-playing in relation to the war in tory works that used them. becomes an incredible tool and bless- artist. Our work was to present lectures Vietnam; we also had a detailed dis- The US embargo of Cuba prevents ing: I did a search for music schools in and informal sessions, films and videos, cussion (and many points of view) of us from sending written or recorded various cities in South Africa and tried and performances. “Nuestro Himno” (our national anthem music via mail; several of the students to find email addresses of the most While Tom, Bernadine and Bill met in Spanish), which had caused so much have friends in Canada and Europe who likely person to respond to a “blind” with visual art students at the offices controversy in 2006. send them materials (I donated a lot request from me. So I wrote a nice of the journal Criterio, I presented Other sessions involved text and of music to their library), and some of generic letter saying who I was and three sessions to music students at the music, and how a particular way of the more advanced students travel to what I might like to do and hit the Instituto Superior de Arte. Founded in writing may be understood as politi- Europe and the UK to study with major “send” button about seven times. 1976, the Instituto has curricula at the cal within a given genre; examples performers. I assumed I would get one or university level in music, visual arts, included Pierrot Lunaire (which they It was interesting to speak with maybe two people who would ask me theatre arts, dance and audiovisual were completely familiar with) and some of the women composition stu- to send further information and a CD. communication. My sessions involved Ruth Crawford Seeger’s “Chinaman, dents; there were a substantial number Instead, I got an invitation from the the interrelations of music and politics, Laundryman” (which presented of them, but they said that they didn’t National School of the Arts in Johan- particularly how they intersect in the Sprechstimme in a political text). Other get as many performances as the male nesburg (similar to the Music Institute US; it was also my hope that the ses- connections were with social and polit- students did. We talked about how of Chicago in Evanston) to come and ical movements in the US: “When the to improve the situation, and I gave play on a festival in May! I was happily Revolution Comes” by the Last Poets, them information on the International stunned! I then was able to write back CUBE and an excerpt including Abbey Lincoln’s Alliance for Women in Music (although to some of the other people and tell musical scream from the Freedom Now them that I would definitely be there. The Latest Buzz from CUBE since most of the members are in the Contemporary Chamber Ensemble Winter 2008 Suite, by Max Roach and Oscar Brown, US, contact beyond email is still a Subsequently, I got a second invitation Published two times a year by Jr. (shown in Ken Burns’ documentary, problem). to play on a series of lunchtime con- CUBE Contemporary Chamber Ensemble 600 S. Dearborn St. #2016, Chicago, IL 60605 Jazz). They were thrilled to make the Other music that we heard included certs that are hosted in a lovely audi- Voice 312/554-1133; Fax 312/803-2186 Email: [email protected] connection between the Last Poets and numerous small bands in bars and torium at the University of Cape Town. For CUBE news, information, CUBE Circuits, forms for ticket hiphop—they have a very substantial cafes in Havana, and a terrific jazz I will also be doing presentations to purchase, and the CUBE Store, please join CUBE on the Internet at: hiphop movement of their own; the group called Yasek Manzano & su composers and perhaps master classes http://www.cubeensemble.com relationship of the civil rights movement Banda. They averaged about 26 years for the pianists on contemporary piano Design/Production: Eda Warren, Desktop Publishing Services, Inc. to avant garde jazz was new to them. I old, and played some bebop tunes and techniques. CUBE is partially supported by grants from the Gaylord Between and after the concerts, I will and Dorothy Donnelley Foundation, the NIB Foundation, performed my own work, Blooz Man/ some new pieces with a great sensitiv- the Argosy Foundation, and the Illinois Arts Council, Poet Woman, for flute/voice, and when ity to each other and complete clarity travel and see a bit of the country as well. a state agency, and by a CityArts Program I Grant from the City of Chicago Department of Cultural Affairs. I finished, the whole class jumped up despite the presence of three percus- I have applied for a Global Connections excitedly to see how it was notated and sionists! n grant to help defray costs of the trip. to discuss the meaning of the poetry. Keep your fingers crossed!!!!! n 2 CUBE Circuits • Winter 2008 Dr. Atomic Lyric Opera Premiere (continued from p. 1) conversation in the manner of a tradi- captures her perspective. tional operatic scene, but more often The overall effect in the opera Groovin’ High, they will quote a poetic perspective on house is a new kind of experience. Nar- events at play. One example is the Holy rative storytelling in both libretto and Groovin’ Low Sonnet XIV of John Donne (1672-1631), score is replaced by a stripping away of On Sunday, May 11, members of sung by Oppenheimer as he contem- the events to invite contemplation of the CSO, AACM (Association for the by Philip Seward plates the bomb on the night of the the experience. In other words, what Advancement of Creative Musicians) ollowing in the tradition of Nixon test. He sings, “Batter my heart, three happens in the opera is less important and CUBE join forces for a grand finale in China and Death of Klinghoffer, person’d God, for you as yet but knocke, than the audience’s perception of the to CUBE’s 20th anniversary season. Peter Sellars and John Adams have breathe, shine and seeke to mend…” F opera. The events of the story could Taking a cue from Dizzy Gillespie’s jazz collaborated on Doctor Atomic, playing The idea of trinity is central to the be related more succinctly in other tune “Groovin’ High”, CUBE will feature at Lyric Opera of Chicago until January religious perspective offered. The name media— narrative film or television, voices, flutes and bass in a 19. The collaborators did not work this of the test site was taken from the John historical novel, magazine or news- concert that combines classical con- time with librettist Alice Goodman; rather Donne poem, the evocation of Christian paper article. But within the creation temporary music and jazz in new and Sellars culled source material from the trinity within this and other poems, and of Adams and Sellars, the observer is intriguing ways. project, as well as earlier the extensive quotes from the Bhagavad invited to consider not merely events The concert features the world poetry and religious texts, to create a Gita (a Hindu religious text). Addition- at the time, but the subsequent his- premiere of Bottom Dog, for two bass richly layered text. Combined with Adams’ ally, the chorus refers to the Hindu torical choices brought about by those clarinets and one contrabass clarinet score, the opera presents a thought- concept of trinity, which consists of the events and each individual’s role in this by Jody Rockmaker, (who says it will provoking, artistic portrayal of a complex Brahma, Vishnu, and Shiva (respectively, world-changing moment. Opera has have “growling virtuosity”); and the moment in history. the creator, preserver, and destroyer of not previously served such a role. Chicago premiere of Shevet Achim, for Due to the nature of the libretto, the universe). With Sellars as director, Lyric’s two bass clarinets, by Meira Warshauer. the characters are drawn more as John Adams utilizes a mix of production faithfully serves the inten- Other works include a piece by the symbolic positions in a larger argu- rhythmic impulses from the minimalist tions of its creators. Several contrasting newly-anointed Girl Group (voices and ment than as flesh and blood people style and harmonic structures from a elements — recorded sound with flutes) who will create a work based on — although they move through the tonal idiom, interwoven with post- live instruments, naturalistic scenes a commissioned poem by Chicago poet, opera unaware of what is to come. In modern orchestral colors that fluctuate with symbolic language, dance (rep- novelist and composer Regina Harris contrast, the scoring for the orchestra to portray the ideas presented in the resenting the purity of science) with Baiocchi; a new graphic notation piece suggests an omniscient presence, com- libretto. The repetition often associated everyday human movement — cre- commissioned by the X-tet, the Univer- menting upon, foreshadowing, and with minimalism works well to portray ate an environment of juxtaposition. sity of Chicago’s jazz ensemble, X-Marks, offering subtextual commentary to the the anxiousness of the characters and Ultimately, the need to end the war is by Janice Misurell-Mitchell; and a new ideas presented on the stage. Adams ensemble as they anticipate the test posed against the sanctity of life: Do work by members of the AACM. accomplishes this effect through the of the bomb. In the initial aria of Kitty we or did we the people have the right Featured guests include Barbara use of sampled recordings from the Oppenheimer, the colors of the orches- to unleash such destructive power? The Ann Martin and Joanie Pallatto, voice, period, sampled sounds, and live tra create a juxtaposition between answer is not clear. The names Hiro- and Ann Ward, voice and piano; Nicole instruments. The varied sound palette the overwhelming events playing shima and Nagasaki are mentioned Mitchell, flute; J. Lawrie Bloom, John provides a soundscape for the whole out around them and the care of the only once in the entire opera. Rather Bruce Yeh, Richard Nunemaker, Mwata experience as opposed to the tradi- Oppenheimer children within the home. than focus on the horrific events of Bowden, and Edward Wilkerson, bass tional role of music in the opera house The Oppenheimer maid Pasqualita is world war, the more pervasive ques- and contrabass clarinets. n — the entire experience of the opera accompanied by orchestral colors that tion is, What have we wrought in this is greater than an operatic realization suggest the breadth of landscape and new, nuclear age? of the score alone. history to be found in the southwest All in all, Doctor Atomic succeeds in The chorus functions as a purveyor United States. The entire history of the raising some powerful questions in a of information, setting a scene with a Native American population is about multi-media experience. n recitative narration in near homophonic to be altered with the advent of the chords. The characters occasionally offer nuclear age. The orchestra, in particular, CUBE Circuits • Winter 2008 3 Music Institute of Chicago presents: FOUR Score Festival

“Music for a While”, a new music by the International Contemporary CUBE’s Caroline Pittman inter- “Untitled Welded Steel #5” program directed by pianist Abraham Ensemble (ICE) and members of the viewed Sandroff; the interview can be Howard Sandroff Stokman, is presenting the Four Score faculty at the MIC, including the seen online at: Festival: a four-day program of concerts, Lincoln Trio with pianist Abraham Stok- www.cubeensemble.com/currentcalendar.html. lectures, film, art exhibits, and work- man, whose artwork will be on display “Elliott Carter at 100: A Birthday shops highlighting the work of four in the lobby. Celebration” will take place on Sunday, influential composers and their signifi- Preceding the Saturday evening March 9 at 3pm. Preceding the concert cant lifetime achievements. The events concert there will be the “Generation at 1pm there will be a film screening will take place from March 6 through Next Composition Contest 2008”: of A Labyrinth of Time, Frank Scheffer’s March 9. Awards and Concert, at 6:30pm, featur- unique portrait of Carter and modern- On Thursday, March 6, the MIC will ing works by the winners of MIC’s com- ism in the twentieth century (90 min- present Chicago composer “Robert position contest for young composers. utes). Performers include Barbara Ann Lombardo at 75” in a concert of music “The Music of Howard Sandroff”, Martin, soprano; Caroline Pittman and for voice and strings. Featured are the on Saturday, March 8, will honor the Claire Chase, flutes; Abraham Stokman ensemble Pinotage with Julia Bentley, Chicago composer in a concert given and Winston Choi, piano; Farid Haque, mezzo-soprano, Dimitris Marinos, by MIC faculty and guests. An exhibi- guitar; Paula Kosower, cello. mandolin and Philip Morehead, con- tion of sculpture by Sandroff will be on All concerts will take place in Nichols ductor. A display of artworks by Robert display in the lobby (see above photo). Concert Hall at the Music Institute’s cam- Lombardo will be on display in the Earlier that day, at 10am, there will be pus at 1490 E. Chicago Ave., Evanston; lobby. There will be a panel discussion a composers’ workshop with Sandroff. concerts begin at 7:30pm. with members of Pinotage preceding (The concert will be repeated in the See www.musicinstituteofchicago.org/events the concert at 6:30pm. University of Chicago’s Fulton Recital or call 847.905.1500. n The concert on March 7 will feature Hall at 7:30PM on March 11.) the music of the late Olivier Messiaen in a centenary concert performed

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The Latest Buzz from CUBE Contemporary Chamber Ensemble Winter 2008

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