Please turn off all electronic Photography and audio/video recording devices before entering the in the performance hall are prohibited. performance hall. Oberlin Contemporary Music Ensemble ROGER MASTROIANNI DEPARTMENT OF These performances are made possible in part by: PERFORMING ARTS, MUSIC, The P. J. McMyler Musical Endowment Fund AND FILM The Ernest L. and Louise M. Gartner Fund The Cleveland Museum of Art The Anton and Rose Zverina Music Fund 11150 East Boulevard The Frank and Margaret Hyncik Memorial Fund Cleveland, Ohio 44106–1797 The Adolph Benedict and Ila Roberts Schneider Fund The Arthur, Asenath, and Walter H. Blodgett Memorial Fund [email protected] The Dorothy Humel Hovorka Endowment Fund cma.org/performingarts The Albertha T. Jennings Musical Arts Fund #CMAperformingarts

Programs are subject to change.

Series sponsors:

Sunday, March 4, 2018 TICKETS 1–888–CMA–0033 cma.org/performingarts Welcome to the PerformingOberlin ContemporaryArts 2017–18 Music Cleveland Museum of Art Ensemble cma.org/performingarts The Cleveland Museum of Art’s performing arts series #CMAperformingarts offers a fascinating concert calendar notable for its Timothy Weiss, conductor boundless multiplicity. This year, visits from old friends ChamberPeter MusicHerresthal, in the Galleries violin CIM Organ Studio Wednesday, October 4, 6:00 Sunday, March 11, 2:00 and new bring century-spanning music from around the Sunday, March 4, 2018, 2:00 p.m. Butler, Bernstein & the Hot 9 Wu Man & globe, exploring cultural connections that link the human Gartner Auditorium, the Cleveland Museum of Art heart and spirit. Wednesday, October 11, 7:30 Huayin Shadow Puppet Band Wednesday, March 21, 7:30 Lou Harrison Centennial In the Galleries Friday,PROGRAM October 20, 7:30 Chamber Music in the Galleries Wednesday, April 4, 6:00 Eyewitness Views: Chamber Music in the Galleries Wednesday,Henrik Hellstenius November 1,(b. 6:00 1963) Tallis Scholars Making History in Eighteenth-Century Europe Friday, April 13, 7:30 Through May 20 SQÜRL (JimHi Jarmusch– Ophelia! & Carter(2006, Logan) North AmericanChamber Premiere) Music in the Galleries Beyond Angkor: Wednesday, November 1, 7:30 Wednesday, May 2, 6:00

Cambodian Sculpture from Banteay Chhmar Ji AeriHexin Zhang, flute • Mercer Bristol, clarinet Through March 25 Sunday, November 5, 2:00 Carson Fratus, percussion • Paul Celebi, piano Theresa Hak Kyung Cha: Displacements Chamber Music in the Galleries Wednesday,Jae Yee Lee, December violin • 6,Nicolas 6:00 Vigilante, viola Through April 8 DavideMatthew Mariano Frerck, bass Dana Schutz: Eating Atom Bombs Sunday, January 14, 2:00

Through April 15 at Transformer Station Chamber Music in the Galleries Wednesday, February 7, 6:00 Brett Weston: Photographs Xue Ju (b. 1996) Through May 6 Third Coast Percussion Sunday, February 11, 2:00 Invocation (Blessing the Boat) (2018) Graphic Discontent: German Expressionism on Paper Mantra Percussion Through May 13 Friday, February 23, 7:30

Rodin—100 Years OberlinHexin Contemporary Zhang, flute • Colton Potter, oboe Through May 13 Music Ensemble Sunday,Evan Schnurr,March 4, clarinet2:00 • Alan Truong, bassoon William Morris: Designing an Earthly Paradise ChamberJohn Freiberg, Music in hornthe Galleries • Sam Friedman, trumpet Through November 11 Wednesday,Sam Weaver, March bass 7, 6:00trombone • Carson Fratus, percussion Paul Celebi, piano • Ina McCormack, harp Please turn off all electronic devices before entering Kelly Sohyoung Lee, violin I • Jae Yee Lee, violin II the performance hall. Nicolas Vigilante, viola • Emma Churchill, cello Photography and audio/video recording in the Matthew Frerck, bass performance hall are prohibited.

Today’s performance will be broadcast live on WRUW-FM 91.1 and wruw.org. Please silence your mobile phones and other electronic devices. (b. 1952) Death by Water Singing (2005), on a Norwegian libretto by Cecile Løveid based not on Shakespeare’s drama but on the Graal théâtre (1994) old Danish chronicle on which the play was based. (The works Rubato, Delicato of both composers were preceded by ’s Ophelia Impetuoso Dances, which dates from 1975.) Hi – Ophelia! is an independent work that takes some Peter Herresthal, violin musical material from the opera (the title is also taken from there) and recasts it in a completely new form. Hellstenius, who studied with Gérard Grisey in Paris and also worked in the Andrew Santiago, flute • Colton Potter, oboe electronic studios of IRCAM, deploys a vast timbral arsenal that Evan Schnurr, Mercer Bristol, clarinet • Alan Truong, bassoon shows the influence of the spectral school and computer-aided John Freiberg, Lauren Anker, horn • Sam Friedman, trumpet composition. Sound is definitely the primary parameter here: the various playing techniques (sul ponticello, sul tasto, pizzicato for Sam Weaver, bass trombone • Justin Gunter, Carson Fratus, percussion the strings, key slaps and “breath accents” for the winds, playing Paul Celebi, piano • Ina McCormack, harp inside the piano, etc.) create the musical form as the textures Kelly Sohyoung Lee, violin I • Jae Yee Lee, violin II alternate between short, accented attacks and more fluid scalar Nicolas Vigilante, viola • Annika Krafcik, cello runs. In Shakespeare, Ophelia’s tragic death seems secondary Matthew Frerck, bass to the regicide that takes center stage: it was only in the late 20th century that writers (and composers) began to consider the drama from Ophelia’s perspective. And from Hellstenius’s dramatic retelling we get a rather grim take on the story: the Anya Brodrick, librarian music is “frozen” almost all the way through, and only gets somewhat more animated in the second half of the piece. Fabian Fuertes, operations & ensemble personnel manager —Peter Laki

PROGRAM NOTES Invocation (Blessing the Boat) Hi – Ophelia! (2006) by Xue Ju (b. Qingdao, China, 1996) by Henrik Hellstenius (b. Bærum, , 1963) I was inspired by the poem Invocation – Blessing the Boat written by Robin Coste Lewis, which is a narrative poem Instrumentation: flute, clarinet, percussion, violin, viola, consisting of fragmented words to visualize exhibitions of double bass. Western art objects.

Danish composer won the 2016 Grawemeyer “Of a Balsarium Glass Moss Award for his 2013 song cycle let me tell you, which is a Fragment Untitled Gelatin Silver Print” retelling of the Hamlet story from Ophelia’s point of view, on English-language lyrics by . Several years before As a museumgoer, what I find most intriguing in this poem is Abrahamsen, another Scandinavian, Henrik Hellstenius from that Lewis uses words of different museum objects and subtly Norway, accomplished something similar in his opera Ophelias: 4 5 connects them. The mashing together of series of seemingly Graal théâtre (1994/97) irrelevant words and concepts shows some special creative by Kaija Saariaho (b. , 1952) association among art objects throughout history. Instrumentation: solo violin, flute (doubling piccolo), oboe, In my piece, the sound that emits every time inspires a clarinet, bass clarinet, bassoon, 2 horns, trumpet, bass trombone, comprehension and a visual emergence of its relative words percussion (2 players), harp, piano, 2 violins, viola, cello, and in the poem. I try to present a reinterpretation of this poem double bass. through various music ideas that resonate me. For example, I make an association between a melody from a medieval old “Graal théâtre”—what a fascinating title! The Graal, or Holy Roman chant Offertorium: Terra Tremuit with a sentence in Grail, is all sacred mystery and distant legend. Théâtre, on the Lewis’ poem, where the Roman chant appears in my mind when other hand, suggests concrete action in the here and now. The I access the old Roman art object as described by Lewis: title comes from French authors Florence Delay and Jacques Roubaud, who wrote an extensive collection of texts on the “Obverse anthropomorphic sarcophagus. Holy Grail and the Knights of the Round Table, texts that were Alabastron eulogia ampulla.” also staged. In adopting this title for her violin concerto, Finnish composer Kaija Saariaho, one of the most prominent figures on Sometimes I use the specific timbre or texture to present an the contemporary-music scene of our time, strove to unite two object in the poem, such as the “Fiber beads”, “Coins”, etc. opposite poles—heaven and earth, so to speak—in a work that revels in magical sounds and at the same time presents a very In the end of my piece, you will hear several instruments and realistic, and highly virtuosic, challenge to the soloist. sounds in turns, which is exactly the same as the description in the ending section of the poem. Graal théâtre was originally scored for violin and large orchestra, and first performed by , Saariaho “Harp prepared the chamber-orchestra scoring in 1997; this version with Bridge Harp was premiered by violinist John Storgards and the Avanti Lute Chamber Orchestra in Helsinki. One-key In the half-hour composition, divided into two movements Xylophone of roughly equal length, heaven and earth meet in the realm Slit of dreams. The music begins with the mysterious tremolos of the solo violin, introducing a lengthy cadenza, at the end of Gong which the percussion joins in to amplify the sound. The rest of Trumpet Gong the ensemble enters only gradually as the excitement increases Gong and the stronger accents of the “real” world appear. The solo trumpet becomes especially prominent; after a brief section Mallet where the texture is more intense than ever before, the rhythms Whistle once again dissolve into more static tremolo sonorities. The Rattle solo violin soars in ethereal heights, often with minimal support from the ensemble. A new, insistent rhythmic figure appears, Drum” only to dissipate in its turn. This musical ebb and flow continues —Xue Ju in the second movement, which in general is more vigorous 6 7 than the first, more “theater” than “Holy Grail.” Still in a way, and premiere Adès’ new cadenza for the Ligeti concerto with both movements tell approximately the same “story,” but with conductor . different accents and emphases. The concluding section, where Herresthal is a professor at the Academy and visiting the violin remains alone with its virtuosic figurations, reconnects professor at Royal College of Music in London. He performs on a with the opening of the first movement, creating a large arc GB Guadagnini from Milan 1753. unifying the entire concerto. —Peter Laki ABOUT THE CONDUCTOR

Conductor Timothy Weiss has gained critical acclaim for ABOUT THE GUEST ARTIST his performances and brave, adventurous programming Peter Herresthal is recognized as a brilliant and inspired throughout the United States and abroad. His repertoire in interpreter of contemporary violin music, strongly associated contemporary music is vast and fearless, including masterworks, both in concert and recordings with concertos by composers recent compositions, and an impressive number of premieres including Per Nørgård, Arne Nordheim, Henri Dutilleux, Thomas and commissions. Recently, he was the recipient of the Adès, Olav Anton Thommessen, Henrik Hellstenius, and Jon Adventurous Programming Award from the American Symphony Øivind Ness. Herresthal has appeared with orchestras and Orchestra League. As a guest conductor, upcoming and recent ensembles including the Vienna Radio Symphony, Melbourne engagements include the Artic Philharmonic in Bodø, Norway; Symphony, , Stockholm Philharmonic, Orchestra 2001 in Philadelphia; the Eastman Broadband Bergen Philharmonic, Remix Ensemble, Tapiola Chamber Ensemble; the BBC Scottish Symphony; the Britten Sinfonia in Orchestra, Stavanger Symphony, Orquesta Sinfonica de Navarra, London; and the Melbourne Symphony in Australia. Helsingborg Symphony, , Norwegian Radio In his 24 years as music director of the Oberlin Orchestra, Trondheim Symphony, and Bit20, with conductors Contemporary Music Ensemble, he has brought the group to including Andrew Manze, Thomas Adès, Anu Tali, and Sakari a level of artistry and virtuosity in performance that rivals the Oramo. finest new music groups. During his tenure with the CME at Herresthal has given the Austrian, Norwegian, Spanish, Oberlin, he has mentored the ensembles eighth blackbird and and Australian premieres of the Thomas Adès violin concerto ICE as well as many other leading performers in the field of Concentric Paths, the latter conducted by the composer at the contemporary music. 2010 Melbourne Festival. Festival appearances have included the As a committed educator, he is Professor of Conducting Bergen Festival (where Herresthal currently curates an annual and Chair of the Division of Contemporary Music at the Oberlin series), Risor Chamber Music Festival, MAGMA2002 Berlin, Conservatory of Music. He holds degrees from the Royal Schleswig-Holstein, and Mechelburg-Vorpommern. Conservatory in Brussels, Belgium, Northwestern University, and Herresthal has recorded a number of CDs for BIS and Simax/ the University of Michigan. Aurora including prize-winning discs of Nordheim and Ness. His 2012 Nørgård CD was nominated for a Gramophone Award and Editors Choice in The Strad and International Record Review. In 2013/14 Peter will record the violin concerto by Thomas Adès

8 9 ABOUT THE OBERLIN CONTEMPORARY MUSIC ENSEMBLEWelcome to the Performing Arts 2017–18 Cleveland Museum of Art Deemed by the New York Times as “a hotbed of contemporary- cma.org/performingarts classicalThe Cleveland players” Museum and a of“rural Art’s experimental performing arts haven,” series Oberlin #CMAperformingarts Conservatoryoffers a fascinating of Music concert cultivates calendar innovation notable forin its its students. In boundless multiplicity. This year, visits from old friends Chamber Music in the Galleries CIM Organ Studio its six annual full-concert cycles, Oberlin’s Contemporary Music Wednesday, October 4, 6:00 Sunday, March 11, 2:00 and new bring century-spanning music from around the Ensemble (CME), directed by Timothy Weiss, performs music globe, exploring cultural connections that link the human Butler, Bernstein & the Hot 9 Wu Man & ofheart all contemporary and spirit. styles and genres: from minimalism to Wednesday, October 11, 7:30 Huayin Shadow Puppet Band Wednesday, March 21, 7:30 , to electronic, cross genre, mixed media, and beyond. Lou Harrison Centennial In the Galleries Friday, October 20, 7:30 Chamber Music in the Galleries CME has worked with many prominent composers, including Wednesday, April 4, 6:00 Chamber Music in the Galleries AaronThe Jazz Helgeson, Age: American George Style Crumb, in the Sir 1920s , Stephen Wednesday, November 1, 6:00 Tallis Scholars Hartke,Through Helmut January Lachenmann, 14 David Lang, , Frederic Friday, April 13, 7:30 SQÜRL Rzewski,Fashionable and Mourners: others, and has premiered many of their works. (Jim Jarmusch & Carter Logan) Chamber Music in the Galleries CMEBronze also Statuettes regularly from premieres the Rijksmuseum works by Oberlin faculty, student, Wednesday, November 1, 7:30 Wednesday, May 2, 6:00 andThrough alumni February composers. 4 Ji Aeri Sunday, November 5, 2:00 Heritage:Each year, Wadsworth some of and the Jae most Jarrell well-regarded contemporary musicThrough icons February perform 25 as soloists with CME, including Jennifer Chamber Music in the Galleries Wednesday, December 6, 6:00 Koh, Claire Chase, David Bowlin, Tony Arnold, Marilyn Nonken, Beyond Angkor: Davide Mariano StephenCambodian Drury, Sculpture Steven from Schick, Banteay and UrsulaChhmar Oppens. Distinguished Sunday, January 14, 2:00 students regularly receive opportunities to perform as soloists Through March 25 Chamber Music in the Galleries with the ensemble as well, a luxury that is seldom afforded at Wednesday, February 7, 6:00 otherRodin—100 institutions. Years Through May 13 Third Coast Percussion CME regularly performs in Cleveland and tours the states. Sunday, February 11, 2:00 Graphic Discontent: German Expressionism on Paper In recent years, the group has performed at the Winter Garden, Mantra Percussion Through May 13 Miller Theater, Merkin Concert Hall, DiMenna Center, Harvard Friday, February 23, 7:30 University,William Morris: Benaroya Designing Hall, anPalace Earthly of ParadiseFine Arts, Carnegie Hall’s Oberlin Contemporary Through November 11 Music Ensemble Weill Recital Hall, and in numerous partner concerts with the Sunday, March 4, 2:00 Cleveland Museum of Art. Chamber Music in the Galleries CME has been featured on a number of commercial Wednesday, March 7, 6:00 recordings, including John Luther Adams’ In the White Silence (NewPlease World turn off Records), all electronic Lewis devicesNielson’s before Écritures: entering St. Francis Preachesthe performance to the Birds hall. (Centaur Records), and on the Oberlin Music record label. Photography and audio/video recording in the performance hall are prohibited.

10 Please turn off all electronic Photography and audio/video recording devices before entering the in the performance hall are prohibited. performance hall. Lou Harrison Centennial EVA SOLTES EVA

DEPARTMENT OF These performances are made possible in part by: PERFORMING ARTS, MUSIC, The P. J. McMyler Musical Endowment Fund AND FILM The Ernest L. and Louise M. Gartner Fund The Cleveland Museum of Art The Anton and Rose Zverina Music Fund 11150 East Boulevard The Frank and Margaret Hyncik Memorial Fund Cleveland, Ohio 44106–1797 The Adolph Benedict and Ila Roberts Schneider Fund The Arthur, Asenath, and Walter H. Blodgett Memorial Fund [email protected] The Dorothy Humel Hovorka Endowment Fund cma.org/performingarts The Albertha T. Jennings Musical Arts Fund #CMAperformingarts

Programs are subject to change.

Series sponsors:

Friday, October 20, 2017 TICKETS 1–888–CMA–0033 cma.org/performingarts