2018-2019 Season Program 1/2 Welcome

To Those With Fearless Musical Tastes: EARSHOT

AN INITIATIVE FOR NEW MUSIC Just like that, we find ourselves entering our third full season. We couldn’t have imagined when we incorporated ensembleNEWSRQ (all the way back in December 2015!), that it Anu Tali, Music Director would grow so swiftly, nor that we would have the opportunity to put together so many excellent projects in one season. And what a season it will be! We’ve got six incredible performances on deck to make up our most ambitious and CHRISTOPHER exciting year yet, and we are thrilled to ROUNTREE be able to present them to our friends conductor and musical confidantes here in our MARCH 14 & 16 beloved SRQ. Thursday | 5:30 pm | Holley Hall Two of our longterm musical ambi- Saturday | 8:00 pm | Holley Hall tions continue to unfold this season, with the commission of a percussion concerto written for George by re- Ever wonder how composers learn to write orchestral music? nowned Portuguese composer and FindFULL out this PAGE March AD when Sarasota Orchestra hosts EarShot, close friend, Andreia Pinto Correia, and the continuation of Luciano the nation’s first ongoing program for promoting the most Berio’s Sequenza cycle. Next up: harp, promising new composers. Led by conductor Christopher oboe, and the reprisal of Brad Wil- Rountree and accomplished faculty composers, concerts and liams’ iconic trombone performance. workshops will feature four rising composers hailing from We are humbled by the enthusiasm and continued support you, our communi- CHINARY UNG across the nation. New works will be heard for the first time. ty of music lovers, have shown us. The faculty composer EarShot is an initiative of American Composers Orchestra wide base of support that you have built around the ensemble has given us the in partnership with American Composers Forum, League tools and motivation to make all of this LAURA of American Orchestras, and New Music USA. possible. With every concert you attend, KARPMAN every reception you frequent, and every faculty composer donation you make, you take owner- ship over this organization in a way that brings us all together. We can’t wait to see all of you in the months ahead. We’ve got a good feel- ing about Round 3!

Tickets from $15 Warmly, Samantha and George SarasotaOrchestra.org | 941-953-3434 Co-Artistic Directors

ROBERT BEASER Photo: Matt Holler faculty composer

Ensemble New SRQ 2018-19 program 8.5” x 11” Season at a glance

Artistic Leadership

Samantha Bennett George Nickson

Hailed by the Chicago Tribune as a violin- A percussionist of great versatility and virtuosity, ist “full of subtlety and poise”, Samantha George Nickson has been hailed by The Bennett is an active and varied perform- New York Times as “a performer er around the globe. In 2016 Ms. Bennett handling his role with ease and joined the Sarasota Orchestra as Principal flair.” George was appointed Second Violin. Prior to this position, she Principal Percussionist of the was a tenured violinist in The Florida Or- Sarasota Orchestra in April, chestra. She performs regularly with Boston 2012. He has received the Symphony Orchestra, Boston Pops and has Master of Music degree at been Guest Concertmaster of the New Haven The Juilliard School where he Symphony. A fierce advocate of new music, studied with Daniel Druckman she has premiered works by Gunther Schuller, and completed his undergrad- Toshio Hosokawa, Oliver Knussen, John Cage, uate studies at the New George Benjamin, , Conservatory with Will Hudgins. and . As Concertmaster of the New In addition to his position with the Haven Symphony, Ms. Bennett recorded works Sarasota Orchestra, George has had for “Portrait of Augusta Read Thomas” (Nimbus the privilege of performing with the Records), including the World Premiere recording orchestras of Boston, Detroit, Washing- of Augusta Read Thomas’s saxophone concerto ton D.C., Toronto, Honolulu, and San Hemke Concerto “Prisms of Light”. She has par- Francisco. Recent highlights include ticipated in the Lucerne Festival Academy, Spole- a marimba concerto performance at to Festival USA, the Music Academy of the West, Tanglewood, solo performances at The and the Tanglewood Music Festival, where she Spoleto Festival, and solo recording performed for three seasons with the New Fromm projects that can be heard on NAXOS, Players, a group that specializes in contemporary Bridge, and Albany Records. music performance. At Tanglewood, she premiered Einojuhani Rautavaara’s ‘Lost Landscapes’ for solo violin and orchestra. In addition, the Fromm Players performed as Ensemble-In-Residence at composer Bright Sheng’s festival Intimacy of Creativity in in 2015. Born in Ames, Iowa, Ms. Bennett completed her Bachelor’s and Master’s Degrees at the New England Conservatory in Boston study- ing with Donald Weilerstein and Malcolm Lowe.

Photo: Matt Holler #1 Program

enSRQ + Shots Scott Nile Photo:

Great Groups Think Alike! enSRQ is thrilled Michael Gordon acdc (1996) – 11’ HUB New Music to welcome our friends from Boston, HUB New Music for an exciting collaboration to Francesca Arnone, flute open the 2018-19 season. Pairing minimal- David Dziardziel, clarinet ist masters Michael Gordon and Kate Dreyfuss, violin with adventures in textures and darkness Natalie Helm, cello from Anna Clyne and Nina C. Young to start Conor Hanick, piano our third season off in style.

This program is generously Anna Clyne 1987 (2008) – 8’ underwritten by Billy Robinson. Michael Avitabile, bass flute David Dziardziel, bass clarinet Kate Dreyfuss, violin Jesse Christeson, cello

Nina C. Young Rising Tide (2015) – 9’

Michael Avitabile, flute Laura Petty, clarinet and bass clarinet Scott Crawford, percussion Conor Hanick, piano Samantha Bennett, violin Steve Laraia, viola Jesse Christeson, cello George Nickson, conductor

Steve Reich Double (2008) – 23’

Michael Avitabile, flute Francesca Arnone, flute David Dziardziel, clarinet Laura Petty, clarinet Scott Crawford, vibraphone George Nickson, vibraphone Conor Hanick, piano Jonathan Spivey, piano Samantha Bennett, violin Kate Dreyfuss, violin Jesse Christeson, cello Natalie Helm, cello

October 29th, 2018 - 8pm

First Congregational Church 1031 S. Euclid Ave Please refrain from flash photography Sarasota Fl. 34237 Due to copyright limitations, audio recording is not permitted. HUB New Music Ballet, Random Dance), Pina Bausch’s Tanztheater Wupper- acdc (1996) tal, Heinz Spoerli (for Zürich Ballet), and Ashley Page (for Hub New Music is “one of the most talked about younger contempo- concert-length song-cycle with composer/performer collective Oracle The Royal Ballet and The Scottish Ballet). The recipient of acdc was commissioned by Chamber Music America for Alternate Cur- rary classical ensembles” (Oregon ArtsWatch). With its unique instru- Hysterical entitled Frontier Journals (2020-21); and a choreographed multiple awards and grants, he has been honored by the rents and was premiered by Alternate Currents at Music in the Moun- mentation of flute, clarinet, violin, and cello, the ensemble of “intrepids” production of its Soul House program presented with Urbanity Dance Guggenheim Foundation, the National Endowment for the tains Spring Festival, Grass Valley, California, April 4th 1997. (WQXR, New York) has been praised for performances of adventurous and the Peabody Essex Museum. For its visionary programming as both Arts, the Foundation for Contemporary Performance Arts, acdc is based on a simple, almost pop, chord progression that somehow repertoire that are “gobsmacking and perfectly played” (Cleveland a quartet and as collaborative artists, HNM was named one of WQXR’s and the American Academy of Arts and Letters. His record- found its way into 11/8, the basic time signature that runs throughout Classical), with the Boston Globe encouraging audiences, “next time the “10 Cutting-Edge Artists That Have Captured the Imagination,” in 2016 ings include Timber Remixed, Dystopia, Rushes, Timber, the whole piece. I layered oddly phrased melodies on top, with the cello group offers a concert, go, listen, and be changed.” and has been featured in the Boston Globe on multiple occasions. Weather, Light is Calling, Decasia, (purgatorio) POPOPERA, playing a pizzacato bass groove. Van Gogh, Trance, and Big Noise from Nicaragua. acdc was commissioned by the Alternate Currents ensemble, which The ensemble celebrates the fluidity and diversity of voices in today’s Hub New Music is a group of passionate educators whose approach to made me think about electricity. I’m not a scientist or engineer, so I classical music landscape, and has championed the works of leading teaching places contemporary music within the context of a centu- Gordon is co-founder and co-artistic director of New York’s was free to imagine that alternating currents were something like two composers such as Mason Bates, Matthew Aucoin, Anna Clyne, Kati ries old yet rapidly evolving musical tradition. Working with student legendary music collective Bang on a Can. His music is different speeds or rhythms going on simultaneously. Agócs, Nico Muhly, Robert Honstein, Laura Kaminsky, Angel Lam, and performers and composers alike at residencies across the country, HNM published by Red Poppy Music (ASCAP) and is distributed more. Highlights for the 2018/19 season include festival appearances trains future generations of contemporary artists and places strong worldwide by G. Schirmer, Inc. –Michael Gordon at the MidAmerican Center for Contemporary Music Festival (Bowling emphasis on arts entrepreneurship as a vital component of a musical Green, OH), Sacramento State Festival of New American Music, Blue education. Hub New Music has held and looks toward residencies at the Sage Arts Center Modern Music Festival (Paonia, CO), and Connecticut New England Conservatory, University of Michigan, Lehigh University, Anna Clyne (b. 1980) Summerfest (Hartford, CT); new quartets by award-winning composers Cleveland State University, Washington & Lee University, Texas State at Kati Agócs and Matthew Aucoin; its international debut in mainland San Marcos, and several others. Photo: Javier Oddo Marin Alsop, Pablo Heras-Casado, Riccardo Muti, Leonard Slatkin, and with the Silkroad Ensemble’s Kojiro Umezaki (shakuhachi), and a Esa-Pekka Salonen. collaboration with Boston’s Urbanity Dance at the Peabody Essex Muse- Hub New Music owes thanks to its supporters including the Cricket um (Salem, MA). Foundation, Boston Cultural Council, the Florence & Joseph Mandel Clyne was nominated for the 2015 Grammy Award for Best Contem- Family Foundation, Johnstone Fund for New Music, Alice Ditson Fund porary Classical Composition for her double violin concerto, Prince of Also fueled by the spirit of collaboration, Hub has brought several for Contemporary Music at Columbia University, and New England Con- Clouds. She is also the recipient of several prestigious awards including large-scale projects into fruition. These include “Matsuri,” an evening servatory Office of Entrepreneurial Musicianship. The ensemble’s name the 2016 Hindemith Prize; a Charles Ives Fellowship from the Amer- length collaboration with shakuhachi player Kojiro Umezaki, and the is inspired by its founding city of Boston and the notion that a hub is a ican Academy of Arts and Letters; awards from Meet the Composer, /America New Music Institute (AANMI); a 25 minute collaborative center of innovation. the American Music Center, the Foundation for Contemporary Arts, work with the renown composer/harpist Hannah Lash (spring 2020); a and the Jerome Foundation; and prizes from ASCAP and SEAMUS. She was nominated for the 2014 Times Breakthrough Award (UK) and is the recipient of a grant from Opera America to develop a new opera, Eva, Michael Gordon (b. 1956) which will be workshopped in Spring 2018 at National Sawdust where Clyne is a Composer-in-Residence for the 17-18 season. cert-length work, Road Trip for the Bang on a His special interest in adding dimensionality to Can All-Stars, composed with David Lang and the traditional concert experience has led to Recent highlights include the world premieres of Masquerade for the for Bang on a Can’s 30th Anniver- numerous collaborations with artists in other BBC Symphony Orchestra and Marin Alsop at the Last Night of the sary, Gordon sees premieres of his music in media, most frequently with filmmaker Bill Proms; This Lunar Beauty for the Britten Sinfonia and soprano Julia the US and abroad: a new arrangement of his Morrison and Ridge Theater. His work Decasia, Doyle; RIFT, a symphonic ballet in collaboration with choreographer Kit- opera Acquanetta, presented by the Prototype a large-scale, single-movement, relentlessly ty McNamee for Marin Alsop and the Cabrillo Festival Orchestra; Pocket Festival in New York City; a new orchestral monumental work about decay — the decay of London-born Anna Clyne is a Grammy-nominated composer of Book VIII for Roomful of Teeth; Threads & Traces for 100 cellos, com- work for the Miami City Ballet, choreographed melody, tuning, and classical music itself — has acoustic and electro-acoustic music. Described as a “composer of missioned by the Los Angeles Philharmonic and performed at Disney by Brian Brooks; and the German premiere of become a cult favorite since its premiere in uncommon gifts and unusual methods” in a New York Times profile Hall; and her violin concerto, The Seamstress, performed by Jennifer his piano concerto, The Unchanging Sea, per- 2001, frequently performed at music festivals, and as “dazzlingly inventive” by Time Out New York, Clyne’s work often Koh with the Chicago Symphony Orchestra at Orchestra Hall, and with formed by the MDR Symphony in with art museums and film festivals around the includes collaborations with cutting-edge choreographers, visual artists, the BBC Symphony Orchestra at the Barbican Center, London. pianist Tomoko Mukaiyama. world. Gordon and Morrison have also worked filmmakers, and musicians worldwide. together on film symphonies centered on cit- Her music is published exclusively by Boosey & Hawkes. Gordon’s recent works have included Big ies — Los Angeles: Dystopia (commissioned by Photo: Peter Serling Appointed by Music Director Riccardo Muti, Clyne served as a Mead Space, commissioned and presented by the Los Angeles Philharmonic); New York City: Composer-in-Residence for the Chicago Symphony Orchestra from the BBC Proms; a concert-length work for Gotham (commissioned by the ACO in New 1987 (2008) Over the past 30 years, Michael Gordon has 2010-2015. She also recently served as Composer-in-Residence for choir, Anonymous Man, commissioned and York City), and Miami Beach: El Sol Caliente produced a strikingly diverse body of work, the Baltimore Symphony Orchestra during the 2015-2016 season and premiered by The Crossing, and three new (commissioned by the New World Symphony). World Premiere: 1/25/2008 ranging from large-scale pieces for high-ener- for L’Orchestre national d’Île-de-France from 2014-2016. This season, On The Boards, Seattle, WA works for orchestra — Natural History, written gy ensembles and major orchestral commis- Clyne was selected by the League of American Orchestras and New Seattle Chamber Players for the 100th Anniversary of the ’ Gordon has been commissioned by Lincoln sions to works conceived specifically for the Music USA to serve as the Music Alive Composer-in-Residence with the National Parks and premiered at Crater Lake Center, Carnegie Hall, the BBC Proms, the recording studio and kaleidoscopic works for Berkeley Symphony through the 2018-2019 season. She has been com- Memories tucked away and tangled in threads of beads in the corner of in Oregon; Observations on Air, a concerto Seattle Symphony, the Rotterdam Philharmon- groups of identical instruments. Transcending missioned by such renowned organizations as American Composers her glass box. The tape part for 1987 comprises a melody and winding for bassoon for soloist Peter Whelan, commis- ic, the Orchestra of the Age of Enlightenment, categorization, his music represents the col- Orchestra, BBC Radio 3, BBC Scottish Symphony, Carnegie Hall, Chicago sounds from a music box that my father gave my mother in their early sioned by the British ensemble The Orches- Ensemble Modern, and the Brooklyn Academy lision of mysterious introspection and brutal Symphony Orchestra, Houston Ballet, London Sinfonietta, Los Angeles days of courting, and the sounds of the carousel and pebbles at Brigh- tra of the Age of Enlightenment; and The of Music, among many others. His music has directness. Philharmonic, Seattle Symphony, and the Southbank Centre, and her ton Beach in the South of England—a place of fond memories. Unchanging Sea, a piano concerto for Tomoko been featured prominently in the dance works This season, in addition to a new con- work has been championed by such world-renowned conductors as Vocals recorded by engineer, Alan Labiner, with vocalists Caleb Burhans Mukaiyama with a new film by Bill Morrison. of Emio Greco, Wayne McGregor (for and Martha Cluver at Carfax Abbey Studios, Brooklyn. 1987 was com- FORUM, and the Tanglewood Music Center. Steve Reich (b. 1936) missioned and premiered by the Seattle Chamber Players at Ice Breaker IV: The American Future—a concert curated by Alex Ross at On the Recent commissions include Tête-a-Tête for two toy pianos, deskbells, Steve Reich has been called “America’s greatest living composer” (Vil- Composition from Northwestern University, as well as the Schuman Boards, Seattle. and video projection for the HOCKET Ensemble supported by the LA lage Voice), “the most original musical thinker of our time” (The New Award from Columbia University, the Montgomery Fellowship from Phil, a violin concerto for Jennifer Koh, a community sound installation Yorker), and “among the great composers of the century” (The New Dartmouth College, and the Regent’s Lectureship at the University of In 2012, Tzadik Records released a full album of my music, titled Blue and performance for Miller Theatre’s Morningside Lights Processional York Times). California at Berkeley. He has been awarded honorary doctorates from Moth, that showcases a diverse range of electroacoustic chamber mu- Arts Workshop, a solo guitar piece for Jiji Kim supported by Concert the Royal College of Music in London, the Juilliard School, the Liszt Academy in , and the New England Conservatory of Music, sic, including 1987. Artists Guild and the BMI Foundation, a new work for the PRISM quartet, Reich’s musical legacy has been influential on composers and main- stream musicians all over the world. His music is known for steady among others. a new work the American Brass Quintet and EMPAC’s wavefield synthe- pulse, repetition, and a fascination with canons; it combines rigorous — Anna Clyne sis audio system, and a work for solo snare drum and transducers for structures with propulsive rhythms and seductive instrumental color, This November, Susanna Mälkki leads the Los Angeles Philharmonic in percussionist Mike Compitello. and also embraces harmonies of non-Western and American vernacu- the world premiere of Reich’s Music for Ensemble and Orchestra. An lar music (especially jazz). extension of the Baroque concerto grosso, the work features a group of Young’s interests are now headed in the direction of collaborative, mul- 20 soloists pulled from the orchestra’s ranks. The piece is also performed Nina C. Young (b. 1984) tidisciplinary works. While in Rome, Young worked with choreographer Photo: Wonge Bergmann this season by the London Symphony Orchestra and Kristjan Järvi, New York-based composer Nina C. Young (b.1984) writes music charac- Miro Magloire and the New Chamber Ballet to develop a site-specific Sydney Symphony Orchestra and David Robertson, and San Francisco piece, Temenos, around the intersection of movement, architecture, Symphony and Michael Tilson Thomas. Reich has also composed a and sound at the Tempietto Del Bramante. During the 2016-17 season new collaborative art piece with Gerhard Richter for the opening of The the American Composers Orchestra Underground premiered Out of Shed, a new multi-arts center in New York City. Debuting this spring, the new large ensemble work explores the shared structure of Reich’s new whose womb came the ice (commissioned by the Jerome Foun- work and Richter’s Patterns, and is premiered by musicians from Ensem- dation) – a work for baritone, orchestra, electronics, and generative ble Signal, the International Contemporary Ensemble, and AXIOM. video commenting on the ill-fated Ernest Shackleton Trans-Antarctic Expedition 1914-17. In 2016 Young collaborated with performance artist “There’s just a handful of living composers who can legitimately claim and women’s rights activist Erin Helfert to develop the sound design to have altered the direction of musical history and Steve Reich is one of and 8-channel sonic installation of RITE OF PASSAGE – a performance them” (The Guardian). piece that explores death, liminality, and rebirth as inspired by Helfert’s five-year rape trial in a Moroccan court. Young is collaborating with vo- cal bassist Andrew Munn on an evening-length, multimedia ritual opera titled Making Tellus: An Opera for the Anthropocene that addresses the (2008) current socio-political conversation surrounding human intervention There are two identical sextets in Double Sextet. Each one is comprised and the Earth’s rapidly changing geology. Born in New York and raised there and in California, Reich graduated with honors in philosophy from Cornell University in 1957. For the of flute, clarinet, vibraphone, piano, violin and cello. Doubling the in- next two years, he studied composition with Hall Overton, and from strumentation was done so that, as in so many of my earlier works, two A graduate of McGill and MIT, Nina completed her DMA at Columbia 1958 to 1961, he studied at the Juilliard School of Music with William identical instruments could interlock to produce one overall pattern. For terized by an acute sensitivity to tone color, manifested in aural images University where she was an active participant at the Columbia Com- Bergsma and Vincent Persichetti. Reich received his master’s degree in example, in this piece you will hear the pianos and vibes interlocking in of vibrant, arresting immediacy. Her experience in the electronic music puter Music Center. Nina is an Assistant Professor of Composition and music from Mills College in 1963, where he worked with Luciano Berio a highly rhythmic way to drive the rest of the ensemble. studio informs her acoustic work, which takes as its given not melody Director of Electronic Music at UT Austin, and a Visiting Composer at and Darius Milhaud. His studies have also included Balinese gamelan, The piece can be played in two ways; either with 12 musicians, or with and harmony, but sound itself, continuously metamorphosing from one the Peabody Institute. She serves as Co-Artistic Director of NY-based African (at the University of Ghana), and traditional forms of six playing against a recording of themselves. state to another. Her unique musical voice draws equally from elements new music sinfonietta Ensemble Échappé, a visiting artist at Arts Letters chanting of the Hebrew scriptures. The idea of a single player playing against a recording of themselves of the classical canon, modernism, spectralism, American experimen- & Numbers, and board member of Qubit’s Harlem pop-up-venue Proj- goes all the way back to of 1967 and extends though talism, minimalism, electronic music, and popular idioms. Her projects ect-Q. Peermusic Classical publishes her compositions. and , as well as an album of his (1982), (1985), Electric strive to create unique sonic environments that can be appreciated by a percussion works, have earned Grammy Awards, and Double Sextet Counterpoint (1987) and Cello Counterpoint (2003). The expansion of this idea to an entire chamber ensemble playing against pre-recordings wide variety of audiences while challenging stylistic boundaries, audito- won the Pulitzer Prize in 2009. of themselves begins with Different Trains (1988) and continues with ry perception, and notions of temporality. Rising Tide (2015) Reich’s documentary video opera works— and , (1999) and now to Double Sextet. By doubling an entire done in collaboration with video artist Beryl Korot—have pushed the chamber ensemble one creates the possibility for multiple simultaneous Young’s works have been presented by leading cultural institutions boundaries of the operatic medium and have been presented on four contrapuntal webs of identical instruments. In Different Trains and Triple such as Carnegie Hall, the National Gallery, the Whitney, LA Phil’s Next “There is a tide in the affairs of men, Which taken at the flood, leads on to fortune. continents. Quartet all instruments are strings to produce one large string fabric. In on Grand, and the St. Paul Chamber Orchestra’s Liquid Music Series. Omitted, all the voyage of their life Reich’s music has been performed by major orchestras and ensembles Double Sextet there is more timbral variety through the interlocking of Her music has garnered international acclaim through performances Is bound in the shallows and in miseries. around the world, including the New York and Los Angeles philharmon- six different pairs of percussion, string and wind instruments. by the American Composers Orchestra, Inscape Orchestra, the Mil- On such a full sea are we now afloat. ics; London, Sydney, San Francisco, Boston, and BBC symphony orches- And we must take the current when it serves The piece is in three movements fast, slow, fast and within each move- waukee Symphony Orchestra, the Minnesota Orchestra, the Phoenix Or lose our ventures.” tras; London Sinfonietta; ; Ensemble Modern; Ensemble Symphony, Orkest de ereprijs, the Nouvel Ensemble Moderne, the Intercontemporain; Ensemble Signal; International Contemporary ment there are four harmonic sections built around the keys of D, F, Ensemble; Bang on a Can All-Stars; Alarm Will Sound; and eighth black- Ab and B or their relative minor keys b,d,f and g#. As in almost all my Argento Chamber Ensemble, Divertimento Ensemble, Either/Or, the –William Shakespeare music, modulations from one key to the next are sudden, clearly setting JACK Quartet, mise-en, Scharoun Ensemble, Sixtrum, wild Up, and Yarn/ bird. Several noted choreographers have created dances to his music, (Julius Caesar, Act IV Scene III) such as Anne Teresa de Keersmaeker, Jirí Kylián, Jerome Robbins, Justin off each new section. Wire. Winner of the 2015-16 Rome Prize in Musical Composition at the Peck, Wayne McGregor, Benjamin Millepied, and Christopher Wheeldon. American Academy in Rome, Young has also received a Koussevitzky Rising Tide was commissioned by the 2015 Milano EXPO and premiered Double Sextet is about 22 minutes long and was completed in October Commission from the Library of Congress, a Civitella-Ranieri Fellowship, by the the Divertimento Ensemble on September 21, 2015 at the Reich was awarded the Gold Medal in Music by the American Academy 2007. It was commissioned by eighth blackbird and received its world a Charles Ives Scholarship from the American Academy of Arts and EXPO Gates. The US Premiere was given by the Aspen Contemporary of Arts and Letters in 2012. He was named Commandeur de l’Ordre des premiere by that group at the University of Richmond in Virginia on Letters, the Salvatore Martirano Memorial Award, Aspen Music Festival’s Ensemble on June 8, 2016 at the Whitney Museum of American Art as Arts et des Lettres in France, as well as member in the Bavarian Acad- March 26, 2008. Jacob Druckman Prize, and honors from BMI, IAWM, and ASCAP/SEA- part of the NY Phil Biennial. emy of Fine Arts. His honors include the Praemium Imperiale in Tokyo, MUS. Young has held fellowship residencies at the Aspen and Atlantic the Polar Music Prize in , the BBVA Award in Madrid, the Festivals, Akademie Schloss Solitude, Nouvel Ensemble Modern’s 2014 Golden Lion at the Venice Biennale, the 2016 Nemmers Prize in Music — Steve Reich #2 Program Metal, Wind, Holler Matt Photo:

Metal of the vibraphone, wind of the oboe, Luciano Berio Sequenza VII (1969) – 8‘ and Wood and wood of the strings feud on this con- for Solo Oboe cert where Italian master, Franco Donato- ni, shines in two important works (that are Nicholas Arbolino, oboe more similar than they first appear!). Our complete cycle of Luciano Berio’s Sequen- zas continues with oboist, Nicholas Arboli- Franco Donatoni Omar (1985) – 13‘ no. The battle between wind and wood concludes with Melinda Wagner’s fiendishly George Nickson, vibraphone beguiling work, Scritch.

Franco Donatoni Arpege (1986) – 12’

Betsy Traba, flute Bharat Chandra, clarinet Kyle Brightwell, vibraphone Conor Hanick, piano Samantha Bennett, violin Natalie Helm, cello George Nickson, conductor

Kevin Puts Arcana (2008) – 12’

Samantha Bennett, violin Jennifer Takeda, violin Steve Laraia, viola Michael McClelland, viola Natalie Helm, cello Christopher Schnell, cello

Melinda Wagner Scritch (2009) – 9’

Nicholas Arbolino, oboe Samantha Bennett, violin Jennifer Best Takeda, violin December 3rd, 2018 - 8pm Steve Laraia, viola Natalie Helm, cello First Congregational Church 1031 S. Euclid Ave Sarasota Fl. 34237

December 4th, 2018 - 8pm

Studio@620 620 1st Ave. S Please refrain from flash photography St. Petersburg, FL 33701 Due to copyright limitations, audio recording is not permitted. Nicholas Arbolino Sequenza VII for oboe (1969)

My Sequenzas for monodic instruments (flute, trombone, B natural that can be played pianissimo by any other instru- Nicholas Arbolino joined the Sarasota Orchestra as Second Oboe and oboe, clarinet, trumpet, bassoon) call for a polyphonic ment, behind the stage or in the audience. It is a harmonic English horn in 2014. He has previously performed as the Principal Oboist listening, partly based on a fast transition between different perspective that contributes to a subtler analytic insight of the Garland Symphony, Symphony Arlington, and the Las Colinas characters and on their simultaneous interaction. of the various stages of transformation of the solo part. Symphony Orchestra in the Greater Dallas area. He has also appeared Sequenza VII was written in 1969 for Heinz Holliger. In Sequenza VII for oboe I carry on the research of a latent as Guest Principal Oboe with the Monroe Symphony (LA), The Dallas polyphony putting into perspective the complex sound –Luciano Berio Chamber Symphony, and the Amarillo Symphony. He earned a Master’s structures of the instrument with an ever-present “tonic”: a degree, graduating summa cum laude from the University of North Texas under Dr. Charles Veazey. Mr. Arbolino has performed in several summer festivals including the Chen International Cultural Arts Festival (Eureka Franco Donatoni Springs, AR), the Aspen Music Festival and School (as the sole English (1927 - 2000) horn fellowship recipient), the Alba Music Festival (Alba, Italy), and cur- rently spends his summers as Principal Oboe of the Charlottesville Opera. Franco Donatoni was born in Verona on 9th His works have been published by Zanibon, dedicated an extensive monographic pro- June 1927. He began to study music at the Schott Music in London, Boosey & Hawkes in gramme to him. In 1991 he was invited to city’s music high school under the guidance London, Suvini Zerboni in Milan (1958-1977) Australia by the Elision Ensemble to hold a of Piero Bottagisio and later went on to study and Ricordi in Milan (since 1977). series of seminars at the Italian Cultural Insti- composition at the G. Verdi Conservatory in tute in Melbourne. In the course of this trip the Milan under Ettore Desderi and at the G. B. Donatoni taught in the Bologna, Turin and Mi- world premiere of Refrain II was performed. Martini Conservatory in Bologna under Lino lan conservatories from 1953 to 1978. He also From June to October 1992 the Milano Musica Liviabella. He obtained a diploma in compo- held the chair of advanced composition at the concert series realised an important series of sition and orchestration for bands in 1949, Accademia Nazionale di S. Cecilia in Rome. concerts in his honour; the 8 concerts featured another diploma in choral music in 1950 and a a number of his most important compositions third diploma in composition in 1951. From 1970 to 1999 he taught the advanced including the world premieres of Feria II for Luciano Berio composition course at the Accademia Chigia- organ and the first part of Bach’s TheArt of the (1925 - 2003) In 1953 he obtained a diploma in the advanced na in Siena. From 1971 to 1985 he conducted Fugue(Counterpoints I-VII)transcribed by Do- course in composition taught by Ildebrando courses within the context of the art and natoni for orchestra (the second part, Counter- performing arts degree course (DAMS) in the points VIII-XIV, was performed posthumously Italian musician Luciano Berio’s success as the Conservatorio Giuseppe Verdi in Milan, and flute, harp, female voice (Sequenza III [1966] Photo: Joël Bons Faculty of Letters at the University of Bologna. by the Orchestra Nazionale della Rai in Turin in theorist, conductor, composer, and teacher in 1952 he received a Koussevitzky Foundation was written for performance by his former November 2000). placed him among the leading representatives scholarship at Tanglewood, Massachusetts, wife, soprano Cathy Berberian), piano, and In 1972 he was invited by the Deutscher of the musical avant-garde. His style is notable where he studied under the influential com- violin that incorporate aleatory elements. Akademischer Austauschdienst to serve as Of the compositions written in the decade ’90- composer in residence in Berlin for a year. ’99 mention must be made of Sweet Basil for for combining lyric and expressive musical poser Luigi Dallapiccola. With another leading Other compositions include Laborintus II trombone and big band (1993), commissioned qualities with the most advanced techniques Italian composer, Bruno Maderna, he found- (1965) and Sinfonia (1968), which incorporate In 1979 he was invited to hold a seminar on his by the French Ministry for Culture and Com- of electronic and aleatory music. ed (1954) the Studio di Fonologia Musicale a wide range of literary and musical referenc- work at the University of California in Berkeley. munications, Portal for bass clarinet, clarinet He held various other seminars in Switzerland, in B flat, E flat clarinet and orchestra (1995), on at Milan Radio. Under Berio’s direction until es. Sinfonia also gathers a large performance France, , Holland and . commission from Radio France, In Cauda II Berio studied composing and conducting at 1959, it became one of the leading electronic force using an orchestra, organ, harpsichord, (1996), on commission from the Süddeutscher music studios in . There he attacked the piano, chorus, and reciters. Berio’s Coro (1976) He taught at the Scuola Civica in Milan, the Rundfunk Stuttgart, and In Cauda III (1996). problem of reconciling electronic music with is written for 40 voices and 40 instruments. Accademia Perosi in Biella and the Accademia Forlanini in Brescia. His writings include Ques- Still in 1996 he completed the cycle (begun in musique concrète (i.e., composition using as Among his later pieces are the orchestral work to (Adelphi, Milan, 1970),Antecedente X (Adel- 1983) of the Françoise Variationen for piano. raw material recorded sounds such as storms Formazioni (1987) and the operas Outis (1996) phi, Milan, 1980), Il sigaro di Armando (Spirali or street noises rather than laboratory-created and Cronaca del luogo (1999). In addition to Pizzetti at the Accademia Nazionale di S. Ce- Edizioni, Milan, 1982) and In-oltre (Edizioni In September 1998, at the Music Festival in sounds). Berio and Maderna also founded the composing, Berio also taught at a number of cilia in Rome. He attended the Ferienkurse in L’Obliquo, Brescia, 1988). Strasbourg, his short comic opera Alfred, Alfred Darmstadt in 1954, 1956, 1958 and 1961. was performed. journal Incontri Musicali (1956–60; “Musical institutions, including the Juilliard School in In 1990 the volume “Settembre Musica”, edited Encounters”), a review of avant-garde music. New York City (1965–71) and Harvard Univer- In the course of his career Donatoni won by Enzo Restagno (EDT, Turin, 1990), was dedi- 1999 saw the performance of Fire (In Cauda IV) In all his work, Berio’s logical and clear con- sity (1993–94) in Cambridge, Massachusetts. In many prizes: the Liège prize (1951,Quartet), cated to the composer’s life and work. and, on commission from the Salzburg Festi- the Radio Luxembourg prize (1952, Concertino val, Poll for 13 performers. His last orchestral structions are considered highly imaginative 1996 he received the Japan Art Association’s for strings, brass instruments and solo timpani; He was a member of the Accademia Nazionale works Esa (In Cauda V) – on commission from and poetic, drawing elements of style from Praemium Imperiale prize for music. And in and 1953, Symphony for string orchestra), the di S. Cecilia and the Accademia Filarmonica the Los Angeles Philharmonic – and dedicated such composers as Igor Stravinsky and Anton 2000 he became president and artistic director S.I.M.C. prize (1961, Puppenspiel for orchestra), Romana. to the orchestra’s conductor as well as former Webern. Serenata I (1957), his last major serial of the Accademia Nazionale di Santa Cecilia, the Marzotto prize (1966, Puppenspiel II for pupil of the composer Esa-Pekka Salonen, and flute, piccolo and orchestra), the Koussevitzky In 1985 he was awarded the title “Comman- Prom – on commission from the BBC Proms – piece, was dedicated to Pierre Boulez. Di posts he held until his death. prize (1968, Orts for 14 instruments) and the deur dans l’Ordre des Arts et des Lettres” by were performed posthumously: respectively in érences (1958–59, revised 1967) contrasts live Psacaropoulo prize (1979, Spiri for 10 instru- the French Minister for Culture. February and May of 2001. Donatoni died on and pre-recorded instruments. His Sequenza -Encyclopædia Britannica ments). In 1990 the Settembre Musica festival in Turin 17th August 2000. series (1958–2002) includes solo pieces for Photo: Philippe Gontier Omar (1985) Arpege (1986) Arcana (2008)

has two parts, each of which are numbered with a Roman may strike the listener as surprisingly familiar after a perfor- Each night on the Hawaiian island of Maui, the immense volcano Hale- ian goose) squawk about. At the bottom of the enormous crater, giant numeral. The purpose is to maintain the initial material, but mance of Omar. These works, composed within a year of akala sleeps soundly by the light of moon until around three AM when cinder cones rise up like something out of the old Star Trek episodes. to transform it through the piece by using panels and filters. each other, borrow heavily from each other’s source mate- several dozen tourists create an unbroken parade of headlights along But as the eye continues along to the east towards the town of Hana, Panels, marked by tempo-changes, conceive the inner rial. The opening bars of Arpege are nearly an identical but the long and winding drive to the summit. The sunrise as witnessed the austerity of dust and hardened lava gives way to a scene of almost structure of each part. Every tempo change puts a new fleshed out orchestration of the middle harmonic material from here was described by Mark Twain as one of the “sublimest specta- impossible beauty, a tumbling waterfall of clouds pouring endlessly over light on the initial material, like looking at it from a different from Omar. This novel use of similar material is something cles” of his life, and what it reveals is equally remarkable. the crater’s rim and dissolving into thin air. angle. Most of the works of Donatoni’s Joyous Period (after that we seldom find from 20th century composers but 1977) have this two-part form. The development of the gives us a great view into the composer’s thought process In absolute silence above the cloud layer below, a Martian terrain of red Arcana was commissioned by the string sextet Concertante as a feature material in the panels itself happens through codes. The and style. dust and oddly-placed meteoric-looking rock plays host to a number of for Alexis Pia Gerlach, one of the group’s cellists. It was premiered on two parts stand quite autonomously from each other, each arcane sights: the `ahinahina (silversword) plant must have been even May 14, 2009 in Harrisburg, Pennsylvania. having a very clear ending. The score is in traditional music This is a devilishly difficult work, in that Donatoni’s style of more alien to the ancient Hawaiians who presumably had nothing else notation, but lacks bar lines completely. It is printed as a transition from one section to the next is seldom prepared silver in their lives. It lives for 50 years and only flowers once, then dies. −Kevin Puts handwritten score, with alterations occasionally marked by any helpful landmarks. The performers must simply Exotic birds such as petrels, honeycreepers, and the rare nene (Hawai- above the notes instead of in front of the note. know each tempo and new character “cold”, so each of us can be thinking along the same lines as the next. It takes time to get it right!

–George Nickson

Kevin Puts (b. 1972) Melinda Wagner (b. 1957) Winner of numerous prestigious awards, including the 2012 for Joseph Alessi and the New York Philhar- A passionate and inspiring teacher, Melinda Photo: David White Pulitzer Prize for his debut opera Silent Night, Kevin Puts’s monic, a piano concerto, Extremity of Sky, Wagner has given master classes at many fine works have been commissioned, performed, and recorded commissioned by the Chicago Symphony for institutions across the United States, including by leading ensembles, and soloists throughout the world, Emanuel Ax, and Little Moonhead, composed Harvard, Yale, Eastman, Juilliard, and UC Davis. including Yo-Yo Ma, Jeffrey Kahane, Dame Evelyn Glen- for the Orpheus Chamber Orchestra, as part of She has held faculty positions at Brandeis Uni- nie, the New York Philharmonic, the Tonhalle Orchester its popular “New Brandenburgs” project. versity and Smith College, and has served as a (Zurich), the St. Paul Chamber Orchestra, the Miro Quartet, mentor at the Atlantic Center for the Arts, the and the symphony orchestras of Baltimore, Cincinnati, Noted for its “...prismatic colors and...lithe sense Wellesley Composers Conference, and Yellow Detroit, Atlanta, Colorado, Houston, Fort Worth, St. Louis, of mystery...” [Washington Post], Extremity of Barn. Ms. Wagner currently serves on the fac- and Minnesota. His newest orchestral work, The City, was Sky has been performed by Emanuel Ax with ulty of the Juilliard School of Music. co-commissioned by the Baltimore Symphony Orchestra the National Symphony (on tour), the Toronto in honor of its 100th anniversary and by Carnegie Hall in and Kansas City Symphonies, and the Staatska- honor of its 125th anniversary. pelle Berlin.

Silent Night, commissioned and premiered by Minnesota Championed early on by Daniel Barenboim, Opera, has been produced at Fort Worth Opera, Cincinnati Wagner has received three commissions from Opera, the Wexford Opera Festival, Calgary Opera, Montreal the Chicago Symphony; the most recent of Opera, and the Lyric Opera of Kansas City, Atlanta Opera, these, Proceed, Moon, was premiered by the Scritch (2009) Opera San Jose and Michigan Opera Theatre. In 2013, his CSO under the baton of Susanna Mälkki in choral works To Touch The Sky and If I Were A Swan were 2017. Other recent performances have come Scritch for oboe and string quartet was com- performed and recorded by Conspirare. His second opera, from the American Composers Orchestra, the missioned by the Left Coast Chamber Ensem- also commissioned by Minnesota Opera, The Manchurian United States Marine Band, BMOP, the Amer- ble and the Empyrean Ensemble with a Meet Candidate, based on the novel, had its world premiere in ican Brass Quintet, the Empyrean Ensemble, The Composer Commissioning Music/USA 2015. A new vocal work for Soprano Renee Fleming and or- and the Philadelphia Chamber Music Society. Commission. Scritch highlights the interplay chestra, based on the personal letters of Georgia O’Keeffe, between strings and woodwind soloist, a not will have its world premiere in New York in Fall 2016 and Celebrated as an “...eloquent, poetic voice in Among honors Wagner has received is a so common combination. Playful jauntiness of his first chamber opera, an adaptation of Peter Ackroyd’s contemporary music...” [American Record Guggenheim Foundation Fellowship, and the strings and long expressive lines from the gothic novel The Trial of Elizabeth Cree, commissioned by Guide], Melinda Wagner’s esteemed catalog of awards from the American Academy of Arts oboe take turns as prominent voices through- Opera Philadelphia, premiered in 2017. works embodies music of exceptional beauty, and Letters and ASCAP. Wagner was given an out this masterly crafted work. The initial power, and intelligence. Wagner received honorary doctorate from Hamilton College, thematic gestures of syncopated 16th notes A former Composer-in-Residence of Young Concerts widespread attention when her colorful Con- and a Distinguished Alumni Award from the from the string quartet form the principal idea Artists, he is currently a member of the composition de- certo for Flute, Strings and Percussion earned University of Pennsylvania in 2003. Melinda and return often in the work as a grounding partment at the Peabody Institute and the Director of the her the Pulitzer Prize in 1999. Since then, major Wagner was elected to the American Academy landmark. Minnesota Orchestra Composer’s Institute. works have included Concerto for Trombone, of Arts and Letters in 2017. -George Nickson MASTERWORKS SERIES #3 NOV 25 • Misatango with The Sarasota Ballet’s Studio Company Holographic JAN 26 • Honoring Heroes Sarasota Choral Festival enSRQ teams up with New Music New College in welcoming the composer/ pianist Daniel Wohl and visual artist Daniel Schwarz here to SRQ for these MAR 10 & 11 • Mendelssohn’s Elijah in partnership with JFCS of the Suncoast performances. This evening length work for live visual projections and elec- MAY 3 • Tomorrow’s Voices Today with Pine View, Venice and North Port High School choirs troacoustic ensemble explores different worlds of improbable combinations of sounds, hidden sonic landscapes both acoustic and electronic. CHAMBER SINGERS SERIES OCT 27 • American Roots: Digging Deeper a unique fusion of bluegrass and choral arts APR 13 • Fauré Requiem and works by Benjamin Britten SPECIAL EVENTS NOV 12 • Perfect Pitch: An Annual Luncheon Supporting Education & Community Outreach at Sarasota Yacht Club COMMUNITY • COLLABORATION DEC 8 • Christmas in Venice at Venice Presbyterian Church CONNECTIONS MAR 22-24 • Cirque des Voix® with the Circus Arts Conservatory

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NewMusicNewCollege Inter/Action November 10, 2018 Ensemble Dal Niente with George Lewis January 26, 2019 Tigers Above and Tigers Below February 15–17, 2019 Daniel Wohl Holographic January 7th, 2019 - 8pm Wet Ink Ensemble Samantha Bennett, violin Mildred Sainer Auditorium April 27, 2019 Steve Laraia, viola New College of Florida Natalie Helm, cello 5313 Bay Shore Road George Nickson, percussion Sarasota, FL 34243 Tihda Vongkoth, percussion newmusicnewcollege.org Isaac Fernandez Hernandez, percussion Daniel Schwarz, visual artist Daniel Wohl Daniel Schwarz Our Sponsors

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$1,000+ $500+ $250+ Edward Alley Gerald Genova Kenneth and Diana Abraham Ted and Judy Beilman Douglas and Pocha Horton Susan Brainerd Marta Bennett Steven Miles Sam Budish Sandi and Stephen Cooper Linda Buxbaum Stix Nickson Joseph Deutsch Edward and Annette Eliasberg Charlotte and Charles Perret Brenda Lee and Sam DiGiammarino Robert and Deborah Hendel Susan Robinson Jody Gabel Raymond Morrissey Camilla Kilgroe Drummersonly Drum Shop Alan and Nancy Milbauer Jean Pagani Alice M. Ditson Fund Barbara Pekow Arts and Cultural Alliance of Sarasota County Richard Belle and Marie Pogozelski Anne Scott Joseph Seidensticker Born and raised in and currently residing in Los Angeles, Dan- Daniel Schwartz’s works examine current crises in politics and social life iel Wohl’s music blends electronics with acoustic instrumentation to through the lens of digital media. They engage critically with aspects of $25+ “surprising and provocative effect” (NPR). He has produced albums, control and power structures, state authority and cartography under the Katherine Abraham Gregory Chestnut Freida Johnson Laura Petty Sandra Abraham Laura Conrad Yoko Kita Nicholas Pocock orchestral and chamber works, film, television and ballet scores, and has connective tissue of surveillance and loss of privacy. Edward Andershock Andreia Pinto Correia Gregg Koyle Taylor Rothenberg received critical praise as one of his generation’s “imaginative, skillful Nicholas Arbolino Dwight Currie Logan Learned Cynthia Samaha Francesca Arnone Arlene and Larry Dunn Arthur and Marcella Levin Ryun Schienbein creators” (New York Times) making music that is “beautiful...original” He exhibited and performed at the National Gallery of Canada; the 9th Edward Atkatz Peggy Earnshaw Taube Levitt Lisa Seidensticker (Pitchfork). Berlin Biennale; the Nevada Museum of Art; the Mistake Room; the Mas- Carmen Bannon Brian and Victoria Eckl Marsha Levkoff Stephen Seidensticker sachusetts Museum of Contemporary Art (MassMoCA); the Baryshnikov Paul Beck Stephanie Economou Mark Lewis Bonnie and Bill Sexton Elizabeth Beilman Douglas Endicott Sallie Light Mo and Jeanette Sherrill Recent performances of his music have been held at the Broad Muse- Arts Center, New York; the Goethe-Institut, Washington DC; Sónar Fes- Richard Benedum Adrianne and Jan Erfert Richard Lobo Ron Silver um, MASS MoCA, the Hollywood Bowl, Carnegie Hall, The Barbican, tival, Barcelona; the 70th Venice Film Festival; Moscow’s Museum Night; Adrian Bennett Calvin Falwell Bill Manley Prudence Ann Sousa Alyssa Bennett Abraham Feder Albert and Marita Marsh Brendan Speltz Sadler’s Wells, the Holland Festival and MoMA PS1. His music has been the WRO Biennale, Wroclaw; and the Los Angeles Municipal Art Gallery Christopher Bennett Norman Fischer Matt McKay Hugh Steele performed/commissioned by ensembles such as the San Francisco among many others. Nan Bennett Josef Gartner Neal McMahan Judilee Sterne Nina Bennett Stephen Gergatz Michael Meeuwsen Michael Sweet Symphony (Soundbox series), the Chicago Symphony Orchestra (Music- Samantha Bennett Halle Ghose John Miller Jennifer and Chris Takeda NOW series), the Los Angeles Philharmonic, The London Contemporary Currently he lives in Brooklyn, NY, and works as a Technology Fellow at James Benoit Joan Golub Lynne Murphy and John Mutch Fern Tavalin Orchestra, New York Youth Symphony, the Bang on a Can All-Stars, the New York Civil Liberties Union (NYCLU). He graduated with a MFA Gail Berenson John Graben Alexis Nickson Mary and James Tolley Derek Bermel Shawn Gravois Christine Nickson Michael Truesdell the American Symphony Orchestra, eighth blackbird, So Percussion, from UCLA in 2015. In 2011-12 he held an artist residency at Fabrica in Alexandra Bolton-Schultes Paul Greitzer Dennis Nickson Elske Vermaas the Calder Quartet, and the Mivos Quartet among others. He has also Italy. Prior he studied computer science and media (BSc) at the HdM Richard Boyce Inez Gutman George Nickson Justin Vibbard Nancy Bragard Jeanne Marie Hamil Amanda Nix Karen Walters collaborated on projects with Jóhann Jóhannsson, director Luca Gua- Stuttgart, Germany, and the Universidade Federal de Santa Catarina, Beth Breslin Conor Hanick Thomas Novak Michael Warner dagnino, Julia Holter, Lucky Dragons, Laurel Halo, Son Lux with the Indi- Brazil. Kyle and Micah Brightwell Deborah Hill Sean O’Neil Bradley and Rebecca Williams Lena Cambis Josh Horne Natalie Osborne Lynne Woodman anapolis Symphony, The Haxan Cloak, serpentwithfeet and Holy Other. Bharat Chandra Kat Hughes Charles Peirce John Yeh In 2016 Holographic, Daniel’s sophomore album was released on New https://danielschwarz.cc Amsterdam Records. Commissioned by the Massachusetts Museum of Contemporary Art, the Indianapolis Museum of Art, the Saint Paul Chamber Orchestra’s Liquid Music Series, and the Baryshnikov Arts Board of Directors Center, the music from the album was deemed “aggressive and gor- geous” (NPR) with an electroacoustic blend that was “expertly handled” (Pitchfork). George Nickson Chair and co-artistic director Brian J. Boyd Vice-chair Justin Vibbard Secretary Ted Beilman Treasurer Holographic Samantha Bennett Co-artistic director

Holographic is about exploring different worlds–improbable com- the technologies that are available to all of us. All live performances of Linda Z. Buxbaum binations of sounds–hidden and imaginary sonic landscapes both Holographic will also feature projections from Los Angeles-based visual Eric Dean acoustic and electronic. By processing or re-sampling more traditional artist Daniel Schwarz, engaged and commissioned by The Film Society Jody B. Gabel instruments like strings, percussion, or the human voice, I wanted to of Minneapolis St. Paul. Commissioned by MASS MOCA, St Paul Cham- Pat Michelsen create music that has a strong link to the past while at the same time ber Orchestra’s Liquid Music Series, Indianapolis Museum of Art, and the Jeffrey Milarsky being rooted in what we listen to on a daily basis. I wanted to retain the Barryshnikov Art Center Visuals commissioned by the Minneapolis Saint Cindi Samaha warmth and inconsistencies of human playing while interfacing with Paul Film Society. Joe Seidensticker Designed by Hojoon Kim Images