Heretical Angels (U.S

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Tuesday and Wednesday Evenings, October 20–21, 2015, at 7:30

Post-performance discussion on Tuesday, October 20 with Katarina Livljanić and Ara Guzelimian

Heretical Angels (U.S. premiere)

Dialogos Katarina Livljanic, Voice and Director Albrecht Maurer,´ Fiddle and Rebec Norbert Rodenkirchen, Flutes

Kantaduri (U.S. debut) Joško Ćaleta, Voice and Director Jure Miloš, Voice, Gusle, and Dvojnice Nikola Damjanovic, Voice Srecko Damjanovic´ , Voice Milivoj Rilov, Voice´

Katarina Livljanic, Text Adaptation ´ Katarina Livljanic Joško Ćaleta, Musical Reconstruction Sanda Herzic, Staging´, Marie Bellot, Lighting Design Darko Rundek, Recorded Sound Marinka Simic, Marija Ana Dürrigl, Philological Advisors ´ This program is approximately 65 minutes long and will be performed without intermission. Please join the artists immediately following the performance for a White Light Lounge.

(Program continued)

These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

James Memorial Chapel, Please make certain all your electronic Union Theological Seminary devices are switched off.

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MetLife is the National Sponsor of Lincoln Center. Upcoming White Light Festival Events:

Artist Catering provided by Zabar’s and zabars.com Sunday Afternoon, November 1, at 5:00 in Alice Tully Hall Prayer Christine Brewer , Soprano Paul Jacobs , Organ Works by HANDEL, BACH, PUCCINI, GOUNOD, and WIDOR; works for solo organ

Saturday Afternoon, November 7, at 4:00 in the Stanley H. Kaplan Penthouse White Light Conversation: Language and Human Consciousness John Schaefer , Moderator With Joan La Barbara , Colum McCann , Steven Pinker , and Gary Tomlinson; Performance by Gare St. Lazare Ireland’s Conor Lovett , with director Judy Hegarty Lovett

Saturday Evening, November 14, at 7:30 in Alice Tully Hall Last Soliloquy Paul Lewis , Piano ALL-BEETHOVEN PROGRAM Sonata No. 30 in E major, Op. 109 Sonata No. 31 in A-flat major, Op. 110 Sonata No. 32 in C minor, Op. 111

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We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 10-20 Heretic.qxp_GP 10/6/15 3:33 PM Page 3

Heretical Angels: Music and Musical Sources

Si kamin Tombstone inscription Kosor, Bosnia and Herzegovina, before 1411

Glava Hr’stova Spirits’ incantation, St. Sisinnius amulet Vatican Library, Borgiani illirica collection 11, 14th–15th centuries

Iskoni bje slovo Gospel of John (Prologue), Radosav’s Book Vatican Library, Borgiani illirica collection 12, 1444–61

Zašto Gospod Bog satvori sai sviet? On the world’s creation, Bosnian source Plovdiv, National Library, manuscript 116 (54), 14th century

A se leži Bratmio Tombstone inscription Peljave, Bosnia and Herzegovina, 16th century

Zaklinam tebe, prinecisti dusce Exorcism Bartol Kašić, Rituale romanum illyrica lingua (Roman ritual in the Slavic language) , 1640

Koli že krešten ne budet Excommunication Dusanov zakonik, Beograd, National Museum, manuscript 688, 14th century

Oče na š The Lord’s Prayer, Radosav’s Book Vatican Library, Borgiani illirica collection 12, 1444–61

Kad se duša s tilon dili Dialogue between the good angel and the evil angel Zagreb, Archive of the Croatian Academy of Arts and Sciences, IV a 77, Cokovac-Tkon, 1614

O Gospojo uzvišena Song to the Holy Virgin Toma Babić, Cvit razlika mirisa duhovnoga (Flowers of spiritual scents), 1726 Based on a traditional melody from Čemerno, Bosnia

I znamenie velie Book of Revelation (excerpt), Radosav’s Book Vatican Library, Borgiani illirica collection 12, 1444–61

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Braćo, brata sprovodimo Confraternity funeral song Recueil de Paris, Paris, Bibliothèque nationale de France, Slavic manuscript 11, circa 14th century Based on a traditional melody from Ravni Kotari, Croatia

Glas veliki trublje ove Prayer for the Last Judgment Vartal, Zagreb, Archives of the Croatian Academy of Arts and Sciences , manu - script IV a 31, 16th century

Dan od gnjiva Sequence of the dead Traditional song from Čemerno, Bosnia

Pisma od tašte slave Poem about vanity Toma Babić, Cvit razlika mirisa duhovnoga (Flowers of spiritual scents), 1726

Bože, davno ti sam legao Tombstone inscriptions Bosnia and Herzegovina, 14t h–16th centuries

Stah, boga moleći Tombstone inscriptions Bosnia and Herzegovina, 14t h–16th centuries

Si knigi piše Radosav krstienin Epilogue, Radosav’s Book Vatican Library, Borgiani illirica collection 12, 1444–61

Sung in Old Church Slavonic and medieval Bosnian/Croatian dialects with English supertitles 10-20 Heretic.qxp_GP 10/6/15 3:33 PM Page 5

A Note on the Program By Katarina Livljani c ´ Medieval Bosnia and Herzegovina’s wealth of traditions and religions is fascinating: There were Catholics, Orthodox Christians, Bosnian Krstjani (Bosnian Christians), Muslims, Jews… Their texts and rituals have remained with us in manuscripts written in Latin, Glagolitic, Cyrillic, and Bosnian scripts, and in Arabian and Hebrew sources, but they also survive in numerous oral traditions and folk beliefs.

Theme The idea to create this program came to me while reading an inscription from an ancient Bosnian tombstone: Kadi htih biti, tgdi ne bih (When I wanted to exist, I couldn’t). Reading the inscription, my thoughts wandered to the anonymous voices we read about only some 20 years ago during the war—voices belonging to people who wanted to exist, but couldn’t. I therefore decided to allow the voices captured in tombstones to speak again by creating a program based on their words for the Dialogos ensemble.

Research took me further, to Bosnian, Croatian, and Serbian manuscripts in which rem - nants of pagan beliefs are often infused with a Christian context. One of the most valuable texts of the Bosnian Church is surely the Miscellany of Radosav, written in the 15th century in Cyrillic. (Our program includes several passages from that source: part of the Book of Revelation, a prologue to the Gospel of John following a ritual of birth, the Lord’s Prayer, and finally a short epilogue in which the scribe reveals his name.) I had to create a script by intertwining motifs, vows, exorcisms, tombstone inscriptions (which I positioned as short commentaries, like an ancient choir), and strong and sophisticated meditations (“Why did the Lord create all this world,” a poetic vision of cosmogony deri - ved from Bosnian Christians). While patiently putting together the pieces of a new mosaic based on old texts, a dominant theme started to emerge; the program was thus built around the rites of birth and death, and their reflections in visions of the world’s creation and its end.

From Text to Music Some text sources contain parts with music notation ( Rituale romanum illyrica lingua , or Roman ritual in the Slavic language). These documents were the starting point around which the musical basis of the program had to be developed. But most of the sources survived without music. While looking for possible musical styles for the selected texts, it became clear that layers of the traditional music of Bosnia and Herzegovina which pre - serve archaic characteristics had to be considered. Therefore, we had to reconstruct and recompose the music from fragments and formulas typical of the local musical idiom.

For that musical project, Dialogos worked with traditional musicians who were collabora - ting with Joško Ćaleta, including one of the younger Herzegovinian gusle players. Medieval music players and traditional musicians were also involved in the project, and they put together different formations to explore the nuances of the music as creatively as possible in a very special music lab. Together they have reconstructed lost roots of the musical language whose characteristics had partially been preserved in medieval manuscripts, and partially in oral tradition. The program is composed of powerful and occasion- ally very rough songs on the verge of musical theater that invite the audience on a jour ney through rituals of birth and death, creation and destruction. Blessings and curses, invoca tions

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to angels at birth, exorcisms—all these chants accompany rituals bordering with paga - nism. Songs with instrumental accompaniment (like the incredible “Kad se duša s tilon dili, ” a discussion between an angel of good and an angel of evil about the human soul) are interchanged with dissonant ganga songs, a style of singing from the Dalmatian hin - terland. Tombstone inscriptions, through which the dead speak to the living, appear like a red thread throughout the program and close the circle in which birth and death feed each other to eternity, searching for peace and sense in a country still scarred by war.

For more on the ancient Bosnian tombstones ( stećci ) that inspired this evening’s program, turn to page 56. 10-20 Heretic.qxp_GP 10/6/15 3:33 PM Page 7

A Note on the Music By Joško Ćaleta

The music styles performed in this concert by Kantaduri are typical of traditional Dalmatian hinterland and West Herzegovinian music. Rough, primitive, non-standard, untempered— these are the adjectives someone unfamiliar with this type of musical communication would initially use to describe the harmonic polyphony of narrow intervals that mainly leave an impression of sameness and repetition. Vocal numbers are reconstructed based on different polyphonic forms that still exist in secular and religious musical practices of the area. Inscriptions from ancient tombstones are sung in a vocal style called ganga . Ganga is multi-part singing in a single breath—the song lasts as long as the main singer’s breath. It is characterized by two voices (two-part polyphonic singing, or diaphony) perfor - med by two or more singers, where one singer sings while the others accompany him with a drone. The melodies are based on limited tone ranges, mostly chromatic, and the microtonal intervals used are not standard in today’s music.

In the past, ganga was learned exclusively through oral transmission. That is also how Kantaduri learned the basics of ganga singing—by imitating their young teacher Jure Miloš, who learned and inherited the tradition from his grandfather. Miloš is also an adept player of regional traditional instruments: diple, dvojnice, and gusle. The instruments have been present in the Dalmatian hinterland for centuries, still attracting new players, instru - ment builders, and traditional music researchers. Gusle is a chordophone, single-string instrument that produces sound when a bow is dragged over its strained string. It is made of wood, and consists of a body with a sound board, neck, and headstock. Animal (usually goat) skin is stretched over the body, with a hole in the middle to enhance the sound of the instrument. In gusle playing, the singer’s voice and the sound of the instrument create diaphony. The gusle player’s singing is adapted to the high register of the instrument (this is the only register in male singing that is appreciated in the Dalmatian hinterland). Gusle players are usually talented individuals able to remember long narrative songs, as well as to improvise and make up new lyrics in decasyllabic verse.

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Illumination

Tombstone inscriptions Bosnia and Herzegovina, 14th–16th centuries

My God, I lay down here long ago, and I must lie forever... When I wanted to exist, I couldn’t.

I argued with my brother, they wounded my brother, and spilled on me the blood. My brother, may your soul dream sweetly...

The Earth is my mother, this grave is my father. We come from the earth, and we go into the earth. Who is against it, may he be cursed by the Father, Son and the Holy Spirit.

I beg you, brothers, aunts and cousins, come and weep, do not push me with your feet, do not shake my bones. For you will be like me, but I will never again be like you.

In my sadness, who will weep me?

For poetry comments and suggestions, please write to [email protected]. 10-20 Heretic.qxp_GP 10/6/15 3:33 PM Page 9

Meet the Artists 11th-century English polyphony. Recent projects, like Heretical Angels and Dalmatica , involve collaborations with Dialogos Kantaduri, a group of traditional cantors Since its founding in 1997, the vocal from Croatia. ensemble Dialogos, directed and created by Katarina Livljani ć, has emerged as one Dialogos receives a subsidy from DRAC of the most outstanding and original Île-de-France/French Ministry of Culture medieval music ensembles of the new and Communication. generation. The ensemble’s projects link new musicological research with an innov - ative approach to medieval music perfor - mance, a theatrical dimension, and an expressive musicality. Dialogos is com - posed of women’s or men’s vocal ensem - bles, depending on each project. Katarina Livljan ic

Dialogos has been acclaimed by critics and Singer and musicologist Katarina Livljan´i ć performed in the most prestigious concert is one of the principal international special - halls and festivals, including London’s Royal ists in medieval chant performance. Born Festival Hall, New York’s Metropolitan on the Adriatic coast of Croatia, she Museum of Art, Cité de la Musique in Paris, decided to become a medieval music per - Saintes Music Festival, Boston and Utrecht former at a very early age, training at the Early Music Festivals, and Ambronay and Zagreb Music Conservatory before moving Edinburgh Festivals, among others, and on to France to study voice and musicology. radio and television broadcasts. Recordings She directs the vocal ensemble Dialogos, published by labels such as Arcana, Sony- specializing in medieval chant and liturgical BMG, Ambronay Editions, and Empreinte theater of the Glagolitic tradition. For her Digitale have received numerous press dis - work in this field, she was decorated for tinctions, including a Diapason d’Or and cultural achievement in 2002 by the presi - Choc du Monde. dent of Croatia.

The ensemble’s current programs focus on Ms. Livljani ć obtained a Ph.D. at the École medieval repertory: plainchant, early Pratique des Hautes Études in Paris. She is polyphony, and musical theater. Among currently maître de conferences in the theatrical programs, the Glagolitic medieval music at the Sorbonne University Tondal’s Vision was awarded the presti - in Paris, where she co-directs a medieval gious Diapason d’Or de l’année, the Coup music performance master’s program. In de coeur by the Académie Charles Cros, 1998 she founded a chant performance and the Edinburgh International Festival program at the University of Limerick in Angel Award in 2009. Judith , presented at Ireland. She has been regularly invited as Lincoln Center’s White Light Festival in visiting lecturer or artist-in-residence at 2010, received the award of the Split Harvard University, and with Benjamin Festival (Croatia) for the best musical per - Bagby of Sequentia, she has been formance in 2007. Among other programs, awarded a Cornille Visiting Professorship at Chant Wars , a co-production with the Wellesley College in 2007. Ms. Livljani ć is ensemble Sequentia, is centered on also regularly invited to numerous universi - Carolingian chant and local traditions in ties in Europe, as well as in the U.S. and Europe in the ninth and tenth centuries. Canada as a teacher and resident artist. She Abbo Abbas offers an innovative vision of has emerged as an important interna tional

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speaker about medieval chant perfor - With both ensembles he has been invited mance and publishes articles in specialized to numerous international festivals. He is reviews worldwide. In 2002 she was a guest also much in demand as a composer of artistic advisor at the Utrecht Early Music music for theater and film, as well as a pro - Festival, and in 2012 she was artist-in- ducer for CD projects, most of them in co- residence at the Laus Polyphoniae Festival production with West German Radio. in Antwerp. From 2003 to 2011 Mr. Rodenkirchen was Albrecht Maurer artistic director of the Schnütgen Konzerte The violinist, fiddler, and composer Musik des Mittel alters series in the Albrecht Maurer studied violin at the medieval museum of Cologne. Additionally Musikhochschule Köln and taught himself he has given workshops on medieval- the piano, which he later studied. In addi - instrument improvisation at renowned tion, he pursued the study of non- academies like the Mozarteum Salzburg, European tonal systems and computer Hochschule für Musik Köln, and the music. He gathered his experience with Conservatory of Music in Lyon. In 2012 he new and experimental music through work released his third solo CD, Hameln Anno with composers who studied with 1284: Medieval Flute Music on the Trail of Mauricio Kagel, including Maria de Alvear, the Pied Piper . Carola Bauckholt, and Manos Tsangaris. In the 1990s, Mr. Maurer started composing Kantaduri and Joško aleta chamber music for jazz musicians, as well The ensemble Kantaduri Ćgathers around as for chamber groups. Joško Ćaleta five traditional singers from different areas of Croatian Dalmatia. They He has performed with many jazz musi - are the witnesses of the richness of popu - cians, including Kent Carter, Wolter lar traditions in that region. Mr. Ćaleta is an Wierbos, Benoît Delbecq, Steve Argüelles, associate of the Institute of Ethnology and Klaus Kugel, Bobo Stenson, Norbert Stein, Folklore in Zagreb. His main research inter - Carla Bley, Charlie Mariano, Karl Berger, est is the musical anthropology of the Lauren Newton, Kate Westbrook, and Barre Mediterranean and Dalmatian hinterland. Phillips. Mr. Maurer has played medieval He graduated from the University of Split music since 2004, appearing in Salon in Croatia and received a master’s degree Medieval with Norbert Roden kirchen, from the University of British Columbia in Benjamin Bagby, Eric Mentzel, and Vancouver with the thesis “The Social and Wolfgang Klein-Richter. He and Roden - Musical Structure of Klapa Singing Style: kirchen have created new music on Dalmatia and Vancouver.” He completed medieval instruments, including the CDs his doctoral dissertation on the musical tra - Hidden Fresco (2005) and Loplop’s Call ditions of the Dalmatian hinterland. He is (2013). He also appears on Rivière also the co-author of the CD Croatian Composers’ Pool’s Summer Works (2010), Traditional Music , which presents field- Lucian Ban and John Hébert’s Enesco Re- work recordings of the country’s contem - Imagined (2010), Melencolia (2011) with porary traditional music. In addition to his Theo Jörgensmann, and Fantasm (winter research work, Mr. Ćaleta is an active 2014 –15) with Ban and Mat Maneri. singer, arranger, conductor, and composer in the traditional klapa style. Norbert Rodenkirchen Norbert Rodenkirchen studied flute at the Sanda Herzic Hochschule für Musik in Cologne. He has Sanda Herzic studied dramatic arts at the been the flute player of Sequentia since National Conservatory in Zagreb and at the 1996, and works regularly with Dialogos. Jacques Lecoq School in Paris. Since 1984, 10-20 Heretic.qxp_GP 10/6/15 3:33 PM Page 11

she has directed and performed original the - was also host and producer of the atrical and musical pieces in France, Croatia, acclaimed Making Music composer series. England, and Australia. She has staged Of In recent seasons he has been heard both Mice and Men by John Steinbeck, The on Metropolitan Opera radio broadcasts Elephant Man by Bernard Pomerance, Kes and, as a guest host, on American Public by Barry Hines, Queen of the Snows by Media’s Saint Paul Sunday. Previously Mr. J.C. Andersen, and Hunters of Stories by Guzelimian was the artistic administrator Aesop. Picture of Dreams is a work she cre - of the Aspen Music Festival and School in ated among the Australian Aborigines. Ms. Colorado and artistic director of the Ojai Herzic also staged Apocalypso in Vienna, Music Festival in California. He was associ - Zagreb, and Amsterdam. Music plays a very ated with the Los Angeles Philharmonic important role in her stagings, but in her last from 1978 to 1993, first as producer for few creations— Sei Solo , The Vision of the orchestra’s national radio broadcasts Tondal , and Judith —sound becomes the and, subsequently, as artistic administra - main actor. She seeks a pure and universal tor. He is editor of Parallels and Paradoxes: language to stage the most profound Explorations in Music and Society , a collec - themes with lightness. tion of dialogues between Daniel Baren- boim and Edward Said. In 2003 Mr. Marie Bellot Guzelimian was awarded the title Marie Bellot began working in theater in Chevalier des Arts et des Lettres by the 1978. She had her first contact with light - French government for his contributions to ing design during a workshop with John French music and culture. Davis about the meaning of light. After working with choreographer Lucinda White Light Festival Childs, she turned to light design for I could compare my music to white light, dance. She then worked for several years which contains all colors. Only a prism can with choreographers Suzon Holzer, Jackie divide the colors and make them appear; Marquès, Edwige Wood, Renate Pook, this prism could be the spirit of the listener. Emmanuelle Robert, and Maguy Marin. —Arvo Pärt. Celebrating its sixth anniver - She has also worked on creations for the sary, the White Light Festival is Lincoln theater with directors such as Sanda Center’s annual exploration of music and Herzic, Dominique Maurin, and Jean-Louis art’s power to reveal the many dimensions Berault, as well as in poetry with Yorguy of our interior lives. International in scope, Karakatzanis. She has maintained a strong the multidisciplinary Festival offers a broad link with the world of dance, through cre - spectrum of the world’s leading instrumen - ations from Tomeo Verges, Caterina talists, vocalists, ensembles, choreogra - Sagna, Ana Rodiguès, Pascale Houbin, and phers, dance companies, and directors Si Mohamed Si. complemented by conversations with artists and scholars and post-performance Ara Guzelimian White Light Lounges. Ara Guzelimian is provost and dean of The Juilliard School in New York City, having Lincoln Center for the Performing been appointed to the post in August Arts, Inc. 2006. At Juilliard, he oversees the faculty, Lincoln Center for the Performing Arts curriculum, and artistic planning of the dis - (LCPA) serves three primary roles: presen - tinguished performing arts conservatory in ter of artistic programming, national leader all three of its divisions—dance, drama, in arts and education and community rela - and music. From 1998 to 2006, Mr. tions, and manager of the Lincoln Center Guzelimian was the senior director and campus. A presenter of more than 3,000 artistic advisor of Carnegie Hall, where he free and ticketed events, performances, WhiteLightFestival.org 10-20 Heretic.qxp_GP 10/6/15 3:33 PM Page 12

tours, and educational activities annually, Award–winning Live From Lincoln Center , LCPA offers 15 programs, series, and festi - which airs nationally on PBS. As manager of vals including American Songbook, Great the Lincoln Center campus, LCPA provides Performers, Lincoln Center Festival, Lincoln support and services for the Lincoln Center Center Out of Doors, Midsummer Night complex and the 11 resident organizations. Swing, the Mostly Mozart Festival, and the In addition, LCPA led a $1.2 billion campus White Light Festival, as well as the Emmy renovation, completed in October 2012.

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Mauricio Lomelin, Producer, Contemporary Programming Julia Lin, Associate Producer Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Madeleine Oldfield, House Seat Coordinator Kathy Wang, House Program Intern

For the White Light Festival Avancy Inc., Production Services Courtney F. Caldwell, House Manager Stefanie Lehmann, Company Manager