Oberlin Contemporary Music Ensemble ROGER MASTROIANNI

Sunday, December 4, 2016 Welcome to the Cleveland OberlinPerforming Contemporary Arts Museum of Art Musiccma.org/performingarts Ensemble The Cleveland Museum of Art’s performing arts series #CMAperformingarts brings together thoughtful, fascinating, and beautiful Timothy Weiss, conductor experiences, comprising a concert calendar notable for AramCIM/CWRU Mun, fluteJoint Music Program Emmanuel Arakélian Wednesday, October 5, 6:00 Sunday, February 19, 2:00 its boundless multiplicity. This year we look forward to Haewon Song, visits from old friends and new, bringing us music from RubyFretwork Dibble, soprano Oberlin Contemporary Music around the globe and spanning many centuries. Here Wednesday, October 12, 7:30 Ensemble Sunday, February 26, 2:00 is the place where performance is intended to explore Sunday,Vijay Iyer December with International 4, 2016, 2:00 p.m. connections of cultures, the heart, the human spirit. Contemporary Ensemble CIM/CWRU Joint Music Program GartnerWednesday, Auditorium, October 19, the 7:30 Cleveland MuseumWednesday, of Art March 1, 6:00 In the Galleries CIM/CWRU Joint Music Program CIM Organ Studio Dan Graham/Rocks Wednesday, November 2, 6:00 Sunday, March 12, 2:00 (at Transformer Station, W. 29th St.) PROGRAMOberlin Contemporary Music Quince Through December 4, 2016 Ensemble Wednesday, March 22, 7:30 VermontSaturday, Counterpoint November 5, 2:00 (1982) Steve Reich (b.1936) Frode Haltli & Emilia Amper The Ecstasy of St. Kara: Kara Walker, New Work Jean-Baptiste Monnot Wednesday, March 29, 7:30 Through December 31, 2016 Sunday, November 13, 2:00 Aram Mun, solo flute/alto flute/piccoloCIM/CWRU Joint Music Program Cheating Death: Portrait Photography’s First Half Century Oberlin Contemporary Music Wednesday, April 5, 6:00 KatieEnsemble Kim, piccolo Through February 5, 2017 Oberlin Contemporary Music JuliaSunday, Pyke, December Karisma 4, Palmore,2:00 Ellyn Butler, piccolo/flute Myth and Mystique: Cleveland’s Gothic Table Fountain Ensemble TasiCIM/CWRU Hiner, Hexin Joint MusicZhang, Program Hee Jeong Yoon,Sunday, flute April 9, 2:00 Through February 26, 2017 Wednesday, December 7, 6:00 Lily Zishu Xie, Yuan Fei Chen, Isaiah Shaw,Zakir alto Hussain flute & Rahul Sharma Albert Oehlen: Woods near Oehle AndrewFrancesco Santiago, D’Orazio flute Wednesday, April 12, 7:30 December 4–March 12, 2017 Friday, December 9, 7:30 Jeffrey Zeigler Opulent Fashion in the Church CIM/CWRU Joint Music Program Wednesday, April 26, 7:30 Wednesday, January 4, 6:00 Through September 24, 2017 Piano Concerto (1996/7) CIM/CWRUJudith Joint WeirMusic (b.Program 1954) The Crossing: Wednesday, May 3, 6:00 David1. Lang’s Lifespan Friday–Sunday, January 6–8 Brandee Younger & Courtney Bryan 2. The Sweet Primeroses Wednesday, May 10, 7:30 The3. “Qatsi” Trilogy Friday–Sunday, January 27–29 CIM/CWRU Joint Music Program Please turn off all electronic devices before entering Haewon Song, piano Wednesday, February 1, 6:00 the performance hall. Greg Gennaro, Luke Lentini, violin 1 Dana Johnson, Liuwenji Wang, violin 2 Photography and audio/video recording in the performance hall are prohibited. Stephen Hart, Jason Butler, viola Heewon Lee, Raffi Boden, cello Alan Wang, bass Counterpoise (1995) Jacob Druckman (1928–1996) Vermont Counterpoint (1982) was commissioned by flutist Ransom Wilson and is dedicated to Betty Freeman. It is “Nature” is what we see (Emily Dickinson) scored for three alto flutes, three flutes, three piccolos Salomé (Guillaume Apollinaire) and one solo part all pre-recorded on tape, plus a live solo La Blanche Neige (Guillaume Apollinaire) part. The live soloist plays alto flute, flute and piccolo I taste a liquor never brewed (Emily Dickinson) and participates in the ongoing counterpoint as well as more extended melodies. The piece could be performed Ruby Dibble, soprano by eleven flutists but is intended primarily as a solo with tape. The duration is approximately ten minutes. In that Aram Mun, flute • Alex Dergal, clarinet comparatively short time four sections in four different Madison Warren, horn • Adriel Rush Garcia, trombone keys, with the third in a slower tempo, are presented. The Laura Spector, piano • Louis Pino, percussion compositional techniques used are primarily building Liuwenji Wang, violin • Heewon Lee, cello up canons between short repeating melodic patterns by substituting notes for rests and then playing melodies that result from their combination. These resulting melodies or — Pause — melodic patterns then become the basis for the following section as the other surrounding parts in the contrapuntal web fade out. Though the techniques used include several Selene: Moon Chariot Rituals (2015) Augusta Read Thomas (b. 1964) that I discovered as early as 1967 the relatively fast rate of change (there are rarely more than three repeats of any Dana Johnson, violin 1 • Greg Gennaro, violin 2 bar), metric modulation into and out of a slower tempo, Stephen Hart, viola • Raffi Boden, cello and relatively rapid changes of key may well create a more Carson Fratus, Justin Gunter, Louis Pino, Hunter Brown, percussion concentrated and concise impression.

Fabian Fuertes, operations and ensemble personnel manager Piano Concerto (1997) Elaine Li, librarian by Judith Weir (b. Cambridge, England, 1954)

Instrumentation: piano solo and strings (Violin I – Violin II – PROGRAM NOTES Viola – Cello – Bass). Born in England to Scottish parents, Judith Weir was appointed Vermont Counterpoint (1982) to the prestigious position of Master of the Queen’s Music in by Steve Reich (b. New York, 1936) 2014. The first woman to serve in this capacity, she succeeded Instrumentation: flute and tape; or (in the ensemble version) 8 flutes, Peter Maxwell Davies when the latter’s term expired. Weir is 3 alto flutes. known mainly for her , but she has written prolifically in many other genres as well. The —who is celebrating his eightieth birthday this year—has written the following comments on his piece:

4 5 Weir’s Piano Concerto was written in 1997 for the eminent trombone, percussion (vibraphone, glockenspiel, sizzle British pianist William Howard. Speaking of the work and her cymbal, suspended cymbal, bass drum, marimba, tam-tam, collaboration with Howard, the composer noted: 3 tom-toms, sleigh bells, finger cymbals), piano, violin, cello. Jacob Druckman, who died twenty years ago, was neither it always seemed as if our idea of a piano concerto was not an “avantgardist” nor a “neo-Romantic,” nor did any other the same as everybody else’s. Ever since the modern piano simplistic label in common currency fit his music. Speaking was born, the composition of piano concertos has been on at the memorial service of his close friend and colleague, an inflationary spiral, and it is now a musical form associated Bernard Rands described Druckman’s works as “glorious, with the crashingly loud side of music—which is not the kind powerfully moving, immediate yet elusive, ecstatic yet of music I generally like to write. But knowing of William’s introverted.” In the course of an illustrious career crowned performances of such small-scale concertos as the Mozart by a Pulitzer Prize and a professorship at Yale, Druckman K. 449 with as few as five strings in the accompanying built an extraordinary oeuvre that combined great , I was inspired to write him a contemporary piece structural clarity with a profound commitment to emotional which similarly lives in the space between expression. and bravura-filled spectacle. The first performance (at the 1997 Spitalfields Festival in London) was performed with Druckman was a highly literate composer who drew an orchestra of nine solo strings, led from the keyboard. on a multiplicity of poetic sources in his works, from the Subsequent performances have sometimes involved much Bible and ancient Chinese texts to Ovid, Shakespeare, larger string , often directed by a conductor. But Gerald Manley Hopkins and more. In Counterpoise, the last this doesn’t seem to have altered the essentially intimate major work he was able to complete before the onset of character of the music. his fatal illness, he turned to Emily Dickinson (1830–1886) and Guillaume Apollinaire (1880–1918), setting each in the The work is in three movements and lasts about original language, bringing their contrasting stylistic worlds fifteen minutes. The first movement, basically an allegro, into a state of balance (“counterpoise”) by arranging them establishes the balance between piano and strings—as symmetrically, with the American poems at the beginning much a balance of timbres as of dynamics. The second and the end, and the French in the middle. movement, a florid completion of a fragmentary English folksong called ‘The Sweet Primroses,’ has rightly been The “ecstasy” that Bernard Rands spoke about in his described as a threnody, opening with a muted ensemble comments quoted above is evident in these four luxuriant of lower strings. The final movement exhibits rude energy movements where a vocal line of uncommon intensity is which has reminded some listeners of Scottish traditional complemented by a rich and colorful instrumental writing, music (perhaps an enthusiastic strathspey-and-reel with some virtuosic wind solos and a wild percussion part. orchestra sliding about on the strings), although I was not Counterpoise was originally composed for large thinking of folk music when I wrote it. orchestra, in commission for the Philadelphia Orchestra, which premiered it under Wolfgang Sawallisch, with Dawn Upshaw as the soprano soloist, on April 28, 1994. The Counterpoise (1994) chamber ensemble version, made in 1995, was premiered by Jacob Druckman (Philadelphia, 1928 – New Haven, 1996) at Alice Tully Hall in New York City, with soprano Susan Instrumentation of chamber-ensemble version: soprano solo, Narucki and the Chamber Music Society of Lincoln Center. 6 flute (doubling piccolo), clarinet (doubling bass clarinet), horn, 7 I “Nature” is what we see Et pour qui voulez-vous And now for whom Emily Dickinson qu’à présent je la brode should I embroider Son bâton refleurit sur les bords His staff blooms again on the du Jourdain banks of the Jordan “Nature” is what we see— Et tous les lys quand vos soldats And all the lilies O King Herod The Hill—the Afternoon— ô roi Hérode when your soldiers Squirrel—Eclipse—the Bumble bee— L’emmenèrent se sont flétris dans Led him away wilted Nay—Nature is Heaven— mon jardin in my garden The Bobolink—the Sea— Thunder—the Cricket— Nay—Nature is Harmony— Venez tous avec moi Come with me all of you Nature is what we know— là-bas sous les quinconces down to the arbor Yet have no art to say— Ne pleure pas Weep no more So impotent Our Wisdom is ô joli fou du roi you sweet jester To her Simplicity. Prends cette tête au lieu Put this head in place of your de ta marotte et danse jester’s scepter and dance II N’y touchez pas son front Do not touch his forehead ma mère est déjà froid mother it is already cold Salomé Guillaume Apollinaire Translation by Jacob Druckman Sire marchez devant Sire march in front, trabants marchez derrière halberd-carriers behind Pour que sourie encore Just to make Nous creuserons un trou We will dig a hole une fois Jean-Baptiste John the Baptist smile again et l’y enterrerons and bury it Sire je danserais mieux que les Sire I would dance better than Nous planterons des fleurs We will plant flowers séraphins seraphim et danserons en rond and do a round dance Ma mère dites-moi Mother tell me Jusqu’à l’heure où j’aurai perdu Until the hour that I pourquoi vous êtes triste why you are sad ma jarretière lose my garter En robe de comtesse Dressed as a princess Le roi sa tabatière The king his snuff-box à côté du Dauphin at a prince’s side L’infante son rosaire The child her rosary Le curé son bréviaire The priest his breviary Mon cœur battait très fort à sa My heart used to beat powerfully parole at his words Quand je dansais As I danced dans le fenouil en écoutant in the fennel listening Et je brodais des lys And I wove lilies sur une banderole onto streamers Destinée à flotter To float from au bout de son bâton the end of his staff 8 9 III When “Landlords” turn the drunken Bee La Blanche Neige The White Snow Out of the Foxglove’s door— When Butterflies—renounce their ‘drams’— Apollinaire Translation by Jacob Druckman I shall but drink the more!

Les anges les anges dans le ciel Angels, angels in the sky Till Seraphs swing their snowy Hats— L’un est vêtu en officier One is dressed as an officer And Saints—to windows run— L’autre est vêtu en cuisinier One is dressed as a cook To see the little Tippler Et les autres chantent And the others sing Leaning against the—Sun—

Bel officier couleur du ciel Handsome sky-colored officer Le doux printemps The gentle spring Selene: Moon Chariot Rituals (2015) longtemps après Noël long after Christmas by Augusta Read Thomas (b. Glen Cove, NY, 1964) Te médaillera d’un beau soleil Will decorate you with a medal D’un beau soleil A bright sun a brilliant sun Instrumentation: 2 violins, viola, cello, percussion (4 players. Percussion I: marimba, tubular chimes, medium suspended Le cuisinier plume les oies The cook plucks the geese cymbal, 2 triangles, 2 woodblocks [medium and very large], 4 Ah! tombe neige Ah! falls the snow tom-toms. Percussion II: vibraphone, tubular chimes [shared Tombe et que n’ai-je Falls and there’s no with Perc. I], marimba [shared with Perc. I], 2 triangles, 3 claves, Ma bien-aimée entre mes bras Beloved in my arms 2 bongo drums. Percussion III: glockenspiel, vibraphone, 2 wood blocks [small and large], 2 bongo drums, 3 triangles (small, medium, large), suspended cymbal. Percussion IV: xylophone, crotales, 3 suspended finger cymbals (small, IV medium, large), 4 temple blocks, 2 conga drums, suspended cymbal.) I taste a liquor never brewed Dickinson Augusta Read Thomas, a former student of Jacob Druckman and one of the most-performed American of our time, scored another major success last year with Selene, I taste a liquor never brewed— an octet for string quartet and percussion quartet. Co- From Tankards scooped in Pearl— commissioned by Columbia University and the Tanglewood Not all the Vats upon the Rhine Music Center in honor of its 75th anniversary, the work was Yield such an Alcohol! premiered by the JACK Quartet and Third Coast Percussion on March 5, 2015 at Columbia’s Miller Theatre. Inebriate of Air—am I— And Debauchee of Dew— Moon goddess Selene, daughter of the Titans Hyperion Reeling—thro endless summer days— and Theia, is the sister of the sun-god Helios and Eos, goddess From inns of Molten Blue— of the dawn. Thomas, who has declared Greek mythology and dance to be two of her “lifelong passions,” had previously 10 11 been inspired by these characters to write Helios Choros, an ABOUT THE ARTISTS orchestral triptych (2006–07), also choreographed as a ballet, and Eos, a ballet for orchestra (2015). Selene, too, is listed Flutist ARAM MUN was born in Seoul, South Korea, to a among the ballets on Thomas’s website. As the composer has family actively invested in traditional Korean music. As a written: student at the Goyang High School of Arts, she received a scholarship and numerous competitive prizes before I conceived most of my orchestral and chamber works beginning her flute performance studies at the Korean as suitable for dance. I stand at the drafting table as I National University of Arts. She is now in her final year compose and fully embody the sounds by dancing (though, at Oberlin Conservatory where she studies with Alexa trust me, you do NOT want to see me dance!) Still. In 2015, Mun won first prize at the Central Ohio Flute Association Competition. She has attended the summer festivals of Aspen, Banff, and Round Top. She In the mythological tradition, Selene drives her moon is also featured in a duo work on a forthcoming Oberlin chariot, pulled by two horses (according to some sources, bulls Music label recording of the music of Efraín Amaya with or oxen), across the heavens. Thomas imagined a wild ride that Alexa Still. is at times joyful and energetic, at other times mysterious and awe-inspiring—and always changing its speed and direction. As she has done for several other of her compositions, Thomas has Pianist HAEWON SONG has been a member of the drawn a colorful map for Selene indicating the various sections Oberlin piano department since 1991. An internationally of the piece and their musical characteristics (it may be seen recognized artist and pedagogue, she has performed on her website). The mood descriptions are also included and taught at top venues throughout the United States, in the score, providing a running commentary and a poetic Europe, and Asia, including concerto performances program of sorts for the music. In the course of the piece, we with the KBS Orchestra in Seoul, Baltimore Symphony find performance markings such as “playful and optimistic,” Orchestra, Cleveland Chamber Symphony, and Oberlin “resonant and spacious,” “spritely and buoyant,” “dancing on Conservatory ensembles including the Chamber tip-toes,” “like stretching taffy backwards,” “bursting forth Orchestra, College Community Strings, and Wind like a slingshot,” and finally, “ritualistic,” evoking some ancient Ensemble. Song has also appeared at numerous ceremony with intense drumming. The music conveys the international festivals, among them Mexico’s Cervantino chariot’s flight and the worship of the divinities in a visceral Festival, the All-American Music Festival in Stuttgart, way, through a succession of brief sections that are arranged Grand Teton Music Festival, Aria Festival, Canada’s in an interlocking way: each of the above markings appears Institute of Musical Arts, Festival de Nice in France, more than once, separated by contrasting materials. Thomas Oberlin Summer Piano Festival, and the Tonghai Music has written particularly virtuosic parts for the tuned percussion Festival in Taiwan. In 2005, she toured Korea as a (marimba, vibraphone, xylophone, glockenspiel); she even uses member of the Oberlin Piano Quartet, which included the strings “percussively” with frequent pizzicato sections and celebrated performances in Daejun and at the Kumho sharp, abrupt attacks. Selene’s chariot is quite a nifty flying Concert Hall in Seoul. machine! A native of South Korea, Song attended the Toho —Peter Laki School in Tokyo, Peabody Preparatory School, and

12 13 the Juilliard School, where her major teachers were and has taken pleasure in collaborating with Oberlin’s Julian Martin, Martin Canin, and Shuku Iwasaki, and Contemporary Music Ensemble. has taught at Tunghai University in Taiwan and Kyung

Won University in Seoul. Throughout her tenure at Oberlin, her students have won major prizes in both Conductor TIMOTHY WEISS has gained critical national and international competitions, including Music acclaim for his performances and brave, adventurous Teachers National Association Nationals, Nena Wideman programming throughout the United States and Piano Competition, Kingsville International Young abroad. His repertoire in contemporary music is Performers Competitions, Oberlin International Piano vast and fearless, including masterworks, recent Competition, Walgreens National Concerto Competition, compositions, and an impressive number of premieres the World Competition, and Corpus Christi International and commissions. Recently, he was the recipient of the Competition. They also regularly appear with significant Adventurous Programming Award from the American orchestras across the United States and Asia. Symphony Orchestra League. As a guest conductor, upcoming and recent engagements include the Artic Song is a frequent performer in duo piano recitals Philharmonic in Bodø, Norway; Orchestra 2001 in with her husband and fellow Oberlin piano faculty Philadelphia; the Eastman Broadband Ensemble; the member Robert Shannon; their recording of George BBC Scottish Symphony; the Britten Sinfonia in London; Crumb’s Celestial Mechanics (Bridge Records) has been and the Melbourne Symphony in Australia. hailed as “a wonderfully buoyant rhythmic performance” (Classicstoday.com). She is also a member of the In his 23 years as music director of the Oberlin acclaimed Oberlin Trio along with Oberlin faculty David Contemporary Music Ensemble, he has brought the Bowlin, violin, and Amir Eldan, cello. group to a level of artistry and virtuosity in performance that rivals the finest new music groups. During his tenure with the CME at Oberlin, he has mentored the Soprano RUBY DIBBLE is currently a fourth year ensembles eighth blackbird and ICE as well as many vocal performance major at the Oberlin Conservatory, other leading performers in the field of contemporary studying under Professor Marlene Ralis Rosen. In music. her time at Oberlin, Ruby has had the pleasure of As a committed educator, he is Professor of frequenting main stage productions, including the and Chair of the Division of Contemporary roles of Female Chorus in The Rape of Lucretia, Jennie Music at the Oberlin Conservatory of Music. He holds Hildebrand in Street Scene, and Arnalta in Oberlin in degrees from the Royal Conservatory in Brussels, ’s production of L’Incoronazione di Poppea. Ruby Belgium, Northwestern University, and the University of was a recipient of the 2016 National Shirley Rabb Michigan. Winston Scholarship in Voice. In 2015, she was a national winner of the Young Singers Foundation’s Bev Sellers Memorial Scholarship as well as a recipient of the Rislov Foundation Classical Foundation Grant. Ms. Dibble has a great passion for contemporary

14 15 Oberlin Contemporary Music Ensemble UPCOMING PERFORMANCES Deemed by the New York Times as “a hotbed of CIM/CWRU Joint Music Program contemporary-classical players” and a “rural experimental Wednesday, December 7, 6:00 p.m. haven,” Oberlin Conservatory of Music cultivates innovation Gallery 217 in its students. In its six annual full-concert cycles, Oberlin’s Contemporary Music Ensemble (CME), directed by Timothy The CWRU Collegium Musicum and Early Music Singers Weiss, performs music of all contemporary styles and present a program of 14th-century French music by genres: from minimalism to serialism, to electronic, cross Guillaume de Machaut and his contemporaries in genre, mixed media, and beyond. conjunction with the exhibition Myth and Mystique: Cleveland’s Gothic Table Fountain. CME has worked with many prominent composers, Free, no tickets required. including Aaron Helgeson, George Crumb, Sir Harrison cma.org/cim Birtwistle, Stephen Hartke, Helmut Lachenmann, David Lang, Joan Tower, Frederic Rzewski, and others, and Francesco D’Orazio has premiered many of their works. CME also regularly Friday, December 9, 7:30 p.m. premieres works by Oberlin faculty, student, and alumni Transformer Station composers. Violinist Francesco D’Orazio (b. Bari, Italy) was awarded Each year, some of the most well-regarded the Premio Abbiati as Best Soloist of the year by the contemporary music icons perform as soloists with CME, Italian National Music Critics Association in 2010. His including Jennifer Koh, Claire Chase, David Bowlin, Tony large repertoire includes works ranging from early Arnold, Marilyn Nonken, Stephen Drury, Steven Schick, and to classic, romantic and contemporary music. He is Ursula Oppens. Distinguished students regularly receive a favorite of many composers and premiered violin opportunities to perform as soloists with the ensemble as and orchestra works by Terry Riley, Michael Nyman, well, a luxury that is seldom afforded at other institutions. Ivan Fedele, Michele dall’Ongaro, Lorenzo Ferrero, Gilberto Bosco, Raffaele Bellafronte, Marco Betta, CME regularly performs in Cleveland and tours the Nicola Campogrande, Fabian Panisello and Flavio Emilio states. In recent years, the group has performed at the Scogna. D’Orazio plays a violin by Giuseppe Guarneri, Winter Garden, Miller Theater, Merkin Concert Hall, DiMenna “Comte de Cabriac,” Cremona 1711. Center, Harvard University, Benaroya Hall, Palace of Fine Arts, Carnegie Hall’s Weill Recital Hall, and in numerous In his Cleveland debut, he performs works for solo partner concerts with the Cleveland Museum of Art. violin and electronics by Luciano Berio, Sequenza VIII (1976); Curt Cacioppo, Elegy (2015); Salvatore CME has been featured on a number of commercial Sciarrino, Capricci nos. 1 and 4 (1975); Ivan Fedele, Suite recordings, including John Luther Adams’ In the White Francese II (2010); Nicola Sani, Raw (2005); Luciano Silence (New World Records), Lewis Nielson’s Écritures: St. Chessa, Sarabanda e Corrente (1987–2013); and Michele Francis Preaches to the Birds (Centaur Records), and on the Dall’Ongaro, La Musica di E. Z. (1999). Oberlin Music record label. $25, CMA members $22 cma.org/dorazio

16 17 TheWelcome Crossing: David to Lang’sthe Cleveland Lifespan Performing Arts Friday–Sunday,Museum of January Art 6–8 multiple performances each day cma.org/performingarts GalleryThe Cleveland 218 Museum of Art’s performing arts series #CMAperformingarts brings together thoughtful, fascinating, and beautiful Consistentlyexperiences, recognizedcomprising ina concert critical calendarreviews, notablethe Crossing for has CIM/CWRU Joint Music Program Emmanuel Arakélian Wednesday, October 5, 6:00 Sunday, February 19, 2:00 beenits boundless hailed as multiplicity. “superb” ( NewThis yearYork weTimes look), forward“ardently to angelic” (Losvisits Angeles from old Times friends), and and “something new, bringing of usa miracle”music from (The Fretwork Oberlin Contemporary Music Wednesday, October 12, 7:30 Ensemble Philadelphiaaround the globe Inquirer and). spanningIn this unique many performance, centuries. Here a Hadean- is the place where performance is intended to explore Sunday, February 26, 2:00 period rock sample, estimated to be more than 4 billion Vijay Iyer with International connections of cultures, the heart, the human spirit. Contemporary Ensemble CIM/CWRU Joint Music Program years old, hangs from the ceiling. During performances, this Wednesday, October 19, 7:30 Wednesday, March 1, 6:00 rock is “played” by three vocalists whistling and breathing, In the Galleries CIM/CWRU Joint Music Program CIM Organ Studio which subtly moves the rock like a pendulum. The singers’ Elegance and Intrigue: Wednesday, November 2, 6:00 Sunday, March 12, 2:00 breaths, acting as a poetic form of wind erosion, bring French Society in 18th-Century Prints and Drawings Oberlin Contemporary Music Quince humans into close contact with the rock. Through November 6, 2016 Ensemble Wednesday, March 22, 7:30 Saturday, November 5, 2:00 Frode Haltli & Emilia Amper CommissionedDan Graham/Rocks by the Philadelphia Museum of Art and Jean-Baptiste Monnot Wednesday, March 29, 7:30 the(at FabricTransformer Workshop Station, for W. their 29th major St.) exhibition by Allora Sunday, November 13, 2:00 &Through Calzadilla, December David Lang’s 4, 2016 Lifespan connects the present CIM/CWRU Joint Music Program Oberlin Contemporary Music Wednesday, April 5, 6:00 moment with that of the earth’s origins—a time when there The Ecstasy of St. Kara: Kara Walker, New Work Ensemble were no witnesses to the planet’s geological transformation. Sunday, December 4, 2:00 Oberlin Contemporary Music Through December 31, 2016 Ensemble CIM/CWRU Joint Music Program Sunday, April 9, 2:00 Free;Cheating no tickets Death: required. Portrait Photography’s See cma.org/crossing First Half forCentury Wednesday, December 7, 6:00 performanceThrough February times. 5, 2017 Zakir Hussain & Rahul Sharma Francesco D’Orazio Wednesday, April 12, 7:30 Myth and Mystique: Cleveland’s Gothic Table Fountain Friday, December 9, 7:30 The “Qatsi” Trilogy: Music by Philip Glass for by Jeffrey Zeigler GodfreyThrough Reggio February 26, 2017 CIM/CWRU Joint Music Program Wednesday, April 26, 7:30 Wednesday, January 4, 6:00 Friday–Sunday,Albert Oehlen: Woods January near 27–29 Oehle CIM/CWRU Joint Music Program ClevelandDecember Museum 4–March of 12, Art 2017 and The Crossing: Wednesday, May 3, 6:00 Cleveland Institute of Art Cinematheque David Lang’s Lifespan Opulent Fashion in the Church Friday–Sunday, January 6–8 Brandee Younger & Courtney Bryan Wednesday, May 10, 7:30 OnThrough the occasion September of composer 24, 2017 Philip Glass’s 80th birthday, The “Qatsi” Trilogy the CMA and Cinematheque collaborate in this rare Friday–Sunday, January 27–29 weekend presentation of the “Qatsi” trilogy, Glass and CIM/CWRU Joint Music Program Please turn off all electronic devices before entering filmmaker Godfrey Reggio’s tour de force cinematic works: Wednesday, February 1, 6:00 the performance hall. Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi. Presented here toPhotography be experienced and audio/videoeither in one recording marathon in screening the or individuallyperformance over hall theare courseprohibited of the. weekend, these landmark scores for rank among Glass’s masterworks. Trilogy passes and single tickets available. cma.org/qatsi 18 Please turn off all electronic Photography and audio/video recording devices before entering the in the performance hall are prohibited. performance hall. JACK Quartet

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:

Wednesday, March 2, 2016 TICKETS 1–888–CMA–0033 cma.org/performingarts