46TH SEASON | 2010 / 2011

Shulamit Ran 01.09.11 Artistic Director Lyre of Orpheus

Marta Ptaszynska 03.01.11 Acting Artistic Director 2010/11 Contempo Double-Bill: European Connections Cliff Colnot Conductor

eighth blackbird Pacifi ca Quartet Ensembles-in-residence ACTING ARTISTIC DIRECTOR

Welcome to Contempo’s 46th season! While programming this season’s concerts, my goal was to bring audiences the most interesting, evocative and inspiring works by distinguished American and European composers. The fi rst Contempo concert is devoted to American composers with a special emphasis on the works of the late Ralph Shapey, founder and former director of the Contemporary Chamber Players – what is now known as Contempo. The second concert, the annual double-bill at the Harris Theater, features European composers from fi ve countries along with jazz vibraphonist Jason Marsalis and his quartet.

These concerts celebrate not only composers, but also UChicago’s fabulous ensembles-in- residence. Pacifi ca Quartet performs along with eighth blackbird – who are celebrating their 10th anniversary with Contempo this season – and conductor Cliff Colnot. This year, we are proud to host Agata Zubel, an internationally-known Polish singer and composer, as well as the the critically-acclaimed mezzo-soprano Julia Bentley.

Our annual end-of-the-year concerts this May are devoted to the ’s doctoral candidates in composition. These two concerts, fi lled with intriguing and often radical music, show the brilliance and high accomplishments of our composition students.

Thank you for your support of Contempo – enjoy the music!

Marta Ptaszynska Acting Artistic Director 2010/11 46TH SEASON 2010/2011

Shulamit Ran Artistic Director CONTENTS Marta Ptaszynska Acting Artistic Director 2010/11 Contempo History p.4

Cliff Colnot Lyre of Orpheus (January 9) p.6 Conductor Contempo Double-Bill: European Connections (March 1) p.14 Acting Artistic Director Bio p.21

Shauna Quill Artist Bios p.22 Executive Director, Season Calendar p.27 Chicago Presents

Rebecca Cafarelli Director of Production, Chicago Presents

Kennon Reinard Director of Communications, Chicago Presents

McKee Krumpak Peter Salib Concert Assistants

Erin L. Sullivan Program Annotator eighth blackbird

Shawn Allison Stage Manager

Alex Berezowsky Technical Director

Rebekah Boyer Exclusive Artist for Contempo Details from Illuminati (2007-08)

Offi ce Hours Mon-Fri 10am-5pm 5720 S. Woodlawn Ave. Chicago, IL 60637

Contact 773.702.8068 [email protected]

Visit us online! contempo.uchicago.edu chicagopresents.uchicago.edu Facebook: Chicago Presents Pacifi ca Quartet Twitter: @ChicagoPresents About Contempo

Dedicated exclusively to the performance of contemporary classical music, the University of Contempo is one of the oldest and most successful professional new music groups in the nation. Over its 46-year history, Contempo—formerly known as the Contemporary Chamber Players—has earned an enviable reputation for its outstanding performances of music by living composers. It has given over eighty world premieres, and even more Chicago premieres, of works by both established and emerging composers, including Roger Sessions, John Harbison, Ralph Shapey, George Perle, Pulitzer Prize-winning faculty member Shulamit Ran and MacArthur fellow and former University of Chicago faculty member John Eaton.

Contempo was founded in the fall of 1964 by renowned composer and conductor Ralph Shapey, who continued to direct the ensemble until his retirement in 1993. Shapey was succeeded by Stephen Mosko, who held the position of Music Director from 1994 to 1998. Seeking to more closely integrate its artistic vision with its educational mission, Contempo underwent a major restructuring by the Department of Music in 1998. Over the next four seasons, conductors Cliff Colnot, Barbara Schubert and Carmen Helena Tellez served consecutively as Resident Conductors, with the award-winning Pacifi ca Quartet and eighth blackbird joining Contempo as Artists-in-Residence in 1998 and 2000, respectively. In 2002 Shulamit Ran was appointed Contempo Artistic Director, and in 2004—the ensemble’s 40th season—Contempo forged a bold new artistic path, including its current name and new venues.

4 UofC PRESENTS CONTEMPO 10/11 In planning each season, Ran collaborates closely with other faculty members in the Department of Music as well as with conductor Cliff Colnot and the two resident ensembles. In addition to the Artists-in-Residence, Contempo often features musicians who perform regularly with the Chicago Symphony Orchestra and the Lyric Opera. Since its inception, the CCP has dedicated itself to the performance of works by the University’s own doctoral candidates in composition, as well as countless other composers whose name recognition may not yet equal their talent. This practice has greatly enhanced the living art of composition, as young composers are able to participate in the rehearsal process and hear their work realized by a world-class professional ensemble.

Contempo is proud to be a member of New Music Chicago. For more information, visit www.newmusicchicago.org

“…a winning combination of intriguing music and superb performers.”

– Chicago Sun-Times

UofC PRESENTS CONTEMPO 10/11 5 Ganz Hall, Roosevelt University

01.09.11 SUN | 3 PM eighth blackbird Pacifi ca Quartet Julia Bentley, mezzo-soprano Jesse Langen, banjo Lyre of Orpheus

STEPHEN MONTAGUE String Quartet No. 1: (b. 1943) in memoriam Barry Anderson & Tomasz Sikorski for string quartet, live-electronics, and tape (1989–93) Pacifi ca Quartet

GEORGE CRUMB Night of the Four Moons (1969) (b. 1929) La luna está muerta Cuando sale la luna Otro Adán oscuro está soñando Huye luna, luna, luna Julia Bentley, mezzo-soprano Tim Munro, fl utes Jesse Langen, banjo Nicholas Photinos, electric cello Matthew Duvall, percussion

INTERMISSION

SHAPEY Evocation No. 3 for viola and (1981) (1921–2002) Passacaglia Scherzo Song Matt Albert, viola Lisa Kaplan, piano

SHULAMIT RAN Lyre of Orpheus (2008) (b. 1949) Pacifi ca Quartet Matt Albert, viola Nicholas Photinos, cello

Audio assistance provided by TECHNOTRIX

The audience is requested to please delay its applause for each piece until a moment after the last note has faded. This will permit everyone to enjoy every note.

6 UofC PRESENTS CONTEMPO 10/11 TEXT FOR NIGHT OF THE FOUR MOONS

I La luna está muerta, muerta; The moon is dead, dead; pero rescucita en la primavera. but it is reborn in the springtime.

II Cuando sale la luna, When the moon rises, el mar cubre la tierra the sea covers the earth, y el corazón se siente and the heart feels like isla en el infi nito. an island in infi nity.

III Otro Adán oscuro está soñando Another obscure Adam is dreaming neutra luna de piedra sin semilla neuter seedless stone moon donde el niño de luz se irá quemando. where the child of light will be burning.

IV “¡Huye luna, luna, luna!” “Run away moon, moon, moon! Si vinieran los gitanos, If the gypsies should come, harían con tu corazón they would make of your heart collares y anillos blancos.” white necklaces and rings.” “Niño, déjame que baile. “Child, let me dance. Cuando vengan los gitanos, When the gypsies come, te encontrarán sobre el yunque they will fi nd you on the anvil con los ojillos cerrados.” with your little eyes closed.” “¡Huye luna, luna, luna!” “Run away moon, moon, moon! que ya sienta sus caballos.” for I hear now their horses.” “Niño, déjame, no pises “Child, leave me, do not tread mi blancor almidonado.” on my starched whiteness.”

¡El jinete se acercaba The horseman was coming near tocando el tambor del llano! beating the drum of the plains! Dentro de la fragua el niño Inside the forge tiene los ojos cerrados. the child has closed his eyes.

¡Por el olivar venían, Along the olive grove bronce y sueño, los gitanos! the gypsies were coming, bronze and dream! Las cabezas levantadas Heads high y los ojos entornados. and eyes half closed

Cómo canta la zumaya, How the owl sings! ¡ay, cómo canta en el árbol! Ah, how it hoots in the tree!

Por el cielo va la luna Through the sky goes the moon con un niño de la mano. holding the child by the hand.

UofC PRESENTS CONTEMPO 10/11 7 PROGRAM NOTES

Stephen Montague Born in Syracuse, New York, Montague b. 1943 studied at State University and completed a doctoral degree at Ohio State String Quartet No. 1: University before moving to Europe—fi rst in memoriam Barry Anderson & Tomasz as a Fulbright Scholar in (1972–74) Sikorski for string quartet, live and since 1974 as a freelance composer in electronics, and tape (1989–93) . Although a long term U.K. resident, Stephen Montague has had works his compositional infl uences are performed by leading ensembles and transatlantic. He comments: “I have lived in soloists worldwide, including the London Britain since 1974 but my musical heroes Symphony Orchestra, Royal Philharmonic, remain American: I admire Charles Ives’s BBC Symphony Orchestra, National unapologetic juxtaposition of vernacular Symphony Orchestra (Washington, D.C.), music and the avant-garde, ’s Südwestfunk Symphony (Baden-Baden), irreverent use of fi st and arm clusters, the Royal Ballet, London Mozart Players, Hilliard propulsive energy of minimalism, and John Ensemble, Smith Quartet, pianists Stephen Cage’s radical dictum that ‘all sound is Kovacevich, Joanna MacGregor, and music.’” Marc-André Hamelin, percussionist Evelyn About String Quartet No. 1, the composer Glennie, and harpsichordist Elisabeth writes: Chojnacka. “Composer Portrait” concerts featuring his music have taken place in In May 1987 one of my closest friends, London, Cambridge, Vienna, Houston, New Barry Anderson (age 52), died tragically in York, Chicago, Budapest, and Bahrain. a few hours after the premiere of his new IRCAM commission, Arc for bass Montague was Composer-in-Residence at , string quartet, and tape. The Trinity College of Music, London in 2003 following year another friend, Tomasz and Guest Professor at University of Sikorski (age 49), lost his long battle with Texas–Austin (1992, 1995, 2000) and alcoholism, sadly dying alone (and University of Auckland (1997). From 1995 to undiscovered for over a week) in his dreary 1997 he was Associate Composer with the Warsaw fl at. Their deaths struck me deeply. Orchestra of St. Johns, Smith Square, Both men were fi ne composers of growing London, and is currently the New Music international stature; I could not help Associate at the University of Cambridge’s thinking that their best work was still ahead Kettle’s Yard Gallery & Museum. In addition of them. to freelance work, Montague also teaches composition at Trinity College of Music, Barry Anderson’s music was fi rmly based in London. the post-Webern idiom, dissonant but

8 UofC PRESENTS CONTEMPO 10/11 elegantly crafted, and at its best, brilliantly techniques, including unusual percussive and orchestrated with computer generated timbral effects. Many of Crumb’s works sounds. Anderson was refi ned, urbane, and include programmatic, symbolic, mystical, dapper. Tomasz Sikorski was not. He was and theatrical elements, which are indicated well known as a diffi cult character. His in his meticulously notated scores. His music personal life and his music were battlefi elds often juxtaposes contrasting musical styles, with considerable collateral damage. The ranging from music of the Western art-music idiom he used was “minimalism,” but in his tradition to folk music and non-Western hands repetition was more to bludgeon sources. Quotation serves a symbolic than to entertain. purpose in Crumb’s works, which feature references to Bach, Haydn, Schubert, String Quartet No. 1: in memoriam Barry Saint-Saëns, Mahler, and Strauss, as well as Anderson & Tomasz Sikorski was inspired traditional songs and hymns from his by my close friendship with these two men and uses short thematic and harmonic Appalachian background. material from their works: Barry Anderson’s Crumb received a D.M.A. degree in Arc (1987) and Tomasz Sikorski’s Holzwege composition in 1959 from the University of for orchestra (1972). The opening bars of Michigan, where he studied with Ross Lee Holzwege (“Paths to Nowhere”) are quoted Finney. He began teaching at the University in the closing bars of my work. of Pennsylvania in 1965 and held this post for This work was commissioned by The the next 30 years. The winner of a Grammy National Studio for Electronic Music (U.K.) Award (2001, for Star-Child) and the Pulitzer with funds provided by the Greater London Prize in Music (1968, for Echoes of Time and Arts Association. It has been recorded by the River), Crumb has received six honorary the Smith Quartet on their album Ghost degrees and numerous honors including a Stories (Signum Classics UK). UNESCO International Rostrum of Composers Award, Koussevitzky Recording Award, Fulbright Scholarship, and grants from George Crumb the Rockefeller, Guggenheim, Fromm, and b. 1929 Ford foundations. He was named “Composer of the Year” by Musical America in 2004. Night of the Four Moons (1969) Crumb describes Night of the Four Moons George Crumb’s reputation as the creator of as follows: hauntingly beautiful works has made him one of the most frequently performed composers Night of the Four Moons, commissioned by today. His evocative musical language grows the Philadelphia Chamber Players, was from his fascination with the sonic composed during the Apollo 11 fl ight (July possibilities of unorthodox instruments and 16–24, 1969). The work is scored for alto (or

UofC PRESENTS CONTEMPO 10/11 9 PROGRAM NOTES

mezzo-soprano), alto fl ute (doubling oscuro está soñando” (hesitantly, with a piccolo), banjo, electric cello, and sense of mystery) is a fabric of fragile percussion. The percussion includes Tibetan instrumental timbre, with the text set like prayer stones, Japanese Kabuki blocks, alto an incantation. African thumb piano (mbira), and Chinese The concluding poem, “Huye luna, luna, temple gong, as well as the more standard luna,” was inspired by an ancient Gypsy vibraphone, crotales, tambourine, bongo legend and provides the climactic moment drums, suspended cymbal, and tamtam. of the cycle. The opening stanza of the The singer is also required to play fi nger poem requires the singer to differentiate cymbals, castanets, glockenspiel, and between the “shrill, metallic” voice of the tamtam. Child and the “coquettish, sensual” voice of I suppose that Night of the Four Moons is the Moon. At a point marked by a sustained really an “occasional” work, since its cello harmonic and the clattering of Kabuki inception was an artistic response to an blocks (El jinete se acercaba / tocando el external event. The texts—extracts drawn tambor del llano), the performers (excepting from the poems of Federico García the cellist) slowly walk off stage while Lorca—symbolize my own rather singing or playing their “farewell” phrases. ambivalent feelings vis-à-vis Apollo 11. The As they exit, they strike an antique cymbal texts of the third and fourth songs seemed that reverberates in unison with the cello strikingly prophetic! harmonic.

The fi rst three songs, with their brief texts, The epilogue of the song (Por el cielo va la are, in a sense, merely introductory to the luna / con un niño de la mano) was dramatically sustained fi nal song. “La luna conceived as a simultaneity of two musics: “Musica Mundana” (“Music of the está muerte” is primarily an instrumental Spheres”), played by the onstage cellist, piece in a primitive rhythmical style, with and “Musica Humana” (“Music of the Spanish words stated almost Mankind”), performed offstage by singer, parenthetically by the singer. The conclusion alto fl ute, banjo, and vibraphone. The of the text is whispered by the fl autist over offstage music (Berceuse, in stile the mouthpiece of the instrument. “Cuando Mahleriano) is to emerge and fade like a sale la luna” (marked in the score languidly, distant radio signal. The F-sharp major with a sense of loneliness) contains tonality of the “Musica Humana” and the delicate passages for the prayer stones and theatrical gesture of the preceding the banjo (played with a glass rod). The processionals recall the concluding pages vocal phrases are quoted literally from my of Haydn’s “Farewell” Symphony. earlier Night Music I, which contains a complete setting of this poem. “Otro Adán

10 UofC PRESENTS CONTEMPO 10/11 Ralph Shapey Moving to in 1945, Shapey b. 1921 (like Wolpe) became associated with d. 2002 abstract expressionism; artist Willem De Kooning and critic Harold Rosenberg Evocation No. 3 for viola and piano frequently attended his concerts. (1981) Shapey forged his iconoclastic musical style Composer, conductor, and teacher Ralph in New York for nearly two decades, but left Shapey has been acclaimed as a formidable in 1963 when George Rochberg invited him and distinctive fi gure in contemporary to teach conducting at the University of music. His musical output includes over Pennsylvania. The following year, Shapey 200 works and is among the most joined the composition faculty at the substantial of his generation of American University of Chicago and promptly founded composers. He received commissions from the Contemporary Chamber Players (now the Fromm Foundation, Koussevitsky known as Contempo). He directed the CCP Foundation, Library of Congress, National for almost thirty years, solidifying its Endowment for the Arts, Philadelphia reputation for outstanding performances of Orchestra, and Chicago Symphony new music. He conducted countless Orchestra. As a conductor, Shapey led premieres, served as a mentor and teacher many prominent ensembles including the for many eminent composers, and Chicago Symphony Orchestra, Philadelphia defi nitively shaped the contemporary music Orchestra, London Symphony Orchestra, scene in Chicago. and London Sinfonietta. He was honored with a MacArthur Fellowship, Kennedy Recognition of Shapey’s music was slow to Center Friedheim Award, National emerge, however. During the fi rst half of Foundation of Arts and Letters Award, and his career he struggled to obtain a publisher over a dozen ASCAP awards. and protested that his music was consistently passed over for prizes and Raised in Philadelphia by Russian Jewish performances. This frustration with the immigrant parents, Shapey demonstrated music world resulted in a notorious “strike” early talent as a violinist and conductor, between 1969 and 1976, during which time appearing as youth conductor of the he forbade the performance of his music Philadelphia Youth Orchestra at age 16 and and was rumored to have ceased guest conductor for the Philadelphia composing entirely. While some viewed Symphony Orchestra at age 21. In 1938 he Shapey’s seclusion as self-pity or theatrics, began composition studies with German it also represented a passionate stand for émigré composer Stefan Wolpe, whose contemporary American composers—a style infl uenced Shapey’s use of chromatic cause that Shapey championed through harmonies and romantic musical gestures. every CCP performance.

UofC PRESENTS CONTEMPO 10/11 11 PROGRAM NOTES

Shapey once described himself as a of scholarships from both the Mannes classicist structurally, a romantic College of Music in New York and the emotionally, and a modernist harmonically. America Israel Cultural Foundation, Ran Similarly, Leonard Meyer called Shapey a continued her composition studies in the “radical traditionalist”—one who possesses United States with Norman Dello-Joio. In a deep knowledge and respect for past 1973 she joined the faculty of University of musical traditions, yet offers an entirely Chicago, where she is now the Andrew original interpretation of the classical MacLeish Distinguished Service Professor masters. Indeed, all three movements of in the Department of Music. She lists her Evocation No. 3 suggest ties to earlier late colleague and friend Ralph Shapey, musical practices. The piece begins with a with whom she also studied in 1977, as an bold “Passacaglia” in which (as the baroque important mentor. form suggests) a twelve-note bass line is Winner of the 1991 Pulitzer Prize in repeatedly intoned by the piano, while the composition, she has been awarded most melody, mood, and rhythms change upon major honors given to composers in the each iteration. Described as a U.S., including fi rst prize in the Kennedy “Beethovenian stunner,” the second Center Friedheim Awards competition for movement’s harsh “Scherzo” features a orchestral music, two Guggenheim relentless rhythmic drive, while the third Foundation fellowships, and grants and movement, “Song,” counters with commissions from the National impressionism and lyricism, as shimmering Endowment for the Arts, the Koussevitzky piano chords support a muted viola melody. Foundation, and numerous other institutions.

Shulamit Ran Ran’s music has been performed by major b. 1949 orchestras including the Chicago Symphony Orchestra, Cleveland Orchestra, Lyre of Orpheus (2008) Philadelphia Orchestra, Israel Philharmonic, Shulamit Ran, a native of Israel, began , and American setting Hebrew poetry to music at the age Composers Orchestra. Maestros Daniel of seven. By nine she was studying Barenboim, Pierre Boulez, Christoph von composition and piano with some of Israel’s Dohnanyi, Zubin Mehta, Yehudi Menuin, most noted musicians, including Gustavo Dudamel, and various others, have composers Alexander Boskovich and Paul conducted her works. Most recently, her Ben-Haim, and within a few years she was das was geschah (that which happened), a having her works performed by professional setting of texts from Genesis, Job, Paul musicians and orchestras. As the recipient Celan, and Dan Pagis, was premiered at the

12 UofC PRESENTS CONTEMPO 10/11 Internationale Orgelwoche Musica Sacra naturally combining passion and lyricism— Festival in Nuremberg by the Rascher has always touched me in a special way. Saxophone Quartet and the twelve-person As sometimes happens, naming the piece choir Ars Nova Copenhagen, with Paul was the fi nal act in the process of creation. Hillier conducting. Once titled, though, I found myself looking Between 1990 and 1997 she was through the piece with a mixture of delight Composer-in-Residence with the Chicago and astonishment: the narrative of this Symphony Orchestra, and in 1994–1997 almost iconic mythological story of love and she also served as the fi fth Brena and Lee loss seems to be one entirely plausible, and Freeman Sr. Composer-in-Residence with to my mind convincing, way to trace the the Lyric Opera of Chicago, culminating in unfolding of the musical events. Of course, the performance of her fi rst opera, the music was written with no such tale (or Between Two Worlds (The Dybbuk). The any tale, for that matter) in mind. But recipient of fi ve honorary doctorates, perhaps some stories are emblematic of so Shulamit Ran’s works are published by much that is part of our lives and psyches, Theodore Presser Company and by the of our desires, fears and wishes. Orpheus, Israeli Music Institute and recorded on whose longing for Eurydice recognizes no more than a dozen different labels, boundaries of heaven and hell… Love including several all-Ran discs. regained, then forever lost… Orpheus’ lyre intoning his sorrowful yearning… About Lyre of Orpheus, the composer writes: Lyre of Orpheus is intermittently songful, caressing, passionate, pained, ferocious, Lyre of Orpheus was composed for and longing. The instrumentation consists Concertante, the New York-based string of two violins, two violas, and two sextet, for its ONE PLUS FIVE Project, a cellos—the fi rst of which is the soloist/ three-year, six-composer commissioning protagonist, while the second is notable for project designed to create six string having its lowest string tuned down a third sextets, each featuring one of Concertante to achieve extra lower notes. core players. This particular commission was made with the goal of giving center This commission has been made possible stage to the ensemble’s fi rst cello by the America (Concertante’s Zvi Plesser, the wonderful Commissioning Program, with funding Israeli cellist), a choice I was especially generously provided by the Aaron Copland grateful for, as it gave me an opportunity to Fund for Music and the Chamber Music highlight an instrument for which, from a America Endowment Fund. very early stage in my life, I have felt a Program notes compiled by Erin L. Sullivan, 2010 special affi nity. The cello’s “soul”—so

UofC PRESENTS CONTEMPO 10/11 13 Harris Theatre for Music and Dance

03.01.11 TUE | 7:30 PM Agata Zubel, soprano/composer eighth blackbird Pacifi ca Quartet Jason Marsalis Vibes Quartet Contempo Double-Bill: European Connections

PAUL PATTERSON String Quartet, op. 58 (1986) (b. 1947) Pacifi ca Quartet

FÜSUN KÖKSAL Deux visions pour Sextuor (2008-09) (b. 1973) eighth blackbird

AGATA ZUBEL Cascando (2007) (b. 1978) Agata Zubel, soprano Tim Munro, fl ute Michael Maccaferri, clarinet Matt Albert, violin Nicholas Photinos, cello

BERIO Sequenza III for solo voice (1965–66) (1925–2003) Agata Zubel, soprano

KAIJA SAARIAHO Changing Light (2002) (b. 1952) Agata Zubel, soprano Simin Ganatra, violin

INTERMISSION

Jazz set to be announced from the stage Jason Marsalis, vibes Austin Johnson, piano Will Goble, bass David Potter, drums

This concert is presented in association with the Polish Cultural Institute in New York

14 UofC PRESENTS CONTEMPO 10/11 TEXT FOR CASCANDO

Cascando terrifi ed again by Samuel Beckett of not loving of loving and not you 1. of being loved and not by you why not merely the despaired of of knowing not knowing pretending occasion of pretending wordshed I and all the others that will love you is it not better abort than be barren if they love you the hours after you are gone are so leaden 3. they will always start dragging too soon unless they love you the grapples clawing blindly the bed of want bringing up the bones the old loves Text for Saariaho sockets fi lled once with eyes like yours From “Siddur Sim Shalom” all always is it better too soon than never edited by Jules Harlow the black want splashing their faces saying again nine days never fl oated the Light and darkness, night and day. loved We marvel at the mystery of the stars. nor nine months Moon and sky, sand and sea. nor nine lives We marvel at the mystery of the sun. Twilight, high noon, dusk and dawn. 2. Though we are mortal, we are Creation’s saying again crown. if you do not teach me I shall not learn saying again there is a last Flesh and bone, steel and stone. even of last times We dwell in fragile, temporary shelters. last times of begging Grant steadfast love, compassion, grace. last times of loving Sustain us, Lord; our origin is dust. of knowing not knowing pretending Splendor, mercy, majesty, love endure. a last even of last times of saying We are but little lower than the angels. if you do not love me I shall not be loved Resplendent skies, sunset, sunrise. if I do not love you I shall not love The grandeur of Creation lifts our lives. Evening darkness, morning dawn. the churn of stale words in the heart again Renew our lives as You renew all time. love love love thud of the old plunger pestling the unalterable Reprinted from “Siddur Sim Shalom,” page 280, whey of words edited by Jules Harlow © Copyright 1985 by The Rabbinical Assembly

UofC PRESENTS CONTEMPO 10/11 15 PROGRAM NOTES

Paul Patterson Composer-in-Residence for South East Arts b. 1947 in Canterbury during the late 1970s, Artistic Director of the Exeter Festival (1991–97), String Quartet, Op. 58 (1986) and currently Composer-in-Residence of the Paul Patterson entered the Royal Academy National Youth Orchestra of Great Britain. of Music in 1964, initially as a trombone Amidst the many honors bestowed upon player and later turning to composition. A Patterson are the Medal of Honour from the pupil of Richard Stoker, Elisabeth Lutyens, Polish Ministry of Culture for his tireless and Richard Rodney Bennett, his career in efforts on behalf of Polish music in Britain the British compositional scene burgeoned (1987), and the Leslie Boosey Award (1996), rapidly. He has retained strong links with conferred upon him by the Performing the Royal Academy ever since, fi rst as its Rights Society and the Royal Philharmonic Head of Composition and Contemporary Society for outstanding services to Music (1987–97) and currently as the contemporary music. Manson Professor of Composition. About his String Quartet, Op.58, Patterson Amidst a large and varied output, writes: Patterson’s contribution to the choral My String Quartet has four contrasting repertoire stands out, including Mass of the movements and I have attempted to make Sea (1983), Stabat Mater (1986), Te Deum it a showpiece in which all four players have (1988), Magnifi cat (1993), and more an equal slice of the action. It starts with a recently Hell’s Angels (1998) and the tough restless movement where there are Millennium Mass (2000). Patterson’s two themes: one is bold and angular and international reputation has been held aloft has a spiky cross-rhythm accompaniment, by a number of works that have been while the other is mellow and has a warmer widely performed, such as Timepiece quantity. These two opposing ideas are (1972), written for the King’s Singers; developed in a sort of sonata form Cracowian Counterpoints (1977), which was argument. The notes of the fi rst theme are toured worldwide by the London used as the basis of the concise witty Sinfonietta; and his Violin Concerto (1992), pizzicato second movement. In the slow with performances in the United States, movement, the theme is again transformed, France, Turkey, and . this time into a long elegant line. Marked In 1997, in celebration of his 50th birthday, con sordini (muted), the theme weaves its Patterson was the featured composer on way in layers of contrapuntal writing BBC Radio 3’s long-running series building to a loud climax. These layers move Composer of the Week. He has held many closer together antiphonally as it falls away distinguished positions, most notably to a subdued ending. The Finale is vigorous

16 UofC PRESENTS CONTEMPO 10/11 and rhythmic; I made frequent use of the Nocturnal was nominated for the 3rd open strings in double-stopped passages, International Pablo Casals Composition which gives the movement a gritty quality. Prize in France. She also won second prize The main pillars of the movement are in the III. International Deutsche-Polnische dispersed with short virtuosic passages Kompositions Wettbewerb, Cologne (1998), passed around the quartet in a fl urry of was a fi nalist in the 2nd International activity. Composer’s Composition, Reggello, Italy (2005), and won three regional awards in The work was commissioned by the the SCI/ASCAP student composition Chester Festival and fi rst performed by the commissions (2006–08). Delme String Quartet in 1986. Köksal studied composition with Krzysztof Meyer at the Hochschule für Musik Köln Füsun Köksal and served for three years as the chair of b. 1973 composition studies at Bilkent University, Faculty of Music and Performing Arts, Deux visions pour sextuor (2008–09) Ankara. Currently, she is pursuing a Ph.D. in Füsun Köksal’s works have been performed composition at the University of Chicago, in Europe and the United States by notable where she studies with Marta Ptaszynska ensembles including the Ensemble Modern and Shulamit Ran. For the 2010–11 Academy, Penderecki String Quartet, academic year, Köksal has been appointed Ensemble Calliope (2009), Orchestre Visiting Assistant Professor of Theory and Nationale de Lorraine, Arditti String Quartet, Composition at the University of Pittsburgh. Pacifi ca Quartet, eighth blackbird, Royal Köksal describes Deux visions pour Liverpool Philharmonic Orchestra’s 10:10 sextuor as follows: Ensemble, and Bilkent Symphony Orchestra. Her music was broadcast by I started composing Deux visions pour Deutschlandfunk in April 2007 and has been sextuor in April 2008. With its two main programmed at festivals such as the Young contrasting sections, the work can be Composers in New Music (Detmold), considered as two character pieces that are Turkkfest (London), Toronto Summer Music connected by a transitional section. The fi rst Festival, Forum Neuer Musik (Cologne), and section (or piece) has the character of a the June in Buffalo Festival. nocturne: it begins with a cantabile melodic line played by the cello that is expanded In 2008, Köksal’s string quartet received later by the clarinet and fl ute. The piano part third prize at the 6ème Concours is clearly infl uenced by the crystallized, International under the chairmanship of fragile, and Chopin-like timbres that are Henri Dutilleux, and in 2009, her piece

UofC PRESENTS CONTEMPO 10/11 17 PROGRAM NOTES

associated with the Romantic nocturne. The Bernhard Lang. Over the past decade, lyrical and pure musical texture gradually Zubel has been honored with numerous transforms into a sonic fabric involving grants, as well as commissions from mostly extended techniques and Deutsche Welle and the Rockefeller suspended individual lines. Foundation. In 2001, Zubel established ElettroVoce Duo with composer and pianist The gradual emergence of chords and Cezary Duchnowski, and she currently melodic lines leads into the second section, teaches at the Music Academy in Wroc_aw. which fi nds its inspiration in Aksak rythms A recent album of her chamber works, and jazz. It is undoubtedly the antithesis of Cascando, was honored in Poland with a the fi rst part in terms of its texture and “Fryderyk” award in category of lively, dynamic character. The juxtaposition contemporary music. of chordal sections (played in rhythmic unison) with free, polyphonically The following notes accompanied the constructed sections is an idea borrowed Chamber Players’ premiere of from jazz. The climax of the piece is a bright Zubel’s work Cascando for voice, fl ute, high G that is played by all instruments in clarinet, violin, and cello: unison, anticipating the chordal sonorities Cascando is based on a text by Samuel and quick fl urries of the fi nal coda section. Beckett, which is refl ected in the music The music slowly descends from the from many angles: as a poem, structure, climax; the cantabile melodic lines of the words, sounds, letters, ambience, and fi rst section surface amidst the chords, impression. Having written the piece for her offering a nostalgic vision of the nocturne. own phenomenal voice, Zubel instructs the soprano to produce unusual sounds covering a huge range, with all possible Agata Zubel nuances of vocalizing, Sprechgesang, b. 1978 whispering, and other sound expressions. Cascando (2007) With all these experiments, which are extended to the instrumental parts, the Highly acclaimed as both a vocalist and murky air of this music is fi lled with the composer, Agata Zubel has premiered Romantic sensitivity typical of Polish music signifi cant contemporary works, while at since the times of Chopin. The piece begins the same time receiving prominent as a soprano and violin duo in shimmering performances of—and awards for—her own pianissimo that develops through different music. A versatile soprano, her sonic effects in the ensemble texture. A performance repertory includes works by very short and jerky staccato of the second over 50 contemporary composers, including movement, alternating with abrupt rests, Witold Lutoslawski, Phillip Glass, and

18 UofC PRESENTS CONTEMPO 10/11 becomes the foundation for the brief words (Omaggio a Joyce) (1958) and Circles (1960), spread out through the entire soprano he explored the nature of language by range. In the climax, the instruments fragmenting it, treating phonemes as a repeatedly descend with a non- source of vocal gestures, and creating a rich synchronous glissandi held against the interplay of musical and linguistic meaning. fl oating bass suspended in the cello part, He also employed collage techniques to intercepted with the tragic exclamations interweave textual and musical quotations about “all the others that will love you.” The within his own compositional fabric, as can last movement does not use exact pitches; be heard in his Sinfonia (1968), which it calls for noise effects produced on all famously draws on Mahler’s Second instruments and a phrase whispered twice Symphony, among many other sources. against the backdrop of mystical percussive Berio also reworked music by composers sounds: “...unless they love you...” from Monteverdi to Lennon and McCartney, wrote arrangements of folksongs, and – Elena Dubinets displayed a unique sense of musical humor and playfulness, for instance in his Opus Number Zoo (1951). Berio’s series of Berio fourteen Sequenzas, written between 1958 b. 1925 and 1980, is a study in virtuosity, pushing the d. 2003 boundaries of solo performance and Sequenza III for solo voice (1965–66) incorporating physicality and distinctly theatrical elements into each piece. Luciano Berio was among the most prolifi c and original of the avant-garde composers Sequenza III was composed in 1966 for who began their careers in the years Berio’s wife, vocalist Cathy Berberian, and it immediately following World War II. He remains one of the most challenging pieces studied serial methods with Luigi in the contemporary vocal repertory. Like Dallapiccola at Tanglewood, was infl uenced many of Berio’s works for voice, Sequenza III by Stockhausen and Boulez, and collaborated involves an element of theater: the text itself intensively with Bruno Maderna and Luigi does not provide a narrative, but the Nono on developing electro-acoustic music sequential progression of sounds and in Italy. Berio went on to teach at Julliard gestures tells the story of a performer and from 1965 to 1971 and head the electro- her voice—her solitary task of vocalizing a acoustic studio at IRCAM from 1974 to 1980. few crucial words.

Berio’s interest in electro-acoustic music Berio describes Sequenza III as a three-part arose alongside his research into linguistics invention: text, gesture, and expression. The and voice: in vocal works like Thema text emerges gradually, as phonemes

UofC PRESENTS CONTEMPO 10/11 19 PROGRAM NOTES

develop into words and then phrases, all freely drawn from Markus Kutter’s modular poem:

give me a few words for a woman to sing a truth allowing us to build a house without worrying before night comes

While articulating this text, the soprano playfully explores a variety of vocal gestures—ordinary aspects of the voice like sighs and laughs—that are transformed in a virtuosic monologue. The vocal expression is urgent and gripping up until the fi nal moments of the piece, when all intensity is fi nally released.

Kaija Saariaho Saariaho has composed in a variety of b. 1952 instrumental and vocal genres, and her works often draw on extramusical sources Changing Light (2002) such as literature, visual, and natural One of Finland’s most successful phenomena. Notable among her recent composers, Kaija Saariaho has received compositions is the opera L’Amour de loin signifi cant international attention over the (2000), which received international acclaim past 25 years. She studied at the Sibelius and won the composer the prestigious Academy with Paavo Heininen and later at Grawemeyer Award. In addition to the Freiburg Musikhochschule with Brian collaborations with Amin Maalouf and Peter Ferneyhough and Klaus Huber. In 1982 she Sellars on L’Amour de loin, Saariaho has moved to Paris where she began working worked closely with conductor Esa-Pekka regularly at IRCAM. There she developed Salonen, fl autist Camilla Hoitenga, cellist techniques for incorporating computers, Anssi Karttunen, soprano Dawn Upshaw, electronics, and tape into her music, and and pianist Emmanuel Ax. many of her mature compositions exploit Changing Light, for voice and violin, was the possibilities of new technology. At written for Edna Michell’s Compassion IRCAM she was also infl uenced by French project. Saariaho provides these brief spectralist composers including Tristan remarks: “In the composition I follow the Murail and Gérard Grisey, which led her to idea of a dialogue, suggested by the text I explore a rich tone color, microtonal have chosen. The intimate nature and fragile intervals, and the continuum of sound from sound world of the duo mirror the fragility pure tone to unpitched noise. of our uncertain existence.”

Program notes compiled by Erin L. Sullivan, 2010

20 UofC PRESENTS CONTEMPO 10/11 ARTIST BIOGRAPHIES

Acting Artistic Director 2010/11 for the Chopin Bicentennial and will be Marta Ptaszynska premiered in December 2010 by the Grand Opera Theatre in Lodz, Poland. Marta Ptaszynska has been a professor of Music and in the Humanities at the She is the composer of such well known University of Chicago since 1998. In 2005 works as the Holocaust Memorial Cantata, she was named the Helen B. & Frank L. performed several times under the baton of Sulzberger Professor of Music and the Lord Yehudi Menuhin, Concerto for Marimba, Humanities. Ptaszynska is an internationally Winter’s Tale,Sonnetsto Orpheus, Moon known composer. Her music has been Flowers, Mosaics for string quartet (2002), performed around the world at many Trois visions de l’arc-en-ciel for clarinet, international festivals, including ISCM World violin, viola, cello, percussion and piano Music Days, the Warsaw Autumn (2008), and Street Music for percussion International Festivals, the Salzburg Festival, orchestra of 70 players (2008), as well as the Schleswig- Holstein Music Festival, the other popular compositions for solo Huddersfi eld Contemporary Music Festival, percussion (Siderals, Graffi to, Spider Walk, the Prix Futura in Berlin, and many others. Space Model, Letter to the Sun). She has received commissions from major Ptaszynska has been honored with many orchestras and opera houses including the prizes and awards, including the 2006 Chicago Symphony Orchestra, the Benjamin H. Danks Award of the American Symphony, the Cleveland Chamber Academy of Arts and Letters, The Fromm Orchestra, the Polish Chamber Orchestra, Music Foundation Award, First Prize at the the , the National Symphony International Rostrum of Composers in Paris, Orchestra, and the National Opera in Poland. several awards from the Percussive Arts Her fi rst opera Oscar of Alva in 6 scenes Society, multiple ASCAP Awards, and in (1971-72, rev. 1986; libretto after Lord G. 1995 the “Offi cer Cross of Merit” of the Byron) received the Award of the Polish Republic of Poland. Television Broadcasting Co. and was presented in 1989 at the Television Opera Prior to coming to the University of Chicago, Festival in Salzburg, Austria. Her opera for Ptaszynska taught composition at children Mister Marimba (libretto: Agnieszka Northwestern University, Indiana University Osiecka) has enjoyed phenomenal success in Bloomington, the Cincinnati College- with 114 performances over eight seasons at Conservatory of Music, the University of the National Opera in Warsaw, which in 2008 California at Berkeley and at Santa Barbara, premiered her second opera Magic Doremik and Bennington College in Vermont. (2006-2007; libretto after Gianni Rodari). Her Her music is published by PWM – Polish newest opera “The Lovers from the Music Publications in Poland--and by Valldemosa’s Cloister” was commissioned Theodore Presser in the U.S.A. Recordings

UofC PRESENTS CONTEMPO 10/11 21 ARTIST BIOGRAPHIES

of her work are available on CD Accord- Steve Reich, Mark-Anthony Turnage, Universal, Muza Polish Records, Chandos, Steven Mackey, David Lang, Stephen Olympia, Dux, Bayer Records, and Pro Viva Hartke, and Bruno Mantovani. The group’s Sonoton labels. CD strange imaginary animals won two Grammy Awards in 2008, including one for Best Chamber Music Performance.

Now celebrating its 15th season as an ensemble and 10th season with Contempo, eighth blackbird showcases music by the two most recent Pulitzer Prize-winning composers in its 2010-11 recording and performing repertoire, featuring new and recent works (written expressly for the ensemble) by both Jennifer Higdon and Steve Reich. Headlining the group’s season is its new politically-driven two-part program “PowerFUL/less”, tackling Stravinsky’s Ensemble-in-residence provocative statement questioning the eighth blackbird value, meaning and power of art. The Tim Munro, fl utes ensemble will curate and perform in Park Michael J. Maccaferri, Avenue Armory’s new “Tune-In” Matt Albert, violin & viola contemporary music festival in New York Nicholas Photinos, cello City. Other highlights include a return to Matthew Duvall, percussion Zankel Hall; performances at Chicago’s Lisa Kaplan, piano Museum of Contemporary Art; a tour of Higdon’s new concerto On a Wire with Hailed as “friendly, unpretentious, several high-profi le orchestras; Reich idealistic, and highly skilled” by the New festivals on both sides of the Atlantic – at Yorker, eighth blackbird is widely lauded Carnegie Hall and at London’s Barbican for its unusual performing style – often Hall; a return to the Library of Congress playing from memory with theatrical fl air for a concert that includes the world – and for its efforts to make new music premiere of a new work by Stephen accessible to wider audiences. Since its Hartke; and a new CD featuring Reich’s founding in 1996, the sextet has actively prize-winning Double Sextet on commissioned and recorded new works; Nonesuch, which was released in recent commissions include a concerto September 2010. from Jennifer Higdon and pieces from

22 UofC PRESENTS CONTEMPO 10/11 Highlights of past seasons have included Named Musical America’s 2009 Ensemble performances in South Korea, Mexico, the of the Year, the Grammy-winning Pacifi ca UK, the Netherlands, and at nearly every Quartet has achieved international stature major chamber music venue in North as one of the fi nest chamber ensembles America. eighth blackbird was honored in performing today. Shortly after its 1994 2007 with the American Music Center’s formation in California, the Pacifi ca won top Trailblazer Award and a Meet The Composer prizes in leading competitions, including the Award, and the group’s numerous 1998 Naumburg Prize. The Quartet has competition wins include the Grand Prize at since received many honors, including the Concert Artists Guild International appointment to Chamber Music Society of Competition and the Naumburg Chamber Lincoln Center’s program for gifted young Music Award. The sextet has been profi led musicians and Chamber Music America’s in the New York Times and featured on CBS coveted Cleveland Quartet Award. In 2006 News Sunday Morning and Bloomberg TV’s it was awarded an Avery Fisher Career Muse. eighth blackbird has recorded for the Grant, becoming only the second chamber Cedille, Nonesuch and Naxos labels, and is music ensemble in the thirty-year history of represented by Opus 3 Artists. the program to be so honored. Also in 2006 the Quartet was featured on the cover of Gramophone magazine and heralded as one of “fi ve new quartets you should know about,” the only American quartet on the list. In 2009 the Pacifi ca was appointed quartet-in-residence at New York’s Metropolitan Museum of Art, following in the footsteps of the Guarneri String Quartet, which held the position 43 years.

Recognized for its virtuosity, exuberant performance style, and often daring repertory choices, the Pacifi ca Quartet tours extensively throughout the United States, Europe, and Asia. Ardent advocates Artist-in-residence of contemporary music, the Quartet Pacifi ca Quartet commissions and performs many new Simin Ganatra, violin works. In 2002 and 2003 it won wide Sibbi Bernhardsson, violin acclaim for the fi rst single-concert Masumi Per Rostad, viola performances of Elliott Carter’s complete Brandon Vamos, cello cycle of fi ve string quartets in New York,

UofC PRESENTS CONTEMPO 10/11 23 ARTIST BIOGRAPHIES

Chicago, San Francisco, and abroad. The New York, and has been featured as a soloist New York Times called the accomplishment with orchestras led by George Manahan, “brilliant” and “astounding,” and the Raymond Leppard, Oliver Knussen, Robert Chicago Tribune praised the Quartet’s Shaw and Pierre Boulez. She performs in “astonishing talent, energy, and Chicago with Mostly Music, CUBE, the dedication.” In 2009 the Pacifi ca’s recording Contemporary Chamber Players, the Orion of Carter’s Quartets Nos. 1 and 5 earned Ensemble, Pinotage, the New Budapest them a Grammy Award in Best Chamber Orpheum Society, Ensemble Noamnesia, Music Performance. Fulcrum Point, the Chicago Chamber Musicians, Chicago Opera Theater, The Pacifi ca Quartet was appointed to the Concertante di Chicago, the Newberry faculty of the University of Illinois in 2004 Consort, the Chicago Symphony Orchestra, and serves as Faculty Quartet in Residence. Chicago Lyric Opera and the MusicNOW Its members live in Champaign-Urbana, series at Symphony Center with conductor Illinois. They are also resident performing Cliff Colnot. In 2001 she appeared to critical artists at the University of Chicago and the acclaim at Weill Hall with Pierre Boulez as the Longy School in Boston. soloist in Le Marteau Sans Maître. She has recorded on the Albany, Cedille and Tintagel labels. Recent engagements have included performances of La Damnation de Faust with the Eastern Connecticut Symphony Orchestra, Pierrot Lunaire with eighth blackbird, La Cenerentola with Sacramento Opera, Little Women with the Dayton Opera, and the Bach B Minor Mass with the Apollo Chorus as well as chamber music series in Chicago, Philadelphia, New York and the National Holocaust Museum in Washington, D.C. She currently teaches voice at the Music Institute of Chicago. Julia Bentley

Since completing apprenticeships with the Jesse Langen Santa Fe Opera and the Chicago Lyric Opera, mezzo-soprano Julia Bentley has appeared in Jesse Langen is currently pursuing a DM in leading operatic roles (Carmen, Rosina, guitar performance at Northwestern Dorbella, Despina, and both Rossini and University under Anne Waller. He has Massenet Cinderellas) from Anchorage to played in master classes for Oscar Ghiglia,

24 UofC PRESENTS CONTEMPO 10/11 Sergio and Odair Assad, Bob Guthrie, Elliot received grants from the Polish Ministry of Fisk, David Russell, Roberto Aussell, Nigel Culture, Rockefeller Foundation, Ernst von North, and Paul O’Dette. In the summer of Siemens Musikstiftung, and International 2002, he was a featured soloist with the Foundation for Education, and commissions Chicago Symphony Orchestra. from Deutsche Welle, Ultraschall Festival (Berlin), and the Central European Music On top of many performances in Chicago, Festival (Seattle). At the beginning of 2005, across the United States, and in Europe, she received the prestigious Passport of Jesse has played in the Minnesota Guitar Polityka award for classical music. The Society Concert Series, the Chicago premiere of her opera-ballet Between, Segovia Classical Guitar Series (as a directed by Maja Kleczewska, was an member of the Guitar Camerata), the important event in the 2009–10 concert Memphis “Imagine” New Music Series (as season. a member of the G-Force Guitar Quartet), and at Columbia University in New York. An As a vocalist specializing in contemporary avid player of new music, Jesse has music, Zubel has performed signifi cant premiered pieces by numerous living modern works including Witold composers. He can be heard regularly as a Lutoslawski’s Chantefl eurs et Chantefables, soloist, as well as in duos with fl utist Susan Bernhard Lang’s DW9, Salvatore Sciarrino’s Crandall and soprano Amy Conn. Luci mie traditrici, Zygmunt Krauze’s The Star, the title role in Dobromila Jaskot’s opera Phaedra, and Madeline in Phillip Glass’s The Fall of the House of Usher. She also participated in an experimental improvisation project at the International Courses of Composition in Darmstadt.

Zubel graduated with honors from the Karol Lipinski Academy of Music, where she studied composition with Jan Wichrowski and vocal performance with Danuta Paziuk-Zipser, and went on to receive a D.M.A. in 2004. She currently teaches at the Academy of Music in Wroclaw. In 2009, Agata Zubel two new CDs were released by CD Accord: Agata Zubel burst onto the international Cascando, which features her own chamber music scene in recent years, gaining music, and Poems, which includes the recognition as both a gifted vocalist and a songs of Copland, Berg, and Szymanski.’ radical new voice in composition. She has

UofC PRESENTS CONTEMPO 10/11 25 ARTIST BIOGRAPHIES

through the US and Canada, and has toured Europe on the summer festival scene. His playing is unique; drawing from a wide range of infl uences, Jason performs original music as well as many hidden gems in the jazz literature and beyond.

The vibraphone is an instrument that Marsalis fi rst started performing eight years ago and since then has started to develop a group concept. He is supported by a group of musicians he met at a residency at Jason Marsalis ; Austin Johnson on piano, Will Goble on bass, and David Potter From a tender young age it was clear that on drums. Their tune “Ballet Class” Jason Marsalis had what it took to be great. proposes that classical music does groove Jason is the son of pianist and music and wonders what Mozart would have done educator Ellis Marsalis and his wife had he heard the blues. Dolores, and the youngest sibling of Wynton, Branford and Delfeayo. Together, the four brothers and Ellis comprise New Orleans’s venerable fi rst family of jazz. Jason is well known for his prodigal drumming. Working with the Ellis Marsalis trio as well as the Marcus Roberts trio, he has fi ne-tuned his playing in two of the most demanding settings in modern jazz. However, with the release of 2008’s “Music Update,” listeners are now recognizing Jason for his unique sound on the vibraphones.

Since 2000, Jason has been a mainstay on the New Orleans scene as a bandleader from the vibraphone chair. These groups have performed at Snug Harbor, New Orleans Jazz and Heritage Festival, The Jazz Playhouse, and The Satchmo Summerfest. Jason has also appeared at jazz venues

26 UofC PRESENTS CONTEMPO 10/11 46TH SEASON | 2010/2011

SUN / JANUARY 9 / 3 PM WED / MAY 18 / 7:30 PM Ganz Hall, Roosevelt University Fulton Recital Hall 430 S. Michigan Ave, 7th fl oor 1010 E. 59th St. $20 / $5 students FREE Tickets 773.702.8068 Tomorrow’s Music Today I Lyre of Orpheus eighth blackbird eighth blackbird Pacifi ca Quartet Pacifi ca Quartet Julia Bentley, mezzo-soprano Grammy-winning artists perform works by Jesse Langen, banjo UChicago music composition students Andres Carrizo, Dylan Schneider, Andy Jasinski, Yuan Works by Stephen Montague, George Crumb, Chen Li, and Gary de Sorbo Ralph Shapey, and Shulamit Ran

SUN / MAY 22 / 3 PM TUES / MARCH 1 / 7:30 PM Ganz Hall, Roosevelt University Harris Theatre for Music and Dance 430 S. Michigan Ave, 7th fl oor 205 E. Randolph Street FREE $25 / $10 students Tickets: 312.334.7777 Tomorrow’s Music Today I

Contempo Double-Bill: European Connections eighth blackbird Pacifi ca Quartet Agata Zubel, soprano/composer eighth blackbird Grammy-winning artists perform works by Pacifi ca Quartet UChicago doctoral candidates in composition Jason Marsalis Vibes Quartet Füsun Köksal, Jacob Bancks, and Michael LaCroix Works by Paul Patterson, Füsun Köksal, Agata Zubel, Luciano Berio, and Kaija Saariaho plus a jazz set

UofC PRESENTS CONTEMPO 10/11 27 Contempo 5720 S. Woodlawn Ave Chicago, IL 60637 773.702.8068 [email protected] contempo.uchicago.edu