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Home , AVROTROS, Betty Freeman, Brett Deubner, Bryce Dessner, Cassatt Quartet, Chroma (ballet)

CABRILLO FESTIVAL OF CONTEMPORARYMUSIC OF CONTEMPORARYMUSIC MUSIC DIRECTOR |CONDUCTOR MARIN ALSOP MUSIC DIRECTOR |CONDUCTOR 2015

SANTA CRUZ CIVIC MISSION SAN JUAN BAUTISTA PROGRAM GUIDE art for all open

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AC_CF_2015_FP_ad_4C_v2.indd 1 6/26/15 2:11 PM CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SANTA CRUZ, CA AUGUST 2-16, 2015

PROGRAM BOOK C ONTENT S For information contact: www.cabrillomusic.org 3 Calendar of Events Cabrillo Festival of Contemporary Music 831.426.6966 5 Message from the President 147 South River Street, Suite 232 [email protected] 6 Board of Directors and Staff Santa Cruz, CA 95060 7 Ellen Primack’s 25th Anniversary 9 Program Book Design and Print Production: Elise Huffman Music Director Marin Alsop 10 Festival History Program Book Cover, Brochure and Poster Design: Salal Moon Rinaldo 11 A Vision for the Civic Auditorium Program Book Production Support: Marguerite Meyer 12 The Festival Experience Program Book Advertising Sales: Jocelyn MacNeil 14 Church Street Fair 17 Program Note Annotator: Erik Finley Creativity Tent For Kids 18 Guest Composers 24 Guest Artists 28 2015 Festival 30 Conductors/Composers Workshop 31 In The Works 33 Student Staff Program 35 HAUNTED TOPOGRAPHY 37 HAUNTED TOPOGRAPHY Program Notes 39 YELLOW EARTH 43 YELLOW EARTH Program Notes 45 Free Family 47 Free Family Concert Program Note 49 BLUE ROOM with 50 BLUE ROOM Program Notes 52 Music in the Mountains 55 WISH YOU WERE HERE 57 WISH YOU WERE HERE Program Notes 61 San Juan Day 63 ANGELES DE LUZ: Music at the Mission 65 ANGELES DE LUZ Program Notes 68 Hall of Fame 68 In Memoriam 69 New Music Forever Endeavor 70 Grantmakers 72 Artistic Initiative Reserve Fund Contributors As a courtesy to all patrons, latecomers to Cabrillo Festival 73 will be seated by the ushers during the first convenient pause in the Leadership Support 74 program. Children under six years of age will not be permitted into Donor Recognition performances with the exception of the Family Concert. 77 Corporate and Community Sponsors 78 Acknowledgements CAMERAS AND RECORDING EQUIPMENT ARE NOT ALLOWED 80 New Works in the Works IN THE PERFORMANCE HALLS DURING CONCERTS. 80 Index to Advertisers

PLEASE TURN OFF ALL CELL PHONES, ALARMS, AND PAGERS.

Printed on recycled paper CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 1 2 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC C

CALENDAR OF EVENTS AUGUST 9 SUNDAY A All events take place at the Santa Cruz Civic Auditorium unless 11am-8pm Church Street Fair MEETUP! Free otherwise noted. Visit CABRILLOMUSIC.ORG for details. L 1:00pm Free Family Concer­t—The Composer is Dead Free

The event begins with a tour of the orchestra followed by a concert E featuring the Cabrillo Festival Orchestra, conducted by Marin Alsop. AUGUST 1 SATURDAY The Composer is Dead (Nathaniel Stookey, narrator) N 4:45pm Donors Concert Free for Donors $250+ 8:00pm In the Blue Room with Kronos Quartet $40 $30 A special benefit for Festival donors $250 and above. Sponsored by the The Kronos Quartet pays tribute to composer on his 80th D Cabrillo Festival Board of Directors, a solo recital of contemporary birthday year, in a chamber program that also includes works by Mark A American works performed by Festival Orchestra member Robert Simonds. Applebaum, Aleksander Kościów, , Mary Kouyoumdjian, Make your contribution any time up until the concert doors open! and Festival composer-in-residence Nathaniel Stookey. R AUGUST 2 SUNDAY AUGUST 12 WEDNESDAY O 7:00pm Open Rehearsals Begin Free 6:15pm Pre-Rehearsal Talk Free Watch the music come to life as the musicians and composers sculpt their Philip Collins, composer, lecturer and New Music Works’ Artistic Director, F pieces for performances day by day. A detailed schedule of Pre-Rehearsal on the WISH YOU WERE HERE Orchestra Concert works. Talks and Open Rehearsals can be found online. AUGUST 13 THURSDAY E

AUGUST 5 WEDNESDAY 6:30pm Music in the Mountains: A Benefit Concert V 5:30-6:45pm Special Concert: In the Works Free Nestldown, Los Gatos $175

Featuring works by three young composers—Brendan Faegre, Takuma Wine and food tastings in a spectacular mountain retreat setting, and E Itoh, and Emily Praetorius—performed by members of the Cabrillo a concert featuring guest artists Tine Thing Helseth,

Festival Orchestra led by emerging conductors studying in the Conductors/ , , violin, and , cello; composers N Composers Training Workshop. Hannah Lash on harp, and on ; and Concertmaster Justin Bruns with members of the Cabrillo Festival Orchestra. AUGUST 6 T THURSDAY S 6:15pm Pre-Rehearsal Talk Free AUGUST 15 SATURDAY Tim Munro , Festival Orchestra principal flutist, speaker, writer, and teacher, 2:30pm Student Staff Ensemble Concert

Free T talks about the HAUNTED TOPOGRAPHY Orchestra Concert works.

Featuring original works composed and performed by the young members I of the Festival’s Student Staff program. C K 8:00pm WISH YOU WERE HERE—Orchestra Concert AUGUST 7 FRIDAY $59 $52 $32 E

Featuring the Cabrillo Festival Orchestra, conducted by Marin Alsop. T 6:30-7:45pm Pre-concert Dinner Alfresco MEETUP! $32 7:00-7:30pm Pre-concert Talk by Marin Alsop Hannah Lash Eating Flowers [World Premiere | Festival Commission] S : Missy Mazzoli River Rouge Transfiguration [West Coast Premiere] 7:30-7:45pm Fanfares of Brass 8 Sean Shepherd Blue Blazes [West Coast Premiere] 8:00pm HAUNTED TOPOGRAPHY—Orchestra Concert $59 $52 $32 Nico Muhly Wish You Were Here [West Coast Premiere] 3

Featuring the Cabrillo Festival Orchestra, conducted by Marin Alsop. Double for Violin and Cello 1

(Tim Fain, violin, Matt Haimovitz, cello) [West Coast Premiere] . David T. Little

Haunted Topography 4 James MacMillan No.2 (Colin Currie, percussion) Post-Concert Dessert Reception MEETUP! 2 [U.S. Premiere | Festival Co-Commission] Audience, orchestra and artists are invited to mingle and enjoy cake and Anthology of Fantastic Zoology [West Coast Premiere] bubbly immediately following the concert. 0 . 5

AUGUST 8 SATURDAY AUGUST 16 SUNDAY SAN JUAN DAY 2 11:00am-8:00pm Church Street Fair MEETUP! Free 4 & 7:30pm ANGELES DE LUZ: Music at the Mission 6 On Church Street outside the Santa Cruz Civic Auditorium—with a full Mission San Juan Bautista $59 day $45 evening 0

day of live music and ; free art workshops for kids; and art, wine Afternoon and evening Grand Finale performances in the splendor of

and food artisans. the old Mission sanctuary, featuring the Cabrillo Festival Orchestra, C

conducted by Marin Alsop. AB 1:30pm Meet the Composers $12 Inside the Civic Auditorium, an informal discussion takes place with Charles Halka Impact [West Coast Premiere]

Marin Alsop and composers , David T. Little, Jonathan Ana Lara Angeles de llama y hielo (Angels of Flame and Ice) R Newman Huang Ruo Nathaniel Stookey Christopher Rouse Supplica

, , and . I

James MacMillan Epiclesis (Tine Thing Helseth, trumpet) [U.S. Premiere] L 8:00pm YELLOW EARTH—Orchestra Concert $59 $52 $32 L

Featuring the Cabrillo Festival Orchestra, conducted by Marin Alsop. Between Concerts: Picnicking in the Olive Grove MEETUP! O

Sebastian Currier Quanta [U.S. Premiere] Pack a basket and join other Festival-goers in the Olive Grove adjacent M Huang Ruo The Color Yellow: Concerto for Sheng (Wu Wei, sheng) to Mission San Juan Bautista. [West Coast Premiere] Post-Evening Concert: Grand Finale Reception MEETUP! U

Jonathan Newman Blow it Up, Start Again SIC Stroll to Jardines de San Juan restaurant (115 Third Street) to bid the Chroma Festival a fond farewell. Post-Concert Talkback Session Free . Concertgoers are invited to a post-concert discussion with Marin Alsop, O guest artist and composers. SAVE OUR DATES! 2016: July 31-August 14 R 2017: July 30-August 13 G

CABRILLO FESTIVALFESTIVAL OF CONTEMPORARCONTEMPORARYY MUSIC 3 4 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC P CABRILLO FESTIVAL OF

MESSAGE FROM THE PRESIDENT CONTEMPORARY MUSIC R BOARD OF DIRECTORS E Jim Petersen S President I

Michel Protti D Vice President E Fran Fisher, C.P.A. Chief Financial Officer N

Liza Culick T Secretary S

Dina Hoffman

Immediate Past President M

Tom Ellison E to listening to and learning from the best and Richard Fabrikant

Cabrillo Festival of Contemporary Music brightest talents in the contemporary music Ciara Harraher S ll the planning for the 53rd season of the is over. Now let the music begin! I invite realm, is what makes Cabrillo Festival such a Nancy Loshkajian A S you to experience the tremendous joy, artistry unique experience. I thank you for your ongoing Jonathan Miller and bold experimentation that have become the and energetic support in helping build our Earleen Overend A hallmarks of Cabrillo Festival. I look forward to festival community. Your ticket purchases—and Marcia Smith

sharing with you the particular magic that has your generous donations to the Festival—truly G John Supan made the Festival one of the foremost creators make the magic happen. Richard Wilson of contemporary orchestral music in the world. E And to think that all of this comes to life in the So, what’s new at Cabrillo Festival this year?

LIFE MEMBERS / tiny little piece of paradise we call Santa Cruz, The Festival’s Board of Directors and staff have Fran Fisher —who would have thought that possible created a robust and inspiring Strategic Plan. B when the Festival began fifty-three years ago? The plan will guide us over the next five years Marion Taylor to build on our key organizational strengths O You might ask what makes the magic happen at and determine how we can best deliver on PAST PRESIDENTS the Festival? It starts with visionary leadership. our Mission—to “reimagine the orchestral A T. Jerome Barnes 1963 Once again our inspiring Music Director Marin experience—advancing music and developing

Paul Sandas R Alsop has brought together a truly amazing audiences for the 21st century.” The plan is 1964 assembly of both legendary and emerging highlighted by two bold initiatives: developing a Suzanne Paizis 1964-65 D composers, world-renowned guest artists and multi-year series of creative commissions and Bud Kretschmer 1966-67 our beloved and immensely talented Cabrillo artistic collaborations that we’re calling Nexus— J.A. Wyckoff 1968

Festival Orchestra. We are so awed by Marin’s and that will form the centerpiece of our artistic O Ruth Frary, M.D. 1969-72 artistic vision and lifted by her infectious vision in coming years; and taking a key leadership Manuel Santana enthusiasm! Joining Marin is our fabulous role in the community effort to renovate the Civic 1973-77 F Executive Director Ellen Primack, who this year Auditorium so that it may become a more vibrant Earleen Overend 1978-80 is celebrating her 25th season with the Festival. I and functional performing arts and cultural Carol Brancich 1981-82 D know I can speak for all of us in thanking Ellen for venue. Ellen Primack is serving as the Chair of Robert Korns, M.D. 1983-84

the incredible work she’s done over the years to the Leadership Team, and that task force has I Gayle Ortiz 1985-86 build the quality and reputation of the Festival— already laid the groundwork by defining viable R and I know the best is yet to come! As we all know, design options for the renovation, Mary K. Hubbard 1987-88 great leaders inspire greatness in all the people an engineering feasibility study, and garnering Manuel Santana 1989 E they work with. So in addition to thanking Marin early support from government leaders and the Richard Klein 1990-91 C and Ellen, and our vibrant community of artists community. The board and staff are very excited Celia Hartman 1992 and composers, I would like to acknowledge the about these initiatives, and are working tirelessly Robert Scrivener 1993 T excellent Cabrillo Festival staff, the Festival’s behind the scenes to build a strong financial Howard Sherer 1994-96 board of directors, and the great network of base that the Festival will need to support its O Elizabeth Irwin 1997 volunteers, whose tireless collective efforts ambitious goals in the years ahead. Gail Oakes 1998-2000 make the Festival magic possible. R Thank you all for your support and generosity in Nancy Loshkajian 2001-05

The magic also happens because of you. I’ve sharing the Cabrillo Festival experience with us. Bruce Nicholson 2006-2009 S talked with numerous Cabrillo Festival patrons Now let’s make some beautiful magic together. Dina Hoffman 2010-2013 over the years, and almost every one says, Jim Petersen 2014-present “There’s just something in the air,” or “I heard something tonight I never would have imagined before.” Your adventurousness, your openness Jim Petersen

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 5 F F A T D S N S A R

O BOARD OF DIRECTORS

T CABRILLO FESTIVAL MISSION STATEMENT Left to right: Nancy Loshkajian, Ciara Harraher, Jonathan Miller, Liza Culick, John Supan, As America’s foremost festival for contemporary symphonic music, the mission C Dina Hoffman, Fran Fisher, Dick Wilson, President of the Cabrillo Festival is to reimagine the orchestral experience–advancing Jim Petersen, Michel Protti, Earleen Overend, E music and developing audiences for the 21st century. Marci Smith, Tom Ellison, and Richard Fabrikant.

R We do this by providing living composers and orchestral artists the means they need

I to create the future of the art form, giving audiences access to the creative process, and providing mentorship and support for the next generation of conductors and composers. F D ADMINISTRATION COMMITTEE CHAIRS PRODUCTION

ELLEN M. PRIMACK EARLEEN OVEREND MIKE JOHNSON Executive Director Fund Development Chair Technical Director D O

JESSICA FRYE RICHARD FABRIKANT ERIK FINLEY R Associate Director Finance Committee Chair Orchestra Manager A SANDRA GRESHAM JIM PETERSEN ELLA FREDRICKSON STAFF Development Director Strategic Planning Chair Music Librarian O Lyndsey Loosley, Sandra Gresham, LYNDSEY LOOSLEY LIZA CULICK DREW YERYS Jessica Frye, and Ellen Primack B Director of Operations Board Development Chair Recording and and Programs Sound Engineer DINA HOFFMAN VALERIE HAYES Personnel Committee LAURA ANDERSON Housing Coordinator Stage Manager BARBARA LAWRENCE Mike Johnson Erik Finley Ella Fredrickson MONA BAROUDI Music in the Mountains PHOEBE HARPER Publicist Benefit Event Chair Assistant Stage Manager

DEB TRACY-PROULX NANCY LOSHKAJIAN KELLY OTT Civic Renovation Study RICHARD WILSON Production Assistant Project Manager Civic Auditorium JENNIFAH CHARD Leadership Team Liaisons Drew Yerys Laura Anderson Phoebe Harper House Manager

MEMBERS OF I.A.T.S.E. LOCAL 611 Stage Hands

Kelly Ott Jennifah Chard Valerie Hayes 6 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC E Honoring 25 Years with Cabrillo Festival

TRIBUTE TO ELLEN PRIMACK L This year marks a very special milestone as we L celebrate Executive Director Ellen Primack’s

25th Anniversary season with the Cabrillo E Festival. It is quite remarkable when anyone dedicates themselves to a career in the non-profit N P world, with all of its uncertainties and challenges, but when a career transforms into one’s “calling,” as it has with Ellen, it is truly extraordinary! She

has stewarded the Festival’s mission and our R artistic vision with passion and perseverance, I Advocating for the future of performing arts thoughtfully guiding the organization at every step M at the Civic Auditorium, 2015. along the journey. She knows that our musicians are the heart of the Festival Family and we are

all nurtured by the relationships she fosters with A our artists, audience members, volunteers, and

donors. Ellen is a true cultural ambassador and, C together with our strong artistic initiatives, has helped grow the Festival’s reputation from a K respected regional arts organization to the pre- ’

eminent contemporary music festival in America. S 2 Ellen has done this with great personal and professional integrity, dedication, and heartfelt commitment to securing the future of this thriving arts and cultural community. 5

Please join me in thanking and congratulating Ellen T

on her first 25 years with Cabrillo Festival. On this H

special occasion the Board of Directors and I would like to dedicate the 2015 Festival in her honor. A

Here’s to the future! N

Always supportive, even holding a ladder for staff photographer rr jones at the Church N Street Fair, 2008. Marin Alsop I V E R S A R Y

Ever wonder how your season tickets get assigned? Now you know!

At home, Ellen loves to cook… but loves her dear husband Eric even more! Ellen in 2006, a banner year for the Festival.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 7 8 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC M Marin Alsop is an inspiring and powerful voice in the international music scene, a

Music Director of vision and distinction who U passionately believes that “music has the power to change lives.” She is recognized S across the world for her innovative approach to programming and for her deep commitment I C D to education and to the development of audiences of all ages.

er outstanding success as Music Director

of the Baltimore Orchestra I Hsince 2007 has been recognized by R two extensions in her tenure, now confirmed until 2021. As part of her artistic leadership E

in Baltimore, Marin Alsop has created bold C initiatives that have contributed to the wider community and reached new audiences. In T 2008 she launched ‘OrchKids,’ which provides music education, instruments, meals and O mentorship of the city’s neediest young people. R M Engaging the local community, the BSO Academy and Rusty Musicians programs also allow adult amateur musicians the chance to play alongside members of the orchestra under Alsop’s baton. of International Women’s Day in 2011. In A Alsop took up the post of Principal Conductor 2012 Alsop was presented with Honorary of the São Paulo Symphony Orchestra (OSESP) “Alsop has a way of imbuing Membership (HonRAM) of the Royal Academy R in 2012 and became Music Director in July the music with cool, and of Music, and was named an Honorary 2013, with her contract now extended to the end her passion is infectious.” Member of the Royal Philharmonic Society I of 2019. She continues to steer the orchestra in 2014. Also in 2014, Alsop was given a N A ­—Good Times in artistic and creative programming, recording “Champion of New Music” award by the ventures and its education and outreach American Composers Forum. activities, as well as their annual Campos do Orchestra of the Age of Enlightenment. She Jordão International Winter Festival. Alsop led The latest disc of Alsop’s Prokofiev symphonic is also Artist in Residence at the Southbank the orchestra on a European tour in 2012, cycle with OSESP (Symphony No.1) was L Centre in London. with acclaimed performances at the BBC released in November 2014 and the first S Proms in London and at the Concertgebouw in In September 2013, Alsop made history as the (Symphony No.5) was Orchestral Choice Amsterdam; they returned to Europe in October first female conductor of the BBC’s Last Night of in BBC Music Magazine. Alsop’s extensive O 2013, with concerts in , London, , in London. She returns to the Proms discography on Naxos includes a notable set Salzburg and Vienna. in 2015 to conduct the Last Night again and of Brahms with the LPO, Brahms P an all-Brahms program with the OAE. 2014-15 Ein deutsches with the MDR Leipzig Since 1992, Alsop has been Music Director of highlights included a European tour with the Radio Choir and Symphony Orchestra and a California’s Cabrillo Festival of Contemporary LPO and a Remembrance Day performance highly-praised Dvořák series with the Baltimore Music, where she has built a devoted audience for of Britten War Requiem at Southbank Centre Symphony Orchestra. Other award-winning new music. Building an orchestra is one of Alsop’s with young musicians from the Royal Academy recordings include Bernstein’s Mass (Editor’s great gifts, and she retains strong links with all of of Music and the National Youth Choir of Great Choice, Gramophone Awards 2010) and her previous —­Bournemouth Symphony Britain. In March 2016, Alsop will celebrate ’s Percussion Concerto Orchestra (Principal Conductor 2002-08; now Carnegie Hall’s 125th anniversary conducting (Grammy Award 2010). Alsop has also Conductor Emeritus) and Colorado Symphony Bernstein’s West Side Story in the Knockdown recorded for Decca Classics, Harmonia Mundi Orchestra (Music Director 1993-2005; now Music Center, a restored factory in Queens. and Sony Classical. Director Laureate). Alsop is the recipient of numerous awards Born in , Alsop attended Yale Alsop has guest-conducted the great orchestras and is the only conductor to receive the University and received her Master’s Degree of the world: , Cleveland, Los prestigious MacArthur Fellowship, given to from The . Her conducting Angeles Philharmonic, Royal Concertgebouw, U.S. residents in recognition of exceptional career was launched when, in 1989, she La Scala Philharmonic, Orchestre de Paris, creative work. In 2008 she became a Fellow of was a prize-winner at the Bavarian Radio Symphony. In Europe, she the American Academy of Arts & Sciences and, International Conducting Competition and regularly returns to the Frankfurt Radio in the following year, was chosen as Musical in the same year was the first woman to be Symphony, Royal Stockholm Philharmonic and America’s Conductor of the Year. She was awarded the Koussevitzky Conducting Prize the Czech Philharmonic. Alsop has a close inducted into the American Classical Music from the Tanglewood Music Center, where she relationship with the London Symphony and Hall of Fame in 2010 and was the only classical was a pupil of . London Philharmonic, appearing with both musician to be included in The Guardian’s orchestras most seasons, as well as with the “Top 100 women”, celebrating the centenary

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 9 Winner of the League of American Orchestras and ASCAP’s 2008-2009 John S. Edwards FESTIVAL HISTORY Award for Strongest Commitment to New American Music and winner of their Award for Y Adventurous Programming of Contemporary Music from 1982-2013, Cabrillo Festival

R of Contemporary Music is America’s preeminent contemporary music festival.

O ur story begins in the summer of 1961 directors dedicated to new music for orchestra: when young composer-musician Robert Gerhard Samuel (1963-68), composer Carlos

T Hughes stepped from a Greyhound Chávez (1970-73), conductor Dennis Russell O Davies bus at the Sticky Wicket, an Aptos, California (1974-1990), and American composer S along the then two-lane Highway (1991). I One. He had just arrived from Italy to study with composer . At the same time, Since its founding, the Festival has presented H Hughes joined Sticky Wicket owners Vic and 150 world premieres, 70 U.S. premieres, 145 Sticky Wicket, 1960s Sidney Jowers and others to present quality West Coast premieres, and countless local L music and theater at the coffeehouse. Nearly premieres, and has included the participation 200 people could be seated before a wooden of more than 230 composers, including John A stage in the field next door to enjoy a Stravinsky Adams, William Bolcom, , Elliott opera or a chamber music concert. Carter, Carlos Chávez, Aaron Copland, John V Corigliano, Michael Daugherty, Philip Glass, I A year later, Cabrillo College opened its Aptos Osvaldo Golijov, Lou Harrison, Jennifer Higdon,

T campus. Faculty choral director Ted Toews and , Libby Larsen, Tania Leon, soprano Alyce Vestal joined the Sticky Wicket James MacMillan, Thea Musgrave, Pauline

S gang and Lou Harrison to help shape the Oliveros, Arvo Pärt, Christopher Rouse, Joseph expansion of the Sticky Wicket Concert Series Schwantner, , and . E into Cabrillo Music Festival. Gene Hambelton has called it “two of the

F and area newcomer Bud Kretschmer became part of that group as it progressed. most thoughtful and original summer musical weekends anywhere in America,” and WQXR About 300 people attended opening night at named it “one of the top five incubators of The Festival Tent at UCSC, 1987 the Cabrillo College Theater, August 21, 1963. At new music” in the world. Symphony magazine 8:15 p.m., a thrill rippled through the audience declared, “According to all the traditional when the Festival’s first music director, Gerhard marketing dicta, not to mention the persistent Samuel, stepped to the podium! nay-saying Cassandras of the orchestral world, this is a formula that is not supposed to work. Now audiences fill Santa Cruz Civic Auditorium, More than just an improbable enterprise, it’s home to the Festival since 1991, under the an improbable success story.” leadership of Marin Alsop, who in 1992 joined a long succession of distinguished music

1992–Present Marin Alsop

“At the Cabrillo Festival of 1963–1968 1970–1973 1978 1974–1990 1991 Gerhard Samuel Carlos Chávez Composer Dennis Russell John Adams Contemporary Music, new works Aaron Copland Davies are always the main course. Under music director Marin Alsop, the annual event offers a total immersion experience, exploring a full range of stylistic concerns and often presenting young composers before they become household names. In the process, Cabrillo has become a summer mecca for musicians and a premier musical destination for audiences.”

–San Jose Mercury News Concerts at Mission San Juan Bautista, c.1970s Festival moves to SC Civic Auditorium in 1991

10 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC A VISION FOR CIVIC AUDITORIUM THE CIVIC AUDITORIUM RENOVATION PROJECT: A VISION FOR THE FUTURE

2015 marks the Santa Cruz Civic Auditorium’s 75th anniversary and the 25th anniversary of Cabrillo Festival’s move downtown to our permanent home. How apropos that with these auspicious milestones we’re able to unveil an ambitious new vision for the future of this iconic City-owned gathering place. With the committed support of the Civic Renovation Leadership Team, the David and Lucile Packard Foundation, Santa Cruz City Council, and the Parks and Recreation Department, great strides have been made in planning for a much-hoped-for renovation of the Civic Auditorium as a performing arts and cultural center for our community.

here is still a long journey ahead and much There are two design options being considered, both of which preserve availability of flat floor space to allow support to be garnered, but progress is the broadest variety of presenters and mixed uses. One design includes fixed theatre seating in one-third of encouraging. Current and prospective the hall, and the second recommends retractable seating that would expand usable floor space even further. T Both options eliminate the current seating configuration and the untenable steep rake of the existing stairs, users of the Civic—both commercial and non- and provide new seats with the majority facing comfortably forward to the stage. profit—have been surveyed, focus groups conducted, and research and analysis of those findings compiled. A Tier One structural engineering study and a Tier Two seismic capacity study have now been completed, with very positive reports. As well, ELS Architecture and Urban Design created an exciting conceptual design envisioning our new theatre, and enabling us to move the project forward with a new sense of excitement and possibility.

Next steps are underway! Consultants AMS Planning & Research have launched a business planning study that will include situation and operations analysis, an online survey to engage community input, and proposals for future operating and management plans. Understanding that this project will require The lobby would be expanded to allow increased concessions to optimize customer service and revenue. a significant public/private investment, a The portico would be glazed in with glass to further expand the lobby, and the upper story roofs would be redesigned as exterior balconies for social gathering. Civic Renovation Fund Development Steering Committee has now convened to begin the process of identifying and engaging private donors who can help make this dream a reality.

We’re excited and grateful to so many who are championing the renovation and the wonderful benefits it would bring for all citizens of the City and County. We’ll update you on our progress and call you to action as we continue on this exciting pursuit!

Ellen Primack, Cabrillo Festival Executive Director and Chair of the Civic Auditorium Renovation Leadership Team

The designs include a second story lobby balcony, allowing access to upper level seats from the rear of the hall. Elevators and stairways to the upper story would be included and seating would be handicapped accessible on both levels of the theatre. Staging, lighting, acoustical, and technical equipment would be upgraded, as would backstage performer and kitchen facilities.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 11 CABRILLO FESTIVAL EXPERIENCE All events take place at the Santa Cruz Civic Auditorium and are free, unless otherwise noted.

OPEN REHEARSALS PANEL DISCUSSIONS

Watch the music come to life as the musicians and composers sculpt their Pre-Concert Talk on Opening Night pieces for performances day by day. A detailed schedule of Pre-Rehearsal Friday, August 7, 7:00pm Talks and Open Rehearsals can be found online. You’re invited to join Marin Alsop and featured composers outside the MORNINGS: 10:00am–12:30pm August 4, 5, 12, 13 Civic for a pre-concert introduction to the 2015 season! AFTERNOONS: 4:00pm–6:30pm August 4 (Conductors Workshop) 2:30pm–5:00pm August 3, 6, 11, 14 Meet the Composers EVENINGS: 7:00pm–9:30pm August 2, 6, 11, 12 Saturday, August 8, 1:30pm, $12 Open Rehearsals are supported by an anonymous donor. An informal talk takes place inside the Civic with Marin Alsop and composers Sebastian Currier, David T. Little, Jonathan Newman, Huang Ruo, and Nathaniel Stookey. Visit our website’s About Us/Look- Listen pages to find archived videos of past Meet the Composers forums! Post-Concert Talkback Saturday, August 8 Following the YELLOW EARTH concert, concertgoers are invited to stay for a talk with Marin Alsop and the evening’s featured artists. Pre-Rehearsal Talks Thursday, August 6, 6:15-6:45pm Cabrillo Festival principal flute, Tim Munro, is a music writer, teacher, and concert lecturer for the Chicago Symphony Orchestra, and will offer FREE CONCERTS insights about the HAUNTED TOPOGRAPHY concert repertoire.

CABRILLO FESTIVAL EXPERIENCE FESTIVAL CABRILLO In the Works Wednesday, August 12, 6:15-6:45pm Wednesday, August 5, 5:30pm Artistic director of New Music Works, a composer, and college lecturer, A special Cabrillo Festival Orchestra concert led by emerging Philip Collins will discuss the WISH YOU WERE HERE concert program. conductors, featuring new works by three young composers— Brendan Faegre, Takuma Itoh, and Emily Praetorius—all studying in the prestigious Conductors/Composers Workshop. RELIVE the EXPERIENCE Free Family Concert on KUSP Sunday, August 9, 1:00pm KUSP radio will present on-air broadcasts of 2015 Festival Orchestra concerts on 88.9FM (Monterey Bay); 89.3FM (downtown Santa Cruz); Nathaniel Stookey’s The Festival reprises delightful whodunit, The 89.1FM (Hollister and Gilroy); 91.3FM (Palo Colorado Canyon); 95.3FM Tour of Composer is Dead, narrated by the composer. It begins with a (Big Sur Valley) and webcasts at KUSP.ORG on the following schedule: the Orchestra, then Maestra Alsop conducts a musical murder mystery HAUNTED TOPOGRAPHY that will keep the whole family laughing from the edge of their seats! : Friday, August 21, 8:00pm YELLOW EARTH: Saturday, August 22, 8:00pm Student Staff Ensemble WISH YOU WERE HERE Saturday August 15, 2:30pm : Friday, August 28, 8:00pm MUSIC AT THE MISSION The Student Staff Ensemble, made up of young musicians age 16-24, : Saturday, August 29, 8:00pm produce and perform a concert of all original works! Come witness their boundless creativity, and hear the future of new music, now. 12 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC CABRILLOFESTIVAL EXPERIENCE PHOTOGRAPHER IN IN RESIDENCE R.R. JONES A brilliant fine arts photographer, Ron Jones’ rich portraits taken across Indonesia, Thailand, and have distinguished him as a Santa Cruz treasure. For well over a decade, Jones has been the Cabrillo Festival’s primary photo documentarian, and as our Photographer-in-Residence we will again feature his incredible work on display in the lobby of the Civic MEET UPS Auditorium during the Festival season. You can also enjoy slideshows of images from past seasons at cabrillomusic.org. MEET UP WITH NEW MUSIC FRIENDS! You will find countless ways to gather socially with fellow new music Cruz, California in 1986, where he continues to make his living fans and artists during the Festival season. Here are just a few: Jasones a wasphotographer. born in Houston, Jones hasTexas works in 1949, in permanent and moved collections to Santa Opening Night Dinner including the San Francisco Museum of Modern Art; Denver Museum of Art; Santa Barbara Museum of Art; Center for Visual Art at Stanford Friday, August 7, 6:30pm, $32 University; Santa Cruz Special Collections; and Before HAUNTED TOPOGRAPHY concert, enjoy an al fresco dinner the Center for Photographic Art at . In 2001 catered by Feast for a King. Reservations required. Jones was the recipient of a Gail Rich Award, and in 2005 was the subject of a one-man show at Santa Cruz’ Museum of Art & History. Church Street Fair Staff photographer for Kuumbwa Sponsored by: Saturday & Sunday, August 8 & 9, 11am-8pm Center since the early Bring your friends, family, and love of fun in the sun to Downtown Santa 1990s, Jones has just published Cruz for two full days of local music, art, food, wine, and kids activities a photography book honoring in front of the Civic Auditorium. their 40th anniversary! Dessert Reception Saturday, August 15 DONORS CONCERT Immediately following the WISH YOU WERE HERE concert, concertgoers ROB SIMONDS, violin are invited to join orchestra members and guest artists outside the New this year, the Festival has Civic for a dessert reception. invited donors of $250 and more to a Mission San Juan Bautista special chamber music performance in their honor—even before the public Sunday, August 16 activities begin! Sponsored by the Between-Concert Picnicking Festival’s Board of Directors, the event will start at 4:45pm with a Pack a basket and join other Festival-goers in the Olive Grove adjoining wine and cheese reception in the lobby of Civic Auditorium. At the historic Mission San Juan Bautista. 5:15pm, we’ll gather in the hall for a solo violin recital of new Post-Concert Reception works performed by our own Rob Simonds. We have picked a Stroll to Jardines de San Juan restaurant to bid the orchestra and the very special program of works by composers both familiar and 2015 season a fond farewell. new to Festival audiences. This is a heartfelt expression of appreciation to our donors for helping make the Festival possible!

Simonds returns to the Cabrillo Festival Orchestra this summer Pforrincipal a fifth second season. Asviolin an orchestraof the Louisville player and Orchestra,as a solo recitalist, Robert Simonds is a stalwart champion of new music with a special emphasis on American styles. He’s especially interested in where classical composition and performance intersect with vernacular styles; in addition to seeking new works influenced by , he’s gone directly to the source and collaborated with Joe Pug, , Tobie Milford and The Low Anthem. Born and raised in Massachusetts, Simonds began studying the violin at a young age with his grandmother. A graduate of the University of College-Conservatory of Music, he earned two degrees in violin performance studying with Dr. Won-Bin Yim and Dorothy Delay. His violin is from Reggio Emilia in northern Italy, made by Mario Bedocchi in 1927. Special thanks to Rob for a great idea and his generous support!

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 13 R I R I A downtown santa cruz

A Church Street Fair is presented by the Cabrillo Festival of Contemporary Music and the Santa Cruz Civic Auditorium ET F F aturday and Sunday, August 8 and 9 see the return E of Cabrillo Festival’s popular Church Street Fair! The

R Stwo-day “festival within the Festival” continues to offer an inspiring celebration of the arts in Santa Cruz. Now in its

T 24th year, the Fair features local food purveyors, vintners

T and brewers, plus an eclectic menu of musical genres on the outdoor stage. Dozens of artists and craftspeople will sell their treasures all along Church Street in front of the Civic

H S Auditorium; while the Church Street Stage takes audiences Brett Taylor, Church E on a journey across the world from Africa to Asia, Europe, Street Stage emcee.

C and back to the Americas. Exciting additions this year include performances by two youth ensembles—El Sistema and Little Opera—in which grade-schoolers take Gamelan Anak Swarasanti R E center stage! The Church Street Stage is hosted by our always-fantastic master of ceremonies, KUSP programmer Brett Taylor. U R H SATURDAY AUGUST 8 C

T 11:15 AM GAMELAN ANAK SWARASANTI Traditional and contemporary Balinese gamelan orchestra music performed on the angklung.

S 12:15 PM SANTA CRUZ THEATRE Young dancers and burgeoning ballerinas Santa Cruz Ballet Theatre en pointe present ballet with precision training AZA–Mohamed

and exquisite . & Fattah 1:00 PM AZA-MOHAMED & FATTAH A Moroccan-born vocal and instrumental duo present folkloric material from both Amazigh Samba Cruz Trio and Arabic music traditions. 2:15 PM SAMBA CRUZ TRIO CH Brazilian music styles from samba to bossa nova, Shakti Bhakti Ensemble baiao, choro and more! SHAKTI BHAKTI ENSEMBLE R 3:15 PM Odissi classical Indian dance, characterized by fluid gestures and intricate footwork. 4:15 PM DOMU AFRICA U West African percussion and vocals from the Griot traditions of Senegal. Domu Africa 5:15 PM FLOR DE CAÑA Flor De Caña High-energy Caribbean , including Cuban son and Colombian cumbia. 6:30 PM PURE ROOTS CH Reggae music with distinctive heavy-hitting bass lines, melodic grooves, and a lively horn section.

Pure Roots 14 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC CH The Church Street Stage is sponsored by: SATURDAY & SUNDAY AUGUST 8&9 11AM‑8PM U

SUNDAY AUGUST 9 R

11:30 AM LITTLE OPERA CH Students and adults perform an original opera entirely written, composed and designed by SF elementary and middle school students! I’m in the Mirror follows the Little Opera adventures of a cursed family, and one girl’s quest to break a tragic cycle. 12:15 PM EL SISTEMA SANTA CRUZ

Gault Elementary School children sing and perform S on recorders, , and xylophones; an inspired Watsonville Taiko demonstration of music’s power to create joy and transform lives. 1:00 PM FREE FAMILY CONCERT Inside the Civic, it starts with a Tour of the Orchestra! T El Sistema Santa Cruz Then Marin Alsop and the Cabrillo Festival Orchestra perform the wildly popular musical murder mystery, The Composer is Dead, narrated by composer Nathaniel Stookey. See page 45. R 2:30 PM WATSONVILLE TAIKO This ancient Japanese drumming tradition brings together rhythm, movement and harmony in traditional and contemporary works. E 3:30 PM TE HAU NUI HULA SCHOOL & TAHITIAN DANCE Te Hau Nui Hula School & Tahitian Dance E Sacred and festive of Hawai’i, Tahiti, and New Zealand convey the beauty and power of Polynesian dance. T 4:15 PM CROOKED ROAD CÉILÍ BAND An Irish- trio performs traditional Irish melodies and dance music on hammer dulcimer,

fiddle, tenor banjo, mandolin, , and bodhran. F 5:15 PM COFFIS BROTHERS & THE MOUNTAIN MEN Rock and roll in the most classic sense–melodic, rootsy and heartfelt.

Coffis Brothers & The Mountain Men A 6:30 PM ASHWIN BATISH & HIS SITAR POWER ENSEMBLE A globally renowned pioneer of music, master sitar player Ashwin Batish and his band merge Indian I Crooked Road Céilí Band classical music with Western electronica. R And deep appreciation for support from:

Special thanks to Stage Manager Ashwin Batish & Eileen Flynn; our IATSE 611 Sound His Sitar Power Ensemble Engineer, Erin Barlowe, and to the Santa Cruz Civic Auditorium staff!

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 15 16 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC C CREATIVITY TENT FOR KIDS Welcome to the “Creativity Tent for Kids” at the Church Street Fair—two full days of free hands-on R music and art workshops under a beautiful white canopy in the gardens of the Santa Cruz City Hall!

Stop by to be inspired on Saturday and Sunday, August 8 and 9! Music and movement will be central E in sessions with Music Together, and professional artists will lead workshops in painting, drawing, printmaking and assemblage. The Creativity Tent’s activities promise our younger generations hours of fun and enduring inspiration. The Tent is just one of the exciting components of children’s activities at A the Festival; others include our innovative Free Family Concert and free family performances on the Church Street Stage. All workshops are free and open for children and their families. T I V I T

SATURDAY AUGUST 8 SUNDAY AUGUST 9 Y

MORNING WORKSHOP 11:00AM–2:00PM MORNING WORKSHOPS 11:00AM–1:00PM TE MUSIC TOGETHER with MusicalMe, Inc. SUSANA TERRELL – Mixed Media Bird Prints A huge hit with the toddler set, Music Together/MusicalMe transforms the Participants will collage with musical pages, then print birds using Creativity Tent into a fun and friendly drop-in circle time, where kids and a variety of pre-made shapes, before embellishing their work with their adults can sing, dance, and play a variety of instruments together. oil pastels.

AMANDA HESS – Aboriginal Stencil Wood Paintings N AFTERNOON WORKSHOPS 2:30–5:30PM Inspired by the art traditions of the indigenous people of Australia, KYLE MORRIS – Metal Etching/Repujado kids will cut out an animal shape stencil and apply paint in small dots and lines to create visual beats with pattern and rhythm.

Young artists will learn the cultural history of the Mexican repujado T technique. They will then etch an image into tooling metal using a wooden THIRD WORKSHOP – To Be Announced stylus. Participants will learn how to see mistakes as an invitation for

improvisation in their artwork. AFTERNOON WORKSHOPS 2:30–5:30PM

OLIVER WHITCROFT – Mixed Media Recycled Audio Mobiles F Participants will collage onto recycled vinyl records using images from KATELYN BYRNE – Mural Painting music books and magazines, before printing over the collages with On a large plywood board Katelyn will sketch out a mural depicting old cassette tapes and vinyl pieces. The finished pieces will then be a particular music style. The board will lay flat on a table so that O threaded with fishing line for a beautiful mobile. participants of all ages and sizes can easily access all sides of the mural and paint in the design.

EMMA GARCIA – DIY Maracas R Participants will learn about the Latin American origins of the Maracas MAGDALENA MONTAGNE – Found Poetry Collages and the Taino culture before creating and decorating their own Maracas. Using fragments of poetry from published authors, as well as ready-

The finished pieces will be fun and colorful percussion instruments to cut images, new poems will be assembled on construction paper take home and make music with! to create unique works of literary and visual art to take home.

Appropriate for toddlers to teens. K

CLAUDIA STEVENS – Mixed Media Starry Night Paintings

Using mixed media including pastels, tempera, metallic ink and I watercolor pencils, students create their own unique and magical DS Creativity Tent sponsored by: Van Gogh “Starry Night.” Movement, repeated pattern, and texture along with line, shape, proportion, and color mixing are addressed in this project.

With additional support from:

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 17 MASON BATES SEBASTIAN CURRIER S

Sponsored by Michèle Beigel Corash & Sponsored by Jim & Beth Petersen R Laurence Corash and Alan Ritch

E Recently appointed the first composer-in- Sebastian Currier is the 2007 recipient of the

S residence of the Kennedy Center for the prestigious . Heralded as Performing Arts, Mason Bates writes music that “music with a distinctive voice” by The New York

O fuses innovative orchestral writing, imaginative Times and as “lyrical, colorful, firmly rooted in narrative forms, the harmonies of jazz and the tradition, but absolutely new” by the Washington

P rhythms of . His symphonic music has Post, his music has been performed at major been the first to receive widespread acceptance venues worldwide by acclaimed artists and for its expanded palette of electronic sounds. orchestras. His works span both chamber and M MASON BATES Bates’ activities as a DJ in San Francisco and orchestral genres, and have been performed

O Chicago have highly informed not only his by ensembles including the Cassatt, Ying, and compositional approach, but his distinctive Kronos string quartets, the New World and

C curating projects. He has become an advocate San Francisco symphonies, and the New York for bringing new music to new spaces, whether Philharmonic. through institutional partnerships such as T his residency with the Chicago Symphony Recent works include Deep-Sky Objects for Orchestra, or through his club/classical project soprano and ensemble; Fifteen Minutes for “Mercury Soul,” which has transformed spaces flute, harp, and ; Quanta for orchestra;

ES ranging from commercial clubs to - Flow for chamber sextet; Ringtone Variations designed concert halls into exciting, hybrid for violin and ; Cadence, Fugue,

U musical events drawing more than a thousand Fade for brass quintet; Parallel Worlds for SEBASTIAN CURRIER people. In awarding Bates the Heinz Medal in flute and ; and Artificial Memory G the Humanities, Teresa Heinz remarked that “his for chamber ensemble and electronics. In music has moved the orchestra into the digital April 2015, Sebastian Currier’s new work for age and dissolved the boundaries of classical orchestra, Divisions, was premiered by the music.” Seattle Symphony. In addition, May 2015 saw the premieres of Spark, written for the twelve As part of the ’s recent cellos of the , and Glow, a Beethoven & Bates Festival, three of his largest new solo piano work premiered by Inon Barnatan works—Alternative Energy, Liquid Interface, and in London. Recordings include his The B-Sides—were recorded for an upcoming Time Machines with Anne-Sophie Mutter CD focusing on his music. As well, his Violin of the on Deutsche Concerto was recorded by , Grammophon, Next Atlantis with the Ying the London Symphony, and violinist Anne Quartet on Naxos, and On the Verge from Music CHARLES HALKA Akiko Meyers. His music’s dramatic realization from Copland House, featuring his Grawemeyer of narrative forms has recently attracted the Award-winning Static, and other chamber works. attention of artists outside classical music, Anne Midgette for said of such as famed director Gus Van Sant, whose his Quartetset, Quiet Time album, recorded by upcoming film, Sea of Trees, starring Matthew the Cassatt Quartet, “…[it] distances the present McConaughey, features a symphonic score by from the past, causing the listener to think about Bates. Bates’ diverse catalogue includes many music itself.” purely acoustic works, in addition to chamber and vocal music. Currier has received many awards including the Berlin Prize, Rome Prize, a Guggenheim Continuing performances of works such as Fellowship, a fellowship from the National , which premiered at the Sydney Endowment for the Arts, and an Academy Award Opera House by the YouTube Symphony to from the American Academy of Arts and Letters; ANA LARA an online audience of 1.8 million; Rusty Air in and has held residencies at the MacDowell and Carolina, an electro-acoustic tone poem about Yaddo colonies. He received a Doctor of Musical the ambience of the South; and the sinfonietta Arts degree from the Juilliard School; and from Omnivorous Furniture, have demonstrated that 1999-2007 he taught at . electronic sounds can be a welcome addition to the orchestral palette. Currier makes his debut at Cabrillo with the U.S. Premiere of Quanta on Saturday, August 8th. Bates returns to the Cabrillo Festival for the West Coast premiere of his latest work, Anthology of Fantastic Zoology, on Opening Night, Friday, August 7th. More information and content is available

HANNAH LASH www.cabrillomusic.org

18 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC G CHARLES HALKA ANA LARA HANNAH LASH U Sponsored by Jack & Peggy Baskin Sponsored by Lesley & Michael Tierra Sponsored by the Pacific Harmony Foundation

and Rowland & Patricia Rebele ES

Charles Halka writes acoustic and electronic Born in , Ana Lara attended the Hannah Lash has emerged as a leading voice of music for concert, dance, and opera, and his National Conservatory of Music, where her her generation. Her music has been performed works are often inspired by language, visual teachers included Mario Lavista and Daniel in venues such as Carnegie Hall, the Walt T imagery, movement, and human experience. Catán; she later studied at CENIDIM with Disney Concert Hall, (le) Poisson Rouge and

His music has been performed worldwide by Federico Ibarra. She did postgraduate studies Tanglewood Music Center. Her awards include a C ensembles including the Mexican National with Zbigniew Rudziński and Wlodzimierz Charles Ives Scholarship (American Academy of

Symphony Orchestra, Fort Worth Opera Studio, Kotoński at the Warsaw Academy of Music; Arts and Letters), CMA Grant, a Copland House O counter)induction (NY), Volti (SF), ÓNIX Ensamble and received her Master’s degree in Residency, a Fromm Foundation Commission, a

(Mexico), PRO eNsemble (Russia), Aquarius Ethnomusicology at the University of Maryland Yaddo Artist Colony fellowship, the Naumburg M (Belgium), Duplum Dúo (Mexico), Jauna Muzika in 2004. Her compositions—ranging from Prize, the Barnard Rogers Prize, the Bernard and (Lithuania), and Pictures on Silence (Baltimore), solo pieces to orchestral works—have been Rose Sernoffsky Prize and the ASCAP Morton P among others. As a 2008-09 U.S. Fulbright performed throughout Europe, Japan, as well Gould Young Composer Award.

grantee, he spent a year in Vilnius, Lithuania as in the U.S., Central and South America, and O researching Lithuanian music and writing an her native Mexico. Lara served as composer Lash has received commissions from Aspen opera, Julius, in collaboration with director in residence of Mexico’s National Symphony Music Festival, Cabrillo Festival, Library of S and librettist Marija Simona Šimulynaitė that Orchestra; and has won the Mexican Ministry Congress, Symphony Orchestra, premiered in 2010. A choral excerpt from the of Culture’s grant for young creators, the U.S./ Chamber Orchestra, Alabama E opera was performed in Belgium at the ISCM Canada/Mexico Creative Artists Residency Symphony Orchestra, Great Lakes Chamber R Days 2012. In 2011, Round and Program Grant, and the Bellagio Artistic Music Festival, Orpheus Duo, Howard Hanson Foundation, Case Western Reserve’s University Round, based on a work by the American Residency. S music patron Elizabeth Sprague Coolidge, was Circle Wind Ensemble, MAYA, Great Noise premiered at the Coolidge Auditorium of the In 2003, Lara was chosen by the American Ensemble and Aspen Contemporary Ensemble. Library of Congress, and in 2013 a revised Composers Forum’s Continental Harmony She has served as composer in residence with version premiered in Hong Kong at the Intimacy program to write a collaborative work with the Alabama Symphony Orchestra and the New of Creativity partnership led by composer Robert Maggio. The resulting 40-minute Dos Haven Symphony Orchestra, as well as being Bright Sheng. Visiones/Two Visions, jointly commissioned by the 2014 Sound Investment Composer with the the Long Beach Symphony and the Orquesta Los Angeles Chamber Orchestra. Halka is Composer+Intern at Musiqa, Houston’s Sinfónica Nacional de Mexico, was premiered critically acclaimed new-music organization, under the direction of Enrique Diemecke. Her Current projects include an opera based upon and has been Artist in Residence at the collaborations with dance companies include the Beowulf legend written for the Guerilla Foundation for Modern Music (Houston). In ’s Louise Bedard Danse and Chicago’s Opera; a dramatic work for the woodwind quintet addition, he completed residencies at the Luna Negra Dance Company. City of Tomorrow; a harp concerto written for MacDowell Colony and the M.K. Sarbievijaus herself as the harp soloist commissioned Cultural Center in Kražiai, Lithuania, where he Lara has collaborated in various music journals by a consortium including Carnegie Hall, the wrote a chamber opera for the Baltic Chamber and produces a program at Mexico City’s American Composers Orchestra, and Orchestra Opera Theater that was selected for Fort Worth University Radio (Radio UNAM) devoted to of the Swan; and a ballet inspired by Petrushka Opera’s 2015 Frontiers showcase. Imaginary contemporary music. She was a Latin Grammy written for Fifth House Ensemble. Spaces, his recent dance and percussion Nominee for Best Classical Album Producer in Educated at Eastman, Harvard, The Cleveland project in collaboration with the Houston dance 2000. Since 1998 she has been the founder/ Institute of Music, and Yale, Lash now serves company, Frame Dance Productions, was artistic director of Mexico’s International on the faculty at the Yale School of Music. In awarded support from the Aaron Copland Fund Festival Música y Escena, which received the the summer of 2015, Lash will be a Senior for Music. Award of the Mexican Union of Critics of Theater and Music. Lara was also the Artistic Director Composer at the Bennington Chamber Music He earned undergraduate and master’s of Puebla Instrumenta Verano 2004, a summer Festival and Composer Forum of the East, degrees from the Peabody Conservatory and course for young players, and the artistic where she will teach and where her music will a doctoral degree from Rice University; his producer of the Universal Forum of Cultures, be featured in August. primary composition teachers were Michael Monterrey 2007. She has lectured extensively Lash was commissioned by the Cabrillo Hersch, Judah Adashi, Osvaldas Balakauskas, about 20th Century Music and Latin American Festival through an ongoing partnership Richard Lavenda, Kurt Stallmann, Pierre Jalbert, Music, and regularly teaches composition, with composer John Adams and his wife, and Arthur Gottschalk. Halka currently teaches , and musical analysis. Deborah O’Grady, to identify and support composition and music theory at Stephen the next generation of compositional talent. F. Austin State University, and has taught Lara debuts at the Festival with her acclaimed The commission of Lash’s new work, Eating courses at Rice University and The Peabody work, Angeles de llama y hielo (Angels of Flame Flowers, was funded by their Pacific Harmony Conservatory. and Ice), in two Grand Finale performances at Mission San Juan Bautista, Sunday, Foundation, and will receive its world premiere Halka debuts at the Cabrillo Festival with the August 16th. performance on Saturday, August 15th. West Coast premiere of Impact, performed during Grand Finale performances at Mission San Juan Bautista, Sunday, August 16th.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 19 DAVID T. LITTLE MISSY MAZZOLI S Sponsored by Lester & Martha Miller Sponsored by Aviva Garrett & David & R and Phyllis Rosenblum Sage Doshay

E David T. Little’s “sharp, elegantly bristling” Recently recognized by The New York Times

S music (New York magazine) is potent and as “one of the more consistently inventive, dramatic, drawing as much upon his experience surprising composers now working in New

O as a punk/metal drummer as his classical York,” by Time Out New York as “’s post- pedigree. Little often undertakes political and millennial Mozart,” and by The New Yorker as P existential themes, and has recently gained “one of the brightest lights to emerge from the attention for success writing for larger forces, Yale School of Music,” Missy Mazzoli has had DAVID T. LITTLE including multimedia music theatre works and her music performed across the globe by artists his first full-length opera, Dog Days, which The including the Kronos Quartet, ,

OM Wall Street Journal called “one of the most , the Minnesota Orchestra exciting new operas of recent years.” and many others.

C Little has been commissioned by the Baltimore Mazzoli is Composer-in-Residence with Opera Symphony, Brooklyn Philharmonic, New World and Philadelphia, Gotham Chamber Opera and T Albany symphonies, as well as by Kronos Quartet Music-Theatre Group, and served as composer-

S and cellist Maya Beiser. Upcoming projects in-residence with the Albany Symphony. In 2012 include new works for the London Sinfonietta, The Beth Morrison Projects presented Song from

E Crossing/International Contemporary Ensemble the Uproar, Mazzoli’s first multimedia chamber (ICE), violinist Todd Reynolds, and Third Coast opera, which garnered a sold-out run at New Percussion; as well as a new multimedia theater York’s venerable venue, The Kitchen. MISSY MAZZOLI work, Artaud in the Black Lodge, with legendary GU Outrider poet Anne Waldman, and a new opera Her most recent premieres have included with Royce Vavrek, JFK, commissioned by the performances by pianist Emanuel Ax, Kronos Fort Worth Opera and American Lyric Theater. Quartet, ETHEL, the LA Philharmonic and the Little recently signed on to develop new work Detroit Symphony. Mazzoli is an active pianist through the Met/ Theater New and keyboardist, and often performs with Works Program. Victoire, a band she founded in 2008 dedicated to her own compositions. Their debut full-length Little’s music has been performed throughout CD, Cathedral City, was named one of 2010′s the world, and he has received recognition best classical albums by Time Out New York, from the American Academy of Arts and NPR, The New Yorker and The New York Times. Letters, the Mid Atlantic Arts Foundation, In 2013 Carnegie Hall commissioned and the American Music Center, the Harvey Gaul premiered Vespers for a New Dark Age, a work NICO MUHLY Competition, BMI, and ASCAP, among others. for Victoire, with percussionist He holds degrees from Susquehanna University, (of ) and electronic producer Lorna Dune; the University of Michigan, and Princeton and a recording of the piece was released on University (PhD), where his research explored . Mazzoli is currently the intersection of music and politics. Little is working with librettist Royce Vavrek on an the founding artistic director and drummer for operatic adaptation of Breaking the Waves, a the amplified chamber ensemble Newspeak, 1996 film by Lars von Trier; it will premiere at which explores the relationship of music and Opera Philadelphia in 2016. politics, while confronting boundaries between the classical and the rock traditions. He served Mazzoli is the recipient of four ASCAP Young as the Executive Director of New York’s MATA Composer Awards as well as a Fulbright Grant Festival, and since 2012, he has served as to the Netherlands. She is currently on the the Director of Composition and Coordinator of composition faculty at Mannes College of JONATHAN NEWMAN New Music at Shenandoah Conservatory. He is Music, has taught at New York University and currently Composer-in-Residence with Opera , and from 2007-10 served as Philadelphia, Gotham Chamber Opera, and Executive Director of the MATA Festival in New Music-Theatre Group. York City.

Little participated as a student composer in Mazzoli participated in the 2007 Cabrillo the Festival’s 2003 Composers Workshop Festival Composers Workshop, and returns this and was invited to return as a 2004 season season as composer-in-residence with the West composer-in-residence. He returns in 2015 for Coast premiere of River Rouge Transfiguration the performance of Haunted Topography on on Saturday, August 15th. Opening Night, Friday, August 7th. More information and content is available HUANG RUO www.cabrillomusic.org

20 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC G NICO MUHLY JONATHAN NEWMAN HUANG RUO U Sponsored by Michael Good & JoAnn Close Sponsored by the Lawrence Family Sponsored by Bud & Rebecca Colligan

and Marcia & Fred Smith and Jill Wilson, Attorney at Law and Sallie Johnson ES

Nico Muhly is a composer of chamber music, Jonathan Newman composes music rich with First Prize winner of the Luxembourg orchestral music, sacred music, opera, ballet, rhythmic drive and intricate sophistication. A International Composition Prize, Huang Ruo and music for collaborators across a variety recipient of the Charles Ives Scholarship from has been cited by The New Yorker as “one of T of fields. He has composed on commission the American Academy of Arts and Letters, the most intriguing of the new crop of Asian-

American composers.” His vibrant and inventive from St. Paul’s Cathedral and Carnegie Hall, and Newman creates broadly colored musical C has written choral music for the Tallis Scholars works, often incorporating styles of pop, , musical voice draws equal inspiration from and the Hilliard Ensemble, songs for Anne Sofie jazz, folk, and funk into otherwise classical Chinese ancient and folk music, Western avant- O von Otter and , an encore for models. Upcoming projects include a viola garde, rock, and jazz to create a seamless, violinist , and a viola concerto for concerto for soloist Brett Deubner, a quintet for organic integration using a compositional M . Chicago’s Gaudete Brass, and a concerto for technique he calls “dimensionalism.” Huang saxophone quartet and wind ensemble for the Ruo’s writing spans from orchestra, chamber P Muhly’s first full-scale opera, Two Boys, was PRISM Quartet. music, opera, theater, and , to commissioned by the , sound installation, multi-media, experimental O and premiered at the Recent commissions include Blow It Up, improvisation, , and film. His music

in 2011 and at the Metropolitan Opera in Start Again, commissioned by Chicago Youth has been premiered and performed by the New S 2013; a recording of the opera has since been Symphony Orchestras; These Inflected York Philharmonic, , released on . Dark Sisters, a Tentacles for chamber quartet; Vivid Geography San Francisco Symphony, Seattle Symphony, E chamber opera dealing with a polygamist family, for women’s chorus and chamber orchestra National Polish Radio Orchestra, Hong Kong R was commissioned by the Opera Company of based on a text by poet Marcella Durand, written Philharmonic, Washington National Opera, Philadelphia, Music-Theatre Group, and the for the 2011 Japan Wind Ensemble Conductors Houston Grand Opera. New York City Opera, S Gotham Chamber Opera, and was premiered in Conference; and Stereo Action, commissioned Opera Hong Kong, Chamber Music Society New York in 2012. Recently, the Metropolitan by a consortium of percussion ensembles. of Lincoln Center, and Ethel Quartet, among Opera has commissioned him to compose Other recent works include Sowing Useful many others. Marnie for its 2019-20 season, based on Truths, commissioned by the Boston University Winston Graham’s 1961 novel that was adapted Tanglewood Institute; Symphony No. 1, My Huang Ruo’s opera, Dr. Sun Yat-Sen, received into an Alfred Hitchcock movie. Hands Are a City—a wind ensemble consortium its American premiere by the Santa Fe Opera in commission based on themes of mid-century 2014, and will be given its Canadian premiere Muhly has scored for choreographer American Beat Culture; De Profundis for massed by the Vancouver Opera in 2018. His opera, and films including Best winds; and arrangements of electronica for Paradise Interrupted, received its world premiere Picture nominee The Reader and Sundance Acoustica: Alarm Will Sound Performs Aphex at the Spoleto Festival USA in May 2015 and the selection Kill Your Darlings, in addition to Twin (Cantaloupe), premiered at the 2005 Lincoln Center Festival in 2016, before going on arranging music by Antony & the Johnsons, Lincoln Center Festival. As a MacDowell Colony tour to Asia and Europe. He recently has also Björk, Grizzly Bear, and the National. His debut Fellow, he began work on an opera based on been named composer in residence for the CD Speak Volumes was the first of many the 1962 cult horror film Carnival of Souls, in Concertgebouw in Amsterdam. collaborations with the artists of Reykjavik’s collaboration with playwright Gary Winter. His Bedroom Community label, and with singer/ works have been recorded on Avian, BCM, Huang Ruo was born in Hainan Island, , in songwriter Thomas Bartlett (), who Brain Music, Cantaloupe, Klavier, Mark Custom, 1976, the year the Chinese Cultural Revolution is half of their gamelan-inspired song project Naxos, Potenza, and Summit Records. ended; and his father, a composer, began titled Peter Pears. teaching him composition and piano when Newman holds degrees from Boston University’s he was six years old. Huang Ruo received Born in and raised in Providence, School for the Arts (MusB), where he studied both traditional and Western education at Rhode Island, Muhly graduated from Columbia composition with Richard Cornell and Charles the Shanghai Conservatory of Music, and, University with a degree in English Literature. Fussell and conducting with Lukas Foss, and the after winning the Henry Mancini Award at the In 2004, he received a Master’s in Music from Juilliard School (MusM), where he studied with 1995 International Film and Music Festival the Juilliard School, where he studied under composers and David Del Tredici in Switzerland, he moved to the Christopher Rouse and John Corigliano. From and conducting with Miguel Harth-Bedoya. Early to further his education. Since then, he has his sophomore year of college, he worked for training includes Boston University Tanglewood earned a Baccalaureate degree from the Philip Glass as a MIDI programmer and editor Institute and the Aspen Music Festival where he Oberlin Conservatory, and Master and Doctor for six years. He lives in New York City. studied with composers and of Musical Arts degrees in composition from Bernard Rands. Newman is a founding member the Juilliard School. He is a composition faculty Muhly joins us for the West Coast premiere of of the composer-consortium BCM International: member at the Mannes College of Music at the Wish You Were Here on Saturday, August 15th; four stylistically diverse composers from New School, and artistic director and conductor as well, he will be featured pianist in his own across the country, dedicated to enriching the of Ensemble FIRE (Future In REverse). chamber work, Two Voices, with Concertmaster repertoire with exciting works for mediums Justin Bruns, at the Music in the Mountains often mired in static formulas. Newman resides Huang Ruo returns to the Cabrillo Festival for concert, Thursday, August 13th. in Portland, Oregon. the West Coast Premiere of his Concerto for Sheng, Yellow Earth, on Saturday, August 8th. Newman makes his Festival debut on Saturday, August 8th with Blow It Up, Start Again.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 21 22 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC G SEAN SHEPHERD NATHANIEL STOOKEY U Sponsored by Earleen Overend & Wayne Palmer Sponsored by Nancy Loshkajian in honor of

and Sue Struck Ellen Primack’s 25th Anniversary ES

Sean Shepherd has gained admiration and First commissioned by the San Francisco return engagements with major ensembles and Symphony at age 17, Nathaniel Stookey has performers across the globe. He served as the since collaborated with many of the world’s great T Daniel R. Lewis Composer Fellow of the Cleveland orchestras including the Philadelphia, Cleveland

Orchestra, culminating with the premiere of and Chicago Symphony orchestras, the Los C Tuolumne in April 2013; other performances Angeles Philharmonic, National Symphony,

include those with the New York Philharmonic, Toronto Symphony, City of Birmingham O SEAN SHEPHERD the National, BBC and New World symphony Symphony Orchestra, and the Hallé Orchestra,

orchestras, at festivals in Aldeburgh, Heidelberg, where he was composer-in-residence under M La Jolla, Lucerne, Santa Fe, and Tanglewood, .

and with leading European ensembles including P Stookey’s concerto for two violins and strings, Ensemble Intercontemporain, the Scharoun Double, was commissioned to represent Ensemble Berlin, the Asko|Schönberg Ensemble O the year 1999 in the millennial festival in and the Birmingham Contemporary Music Group. Sheffield, . San Francisco Symphony S Shepherd’s Magiya, written for Carnegie Hall’s commissioned, premiered, and recorded The

National Youth Orchestra of the United States of Composer Is Dead (2006), a sinister guide to the E America, toured the US and Europe in summer orchestra with narration by Lemony Snicket. It 2013 in the orchestra’s first performances with has been performed by hundreds of orchestras R Valery Gergiev. In March 2013, the St. Luke’s worldwide and cited as one of the five most S NATHANIEL STOOKEY Chamber Ensemble debuted his Quintet at performed works of the 21st century. Stookey’s various New York venues. His orchestral work, Mahlerwerk (2011), commissioned by NDR- Songs, written for the New York Philharmonic, was Sinfonie (Hamburg) for their centennial Mahler performed in 2014 in recognition of Shepherd as cycle, was premiered before an audience of ten the orchestra’s first Kravis Emerging Composer. thousand people. Stookey, himself a violinist, That same year, his solo harp piece, ribboned has produced a rich body of chamber music, / braided / spun, was premiered by acclaimed including his critically acclaimed String Quartet harpist Sivan Magen at Carnegie Hall. 2015 No. 3, The Mezzanine, commissioned and saw the world premiere of his new Concerto for premiered by Kronos Quartet in 2013. Ensemble by Ensemble Intercontemporain. As a composer of vocal and theatrical music, Other recent premieres include Blue Blazes, a Stookey’s work has received considerable Hechinger Commission from Eschenbach and acclaim for innovation and emotional the National Symphony Orchestra, performed immediacy. In 2009, in Washington, DC and on a South American launched her farewell tour with Into the Bright tour; Blur for Ensemble Intercontemporain and Lights, his setting of three of her own texts. Susanna Mälkki, in Paris and Cologne; Quartet The following year he scored John Doyle’s for and Strings at the Santa Fe and La Jolla production of Brecht’s Caucasian Chalk Circle. summer festivals; and Trio for the Claremont His monodrama Ivonne (2014) for soprano and Trio, in celebration of the opening of Calderwood trio was commissioned and premiered by Opera Hall at the Isabella Stewart Gardner Museum in Memphis for the “Ghosts of Crosstown” project. Boston. Shepherd served from 2010 to 2012 A recording of Zipperz for two pop singers and as the first-ever Composer-in-Residence of his orchestra, performed by the Magik*Magik hometown orchestra, the Reno Philharmonic, Orchestra, will be released later this year. where he composed two works, Silvery Rills Stookey is a graduate of the University of and Desert Garden, and engaged in a variety of California at Berkeley and , community outreach and educational initiatives. where he was a Mary Duke Biddle Fellow and Shepherd’s education includes degrees in was awarded the Klenz Prize during his first year composition and performance from of graduate study. He served on the faculties of Indiana University, a master’s degree from the the University of Sheffield (UK) and the University Juilliard School, and doctoral work at Cornell of North Carolina at Chapel Hill. University with Roberto Sierra and Steven Stucky. Stookey returns to narrate an encore He lives in New York. presentation of The Composer is Dead during Shepherd joins us for the West Coast premiere the Free Family Concert on Sunday, August 9th. performance of his Blue Blazes on Saturday, That evening, Kronos Quartet will present his More information and August 15th. string quartet, The Mezzanine, during the In the content is available Blue Room concert. www.cabrillomusic.org

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 23 COLIN CURRIE WU WEI KRONOS QUARTET percussion sheng

Sponsored by Mary James & George Cook Sponsored by an Anonymous Donor

Recognized for his “athletic percussionism, Wu Wei is an avant-garde sheng soloist who For more than 40 years, Kronos Quartet— compulsive showmanship and deep ” has helped to develop this four thousand year David Harrington (violin), John Sherba (violin), (Guardian), Colin Currie is a solo and chamber old instrument into an innovative force in Hank Dutt (viola), and Sunny Yang (cello)—has combined a spirit of fearless exploration with GUESTARTISTS artist at the peak of his powers. A champion of contemporary music, through the creation of new music, Currie is the soloist of choice for many new techniques, expanding the repertoire and a commitment to continually re-imagining the of today’s foremost composers and he performs integrating different styles and genres. Born string quartet experience. In the process, Kronos regularly with the world’s leading orchestras and in P.R. China, Wu Wei studied the sheng at the has become one of the world’s most celebrated conductors. Shanghai Conservatory and was a soloist with and influential ensembles, performing thousands the Shanghai Chinese Orchestra before studying of concerts worldwide, releasing more than 50 Currie received the Royal Philharmonic Society at the Hanns Eisler Academy in Berlin, where he recordings, collaborating with many of the world’s Young Artist Award in 2000 for his inspirational is now based. most intriguing and accomplished composers role in contemporary music-making, and a and performers, and commissioning more than Borletti-Buitoni Trust Award in 2005. He has In addition to recognition from many prestigious 850 works and arrangements for string quartet. premiered works by composers including Elliott national and international competitions for A Grammy winner, Kronos is also the only Carter, , Kalevi Aho, Rolf traditional Chinese music, Wu Wei won the recipient of both the Polar Music Prize and the Wallin, Kurt Schwertsik, Simon Holt, Alexander Musica Vitale Competition, Germany, in 1996 Avery Fisher Prize. Goehr, Dave Maric, Julia Wolfe, and Nico and 2002, and the Global Root world music Muhly. Currie is Artist in Residence at London’s prize in 2004. In 2011 he won the Herald Angels Integral to Kronos’ work is a series of long-running, Southbank Centre where he was the focus of a Award at Edinburgh International Festival for his in-depth collaborations with many of the world’s major percussion festival, “Metal Wood Skin,” performance of ’s Concerto for Sheng, foremost composers, including Americans Terry in autumn 2014; it included world premieres Šu, with the Philharmonic Orchestra. Riley, Philip Glass, and ; Azerbaijan’s by Steve Reich and Anna Clyne; and the UK Franghiz Ali-Zadeh; ’s Henryk Górecki; premieres of James MacMillan’s Percussion Since 1996 Wu Wei has appeared as a soloist and Serbia’s Aleksandra Vrebalov. Additional Concerto No.2 with the Philharmonia Orchestra, with many leading orchestras and ensembles collaborators in concert and/or on disc and ’s Tapdance. Currie has throughout the world. He has performed the have included Chinese pipa virtuoso Wu Man, recorded many concerto, recital and chamber world premieres of more than 150 works, performance artist Laurie Anderson, Azeri vocalist works including Jennifer Higdon’s Percussion including ten for sheng and orchestra Alim Qasimov, iconic Bollywood “playback singer” Concerto with the London Philharmonic and by composers including John Cage, Unsuk Asha Bhosle, Inuit throat singer Tanya Tagaq, Marin Alsop, which won a 2010 Grammy Award. Chin, , Enjott Schneider, Jörg Beatles legend Paul McCartney, and rockers Tom Widmann, Guus Janssen, , Chen Qigang, Waits, Amon Tobin, and The National. Currie recently had a season-long residency Guo Weijing and Huang Ruo. with ’s De Doelen, which included The quartet spends five months per year on tour, performances with the Rotterdam Philharmonic. Wu Wei is himself a prolific composer for sheng, appearing in the world’s most prestigious concert Additional recent highlights include performances and has received numerous composition halls, clubs, and festivals. Kronos is equally with the Netherlands Radio Philharmonic, Orchestre commissions, including those from the prolific and wide-ranging on recordings, including National du Capitole de Toulouse, Orquesta Royaumont Foundation in 2004, Musica Viva Pieces of Africa (1992), a showcase of African-born composers that topped Billboard’s Classical and Sinfónica de Galicia, Columbus Symphony, and in 2005, the Hanse Culture Foundation World Music lists; Nuevo (2002), a Grammy– and the Nuremburg, Sydney, Taipei, Fort Worth, and in 2009, the Civitella Ranieri Foundation New Latin Grammy– nominated celebration of Mexican Albany symphony orchestras. Recital and chamber York in 2010, and the Cultural Foundation of culture; and the 2004 Grammy-winner, Alban music appearances include Carnegie Hall, Sachsen in 2003, 2005, 2006 and 2011. Berg’s Lyric Suite. Wigmore Hall, Montreux Festival, Muziekgebouw Wu Wei makes his Cabrillo Festival debut in Amsterdam, NCPA Beijing, Sound Festival Huang Ruo’s concerto for orchestra and sheng, With a staff of eleven based in San Francisco, the Aberdeen, Cardiff, and Miami, among others. The Color Yellow, on Saturday, August 8th. non-profit Kronos Performing Arts Association manages all aspects of Kronos’ work, including He returns to Cabrillo on Friday, August 7th the commissioning of new works, concert tours for the U.S. premiere performance of James and home-season performances, and education MacMillan’s Percussion Concerto No. 2, a work programs. Kronos returns to the Cabrillo Festival co-commissioned by the Cabrillo Festival. on Sunday, August 9th. 24 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC G U ES T

A R

TIM FAIN MATT HAIMOVITZ TINE THING HELSETH T violin cello trumpet I

Sponsored by Howard Hansen Sponsored by Bette & Joe Hirsch Sponsored by Bruce & Linda Nicholson S

Violinist Tim Fain was seen on screen and Cellist Matt Haimovitz is renowned as a music Tine Thing Helseth started to play the trumpet T heard on the Grammy-nominated soundtrack of pioneer, bringing his artistry to concert halls at the age of 7 and is now one of the world’s Black Swan; as well, he gave ‘voice’ to the lead and clubs, outdoor festivals and intimate leading trumpet soloists. Recent highlights S character in the film 12 Years a Slave, and to coffee houses–any place where music can be include her BBC Proms concerto debut at the ’s violin in Bee Season. heard. Haimovitz brings a fresh ear to familiar in Matthias Pintscher’s Chute repertoire, champions new music and initiates d’Étoiles for two and orchestra with Fain has appeared as soloist with orchestras groundbreaking collaborations as well as the BBC Scottish Symphony Orchestra; as throughout the world; as well as in recitals innovative recording projects. He has a tireless well as her debut at London’s Wigmore Hall. at the Ravinia Festival, Kennedy Center, touring schedule as well, all while mentoring an She performed the world premiere of Bent Concertgebouw, Boston’s Gardner Museum, award-winning studio of young cellists at McGill Sørensen’s Trumpet Concerto with the Bergen Festival de Musica de Camera, Carnegie’s University’s in Montreal. Philharmonic, and later with the Gothenburg Weill Recital Hall, and New York’s 92nd Street Symphony and Copenhagen Philharmonic. Y, among others. He has toured with Musicians At the age of 13, Israeli-born Haimovitz made his This season, Helseth made her recital debut from Marlboro, appeared at the Chamber Music debut as soloist with and the Israel at the Lucerne Festival and opened the Society of Lincoln Center, Spoleto and Santa Fe Philharmonic; at 17, he made his first recording Oslo Philharmonic Orchestra’s season with music festivals; and continues to tour the globe in with and the Chicago Symphony Vasily Petrenko; further highlights included a duo-recital program with Philip Glass. A fervent Orchestra. He made his Carnegie Hall debut when performances with London’s Philharmonia champion of 20th and 21st century composers, he substituted for his teacher, the legendary Orchestra at the Windsor Festival and the BBC he tours his solo multimedia program, Portals, , in Schubert’s String Quintet in C, Philharmonic Orchestra at Perth Festival. throughout the world. For his adventuresome alongside , , Pinchas spirit and vast musical gifts, Fain was recognized Zukerman and Mstislav Rostropovich. In June 2013, in celebration of the 150th with a Young Concert Artists International Award anniversary of the birth of fellow Norwegian and an Avery Fisher Career Grant. In 2004, the American Music Center awarded Edvard Munch, Helseth launched Tine@ Haimovitz with their Trailblazer Award for his far- Munch: a three day festival in Oslo’s Edvard Fain has collaborated with luminaries including reaching contributions to American music; and, Munch Museum, featuring performances from , , Jean-Yves in 2006, he received the Concert Music Award such instrumentalists as , Thibaudet, and Mitsuko Uchida; has appeared from ASCAP for his advocacy of living composers Nicola Benedetti and Truls Mork. The festival with the Mark Morris and Bill T. Jones/Arnie and pioneering spirit. He has also been honored has now become an annual event. As well, Zane dance companies; and performed onstage with the Avery Fisher Career Grant, the Grand Helseth curated her first music series for the alongside the dancers of New York City Ballet in Prix du Disque, the Diapason d’Or, and is the Leeds International Concert Season, featuring the acclaimed premiere of Benjamin Millepied’s first cellist ever to receive the prestigious Premio programs inspired by Norwegian themes. Double Aria. He has worked with jazz pianist Internazionale “Accademia Musicale Chigiana.” Ethan Iverson, guitarist Rich Robinson, , Helseth’s outstanding performing abilities have , and appeared at Jazz at Lincoln Haimovitz studied at the Collegiate School and at garnered numerous awards, including the 2013 Center with Rob Thomas. the Juilliard School, in the final class of Leonard Echo Klassik Awards’ “Newcomer of the Year,” Rose, after which he continued his cello studies the 2009 Borletti-Buitoni Trust Fellowship, the Fain performs on a violin made by Franceso with Ronald Leonard and Yo-Yo Ma. In 1996, he 2007 Norwegian Grammy Awards’ “Newcomer Gobetti, Venice 1717, on extended loan from received a B.A. magna cum laude from Harvard of the Year” (the first classical artist ever to Clement and Karen Arrison through the generous University. He plays a Venetian cello, made in be nominated), and second prize in the 2006 efforts of the of Chicago. 1710 by Matteo Gofriller. Young Musicians Competition. In He makes his Cabrillo Festival debut in Glass’ early 2012, Helseth released two debut discs Haimovitz returns to Cabrillo to perform Philip for Violin and Cello on Saturday, on EMI Classics in 2012; and another CD, titled Glass Double Concerto for Violin and Cello on August 15th. Tine, in 2013. Saturday, August 15th. Helseth makes her Festival debut in the U.S. premiere of James MacMillan’s Epiclesis at Mission San Juan Bautista, Sunday, August 16th. CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 25 26 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC GUEST ARTISTS GUEST

ALEXANDRA ARRIECHE TOM ONTIVEROS JUSTIN BRUNS assistant conductor lighting & visual designer concertmaster

Sponsored by Ellen Kimmel Sponsored by an Anonymous Donor Sponsored by Richard Faggioli

Alexandra Arrieche has worked with orchestras Tom Ontiveros designs with light and projection Justin Bruns is Acting Associate/Assistant in North America, Europe and , and has for theatre, dance, and live music. His design for Concertmaster with the Symphony received numerous awards for her conducting, Completeness was nominated for Best Lighting Orchestra. He was previously Assistant including the 2011 Taki Concordia Conducting Design (2014) by the Los Angeles Ticketholders Concertmaster of the Colorado Symphony Fellowship, founded by Maestra Marin Alsop. As Awards. Other recent work includes Happy Orchestra and served as Concertmaster at the a result, Arrieche has been assisting Maestra Days with Brooke Adams and Tony Shaloub Boulder Bach Festival. In 2012, Marin Alsop Alsop in São Paulo and Baltimore for the last (2014 Ticketholders Awards, Top 10 Revival appointed him Concertmaster of the Cabrillo several years and was recently appointed Productions) and ¡Figaro! (90210) for the LA Festival of Contemporary Music. Assistant Conductor of the Cabrillo Festival of Opera. Ontiveros collaborated with Bob Balaban Contemporary Music. on the New York Premiere of The Exonerated As a chamber musician, Bruns has appeared (2003 Lucille Lortel & Drama Desk Award for with ensembles such as the Atlanta, Georgian, In 2012, Arrieche was invited to attend the Aspen Unique Theatrical Experience& the Outer Critics and Michigan Chamber Players and at the San Music Festival and in the same year, she won the Circle Award: Outstanding Off-Broadway Play). Miguel Chamber Music Festival, Savannah BSO-Peabody Conducting Fellowship promoted Music Festival and Carnegie Hall. by the Baltimore Symphony in partnership Ontiveros is a three-time recipient of the Dean with the Peabody Institute of Johns Hopkins Goodman Award for Lighting Design and was Bruns maintains an active interest in bringing University. Arrieche’s work was so impressive featured in San Francisco’s Callboard magazine. music to young and diverse audiences, assisting that the BSO decided to extend her contract for He designed the lighting for the inaugural Tune in the creation of Kids With Strings in Atlanta an additional season offering her the position of In Festival at the Park Avenue Armory curated and as a featured collaborator in the ASO’s Assistant Conductor. by the eighth blackbird ensemble and featuring Artist-in-Residence Program. At Rice University Bora Yoon, Paul Haas, Paul Fowler, Newspeak, he co-founded the Hammond Outreach Program Arrieche began her musical studies as a vocalist Red Fish Blue Fish, John Luther Adams, the and later participated in Up Close and Musical before dedicating her career to conducting Argento Chamber Ensemble. Other designs presentations in Denver. He teaches during the and composition. In 1997, she was invited to include Schick Machine composed by Paul summer at Music In The Mountains Conservatory study with the renowned Spanish composer Dresher and starring Steve Schick at the Hong in Durango, CO and assumes the position of Cristobal Halffter in his Laboratory for Young Kong Cultural Centre. His work has appeared Director of Chamber Music at Kennesaw State Composers in Spain. In 2010, she was offered a at the Hungarian National Theatre Festival in University this September. full scholarship to Maestro Harold Farberman’s Cluj, Romania; the International Festival of Arts Bruns graduated summa cum laude from the Master Conducting Studio at Bard College. and Ideas in New Haven; Ojai Music Festival; University of Michigan and was awarded the In 2013 she completed her Arts Diploma in Phoenix Symphony; Marin Theatre Company; top prize upon graduation, the Stanley Medal. Orchestral Conducting with Maestro Gustav Intersection for the Arts; Magic Theatre; San He received his Master’s degree from Rice Meier at the Peabody Institute of the Johns Diego Museum of Art; Chicago Museum of University. He has recorded with Pearl Jam, Faith Hopkins University. Contemporary Art; Cleveland Playhouse; SUSHI Hill, and Bruce Springsteen. Arrieche has guest conducted the Atlanta Performing Arts; the Japan America Theatre; Symphony Orchestra, Hartford Symphony, the Mondavi Center; South Coast Rep; La Jolla Chicago Sinfonietta, North Czech Philharmonic Playhouse; the Chocolate Factory in Long Island Teplice, Minas Gerais Philharmonic, São City; the Joyce SoHo; St. Marks Church; the Paulo State University Orchestra, Porto Alegre Ontological-Hysteric; the Culture Project and Symphony Orchestra and Baltimore Symphony. 3LD in NYC and others. Ontiveros is an Assistant In addition to these groups, she has also worked Professor of Lighting Design at the University of with Colorado Symphony Orchestra, Bard Southern California. Conservatory Orchestra, Peabody Symphony Orchestra and Nashville Symphony Orchestra. More information and NATHANIEL STOOKEY content is available composer/narrator www.cabrillomusic.org For bio see page 23.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 27 A R T ES H C R O

L Winner of the League of American Orchestra and ASCAP’s 2008-2009 John S. Edwards Award for Strongest Commitment to New American A Music, and winner of their Award for Adventurous Programming of Contemporary Music for 32 consecutive years (1982-2013). V I MEMBER OF THE T

ES Cabrillo has emerged as the nation’s leading orchestra devoted to modern

F symphonic repertory. The Festival’s core performance group is an ensemble

of 71 professional musicians who join Maestra Alsop each year in award- winning programming of contemporary music. These musicians come 5 to Santa Cruz from all over the world, often foregoing more lucrative 1 engagements in order to volunteer their professional services in favor of

0 the stimulation and challenge of the Cabrillo programs. Each player is a new music advocate in their own right. For 53 years, they have earned Cabrillo 2 an uncompromised and prestigious reputation as America’s preeminent contemporary music festival. We invite you to join us in thanking each member of the orchestra for their generosity and dedication, and for the greatness of their spirit.

28 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 2015 FESTIVAL 2015 ORCHESTRA 2015 FESTIVAL ORCHESTRA Violin I Oboe Justin Bruns, Concertmaster, Atlanta GA Karen Wagner, Principal, Portland OR Scott Christian, Acting Principal, Sponsored by Richard Faggioli Sponsored by Gabrielle Stocker Charleston WV Jooyeon Kong, Assistant Concertmaster, Alexander Miller, Grand Rapids MI Sponsored by the Coonerty Protti Family St. Louis MO Paula Engerer, Phoenix AZ Sponsored by Ron & Linda Israel Percussion Elise Blake, Charlottesville VA Galen Lemmon, Principal, San Jose CA Sponsored by Fran Fisher Maximillian Haft, Cologne Germany Bharat Chandra, Principal, Sarasota FL Sponsored by Richard Fabrikant & Robyn Julyan, Denver CO James Kassis, Sunnyvale CA Marty Finn Rita Lee, San Francisco CA Gregory Messa, Los Gatos CA Andrew McCann, Chicago IL Steve Ahearn, Dallas TX Ward Spangler, Oakland CA Matthew Means, Hays KS Michael Maccaferri, Chicago IL Svet Stoyanov, Miami FL Carol Swift, Albuquerque NM Bassoon Harp Benjamin Tomkins, Denver CO Evan Kuhlmann, Principal, Portland OR Nuiko Wadden, Principal, Pittsburgh PA Violin II Sponsored by Barry & Diane Lamé Sponsored by Ciara Harraher & Mike McDonnell Matt Albert, Principal, Dallas TX Adam Trussell, Portland OR Sponsored by Leslie & Richard Andrews Steve Vacchi, Eugene OR Jennifer Cass, Capitola CA (week 2) Anne Chandra, Assistant Principal, Saxophone Keyboard Sarasota FL Lucas Hopkins, Ann Arbor MI (week 1) Emily Wong, Principal, Yorktown Heights NY Louise Alexander, Indianapolis IN Thomas Snydacker, Evanston IL (week 1) Sponsored by Kathryn Lawhun & Rachel Bundy, Dallas TX Mark Shinbrot Horn Ellen McSweeney, Chicago IL Jodi Gandolfi, Menlo Park CA (week 2) Kristin Jurkscheit, Principal, Baltimore MD Virginia Respess, St. Petersburg FL Michael Sheppard, Baltimore MD (week 1) Robert Simonds, Indianapolis IN Sponsored by George Hopkins Charmian Stewart, San Anselmo CA Gavin Reed, Assistant Principal, Orchestra Manager Houston TX Viola Fritz Foss, Chicago IL Erik Finley, Dallas TX Sponsored by John Supan & Sam Bergman, Principal, Minneapolis MN Thomas Hundemer, Shreveport LA Carola Barton Sponsored by Carole & Henry Klyce Nicky Roosevelt, Berkeley CA Jessica Oudin, Assistant Principal, Alex Camphouse, Vallejo CA (week 2) Atlanta GA Librarian Eleanor Angel, Los Gatos CA Trumpet Ella Fredrickson, St. Petersburg FL Chad Kaltinger, Capitola CA Craig Morris, Principal, Coral Gables FL Sponsored by Ellen Primack & Mary Jane Miller, Grand Rapids MI Sponsored by Liza Culick & Geri Migielicz Eric Schmidt Madeline Sharp, Miami FL Lauren Eberhart, San Antonio TX Andrew Gignac, San Antonio TX Members on leave for 2015 Cello Carrie Schafer, St. Louis MO Susan French, violin, Long Island City NY Rainer Eudeikis, Principal, Ryan Darke, Miami FL (week 2) Salt Lake City UT Kristen Halay, flute, Eugene OR Sponsored by Marion Taylor Steve Hearn, timpani, Principal, Jennifer Humphreys, Assistant Principal, Ava Ordman, Principal, Lansing MI Castle Rock CO Dallas TX Sponsored by James Morrison Rebecca Jackson, violin, Santa Cruz CA Kathleen Balfe, Granada Spain David Murray, Washington DC John R. Schertle, clarinet, Hong Kong David Gerstein, Little Rock AR Robert K. Ward, Grand Rapids MI Sarah Shellman, violin, Tampa FL Virginia Kron, Ojai CA Brad Ritchie, Atlanta GA And an appreciative farewell to… Forrest Byram, Principal, San Francisco CA Terry Pruitt, bass, Albuquerque NM Bass Sponsored by Judith Husted for more than 20 years of service. Edward Botsford, Principal, Portland OR Sponsored by Diane Craddock & Dave Hogye Thomas Derthick, Sacramento CA Todd Lockwood, Jacksonville FL Joseph McFadden, Atlanta GA Flute Tim Munro, Principal, Chicago IL Sponsored by Margaret Gordon Betsy Hudson Traba, Sarasota FL Lauren Sileo, Haymarket VA

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 29 P CONDUCTORS/COMPOSERS WORKSHOP A professional education program O

H There are so few opportunities for conductors to hone their conducting skills, let alone acquire the added skills needed to The Conductors/Composers champion new music. Because conductors Workshop ispresented KS are the stewards of our symphonic in partnership with heritage, investment in their professional R The Conductors Guild. development is essential. What better place than at the Cabrillo Festival to provide 2015 CONDUCTING O The Workshop is supported in part by workshops which serve conductors who SCHOLARSHIP PARTICIPANTS are interested in performing contemporary The Aaron Copland Fund for Music Alexander Humala, Minsk Belarus

W music at the highest level and to engage and an Anonymous Donor. Hsuan-Yu Lee, Denton TX emerging composers in the process? Andres Lopera, Portland OR The Composer’s Workshop is generously S Stefano Sarzani, Cincinnati OH wenty-one conductors and three young supported by Margaret Dorfman. Deanna Tham, Cleveland Heights OH composers have been selected to R Lidiya Yankovskaya, Brooklyn NY participate in this year’s workshops, Scholarship support has been provided Caleb Young, Bloomington IN E T which are produced in collaboration with the by the Bruno Walter Memorial Conductors Guild, a music service organization Foundation 2015 COMPOSERS devoted exclusively to the advancement of the . Brendan Faegre, den Haag Netherlands art of conducting and to serving the artistic and O S Takuma Itoh, Honolulu HI professional needs of conductors throughout Emily Praetorius, New York NY

P the world. 2015 CONDUCTORS WORKSHOP The Conductors/Composers Training Workshop CONDUCTING FACULTY AUDITORS M at the Cabrillo Festival takes place August 1-5 JAMES ROSS Paola Avila, Bogota Colombia this season at the Santa Cruz Civic Auditorium. James E. Ross serves O Lucik Aprahamian, Glendale CA Participating conductors and composers as conducting faculty at Dami Baek, Denton TX experience five full days of intensive training C The Juilliard School and Brad Cawyer, Rowlett TX

/ with some of the world’s most respected as Director of Orchestral Julie Desbordes, New York NY contemporary music professionals. Their Activities and Associate

S Nadege Foofat, Ann Arbor MI activities include a schedule of seminars Professor of Conducting at David Glover, Cary NC and critiqued conducting sessions––first the University of Maryland. R with quintet and piano, then with chamber He holds degrees from , Lina Marcela Gonzalez Granados, Brighton MA orchestra, and finally podium time with the the Curtis Institute, and Berlin Akademie der O full Cabrillo Festival Orchestra. Under the Kunst; his teachers included Kurt Masur, Seiji Paul Grobey, Ithaca NY Lance Inouye, Portland OR T guidance of faculty composer Huang Ruo, Ozawa, and Leonard Bernstein. He has served the participating composers work with the as assistant conductor of the Boston Symphony Paul Kim, Norfolk VA

C Festival’s composers-in-residence, and with Orchestra and Les Arts Florissants, and has Tiffany Lu, Tampa FL the conductors on subjects including modern guest conducted around the world, including Andrew Lyon, Indianapolis IN U score analysis and practical guides for the at the Leipzig Gewandhaus, the Glyndebourne Stephen Salem, Liverpool NY rehearsal, interpretation and performance of Festival, and the National Symphony Orchestra. Shira Samuels-Shragg, Northridge CA D contemporary works. The project culminates He is a distinguished leader of youth orchestras, Christopher Whittaker, New York NY with an inspirational concert titled In the including the National Youth Orchestra of Spain, N Works, on Wednesday, August 5 at the the Mendelssohn Conservatory Orchestra of SPECIAL THANKS TO: Civic Auditorium. In a performance that Leipzig, and the Orchestra of Acarigua-Araure Amanda Burton Winger, O is free and open to the public, the Cabrillo in Venezuela, part of the famed “El Sistema.” Executive Director, Conductors Guild He also holds the position of Orchestra Director C Festival Orchestra is led by seven conductors Erik Finley, Cabrillo Festival performing short symphonic works by each for Carnegie Hall’s newly formed National Youth Orchestra Manager Orchestra of the United States of America. .

of the composers: Brendan Faegre, Takuma Ella Fredrickson, Cabrillo Itoh Emily Praetorius Festival Music Librarian , and . COMPOSING FACULTY Members of the Cabrillo Festival Orchestra The Conductors Guild HUANG RUO was founded in 1975 Michael Sheppard, Piano Accompanist as a subsidiary of the the League of American (See bio on page 21) Orchestras; the Guild became independent in ADDITIONAL THANKS TO: 1985 and has established itself as a collective Deirdre Chadwick, voice for conductors’ interests throughout the Executive Director, Classical Music, BMI world. Cia Toscanini, Vice President of Concert Music, ASCAP

30 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC I N T IN THE WORKS: FREE ORCHESTRA CONCERT Wednesday, August 5, 5:30pm | Santa Cruz Civic Auditorium You’ll find yourself at the very center of contemporary music-making with a special concert featuring new works by three young composers—Brendan Faegre, Takuma Itoh, H and Emily Praetorius—conducted in rotation by seven emerging conductors. All are studying in the prestigious Conductors/Composers Workshop. E W Don’t miss the excitement when the creative sparks fly! O R K S

IN THE WORKS COMPOSERS BRENDAN FAEGRE TAKUMA ITOH EMILY PRAETORIUS Brendan Faegre is a Takuma Itoh spent his Emily Praetorius is composer, educator, early childhood in Japan a composer and b and­l e ader, and before moving to Palo clarinetist from Ojai, percussionist whose Alto, California, where California. She holds music draws inspiration he grew up. His music a Master of Music from jazz and rock has been described as in composition from drumming, Hindustani “brashly youthful and Manhattan School of classical music, and fresh” (New York Times). Music (2014) and a contemporary concert Featured amongst one Bachelor of Music in music. Faegre’s works have been programmed of “100 Composers Under 40” on NPR Music, clarinet performance and composition from at festivals around the world, including Itoh has been the recipient of an award from the University of Redlands (2008). Praetorius Huddersfield (UK), Gaudeamus (NL), TRANSIT the American Academy of Arts and Letters; a has written for a variety of different instrumental Leuven (BE), Dark Music Days (IS), Beijing Charles Ives Scholarship; a Music Alive: New combinations, from clarinet duo with live Modern (CN), and (US). He Partnerships grant with the Tucson Symphony; electronics to viola quartet to full orchestra. has received commissions from groups the ASCAP/CBDNA Frederick Fennell Prize; Her music was most recently featured as part of such as the New York Youth Symphony, and six ASCAP Morton Gould Young Composer the San Francisco Conservatory Hot Air Festival Slagwerk Den Haag, Ensemble Klang, Debut Awards. Itoh’s music has been performed by and her orchestra piece I Am Now Going to Orchestra, David Kweksilber Big Band and groups such as the Albany Symphony, the New Shut It received an honorable mention from Huygens-Fokker Foundation. He has also York Youth Symphony, the Shanghai Quartet, the American Composers Orchestra Underwood been a fellow of the American-Scandinavian the St. Lawrence Quartet, and H2 Quartet. New Music Readings. Praetorius is co-founder Foundation, Aspen Music Festival, Cortona Itoh holds degrees from , of the Blank Space House Concert Series in New Sessions, and Bowdoin International Music University of Michigan, and Rice University; York City and a member of Adflata, a composer- Festival, and serves as New Music Advisor and his past teachers include Steven Stucky, performer collective dedicated to bringing new and composer-in-residence for the Lake Roberto Sierra, William Bolcom, Bright Sheng, music to new audiences. Her past teachers George Music Festival. In 2012 he founded and Pierre Jalbert. Since 2012, Itoh has been include Susan Botti, Sam Pluta, Reiko Fueting, the Brendan Faegre Edge Ensemble, a group a faculty member at the University of Hawai‘i Anthony Suter, and Kathryn Nevin. challenging the boundaries between notated at Manoa. and improvised music. This season they premiered six new works by young composers from around the world. Faegre lives in the Netherlands with his wife, baroque violinist Lucia Giraudo.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 31 32 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC S

STUDENT STAFF STUDENT STAFF ENSEMBLE FREE CONCERT T Saturday, August 15 at 2:30pm | Santa Cruz Civic Auditorium

Long before the concerts begin, the U Festival’s first ensemble convenes. Student The Student Staff Ensemble invites you to come enjoy a free concert of original works, performed and produced entirely by these talented young musicians, age 16-24.

volunteers, mostly from the Monterey Bay D Come witness their boundless creativity, and hear the future of new music, now. area, meet to form our prestigious Student

Staff. Under the aegis of the Student Staff E Program, these individuals are given a rare opportunity to interact directly with N the Cabrillo Festival Orchestra members, general staff, and of course, our illustrious T Music Director Marin Alsop.

hen Marin Alsop became music S director, an important aim of hers T was to address the music education

W A and participation issues of the Monterey Bay area. The Program nourishes the participants in areas no less profound than technical and F leadership skill development, performance F opportunities, and even career guidance.

Now in its 24th year, the Program provides P opportunities and encourages the Student Staffers (ages 16-24) to engage musicians, R composers, and conductors in the topics of O contemporary music making. 2015 STUDENT STAFF Perlita Contridas Louie Johnston Zeki Schwartz G In addition to having access to all Kathie Hsieh Chelsea Jones Marie Swanson

performances, the Program provides a fertile Elliott Kay Cory Graves-Montalbano Phoebe Wu R ground for the participants’ musical interests Nate Kocivar Emily Mellen Emily Xander in other ways: master classes with Festival Anya Kouchnerov Tino Novello A Orchestra members, a workshop where the

students sit inside the orchestra sections M during a rehearsal, dialogs with composers in residence, participation in a student staff The Student Staff Program is generously sponsored by David Kaun ensemble that performs during the Festival, and the chance to attend various social gatherings. It’s quite a full plate for three weeks LOUIE JOHNSTON EMILY MELLEN in any student’s life. Student Staff Student Staff Co-Director Co-Director The Student Staff Program is open to non- musicians and musicians alike. The rewards Louie Johnston is a composer, Emily Mellen is a composer of being there are many, and we are excited by an ethnomusicologist, and and musicologist from the prospect of positively affecting the quality multi-Instrumentalist focusing Northern California. She of a young person’s personal growth and on synthesis. He grew up in studies Music History and development. Pasadena and moved to Santa Cruz to earn a Arabic at UCLA and is currently working on a Bachelor’s degree in music from UCSC, where his digital research and archival project through When attending a concert, please feel free to ask background as a garage band blues guitarist was UCLA’s Undergraduate Research Fellowship our Student Staffers about their experiences expanded by his study of classical, electronic, jazz, Program exploring the female voice in as members of the Program. If you know Indonesian, and Hindustani classical music. Recent contemporary Arab music. She also plays someone who might be interested in becoming performances include the UCSC theatre production percussion and nay (reed flute) in UCLA’s Near a Staffer, recruitment begins each year in of the Ramayana, the annual contemporary music East Ensemble. Before transferring to UCLA, the spring, and is open to all students ages series: April in Santa Cruz, the UCSC Gamelan Spring Emily obtained her A.A. in music from Cabrillo 16-24. Email [email protected] or call Concert, solo guitar for various events, gigs with College where she studied classical and jazz 831.426.6966 for more information. Gamelan Anak Swarasanti, and gigs with his newly theory and voice. She has participated in the founded Sundanese community gamelan group. He Student Staff as a composer-performer for the is currently collaborating with other artists, practicing past three years and is thrilled to be joining for upcoming gigs, building instruments, and writing Louie Johnston this year as Co-Director. new music. This is his second year as Student Staff Co-Director.

2014 Student Staff

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 33 34 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 8PM FRIDAY AUGUST 7 SANTA CRUZ CIVIC AUDITORIUM HA

Tonight’s performance is made possible through Cabrillo Festival Orchestra MARIN ALSOP the generous support of concert sponsors: conducted by

JOSIE LITTLE U Haunted Topography (2013) MAUDE PERVERE and SAM MILLER David T. Little (b. 1978) GEORGIA CASSEL and PETER PERVERE N Percussion Concerto No. 2 (2014) T James MacMillan (b. 1954) Colin Currie, percussion

[United States Premiere | E Festival Co-Commission] Commissioning support was generously provided by Marin Alsop. D The U.S. premiere is sponsored by an Anonymous Donor. T

INTERMISSION

Anthology of O Fantastic Zoology (2015) P Mason Bates (b. 1977) [West Coast Premiere] O Forest: Twilight – Sprite Dusk – G The A Bao A Qu Nymphs Night – Colin Currie The Gryphon R Midnight – Sirens –

The Zaratan – AP Madrugada*

* the time between midnight and dawn (from the Spanish)

David T. Little HY

Media Sponsor:

This concert will be broadcast on Friday, August 21, 8pm on KUSP Marin Alsop Mason Bates 88.9 FM, and webcast on KUSP.org.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 35 36 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC H A Haunted Topography (2013) instrument—the aluphone, a metallophone (an animal that is an island), brief “forest which combines the effects of a vibraphone interludes” take us deeper into the night and David T. Little (b. 1978) and bells. deeper into the forest itself. U Haunted Topography is a meditation on a story The work is written in one through-composed Imaginative creatures provoke new sounds and movement, incorporating a substantial fast instrumentation, with a special focus on spatial

told to me by Moe Armstrong in the summer NTE of 2011. Moe is the founder of the veteran and lively section, a middle section which possibilities using a variety of soloists. For rehabilitation program Vet2Vet. It was in this begins ritualistically and subsides into a example, the opening “Sprite” hops from music capacity that he met a woman whose son had dreamy, reflective mood, and a third section stand to music stand, even bouncing offstage. been killed in Vietnam. Even decades after which gradually builds in momentum and “The A Bao A Qu” is a serpentine creature that the loss, this mother could not even begin to speed. The main characteristic of the opening slithers up a tower; gloriously molts at the top; D move past the pain. In speaking with Moe, it section is that the soloist plays marimba along then slides back down. The entire movement came out that, though she had asked, no one with two other marimbas in the orchestra. —like the life-cycle of the animal—is an exact

had ever shown her a map of where it had The accompaniment is rhythmic and spiky. palindrome. “Nymphs” features two frolicking T happened. She felt that she needed to know Various untuned metal instruments are also , while “The Gryphon” uses timpani O this—to see the place where her son had been used. The middle section introduces cencerros and brass to conjure a flying lion that hunts killed—before her healing process could begin. (tuned cowbells) and a steel drum on which horses (in this case, the violins). P Moe showed her, and it helped her to begin ruminating and expressive lines are played. The lyrical core of the piece, “Sirens,” features to heal. The metal sounds return in the final section O offstage violins that lure the rest of the strings, as the music quickens, leading to the climactic

one by one, to an epiphany. But it is short lived, G It is a simple story, of course, but it says a lot return of the aluphone, vibraphone, and as the island they approach devours them in about the nature of grief, of mortality, and of the crotales as a chorale emerges from the depths “The Zaratan,” an island-sized animal conjured R A peculiarities of each individual’s needs while of the orchestra. The work is dedicated to by tone clusters. The sprawling finale occurs at engaging with the healing process. Colin Currie. the witching-hour moment between midnight —James MacMillan —David T. Little and dawn (madrugada, from the Spanish). P Percussion Concerto No. 2 was commissioned This movement collapses the entire work upon The sinfonietta version of Haunted Topography by the Netherlands Radio Philharmonic and itself, as all of the animals fuse together in the H Y was originally commissioned by Alarm Will Netherlands Broadcasting Organizations darkest, deepest part of the forest. Sound. It was premiered on October 21, AVROTROS/NTR, the Philharmonia Orchestra 2011, at Roulette as part of the 2011 SONiC [The work was written for the Chicago Symphony with the support of the Southbank Centre, Festival. The orchestral version of the work and their music director, Riccardo Muti.] In the Orchestre National du Capitole de Toulouse, was commissioned by Christopher James virtuosity the piece requires of soloists and P Cabrillo Festival of Contemporary Music and Lees. It was premiered on October 18, 2013, sections, it resembles a concerto for orchestra, Marin Alsop, Baltimore Symphony Orchestra, R by the University Philharmonia Orchestra at the and every note was written with specific players and Orchestra Sinfônica do Estado de São

University of Michigan, Ann Arbor, conducted in mind. Many of the players of the [Chicago O Paulo (São Paulo Symphony Orchestra). It by Lees. Symphony] Orchestra have become dear was premiered on November 7, 2014, at

friends, as has Maestro Muti—whose unique G Not recorded TivoliVredenburg in Utrecht, with Colin Currie abilities as a musical dramatist inspired the and the Netherlands Radio Philharmonic, piece from beginning to end. R conducted by James Gaffigan. Percussion Concerto No. 2 —Mason Bates (2014) Not recorded A Anthology of Fantastic Zoology was

James MacMillan M (b. 1954) Anthology of Fantastic commissioned by the Chicago Symphony [United States Premiere | Festival Orchestra and was premiered on June 18, (2015) Co-commission] Zoology 2015, at Chicago Symphony Center, conducted Mason Bates (b. 1977) by Riccardo Muti. N More than twenty years have passed since

[West Coast Premiere] Not recorded O I wrote a percussion concerto for the great Scottish virtuoso Evelyn Glennie. This work, The slim size of Jorge Luis Borges’ Anthology of TE Veni, Veni Emmanuel, was written for the BBC Fantastic Zoology belies the teeming bestiary Proms in 1992. In 2013-14, another great contained within its pages. A master of magical Scottish soloist, Colin Currie, asked me for a realism and narrative puzzles, Borges was S second percussion concerto. the perfect writer to create a compendium of mythological creatures. Several are of his own It is natural to consider different routes and invention. characteristics when a composer revisits a similar specification. This time the orchestra The musical realization of this, a kind of is bigger, there is an orchestral percussion psychedelic Carnival of the Animals, is section which adds to the solo material, and presented in eleven interlocking movements (a there are a number of different percussion sprawling form inspired by French and Russian instruments used here. For example, the ballet scores). In between evocations of new work opens with the sound of a new creatures familiar (sprite, nymph) and unknown

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 37 Color Offset, Digital Printing, Wide Format and Packaging Solutions

38 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 8PM SATURDAY AUGUST 8 SANTA CRUZ CIVIC AUDITORIUM Y EL Tonight’s performance is made possible through Cabrillo Festival Orchestra the generous support of concert sponsors: conducted by MARIN ALSOP JERRY VUREK and the estate of Quanta (2012) L RUTH VUREK Sebastian Currier (b. 1959) [United States Premiere] This evening’s concert is dedicated to the O memory of Ruth Vurek, in profound appreciation for her loving commitment and generosity to The Color Yellow (2007) W the Festival and its mission. Huang Ruo (b. 1976) Wu Wei, sheng [West Coast Premiere]

INTERMISSION E Blow It Up, A Start Again (2011) Jonathan Newman (b. 1972) R Chroma (2007) Joby Talbot (b. 1971) T

Aluminum

Cloudpark H The Hardest Button to Button Wu Wei Blue Orchid “…a yellow disc rising from the sea…” Transit of Venus Hovercraft

Sebastian Currier Huang Ruo

Media Sponsor:

Jonathan Newman This concert will be broadcast on Saturday, August 22, 8pm on KUSP 88.9 FM, and webcast on KUSP.org.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 39 40 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC YE Quanta was commissioned by China’s Quanta (2012) Blow It Up, Start Again National Centre for the Performing Arts for the Sebastian Currier (b. 1959) “Composing China” project. It was premiered (2011) [United States Premiere] on March 17, 2013, in Beijing with the National Jonathan Newman (b. 1972) L Centre for the Performing Arts Orchestra, L When I first came to China with a group of my conducted by Kristjan Jarvi. If the system isn’t working anymore, then do colleagues, I was often asked, “how is China what Guy Fawkes tried and go anarchist: blow it O Not recorded different from the United States?” Implicit in all up, and start again. W the question is that it is indeed very different, —Jonathan Newman and of course in many ways it is. But touching The Color Yellow: down in Beijing from New York, one cannot help Concerto for Sheng (2007) Blow It Up, Start Again was commissioned but note the many similarities. Sure, when one by the Chicago Youth Symphony Orchestras E visits the treasures of the past, the Forbidden Huang Ruo (b. 1976) and premiered on May 13, 2012, at Chicago City, the Temple of Heaven, one encounters [West Coast Premiere] Symphony Center, conducted by Allen Tinkham. A R difference. But that is to travel far back in time. The more modern the context the more similar Sheng, the Chinese mouth organ and a Not recorded we seem. The grid structure, the materials used thousand-year-old traditional instrument, is T for roads, the design of traffic lights, the more often referred to as the ancestor of the Western Chroma (2007) modern architectural structures—all have close H organ. The modern Sheng contains 37 bamboo Joby Talbot (b. 1971) parallels not only in the United States, but in pipes ranging from the pitch G below middle C, most modern cities. But there was one thing, up to the G above the treble clef—four complete

Chroma is a suite of seven short pieces of P totally ubiquitous, that did remind me at every octaves with every chromatic pitch in between. music that I assembled at the request of turn of my head. That was the written Chinese choreographer Wayne McGregor for his Olivier R language: a testament not only to a divergent Creating a concerto for a Western orchestra Award-winning 2006 ballet of the same name. past, but a different present. To a westerner, with a Chinese solo instrument is not an easy O I had met Wayne in spring of that year, and he one is immediately struck both by its aesthetic task. My challenge is to mix these very different told me that he had heard a recent orchestral beauty and its total incomprehensibility. instruments from both the Eastern and Western G piece of mine—Hovercraft—that he was keen The piece I wrote, Quanta, starts from this worlds into one united whole, as they not only

to choreograph for his first work as resident R perspective. sound quite different, but also tune differently. choreographer of in London. One of my solutions is to “de-tune” the Eastern He asked if I had any other music that might A M Quanta creates a sonic analog to a series of and Western instruments, using sounds work well alongside it, and outlined his vision Chinese characters, but from an outsider’s point between pitches, then melting them into a big for a 25-minute piece consisting of alternating of view: that is, they exhibit energy, gesture, pot to create a common ground for each to sections of darkness and light. form, and emotion, but not meaning per se. express its own character and identity freely.

Nearly the entire piece consists of a series of The title of my Concerto for Sheng and Chamber For the “light” sections I suggested three of short fragments, each separated by a rest— N Orchestra is The Color Yellow. In Chinese, 玄 the miniatures I’d written for my album Once fragments are two measures long, the rest is 黃. 玄黃 means a gate, with something hidden Around The Sun: Cloudpark, A Yellow Disc Rising one measure. Thus, in my mind, it simulates the O inside, and many paths that could lead to an From The Sea, and Transit Of Venus. Originally graphic structure of a Chinese text, but in sound

entirely different journey. However, one could scored for a handful of players, I reworked these T rather than image. In doing this I wanted to only take on such a journey by passing through chamber pieces to match the full symphonic

create a dialogue between my world and theirs. E the same entrance. The very same gate, in this sound of Hovercraft, using gongs, tuned I am fascinated by the Chinese language and concerto, is the Sheng. The solo Sheng not only percussion, and solo strings to try to create a like to look at it without comprehending it, but S guides the orchestra, but also the listeners, as sense of empty space and effortless stillness. feel drawn to it. I hope that you will listen to my it goes through its various stages and worlds. piece in the same spirit. As we traveled around Yellow is the color of skin, yellow is the Yellow For the “dark” sections Wayne wanted China on our wonderful trip orchestrated by Earth, the Yellow River, and the Yellow Mountain. something completely contrasting. At one point the National Centre for the Performing Arts The Color Yellow is a work that echoes the past, there had been talk of playing loud (Beijing)—driving through stunningly beautiful spells the present, and foresees the future. through the speakers of the rice-growing regions, boating down the Li while the orchestra took a break, but, by happy River, walking through the electrified streets of —Huang Ruo coincidence, I was just finishing off a project Shanghai, the awesome view from the of my own which I thought might fit the bill. I The Color Yellow was premiered on Friday, Great Wall—as time went on, I would start to played Wayne some of the unfinished mixes March 14, 2008, at the Troy Savings Bank recognize certain characters and felt that the from Aluminium—an album of orchestral re- Music Hall in Albany, NY with Wu Wei and the slow process of decoding had started. I wanted imaginings of songs by the Detroit-based two- Albany Symphony, conducted by David Alan my piece to parallel this process. As one listens piece rock band, — that I had Miller. The work was written for Wu Wei. it first seems like a series of (hopefully pleasing) been working on, and he chose three tracks: random gestures, but as time goes on, one Not recorded the (almost) title track Aluminum, The Hardest starts to recognize some of them and the piece Button To Button, and Blue Orchid. starts to take on a larger, less fragmented form. Aluminium was the idea of Richard Russell, —Sebastian Currier boss of the hugely successful independent

continued on page 43

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 41 42 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC YE continued from page 41 record label, XL Recordings, that numbers The which we realized with the help of my long-time Chroma was premiered on November 17, 2006, White Stripes amongst the artists they put out. friend and collaborator, conductor and arranger, by The Royal Ballet and Royal Opera House L A recent convert to classical music, Richard Christopher Austin—was to use the orchestra Covent Garden Orchestra in London, conducted had been listening to The Andrew Oldham to try to capture, and indeed enhance, the raw by Daniel Capps, with choreography by Wayne L Orchestra’s extraordinary 1966 album, The intensity of the original songs. McGregor. O Rolling Stones Songbook, and was wondering Recommended Video Recording: Wayne Since its premiere, Chroma has been revived why the practice of recording orchestral McGregor: Three Ballets: Chroma, Infra, Limen. W several times at Covent Garden, toured versions of contemporary rock music seemed Royal Ballet and Royal Opera House Covent internationally by The Royal Ballet, and to have gone out of fashion since its 1960’s Garden Orchestra, conducted by Daniel Capps. heyday (or at least had mostly become the subsequently taken up as a repertory piece province of kitschy, tongue-in-cheek, pastiche). by other companies worldwide, but the music E has never been played in its entirety in concert

The White Stripes were a band of legendary A R asceticism, with songs stripped back to a before now. I can think of no better place for bare minimum of voice, drums, and electric that to happen than at the wonderful Cabrillo guitar (even the color palette of their artwork Festival at the hands of Maestra Alsop, and and live shows was restricted to three shades: only wish that I could be there to hear for myself T red, black, and white), and would seem an odd what I’m sure will be a thrilling performance. H choice for a classical album. But our plan— ­—Joby Talbot

P R O G R A M

N O T E S

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 43 44 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 1PM SUNDAY AUGUST 9 SANTA CRUZ CIVIC AUDITORIUM RE FAMILYCONCERT FREE

Today’s performance is made possible through the generous support of the THE ALSOP FAMILY FOUNDATION and HAWLEY FAMILY FUND A free concert and Tour of the Orchestra

Nathaniel Stookey

Cabrillo Festival Orchestra conducted by MARIN ALSOP

The Composer Is Dead (2006) Nathaniel Stookey (b. 1970) Nathaniel Stookey, narrator Text by Lemony Snicket

Media Sponsor ()

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 45 46 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC FREE FAMILYFREE CONCERT PROGRAMNOTES The Composer Is Dead (2006) Nathaniel Stookey (b. 1970) Nathaniel Stookey, narrator Text by Lemony Snicket (Daniel Handler)

I hope I’m not giving away too much by saying that The Composer is Dead ends with a funeral march. Classical composers have always had a preoccupation with death, partly because we are human, like you, partly because we grapple with the mysteries of the universe, partly because death sells records and always has. Someday you’ll be able to tell your grandchildren that you appreciated a living composer before that living composer became, like all composers, dead.

—Nathaniel Stookey

I have been asked if I might say a word or two about the text of The Composer Is Dead, and the one or two words are “Boo hoo.” The story— which, as far as I know, is absolutely true—is so heartbreakingly glum that I cannot imagine that you will be able to listen to it without dabbing at your tears with a nearby handkerchief.

—Lemony Snicket

The Composer is Dead was commissioned by the San Francisco Symphony and was premiered on July 8, 2006, at Davies Symphony Hall in San Francisco, conducted by Edwin Outwater, narrated by Lemony Snicket (AKA Daniel Handler).

Recommended Recording: San Francisco Symphony conducted by Edwin Outwater. Included with the book published by HarperCollins.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 47 48 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 8PM SUNDAY AUGUST 9 SANTA CRUZ CIVIC AUDITORIUM KRONOS QUARTET KRONOS

Good Medicine from Dances for Peace (1986)* Terry Riley (b. 1935) Darmstadt Kindergarten (2015)* Mark Applebaum (b. 1967) Oberek for Terry Riley (2015)* Aleksander Kosciów (b. 1974) String Quartet No. 3, The Mezzanine (2012)* Nathaniel Stookey (b. 1970) I Escalator, in sunlight; Straws, in soda II. Hot beverage dispenser III. Face-washing, like acupuncture (Oh God) Kronos Quartet IV. Shoelaces, in a bow V. Stapler / Locomotive / Phonograph David Harrington, violin | John Sherba, violin | tone-arm; Escalator with cigarette Hank Dutt, viola | Sunny Yang, cello butt, rolling

INTERMISSION

Flow (2010)+ Laurie Anderson (b. 1947) arr. Jacob Garchik (1976)

Silent Cranes (2015)* BLUE ROOM IN THE Mary Kouyoumdjian (b. 1983) i. slave to your voice ii. you did not answer iii. [with blood-soaked feathers] iv. you flew away

Poetry: David Barsamian, excerpts from “A Century….”

* Written for Kronos | + Arranged for Kronos

Scott Fraser, Sound Designer

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 49 Good Medicine from powers to actually create peace in the world. Commissioned originally for a Kronos Quartet’s So Salome in this case becomes like a goddess children’s concert, I wanted to compose a Salome Dances for Peace who—drawn out of antiquity, having done evil piece that could appeal at once to audiences (1986) kinds of deeds—reincarnates and is trained of varying age, experience, and affinity for levity, as a sorceress, as a shaman. And through her gravity, whimsy, and rigor—something worthy of Terry Riley (b. 1935) dancing, she is able to become both a warrior a “Darmstadt kindergarten.” and an influence on the world leaders’ actions. —Mark Applebaum Terry Riley first came to prominence in 1964 when he subverted the world of tightly organized I’m always trying to find ways that I can, besides Mark Applebaum’s Darmstadt Kindergarten atonal composition then in fashion. With the doing music, contribute to world peace, or groundbreaking In C—a work built upon steady was commissioned for the Kronos Quartet maybe neighborhood peace or home peace. I pulse throughout, simple repeated melodic by the David Harrington Research and told David when we first started that I thought motives, and static harmonies—Riley achieved Development Fund. we ought to create a piece that can be played an elegant and non-nostalgic return to tonality. at the United Nations on special holidays. It In demonstrating the hypnotic allure of complex would not be just a concert piece but a piece Oberek for Terry Riley musical patterns made of basic means, he that could be played as a rite. (2015) produced the seminal work of the so-called —Terry Riley “minimal” school. Aleksander Kosciów (b. 1974) Terry Riley’s Salome Dances for Peace was Riley’s facility for complex pattern-making Oberek for Terry Riley was written for the Kronos is the product of his virtuosity as a keyboard commissioned for Kronos by IRCAM (the Quartet as a musical gift to celebrate Terry improviser. He quit formal composition Institute for Research and Coordination in Riley’s 80th birthday. Its inspiration comes from following In C in order to concentrate on Acoustics/Music) and Betty Freeman, and one of the most characteristic Polish dances, improvisation, and in the late 1960s and early recorded by Kronos for Nonesuch Records. the oberek, known for its endless trance-like 1970s he became known for weaving dazzlingly repetitiveness and vigorous circle-shaped intricate skeins of music from improvisations Darmstadt Kindergarten motion—features which appear here as a tribute on organ and synthesizer. At this time, Riley (2015) to Riley, who has made both repetitiveness and also devoted himself to studying North Indian reduced material one of the most prominent Mark Applebaum vocal techniques under the legendary Pandit (b. 1967) and productive mechanisms in contemporary Pran Nath, and a new element entered his musical language. The need for pure joy is a Darmstadt Kindergarten consists of a music: long-limbed melody. From his work in human, natural expression, taking shape in seventeen-measure “theme” composed in two dance and music—a simple truth known by Indian music, moreover, he became interested versions: instrumental and choreographic. The everyone—and this is what the piece hopes to in the subtle distinctions of tuning that would instrumental version is played conventionally on be hard to achieve with a traditional classical serve for such a great occasion. two violins, viola, and cello; the choreographic ensemble. —Aleksander Kościów version calls for the players to substitute silent Riley began notating music again in 1979, hand gestures—lavishly described in the score Aleksander Kościów’s Oberek for Terry Riley expressly at David Harrington’s request, —for their instrumental sounds. was commissioned for the Kronos Quartet when both he and the Kronos Quartet were The instrumental “theme” is repeated five by the David Harrington Research and on the faculty at Mills College in Oakland. times in immediate succession. During each Development Fund. By collaborating with Kronos, he discovered successive statement one additional player is that his various musical passions could be permanently removed from the instrumental String Quartet No. 3, integrated, not as pastiche, but as different group and instead plays the choreographic sides of similar musical impulses that still The Mezzanine (2012) version. The hand gestures are executed maintained something of the oral performing at precise moments corresponding to the Nathaniel Stookey (b. 1970) traditions of and jazz. Riley’s first quartets rhythms from the player’s instrumental part. were inspired by his keyboard improvisations, Darmstadt Kindergarten is thus a piece that is We composers often go to great lengths to but his knowledge of string quartets became partly about memory; the audience is invited discourage our audience from looking for more sophisticated through his work with connections between our music and the titles IN THE BLUE ROOM PROGRAM NOTES PROGRAM ROOM BLUE THE IN to “hear” the instrumental material when later Kronos, combining rigorous compositional voiced by choreographed action. Music can we give it. In the case of my third quartet, ideas with a more performance-oriented indeed be expressed even in the absence the music really is about escalators, drinking approach. Kronos’ long relationship with Riley of sound. straws, shoelaces, vending machines, and has produced over 25 new works. cigarette butts. If it doesn’t sound that way to The title alludes to the famous summer music you, I apologize; I did my best with what I had. I Good Medicine is the last section of Salome courses held in Darmstadt, Germany. For would like to thank Nicholson Baker for forever Dances for Peace, an epic, two-hour-long string decades composers such as Cage, Boulez, changing my world-view, and David Harrington quartet. About Salome Riley has said: Nono, and Stockhausen met to share their for forever changing the string quartet. latest musical sounds and ideas. The festival The idea for Salome Dances for Peace came ­—Nathaniel Stookey out of an improvisation theme from The Harp came to be known as a hotbed of the most gritty, modernist contemporary music, stuff of New Albion. I realized this was potentially Nathaniel Stookey’s String Quartet No. 3, The aimed decidedly at mature audiences and, as a whole new piece. Around that time, David Mezzanine, was commissioned for the Kronos a consequence, sometimes lacking the ludic Harrington called me and asked me to write Quartet by the Clarence E. Heller Charitable sense of play that makes childlike enterprise so another string quartet. I thought that it should Foundation with additional support from the appealing (and perhaps in need of rehabilitation). be a ballet about Salome using her alluring Phyllis C. Wattis Foundation. 50 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC IN THE BLUE ROOM PROGRAMNOTES Flow (2010) Silent Cranes is inspired by the Armenian folk For the Kronos Quartet / song Groung (Crane) in which the singer calls Kronos Performing Arts Association: Laurie Anderson (b. 1947) out to the migratory bird, begging for word from Janet Cowperthwaite, Managing Director Arranged by Jacob Garchik (1976) their homeland, only to have the crane respond with silence and fly away. The first, second, and Laird Rodet, Associate Director Laurie Anderson is one of America’s most fourth movement titles quote directly from the Sidney Chen, Artistic Administrator renowned—and daring—creative pioneers. Her folk song lyrics. Those who were lost during the Mason Dille, Development Associate work, which encompasses music, visual art, genocide are cranes in their own way, unable to poetry, film, and photography, has challenged speak of the horrors that happened, and it is the Scott Fraser, Sound Designer and delighted audiences around the world responsibility of the living to give them a voice. Christina Johnson, Communications and for more than 30 years. Anderson is best New Media Manager known for her multimedia presentations and The prerecorded backing track includes Nikolás McConnie-Saad, Office Manager musical recordings. Anderson’s first album, O testimonies by genocide survivors, recordings Superman, launched her recording career in from the genocide era of Armenian folk songs, Kären Nagy, Strategic Initiatives Director 1980, rising to number two on the British pop and a poem from investigative journalist David Hannah Neff, Production Associate Barsamian in response to the question “Why is it charts and subsequently appearing on her Lucinda Toy, Business Operations Manager landmark release Big Science. She went on to important to talk about the Armenian Genocide 100 years later?” record six more albums with Warner Brothers. Kronos Quartet/Kronos Performing In 2001, Anderson recorded her first album Special thanks to those who shared their Arts Association with Nonesuch Records, the critically lauded history, to those who contributed recordings, Life on a String, followed by Homeland in 2010. P. O. Box 225340 to David Barsamian for his words and light, and The original version of Flow is the final track on San Francisco, CA 94122-5340 USA to the Kronos Quartet and Kronos Performing Homeland, and was nominated for a Grammy Arts Association for telling this story that so kronosquartet.org for Best Pop Instrumental Performance. Recent desperately needs to be heard. Silent Cranes is facebook.com/kronosquartet multimedia productions include Delusion dedicated to those lost and to those living who (2010) and Dirtday (2011), the third in a cycle instagram.com/kronos_quartet can promote change. that also included the works Happiness (2001) Twitter: @kronosquartet #kronos —Mary Kouyoumdjian and The End of the Moon (2004). Anderson The Kronos Quartet records for Nonesuch collaborated with the Kronos Quartet on the Mary Kouyoumdjian’s Silent Cranes was Records. 2013 work Landfall. Anderson’s visual and commissioned for the Kronos Quartet with installation work has been presented since support from the David Harrington Research 1980 in major museums throughout the world. and Development Fund, the Angel Stoyanof In addition, she has directed several films and Commission Fund, Zvart and Rouben Potoukian, recorded many works for film and dance. Andrea A. Lunsford, Gates McFadden and Robert Straus, Dayna Sumiyoshi and Greg Jacob Garchik’s arrangement of Flow by Laurie Smedsrud, many funders in the Indiegogo Anderson was commissioned for the Kronos community, and other generous individuals. Quartet by the David Harrington Research and It was premiered on April 29, 2015, by Development Fund. the Kronos Quartet at the Yerevan Perspectives 16th International Music Festival in the Silent Cranes (2015) Armenian National Academic Theatre of Opera Mary Kouyoumdjian (b. 1983) and Ballet in Yerevan, Armenia. Folk Songs: April 24, 2015 marks the centennial of the Groung (Crane) performed by Komitas Vardapet Armenian Genocide, a tragic event that led to the / Armenak Shah Muradian and Andouni mass extermination of 1.5 million Armenians by (Homeless) performed by Komitas Vardapet the Ottoman Turks and was the first genocide of in Paris, France, 1912 (courtesy of Traditional the 20th century. While over 20 countries and 43 Crossroads); Groung (Crane) performed by U.S. states have formally recognized the Armenian Genocide, modern-day Turkey has yet to do so Zabelle Panosian in , New York, 1916 and threatens imprisonment to those who push (courtesy of Tompkins Square) the topic within its borders. Even now, 100 years Survivor Testimonies: later, this historic event continues to be just as Araxie Barsamian, Bishop Hagop, Victoria Mellian, unresolved as it was before. As an Armenian- (courtesy of David Barsamian); Haig Baronian, American composer who values freedom of Aghavnie Der Sarkissian, Elise Hagopian Taft, speech and whose family fled the genocide, I Nium Sukkar, (courtesy of the Armenian Film feel this is an essential time to remember those Foundation); Azniv Guiragossian (interviewed by who were lost, while continuing a dialogue about Taleen Babayan and the composer) what happened and how we can prevent further genocides from happening in the future. Poetry: David Barsamian, excerpts from “A Century….”

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 51 Music in the Mountains returns to Nestldown! Hidden in the redwoods on acres of lushly landscaped property, this exquisite private retreat located in the Santa Cruz Mountains provides an unparalleled setting. We wish to extend our special thanks to our Nestldown hosts, Barbara and Mark Beck, and their family for their generous contribution toward making this event possible. We would also like to express our sincere appreciation for the generosity of the many restaurateurs and vintners who craft perfect pairings of food and wine for the occasion.

FINE WINES POURED BY: FOODS PREPARED BY CHEFS FROM: Alfaro Family Vineyard The Art Bar and Café BENEFIT EVENT BENEFIT Sponsored by: Birichino Assembly Burrell School Vineyards Café Cruz MJA Vineyards Gabriella Café Pelican Ranch Winery Geisha River Run Vintners Johnny’s Harborside Salamandre Wine Cellars Heartfelt thanks to: Original Sin Desserts Santa Cruz Mountain Vineyard for their generous donation of use Oswald of the venue and staff services in Storrs Winery and Vineyard Paradise Beach Grill support of many local charities! Wargin Wines Shadowbrook/Crow’s Nest For information about bookings, Windy Oaks Estate Vineyards and Winery Soif Wine Bar/La Posta please call 408.353.5311. Wrights Station Vineyards and Winery Solaire Restaurant and Bar Zayante Vineyards Special Thanks to: Barbara Lawrence, Event Chair Tom Ellison, Restaurant Coordinator Sabrina Eastwood, Winery Coordinator The Young Family & Florence Orenstein, Musician Hospitality

MUSIC IN THE MOUNTAINS RAFFLE DRAWING

SUPPORT THE CABRILLO FESTIVAL AND WIN FABULOUS PRIZES! Tickets are $10 each and you get to pick the drawing numbers that excite you the most! Or just make a donation and accumulate GOOD KARMA. Four winners will be drawn and announced on August 13 at Music in the Mountains, but need not be present to win. Call 831.426.6966 to purchase your tickets up until August 12! 1 GOURMET DINNER FOR EIGHT Chef Mike McDonnell creates a culinary feast of organic and farm-fresh fare for eight at your Santa Cruz County home, or the home of a Festival Board Member. (Wine not included)

2 GOLFERS’ PARADISE Two splendid weekday foursomes with cart at the coveted Pasatiempo and DeLaveaga courses. Enjoy championship golfing amid striking natural beauty!

3 SAN FRANCISCO TREAT Two nights at San Francisco’s luxurious Donatello Hotel near Union Square, along with two tickets to an SF Performances concert—featuring pianists Thomas Adès and Gloria Cheng. 4 FLYING HIGH Scenic flight for two over Monterey Bay area in a Grumman Tiger small craft with pilot John Supan, and a delicious meal at Ella’s at the Airport.

5 GOOD KARMA Your donation goes directly to support the Cabrillo Festival and bring great music to life! We offer sincere thanks to the generous individuals and businesses that contributed items to our benefit Raffle! In addition to those listed above, we thank these supporters: Jackie Heald; Richard Faggioli and Marci Smith; Nancy Bertossa; and Festival Board Raffle Volunteers.

52 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 6:30PM THURSDAY AUGUST 13 NESTLDOWN LOS GATOS MUSIC MOUNTAINS MUSIC

Justin Bruns

Two Voices (2010) Nico Muhly (b. 1981) IN THE Justin Bruns, violin | Nico Muhly, piano Paths (1994) Tine Thing Helseth Toru Takemitsu (b. 1930) Tine Thing Helseth, trumpet

Folksongs (2010) Hannah Lash (b. 1981) Lauren Sileo, piccolo | Svet Stoyanov, percussion | Hannah Lash, harp

Orbit (2013) Philip Glass (b. 1937) Matt Haimovitz, cello

Duo for Violin and Cello (2015) Luna Pearl Woolf (b. 1973) [World Premiere] Matt Haimovitz Tim Fain, violin | Matt Haimovitz, cello

Partita (2011) Philip Glass (b. 1937) Tim Fain, violin I. Opening

Selections from Arches (2000) Kevin Puts (b. 1972) Tim Fain, violin

Tim Fain

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 53 54 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SATURDAY 8PM AUGUST 15 SANTA CRUZ CIVIC AUDITORIUM W

Cabrillo Festival Orchestra Tonight’s performance is made possible through conducted by MARIN ALSOP the generous support of concert sponsors: I DIANE and DONALD COOLEY Eating Flowers (2015) S Hannah Lash (b. 1981) and PAUL and SYLVIA LORTON [World Premiere | Festival Commission] H Commissioned by Pacific Harmony Foundation

River Rouge Y Transfiguration (2013)

Missy Mazzoli (b. 1980) O [West Coast Premiere] U Blue Blazes (2012) Sean Shepherd (b. 1979)

[West Coast Premiere] W INTERMISSION

Wish You Were Here (2007)

Nico Muhly (b. 1981) E [West Coast Premiere]

Double Concerto for Violin R and Cello (2010)

Matt Haimovitz Tim Fain E Philip Glass (b. 1937) Tim Fain, violin | Matt Haimovitz, cello

[West Coast Premiere] H

Duet No. 1 Part 1

Duet No. 2 E Missy Mazzoli Missy Mazzoli Part 2 Duet No. 3 R Part 3 Duet No. 4 E

Media Sponsor:

Sean Shepherd Nico Muhly

This concert will be broadcast on Friday, August 28, 8pm on KUSP 88.9 FM, and webcast on KUSP.org. CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 55 Concertmaster Justin Bruns and Festival Orchestra players at Music in the Mountains, 2014.

Béla Fleck and Nuiko Wadden, 2014.

Robyn Julyan and Maximillian Haft, 2014.

56 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC WISH WISH YOU WERE HERE PROGRAMNOTES Eating Flowers (2015) as evoking “neither grit nor noise but instead an trail by peeling back bark on a tree, revealing almost tabernacular grace. The smokestacks in the torchlike blaze), noble fanfare (after the Hannah Lash (b. 1981) the background look like the pipes of a massive German blasen, to blow), and wild, distracted, [World Premiere | Festival Commission] church organ, the titular conveyor belts forming self-satisfied romp (what the …, indeed). the shape of what is unmistakably a giant This work is the fifth commission made cross.” This image, of the River Rouge Plant as Pondering blue, my thoughts tended toward possible by composer John Adams and his a massive pipe organ, was the initial inspiration the subtle, and the sensual. Perhaps a cool wife, photographer Deborah O’Grady, at the for River Rouge Transfiguration. This is music breeze or a visual cue—the gentle bobbing of Cabrillo Festival in support of emerging young about the transformation of grit and noise (here boats of different sizes, all tethered to the same composers; the commission was funded by represented by the percussion, piano, harp, dock somewhere on the Mediterranean Sea— their Pacific Harmony Foundation. Hannah Lash and pizzicato strings) into something massive, might make itself apparent. While considering has provided the following note: resonant and unexpected. The “grit” is again the musical blue, I gravitated, among many and again folded into string and brass chorales other places, toward jazz: toward blue notes, When I sat down to write Eating Flowers I felt that collide with each other, collapse, and rise toward luscious complex harmonies. Unlike in many ways that I was responding to the over and over again. many concert composers of the 20th and 21st energies of orchestral music whose colors I find —Missy Mazzoli centuries and several close friends, I’m not a jazz irresistible: music of Ravel, Rimsky-Korsakov, aficionado in any deep sense. But my admiration River Rouge Transfiguration was commissioned Debussy, and Messiaen particularly. My piece grows for the musical ethos of someone like by the Detroit Symphony in honor of Elaine does not quote or even explicitly refer to this pianist Bill Evans, of doing something for the Lebenbom. It was premiered on May 31, 2013, older music, but the energy and the color were hedonistic pleasure of hearing it, of lingering at Orchestra Hall in Detroit with the Detroit certainly an influence. Because of this kind of (or even wallowing) in great washes of cool blue Symphony Orchestra, conducted by Leonard indirect relationship I found my own work forming sounds. I’d be surprised to hear someone point Slatkin. to the music I find so colorful and appealing, I out a jazzy moment in this piece; any presence titled my piece Eating Flowers to capture the Not recorded of homage is intended as a spiritual, not a sense of having tasted the delicious and delicate literal, one. colors of my favorite orchestral music, which —Sean Shepherd nourishes my own creative process. Blue Blazes (2012) Blue Blazes was commissioned by the National Sean Shepherd (b. 1979) —Hannah Lash Symphony Orchestra, Washington, D.C. It was Not recorded [West Coast Premiere] premiered on May 31, 2012, at the Kennedy Center Concert Hall with the Detroit Symphony I believe the Shakespeare truism goes that Orchestra, conducted by Christoph Eschenbach. River Rouge brevity is the soul of wit. I’m not completely Transfiguration (2013) sure that it isn’t the other way around. There Not recorded is something deeply satisfying about hearing Missy Mazzoli (b. 1980) a piece that doesn’t beat around the bush; it’s Wish You Were Here (2007) [West Coast Premiere] one of the reasons why it’s easy to love a good concert overture. Whether it’s Beethoven’s For those who are in danger by “…all around me and above me as far as the Egmont or Dvorak’s Carnival, or delightfully reason of their labor or their travel sky, the heavy, composite, muffled roar of clipped ruminations on fireworks by Stravinsky Nico Muhly (b. 1981) torrents of machines, hard wheels obstinately (and later Knussen), or the modern marvels of turning, grinding, groaning, always on the point transport in works like Honegger’s Pacific 231 [West Coast Premiere] of breaking down but never breaking down.” and John Adams’ Short Ride in a Fast Machine, I’ve always suspected that cartoons and —Louis-Ferdinand Céline, I love sitting down for a concert and being illustrations do a better job capturing the from Journey to the End of the Night promptly and efficiently dazzled. These classic emotional content of the unknown than pictures works take their task, the fêtes en miniature, and first-hand narration. I have a picture deadly seriously, and don’t mince their notes I first fell in love with Detroit while on tour with in my head of the illustrators of the 1940s while charming us, yes, to bits. my band, Victoire, in 2010. When I returned and 1950s, holed up in Belgium drawing the home to New York I dove into early Detroit Imagine my surprise: it’s a tough job, saying tribal peoples of the Congo, or in California techno from the late eighties, Céline’s novel a lot by saying a little. With no time to explain articulating gorgeous Arabian landscapes for Journey to the End of the Night, and early 20th oneself, the musical distillation process is best early animated films, participating along the century photographs by Charles Sheeler, who kept to the sketches. I went about it by looking way in all of the politically charged problems documented Detroit’s River Rouge Plant in at the words I’d chosen for the title (yes, those that arise from empires, colonies, and the 1927 through a beautiful, angular photo series. netherworldly blue blazes, and part of one of abuses of political power. There is something In my research, I was struck by how often the my favorite examples of that very important inherently romantic about willfully ignoring the landscape of Detroit inspired a kind of religious linguistic sub-category: the ever-useful complexities of drawing on sources; artists who awe, with writers from every decade of the exasperation idiom) and re-interpreting them as ignore political overtones go on to inspire the last century comparing the city’s factories to I liked, with hellish abandon. The piece’s eight next generation who, in turn, worry about them cathedrals and altars, and Vanity Fair even minutes unfold variously as orchestra intrada, too much, and so on and so forth in an unending dubbing Detroit “America’s Mecca” in 1928. with different sections introduced in sequence, cycle of guilt and influence. Wish You Were In Mark Binelli’s recent book Detroit City Is the starting with the low strings, percussion and Here pays homage to Colin McPhee, one of the Place to Be, he even describes a particular clarinets (after marking, point by point, a new first western musicologists to study Balinese Sheeler photograph, Criss-Crossed Conveyors, continued on page 59

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 57 58 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC W continued from page 57

gamelan, as well as to the great illustrators orchestral work from Glass. However, the After the opening duet, we move into the first fast I Carl Barks and Hergé (responsible for Donald composer had wanted to compose a double movement, infused with energy and force. The S

Duck & Tintin, respectively). I tried to write a concerto for violin and cello for quite some second movement—the heart of the concerto— H completely romantic and fanciful gamelan- time, and this provided the perfect occasion opens with a slowly building dirge in the brass

influenced piece, attempting nothing but the to realize the piece. Glass felt that the solo to an incredible volume, before erupting into an most superficial authenticity. On top of this instruments would make perfect dramatic explosive, rollicking dance for the soloists. It is Y twittery and excited music, a long, lonesome analogs to the lead dancers on stage. The here that perhaps the dance element is at its O melody unfolds. After a desolate interlude with dance world has long been a birthplace for most present in Glass’ orchestral writing. After severe, ship-horn brass, the energetic patterns concert works (including Glass’ own Heroes the climax of the second movement, the third U start again and the long line returns, this time Symphony) and the Netherlands Dance Theater duet then leads into a mad dash of wonderful and its choreographers graciously embraced vibrancy. Curiously, and consistent with the with a triumphant, revelatory ending.

—Nico Muhly this idea. individual character of this concerto, Glass W concludes the work not on the triumphant Wish You Were Here was written for the Boston The form of the concerto is unique. emotional conclusion of the third orchestral E Pops and was premiered in June 2007, at Conventional knowledge makes available two movement, but with a final, somber duet. It is a Symphony Hall, Boston, conducted by Keith methods of approaching the composition of fitting epilogue and satisfying conclusion to this R Lockhart. concertos. The first is to cast the soloist as atypical and exceptional work.

hero battling against the orchestra. The second —Richard Guérin E Not recorded method is to have the soloist supported by and The Double Concerto for Violin and Cello was playing with the orchestra in a still defined solo commissioned by the Netherlands Dance H Double Concerto role. Glass’ concerto is unique because the Theater. It was premiered on April 22, 2010, composer largely ignored those two models, for Violin and Cello (2010) with violinist Cecilia Bernardini, cellist Maarte- E composing a duet to precede each of the three Philip Glass (b. 1937) Maria den Herder, and the Residentie Orkest orchestral movements. These movements, R (The Hague Philharmonic), conducted by Jurjen [West Coast Premiere] while undeniably Glassian, are quite intimate Hempel. and possess a timeless classical tone while E Philip Glass’ Double Concerto for Violin and reminding the listener more of chamber music. Recommended Recording: Philip Glass: The Cello was composed in the spring of 2010 as By contrast, the orchestral movements are Concerto Project, Vol. 4. Residentie Orkest with P an original score for the ballet Swan Song by dramatic symphonic statements without soloists Tim Fain and Wendy Sutter, conducted R choreographers Sol Léon and Paul Lightfoot. necessarily featuring the soloists in virtuosic by Jurjen Hempel. Orange Mountain. The original commission was simply for an technical shows. OG R A M

N O T E S

(Left to right) Time for Three members Zachary De Pue, Nick Kendall, and Ranaan Meyer, along with composers Jennifer Higdon, TJ Cole, and Mark-Anthony Turnage join Marin Alsop for a Post-Concert Talkback, 2014

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 59 60 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SU NDAY AUGUST 16 MISSION SAN JUAN BAUTISTA SAN JUAN DAYSAN JUAN or two centuries, the Mission at San Juan Bautista has welcomed pilgrims into its cool F sanctuary. Within its walls, in the presence of candlelight and frescos, you can feel yourself releasing the frazzle of modern life and simply be with the spirits in the tranquility of the Mission. For more than forty years this has been the setting for the Cabrillo Festival’s grand finale concerts. The music threads through arches and soars past the brilliantly painted main altar as it did for Padre Estaban Tapis when he retired to a life of music here in the 1800s, earning the Mission its name, “Mission of Music.”

You’re invited to bring a basket and bask with friends and other picnickers in the olive grove beside the Church between concerts. This year, as in the past, between-concert picnicking is generously sponsored by Sorensen’s Resort in the Sierra Nevada.

The Festival owes the start of its treasured tradition at the Mission to Manuel Santana, who launched the idea in 1974 when he was President of the Festival’s board of directors. The Santana Family, Angelina and Valentin, will once again make the San Juan Day experience complete by welcoming the Festival audience and musicians for a reception in their enchanting Jardines de San Juan Restaurant in the heart of downtown San Juan Bautista, following the evening’s final performance. Their exquisite garden setting and unparalleled hospitality have made Jardines part of the magic and allure of Cabrillo Festival’s popular San Juan Day.

San Juan Day is supported by:

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 61 62 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 4 & 7:30PM SUNDAY AUGUST 16 MISSION SAN JUAN BAUTISTA A

Today’s performances are made possible through the generous support of concert sponsor: N MARY SOLARI Cabrillo Festival Orchestra conducted by MARIN ALSOP

Impact (2013) G Charles Halka (b. 1982)

[West Coast Premiere] EL Ángeles de llama y hielo (Angels of Flame and Ice) (1994, rev. 2015) E Ana Lara (b. 1959) I. Ángel de Tinieblas (Angel of Darkness) S II. Ángel del Alba (Angel of Dawn) III. Ángel de Luz (Angel of Light)

IV. Ángel de Ocaso (Angel of Dusk) D INTERMISSION E Supplica (2014) Christopher Rouse (b. 1949)

Epiclesis (1993, rev. 1998) L Tine Thing Helseth James MacMillan (b. 1954) U Tine Thing Helseth, trumpet [United States Premiere] Z THE MISSION MUSIC AT

Marin Alsop

This concert will be broadcast on Saturday, August 29, 8pm on KUSP Charles Haika Ana Lara 88.9 FM, and webcast on KUSP.org.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 63 64 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC A Impact (2013) Italian Renaissance, but rather nebulous beings Do you take for yourself what you need, inhabiting a netherworld of consciousness at or get back what is yours? Charles Halka N (b. 1982) the frontier of the material and spiritual realms. Will this flesh be of use when death [West Coast Premiere] The following is excerpted from Francisco Finally breathes under your G Serrano’s own description of Ana Lara’s Angels incomprehensible light?

Impact is an eight-minute work for large of Flame and Ice. E orchestra that explores a sonic gesture best Angel of Dawn described as a fall and heavy thud. This The Angel of Darkness is characterized by deep, L Is there no place for the angels to gesture, which opens the work in its clearest dense sonorities of terrestrial textures. The

spread their wings? ES form, is a steep drop from the upper register harmonies spread until they are fully present in In the loose breeze of the first light of the orchestra to its depths. Each time the the Angel of Dawn. Day breaks. With the Angel of gesture plummets to the bottom, the impact Light the harmonies open completely. The work He sparkles, indelible, a face of this arrival generates various “resonances” reaches its zenith: its noon. Finally, they blend Kneaded from water and fire and air D —shards of harmonic or melodic material that in the Angel of Dusk and become less concrete. and salt. It is the end. This last of the four angels ends proceed to develop on their own, contributing to He hovers over time, like a flowing sky, E where the first begins. Thus the music strives subsequent impacts and eventually blooming Wing and skin undulating at the edge

to express the idea that life is the beginning into more lyrical passages. Along the way, the of bright water. gesture is fragmented, stretched, reversed, of death and that death is at the same time a L With very gentle hands, a sketch of gold and dissected to reveal microscopic musical beginning and an end. Lara further distinguishes U in each finger, worlds within, before finally regaining its original her “angels” by means of orchestral sonority: He reaches towards light that fulfills its form and prominence near the end. One giant, the first angel is characterized by the brass Z promise. cascading swirl of sound brings the work to a instruments, the second by strings and brass, rumbling close. the third by strings and woodwinds, and the Angel, sacred vessel of being, P —Charles Halka fourth by the percussion section. incandescent condensation of the cosmos, ­—Robert S. Katz R Impact was premiered on May 16, 2014, at Prescient space, in your grace everything the in Mexico City for Ángeles de llama y hielo (Angels of Flame is about to be born. O the opening of the 36th Foro Internacional de and Ice) was commissioned by the Orquesta Would you accept a prayer addressed Música Nueva (International Forum for New Sinfónica Nacional (National Symphony to you? G Music), performed by the Orquesta Sinfónica Orchestra of Mexico). It was premiered on The world is like rain that does not R Nacional (National Symphony Orchestra of September 2, 1994, at the Palacio de Bellas sustain you.

Mexico), conducted by José Luis Castillo. A Artes in Mexico City by the OSN, conducted by The angel has no roots: he moves Enrique Diemecke. among us Not recorded M Detached from the earthly heart, Not recorded Ángeles de llama y hielo like a hostage. Four poems by Francisco Serrano: (Angels of Flame and Ice) Angel of Light N Angels of Flame and Ice (1994, rev. 2015) Angels, birds of the abyss, To Ana Lara are they so different from us? O Ana Lara (b. 1959) A breath of crystals coming from afar, Angel of Darkness T One of Mexico’s most prominent composers, Imperious, glacial, like a bare blade of A superior command, shining and Ana Lara continues to hold a leading position cold steel hidden, E as an advocate of new music in her native Pure love unlimited within the He suddenly appears, dark in the place S country. In 1993, she began her tenure as of shadows, boundaries of the spirit? composer-in-residence with Orquesta Sinfónica On the edge of silence, unrelenting, Maybe your diaphanous nature is Nacional (Mexico), during which she wrote unvanquished, not inaccessible to us. Ángeles de llama y hielo. Terrible messenger of an existence In the exact center of the heart, The work is comprised of four continuous that has not been reached. Beyond pleasure and grief, sections inspired by a series of four poems by He is a wind born of the void to gnaw You exist alongside of anguish, Mexican poet Francisco Serrano. Serrano’s at the body like an act of love. poems were a conscious reference to the (Body itself) to leave it in an instant, And if we shouted, would you hear us? persistent numerological and mystical intact. If you descended upon us, significance of tetradic groupings in many Prisoner perhaps of an excessive bliss, could we keep silent? cultures from the ancient Greeks to modern There is no passion in the angel: We can only guess at your strength, Christianity: four elements (fire, earth, He is the stranger. at your pitiless mediation. air, water), four winds, four points of the compass, four horsemen of the apocalypse, An acrid air precedes him, a limitless fog, The song of the earth is the trace of his passing; four evangelists, etc. Serrano seizes on this A being without limits, coalesced shadow, numerological symbolism, combining it with the breath of the breath. The white light of noon, his shadow. image of an angel for each episode. Serrano’s Being of silence, angel so sad, do you He is stillness. angels are not the gentle cherubic figures of the grieve for us? He does not last. continued on page 67 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 65 Elpse Huffman DesignoIllustration

Congratulations Cabrillo Festival of Contemporary Music for 53 Years of Excellence in Programming. I enjoyed participating in the creation of the program guide for 2015! 831-423-6012 [email protected]

Josie Little with Time for Three, 2014.

Marin Alsop at the Mission San Juan Bautista, 2014.

Prue Ashurst with Marin Alsop, 2014.

66 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC A continued from page 65 Epiclesis (1993, rev. 1998) Adoro te devote, latens Deitas,

Angel of Dusk James MacMillan (b. 1954) Quae sub his figuris vere latitas N Tibi se cor meum totum subjicit, Like a window opened on an [United States Premiere] G untended garden, Quia, te contemplans, totum deficit. Epiclesis is a concerto for trumpet and large Like a wasteland beneath the open sky, Godhead here in hiding, whom I do adore, E orchestra in one movement lasting about They are beings that see with their Masked by these bare shadows,

twenty minutes. The word Epiclesis means an L shape and nothing more, eyes closed, invocation calling upon God’s name during any Shadows of a body in search of its form. blessing or consecration. It is mostly used with See, Lord, at thy service low lies here ES a heart They wander among us, sleepwalkers, specific reference to the invocation during the Lost, all lost in wonder at Extravagant, like the blind without a face, Eucharistic celebration in which the gifts of

bread and wine are consecrated into the body the God thou art.

Fire greedy for light, impenetrable fire D and blood of Christ. In this case, the power —James MacMillan surrounded by water. of the Holy Spirit is invoked to bring about Epiclesis was premiered on August 28, 1993, E Where they alight, dancing ceases. transubstantiation. at Usher Hall in Edinburgh with John Wallace Angels of dusk, messengers and the Philharmonia Orchestra, conducted by Of who knows what vacant and The concerto is a musical meditation on L Leonard Slatkin. higher kingdom, the mystery of the Eucharist and the idea of transformation of materials. There are U They turn into night with each one of us. Recommended Recording: Royal Scottish two main musical “substances” forming the National Orchestra with soloist John Wallace, Z In the boundaries of time, in the argument and formal development of the piece. crack between life and death, conducted by Alexander Lazarev. BIS CD 1069 Throughout the work one material influences

They stalk in the crevices of and invades the other and vice versa, so that P consciousness, formless, one music “becomes” the other. R While a dove flutters in a Epiclesis begins unexpectedly as if from nowhere. frightfully severed sky… O A mysterious, hazy-textured introduction is —Translation by Laura Reinking Keller

interrupted suddenly and violently by a short G ecstatic interjection on wind and percussion.

Supplica (2014) This is followed by a lengthy exposition, Adoro R Christopher Rouse (b. 1949) te devote. The fast, violent music and the slow, Gregorian-based music proceed in a series of A The title Supplica means, perhaps unsurprisingly, stark juxtapositions, one becoming longer and “supplication” in Italian. There is no doubt in my more developed at each appearance, the other M mind that this work has a strong relationship contracting at each appearance. to my Fourth Symphony, completed earlier in 2013. However, it is more of a challenge to Eventually one musical material becomes N define precisely what that relationship might transformed into a version of the other. The be. It certainly is not a “completion of” nor central climax involves the full flowering of the O “afterthought to” the symphony. It is also not Gregorian theme in the context of the fast, some sort of “antipode” to this same symphony. unsettled music. This is followed by a recitativo T accompagnato, in which the soloist invokes

Perhaps it might best be described as a E “companion piece.” violent, surging responses from the orchestra.

After these convulsions, in a moment of S Both were works I felt an inner compulsion to uneasy calm we hear the Adoro te devote write, but both also possess meanings for me played on bowed vibraphones and double that must remain personal. This certainly does bass harmonics. The process has worked not mean that either piece is intended to be itself through; the transformation of musical “impersonal”—rather that what I hope will be substances is complete. heard as both an intimate and an impassioned communication in sound must mean to each This is followed by a fast —a listener what it will, without further intercession rhythmic celebration in which the soloist or guidance from [the composer]. now plays piccolo trumpet. The theatrical symbolism at the end of the work is meant to —Christopher Rouse signify the living God, unseen but yet perceived, and is meant to reflect the words of St. Thomas Supplica was jointly commissioned by the Aquinas (here translated by Gerard Manley Pittsburgh Symphony Orchestra and the Pacific Hopkins). Symphony Orchestra. It was premiered on April 4, 2014, at Heinz Hall in Pittsburgh by the Pittsburgh Symphony Orchestra, conducted by Juraj Valčuha.

Not recorded CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 67 IN MEMORIAM This year we lost two patrons who left a legacy of enduring impact on the Festival. HALL OF FAME They will be missed and in our thoughts throughout the season.

THE LOU HARRISON AWARD RUTH HALL VUREK (1932-2015) Ruth Vurek was a staunch advocate of the values and causes she held The Lou Harrison Award is the pinnacle dear, and the Festival is honored to have been among them. She grew of recognition bestowed by the Cabrillo up in a suburb of Baltimore, and upon graduating high school worked Festival. Presented first in 1997 to the at the Johns Hopkins University Library while earning her Bachelor’s award’s eminent namesake, the honor degree in Psychology in 1955. Her career took many turns over the is intended to elevate extraordinary years. She worked for the chief of Psychology at the National Institutes service to perpetual acclaim. of Health in Bethesda, where she met Jerry Vurek, who she married in 1959. She was a public elementary school teacher outside DC, a real LOU HARRISON (1997) estate agent, and at one point used her library experience to become a ERNEST T. KRETSCHMER (1998) National Park Service Volunteer as the librarian at Alcatraz! (2003) Ruth had a broad range of interests. She was a student athlete who MARIN ALSOP (2006) later in life went on to become a competitive tennis player. A very creative person, Ruth wrote poetry, painted, and played music. She sang and played violin in her youth, and when she HALL OF FAME AWARD inherited a Martin guitar from her father-in-law George, she studied guitar. In a characteristic gesture of thoughtful generosity, Ruth donated her student violin to the OrchKids program of the The Festival Hall of Fame recognizes Baltimore Symphony Orchestra. Politics were a particular passion for Ruth. A die-hard progressive outstanding achievement by individuals Democrat who was active in the anti-Viet Nam war movement, she went on to run for Sheriff in whose exceptional contributions have Maryland and later for the Mountain View City Council. She retired from active politics when she made a permanent and very positive and Jerry moved to Orinda in 1999. difference in the pursuit of the Festival’s Having witnessed segregation in Baltimore, Ruth was committed to fighting racism. She used goals. Although there have been literally her real estate experience in her advocacy work for fair housing in both Bethesda and Mountain hundreds of wonderful volunteers, View; and served on the Board of Directors of the Lorraine Hansberry Theatre and was a supporter musicians and staff affiliated with the of the African-American Shakespeare Company, both of San Francisco. Representing a poignant Festival over its five decades, to-date synthesis of her passions, this poem—written in 1894 by the African-American abolitionist and there have been only 15 individuals poet, Francis Ellen Watkins Harper—was on Ruth’s desk when she passed away earlier this year: whose service has been honored with Our world, so worn and weary, Music to soothe all its sorrow, inclusion in the Hall of Fame. New Needs music, pure and strong Till war and crime shall cease; members are not necessarily selected To hush the and discords And hearts of men grown tender every year; instead, membership Of sorrow, pain, and wrong. Girdle the world with peace. is awarded only when there is truly exceptional service to recognize. We are grateful for Ruth’s many years of generous support and her generous bequest now, which will help ensure the joy and transformative power of music for future generations.

HALL OF FAME/IN MEMORIAM HALLFAME/IN OF FESTIVAL HALL OF FAME BEVERLY KARP (1932-2014) 1995 (CHARTER MEMBERS) Beverly Karp and her husband Alvin chose to retire DR. RUTH FRARY to Soquel and soon became legendary for their LOU HARRISON volunteer commitments and community involvement. ERNEST T. KRETSCHMER Theirs was a special passion for music and for the EARLEEN OVEREND Cabrillo Festival. For more than 17 years they hosted ROSEMARY PURSER, PH.D. musicians in their home, and for more than a decade MANUEL SANTANA were indispensible members of our “Scullery Crew,” MARION TAYLOR preparing the musicians’ early morning breakfasts before each rehearsal. They did so with unwavering 1996 dedication and indefatigable good cheer. They were FRAN FISHER donors and ticket buyers, and despite watching countless open (and closed) rehearsals as part KEN HARRISON of the volunteer crew, Beverly came elegantly dressed in one of her stunning chapeaus to most, if RICHARD KLEIN not all, of the performances. After Alvin’s death in 2008, Beverly returned to southern California HOWARD SHERER, PH.D. to be closer to her children, and shortly after her death in December 2014 we received a generous bequest from her estate. Anyone behind-the-scenes at the Festival will remember her warm 1998 smile and serious commitment, and her gift now will help keep her spirit alive through the Artistic JACK BASKIN Initiative Reserve Fund. It is with love and appreciation that we remember Beverly this season. TOM FREDERICKS ELLEN M. PRIMACK

2000 RICK LARSEN

68 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC IN MEMORIAM MAKING A LEGACY GIFT: THE NEW MUSIC FOREVER ENDEAVOR ENDEAVORFOREVER MUSIC An Opportunity to Have a Lasting Impact

Now is a perfect time to join the growing list of supporters whose legacy gifts will secure the Festival long into the future. We’re getting ever closer to our goal of 50 legacy donors! If you have already included Cabrillo Festival in your estate plans, please let us know so that we can count your gift toward our ambitious goal, even if you wish to remain anonymous.

Cabrillo Festival! You can have a profound effect, just like Ellen Schuck, Ruth Vurek, Beverly YKarpou don’t and othersneed . toEllen have Schuck a large was aestate joyous, to enthusiastic make a meaningful booster of the legacy Festival gift Orchestra to the for decades, and in June 2005 the Festival received an $80,000 legacy gift from Ellen’s estate­— the largest in its history to date and one which more than doubled our Artistic Initiative Reserve Fund at the time. Since then the Festival has added more than $60,000 in realized bequests, further bolstering our reserves. Well beyond their lifetimes, these incredible individuals will keep the music playing in our community. With deep appreciation, If you are considering creating or changing your estate plans, there are many ways to include we invite you to add your name charitable giving and the Festival can offer the expertise and resources to explore all your to this list of legacies! possibilities. Whether you’ve created a comprehensive estate plan or not, you can easily take REALIZED BEQUESTS action now by naming the Cabrillo Festival as a beneficiary of an IRA account or life insurance policy. Often this can be accomplished online! We recognize that designating the Cabrillo Festival Ellen Schuck in your estate plans is a powerful statement of support, and we thank all our legacy donors for Joan Cook their trust and confidence in the Festival and in the importance of our work. For any assistance Caroline “Carrie” Hanson or information, please call or email Ellen Primack, Executive Director at 831.426.6966 or Ruth Vurek [email protected] Beverly Karp Mildred Larsen Trust The Lawrence Kristian Mikkelsen Trust

INTENDED BEQUESTS Joan and Joe Akers Richard and Leslie Andrews Sandra Cohen Fran Fisher Margaret Gordon Bette and Joseph Hirsch Dina Hoffman Paul and Sheri Howe Pamela Kangas and Benjamin Post David E. Kaun Ellen Kimmel Diane and Richard Klein Bud Kretschmer Kathryn Lawhun and Mark Shinbrot Josephine Little Nancy V. Loshkajian Hila Michaelsen Lester and Martha Miller Earleen Overend Ellen Primack and Eric Schmidt Leslie Stewart and Wes Kenney Marion Taylor Dee Vogel and Lin Marelick FREQUENTLY ASKED QUESTIONS: Jerry Vurek What is the Festival’s Legal Name? Can you provide sample bequest language? Lana Weeks Cabrillo Festival of Contemporary Music I hereby bequeath to the Cabrillo Festival of Anonymous (4) Contemporary Music located in Santa Cruz, What is Festival’s Federal Tax I.D.? California, the sum of $_____ dollars (or ANY GIFT, NO MATTER HOW 94-6123298 alternatively, %_____ of my residuary estate). LARGE OR SMALL, CAN HAVE A LASTING IMPACT ON THE CABRILLO FESTIVAL’S FUTURE.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 69 S GRANTMAKERS What we do at Cabrillo would not be possible without the support the Festival receives from public and private grantmakers. R We invite you to read a little about each of them and the important role they each play.

THE WILLIAM AND FLORA HEWLETT THE AARON COPLAND FUND ARTS COUNCIL SANTA CRUZ COUNTY

KE FOUNDATION FOR MUSIC, INC. Arts Council Santa Cruz County’s mission is For more than forty years, the Hewlett In keeping with his lifelong devotion to to “promote, connect, and invest in the arts

A Foundation’s Performing Arts Program has the music of America, Aaron Copland, the in order to stimulate creativity and vibrancy in played a leading role in the arts and culture of quintessential American composer, created Santa Cruz County.” Envisioning a vibrant Santa the San Francisco Bay Area. What began with a the Fund for Music and bequeathed to it a Cruz County, where individual and collective commitment to classical music has expanded large part of his estate. The Fund was officially artistic expression thrives and where the Arts into a diversified program with a core belief in announced to the public in 1992. Its purpose are a valued part of all aspects of our diverse T M the power of art to imbue life with meaning, is to encourage and improve public knowledge culture, economy, and everyday life, the Arts value, and pleasure. Hewlett Foundation’s of contemporary American music. Cabrillo Council has supported and advanced our N support of the Cabrillo Festival dates back to Festival has been honored with a grant in cultural community since 1976. In 2015, the 1980, and since 1992 has helped Marin Alsop every year since the Fund’s creation. Copland Festival received a Sponsor Grant,

A give the Festival her distinctive artistic imprint Fund support has closely paralleled the tenure designed to provide on-going and raise its profile as a center for new music of Maestra Marin Alsop and has been critical operating funds to leading arts

R for orchestra in America. We are currently in the to the artistic growth and development of the organizations in our community, first year of a three-year Hewlett Foundation Festival under her leadership. This year’s grant, which demonstrate organizational

G grant for general operating support that one of the largest the Fund made in 2015, is health, sustainability, and impact provides much needed resources for the day- dedicated to the sixteen living composers on audiences. to-day operations as we work to sustain the whose works are on our main stage concert Festival’s emergence as a major creative force. series. The Fund also made a supplemental ANN AND GORDON GETTY FOUNDATION grant in 2015 to support the young composers The Ann and Gordon Getty Foundation was THE DAVID AND LUCILE PACKARD in our Conductors/Composers Workshop. established by Gordon Getty, son of J. Paul FOUNDATION Getty, the founder of Getty Oil. Among his many For nearly five decades, the Packard Foundation THE NATIONAL ENDOWMENT pursuits in business and philanthropy, Gordon has supported a wide array of nonprofit FOR THE ARTS Getty is also a composer and trained seriously organizations in geographic areas that are An award of funding from the National to become a classical singer. Given his personal significant to the Packard family—including five Endowment for the Arts is a great artistic passion for music, it should be no surprise that California counties of San Mateo, Santa Clara, honor that results from a highly competitive the Foundation he established is a major funder Santa Cruz, Monterey, and San Benito; as well application process overseen by a panel of of performing arts and cultural organizations as Pueblo, Colorado, the birthplace of David experts in the field. This year’s NEA award—the throughout California, as well as nationally. The Packard. Since 1996, the Packard Foundation largest ever received by the Festival—supports Foundation has been a consistent supporter of has demonstrated great commitment and our unique role as an incubator for new music, the Cabrillo Festival since 1999, offering much- support for the Festival through ongoing general and our vital contribution appreciated support for our general operating operating funding; and we are currently in the to the growth and needs. second year of a two-year grant supporting development of symphonic our core programs and outreach activities. music in America. THE KENNETH T. AND EILEEN L. NORRIS In addition, through their Organizational FOUNDATION Effectiveness program the Foundation provided MONTEREY PENINSULA FOUNDATION Family-founded through economic freedom, funding support for our recently completed The Monterey Peninsula Foundation is the Norris Foundation supports programs strategic planning process. As well, there has committed to enhancing the quality of life that advance better health and intellectual been no more committed supporter than the in Monterey County and surrounding areas enlightenment through education, cultivation of Packard Foundation in enabling the Festival to through the strategic disbursement of the arts, individual responsibility, freedom and undertake technical upgrades and feasibility charitable funds generated by hosting the AT&T dignity. The Norris Foundation has provided studies to improve our home venue, the Santa Pebble Beach National Pro-Am and the Nature the Cabrillo Festival with continuing support Cruz Civic Auditorium. We offer special thanks Valley First Tee Open. The Foundation provides since 1998. The current grant helps support to the Foundation for their most recent grants grant awards to organizations and programs the 2015 Festival and the outreach activities supporting the current renovation planning that demonstrate the greatest positive effect that give the entire community access to process. in the areas of youth, education, health, human every aspect of modern music making and services, arts, community and environmental the living arts. These include open rehearsals programs. Founded by Bing Crosby in 1937, the daily; free lectures and discussions; the Free Foundation has raised more than $120 million Family Concert; the Creativity Tent for Kids; for non-profit organizations. The Cabrillo Festival our Student Staff work/study program; the is grateful to have recently received a two-year Church Street Stage showcasing locally based general operating grant award in support of our performing arts groups; and In the Works, the outreach programs and activities. culminating concert of the Festival’s prestigious Conductors/Composers Workshop.

70 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC G R A N BRUNO WALTER MEMORIAL FOUNDATION BMI FOUNDATION, INC. GRANTMAKERS Established in 1963 by the estate of the world- The purpose of the BMI Foundation’s grants T M famous conductor, Bruno Walter, the Memorial program is to further the creation, performance Please join us in thanking these Foundation supports projects that help the and study of contemporary music. There is an generous grantors. career development of orchestral conductors. emphasis on classical, jazz, and the musical In December 2009, the Cabrillo Festival was theatre genres and a preference for programs $50,000 AND ABOVE

awarded a 10-year grant to support Marin that directly involve living American composers. The William and Flora Hewlett Foundation A Alsop and her work with young conductors in Funding decisions are made with the aid of The David and Lucile Packard Foundation

the Conductors/Composers Workshops. In the distinguished songwriters, composers KE recognition of the significance of this grant, and and publishers who serve as the Foundation’s $20,000 TO $49,999 its importance to the field and to the conductors Advisory Panel. Since 1995, Cabrillo Festival The Aaron Copland Fund for Music, Inc. selected, we have named these awards the has been honored to receive support from National Endowment for the Arts Monterey Peninsula Foundation “Bruno Walter Conducting Scholarships.” These BMI Foundation Inc. in recognition of our R scholarships allow us to recruit the brightest commitment to contemporary American music, $10,000 TO $19,999 talent, regardless of economic means, and to engaging and sustaining new audiences, to S Arts Council Santa Cruz County give Marin Alsop the freedom to work with training young conductors and composers, and Ann and Gordon Getty Foundation conductors whose career development she to premiering new works. The Nicholson Family Foundation wants to help advance, encourage, and support. COMMUNITY FOUNDATION The Kenneth T. and Eileen L. Norris Foundation PACIFIC HARMONY FOUNDATION SANTA CRUZ COUNTY UP TO $10,000 Founded in 2014, the Pacific Harmony Community Foundation Santa Cruz County is Bruno Walter Memorial Foundation Foundation was established by composer John a public, nonprofit organization created as a Pacific Harmony Foundation Adams and his wife, photographer Deborah permanent resource for the county. In addition The Amphion Foundation O’Grady, in order to support their philanthropic to its own grants program, the Community The Hawley Family Fund interests. The purpose of the Pacific Harmony Foundation also provides a simple, safe and BMI Foundation, Inc. Foundation is to provide support for the efficient way for individuals, families and Omega Nu of Santa Cruz creation, presentation, and understanding businesses to invest in Santa Cruz County of contemporary arts, with special emphasis through donor advised funds. The Festival Special thanks to the following on music, music composition, and young is pleased to acknowledge the receipt of organizations that have facilitated donor- composers. To that end, the Foundation has grants from the Hawley Family Fund which has directed grants to the Cabrillo Festival: established a commissioning series at the generously made a three-year commitment Cabrillo Festival, giving one young composer in support of our Free Family Concerts, David Community Foundation Santa Cruz County each year the opportunity to write a piece for Kaun and Abigail Kaun Fund which has made Fidelity Charitable large orchestra. In 2015, composer Hanna a four-year commitment in support of our Network for Good Lash has been honored with that distinction. Student Staff Program, the Ellen B. Kimmel Schwab Charitable Fund DAF, the Porter Fund which has made a three- Community Foundation THE AMPHION FOUNDATION, INC. year annual gift commitment, and the Stocker Vanguard Charitable Established in 1987 by composer Family Fund. and his wife Helen, the purpose of the Amphion Foundation is to encourage the performance of contemporary concert music, particularly by American composers, through support to performing and presenting organizations that have demonstrated sustained artistic excellence, in addition to service organizations. The ongoing support of the Amphion Foundation since 2005 has helped the Festival sustain quality programming, maintain high levels of community participation, and expand its role in the symphonic music sector as an originator of new works for orchestra. Their renewed support this season enables the performance of works by sixteen living composers, eleven of them American.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 71 ARTISTIC INITIATIVE RESERVE FUND D

While artistic risk is an essential part of Cabrillo Festival’s mission to bring audiences the innovative, the unexpected, and the new, the level N of risk we can take is directly proportional to the size of our Artistic Initiative Reserve Fund. Established in 1999 with a special gift from an anonymous donor, the fund enables us to pursue special ventures. It was boosted in 2012 with the Festival’s 50th anniversary campaign

U and since then has been bolstered by several significant legacy gifts and the generosity of many contributors.

F More than 150 donors are honored below for their cumulative giving to this special fund, and we thank them for understanding the importance of underpinning the Festival’s annual budget with additional reserves. The force of their belief and conviction has helped the fund grow and has provided a buffer against the uncertainties of each season. Please consider joining these visionary donors with a gift of any amount. You can make a lasting E impact and help secure our future!

V KEYSTONE PARTNERS INNOVATORS CREATIVES Diane and Don Cooley John and Betty Ann Altman Elizabeth Alpert and Deanna and Elroy Kursh R Joan Cook, bequest Prue Ashurst Ken Friedenbach Margaret and Damon Kvamme Caroline “Carrie” Hansen, bequest Chris and Dale Attias Lizz Hodgin Anderson Scott Lewis E Ellen Schuck, bequest Mona Baroudi Music Together/ Rabbi Richard and Nancy Litvak Ruth Vurek, bequest David and Judy Beech MusicalMe Inc. Todd Lockwood S Anonymous Jennifer Choate and David “Woody” Wood Rolf Augustine Luciana Lombardi Thomas Clark Lorraine Azevedo Elizabeth and Blair Looney E VENTURE PARTNERS Kathleen Cohen and Mark Foote Sharon Barrett Donna Martin and Mary Ross Jack and Peggy Baskin Eric Cummins Leonard Bellingrath In memory of Ruth Vurek

R Richard Fabrikant and Marty Finn John and Harriet Deck Nancy Bertossa and Terry Murphy Michael Good and JoAnn Close Tom Ellison and Larry Friedman Robert Van Dale In memory of Celia Hartman Josie Little Jack and Iris Farr Anne Marie Callahan Guy Neenan E Paul and Sylvia Lorton Adela Feran Angeleen Campra Petr Olmer Jim and Beth Petersen Fran Fisher Rena Cochlin Surale Phillips

V Jerry and Ruth Vurek Tom Fredericks and Virginia Wright Faye Crosby Marlene Pitkow and Mark Kalow

I Anonymous Betty Fredericks Karen DeMello Gunnar Proppe Christopher Harder Sabrina Eastwood and Joanne Ratcliffe

T CATALYSTS Jacqueline Hartman Russell Krebs Pamela and William Richter Leslie and Richard Andrews In memory of Celia Hartman Jon and Ellen Florey Diana Rothman

A Alex Darocy Simon and Rosemary Hayward Sara and Cliff Friedlander Howard Rubin and Gene Nakajima Edward Hearn and Linda Arnold Jessica Frye and David Stein Fred Sampson I In memory of Colette King Darocy Marshall Dinowitz Patrick Hosfield Patrick Gallagher Susan Schlievert Gina Ing Christine and William Green Derek Shuman

T Richard Faggioli Margaret Gordon Russ Irwin Diane and Harry Greenberg Jim and Marie Sikora Howard Hansen Robert Kraft Jeanne Hansen Christine Sodt George Hopkins William Lokke Valerie Hayes Dolores Speidel Mary James and George Cook Kristin Machnick Paul and Laurel Henderson Cherrill Spencer

IN I Beverly and Alvin Karp, bequest Patrick McCabe Lenore Hindin and Alan and Peggy Spool David Kaun Robert McKim Joseph Shearer Robert and Karen Stewart Earleen Overend and Wayne Palmer Marian Metson Hal and Dorothy Hyde Laura and Nicholas Tindall C Phyllis Rosenblum Lester and Martha Miller Marie and Kent Imai Connie and Tom Unsicker I Marcia and Fred Smith Ann-Marie Mitroff and Norman Groner Ron and Linda Israel Mary Wells Sue Struck Betty Molloy In honor of Jonathan Miller Anonymous

T Michael and Lesley Tierra Marc Murai Barbara Jirsa In honor of Joe and Anonymous Misha Petkevich Daniel Johnson Bette Hirsch

S Michel Protti and Casey Coonerty Protti Stephen Kessler Anonymous (2) I FUTURISTS George and Mary Reynolds Carole and Henry Klyce Diane Craddock and Dave Hogye Clarence William Row T Aviva Garrett, David Doshay Nick and Ruth Royal and Sage Doshay Gayle and Scott Spencer

R Bette and Joseph Hirsch Frank and Rosemary Steinmueller Sarah Howell Marion Taylor Mary Anne Trause A Roy Hoyer Wendy and Mike Kirst Stephen and Patricia West Kathryn Lawhun and Mark Shinbrot Linda Wilshusen and Mary Kate and Norman Lezin Rock Pfotenhauer Eleanor Littman and Robert Goff Richard and Jill Wilson Ellen Primack and Eric Schmidt Minnie Wilson Michael and Sarah Ray Jean and Kay Rigg Alan Ritch Lynn Roberts Ann Rogers Melodye Serino Audrey Stanley In memory of Sidney Jowers Please add your support today! Erika Wanenmacher In memory of cabrillomusic.org Carolyn Wanenmacher 831.426.6966

72 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC L

LEADERSHIP SUPPORT E

Cabrillo Festival of Contemporary Music wishes to acknowledge the following donors whose extraordinary generosity has done so much to A bring the 2015 season to life. We extend our deepest gratitude on behalf of the artists, audience, and all of us in the Festival community. D

MARY SOLARI JOSIE LITTLE, MAUDE PERVERE & SAM MILLER, AND Sponsor of Music at the Mission: ANGELES DE LUZ GEORGIA CASSEL & PETER PERVERE ER Sponsors of OPENING NIGHT: HAUNTED TOPOGRAPHY Mary Solari has provided leadership support

for some of our most ambitious projects. Josie Little and her family followed dear S She was sponsor of two Festival opera friends onto the Festival scene, and each productions: Philip Glass’ year have become more engaged and more H in 2001 and Mark Adamo’s Little Women generous in supporting the Festival and our in 2002. In 2006 her gift made possible programs. Josie became a full subscriber I the commission of a Glass score for Frans in 2006 and from that time forward has P Lanting’s Life: A Journey Through Time, and in 2007 she was a co- sponsored a series of composers; then

commissioner of Christopher Rouse’s Concerto for Orchestra. Mary has guest artists, including eighth blackbird and Jean Yves-Thibaudet; and S sponsored concerts every year since, and for the Festival’s 50th season, ultimately became concert sponsors. This year (Josie’s 95th birthday U she commissioned James MacMillan’s Woman of the Apocalypse. year!), they are sponsors of our Opening Night concert. We’re so grateful We want to express our heartfelt appreciation to Mary for continuing for their family’s generosity of spirit and remarkable support. P her extraordinary support by sponsoring this season’s Grand Finale

performances at Mission San Juan Bautista! ANONYMOUS LEAD DONORS P

JERRY AND RUTH VUREK In support of the Conductors/Composers Workshop O Sponsors of YELLOW EARTH The generosity of our donors really does make the Festival possible, and multi-year pledges have the added benefit of enabling us to plan R Jerry and Ruth Vurek represent a second ahead and allocate time to pursue the much-needed funding required generation of passion and generosity toward T each year. The Festival is extremely honored and grateful to a donor who the Festival. In 2007 the Vurek Family made a ten-year commitment of a major annual gift in general support of (including Jerry’s mother Helen) initiated our prestigious Conductors/Composers Workshop. This is a great tribute a fund to assist early career composers in to Marin Alsop and the Cabrillo Festival’s commitment to cultivating the premiering new works. Ruth and Jerry have next generation of musical talent. sponsored extraordinary soloists like cellist Alisa Weilerstein; have been lead concert Sponsor of Open Rehearsals and the U.S. Premiere performance of sponsors including in 2010 with a gift in honor of Helen’s 100th birthday; James MacMillan’s Percussion Concerto No. 2 and were co-commissioners of the monumental 50th anniversary project Open Rehearsals invite the community into the creative process, and are Hidden World of Girls. On March 15th, Ruth passed away (In Memoriam a treasured—even essential—component of the Festival experience. We page 68), leaving behind so many who loved her, as well as a generous gratefully acknowledge the generosity of an anonymous donor who has legacy gift to the Cabrillo Festival. Jerry’s 2015 donation was made in made an ongoing gift in support of these Open Rehearsals. In addition, memory of his beloved Ruth, and their combined gifts will sponsor our each season a portion of their extraordinary donation goes to a special Yellow Earth concert. The Festival has dedicated that performance to project. This season they help make possible the Festival’s U.S. premiere Ruth in gratitude for her enduring commitment to our mission. of James MacMillan’s Percussion Concerto with Colin Currie.

DIANE AND DONALD COOLEY PAUL AND SYLVIA LORTON, JR. Co-Sponsors of WISH YOU WERE HERE Co-Sponsors of WISH YOU WERE HERE

Diane and Don Cooley have long supported Paul and Sylvia Lorton initially found their the Festival as both donors and enthusiastic way to the Cabrillo Festival because of audience members. There is probably no their deep love of opera and of Philip Glass’ better “unofficial” spokesperson for the music. It was the Festival’s production of Festival than Diane Cooley, who understands Glass’ The Photographer in 2001 that won the profound role the Festival plays in the their attention, and they have been stalwart advancement of our modern symphonic fans and supporters ever since. They have heritage. As a demonstration of this belief, Diane and Don made the first become increasingly committed to the Festival’s unique programming leadership gift of our 50th anniversary campaign to our Artistic Initiative and vital role in the music world, and their generous contributions to Reserve Fund. This year they renewed a 3-year pledge of annual support the Cabrillo Festival have helped Maestra Alsop pursue our greatest and are co-sponsors of the Wish You Were Here concert! Cabrillo Festival ambitions by bringing the world’s finest composers and performers to is grateful for the Cooley family’s continued generosity and the key role Santa Cruz each year. This season they co-sponsor our Wish You Were they have played in helping us advance and thrive. Here concert featuring Philip Glass’ Double Concerto.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 73 WHAT A DIFFERENCE YOU HAVE MADE! N Our donors mean the world to us. You are our foundation; our lifeblood; our angels. You stretch your resources every year to make donations, and we in turn stretch our resources to produce a Festival that makes you and the entire community proud. O

I Please join us in thanking the hundreds of donors whose generosity has helped bring the 2015 Festival to life. We would like to call atten- tion to those donors indicated by a star ( ), who have either increased their annual gift, become donors for the first time, or returned after a T hiatus. The strength provided by these donors’ general support gifts enables the Festival to thrive and grow season after season. Thank you! I NEW ERA $10,000+ N As the world’s foremost festival for contemporary symphonic music, the Cabrillo Festival aspires to G provide living composers everything they need to create the future of the art form, give audience O access at all levels to the creative process, and provide mentorship and support for the C next generation of conductors and composers.

E The donors listed below provide the exemplary leadership and support necessary to bring these Anne Cooley Youngblood and Don Cooley with David Kaun with Festival friends and orchestra Nancy Loshkajian, 2014. players, 2014.

R ambitious aspirations to life! Josie Little Mary Solari CREATORS CIRCLE $2,500–$4,999 COMPOSERS CIRCLE $1,500-$2,499 R Jerry Vurek In memory of Ruth Vurek At Cabrillo, the guest artists who join our orchestra The Composers Circle is dedicated to the artists Anonymous (2) each season demonstrate their commitment who author the music of our time. Composers O to the demanding task of being co-creators in are at the center of the Festival experience; this the performance of music that is innovative and summer we have twelve composers in residence N fresh. This season, the Creators Circle recognizes to participate in the rehearsal, performance, and the extraordinary commitment and caliber of this discussion of their work. season’s guest artists. Richard and Leslie Andrews

DO The Alsop Family Foundation Bud and Rebecca Colligan Jack and Peggy Baskin Through the Colligan Family Richard Faggioli Charitable Fund Richard Fabrikant and Marty Finn THE HANSON GROUP – Morgan Stanley Aviva Garrett, David Doshay, and Sage Doshay Erik Hanson, CFP® – Financial Advisor Nancy Loshkajian Michael Good and JoAnn Close Ruth and Jerry Vurek, surrounded by members In honor of Ellen Primack’s 25th year Margaret Gordon of Time for Three, 2014. Joan Osborne Ciara Harraher and Mike McDonnell George Hopkins CONDUCTORS CIRCLE $5,000–$9,999 REDTREE PARTNERS, LP HULA’S ISLAND GRILL Conductors are the stewards of our symphonic Rowland and Pat Rebele Ian McRae and Leslie Conner heritage. They guide the programming decisions for Alan Ritch Sallie Johnson orchestras and provide the leadership needed for Phyllis Rosenblum orchestras to perform contemporary music at the SANTA CRUZ COUNTY BANK Ellen Kimmel highest level. Contributors to the Conductors Circle Marcia and Fred Smith Through the Ellen B. Kimmel Fund at the play a prominent role in the Festival’s mission, which Richard and Jill Wilson Community Foundation Santa Cruz County is to be a leader in the creation and presentation Jill G. Wilson, Attorney at Law, Carole and Henry Klyce of contemporary music for orchestra, and to Estate Planning and Probate The Lawrence Family promote the understanding and enjoyment of new Dr. Lester and Martha Miller symphonic works locally, regionally, and globally. Earleen Overend and Wayne Palmer Diane and Donald Cooley Jim and Beth Petersen Through The Porter Fund at the Community Ellen Primack and Eric Schmidt Foundation Santa Cruz County Sue Struck Michèle and Laurence Corash Marion Taylor Margaret Dorfman Anonymous Howard Hansen Through Fidelity Charitable Bette and Joseph Hirsch In honor of Maestra Marin Alsop Mary James and George Cook David Kaun Through The David Kaun and Abigail Kaun Fund at the Community Foundation Santa Cruz County Paul and Sylvia Lorton Mary Anne Carson of Santa Cruz County Bank Bruce and Linda Nicholson (right) with niece Amelia Crye, at Music in the Lesley and Michael Tierra Mountains, 2014.

Donors indicated by a star have either increased their support, become donors for the first time, or are returning after a hiatus. 74 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC DO N O

Ciara Harraher, Larry Friedman, Tom Ellison and R Barbara Lawrence, Peggy Young, Ellen Primack, Marin Alsop with Claire Schneeberger and Joshua friends, enjoy “A Sip of Summer” at Kuumbwa and Dina Hoffman, Music in the Mountains, 2014. Salesin, Winter Donor Event hosts, 2015. Jazz, 2015.

R ORCHESTRA CIRCLE $1,000-$1,499 Betty Fredericks Alex Darocy Long-time Festival observer and music critic Nora Frimann and Daniel McFadden Eve Eden E Janos Gereben once wrote, “most importantly Jeanne Hansen Tom Fredericks and Virginia Wright C and memorably, there was a consistently brilliant Sarah L. Howell Sara and Cliff Friedlander

performance by the Festival Orchestra…[they] have Roy Hoyer Christopher Harder O become an ensemble that would make any opera Richard and Diane Klein Jacqueline Hartman house or concert hall proud.” Our players have Patrick McCabe Edward Hearn and Linda Arnold G earned Cabrillo an uncompromised and prestigious John Mead Peggy Heineman reputation as America’s preeminent contemporary N Jacob B. and Hila F. Michaelsen Dina Hoffman music festival. Gifts by members of the Orchestra The Lawrence Kristian Mikkelsen Trust Harold and Dorothy Hyde

Circle are dedicated to these extraordinary musicians. I Harvey and Judy Nickelson Gina Ing BAY PHOTO LAB T Charlotte Primack Russ Irwin Diane Craddock and Dave Hogye

Michael and Sarah Ray Wendy and Mike Kirst I CRUZIO George and Mary Reynolds Carolyn and Robert Levering O Liza Culick and Geri Migielicz Jean C. and Kay E. Rigg Norman Lezin

FEAST FOR A KING N Carolyn Roberts Eleanor Littman and Robert Goff Fran Fisher, C.P.A. Deborah and Jeff Roisman Joan Lowden Judith Husted James Ross and Tim McLoraine Scott and Judy MacClelland Ronald and Linda Israel In honor of Curt and Chris Cacioppo David and Susanna Margulies Through Vanguard Charitable and all of Rhino Rhonda K. Martyn and Joe Novello Barry and Diane Lamé SANTACRUZTICKETS.COM Karen and Dominic Massaro Kathryn Lawhun and Mark Shinbrot Claire Schneeberger and Joshua Salesin Ron and Marylou McNay James Morrison Audrey Stanley PALACE ART & OFFICE SUPPLY Michel Protti and Casey Coonerty Protti In honor of Sydney Jowers Rand Pendleton Gabrielle Stocker SORENSEN’S RESORT In part through the Stocker Family Pamela and William Richter Birgit Weskamp and Robert Lee Kilpatrick Fund at Community Foundation Richard and Susan Robbins Stephen and Patricia West Santa Cruz County Ann Rogers John Supan and Carola Barton Diana Rothman CONTEMPORARY $250-$499 Elsa Schafer The Cabrillo Festival is about access to the THE LEADING EDGE $500-$999 Ronald and Phyllis Schmidt artists and music of our times. For the community Since the creation of the League of American Gayle and Scott Spencer members and musicians who come together Orchestras’ National ASCAP (American Society for Maria and Howard Stolz at Cabrillo, the Festival is a combination of Composers, Authors, and Publishers) Awards in informality and intensity. The San Jose Mercury Tom and Rosemary Tisch 1982, Cabrillo has been honored every year with a News has described “the friendliness at Cabrillo” Through the Tisch Family Fund at prize for excellence in adventurous programming of Silicon Valley Community Foundation as “legendary…there is a jaunty reveling here in contemporary music. In 2008, the Festival received programs of the 20th (now 21st) Century music that Linda Werner and Charles McDowell the ultimate ASCAP award, the John S. Edwards would terrify marketing directors at many big-city Harold Widom and Linda Larkin Award for Strongest Commitment to New American orchestras.” Donations at the Contemporary level Linda Wilshusen and Rock Pfotenhauer Music! Leading Edge contributions are dedicated recognize that we are all revelers in modern music Minnie A. Wilson to excellence in contemporary programming at making at the Festival. Bob and Doris Witte Cabrillo, a world leader in new symphonic music. Joan and Joe Akers Prue Ashurst Elizabeth Alpert and Ken Friedenbach Rolf S. Augustine Lorraine Azevedo David and Judy Beech Sheila and Murray Baumgarten Mona Baroudi and Patrick Whitgrove Lesley Carlson Christopher Connery and Mary Robert and Judith Chinello Elizabeth Scott Jennifer J. Choate and David “Woody” Wood Marshall Dinowitz Ceil Cirillo DOWNTOWN ASSOCIATION James Clifford and Judith Aissen OF SANTA CRUZ Mary Crawford Tom Ellison and Larry Friedman Alicia Keen, Nancy Harper and Rebecca Colligan In memory of Mary Drummer, J.D. sit “Inside the Orchestra,” 2014. Jack and Iris Farr

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 75 NEW CENTURY $100-$249 Ellen and John Morrison Kristin Hayward Chris Morrison Paul and Laurel Henderson

N Cabrillo Festival has dedicated more than half a century to ensuring that living composers can Jerilyn Munyon Chuck and Kathleen Hilger

O be appreciated by audiences eager to hear their Marc Murai John Hillyer

I work. New Century donors are forward looking. Sheila Namir and Helene Moglen Lenore Hindin and Joseph Shearer They care about the discovery and nurturing of Marjorie Perlin Barbara Horscraft and Paul Burdick T musical genius. Contributions in this category are Marlene Pitkow and Mark Kalow James Hueter I dedicated to the next generation of composers Ellen Primack and Eric Schmidt Daniel P. Johnson whose voices are just beginning to be heard. In memory of Ruth Vurek and Mary Wax Barbra Klein N Camille Ahern and Bruce Bettencourt Nicholas and Ruth Royal Ruth and David Koffman Dexter and Valerie Ahlgren Diane Russell

G Colleen B. Kramer Sandra Allen Fred Sampson W. Harold Laster and Kris Jearakul Erika and Dieter Scherer O Amy Anderson and George Somero Rabbi Richard and Nancy Litvak Wesley Bartera Susan Schlievert George and Lucy Mattingly C BAUER PIANO SERVICE Kathleen Shaeffer Robert McKim Dr. and Mrs. Robert L. Black Jacob Sidman and Kris Sidman-Gale Ann-Marie Mitroff and Norman Groner E Lee Slaff Tom and Rita Bottoms Denise and David O’Connor Cara Bradbury Dolores Speidel R Gary and Marilyn Patton

Cherrill Spencer Roberta Bristol Sarah Pribble Alan and Peggy Spool Laurel H. Brobst Gunnar Proppe R Frank and Rosemary Steinmueller Scotty Brookie Jim and Marion Rector Robert and Karen Stewart Jack and BJ Carter Brad Ritchie O Network for Good “Giving Tuesday” Angela and Richard Chandler Sylvia Walker Thomas Clark Bob and Gail Walker

N Ethel S. Worn Mary Wells Kathleen Cohen and Mark Foote Joyce Wrenn Mary Wieland and Ronnie Lipschutz Lauren Crux Jan and Margaret Ysselstein Dr. Jerome and Sylvia Deck Dr. and Mrs. William Winchell Robert and Suzanne Young DO Sabrina Eastwood These companies have provided matching funds: Robert and Antonette Zeiss Jim and Suzanne Ellmore Eli Lilly & Co. Inc Donna Ziel Carolyn and Ron Emrich IBM Matching Grants Programs William A. Zschaler Joyce K. Feldman Nvidia Anonymous Joe Felton In honor of Norm Lezin Richard M. Flower DONATIONS Frank Fredericks FESTIVAL FELLOW $50-$99 Martin Garbowitz and Susan MAY BE MADE: At the Cabrillo Festival, the enthusiasm of Christine and William Green ONLINE AT audiences, the generosity of donors, the Peter Haas responsiveness of musicians, composers and Susan and Harry Hartzell guest artists, and the embrace of the community Through the Hartzell Family Fund are all totally unique. Festival Fellow donations are cabrillomusic.org at Schwab Charitable dedicated to a place where composers, players, OR BY MAIL TO Galen Hilgard audiences, and the entire community interact, and In memory of Henry Hilgard CABRILLO FESTIVAL where everyone contributes in some way to the Hilda and Don Hodges process of modern music-making. 147 S. River Street, Suite 232 Denise Hosfield Eda Balsam Santa Cruz, CA 95060 Marie and Kent Imai Sharon Barett Pamela Kangas and Benjamin Post Tom and Lili Beggs To make gifts of stock or other property, Sue Kirkpatrick Alison Chaiken or for information regarding estate planning, please contact Margaret and Damon Kvamme Richard Dawson Executive Director Ellen Primack at Speed and Connie Leas Karen DeMello Joel Leivick and Terry Hogan Stephen B. and Nancy J. Dudley 831.426.6966 Morton and Elaine Levine In honor of Bette Hirsch [email protected] Barbara Schatan and Richard Linzer Allan J. Dyson and Susan C. Cooper Todd and Shannon Lockwood Marc Eldridge Please remember the Cabrillo Festival Kristin Machnick Michael and Carol Freeman in your future plans! Gerry Mandel Jessica Frye and David Stein For more information, see page 68. Laura Martin Frank Garcia The Festival’s legal name is: Cynthia and Bill Mathews Barbara Gorson Cabrillo Festival of Contemporary Music Gretchen and Richard McCann Sandra Gresham and Family Carol Merrell Karen Hanrahan And we are a 501(c)3 tax-exempt nonprofit, Marian Metson Valerie Hayes EIN 94-6123298 In honor of Jenny R. Hayes

Donors indicated by a star have either increased their support, become donors for the first time, or are returning after a hiatus. 76 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Please join us in expressing our appreciation to the Cabrillo Festival’s 2015 Community Sponsors! Each is partnering with us in a specific way to broaden the reach of the Festival and our unique programs.

SPONSOR OF THE CHURCH STREET STAGE SPONSOR OF SPONSOR OF PHOTOGRAPHER MUSIC IN THE MOUNTAINS IN RESIDENCE

MAHALO MONDAYS MUSIC IN THE MOUNTAINS RECORDING AND VENUE DONOR BROADCAST SPONSOR

CO-SPONSOR OF THE SPONSOR OF CREATIVITY TENT FOR KIDS SUPPORT FOR THE PICNICKING IN THE GROVE AND FESTIVAL VISUAL DISPLAYS CHURCH STREET FAIR AT MISSION SAN JUAN BAUTISTA

SANTACRUZTICKETS.COM CO-SPONSOR OF THE CREATIVITY TENT FOR KIDS SUPPORT FOR THE FREE FAMILY CONCERT

MEDIA SPONSOR OF MEDIA SPONSOR OF YELLOW EARTH CONCERT OPENING NIGHT CONCERT MEDIA SPONSOR OF HAUNTED TOPOGRAPHY WISH YOU WERE HERE CONCERT

MEDIA SPONSOR OF THE MEDIA SPONSOR OF CHURCH STREET STAGE THE FREE FAMILY CONCERT

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 77 It takes a village! The Festival depends upon a myriad of supporters from throughout our community for a vast S array of resources. We’d like to express our appreciation to the community as a whole, to area businesses,

T and to individuals for helping making what we do possible! We offer particular thanks to the following:

PUBLICATIONS SUPPORT PRODUCTION SUPPORT SPECIAL EVENTS SUPPORT EN Season Graphic Design: Special thanks to members of I.A.T.S.E. Annual Beer & Pizza Party: Salal Moon Rinaldo Local 611 and Business Representative Supported by Upper Crust Pizza & Pasta Patrick Fitzsimmons. Program Book Designer: “A Sip of Summer” Season Announcement EM Elise Huffman Audio Recording Support: Party & Concert:

G Josephson Engineering Featured performances by Festival In-House Design: —David and Deirdre Josephson percussionists Galen Lemmon, James Kassis, Jessica Frye and Ward Spangler. Wines poured by Alfaro Stage and Orchestra Equipment: Print Production: Family Vineyard, Burrell School Vineyards & ED We owe a debt of gratitude to Principal Winery, Equinox, and Storrs Winery; catering by Community Printers, Santa Cruz Percussionist Galen Lemmon for generously

L Chef Mike McDonnell, with support from Gayle’s —Dave Bossie and crew providing the massive arsenal of percussion Bakery, Ellen Primack, Liza Culick, Margaret instruments used by the Festival each season; Program Book Proofing Support: Leonard, and Geri Migielicz. Benefit raffle prizes

W and our special thanks to these colleagues donated by Slow Adventures, Richard Fabrikant, Marty Finn and Linda Lane who lend their remarkable support: California Dee Vogel and Lin Marelick, Mike McDonnell and O State University Chico Performing Arts S.C. CIVIC AUDITORIUM the Festival Board of Directors. Venue and sound Department, San Jose State University Music provided by Kuumbwa Jazz Center. Special N and Dance Department, and Santa Cruz Administration: thanks to event volunteers Sabrina Eastwood, Symphony. With additional thanks to California Special thanks to Andrea Botsford, Vicki Cinna Gresham, Laurel Gromer, Barbara K Percussion and Audio Production Group. Allyn, and the entire Civic Auditorium staff for Lawrence, David Stein, and Athena Taylor-Putz. their kindness and support in this ongoing C Piano Tuning and Maintenance: John Bauer partnership Winter Donor Event: Catered by Eat Right At Home A Flowers: Santa Cruz Floral Box Office: —Chef Jonathan Miller To Shannon Toombs, Ali MacBird, and everyone Lobby: Hosted at the home of Claire Schneeberger involved with SantaCruzTickets.com for Pots from PotStop at Little Baja, Moss Landing and Joshua Salesin their continued commitment to providing a —Bob Goode & Polly Joseph Opening Night Dinner: community box office!! ARTISTS’ SUPPORT Catered by Feast for a King Maintenance: —Kimberly Santia Dunn To Jason, Dom and all Marin Alsop: Dessert Reception the hardworking crew Rachel Bowron Cakes by The Buttery Bakery—Janet Platin; who make the Civic “home” to the Festival Hairstyling by Rebecca A. Sutton of Cider from Martinelli & Company each season—we couldn’t do it without you! Rumours Salon & Spa Jardines de San Juan Reception Civic Auditorium Renovation Plan: Musicians’ Breakfasts: Santana Family Special thanks for the generous support of The generously provided by The Bagelry, The —Angelina and Valentin Santana; David and Lucile Packard Foundation; to Project Buttery, Emily’s Bakery, Hoffman’s Bistro and Event Coordinator Cassandra Copeland Manager Deb Tracy-Proulx; to Leadership Team Patisserie, and Watsonville Coast Produce; and and staff members: Dannettee Shoemaker, SC City Parks lovingly prepared by Larry Friedman, Toni Miras, & Rec Director; Supervisor Ryan Coonerty, Ginny Draper, Karen Hildebrand, Len Jackel, Jim Brown, Ceil Cirillo, Christina Cuevas, Jan John Koenig, Liz Lindsley, and Carol Merrell. Derecho, Mark Ellis, Greg Handberg, Nancy Loshkajian, Beth Ragel, Michelle Williams, and Additional Artist Hospitality from: Dick Wilson; and to Fund Development Steering Pacific Cookie Company and Committee members: Nancy Loshkajian, Jan Pure Water of Santa Cruz Derecho, Jeremy Neuner, Nancy Van Natta, and Dorothy Wise. PRODUCTION Artist Transportation: Alan Ritch and members of the Festival Board

Festival board members Richard Fabrikant, 2014 ushers, led by exemplary House Manager Margaret Gordon, and Fran Fisher serve up Our beloved Scullery Crew, 2014! Jennifah Chard. slices to the orchestra at the Pizza Party, 2014.

78 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC A PROMOTIONAL SUPPORT FESTIVAL HOSTS C

Public Relations: The Cabrillo Festival sends a very special thank you to all our Festival Hosts! At K Mona Baroudi Public Relations the time of printing, there were more than 75 Festival Hosts who have opened

Media and Website Support: their hearts and homes to accommodate our out-of-town artists. The value of their N Web development by Vertical Rail—Melissa hospitality, kindness and good will is incalculable. They are an indispensable part

Smith, Lynette Rota, George Gabrelian of the Cabrillo experience. Some musicians return every year to their same host O and have become friends for life! Thank you again to each and every Festival Host

Videography and production: for the wonderful reflection of Santa Cruz that you give to visiting artists each and W Sasha Friedlander, Karla Hutton every year. Your generosity of spirit makes what we do possible! Photography: L R.R. Jones, Adriane White Sarah Albertson and Bill Peters

Leslie and Richard Andrews ED Internet services: Eleanor Angel Generously supplied by Cruzio Sheila and Murray Baumgarten Additional Promotional Support: Cheryl Bentley G Downtown Association—Chip! Claudia Brown and David Evans

and the amazing Kiosk Staff David and Lori Camner EM Nickelodeon Theatres—Lane Jouvet Angela and Richard Chandler Percussionist Svet Stoyanov and his host, Cheryl Bentley, 2014. Bruce Frye Lawrence Chew Pedaler’s Express Angie and Jim Christmann

Christopher Connery and Mary Scott Kathy Miles EN ADMINISTRATIVE SUPPORT Diane Craddock and Dave Hogye Wendy Molin Financial accounting and reporting: Jennifer DeToy Bruce and Linda Nicholson Patricia Noel Fran Fisher, C.P.A. Hilda Diel Tom Ellison and Larry Friedman Robert Ockeloen T Mailing, Printing and Data Services: Karen Ottemann

Nora Frimann and Daniel McFadden S Complete Mailing Service Cori Gerlach Earleen Overend and Wayne Palmer —Martha McCambridge and crew Shirley and Allen Ginzburg Gary and Ruth Owen HR: Margaret Gordon Anandi Paganini Rita Casey, Ph.D. Kathy Haber Jim and Beth Petersen Strategic Planning: Meg and Don Harlor Marlene Pitkow and Mark Kalow Nancy Ragey, NKG Consulting Adrienne Harrell Michel Protti and Casey Coonerty-Protti Use of Community Board Room: Richard and De Anne Hart Elbina Rafizadeh George and Mary Reynolds Santa Cruz County Bank—Chris Maffia and Melessa Hemler downtown branch staff Hilda and Don Hodges Pamela and William Richter Cynthia Holladay Loosley Janine Roeth and Henry Hooker Additional Administrative Support: Barbara Horscraft and Paul Burdick Phyllis Rosenblum Ellen Kimmel, Joan Osborne, Florence Orenstein, Becky Hunt Charley and Susan Selvidge mailing mavens; and Jay Olson, IT wizard Len Jackel Portia Shao Additional (Heartfelt) Thanks To: Mary James and George Cook Dean Silvers and Ira Schwartz Arts Council of Santa Cruz County Martha Keeler Audrey Sullivan Jacob —Michelle Williams Patrice Keet Susanne Teichmann and Ron Slack KUSP—Terry Green, Robert Pollie, and Alex Burke Peter and Jolene Kemos Tom Wages Mariposa’s Art—Sarah Brothers and Emma Garcia Lorri Kershner Helen Wallis Santa Cruz County Symphony—Jan Derecho Ellen Kimmel Walnut Commons Friends Vanguard Realtors—Barbara Schatan Richard and Diane Klein Linda Werner and Charlie McDowell Hotel Partners: Carole and Henry Klyce Matthew Werner and Michelle Whizin Hotel Paradox Irene Lennox Donald Wiberg Holiday Inn Express—Wilka Jones Barbara Levine Lois Widom Heartfelt thanks to the families of our Eleanor Littman and Robert Goff Daniella Woolf and Kim Tyler administrative staff who continuously support Joan Lowden the Festival in so many unseen ways Tom Manheim and Nancy Shanfeld Catharina Marlowe Special thanks to fearless Housing Robin McDuff and Leslie Karst Coordinator Valerie Hayes! Interested in Susan Merritt and Larry Ford learning more about our Host Program? Marcia Meyer We are especially in need of homes near Hila and Jacob Michaelsen downtown Santa Cruz! Email valerie@ Festival host Phyllis Rosenblum with her Gary Milburn cabrillomusic.org, or call 831-426-6966. 2014 guest musician, Clark Welsh.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 79 Please support these businesses that CABRILLO FESTIVAL S PLANS “NEXUS” INITIATIVE support the Festival!

K The Cabrillo Festival’s new Strategic Plan puts a bold new 4 Artisan’s Gallery artistic initiative at the forefront of our ambitions! Over the next IBC Arts Council Santa Cruz County—Open Studios R five years, “Nexus: Creative Collaborations” envisions a series of 58 The Bagelry major orchestral commissions that engage composers to work in 44 Bay Federal Credit Union O partnership with other artists. 16 Bay Photo Lab 16 Bookshop Santa Cruz e begin this year with the co-commissioning of the James 62 Boosey & Hawkes MacMillan Percussion Concerto No. 2 for percussionist Colin 46 The Buttery Currie–a work that partnered two brilliant Scotsmen with the 66 Chamber Music Monterey Bay E W W 32 The Choral Project Festival and six major orchestras from across the globe. We owe special thanks to Marin Alsop for commissioning support and an Anonymous 8 Classical Music Festivals of the West H Donor for sponsoring the U.S. premiere performance this season. 38 Community Printers 36 Complete Mailing Service In 2016 the Festival will present Changeling/RIFT, a 25-minute orchestral 64 Cruzio Internet work by Anna Clyne. When offered a commission to write a new work BC Days & Nights Festival for Cabrillo, Clyne immediately knew she wanted to write a symphonic 60 Dominican Oaks N T ballet in partnership with Kitty McNamee of Hysterica Dance Co., Los 58 Eat Right at Home/Chef Jonathan Miller Angeles. For the world premiere performance, the Festival will present 44 Emily’s Bakery the full five-movement work with two movements choreographed for an 46 Festival Mozaic S I ensemble of 4-6 dancers. This commission includes multiple families 2 Feast for a King contributing to make the work possible, and continues Cabrillo Festival’s 26 Good Times K commitment to including audiences and donors in the process of music 36 Greenspace 32 Hoffman’s Bistro & Patisserie R making. We’re grateful to co-commissioners Prue Ashurst; Michael Good and JoAnn Close; Ellen Kimmel; Carole and Henry Klyce; Alan Ritch, IFC Homeless Garden Project 66 Huffman Design O Margaret Brose, and Hayden White; Cherrill Spencer; and an Anonymous 44 Hula’s Island Grill Donor, for their generosity and enthusiasm. We have one more spot for a 4 Jewel Theatre Company co-commissioner and invite you to share in this very unique and special 22 RR Jones Photography experience. 48 Josephson Engineering INDEX TO ADVERTISERS TO INDEX 2017 will see the world premiere commission of a new work by Brazilian- 54 KAZU Radio W born composer Clarice Assad for Scottish percussionist Evelyn Glennie; 34 KUSP Radio and already new works are in the works for 2018 and 2019! 4 Kuumbwa Jazz E 62 Music@Menlo If you’re interested in being part of a Festival commission or co- 16 Music Together/Musical Me Inc.

N commission, please contact Executive Director Ellen Primack at 58 New Music Works 831.426.6966 or [email protected], for more information. 43 Nickelodeon Theatres Cabrillo Festival remains staunchly committed to contemporary 60 Performing Arts Monterey Bay composers and to bringing new works to life and we’ll continue to 42 The Pot Stop share the exciting details as the “Nexus” initiative unfolds in the 36 Kathleen Pouls Healing Arts years to come. 58 The Print Gallery 36 Ristorante Avanti 42 Rosie McCann’s Irish Pub 32 Salal Moon Rinaldo Design 40 San Francisco Performances 44 Santa Cruz Ballet Theatre 22 SC Civic Auditorium & SantaCruzTickets.com 56 Santa Cruz Symphony 32 Santa Cruz Waldorf School 42 Schooner Realty 56 Soif Wine Bar 60 Sunset Center 22 Hairstylist Rebecca Sutton/Rumors 16 Upper Crust Pizza 48 Well Within Spa

Anna Clyne Changeling/RIFT, Hysterica Dance Co.

80 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC art for all open

First 3 Weekends in October

300 Artists

Good Times + September 30th Issue = Free Artist Guide

artscouncilsc.org 831.475.9600 ft

AC_CF_2015_FP_ad_4C_v2.indd 1 6/26/15 2:11 PM