Feb 2017 Program Layout 1

Smithsonian American Art Museum presents 21st CENTURY CONSORT February 4, 2017 Nan Tucker McEvoy Auditorium Smithsonian American Art Museum Smithsonian American Art Museum 21st Century Consort presents Christopher Kendall, Artistic Director Pre-Concert Discussion Boyd Sarratt, Manager Christopher Kendall Audrey Andrist, harmonium Program Richard Barber, double bass Stone Dancing Paul Cigan, clarinet Lisa Emenheiser, piano Daniel Foster, viola The Seasons John Cage Sue Heineman, bassoon Prelude I, Winter Alexandra Osborne, violin Ms. Emenheiser Sara Stern, flute Jane Boyer Stewart, violin Sonata for Cello and Piano Elliott Carter Nicholas Stovall, oboe I. Moderato Rachel Young, cello II. Vivace, molto leggiero III. Adagio Mark Huffman, recording engineer IV. Allegro Ms. Emenheiser, Ms. Young Saturday, February 4, 2017 Pre-Concert Discussion 4:00 p.m. The Seasons John Cage Concert 5:00 p.m. Prelude II, Spring Nan Tucker McEvoy Auditorium Ms. Emenheiser Smithsonian American Art Museum Air and Simple Gifts John Williams Mr. Cigan, Ms. Emenheiser, Ms. Osborne, Ms. Young ❖ ❖ ❖ INTERMISSION The 21st Century Consort’s 2016–2017 activities are sponsored by the The Seasons John Cage Smithsonian American Art Museum and funded in part by generous contribu- Prelude III, Summer tions from the Morris and Gwendolyn Cafritz Foundation, the Smithsonian American Art Museum, the Amphion Foundation, and the Ms. Emenheiser Board and Friends of the 21st Century Consort. www.21stcenturyconsort.org Itinerant Toru Takemitsu Ms. Stern 2 3 The Seasons John Cage by objects placed between its strings in order to produce percussive Prelude IV, Fall and otherworldly sound effects). Cage also experimented with tape Finale (Prelude I) recorders, record players, and radios in his effort to step outside the bounds of conventional Western music and its concepts of meaningful Ms. Emenheiser sound. The concert he gave with his percussion ensemble at the Museum of Modern Art in New York City in 1943 marked the first Five Pieces for Orchestra Arnold Schoenberg step in his emergence as a leader of the American musical avant-garde. I. Premonitions II. Yester-years In the following years, Cage turned to Zen Buddhism and other East- III. Summer Morning by a Lake ern philosophies, and concluded that all the activities that make up IV. Peripetia music must be seen as part of a single natural process. He came to V. The Obligatory Recitative regard all kinds of sounds as potentially musical, not only those ele- ments selected by a composer. He also cultivated the principle of Ms. Andrist, Mr. Barber, Mr. Cigan, Ms. Emenheiser. Mr. Foster, indeterminism in his music, using a number of devices to produce Ms. Heineman, Mr. Kendall, Ms. Osborne, Ms. Stern, Ms. Stewart, randomness and thus eliminate any element of personal taste on the Mr. Stovall, Ms. Young part of the performer: unspecified instruments and numbers of performers, freedom of duration of sounds and entire pieces, inexact no- The audience is invited to join the artists in the lobby tation, and sequences of events determined by random means such as following the performance for conversation and refreshments. by consultation with the Chinese I Ching. In his later works he extended these freedoms over other media, so that a performance of his HPSCHD (completed 1969) might include a light show, slide projec- Program Notes tions, and costumed performers, as well as the seven harpsichord soloists and 51 tape machines for which it was scored. The Seasons John Cage Cage published several books, including Silence: Lectures and Writings (1961) and M: Writings ’67–’72 (1973). His influence extended to such John Cage (1912–1992) was an American avant-garde composer established composers as Earle Brown, Lejaren Hiller, Morton Feld- whose unorthodox ideas about art, musical composition, and mush- man, and Christian Wolff. Cage’s work has been recognized as signifi- rooms, among many other passions, profoundly influenced mid-20th- cant in the development of traditions ranging from minimalist century music and aesthetic thought. The son of an inventor, Cage and electronic music to performance art. briefly attended Pomona College and then traveled in Europe for a time. Returning to the United States in 1931, he studied music with The Seasons Arnold Schoenberg and Henry Cowell, among others. While teaching Cage composed the music for the Merce Cunningham ballet in early in Seattle (1938–40), Cage organized percussion ensembles to perform 1947, in the midst of working on his important set of 20 pieces for his compositions and experimented with works for dance. His collab- prepared piano, Sonatas and Interludes. A piano version of The Seasons orations with the choreographer and dancer Merce Cunningham was first completed, and an orchestral arrangement followed, dedi- sparked a long creative and romantic partnership (Isamu Noguchi cre- cated to the ballet impresario Lincoln Kirstein. ated designs for Cunningham dances, including The Seasons). The Seasons is in one act divided into nine sections: Prelude I, Winter; Cage’s early compositions were written in the 12-tone method of his Prelude II, Spring; Prelude III, Summer; Prelude IV, Fall; Finale (Pre- teacher Schoenberg, but by 1939 he had begun to experiment with in- lude I). Cage was influenced by South Asian aesthetics, and The Sea- creasingly unorthodox instruments such as prepared piano (modified 4 5 sons is built on the Indian concept of seasons: winter is associated with death, of natural causes, on Novem- quiescence, spring with creation, summer with preservation, and fall ber 5, 2012, at his home in New York with destruction. The finale is followed by a reprise of the first Prel- City, at age 103. ude, symbolizing the cyclical nature of seasons. Carter is best known for a cumulative As in the majority of Cage’s compositions from the 1940s, the music of series of large-scale instrumental The Seasons is based on a predefined proportion. In this case the pro- compositions that begin with the portion is 2,2,1,3,2,4,1,3,1, and it governs not only the construction of Cello Sonata composed for Bernard individual movements, but also the proportions of the entire work, Greenhouse in 1948. The work repre- roughly defining the relative lengths of the movements. The composi- sents his decisive move from an es- tional technique involves using gamuts of sounds, i.e., predefined sentially neoclassical style into atonal sonorities (single notes, chords, aggregates). Cage later perfected this regions, reflecting the century’s move approach in works such as the String Quartet in Four Parts and Con- toward forms of abstraction in the art certo for Prepared Piano, but it began with The Seasons. world (as in much of Isamu Noguchi’s sculpture). In Sonata, too, he began his tendency to redefine and dramatize the relationships be- Sonata for Cello and Piano Elliott Carter tween instruments in an ensemble and to have expanded notions of Elliott Carter was born in Manhattan in 1908, and developed an early rhythm and time. He created music of “focused freedom,” in which the interest in music, receiving encouragement from none other than various instruments are coordinated but seem to be freely improvising Charles Ives (who sold insurance to Carter’s family). When Carter at- against one another by virtue of a technique of interlocking rhythmic tended Harvard, starting in 1926, Ives took him under his wing and relationships—often quite complex—that has come to be called made sure he went to the BSO concerts conducted by Serge “metrical modulation.” Koussevitzky, who programmed contemporary works frequently. An equally important characteristic of Carter’s mature music has been Carter majored in English at Harvard, while also studying music with his sense of each instrument as a character in a kind of ongoing Walter Piston and Gustav Holst. After receiving a master’s degree in drama. When the instruments are fundamentally different in their 1932, he went to Paris to study with Nadia Boulanger (as did many sonority or manner of tone production (as are the piano and cello in other American composers), working with her from 1932 to 1935, re- the sonata), he emphasizes that very difference rather than minimizing ceiving a doctorate in music before returning to the U.S. it. The two very different instruments retain their own personalities, Carter was an important teacher at institutions including St. John’s like different characters in a play, who oppose one another in funda- College in Annapolis, the Peabody Conservatory, Queens College, Yale mental ways but must, in the end, find a way to coexist. University, Cornell, and the Juilliard School. In 1967, he was appointed The first movement, Moderato, presents the instruments in their most a member of the American Academy of Arts and Letters. In 1981, he characteristic guise, with the cello playing a warm, long-phrased was awarded the Ernst von Siemens Music Prize, and in 1985 the Na- melody against an almost metronomic ticking in the piano. But the tional Medal of Arts. situation never stays the same way for long, as various interruptions On December 11, 2008, Carter celebrated his 100th birthday at occur. Carter described the Vivace as “a breezy treatment of a type of Carnegie Hall in New York, where the Boston Symphony Orchestra pop music.” Actually it makes explicit the undercurrent of jazz tech- and pianist Daniel Barenboim played his Interventions for Piano and nique suggested in the previous movement by the freely performed Orchestra written that year. Between the ages of 90 and 100 he pub- melody against a strict rhythm. The cello’s soaring melody dominates lished more than 40 works, and after his 100th birthday he composed the Adagio, and the final Allegro again hints fleetingly at pop rhythms. at least 20 more. Carter was still writing music every morning until his It changes speed many times in its course, finally ending at the tempo 6 7 of the work’s opening, but now with the piano and cello each taking erty in 1986, the celebratory opening of Walt Disney Concert Hall in on the character of the other.

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