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New Music After Grisey ART, Koch International, Mode, Musicworks, Nexus, oodiscs, SYR, Toshiba EMI, and New World, labels among others. After some early compositional attempts in the 1960s, Wolfgang von Schweinitz studied in 1968–76 with Esther Ballou at the American University in Washington, D.C., with Ernst Gernot Klussmann and György Ligeti at the Music Academy in Hamburg, and with John Chowning at the Center for Computer Research in Music and Acoustics (CCRMA) at the Stanford Artifi cial Intelligence Laboratory in California. There he composed the orchestral piece Mozart- Variations, which made his name in Germany in 1977. Returning from traveling in Mexico and Guatemala, he fi rst lived in Munich (1977–78), and then on study at the Villa Massimo in Rome (1978–79). In 1980 he was invited to lecture at the International Summer Courses for New Music in Darmstadt. Having stayed for two years in Berlin, he moved out to the countryside of northern Germany in 1981, where he spent twelve years in quiet seclusion. In 1993 he returned to Berlin. From 1994 to 1996 he worked as a guest professor for composition at the music academy in Weimar. Then he lived in Berlin again, and since September 2007 he is based in southern California, in the western tip of the Mojave Desert, about 30 miles north of CalArts (California Institute of the Arts), where he was invited to assume the succession of James Tenney (Roy E. Disney Family Chair in Musical Composition). LES ESPACES ACOUSTIQUES AND BEYOND: During 1977–96 he composed chamber music for strings and winds as well as a piano trio (Franz & Morton), a number of songs (“Die Brücke”, “Papiersterne”, “O-Ton, Automne— NEW MUSIC AFTER GRISEY Linguistikherbst”), a concert mass, a large-scale piece for music theatre (PATMOS, after the Apocalypse of John) and a symphonic cycle for cello and orchestra (wir aber singen). MAY 1, 2010 | 8:30 PM Since 1997 some digital live electronics are occasionally incorporated in his works, which are concerned with developing new microtonal ensemble playing techniques allowing an extended just or natural intonation. UPCOMING PERFORMANCES AT REDCAT May 5 Party for Betty! May 9 Idyllwild Arts Academy Orchestra May 16 presented by Ring Festival LA: Considering Wagner featuring Villa Aurora Composers-in-Residence REDCAT May 20–23 Roy and Edna Disney/CalArts Theater Lionel Popkin: There is An Elephant in This Dance California Institute of the Arts June 2–3 Partch: Even Wild Horses For more information visit www.redcat.org. LES ESPACES ACOUSTIQUES AND BEYOND: develop the Patchwork composition software. Tristan Murail has also taught at numerous schools and festivals worldwide, including the Darmstadt Ferienkürse, the Abbaye de NEW MUSIC AFTER GRISEY Royaumont, and the Centre Acanthes. He currently is a professor of composition at Columbia Saturday, May 1, 2010 University, New York. PROGRAM Gérard Pesson (1958) has had his music played by numerous ensembles and orchestras both Tombeau in memoriam Gérard Grisey (1999) Philippe Hurel in France and abroad: ensembles Fa, 2e2m, Intercontemporain, Itinéraire, Moderna, Recherche, Brendan Nguyen, piano; Dustin Donahue, percussion Ictus, Alter Ego, Accroche Note and Erwartung, the National Orchestras of Lyons and Ile- de-France, to name a few. In 1986, he founded a contemporary music publication entitled Transsahara express (1974) Tristan Murail Entretemps and became a music producer at Radio France; since 1988, he has primarily Archie Carey, bassoon; Richard Valitutto, piano composed stage music. His opera Forever Valley, commissioned by T&M, with a libretto by Marie Redonnet, was premiered in April 2000 at the Théâtre des Amandiers in Nanterre. His awhirl (2008) Rand Steiger opera Pastorale from L’Astrée by Honoré d’Urfé, was fi rst performed in Stuttgart on May 2006. Vicki Ray, piano solo with electronics Rand Steiger’s compositions have been performed and commissioned by many leading Kits (1995) Philippe Hurel ensembles and organizations throughout the US. He served as Composer Fellow at the Los CalArts Percussion Sextet: David Johnson, Nicholas Baker, Matthew Cook, Antonio Gennaro, Angeles Philharmonic from 1987 through 1989. His compositions and performances are Yumi Lee, Lydia Martín; Ben Shepherd, electric bass; Paul Vorwerk, conductor recorded on the Centaur, CRI, Crystal, Einstein, Koch, Mode, New Albion, New World and Nonesuch labels, and new projects are in development for Bridge and EMF. ~~pause~~ Of late, his work has centered on the combination of traditional instruments with Plainsound Brass Trio (2008) Wolfgang von Schweinitz real-time digital audio signal processing and spatialization, including Ecosphere for large Trio Kobayashi: Anna Robinson, French horn; Matthew Barbier, trombone; Luke Storm, tuba chamber ensemble, developed during residencies at IRCAM and premiered by the Ensemble Intercontemporain, Résonateur, composed to commemorate the 80th birthday of Pierre ~~pause~~ Boulez, and others. Steiger was a member of the Faculty of California Institute of the Arts from 1982 through Nebenstück (1998) Gérard Pesson 1987, and has recently completed an extensive appointment as Chair of the Music Department (d’après la quatrième Ballade op. 10 de Johannes Brahms) at the University of California, San Diego, where he is a professor of composition. Brian Walsh, clarinet; Formalist Quartet: Andrew McIntosh, Andrew Tholl, violins; Mark Menzies, viola; Ashley Walters, cello James Tenney (1934–2006) was a performer as well as a composer and theorist. He was co- founder and conductor of the Tone Roads Chamber Ensemble in New York City (1963–70) and Zenit (2010), world première Rozalie Hirs a pioneer in the fi eld of electronic and computer music, working with Max Mathews and others Formalist Quartet: Andrew McIntosh, Andrew Tholl, violins; Mark Menzies, viola; Ashley Walters, cello at the Bell Telephone Laboratories in the early 1960s to develop programs for computer sound- generation and composition. He wrote works for a variety of media, both instrumental and Shot (1993) Thierry Alla electronic, many of them using alternative tuning systems. Pre-recorded electroacoustic work Tenney is the author of several articles on musical acoustics, computer music, and musical form and perception. He is very well known for one of these publications: META + HODOS: A Cinq chansons (1999) Gérard Pesson Phenomenology of 20th-Century Musical Materials and a Study of Form. Argenta Walther, voice; Molly McLaughlin, fl ute; Brian Walsh, clarinet; Mark Menzies, viola; Tenney returned to the California Institute of the Arts in the fall of 2000 to take the Roy E. Derek Stein, cello, Richard Valitutto, piano Disney Family Chair in Musical Composition, having taught there at its beginnings in the early 1970s. In the meantime he had taught in a number of other places, particularly at York University Clang (1972) James Tenney in Toronto where he was named Distinguished Research Professor in 1994. CalArts Orchestra James Tenney’s music is represented in recording on the Artifact, col legno, CRI, Hat[now] ABOUT THE COMPOSERS This performance was made possible by funding from The French-American Fund for Contempo- rary Music, a program of FACE with major support from the Cultural Services of the French Em- French composer and musicologist Thierry Alla (1955) was born in Algiers. After studying bassy, SACEM, CulturesFrance and the Florence Gould Foundation. musicology, he went on to study composition, frequently winning prizes on the way, and completing, in 2005, a doctoral thesis on the music of Tristan Murail. As a musicologist, he has CalArts Orchestra published extensively on spectral music (Scelsi, Grisey, Murail); as a composer, his career has Flute/Piccolo: Sarah Hodges, Molly McLaughlin seen world-wide performances of his works that frequently involve the use of electronics. Oboe: Kim Everett English horn: Sydne Sullivan Clarinets: Charles du Preez, John Choi, Ryan Glass Contrabass clarinet: Alex Sramek Rozalie Hirs initially had a background in chemical engineering before moving to composition in Bassoon: Archie Carey Contrabassoon: Clayton Slusser the early ’90s. Her fi rst poems were published in the literary magazine De Revisor in 1992 upon Trumpets: Jonah Levy, Drake Peterson invitation by Jan Kuijper, poetry editor of the Dutch publisher Querido: in 1995 she won the fi rst French horn: Anna Robinson prize for poetry at the Pythic Plays in Amsterdam. Trombones: Matthew Barbier, Kevin Austin Tuba: Chase Morgan She took composition lessons with Louis Andriessen, Clarence Barlow, and with Tristan Percussion: Yumi Lee, Lydia Martín Harp: Michelle Horvath Piano: Emi Tamura Murail at Columbia University in New York from where she earned a DMA, along with a string of First violins: Leonard Lee, concertmaster; Jessica Kackley, Nic Salas, Artur Kirakosyan, prizes related to that work. An important recent publication refl ects her work and friendship Sara Schilling, Mona Tian with Murail: the book, Contemporary compositional techniques and ‘Open Music’ includes the Second violins: Chrysanthe Tan, Georgi Dimitrov, Bianca McClure, Keenan Hately, Henry Webster, essays “On Murail’s Le lac” and “Frequency-based compositional techniques in the music of Tatenori Hamasaka Tristan Murail” providing the most detailed discussion of Murail’s work available in English today. Violas: Kristín Haraldsdóttir, Heather Lockie, Zack Ewald, Alessandra Barrett, James Rees Rozalie Hirs’ recent composition Roseherte (2008) for full orchestra and electro-acoustic Cello: Derek Stein, Leo Tolkin, Cory
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