2011 Next Wave Festival SEP 2011

Donald Baechler, Red + Blue Rose (detail), 2011

BAM 2011 Next Wave Festival sponsor

Published by: BAM 2011 Next Wave Festival

Brooklyn Academy of Music presents

Alan H. Fishman, Chairman of the Board

William I. Campbell, Vice Chairman of the Board Awakening: Adam E. Max, Vice Chairman of the Board A Musical Meditation Karen Brooks Hopkins, President on the Anniversary of 9/11 Joseph V. Melillo, Executive Producer BAM Howard Gilman House Sep 21—24, 2011 at 7:30pm

Approximate running time: 90 minutes, no intermission

Kronos Quartet

Violin David Harrington John Sherba Viola Hank Dutt Cello Jeffrey Zeigler

With special guest Brooklyn Youth Chorus, conducted by Dianne Berkun

Scenic and lighting design by Laurence Neff Audio engineer Brian Mohr Technical associate Calvin Ll. Jones

Awakening was first performed on September 11, 2006, at Herbst Theatre in San Francisco, California.

BAM 2011 Next Wave Festival sponsor The 2011 Richard B. Fisher Next Wave Award honors the and its production of Awakening.

Leadership support for the Next Wave Festival is provided by The Ford Foundation.

Leadership support for Awakening provided by Goldman Sachs Gives at the recommendation of R. Martin Chavez. Awakening A Musical Meditation on the Anniversary of 9/11

I.

Dmitri Yanov-Yanovsky Awakening* (Uzbekistan)

Unknown (arr. Ljova & Kronos) Oh Mother, the Handsome Man Tortures Me+ (Iraq)

Traditional (arr. Jacob Garchik) Lullaby+ (Iran)

Ram Narayan (arr. Kronos, transc. Ljova) Raga Mishra Bhairavi: Alap+ (India)

II.

Einstürzende Neubauten Armenia+ (Germany) (arr. Paola Prestini & Kronos)

John Oswald Spectre* (Canada)

Michael Gordon Selections from The Sad Park* () Part 1 two evil planes broke in little pieces and fire came Part 4 and all the persons that were in the airplane died

III.

Osvaldo Golijov & Darkness 9/11* (Argentina) (from the film11’09”01)

Terry Riley One Earth, One People, One Love* (United States) (from Sun Rings*)

Traditional (arr. Kronos, transc. Ljova) Tusen Tankar (A Thousand Thoughts)+ (Sweden)

Aulis Sallinen (arr. Kronos) Winter Was Hard+ () with special guest Brooklyn Youth Chorus

Vladimir Martynov The Beatitudes+ () (re-scored for Kronos by Vladimir Martynov)

Performed without intermission and played without pause. Program is subject to change. *Written for Kronos / +Arranged for Kronos Chorus Photo: Zoran Olric

Brooklyn Youth Chorus Sarah Hill Arielle Negron Dianne Berkun, Artistic Director Milo Hughes Alivia Nielsen Genevieve Hynes Isabella Nigro Sarah Abramson Imani Isaac Venice Ohleyer Rachel Asaeda Leann James Violet Piper Josephine Attal Kei John Lily Pisano Lillian Avram Adar Johnson Teresa Sadowka Anthony Baldeosingh Camille Johnson Daniel Savelyev Asha Bell Lucinda Kahn Juliet Schlefer Yatzany Bell Olivia Knutsen Audrey Seery Taylor Boria Meghan Kouassi Madeline Smith Julia Cassidy Joyce Kouassi Maria Smith Michael Cassidy Juliana LoPiccolo Sarah Sotomayor Simone Chatham Lily Maass Isabella Stevenson Nell Compton Katherine Manternach Jacob Sutton Ciara Cornelius Veronica Marks Allison Tindel Essien Duke Maya Matunis Rachel Vales Sophia Fox Trina McGhee Gabriel Van Putten Talia Fuchs Anna McNeil Elahe Williams Miriam Gabay Mary Miller Jennifer Williams Lydia Green Jake Montagnino Violet Williams Nadia Grisaru Anthony Morales-Duran Gavin Yancey Miranda Halle Aryanna Myles Phoebe Yates Symone Henry Jillian Nedd Program notes Dmitri Yanov-Yanovsky (b. 1963) these three is used in a ‘pure,’ recognizable way, Awakening (1993) each plays an important part in the structural organization of the musical fabric.”

Dmitri Yanov-Yanovsky, born in Tashkent, Yanov-Yanovsky’s note on Awakening translated by Gerald Uzbekistan, is a of stage, orchestral, McBurney. chamber, vocal, and electroacoustic works that have been performed across Asia and Europe, Awakening was commissioned for the Kronos and is active in the promotion of contemporary Quartet by Mrs. Ralph I. Dorfman. music in Uzbekistan. He graduated in 1986 from Tashkent State Conservatory, where he took composition and instrumentation classes with his Unknown (Iraq) father, Felix Yanov-Yanovsky. He was a partici- “Oh Mother, The Handsome Man pant in master classes in Lerchenborg, Denmark, Tortures Me” (c. 1980s) with Poul Ruders and , and took Arranged by Ljova & Kronos part in Summer Academia at IRCAM in . To Western ears, North African and Lebanese He has won a number of awards for his musical recordings have chiefly defined Arabic music. compositions, including Second Prize at the But there are sounds less exported that remain international Concours de composition de mu- unique to their place of origin. The region sique sacrée in Fribourg, Switzerland (1991) for containing modern Iraq is no exception. In fact, his piece “Lacrymosa” (recorded by Kronos and Baghdad has been a leader of musical innova- soprano on Night Prayers) and tion for millennia. Iraq’s unique brand of maqam the ALEA III International Prize in Boston (1992) styles and emotive orchestral epics have been for his work “Presentiment.” In addition, he won reasonably well documented, yet a wealth of the Special Award of Nantes at the Cannes Film Iraqi sounds remain that haven’t been show- Festival (1992) for his score to the film Kammie. cased abroad, including the outstanding folk and pop music styles produced by Iraqis—styles In 1993–94, Yanov-Yanovsky performed with known as much for their rhythms as they are for Kronos on the chang, a small Central Asian cimba- their accompanying dances. lom, in his piece Chang-Music V, and in 2000, he and harpsichordist Elisabeth Chojnacka per- “Oh Mother, The Handsome Man Tortures Me” formed and recorded his piece Music of Dreams. is an example of the infamous Iraqi choubi—a In 1996, he founded the International Festival festive, driving rhythmic style that can fea- of Contemporary Music ILKHOM-XX in Tashkent ture fiddles, double reed instruments, bass, and is now an artistic director of the festival. keyboards, and oud over its signature beat. What really defines the Iraqi sound are the crisp, About Awakening, Yanov-Yanovsky writes: rapid-fire machine-gun-style rhythms set atop the “Awakening was written in 1993 in response to main beat. They sound almost electronic—and a request from David Harrington for a piece for sometimes they are, but usually this is the work the Kronos Quartet. of a unique hand drum of nomadic origin called a khishba—also known as the zanbour, Arabic “In my ensemble work ‘Presentiment’ (1992), I for wasp—which appears in many styles of Iraqi was curious to experiment with the adhân (the music today. Kronos’ is based on a Muslim call to prayer chanted from the minaret) recording produced sometime during the Saddam and multi-track tape. Awakening allowed me the period between the 1980s and 2002. opportunity to do so again, this time under the conditions of -making and count- Arranger Ljova () was born in 1978 ing on the unique ensemble possibilities of the in and moved to New York in 1990. He Kronos Quartet. divides his time performing as a violist, studying and arranging music for Yo-Yo Ma, Kronos Quar- “Fundamental to the piece is the idea of combin- tet, Jay-Z, and others, and composing original ing here different compositional techniques: music for film, TV, dance, and the concert stage. modal, serial, and aleatoric. Although none of In 2005, Ljova was one of six invited Program notes to participate in the Sundance Institute’s Film The group Jahlé is based in Bandar Abbas, Iran’s Composers Lab. In 2008, Ljova was a guest largest port city, where there’s a sizable com- faculty member at the Banff Centre in Canada, munity of black Iranians descended from Arabian focusing equally on composition, arranging, and traders and African slaves. Jahlé’s performance viola performance. With his main performing of this traditional lullaby—which inspired Kronos’ ensemble, Ljova and the Kontraband, Ljova has version—was recorded by the BBC’s James appeared at the Kennedy Center, BAM (as part Birtwistle when Andy Kershaw was gathering of the Sundance Film Festival), and MoMA. He material for a program on Iran in 2004. With released his solo debut recording, Vjola: World vocals by Isa Baluchestani, guitar from Hamid on Four Strings, in 2006. Ljova is a graduate of Saeed, and the plangent nay jofti (double flute) the Juilliard School. playing of Ghanbar Rastgoo, Jahlé’s performance is quite mesmerizing. The double-flute player Program note adapted from liner notes to the album Choubi! Rastgoo is also a Baba Zar—a man who leads Choubi! Folk & Pop Songs From Iraq, written by Mark Gergis. Printed courtesy of Sublime Frequencies. the ecstatic zar rituals practiced by the black Iranians of the region. This arrangement of “Oh Mother, the Handsome Man Tortures Me” by Ljova and Kronos Quartet Trombonist and composer Jacob Garchik, born was commissioned for Kronos by Deborah and in San Francisco, has lived in New York since Creig Hoyt. Kronos’ recording is available on 1994. He has toured Europe and North America Floodplain, released on Nonesuch Records. extensively with the acclaimed Lee Konitz New Nonet, and has played with Konitz since 1997. Since 2006 Garchik has contributed dozens of Traditional and transcriptions of music from Lullaby (arr. 2006) all over the world for Kronos Quartet. An active Arranged by Jacob Garchik (b. 1976) freelance trombonist, he plays with groups including the Ohad Talmor/Steve Swallow Sextet, For most people, Iran won’t conjure up a musi- the John Hollenbeck Large Ensemble, Slavic cal image—the way India or Turkey does. It’s Soul Party!, and the Four Bags. His second CD, partly because the political agenda of and media Romance, was hailed by The New York Times as portrayal by the West are preoccupied with “odd and excellent... taut with paradox... slow fundamentalist mullahs, oil reserves, and nuclear and beautiful art songs.”

proliferation. It’s certainly true that in the West Note adapted from the liner notes to The Rough Guide to the we don’t get much access to Iranian music. And Music of Iran, compiled by Simon Broughton, editor of the world- it’s not because this nation of 70 million doesn’t music magazine Songlines. Used with permission. enjoy or contain a rich variety of music…. Jacob Garchik’s arrangement of Lullaby was It’s true that when the Islamic Revolution swept commissioned for Kronos Quartet by Deborah away the Shah’s regime in 1979, in an excess and Creig Hoyt. of fundamentalist zeal, strict restrictions were placed on music. But apart from a ban on West- Ram Narayan (b. 1927) ernized pop music these were swiftly dropped. It’s often forgotten that the Iranian Revolution Raga Mishra Bhairavi: Alap was as much about reclaiming traditional Persian Arranged by Kronos Quartet, culture is about espousing an Islamist agenda. transcribed by Ljova Indeed, the long-term musical effect of the revolution has been a revival of classical Persian Ram Narayan is one of the world’s most revered music, which had suffered in the face of heavy masters of the sarangi, the bowed string instru- Westernization during the Shah’s regime. ment from northern India renowned for its in Iran is a strong living tradition and vocal expressiveness. Over the course of his has probably also been boosted by the “back- long career, Narayan has been the person most to-roots” aspects of the revolution—although, responsible for bringing this ancient chordo- beneath the radar, out of the urban centers, it phone into the foreground of classical Hindustani has essentially been able to carry on untroubled, music. Born in Udaipur, Rajasthan, Narayan regardless of official policy. Program notes

grew up in a family of and began Bargeld and N.U. Unruh. Though the roster has playing the sarangi as a child under his father’s changed through the group’s history, Bargeld and tutelage. He began his career as a music teacher Unruh were joined for much of the 1980s by in Udaipur at age 15, then moved to Delhi in Alexander Hacke, F.M. Einheit, and Mark Chung. 1947 to work as a staff player at All India Radio. Together they pioneered what has come to be Like most sarangi players of the era, he played known as industrial music. The group is known as a vocal accompanist only; however, he soon for its experimentation with sound and noise, realized the potential of the sarangi as a solo in- using both standard instruments and self-made strument and pushed to bring his performances ones constructed from scrap metal and power into the spotlight—a practice that was unheard tools, among other things. of at the time. He moved to Bombay two years later to play in the then-burgeoning film industry The band’s 1983 album, Zeichnungen Des Pa- and slowly paved the way for a solo career. In tienten O.T., included a recording of “Armenia,” the early 1950s his ragas were some of the first on which this arrangement is based. For the liner to be recorded on LPs produced in India, and notes to a 1991 compilation, the band wrote: by the end of the decade Narayan had become widely acknowledged as a soloist. Since then, “The piece originates in an affecting Armenian he has received numerous awards, including folk song. To translate its emotional impact to our the Sangeet Natak Academy Award, the highest world, F.M. and Blixa constructed the piece from honor issued in India for dance, music, and several instrumental tape loops of the source theater. Many innovations made by Narayan in recording, which in turn cued our non-Armenian bowing and fingering techniques on the sarangi speaking interpretation of its mood.” have now become standard. The original German lyrics read, in part: “Brennt Ram Narayan is known for his vivid interpreta- auf den Nägeln/ eine Frage nur:/ Sind die tions of traditional Indian ragas. Beacause of Vulkane noch tätig?/ Bitte enttäusch mich nicht!” a specified combination of notes played and (Burning to know/ one question only: Are the vol- embellished within a parent framework called canoes still active?/ Please don’t disappoint me!) a thaat, each different raga has the power to evoke a unique emotional transcendence. This Paola Prestini is a composer, director, and aesthetic feeling was termed by music scholars co-founder of VisionIntoArt, an interdisciplinary as Rasavadhana: a mystic state completely collective/production company based in New unrelated to desire, which is purely compounded York. Her 2009 Tzadik release, Body Maps, has of joy and consciousness. This arrangement of been featured on WQXR and Q2, and show- Raga Mishra Bhairavi is based on a performance cases new music’s great soloists. She has been by Narayan, recorded in 1989. commissioned and performed by ensembles such as Opera, MATA, Ensemble Kronos Quartet’s arrangement of Raga Mishra ACJW, Kronos Quartet, ETHEL, , Bhairavi by Ram Narayan was commissioned for WNYC, and Concert Artist Guild in venues and Kronos by Deborah and Creig Hoyt in memory of festivals worldwide. Her current projects include Raymond Frase. Kronos’ recording is available on works for Chicago Symphony Music Floodplain, released on Nonesuch Records. Now; a residency at the Krannert Center; De Deo, an opera with librettist Donna Di Novelli that will inaugurate ’s Word Einstürzende Neubauten First Program; and large-scale works for soloists (formed 1980) and Cornelius Dufallo. Prestini has “Armenia” (1983) received awards from ASCAP, NYSCA, and the LMCC, and is a Paul and Daisy Soros fellow and Arranged by Paola Prestini and a Sundance Fellow. A graduate of the Juilliard Kronos Quartet School, she studied with , Samuel Adler, and Sir Peter Maxwell Davies. Influential German band Einstürzende Neu- bauten—which translates as “collapsing new English translation of lyrics by Matthew Partridge. buildings”—was founded in Berlin by Blixa Program notes

The arrangement of “Armenia” by Paola Prestini offbeat humor in concerts worldwide. The latest and Kronos Quartet was commissioned for incarnation of this ensemble, now called the Kronos by Deborah and Creig Hoyt. Michael Gordon Band, debuted at the BAM Next Wave Festival in 2000. Gordon holds a Bachelor of Arts from New York University and a Masters Michael Gordon (b. 1956) of Music from the Yale School of Music. He is Selections from The Sad Park (2005) co-founder of the Bang On a Can Festival, a ma- jor force in the presentation of new music. His Part 1: Two evil planes broke in little pieces recordings include Weather (Nonesuch), Trance and fire came. (Argo), Decasia (Cantaloupe), Lost Objects Part 4: and all the persons that were in the (Teldec), Big Noise from Nicaragua (CRI), and airplane died. Light is Calling (Nonesuch).

Michael Gordon was born in Miami Beach and About The Sad Park, Gordon writes: raised in Nicaragua in an Eastern European com- “The recordings used in this piece are of chil- munity on the outskirts of Managua. His music, dren, ages three and four, and were made by which combines the intensity and power of rock Loyan Beausoleil, a pre-kindergarten teacher at music and his formal composition studies at University Plaza Nursery School in Lower Man- Yale, has been performed throughout the world. hattan, between September 2001 and January Gordon’s early compositions demonstrate a deep 2002. (My son Lev was in Ms. Beausoleil’s class exploration into the possibilities and nature of during this period.) Her ongoing work with these rhythm and what happens when rhythms are children is chronicled at youngestwitnesses.com. piled on top of each other, creating a glorious confusion. “When I heard these recordings I was struck by the raw tunefulness of the children’s speech. Gordon’s special interest in adding dimensional- These specific segments were chosen for their ity to the concert experience has led to frequent musicality as well as for their content. I worked collaborations with artists in other media. In his with sound designer Luke DuBois on the post- string-orchestra piece Weather, a collaboration production of these tapes. In Part 1, the sound with video artist Elliot Caplan, the musicians clips are gradually slowed down to reveal the sit on scaffolding three tiers high. In Gordon’s hidden acoustical properties of the speech. Part 2001 multimedia orchestra piece, Decasia, the 4 uses an electronic music technique called audience sits on swivel chairs encircled by the granular synthesis, in which tiny ‘grains’ of orchestra and large projection scrims. In The sound from the original source are captured and Carbon Copy Building, an opera collaboration compacted together.” with comic book artist Ben Katchor, Bob Mc- Grath and the Ridge Theater, and the composers Michael Gordon’s The Sad Park was commis- David Lang and Julia Wolfe, a projected comic sioned for the Kronos Quartet through the gen- strip accompanies the singers, interacting with erosity of Mrs. Ralph I. Dorfman with additional each other so that the frames fall away in the support from the Barbican, London (UK) and the telling of this story (the work received the 2000 National Endowment for the Arts. Village Voice OBIE Award for Best New American Work). Gordon premiered Gotham at Carnegie’s Zankel Hall in 2004; the work incorporates film, (b. 1960) projections, lighting, and an orchestra of 35 mu- and Gustavo sicians to explore the “other” New York City. The Santaolalla (b. 1952) Sad Park is the second of three string quartets Gordon wrote for Kronos. Darkness 9/11 (2002)

In 1983, Gordon formed the Michael Gordon Conceived by French film producer Alain Brig- Philharmonic—part string quartet, part rock and, 11’9’’01 is the title of a collection of 11 band—which performed his angular tunes and short films by different filmmakers, each from driving rhythms with compelling energy and a different country, reflecting on the events of September 11, 2001. Each individual film is Program notes

11 minutes, nine seconds, and one frame. The Oliver Knussen in the early 1990s. Golijov be- directors invited to contribute to 11’9”01 come came personally acquainted with Kronos Quartet from Iran, France, Egypt, Bosnia-Herzegovina, at Tanglewood and has since collaborated with Burkina Faso, the UK, Mexico, , India, and the group on about 30 works. the US, and included Mira Nair, Sean Penn, and Shohei Imamura. The film was awarded a Golijov is the recipient of a MacArthur Fellow- Cannes Film Festival Special Prize. ship, among many other awards. The record- ing of Golijov’s La Pasión Según San Marcos Darkness 9/11 was written for the segment (performed at BAM in 2002) on Hänssler Classic directed by Alejandro González Iñárritu (Biutiful, received Grammy and Latin Grammy nomina- Babel). About the film he created for 11’9’01, tions in 2002. Also in 2002, EMI released Yid- Iñárritu said: dishbbuk, a Grammy-nominated CD of Golijov’s chamber music, recorded by the St. Lawrence “[There were] no actors, no camera, no crew, String Quartet. Kronos’ recording of Golijov’s The no script, no nothing... my musical instinct and Dreams and Prayers of Isaac the Blind, with the memory of that man, dressed in red, falling clarinetist , was released in 1997 from the World Trade Center towers were enough on Nonesuch Records. to guide me on this painful journey. He was my inspiration because I always wondered what this Gustavo Santaolalla, winner of an Academy man was thinking as he was falling. I put the Award for his score to Brokeback Mountain, is a people falling as a metaphorical image of us: composer, , and whose humankind falling as Icarus. I did not think my career has spanned more than 30 years. The point of view was important, and I wanted to put rock band Arco Iris, which he founded in 1967 myself and the audience in the shoes of those in Buenos Aires, was a pioneer in Latin Ameri- who were inside those buildings, waiting for the can alternative rock music, and in the fusion of unpredictable. In a dark theater, everything that rock and Latin American folk music. In 1978, will happen is as unpredictable as it was on that frustrated with the political and social situation in day. I lived under the schizophrenic messages of military-ruled Argentina, Santaolalla decided to the media in the United States, which in some leave the country and moved to Los Angeles. He way, acted as another kind of terrorist, creating has recorded three solo albums, the most recent terror for those people who were watching and being Ronroco, which was released in 1998 by listening. That is why I constructed this piece as Nonesuch Records. a trailer, but the horror is that this is not about a Schwarzenegger film. This is real, a trailer Santaolalla’s career as a producer began in of our lives, and all of the sounds are real, but 1972 with the debut record by León Gieco, now during the days following September 11th, the a legend of Argentine folk music. Since then, media was selling the event with characters Santaolalla and his associate producer Anibal and heroes. That is why I did not use a rational Kerpel have worked with numerous artists in narrative. I constructed this piece the way that I the traditionally separate worlds of Mexican remembered it.” and Argentine rock, including Juanes, Bersuit Vergarabat, Molotov, Julieta Venegas, Puya, Osvaldo Golijov grew up in an Eastern European Café Tacuba, and Bajofondo Tango Club. In Jewish household in La Plata, Argentina. He was 1997, Santaolalla and Kerpel founded the record raised surrounded by Western , label Surco; Molotov’s debut ¿Dónde Jugarán Jewish liturgical and klezmer music, and the Las Niñas? and Café Tacuba’s Avalancha de new tango of . He moved to Israel Éxitos were both nominated for Grammys. in 1983, where he studied with Mark Kopytman Café Tacuba’s subsequent album, Revés/YoSoy at the Rubin Academy and immersed (1999), earned Santaolalla an award in the Best himself in the colliding musical traditions of that Rock Album category at the first Latin Grammy city. Upon moving to the United States in 1986, Awards. He co-produced Kronos’ 2002 album, Golijov earned his PhD at the University of Penn- Nuevo, which was nominated for both Grammy sylvania, where he studied with , and Latin Grammy Awards. and was a fellow at Tanglewood, studying with Program notes

Terry Riley (b. 1935) to bringing together the music of Kronos and “One Earth, One People, One Love” the sounds of outer space, Riley notes, “The ‘spacescapes’ that comprise Sun Rings… were from Sun Rings (2002) written as separate musical atmospheres, with the intention to let the sounds of space influence You have to literally just pinch yourself and ask the string quartet writing and then to let there be yourself the question silently: Do you really know an interplay between live ‘string’ and recorded where you are at this point in time and space, ‘space’ sound.” and in reality and in existence? When you look out the window and you’re looking back at the In exploring the musical possibilities for the most beautiful star in the heavens—the most piece, Riley and Harrington paid visits to Gurnett beautiful because it’s the one we understand in Iowa and to Cape Canaveral, where they ob- and we know it… we’re home. It’s humanity; served the workings of NASA in person. Despite it’s people, family, love, life. And besides that this promising start, however, the project was it is beautiful. You see from pole to pole and nearly derailed by the tragic events of September across oceans and continents. You can watch it 11, after which all parties concerned questioned turn, and there’s no strings holding it up. And Sun Rings’ relevance in the wake of the terrorist it’s moving in a blackness that is almost beyond attacks and the impending war in Afghanistan. conception. —Eugene Cernan At this point, a new and vital link emerged: as the Los Angeles Times put it: “Riley heard poet In Sun Rings, performed by Kronos in the 2004 and novelist Alice Walker on the radio talking BAM Next Wave Festival, the wonders of tech- about how she had made up a September 11 nology meet the expansive and compassionate mantra—‘One Earth, One People, One Love.’ It imagination of composer Terry Riley, bringing the suddenly occurred to him that contemplating music of the spheres to life. The full evening- outer space could be a way to put the problems length composition includes sounds harvested on Earth into perspective.” Walker’s mantra not from our solar system—the crackling of solar only gave Riley the inspiration to continue; it also winds, the whistling of deep-space lightning, provided a title and focal point for Sun Rings’ and other cosmic events—which create auditory concluding movement, the excerpt performed by landscapes. This interplanetary musical story un- Kronos in the present program. Furthermore, the folds in a visual environment of imagery gathered sound of Walker’s voice intoning the words “one by NASA spacecraft and prepared for the project earth, one people, one love” became an integral by Kronos in collaboration with visual designer component of the movement itself. Willie Williams. As David Harrington points out, the prayerful, Given the galactic scope of Sun Rings, it is even elegiac quality of Riley’s writing in “One perhaps ironic that the seeds of the project lay in Earth, One People, One Love” grows naturally a cardboard box in the University of Iowa physics from the composer’s previous work with Kronos. department. Inside that box rested a store of “The sonics are directly involved with—an audio-cassette tapes of cosmic phenomena re- extension of—the “Cortejo Fúnebre en el Monte corded over some 40 years by Iowa’s Dr. Donald Diablo” from the Requiem for Adam,” Harrington Gurnett. Bertram Ulrich, curator of the NASA Art says. “You can hear the Tibetan bell tolling on Program, long intrigued by Gurnett’s recordings every downbeat.” and a devoted fan of Kronos, offered Kronos a commission to turn these seemingly random As Riley describes his fully realized, post- tones from outer space into music. Kronos’ September 11 conception of Sun Rings: “This David Harrington, for his part, turned to longtime work is largely about humans as they reach out Kronos collaborator Terry Riley—the California- from Earth to gain an awareness of their solar based father of minimalism, consummate uniter system neighborhood…. Do the stars welcome of musical traditions and innovations, and deep us into their realms? I think so or we would not well of spirituality in sound—who agreed to have made it this far. Do they wish us to come in serve as the project’s composer. On his approach Peace? I am sure of it. If only we will let the stars Program notes

mirror back to us the big picture of the Universe According to Triakel, the first two verses of and the tiny precious speck of it we inhabit that “Tusen Tankar” were taken from a version by we call Earth, maybe we will be given the humil- Swedish singer Thyra Karlsson, while the third ity and insight to love and appreciate all life and verse can be traced back to Danish origins. living forms wherever our journeys take us.” Kronos’ arrangement of “Tusen Tankar” was Program note by Matthew Campbell commissioned for Kronos by the Angel Stoyanof Commission Fund. Video for “One Earth, One People, One Love” by Catherine Owens (b. 1935) Sun Rings was commissioned for Kronos Quartet Winter Was Hard (1969) by the NASA Art Program, the National Endow- ment for the Arts, The Rockefeller Foundation’s Arranged by Kronos Quartet Multi-Arts Production Fund, Hancher Auditorium/ With Brooklyn Youth Chorus; University of Iowa, Society for the Performing Dianne Berkun, conductor Arts, Eclectic Orange Festival/Philharmonic Society of Orange County, SFJAZZ, Barbican, Aulis Sallinen was born in 1935 in Salmi on the London, and University of Texas Performing Arts northern shore of Lake Ladoga (which the Soviet Center, Austin (with the support of the Topfer En- Union claimed in 1944). In his early years, he dowment for Performing Arts). Additional contri- played the violin and improvised on the , butions from Stephen K. Cassidy, Margaret Lyon, including , which led him to write his first Greg G. Minshall, and David A. and Evelyne T. compositions as a teenager. After studying with Lennette made this work possible. and at the , he joined the staff there. In Traditional (Sweden) 1983 he shared the Wihuri International Sibelius prize with Penderecki. He is a member of the Royal “Tusen Tankar (A Thousand Thoughts)” Swedish Music Academy and Honorary Doctor of (arr. 2005) the Universities of Helsinki and Turku. The Finn- Arranged by Kronos Quartet, ish Government made him Professor of Arts for life in 1981, the first appointment of its kind. transcribed by Ljova His extensive catalogue of compositions includes “Tusen Tankar” is a traditional Scandinavian eight symphonies, the latest of which was folk song, which recounts a timeless, mournful premiered by the Concertgebouw Orchestra in tale of unrequited love. The English translation 2004. In addition, he has written major concert of the original lyrics reads, in part: “A thousand works involving voices, notably the Dies Irae thoughts oppress me/ For love of one who can’t (1978), an apocalyptic vision of our planet be mine./ … All I can feel is the pain I bear/ And destroyed; Songs of Life and Death (1994), an it’s all for you, my dear.” expansive expression of Sallinen’s humanitarian creed; and The Barabbas Dialogues (2003), an Kronos’ arrangement is based on a recording unconventional, touching medititation on the by Swedish folk band Triakel, built around the Easter story. Sallinen has written six large-scale haunting vocals by Emma Härdelin. Triakel operatic works, all of which have been revived consists of Härdelin (vocals and fiddle), Kjell- on several occasions. Since 2001, Aulis Sallinen Erik Eriksson (fiddle), and Janne Strömstedt has concentrated on writing works featuring (harmonium). All three are well-established at solo instruments, ranging in size from the Cello the forefront of Swedish folk music. The group Sonata (2005) to the Horn (2002). has toured throughout Sweden and Europe, In 2004 the German record label CPO released Japan the US, and Canada. Triakel recorded the first of a series of seven all-Sallinen CDs, their CD Innan Gryningen (1999) with featuring all of his major orchestral works. Benny Andersson, in addition to five full-length CDs. The first was released in May 1998 and the latest in February 2011. Program notes

Kronos recorded Sallinen’s Quartet No. 3, Some Martynov traveled to northern and central Rus- Aspects of Peltoniemi Hintrik’s Funeral March, sia, northern Caucasus, Pamir, and Tadzhikistan for the album Kronos Quartet, which was searching for the “music of my people.” What released on Nonesuch in 1986. Kronos also he found triggered a completely new under- commissioned Sallinen’s Quartet No. 5, Pieces standing of music for him. He began to look for of Mosaic. About Winter Was Hard, Kronos’ manuscripts in libraries with the intent to restore Artistic Director David Harrington says, “When I the tradition of the ancient Russian chant. first heard it in 1983, I couldn’t get it out of my He published several books on that subject and head. That melody and those voices have stayed taught in the famous Orthodox monastery of with me ever since.” Troitse-Serguiev.

Det fanns inte mycket att ge åt änderna. Known as one of the leading composers of the latest Russian avant garde, Martynov’s musi- There wasn’t much for the ducks. cal works present a wholeness in which the Mor vände upp och ner på brödlådan. traditions of East and West, the spiritual and the Mother turned the breadbin upside down. mundane, folk music and avant garde melt into a Änderna kväkte och föreföll missnöjda. new synthesis. The ducks quacked and seemed dissatisfied Vattnet var svart och snart frös det till. About “The Beatitudes”, David Harrington writes: The water was black and it soon froze. “This is a re-scoring of a work for choir that I heard on a CD that Andrey Kotov, the conduc- Vintern var hård, vintern var hård. tor of the Sirin Choir in Moscow, gave each Winter was hard, winter was hard. member of Kronos earlier this year. I went back Också pengarna frös inne på banken. to my hotel room and listened to the whole CD, Even money was frozen in the bank. which was typical Russian liturgical music, until Lördagskvällen kunde firas the last track, which was this astonishing piece Saturday evening could only be celebrated by Vladimir Martynov, who had already written bara varannan lördag. two works for Kronos. I had been looking for every other Saturday. something sublime for Awakening, a concert program we put together as a musical medita- — tion for the fifth anniversary of 9/11, and late that night in Moscow I knew that I had heard it. Kronos’ recording of “Winter Was Hard” is avail- When I got back to San Francisco, I was in touch able on the CD Winter Was Hard (Nonesuch). with Vladimir, who agreed to create a version of “The Beatitudes” for pre-recorded quartet and live quartet specifically for that performance. Vladimir Martynov (b. 1946) “The Beatitudes” are truly a rare moment of “The Beatitudes” (1998, rescored for perfection.” Kronos 2006) Recorded track performed by Kronos and pro- A native of Moscow, Vladimir Martynov gradu- duced by Kronos and Scott Fraser. ated from the Moscow Music Academy with a dedication to composing minimalist music. He organized and participated in avant-garde music Kronos Quartet festivals and worked at the electronic studio of For more than 30 years, Kronos Quartet—David the Skryabin Museum. In the mid-1970s, Mar- Harrington, John Sherba (), Hank Dutt tynov made a radical move from the structural (viola), and Jeffrey Zeigler (cello)—has pursued a refinement of serial music to what he described singular artistic vision, combining a spirit of fear- as a “new innocence.” He said, “Pärt, Silves- less exploration with a commitment to expanding trov, and I discovered the key at the same time, the range and context of the string quartet. In independently from each other.” the process, Kronos has become one of the most celebrated and influential groups of our time, Program notes

performing thousands of concerts worldwide, Lugosi classic); Azerbaijan’s Franghiz Ali-Zadeh, releasing more than 45 recordings of extraordi- whose works are featured on the full-length nary breadth and creativity, collaborating with 2005 release Mugam Sayagi: Music of Franghiz many of the world’s most eclectic composers Ali-Zadeh; Steve Reich, whose Kronos-recorded and performers, and commissioning more than Different Trains earned a Grammy for the com- 750 works and arrangements for string quartet. poser; Argentina’s Osvaldo Golijov, whose work In 2011, Kronos became the only recipients of with Kronos includes both compositions and both the Polar Music Prize and the Avery Fisher extensive arrangements for albums like Kronos Prize, two of the most prestigious awards given Caravan and Nuevo; and many more. to musicians. The group’s numerous awards also include a Grammy for Best Chamber Music In addition to composers, Kronos counts numer- Performance (2004) and “Musicians of the Year” ous artists from around the world among its (2003) from Musical America. collaborators, including Chinese pipa virtuoso ; legendary Bollywood “playback singer” Kronos’ adventurous approach dates back to the Asha Bhosle, featured on Kronos’ Grammy-nom- ensemble’s origins. In 1973, David Harrington inated CD You’ve Stolen My Heart: Songs from was inspired to form Kronos after hearing George R.D. Burman’s Bollywood; Inuit throat singer Crumb’s Black Angels, a highly unorthodox, Tanya Tagaq; Mexican rockers Café Tacuba; Vietnam War-inspired work featuring bowed genre-defying sound artist and instrument builder water glasses, spoken word passages, and Walter Kitundu; Romanian gypsy band Taraf de electronic effects. Kronos then began building a Haïdouks; renowned American soprano Dawn compellingly diverse repertoire for string quartet, Upshaw; and the unbridled British cabaret trio performing and recording works by 20th-century the Tiger Lillies. Kronos has performed live with masters (Bartók, Shostakovich, Webern), con- the likes of icons Allen Ginsberg, Zakir Hussain, temporary composers (Aleksandra Vrebalov, John Modern Jazz Quartet, Noam Chomsky, Rokia Adams, ), jazz legends (Ornette Traoré, Tom Waits, David Barsamian, Howard Coleman, Charles Mingus, Thelonious Monk), Zinn, Betty Carter, and David Bowie, and has and artists from even farther afield (rock guitar appeared on recordings by such diverse talents legend Jimi Hendrix, Azeri vocalist Alim Qa- as Nine Inch Nails, Amon Tobin, Dan Zanes, DJ simov, and interdisciplinary composer-performer Spooky, Dave Matthews, Nelly Furtado, Joan Meredith Monk). Armatrading, and Don Walser.

Integral to Kronos’ work is a series of long-run- Kronos’ music has also featured prominently ning, in-depth collaborations with many of the in other media, including film (Requiem for a world’s foremost composers. One of the quartet’s Dream, The Fountain, 21 Grams, Heat, True most frequent composer-collaborators is “father Stories) and dance, with noted choreographers of minimalism” Terry Riley, whose work with such as Merce Cunningham, Paul Taylor, Twyla Kronos includes the early Sunrise of the Plan- Tharp, and Eiko & Koma setting pieces to Kro- etary Dream Collector; Cadenza on the Night nos’ music. Plain and Salome Dances for Peace; 2002’s Sun Rings, a multimedia, NASA-commissioned The quartet spends five months of each year ode to Earth and its people, featuring celestial on tour, appearing in concert halls, clubs, and sounds and images from space; and Another festivals around the world including the BAM Secret eQuation for youth chorus and string Next Wave Festival, Carnegie Hall, the Barbi- quartet, which premiered at a concert celebrat- can in London, WOMAD, UCLA’s Royce Hall, ing Riley’s 75th birthday. Kronos commissioned Amsterdam’s Concertgebouw, Shanghai Concert and recorded the three string quartets of Polish Hall, and the Sydney Opera House. Kronos is composer Henryk Mikolaj Górecki, with whom equally prolific and wide-ranging on record- the group worked for more than 25 years. The ings. The ensemble’s expansive discography quartet has also collaborated extensively with on Nonesuch Records includes collections like composers such as Philip Glass, recording his Pieces of Africa (1992), a showcase of Africa- string quartets and scores to films like Mishima born composers, which simultaneously topped and Dracula (a restored edition of the Bela Billboard’s Classical and World Music lists; Program notes

1998’s 10-disc anthology, Kronos Quartet: 25 Laurence Neff, Production Director Years; Nuevo (2002), a Grammy- and Latin Lucinda Toy, Business Operations Manager Grammy–nominated celebration of Mexican culture; and the 2003 Grammy winner, Alban Contact: Berg’s Lyric Suite. The group’s latest releases Kronos Quartet/Kronos Performing Arts are Floodplain (Nonesuch, 2009), spotlighting Association music from regions of the world riven by conflict; P. O. Box 225340 Rainbow (Smithsonian Folkways, 2010), in San Francisco, CA 94122-5340 USA collaboration with musicians from Afghanistan kronosquartet.org and Azerbaijan; and Uniko (Ondine, 2011) with facebook.com/kronosquartet Finnish accordion/sampler duo Kimmo Pohjonen myspace.com/kronosquartet and Samuli Kosminen. Twitter: @kronosquartet #kronos

Kronos’ recording and performances reveal only Kronos Quartet records for Nonesuch Records. a fraction of the group’s commitment to new music. The Kronos Performing Arts Association, a non-profit organization based in San Francisco, Brooklyn Youth Chorus has commissioned more than 750 new works Dianne Berkun, Artistic Director and arrangements for string quartet. Music publishers Boosey & Hawkes and Kronos have Now celebrating its 20th anniversary season, the released sheet music for three signature works, Grammy Award-winning Brooklyn Youth Chorus all commissioned for Kronos, in the first volume (BYC) is one of the country’s leading children’s of the Kronos Collection, a performing edition choruses and the ensemble of choice for interna- edited by Kronos. The quartet is committed to tionally renowned and artists. Under mentoring emerging professional performers, and the direction of founder and Artistic Director in 2007 Kronos led its first Professional Training Dianne Berkun, BYC has an international reputa- Workshop with four string quartets as part of the tion for programmatic and artistic excellence. Weill Music Institute at Carnegie Hall. Subse- quent workshops at Carnegie Hall and other ven- The Chorus studies and performs a wide range ues have expanded this aspect of the quartet’s of music—classical and non-classical—and has work. One of Kronos’ most exciting initiatives is an active commissioning program to develop the Kronos: Under 30 Project, a unique com- new works across a variety of genres. The missioning and composer-in-residence program Chorus has performed with renowned artists for composers under 30 years old, launched in such as Elton John, Lou Reed, and John Legend, conjunction with Kronos’ own 30th birthday in and has performed under the batons of Marin 2003. By cultivating creative relationships with Alsop, , Leon Botstein, and many such emerging talents and a wealth of other others. In 2002, BYC debuted with the New artists from around the world, Kronos reaps the York Philharmonic under Lorin Maazel in On the benefits of decades of wisdom while maintaining Transmigration of Souls, for which the Chorus a fresh approach to music-making inspired by a won a Grammy Award. new generation of composers and performers. The Chorus receives its training from the Brooklyn Youth Chorus Academy (BYCA), a For the Kronos Quartet/Kronos performance-based vocal music education Performing Arts Association: program serving over 300 students annually in six ensembles. The Chorus draws students from Janet Cowperthwaite, Managing Director all over the city and reflects the broad diversity of Laird Rodet, Associate Director the metropolitan area. Sidney Chen, Artistic Administrator Scott Fraser, Sound Designer Christina Johnson, Communications Manager Nikolás McConnie-Saad, Office Manager Hannah Neff, Production Associate