July 13 –31, 2 016

Lincoln Center Festival lead support is provided by American Express

July 28–30 Stanley H. Kaplan Penthouse S¯o Percussion: Trilogy

July 28 Reich, Dessner, Lang

July 29 Xenakis, Ergün, Trueman

July 30 Cage, Lansky, Mackey

S¯o Percussion Eric Cha-Beach Josh Quillen Adam Sliwinski Jason Treuting

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Public support for Festival 2016 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts. – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

About S o– Percussion: Trilogy

2016 represents a milestone in defines percussion is not the specific So–Percussion’s work: 15 years of com - nature of instruments and playing exper - missioning new pieces for percussion. In tise, but rather our willingness to be flexi - 2001, we had our first professional season, ble and diverse with what we play. our first concert in New York City at the Bang on a Can Marathon, and the initiation So–’s four festival concerts began with of our first major commission, David Steve Reich’s Drumming at Alice Tully Hall Lang’s the so-called laws of nature. on July 16 as part of Reich/Reverberations, a three-concert series celebrating Reich’s Our history with Lincoln Center Festival 80th birthday. Drumming is the pillar that began in 2007 when we teamed up with supports most of the other works. the electronica duo Matmos for explo - rations of the tonal possibilities of uncom - Happily, it is becoming increasingly chal - mon objects. S o– returned in 2010 for lenging to explain to young musicians how Varèse (R)evolution, during which we unthinkable a full program of percussion played works by the great experimental music used to be in the western world. composer Edgard Varèse. Our latest Béla Bartók, for all of his fascination with Festival concerts represent a particular percussion, thought the idea novel and strand of our DNA: ambitious and lengthy “rather monotonous,” a fun but unserious works for chamber percussion. As such, experiment. they signify a very focused area of our work. Beyond these pieces, we have com - So– Percussion deliberately set out to missioned and facilitated commissions of increase the number and quality of pieces many smaller pieces, developed evening- that could follow in the footsteps of length theatrical projects of our own music Drumming. We weren’t content with a with collaborators like the choreographer splash of new ideas on otherwise tradi - Emily Johnson, and participated in hybrid tional programs—the goal was to rethink collaborations of original music with the entire concert program as an expres - groups like Matmos, where we often con - sion of contemporary ideas. To that end, stitute a band more than a chamber our aim was not only to produce a large ensemble. quantity of new commissions, but to inspire composers to make some of their Our original founding mission was to boldest statements through the percus - expand the exciting but underdeveloped sion quartet. repertoire for percussion quartet. This in itself is a lifetime’s worth of work, because Each performance opens with a shorter the very nature of percussion is broad and major piece from the tiny but brilliant reper - fluid. On any given day, a percussion quar - toire of percussion music that existed when tet’s palette could consist of only “un- we started our group. From there, the three pitched” sounds (noises or sounds that are concerts explore six of the most ambitious not part of the piano keyboard scheme); a works that have been written for us. mallet quartet of two marimbas and vibes; four players around a piano; or even a con - —Adam Sliwinski sort of amplified string instruments. What – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

So– Percussion: Trilogy

July 28 Stanley H. Kaplan Penthouse

Steve Reich: Music for Pieces of Wood (1973) Guest Percussionist Yumi Tamashiro

Bryce Dessner: Music for Wood and Strings (2013) Commissioned by Carnegie Hall

Intermission

David Lang: the so-called laws of nature (2002) Commissioned by S o–Percussion part 1 part 2 part 3

Approximate performance time: 1 hour and 35 minutes, with one intermission – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

So– Percussion: Trilogy

July 29 Stanley H. Kaplan Penthouse

Iannis Xenakis: Métaux, from Pleiades (1978) Guest Percussionists Ian Antonio & Russell Greenberg (Yarn/Wire)

Cenk Ergün: Proximity (2009) Commissioned by S o–Percussion

Intermission

Dan Trueman: neither Anvil nor Pulley (2010) Commissioned by S o–Percussion Act I: Another Wallflower (From Long Ago) Act II: 120bpm (Or, What is your Metronome Thinking?) Act III: A Cow Call (Please oh Please Come Home!) Act IV: Feedback (In which a Famous Bach Prelude becomes Ill-Tempered) Act V: Hang Dog Springar (A Slow Dance)

Approximate performance time: 1 hour and 35 minutes, with one intermission – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

So– Percussion: Trilogy

July 30 Stanley H. Kaplan Penthouse

John Cage: Third Construction (1941)

Paul Lansky: Threads (2005) Commissioned by S o–Percussion I. Prelude II. Recitative III. Chorus IV. Aria V. Recitative VI. Chorus VII. Aria VIII. Recitative IX. Chorus X. Chorale Prelude

Intermission

Steven Mackey: It Is Time (2010) Commissioned by Carnegie Hall and the Chamber Music America Commissioning Program Staging elements and video created by Mark DeChiazza

I. Metronome II. Steel Drums III. Marimba IV. Drums V. Epilogue

Approximate performance time: 1 hour and 30 minutes, with one intermission – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

About the Programs This seemingly simple conceit actually makes Music for Pieces of Wood a July 28 consistently challenging piece to play, no Music for Pieces of Wood matter how many times we’ve done it. Any Steve Reich (b. 1936) musician, no matter how seasoned, must Music for Pieces of Wood grows out of the concentrate intensively on the task of keep - same roots as Clapping Music : a desire to ing a pattern steadily offset. The experi - make music with the simplest possible ence is akin to seeing yourself through a instruments. The claves, or cylindrical dimensional portal, maybe half a second pieces of hard wood, used here were into the future. That disorientation never selected for their particular pitches (A, B, goes away, but you develop coping strate - C-sharp, D-sharp, and D-sharp an octave gies such as the reassuring feel of the above), and for their resonant timbre. This physical pattern in your hands and arms. piece is one of the loudest I have ever composed, but uses no amplification what - Reich’s original version of Music for Pieces soever. The rhythmic structure is based of Wood calls for tuned claves. When we entirely on the process of rhythmic first started playing it, we grabbed some of “buildups” or the substitution of beats for the wooden planks that were lying around rests, and is in three sections of decreas - our studio for David Lang’s the so-called ing pattern length: 6/4, 4/4, 3/4. laws of nature . Reich first heard us do this —Steve Reich version in New York at the Look and Listen Festival. He was enthusiastic about the Each of our concerts in the Lincoln Center energy and feel of our performance, and I’ll Trilogy contains one classic work that never forget what he said about the opens the concert and launches the two planks: “Well, I guess I didn’t say you – So commissions. Music for Pieces of couldn’t do that, they are pieces of wood!” Wood is a masterly demonstration of a —AS deceptively simple concept: rhythmic ambiguity. It doesn’t ruin anything to Music for Wood and Strings explain the process, because the delight is Bryce Dessner (b. 1976) in the perception of its prismatic qualities. For several years I have been experimenting with simple chorales in my music that utilize Like Clapping Music , with which it shares triadic chord inversions that are aligned in its opening rhythm, Music for Pieces of complex rhythm patterns to create a kaleido - Wood consists of the same rhythm dis - scopic effect of harmony. These feature heav - placed in different parts. Unlike Clapping ily in my work for orchestra and two guitars, Music , it uses tuned instruments which St. Carolyn by the Sea (2011), and the writing create a harmonic tapestry. These dis - for my song cycle, The Long Count (2009). placed rhythms are introduced one note at a time, but in a carefully crafted sequence While I have used this technique on guitars that masks their identity and suggests and strings, I have not had the opportunity many possible ways of hearing where the to apply it to percussion instruments. For – main pulse and “downbeat” of the music this new S o Percussion piece I have been might be. working with instrument builder Aron Sanchez (Blue Man Group, Buke and Gase) to design four dulcimer-like instruments to – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION be played by the quartet. These are simply Dessner deftly composes each chordstick designed double-course string instruments to have a slightly different tuning, so that which are played like a dulcimer, but which more complex melodies can result from are specifically built and tuned to the performers trading back and forth in implement a more evolved hybrid of the the ancient technique known as “hocket.” chorale hocket. Each instrument is ampli - In this way, although the chordsticks fied using piezo pickups and will have eight sound very similar to the electric guitar, the double-course strings tuned to two har - composer actually uses a common percus - monies. With the use of dulcimer mallets, sion performance technique that is espe - the quartet players can easily sound either cially prominent in music from Africa and harmony, or play individual strings, Bali. We initially experimented with #2 melodies, and drone tremolos. There are pencils to strike the strings until a better an alto, two tenors, and a bass instrument implement could be found, but that turned which can play fretted chromatic bass out to be just the right tool! lines. With these elements as well as a few pieces of auxiliary percussion—bass The most unique instrument is the bass drum, wood block—the work is about 30 chordstick that Josh Quillen plays, which minutes long. possesses one bass string with frets built —Bryce Dessner into the frame. Dessner composes several important sections of the piece to take This work has become one of our most advantage of the melodic possibilities of popular concert pieces. It demonstrates an this bass string, which satisfyingly turns evolving and important part of our group the usual melody/accompaniment arrange - philosophy, which is that “percussion” is a ment of high and low voices upside-down. style of engagement and an attitude more than an instrument category. The newly One of my favorite aspects of this perfor - invented instruments (called “chord - mance is that we decided to forgo any elec - sticks”) that Dessner created for this piece tronic effects such as distortion or delay, stretch that premise for us, because they electing instead to explore the percussion - are essentially string instruments. ist’s toolkit of sound-making. In this way, our pencils could strike with the metal When we perform it, we usually stick eraser-holding end for a sharp sound, and around afterwards to do a “show and tell” also be turned around to a soft Moleskine with audiences (tonight it will be during the wrapping on the other end for a warm intermission). They are invariably fasci - sound. At several points we bow the instru - nated by the mechanics of the chordsticks, ment (this was actually the hardest part to which we play in a manner most similar to get the hang of), or turn the bows over to a hammered dulcimer or cimbalom. Where play with the legno (wooden) side. We many string instruments like guitar or violin found that smaller bows built for children are designed with capabilities to play a full obtain the best sound from the strings. spectrum of pitches alone, the chordstick —AS is purely an ensemble instrument. Each register of strings is tuned to a fixed chord the so-called laws of nature for the duration of the piece, and the pitch David Lang (b. 1957) of those strings can only be altered by an “The whole modern conception of the octave with the damper in the middle of world is founded on the illusion that the so- the instrument. called laws of nature are the explanations of – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION natural phenomena. Thus people today stop themselves. Some of the patterns at the laws of nature, treating them as between the players are displaced in time. something inviolable, just as God and Fate Some are on instruments which have a were treated in past ages. And in fact both kind of incoherence built into their sound. were right and both wrong; though the view Does the music come out of the patterns of the ancients is clearer insofar as they or in spite of them? I am not sure which, have a clear and acknowledged terminus, but I know that this piece is as close to while the modern system tries to make it becoming a scientist as I will ever get. look as if everything were explained.” —David Lang —Ludwig Wittgenstein, Tractatus Logico-Philosophicus When we were students at Yale, one of our original members received a grant to I went to college to study science. I was pursue further educational enrichment. He expected to become a doctor, or at the decided to use it to help S o– commission a very least a medical researcher, and I spent new work. We approached David Lang, very much of my undergraduate years who said bluntly, “you either have enough studying math and chemistry and physics, money for me to write you a very short hanging out with future scientists, going to work or a very long one.” their parties, sharing their apartments, eavesdropping on their conversations. I When Lang explained his reasoning, it remember a particularly heated discussion started to make sense: Most professional about a quote from Wittgenstein: “At the new music groups at the time were busy basis of the whole modern view of the premiering many pieces, and it would be world lies the illusion that the so-called difficult to write the kind of huge work he laws of nature are the explanation of natu - had in mind unless the ensemble had a ral phenomena.” This quote rankled all us crazy work ethic and loads of time to devote future scientists, as it implied that science to it. As graduate students, we had both. can’t explain the universe but can only offer mere descriptions of things Lang imagined a new kind of percussion observed. Over the years it occurred to me quartet, written in homage to Drumming , that this could be rephrased as a musical that would spark the entire category of problem. Because music is made of pro - pieces we are celebrating in this Lincoln portions and numbers and formulas and Center Festival series. The scale of the patterns I always wonder what these num - work—about 36 minutes long—results bers actually mean. Do the numbers them - partially from the unfolding of “gradual pro - selves generate a certain structure, creat - cesses” inspired by Reich. ing the context and the meaning and the form, or are they just the incidental byprod - Much of the so-called laws of nature ucts of other, deeper, more mysterious depends upon perceiving the four players processes? My piece the so-called laws of as reflections of each other. The first nature tries to explore the “meaning” of movement calls for woodblocks to be various processes and formulas. The indi - crafted and tuned, but not to a scheme of vidual parts are virtually identical—the per - keyboard tones such as A-flat or C. They cussionists play identical patterns through - are tuned relative to each other, such that out, playing unison rhythms on subtly dif - each player’s top three notes are identical ferent instruments. Most of these instru - to every other player, but as the bottom ments the performers are required to build four blocks get larger with each player, – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

they also get larger respectively down the line. This means that players one and four July 29 Métaux, from Pleiades will have the same top three notes, but Iannis Xenakis (1922–2001) there will be a substantial range of size and Iannis Xenakis’s work had a seismic impact pitch between the lower four notes. on the percussion repertoire. He is one of many composers in the 20th century who The entire first three minutes of the first used percussion as an avenue for a boldly movement of the so-called laws of nature new kind of music, one that frequently is played in perfect unison. Because of the explores time and space as scientific vari - tuning scheme, many different high and ables. For some listeners, that mode of low pitches will be contained in those creation was (and still is) jarringly antitheti - unisons. About a quarter of the way cal to the emphasis on personal expression through the movement, sequences begin and the imitation of the human voice that to activate where players split off from dominated 19th century music. each other, but always joining or leaving a pattern related to another player. These As a Greek, Xenakis aligned himself not moments of change can be thought of as only with modern radical impulses, but also behaviors, a kind of musical game of “fol - with the rich vein of rationalistic thought low the leader.” that stretches back to the ancient Greek philosophers. To him, devoting oneself to The second movement, for tuned metal understanding the mathematical laws of pipes and drums, places the performers in nature and probability was exceedingly permanent stasis, fractions of a second humanistic. He theorized extensively in his apart using the technique of canon. As the book Formalized Music about how we players stand in profile, this heightened might understand sound and its underlying version of “Row, row, row your boat” patterns both inside and outside of listen - builds in complexity for 12 minutes. ing in time.

The third movement, for tuned flower pots, Like most European composers of his gen - teacups, bells, woodblock, and guiro, is uni - eration, Xenakis was deeply affected by his son throughout. Importantly, the tuned flow - experience during World War II. He suf - erpots do alternate pitches among the play - fered a dramatic disfigurement from a ers, so that a ceaseless chorale animates British tank shell in 1944 that destroyed his the entire movement. It might seem left eye and damaged his face. One of his strange to compose a quartet as four unison most arresting descriptions of his own performances of a solo composition, but music draws on this experience in a strik - there is a careful and breathless drama in ingly matter-of-fact way: the fragility of watching the performers nav - igate such delicate instruments in this way. Everyone has observed the sonic phe - nomena of a political crowd of dozens Each of the commissioned works in our or hundreds of thousands of people. series comes after t he so-called laws of The human river shouts a slogan in a nature , which sets a precedent and an uniform rhythm. Then another slogan identity for these kinds of large scale springs from the head of the demon - pieces for percussion quartet. stration; it spreads towards the tail, —AS replacing the first. A wave of transition – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

thus passes from the head to the tail. ways in which percussion composers dis - The clamor fills the city, and the inhibit - tinguish the sound world of their music. ing force of voice and rhythm reaches a climax. It is an event of great power and Sixxen is made of metal, and its sound beauty in its ferocity. Then the impact closely resembles that of a Balinese between the demonstrators and the Gamelan orchestra. As with the wooden enemy occurs. The perfect rhythm of planks in David Lang’s the so-called laws of the last slogan breaks up in a huge clus - nature , the metal keys are tuned to more of ter of chaotic shouts, which also a general scheme rather than specific spreads to the tail. Imagine, in addition, notes. One of the key components is that the reports of dozens of machine guns they are tuned intentionally very close to and the whistle of bullets adding their each other from one player to another, but punctuations to this total disorder. The not exactly the same. These small varia - crowd is then rapidly dispersed, and tions in micro-tuning mirror the molecular after sonic and visual hell follows a det - changes that ripple throughout the piece. onating calm, full of despair, dust, and death. The statistical laws of these A listener might notice that many events, separated from their political or moments of Métaux carry a sense of con - moral context, are the same as those of fusion and density, while others seem the cicadas or the rain. They are the monolithically unified. This is part of the laws of the passage from complete appeal and impact of Xenakis’s music, and order to total disorder in a continuous or from the quote above, it is not hard to see explosive manner. They are stochastic that it is all by design. laws. —AS — from Xenakis’s Formalized Music Proximity Xenakis was fascinated by the idea that Cenk Ergün (b. 1978) unpredictable individual elements like a proximity of attack to attack human being or a molecule were still subject proximity of attack to decay to forces that affected the behavior of large proximity of decay to decay groups in predictable ways. Actually his pri - proximity of frequency to frequency mary training was in engineering and architec - proximity of reiteration to reiteration ture, and he lead a consequential career in the proximity of microphone to monitor Atelier of the French architect Le Corbusier proximity of microphone to instrument while developing his musical theories. proximity of instrument to monitor proximity of instrument to instrument His great percussion sextet Pleiades pro - proximity of instrument to player vides a thrilling illumination of these theo - proximity of player to microphone ries. We chose the Métaux movement for proximity of player to monitor our Lincoln Center Festival concert proximity of player to player because in it Xenakis calls for the con - proximity of player to listener struction of an entirely new instrument proximity of listener to instrument called Sixxen (six players + Xenakis). Many proximity of listener to microphone of the works in our Trilogy series call for proximity of listener to monitor either invented instruments or new combi - proximity of listener to listener nations of objects. This is one of the primary proximity of proximity to proximity —Cenk Ergün – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

All of the works written for us fall some - The cast: a turntable spinning vinyl with where on a spectrum between utilizing the fuzzy, crackling remains of some old very specific sounds and imagining cate - sounding fiddle tunes; virtual metronomes, gories of sound. David Lang calls for clicking relentlessly, but reset by striking wooden blocks, but the performers are raw chunks of wood; re-purposed golf given enormous leeway in what kind of video game controllers (joysticks with pull- wood to use, how high or low the pitch is, strings, or “tethers”); a huge bass drum or how large the spread from one player to with speaker drivers attached, performed another might be. Bryce Dessner, on the with hand-held microphones, the resultant other hand, calls for one-of-a-kind instru - feedback tuned via digital filters to the key ments. It is literally impossible to perform notes of a well-known Bach Prelude; diffi - his piece properly without them. cult drum machines; four virtuoso and highly imaginative percussionists. Cenk Ergün’s work Proximity veers towards the specific. It is a gorgeous, We begin with the crackle and fuzz of a focused, meditative piece that consists needle dropping on vinyl, in five acts of entirely of metals: vibraphones, cymbals, varying lengths and natures. bells, tam-tams, and more. Cenk rum - maged through our studio in Brooklyn cat - Composing for (I really should say “with”) aloguing and sampling our exact instru - So– Percussion is an incredible pleasure. ments. As Cenk was born and raised in Their collaborative and adventurous spirits Turkey, the languorous sonic environment (not to mention their sheer musical abili - that he conjures up with these is directly ties) are awesome. In the past, I’ve had related to that upbringing. When listening the privilege of actually performing my to Proximity, listeners can turn off the part own music with them; I don’t join them of their brain that seeks argument or reso - here on neither Anvil nor Pulley, but a dop - lution from music, and focus instead on pelganger of sorts, in the form of a the sensual nature of sound. turntable, sits in. —AS —Dan Trueman neither Anvil nor Pulley “Electronic music as such will gradually die Dan Trueman (b. 1968) and be absorbed into the ongoing music of Unlike the anvil or the pulley, the computer people singing and playing instruments.” hides its purpose—to strike or yank will —Steve Reich, 1970 only break. What is this “tool” we call a computer? It is surely not really about com - I think the key phrase in this quote from putation, and what does it offer us as Steve Reich is “as such.” While his asser - musical beings? neither Anvil nor Pulley is, tion is debatable, it has largely come true. In in short, a wordless musical epic that 1970, when he incorporated this aphorism explores the “man”/machine relationship into a series of predictions about the future in the digital age. Are there musical places of music, electronic music was a fixed we can travel to or musical buildings we medium. With the advent of magnetic tape can construct with this tool that were around the time of World War II, composers impossible—even for us to imagine—with even started referring to their creations in its predecessors? this field as concrète . This was actually one of its benefits! For centuries music could – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

only be transmitted via oral tradition and 120bpm contains a simple premise that is notation. In this sense, an indication of how laden with possibilities: If the percussionist somebody should go about making sound strikes a note that triggers a metronome, was possible, but the sound itself could that pulse will be rigid and fixed. But if four never be preserved. With the advent of players strike them at different times, each recordings, sounds could be preserved, but of their fixed pulses will be scattered with magnetic tape they could be manipu - according to human timing. This creates a lated. This opened up a whole world of pos - considerable musical challenge for the sibilities for composition and assembly. ensemble, because it requires the per - Now composers weren’t working with sym - formers to develop machine-like execution bolic representations of a sound—they were at precisely the same tempo. If the hocket - working with the sound itself. ing notes aren’t timed correctly, a wonky off-kilter rhythm will result. From the com - For a composer like Reich, the evident poser’s point of view, this is also an oppor - weakness of this fixed medium was that it tunity, because it means that the rhythms cut out one of the most fun parts of music can be wonky and off-kilter on purpose, making: the people! Making fixed works of creating a stark contrast with the (hope - electronic music has not died at all, but fully) perfectly square notes. new technology has enabled fascinating ways for musicians to use and even inter - Somehow, Trueman also figured out how act with it. to hack into video game joysticks, tethers that snap back into place when released. Dan Trueman embodies this duality in a We use these as dynamic sound con - striking way. On any given day, he is as trollers towards the end of 120bpm, a likely to code the software for a new digital steady chorale over the relentlessly reduc - instrument as to snatch his Norwegian ing rhythms of the machine. Hardangar fiddle off its peg on the wall and compose tunes for it. Ultimately, all of the Feedback is a kind of simultaneous homage electronic instruments he creates are sub - to Karlheinz Stockhausen, J.S. Bach, and sumed into “the ongoing music of people Jimi Hendrix. Our concert bass drum is con - singing and playing instruments,” rather verted into a noisy amplifier, much in the than existing just as a set of instructions for way that Stockhausen’s Mikrophonie filtered the computer to execute. resonance from a giant tam-tam (this was an intentional reference on Trueman’s part). In Trueman’s work neither Anvil nor Pulley this case, our laptops actually take the micro - throws down the digital/human gauntlet in phone feedback and squish it into cycling a way that peculiarly suits So– Percussion’s harmonies from the C major prelude of book approach. In similar fashion to David Lang’s one from Bach’s Well-Tempered Clavier. the so-called laws of nature , it explores the outer reaches of both mechanical alienation But “feedback” isn’t only a microphone and human intimacy. The computer pro - trick: It’s a process that can execute on grams that he developed for both 120bpm multiple levels. Two drum machines begin and Feedback are strikingly innovative on a cycling rhythms back in on themselves, technical level, but that aspect is always counting down, over and over again. Jason submerged into an aesthetic purpose. Treuting is tasked on the drumset with keeping track of these asymmetrical cycles – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

and playing along with them. In his playing A third concept … is to eliminate sounds of the man and the machine begin to rip each determined pitch from music. Or, in other other apart: As the algorithms spin faster words, to write pieces for percussion instru - and faster, the human tries desperately to ments alone. This idea seems to have been keep up. All the while, the bass drum feed - propagated mostly in this country the U.S.A.; back continues to escalate… in fact, I have seen whole programs made up only of percussion music. However interest - After Trueman constructed these two ing the use of rhythmic and other devices, I movements, he realized that he had, in a think it is nevertheless a rather monotonous sense, created a monster. Some relief for experience for the listener to sit through a the listener was needed. He crossed his program made up exclusively of percussion home studio from the computer console to music. This is my feeling despite my high the stacks of fiddle tunes that he had been personal interest in the exploitation of per - compiling and writing for years. These cussion instruments in various new ways. pieces, coming as they do out of unwritten —Béla Bart ók, 1943 folk traditions, express odd and unusual performance ideas. The neat binary world These conflicting statements by two major of computer language would never create composers of the twentieth century high - something as lopsided as the “springar” light one of the great rifts in contemporary Norwegian dance meter, where each beat discussions about music: What do we do is a slightly different length than the last. about noise? “Noise” in this case refers These fiddle tunes can’t be quantified; they not only to sounds that are loud or irritating, must be felt. We orchestrated them for our but more broadly to any that do not corre - own resources: steel drums, vibraphone, spond with a tone on the piano keyboard drumset, crotales, and melodica. (A, B, etc.). The history of how we arrived at tuning those keyboard tones is fascinat - Ultimately, our interaction with technology ing: They are compromised tunings, creates both opportunities and perils. The designed to create a symmetrical and flex - great debate about how machines affect ible instrument that can modulate to differ - our humanity has now muddled into alerts ent keys. Since J.S. Bach’s time, our musi - and notifications that remind us of our con - cal discourse has revolved almost entirely stant attachment to them. Artists will con - around how to use them. tinue to probe, articulate, and question that evolving relationship. The role of the percussionist in Western —AS music has long been to provide punctuation, color, and rhythmic drive. Within certain July 30 bounds of taste, composers employed Third Construction noise to enhance their ambitious works. But John Cage (1912-1992) it was taken for granted that for any piece of Percussion music is a contemporary transi - music to have real legitimacy and sub - tion from keyboard-influenced music to the stance, it must consist of melodies and har - all-sound music of the future. Any sound is monies derived from the keyboard tones. acceptable to the composer of percussion music; he explores the academically forbid - When, in the early 20th century, Arnold den ‘non-musical’ field of sound insofar as Schoenberg took the seemingly radical is manually possible. step of systematizing the way the twelve —John Cage, 1937 tones were used in modern composition – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

and breaking away from the traditional har - Cage achieves this in an ingenious way: monic framework, he left this assumption Instead of taking a tiny kernel motive and of tone-based thinking completely intact. It expanding its possibilities outward was John Cage, a student of his in (Beethoven’s “duh-duh-duh-duuuuuuuh” California, who took the most assertive opening from his Fifth Symphony is an iconic step towards an all-encompassing world of example), he starts composing by deciding “organized sound,” an approach to compo - upon an outer shell: twenty-four sections of sition that embraced the world’s chaos and music consisting of twenty-four measures stillness altogether. each, which creates a kind of square-root or fractal pattern. By determining this sturdy As happens with most artistic break - structure, he can add noise into the compo - throughs, this idea was already in the air. sition without each sound needing to justify The Italian Futurists glorified the grinding its own existence as a cause or effect of cacophony of the industrial age decades other sounds; it can be just sound, and the earlier, and Edgard Varèse imagined music piece will still hold together. as massive sound objects colliding with each other, attracting and repulsing like For instance, a shaker can be composed celestial bodies. In 1931, Varèse pre - inside the shell structure to provide a ner - miered Ionisation , an elegantly assembled vous layer of noise for eight measures, pul - but raucous collection of sirens, drums, rat - sating on each bar, without justifying what tles, and bells. This important early work the purpose of its existence might be for for percussion ensemble articulated a new the goal of the piece. The shaker sound insight that Bartók casually dismissed: takes up time and space, making noise, and Percussion was not only an extension of that is its justification for being in the colors and exotic flavors that comprised a scheme. But we can be assured that it will new niche group of instruments. It repre - not go on shaking forever, because the sented, as Cage famously claimed, “an larger section will have 16 more measures artistic revolution.” no matter what. I don’t want to leave the impression that Third Construction is static Along with my colleagues in and does not build or climax—it does in the So–Percussion, a quartet that I have per - most spectacular way. However it owes its formed in since 2002, I teach a course at existence more to a carefully planned sub - Princeton University to PhD composition division of sections and rhythmic ideas than students on writing for percussion. We would any tonal piece (which relies on har - always begin the semester by examining monic resolution for structure, not time). Cage’s Third Construction from 1941, a work written for a fantastic variety of per - Cage is most famous for his provocative cussion sounds that, in my opinion, is his 1952 “silent piece,” most commonly greatest feat of craftsmanship. We do this referred to by the duration of the premiere because some composers have not yet performance: four minutes and thirty-three tried their hand at building a piece of music seconds. His great insight in compos - without using tones as the primary organiz - ing 4’33” was that the one indispensable ing element. Cage’s work is so dazzlingly element of music was not melody, harmony, brilliant that it is hard to deny that he has or even necessarily rhythm, but duration. created something more than a novelty out Sound must exist during a span of time, and of purely rhythmic and coloristic elements. that is all. The duration of the piece is also its – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

structure, much like the 24x24 measure Bell Labs in the 1960’s, the computers structure of Third Construction . were “as big as this room and less power - ful than your cell phone,” as he told an In 4’33” , the performer indicates the begin - audience of our Summer Institute students ning of the piece, and then does not make who were sitting in a very large room. any intentional sound, incorporating only a few more visual gestures (like the opening I highly recommend reading Paul’s keynote of a piano lid) to indicate sectional divisions speech from a recent ICMC (International of the work. Of course, no performance Computer Music Conference). For a younger space is completely silent, and so diverse person or percussionist who only knows combinations of sound permeate the space Lansky through his acoustic of the work (audience coughing or snicker - compositions, this speech provides a power - ing, air conditioner vents, outdoor sounds). ful sense of where he is coming from and his place in the last 50 years of music history. Third Construction was composed eleven years earlier, so it is not quite as radical Paul wrote Threads for us in 2005. When (Cage’s output seems only to get more dar - So– searches for composers to write per - ing and abstract over the years). Its noises cussion music, we consider many factors, are more controlled and intentional. Of but the most powerful is our desire to find course, there is still a lot of variation a voice that speaks naturally through per - between different interpretations of what cussion instruments. As a result, we some - rattle or shaker should be used, but at least times find ourselves off the beaten path of the noises are composed on paper in mea - contemporary chamber music. There are sures and beats, which makes them easier many wonderful composers out there, but to compare to other music from the percussion has a special voice. notated past. —AS We approached him to write for us after a concert of student pieces that S o– per - Threads formed at Princeton in 2004. He was hesi - Paul Lansky (b. 1944) tant at first, saying that he “had never actu - My first exposure to any of Paul’s music ally written for percussion before.” We was unwitting, as I’m sure it has been for protested that three decades of computer many people: the gnarly, distorted portion pieces said otherwise, especially his of Mild und Leise that Jonny Greenwood work Table’s Clear . found in the back of a record shop and pasted into Radiohead’s Idioteque from Kid In fact, many of our favorite percussion com - A. I was astounded to learn years after Kid posers were heavily involved in electronic A came out that this loop was actually the media (Cage, Reich, Xenakis). We thought tiniest passing chunk of an 18-minute long that Paul’s work with algorithms and com - computer piece from 1973 based on puter processing might yield fascinating Richard Wagner’s “Tristan chord” (and results. The conversation went something making reference to one of his most like: “If you write interesting music on four famous bits of music). lines, we’ll help you figure out what instru - ments to put it on.” To talk to Paul about the evolution of com - puter music is to hear its entire history: Paul came out to our studio the next year When he was working at Princeton and with a series of ten etudes in hand, explor - – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

ing toys, melodic instruments, and drums. There were no exotic rituals or virtuosic dis - We talked about timbres, limitations, and plays; just rolling vibraphone harmony and a all of the issues inherent in playing acous - chorale for glockenspiel and metal pipes. tic instruments with human hands. He was a voracious student of the medium. If you play or listen to Threads without Interestingly, he carried none of the bag - encountering Paul’s computer music, you gage that a life-long percussionist has...to will certainly enjoy it, but it’s more difficult us, sleigh bells meant Leroy Anderson’s to appreciate how hard-won those beauti - “Sleigh Ride,” while to him they sounded ful melodies are. His journey as a young quirky and interesting. composer began in the studios of Milton Babbitt and George Perle, steeped in the Astonishingly soon after this workshop I intoxicating complexity of post-tonal music. travelled down to Princeton to see what he And yet that journey continues, after had come up with. I sat mesmerized in his numerous achievements, with recitatives studio as he played a continuous 30- for glass bottles and heartfelt arias for minute, ten movement piece for me. He metal pipes. kept looking up as if to ask “is this any —AS good?” I was spellbound. Threads quickly became a staple of our touring repertoire. It Is Time In my opinion, it stands toe-to-toe with Steve Mackey (b. 1956) pieces like Cage’s Third Construction in It Is Time marshals the virtuosity of the defining what percussion chamber music individual members of S o– to speed, slow, can be. warp, celebrate and mourn our perceptions of time. Each of the four sections of the When we coach young ensembles that are piece is a mini concerto for one of the play - playing Threads, the first question we ers. First Eric Beach leads the music in a always ask is “have you heard any of Paul’s multi percussion set up composed of computer music?” The answer is almost metronome with delay, pump organ, bells, invariably “no.” At which point, we ask the china cymbal on hi-hat stand and a few students to hang out for 20 minutes or so other assorted toys. Josh Quillen follows while we play excerpts of Table’s Clear, on steel drums, Adam Sliwinski on NotJustMoreIdleChatter, or The Sound of marimba, and Jason Treuting on drumset. Two Hands . The piece draws its inspirations from vari - Edgard Varèse wrote percussion music par - ous sources including my admiration for So– tially because he could not yet realize the Percussion, the inscrutable grooves of the electronic music he was hearing in his Latin drummer, Horatio “el Negro” head. Lansky pulls a sort of reverse-Varèse Hernandez, the rhythm of a bouncing ball move: What might have been ideal material and ultimately the fact that the last ten for synthesized sounds is now converted years went by much faster than the previ - into bottles, ceramics, and sleigh bells in ous ten and there doesn’t seem to be any - the fifth movement and throughout. thing I can do to slow that down. Sure there are timeless moments here and there but In that session with Paul, my excitement the decades speed by … or maybe I’m just grew with each passing moment. It was more patient than I used to be. obviously a terrific piece, but as the last —Steve Mackey movement began, a chill ran up my spine. – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

In S o–Percussion, everything is equal. We I still have the list of instruments that I sug - make artistic decisions by consensus, gested. For each one I wrote a little everybody has the same vote, and we do description and recorded myself playing it our best not to present the group as having for about a minute. He used almost all of any hierarchy. A lot of our repertoire fea - them: glass bottle, china cymbal/hi hat, tures this same dynamic, even to the point Estey child’s organ, frame drum, where each of us plays identical instru - metronome, Noah bells, and small bells. I ments in layers of complexity (Reich, Lang, also recorded a little concertina, some other Xenakis). It Is Time is designed to break the drums, and a stack of poker chips—those pattern of anonymity within our music, three things were the only instruments I while still setting us all on equal footing. sent him that didn’t end up in the piece. In order to do this, Steve Mackey sat us down over barbecue and asked a simple Estey Organ: This is a bellows reed organ question: “What instrument do you want that was made by the Estey Organ com - to play?” This is perhaps a question that pany in Brattleboro, Vermont. only composers writing for percussion get to ask in this way. It burrows to the heart of China Cymbal/Hi-Hat: This is a simple our individual identities as musicians, prob - setup of a hi-hat made up of a china cym - ing not only what skills we have in com - bal on top and a mute on the bottom—in mon, but also what makes us unique. We this case, the mute is actually a smaller each answered differently, and he struc - cymbal that is wrapped in a few towels. tured the piece around those preferences. This not only brilliantly provided him with a Musical Saw: This is the one complete jumping-off point for the composition, it instrument that Steve asked me to learn also ensured that the performers would be how to play from scratch. He toyed with maximally invested in the process. The fol - the idea of a theremin as well, but his first lowing is an account, by each of us in turn, inspiration was the saw and I agreed to of our collaboration with Mackey on the learn how to play it. making of It Is Time. —AS Frame Drum: This is a standard frame drum mounted on a snare drum stand so Movement I: Metronome that I can play it with one hand. Working with Steve on It Is Time was a huge challenge for me, and it really helped Metronome: This is an analog Wittner that Steve was interested in true collabora - metronome that I amplify with a contact tion. I didn’t have a strong idea going into microphone and run through a digital delay the project about what specific instru - pedal. ment(s) to play, and I was worried that he wouldn’t be inspired to do anything inter - Noah Bells: These are simple copper bells esting if I didn’t already have an idea for that traditionally come from India or Pakistan. him. But the discussion with Steve about what exactly to write for inspired him in a Wine Bottle: This is filled with an amount of different way than would have been possi - water that tunes the bottle to a specific pitch. ble otherwise. Small Bells: These are traditional celebra - tion bells from India. —Eric Cha-Beach – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

Movement II: Steel Drums of tune and beat up, but on a whim I called What struck me the most about Steve’s the tuner I was using to ask him if he could way of learning the steel drums was his tune the entire pan back into shape, but desire to hear me play the way I naturally just leave the whole thing a quarter tone wanted to play. He was curious about my sharp of A440. His response was, “well, I’ll idiosyncrasies as a player because this was just set the strobe tuner a quarter tone an instrument he had never written for. I sharp and roll with it.” When I got the pan often wonder: If he had written this for back, it sounded in tune with itself, but as another steel drummer, would it have soon as I put it with the newer lead pan turned out completely differently? Maybe it (tuned to A440), a whole new world wouldn’t be different at all, but once the opened up. It doubled the amount of notes music starting arriving via email bit by bit, I Steve could write for between middle C found that it challenged me like no other and the F above the treble clef staff. music written for the steel drum, while at the same time, somehow, showing clearly As a player, collaborating with Steve how I should make it my own. Steve strove Mackey on It is Time pushed me to aug - to push me as a player to interpret his ment my already existing skills as a steel music the way I would Calypso music, and drummer in ways I would have never it meant a lot that he was being so thought - dreamed. He is an endless reservoir of wild ful about tradition while writing incredibly ideas that seem to have no filter at first difficult music. glance, but on second look are masterfully crafted innovations and a thoughtful flush - Along the way, I expected to have to tell ing out of brilliant ideas. Steve that things needed to be rewritten —Josh Quillen so they would flow better, but his thought - ful obsession about what he was writing Movement III: Marimba kept me from having to do that. He had dia - By the time the first two movements were grams of my instruments at home so he sketched out, Steve realized that It Is could slowly “play” every note he was Time was approaching epic proportions, and writing. If he could play it slow, then in his its story was turning darker. His meditation mind, I could play it fast. Well, it worked! on the concept of time had lead him to a more melancholic place, where exhilaration Writing for the steel drums is difficult, but at the thought of controlling and harnessing it the two of us broke new ground together, also revealed its indifference and inevitability. coming across something that I am sure doesn’t exist yet elsewhere in the steel I was thrilled that Steve would throw this drum world. Steve started asking me if I kind of challenge at himself in a percussion could re-tune metal bowls to have a few of piece. My favorite moments in S o–’s work the higher lead pan pitches detuned a bit happen when a composer finds these by a quarter tone (i.e., microtonally spaces for introspection: sometimes ele - detuned). I did mess around with a few of giac, often conflicted. Each one seems to the bowls, but the setup started to get a lit - take the creator by surprise. I’m thinking tle unwieldy to deal with, and they just especially of the flower pots and teacups in didn’t sound as good as the steel drum. It David Lang’s the so-called laws of nature , occurred to me that I had an older the final Chorale Prelude in Paul Lansky’s “Invader” style lead pan. It was really out Threads , and the second movement of – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

Steve Reich’s Mallet Quartet . Some of around, placing little dinosaur wind-up toys Jason’s music from amid the noise is all over the stage. It’s chaotic, distracting, unbearably melancholic to me, precisely and frankly takes a bit of attention away because it isn’t exactly. from the soloist. To my mock-dismay, it was also pitch-perfect, exactly what the The third movement of Is It Time begins movement needed. After all, the music with the simplest gesture: a bouncing ball, that I’m playing is not in any sense about releasing its potential energy with a burst me. Gravity and nature are indifferent to of optimism, but always returning to rest. our need for attention, which is why we Steve wanted “time”—such as it is here— hold them in awe. to come to a screeching halt at the —AS beginning of this section. What had built up Movement IV: Drums into a huge menagerie of instruments and I first heard Steve Mackey play electric gui - colors is now reduced to the solo tar on a concert of his music as an under - marimba: a quiet roll on one note that barely graduate student at the Eastman School of erupts into the first bouncing ball. For a Music. I was a double major at the time, while, this single gesture repeats: winding studying classical percussion and drumset. I down, restarting, over and over again. While checked out Steve’s show and didn’t quite Steve and I were working together, this was know what to make of it. It was mostly com - straightforward enough, as learning to con - posed music, but had a feel of discovery and trol the natural bounce of a stick is one of freedom in the moment. So when I met the first things that a percussionist has to Steve five or so years later at the Yellowbarn do. But he wanted to take it further. How Chamber Music Festival, I begged him to could we create polyphony, the perception improvise with me in the evenings when of overlapping wind up and release? the long rehearsal days were over. During those sessions, I really got to know him as He wondered if notating gestures with gen - an electric guitarist and improviser before eral overlap indications would be effective. knowing him as a composer. Not trusting my own ability to be convincing with that, I told him how much I admire the I have long been anxious about working way composers like Xenakis use precise drumset into S o–’s chamber music, because notation to achieve chaotic results. In the in my opinion it rarely succeeds in that end, he decided upon a way of notating the medium. The drumset is essentially a folk gesture as an accelerating rhythm, so that instrument to which each player is an overlapping gesture could be placed any - expected to have a unique approach. where, worked out for performance as a Attempts to codify it through standard complex polyrhythm. Paradoxically, this kind notation tend to squash that uniqueness. of detailed execution frees the performer And when the drumset is used to obliquely from his own tendencies and limitations. reference the popular styles that it has Often as an artist you want to celebrate come to define (jazz, blues, R&B, funk, those personal tendencies, but in this case rock, Latin jazz styles, etc.), things can go we needed an impersonal, inevitable force. drastically wrong.

His final touch took me completely by sur - I didn’t have these fears with Steve. It prise. While I toil away at my fateful ges - didn’t cross my mind to shy away from tures, the other members of the group rise drumset: We knew each other very well as up from their instruments and start walking players and he knows the instrument(s) – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

very well as a composer. In this sense, can take two steady beats and turn them much of the work was already done. The into a longer and shorter beat and thus time needed for a composer and performer warp the groove. to feel each other out and discover what is possible had happened over and over again For the second, Steve references common each time we played together. So, now Latin patterns from cowbell and clave play - was the time to feel out which direction to ing to serve as warp-worthy grooves. In the choose from the many we knew were pos - drumset music that I play, he composes sible. I wasn’t quite prepared for the new these patterns and their variations in all rhythmic language he would innovate and four limbs—my left foot alternates how fascinating it would be to learn to between a pedal cowbell and hi-hat— translate that to the drumset. which shift back and forth between warped and “straight” settings. In the fourth movement, steady time is bent and warped. In the many improvisations and Many great drummers warp groove and little pieces Steve and I made together, we play around with time as an expressive tool often explored the limits of how malleable in their improvisations. Steve embraces groove can be, especially in duo situations. this sensibility, but he mixes it with the But in the case of a quartet, where a larger craft of a composer who methodically group is tasked with bending and warping develops musical ideas throughout a piece. together, a common reference is needed. When the drum set is incorporated into Steve chose two angles to explore. contemporary chamber and orchestra music, it is usually a more static element The first looks back to the analog for other things to develop against, but in metronome that was so central to the first this movement, he gives the drumset the movement. In this last movement, the ability to take themes, both rhythmic and steadiness of the metronome is warped by melodic, and develop them as the driving physically tilting it on a block. Steve and force. That is not common and not so easy. Eric discovered that if you set the —Jason Treuting metronome at just the perfect angle, you – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

Yarn/Wire is a New York –based percus - About the Artists sion and piano quartet composed of Ian Antonio and Russell Greenberg (percus - So– Percussion, which has redefined the scope of the modern percussion ensem - sion) and Laura Barger and Ning Yu (piano). ble, made its Lincoln Center Festival debut Founded in 2005, the ensemble is admired in 2007 in two collaborative concerts with for the energy and precision it brings to the electronic duo Matmos, then returned performances of today’s most adventurous music, and is dedicated to expanding the in 2010 for Varèse (R)evolution, a celebra - tion of the music of Edgard Varèse. The repertoire written for its instrumentation, ensemble’s repertoire ranges from “clas - through commissions and collaborative ini - sics” of the 20th century, by John Cage, tiatives that aim to build a new and lasting Steve Reich, Iannis Xenakis, et al, to com - body of work. Influenced by its members’ missioning and advocating works by con - experiences with classical music, avant- temporary composers such as David Lang, garde theater, and rock music, the ensem - Steve Mackey, and Paul Lansky, to distinc - ble champions a varied and probing reper - tively modern collaborations with artists toire. Yarn/Wire has commissioned works who work outside the classical concert from numerous American and international hall, including vocalist Shara Worden, the composers, given several U.S. premieres, groundbreaking Dan Deacon, legendary and enjoys collaborations with genre-bend - drummer Bobby Previte, jam band kings ing artists. Yarn/Wire appears nationally at Medeski, Martin, and Wood, Wilco’s Glenn leading festivals and venues including Kotche, choreographer Shen Wei, and Lincoln Center Festival, where it appeared composer and leader of The National, last year. For more information, visit Bryce Dessner. S o– Percussion also com - YarnWire.org. poses and performs its own works, ranging from standard concert pieces to immersive Yumi Tamashiro (Percussion) trained as a pianist but was “converted” to percussion multi-genre programs including Imaginary by the allure of teaching high school drum - City, Where (we) Live , and the newest line. Her undergraduate 20th century endeavor , A Gun Show. In these concert- length programs, S o– Percussion employs a music history class turned her on to con - distinctively 21st century synthesis of orig - temporary music. A freelance percussion - inal music, artistic collaboration, theatrical ist based in New York City, she has devel - production values, and visual art into a oped a strong interest in performing with powerful exploration of a unique and per - electronics and visual media and collabo - sonal creative experience. S o– Percussion rates with animation artists and dancers. is the Edward T. Cone Ensemble-in- She has performed at the Tennessee Residence at Princeton University, its Theater, Kennedy Center, The Stone, The members are Co-Directors of the percus - Bohemian National Hall, and (Le) Poisson sion department at the Bard College- Rouge. She has worked on a range of pro - Conservatory of Music, and the annual S o– jects including Big Ears Festival 2014, Percussion Summer Institute (S o–SI), pro - Carnegie Neighborhood Series, Ecstatic vides college-age composers and percus - Music Festival, and Make Music New York. sionists an immersive exposure to collabo - Her repertoire includes works by Elliot ration and project development. Carter, Steve Reich, Karlheinz Stockhausen, Daniel Wohl, and Iannis – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

Xenakis, among many others. She has also Acknowledgements performed with groups such as Nexus, Music for Pieces of Wood is published by EnsembleLPR, and Mivos Quartet. She is Boosey & Hawkes . Managing Director of S o–Percussion. Her work as an arts administrator includes tour Music for Wood and Strings is published by managing, creating travel itineraries, grant Chester Music . writing, and managing logistical aspects for concerts and events. the so-called laws of nature is published by Red Poppy . So– Percussion Acknowledgments – SoPercussion uses Vic Firth sticks, Zildjian Métaux from Pleiades is published by cymbals, Remo drumheads, Black Swamp arrangement with Boosey & Hawkes, accessories, Estey organs, and Inc. , sole agent in the U.S., Canada, and Pearl/Adams instruments, and thanks Mexico for Editions Salabert , a Universal these companies for their generous sup - Music Publishing Group company, pub - port and donations. lisher, and copyright owner.

– SoPercussion Interns Proximity is published by Good Child Music . Breana Meyers Luz Carime Santa-Coloma neither Anvil nor Pulley is published by Sarah Bennett Many Arrows Music . Matthew Finch Alex Appel Third Construction is published by Edition Peters .

Threads is published by Carl Fischer, LLC .

It Is Time is published by Boosey & Hawkes .

Sound Equipment Production Resource Group

It Is Time by Steven Mackey was made possible by Carnegie Hall and the Chamber Music America Commissioning Program, with funding generously provided by The Andrew W. Mellon Foundation, the Aaron Copland Fund for Music, and the Chamber Music America Endowment Fund. – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION

Lincoln Center Festival, now in its 21st Grants and Artist program, David Rubenstein season, has received worldwide attention Atrium programming, Great Performers, for presenting some of the broadest and Legends at Lincoln Center: The Performing most original performing arts programs in Arts Hall of Fame, Lincoln Center at the Lincoln Center’s history. The festival has pre - Movies, Lincoln Center Emerging Artist sented 1422 performances of opera, music, Awards, Lincoln Center Festival, Lincoln dance, theater, and interdisciplinary forms by Center Out of Doors, Lincoln Center Vera List internationally acclaimed artists from more Art Project, Midsummer Night Swing, Mostly than 50 countries. To date, the festival has Mozart Festival, White Light Festival, the commissioned 43 new works and offered Emmy Award–winning Live From Lincoln 143 world, U.S., and New York premieres. It Center, which airs nationally on PBS, and places particular emphasis on showcasing Lincoln Center Education, which is contemporary artistic viewpoints and multi - celebrating 40 years enriching the lives of stu - disciplinary works that challenge the bound - dents, educators, and lifelong learners. As aries of traditional performance. For more manager of the Lincoln Center campus, LCPA information, visit LincolnCenterFestival.org. provides support and services for the Lincoln Center complex and the 11 resident organiza - Lincoln Center for the Performing Arts tions: The Chamber Music Society of Lincoln (LCPA) serves three primary roles: presenter Center, Film Society of Lincoln Center, Jazz at of artistic programming, national leader in arts Lincoln Center, The Juilliard School, Lincoln and education and community engagement, Center Theater, The Metropolitan Opera, and manager of the Lincoln Center campus. A New York City Ballet, New York Philharmonic, presenter of more than 3,000 free and tick - New York Public Library for the Performing eted events, performances, tours, and educa - Arts, School of American Ballet, and Lincoln tional activities annually, LCPA offers 16 Center for the Performing Arts. For more series, festivals, and programs, including information, visit LincolnCenter.org. American Songbook, Avery Fisher Career Looking Ahead: 1927’s Golem r e l l e u M

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From July 26–31, Paul Barritt and Suzanne Andrade’s 1927 comes to Lincoln Center Festival with its production of Golem, a modern recasting of the 19th century Prague tale of the man-made servant gone askew. In 1927’s production, the Golem is a wildly successful product of a tech startup, putting the story into modern context. Things start going awry when one Golem begins making unwelcome (but intriguing) suggestions to its owner. The Charleston City Paper calls Golem an “eye-ravishing extravaganza,” while the Guardian (U.K.) claims: “anyone interested in theatre must attend.”

For more information and a complete schedule of Lincoln Center Festival events, visit LincolnCenterFestival.org.