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Home , Imagine Peace Tower, Ingram Marshall, Larry Polansky, Phil Kline, Sarah Cahill, Sean Lennon

Cal Performances Presents Program

Sunday, January 25, 2009, 3pm drum no fife (Why We Need War) * Hertz Hall Polansky (B’midbar) No. 6 * A Sweeter Music Preben Antonsen (b.1991) Dar al-Harb: House of War * Polansky (B’midbar) No. 14 *

Sarah Cahill, Mamoru Fujieda (b.1952) The Olive Branch Speaks

John Sanborn, video (b.1935) Be Kind to One Another (Rag) * Commissioned by Stephen B. Hahn and Mary Jane Beddow.

PROGRAM * World Premiere

Peter Garland (b.1952) After the Wars (excerpts) * would like to thank the following individuals: 1. “The nation is ruined, but mountains and Dorothy Cahill, Robert Cole, Miranda Sanborn, Liz and Greg Lutz, Robert Bielecki, rivers remain” (Tu Fu) Margaret Dorfman, Steve Hahn and Mary Jane Beddow, Jerry Kuderna, , 2. “Summer grass/all that remains/ Joshua Raoul Brody, Skip Sweeney, Bonnie Hughes, Dave Jones Design, Margaret Cromwell, of young warriors’ dreams” (Basho) Joseph Copley and, most of all, Sanborn, the collaborator and partner of my dreams.

Larry Polansky (b.1953) (B’midbar) No. 1 * Cal Performances’ 2008–2009 season is sponsored by Wells Fargo. Frederic Rzewski (b.1938) Dances * Commissioned by Robert Bielecki.

Polansky (B’midbar) No. 17 * Education & Community Event

Yoko Ono (b.1933) Toning * Composers Forum: The Music of Peace: Can Music Be Political? Friday, January 23, 2009, 6–7:30pm Jerome Kitzke (b.1955) There Is a Field * Wheeler Auditorium 1. I Sarah Cahill and several of the commissioned composers discuss the intersection 2. Look Down Fair Moon of politics and music, especially in works without text, and what it means to write 3. Peace political music. Panelists include Larry Polansky, whose work B’midbar incorporates 4. Reconciliation American Sign Language, a Shaker hymn, and audience participation; 5. You composer Jerome Kitzke, who uses , whistling and Walt Whitman’s Civil 6. There Is a Field War poems in his contribution; and 17-year-old Berkeleyan Preben Antonsen who 7. Peace composed Dar al-Harb: House of War as a tribute to his cousin who served in Iraq. 8. A Clear Midnight Award-winning video artist John Sanborn will also speak about his video work for 9. I this project. Presented in association with the UC Berkeley Department of Music. This event is free and open to the public. INTERMISSION

14 CAL PERFORMANCES CAL PERFORMANCES 15 Program Notes Program Notes

We must see that peace represents a sweeter Listening to ’s simple and direct work are structured by the seasons—spring, summer, be about war or peace, “but preferably peace.” War music, a cosmic melody, that is far superior to that asks us to look inward for peace, I thought of autumn, winter. So there are four pieces, based on seemed easy. Almost everything I had done in the the discords of war. the calming of clouds and the many inadequate four poems (two Japanese haiku, two Chinese po- last few years had to do with it. Peace was harder. —Rev. Dr. Martin Luther King, Jr., words we use to describe peace. Listening to Peter ems). The titles of the four pieces correspond to the I started War Dances, but soon got into trouble Nobel Lecture, December 11, 1964 Garland, and reading the poems that influenced titles and opening lines of the Chinese poems; and and couldn’t go on. So I dropped war and turned his music, I created dioramas for the seasons in the cases of the haiku, the entire poems them- to peace. and sentiments that move him. Terry Riley’s rag selves. The principal musical idea in all four pieces The first six of the Peace Dances were written rowing up in Berkeley in the 1960s, I was of- brought out the mantras and mandalas of fascina- is that of sustained tones, creating a sense of echo, at the end of 2007. The seventh It( Can Be Done!) Gten confused by what the demand for “peace” tion and the progression of color and patterns that distance and ringing/fading away. These pieces are came a year later, a 100th-birthday gift to Elliott was really about. I heard people chant it, sing about are nostalgic and hopeful. Preben Antonsen’s slow more about the physical nature of the piano itself, Carter (whose name appears musically in the mid- it, yell and scream it, put it on signs and slogans descent into chaos evoked a lost sense of identity, rather than about pianistic technique. So a certain dle, overlaid with “We Shall Overcome”). Various and wear it on T-shirts. The word was ubiquitous; I and our search for personal truth. The Residents amount of virtuosic humility plus a great deal of other traditional tunes, or parts of them (Frère wondered if it could make any difference. inject a character into the piano music, and that sonic clarity are also called for; corresponding to Jacques, Siul Aruin, Die Mohrsoldaten, Taps, This Not until much later did I understand how voice illuminates the fact that our lack of peace is the simplicity of the poems and the complexity of Same Train) thread their way into the music. The powerful those voices were, and how much they personal, and that everybody is responsible for the their meanings. result is a kind of dreamlike quilt, in which hazy accomplished in the antiwar movement. violence of everyday life. Peter Garland and abstract (infantile, perhaps) ideas of peace When the began in 2003, so clearly I have designed the video to work across all float around in a maze, interrupted (in No. 4) based on lies, greed, deception, and misdirected three screens, with transitions and scale being by a rigid canon based on The Peat-Bog Soldiers revenge, I missed hearing those voices. As the war key design principles and a true triptych emerg- Larry Polansky: (B’midbar) (Die Mohrsoldaten) from the Nazi prison camps of dragged on, I kept thinking about the enduring ing from the collages and compositions. Since this the 1930s. power of protest music, from Benjamin Britten to video is meant to work within both the musical B’midbar (“Numbers”) is a set of 17 short pieces Only in No. 7 do these ideas seem to crystal- Malvina Reynolds, from Paul Robeson to Frederic structure and exist collaboratively with Sarah’s with accompanying introductory statements. The lize in a coherent way. This piece is also a tribute to Rzewski. I started calling composers, particularly performance, the time base respects that and al- pieces may be played in any order, or in any subset, Pete Seeger, whose song “Take It from Dr. King” those I knew with strong political convictions. lows the mind to drift from stage to screen, and or interspersed between other pieces. Any text may inspired the theme: “Don’t say it can’t be done/ John Sanborn responded to each new composition permits the audience to bring their own interpreta- be read before any piece. They might be read by the The battle’s just begun....” I don’t know why it took with video, and I am immensely proud to be work- tion to the experience. pianist, a friend, an audience member or anyone so long before I even realized, a few days before ing with him. John Sanborn else. The pieces are organized into three groups: Carter’s birthday, that this piece had yet to be writ- On the program tonight are 10 of these new 5–7–5, forming a kind of musical haiku. ten. Something in the air, I imagine. compositions. Another eight have either been writ- Many different formal, compositional, perfor- Frederic Rzewski ten or are yet to come: music by Paul Dresher, Peter Garland: After the Wars mance and even notational ideas are used, although , , Michael Byron, each piece explores a distinct, limited set of ideas. , , Bernice Johnson Reagon After the Wars was commissioned by and is dedi- One common theme is the exploration of “mode.” Yoko Ono: Toning and . cated to Sarah Cahill as part of her A Sweeter Music Five of the pieces are settings of songs, and one is a A Sweeter Music is funded in part by the Argosy project. The idea (I believe) was to focus on the idea round. One was written by computer, another re- Toning is a piano piece to be performed by the per- Foundation Contemporary Music Fund, Liz of peace, rather than to protest war. I have been quires the pianist to sign with her right hand while former solely for the purpose of toning and healing and Greg Lutz, Stephen B. Hahn and Mary Jane only partially successful in this regard. Because playing with her left. Several have optional parts the body and the mind of the performer. Beddow, Margaret Dorfman, Robert Bielecki, the I think war poisons all involved, victor and loser for other instrumentalists, singers and pianists. We all know about music being a strong instru- Zellerbach Family Fund and anonymous donors. alike (if there are such)—nowhere is this more ap- These pieces are written for and dedicated to ment for healing. But we create the most appealing Sarah Cahill parent than in the renewed rise of militarism in the Sarah Cahill, great pianist, even greater friend. music to entertain and please the audience. This United States since the 1980s. Therefore the only Larry Polansky has been the case from way back in the history of images of peace I can conjure up are personal (in- piano music. It was first to entertain and please the For A Sweeter Music, I created video visualizations terior) and domestic (implying a sense of renuncia- ruling classes, followed by the attempt to commu- for each of the new works. They are all unique, tion and withdrawal). Hence the emotional tone of Frederic Rzewski: Peace Dances nicate to the intellectuals. There were piano pieces with some common elements, like the use of text this music. Since there was a kind of extra-musical to entertain the working class as well. However, on screen and the energy of particle animation; theme involved, I searched for a corollary in po- The Peace Dances (2007–2008) were written for it was always to “entertain” and communicate to but the influence for each three-channel video etry, one of my frequent sources of inspiration. Sarah Cahill. They make up Book 4 of the series of the audience rather than to the performer himself comes from the music itself and the intentions of The piece or pieces were meant to be short, so I Nanosonatas, begun in 2006, of which seven books or herself. Decorative notes, and harmonies were the composers. came up with an idea from haiku, where poems are planned. Sarah stipulated that the music should added to make it more pleasing. When such music

16 CAL PERFORMANCES CAL PERFORMANCES 17 Program Notes Program Notes went into the body of the audience, the body had In 2008, when Sarah Cahill honored me by Texts for There Is a Field a hard time digesting the complexity of the com- commissioning a piece for her A Sweeter Music position, with its frills and incidentals added for project, I felt the Rumi’s time had come, and with the effect. The liver had to work overtime to -en the war in Iraq still in motion, it sadly and cer- Look Down Fair Moon joy the music with various side notes, added for tainly had. To go along with it, I chose three other Look down fair moon and bathe this scene, “beauty.” The effect of that was intoxication, not poems by Walt Whitman and came up with the Pour softly down night’s nimbus floods on faces ghastly, swollen, purple, toning or healing. It was confusing at best, if one following formal structure: On the dead on their backs with arms toss’d wide, played such piano piece for the toning and healing 1. I Pour down your unstinted nimbus sacred moon. of one’s body. 2. Look Down Fair Moon Walt Whitman Stripped of all incidental notes and enhancing 3. Peace harmonies, Toning is like organic food. No frills, 4. Reconciliation no added color. The ascending harmonies and their 5. You Reconciliation minimal connective notes, thereby, wake up the 6. There Is a Field healthy vibration of the parts of the body, while Word over all, beautiful as the sky! 7. Peace each part responds to the musical notes and har- Beautiful that war, and all its deeds of carnage, must in time be utterly lost; 8. A Clear Midnight monies necessary for its healing. That the hands of the sisters Death and Night, incessantly softly wash again, and ever again, 9. I The repeated ascendance from C to C, affects this soil’d world: and heals the body from its roots to the space be- Sarah wanted the piece to be either antiwar- or ...For my enemy is dead—a man divine as myself is dead; tween the performer’s head and the sky. This is the peace-related. I chose to combine the two notions, I look where he lies, white-faced and still, in the coffin—I draw near; beginning of healing of the planet to achieve world which clearly occupy the same ground. Toward I bend down, and touch lightly with my lips the white face in the coffin. peace. It begins with first healing the performer. that end, the first half uses Look Down Fair Moon Walt Whitman As Gandhi said: “Outward Peace is useless and Reconciliation from the Drum Taps section without Inner Peace.” of Leaves of Grass, illustrating, in part, the darker Instructions for Toning: Repeat the ascent from horrors of war. The second half uses the Rumi and There Is a Field C to high C several times while you let the sound Whitman’s A Clear Midnight from the Noon to Out beyond ideas of wrongdoing and rightdoing, vibrate inside you. For maximum effect, perform Starry Evening section from Leaves of Grass, both there is a field. I’ll meet you there. in the woods where no other human vibration can these poems being more metaphysical in nature. When the soul lies down in that grass, interrupt your performance. Listen and carefully Though different, the four poems feel all a part of the world is too full to talk about. take in each note, as the note vibrates in you. The one another. The field holding the swollen rotting Ideas, language, even the phrase each other vibration of the woods will assist your Toning. bodies in Look Down Fair Moon could ultimately doesn’t make any sense. Yoko Ono be the same one Rumi wants to take us to and that Rumi field could contain in the ground or the ground- less ether, the white-faced soldier’s body from Jerome Kitzke: There Is a Field Reconciliation, gone on to the nighttime sleep of A Clear Midnight death in the stars from A Clear Midnight. The titles One day in 2003 while riding the of sections 1, 3, 5, 7 and 9, when put together, form This is thy hour O Soul, thy free flight into the wordless, subway and feeling sick and sad about America’s the grammatically skewed phrase, “I peace you Away from books, away from art, the day erased, the lesson done, infliction of yet another war in Iraq, I spied one of peace I.” A special thanks to Sarah Cahill for see- Thee fully forth emerging, silent, gazing, pondering the themes thou lovest best. those Poetry-in-Motion ads that held a poem by ing the need and filling it. I peace her, and you. Night, sleep, and the stars. Rumi, the opening lines of which were: “Out be- Jerome Kitzke Walt Whitman yond ideas of wrongdoing and rightdoing, there is a field. I’ll meet you there.” These lines immediately calmed my war-buzzed blood and I knew I wanted to use them in a piece. But having just completed an antiwar work, The Earth Only Endures, for amplified speaking percus- sionist, I also knew the Rumi would have to wait.

18 CAL PERFORMANCES CAL PERFORMANCES 19 Program Notes About the Artists

The Residents: Mamoru Fujieda: The Olive Branch Speaks Composers music has been recorded, performed, reviewed and drum no fife (Why We Need War) written about widely, and his articles and writ- The Olive Branch Speaks is included in a series of ings have appeared in numerous publications, on The idea of dealing with concepts as challenging Patterns of Plants. The series is based on the me- Peter Garland was born in 1952 in Portland, diverse topics including theory, computer music, as War and Peace is daunting. While it certainly lodic patterns that are extracted from the data of Maine. 1970–1973: Part of the original class and American music. He is the co-founder and co- seems simple enough—War is bad and Peace is slight changes of electric potential found in living at Cal Arts. Studies with Harold Budd, James director of Frog Peak Music (a composers’ col- good—life seldom offers such concrete platforms plants. The changes of electric potential not only Tenney, Wolfgang Stoerchle (art) and Clayton lective), the founding editor of Leonardo Music from which an artiste can launch his peace seek- present the condition of the living organism but Eshleman (American poetics). Exposure to and Journal, and works actively with other musical ing missiles. Gone are the good wars—if they ever also show the transformation of the ecosystem sur- study of Javanese gamelan and shadow puppetry journal and institutions. existed—and left in their place is the gray, drab rounding the plants. In The Olive Branch Speaks, and other world musics (especially Indian). Travels His solo CDs are on the Artifact (The Theory reality of death, injustice and intolerable waste, fill- written for Sarah Cahill, the data of olive plants, throughout the western United States and Canada. of Impossible Melody, Simple Harmonic Motion, ing our lives with the noise of unwinnable wars. which I take care of in my apartment, is used for 1975–1976: First residence in Mexico, in Oaxaca, Change), Pogus, Cold Blue (Four Voice Canons) and And why? If life made any sense, we would have the composition. There are two small movements, and travels in southern Mexico and Guatemala. New World labels (Lonesome Road). His book on been wiped out a long time ago. But it doesn’t and which have unique melodic patterns. Friendships in the 1970s with composers Lou Ruth Crawford, The Music of American Folk Song, so we struggle along, embracing the battle as much Mamoru Fujieda Harrison, Dane Rudhyar, Conlon Nancarrow, is published by Rochester University Press. His as life itself. Like it or not, it’s who we are. Rejoice, Paul Bowles, Harry Partch and , which current musical ensembles include Trio (with Kui sing hosannas and pass the bottle—just don’t for- have a profound impact. 1977–1980: Second resi- Dong and Christian Wolff). get to duck. Terry Riley: Be Kind to One Another (Rag) dence in Mexico, in Michoacan, with the family The Residents of Purepecha maskmaker Juan Horta, and further Yoko Ono has influenced generations of artists As with many of my piano works, Be Kind to One travels. 1980–1991: Residence in New Mexico, and through her music, conceptual art, film and per- Another (Rag) began as an idea I was noodling immersion in Native American and Hispanic musi- formance art. The child of a Buddhist mother and Preben Antonsen: Dar al-Harb: House of War around with in late-night improvisations. Its cal traditions. 1991–1995: The “Gone Walkabout” a Christian father, she studied music in preschool. gentle and somewhat naïve atmosphere attracted years, residence and travel in Mexico, Australia, As she explained it in an interview: “My mother Dar-al-Harb is an phrase meaning “House me from the beginning and it soon became a hit New Zealand, Bali, Java, Vanuatu, Germany, the put me in a very special school called Jiyugakuen in of War.” It is a term used by radical Islamists to with my then very young twin grandchildren, who Netherlands, the Czech Republic, Morocco, Japan Japan, before I went to the elementary school. We describe enemies of Islam, particularly Americans. always wanted me to play it for them when they and Turkey. 1995–1997: Return to New Mexico, learned perfect pitch, harmony, playing the piano A member of the “House of War,” according to this got into bed at night. It is basically laid out in four and deepening exposure to Hispanic traditions, and composing simple songs. One of the most ideology, is someone who spreads filth, corruption related sections and in its improvised version it can esp. through friendship with carver/santero Luis important things I learned in that school…was to and violence wherever he goes. I heard about this take many forms with each section being repeat- Lujan. 1997–2005: Third residence in Mexico, listen to the sounds in ones’ own environment. We phrase when my cousin, a US Marine who served ed as many times as desired before moving on to in Puebla, Veracruz and Oaxaca. Immersion in received homework in which you were supposed to two terms in Iraq, tattooed it on his arm as a badge the next. Mexican traditional musics, especially jarocho mu- listen to the sound of the day, and translate each of pride. By adopting the slur the enemy gave him, When Sarah Cahill told me about her project sic (1998–2001), as a student of the late Evaristo sound into musical notes. This made me into a per- he felt he was mocking it and nullifying its poten- A Sweeter Music, I felt this material best suited the Silva Reyes. Close friendship with the Band of son who constantly translated the sounds around cy. To me, the image of a soldier ironically calling bill. I wrote out this concert version, giving the Totontepec, Mixes, Oaxaca. 2002: Four months of her into musical notes as a habit.” She survived himself a spreader of filth and violence was a strik- piece a more overall arching structure with related travel and research in the Philippines, plus return the American bombing of Tokyo on March 9–10, ing metaphor for the psychological and emotional interludes and developments added that were not visit to Japan. 2005: Return to the United States; 1945, that killed 100,000 people. damage suffered by veterans, which is what my in the original improvisations. current residence in Maine. Ms. Ono was the first woman to study phi- piece is about. I want to thank Sarah Cahill for giv- The title is taken from something Alice Walker losophy at a prestigious Tokyo university, where ing me the wonderful opportunity to participate in said immediately after 9/11 happened: “We must Larry Polansky is a composer, theorist, perform- she also studied German lieder and Italian opera. this project, and John Sanborn, who supplied the learn to be kind to one another now.” My new er, teacher, writer, editor and publisher. He is the She relocated to New York in 1952, where she soon beautiful video accompaniment. composition is a statement for peace, and as such it Strauss Professor of Music at Dartmouth College, joined the “loft generation” of poets, improvis- Preben Antonsen does not aim for dramatic content, but strives in- where he also teaches in the graduate program in ers, artists, playwrights and composers of the city. stead to enforce a feeling of balanced equilibrium electro-acoustic music. Prior to moving to New Her early compositions (the “instruction pieces” and compassion. Hampshire, he worked at the Center from 1961 to 1965) were highly experimental, Terry Riley for Contemporary Music Center as staff and fac- and she became part of the movement and ulty. He is one of the three co-authors (with Phil New York “happenings.” With her husband John Burk and David Rosenboom) of the widely used , whom she met in 1966, she staged a se- computer music language HMSL, and has writ- ries of conceptual events to promote ten a great deal of other musical software. His during the Vietnam era. The most famous of these

20 CAL PERFORMANCES CAL PERFORMANCES 21 About the Artists About the Artists was the “bed-in” held in an Amsterdam hotel room der Künste in Berlin and the Hochschule für self-defined media manipulators have constantly have included Joji Yuasa and Morton Feldman, during the couple’s honeymoon in 1969. Since the Musik in Karlsruhe. tinkered with the underpinnings of various art among others. Mr. Fujieda is internationally recog- 1960s, Ms. Ono has been an activist for peace and forms throughout their lengthy history. Faceless, nized as one of music’s outstanding younger com- human rights. In 2002, Ms. Ono inaugurated her Jerome Kitzke lives in New York City but grew anonymous and totally devoid of individuality, posers. Working with artists such as , own peace award by giving $50,000 in prize money up along the southwestern shore of Lake Michigan the group has long insisted they be judged on their Yuji Takahashi, and Malcolm Goldstein, he com- to artists living “in regions of conflict.” Israeli and in Milwaukee, where he was born in 1955. Since work and not their personalities, politics or penis poses music that emerges from his fascination with Palestinian artists were the first recipients. On his first work in 1970, he has thought himself to be sizes. In 2006, they were honored with a retrospec- the essentially collaborative formation of music. October 9, 2007, Ms. Ono dedicated a new memo- as much a storyteller as he is a composer. Some of tive of their video work at the prestigious Museum Influenced by Harry Partch and Lou Harrison, he rial called the , located on the his stories are about life’s personal roads, like The of Modern Art in New York. has been working with alternative tuning systems island of Videy in Iceland, dedicated to peace and Redness of Blood and Sunflower Sutra which both based on , and in 1997 he founded to . Each year, between October 9 express the composer’s love for his blood family. Preben Antonsen has been composing music al- Monophony Consort, an ensemble dedicated to and December 8, it will project a vertical beam of Many, however, like Box Death Hollow, The Paha most every day since he was four years old. Molly music for alternative tuning systems. His work also light high into the sky. Sapa Give-Back and The Character of American Axtmann began teaching him piano at age six; a includes sound installations that have incorporated Sunlight are about the roads that go looking for composer herself, she taught him music theory living plants, diatomaceous earth and Aeolian harps Frederic Rzewski (born April 13, 1938, Westfield, what it means to be an American early in the 21st through his own compositions. He later studied into their construction. Recordings of his work Massachusetts) is an American composer, now Century, especially as it relates to the connection piano with James Chip Brimhall and now studies have been released by the Tzadik, ALM Records, resident in Belgium, of mostly chamber, vocal and between how we live on this land and the way we with Sharon Mann. He has studied composition Fontec and MAM labels. He currently serves as a piano works that have been performed throughout came to live on it. Mr. Kitzke’s music celebrates with since 2001. He became interest- professor of design at Kyushu University. the world. He is also active as a pianist. American Vitality in its purest forms. It thrives on ed in percussion and worked with Victor Avdienko Mr. Rzewski studied music privately with the spirit of driving , Plains Indian song and during eighth grade, and now plays piano and Composer Terry Riley is considered to be one of Charles Mackey in Springfield as a child and stud- Beat Generation poetry, where freedom and ritual percussion in the Symphony Youth the founding fathers of the minimalist movement. ied composition with Walter Piston and Roger converge. It is direct, dramatic and visceral—al- Orchestra. During the summers of 2003, 2004 and His landmark composition established mini- Sessions, counterpoint with Randall Thompson ways with an ear to the sacred ground. 2005, he attended the Perlman Music Program in malism as a vital force in contemporary music, and and orchestration with Claudio Spies at Harvard Mr. Kitzke composes for and performs with Shelter Island, New York, a choral, strings, piano his work continues to be a major influence today. University from 1954–1958. He studied composi- his group, The Mad Coyote. His music has been and program, where four of his His career, spanning five decades, far from being tion with and the music of Richard performed in North and South America, Europe, compositions were performed. He is a 2005 BMI confined to the minimalist category, has always Wagner with Oliver Strunk at Princeton University Asia, Australia and the Middle East, and has been Student Composer Award winner. ASCAP recog- crossed boundaries and been marked by its effort- from 1958–1960, where he also studied Greek lit- recorded on the Koch, Innova, New World and nized four of his compositions with Morton Gould less transformations, morphing from one stratum erature and philosophy. In addition, he studied labels. Sunfower Sutra, performed by Young Composer Awards in 2001, 2002, 2005 and of thought to another. Highly developed elements composition privately with Luigi Dallapiccola in Anthony de Mare, will be released in 2009 on 2006. He attended Aspen Music Festival School of Indian music, jazz and African and Middle Rome in 1960. the Koch label and Zeitgeist will record In Bone- in 2006, studying piano with Yoheved Kaplinsky Eastern music can be heard in intricate melding in As a pianist, he frequently performed with Colored Light on the Innova label, also to be re- and composition with Sydney Hodkinson. He much of his work. A gifted pianist, singer and im- the flautist Severino Gazzelloni in the 1960s. He leased in 2009. Current commissions are with attended Yellow Barn as a composer in 2007. He proviser, he has performed worldwide since 1955. then co-founded with Alvin Curran and Richard Lisa Moore, Anthony de Mare, Present Music has been featured as a composer on NPR’s From He is a senior disciple of the late legendary North Teitelbaum the improvisational and live elec- and DuoSolo. The work for Present Music will the Top. He is co-director of Formerly Known as Indian vocalist Pandit , and appeared tronic ensemble Musica Elettronica Viva in Rome be Buffalo Nation (Bison bison) and will be a large Classical, a group of teenage musicians that pro- in numerous concerts as the master’s accompanist in 1966, and performed with it from 1966–1971. scale theatrical work about the decimation of the duces concerts of music written in their lifetimes. both on and vocal. He has received numerous Since then, he has been active as a pianist, primar- buffalo in the 19th century, scheduled for an early Besides music, Mr. Antonsen likes science, math, awards, including a Guggenheim, a Gerbode foun- ily in performances of his own pieces and music by 2011 premiere. Mr. Kitzke has been in residence at tennis, languages, camping, writing poetry and dation grant and two NEA grants. He has written other contemporary composers. Banff, Bellagio, Civitella, Yaddo, the MacDowell reading. He was educated at home and at the for chamber, orchestral, jazz, rock and world music Mr. Rzewski taught at the Conservatoire Royal Colony, the Millay Colony, Ucross, Djerassi, the Crowden School in Berkeley, and is currently a ensembles. Most notable is his 25-year association de Musique in Liège from 1977–2003, where he University of Melbourne and the Ledig House. His senior at Lick-Wilmerding High School in San with . For Kronos, he has pro- was Professor of Composition from 1983–2003. He music is published by Peer Music in New York City Francisco. His orchestral work Thresh of Gear will duced 15 major works, including 13 string quartets has also taught at Yale University, the University and Hamburg. be premiered in March 2009 by the San Francisco and The Sands, a concerto for and of Cincinnati College-Conservatory of Music, Symphony Youth Orchestra. He plans to pursue orchestra. Recent works include The Cusp of Magic the State University of New York at Buffalo, the The Residents are a group of performance artists musical studies at Yale University next fall. for string quartet and pipa and SolTierraLuna, con- California Institute of the Arts and UC San Diego. and musicians occupying the fringes of modern certo for two guitars, and orchestra. In addition, he has taught at Mills College, the culture since 1972. Credited with the develop- Mamoru Fujieda received his PhD in music from The e nd of 2 0 08 s aw t he c omple t ion of a 4 6 -m i n- Royal Conservatory in Den Haag, the Hochschule ment of music video and performance art, these UC San Diego in 1988. His composition teachers ute string quartet for Kronos titled Transylvanian

22 CAL PERFORMANCES CAL PERFORMANCES 23 About the Artists

Horn Courtship. A new set of Stroh stringed instru- at the Nuovi Spazi Musicali festival in Rome. Ms. ments constructed by Walter Kitundu was com- Cahill and pianist Joseph Kubera appear frequent- missioned by Kronos to perform this piece. ly as a duo; they have performed a new set of four- Mr. Riley’s list of collaborators includes La hand pieces by Terry Riley at the Triptych Festival Monte Young, , , , in Scotland, UCLA’s Royce Hall and at Roulette , Gyan Riley, , in New York. Kronos Quartet, the All-Stars, art- Most of Ms. Cahill’s are on the New ist Bruce Conner and poet Michael McClure. The Albion label. She has also recorded for the Other Times of London listed Mr. Riley as “one of the Minds, Tzadik, CRI, New World, Albany, Cold 1,000 makers of the 20th century.” Blue and Artifact labels. Her radio show, Then & Now, can be heard every Sunday evening from 8pm to 10pm on KALW, 91.7 FM. Performers Hailed as “the acknowledged genius in the field” Sarah Cahill, recently by Peter Ackroyd in Vogue, John Sanborn is a called “as tenacious and video artist and director whose works have been committed an advo- shown at almost every major museum in the world, cate as any composer including the Whitney Museum; the Museum of could dream of” by Modern Art, New York; the Prado, Madrid; the Joshua Kosman of the Centre Pompidou, Paris; the Tate Gallery, London; San Francisco Chronicle, and the Seibu Museum, Tokyo. His video works has commissioned, pre- have been broadcast worldwide, including 16 half- miered and recorded nu- hours for PBS featuring collaborations with Bill T.

merous compositions for Ken Probst Jones, , Twyla Tharp, The Residents solo piano. Composers who have dedicated music and David Gordon. A dance work created for to her include John Adams, Terry Riley, Frederic Great Performances starring Mikhail Baryshnikov Rzewski, Pauline Oliveros and , and and directed by Mr. Sanborn won three Emmy she has also premiered pieces by Lou Harrison, Awards. Mr. Sanborn was an early pioneer in , Ingram Marshall, , High-Definition Television, creating works for George Lewis, and many others. (Infinite Escher, starring ), and Ms. Cahill grew up in Berkeley, and played her NHK-TV. Mr. Sanborn has also directed over 30 first Noon Concert at Hertz Hall at the age of 16. music videos, including works with Nile Rodgers, She enjoys working closely with composers, musi- Sammy Hagar, Philip Glass, , cologists, and scholars to prepare scores for perfor- Grace Jones, and Van Halen, and mance. For the 2001 centennial of Ruth Crawford designed and directed dozens of commercials for Seeger, she commissioned seven composers, all clients including Nintendo, Hitachi, Pioneer and women, to write short homage pieces, which she the Disney Channel. His video self-portrait Quirky premiered at Merkin Hall in New York and toured was purchased for broadcast on the PBS series The around the country. After this afternoon’s premiere Independents, hosted by Buck Henry. From 2000 at Cal Performances, A Sweeter Music, in collabora- to 2001, he was Vice President and Chief Creative tion with John Sanborn, will be featured on the Officer at Comedy Central, for which he created New Sounds Live series at Merkin Hall in New an acclaimed surreal sit-com called Frank Leaves for York in March, with subsequent performances at the Orient. His 2002 video MMI was shown at the Rothko Chapel in Houston, the Chicago Cultural Tribeca, London, Dallas and Mill Valley film fes- Center and other venues around the world. She tivals, and his recent videos and installations have has performed at the Miller Theatre and Cooper shown at the VideoFormes Festival in Clermont- Union in New York, the Other Minds Festival and Ferrand, France, the beTween Festival in England Other Minds new music séance, Pacific Crossings and the Mill Valley and Dallas film festivals. Festival in Tokyo, at the Spoleto Festival USA, and

24 CAL PERFORMANCES