HOW LITTLE YOU ARE For Voices And Guitars BY WORLD PREMIERE

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Featuring ALLEGRO ENSEMBLE, YOUTH CHOIRS Nina Revering, conductor 

AUSTIN CLASSICAL GUITAR YOUTH ORCHESTRA Brent Baldwin, conductor HOW LITTLE YOU ARE BY NICO MUHLY | WORLD PREMIERE TEXAS PERFORMING ARTS

PROGRAM: PLEASE SEE INSERT FOR THE FIRST HALF OF THIS EVENING'S PROGRAM ABOUT THE PROGRAM

Sing & Andrew Lloyd Webber, arr. Ed Lojeski From the first meetings aboutHow Little Renowned choral Eric Whitacre You Are, the partnering organizations was asked by Disney executives in 2009 Powerman Graham Reynolds knew we wanted to involve Conspirare to compose for a proposed animated film  Youth Choirs and Austin Classical Guitar based on ’s beautiful story Libertango Ástor Piazzolla, arr. Oscar Escalada Youth Orchestra in the production and are The Seal Lullaby. Whitacre submitted this Austin Haller, piano  delighted that they are performing these beautiful, lyrical work to the studios, but was works. later told that they decided to make “Kung The Seal Lullaby Eric Whitacre Fu Panda” instead. With its universal message issuing a quiet Shenandoah Traditional, arr. Matthew Lyons invitation, Gary Barlow and Andrew Lloyd In honor of the 19th-century American Webber’s Sing, commissioned for Queen poetry inspiring Nico Muhly’s How Little That Lonesome Road James Taylor & Don Grolnick, arr. Matthew Lyons Elizabeth’s Diamond Jubilee in 2012, brings You Are, we chose to end the first half with the sweetness of children’s voices to brilliant two quintessentially American folk songs Featuring relief. arranged for this occasion by Austin native ALLEGRO ENSEMBLE, CONSPIRARE YOUTH CHOIRS Matthew Lyons. The haunting and beautiful Nina Revering, conductor  Powerman by iconic Austin composer Shenandoah precedes James Taylor’s That Graham Reynolds was commissioned Lonesome Road, setting the stage for our AUSTIN CLASSICAL GUITAR YOUTH ORCHESTRA by ACG for the YouthFest component of experience of Muhly’s newest masterwork. Brent Baldwin, conductor Austin Goes Classical, an international guitar festival at the Long Center in 2010. INTERMISSION Reynolds has revised the score for tonight’s performance. How Little You Are* Nico Muhly Craig Hella Johnson WORLD PREMIERE Argentinian Ástor Piazzolla is widely Artistic Director considered the most important tango Conspirare Featuring composer of the twentieth century. This CONSPIRARE vibrant setting of Libertango, arranged by Nina Revering Craig Hella Johnson and Company of Voices Oscar Escalada, transforms a three-part Artistic Director treble chorus of voices into instruments. Conspirare Youth Choirs DUBLIN GUITAR QUARTET Brian Bolger | Pat Brunnock | Tomas O’Durcain | Redmond O’Toole

LOS ANGELES GUITAR QUARTET John Dearman |Matthew Greif | William Kanengiser |Scott Tennant

TEXAS GUITAR QUARTET Isaac Bustos | Jonathan Dotson | Alejandro Montiel | Joseph Williams II

Thomas Burritt, Percussion

Rachel Durkin-Drga, Executive Producer *Published by St Rose Music Publishing/Chester Music LTD

*COMMISSIONED BY TEXAS PERFORMING ARTS FOR AUSTIN CLASSICAL GUITAR AND CONSPIRARE WITH SUPPORT FROM THE ANDREW W. MELLON FOUNDATION

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SING THE SEAL LULLABY Some words they can’t be spoken only sung, Ooh, ooh, ooh… so hear a thousand voices shouting love. Oh! hush thee, my baby, There’s a place, there’s a time, night is behind us, in this life, when you sing what you are and black are the waters that sparkled so feeling. green. Find your feet, stand your ground, The moon o’er the combers, don’t you see right now the world is listening looks downward to find us to what we say. At rest in the hollows that rustle between.

Sing it louder, sing it clearer, Where billow meets billow, knowing everyone will hear you. there soft be thy pillow; Make some noise, find your voice tonight. Ah weary wee flipperling curl at thy ease! Sing it stronger, sing together, The storm shall not wake thee, make this moment last forever. nor shark overtake thee, Old and young, shouting love tonight. Asleep in the arms of the slow-swinging seas, asleep in the arms of the slow-swinging seas. To sing we’ve had a lifetime to wait. Wait, wait, wait. Ooh, ooh, ooh... And see a thousand faces celebrate. We have to celebrate. SHENANDOAH O Shenando’, I long to hear you.

You brought hope, you brought light, ‘Way, you rollin’ river. Photo by: Holly Dawson conquered fear, no it wasn’t always easy. O Shanando’, I long to hear you. Stood your ground, kept your faith, ‘Way, we’re bound away, don’t you see right now the world is listening across the wide Missouri. to what we say. THAT LONESOME ROAD O Shenando’, I long to see you. Walk down that lonesome road all by Carry on, carry on, Sing it louder, sing it clearer, ‘Way, you rollin’ river. yourself. Never mind feeling sorry for yourself, knowing everyone will hear you. O Shenando’, I long to see you. Don’t turn your head back over your shoul- It doesn’t save you from your troubled mind. Make some noise, find your voice tonight. ‘Way, we’re bound away, der, Sing it stronger, sing together, across the wide Missouri. And only stop to rest yourself Walk down that lonesome road all by make this moment last forever. when the silver moon is shining high above yourself. Old and young, shouting love tonight. ‘Tis sev’n long years since last I saw you, the trees. Don’t turn your head back over your shoul- ‘Way, you rollin’ river. der, Some words they can’t be spoken, only sung, ‘Tis sev’n long years since last I saw you, If I had stopped to listen once or twice, And only stop to rest yourself to hear a thousand voices shouting love, ‘Way, we’re bound away, If I had closed my mouth and opened my when the silver moon is shining high above and peace and hope. across the wide Missouri. eyes, the trees. Just sing, just sing. If I had cooled my head and warmed my Just sing, just sing. O Shenando’, I long to see you. heart, Come on and sing it louder, sing it clearer, ‘Way, you rollin’ river. I’d not be on this road tonight. knowing everyone will hear you. O Shenando’, I long to see you. Make some noise, find your voice tonight. ‘Way, we’re bound away, Sing it stronger, sing together, across the wide Missouri. make this moment last forever. Old and young, shouting love tonight. O Shenando’, I long to see you. across the wide Missouri. Hear a thousand voices shouting love. O Shenando’.

iv v HOW LITTLE YOU ARE BY NICO MUHLY | WORLD PREMIERE TEXAS PERFORMING ARTS ABOUT THE ARTISTS NINA REVERING MATTHEW LYONS

Nina Revering’s choral music experience began at an early age with chorister A native of Austin, Texas, Matthew Lyons received his Bachelor of Music experience in the Coro Infantil do Teatro Municipal of Brazil under the in 2014 at the San Francisco Conservatory of Music under the tutelage direction of Elsa Lakschevitz and the Toronto Children’s Chorus, directed of David Tanenbaum and Sérgio Assad. Past performances include the by Jean Ashworth-Bartle. Her musical training includes the Toronto’s Royal Kennedy Center for the Performing Arts (2013) and Napa Valley’s Festi- Conservatory of Music, the Youth Performing Arts School in Louisville val Del Sole (2011). He was the second prize winner in the 2009 Guitar Kentucky, Boston University, The New England Conservatory, and studies in Foundation of America International Youth Competition and was a

Photo by: CREDIT NEEDED CREDIT by: Photo baroque recorder with John Tyson. NEEDED CREDIT by: Photo semi-finalist in the 2010 GFA International Concert Artist Competition.

Ms. Revering has performed throughout the country as both a soloist and chorister. She has sung under noted conductors Seiji Ozawa, John Williams, John Oliver, Andrew Davis, and Sir David GRAHAM REYNOLDS Willcocks. Ms. Revering has also been a member of Conspirare Company of Voices since 1995 and was a soloist in the Grammy®-nominated CDs Requiem and Threshold of Night, both released Called “the quintessential modern composer” by the Indepen- under the Harmonia Mundi label. dent, Austin-based composer-bandleader Graham Reynolds creates, performs, and records music for film, theater, dance, rock clubs and Ms. Revering was one of eight conductors selected for participation in the International concert halls with collaborators ranging from Richard Linklater and Jack Symposium for Children’s Choir Directors held in Toronto, Canada in May 2005. She was a Black to DJ Spooky and Ballet Austin. Heard throughout the world in clinician for the 2012 Elementary Honor Choir of the Georgia Music Educators Association, and films, on TV, on stage, and on radio, from HBO to Showtime, Cannes

she was the invited presenter at the 2012 Dallas Chapter Choristers Guild Festival. In addition to Photo by: Aubrey Edwards Film Festival to the Kennedy Center, and BBC to NPR, he recently her work with the CYC, Ms. Revering has been teaching music in Eanes ISD schools since 1996. scored Before Midnight with Ethan Hawke and Julie Delpy, Bernie featur- ing Jack Black, and the Hulu TV series Up To Speed. His score to the Robert Downey, Jr. feature A Scanner Darkly was named Best Soundtrack of the Decade by Cinema Retro maga- BRENT BALDWIN zine. With Golden Arm Trio, Reynolds has repeatedly toured the country and released four critically acclaimed . As Artistic Director of Golden Hornet Project, Reynolds has Brent Baldwin is an award-winning conductor, multi-instrumentalist, vocalist, produced more than fifty concerts of world-premiere alt-classical music by more than sixty producer and composer. He holds a master’s degree in music from UT Austin, . He is a company member with the internationally acclaimed Rude Mechs and where he studied conducting with Craig Hella Johnson, Daniel Johnson and resident composer with Salvage Vanguard Theater. His current work-in-progress is a three Dan Welcher. As a director and bandleader, he has participated in dozens of part commission from Ballroom Marfa titled The Marfa Triptych, a portrait of West Texas tours across the US, Europe, Asia and South America. He currently serves as that Vogue described as “beautiful and raucous.” Artistic Director for Texas Choral Consort. Photo by: Greg Coleman A fierce advocate of contemporary music, Baldwin has directed over forty world-premiere performances. Past collaborations include projects and performances with Third, Trail of Dead, Golden Hornet Project, Peter Buck (REM), Austin Chamber Music Center, Bel Canto Chorus of Milwaukee, Jody Stephens (Big Star), Tosca Strings, Austin Symphony, Doreen Shaffer, M. Ward, and Pulitzer Prize-winning composers Shulamit Ran and Caroline Shaw.

The Austin Critics’ Table selected the Baldwin-directed (and TPA produced) Mozart Requiem Undead as 2014’s Best Choral Performance. In the same year, Brent was also featured on the cover of the national publication The Voice, and named “Best Choral Wrangler” in the Austin Chronicle’s Best-Of awards. The Chronicle additionally named Mozart Requiem Undead the #1 performance on its list of Dance/Classical Music Treasures of 2014 (TCC’s Haydn Creation concert earned the #5 spot).

Most recently, Brent filled in as lead guitarist for the Noise Revival Orchestra on a concert tour in Asia, performing in front of 50,000 music fans at the Taichung Festival in Taiwan. vi vii HOW LITTLE YOU ARE BY NICO MUHLY | WORLD PREMIERE TEXAS PERFORMING ARTS

NOTES ALLEGRO ENSEMBLE, CONSPIRARE YOUTH CHOIRS Nina Revering, artistic director

Tara Ahuja Clare Edgar Sarah McDonald Lavanya Sankaran Urvi Alamela Ainsley Gamble Sesha McMinn Shilpa Saxena Elena Alcala Isabella Grossling Jonathon Miller Molly Snodgrass Chiara Alvisi Daryl Hale Isabel Moring Sidharth Srinivasan Lexi Anderson Isabella Hansen Raiya Myren Kathleen Stansbury Nolan Bader-Saye Sarah Helmbrecht Jacob Ordaz Anne Marie Stapper Mary Barnett Sofia Hsu Raina Parsons Abigail Stewart Martha Beaty Eva Legge Ella Pettichord Maria Tangarova Julia Brown Maya Lyles Ella Rutman Seren Villwock Lauren Datres Nikhil Lyles Lucy Pickens Christy Vineis Avery Davis Alyx Madera Asha Rao Anastasia Weger Caitlyn Diehl Juliana Marshall Libby Rayos Lily Wendt Miles Dintzner Kay McAnally Rachel Rowe Alyssa Wixson Elizabeth Driggers Hannah McChesney Gabrielle Sanchez Angela Zhang Claire Dugan Kate McClellan Aditya Sankaran

About Conspirare Youth Choirs

Conspirare Youth Choirs was formed in 2004 as an educational outreach program of Conspirare. CYC seeks out and trains young musicians who share a love and commitment for creating music at a high level of excellence. Its two ensembles, Kantorei and Allegro, accommodate young singers’ varying levels of choral skill and experience.

AUSTIN CLASSICAL GUITAR YOUTH ORCHESTRA

Liam Ashwill Simon Krauskopf Aaron Baldauf Fabio La Pietra Aytahn Benavi Joanna Ma Sarah Christensen Alex O'Neil Stephen Davies Lenora Pousland Jimmie Garcia James Snyder Ellen Hernandez Leif Tilton Brigitta Kolics

About Austin Classical Guitar Youth Orchestra

Austin Classical Guitar Youth Orchestra (ACGYO) is a city-wide, advanced ensemble for classical guitarists age 18 and under. Formed in 2013-14, the orchestra has performed for thousands at The Long Center and Paramount Theatre and has premiered three major new works for classical guitar ensemble. ACGYO is made possible by a generous multi-year gift from Dr. Michael Froehls.

viii ix TEXAS PERFORMING ARTS STAFF CONTINUED Phoebe Greene, Logistics Coordinator TEXAS PERFORMING ARTS A. Conrad Haden, Stage Supervisor J. E. Johnson, Scene Shop Supervisor Yvonne Kimmons, Assistant Director, Performance Logistics Kenny Kuykendall, Assistant Audio Supervisor STAFF DIRECTORY Sarah Lankenau, Costume Draper Kathy Panoff, Director and Associate Dean Lindsay Long, Performance Logistics Coordinator Judy Lister-Patrick, Assistant to the Director Allison Lowery, Wig & Makeup Specialist Michael Malak, Audio Supervisor DEVELOPMENT Karen Maness, Charge Scenic Artist Ann Stafford, Assistant Director, Development Tanya Olalde, Crafts Artisan Sarah Gerson, Campaign Manager Rikki Perez, Assistant Prop Shop Supervisor Rachel Schoen, Ticket Concierge Manager Travis Perrin, Assistant Stage Supervisor Anne Shires, Member Relations Manager Dani Pruitt, Performance Logistics Coordinator Sarah Weidler Young, Associate Director of Development Patricia Risser, Costume Shop Supervisor Hank Schwemmer, Master Carpenter MARKETING David Stewart, Academic Production Manager Gene Bartholomew, Director of Marketing and Communications Rebecca Switzer, Prop Shop Supervisor Morgan Bathe, Graphic Designer Kate Vaughn, Master Carpenter René Castro, Marketing Specialist, Media Buying & Settlements Darcy Weberg, Associate Costume Shop Supervisor Erica De Leon, Marketing Specialist, Digital Media Monica Griffin, Manager of Graphics Services PROGRAMMING Nadia Zakariya, Marketing Coordinator, Promotions & Strategic Content Cynthia Patterson, Programming/Artist Services Joe Randel, Program Manager, Concerts and Strategic Programming STUDENT ENGAGEMENT Tim Rogers, Student Engagement Coordinator Texas Performing Arts is also proud to acknowledge the hundreds of part-time and volunteer workers who play a critical role in presenting our annual season of world-class performing arts events to the Austin community. TICKET OFFICE Joshua Bernard, Assistant Ticketing Services Manager, Broadway and Concerts Ben Fest Marie Herrera, Assistant Ticketing Services Manager, Administration HOUSE MANAGERS Lisa Gilliam Michael Lee Stephanie Staggs Kristina Malmgren, Assistant Director, Ticketing Services and Operations Candace Benoit Melody Hatfield Robert McHaney Andrea Stanfill Isabel Salazar, Assistant Ticketing Manager, University Relations Sheila Berry Chuck Hesse Jessica Miles Debra Thomas Dianne Whitehair, Ticketing Systems Manager Virginia Bosman Janet Holt Shana Nichols Laura Tolin ADMINISTRATION & OPERATIONS Amy Brent Paige Horton Michael Owens Laura Wells Margaret Byron Harry Ingham Sylvia Quintanilla Coralinn Young April Busby, Associate Director, Administration & Operations Jan Collinson Olga Kasma-Carnes Randy Rohr Alyse DeSoto Charlotte Klein Julie Spruell BUSINESS OFFICE Kristi Lampi, Administrative Associate, Business Affairs STUDENT WORKERS Jessica Griffin Kiara McGee Alex Smith Leigh Remeny, Administrative Associate, Business Affairs Dania Abbasi Erin Guerra Kay McGuire Lauren Smith Terri Waddle, Senior Departmental Buyer Erica Ayala Matthew Hernandez Sami McKenzie William Smith Warren G. Whitaker, SPHR, Human Resources Manager Victoria Barrera Sylvia Hinojosa Kristen Mellberg Victoria Solorio Anisha Borthakur Bruno-Pierre Houle David Molina Shelby Stark FRONT OF HOUSE Kathleen Brown Christopher Jakins Katherine Mondo Raechelle Steward Sarah Andrews, Guest Services Manager Kimberly Burris Nelson Jimenez Ian Moser Rama Tchuente Jada Cadena Alfred Parker Johnson Christopher Nickelson Sean Tecson PROGRAMMING & PRODUCTION Courtney Castaneda Matthew Jones Natali Padron Nolan Thomas Ria Chakrabarty Charles "Dack" Justiz Natalie Patton Morgyn Utzman Rachel Durkin-Drga, Associate Director, Programming & Production Cristina Chavez Meredith Kerley Kristen Raney Jack Vance Fallon Christian Aaron Kubacak Victoria Ray Alexandra van Niman CAMPUS & COMMUNITY ENGAGEMENT Yi-Tai Chung Jasmine Kurys Sara Robillard Rylan Veigel Judith Rhedin, Assistant Director, Campus & Community Engagement Duyen Dinh Yongmin Lee Daniel Rodriguez Hope Wilton Brenda Simms, Education & Curriculum Development Javier Dubon Haley Libbey Laura Rogers Sean Woods Katherine Ducey Luis Linan Selina Rosales Melinda Wright PRODUCTION Hannah Durham Chian-ann Lu Steven Sanchez Amy Wu Seb Boone, Master Electrician Lacey Erb Jordan Maranto Syed Shaharyar Megan Yeager Scott Bussey, Technical Director Lauren Gallup Grace Martindale Shahabuddin Shimson "Adam" Zeevi Betty Chlystek, Costume Draper Andre Galuban Marina Martinez Will Shirey David Ziemnicki Mikela Cowan, Master Electrician Madilynn Garcia Casey McCool Taylor Simmons Samantha Zuckerman Jeff W. Ellinger, Lighting Supervisor TEXAS PERFORMING ARTS SATURDAY, APRIL 18, 2015, 8:00 PM BASS CONCERT HALL THE UNIVERSITY OF TEXAS AT AUSTIN PROGRAM: PLEASE SEE INSERT FOR THE FIRST HALF OF THIS EVENING'S PROGRAM

Sing Gary Barlow & Andrew Lloyd Webber, arr. Ed Lojeski

HOW LITTLE YOU ARE Powerman Graham Reynolds

For Voices And Guitars Libertango Ástor Piazzolla, arr. Oscar Escalada Austin Haller, piano

BY NICO MUHLY The Seal Lullaby Eric Whitacre WORLD PREMIERE Shenandoah Traditional, arr. Matthew Lyons That Lonesome Road James Taylor & Don Grolnick, arr. Matthew Lyons

Nico Muhly, composer Featuring ALLEGRO ENSEMBLE, CONSPIRARE YOUTH CHOIRS Craig Hella Johnson, conductor Nina Revering, conductor

Featuring AUSTIN CLASSICAL GUITAR YOUTH ORCHESTRA CONSPIRARE Brent Baldwin, conductor Craig Hella Johnson and Company of Voices INTERMISSION DUBLIN GUITAR QUARTET Brian Bolger | Pat Brunnock | Tomas O’Durcain | Redmond O’Toole How Little You Are* Nico Muhly WORLD PREMIERE LOS ANGELES GUITAR QUARTET John Dearman |Matthew Greif | William Kanengiser |Scott Tennant Featuring CONSPIRARE TEXAS GUITAR QUARTET Craig Hella Johnson and Company of Voices Isaac Bustos | Jonathan Dotson | Alejandro Montiel | Joseph Williams II DUBLIN GUITAR QUARTET Brian Bolger | Pat Brunnock | Tomas O’Durcain | Redmond O’Toole

LOS ANGELES GUITAR QUARTET John Dearman |Matthew Greif | William Kanengiser |Scott Tennant

TEXAS GUITAR QUARTET Nico Muhly is managed by St Rose Management, | www.strosemusic.com Isaac Bustos | Jonathan Dotson | Alejandro Montiel | Joseph Williams II Dublin Guitar Quartet is represented by Alliance Artist Management, New York | www.allianceartistmanagement.com Los Angeles Guitar Quartet is represented by Frank Salomon Associates, New York | www.franksalomon.com Thomas Burritt, Percussion To contact Texas Guitar Quartet, visit www.txgq.net To contact Conspirare, visit www.conspirare.org Rachel Durkin-Drga, Executive Producer *Published by St Rose Music Publishing/Chester Music LTD PRESENTED IN PARTNERSHIP WITH CONSPIRARE, AUSTIN CLASSICAL GUITAR, AND KMFA *COMMISSIONED BY TEXAS PERFORMING ARTS FOR AUSTIN CLASSICAL GUITAR WITH SUPPORT FROM MICHAEL AND CAROL FIELDS, AND STEVE AND REBECCA GUENGERICH. TEXAS PERFORMING ARTS THANKS OUR AND CONSPIRARE WITH SUPPORT FROM THE ANDREW W. MELLON FOUNDATION 2014/2015 PRESENTING SPONSOR

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ABOUT THE PROGRAM

of guitar harmonics and quickly-shifting Part five begins with some remembered rhythms, the choir sings about the beauty music from the first movement, and as this of springtime on the prairies. The obsessive settles, a solo alto begins telling a story — a nature of the guitar music is stolen from nocturne — about hearing a cowboy singing composer John Adams, to whom this songs in the distance. A single guitar begins movement is dedicated. While the main playing in an explicitly folk style, and the body of the piece is sunny and hopeful, remaining eleven instruments fight him the ending has a sudden reversal: “I was harmonically, and then give way. This guitar quite happy in my home with my husband outlines a simple harmonic cycle of thirteen and child, but suddenly doomed to be the chords, and then the chorus enters, first reverse.” wordlessly, and then with further narration. We hear a distant fragment of “O bury Part four was the first piece of text I knew me not on the lone prairie,” and after a I wanted to set for this project. The line short silence, another guitar enters with a “But when you get among such grandeur 12-bar cycle, and we hear a fragment of you get to feel how little you are, how ‘I’m thinking of my dear old mother, ten foolish is human endeavour, except that thousand miles away.’ These two traditional which unites us with the almighty force songs then dissolve into a wash of songs called God.” seems to sum up much of delivered in infinite individual tempi. A the pioneer movement and the poetry to thousand tiny percussive insects appear, be found in these extreme and sometimes staccato and arid, and the chorus sings

Photo by: Matthew Murphy inconceivably hard journeys. The beginning wordlessly. The guitars dissolve and fade. of this movement is austere: the members of one guitar quartet playing severely I would like to thank Tyne Rafaeli for her How Little You Are is an extended This movement is dedicated to the composer oblique polyrhythms, creating an effect of help in culling this text. meditation on the words of pioneer women , whose music is particularly inscrutable distance, difficulty, and rhythmic - Nico Muhly in the 19th century. Organized in five adept at describing the abstractions of grief, uncertainty. Suddenly, a solo soprano begins large sections, it is scored for chorus and and whose music was an explicit influence singing, and the severity lightens into a three guitar quartets. The text for the first on me here. Under the text describing the reverential mode. movement has a typical combination of an construction of a little boy’s coffin, we begin intense reverence for nature combined with to hear dry, anxious guitar chords, which the practical realities of living on a frontier; reappear later in the work. the chorus functions, here, in a declamatory fashion, and there are extended sections The third movement describes a moonlit for guitars alone. The music pauses and night with a strange ghostly animal presence. repeats the text, “We could see the silvery The writer describes a “weird beauty,” and gold of the willows, the russet and bronze here, the strange chorus-like effect of many of the currants, and patches of cheerful guitars playing the same pitch tremolando green showed where the pines were.” The evokes this sentiment. After an extended movement ends simply, with the voices of instrumental introduction, the key shifts, and two women. the chorus enters, singing the text simply. Over this, some of the women and men start The second movement describes the imitating distant howls: alluring and sad. everyday horrors of losing a child. Musically, the piece is an extended rhythmic process, Between the third and fourth movements spinning and turning around a single is an interlude — a brief expression of fast repeated text fragment: "do you remember?” music, rare in this piece. Over a latticework

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ABOUT TONIGHT'S PERFORMANCE NICO MUHLY

Thank you for joining us for tonight’s world premiere performance of How Little You Are Nico Muhly has written a wide scope His 2007 debut, Speaks Volumes, was released by composer Nico Muhly. This project is the culmination of an unprecedented multi-year of work for soloists, ensembles, and on , an artist-run collaboration between three of Austin’s esteemed arts organizations, Austin Classical Guitar, organizations including St. Paul’s Cathedral label he co-founded with Icelandic musician Conspirare, and Texas Performing Arts at The University of Texas at Austin. and Carnegie Hall, and has written choral Valgeir Sigurðsson. Since then, Muhly has music for and the Hilliard collaborated extensively with his labelmates This commission was part of an $850,000 multi-year initiative funded by The Andrew W. Ensemble, songs for Anne Sofie von Otter Sigurðsson, , , Mellon Foundation to support programs and activities that would help elevate classical and Iestyn Davies, an encore for violinist and on albums including music in the Live Music Capital of the World. The grant focused on work in several program , and a viola concerto for Nadia Mothertongue (2008), I Drink the Air Before areas including the commission of three new works, the largest and most extensive of which Sirota. The recently Me (2010), and Drones (2012). Decca has is Nico Muhly’s How Little You Are for voices and guitars. commissioned him to compose for released two albums of his music: A Good its 2019-2020 season, based on Winston Understanding (2010), a disc of choral works This particular commission provided the perfect opportunity for Texas Performing Arts Graham’s 1961 novel. His other operas, Two recorded by the Los Angeles Master Chorale to demonstrate our commitment to cultural leadership, one of the three key pillars of Boys, and Dark Sisters, played at the English under and Seeing is Believing our mission-based work on the UT campus and in the community. As the largest arts National Opera, the Metropolitan Opera, (2012) recorded by Aurora Orchestra organization in the region, Texas Performing Arts has an implied responsibility to both Gotham Chamber Opera, and the Opera conducted by Nicholas Collon. In 2014 steward and elevate our cultural resources including classical music, so that they may Company of Philadelphia. Nonesuch Records released a live recording continue to grow, thrive and retain relevance in today’s rapidly changing world. of the Metropolitan Opera’s production of Film credits include scores for Joshua (2007), . Commissioning a new piece for voices and guitars seemed like a great choice, particularly Best Picture nominee The Reader (2008) and for Austin, since the guitar is embedded in our music culture and our community is home the Sundance selection Kill Your Darlings Born in in 1981 and raised in to two outstanding musical organizations who would make great collaborators. The choice (2013). He has lent his skills as performer, Providence, Rhode Island, Muhly graduated of composer was actually a much bigger challenge. Despite a long commissioning history, arranger and conductor to other musicians, from with a degree in Texas Performing Arts had never engaged a composer to write for classical guitar, much including (The English Literature. In 2004, he received a less 12 classical guitars! We asked any and everyone if they knew a composer who was Crying Light), Björk (Medúlla, Drawing Masters in Music from the , comfortable writing for both voice and guitar and our colleague at the Clarice Smith Center Restraint 9, Volta), Bonnie “Prince” Billy (The where he studied under Christopher Rouse at the University of Maryland suggested Nico Muhly. We were well aware of Mr. Muhly’s Letting Go), (The Conformist), The and . From his sophomore works for voice (he is a former boy chorister) but didn’t know he had included electric guitar National (, ), year of college, he worked for in a number of his works. Grizzly Bear (), and Jónsi from as a MIDI programmer and editor for six Sigur Rós (Go). years. His writings and full schedule can be We wrote to his publisher, describing our successful history of commissioning and with found at www.nicomuhly.com. significant financial support from the Mellon Foundation, made him an offer he simply couldn’t refuse!

It’s been a four-year labor of love for the composer, Texas Performing Arts, Austin Classical Guitar, and Conspirare, but we’ve finally arrived at the world premiere! We are thrilled to share How Little You Are with the Austin community. Enjoy!

Kathy Panoff Director and Associate Dean Texas Performing Arts

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HOW LITTLE YOU ARE TEXT PART ONE PART FOUR

The sun was just gilding the hilltops when we arose. Everything, even the barrenness, was We had plenty of time to be still and know God. He was our nearest neighbor. Although the beautiful. We have had frosts, and the quaking aspens were a trembling field of gold as far neighbor’s places were beginning to show up in the shimmering mirage of distance, as their up the stream as we could see. We were 'way up above them and could look far across the trees began to tower above the new homes, we felt the absence of home folk. But when you valley. We could see the silvery gold of the willows, the russet and bronze of the currants, get among such grandeur you get to feel how little you are, how foolish is human endeavour, and patches of cheerful green showed where the pines were. A background of sober gray- except that which unites us with the almighty force called God. green hills relieved the splendor, but even on them gay streaks and patches of yellow showed Mary Alma Blankenship where rabbit-brush grew. We washed our faces at the spring, the grasses that grew around the edge and dipped into the water were loaded with ice, our rabbit was done to a turn, so I made some delicious coffee, Jerrine got herself a can of water, and we breakfasted. PART FIVE

I dozed off to sleep, but I couldn't stay asleep. I don’t think I was afraid, but I certainly was PART TWO nervous. All nature seemed to be mourning something, happened or going to happen. Half a mile away the night herders were riding round and round the herd. One of them was Do you remember I wrote you of a little boy dying? That was my own little Jamie, our singing— faint but distinct came his song: ‘O bury me not on the lone prairie.’—over and first little son. For a long time, my heart was crushed. He was such a sweet, beautiful boy. over he sang it. After a short silence he began again. This time it was, ‘I’m thinking of my I wanted him so much. I held him in my arms until the last agony was over. Clyde is a dear old mother, ten thousand miles away.’ carpenter; so I wanted him to make the little coffin. He did it every bit, and I lined it, Elinore Pruitt Stewart padded it, trimmed it, and covered it. … It was a sad pleasure to do everything for our little first-born ourselves. 1. O bury me not on the lone prairie, These words came low and mournfully From the pallid lips of a youth who lay PART THREE On his dying bed at the close of day.

I can never describe to you the weird beauty of a moonlit night among the pines. When the 2. O bury me not on the lone prairie snow is sparkling and gleaming, the deep silence unbroken by the snapping of a twig. We Where the wile coyotes will howl o’er me, were about to go back to bed when we heard faintly a long-drawn wail as if all the suffering In a narrow grave just six by three, and sorrow on earth were bound up in that one sound. We couldn’t tell where it came from; O bury me not on the lone prairie. it seemed to vibrate through the air. …We went in, made up the fire, and sat in silence. Once or twice, that agonized cry came shivering through the cold moonlight. 3. It matters not, I’ve oft been told, Where the body lies when the heart grows cold; Yes grant, O grant this wish to me, INTERLUDE O bury me not on the lone prairie.

It was springtime, nature smiled. The beautiful prairie flowers put up their heads beneath 4. Let my death slumber be where my mother’s prayer leaves of green. The Jessamine covered the lattice. The atmosphere convinced me of the And a sister’s tear will mingle there, future resurrection of the body after death. All was sublime. I was quite happy in my home Where my friends can come and weep o’er me; with my husband and child, but suddenly doomed to be the reverse. O bury me not on the lone prairie. Elinore Pruitt Stewart 5. O we buried him there on the lone prairie Where the wild rose blooms and the wind blows free, O his pale young face nevermore to see, For we buried him there on the lone prairie.

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AUSTIN CLASSICAL GUITAR Matthew Hinsley, Executive Director

Austin Classical Guitar (ACG) is a ACG’s extensive education program brings world leader in community service through ensemble-based classical guitar instruction classical guitar. Concerts, Education, and to 51 local schools and more than 3,000 Outreach form the pillars of ACG’s broad students, including court-involved youth at programming, designed to eliminate cul- the Travis County Juvenile Center and stu- tural, economic, and geographic barriers to dents at the Texas School for the Blind and the power of great music. Visually Impaired. ACG’s work in education, which includes a revolutionary online cur- Austin Classical Guitar now presents riculum, has changed the scope of classical seven major concert series, reaching more guitar education worldwide and has been than 15,000 people each year through its featured in American String Teachers Journal, International, Summer, FlamencoAustin, Music Educators Journal, and Soundboard Guitar Salon, Play!, and Classical Cactus Magazine. series, along with Community Concert Residencies, which provide 50 free concerts annually. These series have presented the world’s greatest classical and flamenco art- ists, including Pepe Romero, the LA Guitar Quartet, and Tomatito, to Austin audiences. Photo by: Danny Brod

CONSPIRARE Craig Hella Johnson, Artistic Director Three other ensembles complete the Con- spirare family: Conspirare Symphonic Choir, Latin con + spirare = to breathe together a large ensemble of both professional and volunteer singers, and Conspirare Youth Inspired by the power of music to change lives, Choirs, an educational program for singers Conspirare engages audiences in extraordinary ages 9-18 who learn and perform in two musical experiences through world-class choral separate ensembles, Kantorei and Allegro. performances and recordings. Conspirare’s complete discography to date Conspirare is a Grammy®-winning includes nine commercial albums and eleven professional choral organization now in self-produced live recordings of its popular its twenty-second season. Led by founder holiday concerts. Conspirare has received six and artistic director Craig Hella Johnson, Grammy nominations and won in 2015 for Conspirare includes two adult performing Best Choral Performance. The Conspirare ensembles and an educational program. Its ensembles have received numerous other flagship ensemble Conspirare Company of honors and awards at local, national, and Voices is a fully professional, award-winning international levels. Learn more at chamber choir of extraordinarily talented CONSPIRARE.ORG. singers from around the country. It performs an annual concert series in Austin and other Texas communities, tours in the U.S. and abroad, and records on the Harmonia

Photo by: Arlen Nydam Mundi label.

34 35 HOW LITTLE YOU ARE BY NICO MUHLY | WORLD PREMIERE TEXAS PERFORMING ARTS Photo by: Danny Brod Photo by: David Tietz CRAIG HELLA JOHNSON MATT HINSLEY

Conspirare artistic director Craig Hella Dr. Matthew Hinsley has worked as a com- Johnson brings unparalleled depth of munity arts organizer in Central Texas since knowledge, artistic sensitivity, and rich his arrival in Austin in 1996. As Executive TEXAS PERFORMING ARTS imagination to his work. Beloved by Director of Austin Classical Guitar (ACG), audiences, lauded by critics and composers, Hinsley has raised millions of dollars in Our rich history began on March 6, As a university-based arts center we are also and revered by vocal and instrumental support of broad concert, outreach and 1981 as The Performing Arts Center at committed to serving the academic mission musicians, Johnson is known for creating educational programming, building what has The University of Texas at Austin, with a of the College of Fine Arts by supporting deep connections between performers and become the nation’s largest classical guitar performance by the Alvin Ailey American the work of our students, faculty and staff listeners. The Wall Street Journal praised nonprofit organization. In 2015, he joins the Dance Theater in the newly constructed on our stages, classrooms, studios and Johnson’s ability to “find the emotional faculty at the College of Fine Arts at The Bass Concert Hall. The $44 million building production shops; and in the educational essence other performers often miss,” and University of Texas at Austin to teach courses was The University of Texas’ largest outreach programs we provide for the Austin distinguished composer John Corigliano on art entrepreneurship and business man- construction project to date. Later joined community. wrote, “I believe that [Johnson] has agement in the arts. by four other venues - including Bates understood my music in a way that I have Recital Hall, and the McCullough, Payne, Over the years, Texas Performing Arts never experienced before. He is a great Hinsley is founder and a lead author of the and Brockett Theatres - Texas Performing continued to grow and prosper through musician.” ACG curriculum and music library that, Arts has become one of the most important the remarkable support of our donors and paired with extensive direct service, has contributors of cultural life in Central Texas. sponsors. In addition to helping us renovate Johnson is also artistic director of the transformed classroom guitar education in Bass Concert Hall in 2007, support from Victoria Bach Festival, music director of the Austin and changed the lives of thousands of Each year, Texas Performing Arts offers a donors and sponsors underwrites our Cincinnati Vocal Arts Ensemble, artist- diverse young people. The curriculum, which diverse season of music, theatre, dance, and Campus and Community Engagement in-residence at the Texas State University is now used internationally, is in service in 51 conversation, and during the past 30 years offerings and our recently established School of Music, and in demand as a guest area schools including programs at the Texas has presented such world-class artists as Student Ticket Fund, which makes it possible conductor and clinician. Also a composer, School for the Blind and Visually Impaired, the Chicago Symphony Orchestra, Mikhail for students of all ages to purchase $10 arranger, and music editor, Johnson works Gardner Betts of the Travis County Juvenile Baryshnikov, Victor Borge, , tickets to all of our performances. with G. Schirmer Publishing and Alliance Justice System, and Annunciation Maternity Ornette Coleman, Merce Cunningham Music Publications. His accomplishments Home. Dance Company, Van Morrison, Philip As Texas Performing Arts prepares for the have been recognized by numerous honors; Glass, Ella Fitzgerald, and The English next 30 years, we aspire to expand our among them, the Texas State Legislature Hinsley was trained as a classical guitarist National Opera. We are also the proud world-class programming and endeavor to named him the 2013 Texas State Musician; and vocalist at the Interlochen Arts Academy, home of Broadway In Austin, and have strengthen the bond between the performing he was inducted into the Austin Arts Hall the Oberlin Conservatory of Music, and presented the Austin premieres of The arts and our community, where everyone is of Fame in 2008; and he has received The University of Texas at Austin. He has Lion King, Wicked, Jersey Boys, Cats, and invited to enjoy, participate, and learn. prestigious national awards from Chorus written two books Classical Guitar for Young The Phantom of the Opera. Until 2007, Bass America and professional music fraternity People, and, most recently, Creativity to Concert Hall was also home to Ballet Austin, Mu Phi Epsilon. Johnson studied at St. Olaf Community: Arts Nonprofit Success One Coffee the Austin Symphony Orchestra, and Austin College, Juilliard, University of Illinois, and at a Time, in response to rapidly increasing Lyric Opera. Yale University. requests for assistance from nonprofit organizations in Austin and beyond.

36 37 HOW LITTLE YOU ARE BY NICO MUHLY | WORLD PREMIERE TEXAS PERFORMING ARTS

COMPANY OF VOICES Craig Hella Johnson, conductor

SOPRANO TENOR Anna Christofaro, Denton, Texas Paul D’Arcy, Austin, Texas Mela Dailey, Austin, Texas Brian Giebler, New York, New York *Melissa Givens, Houston, Texas Bodie Gilbert, Houston, Texas ^Estelí Gomez, Santa Cruz, California *Jos Milton, Oxford, Mississippi Julie Keim, Washington, D. C. Wilson Nichols, Astoria, New York Gitanjali Mathur, Austin, Texas ^Steven Soph, Boulder, Colorado Stefanie Moore, Santa Monica, California Janeene Williams, Austin, Texas

ALTO BASS *Janet Carlsen Campbell, Omaha, Jason Awbrey, Dallas, Texas ^Tynan Davis, New York, New York Cameron Beauchamp, Austin, Texas Sarah Brauer Ihlefeld, Santa Fe, New Mexico David Farwig, Denver, Colorado Helen Karloski, New York, New York *Rick Gabrillo, Austin, Texas Cecilia Kittley Shinn, Houston, Texas Robert Harlan, Austin, Texas Laura Mercado-Wright, Austin, Texas Harris Ipock, Cambridge, Keely J. Rhodes, Oakton, Virginia John Proft, Sacramento, California Thann Scoggin, Austin, Texas ^denotes soloist *denotes section leader

Rehearsal pianists: Faith DeBow, San Marcos, Texas Photo by: Emelie Lidstrom Austin Haller, Austin, Texas DUBLIN GUITAR QUARTET

Described as a “quartet with a difference” by also performed at the prestigious chamber the Irish Times, the Dublin Guitar Quartet music venue Wigmore Hall in London is the first classical guitar quartet entirely and prominent US venues including The devoted to new music. Since its formation Philips Collection, Celebrity Series Boston, at the Dublin Conservatory of Music and Subculture, Symphony Space and the Drama, the DGQ has worked to expand the in New York. limited repertoire by commissioning new works and adapting modern masterpieces The DGQ are developing the electric side from outside of the guitar repertoire. of the guitar quartet repertoire with works With the help of eight and eleven-string like Nagoya Guitars and Electric Counterpoint guitars the quartet has created an origi- by Steve Reich, and a recent commission for nal catalogue of commissions and new electric guitar quartet, Amplified by Michael arrangements by composers such Philip Gordon. This was premiered at the David Glass, Steve Reich, Arvo Pärt, Gyorgy Ligeti Lang/ curated festival of new and celebrated Russian composer Sofia music at the National Concert Hall, Dublin Gubaidulina. in February 2015.

Performance highlights include a multi-date The Dublin Guitar Quartet is supported tour of Columbia and two tours of North by Music Network and the Arts Council of

Photo by: Scott Van Osdol America in 2013/14. The DGQ have Ireland.

38 39 HOW LITTLE YOU ARE BY NICO MUHLY | WORLD PREMIERE TEXAS PERFORMING ARTS

TEXAS GUITAR QUARTET

The Texas Guitar Quartet is Isaac Bustos, The quartet has developed an exciting Jonathan Dotson, Alejandro Montiel and repertoire by commissioning new works Joseph Williams II. As soloists, they have and creating their own arrangements and garnered acclaim on concert stages around compositions. Earlier this year, the quartet the world and prizes in dozens of interna- commissioned Tracks, a major new work by tional guitar competitions. Together, they composer Peter Lieuwen. They have also bring their unique passions and talents to an premiered works by Andrew Dickinson, ensemble dedicated to presenting chamber Alfredo Barros, Mark Anthony Cruz, and music of the highest quality. Recent perfor- Joseph Williams II. Their daring ar- mances were presented by the New York rangements, such as Beethoven’s Egmont City Classical Guitar Society, Victoria Bach Overture, offer fresh perspective on works Festival, Austin Classical Guitar, Guitar from other repertoires and push the bound- Houston, Texas Music Festival, Troubadour aries of the medium.

Photo by: Michael Norwood Series at Wofford College, University of Texas at Brownsville Guitar Ensemble Festi- Their critically acclaimed 2012 debut LOS ANGELES GUITAR QUARTET val and Competition, and Austin Chamber recording, RED, was featured on the inter- Music. nationally syndicated radio show Classical The Grammy® Award-winning LAGQ is one (Telarc, 2007), including collaborations Guitar Alive. of the most multifaceted groups in any genre. with vocalist Luciana Souza, was released The LAGQ is comprised of four uniquely to rave reviews, and their newest recording accomplished musicians, who bring a new of Rodrigo’s Concierto Andaluz and Sérgio energy to the concert stage with programs Assad’s Interchange, written specifically for ranging from Bluegrass to Bach. They con- the quartet, was released on Telarc in Spring sistently play to sold-out houses world-wide. 2010 and quickly climbed to the top spot on Their inventive, critically acclaimed tran- the Billboard charts. The live The Ingenious scriptions of concert masterworks provide a Gentleman: Don Quixote was released on DVD fresh look at the music of the past, and their by Mel Bay in spring 2012. interpretations of works from the contem- porary and world-music realms continue Visit LAGQ online at lagq.com ▪ to break new ground. Programs including LAGQ records for Telarc International ▪ Latin, African, Far East, Irish, Folk and LAGQ uses Neumann microphones American Classics transport listeners around the world in a single concert experience. Los Angeles Guitar Quartet is managed by Their Don Quixote collaboration with Fire- Frank Salomon Associates sign Theater veteran, actor Philip Proctor, continues to expand and delight audiences, 121 W. 27th Street, Suite 703 and the work SHIKI: Seasons of Japan, writ- New York, NY 10001-6262 ten for the LAGQ plus guitar orchestra by www.franksalomon.com composer Shingo Fujii, is connecting com- munities across the nation. Managing Associate: Barrie Steinberg

Winner of a 2005 Grammy® Award, their facebook: LAGQ Guitar Heroes released on Telarc is twitter: @LAGQ a brilliant follow-up to their Grammy® nominated LAGQ-Latin. Spin (Telarc, 2006) continues their explorations of jazz and

contemporary music. LAGQ: BRAZIL Photo by: Marc Rouve

40 41 HOW LITTLE YOU ARE BY NICO MUHLY | WORLD PREMIERE TEXAS PERFORMING ARTS

AUSTIN CLASSICAL GUITAR STAFF CONSPIRARE STAFF

Matthew Hinsley, Executive Director Craig Hella Johnson, Artistic Director James Fidlon, Director of Operations Paul Melroy, Managing Director April Long, Director of Development Travis Marcum, Director of Education & Outreach Camille Atkins, Financial Manager Jeremy Osborne, Assistant Director of Education & Outreach Tamara Blanken, Online Services Manager Eric Pearson, Director of Community Guitarists Kelly Brownlee, Annual Fund & Grants Manager Toby Rodriguez, Educator & Elementary Curriculum Specialist Christy Butler, Marketing Manager Julie Stoakley, Director of Events Melissa J. Eddy, Publications Manager Samantha Brenner, Administrative Assistant Rick Gabrillo, Associate Conductor; Manager, Conspirare Youth Choirs Wravan Godsoe, Office Manager Robert Harlan, Production Consultant Ben R. King, Production Assistant Meri Krueger, Artist Relations THANK YOU FROM AUSTIN CLASSICAL GUITAR Kathy Leighton, House Manager Elle Mahoney, Production Manager All our individual donors: Camille Cook & Siri Hutcheson Ann McNair, Director of Program Fulfillment & Artistic Operations; The Augustine Foundation Michael & Carol Fields Executive Assistant to the Artistic Director Cultural Arts Division, City of Austin Steve & Rebecca Guengerich Stephen Pruitt, Production Advisor Economic Development Department IBC Bank Nina Revering, Director, Conspirare Youth Choirs The Meyer Levy Charitable Foundation, Mercedes-Benz of Austin Christina Tannert, Administrator, Conspirare Youth Choirs Michael R. Levy MFS Foundation Meredith Thomas, Director of Development National Endowment for the Arts Silicon Laboratories Webber Family Foundation Topfer Family Foundation Dr. Michael Froehls Dr. Busse, The Kodosky Foundation, Austin Pediatric Ophthalmology Jeff & ailG Kodosky Carl Caricari & Margaret Murray Miller THANK YOU FROM CONSPIRARE The George & Fay Young Foundation D’Addario Foundation Austin Asset Joan & Thomas Kobayashi All our individual donors: The Kodosky Foundation Ernest & Sarah Butler Bill & Mary LaRosa Austin Community Foundation KUT/KUTX Louise Epstein & John Henry McDonald David Lastrapes Bill Bednar* The Mattson McHale Foundation Kendal & Ken Gladish Richard Mattingly Butler School of Music, University of Texas Ray & Cathy Moore* H-E-B Kien-Hoa Nguyen-Xuan Family Fund Anne & Sam Byars* Moore-Tate William Metz Oliver Custom Homes City of Austin Cultural Arts Division National Endowment for the Arts Shield-Ayres Foundation The Sadler Family Foundation Bob Clagett* Bill Nemir* Texas Commission on the Arts Catherine & David Wildermuth Fran & Larry Collmann* Northwest Hills United Methodist Church 3Mgives The Aaron Copland Fund for Music Philip Overbaugh Communication Specialists, Inc. Susan & Jack Robertson* Fetzer Institute South Texas Money Management Richard & Susanna Finnell* The Still Water Foundation Glenda Goehrs* Bernadette Tasher* The Ann & Gordon Getty Foundation TesCom Gusto Italian Kitchen & Wine Bar Texas Commission on the Arts Heritage Title Company Tiki2 Design Hornaday Design The Rachael & Ben F. Vaughan Foundation This project is funded and supported in part by a grant from the Texas Commission on the Arts and in part by the Cultural Arts Division of the City of Austin Economic Development Department. This project is also funded and supported by an award from the National Endowment for the The Keating Family Foundation Sheila & Ryan Youngblood* Arts, which believes that a great nation deserves great art. KMFA *Artist host

42 43 TEXAS PERFORMING FEATURES OF BASS ARTS TICKETS CONCERT HALL

HOW TO PURCHASE TICKETS Please take a moment to visit some of the unique •: Online texasperformingarts.org features of Bass Concert Hall. • Phone: 512.477.6060 or 800.982. (2386). • In Person: Tickets are available at the Bass 2ND FLOOR Concert Hall Ticket Office and all Texas Box ROBERT TOCKER GRAND STAIRCASE Office locations including the Frank Erwin The Robert Tocker Grand Staircase connects Center Box Office and most Austin area H-E-B the main lobby level to upper floors. The stair stores. landing often doubles as a small stage where ensembles perform during receptions hosted in THE BASS CONCERT HALL TICKET OFFICE the lobby. Our main Ticket Office is located at 23rd & Robert Dedman Drive, just north of the Darrell 3RD FLOOR K Royal-Texas Memorial Stadium on the UT CAFÉ Campus. Open Tuesday through Friday, 11-2 Our 3rd floor café opens an hour and a half inside the lobby, 2-6 at outside windows, and before any curtain time and serves a variety one and a half hours prior to Bass performances. of fresh made paninis, personal pizzas, cheese Patrons purchasing tickets in person can now plates, salads, and desserts. The open and airy park in the Bass Concert Hall plaza driveway. seating is the perfect place to enjoy a glass of wine as you nibble on artisanal fare. GROUP DISCOUNTS Groups of 15 or more may be eligible to receive 5TH FLOOR a 10% discount of the original ticket price. TEXAS INNER CIRCLE LOUNGE Groups of 40 or more may be eligible for a Open exclusively to Texas Inner Circle 15% discount. Please contact our Group Sales Members, our 5th floor Lounge features the Manager at 512.471.0648 for more information. only bar with pre-ordered drinks and an express elevator for intermission. LOST TICKETS If you do not receive your tickets by three 6TH FLOOR business days prior to an event, call the Ticket THE LOFT Office at 512.471.1444 or 800.687.6010. If you The Loft is the official student space in Bass have misplaced your tickets, we will be happy Concert Hall. Come check out special events be- to reprint them for you. They will be ready for fore and after performances, including a graffiti you at the will-call window the night of the wall, photo booth, snacks, and much more. performance. ANN AND DAVID HONEYCUTT TERRACE THIRD PARTY SALES One of the most dramatic locations of the Bass We strongly advise you against purchasing tick- Concert Hall is the Ann and David Honeycutt ets from third party resellers, such as brokers or Terrace on the 6th floor, with views of the LBJ individuals. Texas Performing Arts assumes no fountain and the UT Tower. liability for tickets purchased or resold through unauthorized channels. THROUGHOUT HALL LANDMARKS PUBLIC ART PROGRAM Texas Performing Arts is proud to exhibit eleven modern and contemporary sculptures from CONTACT US WITH YOUR the Metropolitan Museum of Art in New York. TICKETING QUESTIONS The sculptures are installed in and around Bass [email protected] Concert Hall as an initiative of the Landmarks 512.471.1444 or 1.800.687.6010 public art program. Visit landmarks.utexas. Tuesday through Friday, 11 AM to 6 PM edu for more information.

Bass Concert Hall also features artwork by local students and artists throughout the building.