Surround Sound MUSIC FOR ORCHESTRA AND ELECTRONIC SOUNDS

SUNDAY OCTOBER 12, 2014 3:00 Surround Sound MUSIC FOR ORCHESTRA AND ELECTRONIC SOUNDS

SUNDAY OCTOBER 12, 2014 3:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY

Pre-concert talk with the composers, hosted by Robert Kirzinger at 2:15

RONALD BRUCE SMITH Constellation (2000)

ANTHONY PAUL DE RITIS Riflessioni (2014) world premiere Patrick de Ritis, bassoon

INTERMISSION

DAVID FELDER Les Quatre Temps Cardinaux (2013) I. Prelude/Stanza 1a [Daumal] II. Stanza 1b [Daumal] III. Spring Light [Creeley] electronic interlude IV. Stanza 2a [Daumal] V. Fragments (from Neruda) VI. Stanza 2b [Daumal] VII. Stanza 3a [Daumal] VIII. Stanza 3b [Daumal] electronic interlude IX. Buffalo Evening [Creeley] electronic interlude X. Stanza 4a [Daumal] XI. Insomnia [Gioia] XII. Stanza 4b [Daumal] Postlude Laura Aikin, soprano Ethan Herschenfeld, bass

GIL ROSE, Conductor

Les Quatre Temps Cardinaux was commissioned by the Serge and Natalie Koussevitzky Foundation with Ensemble Signal, BMOP, and Slee Sinfonietta as the three ­co‑commissioning organizations. Additional support comes from the Birge-Cary Chair in Music, University at Buffalo for realization of the electronic portion of the work. PROGRAM NOTES 5 by Robert Kirzinger

Supplementing or melding the orchestra with electrical media goes back about a hundred years. The 1913 “Art of Noises” manifesto by the Futurist Luigi Russolo JULIUS AHN JULIUS is a handy marker for the aesthetic argument for new sound sources based in technology. In practice, of course, musicians themselves were more likely than theorists to effect such changes organically. Among the most famous early examples from the mainstream was Respighi’s use of a gramophone record for a proto-sample of birdsong in Pines of Rome THIS AFTERNOON’S PERFORMERS back in 1924—a synthetic solution toward achieving verisimilitude. Around the same time, purely electric instruments such as the Theremin and a bit later the ondes Martenot FLUTE BASS TROMBONE VIOLA started to enter the picture. It took a few years for these new possibilities to change the Sarah Brady Christopher Beaudry Joan Ellersick philosophical rhetoric of music composition, arguably via extension of the percussion Jessica Lizak Noriko Herndon section: John Cage’s use of “abstract” electronic sounds on phonograph records in such CONTRABASS Emily Rome OBOE TROMBONE Adrienne Elisha pieces as Imaginary Landscape No. 1. Tape music was nascent in the ’30s and matured Jennifer Slowik Angel Subero with the work of Pierre Schaeffer and Pierre Henry in the musique concrète (real-world Barbara LaFitte CELLO PERCUSSION Rafael Popper-Keizer sounds subject to various sorts of editing) of the late 1940s. Sounds produced by electronic CLARINET Robert Schulz Nicole Cariglia oscillators and other electronic means, first used in compositions on tape (versus live Michael Norsworthy Bill Manley Katherine Kayaian performance), took root in the early 1950s; computer synthesis began in 1957. Commercially Jan Halloran Aaron Trant BASS available synthesizers such as the Moog, and later digital keyboard synthesizers from CONTRABASS PIANO/CELESTA/ Anthony D’Amico Yamaha, fueled experimentation immensely. In the past two decades the most significant CLARINET KEYBOARD Scot Fitzsimmons development in music has centered on the personal computer, dramatically expanding Kevin Price Linda Osborn Reginald Lamb the practical potential for sound production/manipulation and for real-time interactive BASSOON HARP ELECTRONICS control. And yet, in spite of this history, electronic media in “classical” music remains a Sebastian Chavez Amanda Romano Margaret Phillips Riflessioni relatively rare, relatively quirky proposition, whereas in pop and film music it’s absolutely ACCORDION Brian Dixon, keyboard ubiquitous. HORN Roberto Cassan sample programmer That being said, music for orchestra with electronic sources has come a long way Clark Matthews Ian Headley, live electronics Neil Godwin VIOLIN I since the early 1950s when the first attempts at a merger, Ussachevsky and Luening’s Alyssa Daly Gabriela Diaz Les Quatre Temps Rhapsodic Variations for tape recorder and orchestra and Varèse’s Déserts, were made. The Piotr Buczek Jennifer Robbins J.T. Rinker, electronics integration of a variety of approaches, all stemming from the physical, pre-recorded, and Amy Sims Matt Sargent, live mix TRUMPET Gabriel Boyers J.T. Rinker and Olivier computer synthesis beginnings mentioned above, has led many a present-day orchestral Terry Everson Shaw Pong Liu Pasquet, electronic composer to unexpected new expressive possibilities. Three veterans of the field, David Richard Watson Oana Lacatus realizations Felder, Ronald Bruce Smith, and Anthony De Ritis, are on tonight’s concert—sometimes Tony Gimenez VIOLIN II SPECIAL THANKS similar means, but quite different results. TROMBONE Colleen Brannen Shawn Duncan, SAVI, and Hans Bohn Tudor Dornescu the Robert and Carol Martin Wittenberg Beth Abbate Morris Center for 21st RONALD BRUCE SMITH (b.1961) Annegret Klaua Century Music Constellation (2000/03) Anna Korsunsky Mina Lavcheva Ronald Bruce Smith became interested in electronic media relatively soon in his musical education, initially through his interest in microtonal tunings. Since he was introduced to an early version of the powerful interactive sound-control software Max in the late 1980s, he has used that tool extensively in his music. Smith was born and raised in Toronto, where 6 he learned piano, guitar, and trombone and engaged in a range of musical activities. Guitar Gradually the piece broadens toward the bass register and a kind of climax, followed by 7 became his primary interest, but he also began to write his musical thoughts down in a foreshortened recapitulation. his teens. It was as a classical guitarist that he entered the University of Toronto. During Smith projected this single ten-minute movement out into a large orchestral triptych his time there his exposure to new music was greatly increased, not only at the school called Thousand Autumns, the other two movements of which are Archipelago and Garden. itself—Alexander Goehr and Morton Feldman were among the visitors there—but via such Smith sees the three as different collections of things or events as seen from three different avenues as Robert Aitken’s New Music Concerts in Toronto. Courses with the Latvian-born perspectives—viewing a chain of islands from above in Archipelago, being immersed Talivaldis Kenins, a former Messiaen student, steered Smith toward composition. in the different plots in Garden, and in Constellation, our ground-level view of the stars. Smith’s experimental interests led him to McGill University in Montreal, where he worked with Bruce Mather. During an exploratory trip to Berkeley, California, a chance meeting with the interactive music software pioneer David Wessel led to his earning his ANTHONY PAUL DE RITIS (b.1968) doctorate at UC Berkeley, where he worked with Wessel and Richard Felciano. Smith also Riflessioni, for solo bassoon, electronics, and orchestra (2014) worked at IRCAM with Tristan Murail and at the American Conservatory at Fontainebleau Anthony Paul De Ritis maintains a complicated and saturated schedule on a variety of (where, coincidentally, he met Anthony De Ritis). Apart from such excursions, Berkeley musical fronts. For fourteen years he has headed the music department at Northeastern remained his base until he moved to Boston in 2003 to take up a position on the music University (a role from which he’ll step down after this academic year), meanwhile also faculty of Northeastern University. He has also taught at Berkeley, Stanford University, teaching, composing, administering conferences and festivals, and traveling to Beijing as and the University of Illinois at Urbana-Champaign. often as he can to foster his ties with China’s Central Conservatory. He received a Fulbright Through Smith’s interest in microtonal music and extended harmonic means in the grant to spend the fall of 2011 at the CCM to research traditional Chinese instruments and early 1980s, he came to know the music of Gérard Grisey and Tristan Murail, two important has collaborated with the celebrated pipa artists Wu Man and Min Xiao-Fen in creating influences known for musique spectrale, in which the structure and sound of a work is such works as Plum Blossoms, a work for pipa, ensemble, and electronics; the solo pipa based on computer-aided analysis of the harmonic spectra (timbre, simply put) of existing sounds. Smith is interested in the timbral continuum bridging acoustic instruments and synthesized sounds, the middle ground of which includes electronic modulation of acoustic sounds. Using Max/MSP, Smith has been able to negotiate a virtual continuum between these two sound-types, for example by electronically “orchestrating” intensifications SEASON 14 | 15 of the timbres of the live instruments by amplifying different harmonic partials, as he does in Constellation. He has also combined solo instruments modified via electronics MUSIC OF VIENNA with unmodified acoustic instruments. A current project is a Koussevitzky Foundation- Boston Globe Fall Arts Preview Critics’ Pick commissioned work for guitarist David Starobin, whose instrument will be electronically extended, with the Del Sol String Quartet (without electronics), all San Francisco-based MOZART performers with whom Smith has worked extensively. Another current project is for solo Great Mass in C Minor piano with electronics for Vicky Chow for January 2015. Constellation, which grew out of an earlier chamber work, also has a Bay Area HAYDN connection. Composed in 2000, it was requested by the conductor Kent Nagano, whom Te Deum Smith knew from various encounters, for the Berkeley Symphony. (The November 10, BEETHOVEN 2000 premiere took place on a concert with Beethoven’s Eighth Symphony and the West “Hallelujah” from Coast premiere of a concert version of Elliott Carter’s opera What Next?) Constellation Christ on the Mount of Olives employs electronics primarily via samples (pre-recorded sounds, usually short) triggered in Max/MSP via an onstage keyboard, which are broadcast through a stereo speaker SCHOENBERG array onstage. These sounds integrate with the orchestral music, essentially expanding Friede auf Erden the orchestra and only rarely being heard as primary events. On one level the piece is harmonically slow-moving, but its surface is in a state of constant agitation—shimmering SATURDAY 18 OCTOBER – 8PM stasis. Each shift in harmony delineates a different episode or field, with a corresponding Sanders Theatre, Cambridge shift in timbre; individual and smaller groups of instruments create ripples on the surface. Tickets: www.bbcboston.org 8 work Zhongguo Pop!, and the concerto Ping-Pong. The latter was premiered in Taipei, in the form of unstable sounds and pitches in the solo part, expanding to a tutti harmonic 9 Taiwan, by Min Xiao-Fen and the Taipei Chinese Orchestra in 2004. Along with a doctorate glow, shot through in places with the sharp punctuation of the work’s beginning. in music composition from the University of California at Berkeley, he holds an MBA and Riflessioni will be released along with Pop Concerto and other works on a future has pursued a number of different strategies for expanding the role of technology in the BMOP/sound CD. music profession and in education. In addition, he presents talks on the role of creativity and collaboration in professional contexts outside of the arts. He has collaborated with many non-academic institutions in educational offerings, including the Boston Symphony DAVID FELDER (b. 1953) Orchestra’s Online Conservatory. Les Quatre Temps Cardinaux for solo soprano, solo bass, chamber De Ritis, a native New Yorker, attended Bucknell University in Pennsylvania and the orchestra, and electronic sound (2013) University of Ohio prior to UC Berkeley, as well as studying at the American Conservatory David Felder’s Les Quatre Temps Cardinaux (“The Four Cardinal Times”) is, at fifty minutes, at Fontainebleau, France. As he was for Ronald Bruce Smith, David Wessel at Berkeley was the composer’s largest work to date, a culmination of several different avenues of a significant influence, as were composition teachers Jorge Lidermann at Berkeley, Mark exploration he’s pursued over the past few years. Commissioned by the Koussevitzky Philips in Ohio, and Kyle Gann, William Duckworth, and Jackson Hill at Bucknell. Tristan Foundation, the piece was composed for the Slee Sinfonietta at the University of Buffalo Murail and Philippe Manoury also made their marks on his sound-world. and for the Boston Modern Orchestra Project. The Slee Sinfonietta and Ensemble Signal, De Ritis has been as diverse in his compositional pursuits as in his professional with vocal soloists Laura Aikin and Ethan Herschenfeld and conducted by Brad Lubman, life as a whole. His recent Pop Concerto, a kind of mashup of pop hits for guitar and gave the premiere in Slee Hall at the University of Buffalo on April 23, 2013. orchestra composed for guitarist Eliot Fisk, is at one end of the spectrum—its roots solidly Felder holds the Binge-Cary Chair in Music Composition at the University of Buffalo, embedded in the contemporary vernacular. He has also composed music for Chinese where he has taught for thirty years. But his role there has been much broader: soon instrument ensembles. His most consistent voice is more in the vein of recent Western after his arrival he joined with fellow faculty member Morton Feldman in re-establishing modernism. BMOP has recorded his orchestral work Chords of Dust; Legerdemain for Feldman’s June in Buffalo festival, a weeklong series of concerts and seminars focused orchestra with electronics, and Devolution, a work composed for turntable artist DJ Spooky on new music. Felder, following Feldman’s death, has continued to direct the festival that incorporates a shifting, and potentially improvised, mosaic of samples from Ravel, along with pursuing the practical, concrete expansion of its philosophies. In 1996 he Beethoven, and elsewhere. The Riflessioni concerto takes as its foundation a work for co-founded the Slee Sinfonietta, a professional ensemble in residence at the university, solo bassoon and electronics, which, although written to serve as a foundation for the and in 2006 founded the Robert and Carol Morris Center for 21st Century Music, of which orchestral work, is for all intents a successful standalone work, an idea the composer he is also director. has explored on several occasions. Born in Cleveland, Felder attended Ohio’s Miami University, where he earned his The title Riflessioni (“Reflections”) is an evocative one, touching on several layers master’s degree, and also studied with Donald Erb in Cleveland. He earned his doctorate of meaning. Anthony De Ritis wrote the piece for the French bassoonist Patrick de Ritis, at UC San Diego, working with Roger Reynolds, Bernard Rands, Robert Erickson, and Joji principal bassoon of the Vienna Symphony Orchestra and conductor of the ensemble Yuasa. He shares with many of this diverse roster of brilliant composers a tendency toward European Wind Soloists. Patrick’s family has roots in the same region in Italy, Abruzzo, as the exploratory as a conduit for ever-increasing breadth of musical experience. Use of the composer; their paths crossed first in 2005, and Tony immediately began contemplating electronics as well as non-standard presentation possibilities, including the theatrical, a collaboration. This came to fruition earlier this year: Patrick came to the U.S. to record have become virtually second-nature in his work, so fundamental to his practice as to written and improvised fragments from which Tony assembled pre-recorded materials, escape any hint of novelty; there is no “grafting” here. Like De Ritis and Smith, Felder is well- to which he added modified and synthesized elements. Incorporated into the orchestral versed in the capabilities of Max/MSP and acoustical analysis. He has also collaborated texture of the concerto, these are controlled via Max/MSP, and are thus “reflections” of extensively with video artists since the mid-1980s. Among recent projects, he worked the live bassoon soloist’s role (or vice versa). Both sources are also subject to real-time with Elliot Caplan in the big triptych Shamayim (2008) for bass voice and eight-channel electronic modification, to which is added a toolkit of extended techniques that extend sound. Modern technological elements don’t dominate his catalog, however; there are the timbre and expressive voice of the acoustic instrument. An accordion—the sound many pieces for traditional genres, including the string quartets Stuck-stücke and Third always surprising in an orchestra—acts in the manner of liaison. Face for the Arditti Quartet and a number of works for orchestra and mixed ensembles. Beginning from a sustained (but rhythmically “breathing”) F-sharp, the character Felder sang as a chorister in his youth, and has recently returned to writing for vocal of the bassoon solo becomes frenetic and sometimes aggressive, its overlapped quick ensembles. He wrote Memento mori for the New York Virtuoso Singers in 2004, and the gestures verging on percussion sound rather than that of a melodic instrument. Both brief Nomina sunt consequentia rarum in 2013 for the same group. ideas, the unstable and the sustained, are projected out into the orchestra, but their One need spend only a little time with David Felder’s music to realize how many opposite natures eventually begin to merge. Falling scale phrases bring lyricism, always interconnections there are among his pieces. The practice of revisiting and recontextualizing accompanied by energy and vibration. Dissolution, a little blur around the edges, arrives ideas is prevalent in Bach, Beethoven, Berlioz, and Mahler, to name just a few. Felder 10 often creates versions for different forces, or by re-using materials, and occasionally will made larger for a much bigger sound.) The glorious opening of the piece is a kind of pre- 11 incorporate an earlier work into a later. The resonances set up by such relationships day, Felder’s answer to sunrises by Schoenberg, Strauss, Sibelius, and Ravel, the soprano are enriching and illuminating, often revealing a composer’s (sometimes quirky) essentially treated as an orchestral instrument. Along with the Daumal poem, the focus preoccupations and unique fondnesses—for example, Felder’s 1980s interest in the of this first big part is a setting of Creeley’sSpring Light for soprano, with sparse, high- novelist Kobo Abe, whose work inspired the composer’s BoxMan and Another Face; register accompaniment. This is followed by a kind of percussion cadenza that leads to the percussionists Tom Kolor (who invented the “boo-bams” used in Les Quatre Temps the electronics interlude separating the first section from the second. This and the other Cardinaux) and Daniel Druckman inspired a series of concertos. This is very much the significant electronic interludes are created from the Daumal text, and, the composer says, case with Les Quatre Temps Cardinaux, which has several connections to earlier pieces. summarize the preceding material while anticipating that which follows. This poetry is One of the models for this approach can be found among Felder’s own works, 2003’s Neruda and Daumal, the mood brash and confident, the music thick with brass in many partial [dist]res[s]toration, which delves into sketchbooks and other sources and which colors. A long orchestral interlude (movement 6) illustrates Daumal’s “At the height of also takes its movement titles from poems by Robert Creeley, Pablo Neruda, and René the day, bang the gong!” Felder conceived this central movement as “a ‘wheel,’ like in Daumal, all of whom figure in Les Temps; Felder’s Memento mori is a more straightforward a Tibetan Thangka, or a horoscope, perhaps; a compression of all of the regions of the setting of the Neruda poem Full Powers; and the setting of Dana Gioia’s Insomnia is a entire work into a non-ordered time, pulsing at ‘the height of the day.’” fortified version of an earlier work for solo bass voice and percussion. The interpenetration In part three (beginning with movement 7), the third stanza of Daumal’s poem not only of these outside influences but of Felder’s own varying interpretive perspectives announces the sun’s gradual sinking from sight. Soprano and orchestra are simultaneously conjures all sorts of ways of hearing the piece; it will offer more with each new encounter. languid and unstable, the harmonic world strange and vague as the light slowly changes, The composer writes: “Les Quatre Temps Cardinaux is a work for large chamber with a final blaze over the horizon leading to a brief electronic interlude, featuring Creeley’s orchestra, solo soprano, and solo bass, with electronics, featuring texts by four poets, reading of Buffalo Evening. Movement 9 is Felder’s subtle, mysterious, but conversational Neruda (Full Powers), Creeley (Spring Light and Buffalo Evening), Gioia (Insomnia), and setting of that piece. the central poem by René Daumal from which the work takes its title. Each of the poems Another electronic interlude precedes the night, part four of the piece; Dana Gioia warmly affirms time positioning and varying qualities of light as central to our sensory reads his Insomnia. Felder’s setting of that poem in movement 11 employs distinctly and internal experiencing. The Daumal serves as the central poem, a cross, indicative of pointed orchestration reflecting the poet’s imagery; “The steady accusations of the a transpersonal ‘Great Time’ around which the other poems turn, as specific markers of clock,” repeated three times here, takes on particular meaning. The final movement events on a more intimate, personal scale.” He worked with J.T. Rinker and Olivier Pasquet recedes to the stillness of midnight through use of predominantly low registers along in creating the programming for the electronic cues. with the bass voice. A brief postlude by the soprano with two trumpets reminds us that Les Temps is the fruition of the composer’s longtime interest in the life and work of the day is a cyclic journey. poet, novelist, and mystic René Daumal (1908-1944). The piece delves into the poetry of former University of Buffalo faculty member Robert Creeley (1926-2005); Creeley and ©Robert Kirzinger 2014. Composer and writer Robert Kirzinger has been the primary annotator Felder had at one time talked of collaborating, without direct result, but the poet gave for the Boston Modern Orchestra Project since 2006. He is on the staff of the Boston Symphony Orchestra as a writer, editor, and lecturer, and has taught writing at Northeastern University. Felder a few of his own recordings of his poems, which have been incorporated into the He holds degrees in music composition from Carnegie Mellon University and the New England electronics part here in music the composer characterizes as “more intimate,” relating to Conservatory. the sense of place that Buffalo evokes (the “dark and gray” Buffalo winter). Dana Gioia’s reading voice is used as a model for other electronic sounds. Thus the poetry has literally been transformed into music. This “continuum” of word to voice to music mirrors many other kinds of transformation within the piece, as well. The overtone series heard at the very start is an important harmonic building-block for the whole piece, almost analogous to the continuous presence of Daumal’s poem. Rhythmically, there is a progression of possibilities from “natural” or organic rhythm and phrase (such as that in speech) to strongly periodic, clock-like “process” rhythms, both of which relate to the way we experience time in the course of a day. The piece is in twelve movements, but recurrences and overlaps keep the “movement” idea a little bit at bay. There are also four big sections, relating to Daumal’s time. A quasi- surround speaker setup is used for the electronics sounds; in addition to the solo soprano and bass voices, the orchestra is approximately Brahms-sized, excepting the large and varied percussion battery. (Although the string sections may be quite small, they can be 12 TEXTS AND TRANSLATIONS 13

LES QUATRE TEMPS CARDINAUX SPRING LIGHT René Daumal Robert Creeley La poule noire de la nuit Could persons be as this vient encore de pondre une aurore. fluffed light golden spaces Salut le blanc, salut le jaune, intent airy distances so up salut, germe qu’on ne voit pas. and out again they are here Seigneur Midi, roi d’un instant the evening lowers against the sun au haut du jour frappe le gong. the night waits far off at the Salut a l’oeil, salut aux dents, edge and back of dark is summer’s salut au masque devorant toujours! light that slanting clarity all wonders come again the bodies open Sur les coussins de l’horizon, stone stillness stunned in the silence le fruit rouge du souvenir. hovering waiting touch of air’s edge Salut, soleil qui sais mourir, piece of what had not been lost. salut, bruleur de nos souillures. Mais en silence je salue la grand Minuit, Celle qi veille quand les trois s’agitent. BUFFALO EVENING Fermant les yeux je la vois sans rien voir par dela les tenebres. Robert Creeley Fermant l’oreille j’entends son pas qui ne s’eloigne pas. Steady the evening fades up the street into sunset THE FOUR CARDINAL TIMES over the lake. Winter sits (Trans. Kathleen Ferrick Rosenblatt) quiet here, snow piled The black hen of the night by the road, the walks stamped Has hatched a dawn yet again. down or shoveled. The kids Hail the white, hail the yellow, in the time before dinner are The seed that we cannot see. playing, sliding on the old ice. Lord of the Noon, king of the moment The dogs are out, walking, Bang the gong at the height of the day. and it’s soon inside again, Hail the eye, hail the teeth, with the light gone. Time Hail the ever devouring mask! to eat, to think of it all. On the cushions of the horizon, The red fruit of memory. Reprinted by permission. The Collected Poems of Robert Creeley: 1975-2005 Hail, sun who knows how to die. ©2006 the Estate of Robert Creeley. Published by the University of California Press. Hail, incinerator of our filth. Special thanks to Penelope Creeley. But in silence I salute the great Midnight. The one who keeps vigil while the other three are active. Closing my eyes I see her without seeing anything across the shadows. Closing my ears I hear her footstep which never abandons me.

Reprinted by permission. René Daumal: Poésie noire, poésie blanche © Editions Gallimard, Paris. Tr. by Kathleen Ferrick Rosenblatt with permission. 14 INSOMNIA 15 Dana Gioia GUEST ARTISTS Now you hear what the house has to say Pipes clanking, water running in the dark, The mortgaged walls shifting in discomfort PATRICK DE RITIS, bassoon And voices mounting in an endless drone Patrick de Ritis was born in France and grew up in Italy from Of small complaints like the sound of a family the age of six. He began studying the piano at age seven and

That year by year you’ve learned to ignore. PIERONI NESTOR the bassoon at age ten. Besides his successful solo career But now you just listen to the things you own, as a bassoonist and conductor, his participation in prime All that you’ve worked for these past years, international artistic events with his ensembles Concertino The murmur of property, of things in disrepair, Wien and European Wind Soloists, and extensive experience in The moving parts about to come undone, teaching chamber music and bassoon around the world, world And twisting in the sheets remember all class musician Professor de Ritis has also been the principal The faces you could not bring yourself to love. bassoonist of the Vienna Symphony Orchestra for more than two decades. Mr. de Ritis How many voices have escaped you until now, has toured Europe, the USA, Asia and South America as a soloist and made several discs The venting furnace, the floorboards underfoot in the past years. At the moment he is producing two recordings with the label Naxos USA. The steady accusations of the clock Numbering the minutes no one will mark. The terrible clarity this moment brings, LAURA AIKIN, soprano The useless insight, the unbroken dark. World renowned American soprano Laura Aikin is a familiar presence in the world’s great opera houses and concert halls, Reprinted by permission. Daily Horoscope, Greywolf Press © Dana Gioia performing with many of the greatest conductors of our time. Possessing a range of over three octaves and an arresting stage presence, her repertoire embraces works from the Baroque to the contemporary. In great demand in both Europe and America she began her career as a member of the ensemble at the Staatsoper Unter den Linden Berlin (1992-98) where she performed more than 300 times in major roles like Lulu, Königin der Nacht (Die Zauberflöte), Zerbinetta (Ariadne auf Naxos), Amenaide (Tancredi), Sophie (Der Rosenkavalier), Adele (Die Fledermaus), and Zaide. Laura Aikin is now a regular guest at the leading opera houses worldwide such as the Vienna State Opera, La Scala Milan, Bavarian State Opera, Opernhaus Zurich, Netherlands Opera, Opéra National de Paris, Semperoper Dresden, Gran Teatro del Liceu Barcelona, Opera Frankfurt, Chicago Lyric Opera, Santa Fe Opera, San Francisco Opera and Metropolitan Opera New York, and has made numerous concert appearances at the Salzburg Festival, among others. She was highly acclaimed by both audience and press for her interpretation of Marie in Zimmermann’s Die Soldaten in 2012 and in Birtwistle‘s Gawain in 2013. Miss Aikin has appeared as a concert artist throughout the world with orchestras such as the Dallas, London, San Francisco, Chicago, Vienna, BBC and Melbourne Symphony Orchestras, the Berlin, Munich, Israel and Vienna Philharmonic Orchestras, Cleveland Orchestra, Bayerische Rundfunk Orchestra, Ensemble Intercontemporain, Les Arts Florissants, Concerto Köln and Concentus Musicus. The many international festivals in which she has performed include Mostly Mozart Festival in New York, Schleswig-Holstein, Melbourne, Edinburgh, Lucerne, Wiener and Berliner Festwochen. She has performed as 16 a Lied singer in Berlin, Milan, Dresden and Rome, and made her American recital debut Crucible) at Chautauqua Opera, and King Zuoxian in the world premier of Wenji in New 17 in the San Francisco Chamber Music Series. York and Hong Kong, a role for which the New York Times praised his “booming basso.” At This past summer, she opened the Salzburg Festival with Anton Weber’s Lieder, and Carnegie Hall he has sung Mozart’s Requiem and Vesperae Solennes, Handel’s Messiah, will soon be appearing in Bernd Alois Zimmermann’s Die Soldaten at La Scala. In 2013/14 Haydn’s Theresienmesse, and the premiere of Rittenhouse’s Vision of the Apolcalypse, she returned to the Berlin Staatsoper in a new production of Feldman’s opera Neither and which he sang on tour throughout South Africa. As an actor he can be seen in season will perform both Gawain (with BBC Symphony Orchestra under Martyn Brabbins) and Die five ofBoardwalk Empire, season four of Girls, seasons one and two of Damages, and in Soldaten in concerts. The latter one will take place at the Festival Présences, the festival of the filmIt’s Kind of a Funny Story. contemporary music of the Radio France, where she will also sing Boulez’s Visage Nuptial, A graduate of Harvard College and winner of the Schorr Prize (Connecticut), Excellence both with the Radio France Philharmonic Orchestra. Further concerts include Dutilleux’s in Arts Competition (Philadelphia), and Sembrich Competition (New York), Mr. Herschenfeld Le temps l’horloge at Berlin Konzerthaus, Bernstein’s Trouble in Tahiti with the Göteborg began his vocal training with Franco Corelli and has studied since 1997 with Armen Boyajian. Symphonic Orchestra under Kent Nagano and Beethoven’s Ninth Symphony under Sylvain Cambreling in Japan. A tour of concerts with Handel’s Alessandro (in the role of Lisaura) will take her to Bucharest, Amsterdam, Paris and Vienna. Her many acclaimed recordings include Beethoven’s Christus am Ölberg with Daniel Barenboim on the Chicago Symphony Orchestra’s Centennial Edition Recording, Songs and Cycles by Rorem with pianist Donald Sulzen (Orfeo), Schönberg’s Die Jakobsleiter with the Südwestfunk Symphony Orchestra, Respighi’s La Campana Sommersa (Montpellier Opera) and a DVD of Lulu (Opernhaus Zurich).

ETHAN HERSCHENFELD, bass This season Ethan Herschenfeld joined the roster of the

MARA CATALAN MARA Metropolitan Opera, covering roles in Macbeth and in Lady Macbeth of Mtsensk. He recently made his Semperoper Dresden debut as Cardinal Brogni in La Juive, and his Teatro Real Madrid debut as Aguirre and Hog Boy in the world premier of Wuorinen’s Brokeback Mountain, a performance for which critics praised his “dark, sculpted tone” (The Telegraph) and his “imposing stage presence and basso profondo” (Opera News). In recent seasons he sang his first Baron Ochs in Indiana; Gurnemanz Parsifal( ) in Basel; Fafner and Hunding in Wagner’s Ring in Bari; King Marke (Tristan) in Turin; Judge Turpin (“exceptional”) in the Italian premier of Sweeney Todd in Bologna; Commendatore in Versailles (“big black bass voice”); Mephistopheles (Faust) in Hong Kong; Rocco (Fidelio) in Bolzano, Ravenna, and Tel Aviv; Sparafucile in Lugo di Ravenna, Tel Aviv and Philadelphia, and Kommissarius (Rosenkavalier) under the baton of Fabio Luisi in Genoa, where he also made his Italian debut in Billy Budd. L’Opera praised his “elegant singing” in Lugo, calling him “an intense Sparafucile, rich with a beautiful deep vocal timber and discrete phrasing.” He has sung Sarastro in Venice, Berlin, Stuttgart, Rome, Liege and Bremen, where he also sang Zaccarias (Nabucco), Osmin (“a true creature of the stage”), and the Kardinal (Rienzi), directed by Katharina Wagner. In the U.S. he has sung Boito’s Mefistofele and Don Basilio at Bob Jones University; Abimelech (Samson and Delila) at Hawaii Opera; Don Fernando (Fidelio), Commendatore (“an awesome presence”), Grenvil (La Traviata) and Kommissarius in Milwaukee; Butt the Hoopoe in the world premier of Wourinen’s Haroun and the title role in Ariane et Barbe-Bleue at New York City Opera; Colline (La bohème) in Chattanooga; Indiana Elliot’s Brother (Mother of Us All) in San Francisco; Hale (The mozart BACH CANTATA SERIES emmanuel Sundays at 10 AM, Emmanuel Church music September 21, 2014 – May 17, 2015 Ryan Turner, Artistic Director MENDELSSOHN/WOLF CHAMBER SERIES, YEAR I Sundays at 4 PM, Emmanuel Church

Nov 2 & Nov 16, 2014, April 12, 2015 EVENING CONCERT SERIES crossroads Crossroads October 17, 2014, 8 PM Pickman Hall - Longy School of Music

Bach: St. John Passion March 21, 2015, 8 PM bach Emmanuel Church Mozart: Abduction from the Seraglio st john May 9, 2015, 8 PM 20 14 Emmanuel Church passion FULL SEASON SCHEDULE 15 www.emmanuelmusic.org

CALYX PIANO TRIO | new american trios | Nov 16, 2014 at 8 pm pickman CONCERT hall at longy school of music | calyxtrio.com

Catherine French, violin | Nina Ferrigno, piano | Jennifer Lucht, cello

Experience the Boston premiere of Amy Beth Kirsten’s kiss to the earth and Derek Bermel’s Death with Interruptions, plus music of Augusta Read Thomas, Lansing McLoskey, & Richard Festinger Pre-concert talk at 7 pm | Tickets $5 to $25 | calyxtrio.brownpapertickets.com TERRIFIC PERFORMANCES START HERE.

mozart boston philharmonic overture to cosI fan tutte BENJAMIN ZANDER conductor & sinfonia concertante Miriam FRIED violin Kim KASHKASHIAN viola rachmaninoff SYMPHONY NO. 2 Sanders Theatre OCT 23 - 7:30PM OCT 26 - 3:00PM 201415 PERFORMANCE SEASON Over 1,000 concerts a year to choose from — and every single one is chosen by Jordan Hall members of NEC’s amazing faculty to challenge and express the artistry of our OCT 25 - 8:00PM supremely talented students. For you, it means great music beautifully played! A portion of the proceeds to benefit Music For Food* * BOSTONPHIL.ORG // 617.236.0999 For details on our free concerts, go to necmusic.edu BMOP/sound, the label of the acclaimed Boston Modern Orchestra Project, explores the evolution of the music formerly known as classical. Its eclectic catalog offers both rediscovered classics of the 20th century and the music of today’s most influential and innovative composers. BMOP/sound gives adventurous listeners a singular opportunity to explore the music that is defining this generation and the next.

Available for purchase at bmopsound.org and all major online retailers and in the lobby during intermission at tonight’s performance.

BMOP/sound recordings offer superior sound quality, impeccable post-production, and distinguished packaging. In addition to receiving 2009 and 2010 Grammy Award nominations, BMOP/sound recordings have appeared on the year-end “Best of” lists of the New York Times, Time Out New York, the Boston Globe, American Record Guide, National Public Radio, NewMusicBox, Sequenza21, and Downbeat magazine.

Subscriptions available Your subscription ensures that you will receive all of BMOP/sound’s preeminent recordings as soon as they are made available. Order now and receive: 6-CD subscription for $16 per CD (save 20%) 12-CD subscription for $14 per CD (save 30%) Each new CD before official release date Free shipping (for international subscribers add $2/CD) BMOP/sound e-news

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Gil Rose, Executive Producer | bmopsound.org | Distributed by Albany Music Distributors, Inc. | albanymusic.net Available from BMOP/sound

[1001] [1008] SACD JOHN HARBISON ULYSSES DEREK BERMEL VOICES COMPLETE BALLET DUST DANCES | THRACIAN ECHOES | ELIXIR Best of 2008 TIME OUT NEW YORK Derek Bermel clarinet 2010 Grammy Award Nominee [1002] MICHAEL GANDOLFI Y2K COMPLIANT [1009] POINTS OF DEPARTURE | DAVID RAKOWSKI WINGED CONTRAPTION THEMES FROM A MIDSUMMER NIGHT PERSISTENT MEMORY | PIANO CONCERTO Best of 2008 THE NEW YORK TIMES Marilyn Nonken piano and toy piano “Expertly played and vividly recorded disc.” AMERICAN RECORD GUIDE [1003] [1010] LEE HYLA LIVES OF THE SAINTS JOHN HARBISON FULL MOON IN MARCH AT SUMA BEACH Mary Nessinger mezzo-soprano MIRABAI SONGS | EXEQUIEN FOR CALVIN SIMMONS Lorraine DiSimone Best of 2008 THE BOSTON GLOBE mezzo-soprano Anne Harley soprano [1004] Frank Kelley tenor GUNTHER SCHULLER JOURNEY INTO JAZZ James Maddalena baritone VARIANTS | CONCERTINO Janna Baty mezzo-soprano Gunther Schuller narrator “Produced and managed with great expertise and brilliancy.” CLASSICAL VOICE OF NEW ENGLAND Best of 2008 DOWNBEAT MAGAZINE, NATIONAL PUBLIC RADIO, AMERICAN RECORD GUIDE [1011] [1005] LOUIS ANDRIESSEN LA PASSIONE CHARLES FUSSELL WILDE BELLS FOR HAARLEM | LETTER FROM CATHY HIGH BRIDGE PRELUDE PASSEGGIATA IN TRAM IN AMERICA E RITORNO Sanford Sylvan baritone Cristina Zavalloni mezzo-soprano Monica Germino violin 2009 Grammy Award Nominee “Exacting and engaged performances.” THE BOSTON GLOBE [1006] 2-DISC [1012] SACD ERIC SAWYER OUR AMERICAN COUSIN LIBRETTO BY JOHN SHOPTAW JOHN CAGE SIXTEEN DANCES “BMOP and Gil Rose gave performances that were skilled, exacting, and “One of the freshest, most ambitious new American operas.” FANFARE humane.” THE BOSTON GLOBE

[1007] SACD [1013] LUKAS FOSS THE PRAIRIE ELLIOTT SCHWARTZ POEM BY CARL SANDBURG CHAMBER CONCERTOS I-VI Providence Singers “[The] most impressive feature is the spiky coloring…Schwartz gets Boston Modern Orchestra Project through the skillful deployment of a small group of players.” Andrew Clark conductor THE BOSTON GLOBE “A beautiful work, excellently performed here.” AMERICAN RECORD GUIDE Available from BMOP/sound

[1014] [1020] KEN UENO TALUS ALAN HOVHANESS EXILE SYMPHONY ON A SUFFICIENT CONDITION FOR THE EXISTENCE OF MOST ARMENIAN RHAPSODIES 1-3 | SONG OF THE SEA SPECIFIC HYPOTHESIS | KAZE-NO-OKA CONCERTO FOR SOPRANO SAXOPHONE AND STRINGS Wendy Richman viola Yukio Tanaka biwa Kenneth Radnofsky soprano saxophone Kifu Mitsuhashi shakuhachi Ken Ueno overtone singer John McDonald piano “An engaging collection.” SEQUENZA 21 “Complex, deliberate, ultimately captivating grandeur.” THE BOSTON GLOBE [1015] SACD DOMINICK ARGENTO JONAH AND THE WHALE [1021] Thomas Oakes narrator Providence Singers ERIC MOE KICK & RIDE Daniel Norman tenor Boston Modern Orchestra EIGHT POINT TURN | SUPERHERO Daniel Cole bass Project Robert Schulz drumset Andrew Clark conductor “Percussionist Robert Schulz drove the piece forward with muscular “A coup for the Boston ensemble, whose players are vivid and rhythms.” THE BOSTON GLOBE subtle.” GRAMOPHONE [1022] SACD [1016] ANTHONY PAUL DE RITIS DEVOLUTION WILLIAM THOMAS McKINLEY R.A.P. LEGERDEMAIN | CHORDS OF DUST MARIMBA CONCERTO “CHILDHOOD MEMORIES” Paul D. Miller / DJ Spooky That Subliminal Kid turntables 13 DANCES FOR ORCHESTRA “Flashy in its mash-up of styles.” THE BOSTON GLOBE Richard Stoltzman clarinet Nancy Zeltsman marimba “A hugely entertaining romp.” FANFARE [1023] 2-DISC

[1017] 2-DISC (ONE DISC SACD) JOHN HARBISON WINTER’S TALE David Kravitz baritone Dana Whiteside bass LISA BIELAWA IN MEDIAS RES Janna Baty mezzo-soprano Christian Figueroa tenor UNFINISH’D, SENT | ROAM Anne Harley soprano Paul Guttry bass DOUBLE VIOLIN CONCERTO | SYNOPSES #1-15 Matthew Anderson tenor Aaron Engebreth baritone Carla Kihlstedt violin and voice Lisa Bielawa soprano Pamela Dellal mezzo-soprano Jeramie Hammond bass Colin Jacobsen violin “Gil Rose conducted with conviction and precision.” THE BOSTON GLOBE “Beautifully recorded and packaged.” NEW MUSIC BOX [1024] SACD [1018] PAUL MORAVEC NORTHERN LIGHTS ELECTRIC VIRGIL THOMSON THREE PICTURES CLARINET CONCERTO | SEMPRE DIRITTO! | MONTSERRAT: A SOLEMN MUSIC | A JOYFUL FUGUE CONCERTO FOR CELLO AND ORCHESTRA THE FEAST OF LOVE | COLLECTED POEMS David Krakauer clarinet Matt Haimovitz cello FIVE SONGS FROM WILLIAM BLAKE Thomas Meglioranza baritone Kristen Watson soprano [1025] 2-DISC “Played with devotion.” AUDIOPHILE AUDITION THOMAS OBOE LEE SIX CONCERTOS FLAUTA CARIOCA | ... BISBIGLIANDO ... | VIOLIN CONCERTO [1019] | MOZARTIANA | PERSEPHONE AND THE FOUR SEASONS | STEVEN MACKEY DREAMHOUSE EURYDICE Rinde Eckert The Architect Sarah Brady flute Rafael Popper-Keizer cello Catch Electric Guitar Quartet Robert Levin piano Jennifer Slowik oboe Synergy Vocals Irina Muresanu violin Ina Zdorovetchi harp 2011 Grammy Award nominee Available from BMOP/sound

[1026] [1032] REZA VALI TOWARD THAT ENDLESS PLAIN MATHEW ROSENBLUM MÖBIUS LOOP FOLK SONGS, SET NO. 8 | FOLK SONGS, SET NO. 14 SHARPSHOOTER | DOUBLE CONCERTO FOR BARITONE SAX AND Janna Baty mezzo-soprano Khosrow Soltani Persian ney PERCUSSION | MÖBIUS LOOP (QUARTET VERSION AND VERSION “The piece is resourcefully made and compelling FOR QUARTET AND ORCHESTRA) in effect” THE BOSTON GLOBE Kenneth Coon baritone saxophone Best of 2013 NATIONAL PUBLIC RADIO Lisa Pegher percussion Raschèr Saxophone Quartet [1027] “...an ear-buzzing flood of sound, rich in unusual overtones.” MARTIN BOYKAN ORCHESTRAL WORKS THE BOSTON GLOBE CONCERTO FOR VIOLIN AND ORCHESTRA | Best of 2013 NEWMUSICBOX SYMPHONY FOR ORCHESTRA Curtis Macomber violin Sanford Sylvan baritone [1033] SACD “... an engrossing, evolving thicket of vaulting lines” THE BOSTON GLOBE GEORGE ANTHEIL BALLET MÉCANIQUE “... displayed the utmost compositional craft and maturity” THE BOSTON (ORIG. VERSION, 1924) MUSICAL INTELLIGENCER A JAZZ SYMPHONY [1028] SACD “...digital technology as midwife to outrageous analog dreams.” THE BOSTON GLOBE MICHAEL GANDOLFI FROM THE INSTITUTES OF GROOVE [1034] FANTASIA FOR ALTO SAXOPHONE AND ORCHESTRA | MILTON BABBITT ALL SET CONCERTO FOR BASSOON AND ORCHESTRA COMPOSITION FOR TWELVE INSTRUMENTS | Kenneth Radnofsky alto saxophone CORRESPONDENCES | PARAPHRASES | THE CROWDED AIR | Angel Subero bass trombone FROM THE PSALTER Richard Svoboda bassoon Lucy Shelton soprano “It’s an ingenious musical study in rhythmic patterns.” THE BOSTON GLOBE “...a charm bracelet of concentrated fragments.” THE BOSTON GLOBE Best of 2013 THE BOSTON GLOBE [1035] [1029] LEWIS SPRATLAN APOLLO AND DAPHNE VARIATIONS JACOB DRUCKMAN LAMIA A SUMMER’S DAY | CONCERTO FOR SAXOPHONE AND ORCHESTRA THAT QUICKENING PULSE | DELIZIE CONTENTE CHE L’ALME Eliot Gattegno soprano and tenor saxophones BEATE | NOR SPELL NOR CHARM | SUITE FROM MÉDEÉ “...rich textures and unexpected narrative turns” BOSTON PHOENIX Lucy Shelton soprano “...the magnificent Lucy Shelton...is at her pristine best in Lamia’s most [1036] harrowing moments.” THE ARTS FUSE Best of 2013 SEQUENZA 21 ANTHONY DAVIS NOTES FROM THE UNDERGROUND WAYANG V | YOU HAVE THE RIGHT TO REMAIN SILENT [1030] Anthony Davis piano J.D. Parran clarinet and contra-alto ANDY VORES GOBACK GOBACK Earl Howard Kurzweil clarinet FABRICATION 11: CAST | FABRICATION 13: MONSTER [1037] David Kravitz baritone LOU HARRISON LA KORO SUTRO [1031] SUITE FOR VIOLIN WITH AMERICAN GAMELAN ARTHUR BERGER WORDS FOR MUSIC, PERHAPS Providence Singers Gabriela Diaz violin CHAMBER MUSIC FOR THIRTEEN PLAYERS | SEPTET | “...a dense sonic halo, as if created by some vast cosmic vibraphone.” DIPTYCH: COLLAGES I AND II | COLLAGE III THE BOSTON GLOBE Krista River mezzo-soprano [1038] GIL ROSE, ARTISTIC DIRECTOR 31 SCOTT WHEELER CRAZY WEATHER Gil Rose is a conductor helping to shape the future of classical CITY OF SHADOWS | NORTHERN LIGHTS music. His dynamic performances and many recordings have LIZ LINDER LIZ “...slightly noirish atmosphere[...] terrific and inventive” THE BOSTON GLOBE garnered international critical praise. In 1996, Mr. Rose founded the Boston Modern Orchestra [1039] Project (BMOP), the foremost professional orchestra dedicated ELENA RUEHR O’KEEFFE IMAGES exclusively to performing and recording symphonic music of the twentieth and twenty-first centuries. Under his leadership, SHIMMER | VOCALISSIMUS | CLOUD ATLAS Jennifer Kloetzel cello BMOP’s unique programming and high performance standards have attracted critical acclaim and earned the orchestra fifteen “Broad orchestral shades, sweeping string writing, and arching motives” BOSTON CLASSICAL REVIEW ASCAP awards for adventurous programming as well as the John S. Edwards Award for Strongest Commitment to New American Music. Mr. Rose maintains a busy schedule as a guest conductor on both the opera and ­symphonic platforms. He made his Tanglewood debut in 2002 and in 2003 he debuted with Upcoming from BMOP/sound the Netherlands Radio Symphony at the Holland Festival. He has led the American Composers Orchestra, Warsaw Philharmonic, National Symphony Orchestra of the Ukraine, Cleveland [1040] Chamber Symphony, Orchestra della Svizzera Italiana, and National Orchestra of Porto. ANDREW NORMAN PLAY Over the past decade, Mr. Rose has also built a reputation as one of the country’s most inventive and versatile opera conductors. In September 2013 he introduced Odyssey “...electric with innovation and energy.” CLASSICAL VOICE NORTH AMERICA Opera, a company dedicated to eclectic and underperformed operatic repertoire, with a [1041] concert production of Wagner’s Rienzi. Odyssey Opera continued to unanimous critical praise with a June festival of fully staged Italian operas and a September 2014 concert IRVING FINE COMPLETE ORCHESTRAL WORKS production of Korngold’s Die tote Stadt. Formerly, he led Opera Boston as its Music Director BLUE TOWERS | DIVERSIONS | TOCCATA CONCERTANTE | starting in 2003, and in 2010 was appointed the company’s first Artistic Director.Mr. SERIOUS SONG | NOTTURNO | SYMPHONY Rose led Opera Boston in several American and New England premieres including “Music of blazing difficulty and visceral excitement.” Shostakovich’s The Nose, Weber’s Der Freischütz, and Hindemith’s Cardillac. In 2009, BOSTON CLASSICAL REVIEW Mr. Rose led the world premiere of Zhou Long’s Madame White Snake, which won the Pulitzer Prize for Music in 2011. Mr. Rose also served as the Artistic Director of Opera Unlimited, a contemporary opera festival associated with Opera Boston. With Opera Unlimited, he led the world premiere of Elena Ruehr’s Toussaint Before the Spirits, the New England premiere of Thomas Adès’s Powder Her Face, as well as the revival of John Harbison’s Full Moon in March, and the North American premiere of Peter Eötvös’s Angels in America. Mr. Rose and BMOP recently partnered with the American Repertory Theater, Chicago Opera Theater, and the MIT Media Lab to create the world premiere of composer Tod Machover’s Death and the Powers (a runner-up for the 2012 Pulitzer Prize in Music). He conducted this seminal multimedia work at its world premiere at the Opera Garnier in Monte Carlo, Monaco, in September 2010, and also led its United States premiere in Boston and a subsequent performance at Chicago Opera Theater. A 2015 release of the opera on BMOP/sound is impending. An active recording artist, Gil Rose serves as the executive producer of the BMOP/sound recording label. His extensive discography includes world premiere recordings of music by John Cage, Lukas Foss, Charles Fussell, Michael Gandolfi, Tod 32 Machover, Steven Mackey, Evan Ziporyn, and many others on such labels as Albany, Give to BMOP and BMOP/sound Arsis, Chandos, ECM , Naxos, New World, and BMOP/sound. He has led the longstanding Monadnock Music Festival in historic Peterborough, NH, since his appointment as Artistic Director in 2012, conducting several premieres and Ticket revenue accounts for a fraction of the expense of BMOP making his opera stage directing debut in two revivals of operas by Dominick Argento. As an educator Mr. Rose served five years as Director of Orchestral Activities at concerts, BMOP/sound CDs, and outreach programs. The sum of Tufts University and in 2012 he joined the faculty of Northeastern University as Artist- in-Residence and returned to his alma mater Carnegie Mellon University to lead the many gifts of all sizes insures BMOP’s future. With your support, Opera Studio in a revival of Copland’s The Tender Land. In 2007, Mr. Rose was awarded Columbia University’s prestigious Ditson Award as well as an ASCAP Concert Music we will advocate for composers of all ages, bring together Award for his exemplary commitment to new American music. He is a three-time Grammy Award nominee. audiences, young and old, distribute BMOP/sound recordings to

international locations, and know that today’s landmark orchestral

works will remain a part of our collective memory.

BENEFITS OF GIVING INCLUDE

■ Complimentary BMOP/sound CDs

■ Recognition in BMOP programs and publications

■ Invitation to selected BMOP rehearsals

■ Invitations to receptions with composers and guest artists

With a gift of $1,000 or more, you become a member of the Conductor’s Circle and receive customized benefits tailored to your interests, including sponsoring artists, commissioning new works, and funding recording projects.

You may contribute in the following ways:

call 781.324.0396 to speak to a BMOP staff member visit www.bmop.org to give through BMOP’s secure PayPal account mail your donation to BMOP, 376 Washington Street, Malden, MA 02148 or: give your contribution to a BMOP staff member tonight!

For more information, please contact Sissie Siu Cohen, General Manager, at 781.324.0396 or [email protected]. 34 BENEFACTORS PARTNERING MEMBERS 35 DONORS ($10,000 and above) ($500–$999) Anonymous Dominick Argento We gratefully acknowledge the following individuals, corporations, and foundations whose generous support has made our concerts and recordings possible. James Barnett and Carolyn Haynes Kathryn Bertelli (Gifts acknowledged below were received between October 1, 2013, and Elizabeth Boveroux John Harbison September 30, 2014.) Randolph Fuller Malcolm Peyton Timothy Gillette Catherine Stephan FOUNDATIONS, CORPORATIONS, AND INSTITUTIONS Gilbert Rose Anonymous David and Marie Louise Scudder SPONSORING MEMBERS Aaron Copland Fund for Music Campbell Steward ($250–$499) The Alice M. Ditson Fund at Columbia University Howard and Katherine Aibel The Amphion Foundation GUARANTORS Carole Charnow and Clive Grainger AMT Public Relations ($5,000–$9,999) Roberto Cremonini The Andrew W. Mellon Foundation Robert Amory Harriett Eckstein Ann and Gordon Getty Foundation H. Paris Burstyn and Deborah S. Cooper Susan Feder BMI Foundation Fred Daum Scott Henderson Bradford & Dorothea Endicott Foundation Winifred Gray Kay and Gerard Ives Brandeis University Sam and Alicia Mawn-Mahlau George and Stacey Kacoyanis Catherine and Paul Buttenwieser Foundation David A. Klaus Gidwitz Family Foundation LEADERS Arthur Levering The Irving Fine Society ($2,500–$4,999) John Loder Jebediah Foundation George and Lill Hallberg Lorraine Lyman Massachusetts Cultural Council Larry Phillips Bernard and Sue Pucker National Endowment for the Arts Julie Rohwein New Music USA PATRONS Northeastern University ($1,000–$2,499) SUPPORTING MEMBERS The Perkin Fund Nathalie Apchin ($100–$249) RWL Architecture & Planning John Berg Larry Banks Saltmarsh Insurance Agency Stephanie Boye Kate and Gordon Baty Virgil Thomson Foundation David Brown Miriam Blank Samuel and Deborah Bruskin Hans Bohn Marjorie and Martin Cohn William Bulkeley Eran Egozy George Burleson Thomas M. Hout Renata Cathou Walter Howell Mary Chamberlain Peter Parker and Susan Clare David Collins Martha Richmond Belden Daniels Joanne Sattley Timothy Davis Peter Wender Beth Denisch Edward and Theresa Donahue Jeffrey Duryea Ridgely Duvall and Katherine Lum 36 Richard Greene FRIENDS 37 Randal Guendel ($99 and below) BMOP BOARDS AND STAFF Ronald Haroutunian Christine Ammer Charles Hill Irving and Deanne Bayer BOARD OF TRUSTEES Petie Hilsinger Saul Bitran Robert Kirzinger Nancy Brown James Barnett Director of Development, Genesys Brian Leahy Richard and Ruth Colwell Elizabeth S. Boveroux, VP, Eaton Vance Management — Retired James Luo Joan Ellersick Treasurer Arthur Mattuck Marti Epstein Stephanie Boyé Director of Alumni Relations & Special Projects, Lawrence Morris and Betty Salzberg Martin Flusberg School of the Museum of Fine Arts Bill Nigreen and Kathleen McDermott Barrie Gleason David Lloyd Brown Ronald Perera Grace Gregor H. Paris Burstyn Senior Analyst, Ovum Andrea Pokladowski Amy Hailes Harriett Eckstein Harold Pratt Alfred C. Jefferson Timothy Gillette, Secretary Anita Reiner Louis Kampf George R. Hallberg Principal, The Cadmus Group Victor Rosenbaum Bruce and Margaret Langmuir Walter Howell Attorney, McCarter & English, LLP Lawrence Rosenberg Steven Muller Rayford Law Principal, Rayford W Law Architecture & Planning Kay Kaufman Shelemay Adele Pressman and Robert Gardner Sam Mawn-Mahlau Attorney, Davis, Malm, & D’Agostine, PC Robert Sillars and Mildred Worthington Ann Scott David Silvian Bruce Scott and Marcia Duncan Larry Phillips, Chair Emeritus President, Ellis L. Phillips Foundation Peter Sonnabend Carole Simon Gil Rose, President Artistic Director, BMOP Christine Swistro Diane Sokal Paul Tomkavage Thomas and Eva Wedel ADVISORY BOARD Charles Warren Beverly Woodward Mario Davidovsky Composer Mark DeVoto Composer and Theorist, Tufts University IN KIND Alan Fletcher President and CEO, Aspen Music Festival Clive Grainger Charles Fussell Composer John Kramer John Harbison Composer, MIT New England Conservatory John Heiss Composer and Flutist, New England Conservatory Joseph Horowitz Cultural Historian, Author John Kramer Artist/Designer, John Kramer Design Steven Ledbetter Musicologist Tod Machover Composer and Director, Experimental Media Facility, MIT Martin Ostrow Producer/Director, Fine Cut Productions Vivian Perlis Historian, Yale University Bernard Rands Composer, Harvard University Kay Kaufman Shelemay Ethnomusicologist, Harvard University Lucy Shelton Soprano 38 THE SCORE BOARD THE BOSTON MODERN ORCHESTRA PROJECT The Score Board is a group of New England-based composers serving as BMOP’s vanguard is considered to be the premier orchestra in the United States dedicated of composer-advocates through volunteerism, direct support and activities, community- exclusively to commis­ ­sioning,­ performing, and recording music­ of the twentieth building, and curating BMOP’s annual Club Concert series. and twenty-first centuries. Kati Agócs Curtis Hughes Elliott Schwartz Since 1996, the Boston Modern Orchestra Project (BMOP) has celebrated Lisa Bielawa Derek Hurst Vineet Shende composers whose careers span eight decades of modern orchestral music. Martin Brody Robert Kirzinger Lewis Spratlan Each season, Artistic Director Gil Rose brings BMOP’s award-winning ­orchestra, Lou Bunk Arthur Levering Francine Trester ­renowned soloists, and influential composers to some of Boston’s legendary Halsey Burgund Keeril Makan Hans Tutschku music halls. There BMOP performs new works and rediscovered­ “classics” of Yu-Hui Chang John McDonald Ken Ueno the 20th century, infusing them with the energy, imagination, and passion Richard Cornell John Morrison Andy Vores that have been hallmarks of the modern era and its music. Beth Denisch David Rakowski Dalit Warshaw Sought after by artists, ensembles, presenters, and cultural organizations Anthony De Ritis Brian Robison Julia Werntz that consider BMOP to be the top new music orchestra in the country, BMOP Marti Epstein Julie Rohwein Scott Wheeler is uniquely positioned to redefine the new music concert experience. Eric Sawyer BRIDGING THE GAP BETWEEN SIDEWALK AND CONCERT HALL STAFF BMOP was created in response to an ever-widening­ gap between­ the public Gil Rose Artistic Director and the music of its time. Through creative presentation and provocative Sissie Siu Cohen General Manager programming, BMOP performers and composers enter a re-energized dialogue Zoe Kemmerling Publications and Marketing Associate with their audience. Ryland Bennett Production Assistant SYMPHONY ORCHESTRA CONCERTS provide a stage for monumental new Jenn Simons Box Office Associate works such as John Harbison’s ballet Ulysses, Lukas Foss’s opera Griffelkin, April Thibeault Publicist and Louis Andriessen’s Trilogy of the Last Day CROSSOVER PERFORMANCES illuminate the connections between ­contemporary music and society, including film, jazz, popular music, tech- nology, and non-Western cultures CLUB CONCERTS present new music cabaret-style in downtown locations COMPOSER RESIDENCIES in underserved communities involve teenagers in the creative process of composing new music ­ COLLABORATIONS with other arts organizations create new venues for modern music

EXPERIENCE THE MUSIC OF A LIFETIME — YOUR LIFETIME BMOP invites you to escape the routine of a typical “night at the symphony.” From October to May, BMOP performs in Boston, most frequently at Jordan Hall at New England Conservatory and Club Oberon in Cambridge. FOR MORE INFORMATION about BMOP performances and recordings, please visit www.bmop.org or call 781.324.0396. JOHN KRAMER DESIGN