Cal Performances Presents
Th ursday, September , , pm Friday, September , , pm Saturday, September , , pm Sunday, September , , pm Zellerbach Hall Mozart Dances (West Coast Premiere)
Mark Morris, choreographer
Berkeley Symphony Orchestra Jane Glover, conductor
Garrick Ohlsson, piano Yoko Nozaki, piano
Howard Hodgkin, scenic design Martin Pakledinaz, costume design James F. Ingalls, lighting design
Mark Morris Dance Group Craig Biesecker Samuel Black Joe Bowie Charlton Boyd Elisa Clark Amber Darragh Rita Donahue Lauren Grant John Heginbotham David Leventhal Laurel Lynch Bradon McDonald Dallas McMurray Maile Okamura June Omura Noah Vinson Jenn Weddel Julie Worden Michelle Yard
Artistic Director Mark Morris Executive Director Nancy Umanoff
4 CAL PERFORMANCES Program © Stephanie Berger
Th ursday night’s presentation is the th performance of the Mark Morris Dance Group at Cal Performances.
Mozart Dances was commissioned by the Lincoln Center for the Performing Arts (New York), Barbican Centre (London) and New Crowned Hope (Vienna), in association with Cal Performances (Berkeley).
Altria Group, Inc. is the Mark Morris Dance Group’s Lead Sponsor.
MetLife Foundation is the Mark Morris Dance Group’s Offi cial Tour Sponsor.
Major support for the Mark Morris Dance Group is provided by Carnegie Corporation of New York, JPMorganChase Foundation, Th e Howard Gilman Foundation, Independence Community Foundation, Th e Fan Fox and Leslie R. Samuels Foundation, and Th e Shubert Foundation.
Th e Mark Morris Dance Group New Works Fund is supported by Th e Andrew W. Mellon Foundation, Ellsworth Kelly Foundation, Th e Gladys Krieble Delmas Foundation, Shelby and Frederick Gans Fund, Meyer Sound Laboratories/Helen and John Meyer, and Poss Family Foundation.
Th e Mark Morris Dance Group’s performances are made possible with public funds from the New York City Department of Cultural Aff airs, the New York State Council on the Arts, a State Agency, and the National Endowment for the Arts Dance Program.
Th is presentation made possible, in part, by Liz and Greg Lutz and the Centennial Campaign’s Creative Venture Fund through a gift of the Bernard Osher Foundation.
Cal Performances’ – Season is sponsored by Wells Fargo Bank.
CAL PERFORMANCES 5 Program
Mozart Dances ()
Eleven
Wolfgang Amadeus Mozart (–) Piano Concerto No. in F major, K. (–)
Allegro Larghetto Tempo di Menuetto
Berkeley Symphony Orchestra Jane Glover, conductor Garrick Ohlsson, piano
Dancers Craig Biesecker, Samuel Black, Joe Bowie, Elisa Clark, Amber Darragh, Rita Donahue, Lauren Grant, John Heginbotham, David Leventhal, Laurel Lynch, Bradon McDonald, Maile Okamura, Noah Vinson, Julie Worden, Michelle Yard
INTERMISSION
Double
Mozart Sonata in D major for Two Pianos, K. (K. a) ()
Allegro con spirito Andante Allegro molto
Garrick Ohlsson, piano Yoko Nozaki, piano
Dancers Craig Biesecker, Samuel Black, Joe Bowie, Elisa Clark, Amber Darragh, Rita Donahue, Lauren Grant, John Heginbotham, David Leventhal, Laurel Lynch, Bradon McDonald, Dallas McMurray, Maile Okamura, Noah Vinson, Julie Worden, Michelle Yard
INTERMISSION
6 CAL PERFORMANCES Program © Stephanie Berger
Twenty-seven
Mozart Piano Concerto No. in B-fl at major, K. ()
Allegro Larghetto Allegro
Berkeley Symphony Orchestra Jane Glover, conductor Garrick Ohlsson, piano
Dancers Craig Biesecker, Samuel Black, Joe Bowie, Charlton Boyd, Elisa Clark, Amber Darragh, Rita Donahue, Lauren Grant, John Heginbotham, David Leventhal, Bradon McDonald, Maile Okamura, Noah Vinson, Jenn Weddel, Julie Worden, Michelle Yard
CAL PERFORMANCES 7 Program Notes
The Music forbidden in Catholic Austria during the Lent, and early spring was the only time of the year when au- ditoriums were free for instrumental concerts.) By Wolfgang Amadeus Mozart (–) December, he was at work on a series of three new concertos, the fi rst he composed after moving to Piano Concerto No. in F major, Vienna. Th at he was concerned they should satisfy K. (K. a) the popular Viennese taste for pleasant diversion while possessing something of deeper musical val- Composed in –. ue is evidenced by his famous letter of December Premiered in March in Vienna, with the to his father: “Th ese concertos are a happy me- composer as soloist. dium between what is too easy and too diffi cult; they are very brilliant, pleasing to the ear, and When Mozart resigned from his Salzburg post in natural, without being vapid. Th ere are passages the musical establishment of Archbishop Colloredo here and there from which connoisseurs alone can in to move to Vienna, he anticipated mak- derive satisfaction; but these passages are written ing his living as a free-lance pianist, composer and in such a way that the less learned cannot fail to be teacher. He outlined his plan in a letter to his father pleased, though without knowing why.” Th ere is in January : “I have three pupils now, which further evidence that he took care to please a wide brings me in some eighteen ducats a month.... I re- audience with the three new concertos (K. , ally need only one more, because four pupils are , ): in addition to their easily accessible mu- quite enough. With the income, a man and his wife sical style, their orchestration was devised so that can manage in Vienna if they live quietly and in the wind parts were expendable, thereby making the retired way which we desire; but, of course, if I these works performable by as small an ensemble were to fall ill, we should not make a farthing. I can as a string quartet. In this form—as chamber mu- write, it is true, at least one opera a year, give a con- sic for the home—he off ered them in manuscript cert annually and have some things engraved and score for public subscription early in . Artaria published by subscription. Th ere are other concerts published the three concertos in March . too where one can make money, particularly if one It is not surprising that the new concertos had has been living in a place for a long time and has an excellent success at their premieres in March a good reputation.” Th e pupils, commissions and . Th e fi rst to be heard seems to have been concerts did materialize soon after his arrival, and the Concerto in C major, K. , on March at he felt confi dent enough about the future to marry the Burgtheater. Of his March performance of Constanze Weber the following August. She was two of the concertos, Cramers Magazin reported, expecting within a month—the fi rst of a series of “Today the celebrated Chevalier Mozart gave a almost constant pregnancies during the nine years music academy [concert] for his own benefi t at the of their marriage that nearly ruined her health for National Th eater in which pieces of his own com- good—and Mozart soon had to incorporate sup- position were performed. Th e academy was hon- porting a growing family into his career plans. ored by the presence of an extraordinarily large au- Mozart’s fi rst years in Vienna were good. He dience, and the two new concertos and other fan- was happy with his marriage. He was in demand as tasies [improvisations] which Mr. Mozart played a pianist and composer, with a reputation that ex- on the fortepiano were received with the loudest tended through much of Europe. He was invited to approval. Our Monarch, who contrary to the cus- perform at the houses of important members of the tom honored the academy with his presence, joined Viennese aristocracy. Publishers and music dealers in the applause of the public so heartily that one vied for his works. Th e concerts he produced were can think of no similar example. Th e proceeds of well attended. Everyone, it seemed, talked of him. the academy are estimated at gulden.” Mozart In autumn , he began planning his con- was especially gratifi ed at the Emperor’s response. certs for the following Lenten season. (Opera was (“His Majesty’s delight was beyond all bounds,”
8 CAL PERFORMANCES Program Notes rejoiced the composer.) Perhaps the Emperor, who sive range (Girdlestone noted the “mild temper of seemed greatly taken with this blazingly talented the whole work”), it exhibits the melodic felicity, young Salzburg musician, would appoint him harmonic suavity and formal assurance that mark to a secure post at court, the composer thought. all of Mozart’s Vienna concertos. Th e legendary Perhaps the subscribers and publishers would con- keyboard artist Wanda Landowska said that the F tinue to seek out his music. Perhaps his marriage major Concerto “breathes pure joy from beginning would continue to be happy and trusting, and, to end.” perhaps, that fi rst child, to be born in June, would Th e orchestra presents the two principal themes live longer than eight weeks. Perhaps, he hoped, he of the opening movement, one of only three among would prosper and live long and become an hon- the piano concertos in triple meter (K. and ored musician. Perhaps.... K. are the others): a main subject comprising a Th e concertos of – are luminous mu- repeated-note gesture followed by a quick tumble sical documents of Mozart’s early, joyful times in down the scale; and a complementary melody, Vienna, before the disappointments and broken based on a rising fi gure with a trill, in the nature of dreams of his last years. Th ese works are delightful a gently lilting dance. Th e soloist enters and takes evidence that “he knew his public, and wished to over the main theme to provide a bridge to the charm them with amiability rather than risk of- elaborated repetition of the melodies. Th e central fending them by too aggressive originality,” wrote section of the movement treats the second theme Alfred Einstein. Th ey are not, however, simply in various transformations before moving on to empty entertainment pieces. To spice their pleas- some purely decorative passagework for the solo- ant style, he added some contrapuntal seasonings ist. Th e earlier motives return in the recapitulation (“from which the connoisseurs alone can derive before the pianist takes a solo turn in the cadenza. satisfaction”) that demonstrate his recent study of (Mozart’s cadenzas for this Concerto survive in a Bach, a technical enrichment that also informs the manuscript copied in Papa Leopold’s hand.) Th e “Haff ner” Symphony (No. , K. ) and the se- lovely binary-form song of the Larghetto (the only ries of quartets dedicated to Haydn that he began movement in which bassoons join the little wind in . While these concertos do not reach the band of oboes and horns) is music of peerless grace exalted peaks of his later works in the form, they and unruffl ed contentment such as could have are fi lled with the perfectly poised grace and lim- been authored by no composer other than Mozart. pid beauty that are Mozart’s hallmarks. Th e fi nale, a rondo in the style of a minuet, is a Th e F major Concerto (K. ) is the most perfect example of Mozart’s ability to write music galant in style that Mozart wrote in Vienna, that would please both the general public (with its “a product of the Ancien Régime,” according to infectious dance rhythms and pervasive amiabil- Cuthbert Girdlestone, “one of the few works of ity) and the connoisseurs (with the elegant con- Mozart’s prime which can be so styled. Everything trary-motion counterpoint of its main theme and in it is measured and well-ordered.... It is anxious the sophistication of its form). “Th e whole work to remain close to the average feelings of its pub- makes a singularly satisfying whole,” wrote Philip lic; it does not provoke emotions other than those Radcliff e, “its modest dimensions being well suited which it is permissible to express in polite society; to its quiet demeanor. In its own way, this is one of its ideal, in a word, is that of a gentleman in a draw- Mozart’s most perfect works.” ing room.” Th e Concerto’s popularity with the composer’s contemporaries is attested by its three publications during Mozart’s lifetime (Artaria, Sonata for Two Pianos in D major, Vienna; Traeg, Vienna; Le Duc, Paris, all in ), K. (K. a) the only one of his concertos to reach that num- Composed in . ber, and, indeed, only one of seven such works that were formally published before his death. Th ough Among the pupils that Mozart acquired soon the composition is modest in its scale and expres- after settling in Vienna in was Josepha
CAL PERFORMANCES 9 Program Notes © Stephanie Berger
Auernhammer, the only daughter of the socially he was visiting the young lady’s apartment three prominent Economic Councilor Johann Michael or four times a week in , which, to his father’s Auernhammer. Th ough Josepha proved to be an prudish eye, might appear to have been a more excellent pianist and a fi ne student, Mozart painted rigorous schedule of attention than strictly tutorial a most unfl attering picture of her in a letter to his duties would demand. father in Salzburg. He labeled her “ein Scheusel”— For a concert of his music at the Auernhammer “a horror”—and continued, “If an artist wished home on November , , at which he and to paint the Devil in a lifelike way, he would be Josepha were to be featured in joint performance, obliged to resort to her face as a model. She is as Mozart revived his Concerto for Two Pianos from fat as a peasant girl.... To see her is enough to make the previous year (K. ) and wrote a new Sonata one blind; a single look is a whole day’s punish- for Two Pianos in D major (K. , corrected to ment.... She is the biggest bore I know.” Th e lady K. a in later editions of the Köchel catalog). It herself harbored no false vanity about her looks, was an important evening in helping the recently though she was proud of her keyboard skills. “I arrived composer establish himself in the Imperial am not pretty; on the contrary, I am plain,” she re- city, since Auernhammer’s guests included such lo- portedly told Mozart. “I don’t want to marry some cal luminaries as the Countess Maria Wilhelmine clerk with three or four hundred fl orins, and I have Th un and Gottfried van Swieten, the music-lov- no choice of anyone better. So I prefer to remain ing Court Librarian for whom Mozart was to write as I am, and make a livelihood by my talents.” his only other complete work for two pianos—the She underestimated herself. In , she wedded Fugue in C minor, K. , of . (Th ough a prosperous merchant named Boesenkoenig, there are a number of four-hand compositions in and was reportedly still giving annual recitals in his catalog, only fragments exist of the few other Vienna as late as . Perhaps Mozart’s protests works mooted for two pianos, including a Sonata to his puritanical father about Josepha were more in B-fl at major.) Th e recital was a success, and subterfuge than substance, after all. It seems that the Two Piano Sonata remained a regular item in
10 CAL PERFORMANCES Program Notes
Mozart’s repertory—he played it in with an- free-lance composer and pianist (and occasional other talented pupil, Babette Ployer (for whom the impresario and violist) to gain a permanent posi- Concerto No. , K. was written), and over- tion at court. Th ings generally went well for the saw its publication by the Viennese fi rm of Traeg fi rst fi ve years or so. He gave many public con- in . certs, received numerous commissions, and even Th e Two Piano Sonata is one of those inimi- landed a minor job as chamber music composer table masterworks of Mozart that elevates the stock to the court. (Th is last, however, paid a mere pit- formulas of his day into a creation of almost reck- tance—less than half of the small sum paid to his less beauty. Alfred Einstein wrote that the Sonata predecessor in the position, Christoph Gluck. Th e is “galant from beginning to end,” with the form desired place at court never materialized.) Mozart’s and idiom “of an ideal sinfonia for an opera buff a; musical language became richer and deeper dur- no cloud obscures its gaiety,” and then went on to ing those years, and it was not long before it failed point out the true essence of the work: “Th e art to be appreciated by the fi ckle Viennese, who were with which the two parts are made completely far more interested in tunes and titillations than equal, the play of the dialogue, the delicacy and in a challenging new artistic style. His popularity refi nement of the fi guration, the feeling for sonor- declined rapidly. ity in the combination and exploitation of the dif- Th e genre of the piano concerto was central to ferent registers of the two instruments—all these Mozart’s public image during his fi rst fi ve Viennese things exhibit such mastery that this apparently years, since it presented him as both composer and ‘superfi cial’ and entertaining work is at the same pianist in the concerts he promoted for his own time one of the most profound and mature of all benefi t. After , when he no longer enjoyed suf- Mozart’s compositions.” Th e Sonata opens with a fi cient public esteem to give a concert on his own, bold unison statement of the fanfare motive that the need for concertos vanished, and he composed serves as the main theme. After some attractive in- only two examples for piano during his last fi ve tertwining of scales and arpeggios (the two pianos years. Th e earlier of these (K. , “Coronation”) are treated as exact equals, evidence of Mozart’s was introduced at a concert he gave in Frankfurt high opinion of Fräulein Auernhammer’s talents), at the time of the crowning of Leopold II, when the second theme, composed of scalar motives and he still hoped to attract enough royal attention to short phrases, is presented, and soon proves to be gain a position at court. Th e second one, this B-fl at a proper subject for a bit of imitative discussion Concerto, he wrote for a concert in Vienna given between the participants. A development section by the clarinetist Josef Bähr, at the restaurant of based on a new motive and a full recapitulation of Ignaz Jahn, one of the caterers to the court. Since the earlier themes round out the sonata form of the Mozart’s sister-in-law, Aloysia Lange, also partici- movement. Th e Andante is quiet and lyrical and pated in the concert as a singer, it is not impossible probably as close to unadulterated rapture as it is that she helped arrange this bit of work for him. safe to approach. Th e fi nale is a quicksilver rondo By early , Mozart was in a diffi cult situa- of wit, grace and immaculate musicianship. tion. He was deeply in debt, his health was deterio- rating, and his prospects were bleak. To get a little money in hand, he churned out a whole string of Piano Concerto No. in B-fl at major, K. dances for various balls during the winter months, but these trifl es could just as well have been written Composed in . by Wranitzky or Kozeluch or Dittersdorf or any Premiered on March , , in Vienna, with the other now-forgotten composer of the time. When composer as soloist. Emanuel Schickaneder popped up in the spring Had there been a Viennese edition of “What Ever with the suggestion for a musical play based on a Happened To...?” in , Mozart certainly would mystical, quasi-oriental subject of the sort then im- have been included. He had gone to that city a de- mensely popular in Vienna, Mozart thought this cade earlier in hopes of gaining enough fame as a might be a lucrative venture. He was right, but he
CAL PERFORMANCES 11 Program Notes did not live long enough to profi t from the success expressive chromatic leadings, quick exchanges of Th e Magic Flute later in the year. Th is Concerto of major and minor tonalities, and unexpected was another of the projects of that sad time. harmonic defl ections that lend this Concerto its Th e B-fl at Concerto was the fi rst work com- Romantic quality. Th is characteristic is enhanced pleted in Mozart’s last year, and commentators with the entry of the soloist, who elaborates upon have always been tempted by the maudlin auto- the themes of the introduction. Th e central sec- biographical possibilities this coincidence off ers. It tion, which begins in the remote key of B minor, will never be known if Mozart realized he would is one of Mozart’s most subtle and imaginative de- not see another Christmas while he was writing the velopments in its exploration of the expressive pos- piece. He was troubled enough at the time to admit sibilities of the themes. Th e recapitulation is begun in a letter that “life has lost its attraction.” Whatever by the orchestra alone, but the piano soon joins to the reason, it seems that, at least concerning the further examine the themes. With its daring har- major works, he was determined to write exactly monic adventures and multiplicity of moods, this in the manner he pleased, almost in defi ance of movement stands quivering on the brink of musi- public taste. It may be that he was just beginning cal Romanticism. It is such music that encourages to enter a new creative phase during those last speculation as to the course Mozart’s music would months. Th ere are signs of an encroaching, restless have taken had he lived beyond his th year. Romanticism in such works as Don Giovanni, the Th e slow second movement is in a large three- G minor Symphony, the G minor Quintet and the part (A–B–A) form. It has a gentle, almost ethereal Requiem that carried over into this Concerto. Th is quality that Cuthbert Girdlestone characterized, quality, however, is a musical characteristic, not an somewhat cryptically, as “Franciscan mildness.” autobiographical confession. Of all the great mas- Th e simplicity of the main theme, given immedi- ters, Mozart separated his music the farthest from ately by the soloist, belies the many poignant har- his life, and to discover a premonition of death in monic touches that invest the movement with its this B-fl at Concerto would impute to Mozart not deep expression. Th e fi nale is a sonata-rondo, with just an evolving artistic style, but an entire change several extensive areas of thematic development. of aesthetic philosophy. Th at is not impossible, but Th e hunting-horn theme heard at the beginning it is unlikely. To what extent this beautiful work is of the movement also served as the melody for a “valedictory” is left to each listener. song Mozart composed the week after fi nishing Th e Concerto is cast in the traditional three this Concerto on January : Sehnsucht nach dem movements. As is generally true with the works of Frühling (“Longing for Spring”). Th ough this fi - Mozart, there is an abundance of melodies. In his nale does not explore the darker harmonic by-ways book on Mozart’s piano concertos, Denis Forman of the preceding movements, neither does it exhibit divided the melodies in this work into two styles: the carefree rejoicing of earlier concertos. In its one “elegiac,” the other, “courtly dance,” and mar- careful balance of emotions, it is a fi tting close to vels that such contrasting types could be combined this last, and perhaps most thoughtful, of Mozart’s into so pleasing a whole. Adding another thought concertos for his beloved instrument. about the synthesis of styles found in this Concerto, Edward Downes wrote, “Completed between Così © Dr. Richard E. Rodda fan tutte and Th e Magic Flute, it combines the sen- suous grace of the former with the spirituality of the latter.” Th e orchestra presents much of the im- portant thematic material before the soloist enters: a fl owing main theme over a rustling accompani- ment; a tiny fanfare from the woodwinds; a short, chromatically infl ected phrase that begins on a weak beat; a turn fi gure in the fl ute; and several others. Already in this opening tutti appear the
12 CAL PERFORMANCES Orchestra Roster
Berkeley Symphony Orchestra
Jane Glover, Conductor
Violin I Cello Franklyn D’Antonio, Concertmaster Carol Rice David Ryther, Assistant Concertmaster David Wishnia Eugene Chukhlov Wanda Warkentin Larisa Kopylovsky Nancy Bien-Souza Candace Sanderson Emanuela Nikiforova Bass Josepha Fath Michel Taddei, Principal Frederica Steff ens Karen Horner Alden F. Cohen Violin II Candace Guirao, Principal Flute David Cheng Emma Moon, Principal Th omas Yee Annie Li Oboe Deborah Cornelius Deborah Shidler, Principal Mary Pitchford Bennie Cottone Randy Weiss Bassoon Viola Carla Wilson, Principal Marcel Gemperli, Principal Shawn Jones Darcy Rindt Darien Cande Horn Patrick Kroboth Glen Swarts, Principal Jason Totzke
CAL PERFORMANCES 13 About the Artists
Mark Morris was born Celebration. Morris is a member of the American on August , , in Academy of Arts and Sciences. In , he received Seattle, Washington, the Samuel H. Scripps/American Dance Festival where he studied as a lifetime achievement award. young man with Verla Flowers and Perry Th e Mark Morris Dance Group was formed in Brunson. In the early and gave its fi rst concert that year in New years of his career, he York City. Th e company’s touring schedule steadily performed with Lar expanded to include cities both in the United States Lubovitch, Hannah and in Europe, and in it made its fi rst na-
Kahn, Laura Dean, © Amber Darragh tional television program for the PBS series Dance Eliot Feld and the Koleda Balkan Dance Ensemble. in America. In , MMDG was invited to be- He formed the Mark Morris Dance Group in , come the national dance company of Belgium, and and has since created more than works for the spent three years in residence at the Th éâtre Royal company. From to , he was Director of de la Monnaie in Brussels. Th e company returned Dance at the Th éâtre Royal de la Monnaie in to the United States in as one of the world’s Brussels, the national opera house of Belgium. leading dance companies, performing across the Among the works created during his tenure were United States and at major international festi- three evening-length dances: Th e Hard Nut; vals. It has maintained and strengthened its ties L’Allegro, il Penseroso ed il Moderato; and Dido and to several cities around the world, most notably its Aeneas. In , he founded the White Oak Dance West Coast home, Cal Performances in Berkeley, Project with Mikhail Baryshnikov. Morris is also California, and its Midwest home, Th e Krannert much in demand as a ballet choreographer. He has Center in Urbana, Illinois. It appears regularly in created six works for the San Francisco Ballet since Boston, Masschusetts; Fairfax, Virginia; Seattle, and received commissions from American Washington; and at the Jacob’s Pillow Dance Ballet Th eatre, and the Boston Ballet, among oth- Festival in Becket, Massachusetts. MMDG made ers. His work is also in the repertory of the Pacifi c its debut at the Mostly Mozart Festival in Northwest Ballet, Geneva Ballet, Dutch National and at the Tanglewood Music Festival in Ballet, New Zealand Ballet, Houston Ballet, and has since been invited to both festivals annu- English National Ballet and Th e Royal Ballet. ally. Th e company’s London seasons have garnered Morris is noted for his musicality—he has been two Laurence Olivier Awards. MMDG is noted described as “undeviating in his devotion to mu- for its commitment to live music, a feature of ev- sic”—and for his “ability to conjure so many con- ery performance on its full international touring tradictory styles and emotions.” He has worked ex- schedule since . MMDG collaborates with tensively in opera, directing and choreographing leading orchestras, opera companies, and musi- productions for the Metropolitan Opera, New cians including cellist Yo-Yo Ma in the Emmy York City Opera, English National Opera, and the Award-winning fi lm Falling Down Stairs (); Royal Opera, Covent Garden. Morris was named a Indian composer Zakir Hussain, Mr. Ma and jazz Fellow of the MacArthur Foundation in . He pianist Ethan Iverson in Kolam (); Th e Bad has received eight honorary doctorates to date. In Plus in Violet Cavern (); pianists Emanuel Ax , Morris received the New York City and Yoko Nozaki for Mozart Dances (); and Department of Cultural Aff airs Mayor’s Award for with the English National Opera in Four Saints in Arts & Culture and a WQXR Gramophone Special Th ree Acts () and King Arthur (), among Recognition Award. He is the subject of a biogra- others. MMDG’s fi lm and television projects also phy by Joan Acocella (Farrar, Straus & Giroux) include Dido and Aeneas, Th e Hard Nut, and two and Marlowe & Company published a volume of documentaries for the UK’s South Bank Show. photographs and critical essays entitled Mark In fall , MMDG opened the Mark Morris Morris’ L’Allegro, il Penseroso ed il Moderato: A Dance Center in Brooklyn, the company’s fi rst
14 CAL PERFORMANCES About the Artists permanent headquarters in the United States, Garrick Ohlsson (pia- housing rehearsal space for the dance community, no) was fi rst recognized outreach programs for local children, as well as a worldwide when he won school off ering dance classes to students of all ages. the Chopin International For more information on the Mark Morris Dance Piano Competition in Group, please visit www.mmdg.org. , and he has since gone on to establish him-
Jane Glover ths self as a musician of mag- (conductor) is isterial interpretive and Music Director technical prowess. Al- of Music of the though he has long been
Baroque in Griffi Jones Philip © regarded as one of the Chicago. She has world’s leading exponents of the music of Frédéric served as Music Chopin, Mr. Ohlsson commands an enormous Director of the repertoire, which ranges over the entire piano liter- Glyndebourne ature. A student of the late Claudio Arrau, Touring Opera Mr. Ohlsson has come to be noted for his masterly and as Artistic performances of the works of Mozart, Beethoven Director of the and Schubert, as well as the Romantic repertoire. London Mozart His concerto repertoire alone is unusually wide
Players, and has Jerry© Bauer and eclectic—ranging from Haydn and Mozart to conducted many major orchestras and opera com- works of the st century—and to date he has at panies in Britain, Europe, North America, the Far his command some concertos. In the – East and Australasia. She regularly conducts all the season, Mr. Ohlsson appears in North Mozart operas, numerous Handel operas and the America with the symphony orchestras of Atlanta, Monteverdi trilogy (in her own editions). Beyond Baltimore, Boston, Fort Worth, Houston, this core repertory, her operatic experience ranges Indianapolis, Minnesota, Nashville, San Francisco, through Gluck, Beethoven, Rossini, Donizetti, Seattle and Toronto. Special projects include per- Humperdinck, Richard Strauss, Britten and formances in Berkeley and Los Angeles with the Knussen. Engagements this year include her de- Mark Morris Dance Group and pianist Yoko buts with the Berlin Staatsoper (Così fan tutte) and Nozaki in the critically acclaimed Mozart Dances; with the Houston and San Francisco symphony performances with the Russian National Orchestra orchestras. Her book, Mozart’s Women, was recent- and Vladimir Jurowski in California and at New ly published by Macmillan. She studied at Oxford York’s Lincoln Center; and a Florida tour with the and did her PhD on th-century Venetian opera Pittsburgh Symphony. With the Sydney Symphony there. She holds honorary degrees from several uni- and Vladimir Ashkenazy, he will perform versities, and is a Fellow of the Royal College of Rachmaninoff ’s Th ird Piano Concerto to be re- Music. She was created a CBE in the New corded live on the Octavia Records label. A recital Year’s Honours List. project focusing on the piano music of Scriabin and Russian contemporaries will begin in San Francisco and San Diego in the spring and will carry through the – season. In addition, he performs with the Warsaw Philharmonic, RTVE Madrid and the MDR Leipzig Symphony Orchestra. In –, Mr. Ohlsson opened the Mostly Mozart Festival in New York in a live, nationally televised performance. Mr. Ohlsson is an avid chamber musician and has collaborated
CAL PERFORMANCES 15 About the Artists with the Cleveland, Emerson, Takács and Tokyo Series performance at Symphony Hall in Boston. string quartets, among other ensembles. Together In , Ms. Nozaki and Mr. Ax were joined by with violinist Jorja Fleezanis and cellist Michael the percussionists Mark Damaloukis and Matt Grebanier, he is a founding member of the San Wood for a Lincoln Center Great Performers con- Francisco-based FOG Trio. cert exploring modern music for piano and percus- sion. Last season, she made her debut appearance Yoko Nozaki (piano) at the Hollywood Bowl. Recent and upcoming en- made her New York gagements include appearances with the Toronto City recital debut in Symphony and Orchestre de Lyon in Paris. , and has won con- sistent critical acclaim Born in London in , Howard Hodgkin (sce- during two decades of nic design) was evacuated during the war to the chamber music perfor- United States, where he lived on Long Island from mances, recitals and to . He studied at the Camberwell School concerts with major of Art and the Bath Academy of Art, Corsham. In American orchestras. , he represented Britain at the Venice Biennale She has also appeared and in the following year won the Turner Prize. at such music festivals He was knighted in and made a Companion as Mostly Mozart, Ravinia, Ojai and Tanglewood of Honour in . An exhibition of his Paintings and frequently collaborates with her husband, pia- –, organized by the Modern Art Museum nist Emanuel Ax. Ms. Nozaki and Mr. Ax’s joint of Fort Worth, opened in at the Metropolitan appearances have included recitals in the Museum of Art in New York and toured to muse- Distinguished Artist Series at the nd Street Y ums in Fort Worth and Düsseldorf, and to London’s and the Metropolitan Museum in New York. Th ey Hayward Gallery. A retrospective opened at the have performed together with several major or- Irish Museum of Modern Art, Dublin, in spring chestras, including St. Louis, Minnesota, Detroit . It traveled to London’s Tate Britain and to and Cleveland. During summer , they gave El Museo Nacional Centro de Arte Reina Sofía performances of the Mozart Two-Piano Concerto in Madrid. A survey exhibition of paintings made at the Mostly Mozart Festival in New York with in the last years opened at the Yale Center for Edo de Waart and at the Blossom Festival with British Art in New Haven in February , and Leonard Slatkin. Th ey also participated in a is on at the Fitzwilliam Museum, Cambridge until Tanglewood Festival evening featuring Brahms’s September . A touring print show organized by Liebeslieder Waltzes and Rossini’s Petite Messe the Barbican Art Gallery is on at the Victoria Art Solennelle, commemorating that composer’s th Gallery, Bath between July and September . It birthday. A performance of the Mozart concerto will later travel to Belfast. Sir Howard fi rst worked with Mr. Ax and the Minnesota Orchestra under in the theater in , when he designed the set the direction of David Zinman soon followed. In and costumes for Richard Alston’s Night Music August , Ms. Nozaki made her Ravinia with the Ballet Rambert. Th ey later collaborated Festival debut in a performance of the Mozart on Pulcinella, which was fi lmed by the BBC and Th ree-Piano Concerto with Mr. Ax and Christoph released on DVD. Mark Morris asked Sir Howard Eschenbach. Th at season also included debut ap- to design the backcloth for Rhymes with Silver pearances at the Ojai Festival and at Carnegie Hall () and for Kolam (). Howard Hodgkin is with the New York String Orchestra. More recent- represented by Gagosian Gallery in New York, Los ly, Ms. Nozaki and Mr. Ax highlighted a four-city Angeles and London. tour in – with an acclaimed performance at the Freer Gallery in Washington, D.C. In , Martin Pakledinaz (costume design) has de- the pair also toured with Jamie Laredo and the signed costumes for theater, opera and dance. He Brandenburg Ensemble, including a Celebrity has collaborated with Mark Morris on works for
16 CAL PERFORMANCES About the Artists the Mark Morris Dance Group, San Francisco Berkeley Symphony Orchestra performs sym- Ballet and Boston Ballet, and worked with the phonic music that engages the intellect, sparks the New York City Ballet, including Christopher curiosity and delights the spirit of our unique com- Wheeldon’s recent Th e Nightingale and Th e Rose. munity. Under the baton of Music Director Kent Mr. Pakledinaz’s New York credits include Gypsy, Nagano, Berkeley Symphony is known as “the Bay starring Patti Lupone and directed by Arthur Area’s most adventurous orchestra” (Contra Costa Laurents; Th e Pirate Queen, Th e Pajama Game Times) and has been recognized with an ASCAP (Tony Award nomination), Th e Trip to Bountiful, Award for Adventurous Programming in six out of Th oroughly Modern Millie, Wonderful Town, Th e the past seven years. Wild Party, A Year with Frog and Toad, Kiss Me, Berkeley Symphony presents a subscription Kate, Golden Child, Th e Diary of Anne Frank, Waste concert series at Zellerbach Hall from January and Th e Life. His work in opera includes Rodelinda through April . Kent Nagano opens the sea- for the Metropolitan Opera; Tristan und Isolde for son, followed by the fi rst three guest conductors in the Paris Opera/Bastille, directed by Peter Sellars Berkeley Symphony’s Music Director search: Hugh with video installations by Bill Viola; as well as two Wolff , Guillermo Figueroa and Laura Jackson. other world premiere works directed by Sellars, Each concert combines premieres with fresh inter- L’Amour de Loin and Adriana Mater, composed by pretations of the classics, resulting in “a cutting- Kaija Saariaho with librettos by Amin Maalouf. edge repertory mix, mingling the old and the new Upcoming projects include Grease on Broadway as few orchestras do” (San Jose Mercury News). and Iphigénie en Tauride, a co-production of the New this season, Berkeley Akademie Ensemble Seattle and Metropolitan Operas. debuts under the co-Artistic Directorship of Kent He has been awarded two Tony Awards and Nagano and concertmaster Stuart Canin with two the Obie, Drama Desk and Lucille Lortel awards, performances in December and May at among others. First Congregational Church of Berkeley. Berkeley Akademie Ensemble will examine intimate works Lighting designer James F. Ingalls’s designs by Bach, Strauss, Mozart and more. for Mark Morris include Orfeo ed Euridice Berkeley Symphony supports local compos- (Metropolitan Opera); King Arthur (English ers through its informal Under Construction new National Opera); Sylvia, Sandpaper Ballet, music events at First Congregational Church of Maelstrom and Pacifi c (San Francisco Ballet); Berkeley. Berkeley Symphony also serves every Platée (Royal Opera House, Covent Garden, and public elementary school in Berkeley with its year- New York City Opera); L’Allegro, il Penseroso ed long, award-winning Music Education Program, il Moderato, Dido and Aeneas and Th e Hard Nut which provides every student with the experience (MDMG); Ein Herz (Paris Opera Ballet); and of becoming a performer. the initial White Oak Project tour. His work for Kent Nagano’s longstanding association with Lincoln Center includes Zaide, Ainadamar and Berkeley Symphony began in . In demand Bach Cantatas, all directed by Peter Sellars, and internationally as a conductor of both sym- Renaissance Muse, directed by Mark Lamos. At the phonic works and opera, he currently leads both Metropolitan Opera, Mr. Ingalls has designed An the Orchestre Symphonique de Montréal and American Tragedy, Salome, Benvenuto Cellini, Th e Bayerische Staatsoper in Munich. Maestro Nagano Gambler, War and Peace and Wozzeck. Most re- will step down as Music Director of Berkeley cently, he designed A Flowering Tree and La Passion Symphony in . de Simone (New Crowned Hope at the Barbican For more information on Berkeley Symphony’s Centre, London), Dr. Atomic (Holland Festival/ current season, please visit berkeleysymphony.org De Nederlandse Opear and San Francisco Opera) or call ... and Th e Cherry Orchard (Oregon Shakespeare Festival). He often collaborates with Saint Joseph Ballet in Santa Ana, California.
CAL PERFORMANCES 17 About the Artists
The Dancers Dance Company for two years before going to Belgium to work with Mark Morris in . Craig Biesecker, from Waynesboro, Pennsyl- Charlton Boyd was born vania, received a BS in in New Jersey, where he music education from studied and performed West Chester University with the Inner City of Pennsylvania. While Ensemble Th eater and teaching music in Dance Company. He Philadelphia, he studied graduated from Th e ballet with John White, Juilliard School. He went Margarita de Saa and on to dance with the Bryan Koulman, and worked with choreographers Limón Dance Company Tim and Lina Early. In New York, he has worked and appears in Jose Limón Technique Video, with Pascal Rioult, Carolyn Dorfman, New York Volume , among other music videos. He fi rst ap- Th eater Ballet, Mark Dendy and Gerald Casel. peared with MMDG in and became a com- Craig joined MMDG in . pany member in .
Samuel Black is a native Elisa Clark received of Berkeley, California, her early training where he began studying from the Maryland tap at age nine with Katie Youth Ballet, and her Maltsberger. He recently BFA from Th e received his BFA in dance Juilliard School under from SUNY Purchase, the direction of where he performed Benjamin Harkarvy. works by Mark Morris, She has danced with Paul Taylor, Sean Curran, the Lar Lubovitch Zvi Gotheiner and Kevin Wynn. During a semes- Dance Company, the ter at the Rotterdamse Dansacademie in Holland, Nederlands Dans Sam had the opportunity to dance in several Dutch Th eater, the Peridance Ensemble and Battleworks cities and in Germany. He has performed in New Dance Company. Ms. Clark has staged works by York with David Parker, Takehiro Ueyama and Robert Battle, David Parsons, Igal Perry and Adam Nelly van Bommel. Sam fi rst worked with MMDG Hougland at various schools and companies, in- in and joined the company in . cluding the Alvin Ailey American Dance Th eater. She has been on the faculty of the American Dance Joe Bowie was born in Festival, and currently works closely with Carolyn Lansing, Michigan, Adams and the American Dance Legacy Institute, and began dancing as well as serves on an advisory panel for Capezio. while attending Brown She fi rst appeared with MMDG in L’Allegro in University, from which August . he graduated with hon- ors in English and American literature. In New York, he has per- formed in the works of Robert Wilson and Ulysses Dove and also danced with the Paul Taylor
18 CAL PERFORMANCES About the Artists
Amber Darragh hails John Heginbotham is from Newport, Oregon, from Anchorage, Alaska, where she began her and graduated from Th e dance training with Juilliard School in . Nancy Mittleman. She He has performed with received her BFA from such artists as Susan Th e Juilliard School in Marshall and Company, and then danced John Jasperse and Ben with the Limón Dance Munisteri, and he was a Company for two years. guest artist with Pilobolus She is a recipient of the Dance Th eater. John’s choreography is featured in Princess Grace Award and has presented her the performances and Emerge music video of re- own choreography both in New York and abroad. cording artists Fischerspooner. He joined MMDG Amber joined MMDG in . in . Rita Donahue was David Leventhal, born and raised in raised in Newton, Fairfax, Virginia, and Massachusetts, has graduated from George danced with Mark Mason University in Morris Dance Group , with honors in since . He stud- dance and English. She ied at Boston Ballet has danced with bopi’s School and has black sheep/dances by danced with José kraig patterson and Mateo’s Ballet Th eatre joined MMDG in . and the companies of Marcus Schulkind, Lauren Grant, raised Richard Colton/Amy Spencer, Zvi Gotheiner, in Highland Park, Neta Pulvermacher and Ben Munisteri. He gradu- Illinois, has danced ated with honors in English literature from Brown with MMDG since University in . He teaches master classes in . Before graduat- technique and repertory at schools and colleges ing with a BFA from around the country. He gives classes regularly at New York University’s MMDG’s school, including one for people with Tisch School of the Parkinson’s disease. He is married to fellow dancer Arts, Lauren studied Lauren Grant. ballet from the early age of . Later, she also Laurel Lynch began trained in character dance, acting, and singing. her dance training in She teaches master classes in ballet and modern Petaluma, California. technique at schools and universities around the After a few too many world, at MMDG’s school in Brooklyn, and for the Nutcrackers, she moved company as well. Lauren is married to fellow danc- to New York to attend er David Leventhal. Th e Juilliard School, where she performed works by Robert Battle, Margie Gillis, José Limón and Ohad CAL PERFORMANCES 19 About the Artists
Naharin. Since graduation in May , Laurel Maile Okamura is has danced for Dušan Týnek Dance Th eatre, Sue originally from San Bernhard Danceworks, Pat Catterson, Stephan Diego, California. She Koplowitz and TEA (Transpersonal Education was a member of Boston and Art). She performed at the Festival Oltre Passo Ballet II in – in Lecce, Italy, and appeared as a guest artist with and Ballet Arizona from Petaluma City Ballet. Laurel fi rst appeared with to . She has MMDG in and joined the company danced with choreogra- in . phers Neta Pulverma- cher, Zvi Gotheiner and Bradon McDonald Gerald Casel, among received his BFA from others. Maile began working with MMDG in Th e Juilliard School and became a company member in . in . He danced with the Limón June Omura was born Dance Company for in New York, grew up three years and was in Birmingham, Ala- the recipient of the bama, and graduated Princess Grace from Barnard College Award. He has cho- with honors in dance reographed and pre- and English. She fi rst sented his own works internationally, served as studied with Mark choreographer for seven Juilliard Opera Company Morris in , and productions under director Frank Corsaro, and joined MMDG in was the choreographic assistant to Donald McKayle . In , she re- at the Alvin Ailey American Dance Th eater. ceived a New York Dance and Performance Award Bradon joined MMDG in . (“Bessie”) for her career with the company. June and her husband are the proud parents of twin Dallas McMurray, from girls, born in , and a new baby boy, born in El Cerrito, California, be- September . She is grateful to her family, gan dancing at age four, Mark Morris and MMDG for their love studying jazz, tap and and support. acrobatics with Katie Maltsberger and ballet Noah Vinson received his with Yukiko Sakakura. BA in dance from He received a BFA in Columbia College Chi- dance from the California cago, where he worked Institute of the Arts. with Shirley Mordine, Jan Dallas performed with the Limón Dance Company Erkert and Brian Jeff rey. and in works by Jiri Kylian, Alonzo King, Robert In New York, he has Moses and Colin Connor. Dallas fi rst appeared danced with Teri and with MMDG in and became a company Oliver Steele and the Kevin member in . Wynn Collection. He be- gan working with MMDG in and became a company member in .
20 CAL PERFORMANCES About the Artists
Jenn Weddel grew up Th anks to Maxine Morris. in Longmont, Colorado, and received her early Sincerest thanks to all the dancers for their training from Boulder dedication, commitment and incalculable Ballet Company. She contribution to the work. holds a BFA from Southern Methodist Additional funding has been received from University and also the American Music Center Live Music for studied at Th e Boston Dance Program; Capezio/Ballet Dancemakers Conservatory, Colorado Foundation; Dance Heritage Coalition; Th e University and the Harkness Foundation for Dance; Th e Iovino Laban Center, London. Since moving to New York Family Foundation; Leon Lowenstein Foundation; in , Jenn has performed with RedWall Dance Materials for the Arts, NYC; McDermott, Th eatre, Sue Bernhard Danceworks, Vencl Dance Will & Emery; Th e Untitled Foundation; Trio, Rocha Dance Th eatre and with various cho- USArtists International; and the reographers, including Alan Danielson and Connie Friends of the Mark Morris Dance Group. Procopio. She has presented her own work in Manhattan and continues to collaborate with TEA For more information contact: Dance Company under the direction of Ella Ben- Mark Morris Dance Group Aharon and Sahar Javedani. Jenn joined MMDG Lafayette Avenue in . Brooklyn, New York - tel: () - Julie Worden graduated fax: () - from the North Carolina [email protected] School of the Arts and www.mmdg.org joined MMDG in .
Michelle Yard was born in Brooklyn, New York, and began her profes- sional dance training at the New York City High School of the Performing Arts. Upon graduation, she received the Helen Tamiris and B’nai B’rith awards. For three years, she was a scholarship stu- dent at the Alvin Ailey Dance Center, and attended New York University’s Tisch School of the Arts, where she graduated with a BFA. Michelle joined MMDG in . Mom, thank you.
CAL PERFORMANCES 21 About the Artists
Mark Morris Dance Group Staff
Production Technical Director Johan Henckens Assistant to the Choreographer Matthew Rose Lighting Supervisor Leo Janks Wardrobe Supervisor Katherine M. Patterson Sound Supervisor Jim Abdou
Administration General Manager Aaron Mattocks Company Manager Adrienne Bryant Director of Finance Elizabeth Fox Finance Associate Ted Hall
Marketing/Development Director of Marketing and Development Lauren Cherubini Special Projects Manager Alexandro Pacheco Marketing Manager Christy Bolingbroke Development Assistant Moss Allen Offi ce Assistant Jay Selinger
Education Director of Education Eva Nichols School Administrator Diane Ogunusi Administrative Assistant Marc Castelli
Dance Center Operations Studio Manager Karyn Treadwell Administrative Assistant Kathleen Cannucci Production Manager Matthew Eggleton Music Coordinator Bruce Lazarus Maintenance David Baez, Gregory Collazo
Booking Representation Michael Mushalla (Double M Arts & Events)
Media and General Consultation Services William Murray (Better Attitude, Inc)
Legal Counsel Mark Selinger (McDermott, Will & Emery)
Accountant Kathryn Lundquist, CPA
Orthopaedist David S. Weiss, MD (NYU-HJD Department of Orthopaedic Surgery)
Hilot Th erapist Jeff rey Cohen
22 CAL PERFORMANCES