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Eco Ensemble CAL PERFORMANCES PRESENTS PROGRAM Saturday, February 23, 2013, 8pm John MacCallum (b. 1976) The Delicate Texture of Time (2013) Hertz Hall World Premiere flute, piccolo, alto flute Jill Heinke clarinet, bass clarinet Bill Kalinkos Eco Ensemble alto saxophone, soprano saxophone David Wegehaupt David Milnes, conductor percussion 1 Joel Davel percussion 2 Loren Mach violin Jennifer Curtis viola Ellen Ruth Rose cello Leighton Fong PROGRAM Michael Jarrell (b. 1958) Staub (Assonance IIIb) (2009) Cindy Cox (b. 1961) Pianos (2013) World Premiere alto flute Stacey Pelinka bass clarinet Bill Kalinkos solo piano/sampler Gloria Cheng horn Alicia Telford flute, piccolo, bass flute Tod Brody trumpet Brad Hogarth oboe, English horn Kyle Bruckmann percussion Loren Mach clarinet 1 Bill Kalinkos cello Leighton Fong clarinet 2, bass clarinet Peter Josheff double bass Richard Worn bassoon David Granger electronics John MacCallum horn Alicia Telford percussion Loren Mach harp Naomi Hoffmeyer violin 1 Dan Flanagan violin 2 Jennifer Curtis George Lewis (b. 1952) Ikons (2010) viola Ellen Ruth Rose cello Leighton Fong flute Stacey Pelinka double bass Richard Worn clarinet Peter Josheff bassoon David Granger trombone Marc Bolin percussion Loren Mach violin Jennifer Curtis cello Leighton Fong The audio engineer for this evening’s concert is Brendan Aanes. The sound system contrabass Richard Worn is provided by Meyer Sound Laboratories, Incorporated. INTERMISSION Cal Performances’ 2012–2013 season is sponsored by Wells Fargo. 4 CAL PERFORMANCES CAL PERFORMANCES 5 PROGRAM NOTES PROGRAM NOTES Michael Jarrell (b. 1958) as Professor of Composition at the University George Lewis (b. 1952) positions at UC San Diego, Mills College, the Staub (Assonance IIIb) (2009) of Geneva. Ikons (2010) School of the Art Institute of Chicago, and Staub (Assonance IIIb) (2009) was originally Simon Fraser University’s Contemporary Arts Michael Jarrell has held a number of prominent part of a multimedia production at the Voix A prolific and highly respected jazz musician, Summer Institute. He has served as music cu- positions and residencies throughout Europe. Nouvelles festival in Royaumont, France en- George Lewis has also gained tremendous respect rator for the Kitchen in New York, and has His music, often informed by innovations in titled Chute(s), with video art by Paolo Pachini. in music scholarship and composition. In the collaborated in the “Interarts Inquiry” and acoustic technology, has achieved great re- The Eco Ensemble had the pleasure of perform- words of Steve Smith of The New York Times: “Integrative Studies Roundtable” at the Center spect and success in Europe and in the United ing another work from this music/film installa- “Virtually every consideration of George Lewis, for Black Music Research in Chicago. States. Born in 1958 in Geneva, Jarrell studied tion, Martin Matalon’s Tunneling (2009), at their an imposing performer and scholar now serving Ikons’ unceasing energy drives this piece for- composition at the Geneva Conservatory with concert in March 2012. Presenting these works as a professor and the vice chairman of the music ward through clearly marked sections by way of Eric Gaudibert and at various workshops in the as concert pieces draws particular attention to department at Columbia University, will invoke a variety of transitions ranging from sudden jux- United States, including Tanglewood in 1979. their exciting harmonic world created through the term trombonist-composer. If you’ve en- taposition to subtle additive processes. Certain He completed his training with Klaus Huber at a rich exploration of timbre, or tone color. This countered Mr. Lewis’s playing, stressing instru- characteristic musical elements from Ikons re- the Freiburg Staatliche Hochschule für Musik emphasis on timbre is heavily indebted to acous- mental prowess seems natural; if you haven’t, dip turn in different contexts rendering them fresh, in Brisgau. tic research that has had a profound influence on into an album like Anthony Braxton’s Quartet including the colorful use of quarter-tones in the Since the early 1980s, Jarrell has been the contemporary music in France in particular, but (Dortmund) 1976, and you will hear instantly opening passage and the playfully imaginative recipient of numerous prizes, including the Prix that has asserted itself around the world. why Mr. Lewis is revered among avant-garde glissandi in the strings. In the composer’s words: Acanthes, the Beethovenpreis from the City of As is the case with much of Jarrell’s work, jazz aficionados.” “Ikons exists in two forms. Theidée fixe that Bonn, the Marescotti Prize, the Gaudeamus the compositional impulse behind Staub stems Since 1971, Lewis has been a member of the marks the rhythmic and harmonic material for and Henriette Renié prizes, and the Siemens- from a desire to engage with a theoretical con- Association for the Advancement of Creative the written composition Ikons was drawn from Förderungspreis. Between 1986 and 1988, Jarrell cept, in this case, that of decay. As Jarrell’s back- Musicians (AACM). It was there that he studied spectra generated by simple frequency modula- was a composer in residence at the Cité des Arts ground includes training in the visual arts, we composition with Muhal Richard Abrams and tion and stretching; so many of us owe a debt in Paris. During this time, he took part in the may think of decay in this piece as being inti- trombone with Dean Hey. Reflecting upon his in- to the pioneering work of Jean-Claude Risset computer music course at IRCAM, Paris’s state- mately related to space. The opening of Staub volvement with AACM has resulted in his widely and John Chowning. In the large-scale collab- funded center for electro-acoustic music re- depicts the disintegration of musical material. acclaimed book, A Power Stronger Than Itself: orative installation by me and Canadian artist search, production, and performance. After his An energetic gesture shared by all the mem- The AACM and American Experimental Music Eric Metcalfe, sonic material designed as simi- Parisian sojourn, Jarrell spent a year composing bers of the ensemble allows them to maintain (University of Chicago Press, 2008), recipient of larly “ikonic” was abstracted from samples of at the Villa Médici in Rome, and then joined the their individual identity through an emphasis the 2009 American Book Award. As a composer, performed sections of the score. Speakers and Istituto Svizzero di Roma for 1989–1990. of their difference in tone color. This bright ges- improviser, performer, and scholar, Lewis con- sensors embedded within seven large pyramidic Jarrell was composer in residence with the ture subsides, giving way to transformations in tinues to explore electronic and computer music, “ikons” created by Metcalfe allowed the sound Lyon Orchestra in the early 1990s before becom- texture and timbre that explore the duality be- electronic multimedia installations, text-sound samples to respond to visitor movement, creat- ing a professor of composition at the University tween the disintegration and decay of an object, works, and improvisatory and notated forms. ing an interactive environment from the agency in Vienna in 1993. He also held a residency at with the integration of diverse elements into the His compositions and installations have and indeterminacy embedded at various levels in the Lucerne festival in 1996, and then was her- same material. been presented by the American Composers the human/computer encounter. Metcalfe once alded by the Musica Nova Helsinki Festival, Throughout the duration of the composition, Orchestra, Dinosaur Annex, Wet Ink, the remarked to me that his models for Ikons were which dedicated the festival to him in 2000. bursts of instrumental activity break through Turning Point Ensemble, Ensemble Erik Satie, First Nations visual iconography and the shapes Jarrell has received numerous commissions, Staub’s decaying texture. The relationship to the Works and Process, the S.E.M. Ensemble, the of British Columbia forests­­—two primordially including one from the Salzburg Festival for a surrounding musical fabric is intensely organic NOW Orchestra, Deutschlandradio Kultur related sources of affect that undoubtedly influ- piano concerto entitled Abschied in 2001, the in nature. On one hand these bursts can be un- Berlin, Contemporary Art Museum Houston, enced the sound of both the written work and same year that he was named a Chevalier des derstood as the musical substance’s last attempts among others. Lewis has received commissions the virtual orchestra at a subliminal level. Both Arts et des Lettres by the French government. to regain active consciousness. Again Jarrell’s from a large number of institutions, includ- parts were first presented in January 2010 as part On the occasion of Pierre Boulez’s 85th birthday duality between disintegration and integration ing the 2010 Vancouver Cultural Olympiad, of the Vancouver Cultural Olympiad.” in 2010, Jarrell composed La Chambre aux échos comes into play. Rather than the death of matter OPUS (Paris), IRCAM, Musée des Sciences Ikons opens with a chorale featuring two for the Ensemble Intercontemporain, conducted or its disintegration into dust, we may consider et des Industries La Villette, Harvestworks, oscillating chords whose quarter-tone inflec- by Susanna Mälkki. In 2012, his cello concerto the transformation of this musical material into Studio Museum in Harlem, the Glasgow tions create a unique and instantly arresting Emergences (Nachlese VI), composed for Jean- a new form, one that incorporates the traces or Improvisers Orchestra. timbre. The idea of oscillation comes back Guihen Queyras, was premiered in Salt Lake remnants of its past identity into its new context. Before joining the music faculty at Columbia later in the piece during an extended passage City and Lyon. Since 2004, Jarrell has served University in 2004, Lewis has held teaching of insistent rhythmic stability that starts in the 6 CAL PERFORMANCES CAL PERFORMANCES 7 PROGRAM NOTES PROGRAM NOTES flute. Here, quick pivoting between discrete address the composer’s interest in controlling texture, its volatile predilection to change.
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