Other Minds 13 Program

Other Minds Festival of New Music

March 6–8, 2008 Jewish Community Center of San Francisco

Guest Composers Michael Bach Dan Becker Elena Kats-Chernin Keeril Makan Åke Parmerud Dieter Schnebel Ishmael Wadada Leo Smith Morton Subotnick Frances-Marie Uitti

Charles Amirkhanian, Artistic Director 34 12 16 B 7

19 15

36 1 Other Minds, in association with the Djerassi Resident Artists Program and the Eugene and Elinor Friend Center for the Arts at the Jewish Community Center of San Francisco, presents

Other Minds 13

Charles Amirkhanian, Artistic Director Jewish Community Center of San Francisco March 6-7-8, 2008

Table of Contents

3 Message from the Artistic Director 4 Exhibition & Silent Auction 6 Concert 1 7 Concert 1 Program Notes 10 Concert 2 11 Concert 2 Program Notes 14 Concert 3 15 Concert 3 Program Notes 20 Other Minds 13 Composers 24 About Other Minds Other Minds 13 Festival Staff 25 Other Minds 13 Performers 28 Festival Supporters A Gathering of Other Minds

The mission of the Djerassi Resident Artists Program is to support and enhance the creativity of artists by providing uninterrupted time for work, reﬂection, and collegial interaction in a setting of great natural beauty, and to preserve the land upon which the Program is situated.

The Djerassi Program annually welcomes the Other Minds Festival composers for a ﬁve-day residency for collegial interaction and preparation prior to their concert performances in San Francisco.

Over three decades, the Djerassi Program has hosted 1700 artists of every discipline worldwide. Small, diverse groups of artists convene for one-month residencies at our rural ranch where studio space, housing, meals and staff support are provided free of charge. Information and application materials may be obtained at www.djerassi.org

The Djerassi Program is a non-proﬁt 501 (C) (3) organization that relies on contributions from individuals and philanthropic organizations for its operations. We welcome your support!

Tori by Bruce Johnson, 1984

Djerassi Resident Artists Program 2325 Bear Gulch Road Woodside, CA 94062 (650) 747-1250 www.djerassi.org

Impromptu Sunset Serenade, Other Minds XII Retreat 2006 Donate Online! (L-R) Tara Bouman, Frode Haltli, Joëlle Léandre and Markus Stockhausen Welcome to Other Minds 13 photo: Mark Estes

It’s always heartwarm- bring to San Francisco works with electronic sic, having won every ing to hear that the the most original think- sound. Kathy Supové, imaginable prize for his Other Minds Festival is ers in new music, most the brilliant pianist, will mind-bending sound- something special to of whom wouldn’t have close our festival with, scapes based on the composers who par- appeared here other- appropriately, The Other manipulation of acoustic ticipate in it. Our unusual wise. And the results of Piano, an epic work by environmental sounds. format, combining four our festival continue to Subotnick for piano and Elena Kats-Chernin, born days in residence for resound elsewhere. electronics. in Tashkent, Uzbekistan, nine composers in the but living since the age Returning this year is the We’re also pleased to isolated scenic beauty of 9 in Sydney, Australia, Del Sol String Quartet welcome another senior of the famed Djerassi makes her first San Fran- whose premiere per- composer, Germany’s Resident Artists Program cisco appearance. She formance last year with Dieter Schnebel, preceding these public is a prolific and buoyant didjeridu player Stephen whose work traverses performances at the celebrity Down Under Kent in Peter Sculthor- an enormous range. Jewish Community Cen- whose keyboard music pe’s Anyone who’s heard ter, provides a welcome String Quartet No. 16 will be performed by her- was a tremendous hit. his “re-visioning” of opportunity to commune self and fellow-Australian Last October the group the first movement of in depth with colleagues pianist Lisa Moore of the made a triumphant ap- Beethoven’s Fifth Sym- and recharge creative Bang on a Can All-Stars. pearance at the Library phony will be curious to juices. of Congress playing hear his experimental Two younger American During his visit to San Pacific Rim compos- vocal works as well as composers, Dan Becker Francisco last month, ers on the Stradivarius his music for the brilliant and Keeril Makan, will composer and reed play- collection there, and this cellist Michael Bach have Other Minds-com- er Don Byron recalled work with Mr. Kent was and his curved bow, an missioned premieres that his experience at repeated to a standing invention 15 years in the this year. Mr. Becker has Other Minds 2 in 1995 ovation. The Quartet also making and now ready composed Keeping Time changed his life. “I was garnered last month the for prime time. Mr. Bach for the Adorno Ensemble on the cusp, still invest- Chamber Music Ameri- co-composed a work and Mr. Makan Resonance ing my time mostly as a ca/ASCAP First Prize for with John Cage which Alloy for percussionist player. But talking with Adventurous Program- will receive its American David Shively, with instru- Terry Riley, Lou Harrison, ming (for the second premiere, alongside one ments of the composers Tan Dun, Alvin Singleton, time in three years), of Bach’s own composi- own invention. Muhal Richard Abrams and we’re pleased to tions. We welcome you to the and others at the ranch have them premiering a Another cellist who has unique excitement of and listening to their new work by the distin- reinvented the instru- Other Minds’ revelation- work while sharing mine, guished composer Ish- ment is Frances-Marie ary new music and thank I made a commitment to mael Wadada Leo Smith Uitti, an Italian-American you for your interest and become more active as a on our opening night. born in Chicago but support which makes composer. It was the big We’re pleased also to living for decades in Am- our event possible. turning point for me—one bring home Morton sterdam, where she has of the most important Subotnick whose early pioneered a technique experiences I’ve had as experiments with the San of playing her instrument an artist.” Francisco Tape Music with two bows simultane- Hearing this 13 years Center in the 1960s led ously. later brings me to the to a stellar career as one Charles Amirkhanian Åke Parmerud from subject of Other Minds of our leading American Artistic Director Sweden is a much- 13. Throughout these composers and perhaps lauded practitioner of years we’ve continued to the most famous who electroacoustic mu-

3 Other Minds 13 Exhibition & Silent Auction

Scores by Other Minds composers are on view in the lobby throughout Other Minds 13 and will be sold by silent auction to the highest bidder. Bidding forms are available in the exhibition area and at the sales table. Bids will be accepted through intermission at our Saturday evening concert, and winners will be announced at the end of that evening.

Elena Kats-Chernin

Purple Prelude (2007). Red and black ink on paper, 8.25” x 11.75”. Minimum Bid: $200 Michael Bach: 18-7-92 (Aufzeichnungen zu “Ryoanji” 1992, Version Seefeld 2004). Color computer schematic with green ink on paper, 11.75” x 8.25”. Minimum Bid: $300

Russian Rag for string quartet (2007). Black ink on paper, 8.25” x 11.75”. Minimum Bid: $200

Eliza Aria for piano (2007). Dan Becker: Keeping Time (2007). Black, green, Black ink on Star manu- red and blue ink on manuscript paper, 8.5” x 11”. script paper, 10.5” x 13.5”. Minimum Bid: $200 Minimum Bid: $250

Urban Village 1 for piano (2007). Black ink on Star manuscript paper, 10.5” x 13.5”. Minimum Bid: $300 Dan Becker: sketch from Revolution (2004). Pencil and red, yellow and orange ink on paper, 8.5” x 11”. Minimum Bid: $100

4 Keeril Makan: sketches for Resonance Alloy Ishmael Wadada Leo Smith: Taif: Prayer (2007). Pencil and black ink on Archives manuscript In the Garden of The Hijaz for String Quartet and paper, 15.5” x 12”. Duo Unit; Sonic Forms (2007). Black ink on Archives Minimum Bid: $250 manuscript paper, 9.5” x 12.25”. Minimum Bid: $350

Dieter Schnebel: Rufe, Horn und Violoncello (Viola) (2006). Pencil on lined paper, 10.5” x 13.5”. Minimum Bid: $400

Åke Parmerud: Alias (Inwedning). Black ink on textured paper, 26” x 19”, 1990, recopied 2007 for Other Minds. Minimum Bid: $250

Framing of this exhibition was made possible by the support of Crown Point Press and Peter Kirkeby Associates. Morton Subotnick: Spring (from Until Spring, Other Minds gratefully acknowledges their invaluable help 1975; signed 2008). Pencil and blue, red and green with this project. crayon on vellum, 17” x 14”. Note: Score by Frances-Marie Uitti not pictured. Minimum Bid: $500

5 Other Minds 13 Concert 1

Thursday, March 6, 2008 7pm Panel Discussion 8pm Concert

Dieter Schnebel Mit diesen Händen (excerpts) (1992) Michael Bach, voice and cello with BACH.bow NOTE: Schnebel has prepared a special, shortened version of Mit diesen Händen for the Other Minds Festival. Åke Parmerud La Vie Mécanique (2004) pre-recorded media

Elena Kats-Chernin Purple Prelude (1996) Tast-En (1991) Lisa Moore, piano

INTERMISSION

Frances-Marie Uitti Rap’t (2007) Uitti, cello with two bows and electronics U. S. Premiere

Ishmael Wadada Leo Smith Taif: Prayer in the Garden of The Hijaz (2007) Smith, trumpet; Anthony Brown, percussion; Del Sol String Quartet World Premiere, commissioned by Other Minds

6 Concert 1 Program Notes

Mit Diesen Händen ploring or indicating. The La Vie Mécanique values connected to for mezzo soprano or baritone rhythmitized language of the use of machines as La Vie Mécanique is an and violincello the music has its basis tools for making music. in sound—partly it is sur- acousmatic composition Starting in a style of When Michael Bach rounded by quasi-speak- dedicated to the world of electroacoustics, build- sent me some texts from ing events, or the music sounds emanating from ing through the increas- Heinrich Böll’s estate draws the short indica- mechanical machines ing use of repetition and asked whether it tive words into a net of and tools. Living in a and rhythm, and ending would be possible to set punctual notes. The modern western society in a style reminicent of any of them to music, the tumultuous language today means that you are electronica or techno, text to Mit diesen Händen provides the music’s own more or less constantly this piece marks a kind (With These Hands) drive. Purely musical exposed to sounds that of “rite of passage” touched me the most. interludes are com- are not natural but a from one modernism to The experiences of war ments—in most cases result of human inven- another. and its horror which are tions. It seems that for by the special actions of –Åke Parmerud reflected in the text re- the hands—such as in the every little thing meant vived my own memories introduction. to make our lives more and concerns. comfortable their is yet Purple Prelude The musical treatment another noise added to , written The integration of text of language goes a step Purple Prelude the acoustic environ- in 1996, had a curious into a musical context further than previously ment in witch we live. In beginning. I was on the should not be a simple achieved in my music- a sense, composing La plane from Adelaide setting to music. Rather, theater work CHILI, Vie Mécanique was for me to Sydney, sitting next the text should be . Music and Images to Kleist a way of exorcising the to a pianist friend and embedded in the music. The instrumental part madness of sound-pol- we were discussing the Thus, in the instrumental was realized from a lution surrounding me in project we had just fin- introduction of Mit diesen close dialogue with the everyday life. ished, as well as general Händen, the text is trans- cellist Michael Bach, repertoire. Somehow the formed quite literally by having been inspired La Vie Mécanique is also a conversation turned to the cellist’s gestures. by his experiments in sonic comment on the Rachmaninov at which The inner structure of sound and techniques. idea of living matter as point this distinctly Rus- the text itself was also Consequently, there an “organic machine”. sian melody just entered transformed into tem- is a particular unity of The body (so far unsuc- my head and started poral progressions—for language and music, cessfully) viewed as growing. When I got example, the almost rit- derived from Böll’s highly a structure that may home, it developed into ual repetition of the title expressive words and be deconstructed into a piece. It is based on phrase and its variants: referring to them over increasingly smaller units a very minimal motif of “these hands” or the and over again, always and finally explained as a 3 notes. The title, with repetition of “you have” in a different manner—a very sophisticated robot. its allusion to “purple which runs throughout new language and a new Using only sounds from patches”, suggests going the whole text, the par- music. various kinds of machin- ticles “at”, “with”, “for”, ery (mechanical, electric off on a tangent. Later I etc. which almost stand Mit diesen Händen was pre- etc) the piece is built as made a version of it for out from the sentences; miered on 14 December a kind of storyline de- an ensemble for the CD and finally the parts 1992 in Cologne with scribing the birth, death Clocks. And much later which actually consti- vocalist William Pearson and rebirth of a mechan- I wrote Piano Concerto 2 tute the meaning of the and Michael Bach. It is ical lifestructure. The which started with very text, which really “say” dedicated to Bach in piece also in a sense similar material. friendship. something apart from alludes to the birth and –Elena Kats-Chernin quasi-psalmodizing, im- death of aesthetical –Dieter Schnebel

7 Tast-en dominant to the F-sharp, year I have worked in C-sharp is introduced. this manner; visualizing, Tast-en, written in 1991, Then that pattern is creating a sound image, marked the end of my broken up by a played then notating and scor- self-imposed fi ve-year interval of a fi fth (D-A), ing these improvisations, break from composing after which the piece and fi nally recomposing for concert hall. I was starts to take shape and them into tracks for non- living in Germany at the develop into a kind of a existent movies. time. I stopped writing fantasia with a chorale. for concert hall, due to a Rap’t is a part of this se- couple of reasons: lack Due to its incredible ries, originating from the of motivation or direc- demands on the pianist, intense focus one has tion, also prevailing inter- only exceptional pianists in these states of mind, est in collaborations, e.g. like Lisa Moore took the mixed with an unspoken writing music for theatre task upon themselves to narrative that underlies and dance productions, perform this piece. Lisa the music. Difference- bringing up small chil- recorded it for her CD tone resonators, the use dren, etc. Stroke (released on Tall of 2 bows and radical Poppies). retunings, and elec- A good friend of mine, tronics for the 6-string –Elena Kats-Chernin Hermann Kretzschmar cello I designed with Eric from Ensemble Modern Jensen and modifi ed at approached me in 1990 Rap’t CNMAT are among the to write him a piece for I’ve long been involved innovations I’ve devel- an upcoming concert in in sound/vision projects oped for my music. Hanover. After a couple and composing fi lm –Frances-Marie Uitti of weak excuses, saying scores, collaborating “I was out of practice throughout the years in writing concert music, I a rich variety of projects did not feel secure about with Marina Abromovic, it”, etc. he kept persuad- Steina Vasulka, Hooykas/ ing me to try writing it. Stansfi eld, Frank Schef- One day I just sat down fer, Ferenc van Damme, and decided to start, Johan Simons, etc., and Other Minds thanks the following sponsors for their support: with just one note (F- presented at the Rotter- sharp, appropriately lying dam Film Festival, Venice in the middle between Biennale and the Amster- djerassi two C’s) and see where dam Film Biennale. resident artists program that would take me. I must have been inspired But having my music by a piece by Kurtág, in Werner Herzog’s based on one note. Rescue Dawn unexpectedly opened up a new cre- One note did not feel ative path, that of turning like enough to go on, so I my attention to a sort split it into octaves (mon- of reverse silent fi lm—a strously hard to play for a world where inner visions pianist!), to make my one spark a music that will note last longer. I felt never overtly pair with the next step would be another art. For the past to enter another note: a

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WHAT WOULD GUSTAV THINK? ��

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�� An evening of improvisation

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�� Other Minds 13 Concert 2

Friday, March 7, 2008 7pm Panel Discussion 8pm Concert

Åke Parmerud Dreaming in Darkness (2005) pre-recorded media

Michael Bach Bachtischa 18-7-92 (1992) Bach, cello with BACH.bow & pre-recorded media U. S. Premiere

John Cage & Michael Bach Bachtischa One13 (1992) Michael Bach, cello with BACH.bow & pre-recorded media U. S. Premiere

INTERMISSION

Dieter Schnebel Quintessenz (1993) Poem für 4 Köpfe from Zeichen-Sprache (1987–89) Other Minds Ensemble: Ann Moss, Amalia Dobbins, Randall Wong, Barney Jones; Keisuke Nakagoshi, piano

Ishmael Wadada Leo Smith Moths, Flames, and the Giant Sequoia Redwood Trees (1996) Adorno Ensemble & pre-recorded Gamelan Quartet (I Nyoman Wenten, John Parsons, I Wayan Budha, Wadada Leo Smith)

Dan Becker Keeping Time (2008) Adorno Ensemble World Premiere, commissioned by Other Minds

10 Concert 2 Program Notes

Dreaming in One13 for cello and curved had the opportunity to on gravel such that Darkness bow only eight pitches convince Cage of this at least one is always follow each other: f#´, g´´, chance result by dem- obscured from view. What does someone g´´, f´´, d´, d´´, a´, eb´´.* The onstrating to him twenty The traditional ques- who cannot see dream piece consists there- different and multiphonic tions raised about the about? What happens fore of eight parts, each f#´ sounds on the cello. obscured but existing during sleep in a mind devoted to one single This multitude of sounds stone often lead to a to which images of the pitch and its reiterations. is made possible with conclusion that sensory world are primarily per- Ryoanji and One13 have the the curved bow, with impressions and reality ceived through sound? same formal structure: which all strings of the are not congruent, and eight sections and four cello can sound simul- that one’s perception Dreaming in Darkness is an attempt to create sur- voices. In a performance, taneously, and through of reality succeeds realistic fragments of a one voice is played live, the extensive use of only partially and in an blind person’s dreams. while the other three, harmonics, for which I incomplete way. Time The piece gradually recorded by the same had already developed a is therefore evoked as develops from a starting soloist beforehand, number of novel perfor- a critical fourth dimen- point which resembles are played back over mance techniques. sion, because the viewer loudspeakers distributed will have to change his the soundtrack of a When listening to these in space. The fundamen- location over time to film where ambiences twenty different f#’ tal difference, though, see all the stones. So and situations change sounds, it becomes is that whereas “movement” presents a through the opening and Ryoanji clear that there are both features glissando lines solution to this paradox, closing of doors. Gradu- subtle differentiations within given intervals, and a surprising one ally the “representative” in timbre and pitch—the 13 contains single considering the rigid and sounds are replaced by One use of partials implies by pitches. fixed composition of the more abstract and musi- definition a microtonal Ryoanji stone garden. cal material, displacing The metamorphosis from understanding of pitch, the character of realism Ryoanji to One13 occurred where equal tempera- One13 works in a similar towards an acoustic “in during a collaboration ment is given up. With way. In the unison prime between,” where the between John Cage and the use of partials, each one pitch overlies and boundary between the myself in July 1992 in version of f#´ is derived covers up the other. The representative and the New York City. In deter- from its own initial pitch, superficial fact, that only imagined is erased. mining a total of eight the fundamental. For one single pitch sounds, The piece was commis- intervals for a planned instance, f#´ can be the suggests a static listen- sioned by GRM and real- version of Ryoanji for second partial of f#, the ing experience. This ized at the GRM studios cello, a chance opera- third partial of b, the litany-like insistence on in Paris. tion determined that the fourth partial of F# or a supposedly unchang- third interval should the fifth partial of D. In ing pitch is at the same –Åke Parmerud be a unison prime, the this way an ambiguous time the gate to new interval f#´—f#´. Cage had multiphonic sound devel- discoveries, because it 13 18-7-92 & One not anticipated a unison ops, rather unexpectedly, requires a mental libera- The five individual com- prime, virtually a zero- from a unison, increasing tion from a conventional positions of the 1980s interval, and wanted to in complexity as the deri- understanding of pitch to pass it over as useless vation of its individual become aware of those Ryoanji series for voice, oboe, flute, trombone and simply ignore it. pitches also becomes movements that oc- cur within these unison and double bass by John That unpredictable more complex. prime sounds. Cage have eight different prime, created through Ryoanji is the name of intervals as pitch spaces, chance, immediately the famous zen stone The crucial link between within which glissando cast its spell over me. In garden in Kyoto where Ryoanji and One13 is my lines are performed. In the following two days I 15 stone rocks are laid drawing 18-7-92 (Sketches 11 for Ryoanji)—which has the further pitches, with the an undefinable tritone. become rhythmic, dy- date of its creation as its words: “ ... and this will The open, uncharac- namic figures, when per- title—because it captures be One13.”** teristic interval begins formed with accents, or and illustrates exactly, to shimmer. given constant, or vary- The contexts, which have Quintessenz in statu nascendi, the is a music about the ing speeds. From these been partly shown here, transforming moment of ambivalence of such a methods, meanings offered sufficient motiva- the thematic orientation character. can emerge: imitations, tion for me to agree with toward the unison prime. counterpoint, accompa- the suggestion of The It is also an almost Further, the unison prime niments, consonant or John Cage Trust and philosophical piece: with f#´ in is the key dissonant harmonies, 18-7-92 C. F. Peters Corpora- the help of the pianist, issue, where the visual with the vocal accompa- tion New York to publish the four vocal soloists perception of the work niment providing colors 13 under both of our (soprano, alto, tenor, becomes an acoustic One and hues. Thereby an ab- names. Thanks especial- bass) repeatedly tune to one. Drawn by hand with stract music is created–a ly to Merce Cunningham, fifths, going out of tune India ink and feather, the music of the body? Does who sent me copies of or re-tuning them; but visual superimposition a composed set of such Cage’s manuscript pages they also speak, from of two f#´ note heads motions generate a gen- of 13 in October 1992, texts on the dual and (two f#´ notes are typi- One uine sign language, with and to Don Gillespie, multi-facted concept of cally drawn side-by-side) expression? Or perhaps who since Cage’s death quintessence by eminent in becomes an simply a (music-)theater 18-7-92 never lost sight of the authors: from Aristoteles, acoustic overlapping, for of pure but nevertheless plan to publish 13 in to whom the word can which the word “inter- One fantastic actions? this form. be traced back, through penetration” is more Albertus Magnus and -by Dieter Schnebel, indicative. Sound waves –Michael Bach, translation adapted by Adam Fong by Sabine Feisst, edited by Paracelsus to Schopen- of the simultaneously Adam Fong hauer, from whom the Keeping Time sounding pitches do beautiful and profound *) This system of octave I. eighth = 60 not cover each other designation corresponds to words originate: “Music II. quarter = 108 up, but instead interfere that used in The New Harvard is the quintessence of with each other, and in Dictionary of Music and in the is in two older Helmholtz system, where life and its events”. Keeping Time this respect the one f#´ movements. The first, c’ is middle C. –Dieter Schnebel always remains present marked “Carefully; **) Michael Bach, beside the other one. Fingerboards & Overtones, Munich 1991. gently,” is a meditation This insight, which is Poem für 4 Köpfe on simple pulsations based on an exploratory Quintessenz A pointing finger, a nod, and simple patterns. The mode of listening, led a first (or last) step, a second, marked “Like a directly to the working The fifth is regarded jump, a turn of the head, swiss watch, but fiercely” out of twenty different as an especially pure a hand sign–these mo- is a more dynamic, en- f#´ sounds, all variants interval—one tunes to it tions are all imbued with ergetic movement which of that particular unison and speaks of the “open” intention, the meaning explores similar patterns, prime on the cello. fifth. In its pureness and inseparable from the but now presented in a openness, the fifth also In 13 this reformed action. But these can all fractured, frenetic and One has something meta- understanding of the uni- now be considered inde- kaleidoscopic way. The physical about it—some- son prime f#´ is equally pendently: a head turns piece was written for the thing above and beyond transferred to other on its own, bodies bend stellar performers of the nature. If it is altered pitches. On July 20, in rhythm, feet move Adorno Ensemble and and one of its two tones 1992, Cage told me that in a measured step by commissioned by Other raised or lowered, its he wanted to transfer the step, arms rise and fall in Minds. essence is immediately unison prime idea, which circular patterns. Such transformed: it becomes –Dan Becker also fascinated him, to motions, however, are a warm-sounding sixth or strictly shapes; they only 12 The Paul Dresher Ensemble Presents Paul Dresher’s electrifying solo chamber opera The Tyrant featuring tenor John Duykers

and Amy X Neuburg & her Cello ChiXtet performing songs from The Secret Language of Subways March 12, 14 & 15, 2008 Project Artaud Theater 450 Florida Street San Francisco, CA

Ticket Prices: $20– general; $15 – students and seniors All performances at 8 PM Tickets may be purchased through City Box Ofﬁ ce: 415/392-4400 or online at www.cityboxofﬁ ce.com or at the door; for more information go to www.dresherensemble.org

Opening Night 23rd Frank London’s A Night in the Old Marketplace narrated by Michael Krasny Roda Stage, Berkeley Repertory Theatre Finale THE ARK : Avi Avital (Israel), Mariana Sadovska March 22 – 30, 2008 (Ukraine), Aaron Alexander, Frank London (New York) Stuart Brotman, The leading festival of Jewish music in the U.S. Jewlia Eisenberg, Jessica Ivry, John Schott (Bay Area) and Glenn Hartman (New Orleans diaspora) 9 artists 6 days of creation On the 7th. . . World Premiere CYCLICAL RITUALS (PART 1): Spring Jewish Community Center of San Francisco 42 artists, 5 countries One Pass, 9 events – only $110 tickets and information: www.jewishmusicfestival.org 1-800-838-3006 A Program of the Jewish Community Center of the East Bay Other Minds 13 Concert 3

Saturday, March 8, 2008 7pm Panel Discussion 8pm Concert

Keeril Makan Resonance Alloy (2007) David Shively, percussion World Premiere, commissioned by Other Minds Static Rising (2004) David Shively, percussion; Del Sol String Quartet

Elena Kats-Chernin Russian Rag (1996/2007) Fast Blue Village (2007) Kats-Chernin, piano; Del Sol String Quartet Eliza Aria (2002) Kats-Chernin, piano

INTERMISSION

Dan Becker Revolution (2004) Kathleen Supové, prepared Disklavier with pre-recorded media

Morton Subotnick The Other Piano (2007) Kathleen Supové, piano; Subotnick, live electronics

14 Concert 3 Program Notes

Resonance Alloy mances can vary greatly with new performance went so well that I had for solo percussion in length and in the types challenges, knowing that some requests to make of sounds produced. they will respond with different shorter ver- is di- Resonance Alloy Each is an invitation into their characteristic musi- sions of it for different rectly inspired by James the rich musical reso- cal bravura, energy, and instrumentations. I wrote Tenney’s (OM7) Having nances possible within intelligence. this particular version for Never Written a Note for a seemingly constrained myself to play at a Live (1971) gener- –Keeril Makan Percussion instrumental set-up. Green Event in Sydney in ally performed on tam- Static Rising was commissioned August 2007. It is written tam and Alvin Lucier’s –Keeril Makan by the Wallace Alexander Ger- in 5/4 meter, but the (OM5) bode and the Walter and Flora Silver Streetcar for Hewlett Foundation for the Del patterns are divided in (1988) for the Orchestra Static Rising Sol String Quartet. different ways in differ- amplified triangle. These My main source of ent sections. two pieces awaken the inspiration in this piece Russian Rag listener to the timbral Fast Blue Village is for is the raw physical- possibilities that exist Ragtimes are such fun string quartet and there ity of the instruments in a single percussion to write and they have is also a shorter 4-min- themselves. In intimate instrument. Like these this dark melancholy, ute version, Urban Village detail, I am seeking to seminal works, because it’s such a slow 3 for viola and piano, Resonance reveal the richness of seeks to create form, a slow pace. Rus- written for a colleague’s Alloy the sonic combination of immensely complex sian music is melanchol- (conductor Lyn Wil- percussion and stringed and beautiful masses of ic too, and I was brought liams) daughter for her instruments. There is sound through simple up on Rachmaninov and Conservatorium High an ongoing play in the actions. Tchaikovsky, Prokofiev School exam. In Novem- piece on ventures into and Shostakovich. I ber, I wrote a version The piece is scored for and out of the nebulous rarely write in major keys for Clarity Quartet titled three cymbals and a and fertile territory that it seems and Russian Rag (for four gong. By using closely Urban Village 4 exists between pitch and is, indeed, a very mel- clarinets). related instruments, the noise. Some of the areas ancholic rag. It is from sonic landscape of these explored in this piece a wholly different world Eliza Aria vibrating metals is care- include unexpected than Stravinsky’s capri- fully expanded. Two of temporal mutations and cious and energetic rags, I wrote the piece firstly the cymbals are placed rhythmic intricacies. as the music is dreamlike as part of the ballet Wild on top of drums; the There are sustained and nostalgic. It finally Swans, choreographed by drums act as resonators, sections punctuated concludes optimistically Meryl Tankard for Aus- enhancing details of the by violent attacks and on a major chord. tralian Ballet. Originally cymbals’ timbre. The in- noisy outbursts, as well it was for soprano and struments are arranged as sparse but care- –Elena Kats-Chernin orchestra and had its so that they can come in fully structured timbral premiere in 2003. The contact with each other explorations. I am very Fast Blue Village piece introduces prin- in different combinations fortunate to be writing cess Eliza and expresses Fast Blue Village is part of to create new clangor- for the Del Sol String a series of pieces that her pure soul, innocence ous hybrids. Quartet, whose musical derive their material from and faith in the good of Although the score energy and strengths are a piece I wrote for Pres- the world. The piece is controls the ordering already familiar to me. As ent Music in Milwaukee, light in texture and uses of events and playing a result of this knowl- for premiere in April very simple harmonies. edge, I have confidently techniques, the per- 2007. It was called Village Since then I have pushed the piece into former controls the Idiot, was scored for 12 transcribed it for piano unknown areas and speed at which the piece instruments and was 15 solo, as well as for string presented the group progresses. Perfor- minutes long. The piece quartet, duets, etc. Due

15 to the use of the original guest performer, the The piano music is there is an emphasis on version in a TV adver- New York City-based precisely notated while small changes of pitch, tisement in the U. K., virtuoso pianist and the improvised process- time and loudness while it became well known fearless musical explorer ing is guided by a set of the processing creates there and has since Kathy Supové, was com- instructions and a DSP a ﬂuid environment for been remixed by Mark missioned with funds patch for each of the 4 these changes to unfold. from Meet the Compos- sections of the work. Brown and other DJs, as The title is a tribute to well as made into a pop ers’ Commissioning USA The 4 sections of The the memory of Morty song (called program. The Journey Other Piano are: Within, Feldman (I was with him Continues sung by Sarah Revolution was commissioned Lullaby, Alone and Rock- at the premiere of his Cracknell). as part of the national series of works from Meet The Com- ing. Each section has work, piano). He told me –Elena Kats-Chernin poser Commissioning Music/ its own distinct musical once that when a friend USA, which is made possible by character. For instance, called him and congratu- generous support from the Na- Lullaby unfolds slowly Revolution tional Endowment for the Arts, lated him on marrying The Helen F. Whitaker Fund, with great care taken to Joan La Barbara, he is for “live” Revolution and the Target Foundation. the details of exact tim- told his friend, “thanks, pianist and a “prepared”, ing of each note as well but that was the other –Dan Becker computerized Disklavier as the subtle evolving Morty.” piano (woman vs. ma- changes of the melody. The work was written for chine). It is an energetic The Other Piano The processing instruc- and motoric work that is Vicki Ray who premiered is for solo tions call for individual part interpretation, part The Other Piano it in Los Angeles in May piano with real-time notes of the lullaby to be meditation, on excerpts 2007. sound processing. The captured by the comput- from a Martin Luther processing is an impro- er and to form lingering –Morton Subotnick King speech. The piece, vised space “painting” sounds that ﬂoat around written in close col- of the piano sound as the auditorium. laboration with tonight’s it is being performed. Throughout the work

Other Minds 13 Composers photo: Renate Hoffleit photo: Alec Duncan Cellist, composer and visual artist Born in 1960, Dan Becker is a San Michael Bach, also known as Michael Francisco-based composer whose Bach Bachtischa, was born in Worms, Germany, April wide-ranging achievements both exemplify and 17, 1958. He studied cello with Pierre Fournier and reflect a life dedicated to new music in America. Janos Starker, then embarked on a career of inter- Becker’s artistic work has been described as “post- national concert activity as well as performances on minimalist” due to the strong influence of works by radio, recordings, and television. He made numerous Terry Riley, with whom he studied, and other mini- significant contributions to the art of contemporary malists of the early 1960s. Becker received his DMA cello performance; his publication Fingerboards & in Composition from Yale University, where he also Overtones proposes new ideas concerning overtones earned his MM and MMA degrees. His teachers have and harmonics and is considered a pioneering work included Riley, Jacob Druckman, Martin Bresnick, in the literature on contemporary technique. In 1990 Elinor Armer, Poul Ruders and Louis Andriessen. he developed the Curved Bow (BACH.Bogen) for the Awards and grants include those from the Ameri- cello, violin, and viola, which, in polyphonic play- can Academy of Arts and Letters (2001), American ing, permits the simultaneous sounding of multiple Music Center (2006), Live Music for Dance (2006), strings, with the high arch of the bow allowing for full, the America Composers Forum (2004), and the sustained chords. Rostropovich has been intimately Mary Flagler Cary Charitable Trust (2003). His music involved in its development, and several contempo- has been performed at universities and festivals rary composers, among them Cage, Schnebel, and large and small across the United States, including Walter Zimmermann, have composed works espe- the Norfolk Summer Festival, Chicago Arts Series, cially for it. Bach is also a composer, often in col- Park City String Quartet Festival, and Bates College laboration with the visual artist Renate Hoffleit, with American Music Festival. Becker is a member of the whom he has created strikingly original string and Board of Directors of the American Music Center, sound installations. His purely musical compositions and a professor of composition at the San Francisco are idiosyncratic and highly personal, described by Conservatory of Music. He is also the founder and him as “free from compositional conventions.” His Artistic Director of the Common Sense Composers’ visual works include Fingerboards I, II (both 1990), and Collective, an eight-member SF-NYC group commit- II-VII (1994-98), which capture the hand’s chore- ted to experimenting with the processes in which ography on the cello fingerboard as color impres- music is conceived, developed, and presented. Each sions, Fieldwork (1994), Mit diesen beiden Händen (1994), year the composers of Common Sense collaborate Lagauche (1995), and Olévano (1995). with a different performing ensemble; past partners –Laura Kuhn/Dennis McIntire, Baker’s Biographical Dictionary of Musi- have included the Meridian Arts Ensemble, the New cians, Centennial Edition 2001 Millennium Ensemble, American Baroque, Robin Cox Ensemble and New York’s Essential Music.

20 Elena Kats-Chernin was born in 1957 American composer Keeril Makan in the Uzbekistan capital of Tashkent. combines an exploration of the rich In 1975, she and her family emigrated from the Soviet detail inherent in sound with an unmistakably visceral Union to Australia. She studied composition with energy. Drawing from diverse sources such as Ameri- Richard Toop, graduating in 1980, and then studied can folk music, the European avant-garde, Indian with Helmut Lachenmann in Hanover, Germany, classical music, and minimalism, he synthesizes a with the assistance of a DAAD Fellowship. While music that, in its sheer intensity, thwarts assumptions in Europe Kats-Chernin became active in theatre of what is beautiful. Makan grew up in New Jersey, and ballet, composing for state theatres in Berlin, of a mixed Indian and Russian Jewish heritage. Vienna, Hamburg and Bochum, speciﬁcally working He received degrees in composition and religion with renowned choreographer Reinhild Hoffmann. at Oberlin College and Conservatory in Ohio. He Her music attracted the attention of the Ensemble completed his Ph.D. in composition at the University Modern and in 1993 she wrote her breakthrough of California, Berkeley where he studied composi- work Clocks for them. Since her return to Australia tion with Edmund Campion and Jorge Liderman, and in 1994, Kats-Chernin has written three chamber computer music at the Center for New Music and operas (Iphis, Matricide and Undertow), two piano con- Audio Technology (CNMAT) with David Wessel. Out- certos, soundtracks for three silent ﬁlms, and works side of the U.S., Makan spent a year in Helsinki at the for many performers and ensembles around the Sibelius Academy on a Fulbright grant. Having been world. She has composed music for the 2000 Sydney awarded the George Ladd Prix de Paris from the Olympic Games Opening Ceremony, and the 2003 University of California, he also lived for two years in Rugby World Cup Opening Ceremony. Kats-Chernin Paris, where he studied with Philippe Leroux. Makan has earned numerous awards including the Jean has received commissions from ensembles including Bogan Memorial Prize for Charleston Noir (solo piano), the Kronos Quartet, the Bang on a Can All-Stars, the Sounds Australian Award for Cadences, Deviations and Paul Dresher Electroacoustic Band, the Left Coast Scarlatti (for 14 instruments), the Green Room Award Chamber Ensemble, TimeTable Percussion and the and the Helpmann Award for her score to the ballet Del Sol String Quartet, and from Carnegie Hall to Wild Swans, based on the fairytale by Hans Christian write a work for the John Harbison/Dawn Upshaw Andersen and broadcast on ABC-TV in December Workshop. Makan was previously on the faculty of the 2003. In 2004 she was awarded a two-year Fellow- School of Music at the University of Illinois at Urbana- ship from the Australia Council to work with Meryl Champaign and is currently Assistant Professor of Tankard on a new dance/opera project based on the Music at the Massachusetts Institute of Technology. life and work of Henri de Toulouse-Lautrec. He is also Managing Editor of Computer Music Jour- nal, published by MIT Press.

21 photo: Matthias Zeininger Sweden’s Åke Parmerud, born in The composer, theologian, teacher 1953, has been professionally active and musicologist Dieter Schnebel as a composer since his early twenties. He studied was born March 14, 1930, in Lahr/Baden, Germany. at the Gothenburg Music Conservatory, after work- He studied music in Freiburg, then theology, philoso- ing as a professional photographer from 1972 to phy and musicology in Tübingen, graduating with a 1974. His list of works includes instrumental music, doctoral thesis on “Dynamics in Schönberg.” Sch- multimedia, video and music for theater and film. It is nebel’s formative experiences as a young composer his electroacoustic music, however, that has gained came at the Kranichsteiner (today Darmstädter) international interest as well as numerous festival Ferienkurse für Neue Musik, where he met Adorno, prizes, including awards at the Bourges Festival (12 Boulez, Messiaen, Nono, Stockhausen and Varèse. total, first in 1978), Prix Ars Electronica (1990, 1994), Following his student years, Schnebel worked as a Prix Noroit (1991), Metamorphosis Festival (Belgium), pastor and teacher in Kaiserslautern, Frankfurt a. M. and the Stockholm Electronic Arts Award (1993). He and Munich. In 1976, a professorship in experimen- has released 2 CDs and 3 LPs, one of which earned tal music was established especially for Schnebel a Grammy award for the best classical CD in Sweden at the Hochschule der Künste Berlin (today Berlin ( Invisible Music, 1995).In 1997, his piece Grains of Voices University of the Arts), a post he held until retirement was performed in the New York headquarters during in 1995. Schnebel is among the most innovative and the United Nations day; the same piece was nomi- influential avant-garde composers of the second half nated in 2006 for the Nordic Music Award. Parmerud of the 20th century. Even in compositions from the has composed a number of works commissioned by early 1950s, he had already unleashed open sound international institutions in Holland, France, Germany, processes between tone and noise, and strove to use Norway and Denmark, and also works as a stage space in new ways. He composed many influential performer, doing live electroacoustic music with in- conceptual pieces from the 1960s to 1980s, and his teractive instruments. Other projects include artistic sound and language compositions from the 1950s to direction for large audiovisual events, concert de- 1980s pioneered a new treatment of vocal articula- sign, and sound and software design for interactive tion and mute physical gesture as music theater. In audio/visual installations. Parmerud has also recently other works he draws on historical forms to redis- started a dance/media company called “The Seventh cover, reveal, expose, re-compose and further extend Sense” together with Canadian/Swedish choreogra- musical tools both traditional and new. Schnebel’s pher Mireille Leblanc. He is a member of The Royal large-scale late works from the 1990s and the early Academy of Music since 1998, and teaches com- 21st century bear witness to his continuing effort puter music and composition at the Lindbladstudio to set out all-embracing testaments to his musical of Gothenburg University. language and music-theological world view. –Theda Weber-Lucks, ed. Adam Fong

22 photo: Scott Groller, CalArts Trumpet-player, multi-instrumentalist, Morton Subotnick is one of the composer and improviser Ishmael pioneers in the development of electronic music and an innovator in works involving Wadada Leo Smith was born December 18, instruments and other media, including interactive 1941 in Leland, Mississippi. Smith developed an early computer music systems. The work that brought interest in the Delta Blues and Improvisation music Subotnick celebrity was , written traditions, and received his formal musical education Silver Apples of the Moon in 1967 using the Buchla modular synthesizer, an with his father, the U.S. Military band program (1963), electronic instrument built by Donald Buchla utilizing Sherwood School of Music (1967-69), and Wesleyan suggestions from Subotnick and Ramon Sender. In University (1975-76) where he studied ethnomusicol- the next eight years, Subotnick wrote several more ogy. In 1967 he became a member of the ASCAP important compositions for LP using the Buchla Association for the Advancement of Creative Musi- Synthesizer, including , , cians (AACM), and has since become recognized as The Wild Bull Touch Sidewinder and . He continued to revolutionize a leading figure in improvisation and free jazz. With Four Butterflies electronic music with real-time setting changes, Leroy Jenkins and Anthony Braxton, he co-founded and the development of a “ghost” box and score to the Creative Construction Company; his ensembles facilitate real-time signal processing of instrumental have included the New Dalta Ahkri (Henry Threadg- parts performed live. In the 80s, Subotnick continued ill, Anthony Davis, Oliver Lake), the Golden Quartet his work at IRCAM, using ghost scores in addition (Jack DeJohnette, Anthony Davis, Malachi Favors), to spatial placement of sounds in a quadraphonic N’da-Kulture, the Silver Orchestra, and others. Smith field. He also continued to compose for symphony has articulated his unique personal music theory in orchestra, chamber ensembles, theater and , and notes (8 Pieces) source a new world music: creative music multimedia productions, and premiered his “staged developed his own notation system for creative musi- tone poem,” , at the 1984 cians, called “Ankhrasmation.” He has composed for The Double Life of Amphibians Olympics Arts Festival in Los Angeles. Subotnick’s solo, ensemble, classical and creative orchestra and recent works utilize computerized sound generation, stage works, received numerous awards and fellow- specially designed software, and “intelligent” ships, and had his works performed by the Kronos computer controls that allow the performers to Quartet, San Francisco Contemporary Music Players, interact with the computer technology. In addition, S.E.M. Ensemble, the California E.A.R. Unit and many Subotnick has been developing musical creative others. He has taught at the University of New Haven tools for young children: he has authored a series in Connecticut, the Creative Music Studio in Wood- of CD-ROMs, a website ( ) and stock, New York, and Bard College in Annandale-on- www.creatingmusic.com is developing a program for classroom and after- Hudson, New York. Since 1993, Smith has directed school programs that will soon become available the MFA program in African American Improvisational internationally. Music at the California Institute of the Arts.

23 photo: Malcolm Crowthers American-born Frances-Marie Founded in 1992, Other Minds is a leading organization for new and experimental music in all its forms, Uitti has pioneered a revolutionary devoted to championing the most original, eccentric dimension to the cello by transforming it into a and underrepresented creative voices in contempo- polyphonic instrument capable of sustained chordal rary music. From festival concerts, film screenings (two, three, and four-part) and intricate multi-voiced and the commissioning of new works, to producing writing. Using two bows in one hand, her playing and releasing CDs, preserving thousands of inter- technique permits contemporaneous cross accents, views and concerts, and distributing them free on the multiple timbres, contrasting 4-voiced dynamics, and Internet, Other Minds has become one of the world’s simultaneous legato-articulated playing, stretching major conservators of new music’s ecology. far beyond her previous work with a curved bow. Uitti has composed extensively to public and critical For more information, visit www.otherminds.org acclaim, the latter comparing the two bow sound Board of Directors: Richard Friedman, President; to a “transfigured string quartet.” György Kurtág, Jim Newman, President Emeritus & Treasurer; An- Luigi Nono, Giacinto Scelsi, Louis Andriessen, drew Gold, Vice President; Mitchell Yawitz, Secre- Jonathan Harvey, Richard Barrett, Vinko Globokar, tary; Charles Amirkhanian, Jessica Gabel, Celeste Jay Alan Yim, Clarence Barlow, Guus Janssen, Martijn Hutchins, Eric Kuehnl, Curtis Smith, Steve Wolfe Padding, Geoffrey King, among others, have used this technique in their works dedicated to her. She Board of Advisors: Muhal Richard Abrams, has enjoyed significant collaborations with John Laurie Anderson, Henry Brant, Gavin Bryars, Brian Cage, Giacinto Scelsi, and Luigi Nono, and also Eno, Philip Glass, David Harrington, Joëlle Léandre, worked closely with Iannis Xenakis, Elliott Carter, George Lewis, Meredith Monk, Kent Nagano, Yoko S. Brian Ferneyhough and Jonathan Harvey. Uitti Nancarrow, Michael Nyman, Terry Riley, Ned Rorem, tours extensively throughout the world, appearing Frederic Rzewski, Tan Dun, Trimpin, Julia Wolfe regularly in such festivals as The Biennale Di Venezia, Other Minds Staff: Charles Amirkhanian, Execu- Strasbourg Festival, Gulbenkian Festival, Ars Musica, tive & Artistic Director; Jim Newman, Webmaster & Holland Festival, and for radio and TV in Europe, Graphics; Adam Fong, Associate Director; Emma Japan and the United States. She has premiered the Moon, Development Director; Adrienne Cardwell, cello concerti, dedicated to her, by Per Nørgård and Executive Assistant & Archive Manager; Joninna Jonathan Harvey, and continues to collaborate with Simpson, Business Manager; Stephen Upjohn, Ar- a variety of today’s most innovative artists, including chive Librarian Pauline Oliveros, Scanner (Robin Rimbaud), pianist : Clyde Sheets, Production Manager; Rolf Hind, guitarist Elliott Sharp, filmmaker Frank Festival Staff Jonathan Doff, Videography; Calvin Jones, Audio Scheffer, and video master Ferenc van Damme. Engineer; Diane Roby, Publicist; Robert Shumaker, Recording Engineer; Leigh Okies, Design

24 Other Minds 13 Performers

After The War (2007), and his Auditorium in a program music can be heard as the of works that included the theme for KQED’s “Paciﬁc world premiere of Chinary Time,” in ﬁlm documenta- Ung’s Spiral X. Del Sol ries, and on over twenty earned ASCAP’s First Prize recordings. He has collabo- for Adventurous Program- rated with artists including ming in 2006 and again in Max Roach, Cecil Taylor, 2008, in recognition of their Zakir Hussain, George E. wide-ranging collaborations Lewis, James Newton and with composers including the SF Symphony, and has Daniel Bernard Roumain, received numerous grants, Reza Vali, Jack Body, Peter awards, fellowships and Sculthorpe, Per Nørgård,

photo: Bob Adler commissions including a Maja Ratkje, Tania León, Richard Scheinin of the San 2003 Guggenheim Fellow- Hyo-Shin Na, Kui Dong ADORNO Ensemble and Chen Yi. For Other (Cynthia Mei, violin; Jose Mercury News hailed ship. Brown holds an M.A. Minds Records, Del Sol Michael Graham, cello; a recent concert as, “...a and Ph.D. in ethnomusicol- has recorded the complete Emma Moon, ﬂutes; Tony beautiful, blazing perfor- ogy from UC Berkeley, as quartets of George Antheil, Striplen, clarinets; Keisuke mance by the ADORNO well as a Master of Music and a forthcoming CD Nakagoshi, piano; Chris- Ensemble, a crackerjack from Rutgers University. Ring featuring compos- topher Froh, percussion) new music band that plays A Smithsonian Associate of Fire ers from seven Paciﬁc Rim captivates audiences with conviction and vitality Scholar, Artistic Director of countries. through live chamber music and blows the dust off clas- Fifth Stream Music, and a performances, vital public sical music.” Governor of the Recording www.delsolquartet.com dialogue, and multifaceted, www.adornoensemble.org Academy, Brown has served as a Visiting Professor at Kate Stenberg, violin- innovative programming. ist, works in a broad range Named after Theodor UC Berkeley and as Cura- tor of American Musical of styles with particular Adorno, the ensemble emphasis on contemporary embraces risk-taking with Culture at the Smithsonian Institution. music, including numerous a clear, conscious eye on collaborations with living contemporary audiences. The San Francisco-based composers. As a soloist ADORNO activities and she has given world and

programs include a live Del Sol String Quartet U.S. premieres of works photo: Bob Hsiang commissions and intro- podcast series called Gal- by Ronald Bruce Smith, Composer, percussionist, duces new work from lery Sessions Radio Show, Henning Christiansen, Pelle and ethnomusicologist prominent and emerging a special interdisciplinary Gudmundsen-Holmgreen, composers, collaborates residency piloted at San Anthony Brown has Josef Matthias Hauer, and with other musicians across Francisco State University become a seminal ﬁgure Charles Amirkhanian. She cultures and genres, and titled “Kandinsky Listening: in California contemporary has recorded with Indian presents a Bay Area season Music Appreciation through creative music. Since 1998, sarod master Ali Akbar concert series. On October Visual Art,” and residency at his San Francisco-based Khan and her festival per- Santa Clara University since Asian American Orchestra 19, 2007, 2006, where the ensemble has received international the quartet promotes new music acclaim for blending Asian made a through composer show- musical instruments and triumphant cases and the commission- sensibilities with the sonori- appear- ing of new works. Recent ties of the jazz orchestra. ance ADORNO collaborations They have earned a GRAM- playing the have included work with MYTM nomination for Best Stradi- composers Derek Bermel, Large Jazz Ensemble Per- varius in- Gabriela Frank, Dan Becker, formance (2000) and “Best struments at the and Chen Yi. In 2007, CD of 2003” from Downbeat ADORNO was awarded magazine. Brown has Library of the ASCAP First Prize for composed original scores Congress’ Coolidge Charlton Lee, Kate Stenberg, Rick Shinozaki, Hannah Addario-Berry Adventurous Programming. for stage including ACT’s photo: Jim Block

25 formances include Other and the Symphony of the new works. She has col- Minds, Tanglewood, Sand- Redwoods. Lee has collabo- laborated with acclaimed point, Festival Acanthes rated with diverse artists composers Jake Heggie, (Avignon), Music Academy including Gavin Bryars, Tin John Harbison, Aaron Jay of the West and the Banff Hat Trio, Ben Levy Dance Kernis, Eric Sawyer, and Centre. She graduated from Company and his wife, Eva- Vartan Aghababian, as well the San Francisco Con- Maria Zimmermann. as emerging artists JooWan servatory and received her Kim, Liam Wade, Erik Master’s degree from the Hannah Addario-Berry, Jekabson, Ruth Huber and Eastman School of Music cellist, is a native of British Heather Gilligan. Recent Columbia. She earned a photo: Bridget Elliot where she also served on premiered hundreds of appearances with Earplay, Diploma in Performance the violin faculty. commissioned works for New Music Works, The Ives and Pedagogy from the piano solo and ensemble; String Quartet and Mock- Rick Shinozaki, violin- Victoria Conservatory, a upcoming commissions ingbird Vocal Quartet. ist, is Principal Second Bachelor’s degree in Cello include works by Annie Violin of Symphony Silicon from McGill University, Mezzo- Gosﬁeld and Don Byron. Valley. Solo appearances and a Master’s Degree in soprano Moore was the founding include the world premiere Chamber Music at the San Amalia pianist for New York’s Bang of Viennese composer Francisco Conservatory of on a Can All-Stars, touring Dobbins Zdzislaw Wysocki’s Music, where she studied Concerto worldwide and recording received with Jean-Michel Fonte- for Two Violins and Orchestra with them from 1992 to her Bach- under Kent Nagano and the neau. Addario-Berry has 2008. She was recently ap- elor of Berkeley Symphony. Rick performed at the Domaine pointed Artistic Curator of Music from has collaborated closely Forget Music Academy the Canberra International Bucknell University and with local composers Mark in Quebec, Kneisel Hall Chamber Music Festival her Masters in vocal per- Fish and Durwynne Hsieh, in Maine, Sarasota Music series. Her formance from The San and released a record- Festival, Casalmaggiore Sounds Alive’08 worldwide appearances Francisco Conservatory ing for the Latin American Festival in Italy and as a include BBC Proms, Venice of Music. Dobbins does Chamber Music Society featured soloist with the SF Biennale, Paris d’Automne, choral, musical and stage with frequent collaborator Conservatory’s New Music Sydney’s Festival, Tangel- direction for schools and Irene Jacobson. Shinozaki Ensemble. She is a former wood, Lincoln Center, War- childrens theaters through- is a protégé of Serban Rusu member of the Lloyd Carr- saw, Lisbon, Moscow, Hong out the Bay Area, and is an of Tiburon; he also studied Harris String Quartet and Kong, Budapest and many active singer and performer, extensively with legendary has also performed with others. Moore teaches at having premiered several pedagogue Josef Gingold renowned artists including the Yale/Norfolk Chamber new works and appeared and Yuval Yaron at Indiana Menahem Pressler, Ian Sw- Music Festival and Wes- as Amiens in As You Like It, University, where he earned ensen, Catherine Manson, leyan University, and has Nicklausse in The Tales of the Master of Music degree. and Paul Hersh. released over 30 record- Hoﬀmann, Arsamene in Serse, and Hansel in Charlton Lee, violist, is Lisa Moore was born in ings including solo discs of Hansel and . the founder of the Del Sol Canberra, Australia, moved music by Frederic Rzewski Gretel and Elena Kats-Chernin. String Quartet. Lee received to the USA in 1980 and Randall a Bachelor’s Degree in has been based in New www.lisamoore.org Wong has Applied Mathematics from York City since 1985. The Other Minds Ensemble UC Berkeley and a Master’s New York Times claim “her built a dis- in Music from the SF energy is illuminating” and Recognized tinguished Conservatory of Music. He the American Record Guide call as a cham- reputation has toured North America, her performances “legend- pion of specializing Mexico and Europe as a so- ary.” Moore speaks, sings, contempo- in both Ba- loist and chamber musician, acts and plays, perform- rary vocal roque and taught at SF State Univer- ing shows such as ipiano: music, So- Classic period repertoire and contemporary music. sity, Steamboat Springs and keys to my brilliant career and prano Ann Oaxaca Music Festivals, and the totally wired piano which With Houston Grand Opera coaches for Chamber Musi- focus on a single idea Moss is he premiered Stewart cians of Northern California or composer. She has frequently sought out by Wallace’s Where’s Dick? and composers to co-create Harvey Milk, and Meredith

26 Charles Amirkhanian Artistic Director

Monk’s Atlas. Wong is a Mann, Norman Fisher and Co-founder of Other Minds, member of the Meredith The Peabody Trio. Charles Amirkhanian is a Monk Ensemble, and with composer, percussion- the San Jose Chamber ist, sound poet and radio Orchestra he premiered his producer who has been orchestrations of Monk’s an advocate for contem- Memory Song and New York porary composers for over Requiem, and his own A Victo- 40 years. Born in 1945 in rian Bestiary. Wong received Fresno, California, he is a his Doctor of Musical Arts leading practitioner of elec- degree from Stanford troacoustic music, sound photo: Robin Holland University and is a resident poetry and text-sound Pianist and performance artist with San Francisco’s Z composition. Most recently Space Studio Theater. artist Kathleen Supové he appeared in concert at is one of today’s most the Musicacoustica Beijing Barney celebrated and versatile (2005), Ars Electronica Jones David Shively has contemporary artists. Clas- (Linz, Austria, 2006) and the has been appeared as soloist and sically-trained and virtuosic Huddersﬁeld Contemporary working as chamber musician through- but never classical onstage, Music Festival (2007). His a composer out North America and Supové has traveled music is recorded on Stark- and sound Europe. Recent projects internationally, premiering land, Cantaloupe, Other designer in have ranged in media from new works by numerous Minds, Fylkingen, Wergo the Bay Area traditional percussion to composers and multimedia and others, and his works for more than twenty years. microtonal instruments, artists. Her aurally and visu- have been commissioned In 1983, he performed in treated guitar, Hungarian ally stimulating performanc- by the Ensemble Intercon- the Bay Area premiere of cimbalom, and musical saw. es have wooed audiences temporain, West German in concert halls and clubs Dieter Schnebel’s Glossolalie, Since 2004, as co-director Radio, Australian Broad- under the direction of Mar- of the New York chamber alike. A Yamaha artist since casting Corporation, and cello Panni. He is currently ensemble Either/Or, he 2001, Supové’s multidisci- numerous choreographers. employed as music and has presented programs plinary piano performance Amirkhanian has served as sound editor at Pixar Anima- focused on American series, The Exploding Piano, Music Director of KPFA/ tion Studios. experimental music and its uses Disklavier, electronics, Berkeley (1969–1992), host relationship to the Europe- vocal rants, lights, videos, of the Speaking of Music series Keisuke Nakagoshi an avant-garde. In addition costumes and staging to at the Exploratorium in San earned the Master’s degree to being a member of New create a theatrical experi- Francisco (1983–1992), in chamber music at the York’s Ensemble Sos- ence and champion music founding Co-Director of the SF Conservatory of Music peso and Ethos Percussion of powerful virtuosity. Other Composer-to-Composer in 2006, studying piano Group, he has performed recent projects and col- Festival (Telluride, CO, with Paul Hersh. A native with Collegium Novum laborations include: Pictures 1988-91), Executive Direc- of Japan, he came to the Zürich, ICE, Speculum of an Exhibitionist for piano tor of the Djerassi Resident United States at age 18 to Musicae, and Gruppe für and photos by Phil Kline, Artists Program (Woodside, study piano with Linda Car- neue Musik Baden. Festival Digits for piano and laptop CA, 1993–1997) and Execu- roll and composition with appearances include ICMC by Neil Rolnick, Delta Space tive & Artistic Director of Jerry Mueller. Nakagoshi (Thessaloniki, Greece), for piano and sampler by Other Minds since 1993. In also studied composition Schwerpunkt: Strom! Lukas Ligeti, Revolution for 1984 and 2005 the Ameri- with David Conte at the SF (Zürich), Ciclo International Disklavier by Dan Becker, a can Music Center honored Conservatory and in 2003 de Percusiones (Mexico new work for moving pianist him with its annual Letter earned his Bachelor of City), Wittener Täge für and video by Mary Ellen of Distinction for service to Music in composition. He neue Kammermusik (Wit- Childs, and a new work for American composers, and is staff accompanist at the ten, Germany), Tribeca Film Gameboy sounds and piano in 1989 ASCAP conferred Conservatory where he has Festival, and Münchener Bi- by Bubblyﬁsh. on him its Deems Taylor performed more than 100 ennale (Munich, Germany). Award “in recognition of his concerts, including master special contribution to in- classes with Gilbert Kalish, novative programming and Menahem Pressler, Robert imaginative radio broad- casts.”

27 Festival Supporters A Gathering of Other Minds

The Other Minds Festival could not take place without the loyalty and enthusiasm of our donors and sponsors. We gratefully acknowledge the following individuals and institutions for their generous support of Other Minds programs (includes gifts and pledges received between January 1, 2007 and February 20, 2008). Every effort has been made to ensure the accuracy of this listing; please contact Other Minds about any errors or omissions.

MAXIMALIST ($5,000+) IMPRESSIONIST ($125–$249) Ann & Ronald Holz Karen Van Leuven & Robert Bradsby Dennis T. DeDomenico Bob Abra Mr. & Mrs. Wayne Huber Patricia Walters Edward P. Hutchins Daniel Barnett & Gail Cunney Mark Huntington Jane Wattenberg Greg & Liz Lutz Sarah Cahill Jay Johnson Robert & Martha Warnock The McElwee Family Antonio Celaya Susan Juhl Marc Weinstein Jim Newman Paul Dresher & Philippa Kelly Nectar Kaiser Brad Wells www.humboldtredwoodsinn.com John Kallenberg, In memory of Susan West & Michael Gold EXPRESSIONIST($1,000–$4,999) Dina & Neil Jacobson Eleanor Amirkhanian Dorothy & Geoff White Agnes Bourne & James Leubbers Irene Jacobson & Rick Shinozaki Tobey Kaplan Richard Wilson Rena Bransten Elmer & Gloria Kaprielian, In memory Michael Karibian, In remembrance of Rachel P. Young Thomas & Kamala Buckner of Eleanor Amirkhanian Eleanor Amirkhanian Douglas Zody Greg deBeer Lorraine & Sylvia Kaprielian Peggy Karp, In Memory of Vivian Fine Patti Noel Deuter, In memory of Timothy Lynch Greg Kelly GRANTORS Michael S. Osborn Mimi Mott-Smith & John Reinsch Wendy & Mike Kirst The American Scandinavian Foundation Dale Djerassi Ben & Armorel Ohannesian Howard B. Kleckner, M.D. Amoeba Music Andrew Gold & Karen Cutler Jane & Larry Reed Andy Kopra The Amphion Foundation, Inc. John & Marcia Goldman Allen Frances Santos, In honor of Laura Kuhn Anonymous Anita Mardikian & Pepo Pichler FRXX MOVIX Jane S. Kumin Argosy Foundation, Minneapolis, MN Nora Norden Carl Stone Elizabeth Lauer California Community Foundation Curtis Smith & Sue Threlkeld T.P.T. Gardener, Inc. Kate Lauer The Aaron Copland Fund Steve & Deborah Wolfe Alta Tingle Kenneth & Carol Law, In memory of Consulate General of the Netherlands Mitchell & Kristen Yawitz Bronwyn Warren & James Petrillo Eleanor Amirkhanian Fleishhacker Foundation Electra Yourke Anne Le Baron The Ann & Gordon Getty Foundation POSTMODERNIST ($500–$999) Zucchini Toast Charlton Lee & Eva-Maria Zimmermann Goethe-Institut San Francisco Bill Berkson & Constance Lewallen David Lennette John & Marcia Goldman Foundation Steven & Barbara Burrall MINIMALIST ($40-$124) Tania León Grammy Foundation Stan Harrison & Margot Steinberg, In Samuel & Janice Abdulian Gareth Loy Grants for the Arts/San Francisco honor of Chloe & Sasha Harrison Craig Amerkhanian & Michelle Sinclair D G Malm Hotel Tax Fund Duo Huang Anonymous (6) Donald & Rebecca Malm Clarence E. Heller Charitable Foundation Celeste Hutchins Peter Antheil Dan Max William & Flora Hewlett Foundation Eric Kuehnl Mark Applebaum & Joan Friedman April McMahon Istituto Italiano di Cultura Jim Melchert Jack Aslanian Justine Anthiel McTighe Ross McKee Fund Meyer Sound Kimo Bailey Paul Mindrup & Doria Leong Andrew Mellon Foundation Mr. & Mrs. E. Robert Newman Deirdre Bair William Miskovetz National Endowment for the Arts Sharee & Murray Newman Jim Battles Dan Murphy, In honor of John Lippolina The Netherland-America Foundation, Inc. Roselyne C. Swig Tom Bendon Earleen Overend & Wayne Palmer Barbro Osher Pro Suecia Foundation Marcia Tanner & Winsor Soule Arrigo Benedetti Ed Patuto Bernard Osher Foundation David & Sylvia Teitelbaum Fund, Inc. Jenny Bilfield & Joel Friedman Albert Pietsch Phaedrus Foundation Michael Tilson Thomas Charles Boone & Josefa Vaughan Robert Place The Randy Hostetler Living Room Linda Bouchard & David Cole John & Christine Poochigian Music Fund NEOCLASSICIST ($250–$499) Kenneth E. Bruckmeier Robert Potter, In Honor of Henry Brant Save America’s Treasures Fund Denny Abrams Keith Campbell Rob Preuss Shenson Foundation Ben & Eleanor Amirkhanian Carla Carpentier Davis Reimer & Louise Rothman- Sony Computer Entertainment Charles Amirkhanian & Carol Law Martin Cohn Reimer America, Inc. Anonymous Bill Compton Dawn Richardson Thendara Foundation Trimpin & Cheryl Ball Clark & Susan Coolidge Jean-Louis & Jane Roos Le Roux Phyllis C. Wattis Foundation Todd Barton Mary Chun Judith Rosen The Zellerbach Family Foundation Thomas C. Benet Beverly Dahlen Fred Rosenblum Tina & Bill Bocheff Virginia Davis Vivienne Rowe SPECIAL THANKS TO: Cappy Coates & Veronica Selver, In Jeff Dunn Don Salper Amoeba Music honor of Sarah Cahill Robert Eaton Erika & Dieter Scherer Calistoga Water Martha Ann Davies Dr. Charles & Lois Epstein Aislinn Scofield Crown Point Press John Duffy Janet Falk Dr. James Shapiro Djerassi Resident Artists Program Simone Fattal J.B. Floyd & Pin-I Wu Stan Shaff Eugene & Elinor Friend Center for Richard Felciano Charles & Elizabeth Fracchia Robert Harshorn Shimshak & Marion the Arts Randall & Teresa Fong Rod Freebairn-Smith Brenner Flora Grubb Gardens Jessica Gabel Ruth Freeman Jen Shyu, In Memory of Sekou Graeser Winery Claude & Nina Gruen Cliff & Sara Friedlander Sundiata Honest Tea Alfred Heller Linda Schacht Gage Gail Silva Kermit Lynch Wine Merchants Victor & Lorraine Honig Wendy Garling Kenneth Silverman Kiehls Andrew Hoyem David Gladstein Jim Sitterly, violinist, In Honor of Lark in the Morning Ron & Renate Kay David & Joan Halperin Daniel Lentz The Monte Cristo Hotel Ellen Marquis Meira Halpern Alan Snitow Peter Kirkeby Associates Caren Meghreblian & Harry Bernstein Anna Halprin JoAnn Stenberg San Francisco Bay Guardian Peter Samis & Mary Curtis Ratcliff Ron & Pamela Harrison Kate Stenberg Sherman Clay & Co. Tim Savinar & Patricia Unterman Robert Herman & Susie Coliver Mary Stofflet, In memory of Charles Starbucks Coffee Company Dan I. Slobin Susan & Robert Hersey R. Mills Sunborne Thomas Steenland Michael Hicks Leslie Swaha & Scott Lewis West Valley Music The Stone Family John Hillyer Lesley Tannahill-Oi Yamaha Corporation of America Simone Wedell Fidelia W. Ho Romuald Tecco Ella Lindgren, David Martinson, Jen Douglas Hollis Marta Tobey Wang, Simone Wedell

28 34 12 16 B 7

19 15

36 1

Artists featured at Other Minds Festivals 1–13

OM1 1993 OM4 1997 Alvin Curran OM11 2005 Robert Ashley Henry Brant Andrew Hill John Luther Adams Thomas Buckner Paul Dresher Hi Kyung Kim Maria de Alvear Barbara Monk Mamoru Fujieda James Tenney Charles Amirkhanian Feldman Hafez Modirzadeh Glen Velez Billy Bang Philip Glass Laetitia Sonami Aleksandra Vrebalov Marc Blitzstein Jon Jang Carl Stone William Winant Fred Frith Meredith Monk Donald Swearingen Phill Niblock Conlon Nancarrow Visual Brains (Sei OM8 2002 Michael Nyman Foday Musa Suso Kazama & Hatsune Ellen Fullman Daniel Bernard Roumain Trimpin Ohtsu) Takashi Harada Evan Ziporyn Jai Uttal Pamela Z Lou Harrison Julia Wolfe Tania León OM12 2006 OM5 1999 Annea Lockwood Tara Bouman OM2 1995 Linda Bouchard Pauline Oliveros Daniel David Feinsmith Muhal Richard Abrams Mary Ellen Childs Ricardo Tacuchian Joëlle Léandre Don Byron Luc Ferrari Richard Teitelbaum Per Nørgård Lou Harrison Alvin Lucier Randy Weston Maja Ratkje Mari Kimura Antonio Pinho Vargas Peter Sculthorpe Rex Lawson Julian Priester OM9 2003 Ronald Bruce Smith Ingram Marshall Sam Rivers Jack Body Markus Stockhausen Terry Riley Margaret Leng Tan Ge Gan-ru Alvin Singleton Errollyn Wallen Evelyn Glennie OM13 2008 Tan Dun Daniel Lentz Michael Bach Calliope Tsoupaki OM6 2000 Stephan Micus Dan Becker Frances Whjte Peter Garland Amy X Neuburg Elena Kats-Chernin Ashot Zograbyan Annie Gosfield William Parker Keeril Makan Hamza el Din Ned Rorem Åke Parmerud OM3 1996 Leroy Jenkins Stephen Scott Dieter Schnebel Laurie Anderson David Lang Ishmael Wadada Kui Dong Paul D. Miller OM10 2004 Leo Smith Henry Kaiser (DJ Spooky) Alex Blake Morton Subotnick George Lewis Hyo-Shin Na Amelia Cuni Frances-Marie Uitti Lukas Ligeti Robin Rimbaud Francis Dhomont (Scanner) Miya Masaoka Werner Durand Aki Takahashi Ionel Petroi Mark Grey Artist biographies, Jacob ter Veldhuis David Raskin Keiko Harada photographs and festival Christian Wolff Frederic Rzewski Stefan Hussong recordings available at Charles Shere Joan Jeanrenaud otherminds.org and OM7 2001 Olly Wilson Hanna Kulenty radiOM.org Chris Brown La Monte Young Tigran Mansurian Gavin Bryars Jon Raskin