Oberlin Contemporary Music Ensemble

�� Oberlin Contemporary Music �� Ensemble �� Timothy Weiss, conductor �� Jonathan Moyer, organ �� Yuri Popowycz, violin �� Saturday, April 11, 2015, 2:00 p.m. �� Gartner Auditorium,�� the Cleveland Museum of Art �� Feuilles à travers les cloches (1998) Tristan Murail �� (b. 1947) �� Erica Zheng, flute • Julia Suh, violin �� Jake Klinkenborg, cello • Chelsea�� DeSouza, piano �� Volumina (1961/62) ��György Ligeti �� (1923–2006) �� Jonathan Moyer��, organ �� Concerto for violin and orchestra (1992) Ligeti �� Praeludium �� Aria, Hoquetus, Choral �� Intermezzo �� Passacaglia �� Appassionato �� Yuri Popowycz,�� violin Through �� Erica Zheng, Tasi Hiner, flute • Leo Ziporyn, oboe ��Jarrett Hoffman, Shelagh�� Haney, clarinet �� Benjamin Roidl-Ward, bassoon �� Antonia Chandler, Madison Warren, horn �� Luke Spence, trumpet • Matthew�� Marchand, trombone �� Daniel King, Hunter Brown, Michael�� Mazzullo, percussion �� Rachel White, violin scordatura • Marlea�� Simpson, viola scordatura ��Kah Yan�� Lee, Julia Suh, Tatiana Sutherland,�� John Kirchenbauer, violin �� Eleanor Freed, Rachel�� Mooers, viola ��Jake Klinkenborg, Alex�� Baker, cello �� Casey Karr, bass Three Pieces for chamber orchestra (2004) Philip Cashian wants to return after many voyages and adventures. But from (Cleveland premiere) (b. 1963) an acoustic point of view, the bells must have the upper hand: Scenes from Burgos through their resonance, one perceives the murmur of the leaves The Silver Surface of the Night ruffled by the wind. The wind rises, threatens with a storm. Time The Traveller Without a Compass is suspended—will a tempest break out?” Tristan Murail, who taught composition at Columbia Erica Zheng, Tasi Hiner, flute • Leo Ziporyn, oboe University from 1997 to 2011, is known as one of the founders Jarrett Hoffman, Shelagh Haney, clarinet of spectral music—a technique based on the computer- Benjamin Roidl-Ward, bassoon assisted analysis of timbres. The present work was the first Antonia Chandler, Madison Warren, horn piece in a cycle of chamber music works, still in progress, with Luke Spence, trumpet the collective title Portulan. This word, which stands for a Jeanette Chen, harp • Jie Song, piano navigational map used by sea captains, was also the title of a Daniel King, Michael Mazzullo, percussion book of poems by Murail’s father Gérard Murail (1925–2010), a Rachel White, Tatiana Sutherland, violin I noted poet and painter. Kah Yan Lee, John Kirchenbauer, violin II —Peter Laki Rachel Mooers, Marlea Simpson, viola Alex Baker, Jake Klinkenborg, cello Volumina (1961/62) Casey Karr, bass by György Ligeti (Târnava-Sânmărtin [now Târnăveni], Romania, 1923–Vienna, 2006) Fabian Fuertes, personnel & operations manager Michael Roest, librarian György Ligeti composed Volumina in 1961–62 for a commission by Hans Otte of Radio Bremen. The work explores the “voluminous resources of the organ, its unlimited sustaining Today’s performance is being broadcast live power, vast range, and timbral contrasts, as well as the sense on WRUW-FM 91.1 of space evoked by the piece’s sound masses” (Kimberly Marshal, “György Ligeti (1923–2006)” in Twentieth Century Organ Music, 271). These sound structures are indicated in the score by the use of graphic notation, indicating clusters and PROGRAM NOTES effects played by the palm of the hand, wrist, side of the arm, fingertips, and feet. Changes of timbre and registration are accomplished via assistant registrants. “Experiencing the work Feuilles à travers les cloches (“Leaves Through the Bells,” 1998) is like observing a painting, looking here at a calm patch of by Tristan Murail (b. Le Havre, France, 1947) blue sky and there at a turbulent representation of churning water. Just as such disparate features may coexist in an artwork The composer explains: “Of course, this is the reversal of without interruption, so the contrasting textures of Volumina Debussy’s title, Cloches à travers les feuilles [“Bells Through the are unbroken, sometimes dissolving almost imperceptibly into Leaves,” from the second set of Images for piano]. One may each other, and at other times clashing in rapid juxtaposition” imagine a rural scene, some foliage, a bell tower in the distance, (Marshal, 274). France at peace, a canvas by Watteau—a place where one —Jonathan Moyer AD ’12 4 5 Concerto for violin and orchestra (1992) movements, and the concerto was premiered in that form by by Ligeti Gawriloff and the Cologne Radio Symphony under Gary Bertini’s direction. Following that performance, Ligeti revised the work The music of György Ligeti came to worldwide attention substantially: he discarded the original first movement and during the 1960s, when the Hungarian composer was a leading replaced it with three new movements played without breaks figure in the avant-garde movement along with Pierre Boulez, (movements 1–3). This final version was premiered on October 8, Karlheinz Stockhausen, and Luigi Nono. Ligeti, who was born in 1992, in Vienna, with Gawriloff and the Ensemble Modern under Transylvania and subsequently studied and taught in Hungary, Peter Eötvös’s direction. fled the country during the 1956 revolution and established Central to the concept of the Violin Concerto is the himself in the West. Through his early work in electronic music, incorporation of the higher tones of the harmonic series, he discovered previously unsuspected possibilities for creating which are “out of tune” by the standards of the well-tempered new sounds and combining them in novel ways. (Spectral scale but are here accepted as a regular part of the harmony. composers such as Tristan Murail consider him a major source of The unique sound of the work derives from the sophisticated influence on their aesthetic.) blending of well-tempered and natural sonorities. Two members By the early 1980s, Ligeti had entered what was immediately of the orchestra, a violinist and a violist, tune their instruments to recognized as a new style period,

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