Program for Novmember 9, 2012 at Chatter 20-21 in Santa Fe, New Mexico

THANK YOU 1912 100 YEARS 2012 NOVEMBER 9, 2012 6PM ST FRANCIS AUDITORIUM SANTA FE This Centennial Concert & its World Premiere have been made possible by generous contributions from the following A collaboration with the New Mexico Museum of Art and the New Mexico History Museum

The three musical compositions on tonight’s program Albuquerque Community Foundation Bank of Albuquerque David Felberg Conductor embrace the grand idea of 100 years and Centennial, Guillermo Figueroa Guest Conductor a panoply of human emotions, and the expansive

Soprano Bassoon optimism of the Southwest. Meagan Brus (Pierrot) Stephanie Przybylska KUNM 89.9 FM McCune Charitable Foundation McC Jennifer Perez Leslie Shultis Kelli Dahlke-Fuentes Horn Julia Erdmann Hyams Mezzo Soprano Nate Ukens Deborah & Martin McKneally Music Guild of New Mexico Sarah Weiler of Toronto Trumpet Violin/Viola John Marchiando David Felberg Mark Hyams New Mexico Arts Cello Trombone a division of the National Endowment for the Arts James Holland Carson Keeble Department of Cultural Affairs Byron Herrington Flute/Piccolo Jesse Tatum Tuba Valerie Potter Richard White New Mexico Museum of Art New Mexico History Museum Percussion Oboe Jeff Cornelius Melissa Peña Alexis Corbin Melissa Sassaman Hovey Corbin 100 YEARS AGO The Press at ™ January 6, 1912, President William Howard Taft signed New Mexico’s Clarinet Piano PianoWerkes The Palace of the Governors statehood bill, making New Mexico the 47th state in the Union and Thomas Leech James T Shields Conor Hanick ™ Santa Fe began on its path as “the city different” as the Palace of the Melinda Russial (bass cl) Daniel Spiegel Governors was renovated and Edgar L. Hewett held an exhibition on the “New-Old Santa Fe” The Albuquerque Philharmonic For Favors Above and Beyond ™ KHFM Classical 95.5 FM The Scottish Rite Masonic Temple, styled after the Alhambra in Patina Gallery, Santa Fe Granada, Spain, was dedicated in Santa Fe llison van arnett anta e KSFR 101.1 FM & Mary-Charlotte Domandi A & I B , S F ™ National Hispanic Cultural Center 20-21 “Lola” Chavez de Armijo, State Librarian since 1909, won a Sandy and Jim Fitzpatrick, Santa Fe gender discrimination suit before the New Mexico Supreme Court, Sandia Prep School & Darby Fegan MUSIC WORTH TALKING ABOUT Beverly Hill and George Kennison, Albuquerque thereafter allowing women to hold appointed office James Moore, Albuquerque Santa Fe Chamber Music Festival & Derek DeVelder “Bravery combined with good thinking!” ™ March 12, 1912, Arnold Schoenberg began writing Santa Fe New Music & John Kennedy Riha Rothberg, Placitas Steve Wedeen, Vaughn Wedeen Kuhn Pierrot Lunaire and completed the work on July 9, 1912 MaryLee and John Sparks, Albuquerque Santa Fe Symphony Orchestra & Greg Heltman www.ChatterChamber.org It was premiered October 16, 1912 in Berlin, Germany. Nick Tauro, Albuquerque SITE Santa Fe For more than three decades the works of American composer appeared internationally as Guest Conductor. He has collaborated ROBERTO SIERRA have been part of the repertoire of many with many leading artists of our time, including Itzhak Perlman, of the leading orchestras, ensembles and festivals in the USA YoYo Ma, Hilary Hahn, Placido Domingo, Joshua Bell, Olga Kern, THE KEEPSAKE and Europe. Among those are the orchestras of Philadelphia, Pepe and Angel Romero, the Emerson String Quartet and many Pittsburgh, Atlanta, New Mexico, Houston, Minnesota, Dallas, more. A renowned violinist, he was Concertmaster of the New Thomas Leech of the Press if you did not receive one, please see an usher or other Detroit, the New York Philharmonic, Los Angeles Philharmonic, York City Ballet, and a Founding Member and Concertmaster of at the Palace of the Governors Chatter person after the concert. National Symphony Orchestra, Royal Scottish National Orchestra, the Orpheus Chamber Orchestra, making over fifty recordings for the Tonhalle Orchestra of Zurich, and others. Mr Sierra has written Deutsche Grammophon. has created a limited-edition The Press at the Palace of the Governors is a working three compositions in honor of centennials: Concerto for Orchestra Keepsake based on Roberto exhibit of 19th and 20th century letterpress printing for the centennial celebrations of the Philadelphia Orchestra, CONOR HANICK is a pianist that “defies human description” for Sierra’s score specifically for Bongo+ for the 100th anniversary of The Juilliard School, and some (Harry Rolnick, Concerto Net) and recalls “a young Peter techniques and equipment. It is open to the public now Caprichos for Chatter 20-21 in celebration of the centennial Serkin” for others (Anthony Tommasini, New York Times). Conor this concert’s audience. during regular Museum hours. of New Mexico’s statehood as well as Chatter’s upcoming 10th has performed throughout the United States, Europe and Asia anniversary. Roberto Sierra was born in 1953 in Vega Baja, Puerto and collaborated with some of the world’s leading conductors, Because the edition is limited in number, we ask that For information about the Press and its publications: Rico. The works of Roberto Sierra are published principally by including Pierre Boulez, David Robertson and James Levine. A there be only one Keepsake per household. However, www.palaceofthegovernors.org/PrintShop/intro.html Subito Music Publishing (ASCAP). vehement proponent of contemporary music, he has worked with composers as diverse as Mario Davidovsky and David Lang Albuquerque native, violinist and conductor DAVID FELBERG is and premiered dozens of works at venues ranging from Carnegie Artistic Director of Ensemble Music New Mexico and co-founder Hall to (le) Poisson Rouge. Currently a doctoral candidate at The Chatter :: Music Worth Talking About of EMNM’s three series: Chatter 20-21, Sunday Chatter and Chatter Juilliard School, he resides in New York City and is a frequent Cabaret. He is Concertmaster of the Santa Fe Symphony, Music performer with Chatter. David Felberg Artistic Director audience and musicians. Please visit our web site for Director of the Albuquerque Philharmonic, and instructor of music James T Shields Associate Artistic Director more details about current and future programming: at NM School for the Arts. He also teaches contemporary music at DANIEL SPIEGEL received his Master of Music degree in piano www.ChatterChamber.org the University of New Mexico and is the associate concertmaster performance at The Juilliard School, previously studying at Ensemble Music New Mexico is the parent organization Peabody Conservatory and Johns Hopkins University. He has of the New Mexico Philharmonic. His robust conducting career of three Albuquerque-based performance series: Chatter is a 501(c)(3) not-for-profit arts organization. includes conducting the New Mexico Symphony Orchestra, won numerous competitions and awards, leading to solo New Mexico Philharmonic, Santa Fe Symphony, and many performances with the National Symphony Orchestra and recitals Sunday Chatter (formerly the Church of Beethoven) More than 71% of the budget is dedicated to paying performances of contemporary music with Chatter. He made his at Carnegie Hall’s Weill Recital Hall. He has also collaborated classical music and poetry every Sunday morning our creative forces, the musicians, poets & authors, and New York debut in Merkin Hall in 2005. David plays an 1829 J.B. with artists such as Joshua Bell, Edgar Meyer, and Midori, and at the Kosmos in NW Albuquerque; Chatter 20-21, bringing great music to our audiences. We are proud Vuillaume violin. performed throughout the US, Canada, and France. After some years as a free lance musician, he began a law career. A graduate larger-scale concerts featuring compositions from the that 46% of our income is derived from ticket sales. JAMES T. SHIELDS, Associate Artistic Director of Ensemble of Harvard Law School, he currently works as a public defender 20th & 21st centuries that are powerful expressions Contributions gratefully and joyfully accepted! Music New Mexico / Chatter, is an active chamber and orchestral in Charlotte. He continues to discover new forms of expression of contemporary music and thought; and Chatter musician. He is currently the principal clarinetist of both the improvising at the piano, and he also enjoys writing poetry and Chatter Canadian Opera Company in Toronto and the New Mexico teaching yoga. Cabaret, a monthly evening of classical music in a Philharmonic in Albuquerque. He is an active soloist and downtown Albuquerque club setting. Together the Ensemble Music New Mexico orchestral musician and has appeared as soloist with the New Praised for her “vocal warmth, … even line and natural Chatters present a full spectrum of chamber music PO Box 7464, Albquerque, NM 87194 Mexico Symphony Orchestra, World Youth Symphony Orchestra, expressiveness” and “glorious instrument”, Iowa native [email protected] Texas Wind Symphony, and the Chatter Chamber Ensemble. MEAGAN BRUS’s rising career includes many operatic roles repertoire, from the Baroque to 21st century music, James is a graduate of The Juilliard School where he studied with and concerts, both in the US and abroad. Highlights from her with special attention to American composers. Ricardo Morales, the principal clarinetist of the Philadelphia 2011/2012 season include Pamina in Opera Theatre of Weston’s Board of Directors Silvia Lu Orchestra. He received a Masters Degree in Composition from the production of Die Zauberflöte, creating the role of Ophelia in the By weaving together contemporary and traditional University of New Mexico, and has had his works performed at world premiere of Carson Kievman’s opera Hamlet at the SoBe classical music in well-conceived programs, Chatter Pamela P Michaelis Pres Wayne Mikosz The Juilliard School and by the Chatter chamber ensemble. Arts Institute as well as premiering the song cycle Songs of Love aims to foster curiosity about and understanding Riha Rothberg VP Diane Mueller (Emeritus) and Remembrance by Jeremy Beck, and singing Soprano I in Guillermo Figueroa is the creative genius behind Boccherini’s Stabat Mater with Bourbon Baroque in Louisville, of today’s composers. Chatter offers courageous Laura Stokes Secretary Mandy Pons The Figueroa Project, an arts and music organization in Kentucky. In the summer of 2012, she performed Schoenberg’s programming and challenging opportunities for Stanley Hoff Treasurer Rita G Siegel Albuquerque. He is also Music Director of the Music in the Pierrot Lunaire in honor of its 100th anniversary at the Music IC professional musicians. The weekly Sunday Chatter Mountains Festival in Colorado and Principal Guest Conductor of Festival in Iowa City, IA. She resides in New York City and holds David Felberg Co-founder Eric Walters Co-founder the Puerto Rico Symphony. For more than a decade he was Music degrees from both the Manhattan School of Music and the and monthly Chatter Cabaret concerts are especially Director of the former New Mexico Symphony. Mr Figueroa has Oberlin Conservatory of Music. intimate, creating a close association between Tony Zancanella Business Manager INTERMISSION 1 Caprichos 2012 : : WORLD PREMIERE Roberto Sierra (b.1953)  7 minutes 1982 3 Grand Pianola Music Caprichos was commissioned by Chatter be premiering this piece, and are convinced it will John Adams (b.1947)  30 minutes as a celebration of the Centennial of become a staple of the contemporary chamber music “John Adams may be the most vital and the barest of chord progressions. This tune, in the hero New Mexico’s Statehood and in honor repertoire.” of Chatter’s upcoming 10th anniversary. eloquent composer in America.” key of E-flat major, is repeated a number of times, and Composed for violin, clarinet, flute, cello, Mr Sierra’s Caprichos premiere is an The New Yorker with each iteration it gains in gaudiness and Lisztian piano, vibraphone, the piece is written Official Event of the New Mexico panache until it finally goes over the top to emerge Scored for two pianos, winds, brass, with incredible flair and virtuosity. As David Felberg Centennial and we’re pleased in the gurgling C major of the lowest registers of the three female voices, and percussion, said, “Caprichos lives up to its name, as a whimsical, to collaborate with the pianos. From here on it is a gradually accelerating Adams describes this piece as “dueling virtuoso, tour de force. We’ve had an incredibly New Mexico Museum of Art and race to the finish, with the tonalities flipping back and pianos, cooing sirens, Valhalla brass, thwacking bass satisfying time working on it. We are so thrilled to New Mexico History Museum. forth from major to minor, urging those gleaming drums, gospel triads, and a Niagara of cascading keys.” black vehicles on to their final ecstasy.” “Grand Pianola Music is in two parts, the first being two John Adams movements, joined together without pause, that end Below is a ‘sonic portrait’ of the music you will hear . . . up in a slow serene pasture with a grazing tuba. The an overview of the soft/loud : : piano/fortissimo shorter second part, “On the Dominant Divide”, was an moments in this expansive score which is evocative 2 PIERROT LUNAIRE (MOONSTRUCK PIERROT) 1912 experiment in applying my minimalist techniques to of the open spaces of New Mexico and the Southwest. Arnold Schoenberg (1974–1951)  35 minutes

Part 1A (fast) Pierrot Lunaire consists of three groups in musical history as a landmark composition, Pierrot of seven poems by Albert Giraud. In the Lunaire remains an inexhaustibly fascinating creation: first group, Pierrot sings of love, sex, and visionary and experimental, yet somehow timeless. religion; in the second, of violence, crime, Pierrot Lunaire is a work that contains and blasphemy; and in the third of his many paradoxes: Part 1B (slow) return home to Bergamo, with his past haunting him. The atonal, expressionistic settings of ™ the instrumentalists are soloists and an orchestra at the same time the text, with echoes of German cabaret, bring the ™ Pierrot is both the hero and the fool poems vividly to life. Sprechgesang, “spoken singing” ™ acting in a drama that is also a concert piece in German, is a style in which the vocalist uses ™ performing cabaret as high art and vice versa specified rhythms and pitches, but articulation is “On the Dominant Divide” (fast) ™ with a song that is also speech rapid and loose like speech. ™ his is a male role sung by a woman “I believe I am approaching a new way of expression,” ™ who shifts between the first and third persons. wrote Schoenberg in his diary on March 12, 1912. The score would eventually be canonized as a crucial Please turn the page for the English translation “For I have seen the promised land” moment in modernism. Apart from its familiar place 4 :: A Chlorotic Laundry Maid High upon heaven’s dusty couch. Rends through the priestly garments, And so sickly sentimental is now. Wipes and wipes, yet cannot make it vanish. A Chlorotic laundry maid The lover, stirred by sharp desire For fearsome grim communion And it echoes from his heart’s waste desert, So he goes on poisoned with his fancy, Pierrot Lunaire Washes nightly white silk garments; Who reckless seeks for love’s embrace Where dazzling rays of gold gleam. Muted tones which wind through all his senses, Rubs and rubs until the early morning Original French poems by Albert Giraud Naked, snow-white silvery foreams Exults in your bright play of light With signs of benediction Sweetly plaintive, like a sigh of crystal Just a snowy fleck of shining moonlight. German translation by Eric Harleben Stretching downward to the flood. Your pale and pain-begotten flood, He shows to frightened people That ascends from Italy’s old players. 19 :: Serenade English translation by Cecil Gray Through the glade steal gentle brezes. You ailing, death-awaiting moon. The dripping crimson wafer: Now abjures Pierrot the tragic manner, With a giant bow grotesquely 1 :: Moondrunk Softly playing o’er the stream. 8 :: Night His heart—with bloody fingers Through the pallid fires of lunar landscape Scrapes Pierrot on his viola; A chlorotic laundry maid Through the foaming light-flood The wine which through the eyes we drink Heavy, gloomy giant black moths In fearsome grim communion. Like a stork on one leg standing Washes nightly white silk garments. mounts the longing, Flows nightly from the moon in torrents, Massacred the sun’s bright rays; 12 :: Song of the Gallows Sadly plucks a pizzicato. And the gentle maid of heaven. Surging high towards his native heaven. And as a spring-tide overflows Like a close-shut magic book The haggard harlot with scraggy gizzard Now here comes Cassander fuming By the branches softly fondled. Sweetly plaintive, like a sigh of crystal. The far and distant land. Broods the distant sky in silence. Will be his ultimate paramour. At this night-time virtuoso. Spreads on the dusky meadows Desires terrible and sweet From the mists in deep recesses Through all his thoughts there sticks like a gimlet 16 :: Atrocity With a giant bow grotesquely All her moonlight-bewoven linen Unnumbered drift in floods abounding. Rise up scents, destroying memory. The haggard harlot with scraggy gizzard. Through the bald pate of Cassander, Scrapes Pierrot on his viola; A Chlorotic laundry maid. The wine which through the eyes we drink Heavy, gloomy giant black moths Thin as a rake, round her neck a pigtail, As he rends the air with screeches Casting then aside the viola, Flows nightly from the moon in torrents. 5 :: Valse de Chopin Massacred the sun’s bright rays; Joyfully will she embrace the rascal, Bores Pierrot in feigning tender With his delicate left hand he The poet, in an ecstasy, As a lingering drop of blood And from heaven earthward bound The haggard harlot! Fashion with a cranium driller. Grips the bald pate by the collar— Drinks deeply from the holy chalice, Stains the lip of a consumptive, He then presses with his finger Dreamily he plays upon him Downward sink with sombre pinions 13 :: Decapitation To heaven lifts up his entranced So this music is pervaded Unperceived, great hords of monsters Rare tobacco grown in Turkey With a giant bow grotesquely. Head, and reeling quaffs and drains down The moon, a polished scimitar By a morbid deathly charm. On the hearts and souls of mankind. . . In the bald pate of Cassander, 20 :: Journey Home The wine which through the eyes we drink. Upon a black and silken cushion, Wild ecstatic harmonies Heavy, gloomy giant black moths. As he rends the air with screeches. The moonbeam is the rudder, Disguise the icy touch of doom, So strangely large hangs menacing Then screwing a cherry pipe stem 2 :: Colombine 9 :: Prayer to Pierrot Through sorrow’s gloomy night. Nenuphar searves as boat The pallid buds of moonlight As a lingering drop of blood Right in through the polished surface, On which Pierrot goes southward, Stains the lip of a consumptive. Pierrot! my laughter have I unlearnt! Pierrot wandering restlessly Sits at ease and smokes and puffs the Those pale and wondrous roses The picture’s brightness dissolves. Stares upon high in anguished fear The wind behind his sails, Bloom in the nights of summer— Ardent, joyful, sweet and yearning, Rare tobacco grown in Turkey In deep tones hums the river Melancholic sombre waltzes, Black flies the standard now from my mast, Of the moon, the polished scimitar From the bald pate of Cassander. O could I pluck but one! Pierrot, my laughter have I unlearnt Upon a black and silken cushion, And rocks the light canoe, My heavy heart to lighten, Coursing ever through my senses 17 :: Parody The moonbeam is the rudder, Like a lingering drop of blood! O once more give me, healer of spirits, Like leaves of aspen are his knees, I search in darkling river Snowman of lyrics, monarch of moonshine, Swooning he falters, then collapses. Knitting needles, bright and polished, Nenuphar serves as boat. The pallid buds of moonlight, 6 :: Madonna Pierrot, my laughter! He thinks: the hissing vengeful steel Set in her greying hair, To Bergamo, his homeland, Those pale white wondrous roses. Rise, O mother of all sorrows, Sits the Duenna, mumbling, Pierrot returns once more. 10 :: Loot Upon his neck will fall in judgement, Fulfilled would be my longing From the altar of my verses! The moon, a polished scimitar. In crimson costume clad. Soft gleams on the horizon If I could softly gather, Blood pours forth from thy lean bosom Ancient royalty’s red rubies, She lingers in the arbour, The orient green of dawn. With gentle care besprinkle Where the sword of frenzy pierced it. Bloody drops of antique glory, 14 :: The Crosses She loves Pierrot with passion, The moonbeam is the rudder. Slumber in the hollow coffins Holy crosses are the verses Upon your dark brown tresses Thy forever gaping gashes Knitting needles, bright and polished, 21 :: 0 Ancient scent The moonlight’s pallid blossoms. Are like eyelids, red and open. Buried in the vaulted caverns, Where the poets bleed in silence, Set in her greying hair, Late at night with boon companions Blinded by the peck of vultures O ancient scent from far-off days, 3 :: The Dandy Rise, O mother of all sorrows, But, listen, what a whisper, Pierrot descends to ravish Flying round in ghostly rabble. Intoxicate once more my senses! A phantasmagorial light ray From the alter of my verses. A zephyr titters softly; Ancient royalty’s red rubies. On their bodies swords have feasted, A merry swarm of idle thoughts Illumines tonight all the crystalline flasks In the lacerated arms The moon, the wicked mocker, Bloody drops of antique glory. Bathing in the scarlet bloodstream. Pervades the gentle air. On the holy, sacred, ebony wash-stand Holdst thou thy Son’s holy body, Now mimics with light rays But there every hair a-bristle, Holy crosses are the verses A happy whim makes me aspire Of the taciturn dandy of Bergamo. Manifesting Him to mankind— Bright needles, spick and span. Livid fear turns them to statues; Where the poets bleed in silence. To joys which I too long neglected. In sonorous bronze-enwrought chalice Yet the eyes of men avert themselves, 18 :: The Moonfleck O ancient scent from far-off days Through the murky gloom, like eyes— Death then comes; dispersed the ashes— Laughs brightly the fountain’s metallic sound, O mother of all sorrows! With a snowy fleck of shining moonlight Intoxicate me again. Glaring from the hollow coffins Far away the rabble’s clamour, A phantasmagorial light ray 7 :: The Ailing Moon On the shoulder of his black silk frock-coat Now all my sorrow is dispelled, Ancient royalty’s red rubies. Slowly sinks the sun’s red splendour, Illumines tonight all the crystalline flasks. You ailing, death-awaiting moon, So walks out Pierrot this languid evening. And from my sun-encircled casement Like a royal crown of glory. Pierrot with countenance waxen High upon heaven’s dusty couch, 11 :: Red Mass Seeking everywhere for love’s adventure. I view again the lovely world Holy crosses are the verses. Stands musing and thinks Your glance, so feverish overlarge, To fearsome grim communion But what! something wrong with his appearance? And dream beyond the fair horizon. How he tonight will paint. Lures me, like strange enchanting song. Where dazzling rays of gold gleam, 15 :: Nostalgia He looks round & round & then he finds it— O ancient scent from far-off days! Rejecting the red and the green of the east With unrequited pain of love And fickering light of candles, Sweetly plaintive is the sigh of crystal Just a snowy fleck of shining moonlight He bedaubs all his face in the latest of styles You die, your longing deep concealed, Comes to the alter Pierrot. That ascends from Italy’s old players, On the shoulder of his black silk frock-coat. With a phantasmagorial moonbeam. You ailing, death-awaiting moon, His hand, with grace invested, Sadly mourning that Pierrot so modern Wait now (thinks he) ’tis a piece of plaster, INTERMISSION 4 :: A Chlorotic Laundry Maid High upon heaven’s dusty couch. Rends through the priestly garments, And so sickly sentimental is now. Wipes and wipes, yet cannot make it vanish. A Chlorotic laundry maid The lover, stirred by sharp desire For fearsome grim communion And it echoes from his heart’s waste desert, So he goes on poisoned with his fancy, Pierrot Lunaire Washes nightly white silk garments; Who reckless seeks for love’s embrace Where dazzling rays of gold gleam. Muted tones which wind through all his senses, Rubs and rubs until the early morning Original French poems by Albert Giraud Naked, snow-white silvery foreams Exults in your bright play of light With signs of benediction Sweetly plaintive, like a sigh of crystal Just a snowy fleck of shining moonlight. German translation by Eric Harleben Stretching downward to the flood. Your pale and pain-begotten flood, He shows to frightened people That ascends from Italy’s old players. 19 :: Serenade English translation by Cecil Gray Through the glade steal gentle brezes. You ailing, death-awaiting moon. The dripping crimson wafer: Now abjures Pierrot the tragic manner, With a giant bow grotesquely 1 :: Moondrunk Softly playing o’er the stream. 8 :: Night His heart—with bloody fingers Through the pallid fires of lunar landscape Scrapes Pierrot on his viola; A chlorotic laundry maid Through the foaming light-flood The wine which through the eyes we drink Heavy, gloomy giant black moths In fearsome grim communion. Like a stork on one leg standing Washes nightly white silk garments. mounts the longing, Flows nightly from the moon in torrents, Massacred the sun’s bright rays; 12 :: Song of the Gallows Sadly plucks a pizzicato. And the gentle maid of heaven. Surging high towards his native heaven. And as a spring-tide overflows Like a close-shut magic book The haggard harlot with scraggy gizzard Now here comes Cassander fuming By the branches softly fondled. Sweetly plaintive, like a sigh of crystal. The far and distant land. Broods the distant sky in silence. Will be his ultimate paramour. At this night-time virtuoso. Spreads on the dusky meadows Desires terrible and sweet From the mists in deep recesses Through all his thoughts there sticks like a gimlet 16 :: Atrocity With a giant bow grotesquely All her moonlight-bewoven linen Unnumbered drift in floods abounding. Rise up scents, destroying memory. The haggard harlot with scraggy gizzard. Through the bald pate of Cassander, Scrapes Pierrot on his viola; A Chlorotic laundry maid. The wine which through the eyes we drink Heavy, gloomy giant black moths Thin as a rake, round her neck a pigtail, As he rends the air with screeches Casting then aside the viola, Flows nightly from the moon in torrents. 5 :: Valse de Chopin Massacred the sun’s bright rays; Joyfully will she embrace the rascal, Bores Pierrot in feigning tender With his delicate left hand he The poet, in an ecstasy, As a lingering drop of blood And from heaven earthward bound The haggard harlot! Fashion with a cranium driller. Grips the bald pate by the collar— Drinks deeply from the holy chalice, Stains the lip of a consumptive, He then presses with his finger Dreamily he plays upon him Downward sink with sombre pinions 13 :: Decapitation To heaven lifts up his entranced So this music is pervaded Unperceived, great hords of monsters Rare tobacco grown in Turkey With a giant bow grotesquely. Head, and reeling quaffs and drains down The moon, a polished scimitar By a morbid deathly charm. On the hearts and souls of mankind. . . In the bald pate of Cassander, 20 :: Journey Home The wine which through the eyes we drink. Upon a black and silken cushion, Wild ecstatic harmonies Heavy, gloomy giant black moths. As he rends the air with screeches. The moonbeam is the rudder, Disguise the icy touch of doom, So strangely large hangs menacing Then screwing a cherry pipe stem 2 :: Colombine 9 :: Prayer to Pierrot Through sorrow’s gloomy night. Nenuphar searves as boat The pallid buds of moonlight As a lingering drop of blood Right in through the polished surface, On which Pierrot goes southward, Stains the lip of a consumptive. Pierrot! my laughter have I unlearnt! Pierrot wandering restlessly Sits at ease and smokes and puffs the Those pale and wondrous roses The picture’s brightness dissolves. Stares upon high in anguished fear The wind behind his sails, Bloom in the nights of summer— Ardent, joyful, sweet and yearning, Rare tobacco grown in Turkey In deep tones hums the river Melancholic sombre waltzes, Black flies the standard now from my mast, Of the moon, the polished scimitar From the bald pate of Cassander. O could I pluck but one! Pierrot, my laughter have I unlearnt Upon a black and silken cushion, And rocks the light canoe, My heavy heart to lighten, Coursing ever through my senses 17 :: Parody The moonbeam is the rudder, Like a lingering drop of blood! O once more give me, healer of spirits, Like leaves of aspen are his knees, I search in darkling river Snowman of lyrics, monarch of moonshine, Swooning he falters, then collapses. Knitting needles, bright and polished, Nenuphar serves as boat. The pallid buds of moonlight, 6 :: Madonna Pierrot, my laughter! He thinks: the hissing vengeful steel Set in her greying hair, To Bergamo, his homeland, Those pale white wondrous roses. Rise, O mother of all sorrows, Sits the Duenna, mumbling, Pierrot returns once more. 10 :: Loot Upon his neck will fall in judgement, Fulfilled would be my longing From the altar of my verses! The moon, a polished scimitar. In crimson costume clad. Soft gleams on the horizon If I could softly gather, Blood pours forth from thy lean bosom Ancient royalty’s red rubies, She lingers in the arbour, The orient green of dawn. With gentle care besprinkle Where the sword of frenzy pierced it. Bloody drops of antique glory, 14 :: The Crosses She loves Pierrot with passion, The moonbeam is the rudder. Slumber in the hollow coffins Holy crosses are the verses Upon your dark brown tresses Thy forever gaping gashes Knitting needles, bright and polished, 21 :: 0 Ancient scent The moonlight’s pallid blossoms. Are like eyelids, red and open. Buried in the vaulted caverns, Where the poets bleed in silence, Set in her greying hair, Late at night with boon companions Blinded by the peck of vultures O ancient scent from far-off days, 3 :: The Dandy Rise, O mother of all sorrows, But, listen, what a whisper, Pierrot descends to ravish Flying round in ghostly rabble. Intoxicate once more my senses! A phantasmagorial light ray From the alter of my verses. A zephyr titters softly; Ancient royalty’s red rubies. On their bodies swords have feasted, A merry swarm of idle thoughts Illumines tonight all the crystalline flasks In the lacerated arms The moon, the wicked mocker, Bloody drops of antique glory. Bathing in the scarlet bloodstream. Pervades the gentle air. On the holy, sacred, ebony wash-stand Holdst thou thy Son’s holy body, Now mimics with light rays But there every hair a-bristle, Holy crosses are the verses A happy whim makes me aspire Of the taciturn dandy of Bergamo. Manifesting Him to mankind— Bright needles, spick and span. Livid fear turns them to statues; Where the poets bleed in silence. To joys which I too long neglected. In sonorous bronze-enwrought chalice Yet the eyes of men avert themselves, 18 :: The Moonfleck O ancient scent from far-off days Through the murky gloom, like eyes— Death then comes; dispersed the ashes— Laughs brightly the fountain’s metallic sound, O mother of all sorrows! With a snowy fleck of shining moonlight Intoxicate me again. Glaring from the hollow coffins Far away the rabble’s clamour, A phantasmagorial light ray 7 :: The Ailing Moon On the shoulder of his black silk frock-coat Now all my sorrow is dispelled, Ancient royalty’s red rubies. Slowly sinks the sun’s red splendour, Illumines tonight all the crystalline flasks. You ailing, death-awaiting moon, So walks out Pierrot this languid evening. And from my sun-encircled casement Like a royal crown of glory. Pierrot with countenance waxen High upon heaven’s dusty couch, 11 :: Red Mass Seeking everywhere for love’s adventure. I view again the lovely world Holy crosses are the verses. Stands musing and thinks Your glance, so feverish overlarge, To fearsome grim communion But what! something wrong with his appearance? And dream beyond the fair horizon. How he tonight will paint. Lures me, like strange enchanting song. Where dazzling rays of gold gleam, 15 :: Nostalgia He looks round & round & then he finds it— O ancient scent from far-off days! Rejecting the red and the green of the east With unrequited pain of love And fickering light of candles, Sweetly plaintive is the sigh of crystal Just a snowy fleck of shining moonlight He bedaubs all his face in the latest of styles You die, your longing deep concealed, Comes to the alter Pierrot. That ascends from Italy’s old players, On the shoulder of his black silk frock-coat. With a phantasmagorial moonbeam. You ailing, death-awaiting moon, His hand, with grace invested, Sadly mourning that Pierrot so modern Wait now (thinks he) ’tis a piece of plaster, INTERMISSION INTERMISSION 1 Caprichos 2012 : : WORLD PREMIERE Roberto Sierra (b.1953)  7 minutes 1982 3 Grand Pianola Music Caprichos was commissioned by Chatter be premiering this piece, and are convinced it will John Adams (b.1947)  30 minutes as a celebration of the Centennial of become a staple of the contemporary chamber music “John Adams may be the most vital and the barest of chord progressions. This tune, in the hero New Mexico’s Statehood and in honor repertoire.” of Chatter’s upcoming 10th anniversary. eloquent composer in America.” key of E-flat major, is repeated a number of times, and Composed for violin, clarinet, flute, cello, Mr Sierra’s Caprichos premiere is an The New Yorker with each iteration it gains in gaudiness and Lisztian piano, vibraphone, the piece is written Official Event of the New Mexico panache until it finally goes over the top to emerge Scored for two pianos, winds, brass, with incredible flair and virtuosity. As David Felberg Centennial and we’re pleased in the gurgling C major of the lowest registers of the three female voices, and percussion, said, “Caprichos lives up to its name, as a whimsical, to collaborate with the pianos. From here on it is a gradually accelerating Adams describes this piece as “dueling virtuoso, tour de force. We’ve had an incredibly New Mexico Museum of Art and race to the finish, with the tonalities flipping back and pianos, cooing sirens, Valhalla brass, thwacking bass satisfying time working on it. We are so thrilled to New Mexico History Museum. forth from major to minor, urging those gleaming drums, gospel triads, and a Niagara of cascading keys.” black vehicles on to their final ecstasy.” “Grand Pianola Music is in two parts, the first being two John Adams movements, joined together without pause, that end Below is a ‘sonic portrait’ of the music you will hear . . . up in a slow serene pasture with a grazing tuba. The an overview of the soft/loud : : piano/fortissimo shorter second part, “On the Dominant Divide”, was an moments in this expansive score which is evocative 2 PIERROT LUNAIRE (MOONSTRUCK PIERROT) 1912 experiment in applying my minimalist techniques to of the open spaces of New Mexico and the Southwest. Arnold Schoenberg (1974–1951)  35 minutes