CAL PERFORMANCES PRESENTS PROGRAM NOTES

Saturday, January 21, 2012, 8pm Gérard Grisey (1946–1998) at UC Berkeley from 1982–1986, Grisey com- Hertz Hall Talea (ou la machine et les herbes folles) (1986) pleted work on Les Espaces Acoustiques, a cycle of six pieces totaling 90 minutes, which grow “We are musicians and our model is sound not from a solo viola in “Prologue” to full orches- Eco Ensemble literature, sound not mathematics, sound not tra and four solo horns in “Epilogue.” Grisey theater, visual arts, quantum physics, geology, then returned to France inspiring many younger David Milnes, conductor astrology or acupuncture.” This famed utter- composers at the Paris Conservatoire until his Jeff Anderle clarinet ance by Grisey highlights the importance of the untimely death in 1998. acoustics of sound as a new source of composi- The title Talea references a compositional Hrabba Atladottir violin tional inspiration. With scientific research into technique that involves the repetition of rhyth- Kyle Bruckmann oboe the world of sound as a central interest, Grisey’s mic patterns. This technique is generally associ- Laurie Camphouse flute ideas as well as his music have been taken to ated with 14th- and 15th-century motet writing, Leighton Fong cello heart by a still-growing number of composers in but can also be found in the work of modern Christopher Froh percussion his native France and abroad. He remains one composers such as Alban Berg, Olivier Messiaen Hall Goff trombone of the most influential French composers of the and John Cage. Diane Grubbe flute generation after Pierre Boulez. We may think of rhythmic organization in Born in Belfort, France, near the Swiss Talea as stemming from two musical concepts, Peter Josheff clarinet and German borders, Grisey studied com- speed and contrast. During a performance of Bill Kalinkos clarinet position in Olivier Messaien’s class at the the piece, musical time is marked both by the Adam Luftman trumpet Paris Conservatoire from 1962–1972. Henri speed at which notes are played, particularly Stacey Pelinka flute Dutilleux, composition teacher at the Ecole perceivable during certain exuberant passages, Kurt Rohde violin Normale de la Musique also taught the young as well as by the deliberate transformation of Alicia Telford horn Grisey in 1968, the year before the composer be- a sound from one color to another. Speed and Ann Yi piano gan work on electroacoustics with Jean-Etienne contrast could then be thought of as two ways Marie. In 1972, Grisey attended the Darmstadt of expressing a single temporal phenomenon: summer school, where he was able to take cours- the passing of time during the performance of PROGRAM es by composers Iannis Xenakis, György Ligeti a musical piece. and Karlheinz Stockhausen. During the second part of its two consecu- Gérard Grisey (1946–1998) Talea (ou la machine et les herbes folles) (1986) Together with his close colleagues Tristan tive sections, Talea restates previously heard Murail and Michael Levinas, Grisey formed the material in a different context, particularly re- Tristan Murail (b. 1947) L’Esprit des dunes (1993–1994) group L’Itinéraire in 1976. The three compos- lating to speed and contrast, which are both Yotam Mann electronics ers dedicated their work to the advancement of transformed. For example, the contrast between “spectral” music, which uses “spectra,” or series the parts playing simultaneously suggests a of a given sound’s harmonic overtones, as ma- polyphonic (or multi-voiced) texture in the first INTERMISSION terial for their compositions. Grisey and others half of the piece. Slowly we can hear this texture later became wary of using this term to refer to a move toward homogeneity in the second half, Edmund Campion (b. 1957) Flow. Debris. Falls (2010) specific compositional methodology. For Grisey, where contrast (or a lack thereof) between the Joanna Chao piano “Spectralism is not a system like serial music or voices is perceived differently. Jeff Lubow, Ilya Rostovtsev, Jay Cloidt electronics even tonal music. It’s an attitude.... It considers Like much of Grisey’s work, Talea highlights sounds, not as dead objects that you can easily colorful transitions between different sounds. In Marc-André Dalbavie (b. 1961) In advance of the broken time (1994) and arbitrarily permutate in all directions, but the composer’s own words on the piece: “By in- as being like living objects with a birth, lifetime cluding not only the sound but, moreover, the Disklavier courtesy of Yamaha Artist Services. and death.” differences perceived between sounds, the real Directional transformation of sound col- material of the composer becomes the degree of Technical support provided by the Center for New Music and Audio Technologies (CNMAT). ors became central to Grisey’s works, both in predictability, or better, the degree of ‘preaudi- electronic and acoustic compositional contexts. bility.’ … It is no longer the single sound whose His Les Chants de l’Amour for 12 voices and density will embody time, but rather the differ- electronics (1982–1984) was an important early ence or lack of difference between one sound and Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. work at IRCAM. While teaching composition its neighbor; in other words, the transition from

30 CAL PERFORMANCES CAL PERFORMANCES 31 PROGRAM NOTES PROGRAM NOTES the known to the unknown and the amount of played an important role in the creation of the Edmund Campion (b. 1957) become subversive vehicles, sites for the creator’s information that each sound event introduces.” “Patchwork” program, meant to help facilitate Flow. Debris. Falls (2010) imagination to run without censure. It would electroacoustic composition. Murail has taught please me if David Lynch liked the title, as it numerous important composers while giving Edmund J. Campion, born in Dallas, Texas, is meant to invoke a location in America where Tristan Murail (b. 1947) summer courses at Darmstadt, the Abbaye de in 1957, received his doctoral degree in com- normality exists mostly as an ornamental feature L’Esprit des dunes (1993–1994) Royaumont and the Centre Acanthes. Since position at Columbia University and attended masking a more sinister underbelly. 1997 he has lived in New York, where he a pro- the Paris Conservatory, where he worked with “Like most concertos, the work can be heard In a recent interview on his Winter Fragments fessor of composition at Columbia University. composer Gérard Grisey. In 1993, he created as a narrative—the old story of a solo instrument (2000), Murail discusses his compositional Murail has always been inspired by the the piece Losing Touch (Billaudot Editions, in dialog with an orchestra is played out. But goals in the following way: “Finally, my ulti- beauty and mystery of the desert landscape. His Paris) at IRCAM. He was then commissioned this time there is a technological agent, a ghost mate aim would be to create and master an en- earlier work Sables (1975) also used the desert as by IRCAM to produce a large work for interac- soloist whose part is generated through real-time tirely personal ‘language’—which is not a very a stimulus for musical creation. In L’Esprit des tive electronics, Natural Selection (2002). Other analysis of the soloist’s live performance. The precise term but I use it because there’s nothing dunes, the composer reflects on different sounds projects include a Radio France Commission, technology-born avatar invades the scene, pro- better—which I could use to communicate, a he associates with the desert to create musical L’Autre, the full-scale ballet Playback (commis- ducing a trail of dust and debris that calls into language which would be as flexible and versa- material for the piece. Murail uses brief extracts sioned by IRCAM and the Socitété des Auteurs question the various roles of the live perform- tile as, for example, the musical idioms of the from melodies originating from Mongolian et Compositeurs Dramatiques) and ME, for ers. This is/is not a piano concerto. Occupying end of the tonal period, a language that would diaphonic singing (or throat singing) and from baritone and live electronics, commissioned by the nether regions of expectation, the human- rediscover certain universal and permanent cat- Tibetan chants as one type of source material. the MANCA Festival in association with the computer interaction pushes the conforming egories of musical expression, without wading Another type of material exploited in this Centre National de Création Musicale. envelope of the music into unexpected places: through some sort of nostalgia, or taking one of piece comes from electronically synthesized Dr. Campion is currently Professor of ‘Frankenstein meets the Hydra from Area 13.’ the ‘postmodern’ paths with which we are bom- elaborations of sounds made by certain objects, Music at UC Berkeley, where he also serves as “As in much of my work, the piece is con- barded today.” including rain sticks, maracas, the friction of Co-Director of the Center for New Music and cerned with the manifestation of the unlike- Murail’s musical language is often charac- polystyrene and the tearing of paper (among Audio Technologies (CNMAT). His prizes ly—an attempt to alter the perception and terized by a complex mixture of textural mu- others). After collecting and analyzing these and honors include the Rome Prize, the Nadia emotion of the listener by presenting the ears sical material. His textures are given shape by sounds, Murail was able to put them into a Boulanger Award, the Paul Fromm Award at with the impossible, the forbidden, at times the the natural characteristics of sounds and the compositional context using his own software Tanglewood, a Charles Ives Award given by Grotesque. As with all strange and independent transformation between them. Territoires de “Patchwork” to explore how these sounds could the American Academy of Arts and Letters, creations, the ludic aspect is only one thread in l’oubli (1977), written for solo piano, asks the be transformed. We will hear all these various and a Fulbright scholarship for study in France. a patchwork quilt. In the end, I try to use raw performer to play with her fingers, fists and sounds interact with the piece’s melodic mate- Recent projects include a Fromm Foundation imagination, shaped with a fine-toothed mill of knuckles, creating dense textures and stark con- rial. This interaction is at times spiritual, con- commission for Outside Music, written for the discipline, to produce organized sound that is an trasts while keeping the damper pedal down frontational, or organic, expressed with an San Francisco Contemporary Music Players, honest reflection of my experiences in life and for the entire piece. Doing so allows the piece’s engaging continuity that is so characteristic of and a French Ministry of Culture Commande art­—experiences that are simultaneously hilari- sounds to resonate indefinitely in the space of Murail’s work. d’Etat for Ondoyants et Divers (Billaudot ous, tragic, unseemly and beautiful.” its performance. The prevailing enunciation of this melodic Editions, Paris), written for Les Percussions de Born in Le Havre, France, Murail be- material sets this piece apart from a majority Strasbourg. Ondoyants et Divers was premiered gan his studies in economics, political sci- of Murail’s pieces from this time. As composer on WDR German Radio in fall 2005. Practice, Marc-André Dalbavie (b. 1961) ence and Arabic. He then attended the Paris Julian Anderson remarked: “Of Murail’s works commissioned by the American Composers In advance of the broken time (1994) Conservatoire, where he studied composition to date, none (with the possible exception of the Orchestra, was premiered in New York’s Zankel with Olivier Messiaen. Having received the quartet Vues aériennes) features such elaborately Hall in March 2006. Recent commissions in- Influenced by a variety of musical styles, Marc- Prix de Rome, he spent two years at the Villa developed melodic writing as L’Esprit des dunes. clude a new work with dance in collaboration André Dalbavie has emerged over the last 15 de Medici before returning to Paris, where he As the piece unfolds, we experience these melo- with the Drumming Ensemble of Portugal and years as one of the most often performed com- founded the ensemble L’Itinéraire with Gérard dies’ transformation through a myriad of har- From Swan Songs (2008) for the violin and piano posers of his generation. Having studied compo- Grisey and Michael Levinas. Désintégrations monic and textural contexts.” duo of David Abel and Julie Steinberg. sition at the Conservatoire de Paris with com- (1982–1983) marks Murail’s first piece composed Dr. Campion writes of the work on tonight’s poser Tristan Murail (among others), Dalbavie with electroacoustic sound transformation, Notes by Alexander Stalarow program: “Flow. Debris. Falls might be the mu- became a strong presence in an emerging group which interested him while he was working at sical equivalent of a B-movie developed under of distinguished French composers. In the late IRCAM. Between 1991 and 1997, he was heav- the radar of the censor-prone larger Hollywood 1980s, Dalbavie studied orchestral conducting ily involved in the studio’s activities as a com- studios. In these B-movie scenarios, stories that with Pierre Boulez, and was also an impor- position instructor and a project developer. He on the surface appear to be genre conforming, tant presence at Paris’ electronic music studio,

32 CAL PERFORMANCES CAL PERFORMANCES 33 PROGRAM NOTES ABOUT THE ARTISTS

IRCAM. Dalbavie used the studio’s available February 2006, Dalbavie speaks to his music’s TheEco Ensemble, under the direction of David A dedicated proponent of new music, from technology for his Diadèmes (1986), a piece affective potential: “I’m deeply convinced that Milnes, is a new group of leading Bay Area mu- 2002 to 2009 Mr. Milnes was Music Director of whose success has strongly established his repu- art is the explosion of meaning,” he says. “Each sicians dedicated to exploring and sharing the the San Francisco Contemporary Music Players, tation as an exciting new composer. person finds his own meaning in music. I don’t work of adventurous composers. Its mission is with whom he commissioned and premiered Influences of electronic music and “spectral” want the public to understand what I wanted to to bring exciting, contemporary music to both many new works from around the world. He compositional techniques are readily audible do for myself. If they find a different meaning I experienced audiences and new listeners. has made recordings of music by John Anthony in Dalbavie’s music, which is ever conscious am happy.” Lennon, James Newton, Edmund Campion, of the acoustics of sound, timbre (or tone col- Can a sound be experienced as having di- David Milnes Jorge Liderman and Pablo Ortiz. or), and the transformation of tone color over rection? Dalbavie’s In advance of the broken serves as Music time. In the mid-1990s, Dalbavie began focus- time opens with an extended reflection on the Director of the Clarinetist/bass clarinetist Jeff Anderle is cur- ing on orchestral spacing, as well as on the vi- characteristics of one note, which, as it is passed Eco Ensemble, rently enjoying an extremely diverse musical sual experience of live performance. His 1996 among various instruments in the ensemble, is Berkeley’s profes- life. He is half of the bass clarinet duo Sqwonk, Violin Concerto features various performing perceived as being in directional transforma- sional new music which infuses aspects of classical, folk and pop- groups placed in the seating area traditionally tion. Here Dalbavie presents a musical line not ensemble in resi- ular music into its own distinct style, and is a reserved for the audience. Meanwhile the solo- in melodic terms, but rather spatially, while ex- dence, as well as member of Edmund Welles, the world’s only ist remains on stage surrounded on both sides ploring its thickness, shape, balance and direc- Music Director composing bass clarinet quartet, performing by brass and percussion groups. This piece had tion. Sounds in In advance of the broken time are of the UC Berkeley University Symphony “heavy chamber music.” An exponent of con- a profound impact on Dalbavie and led him to perceived not as being complete entities, but as Orchestra since 1996. In his early years, he stud- temporary classical music, Mr. Anderle is cur- further explore the nature of orchestral spacing. beings in constant transformation in a specific ied piano, organ, clarinet, cello and voice, and rently the clarinetist of the bicoastal ensemble In an interview with Paul Griffiths of The New space. This piece’s consciousness of the space briefly entertained a career as a jazz pianist, ap- Redshift. He has also performed extensively in York Times from February 2002, Dalbavie said that its musical material occupies may be one of pearing with Chuck Mangione, Gene Krupa, the Bay Area in diverse venues as a member of of the concerto: ‘‘The relationship between the ways of understanding Dalbavie’s reference to Billy Taylor and John Pizzarelli. After receiving the Paul Dresher Electro/Acoustic Band and stage and the public is transformed. You start to the “ready-made” In advance of the broken arm advanced degrees in conducting from SUNY Magik*Magik Orchestra, as well as with the San look around. That interested me, and I decided I (1915) by Marcel Duchamp. Stony Brook and the Yale School of Music, and Francisco Ballet, San Francisco Contemporary wanted to explore it systematically.’’ Dalbavie is best known as a composer for studying with Otto-Werner Müller, Herbert Music Players, Del Sol String Quartet, Left Numerous prestigious orchestras have larger performing forces that allow him to ex- Blomstedt, Erich Leinsdorf and Leonard Coast Chamber Ensemble, and Earplay. In ad- commissioned works by Dalbavie, such as the plore complex textures through his unique ap- Bernstein, he won the prestigious Exxon dition, Mr. Anderle is a founding co-director of Chicago Symphony, Cleveland Orchestra, proach to orchestration. Better suited to virtuo- Assistant Conductor position with the San Switchboard Music, which presents an annual Berlin Philharmonic, Philadelphia Orchestra, sic interaction, Dalbavie took advantage of the Francisco Symphony, where he also served as marathon concert featuring composers, ensem- Royal Concertgebouw Orchestra of Amsterdam, small ensemble context of this chamber piece Music Director of the highly acclaimed San bles and bands that fuse different genres and Orchestre de Paris, BBC Symphony, Montreal to highlight close rhythmic communication styles of music. He is on the faculty at the San Symphony and Tokyo Philharmonic. Dalbavie between the performers. The slightly delayed Francisco Symphony Youth Orchestra, which he has also been the recipient of numerous awards, doubling among the voices, creating an audible led on its first European tour in 1986. Francisco Conservatory of Music, and works for including the esteemed Prix de Rome in 1994, echo effect, is one of the ways Dalbavie expresses Mr. Milnes has conducted frequently in Clark Fobes making clarinet equipment. and was honored by the French Ministry of this interaction. Russia and the Baltics, serving as Music Director Culture as a Chevalier des Arts et Lettres in The clear form of In advance of the broken of the Riga Independent Opera Company and Icelandic violinist Hrabba Atladottir stud- 2004. More recently, his opera Gesualdo pre- time is perceived as being a byproduct of a mu- as a principal guest conductor of the Latvian ied in Berlin, Germany and worked as a free- miered at the Opernhaus in Zurich in October sical idea’s journey, rather than a frame for its National Symphony. Recent engagements have lancing violinist in Berlin for five years, regu- 2010, directed by Patrice Caurier and Moshe presentation. Each of the various steps along included appearances at the MANCA Festival in larly playing with the Berlin Philharmonic Leiser. He is currently working on a ballet with the path of this piece (slow reflection, lively Nice, France, with the Philharmonic Orchestra Orchestra, Deutsche Oper and Deutsche choreography by Peter Martins for New York arpeggiation and synthesis) emerge organically of Nice; in Mexico, at the International Festival Symphonieorchester. Ms. Atladottir also par- City Ballet. from preceding musical material, a hallmark of “El Callejón del Ruido” with the Guanajauto ticipated in a world tour with the Icelandic pop Dalbavie’s music has been championed by Dalbavie’s style. Symphony Orchestra; and in Russia, with the artist Björk, and a German tour with violinist critics for engaging listeners with his rhythmic In advance of a broken time was premiered Novosibirsk Symphony Orchestra. He has col- Nigel Kennedy. clarity, rich melodic material, and alluring tex- in Paris by TM+ and has since seen perfor- laborated in performances with Frederica von In 2004, Ms. Atladottir moved to New York, tures. While presenting his musical ideas with mances in Europe and the United States. A Stade, Dawn Upshaw, Bill T. Jones, Paul Hillier, and continued to freelance, playing on a regular notably clarity, Dalbavie’s music remains decid- recording was released in 2006 by Soupir with James Newton, David Starobin and Chanticleer, basis with the Metropolitan Opera, New York edly introspective. In an interview with Vivian Ensemble L’itinéraire. and has appeared at the Santa Fe, Tanglewood, City Opera and the Orchestra of St. Luke’s, Goodman on NPR’s All Things Considered in Notes by Alexander Stalarow Aspen and Monadnock music festivals. among other orchestras. She also played with

34 CAL PERFORMANCES CAL PERFORMANCES 35 ABOUT THE ARTISTS ABOUT THE ARTISTS the Either/Or ensemble in New York in close coaches flute sectionals at Redwood Middle Leighton Fong is a longtime member of the Left Flutist Diane Grubbe freelances in the San collaboration with Helmut Lachenmann. Since School. She lives in Fairfield with her husband Coast Chamber Ensemble and also serves as Francisco Bay Area, appearing with Pocket August 2008, Ms. Atladottir has been based in Alex, a hornist, and their two children. Principal Cello with the California Symphony. Opera, Symphony Silicon Valley, Golden Gate Berkeley, where she has been performing as a Originally from Portland, Oregon, He plays regularly with the Eco Ensemble, the Opera, Lamplighters, Lyric Opera, Festival soloist and with various ensembles such as the Mrs. Camphouse moved to California in 1997 Empyrean Ensemble and is an active freelancer Opera and others. Contemporary music per- Left Coast Chamber Ensemble, the Empyrean to accept the position as Co-Principal Flutist in the Bay Area. He has taught at UC Berkeley formances include appearances with sfSound Ensemble and the Berkeley Contemporary with the USAF Band of the Golden West. She since 1997. Mr. Fong attended the San Francisco Group, Earplay and, as the flutist in the Chamber Players, to name a few. She teaches has also held administrative positions such as Conservatory, the New England Conservatory, wind quintet Quinteto Latino, the upcom- violin at UC Berkeley. Education Manager with the former San Jose the Bern Conservatory in Bern, Switzerland, ing premiere of a newly commissioned work Symphony, and Program Director for Summer and the Royal Danish Conservatory in by Mexican-American composer Guillermo Oboist and composer Kyle Bruckmann’s work Music West at the San Francisco Conservatory. Copenhagen, Denmark. Galindo. Ms. Grubbe and Quinteto Latino re- extends from a Western classical foundation She holds a Bachelor of Music in flute perfor- cently completed a CD of Mexican music fea- into genre-bending gray areas encompassing free mance from Indiana University and a Master of Principally committed to influencing and ex- turing works of Carlos Chávez, Mario Lavista, jazz, electronic music and post-punk rock. Arts from San Jose State University. panding the repertoire for solo percussion Arturo Márquez, José Luis Hurtado and others. Since moving to San Francisco in 2003, he through commissions and premiers, percussion- has worked with the San Francisco Symphony Taiwan-born pianist Joanna Chao concert- ist Christopher Froh collaborates with leading Peter Josheff, clarinetist and composer, is a and most of the area’s regional orchestras. He izes throughout the United States and abroad, composers as a member of the San Francisco founding member of Sonic Harvest and Earplay. is a member of Quinteto Latino, the Stockton appearing with orchestras such as the Moscow Contemporary Music Players, Empyrean He is a member of the Empyrean Ensemble, the Symphony, and acclaimed new music collective Philharmonic Orchestra, Manhattan Chamber Ensemble and San Francisco Chamber Eco Ensemble and the Paul Dresher Ensemble, sfSound, and has also performed contemporary Orchestra, New Britain Symphony and Orchestra. His solo performances stretch from and performs frequently with the San Francisco concert music with the Eco Ensemble and the Fremont-Newark Philharmonic. She frequently Rome to Tokyo to Istanbul and are recorded on Contemporary Music Players. He has appeared San Francisco Contemporary Music Players. performs in such major New York venues as the Albany, Bridge, Equilibrium and Innova la- on many recordings, concert series and festivals, From 1996 until his westward relocation, he had Carnegie Weill Hall, Merkin Concert Hall, bels. He is currently on the faculty UC Davis. both nationally and internationally. been a fixture in Chicago’s experimental music Miller Theater and Symphony Space. She has His recent compositions include Sutro Tower underground; long-term affiliations include the also appeared on the New York Philharmonic Trombonist Hall Goff has been a noisemaker all in the Fog (2011), Sextet (2010), Caught Between electroacoustic duo EKG, the noise-rock mon- Ensemble Series, Sarasota Music Festival, Thy his life, vocalizing sound effects for toy trucks, Two Worlds (2009), Inferno (2008) and Viola and strosity Lozenge, and the Creative Music quin- Chamber Music Festival and Manchester Music guns, cars, and planes throughout his childhood Mallets (2007). He recently completed an al- tet Wrack. Festival. Her performances were met with criti- in New Jersey. After two years as an alto in the bum of his own pop songs called Nautical Man Mr. Bruckmann earned undergradu- cal acclaim and have been featured on KKHI Madison (Wisconsin) Boy’s Choir, he gravitated Nautical Man. The San Francisco Chamber ate degrees in music and psychology at Rice and KQED radio and on cable TV’s Grand to the trombone at age 12 and began listening Orchestra will perform his Prosperous Soul, University in Houston, studying oboe with Piano. A strong advocate of new music, she has to Dixieland, bebop, pop vocalists of the day Gregarious Heart (2000) in March 2012. Robert Atherholt, serving as music director of worked with established and emerging compos- (early 1960s), and all kinds of recorded sound, campus radio station KTRU, and achieving ers, bringing premieres to wide audiences. She later being influenced by early Zappa, Chicago Originally from Queens, New York, clarinetist academic distinction as a member of Phi Beta has been a member of the Argento Chamber Symphony recordings and Firesign Theater. Bill Kalinkos enjoys a varied freelance career Kappa. He completed his master’s degree in Ensemble since 2002, and has recorded on the Realizing the value of serious practice in his 16th as a member of Alarm Will Sound, Ensemble 1996 at the University of Michigan, Ann Arbor, Aeon, Gravina, and Bridge Records. year was a landmark experience. Mr. Goff at- Signal, Deviant Septet and National Gallery of where he studied oboe performance with Harry Ms. Chao holds a doctoral degree from tended Oberlin College (BA), and earned a mas- Art New Music Ensemble. In addition, he has Sargous and contemporary improvisation with the Peabody Institute of the Johns Hopkins ter’s degree at Yale School of Music, mentored played with San Francisco Contemporary Music Ed Sarath. University, bachelor’s and master’s degrees from by John Swallow and Otto-Werner Müller. He Players, East Coast Contemporary Ensemble, Juilliard, and has studied at the San Francisco has been a member of the San Francisco Ballet Ensemble de Sade, Metropolis Ensemble, Toby Laurie Camphouse is Principal Flutist of the Conservatory of Music Preparatory Division. Orchestra since 1977, and the San Francisco Twining Music, Ensemble Pamplemousse Santa Cruz County Symphony and an active Her teachers include Oxana Yablonskaya, Ellen Contemporary Music Players since 1979, hav- and Anti-Social Music. He has been fortunate freelance musician in the Bay Area. She of- Mack, Jerome Lowenthal, Haggai Niv and ing had the good fortune to play (to this day) enough to work with and premiere pieces by ten performs with orchestras such as Opera Jacqueline Divenyi, and she has also worked as a freelancer with many Bay Area ensembles some of today’s foremost composers including San Jose, San Jose Ballet, Symphony Silicon with Leon Fleisher and György Sebok. She is of all sizes, as well as on various recordings, and Helmut Lachenmann, Roger Reynolds, Steve Valley, Vallejo Symphony, Monterey Symphony, currently on the faculty of the Juilliard Pre- behind visiting musical stars of opera, jazz, rock Reich, John Adams, Wolfgang Rihm and John Lamplighters and Santa Rosa Symphony. She College Division, the Conductors Retreat at and pop. Zorn, among others. Past solo performances maintains a private flute studio in Saratoga and Medomak and the College of New Jersey. include Aaron Copland’s Concerto with the

36 CAL PERFORMANCES CAL PERFORMANCES 37 ABOUT THE ARTISTS ABOUT THE ARTISTS

Columbia Civic Orchestra and John Adams’s is an honors graduate of the Cleveland Institute artist and teacher in the Bay Area, a tenured the Innova and Tzadik labels. Ms. Yi currently Gnarly Buttons with Alarm Will Sound. As an of Music and the Interlochen Arts Academy. His member of the Oakland East Bay Symphony resides in Chicago. orchestral player, Mr. Kalinkos has performed teachers have included Michael Sachs, Raymond and San Francisco Chamber Orchestra, a regular with the Philadelphia Orchestra, the Cleveland Mase, Mark Gould and Adolph Herseth. extra with the San Francisco Opera, Symphony The UC Berkeley Center for New Music and Orchestra, New World Symphony, Spoleto and Ballet orchestras, and a faculty member at Audio Technologies (CNMAT) houses a dy- Festival USA, the Wordless Music Orchestra Stacey Pelinka enjoys performing a broad spec- UC Berkeley. She performs with her quintet, the namic group of educational, performance and and CityMusic Cleveland. He is currently trum of classical music, especially contemporary Golden Gate Brass, and woodwind ensemble, research programs focused on the creative co-principal clarinet of the New Hampshire chamber music. She is a longtime member of Bellavente, throughout the United States. She is interaction between music and technology. Music Festival Orchestra and a member of the Left Coast Chamber Ensemble, plays prin- excited to be performing new music again with CNMAT’s research program is highly inter- IRIS Orchestra. He teaches at UC Santa Cruz cipal flute with San Francisco Opera’s Merola Eco Ensemble. Among her many credits as a disciplinary, linking all of UC Berkeley’s disci- and UC Berkeley, and was recently appointed Program productions and second flute with musician is a full fellowship to the prestigious plines dedicated to the study or creative use of principal clarinetist of the Oakland East Bay the Santa Rosa Symphony, the San Francisco Tanglewood Music Festival. When she puts her sound. CNMAT’s educational program inte- Symphony. As a recording artist, Mr. Kalinkos Chamber Orchestra, and the Midsummer horn in the case, Ms. Telford enjoys working in grates a Music and Technology component into can be heard on the Cantaloupe, Nonesuch, Mozart Festival. She freelances throughout her garden, reading and exploring the Berkeley the Department of Music’s graduate program in Euroarts, Naxos, Mode, Orange Mountain and the Bay Area, performing frequently with sf- hills with her husband and their two dogs. music composition and also supports the under- Albany Records labels. Sound, the San Francisco Contemporary graduate curriculum in music and technology Music Players, Earplay, and the Oakland and Pianist Ann Yi is an active soloist and chamber for music majors and nonmusic majors. Learn Adam Luftman is principal trumpet of the Berkeley Symphonies. A certified Feldenkrais musician with a broad range of musical interests, more at www.cnmat.berkeley.edu. San Francisco Opera Orchestra. He previously Method practitioner, Ms. Pelinka has pre- ranging from Baroque to contemporary music. held positions with the Baltimore Symphony, sented Feldenkrais workshops at the NFA con- A strong advocate of new music, she is dedi- New World Symphony and Civic Orchestra vention and is on the faculty of Summerflute, cated to working with contemporary compos- of Chicago. During his time off from the op- a semi-annual somatic master class for flutists. ers and bringing experimental and avant-garde era, Mr. Luftman has been a guest artist with She attended Cornell University and the San music to broader audiences. She has performed many of the country’s finest orchestras includ- Francisco Conservatory, where she studied with numerous solo and chamber works by many ing the Cleveland Orchestra, Philadelphia Timothy Day. innovative composers of our time, including Orchestra, Chicago Symphony, San Francisco Brian Ferneyhough, Sylvano Bussotti, Stefano Symphony and Seattle Symphony. During the Originally from New York, composer and Scodanibbio and Alessandro Solbiati. summer, he has performed at the Grand Teton violist Kurt Rohde attended the Peabody Ms. Yi has performed extensively with new Music Festival, Tanglewood Music Center, Conservatory, the Curtis Institute and SUNY music ensembles in the Bay Area including the National Repertory Orchestra, National Stony Brook. He is the recipient of the American Eco Ensemble, the San Francisco Contemporary Orchestral Institute, Spoleto Festival, Music Academy in Rome Elliot Carter Fellowship Music Players and the sfSoundGroup. Recent Academy of the West and the Pacific Music in Music Composition, the Berlin Prize, a performances include appearances at Cal Festival in Japan. Mr. Luftman has recorded Guggenheim Fellowship, awards from the Performances in the West Coast premiere of with the Philadelphia Orchestra, San Francisco American Academy of Arts and Letters, and Pierre Boulez’s monumental Dérive 2 with the Symphony, Baltimore Symphony, for ESPN’s commissions from the Fromm, Koussevitzky, Eco Ensemble and the MANCA new mu- Sunday Night Football and on many movie and Hanson and Barlow foundations, and the sic festival in Nice, France, with SFCMP. She video game soundtracks. In addition to his or- National Endowment for the Arts. A member has also appeared at San Francisco Museum chestral work, he has been a featured soloist with of the New Century Chamber Orchestra and of Modern Art and on New Music DePaul at many orchestras, performed with the Bay Brass, the Left Coast Chamber Ensemble, he is an DePaul University in Chicago, performing San Francisco Chamber Brass and New World Associate Professor of music composition at UC Sylvano Bussotti’s piano duo, Tableaux Vivants Brass Quintet, and he is an avid jazz musician. Davis. Mr. Rohde will be a fellow at the Radcliffe Avant La passion Selon Sade, with Christopher Mr. Luftman is on faculty at the San Francisco Center for Advanced Studies in 2012–2013. Jones. She holds doctoral and master’s degress Conservatory, UC Berkeley, San Francisco State in piano performance from Indiana University University and St. Mary’s College. He has pre- French hornist Alicia Telford is an alumna and a Bachelor of Music from San Jose State sented master classes all over the country, in- of the San Francisco Conservatory of Music University. She studied principally with Evelyne cluding at the Curtis Institute of Music, New and San Francisco State University, where she Brancart, and also with Jean-Louis Haguenauer, World Symphony, Baltimore School for the studied horn with David Krehbiel and Bill Karen Shaw, Alfred Kanwischer and Jonathan Arts, UC Davis and Tanglewood. Mr. Luftman Klingelhoffer. She is a well-known freelance Bass. Her performances have been recorded for

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