Thursday–Saturday, June 18–21, 2015 Faculty Glade, Hertz Hall, Zellerbach Hall Ojai at Berkeley

Steven Schick Music Director, OMNR Ojai Music Festival Thomas W. Morris Artistic Director, Ojai Music Festival Matías Tarnopolsky Director, Cal Performances

featuring

Steven Schick, percussion & conductor

Beyond the Score®

CalArts Sila Ensemble

Interna tional Contemporary Ensemble Claire Chase, Artistic Director Joshua Rubin, Co-Artistic Director

red fish blue fish

Renga

Gloria Cheng, piano Mellissa Hughes, soprano Jacob Nissly, percussion Joseph Pereira, percussion Vicki Ray, piano Wu Man, pipa

Ojai at Berkeley is a co-production of the Ojai Music Festival and Cal Performances.

Ojai at Berkeley is made possible, in part, by Patron Sponsors Liz and Greg Lutz. Cal Performances’ OMNQ–OMNR season is sponsored by Wells Fargo.

CAL PERFORMANCES 15 Thursday–Saturday, June 18–20, 2015 Faculty Glade, Hertz Hall, Zellerbach Hall

Ojai at Berkeley

FESTIVAL SCHEDULE

Thursday, June ?F, @>?C, Dpm Welcome: Cal Performances Artistic and Faculty Glade Executive Director Matías Tarnopolsky

Outdoor Concert: Sila: The Breath of the World

Fpm Program 1: Beyond the Score®: A Pierre Dream— Zellerbach Hall Pierre Boulez: A Portrait and Debussy

Friday, June ?G, @>?C, Cpm Talk: Steven Schick and Claire Chase conduct Hertz Hall Patio an audience participation event to include Lei Liang’s Trans

Epm Program 2: Presenting Steven Schick Hertz Hall Xenakis, Stockhausen, Lang, Globokar, Auzet

?>pm Program 3: Debussy, Boulez, works for pipa Hertz Hall

Saturday, June @>, @>?C, ??am Program 4: Messiaen, Ravel, Boulez Hertz Hall

@:A>pm Program 5: Boulez, Bartók Hertz Hall

Cpm Community Response Panel: A conversation with Hertz Hall Patio composer Jimmy Lopez, musicologist William Quillen, conductor Lynne Morrow, and musician Amy X Neuberg

Fpm Program 6: Wolfe, Harrison, Chávez, Ginastera

On Saturday, June OM, lunch and dinner will be provided by Grace Street catering. Specially priced concert and meal packages are available. Pre-order today at calperformances.org.

PLAYBILL INTRODUCTION

A HARD RAIN …and what did you hear my blue-eyed son? I heard one hundred drummers whose hands were a-blazin’ Bob Dylan, “A Hard Rain’s a-Gonna Fall”

HAVE SPENT MY LIFE trying to understand Igeometry. When I was a boy, the world seemed gridded, contained: One square mile of Iowa farmland, a section of 640 acres. My brother Ed and I walked long rows of soy- Eventually, the long straight line became beans on hot summer days, picking button- more than a metaphor. One day, in the most weed. Back and forth, reversing direction purely Forrest Gump moment of my life, I sim- when we reached the end since the usable ply began walking. I left my house in La Jolla world lay only inside the limits of the field. A and headed north. Along the way, I bought a farmer squints at the horizon, but he would backpack, decent walking shoes, and a hat. I never try to go there. had two motivations. The first was to listen to Later, when I heard violinists and cellists the entrancing noises of the California coast, talk about “becoming one” with their instru- from the rush of wind and water to rat-a-tat of ments, I thought that they too were farmers, irrigation systems and the droning of traffic. I embracing a geometry that turned inward. walked through Camp Pendleton and heard But percussion was different. Contemporary the laughter of schoolchildren mingle with the percussionists don’t have an instrument; we booms of cannon-fire. I passed the Lotus have thousands of them. And though we Eaters of Orange County, walked through the might hold a special gong or drum close, the multilingual cacophony of south Los Angeles, way a cellist would her cello, becoming one and hugged the shoulder of Highway 1 along with a tuned saw blade or a suspended brake the Big Sur coast to San Francisco. The other drum could be perilous. Indeed, much of motivation was personal. The night I arrived, what we play is junk: frying pans, steel pipes, I took my girlfriend Brenda to a restaurant hunks of wood—not the reassuring objects of (with valet parking) and proposed. the known musical world, but totems of an How permeable are the boundaries between unmapped exterior. music and life! As we waited for Brenda’s car, I As I walked those long rows of beans, I remembe red a small post-concert dinner in imagined continuing the line, breaking June 1988 at the Warsaw apartment of Józef through the boundaries. By the end of sum- Patkowski. Patkowski had been president of the mer I could be in Denver, maybe California Polish Composers Union in the darkest days of by Christmas. This new geometry—the long Soviet occupation and had fostered a lively mu- straight line—became my model for percus- sical avant-garde in spite of enormous resist- sion. Moving beyond the bounds of the ance. Our conversation about the role of music known and cultivated, a percussionist plays in the stormy politics of that fateful summer gongs, cymbals, cowbells, and bongos and was mirrored by flashes of lightning on the thinks nothing of laying hands on four dis- horizon. For a while we simply listened to the tinct musical cultures. But a string quartet of storm approach. Then Patkowski slapped the violin, mandolin, sitar, and rebab flirts with table. The food was ready, he said. Let’s talk culturally dangerous terrain. Percussionists about life now, not art. Then he threw his head think externally. We don’t expect the world to back and laughed as though such distinctions conform to music; we expect music to con- were absurd. And the rains came. form to the world. © Steven Schick

CAL PERFORMANCES Thursday, June 18, 2015, 6pm Faculty Glade

Ojai at Berkeley

Sila: The Breath of the World

PROGRAM

John Luther Adams (b. 1953) Sila: The Breath of the World (2014) (Bay Area Première)

CalArts Sila Ensemble with participating musicians from International Contemporary Ensemble red fish blue fish

PLAYBILL ORCHESTRA ROSTER CAL ARTS SILA ENSEMBLE Brad Hogarth* Stephanie Richard* VIOLIN Aaron Smith David Bowlin (ICE) Jessica Waithe Erik Carlson (ICE) Michael Rocha Hrabba Atladottir* Madeline Falcone TROMBONE Emily Call Brendan Lai-Tong* Mona Tian Kevin Austin Corey Hoeben VIOLA Jenna Hindi Maiya Papach (ICE) Nanci Severance* TUBA Mark Menzies Peter Wahrhafti g* Melinda Rice Luke Storm

CELLO PERCUSSION Kivie Cahn-Lipman (ICE) Nathan Davis (ICE) Judith Hamann* Ross Karre (ICE) Elizabeth Brown* David Johnson Betsy Rettig Anna Wray Brietta Greger DOUBLE BASS Leanna Goddard Richard Worn* Robin Hirshberg Charles Carswell Leah Bowden (rfbf) Carlota Cáceres (rfbf) FLUTE Christopher R. Clarino (rfbf) Alice Teyssier (ICE) Fiona Digney (rfbf) Claire Chase (ICE) Dustin Donahue (rfbf) Rachel Rudich Jason Ginter (rfbf) Christine Tavolacci Jonathan Hepfer (rfbf) Sarah Wass Ryan Nestor (rfbf) Jennifer Ingertila Kjell Nordeson (rfbf) Stephen Solook (rfbf) OBOE Nick Masterson (ICE) SOPRANO Claire Chenette Maria Elena Altany Paul Sherman Kathryn Shuman Joseph Thel Micaela Tobin Marja Liisa Kay CLARINET & BASS CLARINET Adriana Manfredi Joshua Rubin (ICE) Amy Golden Campell MacDonald (ICE) Brian Walsh ALTO Ernesto Cruz Jacqueline Bobak Lauren Davis BASSOON Carmina Escobar Rebekah Heller (ICE) Sara Gomez Jonathan Stehney Sharon Kim Argenta Walther HORN David Byrd (ICE) TENOR Alicia Telford* Timur Bekbosunov Allen Fogle Marc Lowenstein Adam Wolf BASS TRUMPET Paul Berkolds Jonah Levy Ian Walker

* Berkeley musician

CAL PERFORMANCES PROGRAM NOTES

SILA: THE BREATH OF THE WORLD

Songs are thoughts which are sung out with the West Coast première, we presented the full or- breath when people let themselves be moved by chestral version of the piece. a great force.... Sila comes out of the earth and rises to the Orpingalik, a Netsilik elder sky. The piece traverses 16 harmonic clouds, grounded on the first 16 harmonics of a low NINUITTRADITION, the spirit that animates B-flat. All the other tones in the music fall “be- Iall things is sila, the breath of the world. Sila tween the cracks” of the piano keyboard—off is the wind and the weather, the forces of na- the grid of twelve-tone equal temperament. ture. But it’s also something more. Sila is in- Like the tuning, the flow of musical time in telligence. It’s consciousness. It’s our awareness Sila is also off the grid. There is no conductor. of the world around us, and the world’s aware- Each musician is a soloist who plays or sings ness of us. a unique part at her or his own pace. The se- Over the past four decades, most of my quence of musical events is composed, but the music has been inspired by the outdoors, but length of each event is flexible. The heard indoors. With Inuksuit—for nine to 99 music breathes. percussionists—I finally composed music in- A performance of Sila lasts approximately tended from the start to be performed and 70 minutes. There is no clearly demarcated heard outdoors. In Sila: The Breath of the ending. As the music of the performance World, I continue this exploration with a full gradually dissolves into the larger sonic land- orchestral palette. Listening to music indoors, scape, the musicians join the audience in lis- we usually try to ignore the ou tside world, fo- tening to the continuing music of the place. cusing our listening on a limited range of © John Luther Adams sounds. Listening outdoors, we’re challenged to expand our attention to encompass a mul- tiplicity of sounds. We’re invited to receive SIDEBAR: SCHICK ON SILA messages not only from the composer and the performers, but also from the larger world Most composers start with a sound, or maybe around us. only an idea for a sound. John Luther Adams In Sila, the musicians are dispersed widely starts with noise—the totality of all sounds— throughout a large performance space. and then removes everything that is not his Listeners, too, are free to move around and music. In a noisy piece like the solo he wrote discover their own individual listening points. for me, The Mathematics of Resonant Bodies, Listening carefully to the counterpoint be- the noises are still there, unfiltered by the tween the composed music of Sila and the process of composition. I can hear ice crack- never-ending music of the performance site, ing, electrical wires humming, my father we transform seemingly empty space into shouting as Harmon Killebrew belted one into more fully experienced place. the Minnesota night. This is not poetry; I re- Sila is intended for performance outdoors ally hear them. With Sila, though, the filter- by 16 to 80 musicians, or more. The perform- ing is extreme. The discordant noise has been ance materials include scores and parts for removed, and what remains is a fragile skein five different ensembles of woodwinds, brass, of stacked harmonies. As John says, it is the percussion, strings, and voices. These five en- breath of the world. And, God help us, some- sembles may perform Sila in any combina- times it feels like the last healthy breath the tion, successively or simultaneously, in the planet will draw. same space or separate spaces. At Ojai, for the © Steven Schick

PLAYBILL Thursday, June 18, 2015, 8pm Zellerbach Hall

Ojai at Berkeley

PROGRAM 1

beyond the score®

A Pierre Dream—Pierre Boulez: A Portrait

A Video and Musical Celebration of Pierre Boulez on the Occasion of His 90th Birthday

Produced by the Chicago Symphony Orchestra Stage set designed by Frank Gehry Creative direction by Gerald McBurney

International Contemporary Ensemble

red fish blue fish Carlota Cáceres, Christopher R. Clarino, Fiona Digney, Dustin Donahue, Jonathan Hepfer, percussion

Mellissa Hughes, soprano Anna Bowen, actress Charlotte Cannon, Margaret Cook, Colin Creveling, Derek Herman, Joseph Galizia, Nyle Kenning, non-speaking actors Josephine Chan, young pianist Steven Schick, conductor

Martha Gilmer, executive producer Yasmine Kiss, production stage manager Paul Deziel, projection design coordinator PROGRAM NOTES

DREAMS AND REVOLUTIONS

A revolution must be dreamed quite as much Gerard McBurney has provided the following as engineered. notes to his own celebration of the dreams and Pierre Boulez revolutions of Pierre Boulez:

HEDREAMS that spawned Pierre Boulez’s There’s a paradox at the heart of the Pierre Trevolutions owe quite a lot to those of Boulez story. On the one h:and Debussy, whose own revolutions abolished harmonic hierarchies, subsumed rhythm into the infamously shocking and abrasive a continuous flow, transformed the orchestra ideologue of 70 years of post-war mod- through new instrumental colors, and made ernism, whose music is notoriously “dif- every gesture seem the inspiration of the mo- ficult,” and whose pronouncements are ment. Debussy, Boulez has written, inaugu- [mostly mis]remembered as aggressively rated “a conception of the relativity and provocative and épater le bourgeois: non-reversibility of musical time” and he did this by having the courage “to rethink all as- “Blow up the opera houses!” pects of musical creation.” In short, Boulez writes, “he had to dream his revolution first “Schoenberg is dead!” before it could be realized.” These nearly identical formulations regard- “The neoclassical music of Stravinsky is ing dreams and revolutions point to a per- completely worthless!” ceived kinship that extends beyond the specific qualities that fasc inated Boulez about “Any musician who has not truly experi- Debussy’s music. Both composers took an enced the necessity of twelve-note music imaginative leap into new worlds of sound, is USELESS!” worlds that for Boulez had nothing to do with gauzy Impressionism, but rather bracing clar- And on the other: ity and formal precision. These are the quali- ties that are distilled in Syrinx, a work whose the internationally loved conductor of echoes can be heard in the works of Boulez symphony orchestras, the triumphant from his early Sonatine to such later works recording artist, the peerless interpreter as Mémoriale. of Mahler and Stravinsky (including Syrinx, written in 1913, was conceived as in- many of the latter’s neoclassical works!), cidental music for an unfinished play by champion of the operas of Wagner and Gabriel Mourey entitled Psyché. It evokes the Debussy, adored teacher, mentor and myth of the chaste nymph Syrinx, who, pur- guide to generations of young orchestral sued by Pan, is transformed into water reeds musicians, composers and conductors, that Pan then cuts to create a set of musical and…of course, let’s not forget this!… pipes that would be known as syrinx or pan source—to his many friends around the pipes. This piece, the cornerstone of the mod- world—of a cornucopia of funny stories, ern flute repertory, was dedicated to the almost always delivered with a wicked flautist Louis Fleury, who esta blished a tradi- twinkle in the eye. tion of performing the work offstage or behind In other words, the Grand Old Man a screen. It was first published in 1927 in an of music. edition by Marcel Moyse who is said to have added bar lines to the unbarred manuscript. So who is he? The one, the other, or far far © Christopher Hailey more than both?

PLAYBILL PROGRAM NOTES

This was the elusive question we set out to As he puts it in A Pierre Dream: explore as we launched ourselves into the cre- ation of A Pierre Dream (the title—so per- If you have no culture, no desire of cul- fect—was the invention of Frank Gehry). ture, then your civilization is dying… Several of us in the team had had the ad- simply that! vantage of having been warmed by Pierre’s friendship and support, especially over the past As we made this show, our first task was to ten years and the growth of the Beyond the gather together hundreds of fragments of Score program. He watched over us most care- Pierre Boulez talking, writing, explaining, gar- fully, attending shows when in Chicago, cri- nered from more than half a century of classes, tiquing scripts and music, questioning our interviews, documentaries and published arti- visual choices and supporting us at the end cles, and create from this a collage, a spider’s with his wonderfully terse “Bravo!” which web of thoughts and feelings which, gathered made us all walk round with heads held higher. together, might evoke the mind, heart and the It is always difficult to find an imaginative music of this extraordinary man. way talk of an artist of one’s own time. But in Our second task was to go see his good one respect at least, the problem is made eas- friend Frank Gehry. As we tried to explain ier nowadays, and especially with this partic- what we were aiming for, Frank quietly took a ular artist, b y the vast growth in recorded and notepad and a pen and drew on it a startling transmitted media in the last half century: vision of mysteriously migrating projection film, television, radio, newspapers and maga- surfaces, which he called ‘sails’ or ‘Roman zines, and now of course the Web. banners’, and which he imagined weaving in Pierre Boulez is the most natural commu- and out of the musicians. nicator. In front of a camera, a microphone, a He wrote the title at the bottom, then concert or a lecture audience, a group of pushed the paper across the table. We stam- young musicians or in the hallowed haunts of mered thanks. top professionals and politicians, this is a man “Are you kidding?,” said Frank. “This is who, at least since the 1960s, has never ceased for Pierre !” engaging other human beings, speaking © Gerard McBurney French, German, and English with equal ease, Chicago, March NM, OMNR and drawing us all into his passionate vision of a culture in which we all participate, and by which we are all lifted up.

CAL PERFORMANCES Friday, June 19, 2015, 7pm Hertz Hall

Ojai at Berkeley

PROGRAM @

Presenting Steven Schick

Iannis Xenakis (1922–2001) Rebonds (1987–1989)

Karlheinz Stockhausen (1928–2007) Zyklus (1959)

David Lang (b. 1957) The Anvil Chorus (1991)

Vinko Globokar (b. 1934) ?Corporel (1985)

Xenakis Psappha (1975)

Steven Schick, percussion

INTERMISSION

Roland Auzet (b. 1964) La Cathédrale de Misère (2010) (Bay Area Première)

Staged version of Kurt Schwitters’s Ursonate (1922–1932)

Steven Schick, percussion Roland Auzet, director Wilfried Wendeling, technician

PLAYBILL PROGRAM NOTES

BODY LANGUAGE

The thing Jesus really would’ve liked would be rhythmic structures.” Stockhausen’s Cycle for the guy that plays the kettle drums in the or- a Percussionist, the earliest work on this con- chestra. I’ve watched that guy since I was about cert and the inspiration for an entire genera- eight years old. My brother Allie and I, if we tion of solo percussion works, calls for battery were with our parents and all, we used to move of Western and non-Western instruments our seats and go way down so we could watch ranged around the performer. The graphic him. He’s the best drummer I ever saw. He only score, which contains both fixed and open el- gets a chance to bang them a couple of times ements, allows the performer to start at any during a whole piece, but he never look s bored point and proceed until the cycle is complete. when he isn’t doing it. Then when he does bang David Lang’s The Anvil Chorus was in- them, he does it so nice and sweet, with this spired by the way medieval blacksmiths sang nervous expression on his face. songs to control t he beat patterns of the J. D. Salinger, A Catcher in the Rye hammers. Here the melody is performed on resonant junk metals that “trigger an odd ac- OLDEN CAULFIELD could spot a phony a companiment of non-resonant junk metals, Hmile away, but this guy—the kettledrum played both by hand and by foot.” player—this was the real deal. And just by Vinko Globokar’s background in jazz has watching he could tell. By watching. There’s made improvisation and theatrical perform- something about percussionists. They’ll play ance a central component of his work. In anything and anything they play—a drum, a ?Corporel, the percussionist body is the in- triangle, a xylophone, gong, a tin pan—creates strument (and object) of various percussive its own special ballet, sound made visible. assaults, augmented by largely wordless vo- Bang, brush, stroke, caress—things we our- calization, with the exception of one passage: selves do all the time—become acts of magic, “I recently read the following remark: ‘Human conjuring speech from wood, metal, skin, or history is a long sequence of synonyms for the out of thin air. Steven Schick is just such a con- same word. It is our duty to disprove this.’” If jurer of sight and sound and this concert is a ?Corporel is about the limit of language it is it- celebration of those physical acts of making self highly expressive. The idea, Globokar has music, of the choreography of sound. It is also written, “was to find something new. But even a concert about the way the objects of our if you didn’t find this end result, it was still physical environment can spring into resonant okay, because you were exploring ideas.” life, transforming our very notions of what New language was also a preoccupation music can be. for the Dadaist collage artist Kurt Schwitters, Iannis Xenakis, architect and composer, who composed his essay in sound poetry, philosopher and political activist, wrote two Ursonate (“Primeval Sonata”), as a piece of works for solo percussion. Rebonds is in two personal performance art. It is structured in movements (A and B) to be played attaca in the four movements of a classical sonata with any order. Movement A uses only drums— a first part in modified sonata form (includ- bongs, tom-toms, and bass drums, w hereas B ing exposition, a series of developments, and adds to these instruments wood blocks and a a coda), followed by a Largo, Scherzo, and tumba. Psappha (“Sappho” in archaic Greek) is Presto finale, also in sonata form, though with written for six instrumental groups divided an extended freely improvised cadenza and a between wood and/or skin (i.e. drums) and coda consisting of a Dada poem based on the metal instruments—the precise selection left German alphabet. Roland Auzet describes his to the performer—so that, according to theatrical adaptation of the piece as an inte- Xenakis, “timbre serves only to clarify the rior monologue of extreme alienation inspired

CAL PERFORMANCES PROGRAM NOTES by the Japanese phenomenon of the reclusive SIDEBAR: X IS FOR XENAKIS “hikikomori,” who lead lives of complete so- cial withdrawal: As Borges wrote of Franz Kafka, Iannis A man harassed by his time, decides not Xenakis was so important that he influenced to leave home ever again. He piles up, he even those who came before him. Most of listens, he builds himself a language…a what I know about percussion and much of cathedral…of privation. Hidden away in his what I understand about music come from home, behind a wall of speakers and moni- Xenakis. When I recently conducted the tors, he plays over and over obsessing pictures Berlioz Requiem, the swirling brass of the and surfs the World Wide Web. From behind Tuba Mirum reminded me of Eonta, not the his keyboard, he never ceases to call out to us other way around. on who he really is. Shouting his strange per- Xenakis was the combustible combination sonality and detailing as a matter of urgency of modern rationality and ageless mythology. the multiple metamorphoses that turned him He was simultaneously the architect of the into this physical and psychological cock- 1958 Philips Pavilion and, in his own words, roach. We will gradually discover that as a an ancient Greek exiled to the 20th century. man he is utterly deconstructed and, not These oblique vectors of modernity and an- having truly understood the human he was, tiquity comprise his “X,” and explain the mo- or indeed might be, he took refuge in the ments of intense luminosity and terrible many roles and faces he chose for others. This sorrow in his music. The X helps me under- man is an error message, a poorly controlled stand the impossible passages of Xenakis. Most chain reaction. of his music is fiercely difficult, but in every © Christopher Hailey piece, at a formally critical juncture, there is something truly unplayable. The sudden ap- pearance of impossible music demands a per- sonal not just a musical solution. And as a player suddenly grapples with the inconceiv- able, the mask falls. Carefully constructed music becomes molten. And a performer, fan- cying himself an accomplished artist, unex- pectedly finds himself naked and human. © Steven Schick

OJAI at BERKELEY TALKS

OIN Steven Schick and Claire Chase for an audience participation Jevent that includes Lei Liang’s Trans on the Hertz Hall patio at 5pm.

PLAYBILL Friday, June 19, 2015, 10pm Hertz Hall

Ojai at Berkeley

PROGRAM A

Edgard Varèse (1883–1965) Density 21.5 (1936; rev. 1946)

Claire Chase, flute

Pierre Boulez (b. 1925) Dialogue de l’ombre double (1984)

Joshua Rubin, clarinet

Wang Huiran (b. 1935) Dance of the Yi People (1960)

Kazakh traditional (arr. Wu Man) Küi

Wu Man (b. 1963) Night Thoughts

Wu Man Leaves Flying in Autumn

Wu Man, pipa

CAL PERFORMANCES PROGRAM NOTES

DIALOGUES AND SHADOWS

DGARD VARÈSE, like Debussy, reconceived If composers communicate and interact with Enotions of musical time and space, but his each other through their music, it is no less true dreams and revolutions were fed by a very dif- that a composer’s own works represent a collo- ferent set of impulses. He was 33 when he ar- quium of musical preoccupations. Pierre rived in New York in 1915. Here he confronted Boulez’s œuvre is an extreme example: a tangle a new world of pulsing modernity in which of interrelationships in which one work in- urban soundscapes and modern science pro- evitably begets another through revision, ex- vided him with the impetus to challenge con- tension, and transformation. “The different ventional notions of conflict and resolution works that I write,” he once observed, “are basi- based on the go al-oriented properties of tonal cally no more than different facets of a single harmony. In this pursuit, percussion instru- central work, with a central concept.” Dialogue ments—later augmented by electronic re- de l’ombre double, composed in honor of sources—took on a central role in creating a Luciano Berio on the occasion of his 60th birth- new conception of musical logic in which day, is extracted from a large piece, Domaines “sound masses” defined by timbre and regis- (1968–1969). It was inspired by a scene in Paul ter, rhythm and texture might cluster, collide, Claudel’s play Le Soulier de satin (1924) in drift apart and interpenetrate. Like Debussy, which a double shadow of a man and a woman Varèse is thus a composer very much associ- is cast upon a wall to become a single character. ated with the alchemy of his instrumental Boulez took this idea to create a work of spatial combinations, which makes a comparison of theater in which a live clarinet soloist performs their two works for solo flute—Syrinx and six strophes in an order of his choosing in al- Density ON.R—all the more interesting. ternation with prerecorded segments of a Varèse certainly had Syrinx in mind when shadow clarinet heard over six loudspeakers in he wrote his piece for Georges Barrère, a ever-shifting combinations and abruptly vary- flutist closely identified with the Debussy ing dynamic levels that send sound cascading work; indeed, Varèse later suggested that the around the audience. Boulez further calls for two works should be performed together, al- lighting effects that heighten the disorienting though their aesthetic orientation could not aural impression of the shadow clarinet. be more different: the one a programmatic Both the clarinet and keyed flute are mod- evocation of an ancient myth, the other, its ern iterations of ancient reed instruments. title drawn from the density of platinum of the The pipa, on the other hand, has an unbroken new platinum flute, a seemingly dispassionate history that goes back at least two millennia. meditation on the material properties of This four-string instrument (usually tuned sound. But as Carol Baron has pointed out A–D–E–A), a member of the pear-shaped lute Syrinx might well have served as a model for family with cousins around the globe ranging Density ON.R beginning with the identical mo- from the sitar to the balalaika, biwa, man- tivic cells that open each work: a falling minor dolin, and oud, has changed little in outward second, followed by a rising major second appearance although the number of frets has (F–E–F-sharp in Varèse, B-flat–A–B in increased from the original four to as many as Debussy). To be sure the Varèse piece is sig- 30 and by the 1950s nylon-wound steel strings nificantly more “advanced” with the intro- had replaced traditional silk strings with the duction of percussive key clicks, extreme result that players now use false nails. These registers, and abrupt dynamic contrasts, but two developments, which have given the both works share a preoccupation with static instrument both a chromatic scale and a harmonic blocks and the symmetrical divi- brighter, more penetrating tone, have facili- sions of the octave through whole-tone pitch tated the pipa’s integration with Western in- collections and an emphasis upon the inter- struments, as one hears in the Lou Harrison vals of the minor third and the tritone. concerto programmed on Saturday evening.

PLAYBILL PROGRAM NOTES

As a solo instrument the pipa, which had its We are friends. greatest era of popularity during the Tang dy- On that day 40 years ago, I fell in love with nasty (AD 618–907), evolved in two main tra- New York and reveled in her noises: the fa- ditions in the North and South of China, as mous sirens, the low booms, and metal-on- well as two principal styles: civil (wen), which metal cacophony of Manhattan under is softer and more lyrical, and martial (wu), construction. But, even to an Iowa farm boy, which is more rhythmic, faster, and makes these sounds were not new. I had already heard greater use of percussive sound effects and var- them in the raucous joy of Ionisation and the ious kinds of pitch modification. Five schools anguished cries of Déserts. To me the world emerged from these two traditions, each asso- sounds like Varèse. As we perform tonight ciated with a particular body of works and we’ll be thinking about you, Wen-chung! each with its own notational system passed Someday soon I’ll ring the bell on the Sullivan down through a succession of masters. Street. I’ll dust your gongs and we’ll talk. Contemporary pipa players have tended to © Steven Schick synthesize the various performing traditions while adding new techniques adapted from Wang Huiran’s Dance of the Yi People (1960) is Western performance practice that has made a signature piece in Wu Man’s repertoire. Wang it possible to integrate the pipa into contem- based his piece on folk tunes of the Yi minor- porary and even rock music with the intro- ity people of southwestern China. Wu Man se- duction of the electric pipa. Wu Man has been lected it for her Beijing Conservatory audition at the forefront of bringing the pipa to in 1978 and won first place; her performance Western audiences and has commissioned nu- was broadcast throughout the nation. Since merous solo and ensemble works with then, it has become one of the most popular Western instruments. Here, too, she has cre- pieces in the pipa repertoire, the first to incor- ated a space for dialogue between the long porate a Western A–B–A structure, adopt shadow of tradition and the inexorable mo- Western chording, and display such virtuoso mentum of stylistic evolution. techniques such as tremolos, strumming, slid- © Christopher Hailey ing notes, and harmonics. The pipa is believed to have entered China long ago through con- SIDEBAR: WALKING TO WEN-CHUNG tact between Chinese civilization and the peo- ples that ancient Chinese sources described as On a cold, clear, late fall day in 1975—my “northern barbarians,” which is to say, nomads. first day in New York City and the fifth happi- Kazakhstan shares a long border with western est of my life—I walked from my friend’s China, and nomadic Kazakhs have long repre- apartment near Columbia University down the sented an ethnic minority in China’s Xinjiang- entire length of Manhattan to stand in front of Uyghur Autonomous Region. Wu Man has Edgard Varèse’s house in SoHo. Years later, I arranged Küi, a Kazakh folk tune performed told that story to the venerable composer on the dombÿra, the two-stringed lute that is Chou Wen-chung, the current occupant of the widely regarded as a cultural symbol of the house and Varèse’s one-time protégé. He said, Kazakhs, for pipa, bringing her instrument full “Next time, ring the doorbell!” Since then, I circle, back to its Central Asian origins. Her have rung the bell many times. Wen-chung Night Thoughts was inspired by a twelfth-cen- and I have sat together in his living room as he tury painting of a pipa player in Dun Huang described his first composition lesson with cave in western China. She composed the im- Varèse. (“He was there at the piano, I sat where provisational collage Leaves Flying in Autumn you are now....”) We talked about music and several years ago with inspiration from the calligraphy in the upstairs library while I classical martial style of pipa music and with a dusted Wen-chung’s collection of gongs, one nod to rock ’n’ roll. of which belonging to Varèse himself. Opus P Artists

CAL PERFORMANCES Saturday, June 20, 2015, 11am Hertz Hall

Ojai at Berkeley

PROGRAM B

Olivier Messiaen (1908–1992) Visions de l’Amen (1943) I. Amen de la création II. Amen des étoiles, de la planète a l’aneau III. Amen de l‘agonie de Jésus IV. Amen de désir V. Amen des anges, des saints, du chant des oiseaux VI. Amen du jugement VII. Amen de la consommation

Gloria Cheng, piano Vicki Ray, piano

INTERMISSION

Maurice Ravel (1875–1937) Trois poèmes de Stéphane Mallarmé (1913) I. Soupir Pierre Boulez (b. 1925) Improvisation sur Mallarme I: Le vierge, le vivace et le bel aujourd’hui (1957) Ravel Trois poèmes de Stéphane Mallarme II. Placet futile Boulez Improvisation sur Mallarme II: Une dentelle s’abolit (1957) Ravel Trois poèmes de Stéphane Mallarmé III. Surgi de la croupe et du bond

Mellissa Hughes, soprano International Contemporary Ensemble red fish blue fish Steven Schick, conductor

PLAYBILL PROGRAM NOTES

MYSTERIES

Everything that is sacred and that wishes to re- Saturn, the planet with its multicolored rings, main so must envelop itself in mystery. rotate violently. Stéphane Mallarmé Amen of the Agony of Jesus: Jesus alone in the Garden of Gethsemane, face to face with AURICE RAVEL, OLIVIER MESSIAEN, and his death agony. Three musical motives: the MPierre Boulez represent three genera- curse of the Father on the sins of the world; a tions that have transformed French musical cry; a heart-rending lament on four notes in culture over the past century, but the essential various rhythms. revolutions represented by their music took Amen of Desire: The word Desire must be place over just a few decades, as one can hear taken in its highest spiritual sense. The first in the works on this program, written between theme is slow, ecstatic, and yearning with deep 1913 and 1957. And it is not merely a trans- tenderness; the second theme is much more formation of style. It is also in the nature of vehement, in which the soul is drawn by a ter- the sacred mysteries their music invokes. rible love that attains the paroxysm of thirst. Visions de l’amen explores two themes that In the coda, the two principal voices seem to would dominate Messiaen’s creative life: merge into each other, and nothing remains Catholic mysticism and Nature as an expres- but the harmonious silence of Heaven.... sion of divine creation. These seven “musical Amen of the Angels, the Saints, and visions,” scored for two pianos, explore the Birdsong: First the song of the Angels and four meanings of Amen: as an act of creation Saints, stripped of inessentials and very pure; (movements 1 and 2); as acceptance of divine then the songs of the Blackbird, Finch, and will (3); as a desire for union with God (4); Blackcap mingled with the thousand voices of and as a symbol divine judgment (6) and eter- nature in a turbulent yet smiling mixture. nal consummation (5, 7). The prevailing tonal Amen of the Judgment: An intentionally center is A, which Messiaen associated with short and harsh piece. the color blue, the color of the sky and symbol Amen of the Consummation: The second of eternity. piano takes up the Theme of Creation while The two pianos are given separate func- the first piano surrounds it with a ceaseless tions. The first, written for the work’s dedica- carillon of chords and brilliant, scintillating tee, Yvonne Loriod, Messiaen’s student and rhythms: sapphire, emerald, topaz, jacinth, future wife, features brilliant passage work and amethyst, sard, the entire rainbow of precious complex rhythmic patterns, many derived stones of the Apocalypse that ring, collide, and from Indian tâlas and ancient Greek poetic dance—color and perfume of the light of life. meters. The second piano part, which One might im agine Olivier Messiaen, with Messiaen wrote for himself, presents the prin- ties to both Ravel and Boulez, as a kind of link cipal themes, including a Theme of Creation, between the two, but in fact these two com- heard in movements 1, 3, 5, and 7. The fol- posers seem more directly related to each lowing remarks are adapted from Messiaen’s other than to Messiaen, not least for their own notes on the work: shared love of the poetry of Stéphane Amen of Creation: It begins pianissimo in Mallarmé. “I consider Mallarmé not merely the mystery of the primeval nebula which al- the greatest French poet, but the only French ready contains the potential of light. All the poet…,” Ravel wrote, “he released winged bells quiver in this light—light and there- thought, subconscious reveries, from their fore life. prisons.” In “Soupir” (Sigh) a wonderfully del- Amen of the Stars, of the Ringed Planet: A icate melody floats over a discreetly atmos- savage and brutal dance. The stars, suns and pheric accompaniment of string glissandi and

CAL PERFORMANCES PROGRAM NOTES arpeggios. The woodwinds and piano are Mallarmé’s sonnet “Le vierge, le vivace et le bel more prominent in the languid of “Placet aujourd’hui” (“The virginal, the living and the fugile” (“Vain Petition”). A piccolo and a bass lovely today”). Improvisation II is based on the clarinet extend the registral range in “Surgi de sonnet “Une dentelle s’abolit” (“A lace van- la croupe et du bond” (“Risen from the crup- ishes”) and contrasts unpitched percussion in- per and the leap”), an enigmatic meditation struments with those with fixed and partially on an empty vase. fixed pitches. These two works were later in- “It is the job of poetry,” Mallarmé once corporated into a still larger orchestral work wrote, “to clean up our word-clogged reality inspired by Mallarmé, Pli selon pli, but it is in by creating silences around things”—an idea their original pairing and scoring that these that would have appealed to Pierre Boulez as “improvisations” best capture the intimate he composed his two improvisations on mysteries of Mallarmé’s verse. Mallarmé. Improvisation I, for soprano and seven instrumentalists, uses only fragments of © Christopher Hailey

PLAYBILL Saturday, June 20, 2015, 2:30pm Hertz Hall

Ojai at Berkeley

PROGRAM C

Pierre Boulez (b. 1925) Dérive 2 (2009 version)

International Contemporary Ensemble Steven Schick, conductor

INTERMISSION

Béla Bartók (1881–1945) Sonata for Two Pianos and Percussion, Sz. 110, BB 115 (1937)

I. Assai lento — Allegro troppo II. Lento, ma non troppo III. Allegro non troppo

Gloria Cheng, piano Vicki Ray, piano Joseph Pereira, timpani Steven Schick, percussion

OJAI at BERKELEY TALKS

OIN the Ojai at Berkeley community response panel with composer JJimmy Lopez, musicologist William Quillen, conductor Lynne Morrow, and musician Amy X Neuberg on the Hertz Hall patio at 5pm.

PLAYBILL PROGRAM NOTES

MATERIAL DIFFERENCES

I find it wonderful to think that the material in the end long before the rest of the piece. And fact composes with you, and you compose with therefore I keep it in reserve.” the material. It’s an exchange. The scoring of Dérive L exploits the contrast Pierre Boulez and interaction between three string instru- ments, four woodwinds (oboe, clarinet, bas- N DISCUSSING HIS MUSIC, Pierre Boulez fre- soon, and horn), and two sets of Iquently refers to its “material,” the substance percussion—piano and harp, marimba and vi- of the ideas from which his works are derived. braphone. Written for Elliott Carter’s 80th In a recent interview with Wolfgang Schaufler birthday in 1988, Dérive L was revised in 2006 he observed, “I look at what I’ve done, and I and 2009, when it reached its definitive form: say: but with this material, I could do far “I discovered a way of structuring,” Boulez re- more.” Dérive N and Dérive L exemplify this called, “of composing the work which was to- process: “Derive N is derived from the mate- tally different than what I had done up to that rial I used for Répons, and I still have a lot of point, a sort of narrative aspect of the work. It material I wrote for Répons which is unused.... was then that I saw that this narration was fin- I wrote [Dérive L] because the material was ished, and that I could not add anything—the there, and because I asked myself what I addition would have been totally artificial.” would do with this material. I am very practi- For Béla Bartók, the material of his compo- cal, so I don’t like to invent something which sitions was derived from the way sound de- gets lost. It’s that simple.” lineates structure. The Sonata for Two Pianos Dérive N has the feel of a brief, airy improv- and Percussion treats its pitched and un- isation. Dérive L on the other hand, is a dense, pitched percussion instruments as vehicles to complex work extending to three quarters of explore a realm of rhythmic nuance, subtle an hour. It shares with Dérive N the same basic shadings of attack and decay, and above all harmonic material based on the pitches of color. The first of its three movements, an ex- Paul Sacher’s surname—E-flat–A–C–B–E–D, tended sonata form, is by far the longest and heard in six chordal permutations—but the most complex. Roy Howat has related that central preoccupation of Dérive L is what Bartók described the slow introduction, which Boulez calls “periodicity,” that is, the kind of begins with a mysterious timpani roll and a cyclic return of materia l, “its overlays, its shifts winding c hromatic theme in the pianos, as “a and its exchange,” that he found in some of the cosmos evolving out of formlessness and works of György Ligeti. Indeed, Dérive L timelessness.” It is an image that aptly de- makes explicit references to fragments from scribes Bartók’s sense for a musical architec- works by both Carter and Ligeti, although ture that often traces an arch, rising in these references are scarcely audible. successive waves to a climax and subsiding In Dérive L strict rhythmic and canonic back into nothingness. This is music that forms are interrupted by freer forms. At the works by accretion. Clearly defined motives outset a manic kaleidoscope of textures and and themes are restated, gradually lengthened colors dance over the basically static harmony. or embellished, often throu gh canonic imita- Toward the middle of the piece the interrup- tion, fugal elaboration, or the addition of par- tions, at first quite short, become progressively allel voices at various intervals. longer, creating and expansive, even lyrical As in much of Bartók’s later music, the pro- mood. Toward the end the strict structures re- portions of the sonata’s individual sections turn but more freely than in the first half. The reflect the principle of the golden section— work’s extended coda was conceived years ear- those patterns found throughout the lier, but held back: “…sometimes you think of natural world that can be represented by such

CAL PERFORMANCES PROGRAM NOTES mathematical formulas as the Fibonacci series which the principal harmonic polarity is often in which each number is the sum of its two the tritone rather than the dominant fifth (in predecessors, thus: 3, 5, 8, 13, 21, etc. this case C–F-sharp rather than C–G). This is Although these are not proportions one nec- a reflection of the composer’s fascination with essarily hears, Bartók’s musical landscape is symmetrical relationships (the tritone divides planted thick with sonic signposts—a fortis- the octave in equal halves) which also explains simo here, the introduction of a new instru- his love for modal scales, such as the Lydian ment there—to demarcate moments of (the scale from F to F on the white keys), that structural significance. One such moment is contain similar properties. the extended climax of this movement, which The last movement, a sonata-allegro form is marked by the dogged, ostinato-like repeti- that hints at a rondo, is relatively short and tion of the motive heard at the opening of the straightforward. It has the joyous verve of a introduction. peasant dance with numerous rhythmic and The Lento is a straightforward ternary arch structural allusions to the Eastern European form with a coda, though here the conclusion folk music that Bartók had studied so closely as brings a fuller and still more colorful restate- an ethno-musicologist. Here, the percussion, ment of the original material. In the first move- most prominently the xylophone, is directly ment the percussion serves mainly to articulate involved in generating thematic material and structural design; in this movement it provides enters into a true partnership with the piano. an atmosphere of evocative mystery, a splendid The movement ends “not with a bang but a example of Bartók’s night music texture. whimper”—a long timpani diminuendo—a Although Bartók’s music is strictly speak- master stroke of witty understatement. ing tonal—this sonata, for instance, might be said to be in the key of C—it is a tonality in © Christopher Hailey

PLAYBILL Saturday, June 20, 2015, 8pm Hertz Hall

PROGRAM D

Julia Wolfe (b. 1958) Four Marys (arr. for string orchestra) (1991)

Renga Steven Schick, conductor

Lou Harrison (1917–2003) Concerto for Pipa with String Orchestra (1997)

I. Allegro II. a. Bits and Pieces: Troika b. Bits and Pieces: Three Sharing c. Bits and Pieces: Wind and Plum d. Bits and Pieces: Neapolitan III. Threnody for Richard Locke IV. Estampie

Wu Man, pipa Renga Steven Schick, conductor

INTERMISSION

CAL PERFORMANCES Carlos Chávez (1899–1978) Toccata for Percussion (1942)

I. Allegro, sempre giusto II. Largo III. Allegro un poco marziale

red fish blue fish Christopher R. Clarino, Fiona Digney, Dustin Donahue, Jason Ginter, Jonathan Hepfer, Steven Schick, percussion

Alberto Ginastera (1916–1983) Cantata para América Mágica, Op. 27 (1960)

I. Preludio y canto a la aurora II. Nocturno y canto de amor III. Canto para la partida de los guerreros IV. Interludio fantastico V. Canto de agonia y desolación VI. Canto de la profecia

Gloria Cheng, piano Nathan David, percussion, ICE Jacob Greenberg, celesta, ICE Mellissa Hughes, soprano Ross Karre, percussion, ICE Jacob Nissly, percussion Joseph Pereira, timpani Vicki Ray, piano red fish blue fish Leah Bowden, Carlota Cáceres, Christopher R. Clarino, Fiona Digney, Dustin Donahue, Jason Gint er, Jonathan Hepfer, Ryan Nestor, Kjell Nordeson, Stephen Solook, percussion Steven Schick, conductor

PLAYBILL PROGRAM NOTES

COORDINATES

IME AND SPACE are the latitude and longi- thickets of Three Sharing to the Aeolian glades Ttude of composition, the conceptual and of Wind and Plumb, from a Neapolitan sere- physical dimensions by which a composer ori- nade to the hushed reverence of Threnody. In ents and organizes sound. But these purely the extended finale, Harrison sends his soloist abstract dimensions are only the starting point down the medieval Silk Road to join with because music is always complicated and other travelers in a rousing estampie, followed, enriched by memory and association—those no doubt, by a hearty stew of a most mysteri- of the composer as well as the listener—and it ous provenance. is in this regard that the works on this concert The music of Carlos Chávez draws upon offer fascinating points of comparison for the sources closer to home, including Mexican differing ways in which these four composers folk music and indigenous Indian elements position their works within a wide range of from his own Creole background. As a com- cultural and historical coordinates. poser, conductor, author, and organizer he was Julia Wolfe, whose Anthracite Fields won a central figure of Mexican cultural national- the 2015 Pulitzer Prize for composition, has ism while at the same time forging important long been interested in folk music, especially links to European and North American mu- in an around her native Pennsylvania, though sical modernism. The primary intersection for in her own works those traditions are often fil- these interests and influences was rhythm and tered through rock rhythms and textures, and percussion, for which his Toccata for minimalist techniques. Four Marys, written Pe rcussion serves as an outstanding example. for the Cassatt Quartet, “takes the sound The work was commissioned in 1942 by John world of the mountain dulcimer and magni- Cage for his own percussion ensemble, which, fies it—the sliding pitches, the crude crying however, proved unable to cope with the tone, the drone strings, and the ‘strumming’ work’s extended drum rolls (the première took expand throughout the quartet.” The work place in 1948 with members of the Orquestra proceeds in a single dramatic arc, from quiet Sinfónica de México). sustained sonorities over a bass drone toward Toccata for Percussion is written for six play- increasingly differentiated articulation and ers performing on both standard and indige- rhythmic activity until, near the end, a plain- nous percussion instruments. The outer tive melodic line emerges to provide an ex- movements, which are in modified sonata traordinary sense of emotional release. form, feature a battery of drums in a virtuoso Lou Harrison loved crossing musical bor- display of interlocking rhythmic patterns that ders, but not to send “exotic” postcards or pre- introduce extended techniques such as cover- pare ethnographic tracts. His global sensibility ing the drum heads with chamois cloth. The was delightfully elastic, treating every “Other” central Largo is rhythmically more straight- as a neighbor from whom one might borrow forward and contrasts nonpitched metal in- not a cup of flour, but a rhythm, a tuning, or a struments with the pitched glockenspiel timbre. To be sure, Asian music and instru- and xylophone. ments were principal ingredients of his aural Like Chávez, Alberto Ginastera incorpo- imagination, but his compositional recipes rat ed folk and indigenous musical sources in were entirely his own. In his Concerto for Pipa his music in a wide-ranging œuvre that in- with String Orchestra, written for Wu Man, he cludes concert works in most genres, ballet, doesn’t treat the pipa as a “traditional” instru- opera, and film music. In his later years, ment, but as a discovery, a protean prodigy ca- Ginastera sought to synthesize these elements pable of slipping in and out of any number of with twelve-tone and serial procedures as in musical environments—from the percus sive his Cantata para América Mágica (1960). This

CAL PERFORMANCES PROGRAM NOTES work for dramatic soprano and a large per- The five vocal movements (1–3; 5–6) deal cussion orchestra sets poems by Ginastera’s with nature, love, war, desolation, and first wife, Mercedes de Toro, that are inspired prophecy, while the purely instrumental by pre-Columbian legends. Although this is fourth movement is a skittery palindromic in- one of Ginastera’s first twelve-tone works, its terlude, building from a hushed beginning to- serial procedures are balanced by folkloric el- ward a clustered twelve-note sonority before ements, including a number of indigenous in- sinking back into silence. struments among its large percussion forces. © Christopher Hailey

PLAYBILL ORCHESTRA ROSTER

INTERNATIONAL CONTEMPORARY ENSEMBLE (ICE)

Steven Schick, ICE Artist-in-Residence STAFF Kyle Armbrust, viola Claire Chase, flutist and Artistic Director (CEO)* David Bowlin, violin Joshua Rubin, clarinetist and Co-Artistic Director* David Byrd-Marrow, horn Jonathan H arris, Business Manager Kivie Cahn-Lipman, cello Ross Karre, percussionist and Erik Carlson, violin Production/digitICE.org* Claire Chase, flute Rebekah Heller, bassoonist and Individual Giving* Jennifer Curtis, violin Ryan Muncy, saxophonist and Grants* Nathan Davis, percussion Jacob Greenberg, pianist and Education* Peter Evans, trumpet Maciej Lewandowski, Production and Operations Gareth Flowers, trumpet Associate Jacob Greenberg, piano Maro Elliott, Executive Assistant Rebekah Heller, bassoon Jesse Greenberg, Development Assistant Nicholas Houfek, lighting design Alice Teyssier, Marketing Assistant Ross Karre, percussion Katinka Kleijn, cello * Denotes ICE Artist Partner Danielle Kuhlmann, horn Daniel Lippel, guitar Levy Lorenzo, sound and electronics ICE’s appearance at the 2015 Ojai Music Festival and Ojai Michael Lormand, trombone at Berkeley are made possible by the generous support of Campbell MacDonald, clarinet The Andrew W. Mellon Foundation, The MacArthur Nicholas Masterson, oboe Fund for Arts and Culture at the Prince Charitable Trusts, The New York Community Trust, A. N. and Pearl G. Michael Nicolas, cello Barnett Family Foundation, The Fan Fox and Leslie R. Maiya Papach, viola Samuels Foundation, The Aaron Copland Fund for Music, Dan Peck, tuba The Francis Goelet Charitable Lead Trusts, The Amphion Joshua Rubin, clarinet Foundation, The Ann and Gordon Getty Foundation, The Cory Smythe, piano Concinnity Fund, the BMI Foundation, the Paul R. Judy Alice Teyssier, flute Center for Applied Research at the Eastman School of Nuiko Wadden, harp Music, and the National Endowment for the Arts. Randall Zigler, bass The OpenICE initiative is made possible through leadership support of The Andrew W. Mellon Foundation, The Booth Ferris Foundation, and New Music USA.

RENGA VIOLIN VIOLA Isaac Allen Angela Choong Tricia Lee Chen Travis Maril Bridget Dolkas Michael Molnau Pierre Joubert Kate Hatmaker CELLO Batya MacAdam-Somer Elizabeth Brown Igor Pandurski Judith Hamann Wes Precourt Abe Liebhaber Hanah Stuart Pei-Chun Tsai BASS Yvonne Shay Jory Herman Matt Kline

PLAYBILL FESTIVAL PARTICIPANTS Percussionist, con- CalArts for over 25 years. In various configu- ductor, and author rations, the group has played at Japan America Steven Schick Theater, Zipper Hall, REDCAT, the Kennedy (Music Director) Center, and at Dartington Center for the Arts, was born in Iowa England. Individual members have performed and raised in a nationally and internationally as founding farming family. For members of ensembles Partch (2015 Grammy 40 years, he has Award-winner of Best Classical Compendium championed con- for Plectra and Percussion Dances), Vir2ual temporary music Cage, Formalist Quartet, Southland by commissioning Ensemble, Isaura String Quartet, and Liminar. or premièring Members also perform regularly with more than 150 new Kaleidoscope Chamber Orchestra, wild Up, works. He was the founding percussionist of Southwest Chamber Music, The Industry, the Bang on a Can All-Stars (1992–2002) and Knoxville Symphony, Sarasota Opera, Tucson served as Artistic Director of the Centre Symphony Orchestra, Blackearth Percussion International de Percussion de Genève (2000– Group, XTET, the Lian Ensemble, Kim 2005). Mr. Schick is founder and Artistic Richmond Jazz Orchestra, and the Los Director of the percussion group red fish blue Angeles Philharmonic. Some of the most re- fish. Currently he is Music Director of the La cent performances by members include the Jolla Symphony and Chorus and, since 2011, U.S. première of Stockhausen’s Kathinka’s Artistic Director of the San Francisco Gesang, Los Angeles Opera productions Contemporary Music Players. In 2012, he be- Ghosts of Versailles and !Figaro TMONM!, world première of Gloria Coates’s opera Stolen came the first Artist-in-Residence with the Identity, and tour of Pulitzer Award-nomi- International Contemporary Ensemble. Mr. nated composition Ten Freedom Summers by Schick founded and is currently Artistic Wadada Leo Smith. This great variety of Director of “Roots and Rhizomes,” a summer achievements is a direct product of the vari- course on contemporary percussion music ety encouraged at the Herb Alpert School of held at the Banff Centre for the Arts. He main- Music at CalArts. “A great school,” writes tains a lively schedule of guest conducting, in- Dean David Rosenboom in his welcome let- cluding appearances this season with the BBC ter to new students, “is one of ever-open mu- Scottish Symphony Orchestra, the Saint Paul sical possibilities. It is a fertile environment for Chamber Orchestra, the Nova Chamber the evolution of music-making as well as for Ensemble, and the Asko|Schönberg Ensemble. the teaching and learning of music.” Among his acclaimed publications is a book, The Percussionist’s Art: Same Bed, Different Dreams, and numerous recordings of con- temporary percussion music, including a three-CD set of the complete percussion music of Xenakis on the Mode label. Mode also released a companion recording on DVD of the early percussion music of Karlheinz Stockhausen in September 2014. Armen Elliott Armen Mr. Schick is Distinguished Professor of The International Contemporary Ensemble Music at UC San Diego. (ICE), described by The New York Times as “one of the most accomplished and adventu r- The CalArts Sila Ensemble is an outgrowth ous groups in new music,” is dedicated to re- of the New Century Players: the faculty, stu- shaping the way music is created and dent, and alumni ensemble in residence at

CAL PERFORMANCES FESTIVAL PARTICIPANTS experienced. With a modular makeup of 35 sicians in close collaboration with six emerg- leading instrumentalists, performing in forces ing composers each year to develop works that ranging from solos to large ensembles, ICE push the boundaries of musical exploration. functions as performer, presenter, and educa- ICElab projects have been featured in more tor, advancing the music of our time by devel- than one hundred performances from 2011 to oping innovative new works and strategies for 2014, and are documented online through audience engagement. ICE redefines concert ICE’s blog, and DigitICE, an online venue. In music as it brings together new works and 2014, ICE launched the OpenICE initiative to new listeners in the 21st century. bring the full scope of ICE’s programming and Since its founding in 2001, ICE has pre- educational activities for free to broader audi- mièred over 500 compositions—the majority ences around the world. of these new works by emerging composers— ICE’s commitment to build a diverse, engaged in venues spanning from alternative spaces to audience for the music of our time inspired The concert halls around the world. The ensemble Listening Room, an educational initiative for has received the American Music Center’s public schools without in-house arts curricula. Trailblazer Award for its contributions to the Using team-based composition and graphic no- field, the ASCAP/Chamber Music America tation, ICE musicians lead students in the cre- Award for Adventurous Programming, and it ation of new musical works, nurturing was named Musical America Worldwide’s collaborative creative skills and building an ap- Ensemble of the Year in 2013. From 2008 to preciation for musical experimentation. 2013, ICE was ensemble-in-residence at the Read more at ICEorg.org. Museum of Contemporary Art Chicago. ICE musicians serve as artists-in-residence at the Mostly Mozart Festival of Lincoln Center, cu- rating and performing chamber music pro- grams that juxtapose new and old music. In 2014, ICE began a partnership with the Illinois Humanities Council, the Hideout in Chicago, and the Abrons Art Cente r in New York to support the OpenICE initiative.

ICE has released acclaimed albums on the Norris Timothy Nonesuch, Kairos, Bridge, Naxos, Tzadik, New The New York Times calls red fish blue fish a Focus, New Amsterdam, and Mode labels. “dynamic percussion ensemble from the Recent and upcoming highlights include head- University of California.” Founded 20 years ago line performances at the Lincoln Center by Steven Schick, the ensemble performs, Festival (New York), Aspekte (Austria), Acht records, and premières works from the last 85 Brücken Musik für Köln (Germany), Festival years of Western percussion’s rich history. de Música de Morelia (Mexico), Teatro Frequent artists at Ojai at Berkeley, red fish blue Amazonas (Brazil), and performances with the fish collaborated wit h George Crumb, Dawn Nagoya Philharmonic and Seattle Symphony. Upshaw, and Peter Sellars to première the ICE has worked closely with conductors staged version of The Winds of Destiny. The Ludovic Morlot, Matthias Pintscher, John group was also featured in 2012 and 2013 in Adams, and Susanna Mälkki. Since 2012, music by John Luther Adams, John Cage, and conductor and percussion soloist Steven Schick Lou Harrison. Other recent projects include a has served as ICE’s Artist-in-Residence. world première of Roger Reynolds’s Sanctuary In 2011, with leading support from The and the American première of James Dillon’s Andrew W. Mellon Foundation, ICE created epic Nine Rivers cycle with the International the ICElab program to place teams of ICE mu- Contemporary Ensemble (ICE). Other recent

PLAYBILL FESTIVAL PARTICIPANTS collaborations were with eighth blackbird in French composer, percus- performances of works by American icons such sionist, and theater director as John Cage and Steve Reich at the Park Roland Auzet defines him- Avenue Armory in New York City. The New self as a stage writer. An York Times called their “riveting” performance artist and performer with of John Cage the “highlight” of the program. many interests and talents, Recordings of the percussion chamber music Mr. Auzet received the of Iannis Xenakis and Roger Reynolds on Chevalier des Arts et Lettres Mode Records have been praised by critics from the French government in 2007 for his around the world. Red fish blue fish recently remarkable body of work in contemporary released, to great critical acclaim, the Early music, circus, dance, opera, and theater. Percussion Music of Karlheinz Stockhausen on Mr. Auzet has collaborated with leading com- DVD and CD with Mode Records. posers (Iannis Xenakis, Pierre Boulez, Luc Ferrari, Heiner Goebbels), circus artists (Jérôme Thomas, Mathurin Bolze), visual artists (Giuseppe Penone), choreographers (Angelin Preljocaj, François Raffinot, Merce Cunningham), and playwrights (Rainald Goetz, Eduardo Arroyo, Fabrice Melquiot, Laurent Gaudé). Mr. Auzet studied music at the Conservatoire National de Marseilles, Rueil Malmaison, and Paris, and was invited by the Institut de Recherche et Coordination Acoustique/

Guy Vivien Guy Musique (IRCAM) to participate in the pro- Renga is an ensemble of friends and colleagues gram Composition and Musical Computing in from UC San Diego, the San Diego Symphony, 1997. He was awarded first prize at the interna- and beyond. Led by Artistic Directors Kate tional music competition in Darmstadt and by Hatmaker and Steven Schick, Renga unites the the Marcel Bleustein Blanchet Foundation. most recent and provocative contemporary Mr. Auzet has composed and produced 20 op- music with established classical repertoire in eras, plays, and musical works that have been settings ranging from solos and small ensem- premièered in national theaters and opera bles to full chamber orchestra. The 2014–2015 houses in France and abroad. season included several premières and collabo- rations with ICE and Wu Man, as well as Flutist Claire Chase, a 2012 performances at the Carlsbad Music Festival, MacArthur Fellow, is a TEDx San Diego, UC San Diego, and the Ojai soloist, collaborative artist, Music Festival. Taking its name from a thou- and activist for new music. sand-year-old Japanese tradition of “shared Over the past decade she has writing,” Renga seeks to create a progressive given the world premières of forum of shared artistic vision, community out- over 100 new works for reach, and reflection on the impact of art on our flute, many of them tailor- lives. Renga is art for people. made for her. In 2014, she began Density OMPS, a project to commission, première, and record an entirely new program of pieces for flute every year until 2036, the 100th anniversary of the eponymous and seminal piece by Edgard Varèse. Also in the 2014–2015 season, Ms. Chase served as music director and soloist

CAL PERFORMANCES FESTIVAL PARTICIPANTS in a series of performances of Salvatore Music. She has appeared on leading concert Sciarrino’s Il Cerchio Tagliato dei Suoni for four series including Carnegie Hall’s Making flute soloists and 100 flute “migranti.” Music, Cal Performances, Saint Paul Chamber Ms. Chase has performed throughout the Orchestra’s Engine 408, Stanford Lively Arts, Americas, Europe, and Asia, including débuts and at (Le) Poisson Rouge. last season in Berlin, Frankfurt, Vienna, Paris, In recital and on recording, Ms. Cheng cel- London, São Paolo, and Guangzhou. She has ebrates the ineffable kinships that exist released three solo albums: Aliento (2010), amongst contemporary composers. About her Terrestre (2012), and Density (2013). In 2014, Grammy Award-winning 2008 disc, Piano she was selected as an inaugural Fellow of Music of Esa-Pekka Salonen, Steven Stucky, Project&, with which she will première sev- and Witold Lutosławski, The New York Times eral new works exploring the relationship be- noted: “It’s not just that Ms. Cheng plays these tween language, music, and social interaction daunting pieces with such commanding tech- over the next several years. nique, color and imagination. She has brought Ms. Chase was First Prize-winner in the together works that fascinatingly complement 2008 Concert Artists Guild International one another.” Such juxtapositions have guided Competition. She co-founded the International each of Ms. Cheng’s recordings, from her 1997 Contemporary Ensemble (ICE) in 2001 and Piano Music of John Adams and Terry Riley on serves as the organization’s Artistic Director Telarc, to her Grammy-nominated 2012 re- and CEO in addition to playing over 50 con- lease, The Edge of Light: Messiaen/Saariaho. certs a year as an ensemble member. ICE has In 2015, Ms. Cheng launched MONTAGE, premièred more than 600 works since its in- a recording and documentary film featuring ception and pioneered a new artist-driven or- works composed for her by today’s greatest ganizational model that earned the company a film composers. The film includes interviews Trailblazer Award from the American Music with John Williams, Bruce Broughton, Don Center in 2010. Ms. Chase was also honored Davis, Ale xandre Desplat, Michael Giacchino, with Crain’s Business “40 under 40” Award and Randy Newman, along with footage from in 2013. the concert première and composer-led In 2013, Ms. Chase founded The Pnea recording sessions. The film premièred in Foundation, a nonprofit organization dedi- various venues following the disc’s February cated to the advancement of the flute and its release on Harmonia Mundi USA. repertoire in the 21st century through com- In Los Angeles, Ms. Cheng has been a fre- missions, community engagement, cross- quent guest on the Los Angeles Philharmonic cultural and interdisciplinary collaborations, Green Umbrella series, performing such and advocacy. works as Elliott Carter’s Double Concerto for Piano and Harpsichord conducted by Oliver Pianist Gloria Cheng is ac- Knussen, John Cage’s Concerto for Prepared claimed as a discerning artist Piano, and the world première of Esa-Pekka whose performances tap the Salonen’s Dichotomie, composed for and ded- emotional core of contem- icated to her. She presents an annual recital porary music. In recitals that on the Piano Spheres series, performing on explore significant intercon- both piano and harpsichord, and collaborates nections amongst com- often with the Calder Quartet and on the posers , Ms. Cheng has been Jacaranda Music series. Ms. Cheng plays an presented by the Ojai Music Festival, Chicago active advisory role for Piano Spheres, as well Humanities Festival, William Kapell Festival, as for the Hear Now Festival of Los Angeles- and the Tanglewood Festival of Contemporary based composers.

PLAYBILL FESTIVAL PARTICIPANTS Ms. Cheng teaches at the Herb Alpert Roulette, led by Christopher Rountree. Other School of Music at UCLA, where she has ini- highlights include a recital with pianist Lisa tiated new courses that unite composers and Moore for Kettle Corn New Music, a Steve performers. She is often invited to speak as an Reich program with Al an Pierson and Alarm advocate for contemporary music, and in Will Sound at the Metropolitan Museum of 2012 served as Regents’ Lecturer at UC Art, and a Reich/Bach program with Brad Berkeley. Ms. Cheng earned her B.A. in eco- Lubman and SIGNAL at Miller Theatre. nomics from Stanford University, followed by Last season featured Ms. Hughes perform- graduate degrees in music from UCLA and ing Silver Threads, a solo cycle written for her the University of Southern Cal ifornia. by Jacob Cooper on a bill with Corey Dargel at (le) Poisson Rouge; a New York City Opera Hailed by The New York début in John Zorn’s The Holy Visions; a Times as “a versatile, charis- Stanford Lively Arts performance with Alan matic soprano endowed Pierson and Alarm Will Sound; a national with brilliant technique and tour with Missy Mazzoli and Victoire; and a superlative stage instincts… performance with Newspeak at Atlas in indispensable to New York’s Washington, D.C. new-music ecosystem” Other recent dates include the world pre- Mellissa Hughes enjoys a mière of David T. Little’s Am I Born, a solo or- busy international career in both contempo- chestral work written for Ms. Hughes, rary and early music. commissioned by the Brooklyn Philharmonic A dedicated interpreter of living composers, for Alan Pierson’s inaugural season as Music Hughes has worked closely with Julia Wolfe, Director; a rapturously received MATA Michael Gordon, David Lang, Steve Reich, and Festival performance of David Coll’s Position, Neil Rolnick, and has premièred works by Influence; the world première of Alex Temple’s David T. Little, Missy Mazzoli, Ted Hearne, Liebeslied with George Manahan and the Caleb Burhans, Christopher Cerrone, Jacob American Composers Orchestra at Zankel Cooper, and Frederick Rzewski, among others. Hall for the opening of the SONiC Festival; a In the classical concert hall, she has per- performance of Jonathan Berger’s one-act formed Mozart’s Vespers and Requiem under opera Theotokia with the St. Lawrence String the baton of Sir Neville Marriner, Handel’s Quartet and Pedja Mužijević for Stanford Dixit Dominus with Sir David Willcocks, and Lively Arts; a Weill Hall performance and the role of Dido under the direction of Andrew Naxos recording of Mohammed Fairouz’s Lawrence King. Equally at home in front of a Tahwidah with the clarinetist David Krakauer; rock band, Ms. Hughes has received wide- Bryce and Aaron Dessner’s multimedia song spread acclaim in her role as lead vocalist of cycle The Long Count at the Muziekgebouw Newspeak, an amplified alt-classical band, and in Amsterdam for the Holland Festival; and for her work with Missy Mazzoli’s Victoire. the U.S. première of Adrian Utley and Will In the 2013–2014 season, Ms. Hughes con- Gregory’s score for The Passion of Joan Arc tinues touring with John Zorn for Zorn@60 as part of Lincoln Center’s 2011 White celebrations, singing his “Madrigals” and Light Festival. “Earthspirit” in Jerusalem, Paris, and at Alice Ms. Hughes’s discography includes albums Tully Hall in New York (having sung the on Nonesuch and New Amsterdam records, works last season in Montreal, Ghent, and Shelter, a video opera b y Bang on a Can Warsaw, at the Barbican in London, and at the composers Michael Gordon, Julia Wolfe, and Guggenheim New York.) She also stars in Pulitzer Prize-winner David Lang, released by Jonathan Berger’s double-bill opera, Cantaloupe Music. She has also provided sup- Visitations, in a Beth Morrison Production/ porting vocals for My Brightest Diamond, The HERE production for Protoype 2014 at National, and The Breeders.

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Based in Brooklyn, Ms. Hughes holds de- Joseph Pereira enjoys a grees from Westminster Choir College and multifaceted career as a tim- Yale University. panist/percussionist, com- poser, and teacher. His work Jacob Nissly is the Principal in all areas has been widely Percussionist of the San hailed for its creativity and Francisco Symphony under virtuosity. the direction of Michael In 2007, Mr. Pereira was appointed princi- Tilson Thomas. Prior to his pal timpanist of the Los Angeles Philharmonic appointment in San Francisco, by Esa-Pekka Salonen. He regularly appears as Mr. Nissly was the Principal a so lo percussionist in the orchestra’s Green Percussionist of the Cleveland Umbrella new music series. Previously, he was Orchestra for two seasons and the Principal the assistant principal timpanist/section per- Percussionist of the Detroit Symphony cussionist of the New York Philharmonic, from Orchestra for one season. Previously, he was a January 1998 to September 2008. He currently member of the New World Symphony in runs the percussion studio at USC’s Thornton Miami Beach for two seasons. He has per- School of Music and was on faculty at the formed with the Chicago Symphony Orchestra, Juilliard School from 2005 to 2013. Metropolitan Opera, Houston Symphony, and As a composer, Mr. Pereira’s most recent com- Saint Paul Chamber Orchestra. He can be missions have come from Piano Spheres, pianist heard on recordings with the San Francisco Vicki Ray, percussionist Colin Currie, the Miró Symphony, Cleveland Orchestra, and St. Louis Quartet, the Atlanta Symphony Orchestra, pi- Symphony Orchestra. Mr. Nissly is an adjunct anist Joanne Pearce Martin, and the Manhattan Professor of Percussion at the Eastman School School of Music. In 2014, his piece Strophé, com- of Music. He also spent two summers playing missioned by Mr. Currie and the Miró Quartet, with the Verbier Festival Orchestra in Verbier, received its European première in Hamburg, Switzerland, and two summers with the Pacific with the Pavel Haas Quartet and Mr. Currie. In Music Festival in Sapporo, Japan. Mr. Nissly has 2013, his string trio Blur was selected as one of taught classes at the Juilliard School, University the winners of the American Composers Forum of Michigan, Florida State University, Ohio State of Los Angeles. In 2012, the Los Angeles University, Indiana University, Northwestern Philharmonic premièred his Percussion University, Interlochen Center for the Arts, Concerto with Mr. Currie as soloist. The work Cleveland Institute of Music, and the Verbier was programmed again the following season Music Camp. with Mr. Pereira as soloist with the Los Angeles Mr. Nissly holds a bachelor of music and Philharmonic and Gustavo Dudamel and per- jazz studies degree from Northwestern formed in Los Angeles and at London’s University, where he studied with Michael Barbican. Also in 2012, his quartet for amplified Burritt, James Ross, Paul Wertico, and Joel double basses was premièred on the Los Angeles Spencer. He received his master of music de- Philharmonic’s chamber series. Mr. Pereira’s gree from the Juilliard School, where he stud- Violin Partita, performed by violinist Robert ied with Greg Zuber and Dan Druckman. He Gupta, was released by Yarlung Records in 2012, began his percussion studies with Woody and his piece for percussion quartet, Repoussé, Smith in Iowa and has also worked extensively was recorded by the Los Angeles Percussion with percussionist Michael Werner, Principal Quartet for Sono Luminus Recordings and re- Percussionist of the Seattle Symphony. ceived three 2013 Grammy nominations.

PLAYBILL FESTIVAL PARTICIPANTS

Described as “phenomenal Philharmonic, the Los Angeles Master Chorale, and fearless,” Grammy- the San Francisco Contemporary Music Players, nominated pianist Vicki the German ensemble Compania, and the Blue Ray is a leading interpreter Rider Ensemble of Toronto, with whom she of contemporary piano made the first Canadian recording of Pierrot music. Known for thought- Lunaire. Ms. Ray made her last Ojai appearance ful and innovative program- in 2003 with Music Director Pierre Boulez. ming which seeks to She is head of the piano department at the redefine the piano recital in the 21st century, California Institute of the Arts, where she has her concerts often include electronics, video, been on faculty since 1991. In 2010, she was recitation, and improvisation. As noted by awarded the first Hal Blaine Chair in Music Alan Rich, “Vicki plans programs with a Performance. For the past eight years, she knack for marvelous freeform artistry…what has served on the faculty at the Bang on a she draws from her piano always relates in Can summer festival at the Massachusetts wondrous ways to the senses.” As a founding Museum of Contemporary Art. Ms. Ray is a member of Piano Spheres, an acclaimed series Steinway Artist. dedicated to exploring the less-familiar realms of the solo piano repertoire, her playing has Joshua Rubin is a found- been hailed by the Los Angeles Times for “dis- ing clarinetist and the playing that kind of musical thoroughness and Co-Artistic Director of the technical panache that puts a composer’s International Contemporary thoughts directly before the listener.” Ensemble (ICE), where he As a pianist who excels in a wide range of oversees the creative direc- styles, Ms. Ray’s numerous recordings cover tion of more than 60 con- everything from the première release of Steve certs per season in the Reich’s You Are (Variations) to the semi-im- United States and abroad. As a clarinetist, The provised structures of Wadada Leo Smith, and New York Times has praised him as “incapable from the elegant serialism of Mel Powell to the of playing an inexpressive note.” austere beauty of Morton Feldman’s Crippled Mr. Rubin has worked closely with many of Symmetries. Recent releases include David the prominent composers of our time, includ- Rosenboom’s Twilight Language on Tzadik ing George Crumb, David Lang, John Adams, Records and Feldman’ s For Piano and String George Lewis, Philippe Hurel, Kaija Saariaho, Quartet with the Eclipse Quartet on Bridge John Zorn, Magnus Lindberg, Steve Lehman, Records. Her 2013 recording of Cage’s The Nathan Davis, Tyshawn Sorey, and Mario Ten Thousand Things on the Microfest label Davidovsky. His interest in electronic music was nominated for a Grammy. throughout his career has led him to work on Ms. Ray’s work as a collaborative artist has making these technologies easier to use for been extremely diverse and colorful. She was the both composers and performers. Mr. Rubin keyboardist in the California E.A.R. Unit and can be heard on recordings from the Nonesuch, Xtet. Her chamber music contributions to the vi- Kairos, New Focus, Mode, Cedille, Naxos, brant musical life in greater Los Angeles include Bridge, New Amsterdam, and Tzadik labels. frequent performances on the Dilijan, Jacaranda, His album There Never is No Light, available on and Green Umbrella Series. She performs regu- ICE’s Tundra label, highlights music that uses larly on the venerable Monday Evening Concert technology to capture the human engagement series and was featured in Grisey’s Vortex of the performer and the listener. Temporum on the 2006 celebration of the re- In the past season he has been featured as a birth of the series. Ms. Ray has been heard soloist with the Seattle Symphony (under in major solo roles with the Los Angeles Ludovic Morlot) and at the Mostly Mozart

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Festival at Lincoln Center; in engagements spirit and virtuosity have led to collaborations with the Nagoya Philharmonic Orchestra and across artistic disciplines allowing her to reach the Saint Paul Chamber Orchestra; and has wider audiences as she works to break given solo performances of new music in New through cultural and musical borders. Her York, Chicago, Los Angeles, São Paulo, Rome, efforts were recognized when she was named and Berlin. Musical America’s 2013 instrumentalist of He received degrees in biology and clarinet the year, the first time this prestigious award from Oberlin College and Conservatory, and has been bestowed on a player of a non- his master’s degree from the Mannes College Western instrument. of Music. His clarinet studies were mentored Orchestral highlights of the 2014–2015 by Lawrence McDonald, Mark Nuccio, and season include a performance of Lou Harrison’s Yehuda Gilad. Pipa Concerto with the Knights, as wellas Zhao Jiping’s Pipa Concerto No. 2 with the Canton Born into a family of theater Symphony Orchestra, Charlotte Symphony and fascinated by connec- Orchestra, Orchestre Philharmonique du tions between scene, text and Luxembourg, and Orlando Philharmonic music, Wilifried Wendling Orchestra. In recital, Wu Man took a new pro- (live video and electronic gram, “Journey of Chinese Pipa,” to London, music producer) has already Sydney, and Dortmund. This solo recital ex- realized about 15 multidisci- plores the history of pipa repertoire, ranging plinary shows, presented in from tradition al folksongs to her own origi- many theaters and operas, on texts of Beckett, nal compositions. A collaborator with Kronos Camus, Nietzsche, Perec, Queneau, Jouet, Quartet for over 20 years, she rejoined the en- Müller, and Boltanski. His musical composi- semble at Cal Performances to perform Terry tions are also played on numerous stages and Riley’s The Cusp of Magic, which was festivals. As a musician and/or video director, composed on the occasion of the composer’s he collaborated with numerous artists of many 70th birthday. A principal member of the Silk disciplines. Mr. Wendling is at present director Road Ensemble, she performed with the of the La Muse en Circuit, National Center of eclectic group in a concert with the New Musical Creation. York Philharmonic. Born in Hang zhou, China, Wu Man stud- Recognized as the world’s ied with Lin Shicheng, Kuang Yuzhong, Chen premier pipa virtuoso and Zemin, and Liu Dehai at the Central leading ambassador of Conservatory of Music in Beijing, where she Chinese music, Grammy- became the first recipient of a master’s degree nominated musician Wu in pipa. Accepted into the conservatory at Man has carved out a career age 13, her audition was covered by national as a soloist, educator, and newspapers and she was hailed as a child composer giving her lute- prodigy, becoming a nationally recognized role like instrument—which has a history of over model for young pipa players. In 1985, she 2,000 years in China—a new role in both tra- made her first visit to the United States as a ditional and contemporary music. Through member of the China Youth Arts Troupe. Wu numerous concert tours, Wu Man has pre- Man moved to the United States in 1990 and mièred hundreds of new works for the pipa, resides with her husband and son in California. while spearheading multimedia projects to Wu Man is managed exclusively by Opus 3 both preserve and create awareness of China’s Artists (www.opus3artists.com). ancient musical traditions. Her adventurous

PLAYBILL FESTIVAL PARTICIPANTS

BEYOND THE SCORE® Charlotte Cannon, originally from Brighton, England, is a Gerard McBurney (Director recent alumna of the Chicago and Creative Director) is a College of Performing Arts. British composer and writer Since graduating last May, about music. Since 2006, he she has had the opportunity has been artistic program- to collaborate on new works ming advisor at the Chicago with the Chicago Symphony Symphony Orchestra and Orchestra, Lookingglass creative director of their Theatre Company, Chicago Children’s Choir, Beyond the Score® series. In Red Tape Theatre, the Inappropriate Theatre this capacity, he had the good fortune to work Company, and Fearless Theatre. She is repre- closely with Pierre Boulez on a number of sented by Stewart Talent. memorable occasions. For more on Beyond the Score, please Hailing from San Francisco, visit http://csosoundsandstories.org/category/ Josephine Chan (age beyond-the-score. eleven) started piano les- sons at age six. She is cur- Actress Anna Bowen is rently a scholarship student thrilled to be performing at in the Pre-College Division the 69th Ojai Music Festival. at the San Francisco Her credits include the Conservatory of Music, Broadway production of NMN where she studies piano per- Dalmatians, as well as sev- formance with Corey McVicar. She was eral off-Broadway produc- awarded top prize at the 2012 San Francisco tions, including The Music Chopin Competition, and has enjoyed success of Motown, Rom and Julz, at sever al competitions, including the 2015 Doubletime, and Wanda’s World. On the West Marilyn Mindell Piano Competition, the 2011 Coast, she has appeared in Les Misérables, and 2013 Junior Bach Festivals, and the 2013 RENT, Aladdin, Aida, and Evita, among oth- American Protégé International Piano ers, as well as with the Transcendence Theatre Competition. Performance highlights include Company. She is also active on television, with Carnegie Hall’s Weill Recital Hall, the San credits including appearances on Castle, Francisco Conservatory Fanfare Luncheon, San Mixology, Law and Order SVU, and As the Francisco Conservatory Showcase Concert, and World Turns. She can be seen around Los Lang Lang’s 101 Pianists Workshop. Angeles singing with the Overstreets New Orleans Jazz Band, the Melodies, and eclectic Margaret Cook is an actress singer Lawrence Rothman. Her nonfiction living in Chicago, where she book of interviews, Me+You, is available now, earned her B.F.A. in acting and her forthcoming work, Being Biracial, will at Roosevelt University’s be published next spring. Chicago College of Performing Arts. She would like to thank her friends and family for their support.

CAL PERFORMANCES FESTIVAL PARTICIPANTS A professional actor since Orchestra. He is delighted to be a part of such the age of seven, Colin a marvelous production with his friends, and Creveling discovered en- thrilled to be sharing Pierre Boulez’s story semble-based circus while with the world. pursuing his passion for theater at the Chicago Derek Herman is a native of College for Performing Portland who has since Arts. Inspired by the in- moved to the windy city of struction of Keland Scher, Chicago. While in Portland, David Kersnar, and Douglas Grew, he began Mr. Herman was in the working with Lookingglass Theatre Company West Coast première in collaboration with the Chicago Symphony of Speech & Debate with Orchestra. This union of theater and circus Artists Repertory Theatre. was the catalyst for the creation of the His other appearances in the Inappropriate Theatre Company, an ensemble Pacific Northwest include the Profile Theatre of physical actors and circus performers who and Oregon Children’s Theatre. Since moving develop large-scale spectacle performances to Chicago, he has performed with the Chicago and character-driven circus acts for shows and Shakespeare Theater in Since I Suppose, as well events within the city. Having spent the last as with the Artistic Home, Teatro Vista, and three years on and off the road, from 150 Raven Theater. Mr. Harman is founder and shows at the largest beach resort in India to artistic director of Fearless Theatre. He holds a the country’s foremost traveling youth circus, B.F.A. from the Chicago College of Performing Smirkus, Mr. Creveling is elated to be work- Arts at Roosevelt University. ing with his CCPA family. Growing up in the south- Joseph Galizia is an actor, western mountains of circus performer, perform- Colorado, Nyle Kenning ance artist, and rapper has had the opportunity residing in Chicago. Since to experience nature in its his graduation in 2011, he infinite forms. He has been has had the pleasure of fortunate to have had per- working with numerous ceptive, challenging, and theatrical venues, including loving teachers all his life. Lookingglass Theatre Company, Mr. Kenning lives in Chicago as an actor and Next Theatre Company, Black Ensemble theater artist where he pursues a greater un- Theater Company, Actor’s Gymnasium, derstanding of Shakespeare, music, and the Chicago Children’s Choir, Fox Valley Repertory, circus arts. He feels blessed to be a part of this and several shows with the Chicago Symphony great p iece again.

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