CAL PERFORMANCES PRESENTS

Thursday–Saturday, June 19–21, 2014 Hertz Hall

Ojai North Music Festival

Jeremy Denk Music Director, 2014 Ojai Music Festival Thomas W. Morris Artistic Director, Ojai Music Festival Matías Tarnopolsky Executive and Artistic Director, Cal Performances

Robert Spano, conductor

Storm Large, vocalist

Timo Andres, piano

Aubrey Allicock, bass-baritone Kim Josephson, baritone Dominic Armstrong, tenor Ashraf Sewailam, bass-baritone Rachel Calloway, mezzo-soprano Peabody Southwell, mezzo-soprano Keith Jameson, tenor Jennifer Zetlan, soprano

The Knights Eric Jacobsen, conductor

Brooklyn Rider

Uri Caine Ensemble

Hudson Shad

Ojai Festival Singers Kevin Fox, conductor

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

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

CAL PERFORMANCES 13 FESTIVAL SCHEDULE

Thursday–Saturday, June 19–21, 2014 Hertz Hall

Ojai North Music Festival

FESTIVAL SCHEDULE

Thursday, June

Concert: Bay Area première of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn

Brooklyn Rider Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Eric Jacobsen, cello

The Knights Aubrey Allicock, bass-baritone Dominic Armstrong, tenor Rachel Calloway, mezzo-soprano Keith Jameson, tenor Kim Josephson, baritone Ashraf Sewailam, bass-baritone Peabody Southwell, mezzo-soprano Jennifer Zetlan, soprano Mary Birnbaum, director Robert Spano, conductor

Friday, June =;, =;;pm Talk: The creative team of The Classical Style: An Opera (of Sorts) —Jeremy Denk, Steven Stucky, and Mary Birnbaum—in a conversation moderated by Matías Tarnopolsky

PLAYBILL FESTIVAL SCHEDULE

Cpm Concert: Second Bay Area performance of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn

Same performers as on Thursday evening.

<;pm Concert: Storm Large performs cabaret songs with pianist Grace Fong

Saturday, June =<, =;

Jeremy Denk talks with musical collaborators Uri Caine and Timo Andres in a conversation moderated by Matías Tarnopolsky

>pm Concert: The Knights perform Ives, Mozart, Feldman, Stockhausen, and Weill

Eric Jacobsen, conductor Timo Andres, piano Storm Large, vocalist Hudson Shad, male vocal quartet

A:>;pm Talk: “Reflections on the Festival”

A panel discussion with esteemed local artists to be announced, moderated by Cal Performances Associate Director Rob Bailis

Cpm Concert: Ligeti, Ives, and Beethoven performed by Jeremy Denk, The Knights, and the Ojai Festival Singers, conducted by Eric Jacobsen and Kevin Fox

CAL PERFORMANCES INTRODUCTION

TAKING NOTES for Paul Earls (1934–1998)

ACK IN COLLEGE I had a teacher who re - whose definitive recordings from Bach to Bferred to our counterpoint exercises as Boulez we revered. This was music analysis “pushing the notes around.” This seemed like not as arcane theory, but from the vibrant per - a slightly cavalier attitude toward those little spective of living performance. dots to which we were otherwise so deferen - If Jeremy Denk is the music director of the tial as instrumentalists and singers. But it was 2014 Ojai Festival, Charles Rosen is its godfa - also liberating, establishing a kind of gruff in - ther, so it is only fitting that this is a festival timacy that let us know that every note is a about notes. Now this might seem frankly old- possibility, every possibility a choice, and fashioned. After all, we li ve in an age of sound every choice a commitment. In this way we spectra and timbral structures, microtones learned to enter into a dialogue with notes— and alternate tunings, synthesized sampling and with music. and signal processing, a world in which spe - This year’s Ojai Festival is a celebration of cific pitches and distinct rhythms can seem a that kind of dialogue and, not incidentally, of secondary concern. And yet the same György the teachers and mentors who taught us to Ligeti who contributed so much to the shifting take notes. They taught us, too, that taking parameters of musical discourse capped notes seriously could be serious fun. his oeuvre with three books of precisely Admittedly a lot of the fun began at the back notated—well-tempered—piano études, which of the classroom as some less-inspiring pro - for all their rhythmic, metric, and polyphonic fessor droned on at the blackboard. Irreverent audacity proclaim their debt to Chopin, Liszt, comments scrawled in the margins of our Debussy, and Bartók—to canonic models. textbooks, bad musical puns, even worse dou - So this is also a festival about talking back to ble entendres. Sniggers, snorts, sneers, and the canon, and Rosen’s classical canon frames uncontrolled giggles. Giddy because it was all the proceedings. Haydn and Mozart are rep - so wondrous. Because there was so much to resented by works in genres they defined, the discover: new pieces, sounds, performers, string quartet and the piano concerto, whereas recordings, connections…all new and every - Beethoven, ever impatient with boundaries, thing a jumble. For those of us of a certain makes his appearance with a grandiose over- generation that jumble included Mahler and the-top, genre-busting experiment that com - P.D.Q. Bach, Schumann and Stockhausen, bines elements of the keyboard improvisation, Gesualdo’s creepy harmonies and Haydn’s concerto, and choral cantata. So far so good. jokes, Schütz and Sinfonia , Tristan and But there are canons and canons—and some, Threnody , three places in New England and a I suspect, are neither. This multiplicity of chapel in Texas, and everything against a wash styles and languages begins with provocative of JohnPaulGeorgeRingoRaviJimiJoniJanetJudy pairings: keyboard vignettes by Janáçek and JoanJamesArloPeteBoBobBobbyDizzyMiles Schubert, Morton Feldman and Kurt Weill, Thelonious and so much more. and that one-man universe of jolting juxtapo - And then—in the middle of it all—a book sition, Charles Ives, whose music is forever in appeared with a disarmingly prosaic title: The boisterous dialogue with this, that, or even the Classical Style . Here, in language that was ele - other canon. He is represented by two works: gant and incisive, we learned again why notes a psalm setting and a chamber orchestra matter, how a perfect balance of syntax and arrangement of Three Places in New England . style made it possible for Haydn, Mozart, and The array of composers and performers Beethoven to communicate wit, drama, and Jeremy Denk has assembled are all sworn profound emotion in purely musical terms. co-conspirators. Some he’s known for ages— Charles Rosen, a polymath of frightening eru - conductors Robert Spano and Eric Jacobsen dition, was better known to us as a pianist and violinist Colin Jacobsen since their years

PLAYBILL INTRODUCTION together at Oberlin and Juilliard, where back- to his late friend and mentor Charles Rosen. of-the-class hijinks were far from trivial pur - The subject: The Book, its sacred text on style suits. For the Jacobsen brothers those pursuits transformed into a comic opera that distills led to the founding of Brooklyn Rider and insights, punctures pretentions, and imagines The Knights, a dynamic string quartet and a what would happen if three chords walked groundbreaking orchestral collective that em - into a bar. Pulitzer Prize-winning composer brace new and old in a spirit of creative col - Steven Stucky makes his opera début writing laboration. Denk discovered others through tunes for Haydn, Mozart, and Beethoven, their shared appetites for musical exuberance. while trying to ignore the ominous knocking Uri Caine, a musical omnivore, leads his own he’s been hearing at his door. It’s all part of ensemble in re-imagining Mahler; pianist and Denk’s grand design for Ojai 2014, what he composer Timo Andres re-composes Mozart, has called “screwing with the canon”—an ir - Caroline Shaw takes on Stockhausen, while reverent romp through the repertoire, a Storm Large soars effortlessly from cabaret to hands-on exercise in pushing notes around, Kurt Weill. No less versatile are the astonish - and, when you think about it, proof positive ing vocal quartet Hudson Shad, and Kevin that while scribbling in the margins Jeremy Fox and the Ojai Festival Singers. Dank was also taking notes—seriously. And Jeremy Denk? We’ll hear the pianist in Beethoven, Schubert, Janáček, and Ligeti, but he assumes a new role as librettist in a tribute © Christopher Hailey

CAL PERFORMANCES CAL PERFORMANCES PRESENTS

Thursday, June 19, 2014, 8pm Friday, June 20, 2014, 8pm Hertz Hall

The Classical Style

PROGRAM

Josef Hay dn (1732–1809) String Quartet No. 59 in G minor, Op. 74, No. 3, “Rider” (1793)

Allegro Largo assai Allegretto Allegro con brio

BROOKLYN RIDER Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Eric Jacobsen, cello

INTERMISSION

PLAYBILL PROGRAM

Steven Stucky (b. 1949) & The Classical Style: An Opera (of Sorts) (2014) Jeremy Denk (b. 1970) Bay Area première

Commissioned by the Ojai Music Festival, Cal Performances, Carnegie Hall, and the Aspen Music Festival and School.

Scene I Prologue: Heaven. Scene II Charles Rosen’s apartment. Scene III A bar. Scene IV The First Scene of Don Giovanni ; then, a bar. Scene V A Symposium. Scene VI A bar. Scene VII Charles Rosen’s apartment. Epilogue: The Death of the Classical Style.

The Knights Aubrey Allicock, bass-baritone Dominic Armstrong, tenor Rachel Calloway, mezzo-soprano Keith Jameson, tenor Kim Josephson, baritone Ashraf Sewailam, bass-baritone Peabody Southwell, mezzo-soprano Jennifer Zetlan, soprano Mary Birnbaum, director Robert Spano, conductor

CAST Aubrey Allicock Tonic, Don Giovanni, Participant 2 Dominic Armstrong Haydn, Bartender Rachel Calloway Dominant, Musicologist, Music Student Keith Jameson Snibblesworth Kim Josephson Charles Rosen, Tristan Chord Ashraf Sewailam Beethoven, Commendatore Peabody Southwell Subdominant, Schumann, Participant 1 Jennifer Zetlan Mozart, Donna Anna

Cameron Mock and Emily McDonald, technical directors Melissa Trn, costume designer Peter Kazaras, artistic consultant Christopher Allen, assistant conductor Rakefet Hak, rehearsal pianist and coach Alec Treuhaft, casting director

CAL PERFORMANCES PROGRAM NOTES

THE CLASSICAL STYLE

HE CONCEPT OF STYLE ,” Charles Rosen some whiskey to recover from a dinner Twrote, “does not correspond to an histor - with Charles Rosen the previous night. ical fact but answers a need: it creates a mode Attempting to recall some of the count - of understanding.” For Rosen the “classical” less things he had said, I got lost in forests style that crystallized in the works of Haydn, of half-remembered facts. “There are six Mozart, and Beethoven was itself a work of kinds of mazurkas,” he would say with art, whose primary achievement was to pro - tremendous confidence, and with the im - vide an extraordinary degree “coherence, plication that you were an idiot for not power, and richness of allusion.” knowing that, but by the time you got a The first movement of Haydn’s String word in edgewise to ask what the six types Quartet, Op. 74, No. 3, the curtain raiser for were, he had moved on to another topic: tonight’s concert, can serve as a perfect exem - key areas in Mozart operas, the fact that plar. The piece begins with an introduction: everyone plays the last movement of a four bars of leaping octaves rising up in all in - certain Beethoven sonata too fast, the way struments, followed by four bars in which that to practice the octave glissandi in the same leaping is harmonized to bring the Brahms “Paganini” Variations. The idiocy phrase to a half close. Now introductions are of others was a frequent topic, but so was usually slow and solemn and this one, at wonder, and at the mention of certain rav - tempo, is kind of loopy. One might expect ishing moments in music the wise and in - such an introduction to prepare the way for finitely knowledgeable adult face would the main theme, set things up, as it were, then dissolve into the smile of a child with an step out of the way and disappear. And disap - ice cream cone. pear it does—or seems to. After two unex - It is this combination of ridiculous pected measures of silence the main theme knowledge and wonder at the miracles of enters. Sound familiar? It should. Because music that makes The Classical Style such Haydn treats his introduction like a quarry, a beloved book: an almost impossible extracting rhythmic and motivic building task for a musicological tome. I decided blocks to create not only this first theme, but to take several passages from the book the contrasting second theme, as well. It’s a and let Charles declaim them, then let very clever way of transforming and dignifying some decidedly undignified introductory ma - opera scenes—or surreal thought experi - terial. But Haydn is not one to stand on dig - ments—emerge out of Charles’s words. nity and in the development section we are The plot of Charles’s book is a birth, suddenly lousy with loopy leaps! Their star - life, and death story—but not of a person. tling return confounds we thought we knew It is the biography of a style. He begins about proper procedure (and decorum). with a moment of flux, the 1750s to That’s Haydn, continually defying expecta - 1770s, when o lder norms were fading. A tions, making up his own rules, while exult - new musical style was emerging, built on ing in the “coherence, power, and richness of short, discrete, super-identifiable bits (the allusion” of this “mode of understanding” four-measure phrase). This new style called the classical style. thrived on constant switcheroo: juxtapo - Jeremy Denk’s opera is a tribute not only to sition of opposites, the exploitation of un - the classical style but to Charles Rosen, about settling changes of character and whom he writes in these thoughts on The rhythmic profile. This style had mixed Classical Style: An Opera (of Sorts) : successes at first, growing pains when the opposing forces didn’t come into bal - There has been much musicological work ance. Enter Haydn, then Mozart, then on opera, but, as far as I know, this is the Beethoven: three ge niuses, building on first operatic work on musicology. The each other’s discoveries, to explore all the preposterous idea occurred to me at a depths and profundities of a language, to dinner, while I was availing myself of fulfill its potential.

PLAYBILL PROGRAM NOTES

Haydn and Mozart flourish, then shuf - THE CLASSICAL STyLE : AN OPERA (OF SORTS ) fle off the mortal coil; only Beethoven is left A BRIEF SyNOPSIS to pursue the style to the end of the line. Charles’s passages on the wonders of late Scen e 1. Heaven. A trio of classical composers Beethoven are beyond belief, and one of confront their ennui, and perceive a solution. them is quoted at the beginning of the last scene of this opera. And then the style, for Sce ne 2. Charles Rosen’s apartment. Despite whatever reason, is no longer speakable. being summoned to a Sonata Form sympo - (Charles: “the end of a style is perhaps more sium, Charles Rosen launches into an expla - mysterious than the birth of a new one.”) nation of the birth of the Classical Style. On top of Charles Rosen and the Big Three Composers, you’ll notice another Scene 3. A bar. The three fundamental har - threesome of protagonists: Tonic, monies of the Classical Style (Dominant, Dominant, and Subdominant. I hope the Tonic, Subdominant) explain their problems. general, innocent listener won’t be too Mozart enters, searching for Charles Rosen, scared of the jargon! These are simply the but is distracted. three fundamental chords of Western classical music. The tonic is the home Scene 4. Undisclosed location. Charles ex - key, our frame of reference, the key that plains the relationship between grief and sen - begins and ends a piece. The dominant is suality in Mozart. This causes the opera Don its clockwise neighbor on the circle of Giovanni to begin, and then to be strangely fifths, representing increasing tension; interrupted. In a series of unexpected en - and the subdominant is its counterclock - counters, Beethoven learns that Charles will be at the symposium. wise opposite: a force for release, relax - ation, repose. We constantly hear these Scene 5 . A lecture room: the Sonata Form sym - harmonies in music, but I thought it posium. Various theories of Sonata are ex - would be fun if they were characters, if plained to a captive and not entirely brilliant they could at last speak for themselves. audience. Charles does not show up, but Who are the heroes of The Classical Haydn, Mozart, and Beethoven do. Style ? Is it the trinity of Mozart, Haydn, and Beethoven? Or are harmonies the he - Scene 6 . That same bar. The fundamental roes, operating behind the scenes? Or is harmonies are still locked in their codepen - Charles the hero, for understanding dent love triangle. They meet a mysterious everything so well, and reawakening the stranger and gain perspective. joy of this music for future generations? Only you can decide. There is also at least Scene 7. Finale: Charles’s apartment. Charles one villainous character (depending on is explaining late Beethoven, but at last con - your point of view), one semi-villainous sents to sit down to dinner. Dinner is inter - harmony, and behind everything looms rupted; confrontation ensues; someone is the larger villainy of deadening cliché and dragged down to hell. At last Charles is (not stereotype. This music, which has so pro - quite) alone. He and Robert Schumann med - foundly come to represent the achieve - itate on the mystery and miracle of the ment and authority of the past, the Classical Style, the shadowy life-in-death of glorious statues and busts of classical the past. music’s hall of fame, is also the music that demands we listen to it the most freshly, Jeremy Denk with the greatest attention to each subver - sive moment.

Christopher Hailey

CAL PERFORMANCES PROGRAM NOTES

SIDEBAR : STEVEN STUCKY but to get them to flow together at once wit - tily and coherently. Thus, The Classical Style N OPERA about dead composers wander - has been not only a fascinating challenge, but Aing the earth, with subplots about music also a fast and furious education. theory and Don Giovanni, and with a hapless Ultimately, the heart of this project is musicology student as villain? Improbable, to Rosen’s elegant, original thinking, and the say the least—but also, for a composer, irre - (literally) immortal music that is its subject. sistible. The sheer range of musical situations It has been a pleasure spending a year or and styles makes this a dream assignment, so in the operatic trenches with a (slightly but also the hardest job I’ve ever taken on: deranged) collaborator of deep, subtle intel - parodies of 18th-century music; inside jokes ligence. We have tried to be entertaining, about music history, with sizable chunks of and we kept reminding each other to aim learned discourse from Rosen’s book; a satir - for comedy of the best kind: not just slap- ical symposium on sonata form set to music stick (though there’s plenty of that), and cer - composed in sonata form (!); a Wagnerian tainly not mean-spirited, but humane. The fantasy; an unexpected appearance by the real takeaway is not the jokes—it’s the lump greatest of Romantic composers. Remarkably, in the throat. in just 70 minutes Jeremy Denk’s libretto calls for a ll these and more. The challenge is not simply to pull off each of these musical stunts,

PLAYBILL ORCHESTRA ROSTER

THE KNIGHTS

Eric Jacobsen, conductor

VIOLIN BASSOON Colin Jacobsen, co-concertmaster Edward A. Burns Johnny Gandelsman, co-concertmaster Erik Holtje Pico Alt Christina Courtin HORN Alex Fortes Michael P. Atkinson Kristi Helberg David Byrd-Marrow Ariana Kim Jean-Frederic Molard TRUMPET Guillaume Pirard Josh Frank Amie Weiss Sycil Mathai

VIOLA TROMBONE Kyle Armbrust Dave Nelson Nicholas Cords Max Mandel TUBA Miranda Sielaff Scott Sutherland

CELLO TIMPANI Jane Cords-O’Hara Joseph Gramley Eric Jacobsen Alex Greenbaum PERCUSSION Julia MacLaine Joseph Gramley Molly yeh BASS Logan Coale HARP Shawn Conley Megan Conley

FLUTE PIANO & CELESTE Chris Johnson Steve Beck Alex Sopp ARTISTIC DIRECTORS OBOE Colin Jacobsen Geoff Deemer Eric Jacobsen Adam Hollander EXECUTIVE DIRECTOR ENGLISH HORN Liz Mahler Adam Hollander DIRECTOR OF PRODUCTION & OPERATIONS CLARINET yako Stavrolakes Romie de Guise-Langlois Agnes Marchione

CAL PERFORMANCES PROGRAM

Friday, June 20, 2014, 10pm Faculty Club

Late Night with Storm Large

Storm Large, vocals Grace Fong, piano

Tonight’s program will be announced from the stage.

CAL PERFORMANCES PROGRAM

Saturday, June 21, 2014, 11am Hertz Hall

Jeremy Denk, piano

Uri Caine Ensemble

PROGRAM

Leoš Janáček (1 854–1928) On an Overgrown Path , Set II (1911) No. 1 Andante

Franz Schubert (1797–1828) Ländler , D. 366 (1816 –1824) No. 12 No. 10 No. 11

Janáček On an Overgrown Path , Set I (1900–1908) No. 2 A blown-away leaf No. 5 They chattered like swallows!

Schubert Moments Musicaux , D. 780 (1823 –1828) No. 4 in C-sharp minor

Janáček On an Overgrown Path , Set I No. 3 Come along with us On an Overgrown Path , Set II No. 4 Vivo

Schubert Moments Musicaux , D. 780 No. 5 in F minor

Janáček On an Overgrown Path , Set I No. 6 Words fail

PLAYBILL PROGRAM

Schubert Ländler , D 790 (1823) No. 3 in D major 18 Viennese Ladies’ Ländler and Ecossaises , D. 734 (ca. 1822) No. 10 in C major Graz Galop , D. 925 (ca. 1827)

Janáček On an Overgrown Path , Set II No. 5 Allegro — Adagio

Jeremy Denk, piano

INTERMISSION

Uri Caine (b. 1956) Mahler Re-Imagined

Gustav Mahler (1860–1911) Symphony No. 5 in C-sharp minor (1901–1902) I. Trauermarsch Kindertotenlieder (1901–1904) I Think They Have Merely Gone Out Symphony No. 1 in D major (1888–1896) Movement III Symphony No. 5 in C-sharp minor IV. Adagietto Das Knaben Wunderhorn (1892–1901) Shining Trumpets (1898) Songs of a Wayfarer (1883–1885) I Went Out Over the Countryside Das Knaben Wunderhorn Drummer Boy (1901) Urlicht (1893) Song of the Earth (1908–1909) Abschied

URI CAINE ENSEMBLE Uri Caine, piano Ralph Alessi, trumpet Josefina Vergara, violin Chris Speed, clarinet John Hébert, bass DJ Olive (aka Gregor Asch) Jim Black, drums

CAL PERFORMANCES PROGRAM NOTES

THE OVERGROWN PATH

Let the listener add to the titles of the individual numbers what is appropriate from his own life. Leoš Janáček

EMORY IS NOT remembering. Remem - over stepped the bounds of untroubled pleas - Mbering presses hard against time in an antries toward the more private, inward look - attempt to reconstruct, record, document, ing spaces of his Moment musicaux . order. Memory, on the other hand, pushes These are the spaces, grown darker, more gently on the past but cannot disentangle the anguished, of Janáček’s On an Overgrown threads that enmesh it in the present; it is less Path . The first series, published i n 1911, in - orderly; it plays tricks, fades, disappears. But corporates five pieces originally written for whereas remembering might fix the past, harmonium (including “A blown-away leaf”) memory makes it live. We communicate what with another five written after the death of the we remember; our memories, we transfer. The composer’s daughter in 1903; the individual music by Schubert, Janáček, and Mahler on titles are linked to her memory and the pain of this program is about this kind of transfer and her loss. The five pieces in the second series, those paths by which we transform their published posthumously, are untitled, though memories into our own. they, too, share what the composer described So mething happened in the decades span - as “more distress…than there are words to ning the 18th and 19th centuries. When tell.” The music behind these unspoken words Haydn, Mozart, or even Beethoven intro - reaches back to Janáček’s childhood in the duced nature or rustic allusions into their Moravian countryside, and it is this music— music it was a depiction, a stylized represen - remembered , studied, and abstracted—that tation of another place. For Schubert, a coun - created the distinctive elements of the com - try dance, a flowing brook, the hurdy-gurdy poser’s style: short, asymmetrical phrases, fre - man is an evocation of another time, be it only quently shifting meters, unexpected yesterday. This is memory as nostalgia, a harmonies, and disconnected rhythmic and shared imaginative space that some have melodic ostinatos that evoke, in turn, the called Romanticism. Schubert’s Ländler , often fragmentary qualities of memory itself. though simple and unpretentious, create such The succession of Schubert and Janáček a space. This country cousin of the waltz with pieces on this concert is arranged with skill, its sturdy 3/4 meter and melodic contours some linked through related keys or melodic redolent of yodeling invariably brings to mind gestures, others through mood or by effective Austria’s alpine regions. In Schubert’s hands contrast. The first two works, for instance, these effortless, 16-bar miniat ures become the shift from E-flat major to E-flat minor and memory of a collective cultural experience, share similar opening motives; “They chat - even—especially—for city folk gathered in a tered like swallows” and the fourth Moment Biedermeier parlor. This is social music that musical are both in C-sharp minor, whereas points not to an exotic “them” but to a con - Janáček’s Vivo and Schubert’s F minor Moment vivial “us.” Schubert wrote hundreds of such musical are assertive, the following pair, short pieces—waltzes, German dances, min - “Words Fail” and Schubert’s D-major Ländler , uets, écossaises , marches, galops, and the studies in elusive wistfulness. These juxtapo - like—and they were his most popular, if least sitions, however artful, however calculated, ambitious works. It is therefore telling that he mirror that involuntary process by which all was unable to find a publisher for a later col - listening is absorbed into a network of associ - lection of twelve Ländler (D. 790, of which ations. This is how Gustav Mahler listened we’ll hear No. 3), whose nuance d expressivity and it is what made his music such an

PLAYBILL PROGRAM NOTES affront—an affront compounded by Uri SIDEBAR : URI CAINE Caine, who takes Mahler at his word. Mahler, just six years Janáček’s junior, was NE OF MY Aha! moments with Mahler nurtured in the neighboring region of Ocame when I was a teenager in Bohemia. His formative musical memories in - Philadelphia. I had just started studying com - cluded military marches, country bands, position with composer George Rochberg, Jewish cantors, Catholic liturgy, German, and he asked me to reduce the first movement Austrian, and Czech folk songs—not to men - of Mahler’s Fifth Symphony for piano. This as - tion the Viennese classical canon. It is a mix signment was meant to teach me about or - not so different from what other children of chestration, instrumentation, transpositions this polyglot Austro-Hungarian empire expe - of the instruments, etc. In the beginning it rienced, but Mahler retained these associa - seemed like a monumental task and reducing tions, brought them, unalloyed to the surface, even a couple of measures was a major ordeal. made public his private memories, and refused Every day I came home from school and to obey accepted hierarchies of high and low. would work on this, and it seemed like it Uri Caine takes this as his starting point, em - would take me forever to finish. But as time bracing Mahler’s mixture of profound and pro - went on, things got a little easier. Soon I could fane and drawing it into the present. That play whole sections of the piece on the piano present includes an awareness of the Holocaust and I began making sense of Mahler’s har - and a heightened sensitivity to Mahler’s Jewish monies, hearing the music in my head. I identity, including the cantorial roots that run began to get the feel of what it meant to ingest deep in his music. But Caine also adds asso - music on a note-by-note basis and really try ciative layers from his own experience, in - and understand what every note and word of cluding the textures and inflections of jazz, the musical score meant. I eagerly looked for - blues, funk, world music, and sound collage ward to these daily discoveries that were re - that are part of the ever widening compass our vealing the mysteries of Mahler’s music. musical culture. If the central European sound world that inspired Mahler, Janáček, and Schubert is now largely lost, its traces live on in their music—and in us, transformed along the overgrown paths of our memory. © Christopher Hailey

CAL PERFORMANCES CAL PERFORMANCES PRESENTS

Saturday, June 21, 2014, 3pm Hertz Hall

The Knights

Eric Jacobsen, conductor

Timo Andres, piano

Storm Large, vocalist

Hudson Shad

PROGRAM

Charles Ives (1874 –1954) Three Places in New En gland (1930 versi on) I. The “St. Gaudens” in Boston Common (Col. Shaw and his Colored Regiment) II. Putnam’s Camp, Redding, Connecticut III. The Housatonic at Stockbridge

Wolfgang Amadeus Mozart (1756 –1791) Piano Concerto No. 26 in D major, K. 537 , “Coronation” ( 1788) Allegro Larghetto Allegretto

Re-composed by Timo Andres (b. 1985 ) Timo Andres, piano

INTERMISSION

Morton Feldman (1926–1987) Madam Press Die d Last Week at 90 (1970)

Karlheinz Stockhausen (1928–2007) From Tierkreis (1974 –1975) (arr . Caroline Shaw) Leo

PLAYBILL PROGRAM

Kurt Weill (1900–1950) The Seven Deadly Sins ( ballet chanté ) (1933) Prologue Sloth Pride (Memphis) Wrath (Los Angeles) Gluttony (Philadelphia) Lust (Boston) Greed (Tennessee) Envy (San Francisco) Epilogue (home, in the new little house) Storm Large, vocalist

HUDSON SHAD Mark Bleeke, tenor Eric Edlund, baritone Peter Becker, bass-baritone Wilbur Pauley, bass

CAL PERFORMANCES PROGRAM NOTES

DOING THE SHUFFLE

IME WAS when it was called drop-the-nee - We walked in the meadows along the Tdle, an act of hands-on sampling that re - river, and heard the distant singing quired a bit of time, patience, and dexterity. from the church across the river. The These days a random playlist is easily pro - mist had not entirely left the river bed, grammed and the surprises it brings have and the colors, the running water, the come to be an expected ingredient of cultural banks and elm trees were something consumption (provided our attenuated atten - that one would always remember. tion span can retain what we’ve just heard). Against a continuous haze in the This is a concert of our time that shuffles glee - strings one hears elements of the hymn fully across time, space, genres, styles, and æs - tune Dorrance and nearly omnipresent thetic attitudes. One might find a slender reminiscences of the opening motive of thematic thread by calling it a journey (be - Beethoven’s Fifth Symphony. cause most of the pieces seem to share the no - tion of locomotion, travel, or transition), but It can be sobering to hold in one’s hands a that might defeat the pleasure of allowing the composer’s autograph score and to realize that succession of textures and impressions to the page before you was once blank. wash over our ever-receptive minds. Everything that goes into composition—the As with so many works by Ives it is difficult indecision, tentative solutions, second to say precisely when Three Places in New thoughts and corrections that may be pre - England was written. He tended to collect mu - served in sketches and early drafts are here sical ideas like other people collect string but hidden behind the fait accompli. In Mozart’s by 1914 it had taken the shape we know today. “Coronation” Concerto, however, long In 1929 Ives rescored the work for small or - stretches of the left hand of the solo part are chestra, a version that was given its première incomplete; the composer, in a hurry, knew by Nicolas Slonimsky in 1930. The first of its very well what he would play, but did not take three movements is slow and somber, a med - the time to write it out. Timo Andres has itation on the Boston memorial erected in seized this opportunity to fill in the blanks, as honor of the all-black 54th Massachusetts well as to write two new cadenzas: Regiment that fought with distinction and heavy losses in South Carolina in 1863. The The house style of “my” Mozart con - principal motives are drawn from slave songs certo results from a several combined and patriotic tunes, including “Massa’s in the strategies. The left hand gets an ex - Cold Ground,” “Old Black Joe,” “Marching tended catalogue of gestures (no more Through Georgia,” and “The Battle Cry of tasteful, 18th-century Albe rti bass). It Freedom.” Putnam’s Camp captures Ives’s boy - uses imitation, counter-melodies, and hood memories of a lively Fourth of July pic - canonic interplay to participate in the nic in Redding, Connecticut that is a mélange musical drama of the right hand (some - of patriotic turns from “yankee Doodle” to times even leaping above it in register). “Columbia, Gem of the Ocean.” The dreamy Harmonically, new chords both thicken central section represents a young boy’s and undermine the existing progres - reverie as he wanders off to a distant hill. The sions, adding allusions to music after finale is an impressionistic depiction of a walk Mozart’s time (Beethoven, Schumann, along the Housatonic River Ives took with his Brahms, Prokofiev, Ives, Rachmaninoff, new bride on their honeymoon near Stravinsky, and Bartók all make ap - Stockbridge, Massachusetts: pearances). The result is an almost en -

PLAYBILL PROGRAM NOTES

tirely new-sounding piece, which I In 1933 Kurt Weil l fled Berlin for Paris, and hope will be an antidote to the studied there received a commission for a ballet chanté blandness of most existing completions. (sung ballet), for which Bertolt Brecht—then headed for Denmark—wrote the libretto. The Birth and death bracket all our earthly trav - Seven Deadly Sins would be their last collabo - els and the two short pieces by Morton ration and it is perhaps fitting that it is a tale of Feldman and Karlheinz Stockhausen address rootless travel. This story concerns Anna, who themselves to these moments of transition. leaves her home in Louisiana in order to earn Stockhausen’s Tierkreis is series of pieces rep - enough money to build a house for her family. resenting each of the signs of Zodiac that con - The two sides of Anna’s personality (plain, sist of precisely notated and serially organized practical, cynical versus beautiful, emotional, melodies and rhythms for any instrument exploitable) are represented by a singer and a against more generally improvised harmonic dancer; her mother, father and two brothers accompaniments. Leo (Stockhausen’s own are sung by a barbershop quartet that func - sign) is arranged here by Caroline Shaw for vi - tions as a Greek chorus. In her journey to olin and an ensemble consisting of oboe, clar - seven cities in seven years Anna is confronted inet, trumpet, trombone, and bass. by the well-known catalogue of temptations, Feldman’s piece is a musical tribute that inverted by Brecht to represent the hypocrisies marks the passing of his piano teacher, of the petty bourgeoisie. In each station of the Madame Vera Maurina-Press, a Russian aris - journey Weill finds an appropriate form or tocrat who had been close to Scriabin and had style, such as chorale, waltz, fox trot, madri - studied with Busoni. “It was because of her…,” gal, or opera aria to underscore Brecht’s satire. Feldman recalled, “that I was instilled with a By any measure it is an odd journey, criss- sort of vibrant musicality rather than musi - crossing the country, back and forth until at cianship.” This brief score features a nearly con - last Anna can sing, “We’re coming back to tinuous cuckoo in the flute or muted trumpet you, to our little home beside the Mississippi over an ever-changing succession of sonorities in Louisiana.” reminiscent of the “Colors” movement of Schoenberg’s Five Pieces for Orchestra , Op. 16. © Christopher Hailey

CAL PERFORMANCES LIBRETTO

SyNOPSIS Anna I (who sings) and Anna II (who dances) are injustice. Then Anna I reminds her that such anger two facets of one personality. At the behest of her will make her unemployable and therefore useless, family, they travel to six different American cities in so she must set it aside. order to make enough money to build a little house on the banks of the Mississippi. In each city, GLUTTONy she/they encounter a different deadly sin, and Anna The family has received a letter from the Annas in I (the practical side) rebukes Anna II (the artistic Philadelphia. They are making good money, but side) for engaging in sinful behavior—that is, be - Anna II’s contract specifies that she may not gain havior which hinders the accumulation of wealth. any weight, even a gram. They recall that Anna II loves to eat and acknowledge her hardship but trust PROLOGUE her to remember that a contract is a contract. Anna I sets out the plot, explaining the relationship between her and Anna II (“Actually, we’re not two LUST persons, only one”) and their quest, and identi- In Boston, Anna II has found a wealthy lover, but fies the rest of the family: a mother, a father, and she prefers another man, who is poor. Anna I points two brothers. out that the rich lover will not tolerate divided loy - alty. Anna II rebels, but finally gives in reluctantly SLOTH and renounces the poor lover. Anna’s parents note that she has always been lazy but in other ways has been a dutiful child, while the COVETOUSNESS brothers intone, “Idleness is mother of all vices.” The The Family learns that the Annas are in Baltimore. Family closes with a prayer that God will keep Anna Men are committing suicide over Anna II, which on the path that leads to prosperity and happiness. will increase her earning power, but they fear she will get too greedy. They hope she will be moderate PRIDE and not make herself too unpopular to earn money. Anna I and Anna II are in Memphis. Anna II’s new clothes have made her stuck up. When she takes a ENVy job as an exotic dancer, she tries to turn it into art, From San Francisco, Anna I tells us that Anna II is to the displeasure of the paying customers. Anna I worn out and envious of those who do not have to scolds her for her pride and reminds her that she work hard. Anna I preaches of the need to renounce must do what is demanded of her. the pleasures of the world and promises a reward to come. The Family seconds her, saying that strict WRATH self-control is the path to glory. The Family notes with displeasure that the Annas have not been sending enough money. They are in EPILOGUE Los Angeles, and things are going quite well until The Annas return to Louisiana after seven years. Anna II witnesses acts of cruelty and rebels against The house is complete, and they rejoin the Family.

PLAYBILL PROGRAM

Saturday, June 21, 2014, 8pm Hertz Hall

Jeremy Denk, piano The Knights

Eric Jacobsen, conductor

Ojai Festival Singers

Kevin Fox, conductor

PROGRAM

György Ligeti (1923–2006) Piano Études, Books I (1985) & II (1988–1994)

BOOK I No. 1 Désordre No. 2 Cordes à vide No. 3 Touches bloquées No. 4 Fanfares No. 5 Arc-en-ciel No. 6 Automne à Varsovie

BOOK II No. 7 Galamb Borong No. 8 Fém No. 9 Vertige No. 10 Der Zauberlehrling No. 11 En suspens No. 12 Entrelacs No. 13 L’escalier du diable Jeremy Denk, piano

INTERMISSION

CAL PERFORMANCES PROGRAM

Charles Ives (1874–1954) Psalm 90 (1894/1901; rev. 1923–1924) Ojai Festival Singers Kevin Fox, conductor

Steve Beck, organ Joseph Gramley, bells Molly yeh, bells

Ludwig van B eethoven (1770–1827) Fantasy for Piano, Chorus, and Orchestra, Op. 80 (1808)

I. Adagio II. Finale. Allegro — Meno allegro (Allegretto) — Allegro molto — Adagio ma non troppo — Marcia, assai vivace — Allegro — Allegretto ma non troppo quasi andante con moto »Schmeichelnd hold und liebliech klingen« — Presto

Jeremy Denk, piano Ojai Festival Singers The Knights Eric Jacobsen, conductor

OJAI FESTIVAL CHORUS

Kevin Fox, conductor

SOPRANO TENOR Cheryl Cain Kevin Baum Michelle Clair John Davey-Hatcher Shauna Fallihee John Gale Cecilia Lam Kevin Gibbs Rita Lilly Andrew Morgan Jennifer Paulino Sam Smith Christa Pfeiffer Jonathan Smucker Christa Tumlinson BASS ALTO Steven Anderson Terry Alvord Sidney Chen Clifton Massey Adam Cole Wendy Buzby Jeff Fields Marcia Roy Jonathon Hampton Colby Smith Tom Hart Meghan Spyker Jeff Phillips Heidi Waterman Chung-Wai Soong Celeste Winant

PLAYBILL PROGRAM NOTES

ENDNOTES

you won’t get a wild, heroic ride to heaven on pretty little sounds. George Ives

LAST WORD , a final reckoning, and a grand Désordre : The right hand plays on the white Afinale. The works on this program, each in keys, the left on the black keys; rhythmic its way, is a summation. In his Piano Études alignment is subjected to gradual displace - Ligeti tackles a genre dedicated to ultimate dif - ment leading to “seemingly chaotic configu - ficulties; Ives contemplates the divine in cosmic rations” (Ligeti) or “canonic collapse” (Denk). time, and Beethoven, in an act of cosmic chutz - Cordes à vide : Open fifths provide princi - pah, writes a curtain call to end all curtain calls. pal harmonic and melodic material that pro - In an essay accompanying his recording of duce a floating sensation suggestive of the first two books of Ligeti’s Piano Études Debussy with polyrhythmic interchange be - Jeremy Denk makes his own summation of tween the hands. their significance as a “crowning achievement Touches bloqueés : Several keys are held of [Ligeti’s] career and of the piano literature,” down by one hand, while the other plays chro - although he goes on to add: matic scales, resulting in surprising rhythmic patterns; false octaves dominate the short cen - But one stroke of their genius is under - tral section. appreciated: the way Ligeti cele brates Fanfares : Horn fanfares against a steady eight- the genre’s perversity, repurposes it in note ostinato in which rhythmic displacement into wild, unheard-of art. Drawing and irregular accents play a prominent role. inspiration from the étude’s mostun - Arc-en-ciel : Ligeti called this “almost a jazz promising attributes—obsessions, piece” inspired by Bill Evans and exploiting monotony, ad infinitum repetition, the inherent harmonic ambiguities of seventh mathematical dryness—he fearlessly chords. redeems them. Automne à Varsovie : Multiple descending chromatic lines (as a gesture of lament) give Each of these études addresses an aspect of the illusion that the pianist is playing “simul - piano technique that in the words of Karol taneously at two, three, sometimes four dif - Berger blends “anarchic slapstick with me - ferent speeds” (Ligeti). chanical terror.” In the process Ligeti tips his hat Galamb borong : This is “pseudo-Gamelan to distinguished predecessors, including music,” its title “nonsense Balinese” (Ligeti), Scarlatti, Chopin, Schumann, and Debussy, again recalling Debussy, who was likewise takes in what he’s learned about the rhythmic infatuated with the gamelan. polyphony from the music of sub-Saharan Fém : Highly syncopated, jazzy, and with ad Africa (not to mention Conlon Nancarrow), libitum accentuation, the two hands play pat - and incorporates a few ideas from fractal terns of varied lengths ( 9 against 8) with con - geometry. Rhythm is his central preoccupation tinuously shifting alignments. Open fifths. and Ligeti describes these études as a meeting Vertige : This “most fiendish Étude of all” between “the meter-dependent hemiola as used (Denk) consists of a series of descending chro - by Schumann and Chopin and the additive matic scales of varied lengths entering at pulsation principle of African music.” “That irregular intervals. which is eminently new in my piano études,” he Der Zauberlehrling : Staccato patterns with concludes, “is the possibility of a single inter - constantly shifting accents. preter being able to produce the illusion of sev - En suspens : A graceful piece (“my personal eral simultaneous layers of different tempi.” favorite,” Denk), in which shifting accents and

CAL PERFORMANCES PROGRAM NOTES phrase lengths upset the flowing 6 against 4 mercy; that we may rejoice and be glad all our in the two hands. days”) to bring the psalm to a reverential close. Entrelacs : This etude, somewhat akin to Automne à Varsovie , features multiple metric * * * layers moving from utmost simplicity to com - On December 22, 1808, Beethoven organized a plexity. monster concert that presented, in order, pre - L’escalier du diable : An etude that “has that mières of the Sixth Symphony, the concert aria great Escher feeling of always ascending, “Ah, Perfido,” the Gloria from the Mass in C, the never descending—a musical trick, a kind of Fourth Piano Concerto…and after an inter - thrilling illusion” (Denk) with bell-like into - mission the Fifth Symphony, the Sanctus and nations concluding with the devil’s own inter - Benedictus from the same Mass, a piano im - val, the tritone. provisation, and in conclusion a “Fantasia for the piano which ends as a finale with the grad - * * * ual entrance of the entire orchestra and finally the introduction of choruses.” Whew! The idea According his wife, Ives regarded his Psalm 90 was to create a finale that combined all the “the only one of his works that satisfied him.” evening’s performers, but the hastily written This may seem curious because it contains work was poorly rehearsed and in performance none of the more obvious elements we associate broke down in chaos and had to be started again. with Ives’s music—quotations, polyrhythms, The opening C minor piano solo may or textural counterpoint—and its overall form and may not represent what Beethoven impro - textures can be traced back to his studies at vised that evening, because it was only writ - yale, during which he was active as a church ten out in 1809. After a tentative dialogue organist and much influenced by his teacher between piano and orchestra the work’s Horatio Parker and the church music of theme, based on a lover’s lament from 1795, Dudley Buck. Nonetheless, this Psalm, with its emerges in the piano and is then subjected to meditation on man’s transience within the a series of variations, including a bracing sweep of everlasting time, held great meaning march. A return to the initial orchestra–piano for Ives. His setting, for all its traditional as - dialogue prepares the way for an entrance of pects, is harmonically adventurous, including the soloists and chorus extolling the glories of dramatic clusters at verse 9 (“For all our days music, nature, God’s grace, and the union of are passed away in thy wrath: we spend our love and power. In all, a delightful, if idiosyn - years as a tale that is told”). In the short organ cratic work that seems both to look back to introduction Ives introduces five sonorities that the folk-like innocence of The Magic Flute and will be associated with principal subjects of the ahead to the grandiose “Ode to Joy” of the Psalm: “The Eternities,” “Creation,” “God’s Ninth Symphony, with which it shares nu - wrath against sin,” “Prayer and Humility,” and merous similarities of structure, sentiment, “Rejoicing in Beauty and Work,” at which point and not least in the uplift of its theme. we hear distant bells that will re-enter as of verse 14 verse (“O satisfy us early with thy © Christopher Hailey

PLAYBILL FESTIVAL PARTICIPANTS

One of America’s most and Baltimore, as well as with the Saint Paul thought-provoking, multi - Chamber Orchestra, leading from the key - faceted, and compelling board. This summer, Mr. Denk returns to the artists, pianist Jeremy Tanglewood Festival to perform the Denk is the winner of a “Goldberg” Variations, and plays Beethoven’s 2013 MacArthur First Piano Concerto with the Philadelphia Fellowship, the 2014 Orchestra. As Music Director of the 2014 Ojai Avery Fisher Prize, and Music Festival, he serves both as curator and Musical America ’s 2014 Instrumentalist of the performer, and has written the libretto to a year award. He has appeared as soloist with comic opera, The Classical Style: An Opera (of the Los Ang eles Philharmonic, the Sorts) , by Pulitzer Prize –winning composer Philadelphia Orchestra, and the symphony Steven Stucky. Inspired by Charles Rosen’s orchestras of Boston, Chicago, San Francisco, eponymous seminal text, the opera—a co- and London, and regularly gives recitals in commission of the Ojai Music Festival, New york, Washington, Boston, Philadelphia, Carnegie Hall, Cal Performances, and the and throughout the United States. Next sea - Aspen Music Festival—features the characters son, he looks forward to launching a four-sea - of Haydn, Mozart, and Beethoven. Carnegie son tenure as an Artistic Partner of the Saint Hall and the Aspen Festival will present the Paul Chamber Orchestra; making debuts with opera i n 2014–2015. the Cleveland Orchestra under Susanna Mr. Denk is known for his original and in - Mälkki and the New york Philharmonic led sightful writing on music, which Alex Ross by Esa-Pekka Salonen; appearing as a soloist praises for its “arresting sensitivity and wit.” with the Los Angeles Philharmonic and San The pianist’s writing has appeared in The New Francisco Symphony; and performing Bach Yorker , The New Republic , The Guardian , and concertos on tour with the Academy of on the front page of The New York Times Book St Martin in the Fields. Future engagements Review . One of his New Yorker contributions, also include a return to the Wigmore Hall, “Every Good Boy Does Fine,” forms the basis and his recital debut at the Concertgebouw of a memoir he is writing for future publica - in Amsterdam playing the “Goldberg” tion by Random House. Recounting his Variations, which he will also perform as part experiences of touring, performing, and prac - of the Barbican’s season at LSO St. Luke’s, and ticing, his blog, Think Denk, was recently se - throughout Europe, including performances lected for inclusion in the Library of Congress at Piano aux Jacobins, the Rheingau Musik web archives. For his work as a writer and pi - Festival, and the Thüringer Bachwochen. anist, Out magazine included Mr. Denk on its To coincide with the release of his second “Out 100 ” list celebrating the most compelling Nonesuch Records album, Bach: Goldberg people o f 2013. Variations , Mr. Denk opened the 2013–2014 In 2012, Mr. Denk made his Nonesuch season with performances of the “Goldbergs” debut with a pairing of masterpieces old and in Boston, Chicago, and Washington; the new: Beethoven’s final Piano Sonata No. 32, album reached number one on Billboard ’s Op. 111, and György Ligeti’s Études. The Classical Chart and was featured in “Best of album was named one of the best of 2012 b y 2013 ” lists by The New Yorker and The New The New Yorker , NPR, and The Washington York Times . Other season highlights included Post , and Mr. Denk’s account of the Beethoven his return to Car negie Hall to play Mozart’s sonata was selected by BBC Radio 3’s Building Piano Concerto No. 25 on tour with the San a Library as the best available version Francisco Symphony and Michael Tilson recorded on modern piano. Mr. Denk has a Thomas, and performances of the concerto longstanding attachment to the music of with the symphony orchestras of Cincinnati American visionary Charles Ives, and his

CAL PERFORMANCES FESTIVAL PARTICIPANTS recording of Ives’s two piano sonatas featured and the New york Philharmonic débuting it in many “best of the year” lists. In March in New york two months later. The 2013– 2012 , the pianist was invited by Michael 2014 season also offered world premières of Tilson Thomas to appear as soloist in the San Mr. Stucky’s orchest ral song cycle, The Stars Francisco Symphony’s American Mavericks and the Roses (2012 ), as part of his yearlong festival, and he recorded Henry Cowell’s residency at the Berkeley Symphony; Say Piano Concerto with the orchestra. Having Thou Dost Love Me (2012 ) for a cappella cho - cultivated relationships with many living rus; and Take Him, Earth (2012) scored for ac - composers, he currently has several com mis - companied chorus, which commemorates the sioning projects in progress. 50th anniversary of the Kennedy assassina - Mr. Denk has toured frequently with vio - tion. Among other season highlights were linist Joshua Bell, and their recently released high-profile repeat performances of his sym - Sony Classical album, French Impressions , won phonic poem Silent Spring (2011), which the the 2012 Echo Klassik award. He also collab - Pittsburgh Symphony took on a tour of seven orates regularly with cellist Steven Isserlis, and key European cities; the “Elegy” from has appeared at numerous festivals, including August 4, 1964 (2007–2008), which the Dallas the Italian and American Spoleto festivals, Symphony reprised at home and on a three- and the Santa Fe Chamber Music, Verbier, city tour of Germany; and Radical Light Ravinia, Tanglewood, Aspen Music, and (2006–2007), which London’s Philharmonia Mostly Mozart festivals. Orchestra revived in Bonn. Other works by Mr. Denk has earned degrees from Oberlin Mr. Stucky figured prominently in the 2013– College, Indiana University, and the Juilliard 2014 seas on: the chamber works Sonate en School. He lives in New york City, and his web forme de préludes (2003–2004) and Ad site and blog are at jeremydenk.net. Parnassum (1998), with three performances each; and Rhapsodies for orchestra (2008), Steven Stucky is one of with four—two of them courtesy of the Curtis America’s most highly Symphony Orchestra, during the composer’s regarded and frequently Curtis Institute residency next spring. performed living com - February 2012 saw the world and New york posers. Winner of the premières of Mr. Stucky’s Silent Spring by the 2005 Pulitzer Prize for his Pittsburgh Symphony Orchestra, where he Second Concerto for served as Composer of the year 2011–2012, Orchestra, he is a trustee and the New york première of Aus der of the American Academy in Rome, a director Jugendzeit (2010–2011) by baritone Randall of New Music USA, a board member of the Scarlata and the Philadelphia-based Dolce Koussevitzky Music Foundation, and a mem - Suono Ensemble. Also noteworthy in the ber of the American Academy of Arts and 2011–2012 seas on were performances of Son Letters and the American Academy of Arts et lumière (1988 ) by both the New york and Sciences. He is also active as a conductor, Philharmonic and the Pittsburgh Symphony, writer, lecturer, and teacher. conducted by Alan Gilbert and Leonard Mr. Stucky presented a number of impor - Slatkin, respectively; and Funeral Music for tant premières and performances in the 2013– Queen Mary (1992) by the London Symphony 2014 season. As a co-commission by two of under Bernard Haitink. Mr. Stucky also America’s foremost orc hestras, his new, four- served as Composer-in-Residence at the 2012 movement Symphony (2012) was showcased Music from Angel Fire Festival. twice, with Gustavo Dudamel leading its world Notable world premières in recent seasons première in the Los Angeles Philharmonic’s include Rhapsodies (2008) by the New york season-opening concerts, and Alan Gilbert Philharmonic at London’s BBC Proms;

PLAYBILL FESTIVAL PARTICIPANTS

August 4, 1964 (2007–2008) by the Dallas (Sarasota), Minnesota, Philadelphia, St. Louis, Symphony Orchestra; the Chamber Concerto St. Paul, and Washington, D.C.; as well as for (2010) by the Saint Paul Chamber Orchestra; Chanticleer, Boston Musica Viva, Camerata and the Piano Quintet (2009 –2010) at Portla nd’s Bern, the Raschèr Saxophone Quartet, the Chamber Music Northwest festival. Mr. Stucky Koussevitzky Music Foundation, the Barlow was also honored with a 60th-birthday concert Endowment, the Howard Hanson Institute of at Cornell University, where he is pro fessor of American Music, Carnegie Hall, the BBC, the composition. His Pulitzer Prize –winning Aspen Music Festival, the Singapore Symphony, Second Concerto for Orchestra—described by and the Percussive Arts Society; and for such The New York Times as “an electrifying celebrated solo artists as pianist Emanuel Ax, piece”—was commissioned and premièred by recorder soloist Michala Petri, guitarist Manuel the Los Angeles Philharmonic in 2004. Barrueco, baritone Sanford Sylvan, percussion - For over 20 years, Mr. Stucky enjoyed the ist Evelyn Glennie, and cellist Elinor Frey. longest relationship on record between a com - Mr. Stucky’s music has also been performed poser and an American orchestra: in 1988 by the American youth Symphony, Bavarian André Previn appointed him Composer-in- Radio Symphony, BBC Symphony, Boston Residence of the Los Angeles Philharmonic; Symphony, Chicago Chamber Musicians, later, as the ensemble’s Consulting Composer Cleveland Orchestra, Colorado Symphony, for New Music, he worked closely with Music Copenhagen Philharmonic, Da Camera of Director Esa-Pekka Salonen on contemporary Houston, Danish National Symphony, Deutsches programming, the awarding of commissions, Symphonie-Orchester Berlin, Frankfurt Radio and programming for nontraditional audi - Symphony, the Handel and Haydn Society, ences. He also founded the orchestra’s Hartford Symphony, Helsinki Radio Symphony, Composer Fellowship Program for high school- Houston Symphony, Irish National Orchestra, aged composers. Elsewhere, he hosted the New London Sinfonietta, London Symphony, york Philharmonic’s acclaimed Hear & Now Munich Philharmonic, the Nash Ensemble, pre-concert programs for several seasons, New World Symphony, Philharmonia Orchestra, introducing important works and premières Phoenix Symphony, St. Petersburg Chamber to Philharmonic audiences. Other prominent Philharmonic, San Francisco Symphony, Seoul residencies were with the American Academy Philharmonic, Stuttgart Chamber Orchestra, in Rome, June in Buffalo, Lehigh University, Swedish Radio Symphony, Syracuse Symphony, University of South Carolina, University of Tanglewood Music Center Orchestra, Toronto Illinois at Urbana-Champaign, Eastman Symphony, Tucson Symphony, and many more. School of Music, and the University of Georgia. Steven Mr. Stucky’s Cradle Songs and Internationally, there were residencies with the Whispers were commissioned and recorded by Pontificia Universidad Javeriana in Bogotá, Chanticleer, the San Francisco-based male a Colombia; the Swedish Collegium of Advanced cappella choir. The two discs were Billboard - Studies; the Central Conservatory of Music, charting bestsellers, and both won Grammy Beijing; the Shanghai Conservatory; and the Awards. Mr. Stucky’s extensive discography also Taipei National University of the Art s. In contains Ad Parnassum ; August 4, 1964 ; Boston March 2012, Mr. Stucky held a residency at the Fancies ; Dialoghi ; Fanfares and Arias ; Music for Cleveland Institute of Music; in the 2012–2013 the Funeral of Queen Mary (after Purcell); Music season, he is the Music Alive Resident for Saxophones and Strings ; Nell’ombra, nella Composer at the Berkeley Symphony. luce ; Partita-Pastorale , after J. S. Bach; Pinturas Mr. Stucky has also fulfilled commissions for de Tamayo ; Sappho Fragments ; Second Concerto many other major American orchestras, for Orchestra ; Serenade for Wind Quintet ; Son et including those of Baltimore, Chicago, lumière ; Spirit Voices ; Threnos ; Three New Cincinnati, Dallas, Florida West Coast Motets ; and Voyages .

CAL PERFORMANCES FESTIVAL PARTICIPANTS

An active teacher and mentor to young universities with Richard Willis, Robert composers, Mr. Stucky has served on the Palmer, Karel Husa, and Burrill Phillips. Warsaw jury of the Witold Lutosławski Competition for Composers. His expertise on the late composer’s music has been recognized with the Lutosławski Society’s medal and an ASCAP Deems Taylor Award for his critical biography, Lutosławski and His Music (1981). He is consultant to the Philharmonia Orchestra’s 2013 centennial celebrations of the composer in London. As conductor, Mr. Stucky has frequently led the Los Angeles Philharmonic New Music Group and Ensemble X, a contemporary music group he founded in 1997. With the former, he The Knights are an orchestral collective, flex - led soloist Michala Petri in the U.S. première of ible in size and repertory, dedicated to trans - his recorder concerto, Etudes (2002), and con - forming the concert experience. Driven by an ducted world and regional premières of works open-minded spirit of camaraderie and ex - by many of his contemporaries, such as Donald ploration, they engage listeners and defy Crockett, Jacob Druckman, William Kraft, boundaries with programs that encompass Witold Lutosławski, Christopher Rouse, Joseph their roots in the classical tradition and pas - Phibbs, and Judith Weir. sion for musical discovery. For their out - Mr. Stucky was Composer-in-Residence of standing virtuosity, innovative programs, and the Aspen Music Festival and School in 2001 bold mission, The Knights are at the forefront and 2010, director of the Aspen Contemporary of “the future of classical music in America” Ensemble in 2005, and the first Barr Institute (Los Angeles Times ). Composer Laureate appointed at the The Knights’ 2013–2014 season featured a University of Missouri at Kansas City. Among collaboration with the Mark Morris Dance his other honors are a Guggenheim Fellowship, Group at Austin’s Texas Performing Arts; a a Bogliasco Fellowship, the Goddard Lieberson weeklong residency at Dartmouth College; re - Fellowship of the American Academy of turn engagements at Ravinia, Caramoor, and Arts and Letters, the ASCAP Victor Herbert Central Park’s Naumburg Orchestral Concerts; Prize, and fellowships from the National and a continued partnership with WQXR- Endowment for the Arts, the American New york Public Radio. In October, The Council of Learned Societies, and the National Knights premièred a Concerto for Violin, Endowment for the Humanities. His first Santur, and Orchestra by Artistic Director Concerto for Orchestra was one of two final- Colin Jacobsen and Silk Road virtuoso Siamak ists for the 1989 Pulitzer Prize in Music. Aghaei, followed by a performance and live Mr. Stucky has taught at Cornell University recording at Dumbarton Oaks in Washington, since 1980, chaired the Music Department D.C., featuring Stravinsky’s “Dumbarton from 1992 to 1997, and now serves as Given Oaks” Concerto on the work’s 75th anniver - Foundation Professor of Composition. He has sary. Spring highlights include a Eu ropean been Visiting Prof essor of Composition at the tour and the orchestra’s début at the renowned Eastman School of Music and Ernest Bloch Ojai Music Festival, Cal Performances, and Professor at UC Berkeley. the Tanglewood Music Festival. Born on November 7, 1949, in Hutchinson, Previous season highlights include collabo - Kansas, Mr. Stucky was raised in Kansas and rations with yo-yo Ma, Itzhak Perlman, Dawn Texas. He studied at Baylor and Cornell Upshaw, the Joshua Redman Quartet, and pipa

PLAYBILL FESTIVAL PARTICIPANTS virtuoso Wu Man, and the creation of a collec - Aubrey Allicock (bass- tive composition by members of the orchestra. baritone ) makes his In December 2012, Artistic Directors Colin Metropolitan Opera and Jacobsen and Eric Jacobsen were selected from HD broadcast début this among the nation’s top visual, performing, fall as Mamound in The media, and literary artists to receive a presti - Death of Klinghoffer ; a gious United States Artists Fellowship. Recent Seattle Opera début in the recordings include an all-Beethoven disc re - title role of Le nozze di leased in January 2013 by Sony Classical (their Figaro ; and his Komische Oper Berlin début third project with the label), and 2012’s as Escamillo in Carmen in 2015 . Recently he “smartly progr ammed” (NPR) A Second of premièred the role of young Emile in Terence Silence (Ancalagon.) Blanchard’s Champion with Opera Theatre of The roster of The Knights boasts a remark - St. Louis. He holds degrees from the Juilliard able diversity of talents, including composers, School, Indiana University, and Grand arrangers, singer-songwriters, and improvis - Canyon University. ers who bring a range of cultural influences to the group, from jazz and klezmer to pop and Timo Andres is a com - indie rock music. The Knights evolved from poser and pianist who grew late night chamber music reading parties with up in rural Connecticut friends at the home of violinist Colin Jacobsen and now lives in Brooklyn, and cellist Eric Jacobsen. The Jacobsen broth - New york. His début ers, who are also founding members of album, Shy and Mighty , Brooklyn Rider, serve as artistic directors of which features ten interre - The Knights, with Eric Jacobsen as conductor. lated pieces for two pianos The unique camaraderie within the orchestra performed by himself and pianist David retains the intimacy and spontaneity of cham - Kaplan, was released by Nonesuch Records in ber music in performance. May 2010 to immediate critical acclaim. Of For more information, please visit the disc, Alex Ross wrote in The New Yorker TheKnightsNyC.com. that Shy and Mighty “achieves an unhurried grandeur that has rarely been felt in American The Ojai Festival Chorus is made up of some music since John Adams came on the of the finest choral singers in the United States. scene…more mighty than shy, [Andres] Selected for their vocal quality, precision, in - sounds like himself.” tonation, expression, ear training, and per - Mr. Andres’s new works include a piano quin - forming experience, these singers are former tet for Jonathan Biss and the Elias String Quartet, and/or current singers with the most demand - commissioned and presented by Wigmore Hall, ing choral organizations, including the San Carnegie Hall, the Concertgebouw Amsterdam Francisco Symphony Chorus, American Bach and San Francisco Performances; a solo piano Soloists, Philharmonia Baroque Chorale, San work for Kirill Gerstein, commissioned by the Francisco Opera, Clerestory, Spire Chamber Gilmore Foundation; a new string quartet for Ensemble, Artists’ Vocal Ensemble, Seraphic the Library of Congress, premièred by the Fire, Volti, Waverly Consort, and Chanticleer, Attacca Quartet; and a new piece for yMusic. as well as dozens of orchestral and choral en - Upcoming commissions include a major work sembles around the world. for Third Coast Percussion and an ensemble song cycle to be premièred by himself, Gabriel Kahane, Becca Stevens, Ted Hearne, and

CAL PERFORMANCES FESTIVAL PARTICIPANTS

Nathan Koci at the Ecstatic Music Festival, and presented by the Saint Paul Chamber Orchestra’s Liquid Music series. Recent highlights include solo recitals at Lincoln Center, Wigmore Hall, (Le) Poisson Rouge, and San Francisco Performances; a weekend of performances in Los Angeles, fea - turing a new work for the Los Angeles Chamber Orchestra and a performance of his re-composition of the Mozart “Coronation” Concerto; and performances of Crashing Hailed as “the future of chamber music” Through Fences by eighth blackbird. Collab- (Strings ), Brooklyn Rider offers eclectic reper - orative projects of the past season include a duo toire in gripping performances that continue to program with Gabriel Kahane at the Library of attract legions of fans and draw rave reviews Congress, and a world première performance from classical, world, and rock critics alike. of selected Philip Glass Etudes, alongside the During the 2013–2014 season, Brooklyn Rider composer, as part of Nico Muhly’s A Scream joined forces with banjo legend Béla Fleck on and an Outrage at the Barbican. Deutsche Grammophon/Mercury Classics Mr. Andres earned both his bachelor’s and album The Impostor and on a 20-city North master’s degrees from yale, and in addition to American tour. Other season highlights in - music, he has worked occasionally as a profes - cluded collaborations with soprano Dawn sional graphic and web designer. He is one Upshaw during residencies at the University of sixth of the Sleeping Giant composers’ collec - Texas at Austin and the University North tive, and performs regularly with ACME. He Carolina at Chapel Hill. This summer brings the has received awards from the American eighth season of the Stillwater Music Festival, a Academy of Arts and Letters, BMI, and weeklong chamber festival in Minnesota ASCAP, as well as grants from New Music founded by the group in 2006 as a place to un - USA and the Copland Fund. A new album of veil new repertoire and collaborations. The his orchestral works, Home Stretch , was re - quartet celebrates its tenth anniversary this fall leased by Nonesuch Records in 2013. with the Brooklyn Rider Almanac , a multidisci - plinary project centered around an album of the Dominic Armstrong same name. (tenor ) is a winner of the The quartet has been increasingly active in 2013 George Lon don Foun - the recording studio, including 2013’s A dation Vocal Com pe tition. Walking Fire on Mercury Classics and the This season, he appears with much-praised Brooklyn Rider Plays Philip Glass the New york Philhar - on the composer’s Orange Mountain Music monic (Britten’s Spring label. Violinist Johnny Gandelsman launched Symphony ), the Northwest In A Circle Records i n 2008 with the release of Indiana Symphony (Cavaradossi in Tosca ), the Brooklyn Rider’s eclectic début recording, Philadelphia Orchestra/Opera Philadelphia Passport , followed by Dominant Curve in 2010 (First Jew in Salome ), Boston Symphony (Third and Seven Steps in 2012. A longstanding rela - Jew in Salome ), Oregon Symphony (Holiday tionship between Brooklyn Rider and Kayhan Concerts), the Symphony in C and Princeton Kalhor resulted in the critically acclaimed 2008 Symphony (Britten’s Serenade ), and in recital recording Silent City . with Christine Brewer and Craig Rutenberg with the George London Foundation.

PLAYBILL FESTIVAL PARTICIPANTS

Uri Caine (piano, com - Barry Altschul, the Woody Herman band, and poser ) was born in Phila - the Master Musicians of Jajouka. He has re - delphia and began studying ceived grants from the National Endowment piano with Bernard Peiffer. for the Arts, the Pew Foundation, and the He played in bands led by USA Artist Fellowships. He has performed at Philly Joe Jones, Hank many festivals, including the North Sea, Mobley, Johnny Coles, Monterey, Montreal, and Newport Jazz festi - Mickey Roker, Odean Pope, vals, as well as classical festivals like the Bootsie Barnes, Bobby Durham, and Grover Salzburg Festival, the Munich Opera, Holland Washington. He attended the University of Festival, IRCAM, and Great Performers at Pennsylvania and studied music composition Lincoln Center. He lives in New york City with George Rochberg and George Crumb. with his wife Jan. Since moving to New york i n 1985, he has recorded 25 albums as a leader. Recent CDs in - The Uri Caine Ensemble met in New york City clude Sonic Boom with Han Bennink (816 during the recording of Urlicht/Primal Light in Music, 2013), Rhapsody in Blue (Winter & 1997 . Following its release, the group began of - Winter, 2013 ) and Callithump (Winter & ficially playing together and embarked on a Winter, 2014 ). He has recorded projects with tour of Europe. Since then, the Ensemble has his ensemble performing arrangements of recorded two additional Mahler albums, Live Mahler, Wagner, Verdi, Schumann, and Bach. in Toblach (1999 ) and Dark Flame (2003 ), as Mr. Caine also leads an acoustic trio that has well as Wagner e Vanezia (1997), The Sidewalks made several recordings, including Live at the of New York (1999 ), The Goldberg Varations Village Vanguard (Winter & Winter) as well as (2000), Love Fugue (2000), Uri Caine Ensemble his electric Bedrock trio. He was nominated for Plays Mozart (2007), The Othello Syndrome a Grammy Award for the Othello Syndrome (2008) , and Rhapsody in Blue (2013 ). All were (Winter & Winter) in 2009 . recorded for Winter & Winter. The Ensemble Mr. Caine has received commissions to com - has also played in numerous jazz and classical pose music for the American Composers festivals throughout the world, including the Orchestra, the Arditi Quartet, the Vienna North Sea and Umbria jazz festivals, the Village Volksoper, Concerto Köln, the Basel Chamber Vanguard in New york City, and the Salzburg, Orchestra, and the Beaux Arts Trio, among oth - Holland, and Lucerne festivals, and Great ers. Recent compositions include Jagged Edges , Performers at Lincoln Center. a piano quintet written for the Afiara String Quartet, and a new piece for the Philadelphia Rachel Calloway (mezzo- Orchestra and gospel choir celebrating the life soprano ) has focused her of Octavius Catto, to be performed in the sum - performing career on liv - mer of 2014. In 2006–2009 he was the com - ing composers whose poser in residence for the Los Angeles Chamber works champion their cel - Orchestra. He has performed his version of the ebrated mentors. Included “Diabelli” Variations with orchestras including among them are Kaija the Cleveland Orchestra, the Swedish Chamber Saariaho, Unsuk Chin, Orchestra, and the Moscow Chamber Mohammad Fairouz, Oliver Knussen, George Orchestra. Mr. Caine was the director of the Crumb, Toshio Hosokawa, Nico Muly, Steven Venice Bienalle in 2003. Stucky, Georg Friedrich Haas, and Donnacha During the past several years, he has Dennehy. She has performed with Ensemble worked in groups led by Don Byron, Dave Signal, Alarm Will Sound, JACK, BAM Next Douglas, John Zorn, Arto Lindsay, Terry Wave Festival, Prototype Festival, Berkeley Gibbs and Buddy DeFranco, Sam Rivers, Symphony, Gotham Chamber Opera, Castleton

CAL PERFORMANCES FESTIVAL PARTICIPANTS

Festival, Tulsa Opera, Glimmerglass Festival, included classical, jazz, and pop repertoire. He Los Angeles Philharmonic, and Cal Arts. has prepared singers for conductors such as Michael Tilson Thomas, Kurt Masur, Robert Grace Fong (piano ) is a Spano, Gustavo Dudamel, David Robertson, prize-winning pianist with James Conlon, Charles Dutoit, Herbert an international career as a Blomstedt, Donato Cabrera, Don Davis, Marcus concerto soloist, recitalist, Shelby, Vance George, Jeffrey Thomas, Michael chamber musician, and Morgan, Roberto Tibiriça, and Constantine contemporary key - Orbelian. Along with the San Francisco Girls boardist. She has been fea - Chorus, PBA recorded Mahler’s Third Sym - tured at major venues from phony with the San Francisco Symphony, which Weill Hall at Carnegie Hall to the Kennedy was awarded the Grammy f or Best Classical Center, the Phillips Collection, the Hollywood Album in February 2004. In January 2010, the Bowl, the Great Hall in Leeds, Reinberger Hall SFS recording of Mahler’s Eighth Symphony, at Severance Hall, the Liszt Academy in featuring the San Francisco Symphony Chorus, Budapest, and the Konzerthaus in Dortmund, the San Francisco Girls Chorus, and PBA, was Germany. Her radio and television broadcasts awarded Grammys for Best Choral Per- have included the BBC, NPR’s Performance formance and Best Classical Album . Today , WCLV-FM in Cleveland, KUSC-FM in Mr. Fox holds a degree in music from Los Angeles, and the “Emerging young Artists” Wesleyan University, where he received the series in New york. She has performed as a Lipsky Prize for outstanding scholarship in soloist with the Halle Orchestra in the United choral studies. Mr. Fox worked for the Kingdom, the Polish Chamber Orchestra, the American Boychoir and, as a countertenor, has Indianapolis Chamber Orches tra, the sung with the choirs of Trinity Church New Indianapolis Symphony Orchestra, the Music Haven, Trinity Church Princeton, American Academy of the West Festival Orchestra, the Bach Soloists, Philharmonia Baroque Chorale, Olympia Philharmonic Orchestra, the and the Grace Cathedral Choir in San Shreveport Symphony, the Chamber Orchestra Francisco, where he also has served as interim of Southwest Virginia, and the New Hampshire assistant choirmaster. In the past twelve Music Festival Orchestra, among others. months, Mr. Fox has conducted PBA in events that have included the Nelson Mandela Kevin Fox (conductor ), Memorial Service in Washington, D.C., and founding artistic director of Major League Baseball playoffs. the Grammy-winning Pacific Boychoir Academy (PBA), is one of America’s few full-time boys choir di - rectors. The Los Angeles Times called PBA’s musical sophistication and quality of sound “astonish - ing.” Starting in 1998 with six choristers, Mr. Fox now runs the music program for over 170 students in PBA’s after-school program and day school, the only full-time choir school on the West Coast, where students’ daily music studies are integrated into a full academic curriculum. Though the six-man ensemble Hudson Shad Mr. Fox has conducted Pacific Boychoir in (five singers and a pianist) débuted officially hundreds of concerts and recordings that have in 1992, their nucleus formed in 1977 when

PLAYBILL FESTIVAL PARTICIPANTS three of them made their Carnegie Hall Coast on a Community Concerts tour, singing débuts as soloists in Penderecki’s Magnificat. everywhere from Redondo Beach to Bishop. In 1989, the Arts at St. Ann’s in Brooklyn In 1999, Hudson Shad was featured on asked bass Wilbur Pauley to contract a quar - Broadway in a musical tribute to the tet to perform as The Family in Kurt Weill’s Comedian Harmonists: Band in Berlin . In The Seven Deadly Sins with Marianne October 2013, Huds on Shad toured the Faithfull. The response was favorable. Midwest for the fourth time under the aus - Over the last quarter century, Hudson Shad pices of Allied Concert Services. has most likely racked up more performances as The Family in The Seven Deadly Sins than Hailed by The New York any other group in history. They have per - Times as “an interpretive formed in almost 40 different locations, from dynamo,” conductor and Arezzo to Zagreb, numbering over 100 per - cellist Eric Jacobsen has formances worldwide. They participated in a built a reputation for en - staging of the work, in a double bill with Weill’s gaging audiences with in - Der Lindbergflug , at the Macerata Festival. novative and collaborative They have twice recorded the work, once with projects. As co-founder and Kurt Masur and the New york Philharmonic artistic director of the adventurous orchestra and once with Ms. Faithfull, Dennis Russell The Knights and a founding member of the Davies and the RSO- Wien. In 2008, Hudson genre-defying string quartet Brooklyn Rider, Shad was honored to participate in the Mr. Jacobsen—along with his brother, violinist Carnegie Hall première of the work, with Ute Colin Jacobsen—was awarded a prestigious Lemper and the Toronto Symphony. United States Artists Fellowship in 2012. Other orchestra appearances by Hudson The Jacobsens founded The Knights to fos - Shad have featured more Weill: Kleine ter the intimacy and camaraderie of chamber Mahagonny with the Saint Paul Chamber music on the orchestral stage; as The New Orchestra and Aufstieg und Fall der Stadt Yorker reports, “few ensembles are as adept at Mahagonny at the Salzburg Festival. The mixing old music with new as the dynamic Schubert bicentennial found Hudson Shad re - young Brooklyn orchestra.” As artistic direc - turning to the New york Philharmonic for or - tor, he has led the “consistently inventive, in - chestral works with men’s voices, and they fectiously engaged indie ensemble” ( New York performed Schubert songs using the Reger or - Times ) at venues ranging from Carnegie Hall chestrations with the Bruckner Orchester in to Central Park, as well as the Dresden Linz. Hudson Shad débuted with the Atlanta Musikfestspiele to the National Gallery of Symphony Orchestra as “Wild Things” in Dublin. Frequent collaborators of The Oliver Knussen’s Where the Wild Things Are , Knights include violinist Itzhak Perlman, so - conducted by the composer. They have devel - prano Dawn Upshaw, cellists yo-yo Ma and oped their own English translation of Jan Vogler, and pipa virtuoso Wu Man. Under Stravinsky’s Renard and have performed it Mr. Jacobsen’s baton, The Knights released with Charles Dutoit at the Miyazaki Festival three albums on Sony Classical— Jan Vogler and at the Saratoga Performing Arts Center. and The Knights Experience: Live from New Hudson Shad always enjoys performing in York , New Worlds , and an all-Beethoven the Golden State. They’ve sung the Sins with album including the Triple Concerto and the the San Francisco Symphony (twice), Los Fifth Symphony—and the “smartly pro - Angeles Philharmonic, Santa Rosa Symphony, grammed” (NPR) A Second in Silence on Pacific Symphony Orchestra, and they’re de - Ancalagon. We Are The Knights , a documen - lighted to add Ojai an d Berkeley to the list. In tary film produced by Thirteen/WNET, pre - 2003, Hudson Shad ranged over the West mièred in September 2011.

CAL PERFORMANCES FESTIVAL PARTICIPANTS

Also in demand as a guest conductor, Kim Josephson (baritone ) Mr. Jacobsen led Camerata Bern in the first is a regular guest of leading European performance of Mark O’Connor’s opera companies, including American Seasons , with the composer as the Metropolitan Opera soloist. Last season he directed the Detroit where, since 1991, he has Symphony Orchestra, Alabama Symphony, performed more than 240 Silk Road Ensemble at Chicago’s Orchestra performances of 28 roles, Hall, and the ProMusica Chamber Orchestra. including the title role in This season Mr. Jacobsen conducts at Rigoletto , Germont in La Traviata , Enrico in Dresden’s Moritzburg Festival Academy with Lucia di Lammermoor , and Belcore in L’Elisir Midori as soloist, leads the Greater Bridgeport d’Amore . He has also appeared at Lyric Opera Symphony, and returns to the Alabama of Chicago, Seattle Opera, Minnesota Opera, Symphony Orchestra, in addition to perform - Washington National Opera, Houston Grand ances across the United States and Germany Opera, Baltimore Opera, Cincinnati Opera, with The Knights. Fort Worth Opera, Pittsburgh Opera, A dedicated chamber musician, he is a Connecticut Opera, the Spoleto Festival USA, member of yo-yo Ma’s venerated Silk Road Sarasota Opera, and Tulsa Opera. In Canada, Project, participating in residencies and per - he has appeared with the Vancouver Opera formances at the Art Institute of Chicago, the and Opera Hamilton. In Europe, he has ap - Hollywood Bowl, Carnegie Hall, and across peared on the stage of Vienna State Opera and North America, Europe, and Asia. As a found - at the Rome Opera. ing member of Brooklyn Rider, dubbed “one He has created three new principal operatic of the wonders of contemporary music” ( Los characters: Eddie Carbone in William Angeles Times ), Mr. Jacobsen has taken part in Bolcom’s A View from the Bridge , Fred Jesson a wealth of world premières and toured ex - in André Previn’s Brief Encounter, and Billy tensively in North America and Europe. His Harris in Stephen Schwartz’s new opera, numerous recordings with the two ensembles Seance on a Wet Afternoon . include Brooklyn Rider’s recent A Walking Mr. Josephson’s interpretation of Eddie Fire , which The Boston Globe praised as an Carbone in the world première of A View from “important statement about cultural curiosity the Bridge is available on CD from New World and musical interconnection.” Records. He has also appeared on television in four broadcasts from the Metropolitan Opera, Keith Jameson (tenor ) re - all available on video recording: La Fanciulla cently appeared as del West , Arabella , Carmen , and Billy Budd . Bardolfo in the production of Falstaff at the Storm Large (vocalist ): Metropolitan Opera, con - musician, actor, play - ducted by James Levine, wright, author, awesome. and seen on Live from the She shot to national promi - Met in HD . Other recent nence in 2006 as a finalist engagements include a return to Los Angeles on the CBS show Rock Star: Opera for the Novice in Billy Budd and his Supernova , where, despite début with Seattle Opera as the Four Servants having been eliminated in in Offenbach’s Les Contes d’Hoffmann . He the week before the finale, she built a fan base completes this season with the title role of that follows her around the world to this day. Candide for the São Paulo Symphony Ms. Large spent the 1990s singing in clubs Orchestra in Brazil. throughout San Francisco. Tired of the club

PLAYBILL FESTIVAL PARTICIPANTS scene, she moved to Portland to pursue a new Ms. Large is featured in Rid of Me , a film by career as a chef, but a last minute cancellation Portlander James Westby, starring Katie in 2002 at the Portland club Dante’s turned into O’Grady and Theresa Russel l. In November a standing Wednesday night engagement for and December 2010, she star red at the Mark her and her new band, The Balls. It wasn’t long Taper Forum with Katey Sagal and Michael before she had a cultlike following in Portland, McKean in Jerry Zak’s production of Harps and a renewed singing career that was about to and Angels , a musical featuring the work of be launched onto the international stage. Randy Newman. Ms. Large made her début as guest vocalist with the band Pink Martini i n April 2011, Egyptian native Ashraf singing four sold-out concerts with the Sewailam (bass-baritone )’s National Symphony Orchestra at the Kenne dy voice is “purring and vel - Center in Washington, D.C. She continues to vety…with a majestic perform with the band, touring nationally and tone,” says Opera News . internationally, and she will be featured on Career highlights since his their upcoming CD, Get Happy . Ms. Large has U.S. début i n 2004 i nclude also sung with Grammy-winner k. d. lang, pi - Colline in La bohème , anist Kirill Gerstein, punk rocker John Doe, Leporello in Don Giovanni , Pistola in Falstaff singer/songwriter Rufus Wainwright, and (Seattle Opera); Alidoro in La cenerentola Rock and Roll Hall of Famer George Clinton. (Opera Queensland); Ramfis in Aida (Virginia Ms. Large débuted with the Oregon Opera); Sparafucile in Rigoletto (New Zealand Symphony i n 2010, and has returned for sold- Opera, Cairo Opera); and Soloist in Rutter’s out performances each year thereafter. She Mass of the Children (Carnegie Hall début). made her Carnegie Hall début in May 2013, Mr. Sewailam began his career as a Cairo singing Weill’s Seven Deadly Sins with the Opera Company house soloist, where he per - Detroit Symphony as part of the Spring for formed many roles including Dulcamara in Music festival. The New York Times called her L’Elisir d’Amore , Gaudenzio in Il Signor “sensational,” and the classical music world Bruschino , Ramfis in Aida , Palémon in Thaïs , instantly had a new star. and Sparafucile in Rigoletto . Mr. Sewailam was In 2007, she took a career departure and named a prize-winner at the New Voices in - starred in Portland Center Stage’s production ternational competition (Neue Stimmen) in of Cabaret with Wade McCollum. The show Gütersloh, Germany, and was featured in the was a smash hit, earning Ms. Large glowing opening concert of the New Alexandria reviews. Her next endeavor, the autobio - Library in 2002 si nging Beethoven’s Ninth graphical musical memoir Crazy Enough , Symphony in Arabic. In addition to his singing played to packed house s in 2009 during its engagements, Mr. Sewailam has taught at the unprecedented 21-week sold-out run in American University in Cairo and served as Portland. She went on to perform a cabaret music director for Disney Character Voice version of the show to critical acclaim at the International, dubbing Disney productions Edinburgh Fringe Festival, Adelaide Festival into Arabic as well as performing several of the in Australia, and Joe’s Pub in New york. Her characters himself. He earned his doctorate in memoir, Crazy Enough , was released by vocal performance and pedagogy from the Simon and Schuster in 2012, named Oprah’s University of Colorado at Boulder. Book of the Week, and awarded the 2013 Oregon Book Award for Creative Nonfiction.

CAL PERFORMANCES FESTIVAL PARTICIPANTS

Lauded by Opera Magazine Filarmonica della Scala, BBC Symphony, and UK for her “stylistic mastery Amsterdam’s Royal Concertgebouw Orchestra. and ripe, sensual sound,” He has conducted for Covent Garden, Welsh American mezzo-soprano National Opera, Lyric Opera of Chicago, Peabody Southwell “is Houston Grand Opera, and the 2005 and 2009 going places” ( Los Angeles Seattle Opera Ring cycles. Times ). Recent débuts in - Mr. Spano will make three appearances at clude principal roles with New york’s Carnegie Hall this season in varied Los Angeles Opera, Chicago Opera Theater, programming. This is the fourth consecutive the San Francisco Symphony, and the New season in which Mr. Spano has been presented World Symphony conducted by Michael by the prestigious venue in more than one Tilson Thomas, James Conlon, and Plácido medium—and will mark the eighth time that Domingo. She has premièred many works for he leads his Atlanta Symphony Orchestra contemporary composers including Lee and Chorus in Carnegie Hall’s Isaac Stern Holdridge, Kamran İnce, Bruno Louchouarn, Auditorium. Additional guest appearances are and Thomas Morse, for whom she will create with the Minnesota Orchestra, Cincinnati Frau Schindler in Munich in 2016. Symphony, Orquesta Sinfonia de Galicia, Tampere Philharmonic, and two weeks of Conductor, pianist, com - performances with the Boston Symphony poser, and pedagogue Orchestra. In addition to his work on the Robert Spano is one of the podium and at the piano, he has con tinued to most imaginative talents of focus on composition. In November 2013, his generation. Serving Mr. Spano will release a digital recording of his Atlanta as music director of solo piano work, under water , and a cycle of five the Atlanta Symphony songs written for soprano Jessica Rivera. Orchestra sin ce 2001, he With a discography of critically acclaimed has created a sense of inclusion, warmth, and recordings for Telarc, Deutsche Grammophon, community that is unique among American and ASO Media recorded over nine years, Mr. orchestras As music director of the Aspen Spano has won six Grammy Awards with the Music Festival and School, he oversees the pro - Atlanta Symphony. Musical America ’s 2008 gramming of more than 300 events and edu - Conductor of the year, Mr. Spano is on the fac - cational programs for 630 students, including ulty of Oberlin Conservatory and has received Aspen’s American Academy of Conducting. honorary doctorates from Bowling Green State Under Mr. Spano’s guidance, the ASO and University, the Curtis Institute of Music, Emory audiences explore a creative programming mix. University, and Oberlin. Mr. Spano was in - The Atlanta School of Composers reflects his ducted into the Georgia Music Hall of Fame in commitment to American contemporary 2012 and is proud to live in Atlanta . music, thus defining a new generation of American composers. In hi s 13th season as music Jennifer Zetlan (soprano ) director of the ASO, Mr. Spano has programmed is swiftly garnering recog - five world premières as well as six Atlanta nition for her artistry and pre mières. He has led ASO perform ances at captivating stage presence. Carnegie Hall, Lincoln Center, and at the She has débuted at the Ravinia, Ojai, and Savannah music festivals. Metropolitan Opera, New Guest engagements include the New york and york City Opera, Seattle Los Angeles philharmonics, the San Francisco, Opera, Santa Fe Opera, Boston, Cleveland, Chicago, and Philadelphia and Florida Grand Opera. On stage, she has symphony orchestras, and the Orchestra performed with the New york Philharmonic,

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Saint Paul Chamber Orchestra, Indianapolis levels. She holds an A.B. from Harvard College, Symphony, and the Juilliard Orchestra, and a graduate certificate in movement and design has been heard at Carnegie Hall in recital and from L’École Internationale de Théâtre Jacques with Oratorio Society of New york, Musica Lecoq in Paris, and was the first recipient of the Sacra, and the New york youth Symphony. James S. Marcus Directing Fellowship at Juilliard. Up next: The Abduction from the THE CLASSICAL STYLE Seraglio in Tel Aviv . PRODUCTION TEAM Rakefet Hak (coach/rehearsal pianist ) is the Christopher Allen (assistant conductor )’s ca - music director of UCLA Opera Studio. After reer was launched into national attention when pursuing her bachelor’s degree in music at the he received the Bruno Walter Conducting Hartt School of Music and a master’s in music Award and Memorial Career Grant. He has at the Manhattan School of Music, she became since been a member of the Domingo- one of the youngest and the first Israeli Colburn-Stein young Artist Program at Los coach/assistant conductors to join the Angeles Opera, where his has assisted Plácido Lindemann young Artist Program and the Domingo and James Colon during the past two music staff at the Metropolitan Opera. After seasons. He maintains a working relationship working at the Metropolitan Opera, Ms. Hak with Robert Spano at the Atlanta Symphony has been invited to work nationally and inter - and Cincinnati Opera. He recently added nationally in venues such as the Los Angeles Theater an der Wein to his list of engagements. Opera, Seattle Opera, USC Thornton School of Music, Opera Cleveland, Spoleto Festival, the Mary Birnbaum (director ) is a New york City- New Israeli Opera, Ruhrtriennale Germany, based stage director of theater and opera. Her and Semperoper Dresden. most recent credits include a chamber version of Eugene Onegin at Juilliard, Stephen Emily McDonald (set and lighting designer ) Wadsworth ’s Ring cycle at Seattle Opera (asso - has most recently designed scenery and prop - ciate director), and a new opera, Biennale , at the erties for James Darrah’s productions of Barnes Foundation in Philadelphia. With an in - Agrippina with Opera Omaha and Radamisto terest in dramaturgy, she specializes in new with the Juilliard School. Her credits include music and plays and has created productions designs for the Los Angeles Philharmonic’s for Juilliard, the Melbourne Opera Studio, 200 Motels , sets for Il segreto di Susanna and American Opera Projects, Los Angeles’s Son of L’enfant et les sortilèges , and sets and costumes Semele Theater, the New Museum, and Bryant for Don Giovanni and Albert Herring . She re - Park. She founded and led Art Party Theater cently conceived, directed, and designed a Company, an interactive storytelling perform - staging of Schubert’s song cycle Winterreise . ance group that was hailed as “genius” ( Encore ), Other notable productions include The from 2009 to 2012 . She has also collaborated Adding Machine with J.Ed Araiza, Forgotten with playwrights to develop new plays for Soho World with Shirley Jo Finney, and O.P.C. with Rep, the Playwright’s Realm, and the Old Vic in activist Eve Ensler. London. She has assisted Stephen Wadsworth at Santa Fe Opera ( King Roger ), the Met ( Boris Cameron Jaye Mock (set and lighting de - Godunov ), Manhattan Theater Club ( Master signer )’s work, hailed by the Los Angeles Times Class ), and Seattle Opera ( Amelia ). As the as - as “lyrical expression…in superb scenic and sociate director of the Artist Diploma in Opera lighting design,” includes recent designs for Studies program at Juilliard, Ms. Birnbaum Opera Omaha’s Agrippina and the Juilliard teaches and coaches acting for singers at the School’s Radamisto . His other opera credits in - undergraduate, master’s, and post- graduate clude: Dialogues des Carmélites , Don Giovanni ,

CAL PERFORMANCES FESTIVAL PARTICIPANTS

L’incoronazione di Poppea , the West Coast pre - and The Women of Juarez . Her work can be seen mière of Jonathan Dove’s Flight , Dido and at www.carolinaortizlightingdesign.com. Aeneas , Giasone , La tragédie de Carmen , and the oratorio L’Allegro, il Penseroso, ed il Melissa Trn (costume designer )’s New york the - Moderato . Most recently, Mr. Mock designed ater credits include The Trojan Women (BAM/ the Los Angeles Philharmonic’s tenth anniver - SITI Company), Antigone (SITI Company), sary staging of Frank Zappa’s 200 Motels at From the Fire (composed by Elizabeth Swados), Disney Hall and the San Francisco Symphony’s My Sweet Charlie (Abingdon Theater), What to Peer Gynt at Davies Symphony Hall. Do When You Hate All Your Friends , Al’s Business Cards (Theater Row), The Screens , Carolina Ortiz (lighting designer ) is a graduate Baal (Columbia Stages), The Sporting Life , The of UCLA with a B.A. in theater. Her selected Erotic Diary... , and Spacebar (Studio 42 ). Her theatrical designs include Esther’s Moustache , regional credits include Trojan Women (SITI, Onion Creek , A Raisin in the Sun , The Marriage Getty Villa), The Recommendation (IAMA, of Bette & Bo , and The Recommendation . Her Los Angeles), Roller Disco (ART’s Oberon), scenic designs include Being Human , The Richard II (yale Rep), The Me Nobody Knows Women of Juarez , and Wild in Wichita . (Black Rep, St. Louis), Cataclysm, Con, and Ms. Ortiz assisted lighting designer Cameron Wake Up! (Telluride Theater), and Grace, or the Jaye Mock in the trilogy Hope, Charity, and Faith Art of Climbing (Nice People, Philadelphia). at the Latino Theatre Company (LATC). She Ms. Trn is a resident artist for Studio 42 in also assisted Jose Luis Valenzuela, artistic direc - New york City, as well as an associate artist for tor of the LATC, in Melancholia and Habitat . Her Telluride Theater. She holds a M.F.A. from the directing projects include Strangers in Disguise yale School of Drama.

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