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Matt Haimovitz SHUFFLE. Play.Listen Christopher O’Riley SHUFFLE.Play.Listen Igor Stravinsky Suite Italienne (after Pulcinella) CD 1 8 Introduzione 2. 14 9 Serenata 3. 05 Bernard Herrmann 10 Aria 5. 21 1 Vertigo Suite – Prelude * 3. 24 11 Tarantella 2. 17 12 Minuetto e Finale 4. 40 Leoš Janáček Pohádka (Fairy Tale) Bernard Herrmann 2 I. 5. 49 13 Vertigo Suite – Scotty Trails Madeline * 7. 52 3 II. 4. 30 4 III. 2. 50 Astor Piazzolla 14 Le Grand Tango 10. 30 Bernard Herrmann 5 Vertigo Suite – The Nightmare * 2. 36 Bernard Herrmann 15 Vertigo Suite – Scène d’amour * 4. 59 Bohuslav Martinů 6 Variations on a Slovak Folksong 9. 09 Total playing time: 71. 56 Bernard Herrmann 7 Vertigo Suite – Carlotta’s Portrait * 2. 33 * by Christopher O’Riley

Matt Haimovitz, Violoncello Christopher O’Riley, Piano CD 2 8 Melody * 5. 05 Arcade Fire 1 Empty Room * 2. 56 9 3 Libras * 3. 25 Radiohead 2 Pyramid Song * 4. 37 10 * 4. 59 Cocteau Twins 3 Athol Brose * 3. 02 Arcade Fire 11 In the Backseat * 4. 57 John Mclaughlin 4 The Dance of Maya * 8. 09 John Mclaughlin 12 A Lotus on Irish Streams 8. 48 Blonde Redhead 5 Misery is a Butterfly * 5. 55 Total playing time: 60. 48 Radiohead 6 Weird Fishes/Arpeggi * 5. 34

Cocteau Twins * Arrangements by Christopher O’Riley 7 Fotzepolitic * 3. 24 Matt Haimovitz, Violoncello Christopher O’Riley, Piano SHUFFLE.play.listen DL …continuing on this idea of DL It would be nice to surprise the them to some Janáček, or Stravinsky. polyvalence, like it or not, people and listener, too, if they find out after For us, it’s very natural to be in both Matt Haimovitz fans are going to be focusing on this they’ve heard and enjoyed something worlds, but we are thinking about aspect of it. that that was written ten years ago the time we live in and these very Christopher O’Riley instead of two hundred and ten. fragmented, very separate camps; Daniel Levitin MH Well, we’ve been discussing this how do we bring what we do and what for months, actually. When we’re in COR Actually, I have been we’re passionate about to as wide an On June 23, 2011, following five days of concert we go between Stravinsky and surreptitiously sneaking in Radiohead audience as possible, and make sure recording sessions, Matt Haimovitz Radiohead, and then John McLaughlin stuff into From the Top, my radio everyone understands that we embrace (MH) and Christopher O’Riley (COR) and then some Bach and Ravel. But program – which is completely a both worlds. sat down with Daniel Levitin (DL) for us it’s part of the same trajectory, classical thing. So I would do these (author of This Is Your Brain on Music) and it fits seamlessly and naturally in break pieces, un-preannounced, and • in the control booth of the Schulich a program. For me, a classical listener they would post-announce them, you School of Music’s Multimedia Room at will be interested in Radiohead or any know: “that was our host Christopher DL I guess the obvious question that McGill University in Montréal to discuss of the tunes we’re playing on the pop O’Riley playing ‘Karma Police’ by a lot of listeners who are new to you the music and ideas behind SHUFFLE. side. I think what we’re doing has a Radiohead.” And we got email into the – hopefully there will be many – are Play.Listen. These are excerpts from sincerity to it. We’re getting to the show saying, “Who is this Mr. Head and gonna ask is: Why Radiohead? What their conversation. spirit of it. We’re translating it in a where can I find more of his beautiful is it that lends itself to a couple of very different way than the original, music?” classical musicians taking them on? and I think they would appreciate that there are some complex things going [Laughter] COR The whole range of pieces and on contrapuntally, harmonically and bands and ensembles that we’re lyrically. There’s a richness there. MH Of course, the other way: also for doing on this, on the pop side of the a Radiohead fan I’d love to introduce two disc set… first of all, having come from doing a lot of arrangements different characters are completely and then the idea of being able to do COR The complexity of the voices, and of that kind of stuff myself, this was inhabited by Matt. And it really is Vertigo, this Wagnerian, passionate being able to transcribe that to a duo an opportunity for me in working more than amazing to have come up music, and to have Matt do it – that’s setting, but also the harmony – a chord with Matt to really not lose the lyric with this sense of the repertoire as a very special thing. So we ended up that really just gets under your skin. impulse. Transcribing for the piano being a vehicle for exactly this kind doing more than we planned on doing. That really is what gets me. solo, it’s sort of the conceit that of unbelievable range of color and the piano can be orchestral, and expression that he gets. DL I think another obvious question is, MH I think what unites all of this music emulate all kinds of different sounds. of the infinity of tunes you could have in some sense is a lot of it originates But actually having a vocalist de DL Did you orchestrate more than you included – the ones you decided to somewhere else, you know, ballet, facto is one great advantage. The actually recorded? Did you come in include: why these? cinema, the words of the song. We are other amazing part of this process to try some out just to say, “oh those playing the instrumental version. We’re has been that yeah, you have Thom aren’t working, we’ll scrap those” or do COR My only criteria for working on playing the more abstract essence of Yorke’s voice from Radiohead – which them later? any kind of , whether these pieces. has a certain quality. You have the it’s solo piano, or with cello – it was Blonde Redhead lead singer, another MH We didn’t scrap anything… more inspiring to have Matt to work COR They’re inter-evocative. quality slightly more naïve and sort of with, and so therefore I was drawn to fragile. The Cocteau Twins’ Elizabeth COR And we couldn’t. But yeah, I bands that have really interesting and MH “Inter-evocative.” Wow. Fraser has a much more operatic ended up with a couple extra tunes. idiosyncratic vocal technique – but the thing and yet there’s this great sense There wasn’t a plan to do a Bernard two main characteristics that I really go [Laughter] of ambience and a real well of color Herrmann suite, but the fact that it for when I’m making an arrangement and sound. The lead singer Maynard turns out to be his centenary as of June are texture and harmony. COR To a certain extent, I mean, a James Keenan from A Perfect Circle 29th of 2011 made that a compelling lot of these songs go through various is again much more operatic, and idea, and I’ve been doing some of DL Complexity. permutations. “Arpeggi,” the second much more sostenuto, and all of these the music from Psycho on solo piano, Radiohead song we did, started out as a piece for chamber orchestra with complexity that was latent there. It felt Thom Yorke singing over it and it’s very as though you were staying true to the much a Philip Glass-ian sort of thing. emotional truth of the song, if not to In the band arrangement it’s much the literal notes of the song. Can you more simplified. It’s all old wine in new talk a little bit about that? bottles. Because it’s just the essence of the song is what we’re after, and what MH Chris has put an unbelievable we admire, and what we’re attracted amount of work into these to, and how it comes to life is the act arrangements and came already with of interpretation. a sense of architecture. He has lived with this music a lot longer than I have DL But there are certainly gonna be in terms of Radiohead and the other people who’ll prefer your version of “Us bands. and Them” to the Pink Floyd version. COR Well, I think, part of it is also the [Laughter] process of this particular recording. In every one of these cases, Matt and I COR That’s very kind of you! made various changes. The problem with working with Matt is that I don’t [Laughter] know how to write for the cello. But I would send him the stuff, and he DL It felt to me, listening to “Pyramid would just say, “oh yeah, this fits Song” just now, that you had drawn amazingly on the cello.” You know, John out of the original song some harmonic McLaughlin’s guitar solo from Dance of Maya – “well this fits great on the cello.” important thing – the thing that I you address as you would a repeat in MH Personally, my brain is wired in a Well, yeah, for you it’s great – think sets this record apart, not only a Beethoven sonata. Do I want this musical sense. I love words. I reviewed in terms of repertoire but in terms of to be different or do I want this to be the words before we’d record a song, DL [Overlapping] the creative process – I mean, every the same? How am I going to make it and in choosing the articulations I’d For him! He’s playing Hendrix. one of these arrangements, no matter different? Making it your own, making have a sense of what the words are, the what kind of shape we put them in the phrase with the æsthetic in mind phrasing, the rhetoric of the line and COR Yeah, he’s doing all this stuff – during the rehearsal process, came in of this is how you create tension, this is the rhythm of it. But, I have to say I’m and they took off. With Luna listening where we want tension, where we want thinking much more about the arc, the MH I mean the John McLaughlin, it’s and with Matt pitching in and listening repose… all those kinds of things. overall spirit. not any different left-hand technique back to playback, and I would have than playing Boccherini. It’s exactly the the idea that, well, Cocteau Twins is DL So, I’m glad you brought this up. DL So, there’s this notion in philosophy same. It’s all about string crossings. really a wealth of sound, it’s not really, Your task here is to render without of language, a very old notion, that if I was going to ask Chris, once we’ve like the Blonde Redhead songs, they words what had been originally we experience something in the world done what we’ve done with these don’t have a dramatic arc, they’re really designed to be rendered with words. – like the smell of a flower, something arrangements, I don’t know if you can more like mobiles, these elements. And And the cello is such, in your hands, emotional – as soon as we put words on call it a “pop record” anymore. It now during the course of the process, with is such an expressive instrument. it we somehow lessen it. Words have a feels classical in the sense that working Luna and with Matt, they got an arc, You’ve got some of the same tools of a very particular meaning, and by your these things out, translating them a much more engaging sort of sense vocalist of course, you’ve got glissando, choice of words you somehow narrow to our technical capabilities, and our of dramatic and musical arc. And on and you’ve got vibrato, and different down the impression. If you could imagination on our own instruments, top of that, again, the one thing we’re timbres, textures by the way you bow, get to a pre-verbal state you might for me it puts the whole thing in a missing is the lyrics and so at a certain attack and so on. Are you thinking of be capturing a more elementary and classical frame of mind. point you can’t do word painting – this the lyrics as you’re playing? Or, are you fundamental truth about the nature is “happy” and this is “sad” sort of thing thinking of an emotional arc that is of something. It sounds like that’s COR In terms of process, the most – but what you can do, is each verse without words? what you were after. You reference the words to know what Thom Yorke, just there to hang on to the emotions. MH Chris brings a tremendous example is when we do the Vertigo or whomever, is singing about, but And so I wonder to what extent you feel musicianship to these arrangements, Suite that I put together from the what you’re really trying to get at is kinship with this way of thinking. Are the rhythmic and harmonic elements Bernard Herrmann score, Matt’s doing something primordial to that: the the notes and the articulation really within the song that Chris has really the whole orchestra. Not only that, he’s emotion the singer and writer were secondary to the emotion? absorbed. What’s amazing too is that doing un-transposed violin lines. So he’s feeling when they put that into words, he, in addition to the vocal quality of basically playing above the fine tuners, and stripping away the words maybe COR I think in essence, yes. I mean the instrument, he’s having me do basically… you can get closer to the heart of it. there’s an awful lot of detail to be things, well, he’s kind of going beyond handled. Not only just in terms of the technical clichés or what we DL In the squeak zone. DL [Continues] I once interviewed melody and harmony and vibe, but normally do on the instrument, without Chris Noth (The Good Wife, Law and also the incredible layered complexity ever using overdubs. I’m discovering COR Yeah. There are a couple of Order) about how he prepares for of each of these – in particular the sounds and effects as we go. fingerings that are like… like there he’s scenes. I was interested, as a cognitive pop-oriented stuff – a lot that has doing thirds at the very top of the psychologist and a brain scientist, how gone into that really can’t be described COR My teacher, Russell Sherman, fingerboard. he remembers all these lines with a just with notes on a page. But again, I always talked about Beethoven – part shooting schedule such as he had. He come back to how we’ve all been using of it had to do with the technology DL Dogs are perking up. surprised the hell out of me by saying our ears not just in coming up with of the piano at the time, but part of that he never thinks about the words. the arrangement but in bringing the it just really has to do with straining [Laughter] He goes into a scene, and once he arrangements to life. It’s the process of against the boundaries or the apparent knows the emotional trajectory of the discovery in the recording – a lot started capabilities of the instrument – COR Exactly. The joke is, from this scene he just grabs whatever words, out pretty nicely, but they always got Beethoven always was asking for 20% recording Matt could very easily put and if they’re wrong somebody off better, and they always became, in more, 20% more sound or 20% more together an étude book because he’s stage will tell him. The words here are many cases, quite significantly different technique than one can be humanly really extending the capabilities, and irrelevant, ultimately. The words are from what I started out with. capable of. For instance, the great technical and sound boundaries of the cello with this stuff. Purcell as a template, we wouldn’t have had the right sound! So context • and knowledge of history is essential. For instance, the tango history is just DL Chris, in your interview with Jian as rich. Back in the Carlos Gardel days Ghomeshi on Q you’re talking about tango was a very effete and mannered how when you were a teenager, sort of thing. It was like morris dancing. classical music wasn’t getting you the It was just men out in the pampas attention of your peers… dancing together. When Piazzolla started playing – I played with Pablo COR [Laughs] The girls! Ziegler, who was Piazzolla’s pianist for many, many years – you realize we DL And so you realized you have this come to it from different sensibilities. facility on the instrument and there’s Many of the classical players who play this other repertoire… tango, or play at tango, come to it from an incredible romanticism. I came COR Yeah, that’s what got me to it from a sense of American jazz. Our interested in it. But I think it was American jazz heritage and sensibility what the classical canon, and what is sort of smart-ass. You know, the the classical sensibility brings to this syncopation is really what we’re getting music. I mean, for instance in the at. And Pablo told me it’s [stamps foot] song “Melody” we’re doing by Blonde from the ground up. It really is like the Redhead, Matt has a descending, uncomfortable hot asphalt of Buenos stately bass line, and without Henry Aires summer, and that’s really where it comes from. So when you hear Matt degree. And there’s more genre irony on from various sources. Stravinsky composed piece… and there’s this earthiness – but at the there because it has the Pergolesi being, I think probably, one of the same time the pliancy of the sound. veneer. And, so again, Matt draws on paramount influences in how I arrange COR I know Martinů has a great There’s a weight to it, but there is also more baroque techniques than I think to make everything but the kitchen sink pedigree in terms of the cello repertoire. air coming through every note. You Piatigorsky probably even had in mind fit on the keyboard. That comes from He has what, three cello sonatas? have to have the history. You have to when he made the arrangement. him completely. So he is, in fact, the have the context in order to make those inspiration. MH Three cello sonatas. Two sets of kinds of decisions. DL And was there a pianist to whom cello variations, and both sets are you were looking for inspiration in MH In the pop arrangements I feel like, gems. He also has two cello concerti. • playing the Stravinsky? in a way, you’re in the Liszt, Kreisler – you were saying Stravinsky – tradition, COR They’re phenomenal pieces. He DL So, Suite Italienne, let’s talk about COR Uh, no. I play Stravinsky better in terms of what we’re doing with must have had somebody who inspired the Stravinsky. This is a piece that than anybody. this material. Liszt, maybe more than him. already was scored for cello. anything in terms of the breadth of [Laughter] how you develop the original material. MH He must have had an inspiring MH Right, Piatigorsky made the cellist for it. arrangement and got the stamp of MH I agree! • approval from Stravinsky. But of course COR Some girl, probably. the original is a ballet, the orchestral COR No, I’ve done more than my DL Martinů’s Variations on a Slovak arrangement. share of Stravinsky. I made my own Folksong – was its origin to your [Laughter] arrangement of Apollo – which is my knowledge in an improvisation or was it COR We were watching the video favorite Stravinsky piece – and of written as a variation? MH But these variations are just a gem. of the ballet, and that informs the L’histoire du soldat. And a lot of the I mean, the theme is beautiful and it’s performance of the suite to a great things I learned about arranging I draw MH Oh, this was a very through- got a gypsy element. I think that’s what attracted me to this piece. DL Janáček. COR Yeah. and shape and dance. I often try to tap into certain emotions, I guess like an COR And the pathos in particular COR Ah, now that’s an evocative thing. MH The sense of color, texture. actor in that sense? Just trying to get about the way that Matt plays it that That’s basically the young knight trying to the core, emotional core, of what makes it transcend the variation form. to rescue the princess. COR And very spare, too. Within the I’m playing. Sometimes I feel like I need It really becomes a narrative. context even of this record, less is more. a story – I want to tell a story with MH There’s a story, a fairy tale. Janáček is sine qua non in terms of it – but it’s true that what we do is so DL That’s what you were talking about, his harmonic language, his melodic abstract that it often helps. Whenever about the arc. COR And so she’s held captive by a language, his motivic considerations, we’re discussing what we’re playing it’s wizard and there’s definitely a context, and that’s where the magic is with that always metaphor. It’s always one step MH Well, the actual tune makes an a storyline to that. Plus, the piece was piece, and that’s what made it such a removed, and sometimes you can’t appearance in each variation. It’s used extensively in the soundtrack pleasure to record. quite explain what you’re seeing. unusual in that sense. It’s not each to the Milos Forman film, Daniel variation doing it’s own thing à la Day-Lewis’s breakthrough role, The • DL Like Prince’s famous comment to his “Goldberg” where the bass is recurring, Unbearable Lightness of Being. engineer, “I want you to make my voice or something like this. Each variation is DL So speaking of evocative, do either sound a little more purple.” Do you see a little different, but then at some point MH So it comes full circle. My first of you when you’re playing have pictures, Chris? within the variation he always manages encounter years ago with John pictures in your heads? Do you see to sneak the original tune back in. And McLaughlin was with Daniel Day-Lewis, visions or pictures as you’re playing COR Um, not per se, I have been so you do have a bridge connecting backstage at a Paris theater. But the music? known, and this piano reminds me each variation. Janáˇcek, I insisted on that one early very much of my piano at home, and I on and you, Chris, loved the idea. But, MH Such a variety. Depends on what would for no apparent reason, and with • I find the piece just magical. I’m playing. I see all kinds of things. no prior history… if the sound is right, I can see color. I can see movement, and the mood is right, and everything is right – I all of a sudden see a woman’s DL Cameron, if you’re listening… face. It’s always a different one. But it [Laughter] has to be… COR I know. But yes, speaking of DL You dog! evocative, that just comes out of the sound. [Explosive laughter] • COR I swear to G-d! It just happens. It just happens and it’s not anybody I MH Chris, I wanted to know about your know! arranging process…

MH Just the face. Just the face. COR Well, part of it is because Matt’s used to working with different kinds of COR Just the face – okay? ensembles, this amazing, unique cello ensemble he works with and bringing DL And are they women that you’ve in percussionists, and in our initial met? Or you’re going to meet? conversations, I think he was steering me towards… can we bring in COR No! No! None of them are women a drummer for this stuff? that I know or even could say that that one looks like Cameron Diaz MH I still would love to hear “Arpeggi” or anything like that! But no, it just with a drummer. happens. COR “Arpeggi” with a drummer would phrase – and less about the groove, the do you think is the limiting factor that and Brahms come from folk tunes… be fun. better off it was. Which goes back to prevents more musicians from exploring the classical sensibility. But I never felt other territories? COR And that goes back to the whole MH We’ll remix it. compelled to add anything else. The idea of the context of the music that other thing with a drummer, is they MH I know that, in my own upbringing we’re playing because you go back to [Laughter] would have set a beautiful beat but we never were exposed to any pop – not Machaut, who would surreptitiously there were countless times, in “Athol even jazz. There was a sense that if you infuse a mass with some dirty folk DL Get one of those guys with Brose,” for example, where we decided didn’t completely immerse yourself… to song, and that was the earliest enormous sneakers to remix it for you. we really need a breath or this needs really get to the heart of this tradition, crossover. Put in the beats. to be more tenuto arrival, this one you you don’t wanna bring anything else sort of need to sneak into, and those into it, don’t want to… MH Yeah. COR Whenever making the piano were rhythmic criteria, not just sound arrangements, there are overtones in criteria. And maybe a drummer would DL Dilute it perhaps… COR And then you go from there to the harmonies, and there are anti- have said, “No, man, you’re draggin’!” Mozart, Beethoven – who was probably intuitive patternings that I do in the MH Dilute… yes, exactly. And that to more famous for his improvisation, in arrangements to evoke the bass and MH Well, it depends what drummer… master this tradition you had to get the hopes that people would get him drums – the noise-oriented things. away from the modern world. Even my to sit down at the piano and improvise And the more that I include that in DL I think that there are probably only own teacher, Leonard Rose, who was a – to Liszt and Popper hanging around the texture, I can… we can decide a few musicians who could pull this kind wonderful teacher, but studying with and doing basically a battle of the how much more percussive quality we of thing off. And I’m thinking of, in the him we never played one note from the bands with Hungarian folk tunes. need, or how much less we need. And, broader sense, people who are musical 20th century. You know, who could do the most invariably, in the best of circumstances, chameleons and can cross genres. As virtuosic version of that, to Bartók and both solo and with Matt, the more insiders of this small club of people who DL I know stories like this, and yet, Stravinsky using, again, folk themes we concentrated on the line – the are polyvalent, or chameleons, what some of the great melodies of Bartók and making them building blocks of really quite serious works. So, the why we’re still so factionalized in musicians just making their way in the of Music in the cavernous Multimedia continuum has never been interrupted: conservatory programs; we’re not world, it’s not necessarily about playing Room, the space where you just it’s just been commercialized. learning how to improvise as a the fastest octaves any more: it’s about recorded Shuffle.Play.Listen. Here in the classically trained musician. But I do making your personality manifest. And control room and watching the studio MH Now for me it’s – I’m sure Chris think that things are changing. For with lots of kids, they’re listening to lots through the camera, it really looked, feels the same way – if a piece of us this feels like a leap. I mean, Chris, of music and they are learning how to and felt, and sounded a lot like the big music moves me, if I want to enter you’ve been doing this for a long time… make this happen. Lauren Chipman, room at Abbey Road. this world even if I don’t know how to a violist who was on From the Top, swing, I wanna learn! I want to get COR But so have you! wonderful classical violist, now she’s co- COR Actually, I did the Gershwin into it the same way I’m learning a songwriter for The Rentals. She started Rhapsody in Blue there with the Royal new Beethoven sonata or a new piece MH …to some extent… out playing strings with them and now Philharmonic and yes, I think it does by a contemporary composer whose she’s co-band leader. These are just have that similar kind of sound to it. language I’ve never encountered DL You’ve been going the other personalities blossoming in, as you say, I was shocked because I’m thinking before. direction, right? You take Bach into a polyvalent world. this would be a dry studio, and no! We bars. come in here and it’s one of the most MH [Continues] I think, in five to MH I think it will become more beautiful rooms to record in I’ve ever ten years we won’t be having this MH Or when I take pop tunes I’ll take structured, eventually. In about been in. I mean, we’ve got a lot of conversation. I mean, I think things are one pop tune, I’ll include some Led five to ten years we’ll see more and available ambience. changing so drastically. You know, here Zeppelin on a Bartók CD. It’s rare for more conservatories adjusting their we are at McGill University. me to go in and devote myself to a curriculum to accommodate the times. DL As artists being in such a big room I know that our students have to be whole of rock songs. with such a high ceiling, do you feel ready to be able to jam in a studio • – without it getting all “woo woo” on or play in a symphony orchestra or COR The kids I’m coming into contact you guys – do you feel as though the play solo or improvise. I can’t explain with, and this is important in terms of DL We’re here at the Schulich School ceiling metaphorically allows you to fill the space with your energy? More than sensibilities, lend themselves to classical if you were in a kind of confined and arrangements, interpretations, more “dead” room? than others? Are there some artists that you haven’t yet covered that MH In a room like this you can play you’re particularly excited to get into? so quietly – I dare you to hear a pin drop – and you know it picks up every COR Well, you know, there’s all kinds of nuance. And on the other hand you great stuff. The Bad Plus are favorites do feel like it’s a hall in that sense; you of mine, and there’s the Nina Simone can also project and you don’t feel track, “Wild is the Wind,” which is a claustrophobic. We’re playing acoustic, personal favorite of Luna and Matt’s. and it’s a great space for us. We’re We’ll get to all this stuff. That will be able to respond acoustically. Also, it’s the problem. We’ll get to the tour in a beautiful piano we’re using here, the September and we won’t be playing Steinway has such a rich sound. stuff from the record any more – we’ll be playing new stuff. DL This is the nine-foot? MH All right, we’ve got to start MH Yeah. What is it called? The “Ludo.” recording again.

• [Laughter]

DL Are there some pop artists that • you think, by their personalities, their Matt Haimovitz Music Center, the Avery Fisher Career Grant, the Grand Prix du Disque, and Renowned as a musical pioneer, the Premio Internazionale “Accademia Grammy-nominated cellist Matt Musicale Chigiana.” He studied with Haimovitz is ac-claimed for his Leonard Rose at the Juilliard School and visionary approach, groundbreaking graduated with highest honors from collaborations and innovative recording Har¬vard University. Haimovitz plays a projects, which he combines with a Venetian cello, made in 1710 by Matteo tireless touring schedule and with Gofriller. men¬toring an award-winning studio at McGill University’s Schulich School of Music in Montréal. Born in Israel, Haimovitz made his debut in 1984, at the age of 13, as a soloist with Zubin Mehta and the Israel Philharmonic, and at 17 he made his first recording for Deutsche Grammophon with James Levine and the Chicago Symphony. Haimovitz’s recording career encompasses more than 20 years of award-winning work on Deutsche Grammophon (Universal) and Oxingale Records. His honors include the Trailblazer Award from the American Christopher O’Riley and the world as soloist with major orchestras and conductors and was From his landmark transcriptions honored with awards at the Leeds, of Radiohead, Elliott Smith, Nick Van Cliburn, Busoni and Montréal Drake and others to his sublime competitions, as well as an Avery Fisher interpretations of the Classical Career Grant. O’Riley studied with canon, pianist Christopher O’Riley Russell Sherman at the New England has stretched the piano beyond Conservatory of Music. conventional boundaries. His first recording of Radiohead transcriptions, True Love Waits, received four stars from and was as critically acclaimed as it was commercially successful. Three more richly lauded followed, devoted to popular songs by Radiohead, Elliott Smith, Nick Drake, R.E.M., Nirvana, Pink Floyd and others. As host of the popular classical music radio and TV shows, National Public Radio’s From The Top and PBS’s From the Top from Carnegie Hall, O’Riley works and performs with the next generation of brilliant young musicians. O’Riley has toured the U.S. Publishing information Acknowledgments CD 1 01, 05, 07, 13, 15. BERNARD HERRMANN (Sony/ATV Harmony) | 02-04. LEOŠ JANÁČEK (Embassy Producer (SA-CD) Music Corporation) | 06. BOHUSLAV MARTINŮ (Bärenreiter) | 08-12. IGOR STRAVINSKY (Boosey Luna Pearl Woolf Polyhymnia International B.V. & Hawkes) | 14. ASTOR PIAZZOLLA (Theodore Presser Co./Edizioni Berben) Matt Haimovitz CD 2 Photography 01, 11. RICHARD R PARRY, TIMOTHY KINGSBURY, JEREMY GARA, REGINE CHASSAGNE, WILLIAM Recording engineer Sarah Scott PIERCE BUTLER, EDWIN BUTLER (01. Arcade Fire Music, 11. Sony/ATV Songs LLC) | 02, 06. Richard King PHILIP JAMES SELWAY, THOMAS EDWARD YORKE, EDWARD JOHN O’BRIEN, COLIN CHARLES Design GREENWOOD, JONATHAN RICHARD GUY GREENWOOD (Warner/Chappell Music Ltd.) | 03, 07, 10. , , (Universal/Momentum Music Assistant engineer Joost de Boo Ltd.) | 04, 12. JOHN MCLAUGHLIN (Warner-Tamerlane Pub. Corp.) | 05, 08. MAKINO KAZU, Brett Leonard PACE AMEDEO MARIA, PACE SIMONE MARIA | 09. , Product manager (EMI April Music Inc.) Mastering Olga Brauers Ryan Morey Special thanks to Schulich School of Music at McGill University, François Robitaille, Épicerie Latina, Fruiterie Mile-End, Hôtel Le Germain, Marc Baylin, Glenn Petry, Max Horowitz, Steve Wehmhoff, Kathryn Bacasmot, Michelle Canale Mangano, Beverly and Stephen Woolf, Marlena Sacca and Decker Reidpath, Nessa and Maia Woolf, and Elliott, the Tonkinese kitten, who, though apparently napping peacefully on the piano for most of Mr. O’Riley’s work on these pieces, could always be depended upon to show a note choice as less than perfect with a twitch of his ear.

This album was recorded at the Multimedia Room, Schulich School of Music www.matthaimovitz.com www.christopheroriley.com at McGill University in Montréal in June 2011 and remastered in Baarn, www.oxingale.com The Netherlands in November 2015. Congratulations, you are now holding committed to revelatory interpretations the brainchild of the synergy between of the canonic repertoire as to riveting PENTATONE and OXINGALE RECORDS. performances of works by recent and living composers. Breeding spontaneity Upon listening to a renowned cellist in musical expression, OXINGALE of his day, Voltaire is said to have RECORDS captures singular moments quipped, “Sir, you make me believe of collaboration in its stream of OXINGALE SERIES in miracles; you turn the ox into classical, contemporary, crossover, jazz a nightingale”. With the belief in and family releases. The offspring of miracles, OXINGALE RECORDS brings two musical perspectives — those of its blend of imagination, talent and world-renowned cellist Matt Haimovitz acumen to the realisation of artistic and acclaimed composer Luna Pearl projects revolving around music. Woolf — their projects take a refreshing approach to the classical tradition, A trailblazing artist’s label since the illuminating and vitalising the listening year 2000, OXINGALE RECORDS is as experience. Grammy Award-winning OXINGALE of their works, their artists and their Premium Sound and RECORDS gradually unfolds an recordings, as well as the quality of idiosyncratic but influential body of the relationship with their customers. Outstanding Artists work. We would be pleased to have you join us in celebrating this milestone Music of today is evolving and forever Together with our talented artists, Having shared ideas and projects as it gives way to a tremendously changing, but classical music stays we take pride in our work of providing for some time, there was no doubt intriguing and inquisitive series of co- true in creating harmony among the an impeccable way of experiencing for PENTATONE to join forces with productions for you, our customers instruments. Classical music is as classical music. For all their diversity, OXINGALE RECORDS. This is a union and ourselves. With PENTATONE’s time-honored as it is timeless. And so our artists have one thing in of two innovative and devoted warm, dynamic and detailed sound should the experience be. common. They all put their heart recording companies with a long capturing the superb works and We take listening to classical music and soul into the music, drawing on history of producing reputable performances of OXINGALE’s artists, to a whole new level using the best every last drop of creativity, skill, records and collaborating with we look forward to bringing you a technology to produce a high quality and determination to perfect their esteemed artists. Both companies range of prestigious work only in recording, in whichever format it may compositions. are extremely proud of the quality pristine quality. come, in whichever format it may be released. Sit back and enjoy

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