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Home , Anthony Roth Costanzo, Bernard Rands, Bwog, Glimmerglass Festival, Miller Theatre, Pulitzer Prize

at 2014-15 | 26th Season

Composer Portraits International Contemporary Ensemble , Nicholas Masterson, oboe Ryan Muncy, saxophone Christian Knapp, conductor

Thursday, November 13, 8:00 p.m. From the Executive Director

This November at Miller is all about vitality. Cyrus Chestnut is an absolute genius on the piano. I’ve heard him perform at Miller for many years now—long before I became Executive Director—and it’s always a special thrill to hear his stunning improvisations and unique style on our Steinway and in our hall, where each flourish sings.

It’s also an absolute joy to welcome Anthony Roth Costanzo to our stage for the first time. The stars aligned to make this Composer Portrait possible: Bernard Rands was completing a new work, ICE expressed great interest in working with him, and Mr. Costanzo had an opening in his schedule—this concert could not have come together more perfectly.

New York Polyphony returns on November 15 with a program to brighten the winter, featuring luxurious works from the Spanish Renaissance. It’s been an ongoing delight to work with this ensemble and to see the acclaim that they’ve garnered since their Miller Theatre debut in 2010. Last year, we commissioned a new piece for them, a work by composer Andrew Smith titled Nowell: Arise and Wake. They premiered it at a snowy concert presented by Miller last December, and the piece is now being highlighted on their album, Sing thee Nowell.

I feel lucky to follow the accomplishments of the talented musicians we work with here, and if you’ve been coming to Miller over the years, you may feel the same way. Polyphony and ICE are both ensembles who we’ve been rooting for throughout the years, and been fortunate to see thrive. So it is fitting that this month we introduce another ambitious ensemble to the Miller stage, as the new music quartet loadbang makes their debut at a Pop-Up Concert on November 18. The unique instrumentation of this group (baritone voice, bass clarinet, trumpet, and trombone) speaks to the type of inquisitive music-making that I absolutely love, and that is central to our mission.

All of this month’s musical offerings share an enthusiasm and warmth. Whichever of these performances resonates most with you, I hope it brings you joy.

Melissa Smey Executive Director Miller Theatre at Columbia University 2014-15 | 26th Season

Composer Portraits Thursday, November 13, 8:00 p.m. Bernard Rands International Contemporary Ensemble Christian Knapp, conductor

Bernard Rands (b. 1934) déjà (1972)

Memo 6 (1998) Ryan Muncy, alto saxophone

Concertino (1996) Nicholas Masterson, oboe

INTERMISSION

Onstage discussion with Bernard Rands and Claire Chase

Folk Songs (2014) New York premiere 1. Missus Murphy’s Chowder 2. The Water is Wide 3. Mi Hamaca 4. Dafydd y Garreg Wen 5. On Ilkley Moor Baht ’At 6. I Died for Love 7. Über d’ Alma 8. Ar Hyd y Nos 9. La Vera Sorrentina Anthony Roth Costanzo, countertenor

This program runs approximately two hours, including intermission.

Major support for Composer Portraits is provided by the National Endowment for the Arts and the Francis Goelet Charitable Lead Trusts.

Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. Miller Theatre is ADA accessible. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. About the Program

Introduction

“I put myself in touch with an area of myself that I would not otherwise be in touch with, and when I offer my music to an audience, I offer them the same opportunity to be in touch with an area of themselves that they wouldn’t otherwise be. That, for me, is the main role of music of all kinds.” —Bernard Rands

There is a very simple Bernard Rands story, that of the European modernist who moved to the U.S. in his early forties and became an American poetic romantic. Like most very simple stories, though, it is only half-true. Even in the early 1960s, when Rands was fresh from studies with and fully associated with the avant-garde, his sense was of sound as a fluid, sensuous, evocative medium, while his more recent music by no means conceals the fissures and excitations of his earlier work. Moreover, his development has been part of a general evolution in contemporary music, away from abstraction and towards a re-engagement with traditional discourse. He is the same man and the same musician he always was, throughout an output that now stretches back more than half a century: cultivated, searching, generous, captivating.

Born in , in northern , whose regional accent left its soft trace in his speaking voice, he studied music, philosophy, and at the University of Wales at Bangor. Then came the Italian sun: studies in Rome with Roman Vlad (1958-59), in Florence with (1959-60), and in with Berio (1962-63). Unlike his northern English contemporaries Harrison Birtwistle and Peter Maxwell Davies, Rands began to make his way in a continental European context. His first published compositions were written for the summer courses: Actions for Six for to conduct in 1963, and Espressione IV for the Kontarsky duo pianists to play two years later. Also at Darmstadt came his encounter with , through whom his music was to be introduced to British audiences, with the première of Wildtrack 1 in 1969 with Boulez conducting the BBC Symphony.

It was at this point that Rands moved into a new gear creatively, with more large-scale pieces, the first of hisMemos for solo performers, and the glimmerings of a Vincent van Gogh , a project not completed until almost forty years later. However, just when he had become solidly established in Britain, as a composer and as a member of the country’s most progressive composition faculty at the , he moved to U.C.S.D., where he taught for a decade from 1975 to 1985, transferring thereafter to Harvard. The U.S. environment was not entirely new—he had spent two years as a Harkness Fellow in 1966-68 at Princeton and Urbana—but his arrival, now permanent, and coinciding with a period of uncertainty in new music, brought a hiatus.

He returned to full compositional vitality at the start of the 1980s, notably with song cycles on poems of the moon (Canti lunatici, 1980) and sun (, 1983-84), of which the latter won him a . Le Tambourin (1984), a pair of suites for large orchestra based on paintings or drawings by Van Gogh, was introduced by the Orchestra and has been presented widely. Its success helped win him a position as composer-in-residence at Philadelphia (1989-96) as well as commissions from other major orchestras, including the (Symphony, 1995), the Symphony (apókryphos, 2002), the (Chains Like the Sea, 2008), and the Boston Symphony (Piano Concerto, 2014, written for ). Meanwhile, he has gone on producing solo and chamber music, with three string quartets and a sequence of pieces based on Beckett poems in the latter category.

déjà (1972)

This is the program’s most distant image, of Rands back in England, more than forty years ago. It was a time of growing freedom and experiment, in music as in other spheres of life, and déjà, meaning “already” in French, belongs to that time, while also sending signals to our own.

In particular, the piece participates in a venture to reimagine chamber music, both by giving individual musicians choices and by altering the balance in rehearsals, away from questions of how to realize a defined score to those of how to deal with some more or malleable material. Passages that are fully written out alternate with repetitions of a “chorus” that allows a lot of room for the players, separately and together, to come up with their own solutions. All the notes are provided, and they are the same each time: a bunch of melodies—some highly constrained, others moving more freely—and a staccato flurry. What will change from one appearance to the next are the dimensions

About the Program of speed (faster), dynamic level (louder), and duration (longer), in accordance with the composer’s instructions, and also matters of texture and interaction determined by the performers. At the limits, any of these choruses could be a solo break. A quasi-fugal invention would also be possible, or a free-for-all.

The piece begins with a short fantasy on middle D, to which the piano, entering last, adds other notes. From here the free sections are interleaved with a short cello solo accompanied by piano, percussion, and viola, a jittery ensemble section, and another, of rotating fragments changing in dynamic profile. A short, low solo for alto flute, with piano and percussion, then gives way to a culmination, again of rotating patterns, waning into silence.

Scored for a Pierrot lunaire quintet (flute, clarinet, viola, cello, and piano) plus percussion, the piece parallels the Concertino in length, and perhaps other resemblances will appear, as well as the differences.

Memo 6 for alto saxophone (1998)

In a series of solo pieces he began in 1971, Rands has taken up the challenge of Berio’s Sequenzas with affectionate admiration and adroitness, responding to particular instruments and also to particular performers—in this case, .

The word “memo” suggests a message dashed off, and there is the sense here of a directed improvisation, beginning with immediate intensity, the gestures driving towards and into chosen notes. Much springs from the opening idea, featuring thirds and minor seconds. Activity rises and restarts, eventually reaching up into the instrument’s highest register, before falling back. Slow music supervenes, but soon speeds up into fidgety movement interspersed with melodic flourishes, these growing into a fast section followed by a slower—but still intense—finale. The piece plays for about nine minutes.

Concertino for oboe and seven players (1998)

This chamber concerto, commissioned by the Network for New Music in Philadelphia, presents several faces of the oboe—plaintive, reflective, incisive, athletic—in the course of a sixteen-minute movement that flows continuously through sections of different speed and character. To begin with, the solo instrument is alone, in a quasi-cadenza that offers another fine instance of Rands’s melodic logic. Everything starts from a semitone rise, from E to F. This becomes the first step toward longer explorations, in which the “key note” moves progressively upward from E until it has established itself on C, at which point the harp enters, the tempo increases, and the oboe goes on rising, while becoming agitated.

The outcome is a new section: fast, driving, bringing the string quartet into action, followed by the clarinet, all spurring, echoing, countering the assertive oboe. Out of one last push from the soloist, a new voice is heard, that of the flute, and the music’s character changes to one of ebullient interplay, with flute, clarinet, and violin as intermittent soloists while the oboe has a rest. It re-enters in response to invitations from its woodwind companions together, and soon the music becomes more intensive again, careering in waves up into the high register and down again, until the oboe settles on one pure note.

From this, a low-treble B, the viola begins to weave slow music, which draws in the harp and the other strings, then the clarinet and the oboe, which reflects in a higher register on how the whole thing began. Crystalline, reminiscent serenity, however, does not last long before the oboe is forging on into faster music marked by rushes and wide swings, the texture spare. Slow music then returns, to punctuate an acceleration that mounts in stages until it reaches a condition of high electricity.

Folk Songs for voice and eight players (2014)

A similarly titled Berio work, dating from 1964, has entered the repertory. Half a century later, Rands presents what is both respectful homage—scored for similar forces, with violin and oboe added to the ensemble—and personal testimony, for, as he puts it, the cycle is “semi-autobiographical” in traveling through regions of importance to him, including the U.S. of his present residence, the northern England of his birth, the Wales and of his student years, and other cherished locations: Ireland, Mexico, and Bavaria. The work is also semi-autobiographical in treating the original tunes to imaginative arrangements, with apt colorings and counter-melodies. The commission came from , where the first performance took place last summer.

About the Program Each of the nine songs is self-contained, but through them goes a drift of song variation that is Rands’s own, coming to the surface in interludes, each featuring a different soloist or combination, and introduced by the clarinet in a prelude. This leads into a rollicking Irish-American song, followed by an old English folk song, and the Mexican number. The tune of “Dafydd y Garreg Wen” (David of the White Rock) was composed by one of the great harper-composers of Welsh tradition, David Owen (1712-41), the words being a later addition, commemorating him. Rands duly gives the harp prominence.

The interlude here covers a change of mood, to the cheerful silliness of the most celebrated song from Rands’s native county of : “On Ilkley Moor Baht ’At” (On Ilkley Moor Without Your Hat), with lyrics that were, probably in the second half of the nineteenth century, written to a Methodist hymn tune. After this, continuing the alternation of lament and vitality, comes the English-American “I Died for Love” and the contribution in Bavarian dialect. Another celebrated Welsh tune follows: “Ar Hyd y Nos” (All Through the Night), again with origins in the eighteenth century and again with the harp to the fore in Rands’s version. A somewhat longer interlude is needed to get from Welsh night-time to Italian daylight for the finale.

Program notes by Paul Griffiths Texts and Translations

Folk Songs 1. Missus Murphy’s Chowder Won’t you bring back, won’t you bring back, creampuffs, earmuffs, many to be found. Mrs. Murphy’s chowder? Silk hats, door mats, It was tuneful, ev’ry spoonful bed slats, Democrats, made you yodel louder. coco bells, doorbells, beckon you to dine; meatballs, fish balls, After dinner Uncle Ben mothballs, cannon balls, used to fill his fountain pen come on in, the chowder’s fine! From a plate of Mrs. Murphy’s chowder. Won’t you bring back, won’t you bring back, It had ice cream, cold cream, Mrs. Murphy’s chowder? benzene, gasoline, You can pack it, you can stack it, soup-beans, string beans, floating all around all around the larder. Sponge cake, beefsteak, mistake, stomach ache, The plumber died the other day; creampuffs, earmuffs, many to be found. they embalmed him right away Silk hats, door mats, in a bowl of Mrs. Murphy’s chowder. bed slats, Democrats, coco bells, doorbells, beckon you to dine; It had ice cream, cold cream, meatballs, fish balls, benzene, gasoline, mothballs, cannon balls, soup-beans, string beans, floating all around come on in, the chowder’s fine! Sponge cake, beefsteak, mistake, stomach ache, Won’t you bring back, won’t you bring back, creampuffs, earmuffs, many to be found. Mrs. Murphy’s chowder? Silk hats, door mats, From each helping you’ll be yelping bed slats, Democrats, for a headache powder. coco bells, doorbells, beckon you to dine; meatballs, fish balls, And if they had it where we are mothballs, cannon balls, you might find an Austin car come on in, the chowder’s fine! in a plate of Mrs. Murphy’s chowder.

It had ice cream, cold cream, benzene, gasoline, soup-beans, string beans, floating all around Sponge cake, beefsteak, mistake, stomach ache, 2. The Water is Wide The water is wide I can’t get o’er Neither have I the wings to fly. Build me a boat that will carry two, And we both shall row my true love and I.

A ship there is and she sails the sea, She’s laden deep as deep can be. But not so deep as the love I’m in, And I know not if I sink of swim.

I leaned my back ‘gainst a young oak, A thinking we were a trusty tree. But first he bent and then he broke, Thus did my love prove false to me.

Oh love is handsome and love is kind, Gay as a jewl when it’s first new. But love grows old and waxes cold, And fades away like morning dew.

3. Mi Hamaca My Hammock Yo tengo mi hamaca tendida, Junto a la I hang my hammock by the seaside orilla del mar. And my cabana is hidden in the middle of a Y mi cabaña escondida en medio de un coffee plantation. cafetal. The forest gives me shade, the sea gives me Sombra me da el bosque, Brisa me da el mar, the breeze, Besos mi morena, Que bello es amar. My dark-haired girl gives me kisses; how Como golondrina, Que volando va. beautiful it is to love. Like a swallow that goes Cual se mece mi hamaca tendida de aqui flying. My hammock swings from here to para allá de allá para acá. there, from there to here.

4. Dafydd Y Garreg Wen David of the White Rock Text: John Ceirog Hughes Cariwch, medd Dafydd, ‘fy nhelyn i mi, “Carry,” said David “my harp to me, Ceisiaf cyn marw roi tôn arni hi. I’d like to play one more tune before I die.

Codwch fy nwylo i gyrraedd y tant, “Lift my hand to reach the strings, Duw ach bendithio, fy ngweddw a’m plant. God will bless you, my widow and children.

‘Neithiwr mi glywais lais angel fel hyn, “Last night I heard an angel’s voice, “Dafydd tyrd adref a chwarae trwy’r glyn.” ‘David, come home to play through the glen.’

Delyn fy mebyd, ffarwell i dy dant, “Harp of my youth, goodbye to your strings Duw ach bendithio, fy ngweddw a’m plant. God will bless you, my widow and children.” 5. On Ilkley Moor Baht ‘At Whear ‘as tha’ been sin’ ah saw thee? Where hast thou been since I saw thee? On Ilkla Moor baht ‘at. On Ilkley Moor without a hat. Whear ‘as tha’ been sin’ ah saw thee? Where hast thou been since I saw thee? Whear ‘as tha’ been sin’ ah saw thee? Where hast thou been since I saw thee? On Ilkla Moor baht ‘at, On Ilkley Moor without a hat, On Ilkla Moor baht ‘at, On Ilkley Moor without a hat, On Ilkla Moor baht ‘at. On Ilkley Moor without a hat.

Tha’s bin a coortin’ Mary Jane, Thou’s been a-courting Mary Jane, On Ilkla Moor baht ‘at... On Ilkley Moor without a hat...

Tha’ll gu an’ get thee death o’ cowld, Thou’ll will surely catch thy death of cold, On Ilkla Moor baht ‘at... On Ilkley Moor without a hat...

Then we shall ha’ to bury thee, Then we shall have to bury thee, On Ilkla Moor baht ‘at... On Ilkley Moor without a hat...

Then t’worms’ll cum an’ et thee oop, Then worms will come and eat thee up, On Ilkla Moor baht ‘at... On Ilkley Moor without a hat...

Then t’doox’ll cum an’ et oop t’worms, Then ducks will come and eat up the worms, On Ilkla Moor baht ‘at... On Ilkley Moor without a hat...

Then us’ll cum an’ et oop t’doox, Then we will come and eat up the ducks, On Ilkla Moor baht ‘at... On Ilkley Moor without a hat...

Then us’ll all ‘av etten thee, Then we will have eaten thee, On Ilkla Moor baht ‘at... On Ilkley Moor without a hat...

That’s whear we’ll get ar owen back, That means we will get our own back, On Ilkla Moor baht ‘at... On Ilkley Moor without a hat...

6. I Died for Love A bold young farmer courted me, He gained my heart and my Liberty; He’s gained my heart with a free good will, And I must confess that I love him still.

I wish, I wish, but it’s all in vain, I wish I was a maid again, But a maid again I ne’er shall be, Since that young farmer lay still with me.

I wish my baby little was born And smiling on his daddy’s knee;

Texts and Translations And I, poor girl, was dead and gone, And the green grass growing over me.

There is a house in yonder town, Where my love goes and sits him down, And takes some strange girl on his knee, And tells her things he won’t tell me.

Go dig my grave long, wide, and deep, Put a marble stone at my head and feet, Put over and above a pure white dove, To let the world know that I died for love.

7. Über d’ Alma Über d’ Alma, da gibts Kalma, da gibts weixl- On the alpine pasture, there are calves, and braune Küah ja brown and white cows, und i geh da net eini, i kunnt schwarz wern And I do not go into the cowshed, because I von dir. could get dirty from you. Holla rialeiho, holareidjo, hollareiladidjoiri, Holla rialeiho, holareidjo, holla reiladidjoiri, und i geh da net eini, i kunnt shwarz wern and I do not go into the cowshed, because I von dir. could get dirty from you.

Und es tropfazt da Schottn und i hör an And the cheese drips from the cloth, and I Almglockn hear the alpine cowbell und es juchazt mei Bua scho über d’ Alma and my boyfriend yodels with joy over the herzua. alpine pasture. Holla rialeiho, holareidjo, hollareiladidjoiri, Holla rialeiho, holareidjo, holla reiladidjoiri, und ed juchazt mei Bua scho uber d’ Alma and my boyfriend yodels with joy over the herzua. alpine pasture.

Aber Jager, i sag dirs, wannst vorbeigehst, But hunter, I tell you, if you pass by, come kehrst zua ja! inside! Wann du moanst, dass i schald, so schmeiB If you think that I am asleep, then throw a a Standl aufi auf mei Dach. pebble on my roof. Holla rialeiho, holareidjo, hollareiladidjoiri, Holla rialeiho, holareidjo, holla reiladidjoiri, wann du moanst, dass i schald, so schmeiB a if you think that I am asleep, then throw a Standl aufi auf mei Dach. pebble on my roof.

Und es Diandl hat g’schlafn, hat es Standl And was the girl sleeping, or did she ignore überhört ja! the stone? Wia da Bua net is kemm, da hat es Hascherle Since the young man did not come in, the great. poor girl cried. Holla rialeiho, holareidjo, hollareiladidjoiri, Holla rialeiho, holareidjo, holla reiladidjoiri, wia da Bua net is kemm, da hat es Hascherle since the young man did not come in, the poor great. girl cried. 8. Ar Hyd y Nos All Through the Night Trans. Rachel Schutz Holl amrantau’r sêr ddywedant All the stars’ twinkles say Ar hyd y nos. All through the night Dyma’r ffordd i fro gogoniant “This is the way to the realm of glory,” Ar hyd y nos. All through the night Golau arall yw tywyllwch, Darkness is another light I arddangos gwir brydferthwch, That exposes true beauty Teulu’r nefoedd mewn tawelwch The Heavenly family in peace Ar hyd y nos. All through the night

O mor siriol, gwêna seren O, how cheerful smiles the star, Ar hyd y nos. All through the night I oleuo’I chwaer ddaeraren To light its earthly sister Ar hyd y nos. All through the night Nos yw henaint pan ddaw cystudd, Old age is night when affliction comes Ond i harddu dyn a’i hwyrddydd, But to beautify man in his late days Rho’wn ein golau gwan i’n gilydd, We’ll put our weak lights together Ar hyd y nos. All through the night

9. La Vera Sorrentina The True Sorrentine Girl La vedette a Piedigrotta, tutt’a festa era I saw her at Piedigrotta, where everything was parare; Pe guardà la truppa n’frotta, da la decorated for the festival; She was there to look mamma accompagnata. at the throng of troops, accompanied by her Na giachetta aggalonata, na pettiglia mother. In a gold-braided jacket, an embroi- ricamata; Na gonnela cremmesina, e duje dered corselet, a creamy skirt and with two uocchie da ncantà enchanting eyes; E la bella Sorrentina la sentette annom- She was called the beautiful Sorrentina. mena.

Da chell’ora nn’aggio pace, stongo sempe Since that day I have known no peace. a sosperare; Cchiù la rezza non me piace, I am always sighing. cchiù no ntenno lo ppescare; Neither the net nor fishing pleases me. Co la misera varchetta, A Sorriento nfretta Every night, every morning I hurry to nfretta; Ogne sera, ogne mmatina vaco Sorrento in my lonely boat and weep. lagrema a jettà, But the ungrateful Sorrentina has no pity for Ma la sgrata Sorrentina non ha maje de me me. pietà

Mme spaventa la tempest, mme fa affrito la The storm frightens me. The calm makes me bonaccia; Chisto core è sulla nfesta quanno cold inside. My heart was poisoned when I saw vede chella faccia. her face. L’auto journo io spenturato, ca lo mare era The other day I was spent. The sea was ngrossato; Mmiezo all’ acque de Resina storming. In the middle of the waters of Resina quase stea pe mm’annja. I almost drowned. E la sgrata Sorrentina non ha maje de me But the ungrateful Sorrentina has no pity for pietà. me.

Texts and Translations About the Artists

Countertenor Anthony Roth Costanzo with the International Contemporary continues to build his reputation as one Ensemble, appeared as Prince Go-Go in of the rising stars of the next generation Ligeti’s with the New of singers. Mr. Constanzo’s recent opera York Philharmonic, and sang Handel’s engagements have included the title role with the Orchestra in , the Sorceress in Purcell’s Dido and in . He has been a and Aeneas and Nireno in at featured soloist with the orchestras the ; the title role of , , , in at the Palm Beach , , and was the soloist in Opera; Armindo in at the New the premiere of John Corigliano’s A York City Opera; Ottone in at Dylan Thomas Trilogy with the National the Boston Lyric Opera; the U.S. premiere Symphony Orchestra at both the Kennedy of Henze’s Phaedre at the Opera Company Center and Carnegie Hall. Internationally, of Philadelphia; a guest appearance as Mr. Costanzo has performed the title Oberon in Britten’s A Midsummer Night’s role in Balletto Teatro di Torino’s ballet Dream with the Seattle Opera’s Young Caravaggio with original music by Artists Program; and the title role in Giovanni Solima and toured Italy as School of Music’s main stage the Master of Ceremonies in Karole production of Lucas Foss’ Griffelkin. In Armitage’s Casanova. 1994, he performed in Amahl and the Night Visitors at and with Oboist Nick Masterson has been the Opera Company of , a member of the International made a critically acclaimed debut with Contemporary Ensemble (ICE) since the New Jersey Opera Festival as Miles 2006. With ICE, Nick has recorded John in Britten’s The Turn of the Screw, and Adam’s Son of Chamber Symphony for appeared with in Nonesuch records and has appeared as Philadelphia at the Academy of Music’s a soloist with the Seattle and Nagoya Opera Extravaganza. Symphonies performing Mozart’s Sinfonia Concertante and Dai Fujikura’s On the concert and recital platforms, Mina for flute, oboe, clarinet, bassoon, Mr. Costanzo most recently made his percussion, and orchestra. In addition to debut a the Mostly Mozart Festival being Principal Oboe of the Pennsylvania Ballet Orchestra and a member of the One of today’s foremost young Mostly Mozart Festival Orchestra, Nick conductors, Christian Knapp has also performs regularly with numerous led prestigious orchestras around the orchestras and chamber ensembles across world including the Royal Liverpool the country including the Philadelphia Philharmonic, the Houston Symphony, Orchestra, New Jersey and Houston the St. Petersburg Philharmonic, the Saint Symphonies, and the St. Paul and Orpheus Paul Chamber Orchestra, the Mexico Chamber Orchestras. He is a graduate of City Philharmonic, the Western Australia the Oberlin Conservatory and received his Symphony Orchestra, and the Chicago Master’s from Rice University. Civic Orchestra, among many others.

Saxophonist Ryan Muncy, praised for Since his 2011 debut at the Mariinsky “superb” performances by The New York Theater in St. Petersburg, Mr. Knapp has Times as well as his ability to “show off prepared and premiered new productions the instrument’s malleability and freakish of Ariadne auf Naxos and Pelléas et extended range as well as its delicacy and Mélisande, conducted Così fan tutte, and refinement” byThe Chicago Reader, is a made his White Night’s Festival debut in recipient of the Edes Foundation Prize for Spring 2011 with Der Fliegende Holländer. Emerging Artists as well as a Fulbright Future highlights at the Mariinsky Fellowship, and has participated in the include repeat performances of Ariadne creation of more than 125 new works for auf Naxos and Der Fliegende Holländer the instrument. His debut solo album Hot as well as productions of Carmen, Aida, was released by New Focus Recordings Don Carlo, Turandot, Pique Dame, and in 2013, described as “absorbing” (Alex Rigoletto. Ross) and “one of the year’s best albums” (Time Out New York). Before joining A passionate proponent of new music, ICE as saxophonist and grants manager, Knapp has led such groups as the Muncy was, from 2010 to 2014, the Perspectives New Music Ensemble in executive director of the Chicago-based and the Seattle Chamber Players. new music collective Ensemble Dal He has conducted works by , Niente. Under his leadership, Dal Niente Julian Anderson, , George was named the first-ever ensemble Crumb, and Thomas Adès, among others. recipient of the Kranichstein Music He has appeared with ICE conducting Prize, awarded at the 46th International the U.S. premiere of Zona by Magnus Summer Courses for New Music in Lindberg as part of Lincoln Center’s Darmstadt, . Learn more at Mostly Mozart Festival in 2006 and a www.ryanmuncy.com program of the music of Philippe Hurel

About the Artists at Columbia University’s Miller Theatre. ICE Staff: Knapp returned to Miller Theatre in the Claire Chase, Artistic Director (CEO) 2012-13 season to lead performances of Joshua Rubin, co-Artistic Director the music of Sofia Gubaidulina with ICE. Jonathan Harris, Business Manager Ross Karre, Production/Intermedia International Contemporary Rebekah Heller, Individual Giving Ensemble (ICE) Ryan Muncy, Grants Alice Teyssier, flute Jacob Greenberg, Education Campbell MacDonald, clarinet Maciej Lewandowski, Production & Christopher Otto, violin Operations Assistant Esther Noh, violin Maro Elliott, Executive Assistant Wendy Richman, viola Kivie Cahn-Lipman, cello Bridget Kibbey, harp Cory Smythe, piano Nathan Davis, percussion

The International Contemporary Ensemble (ICE), described by as “one of the most accomplished and adventurous groups in new music,” is dedicated to reshaping the way music is created and experienced. With a modular makeup of 35 leading instrumentalists, performing in forces ranging from solos to large ensembles, ICE functions as performer, presenter, and educator, advancing the music of our time by developing innovative new works and new strategies for audience engagement. ICE redefines concert music as it brings together new work and new listeners in the 21st century. Learn more at iceorg.org. About Miller Theatre

Miller Theatre at Columbia University is the leading presenter of new music in and one of the most vital forces nationwide for innovative programming. In partnership with Columbia University School of the Arts, Miller is dedicated to producing and presenting unique events, with a focus on contemporary and early music, jazz, and multimedia. Founded in 1988, Miller has helped launch the careers of myriad composers and ensembles, serving as an incubator for emerging artists and a champion of those not yet well known in the U.S. A three- time recipient of the ASCAP/Chamber Music America Award for Adventurous Programming, Miller continues to meet the high expectations set forth by its founders—to present innovative programs, support new work, and connect creative artists with adventurous audiences.

Advisory Committee Paul D. Carter Mark Jackson Margo Viscusi* Mary Sharp Cronson* Eric Johnson Mr. and Mrs. George Votis* Stephanie French* Philip Mindlin Cecille Wasserman* Marcella Tarozzi Goldsmith Linda Nochlin Elke Weber Karen Hagberg Peter Pohly I. Peter Wolff* * Miller Theatre Advisory Board member Columbia University Trustees Jonathan D. Schiller, Chair William V. Campbell, Benjamin Horowitz A’Lelia Bundles, Vice Chair Chair Emeritus Ann F. Kaplan Mark E. Kingdon, Vice Chair Lisa Carnoy Jonathan Lavine Esta Stecher, Vice Chair Kenneth Forde Charles Li Rolando T. Acosta Noam Gottesman Paul J. Maddon Armen A. Avanessians Joseph A. Greenaway, Jr. Vikram Pandit Andrew F. Barth James Harden Michael B. Rothfeld Lee C. Bollinger, Marc Holliday Claire Shipman President of the University Kyriakos Tsakopoulos Columbia University School of the Arts Carol Becker Dean of Faculty Jana Hart Wright Dean of Academic Administration Miller Theatre Staff Melissa Smey Executive Director Charlotte Levitt Director of Marketing & Outreach Brenna St. George Jones Director of Production James Hirschfeld Business Manager Nora Sørena Casey Marketing & Communications Associate Megan Harrold Audience Services Manager Katherine Bergstrom, Artistic Administrator Taylor Riccio Production Coordinator Rhiannon McClintock Executive Assistant

Aleba & Co. Public Relations The Heads of State Graphic Design Thanks to Our Donors Miller Theatre acknowledges with deep appreciation and gratitude the following organizations, individuals, and government agencies whose extraordinary support makes our programming possible.

$25,000 and above Francis Goelet Charitable Lead Trusts Dow Jones Foundation H. F. (Gerry) Lenfest

$10,000 - $24,999 William V. Campbell Fritz Reiner Center for Contemporary Music New York State Council on the Arts The Aaron Copland Fund for Music at Columbia University The Fan Fox and Leslie R. Samuels Foundation Mary Sharp Cronson The Gladys Krieble Delmas Foundation The Evelyn Sharp Foundation National Endowment for the Arts Margo and Anthony Viscusi $5,000 - $9,999 The Amphion Foundation CLC Kramer Foundation Craig Silverstein Ann and Gordon Getty Foundation

$1,000 - $4,999 Rima Ayas Carol Avery Haber / Haber Family Jessie and Charles Price Paul D. Carter Charitable Fund Peter Pohly Hester Diamond Karen Hagberg and Mark Jackson Christopher Rothko R. H. Rackstraw Downes Donella and David Held Cecille Wasserman Claude Ghez Roger Lehecka Janet C. Waterhouse Marcella Tarozzi Goldsmith Philip Mindlin Elke Weber and Eric Johnson Christine and Thomas Griesa Linda Nochlin Anonymous Jeanine and Roland Plottel

$500 - $999 Oliver Allen Cedomir Crnkovic / Cavali Foundation Marian M. Warden Fund of the Foundation Regula Aregger Kristine and Joseph Delfausse for Enhancing Communities Mercedes Armillas Stephanie French James Sharp ASCAP Mary and Gordon Gould J. P. Sullivan Barbara Batcheler John Kander Cia Toscanini Elaine S. Bernstein Mark Kempson and Janet Greenberg Kathryn Yatrakis Paul J. Maddon

$100 - $499 Gail and James Addiss Peter and Joan Faber Caroline and Anthony Lukaszewski Qais Al-Awqati, M.D. Marc Gilman Gerald McGee June O. Goldberg Bannon and Barnabas McHenry Roger Bagnall James P. Hanbury Rolf Meyershon Sandra and Marc Bernstein Barbara Harris Susan Narucki Andrew Birsh Bernard Hoffer Mary and Andrew Pinkowitz Jim Boorstein Alan Houston and Lisa DeLange Monique Rinere in honor of James F. Rinere Alexandra Bowie and Daniel Richman Frank Immler and Andrew Tunnick Carol Robbins Eileen and Adam Boxer William Josephson Esther Rosenberg and Michael Ostroff Elizabeth and Ralph Brown Rebecca Kennison Mariam Said Caplan Family Foundation L. Wilson Kidd, Jr. Eliisa Salmi-Saslaw Richard Carrick and Nomi Levy-Carrick Sandra Kincaid Anita Shapolsky Ginger Chinn Nikki Kowalski Gilbert Spitzer and Janet Glaser Spitzer Jennifer Choi Daniel Lee Rand Steiger and Rebecca Jo Plant Gregory Cokorinos Barbara and Kenneth Leish Peter Strauss Merry Conway Arthur S. Leonard Jim Strawhorn Noah Creshevsky Richard H. Levy and Lorraine Gallard Larry Wehr David Demnitz Peter C. Lincoln Seymour Weingarten Rosamund Else-Mitchell Sarah Lowengard Ila and Dennis Weiss Randy Ezratty Patricia Lowy and Daniel Frank Elizabeth Wheeler

as of September 5, 2014 Composer Portraits

“I KNEW NOTHING ABOUT JULIA WOLFE BEFORE ATTENDING HER COMPOSER PORTRAIT... AFTER JUST TWO BRILLIANT PIECES AND A BRIEF TALK FROM WOLFE HERSELF, I FELT AS IF I HAD KNOWN HER AND HER MUSIC FOR MANY YEARS.” — .COM

Composers Portraits continue this winter with a wealth of influences and sonic textures—shimmering and lyrical, bold and inventive—that illuminate the breadth of today’s musical landscape. Join us!

Friday, December 5 Keeril Makan (b. 1972) “An arrestingly gifted young American composer” (), Keeril Makan is an artist who delves deep, with an elegant control of timbre and color. This Portrait features Either/Or presenting the world premiere of Makan’s newest work.

Thursday, February 5 Missy Mazzoli (b. 1980) This Portrait highlights Mazzoli’s diverse works for strings, from solo pieces for cello and violin to works such as Harp and Altar, a love song to the Brooklyn Bridge that fuses string quartet with pre-recorded electronics and the poetry of Hart Crane.

Thursday, February 19 Stefano Gervasoni (b. 1962) “Something identifiably Italianate has persisted in Stefano Gervasoni’s music,” claims ’s Andrew Clements, “whether in its moments of playful allusion or expansive lyricism, its disorienting changes of direction or its Sciarrino-like scurries.”

Thursday, March 5 (b. 1964) Augusta Read Thomas returns with a program including Resounding Earth, a percussion tour-de-force that brings togehter bells from around the world to create a “transfixing shimmer” (New York Times). Upcoming Events

Tuesday, November 18 doors at 5:30 pm, music at 6:00 p.m. POP-UP CONCERTS loadbang

Wednesday, November 19, 5:30 p.m. Miller Theatre Lobby CAMPUS EVENTS Artist Talk and Reception with Maya Hayuk

Friday, December 5, 8:00 p.m. COMPOSER PORTRAITS Keeril Makan Either/Or Richard Carrick, conductor

Tuesday, December 9 doors at 5:30 pm, music at 6:00 p.m. POP-UP CONCERTS Mivos Quartet

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