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25TH & FAREWELL SEASON! CABRILLO FESTIVAL OF CONTEMPORARY MUSIC • AUGUST 2016 • SANTA CRUZ CIVIC PROGRAM GUIDE Fill your summer with music! Explore the musical riches and unique settings of these allied festivals of the Western . Cabrillo Festival of Aspen Northwest Contemporary Music June 30 - August 21, 2016 Summer Festival July 31 - August 13, 2016 Aspen, CO June 25 - July 31, 2016 Santa Cruz, CA aspenmusicfestival.com Portland, OR cabrillomusic.org cmnw.org Bravo! Vail Carmel June 23 - August 6, 2016 July 16 - 30, 2016 Vail, CO Carmel, CA bravovail.org bachfestival.org Washington Strings Music Festival Seattle Chamber Music La Jolla Music Society June 25 - August 20, 2016 Society Summer Festival August 3 - 26, 2016 Steamboat Springs, CO July 5 - 30, 2016 La Jolla, CA stringsmusicfestival.com Seattle, WA ljms.org seattlechambermusic.org Mainly Mozart Festival June 2 - 18, 2016 San Diego, CA mainlymozart.org Santa Fe Wyoming Chamber Music Festival Grand Teton Music Festival Music@Menlo July 17 - August 22, 2016 July 4 - August 20, 2016 July 15 - August 6 Santa Fe, NM Jackson Hole, WY Atherton, CA santafechambermusic.com gtmf.org musicatmenlo.org

Ojai Music Festival June 9 - 12, 2016 Ojai, CA ojaifestival.org FESTIVALS OF THE WEST 2016 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SANTA CRUZ, CA JULY 31 - AUGUST 13, 2016

Contents 3 Calendar of Events 5 Message from the President 6 Hall of Fame 7 Board of Directors & Staff 9 Music Director Marin Alsop 10 Marin Alsop’s 25th Anniversary 13 Festival History 14 The Festival Experience 16 Church Street Fair 19 Creativity Tent For Kids 20 Guest 24 Guest Artists 28 2016 Festival 30 Conductors/Composers Workshop 31 In The Works Concert 33 Student Staff Program 35 Opening Night: POWER & DEVOTION 36 Power & Devotion Program Notes 39 INSPIRATION & IMPACT Concert 41 Inspiration & Impact Program Notes 45 FREE FAMILY CONCERT 47 Free Family Concert Program Notes As a courtesy to all patrons, latecomers to Cabrillo Festival concerts 49 In the Blue Room: STICKS & REEDS will be seated by the ushers during the first convenient pause in the 50 Music in the Mountains & Benefit Auction program. Children under six years of age will not be permitted into 53 COURAGE & CONNECTION Concert performances with the exception of the Family Concert. 54 Courage & Connection Program Notes CAMERAS AND RECORDING EQUIPMENT ARE NOT ALLOWED 57 MEMORY & MEANING Concert IN HALLS DURING CONCERTS. 59 Memory & Meaning Program Notes 63 Nexus: Creative Collaborations PLEASE TURN OFF ALL CELL PHONES. 63 Artistic Leadership Transition 64 In Memoriam 65 New Music Forever Endeavor 66 Grantmakers Cabrillo Festival of Contemporary Music 831.426.6966 68 Artistic Initiative Reserve Fund 147 South River Street, Suite 232 [email protected] 69 Leadership Support Santa Cruz, CA 95060 www.cabrillomusic.org 70 Donor Recognition 74 A Vision for the Civic Auditorium 2016 Program Book Design and Print Production: Elise Huffman 75 Corporate and Community Sponsors 2016 Season Graphic Design: Jill James 77 Acknowledgements 2016 Program Book Production Support: Marguerite Meyer 80 Index to Advertisers Program Note Editor: Erik Finley Program Book Advertising Sales: Briya Leung

Printed on recycled paper CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 1 2 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC All events take place at the Santa Cruz Civic Auditorium unless Calendar of Events Calendar of Events otherwise noted. Visit CABRILLOMUSIC.ORG for details. Saturday JULY 30 Sunday AUGUST 7 4:45pm Donors Concert Free for 3-Steps Pledgers and Donors $250+ 11am-8pm Church Street Fair MEETUP! Free A special event for Festival donors $250+ and those who have made the 1:00pm FREE FAMILY CONCERT – Mr. Smith’s Composition Free Three Steps Pledge. A recital of contemporary works performed by Festival Orchestra members, preceded by a wine and cheese reception. Make your Featuring a tour of the Cabrillo Festival Orchestra, suitable for all ages! contribution or pledge any time up until doors open! Gregory Smith Tempus Fugit (Alexandra Arrieche, conductor) (Gregory Smith, narrator) [West Coast Premiere] Gregory Smith Mr. Smith’s Composition (Marin Alsop, conductor) Sunday JULY 31 (Gregory Smith, narrator) 7:00pm Open Rehearsals Begin Free 8:00pm IN THE BLUE ROOM: STICKS & REEDS $30 Watch the music come to life as the and composers sculpt their Chamber concert featuring performances by the extraordinary pieces for performances. A detailed schedule of Pre-Rehearsal Talks and percussionists and oboists of the Cabrillo Festival Orchestra; Rehearsals can be found online. accompanied by screenings of short documentaries by Sasha Friedlander. Tuesday AUGUST 2 Wednesday AUGUST 10 6:00-7:00pm Special Concert: In the Works Free 6:30pm Music in the Mountains Festival Fundraiser Featuring new works by three young composers—Viet Cuong, Dani Howard, Nestldown, Los Gatos $200 and Michael Schachter—conducted in rotation by six emerging conductors, Support the Festival as you are treated in grand style to premier wine and all studying in the prestigious Conductors/Composers Workshop. food tastings in a spectacular mountain retreat setting. The event includes a silent auction and culminates in a chamber music concert featuring

guitarists Los Angeles Duo, Concertmaster Justin Bruns, and members of tickets: 831.420.5260 Thursday AUGUST 4 the Cabrillo Festival Orchestra. 6:15pm Pre-Rehearsal Talk Free Noah Luna, , orchestrator and music teacher, on the Inspiration & Impact orchestra concert works. Thursday AUGUST 11 6:15pm Pre-Rehearsal Talk Free Philip Collins, composer, lecturer and New Music Works’ artistic director, on Friday AUGUST 5 the Memory & Meaning orchestra concert works. 6:30-7:45pm Pre-concert Dinner Alfresco MEETUP! $32 7:00-7:30pm Pre-concert Talk with Marin Alsop AUGUST 12 8:00pm POWER & DEVOTION – Orchestra Concert $65 $59 $37 Friday Featuring the Cabrillo Festival Orchestra, conducted by Marin Alsop. 8:00pm COURAGE & CONNECTION – Orch. Concert $65 $59 $37 Featuring the Cabrillo Festival Orchestra, conducted by Marin Alsop. James MacMillan Death of Oscar Christopher Rouse (Katherine Needleman, oboe) Alexander Miller Scherzo Crypto [West Coast Premiere] Concerto (Justin Bruns, violin) Christopher Rouse Thunderstuck [West Coast Premiere] [West Coast premiere] RIFT symphonic ballet (Kitty NcNamee, choreographer/ The B-Sides (Mason Bates, electronica) Hysterica Dance Co.) [World Premiere | Festival Commission] Saturday AUGUST 13 Saturday AUGUST 6 2:30pm Student Staff Concert Free

11am-8pm Church Street Fair MEETUP! Free Featuring original works composed and performed by the members of the

Festival’s Student Staff program. cabrillomusic.org On Church Street outside the Santa Cruz Civic Auditorium—with two full days of live music and dance; free art workshops for kids; and art, wine 8:00pm MEMORY & MEANING – Orchestra Concert $65 $59 $37 and food artisans. Featuring the Cabrillo Festival Orchestra, conducted by Marin Alsop. 1:30pm Cabrillo Connections: Alsop and her Composers $14 Kabbalah [West Coast Premiere] Inside the Civic, an informal discussion moderated by Tim Munro, with Osvaldo Golijov Oceana (The Project, choir; Alicia Olatuja, Marin Alsop and composers , Anna Clyne, Michael Kropf, vocalist; Los Angeles Duo, guitarists Donovan Butez and Bryan Fasola; Alexander Miller, Kevin Puts, Christopher Rouse, and Greg Smith. Lucas Fedronic, boy soprano) 8:00pm INSPIRATION & IMPACT – Orchestra Concert $65 $59 $37 No. 1 Featuring the Cabrillo Festival Orchestra, conducted by Marin Alsop. Post-Concert Dessert Reception – Toast the Maestra! MEETUP! John Adams Lola Montez Does the Spider Dance Concertgoers, orchestra and artists are invited to savor the last moments [World Premiere | Festival Commission] of this very special season over cake and bubbly immediately following the John Adams (Attacca ) concert. Michael Kropf Spinning Music [World Premiere | Festival Commission] Kevin Puts The City with film (James Bartolomeo, filmmaker) [West Coast premiere | Festival Co-Commission] Post-Concert Talkback Session Free Concertgoers are invited to a post-concert discussion with Marin Alsop, SAVE OUR DATES! 2017: July 30-August 12 guest artists and composers. 2018: July 29-August 11

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 3 4 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC President’s Message/Board of Directors Message/Board of President’s

CABRILLO FESTIVAL OF Message from the President CONTEMPORARY MUSIC BOARD OF DIRECTORS

Jim Petersen President

Michel Protti Vice President

Fran Fisher, C.P.A. Chief Financial Officer

Liza Culick Secretary

Tom Ellison Richard Fabrikant Ciara Harraher Nancy Loshkajian elcome to the 2016 season of the To our loyal community of patrons and donors, Jonathan Miller Cabrillo Festival of Contemporary I thank you deeply for the care and support Marcia Smith Music. Amazingly, this tradition you provide the Festival year after year. We are W John Supan has been going on for 54 summers! We’re very gratified that so many of you have stepped up proud that Cabrillo Festival continues to steward your contributions this year by pledging to our Richard Wilson Three Steps to the Future campaign (page 71)—a a brilliant artistic community made up of the LIFE MEMBERS world’s finest orchestra for new music, up-and- clear sign that you vigorously support a vibrant Fran Fisher coming and veteran composers, and virtuosic future for Cabrillo Festival. We are truly blessed Earleen Overend guest artists and performers—all convening in to be able to count you as members of our Marion Taylor August with the single purpose of bringing new extended Festival family. works to life. And, of course, at the helm of the Let me share just a few of the initiatives that PAST PRESIDENTS Festival experience is our prodigiously talented are helping support the Festival’s success and and passionate music director, conductor and T. Jerome Barnes 1963 future. Our exciting multi-year series of new visionary leader, Marin Alsop. commissions continues this year with the world Paul Sandas 1964 Suzanne Paizis For 25 years Marin has guided our way to premiere of RIFT, a symphonic ballet composed 1964-65 becoming one of the premier venues for the by Anna Clyne and choreographed by Kitty Bud Kretschmer 1966-67 McNamee. For a further update on “Nexus,” see creation and presentation of new music in J.A. Wyckoff 1968 page 63. I’d also invite you to read a message the world. We have witnessed Marin’s vision Ruth Frary, M.D. 1969-72 and artistry grow through the years, and from Liza Culick, Chair of the Festival’s Artistic Manuel Santana 1973-77 have watched with great pride as her career Leadership Transition Team, on the rigorous and developed in so many inspiring ways—at exciting process the Festival Board is Earleen Overend 1978-80 Cabrillo and also at , , to fill the position of Music Director/Conductor Carol Brancich 1981-82 for 2017 and beyond (page 63). And finally, for and her thrilling guest performances with the Robert Korns, M.D. 1983-84 most prestigious across the globe. news on the continuing community initiative to Gayle Ortiz 1985-86 Throughout that journey, I think many of you in renovate the Civic Auditorium as a performing Mary K. Hubbard our audience, like those of us on the Board and arts center, please see page 74. 1987-88 the Cabrillo Festival staff, may have thought, Manuel Santana 1989 I anticipate a memorable season filled with “Yes, but we knew her first.” We might even Richard Klein 1990-91 high energy, awesome performances, and even feel a slight bittersweet pang that we actually Celia Hartman 1992 a delightful surprise or two! I hope it meets, have to share her talent and brilliance with the Robert Scrivener 1993 and even exceeds, your greatest expectations. world—as if Marin could ever be exclusively Howard Sherer Thanks to all of you for making the Festival an 1994-96 ours—our inspiring, passionate, fun-spirited extraordinary destination today and in many Elizabeth Irwin 1997 friend and leader! summer seasons to come. Gail Oakes 1998-2000 Nancy Loshkajian Yes, it’s been amazing to witness Marin’s 2001-05 impact on music and audiences, not only in our Bruce Nicholson 2006-2009 little corner of the world, but across the globe, Dina Hoffman 2010-2013 and this year we are doubly honored to share Jim Petersen 2014-present Marin’s farewell season with all of you. Let this Jim Petersen be a time of great joy, celebration and enormous gratitude toward the Maestra. Marin, we have so much to thank you for, and on behalf of the Festival community, we’re excited to share this momentous Cabrillo Festival season with you! CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 5 Hall Of Fame

THE LOU HARRISON AWARD

The Lou Harrison Award is the pinnacle of recognition bestowed by the Cabrillo Festival. Presented first in 1997 to the award’s eminent namesake, the honor is intended to elevate extraordinary service to perpetual acclaim.

LOU HARRISON (1997) ERNEST T. KRETSCHMER (1998) Hall of Fame DENNIS RUSSELL DAVIES (2003) MARIN ALSOP (2006)

HALL OF FAME AWARD

The Festival Hall of Fame recognizes outstanding achievement by individuals whose exceptional contributions have made a permanent and very positive difference in the pursuit of the Festival’s goals. Although there have been literally hundreds of wonderful volunteers, musicians and staff affiliated with the Festival over its five decades, to-date there have been only 15 individuals whose service has been honored with inclusion in the Hall of Fame. New members are not necessarily selected every year; instead, membership is awarded only when there is truly exceptional service to recognize.

FESTIVAL HALL OF FAME

1995 (CHARTER MEMBERS) DR. RUTH FRARY LOU HARRISON ERNEST T. KRETSCHMER EARLEEN OVEREND ROSEMARY PURSER, PH.D. MANUEL SANTANA MARION TAYLOR

1996 FRAN FISHER KEN HARRISON RICHARD KLEIN HOWARD SHERER, PH.D.

1998 JACK BASKIN TOM FREDERICKS ELLEN M. PRIMACK

2000 RICK LARSEN

6 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Board of Directors & Staff Board of Directors

BOARD OF DIRECTORS Left to right: Richard Fabrikant, President Jim Petersen, Liza Culick, Michel Protti, Claire Schneeberger, Marci Smith, Dick Wilson, Nancy Loshkajian, Ciara Harraher, John Supan, and Tom Ellison. Not pictured: Jonathan Miller, Fran Fisher

ADMINISTRATION COMMITTEE CHAIRS PRODUCTION

ELLEN M. PRIMACK RICHARD FABRIKANT MIKE JOHNSON Executive Director Finance Committee Chair Technical Director

JESSICA FRYE LIZA CULICK ERIK FINLEY Associate Director Artistic Leadership Orchestra Manager Transition Chair LYNDSEY LOOSLEY Board Development Chair ELLA FREDRICKSON Director of Operations Music Librarian and Programs CIARA HARRAHER Fund Development DREW YERYS VALERIE HAYES Committee Chair Recording and Sound Engineer Housing Coordinator BARBARA LAWRENCE ELIZABETH QUIVEY MONA BAROUDI Music in the Mountains Stage Manager Publicist Benefit Event Chair PHOEBE HARPER NANCY LOSHKAJIAN Assistant Stage Manager STAFF RICHARD WILSON KELLY OTT Ellen Primack, Jessica Frye, Lyndsey Loosley Civic Auditorium Assistant to Marin Alsop Leadership Team Liaisons Production Assistant

JENNIFAH CHARD House Manager

MEMBERS OF I.A.T.S.E. LOCAL 611—Stage Hands Mike Johnson Erik Finley Ella Fredrickson Cabrillo Festival Mission Statement As America’s foremost festival for contemporary symphonic music, the mission of the Cabrillo Festival is to reimagine the orchestral experience– Drew Yerys Elizabeth Quivey Phoebe Harper advancing music and developing audiences for the 21st century.

We do this by providing living composers and orchestral artists the means they need to create the future of the art form, giving audiences access to the creative process, and providing mentorship and support for the next generation of conductors and composers.

Kelly Ott Jennifah Chard Valerie Hayes

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 7 8 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Marin Alsop is an inspiring and powerful Alsop Marin Director Music voice in the international music scene, a Music Director of vision and distinction who passionately believes that “music has the power to change lives.” She is recognized across the world for her innovative approach to programming and for her deep commitment to education and to the development of audiences of all ages.

er outstanding success as Music Director of the Baltimore Symphony H Orchestra since 2007 has been recognized by two extensions in her tenure, now confirmed until 2021. As part of her artistic leadership in Baltimore, Marin Alsop has created bold initiatives that have contributed to the wider community and reached new “Marin Alsop has brought both audiences. In 2008 she launched ‘OrchKids’, cohesion and a rationale to which provides music education, instruments, northern California’s oldest meals and mentorship of the city’s neediest contemporary music festival… young people. Engaging the local community, the BSO Academy and Rusty Musicians programs Performances here often also allow adult amateur musicians the chance burn with conviction.” to play alongside members of the orchestra —The Financial Times under Alsop’s baton.

Alsop took up the post of Principal Conductor of the São Paulo Symphony Orchestra (OSESP) relationship with the Symphony and Society and was recently appointed Director in 2012 and became Music Director in July London Philharmonic, appearing with both of the Graduate Conducting Program at the 2013, with her contract now extended to the end orchestras most seasons, as well as with the Johns Hopkins . of 2019. She continues to steer the orchestra in Orchestra of the Age of Enlightenment. She its artistic and creative programming, recording is also Artist in Residence at the Southbank The latest disc of Alsop’s Prokofiev symphonic ventures and its education and outreach Centre in London. cycle with OSESP (Symphony No.3) was activities, as well as their annual Campos do released in May 2015 and the first (Symphony Jordão International Winter Festival. Alsop led In September 2013, Marin Alsop made history No.5) was Orchestral Choice in BBC Music the orchestra on a European tour in 2012, as the first female conductor of the BBC’s Last Magazine. Alsop’s extensive discography with acclaimed performances at the BBC Night of in London. She returned to on Naxos includes a notable set of Brahms Proms in London and at the Concertgebouw in the Proms in 2015 to conduct the Last Night with the LPO, Brahms’ Ein Amsterdam; they returned to Europe in October and an all-Brahms program with the OAE. deutsches with the MDR Leipzig 2013, with concerts in Berlin, London, Paris, 2015/16 highlights include a historic return for Radio Choir and Symphony Orchestra and a Salzburg and Vienna. an American to Cuba, conducting Lang highly praised Dvořák series with the Baltimore Lang and the National Symphony Orchestra Symphony Orchestra. Other award-winning From 1992-2016, Marin Alsop has been of Cuba. In March 2016, Alsop celebrated recordings include Bernstein’s (Editor’s Music Director of the Cabrillo Festival of Carnegie Hall’s 125th anniversary conducting Choice, Gramophone Awards 2010) and Contemporary Music, where she has built a Bernstein’s West Side Story in the Knockdown Jennifer Higdon’s Percussion Concerto devoted audience for new music. Building an Center, a restored factory in Queens. (Grammy Award 2010). Alsop has also orchestra is one of Alsop’s great gifts, and recorded for Decca Classics, Harmonia Mundi she retains strong links with all of her previous Marin Alsop is the recipient of numerous and Sony Classical. orchestras, including Bournemouth Symphony awards and is the only conductor to receive Orchestra (Principal Conductor 2002-8; now the prestigious MacArthur Fellowship, given Born in City, Marin Alsop attended Conductor Emeritus) and Colorado Symphony to U.S. residents in recognition of exceptional and received her Master’s Orchestra (Music Director 1993-2005; now creative work. In 2008 she became a Fellow of Degree from The . Her Music Director Laureate). the American Academy of Arts & Sciences and, conducting career was launched when, in the following year, was chosen as Musical in 1989, she was a prizewinner at the Marin Alsop has guest-conducted the America’s Conductor of the Year. She was International Conducting great orchestras of the world: Philadelphia, inducted into the American Classical Music Competition and in the same year was the Cleveland, , Royal Hall of Fame in 2010 and was the only classical first woman to be awarded the Koussevitzky Concertgebouw, La Scala Philharmonic, musician to be included in ’s Conducting Prize from the Tanglewood Music Orchestre de Paris, Bavarian Radio Symphony. “Top 100 women”, celebrating the centenary Center, where she was a pupil of Leonard In Europe, she regularly returns to the Frankfurt of International Women’s Day in 2011. Alsop Bernstein. Radio Symphony, Royal Stockholm Philharmonic is an Honorary Member of the Royal Academy and the Czech Philharmonic. Alsop has a close of Music, London and the Royal Philharmonic

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 9 Thank you, Marin!

FROM THE FESTIVAL ORCHESTRA TO MARIN Orchestra Commission rom all of us: thank you. Thank you for inspiring us, for F challenging us, for uplifting us. Your leadership has driven this unique Cabrillo experience, in which a group of musicians, staff, administrators, volunteers, hosts, audiences comes together in Santa Cruz two weeks a year to work, play, laugh, cry, listen, connect, and grow. John Adams’ Lola Montez Does the Spider Dance was We love your beliefs: that no piece is too commissioned by members of the Cabrillo Festival hard, no request too complicated, no Orchestra in celebration of Marin Alsop’s twenty-five program too ambitious, and no standard seasons as music director. The work is dedicated to her too high. We love your curiosity, your desire and will receive its world premiere performance during to keep exploring new repertoire and to Inspiration & Impact, Saturday, August 6th. take us along with you on these journeys. And we love your humor, especially your response whenever a rehearsal falls apart: “Is everyone OK? Anybody hurt?” No, Marin. No one is ever hurt. We are overjoyed to be here.

There is no one else whom we would

Tribute to Music Director Marin Alsop rather join for an exciting read-through of a composer’s fiendishly ambitious piece; for a mind-bogglingly efficient rehearsal period that breaks down its hardest passages and builds them back up to a playable whole; for a singularly focused performance that feels real, that feels now, that feels utterly dedicated to finding out exactly what this composer is expressing and how we, these particular people in this particular place, can express it.

We will be savoring every moment of our last August together. We will remember your challenge to us: to share the impact of our annual collaboration far beyond this time spent together between these walls of this Civic Auditorium. We will miss you, and we will carry this experience with us. Always.

10 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Marin Alsop’s 25th Anniversary 25th Alsop’s Marin

“There is a great guiding spirit at Cabrillo– and that is Marin Alsop” —composer Osvaldo Golijov

arin is a true force of nature—and a creative powerhouse. For 25 M years she has brought her musical genius, fertile imagination, and highest ideals to bear on nurturing the evolution of the Cabrillo Festival. Her stewardship of the Festival has been bold and generous, determined, and with profound impact. She believes that “music has the power to change lives,” and with her arrival in 1992 came the start of Festival programs that would touch the full spectrum of ages and socioeconomic strata in our community. As one avid fan said, the Festival became “music camp for the whole town.”

In many ways Marin found at the Festival a spectacular instrument upon which to compose her musical masterpiece. Her skill and commitment to excellence attracted orchestra musicians with talent, passion and heart. Like , she inspires something far greater than pure technical skill can deliver s­ he has created an ensemble that transcends the sum of its parts; and they have become, as Marin stated, “the greatest orchestra in the world for the performance of contemporary music.”

Marin has so obviously loved Santa Cruz, this festival, her musicians, and the audiences who have traveled alongside her on this journey. During her tenure she has helped elevate the life of the Santa Cruz community as a whole— and the individual lives of more children, aspiring young musicians, professional artists, and listeners than we can count. In turn, she is so deeply beloved and appreciated, beyond any words that I can conjure.

And because Marin will always have a home at the Cabrillo Festival, the Board of Directors has voted to make official her title of Music Director Laureate, as of the conclusion of the 2016 season and forevermore.

Power and devotion, inspiration and impact, courage and commitment, memory and meaning—all these describe Maestra Marin Alsop’s greatest qualities. Marin, you have changed the world of music.

Ellen Primack Executive Director

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 11 12 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Winner of the League of American Orchestras and ASCAP’s 2008-2009 John S. Edwards Festival History Festival History Award for Strongest Commitment to New American Music and winner of their Award for Adventurous Programming of Contemporary Music from 1982-2013, Cabrillo Festival of Contemporary Music is America’s preeminent contemporary music festival.

ur story begins in the summer of 1961 directors dedicated to new music for orchestra: when young composer-musician Robert Gerhard Samuel (1963-68), composer Carlos Hughes stepped from a Greyhound Chávez (1970-73), conductor Dennis Russell O Davies bus at the Sticky Wicket, an Aptos, California (1974-1990), and American composer coffeehouse along the then two-lane Highway John Adams (1991). One. He had just arrived from Italy to study with composer Lou Harrison. At the same time, Since its founding, the Festival has presented Hughes joined Sticky Wicket owners Vic and 151 world premieres, 73 U.S. premieres, 152 Sticky Wicket, 1960s Sidney Jowers and others to present quality West Coast premieres, and countless local music and theater at the coffeehouse. Nearly premieres, and has included the participation 200 people could be seated before a wooden of more than 230 composers, including John stage in next door to enjoy a Stravinsky Adams, , , Elliott or a chamber music concert. Carter, Carlos Chávez, , John Corigliano, Michael Daugherty, , A year later, Cabrillo College opened its Aptos Osvaldo Golijov, Lou Harrison, Jennifer Higdon, campus. Faculty choral director Ted Toews and Aaron Jay Kernis, Libby Larsen, Tania Leon, soprano Alyce Vestal joined the Sticky Wicket James MacMillan, Thea Musgrave, Pauline gang and Lou Harrison to help shape the Oliveros, Arvo Pärt, Christopher Rouse, Joseph expansion of the Sticky Wicket Concert Series Schwantner, Virgil Thomson, and . into Cabrillo Music Festival. Gene Hambelton and area newcomer Bud Kretschmer became The Wall Street Journal has called it “two of the part of that group as it progressed. most thoughtful and original summer musical weekends anywhere in America,” and WQXR About 300 people attended opening night at named it “one of the top five incubators of The Festival Tent at UCSC, 1987 the Cabrillo College Theater, August 21, 1963. At new music” in the world. Symphony magazine 8:15 p.m., a thrill rippled through the audience declared, “According to all the traditional when the Festival’s first music director, Gerhard marketing dicta, not to mention the persistent Samuel, stepped to the podium! nay-saying Cassandras of the orchestral world, this is a formula that is not supposed to work. Now audiences fill Santa Cruz Civic Auditorium, More than just an improbable enterprise, it’s home to the Festival since 1991, under the an improbable success story.” leadership of Marin Alsop, who in 1992 joined a long succession of distinguished music

1992–2016 Marin Alsop

“At the Cabrillo Festival of 1963–1968 1970–1973 1978 1974–1990 1991 Gerhard Samuel Carlos Chávez Composer Dennis Russell John Adams Contemporary Music, new works Aaron Copland Davies are always the main course. Under music director Marin Alsop, the annual event offers a total immersion experience, exploring a full range of stylistic concerns and often presenting young composers before they become household names. In the process, Cabrillo has become a summer mecca for musicians and a premier musical destination for audiences.”

–San Jose Mercury News Concerts at Mission San Juan Bautista, c.1970s Festival moves to SC Civic Auditorium in 1991

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 13 Cabrillo Festival Experience All events take place at the Santa Cruz Civic Auditorium and are free, unless otherwise noted.

Open Rehearsals Talks You are invited to witness the music come to life as the musicians and Pre-Concert Talk on Opening Night composers sculpt their pieces for performances. A detailed schedule of Friday, August 5, 7:00pm rehearsal and talks can be found online. Join us on Opening Night outside the Civic Auditorium for a pre-concert MORNINGS: 10:00am–12:30pm August 2, 3, 10, 11 talk with Marin Alsop and special guests who will help usher in her 25th AFTERNOONS: 2:30pm–5:00pm August 1, 4, 9, 10 anniversary celebration. 4:00pm–6:30pm August 3 (Conductors Workshop) EVENINGS: 7:00pm–9:30pm July 31–August 4, 9, 11 Cabrillo Connections: Marin and Her Composers Open Rehearsals are supported by an anonymous donor. Saturday, August 6, 1:30pm Tickets: $14 Inside the Civic Auditorium, an informal discussion will be moderated by Cabrillo Festival Orchestra principal Tim Munro, with Marin Alsop and composers John Adams, Anna Clyne, Michael Kropf, Kevin Puts,

Cabrillo Festival Experience Christopher Rouse, and Gregory Smith. (Formerly Meet the Composers) Post-Concert Talkback Saturday, August 6, post-concert Following the Inspiration & Impact concert, concertgoers are invited to stay for a talk with Marin Alsop and the evening’s featured artists. Pre-Rehearsal Talks Free Concerts Thursday, August 4, 6:15–6:45pm Noah Luna, composer, orchestrator and music teacher, on the In the Works Inspiration & Impact orchestra concert works. Tuesday, August 2, 6:00pm Find yourself at the very center of contemporary music-making with a Thursday, August 11, 6:15 pm–6:45 pm special concert featuring new works by three young composers—Viet Philip Collins, composer, lecturer and New Music Works’ artistic director, Cuong, Dani Howard, and Michael Schachter—conducted in rotation on the Memory & Meaning orchestra concert works. by six emerging conductors, all studying in the prestigious Conductors/ Composers Workshop. Free Family Concert Sunday, August 7, 1:00pm Relive the Experience Gregory Smith is the creator of family-friendly concert music that has Sarah Cahill, host of KALW’s Revolutions been performed by major orchestras around the world. This concert Per Minute, will present the 2016 Cabrillo gets going with a Tour of the Orchestra, then Smith’s lively curtain-raiser, Festival Concert Broadcasts on 91.7FM in Tempus Fugit, is guest conducted by Alexandra Arrieche. Then Alsop the Bay Area and streaming at takes to the podium for Mr. Smith’s Composition, a comic journey into KALW.ORG on the following schedule: the composer’s mind narrated by the composer himself. POWER & DEVOTION: Sunday, August 21, 8:00pm Student Staff Ensemble Saturday August 13, 2:30pm INSPIRATION & IMPACT: Monday, August 22, 9:00pm COURAGE & CONNECTION The Student Staff Ensemble—comprised of young musicians age 16- : Sunday, August 28, 8:00pm 24—program, produce, and perform a concert of original works! Come be MEMORY & MEANING: Monday, August 29, 9:00pm inspired by their boundless creativity, and cheer for the future of new music. 14 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Cabrillo Festival Experience Poet in Residence GARY YOUNG Gary Young is a poet and artist whose numerous honors include recognition from the Poetry Society of America– the Lucille Medwick Memorial Award (2013), the Shelley Memorial Award (2009), the William Carlos Williams Award (2003), and the Lyric Poem Award (2001). The first Poet Laureate of Santa Cruz County and 2012 Meet Ups Santa Cruz County Artist of the Year, Young has received two fellowship grants from the National Endowment for the Arts, a Opening Night Dinner Pushcart Prize, and the James D. Phelan Award. He has authored Friday, August 5, 6:30pm, $32 several collections of poetry, and has designed, illustrated, and printed limited edition books and broadsides at his Greenhouse Before the Power & Devotion concert, enjoy an al dinner Review Press since 1978. His print work is represented in major catered by Feast for a King. Includes prime seating for the Pre- collections including the Museum of Modern Art, the Victoria Concert Talk! Reservations required. and Albert Museum, and The Getty Center for the Arts. He Church Street Fair teaches creative writing, and directs the Cowell Press at UCSC! Saturday & Sunday, August 6 & 7, 11am–8pm s 2016 Cabrillo Festival Poet-in-Residence, Young will attend rehearsals and performances, and explore in poetry the liminal Bring your friends and family to Downtown Santa Cruz for two full zone where the language of music and the language of words days of music, art, food, wine, and kids activities in front of the Civic A intersect. Young is best known for his short lyrical prose poems. For his Auditorium. (See page 16.) residency at the Festival, he will also create a limited edition, letterpress Post-Concert Dessert Reception: print of an original poem and woodcut celebrating the Festival. These will Toast the Maestra! be gifted as a special memento to the orchestra members and upper Saturday, August 13, 8pm level donors in honor of Marin’s 25th and final season. Concertgoers, orchestra and artists are invited to savor the Sponsored by David E. Kaun last moments of this very special season over cake and bubbly immediately following the concert. Photographer Donors Concert in Residence R.R. JONES SATURDAY, Jones was born in Houston, Texas in JULY 30 1949, and moved to Santa Cruz, California in 1986, where he continues to make In recognition of the important his living as a photographer. Jones commitment made by our donors has works in permanent collections of $250 or more, and all those including the San Francisco Museum of Modern Art; Denver who have made the Three Steps Museum of Art; Santa Barbara Museum of Art; Center for Visual to the Future pledge, we are Art at ; University of California Santa Cruz thrilled to reprise our very special Special Collections; and the Center for Photographic Art at Donors Concert this season. . In 2001 Jones was the recipient of a Gail he event begins at 4:45pm in the lobby of the Rich Award, and in 2005 was the subject of a one-man show Civic Auditorium with a welcome reception, and at at Santa Cruz’ Museum of Art & History. Staff photographer for T 5:15 moves into the hall for a chamber concert of Kuumbwa Center since the early 1990s, Jones recently contemporary works featuring musicians of the Festival published a photography book honoring their 40th anniversary! Orchestra. This intimate gathering allows a more personal brilliant fine arts photographer, Ron Jones’ rich portraits taken opportunity for each of these talented artists to share more of across Indonesia, Thailand, and Mexico have distinguished themselves and their virtuosic playing. Marin and the Festival him as a Santa Cruz treasure. For well over a decade, Jones want to thank and celebrate the extraordinary dedication of our A has been the Cabrillo Festival’s primary photo documentarian, and patrons and our orchestra—and there is no better way to kick off as our Photographer-in-Residence we will again feature his incredible the season than with food, wine, friends and music! work on display in the lobby of Sponsored by: Sponsored by: the Civic Auditorium during the Festival season. You can also enjoy slideshows of images from past seasons at cabrillomusic.org.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 15 downtown santa cruz

Celebrating 25 years, the Church Street Fair is presented by the Cabrillo Festival of Contemporary Music and the Santa Cruz Civic Auditorium

aturday and Sunday, August 6 and 7 see the return of Cabrillo Festival’s popular Church Street Fair! The two- Sday “festival within the Festival” offers an inspiring celebration of the arts in Santa Cruz. Now in its 25th year, the Fair features local food purveyors, vintners and brewers, plus an eclectic menu of musical genres on the outdoor stage. Dozens of artists and craftspeople will sell their treasures all along Church Street in front of the Civic Auditorium; while the Church Street Stage takes audiences on a journey across the Brett Taylor, emcee world from Africa to Asia, Europe, and back to the Americas. The Church Street Stage is hosted by our always-fantastic master of ceremonies, Brett Taylor. Santa Cruz Ballet Theatre SATURDAY AUGUST 6

11:15 AM THE GREAT MORGANI Clad head-to-toe in flamboyant performance attire, this master accordion player and local treasure has a repertoire of more than 1,000 songs from around the globe.

12:15 PM SANTA CRUZ BALLET THEATRE Young dancers and burgeoning ballerinas on The Great Morgani pointe present ballet with precision training and The Ukulele Dick exquisite choreography. Show

1:00 PM SAMBA CRUZ Smooth Brazilian music styles from sambas to bossa novas, baiao, choro and more. Samba Cruz 2:15 PM THE UKULELE DICK SHOW Ukulele Dick expertly explores the breadth of the instrument with a swinging collection of songs from the Great American Desert Dream Music and Dance Songbook, Blues, Jazz, Novelty and more.

3:15 PM DESERT DREAM MUSIC AND DANCE Desert Dream’s continuous creativity melds an exotic and

CHURCH ST REET FAIR colorful palette of belly dance styles into an always-irresistible performance.

4:15 PM DOMU AFRICA Domu Africa conveys the Griot traditions of Senegal, West Bryn Loosley and The Back Pages Africa with powerful performances including percussion, vocals, and dance. Domu Africa

5:15 PM BRYN LOOSLEY AND THE BACK PAGES

CHURCH STREET FAIR Americana music that radiates soul and heart, this popular band brings their songs to life with thoughtful arrangements and driving rhythms.

6:30 PM 7 COME 11 This Hammond organ-fueled fever-dream trio pushes the musical envelope and 7 Come 11 turns the funky grooves of 60s and 70s legends into something exciting and entirely new. 16 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC CHURCH STREET FAIRCHURCH SATURDAY & SUNDAY The Church Street Stage is sponsored by: AUGUST 6&7 11AM‑8PM

SUNDAY AUGUST 7

11:30 AM SENDEROS Traditional Mexican dance and music performed by two folkloric youth groups making their Church Street Stage Senderos debut–Centeotl Danza y Baile and Ensamble Musical. 12:15 PM BANANA SLUG STRING BAND With guitars, voices, crazy characters, and an extraordinary ability to connect with children, these “eco-warriors” change the world–one child at a time!

Watsonville Taiko 1:00 PM FREE FAMILY CONCERT inside the Civic The Free Family Concert starts with a Tour of the Orchestra! Then Marin Alsop and the Festival Orchestra perform the Banana Slug String Band hilarious and engaging Mr. Smith’s Composition, narrated by the composer himself, Greg Smith. See page 45.

2:30 PM WATSONVILLE TAIKO This ancient Japanese drumming tradition brings together rhythm, movement and harmony in traditional and contemporary works.

3:30 PM TRU SCHOOL HIP HOP A unique style of Hip Hop and Street Dance for audiences of all ages.

4:15 PM THE DOWN BEETS Tru School Hip Hop Bluegrass meets “new grass,” with creative originals and complex arrangements of beloved standards.

5:00 PM PARADISE SOUL SAVERS Rock and roll in the most classic sense–melodic, rootsy and heartfelt.

6:30 PM SAMBADÁ A Santa Cruz favorite, SambaDá is rooted in the rich musical traditions of , but also references salsa and cumbia, blending them playfully with funk and The Down Beets reggae beats.

SambaDá

We appreciate additional support from:

Special thanks to Stage Manager Eileen Flynn; our IATSE 611 Sound Engineer and to the Santa Cruz Civic Paradise Soul Savers Auditorium staff!

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 17 18 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC CREATIVITY TENT FOR KIDS FOR TENT CREATIVITY CREATIVITY TENT FOR KIDS Welcome to the “Creativity Tent for Kids” at the Church Street Fair—two full days of free hands-on music and art workshops under a beautiful white canopy in the gardens of the Santa Cruz City Hall!

top by to be inspired on Saturday and Sunday, August 6 and 7! Music and movement will be central in sessions with Music Together, and professional artists will lead workshops in a Svariety of mediums. The Creativity Tent’s activities promise our younger generations hours of fun and enduring inspiration. The Tent is just one of the exciting components of children’s activities at the Festival; others include our innovative Free Family Concert and free family performances on the Church Street Stage. All workshops are free and open for children and their families.

SATURDAY AUGUST 6 SUNDAY AUGUST 7 MORNING WORKSHOP 11:00AM–2:00PM MORNING WORKSHOPS 11:00AM–1:00PM MUSIC TOGETHER with MusicalMe, Inc. PAINTED BUTTERFLIES – Susana Terrell Since 1996, MusicalMe, Inc. has shared the award-winning “Music Participants use poster paint and oil pastels to create a butterfly Together” Early Childhood Music & Movement Program with more than with colorful patterns and decorations. Designs can be based on 50,000 families throughout Santa Cruz & Santa Clara Counties. Get pictures of real butterflies but anything is possible! After painting, your little people moving and singing with Music Together! More info on the butterfly is put on a stick with a ribbon and can be carried away. upcoming events at www.musicalme.com. SHIBORI TIE DYE – Amanda Hess Participants learn the traditional Japanese art of Shibori Tie Dye AFTERNOON WORKSHOPS 2:30–5:30PM using cotton squares to create beautiful indigo patterns with rubber POSITIVE PATCHES – Legendary Collective band and pole techniques. Participants learn about the art of printmaking, choosing from a selection of pre-made rubber stamps featuring various positive words and symbols STAR WEAVING – Fred Mindlin then printing them onto a fabric patch. The patches will then be taken Participants make geometric star shapes by weaving colorful yarn home and can be displayed or attached to a backpack or clothing! into cardboard. After their star is complete, they will decorate their artwork with chalk pastels to help make their star really pop! MARBLED RECORD COLLAGE – Oliver Whitcroft Participants learn the art of marbling by painting with droppers into AFTERNOON WORKSHOPS 2:30–5:30PM trays that suspend the paint on the surface. Paints can be swirled, or patterned with a variety of texture-making tools. Once dry, collages will MUSIC CHARM BRACELETS – Katelyn Byrne be created on vinyl records by cutting out various shapes from pre- Participants make bracelets with music-themed charms. The made designs as well as their own original work. charms will be wood cut-outs in the shapes of musical notes and instruments that can be decorated with markers before adding WATERCOLOR ZENTANGLES – Emmanuel Garcia them to their uniquely designed beaded bracelets. Participants learn the art of zentangle doodle art and practice creating patterns and movement using references provided. They will fill in a POETRY ZINES – Magdalena Montagne & Georgia Sears small paper square with many patterned lines before painting over their Participants create their own zines by folding single sheets up to artwork with watercolors. sixteen pages. After building the book and decorating the cover, they will add published poems from a diverse range of classic and contemporary poets representing a wide variety of themes, voices Creativity Tent sponsored by: With additional support from: and styles.

FOIL FISH MOBILES – Kyle Morris Using stencils, participants trace the outline of a fish of their choosing into foil and add colorful patterns and designs with markers. Then they will cut out their fish, along with a piece of construction paper, before punching a hole near the mouth to string fishing line so their art can be hung for decoration.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 19 JOHN ADAMS MASON BATES

Sponsored by Members of the Sponsored by Michèle Beigel Corash & Cabrillo Festival Orchestra Laurence Corash

Composer, conductor, and creative thinker, Recently named the most-performed composer John Adams occupies a unique position in of his generation, Mason Bates currently the world of American music. His works, both serves as the first composer-in-residence of operatic and symphonic, stand out among the Kennedy Center for the Performing Arts. contemporary classical compositions for their His music fuses innovative orchestral writing, depth of expression, brilliance of sound, and the imaginative narrative forms, the harmonies of profoundly humanist nature of their themes. jazz and the rhythms of techno, and it has been JOHN ADAMS the first symphonic music to receive widespread Works spanning more than three decades have acceptance for its unique integration of entered the repertoire and are among the most electronic sounds. Leading conductors such performed of all contemporary classical music, as Riccardo Muti, , and among them , , his have championed his diverse , , Doctor catalogue. He has become a visible advocate Atomic Symphony, and Short Ride in a Fast for bringing new music to new spaces, whether

Guest Composers Machine. His stage works, all in collaboration through institutional partnerships such as his with director , include Nixon in residency with the Chicago Symphony Orchestra, , , El Niño, Doctor or through his club/classical project Mercury Atomic, , and the Passion Soul, which has transformed spaces ranging oratorio The Gospel According to the Other from commercial clubs to -designed Mary. His large-scale choral work, On the concert halls into exciting, hybrid musical Transmigration of Souls, commissioned by the events drawing more than a thousand people. In MASON BATES to commemorate the awarding Bates the Heinz Medal, Teresa Heinz first anniversary of 9/11, received the 2003 Kerry remarked that “his music has moved the Pulitzer Prize in Music. His Violin Concerto won orchestra into the digital age and dissolved the the 1993 Grawemeyer Award. He is among boundaries of classical music.” the most frequently performed living American composers of orchestral music. Bates’ activities as a DJ have highly informed not only his compositional approach, but his Adams has received honorary doctorates distinctive curating projects. As part of his multi- from Juilliard, Yale, Harvard, Northwestern, year residency, he will work with the Kennedy and Cambridge University in England, Center’s broad range of artistic constituents, among other institutions. Governor Arnold from performances with the National Symphony Schwarzenegger of California honored him with to appearances with Jason Moran on Kennedy the Governor’s Award for Lifetime Achievement Center Jazz, often integrating electronic artists ANNA CLYNE for his distinguished service to the arts in his into the Center’s unique spaces. He is launching adopted home state. Adams is an inductee of a new-music series, KC Jukebox, that will the American Academy of Arts and Letters, an feature the eclectic programming, immersive NEA Opera Honors recipient, a winner of the production, and projected information for which Nemmers Prize in Music Composition, and has his curating projects have become known. won multiple Grammy awards. has also honored Adams by inducting him as a Chevalier This season marked the important release of of the Ordre des Arts et des Lettres. two CDs of his symphonic music. As part of the ’s Beethoven & Bates As a conductor, Adams appears with the world’s Festival, three of his largest works­—Alternative major orchestras in programs combining his own Energy, , and The B-Sides— were works with a wide variety of repertoire ranging released on SFS Media, complemented by a from Beethoven and Mozart to Ives, Carter, JOHN CORIGLIANO CD from the Boston Modern Orchestra Project Zappa, Glass, and Ellington. He is currently offering some of his most-performed works, from Creative Chair for the Los Angeles Philharmonic. to . Currently he is composing an opera on the topic of Steve Jobs The Cabrillo Festival has presented fifteen to be premiered at Santa Fe Opera in 2017. works by Adams, including two US premieres and four West Coast premieres. On Saturday, Bates returns to the Cabrillo Festival for the August 6, Alsop conducts Adams’ Absolute Jest, performance of The B-Sides for orchestra and as well as the world premiere of Lola Montez electronica, during Courage & Commitment on Does the Spider Dance, dedicated to Alsop by Friday, August 12. the composer and commissioned in her honor by the musicians of the Festival Orchestra. More information and JENNIFER HIGDON content is available www.cabrillomusic.org 20 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Guest Composers ANNA CLYNE JOHN CORIGLIANO JENNIFER HIGDON

Sponsored by Co-Commissioners of RIFT, Sponsored by Mary James & George Cook Sponsored by Michael Good & JoAnn Close see page 37 and Earleen Overend & Wayne Palmer and the Lawrence Family

London-born Anna Clyne is a Grammy- John Corigliano continues to add to one of Jennifer Higdon is a Pulitzer Prize and Grammy nominated composer of acoustic and electro- the richest, most unusual, and most widely Award-winning composer whose works garner acoustic music. Her work, described as celebrated bodies of work any composer has more than 300 performances a year, making “dazzlingly inventive” by Time Out New York, created over the last forty years. His scores, her one of the most performed living American often includes collaborations with cutting-edge now numbering over one hundred, have won composers working today. She has been choreographers, visual artists, filmmakers, and him the Pulitzer Prize, the Grawemeyer Award, the recipient of a Guggenheim Fellowship, a musicians worldwide. five Grammy Awards, an Academy Award, and Koussevitzky Fellowship, a Pew Fellowship, and have been performed and recorded by many of two awards from the American Academy of Arts Clyne has been commissioned by renowned the most prominent orchestras, soloists, and & Letters. Her Secret & Glass Gardens was a organizations such as the Los Angeles chamber musicians throughout the world. winner in the Van Cliburn Competition’s Philharmonic, Chicago Symphony Orchestra, American Composers Invitational. Higdon Seattle Symphony, Carnegie Hall, BBC Radio 3, Recent scores include One Sweet Morning was honored by the Delaware Symphony with Houston Ballet, London Sinfonietta, Southbank (2011) a four-movement song cycle premiered the A.I. DuPont Award for her contributions to Centre, and the American Composers Orchestra, by the New York Philharmonic and Stephanie the symphonic literature; and was recently among others. Her work has been championed Blythe; (2008), for percussion and presented the Distinguished Arts Award by by some of the world’s finest conductors, string orchestra, commissioned for and Pennsylvania Governor Tom Corbett. including Marin Alsop, Pablo Heras-Casado, introduced by Dame Evelyn Glennie; Concerto Riccardo Muti, Leonard Slatkin, and Esa-Pekka for Violin and Orchestra: (2005), Higdon’s commissions have come from a wide Salonen, and has been performed in venues developed from the themes of the score to the range of performers: from such orchestras ranging in diversity from New York’s (Le) Poisson film of the same name, which won Corigliano as the , the Baltimore Rouge to Carnegie Hall—hosts of concert halls an Oscar in 1999; Mr. Tambourine Man: Seven Symphony, and the , to The and alternative venues across the globe. Poems of Bob Dylan (2000) for orchestra and President’s Own Marine Band; from the Tokyo amplified soprano, the recording of which won a String Quartet and the Lark Quartet, to the new Clyne recently completed her five-season Grammy for Best Contemporary Composition in music ensemble, eighth blackbird; as well as tenure as the Chicago Symphony’s Mead 2008; Symphony No. 3: Circus Maximus (2004), individual artists such as violinists Composer-in-Residence. She is currently scored simultaneously for wind orchestra and a and Jennifer Koh, and pianists Gary Graffman Composer-in-Residence for the Baltimore multitude of wind ensembles; and Symphony No. and . Her most recent project is an Symphony Orchestra and L’Orchestre national 2 (2001 Pulitzer Prize in Music.) Other important opera based on the best-selling novel, Cold d’Île de France and is the recipient of several scores include String Quartet (1995: Grammy Mountain, by Charles Frazier. It was premiered prestigious awards including a Award, Best Contemporary Composition); to all sold-out performances by the Santa Fe Fellowship from the American Academy of Arts Symphony No. 1 (1991: Grawemeyer Award); the Opera in August of 2015 and travels to Opera and Letters, awards from Meet the Composer, opera The Ghosts of Versailles (Metropolitan Philadelphia, Minnesota Opera and North the American Music Center, the Foundation Opera commission, 1991); and the Carolina Opera in the next two seasons. for Contemporary Arts, and prizes from ASCAP Concerto (1977). In 2015, Houston Symphony and SEAMUS. She was nominated for the 2014 Orchestra commissioned Corigliano to create Upcoming projects include a Concerto for Times Breakthrough Award (UK) and for a 2015 a new orchestral version of Stomp, and Los Roberto Diaz, commissioned by the Library of Grammy Award for Best Classical Contemporary Angeles Opera received wide acclaim for their Congress; a song cycle for Thomas Hampson, Composition, for her double violin concerto, stunning new production of The Ghosts of commissioned by Carnegie Hall; and a work Prince of Clouds. Versailles, conducted by , staged for Nadja Salerno-Sonnenberg’s New Century Highlights for the 2015–16 season include the by Tony Award-winning director Darko Tresnjac Chamber Orchestra. Higdon makes her living world premieres of This Midnight Hour performed and starring Patricia Racette, Christopher from commissions and serves as composer- by L’Orchestre national d’Île de France; This Maltman and Patti LuPone. in-residence with various orchestras and Lunar Beauty by the Britten Sinfonia; Just As universities throughout the country. She holds They Are by the Grand Valley State University Corigliano serves on the composition faculty the Milton L. Rock Chair in Composition at The New Music Ensemble; Abstractions, written at the Juilliard School of Music and holds the Curtis Institute of Music in Philadelphia. Her for Marin Alsop and the Baltimore Symphony position of Distinguished Professor of Music works are recorded on over 50 CDs. Orchestra; RIFT, a ballet score written for Marin at Lehman College, City University of New York, Higdon holds a Ph.D. and a M.A. in Music Alsop and the Cabrillo Festival Orchestra, which has established a scholarship in his Composition from the University of Pennsylvania, in collaboration with choreographer Kitty name. a B.M. in Flute Performance from Bowling Green McNamee; Pocket Book VIII for Roomful of Cabrillo Festival has presented twelve of State University, and an Artist Diploma in Music Teeth; Threads & Traces for one hundred Corigliano’s orchestral works, including five Composition from The Curtis Institute of Music to be premiered at the Hollywood Bowl; and the West Coast premieres and the world premiere in Philadelphia. US East Coast premiere and the UK premiere commission of Cabrillo Lullaby, written in of Clyne’s violin concerto, The Seamstress, honor of Alsop’s 20th anniversary. This season, Higdon’s Violin Concerto won the 2010 Pulitzer performed by Jennifer Koh with the Princeton Corigliano returns as composer-in-residence for Prize in Music and will receive its West Coast Symphony Orchestra and the BBC Symphony an encore performance of his Symphony No. premiere this season during Courage & Orchestra, respectively. 1, the closing work of Memory & Meaning on Commitment, Friday, August 12. Clyne returns to Cabrillo Festival for the world Saturday, August 13. premiere of RIFT, during Power & Devotion, Friday, August 5. CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 21 MICHAEL KROPF ALEXANDER MILLER

Sponsored by Pacific Harmony Foundation Sponsored by Jack & Peggy Baskin and Alan Ritch

Michael Kropf is a composer currently living In recent years, Alexander Miller—familiar to in San Francisco and pursuing his master’s Cabrillo audiences as a long-time oboist with degree in Composition at the San Francisco the Festival Orchestra—has increasingly turned Conservatory of Music. He has garnered his time and attention to composing. He has several awards from the Conservatory including written many large orchestral works including First Prize in the 2015 Highsmith Orchestral Fireworks, performed in Carnegie Hall for the Composition Competition for his work High Grand Rapids Symphony’s 75th anniversary; MICHAEL KROPF Spirits; third prize in the Biennial Art Song Let Freedom Ring, which has been narrated Composition Competition for his work Make by James Earl Jones, Danny Glover and former me a picture of the sun; and was the top prize- president Bill Clinton; Encaustic, a clarinet winner of the Telegraph Quartet Composition concerto depicting wax painting; and his Competition, earning a commission and concerto Madame Bovary, inspired by Flaubert’s premiere of his Three Pieces for String Quartet. impossible dreamer. In 2014, Kropf’s composition Kinesthesia, for

Guest Composers chamber ensemble, received an honorable Miller’s music has been hailed as “stunning” mention at the ASCAP Foundation Morton (American Harp Society) “engaging and Gould Young Composers Awards. Kropf has energetic” (Modesto Bee), and anything from collaborated with the Telegraph Quartet, the “magnificent,” “haunting” and “imaginative” San Francisco Conservatory Orchestra, soprano to “intricate” and “sly and whimsical” (Grand Erin O’Meally, and conductor David Bloom. Rapids Press). About Scherzo Crypto, a senior critic at the San Antonio Express-News wrote ALEXANDER MILLER Kropf serves as Co-Director of the Hot Air Music that his “vibrant, propulsive” music “recalled in Festival, a daylong marathon of new music some ways the best mid-20th century American that takes place annually at the San Francisco symphonists.” Most of his commissions and Conservatory of Music. He is also a Co-Founder premieres have originated from his home and Artistic Director of the Dynamic Music orchestra in Grand Rapids where the local press Festival, a two-day concert series in New York calls him “Assistant Principal Oboist by title, City focused on creating a dialogue between Composer-in-Residence by default.” student composers from different schools in and around the Tri-State area. Miller was born in Bloomfield Hills, Michigan in 1968 and lived a richly varied childhood Born in Danbury, , Kropf received in Mexico, and Venezuela before his Bachelor of Music degree from New York returning to Michigan for high school. He holds University, where he studied with Justin Dello Bachelor of Music and Master of Music degrees KEVIN PUTS Joio, Luboš Mrkvička, and Youngmi Ha. He in oboe performance from The Juilliard School. attended the European American Musical Alliance in Paris in 2013, and currently studies In addition to his duties with the Grand Rapids composition with David Conte. Symphony, Miller is oboist, conductor and composer with Ensemble Montage, a Grand In 2016, Kropf was commissioned by the Cabrillo Rapids-based chamber group dedicated to Festival of Contemporary Music, in partnership performing the myriad challenging works of the with John Adams and Deborah O’Grady’s Pacific past century. He also plays with the Wünderwind Harmony Foundation, to write a new orchestral Quintet and travels to elementary schools to work. Spinning Music will receive its world teach children about building music. premiere by the Cabrillo Festival Orchestra, conducted by Marin Alsop, on Saturday, August Shortly after the 2009 Cabrillo Festival, Miller received the diagnosis of a rare recurring brain CHRISTOPHER ROUSE 6, during the Inspiration & Impact concert. At 25 years old, Kropf is the youngest composer tumor that forced him to undergo two brain featured on our concert programs this season, surgeries followed by a long rehabilitation. and the sixth in a series of annual collaborations Working his way back to a life of performing and with John Adams to support the next generation composing is his proudest accomplishment, of emerging composers. and he blogs about his experiences as a patient regularly. He is married to Cabrillo violist Mary Jane Miller, and his other interests include mushroom hunting, puzzles, aviation, and wine.

Miller debuts as composer-in-residence with More information and the Cabrillo Festival Orchestra performing his content is available Scherzo Crypto on Friday, August 12, during GREGORY SMITH www.cabrillomusic.org Courage & Connection.

22 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC KEVIN PUTS CHRISTOPHER ROUSE GREGORY SMITH Guest Composers

Sponsored by Joseph & Bette Hirsch Sponsored by Jim & Beth Petersen Sponsored by Richard & Diane Klein and Jeff & Deborah Roisman

Winner of the 2012 Pulitzer Prize for his debut Christopher Rouse is one of America’s most Gregory Smith’s music covers a wide range opera , Kevin Puts has been hailed prominent composers of orchestral music. of the musical world, entertaining thousands as one of the most important composers Winner of the 1993 Pulitzer Prize in Music for every day and night at Disney theme parks of his generation. Critically acclaimed for a his Concerto and a Grammy Award and reaching millions on television networks richly colored, harmonic, and freshly melodic for Concert de Gaudi, Rouse has created a body throughout the world. musical voice that has also been described as of work perhaps unequalled in its emotional “emotional, compelling, and relevant,” his works, intensity. has called it “some Smith’s long association with the Walt Disney which include two , four symphonies, and of the most anguished, most memorable music Company has yielded original themes, songs several , have been commissioned, around.” His accomplishments as a composer and arrangements for their animated features, performed, and recorded by leading orchestras, were honored in 2002 with his election to the movies and all of their worldwide theme parks. ensembles and soloists throughout the world. American Academy of Arts and Letters. Wishes, his nighttime spectacular, is a perennial favorite that continues to draw record crowds at Silent Night was premiered by Minnesota Born in Baltimore in 1949, Rouse developed Disney World’s Magic Kingdom. Recently, Smith Opera in November 2011, and marked his an early interest in both classical and popular has created an anniversary fireworks show for debut in the genre of opera and vocal works. music. He graduated from Oberlin Conservatory Tokyo DisneySea and the castle show for the Commissioned by Minnesota Opera with a and Cornell University, numbering among his newly opened Shanghai Disneyland. libretto by Mark Campbell, the full-length opera principal teachers George Crumb and Karel Smith’s broadcast credits range from major is based on the 2005 filmJoyeux Noel. Heralded Husa. Rouse maintained a steady interest in network themes including inauguration and as “breathtaking” and “a stunning emotional popular music: at the , election themes for CBS, the ubiquitous CBS experience,” Silent Night has since been where he was Professor of Composition until logo, to underscores for the various Star Trek produced and performed at Opera Philadelphia, 2002, he taught a course in the history of rock dramas, Warner Bros. cartoons, as well as Fort Worth Opera, Cincinnati Opera, the Wexford for many years. He taught composition at the sports themes for ESPN, TNT, ABC, Headline Opera Festival, the Lyric Opera of Kansas City, Eastman School for two decades and currently News, the NY Mets, the New Jersey Devils and Calgary Opera, and Opera de Montreal, with teaches composition at The Juilliard School. the Tampa Bay Lightning. Smith also composed many more productions planned in the years to the music for the Salt Lake Paralympic come, including the San Jose Opera in 2017. Rouse’s music has been played by nearly every major orchestra in the U.S. and opening ceremonies, broadcast worldwide by Acclaimed as “thrilling” and “not to be missed,” numerous ensembles overseas, including the ABC. He has written hundreds of commercial Puts’ second opera, an adaptation of Richard Berlin Philharmonic, the City of Birmingham soundtracks for numerous companies including Condon’s novel The Manchurian Candidate, Symphony Orchestra, the and Mattel, Disney, American Express, Kodak, also commissioned by Minnesota Opera with Melbourne symphonies, and the Austrian Hasbro and Proctor and Gamble. a libretto by Mark Campbell, had its world Radio Orchestra. He is counted among Alsop’s Smith’s family/educational concert works have premiere in 2015. That same year also saw the favorite composers and his works have been enjoyed nearly 900 performances by more than world premiere of Puts’ song cycle Of All The featured frequently at the Cabrillo Festival; 200 orchestras, often with Smith narrating. The Moons, commissioned by Carnegie Hall and among the 22 works performed, there were international reach of these works continues performed by mezzo-soprano Sasha Cooke, ten West Coast Premieres, and his Concerto to expand with performances in the United which The New York Times called “a showcase for Orchestra (2008) was a world premiere Kingdom, China, , Germany, Greece, for his craftsmanship.” Festival commission. Recent highlights for the Australia, New Zealand and elsewhere. One composer include the world premieres of his of his most recent works in this genre, The Marin Alsop has long championed Puts’ work, by the Minnesota Orchestra Animated Orchestra, was commissioned for presenting eight of his pieces at Cabrillo (2009); Odna Zhizn, Prospero’s Rooms, and the Cabrillo Festival 50th Anniversary and Festival to date, including commissioning the Symphony No. 4 by the New York Philharmonic premiered in August 2012 with long-time Smith world premieres of his Symphony No. 4 (2007) (2010, 2013, and 2014, respectively); and champion Marin Alsop conducting. and (2013); and presenting Heimdall’s by the Chicago Symphony three West Coast premieres. Orchestra (2012). As a conductor, Smith has recorded with orchestras in London, San Francisco, Prague, His newest orchestral work, The City, was co- Rouse was named the Marie-Josée Kravis Salt Lake City and Seattle as well as numerous commissioned by the Baltimore Symphony Composer-in-Residence at the New York studio orchestras in New York, Los Angeles and Orchestra in honor of its 100th anniversary Philharmonic for the 2012–13 season, and was Nashville. and by Carnegie Hall in honor of its 125th extended through the 2013–14 and 2014–15 anniversary; Cabrillo Festival joined in the seasons. Beginning in 1994, Smith has been featured at commission in Marin Alsop’s honor. The City, Cabrillo Festival ten times, including four world accompanied by a film by James Bartolomeo, This season Rouse returns to Cabrillo and two West Coast premiere performances. was premiered in Baltimore and New York as composer-in-residence for the West This season he returns as composer and in April 2016, and receives its West Coast Coast premieres of his Oboe Concerto and narrator for two works—Tempus Fugit and Mr. premiere at Cabrillo on Saturday, August 6, Thunderstuck, both performed on opening Smith’s Composition—during the Free Family during Inspiration & Impact. night, Power & Devotion, Friday, August 5. Concert, Sunday, August 7.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 23 ALEXANDRA ARRIECHE ATTACCA STRING QUARTET JUSTIN BRUNS Assistant Conductor Violin

Guest Artists Sponsored by Ellen Kimmel Sponsored by Howard Hansen Sponsored by Richard Faggioli and Jill Wilson, Attorney at Law and Henry & Carole Klyce

Alexandra Arrieche was recently appointed the Internationally acclaimed, the Attacca Quartet– Violinist Justin Bruns began violin studies Principal Conductor of the Belgium spectacle Amy Schroeder, violin; Keiko Tokunaga, violin; at age three and won his first competition “Night of the Proms.” She has worked with Nathan Schram, viola; and Andrew Yee, cello– two years later. He made his solo debut with orchestras in North America, Europe, and Brazil has become one of America's premier young an orchestra at age nine and has since then and has received numerous awards for her performing ensembles. Now celebrating its appeared with orchestras in the US, England, conducting, including the 2011 Taki Concordia thirteenth season, the Quartet was originally China, and Italy. Conducting Fellowship, founded by Maestra formed at the Juilliard School in 2003, where Marin Alsop. As a result, she has been assisting they later became the Graduate Resident String Bruns is currently Acting Associate/Assistant Alsop in São Paulo and Baltimore for the past Quartet (2011–2013). Attacca Quartet made Concertmaster of the Atlanta Symphony years. Since 2014, Arrieche has held the post their professional debut in 2007 as part of the Orchestra and Director of Chamber Music at of Assistant Conductor at the Cabrillo Festival of Artists International Winners Series in Carnegie Kennesaw State University. He has served Contemporary Music. Hall's Weill Recital Hall. They garnered the Alice as Concertmaster of the Cabrillo Festival Coleman Grand Prize at the 60th annual Coleman since 2011, and is also a faculty member of In 2012, Arrieche was invited to attend the Chamber Ensemble Competition (2006), First the Music in the Mountains Conservatory in Aspen Music Festival and in the same year, Prize in the 7th Osaka International Chamber Durango, Colorado each summer. Bruns has she won the prestigious BSO–Peabody Music Competition (2011), and top prize and been a guest concertmaster with the Memphis Conducting Fellowship presented by the the Listeners’ Choice Award at the Melbourne Symphony Orchestra, IRIS Chamber Orchestra, Baltimore Symphony Orchestra in partnership International Chamber Music Competition Hong Kong Sinfonietta, Louisville Orchestra, with the Peabody Institute of Johns Hopkins (2011). The Metropolitan Museum of Art in New and São Paulo Symphony Orchestra. Before University. York named them Quartet in Residence for the moving to Atlanta, Bruns was Assistant 2014–2015 season. Concertmaster of the Colorado Symphony Arrieche began her musical studies as a vocalist Orchestra and Concertmaster of the Boulder before dedicating her career to conducting In 2013, the Attacca Quartet released the Bach Festival. and composition. In 1997, she was invited to complete works for string quartet by John study with the renowned Spanish composer Adams on Azica Records. It was praised by Steve A devoted and very active chamber musician, Cristobal Halffter in his Laboratory for Young Smith of the New York Times as a “vivacious, Bruns has appeared with numerous ensembles Composers in Spain. In 2010, she was offered a compelling set,” and The Boston Globe stated: including the Atlanta, Georgian, and Michigan full scholarship to Maestro ’s “Few [recent recordings] are as consequential Chamber Players and at the , Aspen, Master Conducting Studio at Bard College. as Fellow Traveler.” The was the recipient Savannah and Spoleto Music Festivals, In 2013 she completed her Arts Diploma in of the 2013 National Federation of Music Strings in the Mountains Festival, San Miguel Orchestral Conducting with Maestro Gustav Clubs Centennial Chamber Music Award. The Chamber Music Festival, and Carnegie Hall. Meier at the Peabody Institute of the Johns Attacca Quartet has been honored with both the He has an affinity for the Brahms, Beethoven, Hopkins University. In addition to her studies, Arthur Foote Award from the Harvard Musical and Mozart sonata cycles. Arrieche was invited to conduct in master Association and the Lotos Prize in the Arts from Bruns graduated summa cum laude from the classes with , Johannes Schlaefli, the Stecher and Horowitz Foundation. Cliff Colnot, Apo Hsu, Hugh Wolf, George University of Michigan and was awarded the Manahan, Robert Spano and Bernard Haitink. 2015–2016 marks the final seasons in New top prize upon graduation, the Stanley Medal. York and Canada of “The 68,” an ambitious self- He received his master's degree from Rice During the 2016 Festival season, Arrieche produced project in which the Attacca Quartet University. Bruns has recorded with Pearl Jam, will conduct the West Coast premiere of Greg will have performed all sixty-eight of Haydn’s Faith Hill, and Bruce Springsteen. Smith’s Tempus Fugit as part of the Festival’s string quartets. They make their Cabrillo Festival Bruns appears as featured soloist in the Free Family Concert on Sunday, August 7, at debut in John Adams’ work for string quartet and Festival’s West Coast premiere performance 1pm, in the Santa Cruz Civic Auditorium. orchestra, Absolute Jest, on Saturday, August 6, of Jennifer Higdon’s Violin Concerto on Friday, during Inspiration & Impact. August 12, during Courage & Connection. As More information and Festival Concertmaster, Bruns is featured content is available each season in the Music in the Mountains www.cabrillomusic.org benefit chamber music event, this year on Wednesday, August 10. 24 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC DANIEL HUGHES Guest Artists Artistic Director Sponsored by Carolyn & Robert Levering

Founding Artistic Director of The Choral Project, Daniel Hughes is in constant demand as a conductor, accompanist, coach, and choral clinician. THE CHORAL PROJECT He has guest conducted and adjudicated some of the West Coast’s most Sponsored by Nancy Loshkajian prestigious choral festivals. Collaborations include performances with Canadian Brass, The Australian Voices, San José Chamber The Choral Project, founded by Artistic Director Daniel Hughes and based in San Jose, California, Orchestra, The King’s Singers, and creative work celebrates its 20th anniversary this season. It has been hailed by San José Mercury News as “a with Broadway composer Stephen Schwartz. Bay Area jewel,” adding, “this is one of the best choirs you will ever hear.” The ensemble has earned Hughes’s concert appearances include an outstanding reputation for performing high-level choral literature and has performed throughout performances at (New York the world in concerts and choral festivals to great acclaim. City), Caulkins Opera House (Denver), Gusman Concert Hall (Miami), and Davies Symphony Hall The Choral Project is widely recognized for presenting and preserving great works of choral (San Francisco). literature from a broad range of traditions from across the globe, reflecting the region’s diversity. The 50-member ensemble is equally committed to innovative and dramatic presentations in Hughes holds a Master of Arts degree in concert, as well as promoting the choral arts through the premieres of new works. The Choral Conducting from San José State University. project has commissioned and performed world premieres by numerous composers including Awards include: 4th place, 35th International Richard Burchard, Brent Heisinger, Brian Holmes, Mac Huff, Theodore Lucas, Stephen Schwartz, Choral Competition (Gorizia, Italy); Arts Council and most recently, Eric William Barnum, and Joshua Shank. ’s 2013 Artist’s Laureate Award, The American Prize Award for Choral Direction, In 2014, The Choral Project was invited to sing at the Bing Music Center in a multicultural concert and a 2010 Silicon Valley Arts & Business presented by Stanford Live!. That same year they performed in concert with Canadian Brass, Award. He is also an accomplished composer and their recording of Famine Song was featured in the PBS documentary Many Rivers to Cross. and arranger with a catalogue of nearly Recently, they performed in concert with The King’s Singers. The Choral Project has released eight 100 works. : The Cycle of Life, Of Christmastide, Americana, Water & Light (the group’s #1 best seller on the Clarion label), Winter, One is the All, Tell the World, and most recently Yuletide, a festive LUCAS FEDRONIC collection of holiday favorites. Boy Soprano The Choral Project joins the Cabrillo Festival Orchestra for Osvaldo Golijov’s Oceana on Saturday, Sponsored by Marion Taylor August 13, during Memory & Meaning. Lucas was born into a musical family in Belmont, California. He joined the THE CHORAL PROJECT ENSEMBLE MEMBERS: Ragazzi Boys Choir when he was seven years old, and Soprano Alto Bass began studying classical Emilie Bertram Tina Alberti Andrew Chung Chris Bennett piano with Irina Behrendt Randy Chastain Kathy Armstrong Nate Cook Jason Brittsan soon after. Lucas recently Carolyn Derwing Kristin Baxter Mike Fotinakis Danny Byers also began studying jazz Valerie England Leah Drake Tony Giannetti Dan Cudworth and classical trumpet with esteemed Bay Area Andria Gaskill Yoshiko Fukui Jake Holguin Terry Forrest trumpeter, Mike Galisatus. In his free time, he Sydney LaMorte Kathleen Kuebelbeck Afan Huang Bruce Halen enjoys playing soccer, fencing, and reading. Summer Latimer Nancy Loshkajian Brendan Mar Matt Halverson Lucas is thrilled for the opportunity to grow as Giulietta Ludwig Rebecca MacKnight Rick Mixon Kirby Hansen a musician and meet new friends while learning Emily Macway Viva Millán Pablo Rico Hal Laster and performing in Oceana at the Cabrillo Sarah Nitzen Sheila Sardi Eric Tooley Tom Lohmuller Festival on Saturday, August 13. Denise Owen Laurel Shiba Ricky Williams Wil Mathews Eric Medeiros Ro Morris

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 25 KITTY MCNAMEE KATHERINE NEEDLEMAN LOS ANGELES DUO Choreographer Oboe Guitars

Guest Artists Sponsored by Ciara Harraher & Sponsored by George Hopkins Sponsored by Sallie Johnson Mike McDonnell and Marcia & Fred Smith and Rowland & Patricia Rebele and Phyllis Rosenblum

Kitty McNamee is a highly regarded Katherine Needleman joined the Baltimore Bryan Fasola and Donovan Butez formed a choreographer who began her career as Symphony Orchestra as principal oboist in guitar duo in 2012 focused on producing and the Artistic Director of Hysterica Dance Co., 2003, the same year she won first prize at the premiering new works. In 2014, they released a creative collective in Los Angeles. Her International Double Reed Society’s Gillet-Fox an album of works composed by Butez, titled career has since successfully spanned live Competition. As soloist, she has appeared with Los Angeles Duo. As a duo, they have performed performance, TV and film. the Philadelphia, Saint Paul Chamber, Concerto at a variety of venues across the country, and Soloists Chamber, and the Baltimore Chamber participated in the inaugural traversing music McNamee’s recent work includes choreography orchestras; the Haddonfield Symphony and festival, Licks on 66 in 2015. They regularly for Secret Cinema’s groundbreaking the Orquesta Sinfónica Nacional de Colombia, premiere new works for two guitars and small performances with Laura Marling in London in addition to her frequent appearances with chamber groups and are currently recording and the World Premiere of Colony Collapse, the Baltimore Symphony. She has performed an album of their own arrangements of French commissioned by Oregon Shakespeare Festival. as guest principal oboist with the New York composers from the late 19th and early 20th Philharmonic, the Saint Paul Chamber Orchestra, centuries. McNamee’s production of La Traviata and the symphony orchestras of Boston, Chicago, premiered at LA and San Francisco operas; Atlanta, San Diego, and New Zealand. Fasola grew up in Los Angeles, and at a young and Romeo and Juliette at LA Opera and Lyric age published and recorded music that has Opera of Chicago. McNamee enjoys a long and Needleman’s chamber music engagements been frequently used on the History Channel. fruitful relationship with the LA Philharmonic have taken her to Carnegie Hall, Weill Recital After playing and studying the classical guitar where she has choreographed, directed and Hall and the Metropolitan Museum in New York; in Germany for several years, Fasola accepted a developed new productions including Esa- Jordan Hall and the Isabella Stewart Gardner position as lecturer at California State University, Pekka Salonen’s Wing on Wing. Moving into Museum in Boston, as well as the Freer Gallery Northridge, while completing the Doctorate of direction, McNamee has shepherded new in Washington D.C. She has appeared at the Musical Arts degree at USC. He performs for work for the LA Philharmonic, Hello Kitty/FLUX, Verbier Festival in , Italy’s Spoleto audiences at universities and arts societies Grey Ant and Chicago Symphony’s MusicNOW. Festival, the Alpenglow Festival, Greenland, and around L.A. as well as for radio stations in Los Recent stage work includes the creation of the Newport Music Festival. A participant at the Angeles and St. Louis. Traces and Transit for National Choreographer’s Marlboro Music Festival, she has also appeared Initiative; and Colony for the LA Ballet. on two tours with “Musicians from Marlboro.” Butez is a French-born American guitarist and composer who, by age twelve, performed with McNamee is known for her work with actors Devoted to contemporary music, Needleman the Orchestre national de region de Caen. He and her ability to draw from them organically has premiered numerous works and has graduated from the Conservatoire National de nuanced performances. She has coached and commissioned works by Luis Prado, Chia-Yu Region de Caen in Normandy France at age choreographed for Paz Vega, Julianne Hough, Hsu and David Ludwig. She gave the American 17, and moved to the US on the prestigious Margaret Cho, Vanessa Williams, Vittorio premiere of Brenno Blauth’s Concertino. Her Woodruff scholarship to study at Columbus Grigolo, Lily Tomlin, Anna Netrebko, Rolando debut CD, Duos for Oboe and Piano, was recently State University. While in Georgia, Butez became Villazon, 90210 and The L-Word. McNamee released on the GENUIN label with pianist a popular performer for many important patrons has also choreographed Beautiful and Twisted, Jennifer Lim. of the arts and premiered countless works for Petals on the Wind and Lizzie Borden for guitar—including Suite Brasileira by Sergio Lifetime Television; and created movement Needleman attended high school at the Assad. Since earning his Masters degree from for artists Laura Marling, Josh Kelley, Kait Baltimore School for the Arts but left early to USC in 2013, he has been working as a studio Weston, Kinky, Nicole Turley, Henry Wolfe and attend the Curtis Institute of Music. She is a guitarist and composer in Los Angeles while Ariana Delawari. She was nominated for best faculty member at the Peabody Conservatory performing with the LADuo. choreography by the UK video music awards of the and the Young and world dance award for Laura Marling’s Artist Summer Program at Curtis SummerFest. LADuo will perform in Osvaldo Golijov’s Oceana Master Hunter. She makes her Festival debut in Christopher on Saturday, August 13, during the Memory & Rouse’s Oboe Concerto on Opening Night, Friday, Meaning concert. Kitty McNamee has choreographed RIFT, a August 5, during Power & Devotion. symphonic ballet score by Anna Clyne, for its world premiere performance on Friday, August 5. 26 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Guest Artists

ALICIA OLATUJA TOM ONTIVEROS GREGORY SMITH Composer/Narrator Vocalist Lighting & Visual Designer For bio see page 23. Sponsored by Bud & Rebecca Colligan Sponsored by an Anonymous Donor and Bruce & Linda Nicholson

Alicia Olatuja has been praised by the New York Tom Ontiveros has been designing lighting for Times as “a singer with a strong and luscious the Cabrillo Festival of Contemporary Music tone and an amiably regal presence on stage.” since 2003. His lighting and projection designs She first came into the national spotlight in have been nominated for Ovation!, LA Ticket 2013 while performing as the featured soloist Holders, Dean Goodman, Stage Scene LA, Stage with the Brooklyn Tabernacle Choir at President Raw and LA Drama Critics Circle Awards. Credits Barack Obama’s Second Inauguration. Shortly include They Don’t Talk Back, Guards at the thereafter, she assembled her own jazz-based Taj, Most Wanted (La Jolla Playhouse), Figaro ensemble and recorded her first solo album, ¡90210! (LA Opera); Going to a Place Where You Timeless (2014). Already Are, Fast Company, The Mother****ker MASON BATES with the Hat (South Coast Rep); Seven Spots on Composer/Electronica Originally from St. Louis, , Olatuja grew the Sun, Shiv, My Barking Dog (LA Drama Critics For bio see page 20. up immersed in a wide range of musical styles, Circle Award for Best Lighting design) and Happy including gospel, soul, jazz and classical. She Days (Boston Court); The Exonerated (NYC graduated with a master’s degree in Classical premiere); Tune In Festival (Park Avenue Armory); Voice/Opera from the Manhattan School of Schick Machine (Hong Kong Cultural Centre); Music. After appearing in numerous operatic The Tyrant (Chicago MOCA); Garden of Deadly and musical theater productions, she started Sound (Hungarian National Theatre Festival); to perform more regularly in gospel and jazz Full Circle and Nada que Declarar (Danspace, concerts and worked with such esteemed artists NYC); Slide (Ojai Music Festival); Enemy Slayer as , BeBe Winans and Christian (Phoenix Symphony); Garden of Lila (Japan McBride. America Theatre); Candida, Indiscretions, My Old Lady and Visions of Kerouac (Marin Theatre In 2014, Olatuja came to the attention of the Company); Summertime, Wintertime and First acclaimed composer/arranger/pianist Billy Love (Magic Theatre); Seed, Café Vida, Making GARY YOUNG Childs, and was brought on to be part of the Paradise & On Caring for the Beast (Cornerstone Poet in Residence touring incarnation of “Map to the Treasure: Theatre); Six Characters in Search of an Author (A For bio see page 15. Reimagining Laura Nyro” alongside vocalist Noise Within); Birder and John is a Father (Road Becca Stevens. The project made an extensive Theatre); The Box (Z Space, San Francisco); nationwide tour during the 2015-16 season. pe-LO-tah (Yerba Buena Center for the Arts). Ontiveros is an assistant professor of lighting Olatuja’s voice also entranced the legendary design at the University of Southern California. Hammond B3 organist Dr. Lonnie Smith, and she has recently performed with him at multiple Through his work with the Cabrillo Festival, events including the Charlie Parker Festival and Ontiveros has pioneered the creative use of the BRIC JazzFest. Over the past year, her own lighting design for the orchestral experience. band has been steadily in demand, and they In 2016, in addition to his lighting design and have performed at the Jazz Standard, Vermont artistic contributions to enhance performances Jazz Center, Sioux Falls JazzFest, Rockport Jazz throughout the season, he has created the visual Festival, Markham Jazz Festival, Monty Alexander projections that accompany Anna Clyne and R.R.JONES Jazz Fest, and the Harlem Stage Gatehouse, to Kitty MacNamee’s ballet RIFT, to be premiered Photographer in Residence name a few. on Friday, August 5 during Power & Devotion. For bio see page 15. Olatuja makes her Festival debut in Osvaldo Golijov’s Oceana on Saturday, August 13, during More information and the Memory & Meaning concert. content is available www.cabrillomusic.org

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 27 Winner of the League of American Orchestra and ASCAP’s 2008-2009 John S. Edwards Award for Strongest Commitment to New American Music, and winner of their Award for Adventurous Programming of Contemporary Music for 32 consecutive years (1982-2013).

“Somehow they bring to perfection the swim-to-the-Farralons difficulty of performing so many new works at one time.” 2016 Festival Orchestra —Jeff Dunn of San Francisco Classical Voice

abrillo has emerged as the nation’s leading orchestra devoted to modern symphonic repertory. The Festival’s core performance group C is an ensemble of 70 professional musicians who come to Santa Cruz from all over the world, often foregoing more lucrative engagements in order to volunteer their professional services in favor of the stimulation and challenge of the Cabrillo programs. Each player is a new music advocate in their own right and, as Maestra Marin Alsop proudly states, “they are the true heroes of our story.” For 54 years, they have earned Cabrillo an uncompromised and prestigious reputation as America’s preeminent contemporary music festival. We invite you to join us in thanking each member of the orchestra for their generosity and dedication, and for the greatness of their spirit.

Fond Farewells The Festival expresses its deep appreciation and best wishes to retiring orchestra members: Kristen Halay (2005-2014) Steve Hearn (2002-2014) Rebecca Jackson (2008-2014) Kristin Jurkscheit (1992-2015) James Kassis (2002-2015)

28 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 2016 Festival Orchestra 2016 Festival Orchestra Violin I Flute Trombone Justin Bruns, Concertmaster, Atlanta GA Tim Munro, Principal, Chicago IL Ava Ordman, Principal, Lansing MI Sponsored by Richard Faggioli and Sponsored by Faye Crosby Sponsored by James Morrison Henry & Carole Klyce Betsy Hudson Traba, Sarasota FL David Murray, Washington DC Jooyeon Kong, Assistant Concertmaster, Lauren Sileo, Haymarket VA Robert K. Ward, Grand Rapids MI St. Louis MO Victoria Hauk, San Francisco CA Nicholas Schwartz, New York NY Sponsored by Ron & Linda Israel (week 2) (week 2) Anne Donaldson, Washington DC Maximillian Haft, Geneva Switzerland Oboe Robyn Julyan, Denver CO Karen Wagner, Principal, Portland OR Forrest Byram, Principal, San Francisco CA , San Francisco CA Sponsored by Gabrielle Stocker Sponsored by Judith Husted Matthew Means, Hays KS Alexander Miller, Grand Rapids MI Tony Clements, Campbell CA (week 2) Paula Engerer, Phoenix AZ Virginia Respess, Atlanta GA Sarah Shellman, Tampa FL Brian Greene, Buffalo NY (week 2) James Wyman, Baltimore MD Carol Swift, Albuquerque NM Clarinet Sponsored by the Protti Coonerty Violin II Bharat Chandra, Principal, Sarasota FL Family Sponsored by Richard Fabrikant Matt Albert, Principal, Ann Arbor MI Percussion Sponsored by Leslie & Richard Andrews & Marty Finn Galen Lemmon, Principal, San Jose CA Anne Chandra, Assistant Principal, John Schertle, Hong Kong Sponsored by Fran Fisher Sarasota FL Michael Maccaferri, Chicago IL Sponsored by Lester & Martha Miller Laura Stephenson Petty, Sarasota FL Scott Christian, Charleston WV Ward Spangler, Oakland CA Louise Alexander, Indianapolis IN (week 2) Svet Stoyanov, Miami FL Elise Blake, Washington DC Nick Matthiesen, Fremont, CA (week 2) Rachel Bundy, Dallas TX Evan Kuhlmann, Principal, Portland OR Gregory Messa, Los Gatos CA (week 2) Susan French, Long Island NY Sponsored by Barry & Diane Lamé Robert Simonds, Indianapolis IN Adam Havrilla, San Juan PR Harp Charmian Stewart, San Anselmo CA Steve Vacchi, Eugene OR Nuiko Wadden, Principal, Pittsburgh PA Sponsored by Michael & Lesley Tierra Viola Helena K. Spencer, Wilmington NC Sam Bergman, Principal, Minneapolis MN (week 2) Keyboard Sponsored by Tom Ellison & Larry Friedman Horn Emily Wong, Principal, Yorktown Heights NY Emily Hagen, Acting Assistant Principal, Gavin Reed, Assistant Principal, Sponsored by Kathryn Lawhun Minneapolis MN & Mark Shinbrot Sponsored by Jean & Kay Rigg Houston TX Sponsored by Sarah Howell Michael Sheppard, Baltimore MD Eleanor Angel, Los Gatos CA Fritz Foss, Chicago IL (week 1) Chad Kaltinger, Capitola CA Thomas Hundemer, Shreveport LA Mary Jane Miller, Grand Rapids MI Assistant Conductor Jaclyn Rainey, Atlanta, GA Madeline Sharp, Miami FL Alexandra Arrieche, Baltimore MD Nicky Roosevelt, Berkeley CA Sponsored by Ellen Kimmel Cello Julie Thayer, St. Louis MO (week 2) Rainer Eudeikis, Principal, Trumpet Orchestra Manager Salt Lake City UT Sponsored by Claire Schneeberger Craig Morris, Principal, Coral Gables FL Erik Finley, Dallas TX & Joshua Salesin Sponsored by Liza Culick Sponsored by John Supan & Geri Migielicz & Carola Barton Jennifer Humphreys, Assistant Principal, Dallas TX Ryan Darke, Los Angeles CA Sponsored by Eleanor Littman Lauren Eberhart, San Antonio TX Librarian & Robert Goff Andrew Gignac, San Antonio TX Ella M. Fredrickson, St. Petersburg FL Kathleen Balfe, Granada Spain Brad Hogarth, San Francisco CA Sponsored by Ellen Primack David Gerstein, Fayetteville AR (week 2) & Eric Schmidt Virginia Kron, Ojai CA Brad Ritchie, Atlanta GA Orchestra on Leave Bass Andrew McCann, Chicago IL Jessica Oudin, Atlanta GA Edward Botsford, Principal, Seattle WA Benjamin Tomkins, Denver CO Sponsored by Diane Craddock & Dave Hogye Thomas Derthick, Sacramento CA Todd Lockwood, Jacksonville FL Joseph McFadden, Atlanta GA CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 29 Conductors/Composers Workshop A professional education program

There are so few opportunities for conductors to hone their conducting skills, The Conductors/Composers let alone acquire the added skills needed to Workshop is presented champion new music. Because conductors to Maestro , see p. 64. are the stewards of our symphonic in partnership with heritage, investment in their professional The Conductors Guild. 2016 BRUNO WALTER CONDUCTING development is essential. What better SCHOLARSHIP PARTICIPANTS place than at the Cabrillo Festival to provide The Workshop is supported in part by Nathan Aspinall, Jacksonville, FL workshops which serve conductors who Alice M. Ditson Fund of Columbia James Blachly, Washington, DC are interested in performing contemporary University, The Aaron Copland Fund Julie Desbordes, New York, NY music at the highest level and to engage for Music, The Amphion Foundation Gonzalo Farias, Boston, MA emerging composers in the process. Anonymous Donor Lina Marcela Gonzalez Granados, and an . Brighton, MA wenty-one conductors and three Valentina Peleggi, Florence, Italy young composers have been selected The Composer’s Workshop is generously Tto participate in this year’s workshops, supported by Margaret Dorfman. 2016 COMPOSERS which are produced in collaboration with Viet Cuong, Princeton, NJ the Conductors Guild, a music service Scholarship support has been provided Dani Howard, London, UK organization devoted exclusively to the by the Bruno Walter Memorial Michael Schacter, Ann Arbor, MI advancement of the art of conducting and to Foundation. serving the artistic and professional needs of 2016 CONDUCTING WORKSHOP conductors throughout the world. PARTICIPANTS Rowan Baker, London, UK CONDUCTING FACULTY The Conductor/Composer Training Workshop Bradley Cawyer, Rowlett, TX at the Cabrillo Festival takes place July 30– JAMES ROSS Kevin Fitzgerald, Brighton, MI August 3 this season at the Santa Cruz James E. Ross is Professor Nadege Foofat, Montreal, Quebec, Canada Civic Auditorium. Participating conductors and Director of Orchestral Eric Mahl, Dunkirk, NY and composers experience five full days of Activities at the University Tal Samuel, Bloomington, IN intensive training with some of the world’s most of Maryland College Park, respected contemporary music professionals. Conducting Faculty at 2016 CONDUCTING WORKSHOP Their activities include a schedule of seminars the Juilliard School, and AUDITORS and critiqued conducting sessions—first Orchestra Director of the Joel Bein, Ann Arbor, MI with quintet and piano, then with chamber National Youth Orchestra USA at Carnegie Dwayne Corbin, Redding, CA orchestra, and finally podium time with the Hall. He is also music director designate of the Thomas Cunningham, Lawrenceville, NJ Conductors/Composers Workshop full Cabrillo Festival Orchestra. Under the Orquesta Simfonica del Valles in Spain. He has Michelle Di Russo, Caba, Buenos Aires, guidance of faculty composer Kevin Puts, guest-conducted such diverse orchestras as Brazil the participating composers work with the the Leipzig Gewandhaus, the Utah Symphony, Nell Flanders, Baltimore, MD Festival’s composers-in-residence, and with Les Arts Florissants, the Royal Stockholm Alejandro Guillen Gomez, Boulder, CO Philharmonic, Chicago Civic Orchestra, the the conductors on subjects including modern Tiffany Lu, Tampa, FL Kwazulu-Natal Philharmonic, and the National score analysis and practical guides for the Melissa Panlasigui, New York, NY rehearsal, interpretation and performance Symphony Orchestra. His principal conducting of contemporary works. The program is teachers were Kurt Masur, Seiji Ozawa, and SPECIAL THANKS TO: Leonard Bernstein. As a teacher, Ross has highlighted by an inspirational concert Jan Wilson, Executive Director, titled In the Works, on Tuesday, August 2 served on the faculties of Yale University, the Conductors Guild Curtis Institute of Music, Haverford and Bryn at the Civic Auditorium. In a performance Amanda Burton Winger, Mawr colleges, and teaches conducting each that is free and open to the public, the Cabrillo Conductors Guild summer at the Cabrillo Festival. Ross is a Festival Orchestra is led by six conductors Erik Finley, Cabrillo Festival native of Boston, a lover of all things Spanish, a performing short symphonic works by each of Orchestra Manager committed questioner of concert rituals. the composers—Viet Cuong, Dani Howard, Ella Fredrickson, Cabrillo Festival Music Librarian and Michael Schachter. COMPOSING FACULTY Members of the Cabrillo Festival Orchestra KEVIN PUTS The Conductors Guild was founded in 1975 Michael Sheppard, Piano Accompanist as a subsidiary of the the League of American (See bio on page 23) Orchestras; the Guild became independent in ADDITIONAL THANKS TO: 1985 and has established itself as a collective Deirdre Chadwick, voice for conductors’ interests throughout the Executive Director, Classical Music, BMI world. Cia Toscanini, Vice President of Concert Music, ASCAP

30 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 6pm Tuesday AUGUST 2 SANTA CRUZ CIVIC AUDITORIUM

This performance is supported in part by the Works Concert In THE ALSOP FAMILY FOUNDATION and is dedicated to the memory of Maestro Gustav Meier.

You’ll find yourself at the very center of contemporary music- making with a special free concert featuring new works by three young composers conducted in rotation by six emerging conductors. All are studying in the prestigious Conductors/Composers Workshop.

In the Works Composers VIET CUONG DANI HOWARD MICHAEL SCHACHTER Viet Cuong has had Dani Howard gradu- Michael Schachter is works performed ated from the Royal an Ann Arbor-based on six continents by College of Music, composer, pianist, musicians and en- London where she teacher and scholar. sembles including received a first class Drawing inspiration Sō Percussion, the BMus Honors Degree. from an eclectic Saxophone Howard was a Rose brew of influences, Quartet, JACK Quartet, Williams scholar sup- including jazz and American Modern ported by the Henry New Orleans music, Ensemble, Gallicantus, Music From Copland Wood Trust, and studied composition under Renaissance polyphony, Jewish liturgy House, Winston-Salem Symphony, Mimi Jonathan Cole. Her compositions have been and klezmer, and South Indian classical Stillman, Anthony McGill, Lisa Moore, and performed internationally including Europe music, his works have been commissioned over seventy college and conservatory wind and the UK, Hong Kong, Brazil, and the USA. and performed by ensembles such as the ensembles. Cuong’s music has been fea- Howard was a winner of the 2015 Royal Minnesota Orchestra, the Naples Philharmonic tured in diverse venues such as Carnegie Philharmonic Society Composition Prize, as Orchestra, Alarm Will Sound, the 21st Century Hall, the Aspen Music Festival, International well as a London Symphony Orchestra Sound- Consort, the Aurea Silva Trio, and the New Double Reed Society Conference, Boston hub Associate Member. In February 2016, York Virtuoso Singers. Recent projects include GuitarFest, US Navy Band International her work Velvet Spires was performed by the a First Music Saxophone Symposium, and on American RCM Philharmonic, as part of their Concerto chamber commission, a choral-orchestral Public Radio’s Performance Today. Awards Competition. In 2014 she was named winner setting of Ralph Waldo Emerson’s “Uriel” for include the ASCAP Morton Gould Award, of the Royal Philharmonic Society/IdeasTap the Concord Chorus, a choir-band work for Suzanne and Lee Ettelson Award, Theodore Sound:Vision Competition. She was awarded Harvard University’s 2017 commencement Presser Foundation Music Award, New York 3rd Prize and Special Prize for the Best Free exercises, and an opera based on Langston Youth Symphony First Music Commission, Composition among junior participants in both Hughes’s “The Black Clown” for the American Cortona Prize, and Walter Beeler Memorial the 5th and 6th International Antonin Dvořák Repertory Theater. Schachter earned his Prize. He has been an artist in residence Composition Competition, Prague. In 2015 BA from Harvard in 2009, and he spent the at Copland House, Yaddo, Ucross, and the she was selected as one of seven finalists 2009–10 academic year on a John Knowles Atlantic Center for the Arts, and was a schol- for the International A. Rendano composition Paine Fellowship studying Karnatak music in arship student at the Aspen, Bowdoin, and competition, Italy. Howard was shortlisted for Chennai, India. Schachter is currently a Ph.D. Lake Champlain music festivals. A gradu- the British Section of the World Music Days candidate in Music Theory and Composition ate of the Peabody Conservatory, Cuong is Festival, Slovenia, and won 3rd Prize in the at the University of Michigan, where he has currently a Naumburg and Roger Sessions Cheng-du Sun River Composition Prize, China. worked with Bright Sheng, Paul Schoenfield, PhD Candidate at Princeton University. His Michael Daugherty, and Evan Chambers. He is teachers include Kevin Puts, Oscar Bettison, a die-hard Boston sports fan. Steven Mackey, and Donnacha Dennehy. CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 31 32 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Student Staff Program Staff Student 2:30pm Saturday AUGUST 12 SANTA CRUZ CIVIC AUDITORIUM Ensemble Concert Ensemble

Student Staff The Student Staff Long before the concerts begin, the Ensemble invites you to Festival’s first ensemble convenes. Student come enjoy a free concert volunteers, mostly from the Monterey Bay area, meet to form our prestigious Student of original works, performed Staff. Under the aegis of the Student Staff and produced entirely by Program, these individuals are given a these talented young rare opportunity to interact directly with musicians, age 16-24. the Cabrillo Festival Orchestra members, general staff, and of course, our illustrious Music Director Marin Alsop. Come witness their boundless creativity, and hen Marin Alsop became music hear the future of new director, an important aim of hers music, now. W was to address the music education and participation issues of the Monterey Bay area. The Program nourishes the participants in areas no less profound than technical and leadership skill development, performance opportunities, and even career guidance. The Student Staff Program is generously sponsored by

Now in its 25th year, the Program provides DAVID KAUN opportunities and encourages the Student Staffers (ages 16-24) to engage musicians, composers, and conductors in the topics of contemporary music making. CORY GRAVES- SARAH LINDMARK MONTALBANO Student Staff In addition to having access to all Student Staff Co-Director performances, the Program provides a fertile Co-Director Sarah Lindmark holds ground for the participants’ musical interests Cory Graves-Montalbano a Bachelor's degree in other ways: master classes with Festival Orchestra members, a workshop where the is a 3-year veteran in cello performance students sit inside the orchestra sections of the Student Staff from the University of during a rehearsal, dialogs with composers Ensemble, though this will be his inaugural California, Santa Cruz. She was principal in residence, participation in a student staff season as the Co-Director! He received his cellist of the University Orchestra for ensemble that performs during the Festival, Bachelor's in Music from UC Santa Cruz in two years, and has also performed with and the chance to attend various social 2015, focusing on drum set performance. A Orange County Youth Symphony, San gatherings. It’s quite a full plate for three weeks musician most of his life, he has constantly Jose Youth Symphony, and the Yorba in any student’s life. sought to expand his comfort zone, adding Linda Philharmonic. She is currently composition/arrangement, piano, and working towards her Master's degree in The Student Staff Program is open to non- guitar to his repertoire throughout his Historical at UC Santa Cruz. musicians and musicians alike. The rewards college career. Now out in the world, he This is Sarah’s first year as Student Staff of being there are many, and we are excited by performs regularly with a steady rotation Co-Director. the prospect of positively affecting the quality of groups, from jazz and funk, to singer- of a young person’s personal growth and rock, to contemporary classical development. music.

When attending a concert, please feel free to ask our Student Staffers about their experiences as members of the Program. If you know 2016 STUDENT STAFF someone who might be interested in becoming a Staffer, recruitment begins each year in Kevin Altenberg Kathryn Nunnally the spring, and is open to all students ages Adrian Carcione Tino Novello 16-24. Email [email protected] or call Cory Graves Dany Pineda 831.426.6966 for more information. Elliott Kay Macy Tolleson Sarah Lindmark Henry Wilson

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 33 34 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 8pm Friday AUGUST 5 SANTA CRUZ CIVIC AUDITORIUM Opening Night Power & Devotion

Tonight’s performance is made Cabrillo Festival Orchestra possible through the generous conducted by MARIN ALSOP support of concert sponsor: MARY SOLARI The Death of Oscar (2012) James MacMillan (b. 1959)

Oboe Concerto (2004) Christopher Rouse (b. 1949) Katherine Needleman, oboe [West Coast Premiere]

INTERMISSION

Thunderstuck (2014) Christopher Rouse (b. 1949) [West Coast Premiere]

RIFT: a symphonic ballet (2016) Anna Clyne (b. 1980) Kitty McNamee, choreographer Katherine Needleman Tom Ontiveros, lighting and visual designer Hunter Hamilton, costume designer Hysterica Dancers: Katherine Cowgill, Stephanie Kim, Derek Nemechek, Baden Silva, Liz Walker, Ty Wells [World Premiere | Festival Commission] Christopher Rouse I. dust II. water III. space Commissioned by the Cabrillo Festival with generous support from Prue Ashurst in memory of Marjorie O’Connor; Michael Good & JoAnn Close; Ellen Kimmel; Carole & Henry Klyce; Alan Ritch, Margaret Anna Clyne Brose & Hayden White; Cherrill Spencer; and an anonymous donor. The world premiere performance of RIFT Hysterica was supported by New Music USA.

Broadcast Sponsor:

This concert will be broadcast Sunday, August 21, Kitty McNamee 8:00pm on KALW 91.7 San Francisco, and webcast on KALW.org.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 35 The Death of Oscar (2012) Oboe Concerto (2004) Thunderstuck (2014) James MacMillan (b. 1959) Christopher Rouse (b. 1949) Christopher Rouse (b. 1949) [United States Premiere] Katherine Needleman, oboe [West Coast Premiere] [West Coast Premiere] The conductor Stéphane Denève led a co- Thunderstuck reflects my continuing love of the commission for The Death of Oscar, a miniature Since 1985 I have composed more than ten popular music of my younger years. Rock music tone poem drawing upon the legend of the concerti, and I have noticed that they seem to has had an influence on several of my works, bardic poet Ossian and the death of his son fall into one of two categories: “somber” (e.g., but none more so than this one. Near the end Oscar. In addition to musical collaborations trombone, violoncello) and “genial” (guitar, there is an obvious reference to Jay Ferguson’s while Stéphane Denève was Music Director clarinet). My oboe concerto is of the latter 1978 hit “Thunder Island,” and this helps give of the Royal Scottish National Orchestra, variety. (I used to employ the term “recreational” the piece its title. This is a work meant to be MacMillan and Denève both shared the to refer to works of this type until I realized that engaging and fun–sometimes I feel that a little experience of sitting for portrait busts created it would be wrong to create the impression that more “fun” at classical music concerts would by the Scottish sculptor Alexander Stoddardt. composing them was a form of recreation. It be all to the good. The score is dedicated to MacMillan became aware of Stoddardt’s isn’t; it’s hard work!) Alan Gilbert and the New York Philharmonic project to create a monumental of —Christopher Rouse the death of Oscar, to be carved from a Scottish Unlike some of my other concerti, there is no overt program to this piece. It aims of course granite hillside in the Western Highlands, and Thunderstuck was commissioned and premiered to explore the capabilities of the oboe, of which this inspired the current score for Denève to by the New York Philharmonic and their Music the first in everyone’s mind is its capacity to conduct. Director Alan Gilbert. It was premiered at Avery play long, lyrical lines. However, to compose Fisher Hall in on October 9, 2014. In the legends of Ossian, his son Oscar a score that would only concern itself with challenged the High King Cairbre to single this aspect of the oboe would be to deny the Not recorded combat and, though victorious, died of his instrument’s more virtuosic attributes, and so wounds and was mourned by his father there are plenty of moments when the soloist and lover. These tales collected by James is asked to play music requiring substantial Macpherson in the 18th century have long agility. Notwithstanding the fast–sometimes been the subject of hot debate about their extremely fast–music that abounds in the work, authenticity. What is not in doubt is the massive I feel that there is an overall feeling of coloristic influence they had on perceptions of Scottish romanticism in the concerto, especially in the and Celtic culture, particularly overseas— central slow movement. admired by political figures such as Napoleon and Thomas Jefferson, and inspiring Romantic It is cast in the more-or-less traditional three artists from Mendelssohn in Fingal’s Cave to movement mold (fast – slow – fast) with brief Goethe in Werther. and rather static slow sections at the beginning and end providing a frame for the piece. Much of MacMillan’s score opens slowly and darkly, the musical material in the concerto is derived Power & Devotion Program Notes building a mood of mythical lamentation with from the five-note chord played by the strings at horns sounding the threnody above low strings, the very opening. As the music progresses, this tolling drums and harp. The central fast section chord undergoes a variety of metamorphoses, is militaristic—perhaps recalling Oscar’s being used to generate both melodic and further final battle—trumpet fanfares derived from harmonic content. the opening theme and increasingly jagged —Christopher Rouse elaborations. The closing section sees a return to the slow tempo with the English horn The Oboe Concerto was commissioned by presenting the unadorned, sorrowful melody the Minnesota Orchestra. It was premiered at above simple string accompaniment. Orchestra Hall in Minneapolis on February 5, 2009, by the Minnesota Orchestra with oboist —Note provided in part by Boosey & Hawkes Basil Reeve, conducted by Osmo Vänskä. The Death of Oscar commission was led by Recommended Recording: Christopher Rouse, Stéphane Denève in collaboration with the R. Strauss. New York Philharmonic with oboist Stuttgart Radio Symphony Orchestra, the Liang Wang, conducted by Alan Gilbert. The Seattle Symphony, and the Royal Scottish Philharmonic–Symphony Society of New York, Inc. National Orchestra. It was premiered at the Liederhalle Beethovensaal Stuttgart on July 11, 2013, by the Stuttgart Radio Symphony Orchestra, conducted by Stéphane Denève.

Not recorded

RIFT rehearsal photos

36 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC RIFT: a symphonic ballet We first met at the DUMBO dance festival in Music USA, made possible by annual program Power & Devotion Program Notes 2002 and have been dreaming of collaborating support and/or endowment gifts from Andrew (2016) on a symphonic ballet since that time. We W. Mellon Foundation, Mary Flagler Cary Anna Clyne (b. 1980) would like to express our deepest thanks to Charitable Trust, Baisley Powell Elebash Fund, Kitty McNamee, choreographer Marin Alsop and the staff and musicians at the Gladys Krieble Delmas Foundation. Cabrillo Festival for offering such a wonderful [World Premiere | Festival opportunity. Additional support for the project was Commission] —Anna Clyne & Kitty McNamee provided by Women’s Philharmonic Advocacy—Celebrating Women Composers In creating RIFT we have used music and The world premiere performance of RIFT was and continuing the legacy of The Women’s dance as an opportunity to process the supported by a generous grant from New Philharmonic. immense feelings generated by the chaos and destruction that is so prevalent in the world today—both in barbaric human behavior and in the alarming state of our global climate and natural environment. Through this symphonic ballet we also hope to discover a moment of peace and resolve.

Creating RIFT has been a beautiful and organically collaborative process with a fluid exchange of ideas and inspirations. Technology has been fundamental in the work’s development between our studios across the country in Los Angeles (Kitty) and Brooklyn (Anna), sharing computer-generated recordings of the music and videos of the choreography from rehearsals via the Internet so that we were able to inspire each other and propel the work forward. Whilst RIFT is presented in one large brushstroke, we have, in our imaginations, divided the journey into three acts.

Act 1, dust, is a song of reflection—a meditation on the sadness, which, throughout this act, escalates into a chaotic mass of sound that Commissioning support for Anna Clyne’s RIFT was provided by Prue Ashurst in memory of snaps into Act 2. Through the process of Marjorie O’Connor; Michael Good & JoAnn Close; Ellen Kimmel; Carole & Henry Klyce; Alan Ritch, creating RIFT, tragedies continue to alarm the Margaret Brose & Hayden White; Cherrill Spencer; and an anonymous donor. world with a terrifying frequency—the attacks in Paris, Brussels and more recently, the tragic and horrific massacre at the Orlando club HYSTERICA DANCERS Pulse. We are in a global state of chaos and we must change. It’s as if caught in a tidal wave— smashed by one and as soon as we resurface we are once again pounded by another tragedy. Covered in Act 1’s dust of destruction, Act 2, water, moves into a more ethereal world of rituals. A snaking duet emerges from the ruptures that sever Act 1 and introduces Act 2, which is then interrupted by a wild outburst of Stephanie Kim Derek Nemecheck Liz Walker energy—an intense, almost manic, repetition shaking away the debris—and then into a more serene setting of a cleansing ritual, bathed in water and softly washing away the dust.

From the cleansing, Act 3, space, propels us back in time to a period of more refined and orderly beauty–a kind of sacred and harmonious space. From here we are propelled to the future where, through our journey, we find ourselves in a more optimistic sonic and visual world. Katherine Cowgill Baden Silva Ty Wells

Special thanks for additional support from Jim Doyle, imagery; Edge Performing Arts Center, rehearsal space; and Nathan Lusk, rehearsal photography. CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 37 38 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 8pm Saturday AUGUST 6 SANTA CRUZ CIVIC AUDITORIUM Inspiration & Impact Inspiration

Lola Montez Does the Spider Dance (2016) John Adams (b. 1947) [World Premiere] Commissioned by the musicians of the Cabrillo Festival Orchestra in honor of Marin Alsop

Absolute Jest (2011) John Adams (b. 1947) The Attacca Quartet Amy Schroeder & Keiko Tokunaga, | Nathan Schram, viola | Andrew Yee, cello

INTERMISSION

Spinning Music (2016)

Attacca Quartet: Nathan Schram, Keiko Tokunaga, Andrew Yee, Amy Schroeder Michael Kropf (b. 1992) [World Premiere] Commissioned by the Pacific Harmony Foundation

The City (2016) Kevin Puts (b. 1972) John Adams James Bartolomeo, filmmaker [West Coast Premiere | Festival Co-Commission] The City was co-commissioned by the Cabrillo Festival in honor of Marin Alsop; and the West Coast premiere performance is made Michael Kropf possible through the generous support of Joseph and Bette Hirsch. Please stay for a post-concert talk with Marin Alsop and the artists! Media Sponsor:

Marin Alsop Kevin Puts This concert will be broadcast Monday, August 22, 9:00pm, on KALW 91.7 San Francisco, and webcast on KALW.org.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 39 40 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Inspiration & Impact Program Notes & Impact Inspiration Lola Montez Does the overwhelmed with applause, from just this problem. After a moody opening and smashed spiders, of tremolo strings and fragments of the Ninth (2016) Spider Dance and radiant with parti-colored skirts, Symphony signal octave-dropping motive, John Adams (b. 1947) smiles, graces, cobwebs and glory. the solo quartet emerged as if out of a haze, [World Premiere] playing the driving foursquare figures of that Lola Montez Does the Spider Dance was scherzo material that almost immediately went commissioned by members of the Cabrillo Commissioned by the musicians of the Cabrillo through a series of strange permutations. Festival Orchestra in celebration of Marin Festival Orchestra in honor of Marin Alsop Alsop’s twenty five seasons as music director, This original opening never satisfied me. The The Irish-born actress and dancer Eliza Gilbert and it is dedicated to her. clarity of the solo quartet’s role was often (1821—1861) achieved international fame —John Adams buried beneath the orchestral activity resulting under the name “Lola Montez, the Spanish in what sounded to me too much like “chatter.” Dancer.” After a controversial career on the And the necessity of slowing down Beethoven’s Absolute Jest (2011) continent, including a sojourn in Bavaria tempo of the Opus 131 scherzo in order to where she become both the lover as well as John Adams (b. 1947) make certain orchestral passages negotiable political advisor to King Ludwig, she returned detracted from it vividness and breathless to London, where she eloped with and married The idea for Absolute Jest was suggested by energy. the very young son of an aristocrat family. The a performance by Michael Tilson Thomas of Six months after the premiere I decided to family, scandalized by the relationship, sued Stravinsky’s , a piece that I’d known compose a different beginning to Absolute her for bigamy, and she was forced to flee to all my life but had never much paid attention Jest—a full 400 bars of completely new music, the United States, eventually ending up in the to until hearing Michael Tilson Thomas conduct replacing the “quadrangular” feel of the Opus Sierra foothills, performing for audiences of it. Hearing this (and knowing that I was already 131 scherzo with a bouncing 6/8 pulse that gold miners. committed to composing something for the San Francisco Symphony’s 100th anniversary) I launches the piece in what is to my ears a far This description of her famous “Spider was suddenly stimulated by the way Stravinsky more satisfying fashion. Dance,” appeared in the San Francisco Whig, had absorbed musical artifacts from the past The rolling 6/8 patterns recall the same Ninth June 3, 1853. and worked them into his own highly personal language. Symphony scherzo but also summon up other Up went the curtain, and on came Lola, references—of the Hammerklavier Sonata, fermenting the pit, agitating the gallery, But there the comparison pretty much ends. of the Eighth Symphony and other archetypal and sensationising the dress circle. Stravinsky was apparently unfamiliar with the Beethoven motives that come and go like cameo appearances on a stage. And the Spider Dance! Pergolesi and other Neapolitan tunes when Diaghilev brought them to him. I, on the other Has not every son of Columbia witnessed hand, had loved the Beethoven string quartets The high-spirited triple-time scherzo to the the Spider Dance? since I was a teenager, and crafting something F major Opus 135 (Beethoven’s final work No? Well then…Lola comes in—sails in— out of fragments of Opus 131, Opus 135 in that medium) enters about a third of the flies in— arrayed in a costume to which and the Große Fuge (plus a few more familiar way through Absolute Jest and becomes the Joseph’s coat could never think of comparing. “tattoos” from his symphonic scherzos) was a dominant motivic material for the remainder She stands an instant full of fire, action totally spontaneous act for me. of the piece, interrupted only by a brief slow and abandon… section that interweaves fragments of the She commences to dance and cobwebs “String quartet and orchestra” is admittedly a Große Fuge with the opening fugue theme of the C# minor quartet. A final furious coda entangle her ankles. repertoire black hole—is there a single work in that medium that is regularly heard? And there features the solo string quartet charging ahead The myriads of spiders…begin to ‘colonise.’ are good reasons for why this is. The first is a at full speed over an extended orchestral The spiders accumulate—hairy monsters simple issue of furniture: the problem of placing pedal based on the famous Waldstein Sonata with five clawed feelers and nimble shanks four solo players in the “soloist” position but still harmonic progressions. —crawl and sprattle’ about the stage, in front of the podium (so that they can follow the conductor) is daunting. The inner players, Absolute Jest had elicited mixed responses invading the fringe of Milady’s petticoats, the second violin and viola, are frequently lost from listeners on its first outing. Quite a few and taking such unwarranted liberties, to the audience both visually and aurally. reviewers assumed, perhaps because of its that the spectator imagines title, that the piece was little more than a an inextricable mass of cobwebs But placement on the stage aside, the real backslapping joke. (One Chicago journalist was and enraged spiders. challenge is in marrying the highly charged offended and could only express disgust at the manner and sound of a string quartet to the abuse of Beethoven’s great music.) It is Lola versus the spiders… mass and less precise texture of the large She stamps daylight orchestra. Unless very skillfully handled by There is nothing particularly new about one out of the last of the ten thousand, both composer and performers, the combining composer internalizing the music of another and does it with so much naivete, of these two ensembles can result in a feeling and “making it his own.” Composers are drawn to another’s music to the point where they want that we feel a sort of satisfaction at of sensory and expressive overload. to live in it, and that can happen in a variety the triumph. of fashions, whether it’s Brahms making The picture winds up with Lola’s victory, At its premiere in March of 2012, the first third variations on themes by Handel or Haydn, and she glides from the stage of the piece was largely a trope on the Opus 131 C# minor quartet’s scherzo and suffered continued on page 43

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 41 42 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC continued from page 41 Program Notes & Impact Inspiration

Liszt arranging Wagner or Beethoven for piano, Spinning Music (2016) The City (2016) Schoenberg crafting a concerto out of Monn Michael Kropf (b. 1992) Kevin Puts (b. 1972) or, more radically, Berio “deconstructing” Schubert. [World Premiere] [West Coast Premiere | Festival Co-Commission] But Absolute Jest is not a clone of Grand This work is the sixth commission made Pianola Music or my Chamber Symphony. Of possible by composer John Adams and Though inspired by the city of Baltimore, The course there are “winks,” some of them not photographer Deborah O’Grady at the City was intended as an exploration of many entirely subtle, here and there in the piece. Cabrillo Festival in support of emerging young aspects of urban centers in America. My work But the act of composing the work (one that composers; the commission was funded by on the piece intensified following the unrest of took nearly a year of work) was the most their Pacific Harmony Foundation. Michael April 2015 in Baltimore, whereupon I realized extended experience in pure “invention” that Kropf has provided the following note: the potential for the work to transcend mere I’ve ever undertaken. Its creation was for me illustration and aspire to the territory of healing. When I learned that I would have the a thrilling lesson in counterpoint, in thematic opportunity to write a new orchestral work transformation and formal design. The “jest” Accompanied by a film created by James for the 25th and final season of Marin of the title should be understood in terms of Bartolomeo, the work begins kaleidoscopically Alsop’s tenure leading the Cabrillo Festival of its Latin meaning, “gesta:” doings, deeds, with panoramic views of the city—its spires, Contemporary Music, my first thought was of exploits. I like to think of “jest” as indicating an monuments, buildings and infrastructure. the sheer physicality involved in conducting exercising of one’s wit by means of imagination Anchored by a simple two-note motive, this and performing the energetic and challenging opening evolved into a depiction of people— and invention. new music that the festival is known for. all sorts of people—involved in a variety of —John Adams Composing would on the surface appear to be situations. Drums and strings create a groove the musical activity most divorced from this Absolute Jest was commissioned by the San together, while woodwinds and brass introduce kind of physical reality, which might be why I Francisco Symphony in celebration of its primal-sounding melodies. An anthem arises in often find myself creating musical arguments 100th anniversary. It was premiered at Davies the , followed by a deconstruction inspired by movement. Symphony Hall on March 15, 2012, by the San and rebuilding of this theme, though on less- Francisco Symphony with the St. Lawrence stable harmonic ground. A moment of suspense In Spinning Music, these arguments involve String Quartet, conducted by Michael Tilson follows as a single note is sustained and passed both the sensation of spinning outwards, in Thomas. through the sections of the orchestra. From which brass swells and dissonant circular here the work gradually builds to cataclysmic figures fling musical material outwards from Recommended Recording: Adams: Absolute dimensions until the opening motive—and then some imagined center, and the sensation Jest & . San Francisco the anthem—are rediscovered. The City ends in of spinning inwards, where moments of Symphony with the St. Lawrence String a haze of uncertainty. I imagined a helicopter predominant harmony create whirlpools Quartet, conducted by Michael Tilson Thomas. making a final pass over the city until it recedes around tonal centers. Motivic ideas seem to SFS Media. into the distance. be in orbit as they return at various points in time, transformed and re-contextualized with We are a species suffering the pains of its each pass. adolescence. Let us have the resolve, the compassion and the foresight to force our own The act of spinning has both been used for evolution to a place of reason and harmony. spiritual purposes, such as in the Sufi traditions of physical meditation, or for the creation of —Kevin Puts fun and ecstasy—in this case I think of Santa Cruz’s famous Giant Dipper roller coaster. My The City was co-commissioned by the Baltimore goal in this piece is to evoke a feeling of both a Symphony Orchestra in celebration of its deepening into one’s self and an expansion into 100th anniversary, by Carnegie Hall in honor the outer world. of its 125th anniversary, and by the Cabrillo —Michael Kropf Festival of Contemporary Music in honor of Marin Alsop. It was premiered at the Music Not recorded Center at Strathmore on April 14, 2016, by the Baltimore Symphony Orchestra, conducted by Marin Alsop.

Not recorded

Marin Alsop and John Adams, 2004

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 43 Color Offset, Digital Printing, Wide Format and Packaging Solutions

44 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 1 pm Sunday AUGUST 7 SANTA CRUZ CIVIC AUDITORIUM

Today’s performance is made Family Concert Free possible through the generous support of:

and HAWLEY FAMILY FUND A free concert and Tour of the Orchestra!

Cabrillo Festival Orchestra conducted by MARIN ALSOP and ALEXANDRA ARRIECHE

Tempus Fugit (2015) Gregory Smith (b. 1957) Alexandra Arrieche, conductor Gregory Smith, narrator

Mr. Smith’s Composition (1990) Gregory Smith (b. 1957) Marin Alsop, conductor Gregory Smith, narrator

Alexandra Arrieche Gregory Smith Marin Alsop

Media Sponsor:

Color Offset, Digital Printing, Wide Format and Packaging Solutions

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 45 46 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Free Family Concert Program Free Notes Tempus Fugit (2015) Gregory Smith (b. 1957)

Tempus Fugit is a work for family and educational concerts that introduces the instruments of the orchestra by describing the mode of transportation they used to travel to the concert. —Gregory Smith

Tempus Fugit was commissioned by the Brevard Symphony and their Music Director Christopher Confessore. It was premiered at the King Center for the Performing Arts in Melbourne, FL, on September 20, 2015.

Not recorded

Mr. Smith’s Composition (1990) Gregory Smith (b. 1957)

Mr. Smith’s Composition takes the audience on a hilarious and educational journey into the mind of Mr. Smith as he composes. The audience is drawn into the process by being asked to choose the final ending, which they are encouraged to do by following their hearts.

—Gregory Smith

Mr. Smith’s Composition was commissioned by the Eugene Symphony and Marin Alsop. It was premiered at the Hult Center for the Performing Arts in Eugene, Oregon, in the fall of 1990.

Not recorded

Marin fills in for percussionist, 2015

Greg Smith and Marin Alsop, 1997

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 47 48 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 8pm Sunday AUGUST 7 SANTA CRUZ CIVIC AUDITORIUM

Tonight’s performance is made possible through the generous support of concert sponsors: Sticks & Reeds Sticks PAUL & SYLVIA LORTON

Reeding Time film by Sasha Friedlander

Intercession (1991) * James MacMillan (b. 1959) Galen Lemmon Breaks It Down film by Sasha Friedlander

Trio per uno (1995, 1999) + Nebojsa Jovan Zivkovic (b. 1962)

Sculpture in wood (1995) + Rüdiger Pawassar (1964)

THE OBOE AND PERCUSSION SECTIONS Rhythm Strip (1997) + OF THE CABRILLO FESTIVAL ORCHESTRA Askell Masson (1953)

Karen Wagner, principal oboe

Alexander Miller, oboe Musique de Table (1987) + BLUE ROOM IN THE Paula Engerer, oboe & english horn Thierry de Mey (1956) Galen Lemmon, principal percussion Scott Christian, percussion Cyclone (2010) + Ward Spangler, percussion Svet Stoyanov, percussion Jim Casella (1970) Nick Matthiesen, guest percussion Gregory Messa, guest percussion A Thousand Less Anne Hsu, guest percussion James Wyman, timpani than Three (2016) * + Michael Sheppard, piano Alexander Miller (b. 1968) [World Premiere | Festival Commission]

* Oboe section of the Festival Orchestra + Percussion section of the Festival Orchestra

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 49 Music in the Mountains Silent Benefit Auction Food & Wine

abrillo Festival needs and gains support in so many important ways. idden in the redwoods on acres of lushly landscaped We’re grateful to the many donors who have contributed these property, this exquisite private retreat located in C fantastic experiential prizes! Six winning bids will prevail during the the Santa Cruz Mountains provides an unparalleled Benefit Event H Nestldown August 10 Music in the Mountains event. You need not be present to win; setting. We wish to extend our special thanks to our call 831.426.6966 to place a proxy bid before August 9. These prizes are hosts, Barbara and Mark Beck, and their family for their worth your generosity! generous contribution toward making this event possible. We would also like to express our sincere appreciation for the 11 Napa Valley Extravaganza—Four (4) All Day Passes generosity of the many restaurateurs and vintners who craft to Festival Napa Valley on July 15, 2017. The culinary and musical thrills perfect pairings of food and wine for the occasion. include their signature event, Taste of Napa; prime concert seating at the Lincoln Theatre for the evening performance; and a gourmet dining FINE WINES POURED BY: and wine experience at the Patron Dinner in a spectacular Napa Valley Alfaro Family Vineyard, Corralitos setting. Package value $5,000 Burrell School Vineyards, Los Gatos MJA Vineyards, Santa Cruz 22 Quintessential Santa Fe—Two (2) tickets to the world Bonny Doon Vineyard, Santa Cruz premiere of Mason Bates’ The (Re)volution of Steve Jobs at the famed Pelican Ranch Winery, Capitola Santa Fe Opera. Opening night, July 26, 2017, you’ll enjoy reserved River Run Vintners, Watsonville parking, Preview Dinner, Opera Club passes, and a personal backstage Salamandre Wine Cellars, Aptos tour! Plus four-nights of accommodations at a private vacation home Santa Cruz Mountain Vineyard, Santa Cruz within walking distance of the historic Plaza! Package value $2,100 Storrs Winery and Vineyard, Santa Cruz Windy Oaks Estate Vineyards and Winery, Corralitos —Four (4) nights getaway from mid- 33 Yosemite Adventure Wrights Station Vineyard and Winery October 2016 through mid-May 2017, in a spacious four-bedroom, Zayante Vineyards, Felton four-bath home, overlooking Pine Mountain Lake in Groveland, near Yosemite. Sleeps 10, dogs welcomed. Let Terry Tempest William’s FOODS PREPARED BY CHEFS FROM: latest book, The Hour of the Land: A Personal Topography of America’s Assembly Food and Community, Santa Cruz National Parks, deepen your anticipation. Package value $2,000 Cafe Mare, Santa Cruz Carried Away, Aptos —Two (2) tickets to San Francisco 44 San Francisco Treat Ella’s at the Airport, Watsonville Symphony’s February 2017 performance of John Adams’ The Gospel Gabriella Café, Santa Cruz According to the Other Mary, conducted by Joanna Carneiro; as part of Geisha, Capitola Adams’ 70th birthday celebrations! Plus two nights’ stay at the luxury Hula’s Island Grill and Tiki Room, Santa Cruz 4-star Donatello Hotel, just one block from Union Square. Package Oswald, Santa Cruz value $1,100 Paradise Beach Grill, Capitola 55 Gourmet Santa Cruz—Chef Mike McDonnell will pre- Shadowbrook, Capitola/Crow’s Nest Restaurant, Santa Cruz pare a culinary feast of organic and farm fresh fare for eight (8) guests Soif Wine Bar/La Posta, Santa Cruz at your Santa Cruz County home (or that of a Board member); paired Solaire Restaurant and Bar, Santa Cruz with wines from Corralitos wineries including Alfaro, Nicholson, and Special thanks to: Windy Oaks. Package value $1,000 Barbara Lawrence, Event Chair 66 The Ultimate Birder Tour—Respected expert and Tom Ellison, Restaurant Coordinator author of The Ardent Birder, Todd Newberry will take a group of 4-6 on Sabrina Eastwood, Winery Coordinator a half-day walk through several local habitats. Perfect for both novices The Young Family & Florence Orenstein, Musician Hospitality and “varsity” birders. Newberry will identify birds and teach skills to enhance the rewards and pleasures that come with “observing afresh the natural world around us.” Each participant will receive a copy of Newberry’s book. Package value $500.

Sincere thanks to these generous donors: Festival Napa Valley, The Santa Fe Opera, San Francisco Symphony, Bookshop Santa Cruz, Chef Mike McDonnell, Todd Newberry, Michael & Cheryl Fisher, Richard Faggioli and Fred & Marcia Smith. 50 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 6:30pm Wednesday AUGUST 10 NESTLDOWN LOS GATOS Music in the Mountains Music Featuring guitarists Donovan Butez and Bryan Fasola of the Los Angeles Duo; Concertmaster Justin Bruns; Cabrillo Festival Orchestra members Tim Munro, Bharat Chandra, Rainer Eudeikis, and Emily Wong.

Nocturne from String Poetic (2006) Jennifer Higdon (b. 1962) Justin Bruns, violin | Emily Wong, piano

Sonata for violin and cello (1920-22) Maurice Ravel (b. 1875) Justin Bruns, violin | Rainer Eudeikis, cello I. Allegro II. Très vif

Rêverie for piano (1890) Claude Debussy (b. 1862) | Arranged by Bryan Fasola Los Angeles Duo Arabesque No. 1 from Deux arabesques for piano, L. 66 (1891) Justin Bruns Claude Debussy (b. 1862) | Arranged by Ansgar Krause Los Angeles Duo

La Valse d’Amelie (2001) Yann Tiersen (b. 1970) | Arranged by Los Angeles Duo Los Angeles Duo

Emergency Room (2015) Donovan Butez (b. 1988)

Los Angeles Duo Los Angeles Duo

The Life of Birds (2008) Heartfelt thanks to Mason Bates (b. 1937) Tim Munro, flute | Bharat Chandra, clarinet Justin Bruns, violin | Rainer Eudeikis, cello Moving Parts Parakeet Daydream for their generous donation of use of the The Caged Bird Sings venue and staff services On a Wire: Mating Dance in support of many local Old World Flycatcher – charities! For information Moving Parts about bookings, please call 408.353.5311.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 51 52 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Friday 8pm AUGUST 12 SANTA CRUZ CIVIC AUDITORIUM Courage & Connection

Cabrillo Festival Orchestra conducted by MARIN ALSOP

Scherzo Crypto (2014) Alexander Miller (b. 1968)

Violin Concerto (2008) Jennifer Higdon (b. 1962) Justin Bruns, violin [West Coast Premiere] I. 1726 II. Chaconni III. Fly Forward

INTERMISSION

The B-Sides (2009) Justin Bruns Mason Bates (b. 1977) Mason Bates, electronica I. Broom of the System II. Aerosol Melody (Hanalei) III. Gemini in the Solar Wind – IV. Temescal Noir – Alexander Miller V. Warehouse Medicine

Jennifer Higdon Media Sponsor:

This concert will be broadcast Sunday, August 28, 8:00pm on KALW 91.7 San Francisco, and webcast on KALW.org Mason Bates Marin Alsop

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 53 Scherzo Crypto (2014) Alexander Miller (b. 1968)

Scherzo Crypto fuses two great loves of my life: orchestral virtuosity and brain-twisting puzzles. When the San Antonio Symphony commissioned a new work from me for their 75th anniversary season, I decided to compose a musical meta- puzzle: a piece with an answer that could be solved by adventurous listeners. The only hint I will give is that the answer is the name of a musical instrument. This hidden instrument is somehow woven into the sound, continually appearing and disappearing. What is it? To date, six people have solved it.

To depict the excitement and occasional panic of intense puzzle solving while a clock ticks down to zero, the instrumental parts are wildly virtuosic, with a particular emphasis on strings and percussion. The form is A-B-A with a coda. The opening material is vigorously rhythmic with violins, and celli playing the same melodic shapes in strict unison or octaves. The woodwinds follow the contours of the string scales while the brass and percussion interject short bursts of discord. The middle section begins meditatively with a murmuring pulse in the celesta and . Low woodwinds and low brass engage in conversation, with short melodic fragments traded back and forth. Just as the mood lightens and more instruments join the puzzle-solving party, the timpani barges in and orders everyone back to square one. After the panicky opening material is revisited in condensed form, a final, brassy coda shouts out the puzzle’s answer in a manner less veiled than earlier in the piece. A solo tambourine jangles, representing the “aha!” light bulb above a solver’s head. The rest of the orchestra then joins in on a fast accelerando that leaves everyone tumbling into the final bars.

—Alexander Miller

Scherzo Crypto was commissioned by the San Antonio Symphony for their 75th anniversary season. It was premiered at the Tobin Center for the Performing Arts on November 14, 2014, by the San Antonio Symphony, conducted by Teddy Elpse Huffman Abrams. DesignoIllustration Not recorded

Thank you Marin Alsop for 25 years of inspired leadership. 831-423-6012 [email protected]

54 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Courage & Connection Program Notes Violin Concerto (2008) Recommended Recording: Hilary Hahn plays family. The lazy string glissandi ultimately put Higdon & Tchaikovsky Violin Concertos. Royal the movement, beachside, to sleep. Jennifer Higdon (b. 1962) Liverpool Philharmonic Orchestra, conducted “Gemini in the Solar Wind” is a re-imagination [West Coast Premiere] by Vasily Petrenko. Deutsche Grammophon of the first American spacewalk, using actual B003YOMNCM. I believe that one of the most rewarding aspects communication samples from the 1965 Gemini of life is exploring and discovering the magic The B-Sides (2009) IV voyage provided by NASA. In this re-telling, and mysteries held within our universe. For clips of words, phrases, and static from the Mason Bates (b. 1977) a composer this thrill often takes place in the original are rearranged to show Ed White, writing of a concerto–it is the exploration of an seduced by the vastness and mystery of space, It was between Tchaikovsky and Brahms that instrument’s world, a journey of the imagination, deliriously unhooking from the spacecraft to Michael Tilson Thomas, surprisingly mellow confronting and stretching an instrument’s limits, drift away blissfully. in his dressing room during one intermission, and discovering a particular performer’s gifts. broached the idea of a new work. Fresh off His final vision of the coast of Northern California drops us down close to home. The initial grit of The first movement of this concerto, which was the podium after the concerto, and apparently “Temescal Noir,” like the Oakland neighborhood originally written for the violinist Hilary Hahn, undistracted by the looming symphony in the of the title, eventually shows its subtle charm and is now played here by Justin Bruns, carries second half, he suggested a collection of in hazy, jazz-tinged hues. Unbothered by a somewhat enigmatic title of “1726.” This five pieces focusing on texture and sonority– electronics, this movement receives some number represents an important aspect of this perhaps like ’s Five Pieces industrious help in the rhythm department by concerto, for both the composer and soloist. for Orchestra. Since my music had largely gone a and oil drum. At its end, the broom 1726 happens to be the street address of the in the other direction–large works that bathed returns in a cameo, again altering the tempo, Curtis Institute of Music, where I first met Hilary the listener in immersive experiences–the and this propels us into “Warehouse Medicine.” Hahn as a student in my 20th Century Music idea intrigued me. I had often imagined a suite An homage to techno’s birthplace—the empty class. As Curtis was also a primary training of concise, off-kilter symphonic pieces that warehouses of Detroit—the final on The ground for me as a young composer, it seemed would incorporate the grooves and theatrics of B-Sides gives no quarter. Huge brass swells an appropriate tribute. To tie into this title, I electronica in a highly focused manner. So, like and out-of-tune pizzicati emulate some of make extensive use the intervals of unisons, the forgotten bands from the flipside of an old the visceral sonorities of techno, and on this 7ths, and 2nds throughout the movement. piece of vinyl, The B-Sides offers brief landings on a variety of peculiar planets, unified by a pounding note The B-Sides bows out. The excitement of the first movement’s intensity focus on fluorescent orchestral sonorities and The work is dedicated to Michael Tilson certainly deserves the calm and pensive the morphing rhythms of electronica. relaxation of the second movement. The title Thomas, whose impromptu composition The first stop is the dusky, circuit-board “Chaconni” comes from the word “chaconne.” A lessons informed the work to an enormous landscape of “Broom of the System.” To the chaconne is a chord progression that repeats degree, in addition to the countless concerts I ticking of a future clock, our broom–brought to throughout a section of music. In this particular have experienced while living in the Bay Area. life by sandpaper blocks and, at one point, an case, there are several chaconnes, which create actual broom–quietly and anonymously keeps —Mason Bates the stage for a dialogue between the soloist and everything running, like a chimney-sweep in a various members of the orchestra. The beauty huge machine. The title is from a short-story The B-Sides was commissioned by the San of the violin’s tone and the artist’s gifts are on collection by David Foster Wallace, though Francisco Symphony and Michael Tilson display here. one could place the fairy-like broom in Borges’ Thomas, with support from the Ralph I. Dorfman Commissioning Fund. It was premiered at The third movement, “Fly Forward,” seemed Anthology of Fantastic Zoology. Davies Symphony Hall on May 20, 2009, by like such a compelling image that I could not The ensuing “Aerosol Melody (Hanalei)” blooms the San Francisco Symphony, conducted by resist the idea of having the soloist do exactly on the Northshore of Kauai, where a gentle, Michael Tilson Thomas. that. Concerti throughout history have always bending melody evaporates at cadence points. allowed the soloist to delight the audience with Djembe and springy pizzicati populate the Recommended Recording: Mason Bates: Works feats of great virtuosity, and when a composer strange fauna of this purely acoustic movement, for Orchestra. San Francisco Symphony, is confronted with a real gift in the soloist’s inspired by several trips with the Fleishhacker conducted by Michael Tilson Thomas. SFS Media. ability to do so, well, it would be foolhardy not to allow that dream to become a reality.

—Jennifer Higdon

The Violin Concerto was commissioned by the Indianapolis Symphony Orchestra, the Toronto Symphony Orchestra, the Baltimore Symphony Orchestra, and the Curtis Institute of Music, with further support from LDI, Ltd., the Lacy Foundation, and the Randolph S. Rothschild Fund. Higdon was awarded the 2010 for the Violin Concerto. It was premiered at the Hilbert Circle Theatre on February 6, 2009, by the Indianapolis Symphony Orchestra, conducted by Mario Venzago. Marin Alsop and Mason Bates, 2015 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 55 56 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 8pm Saturday AUGUST 13 SANTA CRUZ CIVIC AUDITORIUM Tonight’s performance is made possible through the generous support of concert sponsors: Memory & Meaning JERRY VUREK and DIANE & DONALD COOLEY Cabrillo Festival Orchestra conducted by MARIN ALSOP

Kabbalah, op. 96 (2004) Marlos Nobre (b. 1939) [West Coast Premiere]

Oceana (1996) Osvaldo Golijov (b. 1960) Alicia Olatuja, vocalist Lucas Fedronic, boy soprano Los Angeles Duo, guitars Donovan Butez and Brian Fasola The Choral Project The Choral Project Daniel Hughes, artistic director I. Call II. First Wave–Rain Train Interlude III. Second Wave IV. Second Call V. Third Wave John Corigliano VI. Aria VII. Coral del Arrecife (Chorale of the Reef)

INTERMISSION

Symphony No. 1 (1988) John Corigliano (b. 1938)

Marin Alsop Alicia Olatuja I. Apologue: Of Rage and Remembrance II. Tarantella III. Chaconne: Giulio’s Song – IV. Epilogue

This concert will be broadcast Monday, August 29, 9:00pm on KALW 91.7 San Francisco, and webcast on KALW.org

Los Angeles Duo

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 57 58 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Memory & Meaning Program Notes Kabbalah, op. 96 (2004) Oceana (1996) 2. First Wave–Rain Train Interlude. The string orchestra enters as the tempo speeds up, Marlos Nobre (b. 1939) Osvaldo Golijov (b. 1960) and the choral voices respond to the siren [West Coast Premiere] call of the goddess. The composer calls for Oceana was commissioned by the Oregon Bach an enthusiastic, not overly-refined vocal Kabbalah—composed in two connected parts Festival for its 1996 concert series Cantatas sound: "open voice, like pirates at sea calling representing light and energy—was inspired of the Americas. Four composers were asked their goddess." Beginning together, the two by the fundamental rules of “cabal,” meaning for modern choral works in the spirit of the choruses eventually begin vying and echoing “that which is received” in Hebrew. In the greatest composer of cantatas, Johann each other in their complex rhythms. Suddenly, interpretation of Hebrew scripture, “cabal” is Sebastian Bach. Golijov chose to work with the choruses and the strings fall silent for a the source of energy and knowledge and unveils the opulent pop/jazz voice of Brazilian singer "Rain Train Interlude," in which two and the ways to Superior Knowledge. The orchestral Luciana Souza, a chorus from Venezuela, Latin- a piccolo are accompanied by the guitars and work Kabbalah was conceived starting with the American instruments and musical styles, harp in a free "improvisation" reminiscent of cabalistic numbers that define its rhythmic and and poetry from South America's Nobel-Prize- Andean pipers. melodic structure. winning poet, Pablo Neruda. Of the choice of Ms. Souza as soloist, he says, "Luciana's voice Oceana nupcial, cadera de las islas, According to “cabal,” normal humans use only was a great part of the inspiration for this work. Aquí a mi lado, cántame los desaparecidos 3 or 4 percent of their actual brain capacity, I mean, not a particular melody that she sings, Cantares, signos, números del río deseado. while the remaining 96 or 97 percent remains but the quality of her voice, which embodies the unused. Our five senses prevent us from pain and sensuality of Latin America." Oceana, bridal Oceana, thigh of the islands through the illusion of time, and we are not Sing to me here, by my side, the vanished conscious that past and present are always For the work's premiere, the composer wrote: Chants, signs, numbers of the desired river. among us. Yet according to cabalistic science, …My aim in Oceana was the transmutation of 3. Second Wave. The choruses return everything we want is light and energy. But for passion into geometry. This is, in my mind, the with a swaying, churning incantation. Their me, personally, the most important concept clue to both Bach's and Neruda's work. ...[One counterpoint becomes more involved as is that imagination and inspiration represent hopes that the emotion evoked by the work] is the strings rejoin them, so that the poetry of the basic, fundamental truths and unlock the the emotion of hearing order, inevitable and nocturnal mystery and wave-washed reefs unseen wonders of the universe. full of light: every note in its place, as in Bach, swirls ever more alluringly. every word in its place, as in Neruda. Therefore, I constructed my work Kabbalah Quiero oir lo invisible, lo que cayó del tiempo in two levels: one rigorously mathematical in Giants such as Bach are fated to be used as Al palio equinoccial de las palmeras. organizing the micro and the macro structure of mirrors by composers and performers of every Dame el vino secreto que guarda cada sílaba: the piece. And the second in a totally free form era, who will see their own image reflected Ir y venir de espumas, razas de miel caídas of intuition, exploring how the use of so called there. …In their own ways they were all correct Al cántaro marino sobre los arrecifes. “mistakes” and casualties of composition allow in their fruitful misreadings of Bach's music, a lack of conscious control—we may also simply and I feel that Oceana is my own misreading. I want to hear the invisible, that which fell describe this phase as spontaneous inspiration. From time to the equinoctial mantle of the Neruda is our Latin American Bach. Like Bach, palm trees. Essentially rhythmic, the composition traverses he is Midas, able as if by magic to transform Give me the secret wine contained in constant and slow creation of tension, reaching everything on this Earth into poetry. ...I think I each syllable two culminating points. In one of them, the have discovered the clue [to setting his poems The coming and going of foams, of races piece turns inwards onto itself, referring to the to music]: Neruda's voice is a chorus, too of honey past and present, and then leads to a coda that powerful for a single voice to handle… Fallen to the marine vase over the reefs. combines all elements used in the music. I do hope that water and longing, light and 4. Second Call. The vocal soloist returns For thematic ideas, I found a song from the hope, the immensity of South America's nature to make her wordless suggestion of the Xingu Indians particularly strong in relation to and pain, are here transmuted into pure goddess's siren call, with an alto flute added to the “kabbalah” principles and used it almost musical symbols, which nevertheless should the accompaniment and all the strings except literally in the first rhythmic section of the be more liquid than the sea and deeper than contrabass dropping out. This section is more work. In this sense, so called “primitivism” the yearning that they represent. And if I have up-tempo than the "First Call," with a breezy, encounters the most elaborate musical misunderstood Bach, then so be it, in the samba-like feel. language. The work finishes with a “Coda” that spirit of Picasso, who could see only a dove combines all elements used in the music. when everyone else saw clearly that it was the 5. Third Wave. The choruses and string number two. orchestra take over once more. Their music is —Marlos Nobre easy-going at first, becoming more and more 1. Call. For his text Golijov chose the poem Kabbalah was commissioned by the 35th frenzied as they evoke the repeatedly crashing "Oceana" from Neruda's 1961 collection Cantos International Winter Festival of Campos de waves of the sea. Ceremoniales. As Bach's cantatas invoke the Jordão, São Paulo. It was premiered at the grace of God upon believers, Neruda's verses Oceana, reclina tu noche en el Castillo Campos de Jordão Festival Auditorium on July passionately invoke the thrilling, mysterious Que aguardó sin cesar pasar tu cabellera 23, 2004, by the Academic Orchestra of the presence of the ocean goddess. The vocalist En cada ola que el mar elevaba en el mar Festival, conducted by Roberto Minczuk. sets the mood of sensuous longing in the Not commercially recorded first movement, intoning the name “Oceana,” accompanied only by harp and two guitars. continued on page 60 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 59 continued from page 59 Oceana was premiered at the Oregon Bach Festival in Eugene on June 27, 1996, by vocalist Y luego no eras tú sino el mar que pasaba, Luciana Souza, New World Guitar Trio, Schola Sino el mar sino el mar Cantorum of Caracas, and the Oregon Bach Festival Orchestra, conducted by Maria Guinand. Oceana, recline your night in the castle That awaited forever your mane coming Recommended Recording: Golijov: Oceana, In each wave that the sea elevated in the sea Tenebrae, 3 Songs. Atlanta Symphony Orchestra And then it wasn't you the one coming, and Chorus, conducted by Robert Spano. But the sea but the sea Deutsche Grammophon.

6. Aria. Strings and choruses break off at the climax, and the guitars and harp begin a Symphony No. 1 (1988) conversation with Latin and African percussion John Corigliano (b. 1938) instruments, beginning with talking drums and shekere. Vocalist and alto flute moan in Historically, many symphonists (Berlioz, Mahler, wordless unison their swaying incantation. and Shostakovich, to name a few) have been Golijov says, "In this movement I tried to write inspired by important events affecting their lives, a melody that, like Bach's own, 'reinvents and perhaps occasionally their choice of the itself' continually, that is always reborn–of symphonic form was dictated by extramusical course my style is different and I'm a fly next events. I have lost many friends and colleagues to Bach, but the idea is the same." Later, one to the AIDS epidemic, and the cumulative effect or more children's voices sing of timeless lava of those losses has, naturally, deeply affected monuments carved by the sea. me. My Symphony No. 1 was generated by feelings of loss, anger, and frustration. Tengo hambre de no ser sino piedra marina Estatua. Lava, terca torre de monumento I was extremely moved when I first saw “The Donde se estrellan olas ya desaparecidas Quilt,” an ambitious interweaving of several Mares que fallecieron con cántico y viajero thousand fabric panels, each memorializing I'm craving to be nothing but marine stone, a person who had died of AIDS, and, most importantly, each designed and constructed Statue, lava, tower, a monument by his or her loved ones. This made me want Where the waves that crash have disappeared: to memorialize in music those I have lost, and Seas that died with chant and traveler. reflect on those I am losing. I decided to relate the first three movements of the symphony 7. Coral del Arrecife (Chorale of the Reef). to three lifelong musician-friends. In the third The voices drop out, and the instrumental movement, still other friends are recalled in a sounds become increasingly thinner and quilt-like interweaving of motivic melodies. higher, finally coming to rest on soft, long-held chords as the choruses begin the finale. Gently Cast in a free, large-scale A-B-A form, the swelling and withdrawing, the two choruses first movement (Apologue: Of Rage and Memory & Meaning Program Notes repeatedly invoke the name of Oceana, Remembrance) is highly charged and alternates occasionally dissolving in receding echoes of between the tension of anger and the bittersweet forgotten memory. The bulk of the movement nostalgia of remembering. It reflects my distress is sung without accompaniment, as the voices over a concert-pianist friend contracting the hypnotically recall ancient images of reefs and disease. The opening (marked “Ferocious”) shells and seafarers, fading to a final chord of begins with the nasal open A of the violins and unresolved longing. violas. This note, which starts and finishes the symphony, grows in intensity and volume until it Oceana, dame las conchas del arrecife is answered by a burst of percussion. A repeat Parta cubrir con sus relámpagos los muros, of this angry-sounding note climaxes, this time, Los Spondylus, heroes coronados de espinas, in the entrance of the full orchestra, which El esplendor morado del murex en su roca: is accompanied by a slow timpani beat. This Tú sabes como sobre la sal ultramarina steady pulse­—a kind of musical heartbeat—is Oceana, give me the shells of the reef utilized in this movement as the start of a series To cover the walls with their lightning of overlapping accelerandos interspersed with The Spondylus, heros crowned with thorns antagonistic chatterings of antiphonal brass. The splendor of the murex on the rocks: A final multiple acceleration reaches a peak You know how, over the ultramarine salt, climaxed by the violins in their highest register, In his vessel of snow, the Argonaut sails. which begins the middle section.

—Nick Jones As the violins make a gradual diminuendo, a distant (offstage) piano is heard, as if in a memory, playing the Leopold Godowsky transcription of Isaac Albeniz’s “Tango” (made 60 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC in Chicago in 1921), a favorite piece of my enthusiasm for music that amateurs tend to augmented by two sets of antiphonal chimes Memory & Meaning Program Notes pianist-friend. This is the start of an extended have and professionals try to keep. After he tolling the twelve pitches as the intensity lyrical section in which nostalgic themes are died several years ago, I found an old tape- increases and the persistent rhythm is revealed mixed with fragmented suggestions of the recording of the two of us improvising on cello to be that of a funeral march. “Tango.” Little by little, the chattering brass and piano, as we often did. That tape, dated motives begin to reappear, interrupted by the 1962, provided material for the extended Finally, the march-rhythm starts to dissolve, elements of tension that initiated the work, cello solo in this movement. Notating Giulio’s as individual choirs and solo instruments until the lyrical “remembrance” theme is improvisation, I found a pungent and beautiful accelerate independently, until the entire accompanied by the relentless, pulsing timpani motto which, when developed, formed the orchestra climaxes with a sonic explosion. After heartbeat. At this point, the lyrical theme melody played by the solo cello at this point this, only a solo cello remains, softly playing the continues in its slow and even rhythm, but the in the symphony. That theme is preceded by A that opened the work, and introducing the drumbeat begins simultaneously to accelerate. a chaconne, based on twelve pitches (and the symphony’s final part (Epilogue). The tension of a slow, steady melody played chords they produce), which runs through the This last section is played against a repeate against a slow, steady accelerando culminates entire movement. The first several minutes of pattern consisting of “waves” of brass chords. in a recapitulation of the multiple accelerations this movement are played by the violas, cellos, To me, the sound of ocean waves conveys an heard earlier in the movement, starting the final and basses alone. The chaconne chords are image of timelessness. I wanted to suggest section. But this time the accelerations reach an immediately heard, hazily dissolving into that, in this symphony, by creating sonic even bigger climax in which the entire orchestra each other, and the cello melody begins over “waves.” Against these waves, the piano solo joins together, playing a single dissonant chord the final chord. Halfway through this melody from the first movement (the Albeniz/Godowsky in a near-hysterical repeated pattern that begins a second cello joins the soloist. This is the “Tango”) returns, as does the tarantella melody to slow down and finally stops. Unexpectedly, first of a series of musical remembrances of (this time sounding distant and peaceful), the volume of this passage remains loud, so other friends (the first friend having been a and the two solo cellos, interwoven between, that the effect is that of a monstrous machine professional cellist who was Giulio’s teacher recapitulate their dialogues. A slow diminuendo coming to a halt but still boiling with energy. and who also died of AIDS). leaves the solo cello holding the same perpetual This energy, however, is finally exhausted, and A, finally fading away. there is a diminuendo to piano. A recapitulation In order to provide themes for this interweaving —John Corigliano of the original motives along with a final burst of lost friends, I asked William M. Hoffman, the librettist of my opera, The Ghosts of Versailles, of intensity from the orchestra and offstage Symphony No. 1 was commissioned by the to eulogize them with short sentences. I then piano concludes the movement, which ends on Chicago Symphony Orchestra in honor of set those lines for various solo instruments a desolate high A in the first violins. the Orchestra’s Centennial as a part of the and, removing the text, inserted them into the MEET THE COMPOSER orchestra residency The second movement (Tarantella) was written in symphony. These melodies are played against series. The work was the winner of the 1990 memory of a friend who was an executive in the the recurring background of the chaconne, Grawemeyer Award for Music Composition, music industry. He was also an amateur pianist, interspersed with dialogues between the solo and two 1991 Grammy Awards for and in 1970 I wrote a set of dances (Gazebo cellos. At the conclusion of the section, as the Best Orchestral Performance and Best Dances for piano, four hands) for various friends to cello recapitulates Giulio’s theme, the solo Contemporary Composition. It was premiered play and dedicated the final, tarantella movement trumpet begins to play the note A that began at Orchestra Hall, Chicago Symphony Center to him. This was a jaunty little piece whose mood, the symphony. This is taken up by the other on March 15, 1990, by the Chicago Symphony as in many tarantellas, seems to be at odds with brass, one by one, so that the note grows to Orchestra, conducted by Daniel Barenboim. its purpose. For the tarantella, as described in overpower the other orchestral sonorities. Grove’s Dictionary of Music, is a “South Italian The entire string section takes up the A and Recommended Recording: Corigliano Of Rage dance played at continually increasing speed builds to a restatement of the initial assertive and Remembrance; Symphony No. 1. National [and] by means of dancing it a strange kind of orchestral entrance in the first movement. The Symphony Orchestra, conducted by Leonard insanity [attributed to tarantula bite] could be relentless drumbeat returns, but this time it Slatkin. RCA Red , BMG Music. Winner of the cured.” The association of madness and my does not accelerate. Instead, it continues its 1996 Grammy Award for Best Classical Album. piano piece proved both prophetic and bitterly slow and somber beat against the chaconne, ironic when my friend, whose wit and intelligence were legendary in the music field, became insane as a result of AIDS dementia.

In writing a tarantella movement for this symphony, I tried to picture some of the schizophrenic and hallucinatory images that would have accompanied that madness, as well as the moments of lucidity. This movement is formally less organized than the previous one, and intentionally so, but there is a slow and relentless progression toward an accelerated “madness.” The ending can only be described as a brutal scream.

The third movement (Chaconne: Giulio’s Song) recalls a friendship that dated back to my college Kristin Jurkscheit, Mark Adamo, Marin Alsop and John Corigliano, 2005 days. Giulio was an amateur cellist, full of that CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 61 62 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Nexus/Artistic Leadership Transition Nexus: Creative Collaborations Artistic CABRILLO FESTIVAL ADVANCES Leadership ITS NEW WORKS INITIATIVE Transition The Cabrillo Festival’s current Strategic Plan put a bold new artistic initiative at the forefront of our ambitions! “Nexus: Creative Collaborations” envisioned a series of When Marin announced in September 2015 major orchestral commissions that engage composers to work in partnership with that her 25th year at Cabrillo Festival other artists. would be her farewell season, the Board of Directors moved immediately into action on he initiative launched in 2015 with the co-commissioning of James MacMillan’s two important fronts. Percussion Concerto No. 2 for percussionist –a work that partnered two brilliant Scotsmen with the Festival and six major orchestras from across the globe. ll hearts and hands turned to the TWe owe special thanks to Marin Alsop for commissioning support and an anonymous 2016 season, as we committed to donor for sponsoring the U.S. premiere performance. A dedicating the season to a celebration of Marin. At the same time, the Festival Board In 2016 the excitement continues when the Festival presents RIFT, a swiftly formed an Artistic Leadership Transition 25-minute symphonic ballet by Anna Clyne, created in collaboration with team to design and lead the process for choreographer Kitty McNamee. This commission was made possible by choosing the Festival’s next Music Director/ bringing several families together, and continuing the Cabrillo Festival’s Conductor. The ALT team, comprised of three commitment to including audiences and donors in the process of music Executive Committee Members and the making. We’re grateful to co-commissioners Prue Ashurst; Michael Good Executive Director, has since worked with and JoAnn Close; Ellen Kimmel; Carole and Henry Klyce; Alan Ritch, the Board of Directors to engage in a robust, Margaret Brose, and Hayden White; Cherrill Spencer; and an anonymous thoughtful and intentional process, guided donor, for their generosity and enthusiasm. by the Festival’s Strategic Plan priorities. We have sought input and guidance from our 2017 will see the world premiere commission of a new work by Brazilian-born composer extended community of orchestra musicians, Clarice Assad for Scottish percussionist Evelyn Glennie, and we’re excited to report that the composers, industry leaders, and audience Clarence E. Heller Charitable Foundation has just awarded us a generous grant to help make members. The David and Lucile Packard that possible. As well, new works for 2018 and 2019 are already in the works! Foundation provided a grant to support the costs of the artistic leadership transition process, and we gratefully acknowledge their pivotal support.

Marin rightly understood that this is a journey for the Cabrillo Festival organization to take on its own. And, while she is not part of the search or selection process, she provided the Festival Board with her blessing and some sage advice for the process–and encouraged us to be fearless and bold! We’ve kept that spirit through the process, and are excited to let you know of the considerable interest from amazing musical talents from around the world. We will be able to share further information and ultimately a final decision with you in the Fall.

For now, please join us as we enjoy the celebration of Marin and her 2016 Cabrillo Festival! Clarice Assad Evelyn Glennie

There are many creative musical endeavors on the horizon! If you’re interested in being part of a Festival commission or co-commission, please contact Executive Director Ellen Primack at 831.426.6966 or [email protected], for more information. Liza Culick, Cabrillo Festival remains staunchly committed to contemporary composers and to Committee Chair, bringing new works to life and we’ll continue to share the exciting details as the Artistic Leadership “Nexus” initiative unfolds in the years to come. Transition Liza Culick

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 63 In Memoriam The Festival lost several dear friends this past year who will be dearly missed. The profound influence of their lives makes their loss all the more heartbreaking, but their memories will long endure.

MAESTRO GUSTAV MEIER (1929-2016) JOSIE LITTLE (1920-2015) Gustav Meier died on Josie Little died at home in Aptos on September May 27th at his home 22nd. Despite her surname and diminutive in Ann Arbor, Michigan. stature, Josie had a huge spirit. She was a A Swiss-born conductor great friend to many, a wise and loving mom and Director of the and grandmother, and a newly-minted great- Graduate Conducting grandmother. Josie was an active and generous Program at the Peabody philanthropist with deep involvements with the Institute of the Johns Museum of Art and History and with Cabrillo

In Memoriam Hopkins University, College; and during the last decade of her long he was also Music and full life, she became a lead donor to the Director of the Greater Cabrillo Festival. Josie followed her friends onto Bridgeport Symphony the Festival scene and soon embraced it as her Orchestra in Connecticut own. She quickly became passionate about for more than 40 years. Gustav earned international acclaim as both an the music and the community gathering, but she was most enthusiastic exceptional conductor and a truly gifted teacher. He shared his musical about the artists and creative endeavors that she was able to support. gift with generations of young musicians, serving on the faculty of the Josie did it all in her very quiet and encouraging way. Her commitment to , Eastman School of Music, University of Michigan at the Cabrillo Festival was expressed with a very generous bequest to our Ann Arbor, the Tanglewood Music Center, and the Peabody Conservatory. Artistic Initiative Reserve Fund, leaving a legacy to support our mission In 2000, he joined his protégée and friend Marin Alsop at the Cabrillo and music making for years to come. Festival to help build its prestigious Conductors/Composers Workshop and held that post until 2013. He had a gentle kindness that will be IRIS FARR (1927-2015) dearly missed. Upon the Maestro’s death, Marin beautifully expressed Iris Farr passed away in October 2015. Iris his indelible impact. and her husband Jack, a former Festival board There are people we meet who change our lives and there are people member, raised four children and together co- we meet who touch our hearts; Gustav Meier did both and much, founded Farr-West Fashions, a luxury lingerie much more. He was one of my dearest friends…he was my family. I company. Iris was very proud of the company first met Gustav at Tanglewood in 1988 and immediately understood that was in business for 45 years, both for the the transformational nature of his teaching. I returned to Tanglewood quality of the product and for the jobs provided in 1989 and our bond grew deeper. I spent the next few years travelling to so many individuals who became extended to study with him in Ann Arbor as often as possible. Over the years our family to her. Iris was also an avid musician. relationship changed from teacher/student to colleagues to friends and She played piano for most of her life and she family. He joined me in teaching at Cabrillo and, serendipitously, we both sang in the Cabrillo Symphonic Chorus for 30 ended up in Baltimore. Some of our happiest moments together were years; including many occasions with the Santa spent talking about the great music we felt so privileged to study and Cruz Symphony and twice with the Cabrillo Festival. She loved museums, conduct. His life was devoted to music and young people and he gave so travel, Cal Bears and chocolate. For decades, Jack and Iris supported the much to so many. I am heartbroken to lose him, but am intensely grateful Festival as hosts, donors, devoted fans and subscribers. for the many memories that remain, alongside his insatiable curiosity LOIS MUHLY and quiet “Swiss” enthusiasm, that I will always cherish. —­ Marin Alsop The Festival would also like to remember (1926-2015), a long time attendee and supporter who was much beloved in our CHARLOTTE PRIMACK ROBERT COMMANDAY (1922-2015) community. And (1918-2016), who moved from Rhode Island to Santa Cruz at the age of 90 to be closer to her family, Robert Commanday was music critic of the San and attended and supported the Festival with great enthusiasm. Francisco Chronicle from 1964 until 1993. Before joining the staff of the newspaper, he had spent some two decades as a choral conductor and music educator, including in 1963 and 1964—the first two years of the Cabrillo Festival—as director of the Cabrillo Festival Chorus. Commanday spent four years as president of the Music Critics’ Association of North America; and in 1976 he was awarded the prestigious Deems Taylor Award by ASCAP. After leaving The Chronicle he helped revolutionize the online world of music criticism by founding the website San Francisco Classical Voice. He passed away in September 2015.

64 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC New Music Forever Endeavor New Music Making A Legacy Gift THE NEW MUSIC FOREVER ENDEAVOR An Opportunity to Have a Lasting Impact

Now is a perfect time to join the growing list of supporters whose legacy gifts will secure the Festival long into the future. If you have already included Cabrillo Festival in your estate plans, please let us know so that we can count your gift toward our ambitious goal, even if you wish to remain anonymous.

ou don’t need to have a large estate to make a meaningful legacy gift to the Cabrillo Festival! You can have a profound effect, just like Ellen Schuck, Josie Little, Y Ruth Vurek, Carrie Hansen, Charlotte Primack and others. Ellen Schuck was a joyous, enthusiastic booster of the Festival Orchestra for decades, and in June 2005 the Festival received With deep appreciation, an $80,000 legacy gift from Ellen’s estate­—the largest in its history to date and one that more than we invite you add your name doubled our Artistic Initiative Reserve Fund at the time. Since then the Festival has added more to this list of legacies! than $100,000 in realized bequests, further bolstering our reserves. Well beyond their lifetimes, REALIZED BEQUESTS these incredible individuals will keep the music playing in our community. Ellen Schuck Joan Cook If you are considering creating or changing your estate plans, there are many ways to include Josephine Little charitable giving and the Festival can offer the expertise and resources to explore all your Ruth Vurek possibilities. Whether you’ve created a comprehensive estate plan or not, you can easily take Caroline “Carrie” Hanson action now by naming the Cabrillo Festival as a beneficiary of an IRA account or life insurance Charlotte & Sam Primack policy. Often this can be accomplished online! We recognize that designating the Cabrillo Festival Mildred Larsen Trust in your estate plans is a powerful statement of support, and we thank all our legacy donors for The Lawrence Kristian Mikkelsen Trust their trust and confidence in the Festival and in the importance of our work. For any assistance Beverly Karp or information, please call or email Ellen Primack, Executive Director at 831.426.6966 or [email protected] INTENDED BEQUESTS Joan and Joe Akers Richard and Leslie Andrews Sandra Cohen Fran Fisher Margaret Gordon Bette and Joseph Hirsch Dina Hoffman Paul and Sheri Howe Pamela Kangas and Benjamin Post David E. Kaun Ellen Kimmel Diane and Richard Klein Bud Kretschmer Kathryn Lawhun and Mark Shinbrot Nancy V. Loshkajian Hila Michaelsen Lester and Martha Miller Earleen Overend Ellen Primack and Eric Schmidt Leslie Stewart and Wes Kenney Marion Taylor Dee Vogel and Lin Marelick Jerry Vurek Lana Weeks Birgit Weskamp and Robert Lee Kilpatrick FREQUENTLY ASKED QUESTIONS: Anonymous (3) What is the Festival’s Legal Name? Can you provide sample bequest language? Cabrillo Festival of Contemporary Music I hereby bequeath to the Cabrillo Festival of ANY GIFT, NO MATTER HOW Contemporary Music located in Santa Cruz, What is Festival’s Federal Tax I.D.? LARGE OR SMALL, CAN HAVE California, the sum of $_____ dollars (or 94-6123298 A LASTING IMPACT ON THE alternatively, %_____ of my residuary estate). CABRILLO FESTIVAL’S FUTURE.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 65 Grantmakers What we do at Cabrillo would not THE AARON COPLAND FUND ANN AND GORDON GETTY FOUNDATION be possible without the support the FOR MUSIC, INC. The Ann and Gordon Getty Foundation was Festival receives from public and In keeping with his lifelong devotion to established by Gordon Getty, son of J. Paul the music of America, Aaron Copland, the Getty, the founder of Getty Oil. Among his many private grantmakers. We invite you to quintessential American composer, created pursuits in business and philanthropy, Gordon read a little about each of them and the Fund for Music and bequeathed to it a Getty is also a composer and trained seriously the important role they each play. large part of his estate. The Fund was officially to become a classical singer. Given his personal announced to the public in 1992. Its purpose passion for music, it should be no surprise that THE WILLIAM AND FLORA HEWLETT is to encourage and improve public knowledge the Foundation he established is a major funder FOUNDATION of contemporary American music. Cabrillo of performing arts and cultural organizations For more than fifty years, the Hewlett Festival has been honored with a grant in every throughout California, as well as nationally. The Foundation’s Performing Arts Program has year since the Fund’s creation. Copland Fund Foundation has been a consistent and generous

Grantmakers played a leading role in the arts and culture of support has been critical to the artistic growth supporter of the Cabrillo Festival since 1999, the San Francisco Bay Area. What began with a and development of the Festival under Maestra offering much-appreciated support for our commitment to classical music has expanded Marin Alsop’s leadership. This year’s grant is general operating needs. into a diversified program with a core belief in dedicated to the thirteen living composers ARTS COUNCIL SANTA CRUZ COUNTY the power of art to imbue life with meaning, whose works are on our main stage concert value, and pleasure. Hewlett Foundation’s series. The Fund also made a supplemental Arts Council Santa Cruz County’s mission is to support of the Cabrillo Festival dates back to grant in 2016 to support the young composers “promote, connect, and invest in the arts in order 1980, and since 1992 has supported Marin in our Conductors/Composers Workshop. to stimulate creativity and vibrancy in Santa Alsop in raising the Festival’s profile as a center Cruz County.” Envisioning a vibrant Santa Cruz THE NATIONAL ENDOWMENT for new music for orchestra in America. We are County, where individual and collective artistic currently in the second year of a three-year FOR THE ARTS expression thrives and where the Arts are a Hewlett Foundation grant for general operating An award of funding from the National valued part of all aspects of our diverse culture, support that provides much needed resources Endowment for the Arts is a great artistic honor economy, and everyday life, the Arts Council for the day-to-day operations as we work to that results from a highly competitive application has supported and advanced our cultural sustain the Festival’s emergence as a major process overseen by a panel of experts in community since 1976. In 2016, the Festival creative force. the field. This year’s NEA award supports our has received a Sponsor Grant, unique role as an incubator for new music, and designed to provide on-going THE DAVID AND LUCILE PACKARD our vital contribution to the operating funds to leading arts FOUNDATION growth and development organizations in our community, For nearly five decades, the Packard Foundation of symphonic music in which demonstrate organizational has supported a wide array of nonprofit America. health, sustainability, and impact organizations in geographic areas that are on audiences. MONTEREY PENINSULA FOUNDATION significant to the Packard family—including five COMMUNITY FOUNDATION California counties of San Mateo, Santa Clara, The Monterey Peninsula Foundation is SANTA CRUZ COUNTY Santa Cruz, Monterey, and San Benito; as well committed to enhancing the quality of life as Pueblo, Colorado, the birthplace of David in Monterey County and surrounding areas Community Foundation Santa Cruz County Packard. Since 1996, the Packard Foundation through the strategic disbursement of is a public, nonprofit organization created has demonstrated great commitment and charitable funds generated by hosting the AT&T as a permanent resource for the county. The support for the Festival through ongoing Pebble Beach National Pro-Am and the Nature Foundation provides grants and management general operating funding; and we are currently Valley First Tee Open. The Foundation provides assistance to nonprofit organizations, public in the first year of a two-year grant supporting grant awards to organizations and programs sector agencies and community groups, and, our core programs and outreach activities. In that demonstrate the greatest positive effect the Cabrillo Festival is grateful to have received addition, the Festival is profoundly grateful in the areas of youth, education, health, human a grant of general operating support this season. to the Packard Foundation for generously services, arts, community and environmental The Community Foundation also provides a providing additional funds this year in support programs. Founded by Bing Crosby in 1937, simple, safe and efficient way for individuals, of our Artistic Leadership Transition process. the Foundation has raised more than $120 families and businesses to invest in Santa As well, there has been no more committed million for non-profit organizations. The Cabrillo Cruz County through donor advised funds. The supporter than the Packard Foundation in Festival is in the second year of a two-year Festival is pleased to acknowledge the receipt enabling the Festival to undertake technical general operating grant award in support of our of grants from the Hawley Family Fund which has upgrades and feasibility studies to improve our outreach programs and activities. generously fulfilled a three-year commitment home venue, the Santa Cruz Civic Auditorium. in support of our Free Family Concerts, David We offer special thanks to the Foundation for Kaun and Abigail Kaun Fund which made a four- their most recent grants supporting the current year commitment in support of our Student Staff Program, the Ellen B. Kimmel DAF, the renovation planning process. Porter Fund which is in the second year of a three-year annual gift commitment, and the Stocker Family Fund.

66 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Grantmakers

NEW MUSIC USA BRUNO WALTER MEMORIAL FOUNDATION THE REA CHARITABLE TRUST New Music USA is committed to the vitality of Established in 1963 by the estate of the world- The Rea Charitable Trust was created in 2009 the new music community–from composers famous conductor, Bruno Walter, the Memorial with its primary purpose being “promotion of to performers to presenters, producers, die- Foundation supports projects that help the the arts.” Isabel McClintic Rea was the daughter hard fans, casual listeners, curious minds, career development of orchestral conductors. of a well known Midland, Texas, ranching family, and beyond. They are passionate advocates, In December 2009, the Cabrillo Festival was Mr. & Mrs. C.A. McClintic. Known as one of helping new music reach new ears every day. awarded a 10-year grant to support Marin Midland’s most talented pianists, Isabel Rea Their approach includes grant support for the Alsop and her work with young conductors in majored in music at Mary Baldwin College in creation and performance of new work and the Conductors/Composers Workshops. In Staunton, Virginia. The Trust is administered community building; publication of the online recognition of the significance of this grant, and by Wells Fargo Bank. The Cabrillo Festival journal NewMusicBox; and streaming of a wide- its importance to the field and to the conductors is grateful for a generous general operating ranging catalog of new music on Counterstream selected, we have named these awards the grant award in support of our 2016 outreach Radio, featuring an online home for composers “Bruno Walter Conducting Scholarships.” These programs and activities. to feature their own music. Cabrillo Festival’s scholarships allow us to recruit the brightest world premiere performance of Anna Clyne and talent, regardless of economic means, and BMI FOUNDATION, INC. Kitty McNamee’s symphonic ballet, RIFT, was give Marin Alsop the freedom to work with The purpose of the BMI Foundation’s grants supported by New Music USA, made possible conductors whose career development she program is to further the creation, performance by annual program support and/or endowment wants to help advance, encourage, and support. and study of contemporary music. There is an gifts from Andrew W. Mellon Foundation, Mary emphasis on classical, jazz, and the musical Flagler Cary Charitable Trust, Baisley Powell PACIFIC HARMONY FOUNDATION theatre genres and a preference for programs Elebash Fund, and Founded in 2014, the Pacific Harmony that directly involve living American composers. Gladys Krieble Delmas Foundation was established by composer John Funding decisions are made with the aid of Foundation. Adams and his wife, photographer Deborah the distinguished , composers O’Grady, in order to support their philanthropic and publishers who serve as the Foundation’s THE KENNETH T. AND EILEEN L. NORRIS interests. The purpose of the Pacific Harmony Advisory Panel. Since 1995, Cabrillo Festival FOUNDATION Foundation is to provide support for the has been honored to receive support from Family-founded through economic freedom, creation, presentation, and understanding BMI Foundation Inc. in recognition of our the Norris Foundation supports programs of contemporary arts, with special emphasis commitment to contemporary American music, that advance better health and intellectual on music, music composition, and young to engaging and sustaining new audiences, to enlightenment through education, cultivation composers. To that end, the Foundation has training young conductors and composers, and of the arts, individual responsibility, freedom established a commissioning series at the to premiering new works. and dignity. The Norris Foundation has provided Cabrillo Festival, giving one young composer the Cabrillo Festival with continuing support each year the opportunity to write a piece for GRANTMAKERS since 1998. The current grant helps support large orchestra. In 2016, composer Michael the 2016 Festival and the outreach activities Kropf has been honored with that distinction. Please join us in thanking these that give the entire community access to generous grantors. every aspect of modern music making and ALICE M. DITSON FUND the living arts. These include open rehearsals OF COLUMBIA UNIVERSITY $50,000 AND ABOVE daily; free lectures and discussions; the Free The Ditson Fund was established at Columbia The William and Flora Hewlett Foundation Family Concert; the Creativity Tent for Kids; University in 1940, with a bequest from Alice The David and Lucile Packard Foundation M. Ditson, the widow of the noted Boston our Student Staff work/study program; the $20,000 TO $49,999 Church Street Stage showcasing locally based music publisher Oliver Ditson. Mrs. Ditson’s will The Aaron Copland Fund for Music, Inc. performing arts groups; and In the Works, the stipulated that income from the bequest be used National Endowment for the Arts culminating concert of the Festival’s prestigious for non-academic fellowships, public concerts, Monterey Peninsula Foundation Conductors/Composers Workshop. and publications of music. The initial Advisory Committee appointed by Mrs. Ditson directed $10,000 TO $19,999 THE AMPHION FOUNDATION, INC. her intentions toward contemporary music. The Ann and Gordon Getty Foundation Established in 1987 by composer Fund has continued this focus, with emphasis Arts Council Santa Cruz County and his wife Helen, the purpose of the Amphion on funding performances and recordings of Community Foundation Santa Cruz County Foundation is to encourage the performance music by emerging American composers. New Music USA of contemporary concert music, particularly Having awarded more than 2,000 grants since The Kenneth T. and Eileen L. Norris Foundation by American composers, through support its inception, the Ditson Fund continues to play to performing and presenting organizations an important role in support of contemporary UP TO $10,000 that have demonstrated sustained artistic American art music. Cabrillo Festival is honored The Amphion Foundation, Inc excellence, in addition to service organizations. to have received a grant this year in support Bruno Walter Memorial Foundation The ongoing support of the Amphion Foundation of the young composers participating in our Pacific Harmony Foundation since 2005 has helped the Festival sustain Conductors/Composers Workshop. Alice M. Ditson Fund of Columbia University quality programming, maintain high levels of The Rea Charitable Trust community participation, and expand its role The Hawley Family Fund in the symphonic music sector as an originator BMI Foundation, Inc. of new works for orchestra. Their renewed Omega Nu of Santa Cruz support this season enables the performance Women’s Philharmonic Advocacy of works by sixteen living composers, eleven of them American. In 2016, the Fund also made a supplemental grant to support the young composers of our Conductors/Composers Workshop. CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 67 Artistic Initiative Reserve Fund While artistic risk is an essential part of Cabrillo Festival’s mission to bring audiences the innovative, the unexpected, and the new, the level of risk we can take is directly proportional to the size of our Artistic Initiative Reserve Fund. Established in 1999 with a special gift from an anonymous donor, the fund enables us to pursue special ventures. It was boosted in 2012 with the Festival’s 50th anniversary campaign and since then has been bolstered by several significant legacy gifts and the generosity of many contributors.

More than 160 donors are honored below for their cumulative giving to this special fund, and we thank them for understanding the importance of underpinning the Festival’s annual budget with additional reserves. The force of their belief and conviction has helped the fund grow and has provided a buffer against the uncertainties of each season. Please consider joining these visionary donors with a gift of any amount. You can make a lasting impact and help secure our future!

KEYSTONE PARTNERS VENTURE PARTNERS CATALYSTS Marin Alsop Jack and Peggy Baskin Amy Anderson and George Somero Beverly and Alvin Karp, bequest Diane and Don Cooley Richard Fabrikant and Marty Finn Leslie and Richard Andrews David Kaun Joan Cook, bequest Michael Good and JoAnn Close Alex Darocy Earleen Overend and Caroline “Carrie” Hansen, bequest Paul and Sylvia Lorton In memory of Colette King Darocy Wayne Palmer George Hopkins Jim and Beth Petersen Marshall Dinowitz Phyllis Rosenblum Josie Little, bequest Charlotte and Sam Primack, bequest Richard Faggioli Marcia and Fred Smith Ellen Schuck, bequest Jerry Vurek Margaret Gordon Sue Struck Ruth Vurek, bequest Anonymous Howard Hansen Michael and Lesley Tierra Anonymous (2) Mary James and George Cook Anonymous

FUTURISTS Prue Ashurst Roy Hoyer Ellen Primack and Eric Schmidt Audrey Stanley Diane Craddock and Dave Hogye Wendy and Mike Kirst Michael and Sarah Ray In memory of Sidney Jowers Aviva Garrett, David Doshay Kathryn Lawhun and Mark Shinbrot Jean and Kay Rigg Erika Wanenmacher and Sage Doshay Mary Kate and Norman Lezin Alan Ritch In memory of Tom Fredericks and Virginia Wright Eleanor Littman and Robert Goff Lynn Roberts Carolyn Wanenmacher Bette and Joseph Hirsch John Mead Ann Rogers Sarah Howell Marc Murai Melodye Serino

INNOVATORS John and Betty Ann Altman Jack and Iris Farr Robert Kraft George and Mary Reynolds Chris and Dale Attias Adela Feran William Lokke Clarence William Row

Artistic Initiative Reserve Fund Mona Baroudi Fran Fisher Kristin Machnick Nick and Ruth Royal David and Judy Beech Betty Fredericks Patrick McCabe Gayle and Scott Spencer Dr. and Mrs. Robert Black Christopher Harder Robert McKim Frank and Jennifer Choate and Jacqueline Hartman Marian Metson Rosemary Steinmueller David “Woody” Wood In memory of Celia Hartman Lester and Martha Miller Marion Taylor Thomas Clark Simon and Rosemary Hayward Ann-Marie Mitroff and Mary Anne Trause Kathleen Cohen and Mark Foote Edward Hearn and Linda Arnold Norman Groner Stephen and Patricia West Liza Culick and Geri Migielicz Paul and Laurel Henderson Betty Molloy Linda Wilshusen and Eric Cummins Patrick Hosfield Misha Petkevich Rock Pfotenhauer John and Harriet Deck Gina Ing Michel Protti and Richard and Jill Wilson Tom Ellison and Larry Friedman Russ Irwin Casey Coonerty Protti Minnie Wilson

CREATIVES Elizabeth Alpert and Christine and William Green Donna Martin and Mary Ross Jim and Marie Sikora Ken Friedenbach Diane and Harry Greenberg In memory of Ruth Vurek Christine Sodt Lizz Hodgin Anderson Jeanne Hansen Terry Murphy Dolores Speidel Music Together/MusicalMe Inc. Valerie Hayes In memory of Celia Hartman Cherrill Spencer Rolf Augustine Lenore Hindin and Joseph Shearer Guy Neenan Alan and Peggy Spool Lorraine Azevedo Hal and Dorothy Hyde Petr Olmer Robert and Karen Stewart Sharon Barrett Marie and Kent Imai Deborah Kala Perkins Laura and Nicholas Tindall Leonard Bellingrath Ron and Linda Israel Surale Phillips Connie and Tom Unsicker Nancy Bertossa and Robert Van Dale In honor of Jonathan Miller Marlene Pitkow and Mark Kalow Mary Wells Anne Marie Callahan Barbara Jirsa Julie Porcella Jan and Margaret Ysselstein Angeleen Campra Daniel Johnson Gunnar Proppe Anonymous Rena Cochlin Stephen Kessler Joanne Ratcliffe In honor of Joe and Bette Hirsch Faye Crosby Carole and Henry Klyce Pamela and William Richter Anonymous (2) Karen DeMello Deanna and Elroy Kursh Diana Rothman Sabrina Eastwood and Margaret and Damon Kvamme Howard Rubin and Please add your support today! Russell Krebs Scott Lewis Gene Nakajima Jon and Ellen Florey Rabbi Richard and Nancy Litvak Fred Sampson cabrillomusic.org Sara and Cliff Friedlander Todd Lockwood Erika and Dieter Scherer Jessica Frye and David Stein Luciana Lombardi Susan Schlievert 831.426.6966 Patrick Gallagher Elizabeth and Blair Looney Derek Shuman

68 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Leadership Support Leadership Support Cabrillo Festival of Contemporary Music wishes to acknowledge the following donors whose extraordinary generosity has done so much to bring the 2016 season to life. We extend our deepest gratitude on behalf of the artists, audience, and all of us in the Festival community.

MARY SOLARI Sponsor of Opening Night: POWER & DEVOTION ANONYMOUS LEAD DONORS

For more than fifteen years, Mary Solari has played a sustaining role in In support of the Conductors/Composers helping bring Marin’s artistic vision to life, supporting some of our most Workshop ambitious projects including two opera productions, co-commissioning of The generosity of our donors really does make works by Philip Glass and Christopher Rouse, and commissioning James the Festival possible, and multi-year pledges MacMillan’s Woman of the Apocalypse for our 50th anniversary. When provide stability and enable us to plan ahead the Festival launched its Three Steps to the Future campaign in honor of with confidence. The Festival is honored and Marin Alsop, Mary Solari was the first to step up with a pledge of $75,000 grateful to a donor who made a $100,000 over three years! Mary Solari is sponsor of this season’s opening night commitment over ten years in support of our concert, Power & Devotion. Conductors/Composers Workshop. This gift is a great tribute to Marin Alsop and the Festival’s Sponsors of KEVIN PUTS and THE CITY JOSEPH AND BETTE HIRSCH commitment to cultivating the next generation of Bette and Joseph Hirsch have been enthusiastic donors and musical talent. Festival advocates for decades. In 2013 they commissioned Kevin Sponsor of Open Rehearsals and Puts’ Flute Concerto, featuring Adam Walker, and with the Hirshes’ Co-Commissioner of Anna Clyne’s RIFT support the work was recently recorded with Marin Alsop and the Peabody Symphony Orchestra. Bette and Joe have made a special Open Rehearsals invite the community into gift this year to sponsor composer Kevin Puts and the multimedia the creative process and are a treasured presentation of The City. component of the Festival experience. We gratefully acknowledge the generosity of an JERRY VUREK Co-Sponsor of MEMORY & MEANING anonymous donor who has made an ongoing gift in support of these Open Rehearsals. Jerry Vurek represents a second generation of passionate support for In addition, each season a portion of their the Festival. Following in his parents, Helen and George’s, footsteps, donation goes to a special project. This and with his wife Ruth for so many years, he has been a lead sponsor season they help make possible the Festival’s of the Cabrillo Festival for decades. Jerry has sponsored extraordinary world premiere commission of Anna Clyne’s soloists, helped co-commission Hidden World of Girls, and sponsored symphonic ballet, RIFT. They, too, have made many concerts through the years. Jerry Vurek joined our Three Steps to the Three Steps Pledge! the Future campaign, and this season is co-sponsor of our finale concert, Memory & Meaning. PAUL AND SYLVIA LORTON, JR. Sponsors of STICKS & REEDS DIANE AND DONALD COOLEY Co-Sponsors of MEMORY & MEANING Paul and Sylvia Diane and Don Cooley have long supported the Festival, and Lorton initially possess a deep understanding of the profound role the Festival found their way to plays in the advancement of our modern symphonic heritage. Cabrillo Festival Diane and Don made the first leadership gift to our Artistic Initiative in 2001, and Reserve Fund campaign, are in the second year of a 3-year pledge they have been of annual support and this year have made a special gift in Marin’s stalwart fans honor. Diane and Don Cooley are co-sponsors of our finale concert, and supporters Memory & Meaning. ever since. Their generous contributions have helped Maestra DAVID KAUN Sponsor of THE STUDENT STAFF PROGRAM and POET-IN-RESIDENCE Alsop pursue our greatest ambitions by bringing the world’s finest composers and performers to David Kaun, over the past two decades, has contributed significant Santa Cruz each year. The Lortons have made support for the Festival’s youth programs—the Student Staff program, the Three Steps Pledge, and this season Paul Conductors/Composers Workshop, and Free Family Concerts. In 2012 he and Sylvia Lorton sponsor In the Blue Room: helped commission John Wineglasses’ Someone Else’s Child, inspired by Sticks & Reeds. poetry written by incarcerated youth at Santa Cruz County Juvenile Hall. David is currently in the second year of a 4-year grant of support for our Student Staff Program, and has made a special gift this year in honor of Marin Alsop to support our Poet in Residence program.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 69 Our Donors Make All the Difference. We wish to thank the hundreds of donors who have honored Music Director Marin Alsop this year, and have enabled us to bring her vision for the 2016 season to spectacular realization. We would like to call attention to those donors indicated by a star ( ), who have either increased their annual gift, become donors for the first time, or returned after a hiatus. The strength provided by these donors’ general support gifts enables the Festival to thrive and grow season after season. Thank you! NEW ERA $10,000+ As the world’s foremost festival for contemporary Marin’s Match symphonic music, the Cabrillo Festival aspires to IN HONOR OF ELLEN PRIMACK’S 25TH ANNIVERSARY provide living composers everything they need to create the future of the art form, give audience During the 2015 season Marin made an unanticipated and access at all levels to the creative process, generous tribute gift in honor of Executive Director Ellen Primack’s and provide mentorship and support for the milestone anniversary. Marin offered to donate $10,000 if the next generation of conductors and composers. community would match her gift before the end of our fiscal year! The donors listed below provide the exemplary The Cabrillo Festival is so grateful to Marin, and to the nearly 100 leadership and support necessary to bring these donors who not only met her match, but nearly doubled the goal ambitious aspirations to life! with almost $20,000 in contributions. Ellen couldn’t have been more touched and honored by the many expressions of appreciation and trust; and we’re so grateful to the Maestra for leading the way Diane and Donald Cooley with her own incredibly generous donation. Through The Porter Fund at the Community Foundation Santa Cruz County Our special thanks to all those who met the match with special contributions in 2015: Bette and Joseph Hirsch In honor of Maestra Marin Alsop

Donor Recognition $1000+ $500+ David E. Kaun Margaret Brose & Hayden White Diane & Donald Cooley In part, through The David Kaun and Michael & Sarah Ray Richard Fabrikant & Marty Finn Abigail Kaun Fund at Community Foundation Sue Struck Kathryn Hall & Peter Garst Santa Cruz County Michael & Lesley Tierra Jacqueline Hartman & Jon Goldman Mary Solari Sarah Howell Richard & Diane Klein Jerry Vurek Jerry Vurek Paul & Sylvia Lorton Anonymous (2) Bruce & Linda Nicholson Charlotte Primack Phyllis Rosenblum

$250+ Marilyn Manning & Richard Lonergan Bettina Aptheker Earleen Overend & Wayne Palmer Prue Ashurst Jim & Beth Petersen Donna Badawi Michel Protti & Casey Coonerty Protti Nancy Bertossa & Robert Van Dale Rowland & Patricia Rebele Bruce and Linda Nicholson, Marin Alsop Walker Crewson Christopher Rouse Liza Culick & Geri Migielicz Claire Schneeberger & Joshua Salesin CONDUCTORS CIRCLE $5,000–$9,999 Ciara Harraher & Mike McDonnell Marion Taylor Conductors are the stewards of our symphonic heritage. They guide the programming decisions for Bette & Joseph Hirsch Birgit Weskamp & Robert Lee Kilpatrick orchestras and provide the leadership needed for Hilda & Don Hodges Robert & Antonette Zeiss orchestras to perform contemporary music at the highest level. Contributors to the Conductors Circle UP TO $249 Carol Freeman Sheila Namir & play a prominent role in the Festival’s mission, which Joan & Joe Akers Jessica Frye & David Stein Helene Moglen is to be a leader in the creation and presentation of Lorraine Azevedo Florence Orenstein contemporary music for orchestra, and to promote Sheila & Murray Baumgarten Sandra Gresham & Family Gary & Marilyn Patton the understanding and enjoyment of new symphonic Vicki Boriack Valerie Hayes Diana Rothman Richard & Alison Bruce Simon & Rosemary Hayward Norman Ryan works locally, regionally, and globally. Vicki Burke Holly Hickman Kathleen Shaeffer Prue Ashurst Valerie Chase Dina Hoffman Marcia & Fred Smith Bud and Rebecca Colligan Lawrence Chew Barbara Horscraft & Cherrill Spencer Michèle and Laurence Corash Ceil Cirillo Paul Burdick Leslie Stewart & Wes Kenney TJ Cole Patrick Hosfield Gabrielle Stocker Margaret Dorfman Christopher Connery & Wayne & Laurel Huber John Sullivan, Jr. Michael Good and JoAnn Close Mary Elizabeth Scott Ronald & Linda Israel Bobbi Todaro Howard Hansen Diane Craddock & W. Harold Laster & Victor Vu George Hopkins Kris Jearakul John & Sandy Warren David Hogye Ellen Kimmel Karen DeMello Rabbi Richard & Nancy Litvak Sara Wilbourne & Carole and Henry Klyce Patrick Devine Lyndsey & Bryn Loosley John Bakalis Aidan Doyle Scott & Judy MacClelland Peggy & Gary Young Paul and Sylvia Lorton Sabrina Eastwood George & Lucy Mattingly Jan & Margaret Ysselstein Bruce and Linda Nicholson Stacey Falls Ron & Marylou McNay Anonymous Alan Ritch Fran Fisher, C.P.A. Carol Merrell Cherrill Spencer Tom Fredericks & Jack & Hila Michaelsen Richard and Jill Wilson Virginia Wright Jonathan Miller Jill G. Wilson, Attorney at Law, Estate Planning and Probate 70 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Three Steps Donor Recognition to the Future IN HONOR OF MARIN ALSOP Once again our community of donors and supporters has proved themselves extraordinary. We launched a special campaign this season to honor Marin Alsop during her Aidan Lawrence-Devine, Marin Alsop, momentous 25th and final year, and to use this Claire Schneeberger Barbara Lawrence Fran Fisher and Galen Lemmon historic moment to build a bridge toward our CREATORS CIRCLE $2,500–$4,999 ORCHESTRA CIRCLE $1,000-$1,499 future. These donors answered our call and made a three-year pledge of support (many with At Cabrillo, the guest artists who join our orchestra Long-time Festival observer and music critic incremental increases) to help secure our future each season demonstrate their commitment Janos Gereben once wrote, “most importantly and lay a foundation for the next generation of to the demanding task of being co-creators in and memorably, there was a consistently brilliant incredible music making! Because of them, the the performance of music that is innovative and performance by the Festival Orchestra…[they] have Cabrillo Festival moves toward a new era with fresh. This season, the Creators Circle recognizes become an ensemble that would make any opera confidence in our community’s devotion and the extraordinary commitment and caliber of this house or concert hall proud.” Our players have with the financial underpinnings so important season’s guest artists. earned Cabrillo an uncompromised and prestigious at a time of change. Thank you to everyone reputation as America’s preeminent contemporary The Alsop Family Foundation who has made the Three Steps pledge! music festival. Gifts by members of the Orchestra Jack and Peggy Baskin Circle are dedicated to these extraordinary Mary Solari Margaret Brose & Hayden White musicians. Jerry Vurek DIGNITY HEALTH, DOMINICAN HOSPITAL Anonymous (2) Richard Faggioli BAY PHOTO LAB Diane Craddock and David Hogye Amy Anderson & George Somero Ciara Harraher & Mike McDonnell Janet Berry & Ted Kirkiles Faye Crosby Sallie Johnson William G. Clemens The Lawrence Family CRUZIO Bud & Rebecca Colligan Nancy V. Loshkajian Liza Culick and Geri Migielicz Diane & Donald Cooley FEAST FOR A KING Michèle & Laurence Corash Joan Osborne Diane Craddock & David Hogye Tom Ellison and Larry Friedman Earleen Overend and Wayne Palmer Liza Culick & Geri Migielicz Rowland and Patricia Rebele Fran Fisher, C.P.A. Eve Eden REDTREE PARTNERS, L.P. THE HANSON LOCATELLI GROUP – Richard Fabrikant & Marty Finn David Falconer Phyllis Rosenblum Morgan Stanley Erik Hanson, CFP® Financial Advisor Fran Fisher, C.P.A. SANTA CRUZ COUNTY BANK Tom Fredericks & Virginia Wright Sarah L. Howell Marcia and Fred Smith Barbara Gorson Ronald and Linda Israel Ciara Harraher & Mike McDonnell COMPOSERS CIRCLE $1,500-$2,499 Barry and Diane Lamé Mary James & George Cook David E. Kaun The Composers Circle is dedicated to the artists Kathryn Lawhun and Mark Shinbrot Galen Lemmon Ellen Kimmel who author the music of our time. Composers Richard & Diane Klein Eleanor Littman and Robert Goff are at the center of the Festival experience; this Carole & Henry Klyce summer we have twelve composers in residence Dr. Lester and Martha Miller W. Harold Laster & Kris Jearakul to participate in the rehearsal, performance, and James Morrison Kathryn Lawhun & Mark Shinbrot discussion of their work. Michel Protti and Casey Coonerty Protti Rabbi Richard & Nancy Litvak Paul & Sylvia Lorton Richard and Leslie Andrews Jean C. and Kay E. Rigg Nancy V. Loshkajian BARRY SWENSON BUILDER Claire Schneeberger and Joshua Salesin David & Susanna Margulies Richard Fabrikant and Marty Finn Gabrielle Stocker Jacob B. & Hila F. Michaelsen HULA’S ISLAND GRILL Through the Stocker Family Fund Sheila Namir & Helene Moglen at Community Foundation Santa Cruz County Earleen Overend & Wayne Palmer Judith Husted SORENSEN’S RESORT Jim & Beth Petersen Mary James and George Cook John Supan & Carola Barton Ellen Primack & Eric Schmidt Richard and Diane Klein Michael & Sarah Ray Michael and Lesley Tierra Carolyn & Robert Levering Rowland & Patricia Rebele Jim and Beth Petersen Alan Ritch Diana Rothman Ellen Primack and Eric Schmidt Claire Schneeberger & Joshua Salesin Deborah and Jeff Roisman Marcia & Fred Smith Marion Taylor Dolores Speidel Cherrill Spencer Gabrielle Stocker Marion Taylor Michael & Lesley Tierra Minnie A. Wilson Donors indicated by a star have either If you haven’t yet made your pledge, we’ll increased their support, become donors for be happy to include you! Call 831-426- the first time, or are returning after a hiatus. Composer Ana Lara (center) 6966 or email [email protected]. with Michael and Lesley Tierra

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 71 Karen Wagner and Gabrielle Stocker Dawn and George Hopkins with Kristin Jurkscheit George Cook, Colin Currie, Mary James

THE LEADING EDGE $500-$999 CONTEMPORARY $250-$499 Rhonda Martyn and Joseph Novello For 32 consecutive years the Cabrillo Festival was The Cabrillo Festival is about access to the Karen and Dominic Massaro honored with the first place League of American artists and music of our times. For the community Robert McKim Orchestras’ national ASCAP (American Society for members and musicians who come together Ron and Marylou McNay Composers, Authors, and Publishers) Award for at Cabrillo, the Festival is a combination of Craig Morris Adventurous Programming of Contemporary Music. informality and intensity. The San Jose Mercury Earleen Overend and Wayne Palmer In 2008, the Festival received the ultimate ASCAP News has described “the friendliness at Cabrillo” In memory of Josie Little award, the John S. Edwards Award for Strongest as “legendary…there is a jaunty reveling here in Gary and Marilyn Patton th st Commitment to New American Music! Leading programs of the 20 (now 21 ) Century music Michael and Sarah Ray

Donor Recognition Edge contributions are dedicated to excellence that would terrify marketing directors at many big- Jenifer Renzel and Nancy Merritt in contemporary programming at Cabrillo, a world city orchestras.” Donations at the Contemporary John Schertle leader in new symphonic music. level recognize that we are all revelers in modern Ronald and Phyllis Schmidt Matt Albert music making at the Festival. Neal Shorstein Rolf S. Augustine Joan and Joe Akers Jacob Sidman and Kris Sidman-Gale Mona Baroudi and Patrick Whitgrove Amy Anderson and George Somero Lee Slaff Sam Bergman Bettina Aptheker Gayle and Scott Spencer Christopher Connery and Mary Elizabeth Scott Chris and Dale Attias Tom & Rosemary Tisch Mary Culley Sheila and Murray Baumgarten Through the Tisch Family Fund, an advised Alex Darocy Janet Berry and Ted Kirkiles fund of Silicon Valley Community Foundation DOWNTOWN ASSOCIATION Roberta Bristol Steve Vacchi OF SANTA CRUZ Justin Bruns Mary Wells Betty Fredericks Lesley Carlson Linda Werner and Charles McDowell Aviva Garrett and David Doshay, Sage Doshay Robert and Judith Chinello Stephen and Patricia West Jeanne Hansen Jennifer J. Choate, M.D. Minnie A. Wilson Edward Hearn and Linda Arnold Ceil Cirillo Dr. and Mrs. William Winchell Anonymous James Clifford and Judith Aissen Bob and Doris Witte Thomas and Elisabeth Jones Marshall Dinowitz Virginia Kron and Stephen L. Newkirk ! Eve Eden NEW CENTURY $100-$249 Patrick McCabe Tom Fredericks and Virginia Wright Cabrillo Festival has dedicated more than half John Mead Sara and Cliff Friedlander a century to ensuring that living composers can Matthew Means Nora Frimann and Daniel McFadden be appreciated by audiences eager to hear their Jacob B. and Hila F. Michaelsen Margaret Gordon work. New Century donors are forward looking. The Lawrence Kristian Mikkelsen Trust Kathryn Hall & Peter Garst They care about the discovery and nurturing of Harvey and Judy Nickelson Christopher Harder musical genius. Contributions in this category are dedicated to the next generation of composers PALACE ART & OFFICE SUPPLY Ian Hinchliffe whose voices are just beginning to be heard. George and Mary Reynolds Hilda & Don Hodges Carolyn Roberts Hal and Dorothy Hyde Louise Alexander Diana Rothman Gina Ing Sandra Allen In honor of Ellen Primack and all her hard work Mark Kalow and Marlene Pitkow Elizabeth Alpert and Ken Friedenbach SANTACRUZTICKETS.COM Wendy and Mike Kirst Scott Brinkerhoff SANTA CRUZ WALDORF Evan Kuhlmann Laurel H. Brobst Rhonda Stratton Eric Lessin and the Lessin Family Scotty Brookie Sue Struck Norman Lezin Justin Bruns Dee Vogel and Lin Marelick William Lokke In honor of the first violin section of the Cabrillo Festival Orchestra Birgit Weskamp and Robert Lee Kilpatrick Scott and Judy MacClelland Angela and Richard Chandler Harold Widom and Linda Larkin Gerry Mandel Bharat Chandra David and Susanna Margulies Lawrence Chew MEDTRONICS Scott Christian Donors indicated by a star have either Employee matching funds increased their support, become donors for Thomas Clark the first time, or are returning after a hiatus.

72 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Fane and Corie Opperman Rhea Giroux Donor Recognition Ava Ordman Susan & Alan Goldstein Judith Ostapik Christine and William Green In memory of her sister, Martha Karen Hanrahan Kent Owen Susan and Harry Hartzell Marjorie Perlin Through the Hartzell Family Fund Misha Petkevich at Schwab Charitable Julie Porcella Kristin Hayward Ellen Primack and Eric Schmidt Lenore Hindin & Joseph Shearer Richard Fabrikant and Marty Finn In memory of Josie Little Ken Innes with Bharat Chandra Brad Ritchie Pamela Kangas and Benjamin Post Richard and Susan Robbins Ruth and David Koffman William G. Clemens Nicholas and Ruth Royal Joseph Kropf In loving memory of Sarah Clemens Mock Diane Russell Barbara Lawrence Rena Cochlin Fred Sampson In honor of the 50th wedding anniversary Bill and Cloy Codiga Erika and Dieter Scherer of Chrystal and George Smith Kathleen Cohen and Mark Foote Susan Schlievert George Lewis Hal and Karlene Dahlmeier Kathleen Shaeffer Ted Lorraine Dr. Jerome and Sylvia Deck Sarah Shellman Maxwell Norton Thomas Derthick Lauren Sileo Lyndsey & Bryn Loosley In memory of Charlotte Primack John Devine Robert Simonds Denise and David O’Connor Sabrina Eastwood Charles Singer Florence Orenstein David Falconer Douglas Smith Gunnar Proppe Joyce K. Feldman Dolores Speidel Jim and Marion Rector Fran Fisher Peggy and Alan Spool In memory of Ken Friedenbach Ellen Primack and Eric Schmidt Karen Wagner Ann & Richard Flower In memory of Iris Farr Bob and Gail Walker Fritz Foss Virginia Respess Mary Wieland & Ronnie Lipschutz Frank Fredericks Nickey Roosevelt Danielle and Gary Wohl Andrew Gignac Ward Spangler Karen Worth and Robert Stewart Barbara Gorson Ethel S. Worn Robert and Suzanne Young Peter Haas Donna Ziel J. Peter Haft Simon and Rosemary Hayward FESTIVAL FELLOW $50-$99 Galen Hilgard At the Cabrillo Festival, the enthusiasm of DONATIONS Denise Hosfield audiences, the generosity of donors, the Betsy Hudson Traba MAY BE MADE: responsiveness of musicians, composers and ONLINE AT James Hueter guest artists, and the embrace of the community Jennifer Humphreys are all totally unique. Festival Fellow donations are Anonymous dedicated to a place where composers, players, Russ Irwin audiences, and the entire community interact, cabrillomusic.org and where everyone contributes in some way to Robyn Julyan OR BY MAIL TO the process of modern music-making. Richard and Diane Klein CABRILLO FESTIVAL In memory of Iris Farr Eda Balsam Linda Kyrnitszke Wesley Bartera 147 S. River Street, Suite 232 W. Harold Laster & Kris Jearakul BAUER PIANO SERVICE Santa Cruz, CA 95060 Speed and Connie Leas Ted Botsford To make gifts of stock or other property, Barbara Schatan and Richard Linzer Boyd Brown and Helene Milner or for information regarding estate Rabbi Richard and Nancy Litvak Angeleen Campra planning, please contact Todd and Shannon Lockwood Jack and BJ Carter Executive Director Ellen Primack at Joan Lowden Anne Chandra Michael Maccaferri Rita Cortez 831.426.6966 Kristin Machnick Stephen and Nancy Dudley [email protected] Tom Manheim In honor of Bette Hirsch Cynthia and Bill Mathews Diana Dunn Please remember the Cabrillo Festival Gretchen and Richard McCann Allan J. Dyson and Susan C. Cooper in your future plans! Carol Merrell Stacey Falls & Stephen Schnarr For more information, see page 65. Alexander Miller Jon and Ellen Florey The Festival’s legal name is: Ann-Marie Mitroff and Norman Groner Jessica Frye & David Stein Cabrillo Festival of Contemporary Music Marc Murai In memory of Charlotte Primack David Murray Frank Garcia And we are a 501(c)3 tax-exempt nonprofit, Sheila Namir and Helene Moglen Shirley and Allen Ginzburg EIN 94-6123298

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 73 CIVIC AUDITORIUM RENOVATION PROJECT: A VISION FOR THE FUTURE

With the committed support of the Civic Renovation Leadership Team, the David and Lucile Packard Foundation, and the City of Santa Cruz Parks and Recreation Department, great strides have been made in planning for a much-hoped-for renovation of the Civic Auditorium as a performing arts and cultural center for our community. Designs have been created, engineering and seismic capacity studies completed, along with a business planning study that included situation and operations analysis, an online survey that engaged community input, and a thoughtful and thorough proposal for future operating and management plans. We have incredible tools now and the will to move this forward!

qually important is the genuine consensus that there is a great need for, and would be great benefit from, a renovation and modernization of our county’s largest cultural gathering E place. The Leadership Team that includes representatives from the Cabrillo Festival, the City of Santa Cruz Economic Development and Parks and Recreation Departments, Santa Cruz Symphony, Arts Council Santa Cruz County, and the Community Foundation Santa Cruz County are all working hard and are committed to partnering with the City to move this vision forward. It will require a private-public funding partnership and an outpouring of community support and advocacy. The next steps by the City and Leadership Team are to plan the timing and process for an anticipated “Quality of Life” bond measure that would likely include funding for the Civic renovation. We welcome your involvement and interest in our work. Contact me or any of the agencies involved for more information.

Ellen Primack, Cabrillo Festival Executive Director and Chair of the Civic Leadership Team 831.426.6966 [email protected] A Vision for the Civic Auditorium

74 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Please join us in expressing our appreciation to the Cabrillo Festival’s 2016 Community Sponsors! Each is partnering with us in a specific way to broaden the reach of the Festival and our unique programs.

SPONSOR OF THE CHURCH STREET STAGE SPONSOR OF SPONSOR OF PHOTOGRAPHER FREE FAMILY CONCERT IN RESIDENCE

MUSIC IN THE MOUNTAINS SPONSOR OF THE VENUE DONOR RECORDING AND CREATIVITY TENT FOR KIDS BROADCAST SPONSOR

SPONSOR OF SPONSOR OF DONORS CONCERT MAHALO MONDAYS DESSERT RECEPTION

SUPPORT FOR THE SANTACRUZTICKETS.COM SUPPORT FOR THE CREATIVITY TENT FOR KIDS SUPPORT FOR CREATIVITY TENT FOR KIDS AND FESTIVAL VISUAL DISPLAYS THE FREE FAMILY CONCERT

MEDIA SPONSOR OF COURAGE & CONNECTION BROADCAST SPONSOR MEDIA SPONSOR OF CONCERT INSPIRATION & IMPACT CONCERT

MEDIA SPONSOR OF MEDIA SPONSOR OF THE THE FREE FAMILY CONCERT CHURCH STREET STAGE

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 75 76 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC It takes a village! The Festival depends upon a myriad of supporters from throughout our community for a vast Acknowledgements array of resources. We’d like to express our appreciation to the community as a whole, to area businesses, and to individuals for helping making what we do possible! We offer particular thanks to the following:

PUBLICATION SUPPORT PRODUCTION SUPPORT ARTISTS’ SUPPORT

Season Graphic Design: Special thanks to members of I.A.T.S.E. Marin Alsop: Jill James Local 611 and Business Representative Rachel Bowron Patrick Fitzsimmons. Carolyn Campbell, social media support Program Book Designer/Design Production: Hairstyling by Rebecca A. Sutton of Audio Recording Support: Elise Huffman Faust Salon—for 25 years! Josephson Engineering Program Book Ad Production: —David and Deirdre Josephson RIFT Dancers Support: Marguerite Meyer Universal Audio for equipment donation Rehearsal space donated by Edge Performing Arts Center, Los Angeles Stage and Orchestra Equipment: In-House Design: Multimedia imagery by Jim Doyle Jessica Frye We owe a debt of gratitude to Principal and Tom Ontiveros Percussionist Galen Lemmon for generously Photography by Nathan Lusk Print Production: providing the massive arsenal of percussion Community Printers, Santa Cruz instruments used by the Festival each season; Musicians’ Breakfasts: —Dave Bossie, Ross Newport and crew and our special thanks to these colleagues generously provided by The Bagelry, lend their remarkable support: California Buttery, Emily’s Bakery, Hoffman’s Bistro and Program Book Proofing Support: State University Chico Performing Arts Patisserie, and Watsonville Coast Produce; Marty Finn and Sabrina Eastwood Department, San Jose State University Music and lovingly prepared by Larry Friedman, Toni and Dance Department, Santa Cruz Symphony, Miras, Carol Merrell, Karen Hildebrand, Virginia S.C. CIVIC AUDITORIUM Guitar Works, and Janet Pollock. With Draper, Elizabeth Lindsley, Madeline Dean, additional thanks to Jewel Theatre Company– and Patricia Bautista. Administration: Julie James and Shaun Carroll, California Special thanks to Andrea Botsford, Jessi Additional Artist Hospitality from: Percussion and Audio Production Group. Bond, and the entire Civic Auditorium staff Pacific Cookie Company and for their kindness and support in this ongoing Piano Tuning and Maintenance: John Bauer Pure Water of Santa Cruz partnership. Flowers: Santa Cruz Floral Artist Transportation: Alan Ritch, George Reynolds and members Box Office: Lobby: of the Festival Board To Shannon Toombs, Pots from PotStop at Little Baja, Moss Landing Ali MacBird, and everyone involved with —Bob Goode & Polly Joseph SantaCruzTickets.com for their continued commitment to providing a community SPECIAL EVENTS SUPPORT box office! Annual Beer & Pizza Party: Maintenance: Supported by Upper Crust Pizza & Pasta To Jason Lemiere, Dominic Gullo, and all the hardworking crew who make the Civic Winter Donor Event: “home” to the Festival each season Catered by Eat Right At Home —we couldn’t do it without you! —Chef Jonathan Miller Hosted at the Food Lounge Civic Auditorium Renovation Plan: Festival Ushers, 2015 Special thanks for the generous support of Donors Concert Reception: The David and Lucile Packard Foundation. Catered by Poppy de Garmo And our appreciation to many individuals Opening Night Dinner: who have supported the Leadership Team: Catered by Feast for a King Dannettee Shoemaker, former City of SC Parks —Kimberly Santia Dunn & Rec Director and current Director Mauro Garcia; Bonnie Lipscomb, SC City Economic Co-Commissioners Lunch: Development Director; Supervisor Ryan Catered by Eat Right At Home Coonerty; Jim Brown, Ceil Cirillo, Christina —Chef Jonathan Miller Cuevas, Jan Derecho, Nancy Loshkajian, Beth Dessert Reception Tobey, Deborah Tracy-Proulx, Michelle Williams, Cakes by The Buttery Bakery; cider from Nancy Loshkajian, Hal Laster and Jim Petersen, Dick Wilson, and Dorothy Wise. PRODUCTION Martinelli & Company and sparkling wine from Epic Wine—Stacey Nolan

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 77 78 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Acknowledgements PROMOTIONAL SUPPORT FESTIVAL HOSTS

Public Relations: The Cabrillo Festival sends a very special thank you to all our Festival Hosts! At Mona Baroudi Public Relations the time of printing, there were more than 75 Festival Hosts who have opened Media and website support: their hearts and homes to accommodate our out-of-town artists. The value of their hospitality, kindness and good will is incalculable. They are an indispensable part Web development by Vertical Rail of the Cabrillo experience. Some musicians return every year to their same host —Melissa Smith, Lynette Rota, and have become friends for life! Thank you again to each and every Festival Host George Gabrelian Alex Marse for the wonderful reflection of Santa Cruz that you give to visiting artists each and every year. Your generosity of spirit makes what we do possible! Videography and production: Concert tribute videos: Story4.org—LiPo Ching, Sarah Albertson and Bill Peters Geri Migielicz, with support from Liza Culick Leslie and Richard Andrews Archival video: John Vincent Barrett Claudia Brown and David Evans Season videos: Lucid S&P Lela Carney Photography: Roger Chaffin R.R. Jones, Adriane White Angela and Richard Chandler Lawrence Chew Internet services: Angie and Jim Christmann Festival orchestra members and hosts at the Generously supplied by Cruzio annual Pizza Party, 2015 Neal Coonerty Additional promotional support: Diane Craddock and Dave Hogye Downtown Association—Chip! Rob Darrow Bruce and Linda Nicholson and the amazing Kiosk Staff Jennifer DeToy Joyce Nicholson Nickelodeon Theatres Hilda Diel Earleen Overend and Wayne Palmer Bruce Frye Tom Ellison and Larry Friedman Anandi Paganini Pedaler’s Express Nora Frimann and Daniel McFadden Claire and Jerry Paul ADMINISTRATIVE SUPPORT Robin Garmann Michel Protti and Casey Coonerty Protti Cori Gerlach Elbina Rafizadeh Financial accounting and reporting: Margaret Gordon George and Mary Reynolds Fran Fisher, C.P.A. Kathy Haber Janine Roeth and Henry Hooker Phyllis Rosenblum Mailing, Printing and Data Services: Ciara Harraher and Mike McDonnell Charley and Susan Selvidge Complete Mailing Service Simon and Rosemary Hayward Portia Shao —Martha McCambridge and crew Melessa Hemler Hilda and Don Hodges Dean Silvers and Ira Schwartz HR: Cynthia Holladay Loosley Marjorie Simon Rita Casey, Ph.D. Robert Holt Audrey Sullivan Jacob Use of Community Board Room: Barbara Horscraft and Paul Burdick Pam Swift Santa Cruz County Bank—Chris Maffia and Becky Hunt Susanne Teichmann and Ron Slack downtown branch staff Len Jackel Cristie Thomas and Scott Lindberg Hotel Partner: Mary James and George Cook Dee Vogel and Lin Marelick Beach Street Inn & Suites Martha Keeler Tom Wages Helen Wallis Additional administrative support: Patrice and Bob Keet Walnut Commons Friends Florence Orenstein, Jay Olson, IT wizard Ellen Kimmel Richard and Diane Klein Linda Werner and Charlie McDowell Additional thanks to: Carole and Henry Klyce Donald Wiberg Arts Council of Santa Cruz County Donna Lenhoff and Gerry Campbell Lois Widom —Michelle Williams Irene Lennox Richard and Jill Wilson Dream Inn–Dan Smart Barbara Levine Daniella Woolf and Kim Tyler KUSP—for many years of partnership Eleanor Littman and Robert Goff Mariposa’s Art —Sarah Brothers and Emmanuel Garcia Joan Lowden Joshua Salesin—ornamental wood turning Tom Manheim and Nancy Shanfeld Santa Cruz County Symphony—Dorothy Wise Sandy and Hernan Martinez Robin McDuff and Leslie Karst Heartfelt thanks to the families of our Susan Merritt and Larry Ford administrative staff who continuously support Special thanks to our dedicated Housing Hila and Jacob Michaelsen the Festival in so many unseen ways. Coordinator Valerie Hayes! Interested in Gary Milburn learning more about our Host Program? Kathy Miles We are especially in need of homes near Wendy Molin downtown Santa Cruz! Email valerie@ Marsha Muir cabrillomusic.org, or call 831-426-6966.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 79 Please support these businesses that support the Festival!

Inside Front Cover— Arts Council Santa Cruz County— Open Studios 78 Bagelry 78 Bay Photo 8 Bookshop Santa Cruz 42 Boosey & Hawkes 12 The Boston Conservatory 76 Buttery Bakery 54 Chamber Music Monterey 58 The Choral Project Inside Back Cover— Classical Music Festivals of the West 44 Community Printers 62 Complete Mailing Service 40 Conti Leung Contruction, Inc. 32 Cruzio Back Cover— Days & Nights Festival Index to Advertisers 58 Dominican Oaks 47 Dream Inn 80 Eat Right at Home/ Chef Jonathan Miller 18 Emily’s Bakery 52 Feast for a King 42 Festival Mozaic 62 Food Lounge 6 G. Schirmer 56 Good Times 78 Guitar Works 12 Hill Guitar Company 46 Hoffman’s Bistro & Patisserie 54 Huffman Design 47 Hula’s Island Grill 4 Jewel Theatre Company 40 Jill James Design & Photography 12 Josephson Engineering 34 KALW 38 KAZU 4 Kuumbwa Jazz Center 8 Lucid Sound & Picture 40 Music @ Menlo 46 Music Together/Musical Me 2 Naxos Records 46 New Music Works 74 Nickelodeon/Del Mar Theatres 42 Other Minds 76 Performing Arts Monterey Bay 60 Pot Stop 60 Rebecca Sutton 58 Ristorante Avanti 4 RR Jones Photography 48 San Francisco Performances 18 Santa Cruz Ballet Theatre 6 Santa Cruz Civic & SantaCruzTickets.com 76 Schott Music Corp 78 SF Contemporary Music Players 62 Soif 18 Upper Crust Pizza

80 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Fill your summer with music! Explore the musical riches and unique settings of these allied festivals of the Western United States. California Colorado Oregon Cabrillo Festival of Aspen Music Festival Chamber Music Northwest Contemporary Music June 30 - August 21, 2016 Summer Festival July 31 - August 13, 2016 Aspen, CO June 25 - July 31, 2016 Santa Cruz, CA aspenmusicfestival.com Portland, OR cabrillomusic.org cmnw.org Bravo! Vail Carmel Bach Festival June 23 - August 6, 2016 July 16 - 30, 2016 Vail, CO Carmel, CA bravovail.org bachfestival.org Washington Strings Music Festival Seattle Chamber Music La Jolla Music Society June 25 - August 20, 2016 Society Summer Festival August 3 - 26, 2016 Steamboat Springs, CO July 5 - 30, 2016 La Jolla, CA stringsmusicfestival.com Seattle, WA ljms.org seattlechambermusic.org Mainly Mozart Festival June 2 - 18, 2016 San Diego, CA New Mexico mainlymozart.org Santa Fe Wyoming Chamber Music Festival Grand Teton Music Festival Music@Menlo July 17 - August 22, 2016 July 4 - August 20, 2016 July 15 - August 6 Santa Fe, NM Jackson Hole, WY Atherton, CA santafechambermusic.com gtmf.org musicatmenlo.org

Ojai Music Festival June 9 - 12, 2016 Ojai, CA ojaifestival.org CLASSICAL MUSIC FESTIVALS OF THE WEST 2016