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Kronos Quartet West Coast Premiere I

Kronos Quartet West Coast Premiere I

CAL PERFORMANCES PRESENTS PROGRAM

Sunday, December 13, 2009, 7pm Hertz Hall

Terry Riley (b. 1935) Transylvanian Courtship (2008) West Coast Premiere I. The Weaver and the Waterwheel…or the David Harrington, Good W’s that We Know John Sherba, violin II. Arangojuice Hank Dutt, III. Heavy Breathing in Dangerous Snowfields Jeffrey Zeigler, IV. Drunken Lovesong V. Rajastani Loops for K. M. Bhatt…That’s Special Guest Mr. Kool Man Krishna Mohan Pandit , cello VI. Moonlight Shadows Dyno Walk VII. A Tender Moment in the Maze Laurence Neff, Lighting Designer VIII. Ram Chander Maharaj…a Dancing Scott Fraser, Sound Designer Toot Sultan in Beggar’s Clothes IX. Keep Hands Up Close to the Face Before the Knockout Punch

PROGRAM Played without pause.

Bryce Dessner (b. 1976) Aheym (Homeward) (2009) All of the works on tonight’s program were written for Kronos.

Missy Mazzoli (b. 1980) Harp and Altar (2009) The Kronos Quartet records exclusively for .

Vladimir Martynov (b. 1946) Schubert-Quintet (Unfinished), in two movements (2009) Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. World Premiere

with Joan Jeanrenaud, cello

Sightlines INTERMISSION Sunday, December 13, 2009 Hertz Hall Please join us for a post-concert discussion with the artists.

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Bryce Dessner (b. 1976) cultures and communities. My father’s multimedia chamber , Song from the Uproar: Crane lived for some time at 110 Aheym (2009) family, Jewish immigrants from Poland The Lives and Deaths of Isabelle Eberhardt, pre- Columbia Heights in , in an and , also lived near the park for miered in Brooklyn in 2009. apartment overlooking the Brooklyn Bryce Dessner is a /guitarist/curator many years in the 1940s and 1950s be- Ms. Mazzoli is a recipient of a Fulbright Bridge. Only after completing his poem based in , best known as the - fore moving to Queens. In discussing the Grant to the Netherlands, three ASCAP Morton did Crane learn that one of its key build- ist for the rock band The National. Their albums new piece, David proposed to perform the Gould Young Awards, a Charles Ives ers, Washington Roebling, had once lived Alligator (2005) and Boxer (2007) were named al- work in Brooklyn, and then to retrace the Scholarship from the American Academy of Arts at the same address. Every day, I take long bums of the year in publications throughout the journey of my grandparents and perform and Letters, and grants from the American Music walks around my Brooklyn neighborhood, world. Mr. Dessner has received widespread ac- it in Łódź, Poland, a city where my great- Center, the Jerome Foundation and the Greenwall often ending up at the site of the house claim as a composer and guitarist for the impro- grandparents lived and through which Foundation. In 2006, Ms. Mazzoli was a featured where Crane lived when he wrote these vising quartet Clogs. He has performed and/or my grandmother passed on her voyage composer at Merkin Hall (New York) and the lines. In writing this piece for the Kronos recorded with , Antony Hegarty, to America. Gaudeamus New Music Festival (Amsterdam), Quartet I tried to imagine the Brooklyn guitarist , , “Aheym” means “homeward” in and, in 2007, she taught beginning composition Bridge through Crane’s eyes, a new monu- Michael Gordon, the All-Stars Yiddish, and this piece is written as mu- at . She is Executive Director of ment to technology, a symbol of optimism and visual artist Matthew Ritchie, among others. sical evocation of the idea of flight and the MATA Festival of New Music in New York, and faith. He will premiere and record a new work by Steve passage. As little boys, my brother and I an organization founded by Philip Glass dedicated Many thanks to the Kronos Quartet, Reich in 2009. used to spend hours with my grandmother, to commissioning and promoting new works by , Margaret Dorfman and As a composer, he is the recipient of a Jerome asking her about the details of how she young composers. the Ralph I. Dorfman Family Fund for Grant from the American Composers Forum and came to America. She could only give us Ms. Mazzoli is also an active pianist, and often making this work possible. the Kitchen (New York), for a full concert of his a smattering of details, but they all found performs with Victoire, an all-female quintet she Missy Mazzoli’s Harp and Altar was com- music in 2007, and a commission from Thyssen their way into our collective imagination, founded in 2008, dedicated exclusively to her own missioned for the Kronos Quartet by Margaret Bornemisza Art Contemporary (Vienna), to create eventually becoming a part of our own compositions. Victoire has performed in venues Dorfman and the Ralph I. Dorfman Family Fund. a 40-minute spatial sound work for the Morning cultural identity and connection to the throughout New York and recently appeared at the Sampled vocals by Gabriel Kahane. Line, an outdoor sound pavilion by Matthew past. In her poem “Di rayze aheym,” the 2009 Bang-on-a-Can Marathon. Their debut EP is Ritchie. He has also received commissions from American-Yiddish poet Irena Klepfisz, a titled A Door into the Dark. the Rosenbach Library in Philadelphia, in honor of professor at Barnard in New York and one About Harp and Altar, Ms. Mazzoli writes: Vladimr Martynov (b. 1946) Abraham Lincoln’s bicentennial, and BAM’s Next of the few child survivors of the Warsaw Schubert-Quintet (Unfinished) (2009) Wave Festival, for an evening-length work with his Ghetto, writes: “Among strangers is her Harp and Altar is a love song to the in two movements brother, . He composed the score home. Here right here she must live. Her Brooklyn Bridge. The title comes from for Turn the River, a film written and directed by memories will become monuments.” a poem by Hart Crane, in which he de- Born in in 1946, Vladimir Martynov stud- Chris Eigman. Aheym is dedicated to my grandmoth- scribes the Brooklyn Bridge as “that harp ied under M. Mezhlumov and composition Mr. Dessner is the creator and artistic director er, Sarah Dessner. and altar of the Fury fused.” The Borough under N. Sidelnikov at the . of the Music Now Festival in , Ohio, of Brooklyn is impossible to describe, but Bryce Dessner’s Aheym was written for the Mr. Martynov belongs to the generation of major and the co-founder and owner of the Brassland the Brooklyn Bridge seems to be an apt Kronos Quartet. Soviet/Russian composers after Schnittke, Denisov record label. He and Aaron Dessner recently pro- symbol for its vastness, its strength and its and Gubaidulina. duced an AIDS charity compilation, Dark Was the history. Halfway through the work the vo- In 1973, he began working in the electronic Night, for the . Mr. Dessner calist sings fragments of these lines from Missy Mazzoli (b. 1980) music studio of the Scriabin Museum, the meeting- serves on the board of the Kitchen, and is a gradu- Crane’s poem “The Bridge”: Harp and Altar (2009) ground of many of the leading composers of the ate of Yale College and the . Through the bound cable strands, the Russian avant-garde. A rock group, the Boomerang, About Aheym, Mr. Dessner writes: Missy Mazzoli, born in Pennsylvania, has had arching path was formed in the studio with Mr. Martynov’s ac- David Harrington asked me to write a her music performed all over the world by the Upward, veering with light, the tive participation, and he wrote the rock opera The piece for the Kronos Quartet for a perfor- Minnesota , , South flight of strings, Seraphic Visions of St. Francis of Assisi (1978) for the mance in Prospect Park, Brooklyn. I live Carolina Philharmonic, Spokane Symphony, group. At the same time, he was also exploring the just two blocks from the park and spend Cabrillo Festival Orchestra, NOW Ensemble and Taut miles of shuttling moonlight possibilities of the minimalist system concurrently many mornings running around it. The others. She has been commissioned by Kronos syncopate with Arvo Pärt and Valentin Silvestrov. park for me symbolizes much of what I Quartet, eighth blackbird, the Whitney Museum, The whispered rush, telepathy of The diversity of his interests led him to study love about New York, especially the stun- Carnegie Hall and the League of Composers/ wires. folk music, and he traveled extensively throughout ning diversity of Brooklyn with its myriad ISCM Orchestra. Ms. Mazzoli’s critically acclaimed Russia, the Caucasus and . At the end of

30 CAL PERFORMANCES CAL PERFORMANCES 31 PROGRAM NOTES PROGRAM NOTES the 1970s, he embarked on an investigation of early as “infinite heavenly lengths”—that is, Kronos, combining rigorous compositional ideas The 34-minute work is written as one Russian religious chant. During this period, he ac- lengths with no end. For this reason, the with a more performance-oriented approach. continuous movement with nine sections. cepted a teaching post at the Theological Institute score carries the subtitle “Unfinished.” This three-decade-long relationship has yield- In the work’s present form, the first four of the Trinity-Saint Sergius and his output was ed 25 works for string quartet, including a con- sections are played on Stroh instruments, Vladimir Martynov’s Schubert-Quintet mainly devoted to church music. Starting in the certo for string quartet, The Sands, which was the the fifth on normal instruments, the sixth (Unfinished) was commissioned for the Kronos mid-1980s, he began to produce new works that Salzburg Festival’s first-ever new music commis- and seventh again on Stroh and the last Quartet and Joan Jeanrenaud by Cal Performances combined the experiments of his former period sion; Sun Rings, a multimedia piece for , vi- two sections on normal instruments. and the Kronos Performing Arts Association. while continuing his involvement with minimal- suals and space sounds, commissioned by NASA; In order to get a denser texture in the ism (Opus post I, Opus post II for piano, Twelve and The Cusp of Magic, for string quartet and pipa. sections “Rajastani Loops…” and “Ram Victories of King Arthur for seven ). At the Kronos’s album Cadenza on the Night Plain, a col- Chander…,” a real-time looping device is (b. 1935) same time, he was also widening his explorations lection of music by Mr. Riley, was selected by both used. In these passages, the quartet captures Transylvanian Horn Courtship (2008) of the great religious themes in works such as Time and Newsweek as one of the 10 Best Classical phrases “on the fly” and as they are played Apocalypse, Lamentations of Jeremiah, Magnificat, Albums of the Year in 1988. The epic five-quartet by the looping device the musicians play in Terry Riley first came to prominence in 1964 when Stabat Mater, Requiem and Litanies to the Virgin. cycle, Salome Dances for Peace, was selected as the tandem with the loops. These two sections he subverted the world of tightly organized atonal Despite his interest in different genres, #1 Classical Album of the Year by USA Today and are also in tribute to two dear fellow musi- composition then in fashion. With the ground- Mr. Martynov’s philosophy of music and composi- was nominated for a Grammy Award in 1989. cians from India. They have been wonder- breaking In C—a work built upon steady pulse tion compels him to look for the essence or core About Transylvanian Horn Courtship, Mr. R iley ful friends and guides over the years, as I throughout; short, simple repeated melodic mo- of music. The convention that defines today’s per- writes: have navigated through the rich cultural tives; and static harmonies—Mr. Riley achieved formances establishes musical elements as separate: strands of Hindustani Classical music. an elegant and non-nostalgic return to tonality. In The idea came from a conversation a few the musician, the thing or object (the music), and demonstrating the hypnotic allure of complex mu- years ago I was having with Kronos’s Raised in Dar es Salaam, Tanzania, Mac Arthur the audience. Mr. Martynov’s idea of composition sical patterns made of basic means, he produced the leader, David Harrington. David brought “Genius” grantee Walter Kitundu began as a visual is to make a space where there is interaction be- seminal work of the so-called “minimalist” school. to my attention the notion of the Stroh artist who was introduced to music through the tween audience, the music and the musicians. He Mr. Riley’s facility for complex pattern- , which had not been on my radar turntable. He focused his imagination on discover- has written, “The time comes for a new epoch, a making is the product of his virtuosity as a key- up to that time, but sounded amazing. (A ing the potential of the record player as a medium new folklore, a new ritual. The time comes when board improviser. He quit formal composition Stroh violin is a violin with a metal horn for sound and artistic expression. This resulted in there will no longer be a place for composers. All following In C in order to concentrate on impro- to amplify its sound, an invention of the hand-built turntables powered by the wind and the texts and music have already been created... visation, and in the late 1960s and early 1970s he late 19th century.) It seemed a perfect op- rain, fire and earthquakes, birds, light and the The only thing left for us is to try to explain them became known for weaving dazzlingly intricate portunity to employ Stroh with the force of ocean waves. Mr. Kitundu invented a new and extrapolate their meaning.” skeins of music from improvisations on organ and sound of the strings modified by the metal instrument family called Phonoharps, beautifully About Schubert-Quintet (Unfinished), synthesizer. At this time, Riley also devoted him- horns to create a new textural sound for the crafted multistringed instruments are made from Mr. Martynov writes: self to studying North Indian vocal techniques string quartet. record players and rely on the turntable’s sensitiv- If, in the 19th century, Schumann could under the legendary Pandit Pran Nath, and a new Kronos engaged Walter Kitundu ity to vibration. Mr. Kitundu has performed and write of Schubert’s “heavenly lengths,” element entered his music: long-limbed melody. to build a complete set of Stroh instru- been in residence at art centers and science mu- emphasizing the fact that, despite their From his work in Indian music, moreover, he be- ments—two violins, viola and cello—for seums internationally. Additionally, he composes heavenly qualities, the lengths were all the came interested in the subtle distinctions of tuning this new work. I requested that Walter for dance, theatre and film and teaches multi- same a little long, now in the 21st century that would be hard to achieve with a traditional build each instrument so that it could disciplinary workshops on sound, imagination and Schubert’s lengths appear to be so heavenly classical ensemble. sound a fifth lower than its normal -building. This is the third set of instru- that one cannot get enough of them. Every Mr. Riley began notating music again in 1979, counterpart. Even before starting to write ments that Mr. Kitundu has created for Kronos. time I come into contact with Schubert’s when both he and the Kronos Quartet were on the the music, I felt the sound had to be deep- Terry Riley’s Transylvanian Horn Courtship was music, I want to prolong forever each mo- faculty at Mills College in Oakland. By collabo- ened to give the kind of color I was envi- commissioned for the Kronos Quartet by the ment of sound. I want to examine every rating with Kronos, he discovered that his various sioning. The range is more like two , DeBartolo Performing Arts Center at the University turn, every Schubertian pause through a musical passions could be integrated, not as pas- cello and bass. of Notre Dame and the Board of Directors of the magnifying glass or even a microscope. The tiche, but as different sides of similar musical im- The work was written in about six Kronos Performing Arts Association, on the oc- score of Schubert-Quintet presents a version pulses that still maintained something of the oral weeks. I was trying to write as spontane- casion of Kronos’s 35th anniversary. Additional of just this way of looking at Schubert’s performing traditions of India and jazz. Mr. Riley’s ously as possible with as little second-guess- project support was provided by the National music. This is a 21st-century view of first quartets were inspired by his keyboard im- ing as was necessary. From note to note and Endowment for the Arts. Schubert. If for Schumann they were sim- provisations, but his knowledge of string quartets from phrase to phrase, I bowed to Allen ply “heavenly lengths,” they appear to me became more sophisticated through his work with Ginsberg’s dictum, “first idea, best idea.”

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than 20 years. The Quartet has also collaborated of Africa (1992), a showcase of African-born com- extensively with composers such as Philip Glass, posers, which simultaneously topped Billboard’s recording his complete string quartets and scores Classical and World Music lists; 2000’s Kronos to films like Mishima and Dracula (a restored Caravan, whose musical “travels” span North and edition of the Bela Lugosi classic); Azerbaijan’s South America, Europe, and the Middle East; Franghiz Ali-Zadeh, whose works are featured on 1998’s 10-disc anthology, Kronos Quartet: 25 Years; the full-length 2005 release Mugam Sayagi: Music Nuevo (2002), a Grammy- and Latin Grammy- of Franghiz Ali-Zadeh; , whose Kronos- nominated celebration of Mexican culture; and the recorded Different Trains earned a Grammy; 2003 Grammy-winner, Alban Berg’s Lyric Suite. Argentina’s Osvaldo Golijov, whose work with Kronos’s recording and performances reveal Kronos includes both compositions and extensive only a fraction of the group’s commitment to new arrangements for such albums as Kronos Caravan music. As a non-profit organization based in San and Nuevo; and many more. Francisco, the Kronos Performing Arts Association In addition to composers, Kronos counts nu- has commissioned hundreds of new works and merous artists from around the world among its arrangements for string quartet. Music publish- collaborators, including the Chinese pipa virtuoso ers Boosey & Hawkes and Kronos have released Wu Man; legendary Bollywood “playback singer” sheet music for three signature works, all commis- Asha Bhosle, featured on Kronos’s Grammy- sioned for Kronos, in the first volume of theKronos nominated CD, You’ve Stolen My Heart: Songs Collection, a performing edition edited by Kronos. from R. D. Burman’s Bollywood; Inuit throat singer The Quartet is committed to mentoring emerging Tanya Tagaq; Mexican rockers Café Tacuba; professional performers, and in 2007 Kronos led genre-defying sound artist and instrument builder its first Professional Training Workshop with four Michael Wilson Michael Walter Kitundu; the Romanian gypsy band Taraf string quartets as part of the Weill Music Institute For more than 35 years, the Kronos Quartet— diverse repertoire for string quartet, performing de Haïdouks; renowned American soprano Dawn at Carnegie Hall. One of Kronos’s most exciting David Harrington, John Sherba (violins), Hank and recording works by 20th-century masters Upshaw; and the unbridled British cabaret trio, the initiatives is the Kronos: Under 30 Project, a unique Dutt (viola) and Jeffrey Zeigler (cello)—has pur- (Bartók, Shostakovich, Webern), contemporary Tiger Lillies. Kronos has performed live with the commissioning and composer-in-residence pro- sued a singular artistic vision, combining a spirit composers (Aleksandra Vrebalov, John Adams, likes of Allen Ginsberg, Zakir Hussain, Modern gram for composers under 30 years old, launched of fearless exploration with a commitment to ex- ), jazz legends (Ornette Coleman, Jazz Quartet, , David Barsamian, in conjunction with Kronos’s own 30th birthday panding the range and context of the string quar- Charles Mingus, Thelonious Monk) and artists Howard Zinn, Betty Carter and David Bowie, and in 2003. By cultivating creative relationships with tet. In the process, Kronos has become one of the from even farther afield (rock guitar legend Jimi has appeared on recordings by such diverse talents such emerging talents and a wealth of other artists most celebrated and influential groups of our time, Hendrix, Azeri vocalist Alim Qasimov, avant- as Nine Inch Nails, Amon Tobin, Dan Zanes, DJ from around the world, Kronos reaps the benefit performing thousands of concerts worldwide, re- garde saxophonist ). Spooky, Dave Matthews, Nelly Furtado, Rokia of 30 years’ wisdom while maintaining a fresh ap- leasing more than 45 recordings of extraordinary Integral to Kronos’s work is a series of long- Traoré, Joan Armatrading and Don Walser. proach to music-making inspired by a new genera- breadth and creativity, collaborating with many running, in-depth collaborations with many of the Kronos’s music has also featured prominently in tion of composers and performers. of the world’s most eclectic composers and per- world’s foremost composers. One of the Quartet’s other media, including film Requiem( for a Dream, formers, and commissioning more than 650 works most frequent composer-collaborators is “Father The Fountain, 21 Grams, Heat, True Stories) and Joan Jeanrenaud, cellist and composer, grew and arrangements for string quartet. Kronos’s of Minimalism” Terry Riley, whose work with dance, with such noted choreographers as Merce up in a small town outside Memphis, Tennessee, work has also garnered numerous awards, includ- Kronos includes the early Sunrise of the Planetary Cunningham, Paul Taylor, Twyla Tharp and Eiko where she began studying the cello under Peter ing a Grammy Award for Best Dream Collector; Cadenza on the Night Plain and & Koma setting pieces to Kronos’s music. Spurbeck at age 11. Her commitment to music Performance (2004) and “Musicians of the Year” Salome Dances for Peace; 2002’s Sun Rings, a multi- The Quartet spends five months of each year deepened during her work with Fritz Magg at (2003) from Musical America. media, NASA-commissioned ode to the earth and on tour, appearing in concert halls, clubs and festi- Indiana University, where she obtained a Bachelor Kronos’s adventurous approach dates back to its people, featuring celestial sounds and images vals around the world, including BAM Next Wave of Music degree, and her subsequent private studies the ensemble’s origins. In 1973, David Harrington from space; and The Cusp of Magic, commissioned Festival, Carnegie Hall, the Barbican in London, with Pierre Fournier in Geneva, Switzerland. was inspired to form Kronos after hearing George in honor of Riley’s 70th birthday celebrations in WOMAD, UCLA’s Royce Hall, Amsterdam’s In 1978, Ms. Jeanrenaud joined the Kronos Crumb’s Black Angels, a highly unorthodox, 2005 and recorded and released in 2008. Kronos Concertgebouw, Shanghai Concert Hall and the Quartet, a position she held for 20 years. For two Vietnam War-inspired work featuring bowed wa- commissioned and recorded the three string quar- Sydney Opera House. Kronos is equally prolific decades, she worked with hundreds of composers ter glasses, spoken word passages, and electronic tets of Polish composer Henryk Mikolaj Górecki, and wide-ranging on disc. The ensemble’s expansive and musicians including John Cage, Frank Zappa, effects. Kronos then began building a compellingly with whom the group has been working for more discography on Nonesuch Records includes Pieces Morton Feldman, Philip Glass, Witold Lutosławski,

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Moruzzi, was supported by Creative Capital and For the Kronos Quartet/ premiered at the Yerba Buena Center for the Arts Kronos Performing Arts Association: in San Francisco in July 2008. Janet Cowperthwaite Managing Director In 2000–2001, Ms. Jeanrenaud was Artist-in- Laird Rodet Associate Director Residence at the Yerba Buena Center for the Arts, Sidney Chen Artistic Administrator where she created an evening-length solo work Scott Fraser Sound Designer called Metamorphosis and the installation piece Christina Johnson Communications Manager Ice Cello, inspired by the work of the Fluxus art- Calvin Ll. Jones Production Associate ist Charlotte Moorman. Eiko & Koma commis- Asheton Lemay Intern sioned the collaboration Be With for solo cello and Nikolás McConnie-Saad Administrative Assistant dance, which premiered in live performances at Laurence Neff Production Director the Kennedy Center, Joyce Theater, and the Yerba Lucinda Toy Business Operations Manager Buena Center during the 2001–2002 season. In Julie Yip Administrative Assistant 2003, Ms. Jeanrenaud completed and performed her hourlong composition for the multimedia Anna M. Ranieri Chair, Board of Directors piece In Between, with Bay Area visual artist Tom Bonauro and featuring percussionist . In 2004, she was a featured performer and Contact: composer for San Francisco’s Other Minds Festival, writing the cello and electronics piece Hommage Kronos Quartet/Kronos Performing Arts Association for the occasion. Two thousand five marked her P. O. Box 225340 first collaboration with the Axis Dance Company, San Francisco, CA 94122-5340 writing and performing the work Terre Brune. In www.kronosquartet.org 2007, Ms. Jeanrenaud composed and performed www.facebook.com/kronosquartet the score for Humansville, a performance installa- www.myspace.com/kronosquartet tion for the Joe Goode Performance Group. Twitter: @kronosquartet #kronos Joan Armatrading, Steve Reich, Pauline Oliveros, In addition to performing her own composi- Astor Piazzolla, Sofia Gubadulina, Foday Muso tions, several composers have written new works Suso, , Terry Riley, John Zorn and for her, including Terry Riley, Hamza El Din, Steve many others. She performed more than 2,000 Mackey, , Kevin Volans, Karen Tanaka, concerts throughout the world and made over Paul Dresher, Mark Grey, Anthony Davis, Alvin 30 recordings with Kronos, most of which were Curran and . As an improviser she released on Nonesuch Records. Tonight’s perfor- collaborates with , , mance marks Ms. Jeanrenaud’s first appearance Stephen Vitiello and Fred Frith, among others. Ms. with Kronos in more than a decade. Jeanrenaud was awarded composer residencies at Upon leaving Kronos in 1999, she began her the Djerassi Resident Artists Program in 2007 and pursuit of solo and collaborative projects in compo- the Sally and Don Lucas Artists Programs at the sition, improvisation, electronics, video and mul- Montalvo Arts Center in 2008. tidisciplinary performance. Her solo CD, Strange Strange Toys was released on the Talking House Toys, featuring her performances of her own com- label in 2008. Other solo work is available on the positions, was nominated for a 2008 Grammy New Albion release of Metamorphosis, as well as Award for Best Instrumental Soloist Without an many other recordings released in the last several Orchestra. The installation work ARIA, a col- years. Please refer to www.jjcello.org for a more laboration with artist and designer Alessandro complete listing of works and activities.

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