CAL PERFORMANCES PRESENTS PROGRAM

Wednesday, April 6, 2011, 7pm Zellerbach Hall The Silk Road Ensemble Yo-Yo Ma, Artistic Director

Jeffrey Beecher double bass Mike Block cello Shanir Blumenkranz oud Nicholas Cords viola Jonathan Gandelsman violin Joseph Gramley percussion Colin Jacobsen violin Kayhan Kalhor kamancheh Yo-Yo Ma cello (b. 1972) ¡Chayraq!: Rough Guide to a Modern Cristina Pato gaita (Galician bagpipes) Day Tawantinsuyu† Shane Shanahan percussion Mark Suter percussion Kojiro Umezaki shakuhachi Kazakh/Chinese traditional Yanzi (“Swallow Song”) (arr. Zhao Lin) Wu Man

Osvaldo Golijov (b. 1960) Air to Air‡ PROGRAM Wah Habbibi Aiini Taqtiru Silk Road Suite K’in Sventa Ch’ul Me’tik Kwadalupe Tancas Serradas a Muru Persian traditional Ascending Bird (arr. Siamak Aghaei & Colin Jacobsen) Wu Man (b. 1963) Night Thoughts † Commissioned by the Silk Road Project. Joseph Gramley (b. 1970) Rionji Traditional Muiñeiras from Cancionero Musical de Galicia ‡ Commissioned by through The Weill Music Institute in partnership with the (arr. Cristina Pato) Silk Road Project. The world premiere was given at Carnegie Hall on September 16, 2006.

Hyosung Corporation is a Lead Sponsor of the Silk Road Project. Rabih Abou-Khalil (b. 1957) Norma’s Secret† MetLife Foundation is the Official 2011 Tour Sponsor of the Silk Road Project.

Giovanni Sollima (b. 1962) Taranta Project†

This performance is made possible, in part, by Corporate Sponsor U.S. Bank and INTERMISSION Patron Sponsors Nadine Tang and Bruce Smith, and Barbara and Markus Trice. Cal Performances’ 2010–2011 season is sponsored by Wells Fargo.

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he historical silk road, a series of physical body in fire, and in this way achieving a tonight’s . A medley of two popu- than normal, and the score calls for the percus- Tland and sea trade routes that crisscrossed metaphorical spiritual transcendence. lar muiñeiras from different regions of Galicia, sionist to add vocalization and body rhythms to Eurasia, enabled the exchange of goods and in- The next piece, Night Thoughts, was inspired the piece starts with a traditional percussion call the instrumentation. novations from China to the Mediterranean Sea by a ninth-century Buddhist pipa tune and rep- that establishes the essential rhythmic pattern. Gabriela Lena Frank drew on the Peruvian for nearly 2,000 years, until the 14th century. resented for pipa virtuoso and Wu Illustrating the importance of this dance as a so- and Chinese influences of her richly mixed heri- Over the centuries, many important scien- Man a chance to rediscover the pipa’s native, cial occasion, shakuhachi, strings and gaita pro- tage and on her ethnomusicology research to tific and technological innovations migrated to regional language. She was particularly drawn gressively join voices, culminating in an all-play create ¡Chayraq!: Rough Guide to a Modern Day the West along the Silk Road, including gun- to its ancient tune scale, which is very different party that celebrates the joy of community. Tawantinsuyu. The fanciful title hints at the con- powder, the magnetic compass, the printing from today’s mostly pentatonic pipa music, and Lebanese-born composer Rabih Abou- tent of the piece. “Chayraq” is an Indian expres- press, silk, mathematics, ceramic and lacquer to the peaceful, meditative sound of the pipa in Khalil was classically trained on oud (Middle sion of excitement—“hooray!” Tawantinsuyu crafts. In this way, the Silk Road created an the low register. Eastern lute) as well as flute. His composi- was the Indian name given to the pre-Conquest intercontinental think tank of human ingenu- The title of the percussion trio that fol- tions seem to blend the musical traditions of Incan Empire. “Rough Guide” alludes to field ity. Interactions among cultural groups spread lows, Rionji, represents a fusion of two far-flung the Arabic world with improvisation and recordings gathered in researching music from knowledge, religious beliefs, artistic techniques points on the globe that inspired composer and European classical techniques. But to Abou- a foreign culture, typically compilations of short and musical traditions, so much so that long af- percussionist Joseph Gramley: the city of Rio Khalil, “tradition itself is a chimera, since tracks of music caught on the fly at indigenous ter its decline, the Silk Road remains a powerful de Janeiro and the Ryoanji Temple in Kyoto, today’s tradition was yesterday’s revolution. events such as festivals, religious ceremonies and metaphor for cultural exchange. Japan. The rock garden at Ryoanji, which also Naturally, being Lebanese, my musical back- harvest fiestas. These examples were instrumen- This historic trade network provides a inspired a composition by John Cage in the ground will always be part of my language, but tal in Frank’s own self-education as a composer, namesake-worthy metaphor for the Silk Road 1980s, famously displays a series of 15 stones. I am more concerned with the sensual than the when she was a student looking for musical clues Project’s vision of connecting artists and audi- But viewers can never see more than 14 at a stylistic expression of music.” Norma’s Secret was in her Latin American travels. In a similar spirit, ences around the world. Yo-Yo Ma has called time—a Zen reminder of our imperfect en- written as a love song, exploring the emotional she constructed this piece with more than a doz- these routes, which resulted in the first global lightenment. In making music of this concept, and sensual characteristics of a woman’s secrets. en short movements, which mix and match per- exchange of scientific and cultural traditions, Gramley reduced the 15 stones to 13 beats but Technically speaking, it was written in a style cussion, pipa, violin and cello, and which may the “Internet of antiquity.” followed the same principle: the players on the that has become typical for Abou-Khalil, with be played individually or, as in this evening’s Both historic and symbolic elements are piece begin together on the same note, which rapid rhythm changes and meandering melodic concert, as a full series. central to the work of the Silk Road Project, represents the hidden rock. The scraping sound modulations that spin off one another. Silk We travel next to rural China for Yanzi which takes inspiration from this age-old tradi- of bamboo reco-recos intrigued Gramley when Road Ensemble members, including arranger (“Swallow Song”), a well-known folk song, tion of learning from other cultures and disci- he studied samba music in Brazil. Other instru- Ljova, developed an interpretation for today’s Kazakh in origin, arranged by Chinese com- plines. The repertoire of the Silk Road Ensemble ments include the kanjira and the udu drum, performance that reflects the instrumentation poser Zhao Lin. In this traditional piece, the includes traditional music (both as an oral whose solos reveal small changes in pitch dur- and flavor of the Silk Road Ensemble. singer addresses a girl named Yanzi (Swallow), tradition—passed down from generation to ing short “hiccups” just before what would have Cellist and composer Giovanni Sollima, praising her bright eyes, graceful neck and long generation—and in melodies arranged by and been the 13th beat. In the second section, two born into a family of Sicilian musicians, reveals hair, and implores, “Please do not forget your for members of the Ensemble) as well as newly seven-beat cycles are followed by a three-beat his fascination with all styles of music by com- promise and change your heart; I am yours, and commissioned works, many of which combine silence. “The interruptions are key,” Gramley bining elements of classical, rock and jazz, as you are my swallow.” During recording sessions non-Western and Western instruments, creating explains. “Just as in that rock garden, what you well as ethnic musical traditions from Sicily and for Silk Road Journeys: Beyond the Horizon (Sony a unique genre that transcends customary musi- can’t see is as important as what you can.” from other Mediterranean lands, such as North Classical 2004), Zhao Lin, a former classmate of cal classification. To complete the Suite, Spanish-born com- Africa, Israel, the Middle East, the Balkan Wu Tong at the Central Conservatory of Music Tonight’s concert opens with a Silk Road poser and performer Cristina Pato created States, Turkey and Andalusia. Many of these in Beijing, was moved to arrange Yanzi for voice Suite featuring works developed by members Muiñeiras for the Ensemble. Themuiñeira is the influences are evident in Taranta Project, com- and cello after hearing Wu Tong’s a cappella ren- of the Silk Road Ensemble and representing a traditional dance of Galicia in fast 6/8 tempo, missioned by the Silk Road Project for its 2008 dition. Tonight’s version is interpreted by shaku- broad swath of history and cultures. Santur played at parties and social gatherings; everyone workshop at Tanglewood Music Center. The hachi and cello. player Siamak Aghaei and violinist Colin is welcome to join in and dance. Traditionally dreamlike entryway to the six-movement work Completing tonight’s program is Air to Air Jacobsen arranged a traditional folk melody that practiced with gaita (Galician bagpipes) and is followed by sequences that alternately suggest by Osvaldo Golijov, developed in 2006 at a was inspired by mythology. Ascending Bird tells percussion, a dancer typically shares a move that feverish dances and reveal intricate interlocking workshop that challenged to write the popular legend of a bird attempting to fly is then learned and repeated by the rest of the rhythmic patterns. In an innovative duet, the for indigenous Silk Road instruments with to the sun. After two failed attempts, the bird dancers. This sense of connection and sharing cello part calls for scordatura to achieve “power varying combinations of strings and percussion. finally makes contact with the sun, losing its is implicit in the muiñeira and is the basis of chords” by tuning the C string an octave lower Golijov describes Air to Air as “music borne from

28 CAL PERFORMANCES CAL PERFORMANCES 29 PROGRAM NOTES PROGRAM NOTES community.” To him, both the music and the Tour Management A Musical Model A Silk Road for Our Time musicians of the Silk Road Ensemble exem- Mary Pat Buerkle, Senior Vice President, plify this concept. Golijov felt that, because of Manager, Artists & Attractions, Over several decades, my travels have given me It is difficult to comprehend the scope of the the extraordinary sensibility of the Ensemble Opus 3 Artists, New York the opportunity to learn from a wealth of differ- Silk Road, the ancient trade network that con- musicians, “for them the connection between ent voices—from the immense compassion and nected Asia to the Mediterranean. For centuries Western and non-Western is now almost a mu- Silk Road Project Tour Staff grace of Bach’s Cello Suites, to the ancient Celtic this primary route for the exchange of goods, tation; they’ve opened the gates of communica- Laura Freid CEO & Executive Director fiddle traditions alive in Appalachia, to the soul- arts and scientific discoveries also enabled the tion. This is good for music.” The first move- Isabelle Hunter Program Director ful strains of the bandoneón of Argentina’s tango spread of religions, the growth of languages, ment, Wah Habbibi (“My Beloved”), juxtaposes Heidi Koelz Communications Manager cafés. I have met and been guided by musicians and the migrations of people and their ideas. a sacred song with violent contemporary music Chris Marrion Development Director who share my wonder at the creative potential Historically, the Silk Road offers unparalleled through the use of traditional Christian-Arab Ed Sweeney Comptroller/ that exists where cultures intersect. insight into how ancient societies intersected. As and Muslim-Arab melodies. “It is a blurry chang- Business Manager The Silk Road Ensemble is a musical model metaphor, it speaks to our ongoing fascination ing frontier between Christian and Arab music, that requires curiosity, collaboration and whole- with cultural exchange. where one note or inflection can make the music Sound Postings hearted enthusiasm from all the participants. It is in this broad sense that the Silk Road Christian or Arab,” Golijov notes. The second Catherine Gevers The music we play does not belong to just one has captivated the imaginations of not only movement, Aiini Taqtiru (“My Eyes Weep”), a culture or even to only the Silk Road region. scholars and artists but people the world over. traditional Christian-Arab Easter Song, is fol- Production Staff Ensemble members are united in their demon- This living Silk Road reveals the truth that noth- lowed by K’in Sventa Ch’ul Me’tik Kwadalupe Aaron Copp Production Manager stration of virtuosity and generosity, and that ing, and no one, exists in isolation. (“Ritual for the Holy Mother of Guadalupe”), Jody Elff Sound Engineer combination has led us to perform in an aston- The Silk Road Project takes inspiration from a direct reference to prayers in Chiapas, Mexico, Tim Grassel Company Manager ishing range of locations, from the premier fo- this crossroads as a model for constant exchange. in which the instruments blend with a record- John Torres Stage Manager rum for global conversation, the United Nations While we often focus on the Silk Road region, ing of actual indigenous voices. About the final General Assembly Hall, to the hushed, sacred our approach to music, and to education as well, movement, Tancas Serradas a Muru (“Walls space of Todai-ji Temple in Nara, Japan. embraces knowledge from many sources, en- Are Encircling the Land”), a protest song from Bringing together much of the world on one riching our understanding of our complex and 18th-century Sardinia, Golijov notes, “The sen- stage requires music that Chinese pipa, Persian interconnected world. timent of oppressed people struggling to over- kamancheh, Indian tabla and Western strings At its heart, the Silk Road Project is a cata- throw power can be applied to all persecuted can play together. For this, we rely on the readi- lytic organization. Since the Project was incor- people today.” ness of composers to write and arrange for our porated in 1998, audiences on three continents distinctive group. Perhaps because they support have embraced the multinational Silk Road The Silk Road Project experimentation and innovation, our commis- Ensemble. The Silk Road metaphor continues to Connecting traditions and celebrating sioning workshops have a remarkable record of encourage artists, educators and institutions to innovation since 1998 producing successful works for our repertoire. collaborate in new ways. We hope that you are Our creativity begins with play—exploring similarly inspired. sounds, testing ideas—and I am delighted that this has allowed several of our performers to Laura Freid, CEO & Executive Director compose and arrange music for us as well. Above all, I am tremendously grateful for the opportu- nity to undertake this work and for the abiding The Silk Road Project gratefully acknowledges friendships we have developed along the way. the following individuals for their extraordi- nary generosity: William and Karen Ackman, Yo-Yo Ma, Artistic Director Anonymous, Gerry Cardinale, Judith Goldberg, Nezhat and Hassan Khosrowshahi, Diann Kim and John Frank, Daniel Ng, and John and Constance Sargent.

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he silk road project is a nonprofit arts Map (2009 In a Circle Records; 2009 World Tand educational organization with a vision Village), was nominated for a Grammy Award. of connecting the world’s neighborhoods by It explores uncharted territory with globe- bringing together artists and audiences around spanning music commissioned from Osvaldo the globe. Founded by cellist Yo-Yo Ma in 1998 Golijov, Gabriela Lena Frank, as a catalyst to promote innovation and learn- and Angel Lam. ing through the arts, the Silk Road Project takes For more information on the Silk Road inspiration from the historic Silk Road trading Project and the Silk Road Ensemble, please visit routes as a modern metaphor for multicultural www.silkroadproject.org. and interdisciplinary exchange. Under the artistic direction of Mr. Ma and Whether perform- the leadership of CEO and Executive Director ing a new concerto, Laura Freid, the Silk Road Project presents per- revisiting a familiar formances by the acclaimed Silk Road Ensemble, work from the cello engages in cross-cultural exchanges and residen- repertoire, coming cies, leads workshops for students and partners together with col- with leading cultural institutions to create edu- leagues for chamber cational materials and programs. Developing music, reaching out new music is a central undertaking of the Silk to young audiences Road Project, which has been involved in com- and student musi- missioning and performing more than 60 new cians, or exploring musical and multimedia works from composers cultures and musical and arrangers around the world. DanelianStephen forms outside the Western classical tradition, Yo-Yo Ma seeks con- The Silk Road Ensemble is a collective of inter- nections that stimulate the imagination. nationally renowned performers and composers Mr. Ma maintains a balance between his en- from more than 20 countries. Each Ensemble gagements as soloist with orchestras throughout member’s career responds to one of the preemi- the world, his recital and chamber music activi- nent artistic challenges of our times: to maintain ties, and his recording projects. In each he works the integrity of art rooted in authentic traditions to expand the cello repertoire through both per- while nourishing global connections. formances of lesser-known 20th-century music Many of the musicians first came together and the commissioning of new works. Mr. Ma under the artistic direction of Yo-Yo Ma at has made over 70 albums, including over 15 a workshop at Tanglewood Music Center in Grammy Award-winners, reflecting his wide- Massachusetts in 2000. Since then, in various ranging interests. Besides the standard concerto configurations, Ensemble artists have collabo- repertoire, he has recorded many of the works he rated on a diverse range of musical and multime- has commissioned or premiered and has made dia projects, presenting innovative performances several successful crossover discs. that spring from Eastern and Western traditions Mr. Ma serves as the artistic director of the and contemporary musical crossroads. Silk Road Project. He is also a creative consul- The Silk Road Ensemble has performed to tant to the Chicago Symphony Orchestra, a critical acclaim throughout Asia, Europe and member of the President’s Committee on the North America and has recorded five albums. Arts & Humanities, and a recipient of the 2010 The Ensemble’s most recent recording, Off the Presidential Medal of Freedom.

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