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Thursday, June 6, 2019 | 1:00-4:30Pm Ojai Presbyterian Church

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Thursday, June 6, 2019 | 1:00-4:30Pm Ojai Presbyterian Church Thursday, June 6, 2019 | 1:00-4:30pm Ojai Presbyterian Church Ojai Talks PART I 1:00-2:00pm Making the Future Present Barbara Hannigan music director Kate Howden mezzo-soprano Ara Guzelimian Ojai Talks director Barbara Hannigan discusses this year’s Festival and is joined by mezzo-soprano Kate Howden to explore her EQ mentoring program for young artists. INTERMISSION PART II 2:15-3:15pm My Ojai Adventure Thomas W. Morris artistic director Ara Guzelimian Ojai Talks director Tom Morris talks about his 16 years as Artistic Director of the Ojai Music Festival, his more than 50-year life in music, and his perspectives on the current and future state of music. INTERMISSION PART III 3:30-4:30pm The LUDWIG Vision Wilmar de Visser LUDWIG double bass player Special thanks Peppie Wiersma LUDWIG artistic director for underwriting support: Ara Guzelimian Ojai Talks director NancyBell Coe Two of LUDWIG’s founders describe its creation, range of activities, and how it is trying to redefine the essence of a musical ensemble in today’s world. OJAI PRESBYTERIAN CHURCH 304 FOOTHILL ROAD, OJAI 34 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Thursday, June 6 – Saturday, June 8, 2019 Libbey Park Gazebo Pop-Up Community Concerts Please join us throughout the Festival for these performances featuring Steven Schick Thursday, June 6 | 5:30-6:00pm PART I JOHN LUTHER ADAMS The Mathematics of Resonant Bodies Burst Crash Roar Steven Schick percussion Friday, June 7 | 5:30-6:00pm PART II JOHN LUTHER ADAMS The Mathematics of Resonant Bodies Shimmer Rumble Burst Steven Schick percussion Saturday, June 8 | 5:30-6:00pm PART III Special thanks JOHN LUTHER ADAMS The Mathematics of Resonant Bodies for underwriting support: Thunder Ventura County Community Foundation Wail Stutter Special thanks for underwriting support of Steven Schick: Steven Schick percussion Kathleen and Jerrold Eberhardt FREE Events Open to the public 36 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 John Luther Adams (b. 1953) The Mathematics of Resonant Bodies (2002) The real substance of music always seems just beyond our reach. —John Luther Adams Auras In the series of works we’ll hear in these “Depending on the size and the acoustics begins with an aggressive fusillade that Community Concerts, John Luther Adams of the performance space, amplification alternates with passages of quiet restraint. has set himself a challenge: “All noise of the percussion instruments may be The eight suspended cymbals of Crash contains pure tone. And the complex required – not so much for loudness as to create a raucous chorus, whose aura sonorities of percussion instruments create a more spatially unified image from evokes claustrophobic canyon walls. The conceal choirs of inner voices. In The the ‘live’ and recorded sounds.” deep tones of the large tam-tam in Roar Mathematics of Resonant Bodies my search create ever-widening spheres of sound The percussion instruments in question is to find and reveal those voices.” whose aura can be at once cutting and include drums of varying sizes, triangles, penetrating. Several years ago, I composed cymbals, a tam-tam, and a siren, Strange and Sacred Noise, a cycle for instruments in which pitch is either The second grouping opens with the percussion quartet celebrating noise in indefinite, unstable, or blurred, but rich in piercing tingle-tangle of Shimmer; its eight music and in nature. One of the Noise overtones, a complex halo of the “pure triangles produce a hallucinatory glow pieces is scored for four tam-tams, tones” that initiated Adams’ thinking about interwoven with a swirl of whistling tones. playing waves of different periods this piece. The result is a collage of textures, Rumble, featuring the lowest and largest that eventually crest together in an giving the work a tactile dimension that of the drums, traces a steady arc from the enormous tsunami of sound. When I Adams likens to “the hands-on relationship almost inaudible toward a menacing climax first heard this piece (which was written that painters and sculptors have with the and back again toward silence; its aura is for and premiered by the wonderful materials of their art.” ineffably gentle. Burst returns, now as a Percussion Group Cincinnati) I was concluding exclamation point. All the instruments in Resonant Bodies startled. Amid the dense masses of are noise instruments. They’re also The last set begins with Thunder, an broad-band noise I clearly heard voices, generic. Snare drums, tom-toms, bass explosion of punching energy, but irregular, like a choir singing long, wordless drums, cymbals, and tam-tams are speeding up, slowing down, and, with its tones. I called these “angel voices.” And mainstays of Western percussion. And eight low drums and two kick drums, a I wanted to hear them alone ... although each individual instrument piece with remarkably varied textures. Its I began this work by composing a sounds different, in a general sense aura, surprisingly, conjures the wind. In new cycle of quartets. Steve Schick they all sound alike. So it’s the Wail, a slow, quiet crescendo in which the came to Alaska and recorded these percussionist (with his sticks and his rising pitch of the siren seems to emerge pieces one part at a time. I assembled touch) who makes them specific, who from a swarm of importunate squeaking the recordings and then began gives them their particular names and hinges, tells a ghostly, terrifying tale. The filtering them as I’d previously done profiles. work concludes with Stutter, again with with the tam-tams. The result was four snare drums, but the beginning is Like the listener, the soloist in these a series of “auras” derived from the reticent, hesitant, building slowly, layer pieces is a solitary figure traversing inner resonance of the instruments upon layer, to the assertive vehemence enveloping landscapes of resonance. themselves. As the final step, I with which Burst – and the piece – began. composed a series of solo parts to be The performances here in Ojai, heard in performed within these sonic fields. groups of three, alter the original score —CHRISTOPHER HAILEY order (aside from Burst and Stutter) to These solo parts are performed in tandem create a succession of arresting contrasts. with the pre-recorded auras to produce Burst, written for four snare drums, what Adams calls a unified sounding image: 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 37 Thursday, June 6, 2019 | 7:30-10:30pm Libbey Bowl PART I 7:30-8:45pm IGOR STRAVINSKY The Rake’s Progress Act I Act II, Scenes 1 and 2 BREAK PART II 9:15-10:30pm IGOR STRAVINSKY The Rake’s Progress Act II, Scene 3 Act III Tom Rakewell Elgan Llyr Thomas tenor Anne Truelove Aphrodite Patoulidou soprano Nick Shadow Yannis François bass Baba the Turk Fleur Barron mezzo-soprano Father Truelove Antoin Herrera-Lopez Kessel bass Keeper of Madhouse Antoin Herrera-Lopez Kessel bass Mother Goose Antoin Herrera-Lopez Kessel bass Special thanks for underwriting support: Sellem James Way tenor Nancy and Barry Sanders LUDWIG Join us for a free Pop-Up Concert Los Robles Master Chorale, Lesley Leighton choral director at the Libbey Park Gazebo, 5:30pm, Edo Frenkel harpsichord featuring John Luther Adams’ Barbara Hannigan conductor The Mathematics of Resonant Bodies (see page 37 for notes) Linus Fellbom director and lighting design Theresa Frisk hair and makeup concept Concert Insights: Anna Ardelius costume designer Host Christopher Hailey Clarice Major costumer with Linus Fellbom 6:30pm at the Libbey Park Joseph Hesley technical manager tennis courts Anton Trochez box designer Luke Martin supertitles After the concert, meet Festival artists at the outdoor Green Room in the Park, located in the front of the Box Office The Rake’s Progress libretto is available on the Festival’s website OjaiFestival.org/RakesProgress The Rake’s Progress is used by permission of Boosey & Hawkes 38 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Igor Stravinsky (1882-1971) The Rake’s Progress (1951) Stop All the Clocks “Pray, my dear,” quoth my mother, “have you not forgot to wind up the clock?” —Laurence Sterne, Tristram Shandy The tale is simply told. A young man stilted formality of courtly dances, and folk sources and liturgical traditions, inherits a fortune (a trap by the devil), the ruddy informality of the ballad opera and his hieratic late works incorporate leaves his country sweetheart, falls into (underscored by the English-language Renaissance polyphony and Latin ritual, set bad company in the big city, marries a libretto). A fond farewell to neoclassicism Old Testament texts and English poetry. bearded lady, and squanders both his before that astounding volte-face in which Throughout his life Stravinsky both drew wealth and a chance of regaining his Stravinsky, in an apparent capitulation to upon and deconstructed his inheritances, still-loyal beloved. When the devil claims historical inevitability, adopted serialism? the broad nature of which defines his his due, the young man bests him in a creative persona. And yet he holds at a game of cards, saves his soul but ends in There is indeed something valedictory distance whatever he claims as his own. a madhouse, where, after one last reunion about this opera, a wistfulness that Reviewers who characterized The Rake’s with his love, he dies. The asylum inmates takes more than the 18th century into Progress as a cool, calculated masterpiece sing a lament and the cast members offer its embrace. On closer examination its of craft were echoing criticisms that a tidy moral. sources are eclectic and broad, a parable had haunted Stravinsky for decades. that mixes myths and mythologies from Judgments of the opera have softened The Rake’s Progress, inspired by a series Orpheus and Euridice, Adonis and Venus, with time, but there is no denying that its of William Hogarth paintings of the same to fairy tales, Faust, and Don Juan.
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