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. Its affecting qualities are mixed with artifice, name, is a conscious confection, a clever musical allusions range from the 17th that distance is a part of its aesthetic pastiche in which Stravinsky and his to the 19th centuries, from Lully, Gluck, strategy. collaborators, W.H. Auden and Chester and Mozart to Beethoven and Weber, Kallman, evoke 18th-century milieu with Rossini to Donizetti, Verdi to Tchaikovsky. We hold the objects of our wonder in a 18th-century music setting words that Is Stravinsky mourning lost worlds delicate grasp, the better to admire, the mimic 18th-century language. In 1951. or challenging the checkpoints that better to share. What Stravinsky holds Critics had a field day and even Stravinsky modernity had erected against untroubled up for our view – this play of light and had cause to ask, “Can a composer re-use access to the past? shadow in historical garb – arrived at a the past and at the same time move in a time still reeling from war and tragedy, forward direction?” Or is this nothing more than the Stravinsky a period of postwar dislocations and of old, a composer whose obsession with bold initiatives that scorned the past. The Stravinsky called it “a conventional models and archetypes both predates Rake’s Progress was mocked as passé opera,” a return to clichés, to conventions and endures beyond his infatuation with and irrelevant, to which Stravinsky offered “considered by respectable circles to be neoclassicism? His early ballets and stage the weak response: “I ask the listener to long since dead.” He revives, without works from Petruschka and Le Sacre du suspend the question, however, as I did apparent irony, the styles and structures Printemps to Les Noces and L’Histoire of the opera buffa and opera seria, the du soldat draw no less freely on Russian CONTINUED }}

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 39 SYNOPSIS CONTINUED FROM PREVIOUS PAGE STOP ALL THE CLOCKS In the idyllic countryside, Anne Trulove and Tom Rakewell celebrate their love. Anne’s father has found a job for Tom in the city, while composing, and to try and discover With The Rake’s Progress Stravinsky but Tom longs for an easier path to money. the opera’s own qualities – difficult as had no intention of re-establishing Nick Shadow appears with news that Tom that request may be.” He concludes: “And, the past or challenging the future. The has inherited a fortune from an unknown in any case, I am not concerned with great progressives “sought to abolish uncle. They must leave for London and Tom the future of my opera. I ask for it only a or transform most of the very clichés I need only pay Shadow for his services after measure of present justice.” have tried to re-establish, and my return a year and a day. In the wicked city, Shadow to these clichés was not meant as a introduces Tom to Mother Goose’s brothel. Present justice has indeed been kind, superseding of their now conventionalized Back in the country, Anne fears the worst and recognizing The Rake’s Progress as a reforms …. ” Rather than stopping the decides that she must rescue Tom. witty tour de force which, like Figaro, clock, just a bit of rewinding to help keep like Falstaff, combines both the airborne it going. Meanwhile, Tom, in his new London house, delight of true comic pacing and the is already bored with ordinary pleasures, affecting grace of human sentiment, such So “can a composer re-use the past so Shadow suggests visiting the amazing as the lovers’ tender farewell in Act I; and at the same time move in a forward bearded woman, Baba the Turk. When Anne their reunion in Act III; virtually all of Anne direction?” The answer lies in the question. arrives at Tom’s house, she is horrified to Truelove’s expressions of devotion for Must the present moment always find him married to the hideous Baba. When Tom, including her final lullaby, “Gently, represent progress? Is being always Tom tires of Baba as well, Shadow appears little boat”; the gracious dance interludes – becoming? with one last new idea… a machine that turns and even Baba the Turk’s wise parting —CHRISTOPHER HAILEY stones into bread. Anne again appears to words to Anne (“You love him, seek to save Tom, but this time his house is for sale set him right.”) and his property for auction. The bankrupt Tom has disappeared with Shadow. Baba urges Anne to follow him.

A year and a day from their first meeting, Shadow brings Tom to a graveyard at night. A terrified Tom discovers he must pay not with money but with his soul. But, as Shadow is about to take hold of him, Tom hears Anne’s voice in the distance and his past love is reawakened. Shadow, defeated, disappears into the ground. Tom survives, but he is now mad and is shut up in Bedlam. Anne comes there to comfort him, but there is little to be done. Her father arrives and persuades her to leave Tom to his fate.

In the epilogue each of the principal characters draws a moral from the tale and all join together to assert that “for idle hands and hearts and minds, the Devil finds a work to do.”

—from Boosey & Hawkes

40 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 A CONVERSATION ON THE RAKE’S PROGRESS WITH DIRECTOR LINUS FELLBOM

LF: The box basically came out of two lines of thoughts, the first being as part of the rite this group of people has gathered to witness. As a part of the ritual, as a tool to perform the piece, everything they need is inside the box – props, parts of costumes, makeup items, and Tom Rakewell. The other line of thought was finding a key to telling this particular story to an audience of our time. I found it complicated to just tell the story without a comment about the fact that, in very few words, it revolves around a man who carelessly leaves his fiancée and sets out into the world to feed any temptation he comes across, only to first be waited on, then forgiven and absolved by the ever-faithful, loving, and forgiving woman. To me, the story frame, with the ritual and Tom being kept inside this box but taken out occasionally to perform the piece, liberates us to fully go into each scene and portray them as written, leaving all irony to the audience, trying to tell them “We all know this is really old and really silly.” Ojai Music Festival: What particularly drew you to The Rake’s Progress as an opera? What do you think is the relevance of the story to a OMF: Is this your first creative partnership with Barbara Hannigan? How has contemporary audience? your working relationship evolved on this project? Linus Fellbom: When first approached by Barbara Hannigan about this LF: Working for the first time with Barbara – and on this piece – has been project, I only knew the piece as one does as an opera lover, not having nothing but a blessing. I’m not sure either of us was aware of the full extent worked with it before. I vaguely knew the outline of the story, I had heard of how much we share in our way of looking at work, artistic as well as an aria or two, but had never listened through, or seen a performance practical. I completely subscribe to her religion of enthusiasm, kindness, of the entire opera. I had worked with other Stravinsky pieces, orchestral utter professionalism, and excellence of performance, all rooted in a music and ballets, and always loved his universe. And now, having spent fundamental and unconditional love for this art form. over two years working intensively with the piece, I’m entirely smitten. OMF: You’re not only the director but designer and lighting designer as OMF: Do you regard Rake as a straightforward morality tale, or an well – is that how you like to work or is this project unusual? exploration of human frailty (or anything else)? LF: It is usually asking for trouble to take on three such dire parts of an LF: I regard Rake as a deeply complex piece. It is incredibly playful and opera production. And I do it with great humbleness and complete respect sometimes even silly. There’s loads of humor and absurdities and at the for the three different occupations. Since my background is lighting, and same time there’s an enormous depth and darkness. In this respect, having accumulated a fair amount of experience over the years, I usually perhaps the most important one is an ingenious mirroring of Mozart’s Don feel comfortable lighting the shows I also direct. When it comes to set Giovanni. Both operas contain the darkest, blackest depths as well as the design, it depends very much on the project and the concept. When there’s most comforting light and lightness. an idea that seems clear enough and also reasonable enough to achieve when it comes to designing a scenic space, I occasionally also add that to OMF: What were the main inspirations for the current production? Did you my workload. This particular project is, of course, not comparable to a full- return to the 18th century and the original set of prints by William Hogarth, scale opera production, but because the idea was so clear from very early or were there other influences that you followed? on, it seemed possible to achieve. LF: The Hogarth prints are, of course, to be carefully studied when OMF: As a director, how did you find working with a relatively young cast, preparing for Rake, but for me this project started with an image or a in the early stages of their professional careers? situation that almost immediately appeared in my mind. Some sort of congregation, a group of people gathered together to perform a rite LF: Having worked with three complete casts of singers for the different or ritual, and this ritual consists of performing Stravinsky’s The Rake’s stops of the tour, I’ve had the benefit of rehearsing with different Progress. That was the very first intuitive idea. All singers, chorus as well as artists different ways of working and creating a role. Through Barbara’s soloists, together with the musicians and Barbara, all dressed in the same Equilibrium program and the workshops, classes, discussions, and all that ritual way, enter the space in silence, sit down, focus, concentrate, and it has brought with it, there has been a tremendously creative, energizing, tune, instruments as well as voices, and then the opera begins. open, and kind working climate throughout the process. I have nothing but love and admiration for all of these amazing artists – it has been a OMF: Staging an opera could be open to many interpretations. Could you complete privilege. elaborate on the significance of the box motif? How do you use it in the action of the story?

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 41 Friday, June 7, 2019 | 8:00-9:00am SANE Living Center

CLARA IANNOTTA dead wasps in the jam-jar (iii) (U.S. premiere) JACK Quartet

TYSHAWN SOREY Everything Changes, Nothing Changes (West Coast premiere) JACK Quartet

Special thanks for underwriting support: Michele Brustin

This concert is a Partner Circle Donor Concert Please inquire at the Festival Box Office

SANE LIVING CENTER 316 E MATILIJA STREET, OJAI

42 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Clara Iannotta (b. 1983) dead wasps in the jam-jar (iii) (2017-18)

Tyshawn Sorey (b. 1980) Everything Changes, Nothing Changes (2018)

To Shape the Stillness of Time Write from experience and experience only.... Try to be one of the people on whom nothing is lost. —Henry James

Clara Iannotta describes herself as this image was, even though I knew The musicologist Markus Böggemann has a composer obsessed with sounds, what its shadow looked like. The three picked up on this idea and written that the experience, memory, ideas. Her works are pieces that form the cycle dead wasps progress of Iannotta’s music is determined often spare and appear to focus upon a in the jam-jar … try to investigate this “not by motives and their development, single question and all its parameters in matter. While working, I pictured a kind but rather by the constant restructuring, exquisite detail. dead wasps in the jam-jar (iii) of deep-sea environment, the lowest recontextualizing, charging and filtering – an image taken from a poem by the layer in the ocean, where constant of a complex sound aggregate.” Her Irish poet and artist Dorothy Molloy – pressure and perpetual movement compositions, he continues, “do not tell grew out of a commission by the violinist seem to shape the stillness of time. a story; they unfold a physiognomy. They Yuki Numata Resnick for pieces from conceive spaces of perception in which various composers to be paired with the Time is another central preoccupation the ear can, metaphorically speaking, movements of Bach’s solo Partita No. 1, of Iannotta’s music, a concept that has a wander about and gather experiences.” in Iannotta’s case the Double of the spatial dimension: Corrente, which served as the scaffold Tyshawn Sorey’s experiences as a for her superimposed composition. To A “now” doesn’t exist. When we talk performer, composer, and educator this first piece for solo violin, Iannotta about “now,” physically, we are talking have led to a creative universe as broadly added a second for string orchestra and about something that absolutely inclusive as Iannotta’s is narrowly focused. electronics and a third for string quartet doesn’t exist. And I am just trying to He bristles, however, at the notion that his and electronics: understand whether it is possible works represent a synthesis of its multiple somehow to three-dimensionalize sources. “We think of hybridity as fusion. dead wasps in the jam-jar (iii) is born time. Time not seen as something That’s not what I do. The way I look at from a desire to explore depth. For a linear but almost like very, very small my work is about mobility – being able long time, my music has been about points in a three-dimensional way. to do what I want at any given moment creating a surface on which things My music is trying to hold layers of as a performer or a composer, without move, blend, but mostly hide what is memory that get stuck on each other, any obligation to a particular institution or underneath them. A surface is nothing that they challenge your linear way of musical model.” more than a reflection, and I was listening. My music is something that constantly veiling the real mirrored you do not listen to; it’s an experience. image, probably also because I was (and still am) not sure yet of what

CONTINUED }}

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 43 CONTINUED FROM PREVIOUS PAGE TO SHAPE THE STILLNESS OF TIME

Everything Changes, Nothing Changes, tends to go horizontally towards the commissioned by the JACK Quartet, is arrival of a new voice that enters. In a meditation on mobility. Its structure, other words, when one or two voices inspired by Sudoku puzzles, is a grid of 14 arrive within any event, the sonority sections containing 16 rhythmic units in then intensifies so that the resulting permutation, but that says little about how harmony is perceived more quickly one listens. The piece is slow-moving and than the way in which the voices move delicate, never rising above piano. The within that event. quartet plays sustained sonorities as a unit, individual voices perceived not as solo As with dead wasps in the jam-jar (iii), lines but as components of gently shifting Everything Changes, Nothing Changes is harmonic textures. Nonetheless, as Sorey about close listening. Both are soft, slow, points out, the manner in which these and sustained. The one, a sequence of harmonies are articulated affects the way strikingly evocative incidents, invites us to we perceive them: peer into depths; the other, more abstract, asks us to take hold of sculptured time. When two or three voices are playing —CHRISTOPHER HAILEY a given sonority (an event), the ear

44 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Friday, June 7, 2019 | 11:00am-1:15pm Libbey Bowl

PART I 11:00am-12:00pm

JOHN ZORN The Alchemist JACK Quartet

JOHN ZORN Hexentarot attacca JOHN ZORN Ghosts attacca JOHN ZORN The Aristos Christopher Otto violin Jay Campbell cello Stephen Gosling piano

BREAK

PART II 12:30-1:15pm

JOHN ZORN Ouroboros Special thanks Jay Campbell and Alexa Ciciretti celli for underwriting support: Esther and Tom Wachtell JOHN ZORN The Unseen JACK Quartet Concert Insights: Host Christopher Hailey with JOHN ZORN Necronomicon Jay Campbell and Stephen Gosling 10:00am at the Libbey Park Conjurations tennis courts The Magus Thought Forms After the concert, Incunabula meet Festival artists at the Asmodeus outdoor Green Room in the Park, located in the front of the Box Office JACK Quartet

46 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 John Zorn (b. 1953) The Alchemist (2011) Hexentarot (2013) Ghosts (2015) The Aristos (2014) Ouroboros (2014) The Unseen (2017) Necronomicon (2003)

Mysteries There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy. —Hamlet I/5

You couldn’t invent John Zorn. Author, As one might expect from the multiplicity The works on this program, largely from artist, philosopher, publisher, record of his sources, Zorn’s musical thinking the past decade, can only hint at the range producer, club owner, band leader, eschews linear exposition and of an oeuvre that reaches back to the arranger, multi-instrumentalist, and, development. In general terms he has 1970s. Here, more recent preoccupations, above all, wickedly prolific composer. His described his music as “put together in … especially the occult, point to Zorn’s passions, interests, inquiries, and dabblings a very ‘filmic’ way [like] montage. It’s made fascination with forces beneath the are a lure for the cataloger. But according of separate moments that I compose surface of our conscious experience. to what categories? The alphabet helps: completely regardless of the next, and Alchemy, Anger (Kenneth), Artaud then I pull them, cull them together.” The subtitle of The Alchemist gives a (Antonin), Avant garde, Bacon (Francis), Zorn is nevertheless highly sensitive to detailed elaboration of its sources: Bataille (Georges), Cartoon, Coleman formal cohesion. Speaking of the small (Ornette), Crowley (Aleister), Demonology, soundbites that make up many of his a true and faithful chronicling of Deren (Maya), Downtown scene, Fantasy, so-called “file-card pieces” (such as the the esoteric spiritual conferences Film, Genet (Jean), Grindcore, Grunge, albums Spillane and Kristallnacht of 1987 and concomitant hermetic actions Hardcore, Improvisation, Jazz, Judaism, and 1993), Zorn has observed: conducted by Her Majesty’s Alchemist Kaballah, Klezmer, Love, Lovecraft (H.P.), Dr. John Dee and one Edward Kelley Magick, Manga, Messiaen (Olivier), At the time in the ’80s people used to invoking the Nine Hierarchies of Metal, Morricone (Ennio), Mysticism, use the word postmodern and this, Angelic Orders to visible appearance, Numerology, Occult, Pornography, that, and the other. What’s really going circa 1587. Postmodern, Rock, Sade (Marquis de), on is short moments of music that Zorn describes the work as “a trip through Sephardic music, S/M, Spillane (Mickey), really make an impact, that are ordered an Alchemist’s laboratory. A séance Surrealism, Stravinsky (Igor), Tradition, in a very, very specific way, sequenced invoking angelic orders. Virtuosic lyricism, Transgression, Varèse (Edgard), Violence … in just such a way that the energy numerology, prayers, canons, contrapuntal What does that get you? An index (and continues, the momentum continues, complexity, alchemical procedures a partial one at that!) but hardly an and you just follow from the beginning (distillation, calcination, crystallization, indication. Still, John Zorn’s vast body of to the end for 15, 20, 30, sometimes work is the sum of his interests: “I’m an 50 minutes of these short segments additive person – the entire storehouse of that are of varying lengths but each my knowledge informs everything I do.” one exists on its own and it says CONTINUED }} something unique on its own.

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 47 CONTINUED FROM PREVIOUS PAGE MYSTERIES sublimation, purification, rotation) and the The scoring of Zorn’s chamber music is Zorn is a proud member of the avant garde ghost of a fugue.” The fugue in question varied and often unconventional, but this (whatever that means these days), but he is Beethoven’s Grosse Fuge, op. 133, but concert begins and ends with pieces for also emphasizes his allegiance to tradition listen closely and you’ll hear Beethoven string quartet, part of a body of works that and his inheritance(s), both conscious morphing into Schoenberg (and much redefine both the medium and its formal and unconscious: “I feel like there are more besides). inheritance. The Unseen is subtitled “Music messages. I feel like there are angels. I for the Temple,” which Zorn describes as feel that there is a legacy and an energy. Hexentarot, Ghosts, and The Aristos form “a hermetic tribute to Hilma af Klint, the And I feel that it’s possible to tap into a set of piano trios. Hexentarot: “Twelve Swedish artist and mystic whose incredible that.” At the same time, he acknowledges simple canons for the witches’ Sabbath. paintings inspired by spiritualism are his deep debt to colleagues and fellow This dynamic piece was completed on among the first abstract art.” musicians across the wide spectrum of his the eve of the Grand Sabbath Beltane.” own musical activities: “I could not do this Ghosts: “A mysterious, spooky piece Necronomicon, the longest work on this music without these musicians. It’s about inspired by the slow central movement of program, is in five movements, “a tour de people. Music is about people for me. It’s Beethoven’s infamous ‘Ghost’ Trio, op. 70.” force of Black Magic and Alchemy,” Zorn not about sounds. It’s about people; it’s The Aristos: “Written under the spell of writes, “with perhaps the most intense about putting people into challenging John Fowles’ masterwork The Magus, ensemble writing I’ve yet achieved.” He situations. And for me, challenges are The Aristos is subtitled nine metaphysical continues: opportunities.” ambiguities for violin, cello and piano. —CHRISTOPHER HAILEY In keeping with enigmatic nature of Because one can never know where The Magus, where reality and fantasy the creative spark comes from or intertwine, the composition is tight and why it exists, it must be treasured as fast moving, with many surprises and Mystery …. The process of composing unusual juxtapositions. A collection of music is often at its best when the aural philosophical aphorisms.” piece is seemingly writing itself and the composer is merely an observer. “The Ouroboros,” Zorn writes, “is an [Necronomicon] came about in ancient hermetic motif depicting a serpent such an atmosphere, and months eating its own tail symbolizing cyclicality, of preparation were involved before recreation, rebirth and infinity. Here two putting pencil to paper …. [The piece] celli (yin and yang) work together to build transcended my expectation and my a torrent of intensity. The One is the All!” abilities.

48 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Friday, June 7, 2019 | 2:00-3:00pm Ojai Presbyterian Church

Ojai Film Zorn II A film by Mathieu Amalric

Since 2010, for no other reason than friendship, often I would film John Zorn at work. No commission, no deadlines, no broadcast: just with a small camera and some mics, which I would quickly move around to catch the energy of the music John and his constellation of musicians were rehearsing, performing, and searching … all around the world.

A first film:Zorn (2010-2017), screened only during his Marathons, was completed, and we immediately felt there was no reason to end there … So I just added “to be continued” after the credits, and here is the second movement. A third is to come, like Zorn’s endless inspiration.

—MATHIEU AMALRIC director

Special thanks for underwriting support: Jennie Prebor and Fred Fisher

This is a ticketed event. Please inquire at the Festival Box Office or purchase at the door

OJAI PRESBYTERIAN CHURCH 304 FOOTHILL ROAD, OJAI

50 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Friday, June 7, 2019 | 7:30-10:00pm Libbey Bowl

PART I 7:30-8:30pm

CLAUDE DEBUSSY Et la lune descend sur le temple qui fut (Images) attacca MAURICE RAVEL Une barque sur l’ocean (Miroirs) attacca OLIVIER MESSIAEN Un reflet dans le vent (Préludes) Stephen Gosling piano

ARNOLD SCHOENBERG String Quartet No. 2 Mässig Sehr rasch “Litanei” langsam “Entrückung” sehr langsam Barbara Hannigan soprano JACK Quartet

BREAK

Special thanks PART II 9:00-10:00pm for underwriting support: Sandy and Richard Schulhof In Honor of Bernard R. Schulhof CLAUDE DEBUSSY Syrinx Ingrid Geerlings flute Join us for a free Pop-Up Concert attacca at the Libbey Park Gazebo, 5:30pm, featuring John Luther Adams’ ARNOLD SCHOENBERG Verklärte Nacht The Mathematics of Resonant Bodies Grave (m. 1) (see page 37 for notes) Molto rallentando (m. 100) Concert Insights: A tempo (m. 188) Host Christopher Hailey Adagio (m. 229) with Bill Elliott Adagio (molto tranquillo) (m. 370) 6:30pm at the Libbey Park tennis courts LUDWIG Barbara Hannigan conductor After the concert, chat with artists and guests at the outdoor Green Room CLAUDE VIVIER Lonely Child in Libbey Park Aphrodite Patoulidou soprano Schoenberg’s String Quartet is used by LUDWIG permission of Belmont Music Publishers; Barbara Hannigan conductor Lonely Child is used by permission of Boosey & Hawkes

52 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Claude Debussy (1862-1918) Arnold Schoenberg (1874-1951) Et la lune descend sur le temple qui fut (Images, Book II, 1907) String Quartet No. 2 in F# minor, op. 10 (1908) Syrinx (1913) Verklärte Nacht, op. 4 (1899)

Maurice Ravel (1875-1937) Claude Vivier (1948-1983) Une barque sur l’océan (Miroirs, No. 3, 1904-05) Lonely Child (1980)

Olivier Messiaen (1908-1992) Un reflet dans le vent (Préludes, No. 8, 1928-29)

“Give Me Your Joy” Music fathoms the sky. —Charles Baudelaire

Poetic imagery, painting, and nature morning, he had a song to sing: “Augustin, wound! Take my love away, take from me served to stimulate Debussy’s imagination, Augustin, lie down in your grave! O, you love” – here the soloist takes a dramatic as did his encounter with non-Western dear Augustin, it’s all over!” It’s a catchy downward leap – followed by this hushed music. In Et la lune descend sur le temple tune and when it popped up uninvited in appeal: “and give me your joy!” qui fut (And the moon descends on the the second movement of Schoenberg’s temple that was), a title suggested by the Second String Quartet the audience took Release comes in “Entrückung” sinologist Louis Laloy, one hears in its note. The uproar – it was December 21, (Rapture), which begins “I feel air from suspended stillness elements of the music 1908 – seemed to confirm Augustin’s dire another planet.” Schoenberg’s ethereal of Bali, which Debussy first heard in the prognostication: Alles ist hin, this really is introduction is so exquisitely inviting that 1889 Paris Exhibition Universelle. Ravel’s the end. even today many are unaware that this Une barque sur l’océan (A boat on the movement marks Schoenberg’s own ocean), the third of his five-movement At a century’s remove it may be difficult radical leap into atonality – the original Miroirs, is a study of motion, captured in to understand the fuss. The quartet velvet revolution. It is doubtful that the surging arpeggiated currents. Un reflet is relatively short, its textures and first audience had any clue one way or the dans le vent (A reflection in the wind) is formal layout clear and transparent. other because by this point in the evening the last of Messiaen’s eight Préludes, a set The impassioned first movement is an the music was being drowned out by a written while he was still a student of Paul abbreviated sonata form; the second, a phalanx of vociferous rowdies convinced Dukas. Their descriptive titles may suggest fidgety scherzo, interrupted, of course, that they were witnessing a catastrophe Debussy, their crisp textures Ravel, but by the sudden appearance of the sweet only slightly less calamitous than that these preludes already bear the hallmarks triviality of Augustin’s refrain. But the third long-ago plague. Most critics were ready of Messiaen’s distinctive harmonic and movement delivers an unprecedented to toss the work into a mass grave for rhythmic language. shock: a soprano voice. This setting of failed experiments, but the quartet, like Stefan George’s “Litanei” (Litany) does Augustin, proved remarkably resilient and It was the pestilence of 1579 that got double duty as a series of variations that soon found more congenial company in dear old Augustin. Or so it seemed. act as a kind of delayed development the standard repertory. Actually, Vienna’s beloved ballad singer section for the truncated opening was stone drunk when he was mistaken movement. It has the feel of a single for a plague victim and tossed into arching line reaching its gripping climax an open pit. When he awoke the next with the words “Kill the longing, close the CONTINUED }}

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 53 CONTINUED FROM PREVIOUS PAGE “GIVE ME YOUR JOY”

“and the hope of time” Genius is the recovery of childhood at will. —Arthur Rimbaud

The myth of Syrinx is the story of a chaste the identity of his birth parents or the quality and centers on universal themes nymph transformed into river reeds to circumstances of his own conception of death and transcendence. Vivier has escape Pan’s pursuit. Pan, in turn, creates and birth. He grew up in a working-class described Lonely Child as “a long song from these reeds the pipes with which neighborhood of Montreal and was of solitude” composed “without using he laments his loss. Debussy’s piece for sent as a teenager to Catholic boarding chords, harmony, or counterpoint,” a solo flute, scarcely three minutes long, schools to prepare him for the priesthood, homophonic texture that becomes one serves as the prelude to another work of though he was eventually told that single, “intervalized” melody: transformation: Schoenberg’s Verklärte he was temperamentally unsuited to Nacht (Transfigured Night). religious orders. It may have been his Thus, there are no longer any homosexuality, which he never sought chords, and the entire orchestra is Long before the premiere of the Second to hide, or his all-consuming passion for then transformed into a timbre. The String Quartet, critics were baffled by music that would lead into composition. roughness and the intensity of this Verklärte Nacht. Indeed, one Viennese The two were thereafter intertwined in a timbre depends on the base interval. concert society refused to perform the life that was lived recklessly, dangerously, Musically speaking, there was only work because it contained a chord that fully. He was murdered at 44 by a young one thing I needed to control, which could not be explained by traditional rules man he had picked up at a Paris bar. automatically, somehow, would create of harmony. The real affront, however, lay the rest of the music, that is great not in the piece’s chromatic harmonies or At the time of his death Vivier, whose beams of color! dense textures, but in its steamy program Ritual Opera Kopernikus was performed at (drawn from Richard Dehmel’s poem of the 2016 Ojai Festival, had already created The work begins softly, the texture spare, the same name) that sullied the austere a body of work that assured his legacy gradually adding layer upon layer before preserve for chamber music. Although as one of the most distinctive voices of returning to the peace of the opening. the work is in a single movement, the 20th century. Although that legacy The French text, a soothing lullaby, speaks Schoenberg’s music closely follows a has been slow to reach a wider audience, of maternal love, guardian fairies, magic, woman’s tortured confession to her lover several works, including Lonely Child, have visions of paradise, and eternal peace in that she is carrying the child of another now earned a firm place in performance the afterlife. There are also lines in Vivier’s man. In the radiant conclusion the man and recording. Vivier’s formative own invented language – phonetic assures his partner that the stranger’s child influences included the European sounds he developed from various real will be his own, transfigured by their love. avant garde of the 1960s, studies with and imagined sources – that can be traced Stockhausen (“the true beginning of my back to the unanswered questions of his There can be no question that much life as a composer”), travel to the Near birth: “Not knowing my parents enabled of Claude Vivier’s music is intensely and Far East (Iran, Japan, Thailand, Bali), me to create a magnificent dream world,” autobiographical and that is especially and friendship with the pioneers of French Vivier said shortly before his death. “I true of Lonely Child. Vivier was adopted spectralism, Gérard Grisey and Tristan shaped my origins exactly as I wished.” from an orphanage and never learned Murail. His music often has a ritualistic —CHRISTOPHER HAILEY

54 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Arnold Schoenberg String Quartet No. 2

The latter two movements of the Second String Quartet are set to poems from Stefan George’s collection Der siebente Ring (The Seventh Ring), which was published in 1907

Litanei Litany Tief ist die trauer die mich umdüstert, Deep is the sadness that gloomily comes over me, Ein tret ich wieder, Herr! in dein haus. Again I step, Lord, in your house. Lang war die reise, matt sind die glieder, Long was the journey, my limbs are weary, Leer sind die schreine, voll nur die qual. The shrines are empty, only anguish is full. Durstende zunge darbt nach dem weine. My thirsty tongue desires wine. Hart war gestritten, starr ist mein arm. The battle was hard, my arm is stiff. Gönne die ruhe schwankenden schritten, Grudge peace to my staggering steps, Hungrigem gaume bröckle dein brot! for my hungry gums break your bread! Schwach ist mein atem rufend dem traume, Weak is my breath, calling the dream, Hohl sind die hände, fiebernd der mund. my hands are hollow, my mouth fevers. Leih deine kühle, lösche die brände. Lend your coolness, douse the fires, Tilge das hoffen, sende das licht! rub out hope, send the light! Gluten im herzen lodern noch offen, Fires in my heart still glow, open, Innerst im grunde wacht noch ein schrei. inside my heart a cry wakes. Töte das sehnen, schliesse die wunde! Kill the longing, close the wound! Nimm mir die liebe, gib mir dein glück! Take my love away, give me your joy!

Entrückung Rapture Ich fühle luft von anderem planeten. I feel air from another planet. Mir blassen durch das dunkel die gesichter I faintly through the darkness see faces Die freundlich eben noch sich zu mir drehten. Friendly even now, turning toward me. Und bäum und wege die ich liebte fahlen And trees and paths that I loved fade Dass ich sie kaum mehr kenne und du lichter So I can scarcely know them and you bright Geliebter schatten—rufer meiner qualen— Beloved shadow—summoner of my anguish— Bist nun erloschen ganz in tiefern gluten Are only extinguished completely in a deep glowing Um nach dem taumel streitenden getobes In the frenzy of the fight Mit einem frommen schauer anzumuten. With a pious show of reason. Ich löse mich in tönen, kreisend, webend, I lose myself in tones, circling, weaving, Ungründigen danks und unbenamten lobes With unfathomable thanks and unnamed praise, Dem grossen atem wunschlos mich ergebend. Bereft of desire, I surrender myself to the great breath. Mich überfährt ein ungestümes wehen A violent wind passes over me Im rausch der weihe wo inbrünstige schreie In the thrill of consecration where ardent cries In staub geworfner beterinnen flehen: In dust flung by women on the ground: Dann seh ich wie sich duftige nebel lüpfen Then I see a filmy mist rising In einer sonnerfüllten klaren freie In a sun-filled, open expanse Die nur umfängt auf fernsten bergesschlüpfen. That includes only the farthest mountain hatches. Der boden schüttert weiss und weich wie molke. The land looks white and smooth like whey, Ich steige über schluchten ungeheuer. I climb over enormous canyons. Ich fühle wie ich über letzter wolke I feel as if above the last cloud In einem meer kristallnen glanzes schwimme— Swimming in a sea of crystal radiance— Ich bin ein funke nur vom heiligen feuer I am only a spark of the holy fire Ich bin ein dröhnen nur der heiligen stimme. I am only a whisper of the holy voice.

Used with permission by Belmont Publishing 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 55 Claude Vivier Lonely Child

Bel enfant de la lumière dors, dors, dors, toujours dors. Beauteous child of light sleep, sleep, sleep, forever sleep. Les rêves viendront, les douces fées viendront danser The dreams will come, the gentle fairies will come and avec toi. dance with thee. Merveille, les fées et les elfes te fêteront, la farandole Wonder, the fairies and the elves will fête thee and the joyeuse t’enivrera. merry farandole will inebriate thee. Ami. Friend. Dors, mon enfant, ouvrez-vous portes de diamant, palais Sleep, my child. Open up, doors of diamond, sumptuous somptuex, palaces, mon enfant, les hirondelles guideront tes pas. my child, the swallows will guide thy steps. Kuré nouyazo na-oudè waki nannoni eudou-a. Kuré nouyazo na-oudè waki nannoni eudou-a. Dors, mon enfant. Sleep, my child. Dadodi yo rrr-zu-i yo a-e-i dage dage da è-i-ou dage Dadodi yo rrr-zu-i yo a-e-i dage dage da è-i-ou dage dage ou-a-è dagè dadoudè dagè dagè dagè dage ou-a-è dagè dadoudè dagè dagè dagè na-ou-è ka jadè-do yanousè mayo rès tè de-i-a wè na-ou-è ka jadè-do yanousè mayo rès tè de-i-a wè nanoni nowi i-è ka. nanoni nowi i-è ka. Les étoiles font des bonds prodigieux dans l’espace, The stars make prodigious leaps in space, temps, dimensions zébréés de couleurs. time, dimensions striped with colored zebra-markings. Les temps en paraboles discutent de Merlin, les The times discuss Merlin in parables, the wondrous magiciens merveilleux embrassent le soleil d’or, magicians splash the glowing sun with gold, the les acrobates touchent du nez les étoiles pas trop acrobats touch with their nose the mischievous stars, sages, les jardins font rêver aux moines mauves. the gardens make the mauve monks dream. Reves d’enfant, donnez-moi la main et allons voir la fée Children’s dreams, give me your hand and let us go and Carabosse, son palais de jade sis au millieu des look up the fairy Carabosse, her palace of jade, morceaux de rêves oubliés déjà flotte éternellement. lying amidst pieces of forgotten dreams, is already floating in eternity. Oh reine des aubes bleues donne-moi s’il te plaît l’éternité. Oh, queen of blue dawns, give me, please, eternity. Oh Reine. Oh, Queen. Koré noy Tazio. Koré noy Tazio. Koré kore Tazio Tazio Tazio. Koré kore Tazio Tazio Tazio. Koré noy na-ou yasin kè. Koré noy na-ou yasin kè. L’heliante douce dirige vers les étoiles l’énergie sublime, The gentle helianthus directs the sublime energy towards Tazio, la langue des fées, tu la parleras the stars, Tazio. et tu verras l’amour, Tazio, tendrement tes yeux verts, The language of the fairies, you will speak it and you puiseront dans les lambeaux de contes will know love, Tazio. surannés pour en créer un vrai le tien, Tazio, donne- Tenderly, your green eyes will dip into dregs of moi la main, Tazio, Tazio, et l’espoir outmoded tales to create a real one, yours, Tazio. du temps, du temps. And the hope of time, of time. Hors temps apparaît mon enfant, les étoiles au ciel Beyond time, my child appears, the stars in the sky are brillent pour shining toi, Tazio, et t’aiment éternellement. for you, Tazio, and will love you forever and ever.

56 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Friday, June 7, 2019 | 10:30-11:30pm Ojai Art Center

Dancing Under the Stars with LUDWIG’s Ballroom Band

LUDWIG’s Ballroom Band Ingrid Geerlings flute Bart de Kater clarinet Sven Berkelmans trumpet Niels Meliefste percussion Nadia Wijzenbeek violin Bas Treub violin Frank Brakkee viola Michael Müller cello Wilmar de Visser double bass

Bill Elliott piano and master of ceremonies

Dance under the stars to waltzes, foxtrots, and tangos with LUDWIG’s Ballroom Band – pros and beginners welcome!

In the Netherlands, people love ballroom dancing but hardly ever get to dance to live music – so we looked for some nice arrangements and started LUDWIG’s Ballroom Band! We had a few tryouts and were amazed to see people arriving all ready to go – some dressed in style, others in jeans, some a bit shy at first, others like pros with special shoes and gear. We’re gradually expanding our repertoire and doing this more and more. Bringing it to Ojai seemed like a natural addition and something that would showcase the versatility of our ensemble. At the Ojai Art Center, we have added some special arrangements by our very own bandmaster friend, Bill Elliott. This is a Donor Event Ticket priority is for donors. —PEPPIE WIERSMA For additional tickets, inquire at the LUDWIG Artistic Director Box Office or purchase at the door

OJAI ART CENTER 113 S. MONTGOMERY STREET

58 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Saturday, June 8, 2019 | 8:00-9:00am Zalk Theater

Music Dawns

JAMES DILLON La Coupure Steven Schick percussion Ross Karre and William Brent video and sound design

Special thanks for underwriting support: David Nygren

This is a ticketed event. Please inquire at the Festival Box Office or purchase at the door

There is no late seating for this concert

ZALK THEATER BESANT HILL SCHOOL 8585 OJAI SANTA PAULA ROAD

60 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 James Dillon (b. 1950) La Coupure (No. 5 from Nine Rivers, 1982-1999)

A River Runs Through It

I know the skies bursting with lightning, and the waterspouts And the surf and the currents; I know the evening, And dawn as exalted as a flock of doves, And at times I have seen what man thought he saw! —Arthur Rimbaud, “Le Bateau Ivre”

The formidable intricacies and technical solo voices, a solo percussionist, as well after all, slices its way through the land as difficulties of James Dillon’s music have as video and sound artists, factors that it seeks an outlet to the sea. It is a symbol routinely led critics to associate his works accounted for its much-delayed premiere both of life and, like the river Styx, a border with the “New Complexity,” that last in 2010. It is a work rife with metaphor and crossing to death. bastion of principled Modernism battling allusion, “a mythos,” Dillon has written, “of the rising tide of postmodern indulgence. imagined waters, of fairies and snake- Nine Rivers is “a journey through timbral But there is always more to it, and Dillon, gods, a melancholy of flow, a requiem for rivers,” its succession of parts tracing a whose compositional affinities extend poisoned rivers, an odyssey, a theatre of passage from source to mouth, from the from the spatial and gestural textures of memory….” Its “drift of influences” range tight rigidity of the first movement East( Edgard Varèse and Iannis Xenakis to the from Heraclitus to quantum mechanics, 11th St NY 10003 for six percussionists) to rarified domain of spectral analysis, has Celtic knot symbols to Arthur Rimbaud, the controlled chaos of the last (Oceanos drawn upon his own interests in physics, whose poem “Le Bateau Ivre” (The for voices, chamber ensemble, and live acoustics, philosophy, psychology, Drunken Boat) provided mottos for each electronics). At the heart of Nine Rivers is aesthetic theory, literature, cultural of the nine sections. “Like some medieval La Coupure (The Cut), whose title plays anthropology, and mythology to create cathedral, the idea for the project began to upon the second meaning of river. It is a body of work that is as distinct as it is absorb and integrate ideas from different the central and longest of the work’s unclassifiable. Throughout, though, he sources. These apparently unconnected nine parts and the last to be composed. has remained focused on the properties ideas offered different conceptualities of It represents a turning point, emphasized and energies of music itself: “I wanted to time.” by its length, its deployment of a single claw my way back to where music still has soloist, and the introduction of multimedia meaning, and not present some kind of The river itself is the central metaphor of sources and live electronics. Ebb and flow, second-hand experience.” time: “The idea of flux or change captures movement and interruption, continuity the very fleeting essence of sound itself, and contrast are its themes and the All of Dillon’s interests are present in musical form of course engages with principles of its organization that recall the Nine Rivers, the most ambitious of his memory and renders meaning to a set of language of film montage, literally cutting cyclic works both in variety and scale. emerging or fleeting properties.” But Dillon and pasting with multiple references to Its nine parts, each differently scored, has in mind yet another metaphor, likewise other movements of the cycle: “I want to require three conductors, the resources derived from the word river: one who some extent to play with the character of an orchestra, six percussionists, 16 rends, severs, sunders, or divides. A river,

CONTINUED }}

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 61 CONTINUED FROM PREVIOUS PAGE A RIVER RUNS THROUGH IT of the material, its setting and re-setting La Coupure). These two extremes me has always been to seek an utterance suggests not a movement from one state of organization form an axis from which does not act merely as a sign for to another, but a kind of floating point which musical processes are derived. ideas, but actually brings them into being against which memory is constituted as a However, in a musical work it should through a kind of differentiation. Not a net of subjective interactions, what Joyce be emphasized that we primarily ‘mimetic’ act, but an essential action.” calls “a merry go raum.” experience time as a space of intermittent glimpses, spontaneous In other words: “music that still has In Nine Rivers Dillon sought to examine flashes of order and disorder, meaning.” and juxtapose “differing conceptions of resonances, tensions and release and —CHRISTOPHER HAILEY musical time”: time both as a cultural it is within this “fuzzy” domain that construct as captured in myth, metaphor, the specter of any time-space-form literature, and philosophy, and time as an continuum will lie. Nine Rivers is a observable scientific phenomenon: “The “speculum temporum,” a theatre of ancient mythic association of river with memory in the ancient sense of the ‘time’ and ‘memory’ is combined here idea, a connected symbolic space with a formal schemata derived from the which contains a proliferation of physical sciences, where the analysis of references and cross references. fluid dynamics and pattern formation is Musical gesture, figures, and ‘crossed’ with more poetic concerns to ornaments run through and across form an interlace.” the individual works.

Time is treated primarily both as It is the juxtaposition of these two notions continuous in the sense of musical of time — flow and interruption — that lies “flow” and discontinuous in the at the heart of La Coupure: “The task for sense of “interruption” (“the cut” of

62 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Saturday, June 8, 2019 | 11:00am-1:20pm Libbey Bowl

PART I 11:00-11:50am

Tribute to Oliver Knussen

OLIVER KNUSSEN Masks Ingrid Geerlings LUDWIG flute

OLIVER KNUSSEN Autumnal Nocturne Serenade Bas Treub LUDWIG violin Stephen Gosling piano

OLIVER KNUSSEN Sonja’s Lullaby Stephen Gosling piano

OLIVER KNUSSEN Cantata Heleen Hulst LUDWIG violin Frank Brakkee LUDWIG viola Michael Müller LUDWIG cello Aisling Casey LUDWIG oboe

OLIVER KNUSSEN Eccentric Melody Special thanks for underwriting support: Jay Campbell cello Kathleen and James Drummy OLIVER KNUSSEN Ophelia’s Last Dance Concert Insights: Stephen Gosling piano Host Christopher Hailey with Edo Frenkel 10:00am at the Libbey Park OLIVER KNUSSEN Study for Metamorphosis tennis courts Hajime Konoe LUDWIG bassoon After the concert, meet Festival artists at the All pieces performed attacca outdoor Green Room in the Park, located in the front of the Box Office BREAK

Twice Through the Heart is used by permission of the European American Music Distributors Company

64 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 PART II 12:20-1:20pm SERGEI RACHMANINOFF The Isle of the Dead (arr. Thomas Beijer)

LUDWIG Edo Frenkel conductor

MARK-ANTHONY TURNAGE Twice Through the Heart

Part One 1. No Way Out 2. Inside (part 1) 3. Love

Part Two 4. By the Sea 5. Inside (part 2) 6. Four Walls

Part Three 7. Interlude 8. Landslide 9. China Cup

Kate Howden mezzo-soprano Stephen Gosling piano and celeste LUDWIG Edo Frenkel conductor

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 65 Oliver Knussen (1952-2018) Sergei Rachmaninoff (1873-1943) Masks, op. 3 (1969) The Isle of the Dead, op. 29 (1908) Autumnal, op. 14 (1969) (arr. Thomas Beijer 2019) Sonja’s Lullaby, op. 16 (1969) Cantata, op. 15 (1969) Mark-Anthony Turnage (b. 1960) Eccentric Melody (1998) Twice Through the Heart (1997) Ophelia’s Last Dance, op. 32 (2010) Study for “Metamorphosis” (1972, rev. 2018)

Remembering Olly

But the wild things cried, “Oh please don’t go – we’ll eat you up – we love you so!” … but Max stepped into his private boat and waved goodbye. —Maurice Sendak Where the Wild Things Are

Olly Knussen. Too soon. A man of Festival a year later (both pieces he Knussen cited Britten, Stravinsky, Berg, warmth, generosity, and enormous later withdrew). He worked slowly, and Debussy as composers who were creative gifts. An unstinting mentor of painfully, and suffered at times from an “embedded” in his consciousness, young composers, a loyal friend and almost crippling degree of self-criticism, composers that determined the very champion of colleagues, and a brilliant leaving, as a result, a relatively small notes he wrote. But as Andrew Clements interpreter on the podium. Knussen led oeuvre and a number of fragments. For wrote of Knussen’s music, “its affiliations the Aldeburgh Festival from 1983 to 1998, such a big man – almost a giant, or so were clear, but it never seemed remotely where he inaugurated a composition it seemed – his music was surprisingly derivative, with its stylistic strands woven and performance course, and directed delicate. He was profoundly drawn “to into a wonderfully flexible, iridescent contemporary musical activities at miniature things and fineness of detail and musical idiom, in which every instrumental Tanglewood from 1986 to 1993. His wide precision.” In describing his music, critics and vocal line seemed perfectly imagined interests and catholic tastes were fully trip over themselves with adjectives like and immaculately shaped. Each work in evidence in his programming for the “crystalline,” “lucid,” “refined,” “transparent,” was a miracle of conciseness and packed 2005 Ojai Festival: Stravinsky and Ravel “luminous.” Every note exact, every in more musical content than many to Nancarrow and Kagel, with Bartók, sonority immaculately voiced, every composers managed to include in pieces Grainger, Moszkowski, and, of course, gesture perfectly calculated, and at the five times as long….” Knussen in between. same time every piece exquisitely, achingly expressive, as exemplified in his two The works on this tribute are all relatively But Knussen was above all a composer fantasy operas on Maurice Sendak’s Where short but chronological. Masks, the rare of rare brilliance. He cringed at the the Wild Things Are and Higglety Pigglety early piece that survived Knussen’s critical thought that he had conducted his first Pop! or his Songs for Sue, the requiem for scrutiny, is heard here with its ad libitum symphony at 15 and had a commission his former wife. glass chimes. It has joined Debussy’s Syrinx from Benjamin Britten and the Aldeburgh

66 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 and Varèse’s Density 21.5 as one of the Romantics as Sergei Rachmaninoff. A third The libretto by Scottish poet Jackie Kay is classics of the solo flute literature. Knussen passion was the art of transcription, be it based on her 1992 television documentary described the next three works that make the overblown glory of Stokowski’s Bach on the trial. Turnage writes of his goals for up a triptych as “diary-like expressions” or the ascetic chamber reductions by his musical adaptation: that were at the same time explorations Schoenberg and his circle. of new harmonic spaces. Autumnal, I wanted to write a simple voice that written in memory of Benjamin Britten, Rachmaninoff’s symphonic poem The Isle was not poetic, literary or polemical. I has two movements – Nocturne and of the Dead was inspired by a hauntingly wanted the voice to be so everyday it Serenade – named after two of Britten’s evocative painting of the same name by would be banal: the language to be flat own song cycles. In Sonja’s Lullaby, the Swiss symbolist painter Arnold Böcklin, and ordinary. I wanted to contrast the written for Knussen’s infant daughter (now which the composer had gotten to know heightened drama of such domestic an accomplished singer specializing in in a black and white reproduction. This violence with plain, unpoetic speech. I new music), the lowest registers of the may account for the somber cast of the was captivated with the idea that both piano anchor a gentle rocking motion and orchestration because as the composer the home and the prison were forms widely spaced sonorities and filigree in the later wrote: “If I had seen first the original, of incarceration for the battered wife. voices above. Cantata for oboe and string I probably would have not written my Isle That there was no place she could be quartet, the longest movement of the set, of the Dead. I like it in black and white.” free. That the battered wife received is more episodic, a quality that reminded The work is both pictorial – from the a double sentence: the first from the Knussen of 18th-century solo cantatas in outset one hears the heavy strokes of the husband and the second from the their alternation of recitatives and self- oarsmen making their way, their cargo a judge. contained numbers. There are moments coffin, toward the looming island – and of high drama before an introspective fraught with musical symbolism, including Such subject matter is characteristic coda recalls the work’s opening. quotations of the 13th-century chant Dies of Turnage’s penchant for gritty topics Irae (Day of Wrath) associated with the (he made his 2001 Ojai debut with the Eccentric Melody, written for Elliott Latin requiem mass. This is Rachmaninoff chamber work Blood on the Floor). Twice Carter’s 90th birthday, is a compact, at his most Wagnerian – the Wagner, that Through the Heart is a monodrama whose powerful work that explores the cello’s is, of Tristan and Parsifal. Thomas Beijer’s three parts explore the wife’s memories full expressive range. Ophelia’s Last arrangement reduces the original concert and reflections upon her abusive husband, Dance is fashioned from one of the many orchestra – triple winds (and six horns!), her trial, and her present incarceration. fragments in Knussen’s compositional expanded percussion, and a full string The instrumental texture, now harsh and workshop (this one dating from 1974). complement – to 15 players. What is lost aggressive, now tender, occasionally The melody continued to haunt him in Rachmaninoff’s heavy orchestral mass is inflected with jazz idioms, is transparent and in 2009-10 he brought it together gained in transparency and finely balanced throughout. The vocal writing, often with several other “‘homeless’ dance- colors. reminiscent of Alban Berg, is direct and fragments” to produce a piece “related affecting.Twice Through the Heart is a more by personal history and by mood Death is also the central theme of Mark- bleak work, but also a work of profound than anything more concrete.” Study for Anthony Turnage’s Twice Through the compassion for those whose voices are so “Metamorphosis” – another early work – Heart – but whereas with Böcklin and often hidden or silenced. Amelia Rossiter, was revised just before Knussen’s death Rachmaninoff it is veiled in symbolic mists, on whose trial this story is based, was and dedicated to the memory of the with Turnage it is raw and graphic, literally eventually freed after her conviction was composer Alan Stout. “ripped from the headlines.” Turnage’s reduced to manslaughter with a plea of source was a real-life incident involving provocation. * a woman who murdered her abusive —CHRISTOPHER HAILEY husband, stabbing him twice through the This is a concert Olly Knussen would heart with a kitchen knife. In the trial that have loved. He was a champion of new followed she resists her lawyer’s advice to music, including that of his student and bring up the subject of her abuse (out of close friend Mark-Anthony Turnage, but misplaced loyalty to her dead husband) he also loved the delectable harmonies and is given a lengthy prison sentence. and rich orchestral textures of such late

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 67 Mark-Anthony Turnage Twice Through The Heart

Part I 1. No Way Out 3. Love 5. Inside (part 2)

There’s no way out, no way out, For the first time in my life I had a love child, Inside I’d say please don’t, He ties the kitchen towel into a garotte, planted like a garden, wanted. I swelled Grit my teeth, bite the pillow. There’s no way out, no way out. with pleasure, passing days along the coast, You pulled me to a place He hits me with a rolling pin. light breeze, laughing. I was forty, laughing. Where everything went numb, hollow. There’s no way out, no way out. I’d lose my voice. I notice a steak knife missing, He and I we liked to keep things simple. Inside, I’d say don’t please. There’s no way out, no way out. We sat down to dinner and toasted each other. High on the wall I’d watch your shadow All for us, the bright stars in the sky, Turn against me shape of a storm. We’re too old for this, I shout. the half moon. There’s no way out, no way out. My own heart, broken like bones, He just keeps on and on about, I never wanted anyone so much, so soon. I’d wish at night for tomorrow, There’s no way out, no way out. Desire shook me. Then Would leave me alone. He’s always on about how I am in the wrong, Suddenly something went wrong. Love gone rotten. Nothing, nothing washes you away, He’ll sort me out, sort me out. Our child screamed. You, underneath my skin He walks towards me. Lout. That smell, that voice, that hollow, You write notes. We fight. You won’t talk. My own heart, broken like bones. I pick up a knife to protect myself, You write notes. We fight. You won’t talk. There’s no way out, no way out. The walls come in like a terrible tide. He keeps on walking towards me. Trapped here, marooned, mouth open wide. 6. Four Walls There’s no way out, no way out. The knife is smiling. Come on, kill me. Within these four walls he stares at me. There’s no way out, not one way out, no way out. Part II We don’t venture out much these days. He towers above me, that odd mouth. 4. By the Sea Holiday brochures come by post; I leaf through the glorious pictures of Tunisia. What is there to talk about? What about a coach trip? 2. Inside (part 1) There’s no way out, no way out. A mystery tour? He won’t go anywhere. His endless notes: More milk, get me my tea, There was no one to tell the tale Fear stopped me walking out I talk to myself. Live somewhere else. I couldn’t be that disloyal There was no way out, no way out. He writes notes. We fight. He won’t talk. The way his love turned into a belt He writes notes. We fight. He won’t talk. As if hatred was all he felt. I didn’t want to sully his name He writes notes. We fight. He won’t talk. I wore it like a skin, the shame. I am in this small cell All those years in a silent hell He wasn’t a frail weak man Part III My lawyer said talk at the trial I’m not what you think I am. 7. Interlude But I couldn’t be that disloyal. I can’t talk of his repeated sin So many years and I could never tell He hit me with a rolling pin. Shame ringing like a church bell Every time taking its toll All I ever wanted was a simple life There is no one to tell the tale. My church, my child, being a wife.

Just him and me, him and me Inside a small house by the sea.

68 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 8. Landslide 9. China Cup

His body is buried in the land. This china cup, every night, this china cup You are buried here: this place The same fragile bone china from home. Where your voice is. My hands cupping bluebells. Locked in.

A disused mine. You mime In my cell I lift my mouth to my china cup The same sentence. The sound gets stuck, The same fragile bone china from home. Life. Life. Outside, the long stretch of stone. Tide in.

You wait for the time that never comes, Every night this hot drlnk from my china cup Days slide into nights. Waiting. In this small cell like the one at home. Nights long like years in a small room. Four walls here, four there. Tide in.

The wind sings through cells. Every night this same routine china cup, You buried something and forgot Powdered milk. Alone. Sipping away at home. Where you put it. Years ago. The noise of the key turning. Locked in. Locked in. Locked in. Maybe you even forgot what you buried. How it went. What the tune was. Remembering is dying slowly, dying slowly. Verse by Jackie Kay (b. 1961) reproduced by permission of Schott Music Limited Slipping away. Walking the same coastline until your body steps – Like land slides into the sea – Under the path, people will later walk over.

CONTINUED }}

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 69 Saturday, June 8, 2019 | 2:00-3:30pm Ojai Presbyterian Church

Ojai Films Music is Music A film by Mathieu Amalric

For her CD Crazy Girl Crazy, Barbara Hannigan and Didier Martin of Alpha Classic had the idea for a concept album with maybe a film included with it. Fortunately, I had the chance to try to grasp the interior process of Barbara’s first album as a singer AND conductor. Thanks to her beautiful words, thanks to the welcome openness of LUDWIG, a physical feeling that YES “the circle is complete” sprang up, with instrumentalists singing and a soprano conducting. —MATHIEU AMALRIC director

C’est presque au bout du monde A film by Mathieu Amalric

L’Opéra de Paris created a new online film website in 2015 named3 e Scène and offered a “carte blanche” to all sorts of directors to examine aspects of opera and/or ballet. I was one of the lucky ones, and alone with a naïve camera and microphone, a miracle appeared in front of me… the mystery of the birth and care of the voice. The warm-up!! Time after time and yet, never to happen again… like a first time. —MATHIEU AMALRIC director

This is a ticketed event. Taking Risks Please inquire at the Festival Box Office or purchase at the door Accentus documentary on Equibrium (U.S. premiere)

Accentus Music and the Gothenburg Symphony accompany Barbara Hannigan preparing her first opera production, Stravinsky’s The Rake’s Progress, as a conductor and recruiting the singer cast through a very personal selection process. The documentary follows all stages of the production, starting with the entire casting process and the very first auditions in Stockholm, Paris, Zurich, and London. The first joint workshop of all chosen singers, the coaching, rehearsals, and the premiere of the staged production of Stravinsky’s opera in Gothenburg in December 2018 were also filmed.

OJAI PRESBYTERIAN CHURCH 304 FOOTHILL ROAD, OJAI

70 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Saturday, June 8, 2019 | 7:30-10:15pm Libbey Bowl

PART I 7:30-8:00pm

JOHN ZORN Jumalattaret proem—opening invocation 1. päivätär 2. vedenemo 3. akka 4. louhi 5. mielikki 6. kuu 7. tellervo 8. ilmatar 9. vellamo postlude

Barbara Hannigan soprano Stephen Gosling piano

BREAK Special thanks for underwriting support: PART II 8:15-9:00pm Smith-Hobson Foundation Rites of Passage There is no late seating Scalderica de Oro (The Golden Ladder), Morocco in Part I of the concert Equilibrium Singers Join us for a free Pop-Up Concert at the Libbey Park Gazebo, 5:30pm, Mera Merose (Dawn is Breaking), Kalymynos Island, Greece featuring John Luther Adams’ Aphrodite Patoulidou The Mathematics of Resonant Bodies (see page 37 for notes) Bexabene Oxamu (The Monitor Lizard), Xhosa Concert Insights: Yannis François Host Christopher Hailey with Steven Schick Kiev by John Zorn 6:30pm at the Libbey Park tennis courts Alexa Ciciretti and Edo Frenkel

After the concert, chat with Festival Hong Cai Mei Mei (Rainbow Sister), Suiyan Province, China artists at the outdoor Green Room in the Park, located in the front Fleur Barron of the Box Office Lisa Lan (Fair Lisa), Wales Quatre chants pour franchir le seuil Elgan Llyr Thomas is used by permission of Boosey & Hawkes Botany Bay, Australia

72 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Kate Howden My Love is Mine by John Dove, England James Way Guantanamera, Cuba Antoin Herrera-Lopez Kessel

EQ singers Fleur Barron mezzo-soprano Yannis François bass Antoin Herrera-Lopez Kessel bass Kate Howden mezzo-soprano Aphrodite Patoulidou soprano Elgan Llyr Thomas tenor James Way tenor Alexa Ciciretti cello Bart de Kater LUDWIG clarinet Emmy Storms LUDWIG violin Edo Frenkel piano

BREAK

PART III 9:30-10:15pm

GÉRARD GRISEY Quatre chants pour franchir le seuil (Four songs for crossing the threshold)

Prélude I. La mort de l’ange Interlude II. La mort de la civilisation Interlude III. La mort de la voix Faux Interlude IV. La mort de l’humanité Berceuse

Barbara Hannigan soprano LUDWIG Steven Schick conductor

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 73 John Zorn (b. 1953) Jumalattaret (2012)

Rites of Passage: Folk Songs (arr. Edo Frenkel and Fleur Barron)

Gérard Grisey (1946-1998) Quatre chants pour franchir le seuil (1997-1998)

Nature’s Voices Still the daughter of the Ether, Swims the sea as water-mother, With the floods outstretched before her, And behind her sky and ocean. —The Kalevala, Rune I

Using a cut-up of texts from the epic was still reliant on a keyboard beside me sister, also a musician, and her boyfriend, Finnish tale the Kalevala, Jumalattaret on an extra music stand, as the musical a composer and sound engineer, were is a song cycle in praise of nine Finnish language was not yet incorporated in me. home for the vacation as well and saw goddesses out of Sami Shamanism: I was thrilled to work with Steve; I hadn’t my mounting fear and apprehension. Päivätär, goddess of summer; Vedenemo, worked with him before, and he had an I’m always working on something during mother of waters; Akka, goddess of the incredible combination of powerhouse vacation time but this time it was different. underworld; Louhi, a powerful witch and virtuosity and delicate lyricism. We had They took a look at the score and their shapeshifter; Mielikki, goddess of the hunt; the intention to record Jumalattaret that jaws dropped. Barbara had met her Kuu, moon goddess; Tellervo, goddess of month, but realized quickly, especially for Waterloo. Normally I work quite quickly; forests; Ilmatar, virgin spirit of air; Vellamo, me, that we needed more time and less learning music is pretty easy for me. Any goddess of water. The music uses a variety pressure, so we postponed the recording music. I just plow away like the Taurus of techniques and genres and moves from and just rehearsed. We set a date nine that I am, and trust that the inevitable will lyrical folk-like simplicity to more complex months later to premiere Jumalattaret happen: The piece will become part of atonal and textural pyrotechnics. at the Jazz em Agosto Festival in Lisbon. me. Sometimes it takes a bit longer than Nine months = plenty of time! other times, but it always happens. When John Zorn and I first started talking about working together, in My summer vacation in Nova Scotia It wasn’t happening. The sun was shining summer of 2015, he mentioned his piece therefore followed the pattern of and I was indoors, dividing Jumalattaret Jumalattaret, for soprano and piano, and practicing Zorn until 2 or 3pm every into smaller and smaller sections to try sent me the score. The piece had not yet day before allowing myself to take a and master one, just ONE phrase. Even been performed. I was game! I could tell vacation from my problems (as Bill just a part of a phrase. Then news came in from first glance that this was a piece to Murray said in the film What About from Steve Gosling: While on his vacation be reckoned with, and I was very excited Bob?). Instead of fighting off bugs with he was downed by an ocean wave and to finally work with this hero of mine my dad in his garden, checking on the fractured his collarbone. He was to whose music I’d been listening to since I tomatoes, digging for carrots, and pickling undergo immediate surgery and was not was a student at university. cucumbers for canning, I was faced sure he’d be able to do our concert in a with a problem: After all these years of few weeks. I figured it was a sign. Two Steve Gosling and I started rehearsing performing some of the most difficult rep days later, post-surgery, Steve wrote back the piece in New York in November 2017. on the classical music planet, I was in a to John and me to say he expected to John sat in the room with the score – I pickle. (Understatement of the season.) My recover in time. Also a sign. Back to work …

74 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 I wrote to John. Tried to give him a kind offended. He was really with me in the joined us, cheering us on, giving us of heads up as to how I was progressing. struggle. John wrote the following: criticism and suggestions where needed. (Subtext of the mail was: Barbara begging Everything he did was supportive. There for a little wiggle room regarding one cannot transcend anything by was one phrase near the opening of the accuracy). He completely understood staying on safe ground piece which I had hoped to sing in one where I was coming from – it was as if and it is in these intense moments that breath. So far I hadn’t managed it. It was he read my mind. He sensed that I was we can find deeper truths, bring mind LONG. We set up the stage in in turmoil (yes!). He feared perhaps I and heart together – and begin to Lisbon – opening the curtains to show the didn’t like the piece (no!). He didn’t want understand the soul and its workings in glass wall of the Gulbenkian concert hall me to do the piece if it wasn’t bringing that courageous moment of letting go behind us. We were performing at dusk me pleasure (hmmm). But he said that and going for it, the music will become with the trees, the pond, and the birds accuracy in the problematic passages was alive in a special and heroic way – a flying in and out of our landscape. It was a indeed essential. If I read between the way that is beyond just the notes on full house. John was in the front row, right lines, in the state I was in, he meant, with paper in front of me. He was with us. love and belief in me: Either get back to work or give up, Barbara. Your call. We I felt overcome with a warrior spirit. I was The performance was a triumph: a exchanged a few more mails, and John going to hit the piece hard! I dug into work joyous, powerful, triumphant, intimate was incredibly deep in his response to and drew on all my courage. I leapt and communion between composer, what I was sharing with him. I’d never tumbled and crashed and soared through performers, and audience. And that LONG experienced anything like this kind of my practice sessions after that. phrase near the opening of the piece? I support with a composer. He was not sang it in one breath. We gathered in Lisbon a few days before the concert. Steve and I rehearsed. John —BARBARA HANNIGAN

Rites of Passage

The folk songs in Rites of Passage Collectively, the songs chart a cyclical piece, the Cuban folksong Guantanamera, incorporate indigenous and raw folk journey through courtship and marriage, gives voice to the creative impulse that material reflecting each performer’s the bloom of new love, conflict and underpins it all: “Before I die, I want to cultural and ethnic heritage; the dissolution, new beginnings, and love share these poems of my soul.” resonances are both primal and personal. reawakened. A line from the final, jubilant —FLEUR BARRON and EDO FRENKEL

Abschied With a birth, a life, and a death, sound resembles a living being. Time is its atmosphere and its territory. —Gérard Grisey

Quatre chants pour franchir le seuil was from this world to the next – may well lie at the core of his creative being. As a Gérard Grisey’s last completed score seem eerily prescient, but its themes of pioneer of spectral music, Grisey explored before his sudden and unexpected death threshold and transition are threaded the subtle gradations that grow out of in 1998. Its subject – passing the frontier throughout the composer’s works and the microtonal properties of each tone.

CONTINUED }}

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 75 CONTINUED FROM PREVIOUS PAGE ABSCHIED

The consequences for musical syntax, lines. Toward the end, with palpable The extract from the Gilgamesh epic form, harmony, phrasing, and rhythm terror, her outbursts are shadowed by the begins with cataclysmic images of the end are profound. His pieces tend to be slow, trumpet. of the world, conjured by an extended organic, their progress governed by percussive interlude with frenzied evolution and flow rather than tension Grisey had a lifelong fascination with woodwind interjections. The voice and release. Many of his titles (Vagues, Egyptian religion and mythology, which enters with an outcry against continued chemins, le souffle, Sortie vers la lumière was the inspiration for several of his works. instrumental agitation and long sustained du jour, Jour, contre-jour, Le noir de The source he selected for his Quatre notes in the brass. After a gradual descent l’étoile) even suggest those liminal states chants, however, is simply a dry account the movement ends in stillness. of being we experience with the rising or of fragmentary inscriptions, telling symbols setting sun, or in waking or drifting off to of the impermanence of time. The vocal Grisey has written that the gently rocking sleep. line, little more than a matter-of-fact Berceuse with which the cycle ends “is recitation of these texts, is accompanied not intended to make one fall asleep but The texts Grisey chose for Quatre chants by carefully placed individual tones, save to awaken. It is the music to the dawning pour franchir le seuil are drawn from for one savage eruption on the passage of a humanity finally liberated of its contemporary poetry and ancient Egypt, that begins with “qui fait le tour du ciel” nightmare.” If Grisey did not anticipate his Greece, and Mesopotamia. Grisey met (“that makes the circuit of the sky”). own death, he certainly anticipated our Christian Guez-Ricord (1948-88) in 1973 future, concluding, “I dare to hope that this when the poet’s battles with mental Only fragments survive of the works of the lullaby is not one of those we will one day illness, which ended in suicide, had already Greek poet Erinna, who is thought to have sing for the first human clones – when we begun. Grisey described the imagery of lived in the first half of the fourth century will make them aware of the genetic and “The Death of an Angel” as “the most BCE. Here, each line is set with urgency psychological violation they have been horrible of all” because the angel “is only to fall away into silence. subjected to by a humanity desperately entrusted our dreams.” The soprano sings seeking fundamental taboos.” shards of text against gently descending —CHRISTOPHER HAILEY

76 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Jumalattaret selected texts from the Kalevala proem—opening invocation Mieleni minun tekevi, aivoni ajattelevi lähteäni laulamahan, saa’ani sanelemahan, sukuvirttä suoltamahan, lajivirttä laulamahan. Sanat suussani sulavat, puhe’et putoelevat, kielelleni kerkiävät, hampahilleni hajoovat. ylistykseksi jumalattaret! mastered by impulsive desire, by a mighty inward urging, I am now ready for singing, ready to begin the chanting in praise of the goddesses!

3. akka Viel’ on muitaki sanoja, ongelmoita oppimia: there are other words of magic, incantations I have learned

4. louhi siitti siivet sulkinensa kuuhuen käsin tavoitti made a pair of feathered wings, with her bare hands by her magic

7. tellervo Keksi piirtämän kivessä, valeviivan kalliossa. secret sign drawn on the rock

8. ilmatar Parempi olisi ollut ilman impenä eleä, better had it been for me to have stayed the airy virgin postlude Ellös täältä ilman pääskö, nousko, kuu, kumottamahan, pääskö, päivä, paistamahan, kun en käyne päästämähän, itse tulle noutamahan yheksän orihin kanssa, yhen tamman kantamalla! Moon of gold and Sun of silver, Hide your faces in the caverns Of Pohyola’s dismal mountain; Shine no more to gladden Northland, Till I come to give ye freedom,

Drawn by coursers nine in number, Sable coursers of one mother!

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 77 Gérard Grisey Quatre chants pour franchir le seuil

La mort de l’ange Death of the angel

De qui se doit By him who has the duty de mourir to himself comme ange to die as an angel … comme il se doit de mourir just as he has a duty to comme un ange himself to die like an angel je me dois my duty is de mourir to die moi même myself il se doit son mourir he owes this death to himself son ange de mourir his angelic destiny is to die comme il s’est mort just as he has departed comme un ange like an angel

D’après Les heures de la nuit After The Hours of the Night de Christian Guez Ricord by Christian Guez Ricord

La mort de la civilisation Death of civilization nº 811 et 812: 811 and 812: (presque entièrement disparus) (almost entirely disappeared) nº 814: « Alors que tu reposes pour 814: “Now that you rest for l´éternité… » eternity” nº 809: (détruit) 809: (destroyed) nº 868 et 869: (presque entièrement détruits) 868 and 869: (almost entirely destroyed) nº 870 : « J´ai parcouru … 870: “I have travelled through ... j´ai été florissant … I have been prosperous ... je fais une déploration … I make my lamentation ... Le lumineux tombe The Luminous falls à l´intérieur de … » inside the...” nº 961 et 963: (détruits) 961 and 963 (destroyed) nº 973 : « qui fait le tour du ciel … 973: “that makes the circuit of the sky ... jusqu´aux confins du ciel … right to th borders of the sky ... right to jusqu´à l´étendue des bras … the arms’ urthest reach ... Fais-moi un chemin de lumière, Make me a pass of light, laisse-moi passer … » let me pass on ...” nº 903: (détruit) 903: (destroyed) nº 1050: « formule pour être un dieu … 1050: “Formula for being a god...”

D´après les Sarcophages After the Egyptian Sarcophagi Egyptiens du moyen empire of the Middle Empire

78 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 La mort de la voix Death of the Voice

Dans le monde d´en bas, In the world below, l´écho en vain dérive. the echo drifts in vain, Et se tait chez les morts. and fallen silent among the La voix s´épand dans dead. The voice spreads in l´ombre. the shadow.

D´après Erinna After Erinna

La mort de l’humanité La mort de la civilisation

… Six jours et sept nuits, ... For six days and seven nights, Bourrasques, Pluies battantes Squalls, Pelting rains, Ouragans et Déluge Hurricanes and Flood Continuèrent de Continued Saccager la terre. to ravage the earth. Le septième jours arrivé. When the seventh day arrived, Tempête, Déluge et Tempest, Flood Hécatombe cessèrent. and Carnage ceased. Après avoir distribué Having distributed leurs coups de hasard, their random blows Comme une femme Like a woman dans le douleurs, in labour La Mer se calma The Sea calmed herself et s’immobilisa. into stillness.

Je regardai alentour: I looked about: Le silence régnait! Silence reigned! Tous les hommes étaient All mankind had been Retransformés en argile-: Returned to clay Et la plaine liquide And the flat liquid Semblait une terrasse. Resembled a terrace. (Berceuse) (Berceuse) J’ouvris une fenêtre I opened a window Et le jour tomba And daylight fell on sur ma joue. my cheek. Je tombai à genoux, immobile, I fell to my knees, immobile, Et pleurai … And wept ... Je regardai l’horizon I looked at the sea’s horizon, de la mer, le monde … the world ...

D´après l´épopée de Gilgamesch After The Epic of Gilgamesh

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 79 Sunday, June 9, 2019 | 8:00-9:00am Zalk Theater

Music Dawns

CATHERINE LAMB String Quartet (U.S. premiere) JACK Quartet

Special thanks for underwriting support of the JACK Quartet: Carolyn and Jamie Bennett

This is a ticketed event. Please inquire at the Festival Box Office or purchase at the door

There is no late seating for this concert

ZALK THEATER BESANT HILL SCHOOL 8585 OJAI SANTA PAULA ROAD

80 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Catherine Lamb (b. 1982) String Quartet (2009)

… as though a tone were a being

Perhaps one can change the rituals; perhaps it is possible to try to wake up the ear. To wake up the ear, the eyes, human thinking, intelligence, the most exposed inwardness. —Luigi Nono

Three excerpts from Catherine Lamb’s Reflection Lamb began composing around the age essay “The Interaction of Tone”: of 11 but, despite formal instrumental Grey is distinct portions of enmeshing, training, was largely self-taught as a as a tone may never be completely Interaction composer. In an interview in the journal separate from another. I may search Sound American she recalls: Tonal spectrums fan one another, for distinct vibrational “beings,” and bleed, or create a wash. I layer them in yet the combination may sound as As a teenager I was very inspired space, through a clear form, intuitively another variant of grey. It is within the by the multiplicities of colors while and freely. A tone exists in the world. chaos of the world one attempts to playing interval exercises on my viola, Elements cross. The world alters its distinguish one portion from another but it was much later that I was able to state and our ears alter its opening. and call it a name. Through elemental, begin to name particular relationships. relational layering, we begin to listen to Only after I was inspired to go to India Movement/Being the reality of the world, more closely, when I was 21 did musical harmony In a moment, the shades of a tone more intimately. Through that intimate begin to deconstruct much further for coalesce with others – the tone that space there is transformation. me. Either my ears were opened or my opens into others, the tone that shifts worldview was opened. and holds, the tone that splits into two. Sound, color, timbre, spectral relationships are the substance of Catherine Lamb’s Tones becoming a wash – (perhaps At CalArts James Tenney introduced compositional world, a world of transitions color exchanges in the wash, passing). Lamb to the writing of the German in which sound becomes color, color Tone and timbre as separated or as physicist Hermann Helmholtz (1821-1894), space, and all elements interact. These combined elements; becoming an whose On the Sensations of Tone as a preoccupations have led her on a path of area, within a space. The space fills Physiological Basis for the Theory of Music deep discovery – of the mysteries within with a few tones and their spectrums. was a pioneering work on acoustic and each tone, within herself, and within the The motion that moves the sound, aesthetic theory. the wave that moves in the air – our very nature of human perception. Her perception of that wave as it is in the music – this string quartet – does not lend It was the simple act of being asked air. (Where it moves to, how it is, what itself to descriptive narratives, to erecting to read Helmholtz that completely it becomes). signposts of what to listen for. Better to altered my perception of everything ask how to listen.

CONTINUED }}

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 81 CONTINUED FROM PREVIOUS PAGE … AS THOUGH A TONE WERE A BEING

around me. Everything sounded something different to me now. I there are many contemporary and different after that point because would fail horribly at a music theory younger composers interested in I was actually altering the filters exam, because I can’t imagine how thinking on their own terms outside of in my listening brain and focusing to think in such a language anymore. it, musical training is still quite limited, on interacting spectra in everyday When I compose, I am most often harmonically speaking. machines. Hearing a thousand composing with numbers…. Simply tanpuras constantly everywhere, I speaking, 1/2/3 takes the place of Drawing on Tenney’s teaching, Lamb had a total psychedelic experience A/B/C. began to see harmony as “multi- without any kind of ingested or dimensional” rather than “vertical,” to mind-altering substance other than The challenges of Lamb’s music rest less develop what she calls “a new generation newfound knowledge of what was in its technical difficulty or the use of of material”: always there and knowing that it extended techniques. It goes far beyond would be impossible to ever perceive the use of different tunings or microtonal I think I have always felt free while it in totality. inflection. It is a radical re-conception of composing; whether or not you could traditional notions of time and harmonic call the work I am doing linear or non- This shift in perception transformed space: linear, planer, geometric, or otherwise Lamb’s compositional process, including dimensional, music is always, in basic her notation. Instead of pitches her scores Sometimes it feels like a battle; almost terms, regarding experiences in time now often consist of numbers, ratios that anytime I have a piece realized, I must and space, which I find infinitely define spectral relationships. Schoenberg’s confront the harmonic pedagogical inspiring and reflective of the human revolution was predicated on retaining system and from that space defend condition. my own position, which is sometimes 12-note equal temperament. For Lamb the —CHRISTOPHER HAILEY premises have changed: met with surprising hostility! I’m finding that even though there is a … my musical life, my focus and deep history of composers working filters have shifted such that musical with intonation systems other than constructs and language mean the contemporary standard one, and

82 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Sunday, June 9, 2019 | 11:00am-1:15pm Libbey Bowl

PART I 11:00-11:45am

WILLIAM WALTON Façade – An Entertainment Fanfare (Instrumental) Hornpipe En Famille Mariner Man Long Steel Grass (Trio for Two Cats and a Trombone) Through Gilded Trellises (from The Sleeping Beauty) Tango-Pasodoble (I do like to be beside the Seaside) Lullaby for Jumbo Black Mrs Behemoth Tarantella A Man from a far Country (from The Sleeping Beauty) By the Lake Country Dance Polka Four in the Morning Something lies beyond the Scene Waltz Swiss Jodelling Song Scotch Rhapsody Popular Song Fox Trot (Old Sir Faulk) When Sir Beelzebub

Special thanks Ingrid Geerlings LUDWIG flute for underwriting support: Bart de Kater LUDWIG clarinet Ojai Festival Women’s Committee Lars Niederstrasser LUDWIG saxophone Sven Berkelmans LUDWIG trumpet Concert Insights: Niels Meliefste LUDWIG percussion Host Christopher Hailey Charles Watt LUDWIG cello with Thomas W. Morris 10:00am at the Libbey Park Barbara Hannigan conductor and speaker tennis courts Additional speakers include: Fleur Barron, Yannis François, Edo Frenkel, Kate Howden, After the concert, chat with Antoin Herrera-Lopez Kessel, Aphrodite Patoulidou, Festival artists at the outdoor Steven Schick, Elgan Llyr Thomas, James Way, plus a few surprises Green Room in the Park, located in the front of the Box Office BREAK

PART II 12:15-1:15pm

TERRY RILEY In C Festival artists

84 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 William Walton (1902-83) Façade – An Entertainment (1922-23; rev. 1951)

Terry Riley (b. 1935) In C (1964)

Notes From the Attic

I am not eccentric. It’s just that I am more alive than most people. —Edith Sitwell

You can get away with a lot when poems she published under the title megaphone, was a succès de scandale – a you’re taken under a wing. The wing Façade. The poems often bordered true Sitwell extravaganza. Virginia Woolf that sheltered the 19-year-old William on nonsense, but were meticulously was there, as was Evelyn Waugh. The Walton belonged to Sacheverell Sitwell, constructed and rife with topical insight. audience booed with abandon and critics who brought his protégé, whom he had Many had musical titles such as “Lullaby were merciless, describing the event as a met at Oxford, to London and lodged for Jumbo,” “Trio for Two Cats and a joke, an affront, and a waste of time, an him in the attic of the family home in Trombone,” “Fox Trot,” “Jodelling Song,” assessment with which Noel Coward, who Chelsea. That home was the site of one and “Hornpipe” and Walton’s score walked out of the performance, seems of the most celebrated literary salons of exploits every opportunity for allusions to to have agreed (he wrote his own parody the 1920s where Sacheverell, together and quotations from folk songs, popular of the event). But Façade survived, and with brother Osbert and sister Edith, tunes, dance styles, national idioms, and its afterlife has included incarnation as a scions of a distinguished family of minor even snippets from Rossini’s William Tell ballet (without the poems), arrangement nobility, enjoyed notoriety for their overture. Some of his musical sources are into two orchestral suites, and numerous publicity-seeking flamboyance. Through treated with loving care; others are wicked performing versions with varying them Walton met a number of cultural parodies that are sent through the wringer selections of poems, accompanied by celebrities, including Sergei Diaghilev, of rhythmic and harmonic distortion. ensembles of variable sizes. Igor Stravinsky, Arnold Schoenberg, and George Gershwin, and eventually became Façade – An Entertainment, first This Ojai performance follows the one himself. performed in the Sitwell home in 1922, published version of 1951. featured Edith Sitwell hidden behind a In 1921 Edith, a gifted if decidedly decorative screen reciting her poems * unconventional poet, asked Walton to through a megaphone. The 1922 public provide musical accompaniments to premiere, again with Edith and her

CONTINUED }}

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 85 CONTINUED FROM PREVIOUS PAGE

All Together Now

But first, some rules. Here are 53 melodic including Steve Reich, Philip Glass, and of In C were “big communal events patterns of varying lengths. Repeat each John Adams. In fact, Reich (along with where a lot of people would come out pattern a few times and then move on. No Pauline Oliveros and Morton Subotnick) and sometimes listen or dance to the conductor, just a steady eighth-note pulse was among the performers at the work’s music because the music would get quite of high C’s. Any number of instruments (or premiere at the San Francisco Tape Music ecstatic with all these repeated patterns.” vocalists) can play. That’s it, basically. Center (it was Reich who had suggested This is what John Adams was getting at the steady pulse of C’s). Riley never when he said that with In C “the pleasure Except there’s more. thought of this music as “minimalist”; principle had been invited back into the to him it was psychedelic (this was San listening experience.” Each performance of You are free to transpose patterns up Francisco, after all), not repetition and In C creates its own blissful global village. or down an octave, augment rhythmic process but mind expansion. Oliveros It’s a festive ritual, a celebratory group values, even drop out and take a rest. has described the experience as “a cloud experience. This was perhaps the newest, Feel free to move together from soft of birds tacking the sky with unplanned most radical aspect of Riley’s piece, not its to loud and back, to align and offset unanimity” and Michael Tilson Thomas, repetitions or its “in C-ness,” which many patterns, create canons or polyrhythms, who did it a few years later at Tanglewood, read as a slap in face of all doctrinaire and every now and then come together said it was like being “inside some serialists. Tonality forever! In fact, the in unison. Just try to stay within two or kind of big improvisation.” The loose, piece isn’t really in C at all, since its open- three patterns of each other, not getting improvisational feel of In C comes from ended modal patterns hint at E and G, as too far ahead or lagging behind. When jazz, a major influence on Riley’s music, well. But that tonal transparency, those you drop out, pay attention to the accents and, as in jazz, freedom and improvisation interlocking patterns, were something and periodic patterns; when you re-enter, are based on listening, on fitting your identifiable, something we could follow, find your place in the flow. And at the end, piece into the larger puzzle. Performing and something that re-imagined both when you reach figure 53, simply vamp In C requires what Riley called “developing composition and the concert experience. until everybody else catches up. Then, all a group dynamic.” Riley, incidentally, also upset all notions together, crescendo and diminuendo a of creative ownership when he published few times and drop out whenever you’re Back in 1964, Riley originally called In C the In C score and its instructions on the ready. “The Global Village for Symphonic Pieces.” first LP recording. So much for copyright. Not a great title, you’ll admit, but the But why not? It’s perfectly in keeping with There you have it, In C, the first minimalist “global” and “village” bits suggest why this what Riley calls the “community idea” of piece. Its gradually shifting repetitive piece has had such wide resonance. Riley music. patterns influenced generations of has recalled that the first performances minimalist and process composers, —CHRISTOPHER HAILEY

86 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Sunday, June 9, 2019 | 4:30-6:30pm Libbey Bowl

IGOR STRAVINSKY Pulcinella 1. Overture: Allegro moderato 2. Serenata: Larghetto: “Mentre l’erbetta pasce l’agnella” (tenor) 3. Scherzino: Allegro 4. Poco più vivo 5. Allegro 6. Andantino 7. Allegro 8. Ancora poco meno: “Contento forse vivere” (soprano) 9. Allegro assai 10. Allegro – Alla breve: “Con queste paroline” (bass) 11. Andante: “Sento dire non c’è pace” (soprano, tenor and bass) 12. Allegro: “Chi disse cà la femmena” (tenor) 13. Presto: “Ncè stà quaccuna pò” (soprano and tenor) / “Una te fallan zemprecce” (tenor) 14. Allegro – Alla breve 15. Tarantella 16. Andantino: “Se tu m’ami” (soprano) 17. Allegro 18. Gavotta con due variazioni 19. Vivo 20. Tempo di minuetto: “Pupillette, fiammette d’amore” (soprano, tenor and bass) 21. Finale: Allegro assai

Kate Howden mezzo-soprano Special thanks for underwriting support: James Way tenor Antoin Herrera-Lopez Kessel bass Cathryn and Thomas Krause LUDWIG Barbara Hannigan conductor Special thanks for underwriting support of LUDWIG: INTERMISSION Fonds Podium Kunsten Performing Arts Fund NL JOSEPH HAYDN Symphony No. 49 “La Passione” Adagio Allegro di molto Pulcinella is used by permission of Boosey & Hawkes Minuet and Trio Presto

LUDWIG Barbara Hannigan conductor

GEORGE GERSHWIN Girl Crazy Suite (arr. Bill Elliott) LUDWIG Edo Frenkel piano and celeste Barbara Hannigan conductor and soprano 88 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Igor Stravinsky (1882-1971) Pulcinella (1920)

Joseph Haydn (1732-1809) Symphony No. 49 “La Passione” (1768)

George Gershwin (1898-1937) Girl Crazy (1930); suite arr. Bill Elliott (2016)

I Got Music

Who could ask for anything more? —Ira Gershwin

Haydn never contested his paternity. old and new huddle together at the passion into a balanced style. Charles “Papa” planted seeds aplenty, but in threshold of change. The orchestration Rosen again: ground he tilled, toiled, and harvested is conventional and the structure, with himself. Moreover, he provided its opening slow movement, harkens Not until Haydn and Mozart, separately the offspring of his fecund creative back to the 17th-century church sonata. and together, created a style in which imagination with generous child support, The content, however, is new. Its tonality a dramatic effect seemed at once annuities he called the sonata, symphony, – F minor throughout – establishes an surprising and logically motivated, in and string quartet. ominous tone that is combined with which the expressive and the elegant unprecedented emotional turbulence: could join hands, did the classical style Haydn’s DNA is embedded in the musical dynamic extremes, dramatic melodic come into being. language of the later 18th century, a leaps, unexpected accents and silences, language, as Charles Rosen has written, agitated string tremolandi. One is Vienna’s Classical Style and its attendant th of extraordinary “coherence, power, and tempted to regard this as Romanticism forms persisted into the 20 century richness of allusion.” It was nothing short avant la lettre, but it was very much a but its legacies had become attenuated, of a revolution, a new way of hearing phenomenon of the 1760s and ’70s, as first through cliché, later by distension. and organizing musical material. But evident in literature as in music (Goethe’s Haydn’s inheritance was threatened by an revolutions don’t happen overnight. The Sorrows of Young Werther of 1774 inflation of scale, means, and meaning. They are gradual, prepared by ideas and comes to mind). Indeed, this period took Ever-larger orchestras, ever-longer works practices that slowly coalesce around a its name from a 1777 play by Maximilian freighted with literary and philosophical body of work that is rarely, if ever, that Klinger: Sturm und Drang (Storm and ballast, and tonality – the foundation of a single individual. Nonetheless, in the Stress). In “La Passione” (the title was of the style – stretched to the breaking course of one long life, Haydn witnessed given much later) these aspects are most point by chromaticism. It is easy to regard th and contributed to virtually every stage of evident in the brooding Adagio and the the eruptions of the early 20 century, forming what we know as the Classical tempestuous Allegro and Presto finale atonality, rhythmic ferocity – Pierrot Style. (the minuet, though somber, is more lunaire, Le Sacre du Printemps – as traditional, its trio downright genial). The attempts to break the logjam, just as many Haydn’s Symphony No. 49, composed in Sturm und Drang moment passed, but hailed the Great War as the necessary end 1768, exemplifies that process in which what remained, at least in music, was a of an oppressive peace. The reaction that new capacity for channeling such unruly CONTINUED }}

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 89 CONTINUED FROM PREVIOUS PAGE I GOT MUSIC followed this ghastly carnage likewise has What Stravinsky achieved in this collision Stravinsky admired Gershwin, as did its logical – or at least psychologically with 18th century was in some senses Schoenberg. They recognized a colleague plausible – explanation: away with a continuation of the witty and lucid who knew as well as they how to make Wagner, hothouse Romanticism, and the textures of his recent works, including the present exist. As Schoenberg once excrescences of the long 19th century. L’Histoire du soldat. He certainly didn’t wrote of his friend: “He is a composer Back to 18th century, to balance and clarity. intend to reinstate the past, but rather to – that is, a man who lives in music create in its echo new perspectives for the and expresses everything, serious or Neoclassicism, like Haydn’s Classical Style, present. The music is not Stravinsky’s, but not, sound or superficial, by means of was not an overnight phenomenon. The its freshness and vigor are, qualities that music, because it is his native language.” gavottes and minuets of the 19th century would nourish his musical imagination for Schoenberg and Stravinsky, and for that are legion, but that was costume-ball the next three decades. matter Haydn, all lived long enough to nostalgia. Neoclassicism was something know that style is mutable, that language else, a new way of hearing that filtered Neoclassicism was an international evolves. That music, like Heraclitus’ river, flirtation with the past through the prism phenomenon, as popular in America as it is in constant flux, a medium for ever- of contemporary idioms. was in Europe. But when Stravinsky arrived widening arcs of creative expression that on these shores, he was confronted by both reflect and challenge existing modes Pulcinella is a commedia dell’arte another musical culture that had its roots of perception. And with their colleague ballet interspersed with songs. It is not, not in 18th-century Austria or Italy but George Gershwin, they knew, too, that of course, an homage to Viennese in the rich mélange of contemporary music, to thrive, must always be about the Classicism; its models are not Haydn and American experience – new energies of joyous urgency of now. Mozart, but Pergolesi (or at least what jazz, Tin Pan Alley, and Broadway theater; —CHRISTOPHER HAILEY Stravinsky believed was Pergolesi): in short, the world of George Gershwin. Girl Crazy, premiered in 1930, featured an I knew that I could not produce a all-star cast that included Ethel Merman “forgery” of Pergolesi because my and Ginger Rogers, and a pit orchestra motor habits are so different; at best, teeming with such luminaries as Jimmy I could repeat him in my own accent. Dorsey, Benny Goodman, Gene Krupa, That the result was to some extent a Glenn Miller, and Jack Teagarden. Bill satire was probably inevitable – who Elliott’s Girl Crazy Suite enfolds the show’s could have treated that material in hits – “But Not for Me,” “Embraceable 1919 without satire? – but even this You,” and “I Got Rhythm” – in a series observation is hindsight…. A stylish of droll arrangements that extend from orchestration was what Diaghilev gauzy impressionism to brassy Broadway wanted, and nothing more; my music swagger. so shocked him that he went about for a long time with a look that suggests “The Offended Eighteenth Century.”

90 | 73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 Igor Stravinsky Pulcinella

2. tenor Duet 13. soprano and tenor Mentre l’erbetta While the lamb grazes pasce l’agnella, on the fresh grass, Ncè stà quaccuna pò There are some women sola, soletta the shepherdess, che a nullo vuole bene who love no one la pastorella all alone è à ciento frisco tene and keep a hundred on a string, tra fresche frasche amid the leafy groves, schitto pe scorco glià, openly deceiving them all, per la foresta goes singing è à tant`antre malizie and up to so many tricks, cantando va. through the wood. chi mai le pò conta. so many, many tricks, that no one could count them. 8. soprano 13. tenor Contento forse vivere Perhaps I might live nel mio martir potrei, content in my torment Una te fallan zemprecce One feigns innocence se mai potessi credere if I could but believe ed è maleziosa yet is cunning, che, ancor lontan, tu sei that, though far away, n’antra fa la schefosa another acts hard to please fedele all’amor mio, you were faithful to my love, e bò lo maritiello, yet longs for husband. fedele a questo cor. faithful to this heart. ncè stà quaccuna pò There are some, too, che a nullo ude tene who love no one – listen to me – chia chillo ten’ancora who hold on tight to one man 10. bass è à chisto fegne ammore and make eyes at another, Con queste paroline With such delightful è cienton frisco tene schitto and keep a hundred on a string, così saporitine sweet words as these pe scorco glià openly deceiving them all, il cor voi mi scippate you tear out my heart è tante antre malizie and up to so many, many tricks dalla profondità. from its very roots. chi mai le pò contà that no one could count them. Bella, restate quà, Fair one, stay here, che se più dite appresso for if you speak on 16. soprano io certo morirò. I shall certainly die. Così saporitine With such delightful Se tu m’ami, se tu sospiri If you love me, if for me alone con queste paroline sweet words as these sol per me, gentil pastor, you sigh, gentle shepherd, il cor voi mi scippate, you tear out my heart; ho dolor de’ tuoi martiri, ho I grieve for your suffering, morirò, morirò. I shall die, I shall die. diletto del tuo amor, I delight in your love. ma se pensi che soletto But if you think that in return 11. soprano, tenor, and bass io ti debba riamar, I should love you alone, pastorello, sei soggetto dear shepherd, you’re likely Sento dire non c’è pace. I hear it said there’s no peace, facilmente a t’ingannar. to be easily proved wrong. Sento dire non c’è cor, I hear it said there’s no heart; Bella rosa porporina Today Sylvia may select ma chiù pe’tte, no, no for you, alas, no, never, oggi Silvia sceglierà, a beautiful crimson rose, no’ncè pace chiù pe’tte. there’s no more peace. con la scusa della spina but tomorrow will spurn it doman poi la sprezzerà. on the pretext of a thorn. 12. tenor Ma degli uomini il consiglio But, for my part, io per me non seguirò. I won’t follow men’s advice: Chi disse cà la femmena He who says that a woman Non perchè mi piace il giglio just because I like the lily Sa cchiù de farfariello is more wily than the devil gli altri fiori sprezzerò. I won’t scorn other flowers. disse la verità, disse la verità. speaks the truth, the very truth.

20. soprano, tenor, and bass Pupillette, fiammette d’amore, Fair eyes, sparkling with love, per voi il core struggendo si va. for you my heart languishes.

73rd OJAI MUSIC FESTIVAL | JUNE 6-9, 2019 | 91