OF CONTEMPORARY MUSIC

MARIN ALSOP MUSIC DIRECTOR | CONDUCTOR

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PROGRAM BOOK CONTENTS The 2014 Cabrillo Festival of Contemporary Music 5 Calendar of Events Program Book is a publication of Summer Fests, 7 President’s Message a Cultural Arts Collaborative of: 9 Board of Directors & Staff 11 Music Director Marin Alsop Cabrillo Festival of Contemporary Music 12 Hall of Fame Santa Cruz Shakespeare 13 Festival History 14 Cabrillo Festival Experience For information contact: 16 Church Street Fair Cabrillo Festival of Contemporary Music 19 Creativity Tent for Kids 147 South River Street, Suite 232 20 Guest Composers Santa Cruz, CA 95060 26 Guest Artists www.cabrillomusic.org 28 2014 Festival Orchestra 831.426.6966 30 Conductors/Composers Workshop [email protected] 31 In the Works 2014 Program Book Design and Print Production: 33 Student Staff Program Elise Huffman 35 Opening Night: PLAY 37 PLAY Program Notes 2014 Program Book Cover, Brochure and Poster Designer: 41 HOPE Salal Moon Rinaldo 43 HOPE Program Notes 47 Cover Art: Free Family Concert Photo of Marin Alsop by Adriane White 49 Free Family Concert Program Note Artwork by Glenn Owen (See bio on page 8) 50 In the BLUE ROOM with Time for Three 52 Music in the Mountains SummerFests Advertising Sales Director: 55 FIRE Sandy Kurz 57 FIRE Program Notes 61 San Juan Day 63 DREAM: Music at the Mission 67 DREAM Program Notes 68 In Memoriam 69 New Music Forever Endeavor 70 Grantmakers As a courtesy to all patrons, latecomers to Cabrillo Festival 72 AIR Fund Contributors concerts Zill be seateG by tKe usKers GurinJ tKe Àrst convenient 73 Lead Sponsors pause in the program. Children under six years of age will not 74 be permitted into performances with the exception of the Donor Recognition Family Concert. 77 Corporate & Community Sponsors 78 Acknowledgements CAMERAS AND RECORDING EQUIPMENT ARE NOT ALLOWED 80 New Works in the Works IN THE PERFORMANCE HALLS DURING CONCERTS. 80 Index to Advertisers

PLEASE TURN OFF ALL CELL PHONES, ALARMS, AND PAGERS.

Printed on recycled paper

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC “The need for imagination, a sense of truth, and a feeling of responsibility — these three forces are the very nerve of education." ~R.Steiner

At Santa Cruz Waldorf School we understand education is an art and that art is not a luxury - it is a necessity. Come see for yourself, why Waldorf works.

We are currently accepting applications for the 2014-2015 Academic year.

For more information go to santacruzwaldorf.org

44 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC CALENDARCALENDAR OOFF EEVENTSVENTS SUNDAY AUGUST 3 All events take place at the Santa Cruz Civic Auditorium 11am-8pm Church Street Fair MEETUP! Free unless otherwise noted. The revelry continues on Church Street! Please visit CABRILLOMUSIC.ORG for complete details on these events and more. 1:00pm Free Family Concer t—The Conference of the Birds Free The event begins with a tour of the orchestra followed by a concert JULY 27 featuring the Cabrillo Festival Orchestra, conducted by Marin Alsop. SUNDAY Jonathan Sheffer The Conference of the Birds (Jonathan Sheffer, narrator) 7:00pm Open Rehearsals Begin Free [World Premiere | Festival Commission] You have the chance to watch the music come to life as the musicians 8:00pm In the Blue Room with Time for Three $35 $27 and composers sculpt their pieces for performances day by day. A detailed This chamber concert In the Blue Room offers high-velocity music from a schedule of Pre-Rehearsal Talks and Open Rehearsals can be found online. dynamic young trio, Time for Three! WEDNESDAY JULY 30 TUESDAY AUGUST 5 5:30-6:45pm Special Concert: In the Works Free 6:15pm Pre-Rehearsal Talk Free Featuring works by three young composers, performed by members of Alexandra Arrieche, Cabrillo Festival Assistant Conductor, on the DREAM the Cabrillo Festival Orchestra led by emerging conductors studying in Orchestra Concert works. the Conductors/Composers Training Workshop. 7:30pm Béla Fleck: How to Write a Banjo Concerto $10 WEDNESDAY AUGUST 6 Documentary film screening at the Del Mar Theatre followed by a Q&A 6:15pm Pre-Rehearsal Talk “An Inside Look” Free session with composer/banjo master Béla Fleck. Tickets available Moderated by Faye Crosby, composers Michael Daugherty, Stacy Garrop, through the theatre, www.thenick.com. and Clarice Assad discuss the student/teacher, mentor/mentee relationship. THURSDAY JULY 31 THURSDAY AUGUST 7 6:15pm Pre-Rehearsal Talk Free 6:30pm Music in the Mountains: A Benefit Concert Philip Collins, composer, lecturer and New Music Works’ Artistic Director, Nestldown, Los Gatos $175 on the PLAY Orchestra Concert works. Wine and food tastings in a spectacular mountain retreat setting, and a chamber music concert featuring pianist/composer Clarice Assad, FRIDAY AUGUST 1 Concertmaster Justin Bruns and members of the Cabrillo Festival Orchestra. 6:30-7:45pm Pre-concert Dinner Alfresco MEETUP! $32 SATURDAY AUGUST 9 7:00-7:30pm Pre-concert Talk with Marin Alsop 2:30pm Student Staff Ensemble Concert Free 8:00pm PLAY—Orchestra Concert $55 $47 $32 Featuring original works composed and performed by the young members Featuring the Cabrillo Festival Orchestra, conducted by Marin Alsop. of the Festival’s Student Staff program. Dylan Mattingly Sky Madrigal [World Premiere] 8:00pm FIRE—Orchestra Concert $55 $47 $32 Béla Fleck The Impostor Concerto (Béla Fleck, banjo) [West Coast Premiere] Featuring the Cabrillo Festival Orchestra, conducted by Marin Alsop. Andrew Norman Play [West Coast Premiere] Gabriella Smith Tumblebird Contrails [World Premiere | Festival Commission] John Adams Saxophone Concerto (Timothy McAllister, saxophone) SATURDAY AUGUST 2 [West Coast Premiere] Brett Dean Fire Music [U.S. Premiere] 11:00am-8:00pm Church Street Fair MEETUP! Free Post-Concert: Dessert Reception for Audience & Orchestra MEETUP! On Church Street outside the Santa Cruz Civic Auditorium—with a full day of live music and dance; free art workshops for kids; and art, wine and food artisans. SUNDAY AUGUST 10 SAN JUAN DAY 4 & 7:30pm DREAM: Music at the Mission 1:30pm Meet the Composers $12 Mission San Juan Bautista $55 day $45 eve. Inside the Civic Auditorium, an informal discussion takes place with Afternoon and evening Grand Finale performances in the splendor of Marin Alsop, and composers TJ Cole, Jennifer Higdon, Dylan Mattingly, the old Mission sanctuary, featuring the Cabrillo Festival Orchestra, Andrew Norman, Jonathan Sheffer, Gabriella Smith and Mark-Anthony conducted by Marin Alsop. Turnage. Stacy Garrop Thunderwalker 8:00pm HOPE—Orchestra Concert $55 $47 $32 Clarice Assad Dreamscapes (Nadja Salerno-Sonnenberg, violin) Featuring the Cabrillo Festival Orchestra, conducted by Marin Alsop. Michael Daugherty Fallingwater (Nadja Salerno-Sonnenberg, violin) TJ Cole Megalopolis [West Coast Premiere] Detlev Glanert Three Songs without Words [U.S. Premiere] Jennifer Higdon Concerto 4-3 (Time for Three, string trio) Between Concert: Picnicking in the Olive Grove MEETUP! Mark-Anthony Turnage Speranza [West Coast Premiere] Pack a basket and join other Festival-goers in the Olive Grove adjacent to Post-Concert Talkback Session Mission San Juan Bautista. Concertgoers are invited to a post-concert talk with Marin Alsop, guest Post Concert: Finale Reception at Jardines de San Juan MEETUP! artists, and composers. Audiences are invited to stroll to Jardines de San Juan restaurant (115 Third Street) to bid the season and its music-makers a fond farewell. TICKETS: 831.420.5260 SAVE OUR DATES! 2015: August 2-16 WWW.CABRILLOMUSIC.ORG 2016: July 31-August 14

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSICC 5 SUNSET PRESENTS 2014/2015 SEASON LeAnn Rimes Trio Kathleen Madigan Buddy Guy Friday, September 26 at 8PM Saturday, January 17 at 8PM Friday, April 3 at 8PM Cirque Zuma Zuma Mavis Staples Martha Graham Dance Friday, October 24 at 8PM Sunday, January 18 at 3PM Company: Essential Graham Olivia Newton-John Spyro Gyra Wednesday, April 22 at 8PM Sunday, October 26 at 7PM Friday, February 6 at 8PM Fancy Nancy The Musical Mummenschanz An Evening of Spirit Saturday, April 25 at 3PM 40th Anniversary Tour with James Van Praagh ABBA Mania Saturday, November 1 at 8PM Saturday, February 7 at 8PM Thursday, April 30 at 8PM Seasons of Broadway Rosanne Cash Natalie MacMaster Saturday, November 8 at 8PM Thursday, March 19 at 8PM Friday, May 1 at 8PM America’s Test Kitchen Live! New York Herb Alpert & Lani Hall Wednesday, November 12 at 8PM Gilbert and Sullivan Players: GALA EVENT! The Second City Nut-Cracking HMS Pinafore Saturday, May 9 at 8PM Holiday Revue Friday, March 20 at 8PM Tuesday, November 25 at 7PM

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6 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC MESSAGE FROM THE PRESIDENT CABRILLO FESTIVAL OF CONTEMPORARY MUSIC BOARD OF DIRECTORS

Jim Petersen President

Michel Protti Vice President

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

Liza Culick Secretary

Dina Hoffman Immediate Past President

Diane Craddock t’s with great pleasure that I welcome you to designed to create a more vibrant, functional, Tom Ellison the 52nd season of the Cabrillo Festival of safe and comfortable performing arts and Richard Fabrikant IContemporary Music—and with gratitude for cultural center. A planning committee, led by Margaret Gordon the tremendous behind-the-scenes effort by the our own Executive Director Ellen Primack and Nancy Loshkajian Festival’s staff, board, volunteers and donors to members of the Festival board, and including Jonathan Miller prepare for the 2014 season. It’s heartening to prominent leaders from other arts organizations, Bruce Nicholson see such energy and single-minded devotion, Arts Council Santa Cruz County, Community with so many people committed to bringing to Foundation Santa Cruz County, and Santa Cruz Earleen Overend life the rich and compelling experience that city government, was formed to initiate a planning Marcia Smith Cabrillo Festival promises year after year. I also process and develop a proposal for the Civic’s Richard Wilson feel a deep sense of pride in seeing Cabrillo renovation. Generously funded by The David and Festival and our esteemed music director Marin Lucile Packard Foundation, this phase included LIFE MEMBERS Alsop continue to earn phenomenal recognition engaging the noted Àrm ELS Architecture & Urban Fran Fisher in the international arena—for example, in March Design to create conceptual designs to enable Marion Taylor the American Composers Forum named Marin the Santa Cruz community to better assess and a “Champion of New Music,” and in May the visualize the potential beneÀts of upgrading PAST PRESIDENTS New York classical music station WQXR named this important cultural asset. We’re working T. Jerome Barnes 1963 Cabrillo Festival one of the top five incubators of on the roll-out of the design and next planning Paul Sandas 1964 new music in the world! Astonishing accolades phases now. As members of the Cabrillo Festival that affirm our important work! community, you are very important constituents Suzanne Paizis 1964-65 for this long-term effort, and we sincerely hope Bud Kretschmer 1966-67 2014 presents exciting new horizons for the that we can earn your support. J.A. Wyckoff 1968 Festival. As we complete six years as part of The Ruth Frary, M.D. 1969-72 James Irvine Foundation’s Arts Regional Initiative, I would like to especially thank the Cabrillo and the myriad capacity building and cultural Festival’s family of individual donors. Your Manuel Santana 1973-77 participation initiatives which have brought us generous contributions are truly the lifeblood Earleen Overend 1978-80 to this point of organizational vitality, the board of the Festival, and form a signiÀcant portion Carol Brancich 1981-82 and staff are now engaged in developing a new of our revenue. Without your important support Robert Korns, M.D. 1983-84 strategic plan to ensure the long-term success we would not be able to bring the breadth and and Ànancial well being of the Festival. This effort quality of the Cabrillo Festival experience to Gayle Ortiz 1985-86 will be guided by the insights and needs of our Santa Cruz each year. All of us at the Festival— Mary K. Hubbard 1987-88 extended Cabrillo Festival community, so I hope Marin, the artists, board and staff—thank you Manuel Santana 1989 you will take the opportunity to speak with our sincerely for your continuing support. We are Richard Klein 1990-91 staff or board members during the Festival to forever grateful. Celia Hartman 1992 share your thoughts on how you envision Cabrillo Robert Scrivener 1993 Festival in the future. We’ve already conducted a To all of our loyal supporters and music Howard Sherer 1994-96 great amount of audience and donor research in enthusiasts, and to our talented and generous Elizabeth Irwin 1997 the last couple of years and would love to hear orchestra members, composers, and guest Gail Oakes 1998-2000 what’s on your mind! artists, we hope you enjoy every moment of this Cabrillo Festival and look forward to exciting Nancy Loshkajian 2001-05 Another exciting opportunity in front of us Festivals in the years to come! Bruce Nicholson 2006-2009 is a much hoped-for renovation of the Civic Dina Hoffman 2010-2013 Auditorium. A number of organizations have Jim Petersen 2014-present come together with the City of Santa Cruz in the last year to consider how the Civic could be re- Jim Petersen CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 7 88 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Cabrillo Festival of Contemporary Music Board of Directors Left to right: Fran Fisher, Dick Wilson, Dina Hoffman, Michel Protti, Diane Craddock, Jonathan Miller, Nancy Loshkajian, President Jim Petersen, Tom Ellison, Richard Fabrikant, Bruce Nicholson, Margaret Gordon, Marci Smith, and Liza Culick.

ADMINISTRATION COMMITTEE CHAIRS PRODUCTION

ELLEN M. PRIMACK EARLEEN OVEREND MIKE JOHNSON Executive Director Fund Development Chair Technical Director

JESSICA FRYE RICHARD FABRIKANT ERIK FINLEY Associate Director Finance Committee Chair Orchestra Manager and Staff Stage Manager Jessica Frye, Lyndsey Loosley, Ellen Primack LYNDSEY LOOSLEY JIM PETERSEN Director of Operations Strategic Planning Chair ELLA FREDRICKSON and Programs Music Librarian DINA HOFFMAN VALERIE HAYES Board Development Chair DREW YERYS Housing Coordinator Recording & Sound Engineer DIANE CRADDOCK MONA BAROUDI Personnel Committee LAURA ANDERSON Publicist Chair Assistant Stage Manager Mike Johnson Erik Finley Ella Fredrickson JIM BROWN BARBARA LAWRENCE KRISTEN KLEHR Civic Renovation Study Music in the Mountains Production Assistant Project Manager BeneÀt Event Chair JENNIFAH CHARD MARGARET GORDON House Manager MARCI SMITH Drew Yerys Laura Anderson Kristen Klehr BeneÀt RafÁe Co-Chairs MEMBERS OF I.A.T.S.E. LOCAL 611 NANCY LOSHKAJIAN Stage Hands RICHARD WILSON Civic Auditorium Leadership Team Jennifah Chard Jim Brown Valerie Hayes

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 9 CELEBRATING THE MUSIC.

DELIGHTED SPONSOR OF THE CABRILLO FESTIVAL OF CONTEMPORARY MUSIC

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1010 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC US C C O SO 1111 Ein The The BBC BBC (Editor’s Mass Awards 2010) and Awards 2010) with the MDR Leipzig Leipzig MDR the with . Other award-winning OF CONTEMPORARY MUSIC MUSIC OF CONTEMPORARY OF CONTEMPORARY k series with the Baltimore Ői “Top 100 Women,” celebrating Women,” 100 “Top Conductor She was of the Year. Gramophone Choice, Percussion Concerto Higdon’s Jennifer Her next Award(Grammy 2010). release on Brahms’ is 2013 September in Naxos Deutsches Requiem Deutsches Radio Choir and Symphony Orchestra. Classics, Decca for recorded also has Alsop Harmonia Mundi and Sony Classical. attended Alsop Marin City, York New in Born UniversityYale and received her Master’s Degree from The Juilliard School. Her conducting when, career launched was the at prize-winner a was she 1989, in Leopold Stokowski International Conducting the was year same the in and Competition first woman to be awarded the Koussevitzky Music Tanglewood the from Prize Conducting of Leonard where she was a pupil Center, Bernstein. Guardian’s the centenary of International Day Women’s Alsop In 2012 in 2011. was presented with Honorary Membership (HonRAM) of the RoyalAcademy of Music, London, she and in 2014 New of “Champion the presented with was Music” Award by the American Composers Forum. in Alsop’s extensive discography on Naxos Choice includes a notable set of Brahms symphonies highly- a and Philharmonic London the with Orchestral praised Dvo was Symphony. The first disc of her Prokofiev symphonic cycle with the São Paulo Symphony Music Magazine recordings include Bernstein’s Hall of Fame in 2010 and was the only only the was and 2010 in America’s Fame of inducted into the American Classical Music Hall in included be to classical musician CABRILLO FESTIVAL CABRILLO FESTIVAL Musical –San Jose Mercury News music feel cool, not elitist.” conductors who know how to presentation, making classical “Alsop is“Alsop one of a relatively few challenge listeners while shifting the paradigm — democratizing the In September Alsop 2013, made history as the first female conductor of the BBC’s Last Night Other London. in highlights Proms the of of performance a Mahler’s of included 2013-14 Vienna the at Wien RSO with First Symphony Konzerthaus, and return engagements with the Frankfurt Radio Symphony and Czech orchestras. Philharmonic Marin Alsop is the recipient of numerous awards and is the only conductor to receive given MacArthur prestigious Fellowship, the US residentsto of recognition in exceptional of Fellow a became she 2008 In work. creative the American Academy of Arts & Sciences and, in the was following chosen year, as Marin Alsop has guest-conducted the the guest-conducted has Alsop Marin Philadelphia, world: the orchestras of great Cleveland, Los Angeles Philharmonic, Royal Concertgebouw, La Scala Philharmonic, Symphony. Radio Bavarian Paris, Orchestre de In Europe, she regularly returns to the Frankfurt Radio Symphony, Royal Stockholm Philharmonic and the Czech Philharmonic. She has a close and Symphony London the with relationship both with appearing Philharmonic, London the with as well orchestras as most seasons, She Enlightenment. Age of the Orchestra of is also Artist in Residence at the Southbank London. Centre in

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of Sh ion as as mu arin Alsop’s success as Music Director Director Music as success Alsop’s arin of the Baltimore Symphony Orchestra been has recognized by since 2007 orld Ma h o pr ower w t p pass M Since 1992, Marin Alsop has been Music of Festival Cabrillo California’s of Director Contemporary Music, where she has built a devoted audience for new music. Building an gifts, and great Alsop’s of one is orchestra she retains strong links with all of her previous Bournemouth Symphony Orchestra orchestras: Conductor(Principal 2002-8; Conductor now and ColoradoEmeritus) Symphony Orchestra (Music Director 1993-2005; now Music Director Laureate). and became Music Director in July 2013. She She 2013. July Conductor post the Alsop took up Principal in of Director of the São Paulo Symphony Orchestra in 2012 Music became and its artistic orchestrain the steer to continues and creative programming, recording ventures activities. She outreach and its education and 2012, in tour European a orchestra on the led in Europe to BBC the performances at acclaimed with returned they Concertgebouw the at and and London in Proms Amsterdam, in October with 2013, concerts in Berlin, London, Paris, Salzburg and Vienna. two extensionsher tenure, now confirmed in until As 2021. part of her artistic leadership in Baltimore, Alsop has created bold initiatives community wider the to contributed have that and reached new audiences. In 2008 she provides music which ‘OrchKids,’ launched education, instruments, mentorship and meals of the city’s neediestyoung people. Engaging the local community,the BSO Academy and adult programs allow also ‘Rusty Musicians’ amateur musicians the chance to play alongside members of the orchestra under Alsop’s baton. HALL OF FAME

THE LOU HARRISON AWARD

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

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

HALL OF FAME AWARD

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

FESTIVAL HALL OF FAME

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

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

1998 JACK BASKIN TOM FREDERICKS ELLEN M. PRIMACK

2000 RICK LARSEN

12 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC FESTIVAL HISTORY

Winner of the League of American Orchestras and ASCAP’s 2008-2009 John S. Edwards Award for Strongest Commitment to New American Music, and winner of their Award for Adventuresome Programming of Contemporary Music from 1982-2013, Cabrillo Festival of Contemporary Music is America’s pre-eminent contemporary music festival.

ur story begins in the summer of 1961 a long succession of distinguished music when young composer-musician Robert directors dedicated to new music for orchestra: OHughes stepped from a Greyhound Gerhard Samuel (1963-68), composer Carlos bus at the Sticky Wicket, an Aptos, California Chávez (1970-73), conductor Dennis Russell coffeehouse along the then two-lane Highway Davies (1974-1990), and American composer One. He had just arrived from Italy to study John Adams (1991). Sticky Wicket, 1960s with composer Lou Harrison. At the same time, Hughes joined Sticky Wicket owners Since its founding, the Festival has presented Vic and Sidney Jowers and others to present 149 world premieres, 67 U.S. premieres, 138 quality music and theater at the coffeehouse. West Coast premieres and countless local Nearly 200 people could be seated before a premieres and included the participation of wooden stage in the field next door to enjoy a more than 230 composers, including John Stravinsky opera or a chamber music concert. Adams, William Bolcom, John Cage, Elliott Carter, Carlos Chivez, Aaron Copland, John A year later, Cabrillo College opened its Aptos Corigliano, Michael Daugherty, Philip Glass, campus. Faculty choral director Ted Toews and Osvaldo Golijov, Lou Harrison, Jennifer Higdon, soprano Alyce Vestal joined the Sticky Wicket Aaron Jay Kernis, Libby Larsen, Tania Leon, gang and Lou Harrison to help shape the James MacMillan, Thea Musgrave, Pauline expansion of the Sticky Wicket Concert Series Oliveros, Arvo Pärt, Christopher Rouse, Joseph into Cabrillo Music Festival. Gene Hambelton Schwantner, Virgil Thomson, and Joan Tower. and area newcomer Bud Kretschmer became The Wall Street Journal has called it “two of The Festival Tent at UCSC, 1987 part of that group as it progressed. the most thoughtful and original summer musical weekends anywhere in America.” About 300 people attended opening night at the Cabrillo College Theater, August 21, 1963. At Symphony magazine declared, “According 8:15 p.m., a thrill rippled through the audience to all the traditional marketing dicta, not to when the Festival’s Àrst music director, Gerhard mention the persistent nay-saying Cassandras Samuel, stepped to the podium! of the orchestral world, this is a formula that is not supposed to work. More than just an Now audiences Àll Santa Cruz Civic Auditorium, improbable enterprise, and it’s an improbable home to the Festival since 1991, under the success story.” leadership of Marin Alsop, who in 1992 joined

1992–Present Marin Alsop

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

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

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 1313 CABRILLO FESTIVAL EXPERIENCE All events take place at the Santa Cruz Civic Auditorium and are free, unless otherwise noted. OPEN REHEARSALS PANEL DISCUSSIONS You have the chance to watch the music come to life as the community of Pre-Concert Talk on Opening Night conductors, musicians, and composers sculpt pieces for performances. Friday, August 1, 7:00pm A detailed schedule including repertoire is posted on our website and at the Civic Auditorium. Join Marin Alsop and featured composers outside the Civic for a pre- concert introduction to the 2014 season! MORNINGS: 10:00am–12:30pm July 29, 30; August 6, 7 AFTERNOONS: 4:00pm–6:30pm July 29 (Conductors Workshop) Meet the Composers 2:30pm–5pm July 28, 31; August 5, 8 Saturday, August 2, 1:30pm, $12 EVENINGS: 7:00pm–9:30pm July 27, 31; August 5, 6 Inside the Civic Auditorium, an informal talk takes place with Marin Alsop Open Rehearsals are supported by an anonymous donor. and composers TJ Cole, Jennifer Higdon, Dylan Mattingly, Andrew Norman, Jonathan Sheffer, Gabriella Smith, and Mark-Anthony Turnage. Post-Concert Talkback Saturday, August 2 Following the HOPE concert, concertgoers are invited to stay for a talk with Marin Alsop and the evening’s featured artists. Pre-Rehearsal Talks Thursday, July 31, 6:15-6:45 pm Philip Collins, composer, lecturer and New Music Works’ Artistic Director, on the PLAY Orchestra Concert works. Tuesday, August 5, 6:15-6:45 pm Alexandra Arrieche, Cabrillo Festival Assistant Conductor, on the DREAM Orchestra Concert works. Wednesday, August 6, 6:15-6:45 pm FREE CONCERTS Moderated by Faye Crosby, composers Michael Daugherty, Stacy BY EMERGING ARTISTS Garrop, and Clarice Assad offer “An Inside Look” into the student/ teacher, mentor/mentee relationship. In The Works Wednesday, July 30, 5:30pm A special concert featuring new works by three young composers— Emily Cooley, Patrick Harlin, and Eric Nathan—conducted by emerging conductors, all studying in the prestigious Conductors/Composers Workshop. Student Staff Ensemble Saturday, August 9, 2:30pm The Student Staff Ensemble, made up of young musicians ages 16-24, produce and perform a concert of all original works! Come witness their boundless creativity, and hear the future of new music, now. RELIVE the EXPERIENCE on KUSP This season radio station KUSP (National Public Radio for the Central Coast; 88.9 FM, Monterey Bay Area; 89.1 FM, Hollister and Gilroy; 89.3 FM, Downtown Santa Cruz; 91.3 FM, Palo Colorado Canyon; 95.3 FM, Big Sur Valley) celebrates 37 years of broadcasting the Cabrillo Festival. KUSP will present radio on-air broadcasts and webcasts of the 2014 Festival Season on the following schedule: PLAY: Opening Night LIVE Broadcast Friday, 8/1, 7:00pm HOPE Tuesday, 8/12, 7:00 pm In the BLUE ROOM with Time for Three Friday, 8/15, 8:00pm FIRE Tuesday, 8/19, 7:00pm DREAM: Music at the Mission Friday, 8/22, 8:00pm In the Works & Free Family Concert Tuesday, 9/9, 7:00pm 14 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC ARTISTS IN RESIDENCE

MEET UPS PHOTOGRAPHER IN Béla Fleck Film IN RESIDENCE Wednesday, July 30, 7:30pm R.R. JONES The documentary Àlm Béla Fleck: How To A brilliant fine arts photographer, Ron Write A Banjo Concerto will be screened Jones’ rich portraits taken across at the Del Mar Theatre, and followed by a Indonesia, Thailand, and Mexico Q&A session with Béla Fleck. $10 tickets have distinguished him as a Santa available through the theatre. Cruz treasure. For well over a decade, Jones has been the Cabrillo Festival’s primary photo Church Street Fair documentarian, and as our Photographer-in-Residence we will Saturday & Sunday, August 2 & 3, 11am-8pm again feature his incredible work on display in the lobby of the Bring your friends, family, and love of fun in the sun to Downtown Santa Civic Auditorium during the Festival season. You can also enjoy Cruz for two full days of local music, art, food, wine, and kids activities slideshows of images from past seasons at cabrillomusic.org. in front of the Civic Auditorium. ones was born in Houston, Texas in 1949, and moved to Santa Dessert Reception Cruz, California in 1986, where he continues to make his living Jas a photographer. Jones has works in permanent collections Saturday, August 9 including the San Francisco Museum of Modern Art; Denver Museum Immediately following the FIRE concert, of Art; Santa Barbara Museum of Art; Center for Visual Art at Stanford concertgoers are invited to join orchestra University; University of California Santa Cruz Special Collections; and members and guest artists outside the Civic the Center for Photographic Art at Santa Clara University. In 2001 for a dessert reception. Jones was the recipient of a Gail Rich Sponsored by: Award, and in 2005 was the subject Mission San Juan of a one-man show at Santa Cruz’ Sunday, August 10 Museum of Art & History. BETWEEN-CONCERT PICNICKING Pack a basket and join other Festival-goers in the Olive Grove adjoining POET IN RESIDENCE the historic Mission. POST-CONCERT RECEPTION J. ZIMMERMAN Stroll to Jardines de San Juan to bid the orchestra and the 2014 season Born in Britain, J. Zimmerman is a student a fond farewell. of Japanese poetry forms, particularly the haiku, the tanka, and the haibun. Recently her haiku were featured for four weeks at the international Daily Haiku web site, including seven haiku written during 2013 CFCM Open Rehearsals. She was a selected poet for the 2013 “New Resonances” haiku anthology. She writes articles on the Japanese forms and teaches workshops on tanka. Her poems have been translated into Japanese, Chinese, and German. She is an active member of the Yuki Teikei Haiku Society (youngleaves.org), which will celebrate its 40th anniversary in 2015.

. Zimmerman finds great inspiration for her poetry in the creative mélange among the CFCM composers, the musicians, and the Jmaestra. This season, as the Cabrillo Festival’s inaugural Poet in Residence, the poet will write haiku and tanka that arise from her experience, capturing moments where the Festival generates feelings that generate poems. Her haiku range from the traditional 5-7-5-syllable haiku embedded in nature to the contemporary one-line “monoku.” Her tanka range from the traditional 5-7-5-7-7-syllable tanka through the contemporary to the collaborative and experimental tan-renga. high windows a salt-tangled breeze ruffles the trombone’s pages

Look on our website and Facebook page throughout the season for more of J. Zimmerman’s inspired poems.

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 1515 11AM–8PM ‡ CHURCH STREET STAGE

CHURCH STREET FAIR IS PRESENTED BY THE CABRILLO FESTIVAL OF CONTEMPORARY MUSIC AND THE SANTA CRUZ CIVIC AUDITORIUM

aturday and Sunday, August 2nd and 3rd see the return of Cabrillo Festival’s popular Church Street Fair! The two-day “festival within the Festival” Scontinues to offer an inspiring celebration of the arts–featuring premier music, art, food, and wine. Now in its 23rd year, this summer the Fair features local food purveyors and Santa Cruz Mountain vintners, plus an expanded menu of musical genres on the outdoor stage. Dozens of artists and craftspeople will sell their treasures all along Church Street in front of the Civic Auditorium; while the Church Street Stage takes audiences on a journey across the country and across the globe, from Jazz to Soul music, from Bombay to Brazil; from Folklorico to Funk; and from Celtic to classical styles–there’s something for everyone, including the kids! The Church Street Stage is hosted by our always fabulous master of ceremonies, KUSP programmer Brett Taylor.

The Mosaic Quartet

ShaShaktikti BhBhaktiakti EEnsemblensemble

Santa Cruz Ballet Theatre

Brett Taylor, Church Street Stage emcee. AZA

TheThe CChurchhurch SStreettreet SStagetage is sposponsorednso by:

The Great Morgani Pacific Voices

166 SATURDAY AUGUST 2 SUNDAY AUGUST 3

11:15am THE GREAT MORGANI Master accordion player, Frank Lima, 11:15am WORLD MUSIC HARP DUO is a Santa Cruz treasure and he starts off the Church Street Stage Features local favorites Jesse Autumn entertainment with flair. He has over 1,000 songs from around the and Shelley Phillips performing Irish, globe in his repertoire, and performs in handcrafted costumes that are Welsh, Scandinavian, Chinese, Japanese, as engaging as his music. Part of the fun is just seeing him clad head and Zimbabwean tunes adapted for harp. to toe in flamboyant performance attire! (www.thegreatmorgani.com) Audiences are invited to greet the morning with an eclectic musical mix crafted by these 12:15pm SAMBA CRUZ QUARTET Brazil comes to our doorstep in the two accomplished harp virtuosos. (www. hands of Pablo Riviera, Vivian Simon, Carl facebook.com/jesseautumnsongs ) Herder, and Jesse Van Hiller, performing works that span the full spectrum of 12:15pm SANTA CRUZ BALLET THEATRE This acclaimed company ooff Barzilian music styles—from sambas, to young dancers will charm children and adults alike with their exquisitetee bossa novas, baiao, choro, and more— choreography, remarkable musicality, precision training, and indomitablee on guitar, flute, percussion, bass, and spirit. From the irresistible dancers in the Petite Performance Company,y, vocals, all for your listening and dancing to the burgeoning ballerinas in their teens, Santa Cruz Ballet Theatreree pleasure! (www.sambacruz.com) presents ballet with fresh inspiration. (www.scbt.org)

1:15pm SHAKTI BHAKTI ENSEMBLE Led by founder and artistic 1:00pm CABRILLO FESTIVAL FREE FAMILY CONCERT inside thee director Revital Carroll, Shakti Bhakti Ensemble presents the art of Santa Cruz Civic Auditorium. It starts with an up-close and personalaal classical Indian dance. The group is dedicated to India’s oldest surviving Tour of the Orchestra; and continues with a very special world premierere dance form, Odissi, which originated in Odisha. Shakti Bhakti dancers performance of composer Jonathan Sheffer’s new family work, Thee are passionate about sharing this ancient and exotic art form with the Conference of the Birds. Narrated by the composer, the piece is inspiredd perspective of modern temple dancers. They make their Church Street by a Persian folk tale about a flock of birds on a spiritual journey andd Fair debut this year. (www.shaktibhakti.com) explores the orchestra’s ability to imitate the chirps, coos, and calls of our feathered friends. Marin Alsop conducts the Cabrillo Festival Orchestra.a. 2:15pm REBECCA LOMNICKY & DAVID BREWER Just returning from living in Scotland, duo 2:30pm WATSONVILLE TAIKO brings performers David Brewer of the popular Celtic band rhythm, movement, and harmony Molly’s Revenge, and Scotland’s International together with mind, body and spirit. Fiddle Champion Rebecca Lomnicky perform Artistic Director Ikuyo Conant once again Scottish music which bridges the gap between leads them on the Church Street stage traditional fiddle and bagpipe music–two worlds in traditional and modern works in this united. They explore this classical repertoire ancient Japanese drumming tradition. An with fiddle, bagpipes, guitar, bodhran frame annual Church Street favorite! (www.watsonvilletaiko.org) drum and penny whistle–and with contagious passion and energy. (www.davidbrewer.com; 3:30pm XOCHIPILLI COMPAÑIA DANZA DEE www.rebeccalomnicky.com) MEXICANA Under the leadership of José Manueleel Cuéllar and Cynthia Cuéllar, this popular Mexican folkk 3:30pm DIASPORA DANCE COMPANY is the resident dance company dance company returns to the Church Street Stagege of Tannery World Dance & Cultural Center, and seeks to explore the to celebrate a diversity of Mexican culture. Xochipillilii urban cultural experience through presents a broad sampling of dance traditions fromm collaborative expression and multiple Chihuahua, Colima, Guerrero, Nuevo Leon, andd dance styles. Today they will make their Jalisco, with colorful costumes and joyful energy.yy. Church Street Stage debut presenting (www.x-cdm.com) a diverse program of traditional Haitian dances as well as contemporary works. 4:15pm ON THE SPOT TRIO is a fiercely funky threesome of Santaa (www.tanneryworlddance.com ) Cruz musicians determined to espouse the doctrine of soul jazz dancee parties across the land! Danny Mayer, guitar, Jeff Wilson, drums, andd 4:15pm PACIFIC VOICES This powerful and popular community chorus Kristopher Yunker on Hammond organ, Rhodes, Clavinet, and basss specializes in sacred choral and folk music from traditions around the keys, make up the trio. Their inspiration is rooted in 1970s soul jazzzzz world, composed over the past eight centuries! Pacific Voice’s eclectic and funk, but they’ve created their own unique mélange of rock, jazz,zz, repertoire is sung in 15 languages, with styles ranging from Gregorian afro beat, and improvisational groove. (www.otstrio.com) to Gospel, from Kirtan to Celtic, from Baroque to Barbershop, and from Renaissance to Rock. Conducted by Dr. Sean Boulware, they make 5:15pm KAT PARRA WORLD LATIN ENSEMBLE their CSF debut. (www.pacificvoices.org) Kat Parra fuses jazz vocals, Jewish and Hebrew melodies, and a wealth of Afro-Latin genres, for a 5:15pm DESERT DREAM MUSIC & DANCE sound and unique style that has made her one of Directed by Janelle Rodriguez, Mark Bradlyn, the Bay Area’s most successful Latin Jazz artists. Geoff Childers, Victoria Regan, and Maya She’ll be joined by Santa Cruz favorite Dan Robbins Borgueta will play modern and traditional on bass when her five piece ensemble make their Arabic melodies in accompaniment with the debut performance on the Church Street Stage! Desert Dream Dance Company, and special (www.katparra.com) guest dancers from Persephone Tribal Belly Dance. Desert Dream performs traditional 6:30pm AZA is the letter “Z” in the Tamazight alphabet, the language ofof Folkloric, Egyptian Raks Sharqi, Tribal Fusion, Turkish, and more, and the indigenous people of North Africa, and it is the symbol of the Amazighghh they’re back by popular demand! (www.JanelleDance.com) (Berber) identity. The band plays both Amazigh and Arabic music, infusedd with a western influence. Moroccan born Fattah Abbou and Mohamed 6:30pm THE MOSAIC QUARTET Santa Cruz’s own hometown piano Aoualou return this season with their large ensemble to bring the authentic virtuoso, Chetan Tierra, has joined with multi-instrumentalists Jonathan flavor of their exotic lands to life, and to bring the Church Street Fair to a Belanger, Patrick Knightly, and Melissa Creider, to create a progressive glorious close. (www.azamusic.net) art-pop band that blends modern and classical music, in an uplifting and energizing style that draws from influences ranging from Arcade Special thanks to Stage Manager Eileen Flynn, our Fire to Rachmaninoff. Rooted in three of the band members’ extensive IATSE 611 Sound Engineer, and to the Santa Cruz Civic training as world-class concert pianists, their unique indie song style Auditorium staff! And our deep will bring the outdoor Saturday evening festivities to a compelling close. appreciation for support from: (www.themosaicquartet.com)

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 17 1818 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC CREATIVITY TENT FOR KIDS Welcome to the “Creativity Tent for Kids” at the Church Street Fair—two full days of free hands-on music and art workshops under a beautiful white canopy in the gardens of the Santa Cruz City Hall!

Stop by to be inspired on Saturday and Sunday, August 2nd and 3rd! Music and movement will be central in sessions with Music Together, while professional artists will lead workshops in painting, drawing, printmaking and assemblage. The Creativity Tent’s activities promise our younger generations hours and hours of fun, and moments of enduring inspiration.

The Creativity Tent is one of the exciting components of children’s activities at the Festival; others include our innovative Free Family Concert and free family performances on the Church Street Stage, and a few fun surprises along the way! All workshops are free; stay as long as you like and enjoy!

SATURDAY AUGUST 2 SUNDAY AUGUST 3 MORNING WORKSHOP (11:00AM – 2:00PM) MORNING WORKSHOPS (11:00AM – 1:00PM) Music Together Family Music Workshop Exotic Bird Masks – Fiona Frye & Lauren Taylor Sing, dance, play instruments and have fun making Music Together! Children can practice their scissor skills when cutting around a pre-printed All ages will have the chance to be playful and engage with each other paper bird mask. Then imaginations will take Áight as they decorate their through music and dance. This is the ultimate in family music-making fun! creations with pastel and mixed-media collage!

AFTERNOON WORKSHOPS (2:30 – 5:30PM) Monoprint Birds – Susana Terrell Drawing and Painting – Carmen Leon Using precut models, children will decorate birds by decorating their This workshop involves drawing with oil pastels, then painting lightly wings with monoprints. Working with poster paint and exploring color, with watercolors, unveiling the delightfully unexpected aspects of this brush stroke, and design, they will add features to the birds with markers, mixed-media “resist” method. Carmen combines gentle guidance and Ànishing them with a holding stick and ribbon streamer. Young artists will inspiration from nature to encourage free expression and exploration of be proud to bring their creations into the 1pm Free Family Concert, The the physics of her technique. Conference of the Birds!

Printmaking – Jennifer Cordery AFTERNOON WORKSHOPS (2:30 – 5:30PM) Using a sheet of Styrofam and a pencil, here’s a quick and simple way of Mixed Media Owls – Claudia Stevens making prints with great results. After the pencil drawing is pressed into the Inspired by reference material of Persian owls, and the music they’ve just foam, colored printing inks are rolled over with a brayer. The drawing is then heard in the Free Family Concert, children will form the basic shapes for transferred onto a piece of paper, and can be repeated in various colors. the owl’s body and facial features. Next, they’ll use pastels, watercolor pencils and tempera paint to build color and repeated pattern, capturing Didgeridoo Making – Kathy Pearson some of the feather textures. Lastly, they’ll put the bird into a nocturnal Surrounded by inspiring samples of Australian Aboriginal art and music, environment with the Áicking of stars. Participants learn about line, children will decorate their own didgeridoos, using paint and oil pastels. texture, pattern, and design, as well as owl habitat. Drawing ideas will be taken from examples of Aboriginal dream-time designs and young people will walk away with a beautiful playable Music-Themed Acrylic Stencil Paintings – Emma Garcia instrument. First kids will paint their entire paper, using an array of colors in an abstract form, and then be assisted in stenciling patterns and/or musical Creativity Tent sponsored by: imagery over their artwork. The result will be a complex work of art in a MONTEREY PENINSULA highly contemporary style! FOUNDATION YOUTH FUND Dreamcatchers – Kyle Morris Dreamcatchers are not only beautiful objects, they are also said to promote good rest and happy dreams! Wooden or brass rings are wrapped in leather and a hoop is made at the top of the circle, then a simple knot is tied over and over again to create a net. Then leather tassels, feathers With additional support from: and beads are added to complete a lovely and powerful Dreamcatcher.

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSICC 1919 JOHN ADAMS CLARICE ASSAD

Sponsored by Jim & Beth Petersen Sponsored by Ellen Kimmel

Composer, conductor, and creative thinker—John Described by the Los Angeles Times as a Adams occupies a unique position in the world ”dazzling vocal soloist” and by Gramophone as of American music. His works, both operatic “one of Brazil’s most brilliant young composers,” and symphonic, stand out among contemporary Clarice Assad is a sought-after composer, classical compositions for their depth of arranger, pianist, and vocalist of musical depth expression, brilliance of sound, and the profoundly and ability. Her music embraces a wide variety humanist nature of their themes. of styles. John Adams Works spanning more than three decades have Assad has received acclaim for her performances entered the repertoire and are among the most of both original compositions and her own performed of all contemporary classical music, arrangements of popular Brazilian songs and among them Harmonielehre, Shaker Loops, his jazz standards and has performed at venues Violin Concerto and Chamber Symphony, Doctor such as the Caramoor Jazz Festival, Jazz at Atomic Symphony and Short Ride in a Fast Machine. Lincoln Center, Zankell hall, Concertgebow, San Francisco Jazz, among others. His stage works, all in collaboration with director Peter Sellars include Nixon in China (1987) and She is the recipient of the Aaron Copland Award, The Death of Klinghoffer (1991), El Niño (2000); several ASCAP awards, Van Lier Fellowship, the Doctor Atomic (2005); A Flowering Tree (2006); Franklin Honor Society, as well as a nomination Clarice Assad and the Passion oratorio The Gospel According from the Latin Grammy Foundation for best to the Other Mary (2012). contemporary composition. She has been commissioned by Carnegie Hall, Fundação Among Adams’ recent works are City Noir, OSESP, the Cabrillo Festival of Contemporary written for the Los Angeles Philharmonic, and Music, Concordia Chamber Players, the Albany Absolute Jest for string quartet and orchestra, Symphony, PRO MUSICA Chamber Orchestra, based on fragments of late Beethoven quartets, and the BRAVO Music Festival. Assad has commissioned for the San Francisco Symphony’s collaborated with a diverse array of musicians 100th anniversary. including Nadja Salerno-Sonnenberg, Yo-Yo Ma, the Assad brothers, the Turtle Island String Adams has received honorary doctorates from Quartet, the LA Guitar Quartet, Anne-Marie Harvard, Northwestern University, Cambridge McDermott, Ida KavaÀan, Mike Marshall and University, and the Juilliard School. A provocative TJ Cole Derek Bermel, to name a few. writer, he is author of the highly acclaimed autobiography Hallelujah Junction and is a frequent In 2014 Assad serves as Albany Orchestra’s contributor to the New York Times Book Review. Composer-Educator partner, curating an educational project with a local school, and As a conductor, Adams appears with the world’s will join the orchestra for a performance of her major orchestras in programs combining his Concerto for Scat-Singer, Piano and Orchestra own works with a wide variety of repertoire in May 2014. Assad is a resident artist at the ranging from Beethoven and Mozart to Ives, American Lyric Theater, writing a one act opera Carter, Zappa, Glass, and Ellington. Recent and which will be premiered in NYC in July 2014, and forthcoming activities include the BBC Proms, a is currently on tour with her project VOXPloration, two-week residency with the London Symphony a workshop on vocal improvisation and body Orchestra, and appearances with the Seattle Michael Daugherty percussion for underprivileged children and Symphony, the Los Angeles Philharmonic, the adolescents in Brazil. The project is made New World Symphony, and concerts in Australia possible through a grant from Caixa Cultural with orchestras in Sydney and Melbourne. He Federal. is currently Creative Chair for the Los Angeles Philharmonic. Assad’s Dreamscapes, for solo violin and string orchestra, will feature Nadja Salerno- The Cabrillo Festival has presented 17 works by Sonnenberg on Sunday, August 10, during the John Adams, including six premieres. This season Music at the Mission Grand Finale concerts in the Festival will present the West Coast premiere San Juan Bautista. of his Saxophone Concerto on Saturday, August 9, featuring soloist Tim McAllister and conductor Marin Alsop. Béla Fleck

expanded biographies available online at www.cabrillomusic.org

20 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC TJ COLE MICHAEL DAUGHERTY BÉLA FLECK

Sponsored by Tim & Marilyn Groves Sponsored by Jill Wilson, Attorney at Law Sponsored by Bruce & Linda Nicholson and Lester & Martha Miller TJ Cole is an American composer from Atlanta, Béla Fleck has reinvented the image of the currently studying at the Curtis Institute of Music Michael Daugherty Àrst came to international banjo through a remarkable performing and in Philadelphia under Jennifer Higdon, David attention when his Metropolis Symphony was recording career that has taken him all over the Ludwig, and Richard Danielpour. performed by the Baltimore Symphony at Carnegie musical map and on a multitude of solo projects Hall in 1994. Since that time, Daugherty’s music and collaborations. The 15-time Grammy Award Cole entered Interlochen Arts Academy for high has entered the orchestral, band and chamber winner is considered the premier banjo player in school in 2010 where she studied under John music repertoire and made him, according to the the world. Born and raised in New York City, he Boyle Jr. and Cynthia Van Maanen. In 2012 she League of American Orchestras, one of the ten began his musical career playing the guitar. In the entered the Curtis Institute of Music where she most performed American composers of concert early 1960s, while watching the Beverly Hillbillies, studies composition under Jennifer Higdon. music in the world today. the bluegrass sounds of Flatt & Scruggs Áowed At Interlochen, Cole garnered the Neil Rabaut from the TV set and Earl Scruggs’ banjo style Memorial Scholarship, an honor which can be Born in 1954 in Cedar Rapids, Iowa, Daugherty is hooked Fleck’s interest. It wasn’t until 1973, the awarded to a single young composer during any the son of a dance-band drummer and the oldest week he entered New York City’s High School of given year. In 2011, she won the Àrst annual of Àve brothers, all professional musicians. Music and Art, that his grandfather bought him a Atlanta Music Club Composition Competition. Daugherty studied music composition at Yale banjo and it became his full time passion. From the ages of 6-12, she wrote a series of University I.R.C.A.M. (Paris) and the Hamburg piano pieces and self-produced her Àrst album Hochschule für Musik. His composition teachers Any world-class musician born with the names entitled Solace (2005). Her second album, included Jacob Druckman, Roger Reynolds, Earle Béla (for Bartok), Anton (for Webern) and Léos Anthology (2009) included her second set of Brown and György Ligeti. Daugherty was also an (for Janacek), as was Fleck, would seem destined original piano music. assistant to jazz arranger to Gil Evans in New to play classical music. Already a powerfully York from 1980 to 1982). In 1991, Daugherty creative force in bluegrass, jazz, pop, rock and Cole has been commissioned by the University of joined the University of Michigan School of world beat, Fleck made his Àrst venture into the Georgia for their gymnastics team’s documentary Music, Theatre and Dance in Ann Arbor, Michigan classical music world with Perpetual Motion, Àlm score, by the Lawrence Symphony Orchestra, as Professor of Composition, where he is a his critically acclaimed 2001 Sony Classical and by the Kelly Writers House with the Curtis mentor to many of today’s most talented young recording. It went on to win a pair of Grammys, Institute of Music. Her work has also been composers. Daugherty is also a frequent guest including Best Classical Crossover Album. performed by the Interlochen Arts Academy of professional orchestras, festivals, universities Orchestra, the Sewanee Symphony Orchestra, and conservatories around the world. Collaborating on Perpetual Motion was Fleck’s the Curtis Symphony Orchestra, ensemble39, long time friend and colleague Edgar Meyer, a and the Dover Quartet. Her orchestral works have In 2011, the Nashville Symphony’s Naxos bassist and composer whose virtuosity deÀes been conducted under the batons of artists such recording of Daugherty’s Metropolis Symphony labels. In the wake of that album’s release, Fleck as Octavio Mis-Arocas, Vinay Parameswaran, and Deus ex Machina was honored with three and Meyer came up with the idea of a banjo/ and Kensho Watanabe. GRAMMY® Awards, including Best Classical bass duo, which they developed and reÀned Contemporary Composition. His Naxos recordings during a concert tour of the U.S. They later went Cole has also had master classes and/or of orchestral music include UFO, Colorado on to compose two concerti for the Nashville lessons with composers Steven Stucky, Joan Symphony, Marin Alsop (1999); Fire and Symphony–a double concerto for banjo and Tower, Marilyn Shrude, Shulamit Ran, Richard Blood, Detroit Symphony Orchestra, Neemi bass which debuted in 2003, as well as a triple Danielpour, Krzysztof Penderecki, Roshanne Järvi (2005); Metropolis Symphony, Nashville concerto, The Melody of Rhythm, with Zakir Etezady, Matthias Pintscher, and Gabriela Lena Symphony, Giancarlo Guerrero (2009); Route Hussain, the Indian tabla virtuoso. In 2012 Frank. Her work has also been coached by Curtis’ 66, Bournemouth Symphony, Marin Alsop (2010) Fleck wrote Night Flight Over Water for Banjo ensemble-in-residence, eighth blackbird. and Mount Rushmore, PaciÀc Symphony, Carl and String Quartet and recorded it with genre St.Clair (2012). Daugherty’s music is published bending Brooklyn Rider. In her free time, Cole enjoys dancing, coloring, by Peermusic Classical, Faber Music, Boosey and bike riding, and capturing photographs of the Hawkes and Michael Daugherty Music. In 2011 Fleck premiered The Impostor Concerto Philadelphian elderly community. with the Nashville Symphony Orchestra. He will The Cabrillo Festival has presented 15 works perform its West Coast premiere with the Cabrillo TJ Cole will be in residence for the 2014 Cabrillo by Michael Daugherty, including ten premieres. Festival Orchestra on Opening Night, August 1, Festival season; her work Metropolis will be On Sunday, August 10, his recent work for solo 2014, conducted by Marin Alsop. The composer performed by the Festival Orchestra on Saturday, violin and string orchestra, Fallingwater, will and the making of The Impostor Concerto are the August 2, at the Santa Cruz Civic Auditorium. be performed at the Grand Finale concerts at subject of a newly released documentary which Mission San Juan Bautista, featuring Nadja will be shown at the Del Mar Theatre, PaciÀc Salerno-Sonnenberg. Avenue on July 30, 7:30pm. A Q&A with Béla Fleck will follow.

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 2121 STACY GARROP DETLEV GLANERT

Sponsored by Marcia & Fred Smith Sponsored by Jack Baskin & Peggy Downes-Baskin and Composer Stacy Garrop has won numerous Rowland & Patricia Rebele awards including a Fromm Music Foundation Grant, Raymond and Beverly Sackler Music Detlev Glanert was born in Hamburg. He Àrst Composition Prize, two Barlow Endowment played trumpet and tuba, and later doublebass commissions, as well as competitions sponsored and piano. He studied composition with Diether by the American Composers Orchestra, Civic de la Motte from 1980 to 1982 in Hamburg, Orchestra of Chicago, Detroit Symphony with Hans Werner Henze from 1985 to 1989 in Stacy Garrop Orchestra, Minnesota Orchestra, Omaha Cologne, and with Oliver Knussen at Tanglewood Symphony, Charleston Symphony Orchestra, in the summer of 1986. New England Philharmonic, and the Pittsburgh New Music Ensemble. Her chamber and Early in his career, Glanert especially admired orchestral works are published by Theodore Gustav Mahler for his expressive encompassing Presser Company, and she self-publishes her of the entire world, and Maurice Ravel for his choral works under Inkjar Publishing Company. glittering artiÀcial surfaces; both composers She is a Cedille Records recording artist and were very important for his development. Later on has works on seven of their CDs, with additional Hans Werner Henze and Bernd A. Zimmermann works on nine recordings by eight labels; these had an important inÁuence. Following the Àrst recordings feature performances by Chanticleer, successful performances of his work, Glanert decided to pursue a life as a free lance composer Detlev Glanert Lincoln Trio, Grant Park Music Festival Chorus, Gaudete Brass Quintet, Biava Quartet, Cecilia for lyric opera, orchestral music and chamber Quartet, Chicago a cappella, and Volti. Cedille music. His works demonstrate lyrical gifts and a Records is currently in the process of recording fascination with the Romantic past viewed from a her orchestral works with the Chicago College of modern perspective. Performing Arts Orchestra, to be commercially Glanert won the prestigious Rolf Liebermann released in 2015/2016. Opera Prize in 1993 for his Àrst full scale She has been commissioned by numerous opera The Mirror of the Great Emperor, and the ensembles and organizations including the Bavarian Theatre Prize in 2001 for the comic Albany Symphony, Chanticleer, Chicago Classical opera Jest, Satire, Irony and Deeper Meaning, Recording Foundation, Chicago Chamber which garnered numerous stage productions and has become his most successful opera to date. Jennifer Higdon Musicians, Rembrandt Chamber Players, and the Capitol Saxophone Quartet. Garrop is currently Glanert is currently the most performed living working on a commission from the San Francisco opera composer in Germany. His stage works Choral Society and Piedmont East Bay Children’s (eleven) have received many different stage Choir to write an oratorio that will premiere in 2014. productions. His orchestral output includes three symphonies, concertos for piano, two pianos, Garrop has been in residence with several violin and tuba, and several orchestra pieces in organizations including the Volti Choral Institute all orchestra sizes. His works are conducted by, for High School Singers, Skaneateles Festival, among others, Markus Stenz, Oliver Knussen, Albany Symphony, and Music in the Loft. She Kent Nagano, Semyon Bychkov, Donald has attended residencies at the Aspen Music Runnicles, Ivin Fischer, Christian Thielemann, Festival, MacDowell Colony, Banff Centre for Jun Märkl, Stefan Asbury and David Robertson. Dylan Mattingly the Arts, Yaddo Colony, and the Wellesley Composers Conference. Glanert lived in Italy for almost ten years, collaborating with the “Cantiere Internazionale Garrop earned degrees in music composition Montepulciano” where he was artistic director at the University of Michigan-Ann Arbor for three years. In 1992-93 he was a fellow of the (B.M.), University of Chicago (M.A.), and Indiana German Academy Villa Massimo in Rome, in 2003 University-Bloomington (D.M.). She is an he was composer in residence in Mannheim, in Associate Professor and Head of Composition 2005 was composer in residence in Sapporo, at the Chicago College of Performing Arts and since 2011 has been elected one of three at Roosevelt University. She is also on the house composers of the Royal Concertgebouw composition faculty of the annual Fresh Inc Orkest in Amsterdam. He holds lectures and Festival, sponsored by Fifth House Ensemble. composition classes in Aspen, Montepulciano, Melbourne, Jakarta and Sapporo, and currently Andrew Norman She makes her Cabrillo Festival debut with lives in Berlin. Thunderwalker at the Grand Finale performances The Cabrillo Festival will present the U.S. expanded biographies at Mission San Juan Bautista, Sunday, August 10, 2014. premiere of his Three Songs without Words on available online at Sunday, August 10, at Mission San Juan Bautista. www.cabrillomusic.org

22 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC JENNIFER HIGDON DYLAN MATTINGLY ANDREW NORMAN

Sponsored by Sponsored by Sue Struck and Alan Ritch Sponsored by Richard Fabrikant & Marty Finn Earleen Overend & Wayne Palmer and Michael Good & JoAnn Close Dylan Mattingly is a native of Berkeley, California. Andrew Norman is a composer of chamber and Dylan Mattingly recently received a B.A. in orchestral music. A native Midwesterner raised in 2014 marks Jennifer Higdon’s sixth residency at Classical Greek and a B.M. in Music Composition central California, Norman studied the piano and the Cabrillo Festival. A Pulitzer Prize and Grammy from Bard College where he studied with George viola before attending the University of Southern Award-winner whose works garner more than Tsontakis, Kyle Gann, John Halle, and Joan Tower. California and Yale. His teachers and mentors 300 performances a year, Higdon is now one of Mentored as well in Berkeley by composer John include Martha Ashleigh, Donald Crockett, the most performed living American composers Adams, his music has been performed in San Stephen Hartke, Stewart Gordon, Aaron Kernis, working today. She has been the recipient Francisco, Sydney, Berlin, New York, London, and Ingram Marshall, and Martin Bresnick. of a Guggenheim Fellowship, a Koussevitzky many other cities around the world. He will be Fellowship, a Pew Fellowship, and two awards attending the Yale School of Music in the Fall. A lifelong enthusiast for all things architectural, from the American Academy of Arts & Letters. Norman writes music that is often inspired by Her Secret & Glass Gardens was a winner in Called “visionary magic” by Susan Scheid, forms and textures he encounters in the visual the Van Cliburn Piano Competition’s American Mattingly’s work has been inÁuenced by Thomas world. His music draws on an eclectic mix of Composers Invitational. Adès, John Adams, Olivier Messiaen, Joni Mitchell, instrumental sounds and notational practices, and Bob Dylan, as well as the old American blues and it has been cited in the New York Times for Higdon’s commissions have come from a wide and folk Àeld recordings of the Lomaxes. For two its “daring juxtapositions and dazzling colors” range of performers: from such orchestras as the years he was the co-director of Formerly Known and in the LA Times for its “Chaplinesque” wit. Philadelphia Orchestra, the Baltimore Symphony, as Classical, a SF Bay Area new music ensemble Norman is increasingly active as an orchestral and the Cleveland Orchestra, to The President’s whose young members play only music written composer. His symphonic works, often noted Own Marine Band; from the Tokyo String in their lifetimes, and he is now the co-artistic for their clarity and vigor, have been performed Quartet and the Lark Quartet, to the new music director and co-founder of Contemporaneous, a by the Los Angeles and New York Philharmonics, ensemble, eighth blackbird; as well as individual New York-based ensemble of young musicians, the Philadelphia and Minnesota Orchestras, the artists such as violinists Hilary Hahn and Jennifer “dedicated to performing the most exciting music BBC Symphony, the Orpheus Chamber Orchestra, Koh, and pianists Gary Graffman and Yuja Wang. of the present moment.” Mattingly performs the Tonhalle Orchester Zurich, and many others She recently completed her Àrst opera based on frequently as a cellist, bassist, pianist, guitarist, worldwide. Charles Frazier’s book, Cold Mountain. It will be and percussionist. In 2012, Contemporaneous premiered in August 2015 at Santa Fe Opera and released an album on INNOVA Records, entitled His chamber music has been featured at then will be presented by Opera Philadelphia in Stream of Stars—Music of Dylan Mattingly. numerous venues in recent seasons, including February 2016. the Wordless Music Series at Le Poisson Rouge, Among the musicians who have performed the MATA Festival, the Tanglewood Festival of Upcoming projects include a Viola Concerto for Mattingly’s music are the Cabrillo Festival Contemporary Music, the Green Umbrella Series, Roberto Diaz, commissioned by the Library of Orchestra, the Berkeley Symphony, the and the Aspen Music Festival. In May of 2010, Congress; a song cycle for Thomas Hampson, Del Sol String Quartet, Contemporaneous, the Berlin Philharmonic’s Scharoun Ensemble commissioned by Carnegie Hall; and a work Formerly Known as Classical, Soovin Kim, Ignat presented a portrait concert of Norman’s music for Nadja Salerno-Sonnenberg’s New Century Solzhenitsyn, Sarah Cahill, Geoffrey Burleson, entitled Melting Architecture. Chamber Orchestra. Higdon makes her living Mary Rowell, Other Minds, Symphony Parnassus, from commissions and serves as composer-in- and the Da Capo Players. Mattingly was a Norman is the recipient of numerous awards and residence with various orchestras and universities Ànalist in Orpheus Chamber Orchestra’s “Project honors, including the 2005 ASCAP Nissim Prize, throughout the country. Her works are recorded 440,” a crowdsourcing commissioning project the 2006 Rome Prize and the 2009 Berlin Prize. on over 50 CDs. ESPN has broadcast her music sponsored by WQXR. His work I Was a Stranger, He joined the roster of Young Concert Artists as during Drum Corp International’s World Finals, commissioned by John Adams and Deborah Composer in Residence in 2008, and held the when the Boston Crusaders and the Bluecoats O’Grady for the Cabrillo Festival Orchestra, title “Komponist für Heidelberg” for the 2010- featured her music in their shows. She holds the received its world premiere in 2012. Mattingly 2011 season. Andrew served for two years as Milton L. Rock Chair in Composition at The Curtis recently completed a large-scale project drawing Composer in Residence with the Boston Modern Institute of Music in Philadelphia. upon his study of ancient Greek, setting the Orchestra Project, and is currently Composer choruses of Euripides’ Bakkhai while utilizing in Residence with the Los Angeles Chamber Higdon’s work Concerto 4-3 will be performed by the original Greek meter and tuning systems. Orchestra and Opera Philadelphia. Andrew’s the Festival Orchestra on Saturday, August 2, at Mattingly is also an avid painter, poet, and 30-minute string trio The Companion Guide to the Santa Cruz Civic Auditorium. pitcher, having played for Bard College’s Àrst ever Rome was named a Ànalist for the 2012 Pulitzer baseball team. Upcoming commissions include Prize in Music. two large solo piano works for Kathleen Supové Upcoming projects for Andrew include and Sarah Cahill, and a work for the Los Angeles collaborations with the Calder Quartet, pianists Philharmonic to be premiered in 2015. Jeremy Denk and Emanuel Ax, percussionist This season the Cabrillo Festival Orchestra, Colin Currie and violinist Jennifer Koh. conducted by Marin Alsop, presents the world Norman’s work, Play, will receive its West Coast premiere of Mattingly’s latest work Sky Madrigal premiere on Opening Night, Friday, August 1, on Opening Night, August 1. 2014 at the Santa Cruz Civic Auditorium.

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 2323 Jonathan Sheffer

Gabriella Smith

Mark-Anthony Turnage CABRILLO John Adams: Saxophone The First Stop on the West Coast Concerto expanded biographies (West Coast available online at for Today’s Greatest Composers Premiere) www.cabrillomusic.org

Mark-Anthony Detlev Glanert: Turnage: Speranza Three Songs Without Brett Dean: (West Coast Premiere) Words (US Premiere) Fire Music (US Premiere)

Béla Fleck: The Impostor Concerto (West Coast Premiere)

www.boosey.com

24 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC JONATHAN SHEFFER GABRIELLA SMITH MARK-ANTHONY TURNAGE Sponsored by the Rabinowitz & Gordon Families Sponsored by The Pacific Harmony Foundation Sponsored by Phyllis Rosenblum

Composer and conductor Jonathan Sheffer Gabriella Smith is a composer from the San Mark-Anthony Turnage is a composer of has had a diverse career in music, spanning Francisco Bay Area who currently attends international stature, whose orchestral and the worlds of classical, opera, dance, and Àlm Princeton University where she is a Naumberg operatic music is often forthright and and television. Born in New York City, Sheffer and Roger Sessions doctoral fellow. Her confrontational, mirroring the realities of graduated from Harvard University, where his upcoming projects include new works for the modern life. His absorption of jazz elements into teachers included Leonard Bernstein, and later New York Virtuoso Singers, Gallicantus, and a contemporary classical style produces work attended The Juilliard School and Aspen School Gabriel Cabezas. with a strong appeal to an enquiring, often young, of Music. audience. Smith’s music has been performed throughout Sheffer’s range of works comprises television the United States and internationally by eighth Turnage studied with Oliver Knussen and John and feature Àlm scores, works for orchestra, solo blackbird, PRISM Quartet, Aspen Contemporary Lambert, and later with Gunther Schuller. He has piano, concertos, musicals, and short operas. Ensemble, Azure Ensemble, Berkeley Symphony, written three full length operas: Greek received His work was the focus of a Guggenheim Works Curtis Symphony Orchestra, Classical a triumphant premiere at the Munich Biennale & Process series event in October 1999. His Revolution, Contemporaneous, Dinosaur Annex, festival in 1988; The Silver Tassie premiered in opera, Blood on the Dining Room Floor, received Ensemble39, Friction Quartet, Monadnock 2000 at English National Opera, and won both the Richard Rodgers Production Award from the Music, and Palo Alto Chamber Orchestra. the South Bank Show and Olivier Awards for American Academy of Arts and Letters and was She has received commissions from the New Opera; and his latest, Anna Nicole, was premiered produced off-Broadway in 2000. He has had York Virtuoso Singers, Friction Quartet, Lake at Covent Garden in Spring 2011 with six sold-out fellowships at both Yaddo and The MacDowell Champlain Chamber Music Festival for their houses and broadcasts on television and radio. Colony, and in 2003 he was a Visiting Artist at 2012 season opening concert, One Book One Turnage served as Composer in Association with the American Academy in Rome. Philadelphia in celebration of Edwidge Danticat’s book Create Dangerously, Dinosaur Annex the City of Birmingham Symphony Orchestra He made his conducting debut with the San Music Ensemble for their 9th Annual Young and Sir Simon Rattle from 1989 to 1993; BBC Diego Symphony in 1991. In 1995 Sheffer Composers Concert, the Rock School of Ballet in Symphony Orchestra’s Àrst Associate Composer founded the Eos Orchestra in New York as a Philadelphia, Monadnock Music in collaboration in 2000, culminating in a major Turnage weekend laboratory of new programming ideas; and in with poet Marcia Falk of the MacDowell Colony, at the Barbican in January 2003; Composer 2001, he was invited by a group of musicians and the Palo Alto Chamber Orchestra through in Residence with the London Philharmonic and arts donors from Cleveland to lead a new their Youth-for-Youth Commissioning Project. Orchestra from 2005-2010; Mead Composer in organization with a similar mission. The result Residence with the Chicago Symphony Orchestra was Red {an orchestra}, which performed similar Smith has participated in many summer music from 2006-2010; as well, he is Research Fellow programs for six seasons. festivals, including the American Conservatory in Composition at the Royal College of Music. at Fontainebleau, France; Music11 in Blonay, In addition to Eos and Red, Sheffer has Switzerland; Lake Champlain Chamber Music Turnage has enjoyed premieres and commissions conducted orchestras, opera, dance and at Festival in Burlington, Vermont; Aspen Music from leading orchestras around the world. Three various festivals, including the New York City Festival and School; Monadnock Music in Screaming Popes, Kai, Momentum and Drowned Opera, The Spoleto Festival (Italy), and the Peterborough, New Hampshire; and the Yellow Out, were written for the City of Birmingham Ravinia Festival. He has conducted the American Barn Young Artists Program in Putney, Vermont. Symphony Orchestra. Blood on the Floor was Ballet Theatre at the Metropolitan Opera, the She has received three ASCAP/Morton Gould commissioned for Ensemble Modern. Ceres was Mark Morris Dance Company at BAM, and in Young Composer Awards (2014, 2013, and 2009), commissioned by the Berlin Philharmonic; Bass 1996, he led the Scottish Chamber Orchestra the Theodore Presser Foundation Music Award Inventions, premiered by the bass player Dave with the Martha Graham Dance Company at the (2012), and the First Place Prize in the 2009 Holland in Amsterdam, and Scorched, co-written Edinburgh Festival. As part of his activities in PaciÀc Musical Society Composition Competition. with John ScoÀeld for jazz trio and orchestra, arts and culture philanthropy and political action, premiered in 2002 with the Frankfurt Radio She received her B.M. from the Curtis Institute Sheffer has been an active political fundraiser Symphony Orchestra and Big Band. During his of Music where she studied with David Ludwig, and advocate for the arts in government. He has Chicago Symphony Orchestra tenure from 2006- Jennifer Higdon, and Richard Danielpour. served on the board of Directors of VH1 Save 2010, he wrote From All Sides and Chicago The Music, the New York City Opera, and was Before beginning her studies at Curtis, Smith Remains. Other commissions include Scherzoid the appointee of the New York City Council to the performed as a violinist in the Superdelegates for the New York and London Philharmonic Board of Lincoln Center for the Performing Arts. (an improv avant-garde classical/blues string orchestras, and his viola concerto On Opened He is currently a Councilmember of the New York quartet), the Formerly Known as Classical Ground for the Cleveland Orchestra. State Council on the Arts. new music ensemble, and the Young People’s In recent years he has written two ballet scores: Symphony Orchestra. She currently sings in the On Sunday, August 3, the composer will narrate Undance for Sadler’s Wells, a collaboration Princeton University Georgian Choir. the world premiere performance of his latest with Wayne McGregor and Mark Wallinger, and work, The Conference of the Birds, commissioned Smith was selected in an ongoing collaboration Trespass for the Royal Ballet, choreographed for the Cabrillo Festival and conducted by between composer John Adams and Marin Alsop of by Alastair Marriott and Christopher Wheeldon. Marin Alsop. the Cabrillo Festival to identify the next generation A new cello concerto for Paul Watkins received of exceptional talent. Her latest work, Tumblebird its premiere in 2012 and 2013. Turnage was Contrails, was commissioned by the PaciÀc featured composer with the London Symphony Harmony Foundation and will receive its world Orchestra, for whom he wrote Speranza, which premiere performance on Saturday, August 9, 2014. will receive its West Coast premiere at the Cabrillo Festival on Saturday, August 2, 2014, at the Santa Cruz Civic Auditorium.

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 2525 BÉLA FLECK TIMOTHY MCALLISTER NADJA banjo saxophone SALERNO-SONNENBERG Sponsored by Bruce & Linda Nicholson Sponsored by Michèle Beigel Corash & violin Laurence Corash Béla Fleck is a 15-time Grammy Award winner Sponsored by Joseph & Bette Hirsch who has been nominated in more categories Hailed by The New York Times as “one of the Passion and innovation are the hallmarks of than any other artist in Grammy history. Often foremost saxophonists of his generation” and as internationally acclaimed soloist and chamber considered the premier banjo player in the world, “a sterling saxophonist” by The Baltimore Sun, musician Nadja Salerno-Sonnenberg’s artistry. Fleck has reinvented the image of the banjo Timothy McAllister is an international soloist, Highly regarded for her compelling performances, through a remarkable performing and recording member of the PRISM Quartet, and a champion daring interpretations and dedication to her career that has taken him all over the musical of contemporary music credited with more than craft, she is one of today’s leading violinists, map and on a multitude of solo projects and 150 premieres of new compositions by eminent renowned for her work on the concert stage, collaborations. and emerging composers worldwide. His solo, in the recording studio, and her role as music orchestral and chamber music recordings appear director of the San Francisco-based New Century Fleck is perhaps most famous for pioneering on the Naxos, Albany, Stradivarius, Summit, Chamber Orchestra, which she joined in 2008. his band Béla Fleck and the Flecktones, formed OMM, New Focus Recordings, Centaur, Innova, With successful careers in both the solo and in 1988 and still going strong. The band has Parma and Nonesuch labels. His celebrated work chamber music worlds, Salerno-Sonnenberg collaborated with guest artists as diverse as is highlighted in the Deutsche Grammophone continues to enthrall audiences of all ages. Bruce Hornsby, Branford Marsalis, John Medeski DVD release of John Adams’ City Noir, Àlmed as and Dave Matthews, and has recorded 13 part of Gustavo Dudamel’s inaugural concert as A powerful and creative presence on the recording distinctive albums. In 2005 Fleck performed with music director of the Los Angeles Philharmonic. scene, Salerno-Sonnenberg continues to enrich the Sparrow Quartet, an acoustic group formed the collection of her record label, NSS Music. The by his wife and musical collaborator Abigail His world premiere performance of John Adams’ latest release (May 2014) is From A to Z, an all- Washburn with whom he now tours, and with Saxophone Concerto in August 2013 with the New Century Chamber Orchestra commissions whom he now has a baby boy named Juno Fleck. Sydney Symphony Orchestra, under the baton CD featuring Salerno-Sonnenberg as soloist in of the composer in the Sydney Opera House, works by Clarice Assad, William Bolcom, Michael Already a powerfully creative force in bluegrass, was described by the Sydney Morning Herald as Daugherty, and Ellen Taaffe Zwilich. As well, she jazz, pop, rock and world beat, Fleck made his “astonishing.” Subsequent critically acclaimed has recorded more than 20 releases on the EMI Àrst venture into the classical music world with US premieres with the Baltimore Symphony and Nonesuch labels. Perpetual Motion and the 2001 recording went Orchestra and Saint Louis Symphony have on to win a pair of Grammys, including Best followed, along with a recording for the Nonesuch She has appeared on television numerous times, Classical Crossover Album. Collaborating with label. Upcoming solo engagements include the including CBS’ 60 Minutes, 60 Minutes II, and Fleck on Perpetual Motion was his long time Orquestra Sinfônica do Estado de São Paulo, BBC Sunday Morning; and CNN’s Newsstand; and friend and colleague Edgar Meyer, a bassist Symphony Orchestra, the New World Symphony, was the subject of the 2000 Academy Award- and composer; in the wake of that album’s among others. He returns to the Cabrillo Festival nominated Àlm, Speaking in Strings, which release, Fleck and Meyer formed a banjo/bass as soloist in the West Coast premiere of Adams’ premiered at the Sundance Film Festival. Her duo, which they toured across the U.S. They concerto on Saturday, August 9, 2014. autobiography, Nadja: On My Way, was published went on to compose two orchestral works for by Crown Books in 1989. the Nashville Symphony–a double concerto for McAllister has recently been soloist with the Fort banjo and bass, as well as a triple concerto with Wayne Philharmonic, Elgin Symphony, Albany Salerno-Sonnenberg’s professional career began Zakir Hussain, the Indian tabla virtuoso. In 2011 Symphony Orchestra, Reno Philharmonic, Boston in 1981 when she won the Walter W. Naumburg Fleck premiered his banjo concerto The Impostor Modern Orchestra Project, Hong Kong Wind International Violin Competition. She is the with the Nashville Symphony Orchestra, and will Philharmonia, Tokyo Wind Symphony, PaciÀc recipient of an Avery Fisher Career Grant, and an perform the West Coast premiere at the Cabrillo Symphony and the Nashville Symphony, among Avery Fisher Prize. An American citizen, Salerno- Festival on Opening Night, August 1, 2014. others. An in-demand orchestral saxophonist, he Sonnenberg was born in Rome and emigrated to has toured in the US and abroad with both the the United States at the age of eight to study at For Fleck’s composer bio see page 21. Los Angeles Philharmonic and Chicago Symphony the Curtis Institute of Music. She later studied Orchestra, among many others. with Dorothy DeLay at the Juilliard School. She expanded biographies returns to the Cabrillo Festival as soloist for available online at He serves as Professor of Saxophone at the Grand Finale concerts at Mission San Juan www.cabrillomusic.org Northwestern University, and is a clinician for the Bautista on Sunday, August 10, in works by Conn-Selmer and D’Addario companies. Clarice Assad and Michael Daugherty. 26 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC TIME FOR THREE JUSTIN BRUNS TOM ONTIVEROS string trio concertmaster lighting designer

Sponsored by Howard Hansen Sponsored by Richard Faggioli Sponsored by an Anonymous Donor

Time for Three, the world’s Àrst classically-trained Justin Bruns is Assistant Concertmaster with Tom Ontiveros designs with light and projection garage band, deÀes traditional classiÀcation, the Atlanta Symphony Orchestra. He was for theatre, dance, and live music. He is a three- performing music from Bach and Brahms to previously Assistant Concertmaster of the time recipient of the Dean Goodman Award their own arrangements of The Beatles, Katy Colorado Symphony Orchestra and served as for Lighting Design and was featured in San Perry, Mumford & Sons, Kanye West and Justin Concertmaster at the Boulder Bach Festival. Francisco’s Callboard magazine. He is a board Timberlake. They have played everywhere from Bruns has spent summers at the Aspen member for viBe, an NYC organization providing Carnegie Hall to jazz clubs, European festivals, Music Festival, Beijing Music Festival, and, as performance and writing programs to high school NFL games, and the Indy 500. Associate Concertmaster, at the Bellingham girls with limited access to the arts. He recently Music Festival. In 2012, Marin Alsop appointed designed lighting for the Tune In Festival at Comprised of Zachary (Zach) De Pue, violin; him Concertmaster of the Cabrillo Festival of the Park Avenue Armory curated by the eighth Nicolas (Nick) Kendall, violin; and Ranaan Meyer, Contemporary Music. blackbird which included collaborations with double bass, the trio played together for fun Bora Yoon, Ruth Pongstaphone, Paul Haas, Paul while students at Philadelphia’s Curtis Institute As a chamber musician, Bruns has appeared Fowler, Newspeak, Red Fish Blue Fish, John of Music. De Pue and Kendall discovered their with ensembles such as the Atlanta, Georgian, Luther Adams, the Argento Chamber Ensemble mutual love of Àddling in the country western and Michigan Chamber Players, Bent Frequency, and others to create lighting and visual design and bluegrass styles. Then Meyer introduced and Sonic Generator. In 2010, Bruns and for new music performance. them to his deep roots in jazz and improvisation. colleagues initiated the ASO Chamber Music After considerable experimentation, the three Concerts, programming works complementary Other recent designs include Schick Machine ofÀcially formed Time for Three, evolving into to those appearing on ASO concerts. In 2011 he composed by Paul Dresher and starring Steve a charismatic ensemble with a reputation for made his chamber music debut at Carnegie Hall Schick at Z Space in San Francisco. His lighting limitless enthusiasm and no musical boundaries. and performed at the San Miguel Chamber Music and projection designs have also appeared at Festival in 2012. In 2013, Bruns performed the the Hungarian National Theatre Festival in Cluj, To date, the group has performed over a complete Beethoven Sonata cycle with pianist Romania, the International Festival of Arts and thousand engagements as diverse as its music: Bradley Martin. Ideas in New Haven, The Ojai Music Festival, from featured guest soloists on the Philadelphia Phoenix Symphony, Dinkelspiel Auditorium, Orchestra’s subscription series to Yoshi’s in Bruns maintains an active interest in bringing Marin Theatre Co., Intersection for the Arts, San Francisco; from residencies at the Kennedy music to young and diverse audiences, most The Magic Theatre, & ODC in San Francisco, Center to Christoph Eschenbach’s birthday recently assisting in the creation of Kids With San Diego Museum of Art, Chicago Museum concert at the Schleswig-Holstein Festival in Strings in Atlanta. At Rice University he co- of Contemporary Art, Cleveland Playhouse, Germany; and continues in a highly successful founded the Hammond Outreach Program SUSHI Performing Arts, The Japan America residency with the Indianapolis Symphony. Time and later participated in Up Close and Musical Theatre, Mondavi Center, Zellerbach Studio for Three has been seen and heard frequently presentations in Denver. He gives master Theatre, South Coast Rep, La Jolla Playhouse, on various television and radio broadcasts classes, maintains a private teaching studio, The Chocolate Factory in Long Island City, The throughout the country, including numerous and coaches the Àrst violin section of the Atlanta Joyce SoHo, St. Marks Church, The Ontological- appearances on Public Television and NPR. They Symphony Youth Orchestra. Hysteric, The Culture Project and 3LD in NYC performed a Tiny Desk Concert for NPR in 2013 and others. Collaborators include Allyson Green Bruns graduated summa cum laude from the and were featured in a documentary Àlm about Dance, Yolande Snaith & Imago Moves Dance University of Michigan, where he was enrolled Philadelphia’s Rittenhouse Square directed by Co., Rinde Eckert, Paul Dresher, eighth blackbird, in the Artists and Scholars Honors Program and Robert Downey, Sr. in 2005. They also recorded Cornerstone Theatre, Circle X, Michael Greif was awarded the top prize upon graduation, the the soundtrack to the History Channel’s 2007 (Most Wanted workshop), Bob Balaban (The Stanley Medal. He received his Master’s degree production, The Spanish-American War. They Exonerated), Naomi Iizuka (The Language of from Rice University. He has recorded with Pearl make their Cabrillo Festival debut on Saturday, Angels), Charles Mee (Summertime) and Marin Jam, Faith Hill, and Bruce Springsteen. August 2, in Jennifer Higdon’s Concerto 4-3. Alsop at the Cabrillo Festival of Contemporary Music. Tom is an Assistant Professor of Lighting JONATHAN SHEFFER Design at the University of Southern California. composer/narrator For bio see page 25. CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 2727 2014 FESTIVAL ORCHESTRA

Winner of the League of American Orchestra Cabrillo has emerged as the western states’ leading orchestra devoted to modern symphonic and ASCAP’s 2008-2009 John S. Edwards repertory in the twenty-first century. The Festival’s core performance group is an ensemble of Award for Strongest Commitment to New 68 professional musicians who join Maestra Alsop each year in award-winning programming American Music, and winner of their of contemporary music. These musicians come to Santa Cruz from all over the world, often Award for Adventurous Programming of foregoing more lucrative engagements in order to volunteer their professional services in favor Contemporary Music for 32 consecutive years (1982-2013). of the stimulation and challenge of the Cabrillo programs. Each is a new music advocate in their own right. For 52 years, they have earned Cabrillo an uncompromised and prestigious MEMBER OF THE reputation as America’s preeminent contemporary music festival. We invite you to join us in thanking each member of the orchestra for their generosity and dedication, and for the greatness of their spirit.

Violin I Trumpet Justin Bruns, Concertmaster, Atlanta GA Craig Morris, Principal, Coral Gables FL Maximillian Haft, Sacramento CA Philippe Brunet, Bowie MD Rebecca Jackson, Santa Cruz CA Lauren Eberhart, San Antonio TX Robyn Julyan, Denver CO Andrew Gignac, San Antonio TX Rita Lee, San Francisco CA Matthew Means, Hays KS Trombone Andrea Oey, Oakland CA Ava Ordman, Principal, Lansing MI Sarah Shellman, Tampa FL Dan Mattson, Grand Rapids MI Carol Swift-Matton, Albuquerque NM Robert K. Ward, Grand Rapids MI Benjamin Tomkins, Denver CO Tuba Violin II Forrest Byram, Principal, San Francisco CA Matt Albert, Principal, Dallas TX Flute Timpani Anne Chandra, Assistant Principal, Sarasota FL Tim Munro, Principal, Chicago IL Steve Hearn, Principal, Denver CO Louise Alexander, Indianapolis IN Betsy Hudson Traba, Sarasota FL Lauren Avery, Oakland CA Percussion Kristen Halay, Eugene OR Susan French, Long Island City NY Galen Lemmon, Principal, San Jose CA Sally Horak Hundemer, Shreveport LA Andrew McCann, Chicago IL Jim Kassis, Sunnyvale CA Rob Simonds, Indianapolis IN Oboe Ward Spangler, Oakland CA Charmian Stewart, San Anselmo CA Karen Wagner, Principal, Portland OR Svet Stoyanov, Hallandale FL Alexander Miller, Grand Rapids MI Viola Harp Paula Engerer, Phoenix AZ Sam Bergman, Principal, Minneapolis MN Nuiko Wadden, Principal, Brooklyn NY Jessica Oudin, Assistant Principal, Atlanta GA Clarinet Cimbalom Eleanor Angel, Los Gatos CA Bharat Chandra, Principal, Sarasota FL Jay Stebley, San Francisco CA Chad Kaltinger, Capitola CA John R. Schertle, Hong Kong Mary Jane Miller, Grand Rapids MI Michael Maccaferri, Chicago IL Keyboard Rebekah Newman, Baltimore MD Laura Stephenson, Sarasota FL Emily Wong, Principal, Yorktown Heights NY Cello Bassoon Michael Sheppard, Baltimore MD Alex Wasserman, Atlanta GA Jennifer Humphreys, Co-Principal, Atlanta GA Evan Kuhlmann, Principal, Portland OR Brad Ritchie, Co-Principal, Atlanta GA Adam Trussell, Portland OR Electric Guitar Kathleen Balfe, Granada Spain Steve Vacchi, Eugene OR D.J.Sparr, Lubbock TX David Gerstein, Little Rock AR Virginia Kron, Ojai CA Saxophone Assistant Conductor Kristin Ostling, Baltimore MD David Henderson, San Francisco CA Alexandra Arrieche, Baltimore MD

Bass Duduk Orchestra Manager Thomas Derthick, Principal, Sacramento CA Clark Welsh, San Francisco CA Erik Finley, Atlanta GA Todd Lockwood, Jacksonville FL Librarian Joseph McFadden, Atlanta GA Horn Ella M. Fredrickson, St. Petersburg FL Terry Pruitt, Albuquerque NM Kristin Jurkscheit, Principal, Baltimore MD Gavin Reed, Assistant Principal, Houston TX Orchestra on leave this season Fritz Foss, Chicago IL Thomas Harte, bass, Los Angeles CA Thomas Hundemer, Shreveport LA Yvonne Lam, Assistant Concertmaster, Chicago IL Nicky Roosevelt, Berkeley CA

28 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC FOND FAREWELLS

It is with great appreciation that we salute several long serving, and now retiring, orchestra players. Each will be missed for their deep devotion to the music and their generous spirit toward the Cabrillo Festival and their colleagues in the Festival Orchestra.

LEE DUCKLES DORIEN de LEÓN After 35 seasons as Principal Cello of the Cabrillo Cellist Dorien de León has been a member of the Festival Orchestra, Lee Duckles is leaving his Cabrillo Festival Orchestra for sixteen years. Her “favorite orchestra.” He Àrst played with the career as a cellist has included performances orchestra in 1971 under the direction of Carlos as a soloist, chamber musician and orchestral Chivez and rejoined as Principal Cello in 1978. player on both modern and period instruments. Lee has enjoyed the remarkable diversity of Having played the world premiere of John Adam’s the repertoire and the professionalism and Nixon in China while principal cellist of Houston camaraderie of the Festival Orchestra and guests. Grand Opera, she especially enjoyed playing Over the years, he appeared as a featured soloist more of his music here at the Festival. While in in music by William Bolcom and Edison Denisov Houston she was also principal cellist of the with Dennis Russell Davies, and works by Joan Texas Chamber Orchestra and the Houston Pops Tower and Aaron Jay Kernis under the direction of Marin Alsop. Former Orchestra. After moving to Portland, Oregon, Dorien joined the faculty Principal of the Vancouver Symphony Orchestra, Lee currently teaches at Lewis and Clark College where she teaches cello, coaches chamber privately and coaches chamber music in Vancouver where he directs a music, and performs with the new music ensemble Friends of Rain. Her Cello Ensemble, is co-director of the Vancouver Chamber Players, and interest in historical performance practices has led to collaborations with President of the Vancouver Cello Club. He will remember the Festival for Anner Bylsma, Sergiu Luca, John Holloway, and an appearance at the its unique musical experiences (including the annual cello prank), lasting World Cello Congress III with Roel Dieltiens. Dorien will miss her fellow memories, and life-long friends. Merry Pranksters of the cello section!

LESLIE VAN BECKER ELENA SOPOCI Leslie Van Becker grew up in the SF Bay Area and Elena Sopoci, violinist from Santa Fe, New as a child frequently came to Santa Cruz to swim Mexico, was forced by ongoing health issues in the ocean. She was thrilled to return to the area to say a fond farewell to the Cabrillo Festival. when invited to play at the Cabrillo Music Festival Performing with the Festival Orchestra since in 1978. Leslie performed with the orchestra 2000, Elena will miss so many of the facets of the from 1978–1980, and again from 1988–2012; Cabrillo experience. She says among her least/ in 1996 she was appointed Principal Viola. In most favorite memories are: having to dress addition to performing each summer, she loved and act like petulant reactionary anti-new-music bonding with her host families and walking by the impresario Henry Ford (wearing a mask and ocean. Leslie earned a Bachelor of Music from playing an out-of-tune violin!); picking and then the San Francisco Conservatory, and attributes baking blackberry pies with longtime host and the beginning of her love of contemporary music to working with Martin Festival usher, Joni Hyerle; and soaring to the incredible strains of Osvaldo Bresnick and John Adams while there. She went on to earn a Master of Golijov’s Azul. (Elena’s chamber music ensemble, Serenata of Santa Fe, Music from the Yale University School of Music. Following college, she will be performing string quartets by Golijov this September.) Elena wishes moved to Michigan where she has served as Principal Viola of the Grand her friends–in the orchestra and in the audience, as well–a great festival Rapids Symphony since 1978, and where she has been featured soloist this summer. on many occasions. Leslie is also an active chamber musician, and an educator, serving on the faculty of Calvin College and maintaining an active studio at her home–a lovingly restored 110-year-old Victorian in the Heritage Hill historic neighborhood of Grand Rapids.

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 2929 CONDUCTORS/COMPOSERS WORKSHOP A professional education program

here are so few opportunities for CONDUCTING FACULTY conductors to hone their conducting JAMES ROSS Tskills, let alone acquire the added skills James E. Ross serves needed to champion new music. Because as conducting faculty at conductors are the stewards of our symphonic The Juilliard School and heritage, investment in their professional as Director of Orchestral development is essential. What better Activities and Associate place than at the Cabrillo Festival to provide Professor of Conducting at workshops which serve conductors who are the University of Maryland. interested in performing contemporary music He holds degrees from Harvard University, at the highest level and to engage emerging the Curtis Institute, and Berlin Akademie der composers in the process. Kunst; his teachers included Kurt Masur, Seiji Ozawa, and Leonard Bernstein. He has served Twenty-one conductors and three young as assistant conductor of the Boston Symphony composers have been selected to participate Orchestra and Les Arts Florissants, and has in this year’s workshops, which are produced guest conducted around the world, including in collaboration with the Conductors Guild, a at the Leipzig Gewandhaus, the Glyndebourne music service organization devoted exclusively Festival, and the National Symphony Orchestra. FAREWELL TO to the advancement of the art of conducting and He is a distinguished leader of youth orchestras, MAESTRO GUSTAV MEIER to serving the artistic and professional needs of including the National Youth Orchestra of Spain, Over decades Gustav Meier has been Marin conductors throughout the world. the Mendelssohn Conservatory Orchestra of Alsop’s teacher, mentor, colleague, and friend. Leipzig, and the Orchestra of Acarigua-Araure Since the initiation of the Conductors/Composers The Conductor/Composer Training Workshop in Venezuela, part of the famed “El Sistema.” Workshop at Cabrillo in 2001, he has also been at the Cabrillo Festival takes place July 26-30 He also holds the position of Orchestra Director her trusted partner as conducting faculty here this season at the Santa Cruz Civic Auditorium. for Carnegie Hall’s newly formed National Youth at the Festival. They were a remarkable team Participating conductors and composers Orchestra of the United States of America. who engendered much respect and affection, experience Àve full days of intensive training as much for their teaching as their rapport with COMPOSING FACULTY with some of the world’s most respected one another. The Festival was privileged to have contemporary music professionals. Their JENNIFER HIGDON Maestro Meier help set the foundation for this / activities include a schedule of seminars and (See bio on page 25) successful program and now, upon his retirement critiqued conducting sessions —Àrst with quintet this year, it is with deep appreciation that we and piano, then with chamber orchestra, and salute the Maestro! Ànally podium time with the full Cabrillo Festival Orchestra. Under the guidance of faculty composer Jennifer Higdon, the participating composers work with the Festival’s composers- in-residence, and with the conductors on subjects including modern score analysis and 2014 BRUNO WALTER 2014 CONDUCTORS SPECIAL THANKS TO: practical guides for the rehearsal, interpretation CONDUCTING SCHOLARSHIP WORKSHOP AUDITORS Amanda Burton Winger, and performance of contemporary works. PARTICIPANTS Alan Buxbaum, BloomÀeld NJ Executive Director, The project culminates with an inspirational Melisse Brunet, Brad Cawyer, Rowlett TX Conductors Guild concert titled In the Works, on Wednesday, Ann Arbor MI Alexandra Dee, Tallahassee FL Erik Finley, Cabrillo Festival July 30 at the Civic Auditorium. In a Carlos Espinosa-Machado, John Devlin, College Park MD Orchestra Manager performance that is free and open to the public, Lawrence KS Michael Jacko, Ella Fredrickson, Cabrillo the Cabrillo Festival Orchestra is led by seven Jason Hong College Park MD Festival Music Librarian conductors performing short symphonic works Northridge CA Jacob Kallman, Madison, WI Members of the Cabrillo Andrew Koehler, Andrew Lyon, Indianapolis IN Festival Orchestra by each of the composers: Emily Cooley, Kalamazoo MI Jessica Morel, Denton TX Michael Sheppard, Patrick Harlin Eric Nathan , and . Boon Hua Lien, Dorian Neuendorf, Piano Accompanist Rochester NY Columbia SC The Conductors Guild was founded in 1975 Jeffrey Spenner, Garrett Rigsby, Davis CA ADDITIONAL THANKS TO: as a subsidiary of the the League of American Kalamazoo MI Elinor Rufeizen, Deirdre Chadwick, Orchestras; the Guild became independent in Francisco Valero-Terribas, Shaker Heights OH Executive Director, 1985, and has established itself as a collective Silla, Valencia, Spain Rebecca Smithorn, Classical Music, BMI voice for conductors’ interests throughout the Cincinnati OH Cia Toscanini, world. 2014 COMPOSERS Kornel Thomas, Denver CO Vice President of Emily Cooley, Los Angeles CA Dean Whiteside, Concert Music, ASCAP Patrick Harlin, Ann Arbor MI Philadelphia PA Eric Nathan, Larchmont NY

30 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC The Conductors/Composers IN THE WORKS: FREE ORCHESTRA CONCERT Workshop is presented Wednesday, July 30, 5:30pm | Santa Cruz Civic Auditorium in partnership with You’ll find yourself at the very center of contemporary music-making with a special concert the Conductors Guild. featuring new works by three young composers—Emily Cooley, Patrick Harlin, and Eric Nathan—conducted by emerging conductors. All are studying in the prestigious The Workshop is supported in part by Conductors/Composers Workshop. Don’t miss the excitement when the creative sparks fly! The Aaron Copland Fund for Music and an Anonymous Donor.

The Composers Workshop is generously supported by Margaret Dorfman

Scholarship support has been provided by the Bruno Walter Memorial Foundation

IN THE WORKS COMPOSERS EMILY COOLEY PATRICK HARLIN ERIC NATHAN Emily Cooley (b. 1990) Patrick Harlin (b. Eric Nathan’s (b. 1983) composes orchestral, 1984) is a Seattle, compositions have chamber, and vocal Washington native who been performed at music that ranges frequently composes the Aldeburgh (UK), from delicate intensity music inspired by Tanglewood, and Aspen to a pulsing, energetic the natural world. A music festivals; the sound described as doctoral student at the Ravinia Festival Steans “dramatic, forceful University of Michigan, Institute, Carnegie Hall, and Àlled with his work spans both Louvre Museum, Yellow reverberation.” (Sioux City Journal) Cooley’s music composition and the Àeld of soundscape Barn, World Music Days and by ensembles music has received recognition from the National ecology–research supported by the Graham including the Berlin Philharmonic’s Scharoun Federation of Music Clubs, Tribeca New Music, Sustainability Institute that has taken him to Ensemble, Nouvel Ensemble Moderne, American PARMA Recordings, ASCAP, the Renée B. Fisher remote regions of the U.S. and the Amazon Composers Orchestra, Omaha Symphony Composer Awards, and the Vancouver Chamber Rainforest. With his upcoming dissertation, Chamber Orchestra, Daejeon Philharmonic Choir. She has received commissions and Acoustic Ecology and the Preservation of Sonic Orchestra, A Far Cry, Collage New Music performances from ensembles including the Landscapes, Harlin looks at the relationship and the Momenta Quartet. In 2014, recent USC Thornton Symphony Orchestra, the Sioux between sound and the environment, featuring commissions will receive premieres from City Symphony Orchestra, the Yale Symphony sounds of these locations together with a new New York Philharmonic at their 2014 Biennal, Orchestra, the Eastern Connecticut Symphony string quartet. In 2013 he was selected by and the Boston Symphony Orchestra at Orchestra, the JACK Quartet, the Sirius Quartet, the American Academy of Arts and Letters as the Tanglewood Festival of Contemporary and the Fifth House Ensemble. Cooley has been a Charles Ives scholarship recipient, named Music. In 2013 Nathan served as composer in a fellow at the Norfolk New Music Workshop, the inaugural winner of the Aspen/Hermitage residence of the Chelsea Music Festival (NY) the Tennessee Valley Music Festival, and the residency, and was selected as a Theodore and Chamber Music Campania (Italy). His music UNL Chamber Music Institute; she was the Presser Award winner. Harlin has served as has been featured on NPR’s radio show “From ASCAP Foundation Fellow at the 2013 Wellesley resident composer at the MIZZOU International the Top” and on WQXR’s Q2 Radio. Recognition Composers Conference. A native of Milwaukee, Composers Festival and the Cordoba Music for his work includes a 2014 Guggenheim Wisconsin, Cooley is a recent graduate of Festival in Argentina; as a fellow at the 2013 Fellowship, 2013 Rome Prize, ASCAP Rudolf the USC Thornton School of Music and Yale Aspen Summer Music Festival; and in 2014 Nissim Prize, BMI William Schuman Prize, ASCAP University, where she was awarded the Louis received the Ànal Rappaport Prize from the Morton Gould Awards, Jacob Druckman Prize Sudler Prize for excellence in the creative arts. Atlantic Classical for a piece to be premiered in from the Aspen Music Festival, a Charles Ives This fall, she will enter the Curtis Institute of 2015. His music has been performed by Alarm Scholarship from the American Academy of Arts Music as an Artist Diploma candidate. Will Sound, the St. Louis Symphony, the Calgary and Letters and a Leonard Bernstein Fellowship Philharmonic, among others. at Tanglewood. Nathan received his doctorate from Cornell, and holds degrees from Yale (B.A.) and Indiana University (M.M.). He serves as Visiting Assistant Professor in Composition at Williams College for 2014-15.

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3232 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC STUDENT STAFF STUDENT STAFF ENSEMBLE FREE CONCERT Long before the concerts begin, the Saturday, August 9 at 2:30pm | Santa Cruz Civic Auditorium Festival’s first ensemble convenes. Student The Student Staff Ensemble invites you to come enjoy a free concert of original works, volunteers, mostly from the Monterey Bay performed and produced entirely by these young musicians, age 16-24. Come witness their boundless creativity, and hear the future of new music, now. area, meet to form our prestigious Student Staff. Under the aegis of the Student Staff Program, these individuals are given a rare opportunity to interact directly with the Cabrillo Festival Orchestra members, general staff, and of course, our illustrious Music Director Marin Alsop.

When Marin Alsop became music director, an important aim of hers was to address the music education and participation issues of the Monterey Bay area. The Program nourishes the participants in areas no less profound than technical and leadership skill development, performance opportunities, and even career guidance.

Now in its 23rd year, the Program provides opportunities, and encourages the Student Staffers (ages 16-24) to engage musicians, composers, and conductors in the topics of contemporary music making. 2014 STUDENT STAFF Jay Arms In addition to having access to all Louie Johnston Tino Novello Christina Dooka performances, the Program provides a fertile Chelsea Jones Maisy Russo ground for the participants’ musical interests Clarissa Fredericks-Wright Saskia Lee Michael Torres in other ways: master classes with Festival Cory Graves Montalbano Terre Lee Beth Wiesendanger Orchestra members; a workshop where the Tyler Hayford Emily Mellen Max Wurtz students sit inside the orchestra sections during a rehearsal; dialogs with composers in residence; participation in a student staff LOUIE JOHNSTON JAY ARMS ensemble that performs during the Festival; Student Staff Student Staff and the chance to attend various social Co-Director Co-Director gatherings. It’s quite a full plate for three Louie Johnston is a young Jay Arms is a classical and weeks in any student’s life. composer, ethnomusicologist, electric guitarist getting The Student Staff Program is open to non- and performing multi- his Ph.D. in cross-cultural musicians and musicians alike. The rewards instrumentalist focusing on musicology at UC Santa of being there are many, and we are excited synthesis. He grew up in Pasadena and moved Cruz. His research and performance interests by the prospect of positively affecting the to Santa Cruz to earn a bachelor’s degree in focus on the American experimental tradition quality of a young person’s personal growth music from UCSC, where his background as a since 1950, with particular emphasis on and development. garage band blues guitarist was expanded by improvised music making. His Master’s thesis his study of classical, electronic, jazz, Indonesian “The Music of Malcolm Goldstein,” the Àrst When attending a concert, please feel gamelan, and Hindustani classical music. He scholarly documentation of an important free to ask our Student Staffers about has written music for and played in the Student American composer and violinist, as well as his their experiences as members of the Staff Ensemble for the past three years, and is Àrst CD of solo classical guitar music Songs and Program. If you know someone who might thrilled to have been invited back as co-director. Dances were both completed in 2012. Arms is be interested in becoming a Staffer, He is currently living in Santa Cruz, working at a delighted to serve as co-director of this year’s recruitment begins each year in the spring, local organic farm, and playing gigs around the Student Staff ensemble and extends his thanks and is open to all students age 16-24. Bay. Some of Johnston’s recent performances and congratulations to Louie Johnston, all of Email [email protected] or call are as follows: spontaneous composition with the ensemble’s participants, and the Cabrillo 831.426.6966 for more information. Indonesian percussion and sitar for a UCSC Festival staff. theatre production; UCSC Gamelan Spring Concert; solo guitar for events; and gigs with Gamelan Anak Swarasanti. He is currently collaborating with other artists, preparing instruments for a percussion group, and writing The Student Staff Program is made music. possible through support from DAVID KAUN 2013 Student Staff

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 3333 3434 CABRILLOCCAABRILLO FESTIVAL OF CONTEMPORARY MUSIC FRIDAY AUGUST 1 8PM SANTA CRUZ CIVIC AUDITORIUM

Cabrillo Festival Orchestra conducted by MARIN ALSOP Tonight’s performance is made possible through the generous support of concert sponsor: Sky Madrigal (2014) MARY SOLARI Dylan Mattingly (b. 1991) [World Premiere]

The Impostor Concerto (2012) Béla Fleck (b. 1958) Béla Fleck, banjo [West Coast Premiere]

1. Infiltration 2. Integration 3. Truth Revealed

INTERMISSION

Play (2013, rev. April 2014) Andrew Norman (b. 1979) [West Coast Premiere]

Level 1 – Level 2 – Level 3

Marin Alsop

Dylan Mattingly

Andrew Norman

MediaMee Sponsor:

Béla Fleck OpeningOpp Night performance will be broadcastbroo live on KUSP 88.9 FM, andndd webcast on KUSP.org.

CABRILLOCAA FESTIVAL OF CONTEMPORARY MUSICSICC 3535 Celebrating Creativity Serving Since 1975 JACK DEJOHNETTE TRIO featuring Breakfast RAVI COLTRANE & MATT GARRISON July 28 Lunch CONJUNTO CHAPPOTTIN Y SUS ESTRELLAS Dinner August 7 SNARKYY PUPPY Full Bar August 8 From 8am - 9pm Daily JOHN PIZZARELLI QUARTET August 10 Open until 11 Weekends CHICK COCOREAREA & THE VIGIL August 111 at the RRio Theatreatre 1102 Pacific Avenue DAVE WECKL ACOUSTIC BAND August 15 Downtown Santa Cruz BIG CHIEF DONALDDONA D HARRISON’SHARRISO 831-420-0135 CONGOGO SQUARSQUARE NATIONATION Augustt18 18 ROY HARGROVE QUINTET On THE FOOD NETWORK’S August 25 “Restaurant Impossible” ALLAN HOLDSWORTH TRIO August 28 with Robert Irvine Kuumbwa Jazz 320 Cedar St [ downtown Santa Cruz 831.427.2227 [ kuumbwajazz.org Live Music Nightly

3636 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Sky Madrigal (2014) coalesces into a centrifugal 52 note melody On a parallel track, Fleck continues to enrich which climbs continually, sometimes on the the expressive language of the banjo by forging Dylan Mattingly (b. 1991) surface and sometimes beneath, until the Ànal unprecedented connections with the realm [World Premiere] breath of the piece. of classical music—a world introduced to him during childhood by his stepfather, a cellist. In June of 1924, British mountaineers George Narratively, the piece tells a story of ascent. Fleck, in fact, was named after no fewer than Mallory and Sandy Irvine climbed into the sky. Drawn from both the intrigue of George three great composers—Béla Bartók, Anton(in) Ascending towards the summit of the highest Mallory’s legendary climb and my own highway DvoŐik, and Leoä Janiÿek—making the mountain on the planet, they disappeared into constellations, Sky Madrigal is a work fashioned classical past literally part of his identity. He a cloud and never came back. The peak of from stargazing. Whether or not Mallory made it credits Edgar Meyer, the bassist with whom he Mount Everest is 29,029 feet above the sea, a into the sky, like the building of a cathedral and has collaborated on numerous projects since height at which the world is more space than the tuning of a lyre to the laws of the universe, the early 1980s, with reawakening his mature earth. The atmosphere is so thin, climbers captains our imaginations toward a destination interest in classical music. Meyer also helped need the assistance of an oxygen tank just to that could only be the result of the bliss, terror, instill in him the desire to undertake a classically breathe. When asked what reason there was inspiration, and yes—perfection—of a human based composition of his own, following two to go, Mallory, who was the Àrst to try for the life. That is the kind of perfection I want to chase. previous collaborative efforts. The Concerto peak, stated that the journey was of absolutely for Banjo marks a signiÀcant new departure —Dylan Mattingly “no use,” and that “there is not the slightest for Fleck, which he describes as “a liberating prospect of gain whatsoever.” Sky Madrigal was written for the Cabrillo Festival experience for my efforts as a composer, and of Contemporary Music and Maestra Marin hopefully the banjo as well.” Sky Madrigal is a piece about perfection. A Alsop for this world premiere performance. strange human desire within a world of explosive No familiar models for such a piece exist. Fleck and untenable beauty, our history is punctuated Not recorded mentions just three previous examples, which by bursts of creative perfection. From the fractals include a concerto written for Pete Seeger of microscopic imaging to the construction of The Impostor: in the 1960s, one by Swiss banjo player Jens cathedrals, we yearn for underlying patterns Kruger, and a farcical send-up by the parodist and their physical manifestations. After a year Concerto for Banjo (2011) P.D.Q. Bach. With his own Banjo Concerto, Fleck spent decoding the beautiful and terrifying Béla Fleck (b. 1958) has crafted a large scale composition requiring rhythmic and intonational patterns of ancient [West Coast Premiere] intricate organization, and he has taken on his Greek music, followed by a cross-country road Àrst experience of writing for a hefty orchestra. trip DJ-ed by Leonin and Perotin, I found myself This program note was originally written for the haunted both by the specters of motets and Nashville Symphony program book. The challenge, he recalls, led him to evoke masses of the late Medieval period, obsessed “different sounds on my banjo than I was used to with the “sounding number” and divine order, as It wasn’t until 1973, while he was a teenager, doing.” Fleck observes that, unlike a traditional well as the cosmic pull of the mathematics of that Béla Anton Leoä Fleck received his Àrst string concerto, where the solo instrument is intonation (from Pythagoras to Ben Johnston). I banjo, but in less than a decade he had already mirrored in the larger ensemble, the wrote Sky Madrigal as my own secular testament recorded his Àrst solo album, Crossing the banjo possesses “a voice that is not present in to this world of astral synchronicity. Whatever Tracks (1979)—and was well on his way to the orchestra” and which is resonant enough to the randomness and missed connections that reclaiming the instrument for a new era. With a play effectively with it. The speciÀc instrument occur throughout ordinary time, music has the unique combination of virtuosity, imagination, for which Fleck wrote his concerto is a vintage opportunity to transcend; and as a composer, in and insatiable curiosity, Fleck has devoted his 1937 Gibson Mastertone banjo made of some ways I have the opportunity to perfect time career to exploring and revealing the hidden mahogany—a prized possession he calls the —that canvas on which our chaos is splattered. potential of the banjo. The iconic style of Earl “holy grail” of banjos, much as a violinist might Scruggs, to whom Fleck’s Banjo Concerto is treasure an instrument made in the workshops Sky Madrigal is a celebration of inter– dedicated, was a formative inÁuence, yet one of Stradivarius. connectedness, real and imaginary, and our that Fleck characteristically fuses with those of historical quest for harmony. The title is an jazz legends Chick Corea and Charlie Parker. In During initial rehearsals with the Nashville allusion to both the ancient Greek synchronicity this concerto, we also hear the stimulus of voices Symphony, Fleck recalls conductor Guerrero between our soul and the natural order of the from classical tradition—particularly Bach and observing that “the banjo doesn’t sound cosmos, and the Medieval devotion to the divine Beethoven—Àltered through a new perspective. like a banjo at the beginning” but becomes fractals of form. Hence the name is Sky Madrigal Fleck’s innovative approach extends across an emphatically banjo-like by the end. The remark (a madrigal being the secular Renaissance heir astounding spectrum of achievements, from his shed light on a scenario that runs through the to the religious Medieval forms). early work in progressive bluegrass with the New three-movement score, though Fleck points Grass Revival (which led him to settle in Nashville out that this was the creative work of his Architecturally, the piece is drawn entirely three decades ago) to the “blu-bop” blend of jazz “subconscious” rather than a deliberate plan: from its opening chords (structurally as well as and bluegrass he continues to pioneer with his “The banjo is the hero in this play and is trying thematically), themselves drawn entirely from group, Béla Fleck and the Flecktones. to avoid the truth of who he is, but in the end the overtone series of a single pitch within them. cannot avoid it.” Fleck notes that the musical arc Thus these chords serve as an ampliÀcation of The African origins of the banjo have provided could be likened to the pattern by which, “when the natural harmony within their atoms, and the yet another area of exploration for Fleck in you’re young, you try every possible idea, but as piece as a whole follows the trajectory of these recent years, leading to such world music you become wiser, sometimes the obvious is not opening chords along a geological time scale. collaborations as the recording sessions Throw such a terrible thing. So in the Àrst movement, Spinning outward from the opening, the music Down Your Heart in 2009. continued on page 39 CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 3737 /FX
.VTJD
8PSLT Friday, noon - 4:33pm, Sept 5, 2014: Music For Interested Ears William Winant Percussion Group, NMW Ensemble & guests (FREE) Duck Island and Pacific Garden Mall, Downtown Santa Cruz

William Winant Upcoming 2014-15 Season Schedule

Saturday, 8pm, Nov. 1, 2014: DAY OF THE DEAD - Día de los Muertos Rio Theatre, Santa Cruz Hyo-shin Sunday, 3pm, Feb. 15, 2015: Na Valentine’s Piano Recital, Sarah Cahill Peace United Church of Christ, Santa Cruz Saturday, 8pm, April 4, 2015: PPremieres by Hyo-shin Na , Jack Body and more! Sarah Samper Recital Hall, Cabrillo College Cahill Jack Sunday, 2-6pm, June 7, 2015: Body Avant Garden Party #34 “The Garden” in Soquel

These events are sponsored in part by grants For more info from the Ann and Gordon Getty Foundation, & tickets, visit: www.New Music Works.org & Philip Collins, Artistic Director - New Music Works - 831/425-3526

3838 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC continued from page 37 especially with its solo cadenzas, the banjo is at Play (2013, rev. 2014) making them (sometimes in a spirit of jest, its most ‘classical,’ even though I wasn’t trying sometimes not) play louder or softer, forwards to emulate any particular composer. But you Andrew Norman (b. 1979) or backwards, faster or slower. They cause the can hear an evolution in my own writing of the [West Coast Premiere] music to rewind and retry things, to jump back piece as it goes on. As it continues, I become and forth in its own narrative structure, and to more comfortable with the idea that this can be I am fascinated by how instruments are change channels entirely, all with an eye and ear whatever I want it to be, and it ends by returning played, and how the physical act of playing toward Ànding a way out of the labyrinth and on to my roots in bluegrass and Earl Scruggs.” At an instrument becomes potent theatrical to some higher level. the same time, to establish this identity, Fleck material when we foreground it on stage at an —Andrew Norman had to make the ending sound like the inevitable orchestra concert. I’m also fascinated by how outcome of the preceding music rather than an the orchestra, as a meta-instrument, is played, Play was commissioned by the Boston arbitrary change of tack. “I needed to make the how its many moving parts and people can play Modern Orchestra Project as part of Andrew concluding section, where I rip into this style, with or against or apart from one another. Norman’s New Music USA/League of American reÁect the sound of the banjo as a bluegrass Orchestras “Music Alive” residency. It was instrument, while also combining it with the While the word “play” certainly connotes fun premiered on May 17, 2013, at Jordan Hall in orchestra.” and whimsy and a child-like exuberance, it Boston, MA, conducted by Gil Rose. —Thomas May can also hint at a darker side of interpersonal relationships, at manipulation, control, deceit, Not recorded The Impostor was commissioned by the Nashville and the many forms of master-to-puppet Symphony and was premiered on September dynamics one could possibly extrapolate from 22, 2011 at Schermerhorn Symphony Center in the composer-conductor-orchestra-audience Nashville, TN, conducted by Giancarlo Guerrero, chain of communication. with the composer as soloist. It is dedicated to legendary bluegrass player Earl Scruggs. Much of this piece is concerned with who is playing whom. The percussionists, for instance, Recommended Recording: Nashville Symphony spend a lot of their time and energy “playing” the conducted by Giancarlo Guerrero. Decca rest of the orchestra (just as they themselves are B00D8H3Q62 “played” by the conductor, who in turn is “played” by the score). SpeciÀc percussion instruments act as triggers, turning on and off various players, Out on the town with Flat Marin, 2013

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 3939 CLASSICAL MUSIC FESTIVALS OF THE WEST 2014 Explore the musical riches and unique settings of these allied festivals of the Western United States.

CALIFORNIA COLORADO OREGON Cabrillo Festival Aspen Music Festival Chamber Music Northwest of Contemporary Music and School June 23 – July 27 July 27 – August 10 June 26 – August 17 Portland, OR Santa Cruz, CA Aspen, CO cmnw.org cabrillomusic.org aspenmusicfestival.com WASHINGTON Carmel Bach Festival Bravo! Vail July 19 – August 2 June 27 – August 2 Seattle Chamber Music Society Carmel, CA Vail, CO Summer Festival bachfestival.org bravovail.org July 7 - August 2 Seattle, WA La Jolla Music Society Strings Music Festival seattlechambermusic.org SummerFest June 21 – August 16 July 30 – August 22 Steamboat Springs, CO WYOMING La Jolla, CA stringsmusicfestival.com ljms.org Grand Teton Music Festival IDAHO July 3 - August 16 Mainly Mozart Festival Jackson Hole, WY May 4 – June 21 Sun Valley Summer Symphony gtmf.org San Diego/Baja, CA July 28 – August 19 mainlymozart.org Sun Valley, ID svsummersymphony.org Music@Menlo July 18 – August 9 NEW MEXICO Atherton/Menlo Park, CA musicatmenlo.org Santa Fe Chamber Music Festival July 20 – August 25 Ojai Music Festival Santa Fe, NM June 12 – 15 santafechambermusic.com Ojai, CA ojaifestival.org

FILL YOUR SUMMER WITH MUSIC!

4040 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SATURDAY AUGUST 2 8PM SANTA CRUZ CIVIC AUDITORIUM

Tonight’s performance is made possible through the generous support of concert sponsors: JOSIE LITTLE MAUDE PERVERE and SAM MILLER GEORGIA CASSEL and PETER PERVERE

Marin Alsop TJ Cole Jennifer Higdon Mark-Anthony Turnage

Cabrillo Festival Orchestra conductednducted by MARINMARIN AALSOPLSOP

Megalopolis (2013) TJ Cole (b. 1993) [West Coast Premiere]

Concerto 4-3 (2008) Jennifer Higdon (b. 1962) Time for Three, string trio

1. The Shallows 2. Little River 3. Roaring Smokies

INTERMISSION

Speranza (2013, rev. 2014)014) Mark-Anthony Turnage (b. 1960)60) [West Coast Premiere]

1. Amal 2. Hoffen 3. Dochas 4. Tikvah

This concert will be broadcast on Tuesday, August 12, 7pm on KUSP 88.9 FM, Time for Three: Nicolas Kendall, Zachary De Pue, Ranaan Meyer and webcast on KUSP.org.

Media Sponsor:

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 4141 TO ALL OF THE

Artists of Santa Cruz County

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4242 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Megalopolis (2013) these instruments) that mimic everything with percussion I]; IV. djembe, large bass drum, from squeaking mice to electric guitars. These Japanese temple bells), cimbalom, harp, piano/ TJ Cole (b. 1993) sounds resemble parts of the mountain rivers celesta, and strings. The piece is about forty- [West Coast Premiere] that move in shallow areas, where small rocks two minutes long. and pebbles make for a rapid ride that moves megalopolisCTLNēSpWēSēZC a rafter quickly from one side of the river to the Speranza means hope in Italian; the titles of noun other. the four movements of Mark-Anthony Turnage’s symphonic work also mean hope: Amal in A region containing several large cities in close The second movement, Little River, is slow- Arabic; Hoffen in German; Dochas in Gaelic, proximity creating one giant urban complex. moving and lyrical, very much in hymn-like Tikvah in Hebrew. For its Àrst performances, fashion. This movement reÁects the beauty Speranza had Àve movements; the composer An example of a Megalopolis would be the of Little River as it Áows through Townsend has since revised the piece and removed the chain of cities starting from Washington D.C., and Walland, Tennessee. At times there is original fourth movement, L’Espoir. Although stretching through Baltimore, Philadelphia, real serenity and a majestic look to the water, mostly deliberate and thoughtful in mood, the New York City, and ending in Boston. with no movement obvious on the pure, glassy resulting four-movement structure, with its My Àrst year living in Philadelphia was my Àrst surface. scherzo-like third movement, has very much the year living in any sort of city. I grew up in the shape and scope of a traditional symphony. The third movement, Roaring Smokies, is a suburbs of Atlanta, and went to school for a rapid-Àre virtuosic movement that shifts and Mark-Anthony Turnage the composer is himself few years in the northern Michigan woods. moves very much like a raging river (those hardly traditional, notwithstanding the fact that Megalopolis was written during my Àrst year wild mountain waters that pour out of the his music has been performed by many of the in Philadelphia, so the piece is very reÁective mountains). It is fun to swim in those cold world’s major orchestras and opera companies. of my Àrst reactions to the crazy urban life and waters, but your attention must always be alert, He did, though, grow up with classical music, all of the sounds it could produce. At Àrst, city as danger lurks…the water goes where it wants and studied at the Royal College of Music under life can be very exciting. But for me, it quickly and will take you with it. Oliver Knussen. In 1983 he was a Fellow of became very crowded, loud, overwhelming, and the Boston Symphony Orchestra’s Tanglewood even a little scary. Across the street from where While Concerto 4-3 is written in the Classical Music Center, where he worked with the I lived in Philly, there was a church with a little vein, there are certain bluegrass techniques eminent German composer Hans Werner Henze courtyard. Every day, the church bells would ring incorporated into the fabric of the piece: and the American Gunther Schuller. In spite on the hour to mark the time. Sometimes at emphasis on offbeats, open strings, and slides. of the short time Turnage had with them, both night, I would go out into the courtyard to Ànd But the language is deÀnitely tonal, 21st Century Henze and Schuller turned out to be well-suited some peace within all of the chaos. But the and American-sounding in style. as models for Turnage’s career: Henze was a quiet in a city can only last for a moment. —Jennifer Higdon veteran and estimable opera composer, and —TJ Cole Turnage would go on to become one of the more Concerto 4-3 was commissioned by The successful English composers of opera of our Megalopolis premiered on April 6, 2013 at Philadelphia Orchestra, the Pittsburgh time. Schuller, a musical polymath, had played Gould Rehearsal Hall at the Curtis Institute Symphony Orchestra, and the Wheeling French horn in ensembles under Miles Davis, of Music in Philadelphia, PA, with the Curtis Symphony Orchestra. It was premiered on one of Turnage’s idols, and had pioneered the Symphony Orchestra. January 10, 2008, at the Kimmel Center for melding of jazz and modern classical music the Performing Arts in Philadelphia, PA with Not recorded in the late 1950s with the genre he’d dubbed Time for Three and the Philadelphia Orchestra, “Third Stream.” Schuller had also instigated the conducted by Christoph Eschenbach. Concerto 4-3 (2007) Àrst jazz studies programs at a conservatory when he became president of the New England Jennifer Higdon (b. 1962) Recommended recording: Fort Worth Symphony conducted by Miguel Harth-Bedoya. FWSO Live Conservatory in the 1960s. 844667029154 Concerto 4-3 is a three-movement concerto, Turnage came to jazz and American soul music featuring two violins and a bass, which uses relatively late in his maturation as a musician, the language of Classical music, with dashes of Speranza (2012/13) but the effect on his composing was seismic bluegrass technique. Mark-Anthony Turnage (b. 1960) and immediate. His deft and provocative Night [West Coast Premiere] Dances (1981) was an explicit response to that The work is divided into three movements, with newfound wellspring. The solo muted trumpet the option to perform a cadenza between the Speranza is scored for a large orchestra of the third movement is a deliberate nod to Àrst and second movements. The movement Miles Davis; its orchestral accompaniment titles refer to rivers that run through the Smoky including three Áutes (third doubling piccolo and alto Áute), two oboes and English horn, taps into the voicings and harmonies of the Mountains (where growing up, I heard quite a great jazz orchestrator Gil Evans, collaborator bit of bluegrass): The Shallows, Little River, and two clarinets and two bass clarinets (third doubling E-Áat clarinet), soprano saxophone on many of Davis’ classic cool jazz recordings. Roaring Smokies. I wanted to reference the Beyond allusion to jazz and soul, Turnage has Smokies, because East Tennessee was the Àrst (doubling duduk ad lib.), two bassoons and contrabassoon, four horns, three trumpets (Àrst been able to tap into the less tangible energy place that I really experienced bluegrass (or as of urbanness in his music, which was utterly they call it there, Mountain Music). doubling D trumpet), three trombones, tuba, four percussion (I. vibraphone, almglocken; II. essential in his opera Greek, for example, a modern retelling of the Oedipus myth in The Àrst movement, The Shallows, incorporates sala bell, tubular bells, sizzle cymbal, gongs, unique extended techniques (a manner of Àve-octave marimba, glockenspiel; III. tabla, playing beyond the normal way of playing four tom-toms, lion’s roar, almglocken [shared continued on page 45 CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 4343 Mary Boer and Gene Miller, residents at Dominican Oaks

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London’s East End. That piece, composed for The dramatic impetus of Turnage’s pieces, these two types of material involves mosaic- the Munich Biennale as a direct result of his whether or not spurred by outside sources, like layering in the Àrst case, and a shading acquaintance with Henze, helped establish often invokes an emotional narrative from toward the blues for the second, lyrical idea. Turnage’s international stature. Fundamentally the composer’s own life; for example his The movement peaks in pounding drums a dramatic composer, Turnage has gone on to trumpet concerto From the Wreckage emerges before ending quietly much as it began. Hoffen write several more operas, including The Silver from darkness and gradually climbs to begins with a threatening series of chords and Tassie (based on Sean O’Casey’s play and Àrst transcendence. In writing Speranza, his biggest pounding bass drum, which alternates with produced by English National Opera) and Anna purely orchestral work to date, the composer a melody in the plaintive voice of the duduk, Nicole. The latter, based on the tragic life of has said, “My Àrst intentions were to write a big, whose idea is eventually taken up by winds. the tabloid heroine, was commissioned by dark, despairing work as I’d been through a tough Following a passage of shimmering chorales the Royal Opera–Covent Garden, received its time. The piece was to have been in memory that expands throughout the ensemble, melody acclaimed premiere there in February 2011, of poets and writers who’d committed suicide, returns, Àrst in unison in several instruments, and was produced by the New York City Opera including Paul Celan, Primo Levi, and Sadegh Ànally back to duduk alone. and Brooklyn Academy of Music last month, Hedayat. But I soon realized this all seemed in what appear to have been City Opera’s Ànal a bit gloomy and not exactly a fun evening in Dochas is jazzy, funky, hyper, with sustained but performances as a company. Anna Nicole the concert hall, especially with a piece lasting syncopated melodic ideas propelled by jumping required the composer to tap into even further- forty-Àve minutes. So I started brightening bass Àgures in the piano. Big tutti passages—the Áung American pop-music sources to create the things up and it soon became more upbeat, full orchestra—contrast with small-ensemble proper environment for the Texas media diva. extrovert, and optimistic. Eventually the work passages, like the improvising solo group in turned completely round and became a positive front of a big band, or a concertante group in The early opera Greek’s basis in Sophocles, via piece about hope. I guess it was something of a concerto grosso. The last movement, Tikvah, the playwright Steven Berkoff, is one indication a personal transformation. Although Speranza is slow and meditative, Àrst an introduction of of the breadth of Turnage’s interests outside of shimmers a lot, I suspect the dark heart of the bell-like chords with a brief chorale of single music. His saxophone concerto Your Rockaby original idea still peeks through.” violins, then a long, yearning melody in soprano was inspired by Samuel Beckett; his two- saxophone, folksong-like. The middle part of trumpet concerto Dispelling the Fears was Speranza’s movement titles go beyond the movement is a kind of ethereal chorale, triggered by paintings by Heather Betts; Three language: subtle touches of Arabic music in culminating suddenly in a majestic orchestral Screaming Popes and Blood on the Floor are the Àrst movement, Jewish music in the Ànale, bloom. A return of the chorale, with quiet both reactions to the work of the artist Francis and other styles (blues and jazz) give the interjections from the duduk, brings the piece Bacon, the latter work taking its title from a piece a warm, universal embrace. Use of the to a contemplative close. particularly austere Bacon painting. The eighty- cimbalom, a concert hammer dulcimer typically —Robert Kirzinger minute Blood on the Floor was a watershed used in Hungarian music but having a number © Boston Symphony Orchestra. in Turnage’s career, a large-scale, multi-style, of cousins in other regions; the duduk, a wind Used by permission. multi-stimulus work that incorporates, for instrument associated with Armenia, and the the Àrst time in his music, improvising jazz soprano saxophone help expand the timbral Speranza was commissioned by the London musicians. It became a collaboration with palette of the orchestra beyond its usual colors. Symphony Orchestra, the Boston Symphony ex-Weather Report guitarist John ScoÀeld, Orchestra, and the Swedish Radio Symphony saxophonist/clarinetist Martin Robertson, and Speranza opens with Amal, lushly orchestrated, Orchestra. It was premiered on February 7, drummer Peter Erskine, performing with the rich and dense in its harmonies. The tremolo 2013, at the Barbican Centre in London by the specialist new music group Ensemble Modern. unison of the opening features the cimbalom’s London Symphony Orchestra, conducted by Collaboration with ScoÀeld and other jazz wiry, distinctive sound. The melodic motif that Daniel Harding. The piece is dedicated to the musicians in that piece and beyond led to a follows is fundamental to the movement, and its composer’s “younger kids” Milo and Amelie, new strain in Turnage’s approach to jazz and three-note chromatically falling tail will become “who are for me a real hope for the future.” improvisation that inevitably had an effect on his an important independent idea. Countering this Recommended Recording: London Symphony music for traditional orchestras and ensembles pair of gestures is a winding, spun-out lyrical Orchestra conducted by Daniel Harding. LSO in the form of expanded structures and freer tune high in the woodwinds. The exploration of Live B00F65N3Z8 use of instruments. He has had no shortage of opportunities in writing for orchestra, having, over the years, served in resident or associate composer positions with the City of Birmingham Elpse Huffman Symphony Orchestra, English National Opera, the BBC Symphony, and in recent years the DesignoIllustration Chicago Symphony Orchestra and the London Philharmonic, and having been commissioned by the Berlin Philharmonic, Cleveland Orchestra, Boston Symphony Orchestra (co-commissioner Congratulations of Speranza), London Symphony Orchestra, Cabrillo Festival New York Philharmonic, and a host of others. for 52 Years of Excellence in Programming. His music is among the most often programmed It was fun to craft the program guide with you! of any living composer. 831-423-6012 [email protected]

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 4545 Gateway School congratulates the 2014 Cabrillo Music Festival Come tour our K-8 campus!

www.gatewaysc.org

46 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SUNDAY AUUGUGUST 3 1PM SANTA CRUZ CIVIC AUDITORIUM

Today’s performance is made possible through the generous support of the RABINOWITZ and GORDON FAMILIES in memory of Dr. Harold Gordon

Cabrillo Festival Orchestra conducted by MARIN ALSOP

The Conferenceerence of the Birdsds (2014) Jonathan Shefferffer (b. 1953) [World Premieree | Festival Commission] Jonathan Sheffer,ffer, narratornarrator

Part 1: The Confernference Part 2: The Birdsrds DDemuremur Part 3: The Journeyurney Part 4: The Answerswer

With additional supportrt from:from:

MONTEREY PENINSULASULLA FOUNDATION YOUTH FUFUNDUND JonathanJonathan SheShefferffer Hawley Family Fund aat

Media Sponsor A free concert and Tour of the Orchestra

ThisThis familyfamily concert perperformanceformance wwilli be broadcast on TTuesday,uesday, SSeptembereptember 99,, 7pm on KKUSP 88.9FM and webcastwebc on KUSP.org.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 47 Trumpeter Lauren Eberhart and daughter Julia, 2013

Keyboardist Michael Sheppard takes Flat Marin for a spin, 2013

4848 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC The Conference of the Birds was commissioned Fortunately, on a weekend in the Hudson by the Cabrillo Festival with generous support Valley, I chanced upon a children’s book in from The Betty R. and Ralph Sheffer Foundation; a home decorating store with an attractive Ann Sheffer and Bill ShefÁer; Doug and cover with the word “birds” in the title. As I idly Barbie Sheffer; Margaret Gordon; The Sun Hill paged through it, I realized that I had found a Foundation; Susan R. Malloy; Jennifer Malloy narrative upon which to hang all the notions of Combs; Timon J. Malloy; Ann and Jim Gordon, birdsong that I had been storing up. Holter Graham, and Neela Vaswani; Alan Ritch; Alan and Andrea Rabinowitz; Elizabeth Gordon The source material for the book, and for my and Neil Lowenbraun; and Martha Rabinowitz. piece, is a 12th-century epic poem by Farid It is dedicated to the memory of Dr. Harold ud-Din Attar, a 12th-century Persian SuÀ. The Gordon, who loved music and was a strong poet dreams he has been transformed into supporter of the arts. a hoopoe. The birds of the world gather to decide who is to be their king, because they The Conference of the Birds need someone to lead them in a troubled world. The hoopoe, the wisest of them all, (2014) suggests that they should Ànd the legendary Jonathan Sheffer (b. 1953) Simorgh, a mythical Persian bird, like a western phoenix. The hoopoe leads the birds, [World Premiere/Festival Commission] each of whom represent a human fault that prevents man from attaining enlightenment. I thought of birdsong as a source for a piece of When the group of thirty birds Ànally reaches music months before talk of this commission the dwelling place of the Simorgh, all they Ànd began. I was attending a meditation meeting is a lake in which they see their own reÁection. on eastern Long Island last year, and during the It is the SuÀ doctrine that God is not external quiet time, I was aware of an unusually busy or separate from the universe, rather is within amount of bird chatter outside the small chapel us all, and which unites us. where we had gathered. All of a sudden, the birds stopped speaking, all at once. I opened my eyes The narrative offered many opportunities to see if this sudden silence had registered with for musical description: the gathering of anyone else, then returned to my breathing, as the birds, with their uncontrolled chatter; the chorus of birds slowly picked up steam again. their characters described in their refusal to embark on the spiritual journey; the difÀculties When I was offered to write this piece, I thought of the journey itself; and the Ànal arrival at the immediately about how this event might be mountain, and the attaining of answers to translated into music for orchestra. Of course, their quest. The story is rich in situations and composers have been mining birdsong in their meaning, which made the task of Ànding the music for centuries, from madrigals to classical music a whole lot easier! symphonies, and to the Áorid symphonic essays of Ravel, Stravinsky, Respighi, Messiaen For me, the motivation to compose has and so many others. As well, as I began to always come from the possibility and the transcribe bird calls into musical notation, I particulars of the performance. I need to be noticed how birdsong has crept into the melodic able to visualize the space, know the singer Àber of Western music as far back as Mozart, or soloist, and generally be able to imagine Beethoven, Bizet, and on and on. I compiled the experience of the audience of hearing (mentally) what seemed to me two types of the music. In that sense, gratitude for the birdsong in composed music: mimetic types opportunity to create new music has always of gestures that sought to translate bird calls preceded the act of composing, and I am precisely into melodic forms; and unconscious grateful to Cabrillo for the chance to write a musical gestures that derived their shape and piece for large orchestra, and for children. I character from the saturation of bird sounds in had children’s ears and thoughts in my mind our aural world. at all times. I’ve tried to put humor and vivid The next period of this work’s genesis was taken character in the mouths of the birds, and to up with research and development. I read widely employ the rich palette of a large orchestra to from books about birdsong, and contacted convey the sense of wonder and excitement noted birders in order to Ànd a way to organize that I felt as a child whenever I was taken to natural events into a piece of orchestral music. a concert. It’s my hope that I have been able After speaking with Santa Cruz resident Jon to transmit some of that joy to young listeners Young about his book on birdsong, I opted to try as well. and describe in a 20-minute piece of music an —Jonathan Sheffer entire day of listening to birds from one location, to show the rise and fall of their activity during a 12-hour period. Unfortunately, having this plan did not begin to answer the central question: what is the music to be?

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 4949 IN THE BLUE ROOM PROGRAM

TIME FOR THREE —Zachary (Zach) De Pue, violin; Nicolas (Nick) Kendall, violin; and Ranaan Meyer, double bass—deÀes traditional classiÀcation. Tonight they’ll present a solo recital In the Blue Room that highlights the breadth of their musical tastes and talents. The concert will be performed without intermission.

The artists will perform works selected from the list below, and will announce the selections from the stage. IN THE BLUE ROOM BLUE IN THE

Amazing Grace Traditional/Arranged by TF3 Jerusalem’s Ridge Bill Monroe/Arranged by TF3 Ashokan Farewell J. Ungar/Arranged by TF3 Kissing in the Tree Meyer/Hackman/Kendall/De Pue Banjo Love Meyer/Hackman/Kendall/De Pue Little Lion Man Mumford & Sons/Arranged Hackman & TF3 Bach Double J.S. Bach/Arranged by TF3 Mohawk Meyer/Arranged by TF3 Black Bird Lennon/McCartney/Arranged by TF3 Norwegian Wood Lennon/McCartney/Arranged Hackman & TF3 Bradford Commission Kendall/De Pue/Meyer Of Time and Three Rivers Meyer/Arranged by TF3 Chaconne in Winter J.S. Bach/Arranged Hackman & TF3 Orange Blossom Special Charlie Rouse/Arranged by TF3 Czardas Monti/Arranged by TF3 Ogden Meyer/Arranged by Meyer/Fobare/Kendall Danny Boy Arranged by Meyer/Moose/Lily&Madeleine Philly Phunk Meyer/Arranged by TF3 Don Don Meyer/Arranged by TF3 Quail Hollow Kendall Ecuador Meyer/Arranged by TF3 Queen of Voodoo Meyer/Kendall/Arranged by Moose Firework Katy Perry/Arranged by Hackman & TF3 Shenandoah Arranged by TF3 Forget About It Meyer/Arranged by TF3 Stillness is the Move Dirty Projectors/Arranged by Hackman & TF3 Fox Down Meyer/Arranged by TF3 Stronger Kanye West/Arranged Hackman Moose & TF3 Hallelujah Leonard Cohen/Arranged by TF3 Sundays Meyer/Arranged by Hackman Happy Day Kendall/Arranged by Moose Round About Kendall/Arranged by Moose Hide and Seek Imogen Heap/Arranged by TF3 Taszo Tango Kendall/Arranged by Moose Hungarian Dance No. 5 Johannes Brahms/Arranged by TF3 Thunder Stomp Meyer/Arranged by TF3 The Hymn Kendall/De Pue/Meyer UFO Coldplay/Arranged by Hackman & TF3 In the Dressing Room Meyer/Arranged by Meyer & Moose With or Without You U2/Arranged by Hackman & TF3 Jazz Riff Meyer Wyoming 307 Meyer/Arranged by TF3

“When the three musicians get together, the resulting mash-up is often equal parts spontaneity and virtuosic precision.”

—The Wall Street Journal

50 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SUNDAY AUGUST 3 8PM SANTA CRUZ CIVIC AUDITORIUM IN THE

Tonight’s performance is made possible through the generous support of concert sponsors: JERRY and RUTH VUREK

“Time for Three is the future of music.”

—Sir Simon Rattle

Time for Three Ranaan Meyer, Zachary De Pue, Nicolas Kendall

This concert will be broadcast on Friday, August 15, 8pm on KUSP 88.9 FM, and webcast on KUSP.org.

CABRILLO FESTIVAL OF CONTEMPORARYRY MMUSICUSU IC 5511 Music in the Mountains returns to Nestldown! Hidden in the redwoods on acres of lushly landscaped property, this exquisite private retreat located in the Santa Cruz Mountains provides an unparalleled setting. We wish to extend our special thanks to our Nestldown hosts, Barbara and Mark Beck, and their family for their generous contribution toward making this event possible. We would also like to express our sincere

BENEFIT EVENT BENEFIT appreciation for the generosity of the many restaurateurs and vintners who craft perfect pairings of food and wine for the occasion.

Fine Wines Poured by: Foods Prepared by Chefs from: Sponsored by: Bonny Doon Vineyard Art Bar Café Burrell School Vineyards Chocolate Hunter Hill Vineyard and Winery Gabriella Café MJA Vineyards Hula’s Island Grill Pelican Ranch Winery Johnny’s Harborside Pleasant Valley Vineyards Original Sin Desserts Heartfelt thanks to: River Run Vintners Oswald for their generous donation of use Salamandre Wine Cellars Paradise Beach Grill of the venue and staff services in Santa Cruz Mountain Vineyard Shadowbrook/Crow’s Nest support of many local charities! Storrs Winery and Vineyard Soif Wine Bar/La Posta For information about bookings, Wargin Wines Solaire please call 408-353-5311. Windy Oaks Estate Vineyards Whole Foods Market and Winery Zayante Vineyards

Special Thanks to: Barbara Lawrence, Event Chair; Sabrina Eastwood & Tom Ellison, Winery & Restaurant Coordinators; Marcia Smith & Margaret Gordon, RafÁe Drawing Co-Chairs; The Young Family & Florence Orenstein, Musician Hospitality

RAFFLE DRAWING SUPPORT THE CABRILLO FESTIVAL and win a chance at your choice of fabulous prizes!! You may pick the drawing(s) of your choice to increase the odds of winning the item(s) that most excite YOU!! Winners will be announced August 7 during Music in the Mountains, but need not be present. We offer sincere thanks to the generous individuals and businesses who contributed items to the drawing.

1. AN EVENING W/ RANDALL GRAHM Bonny Doon Vineyards’ Randall Grahm shares his wines, paired with Chef Miller’s fare for 12 in a Santa Cruz Co. home.

2. RICHARD DONNELLY CHOCOLATE CLASS Master chocolatier Richard Donnelly leads chocolate-making for four in Santa Cruz.

3. SAN FRANCISCO TREAT Enjoy two nights at the luxury Donatello hotel and dinner at the legendary Zuni Café.

4. MUSICAL BOUNTY Signed CDs from the 2014 Festival composers and tickets to regional music events!

5. GOOD KARMA Your donation goes directly to support the Cabrillo Festival and bring great music to life!

Drawing Tickets are $10 each and can be purchased in advance by calling 831.426.6966, or at the event on August 7.

52 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC THURSDSDAY AUGUSSTT 7 6:30PM NESTLDOWN LOS GATOS

Featuring pianist Clarice Assad; Concertmaster Justin Bruns and members of the Cabrillo Festival Orchestra.

Sextet from Capriccio (1941) Richard Strauss (1864-1949) Justin Bruns, violin | Rebecca Jackson, violin Sam Bergman, viola | Jessica Oudin, viola Brad Ritchie, cello | Jennifer Humphreys, cello String Quintet No. 3 in g minor, K. 516 (1787) Wolfgang Amadeus Mozart (1756-1791)

I. Allegro Justin Bruns Justin Bruns, violin | Rebecca Jackson, violin IN THE Sam Bergman, viola | Jessica Oudin, viola Jennifer Humphreys, cello

Epitaphs (2010) Brett Dean (b. 1961) I Only I will know ...in memory of Dorothy Porter (Gently Áowing, with intimate intensity) II Walk a little way with me ...in memory of Lyndal Holt (Moderato scorrevole) IV György meets the “Girl Photographer” ...in memory of Betty Freeman; hommage à György Ligeti (Fresh, energetic) Clarice Assad Justin Bruns, violin | Rebecca Jackson, violin Sam Bergman, viola | Jessica Oudin, viola Jennifer Humphreys, cello

Fantasia Amazonica (2013) Clarice Assad (b. 1978) Clarice Assad, piano

Number Nine (2013) Gabriella Smith (b. 1991) Justin Bruns, violin | Brad Ritchie, cello Tim Munro, Áute | Michael Maccaferri, clarinet Galen Lemmon, percussion | Emily Wong, piano

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 53 54 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SATURDAY AUGUUSST 9 8PM SASANTANTA CCRUZRUZ CIVIC AUAUDDITOTORRIUM

Tonight’s performance Is dedicated to the memory of Lamar and Ruth Alsop

Cabrillo Festival Orchestra conducted by MARIN ALSOP

Tumblebird Contrails (2014) Gabriella Smith (b. 1991) [World Premiere | Festival Commission] Commissioned by Pacific Harmony Foundation

Saxophone Concerto (2013) John Adams (b. 1947) Timothy McAllister, saxophone [West Coast Premiere] I. Animato – Moderato – Tranquillo, suave 2. Molto vivo (a hard driving pulse)

INTERMISSION Fire Music (rev. 2009) MarinMa Alsop Brett Dean (b. 1961) [United States Premiere]

Gabriella Smith

John Adams

Media Sponsor:

This concert will be broadcast on Tuesday, August 19, 7pm on KUSP 88.9 FM, and webcast on KUSP.org.

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5656 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC TumblebirdTumblebird ContrailsContrails (2014)(2014) du MondeMonde) andand of ccourseourse ththee JeJJett SoSongongng solosolo in GetzGeetz fforor ttenorenoro saxsax andandn anan ororchestrarchhestrra of hharparrp LeonardLeonard BeBernstein’sernsts eiein’s WestWeestst SideSide StoryStoro y, probablyprrobabblyy andand ststringsringgs araarrangedranged bbyy EdEddiedid e SaSauter.utu eer. AlAlthoughthough Gabriella Smith (b. 1991) one of the most immediately recognizable clearly a “studio” creation, this album featuredd [World Premiere | Festival Commission] Àve-note mottos in all of music. Beyond that, writing for the strings that referred to Stravinsky,y, the saxophone appears to be an instrument Bartók and Ravel. Another album, Charliee This work is the fourth commission made that classical composers employ at best Parker and Strings, from 1950, although moree possible by composer John Adams and his occasionally and usually only for “special” conventional in format, nonetheless helped too wife Deborah O’Grady at the Cabrillo Festival effect. It is hard to believe that an instrument set a scenario in my mind for way the alto saxx in support of emerging young composers; that originated in such straight-laced could Áoat and soar above an orchestra. Anotherer the commission was funded by their PaciÀc circumstances—it was designed in the mid album that I’d known since I was a teenager,r,r Harmony Foundation. Gabriella Smith has nineteenth century principally for use in military New Bottle Old Wine, with Canonball Adderleyey provided the following note: bands in France and Belgium and was intended and that greatest of all jazz arrangers, Gil Evans,s, to be an extension of the brass family—should remained in mind throughout the composing of Tumblebird Contrails is inspired by a single have ended up as THE transformative vehicle the new concerto as a model to aspire to. moment I experienced while backpacking in for vernacular music (jazz, rock, blues and Point Reyes, sitting in the sand at the edge of funk) in the twentieth century. Nonetheless, its Classical saxophonists are normally taughthhtt the ocean, listening to the hallucinatory sounds integration into the world of classical music has a “French” style of producing a sound with a of the PaciÀc (the keening gulls, pounding surf, been a slow and begrudged one. fast vibrato very much at odds with the looser,er, rush of approaching waves, sizzle of sand and grittier style of a jazz player. Needless to say, my sea foam in receding tides), the constant ebb Having grown up hearing the sound of the preference is for the latter “jazz” style playing,g,g and Áow of pitch to pitchless, tune to texture, saxophone virtually every day—my father had and in the discussions we had during theheh grooving to free-Áowing, watching a pair of played alto in swing bands during the 1930s and creation of the piece, I returned over and over tto ravens playing in the wind, rolling, swooping, our family record collection was well stocked the idea of an “American” sound for Tim to usesee diving, soaring—imagining the ecstasy of wind with albums by the great jazz masters—I never as his model. Such a change is no small thingng in the wings—jet trails painting never-ending considered the saxophone an alien instrument. for a virtuoso schooled in an entirely differentntt streaks across the sky. The title, Tumblebird My 1987 opera Nixon in China is almost style of playing. It would be like asking a singererer Contrails, is a Kerouac-inspired, nonsense immediately recognizable by its sax quartet, used to singing Bach cantatas to cover a Billylyy phrase I invented to evoke the sound and which gives the orchestration its special timbre. Holiday song. feeling of the piece. I followed Nixon with another work, Fearful —Gabriella Smith Symmetries, that also features a sax quartet in While the concerto is not meant to soundnd jazzy per se, its jazz inÁuences lie only slightlytly Not recorded an even more salient role. In 2010 I composed City Noir, a jazz-inÁected symphony that featured below the surface. I make constant use ooff a Àendishly difÀcult solo part for alto sax, a the instrument’s vaunted agility as well as itsts Saxophone Concerto (2013) trope indebted to the wild and skittish styles of capacity for a lyrical utterance that is only a shortrt John Adams (b. 1947) the great bebop and post-bop artists such as step away from the human voice. The form of thehe [West Coast Premiere] Charlie Parker, Lennie Tristano and Eric Dolphy. concerto is a familiar one for those who knowow Finding a sax soloist who could play in this style my orchestral pieces, as I’ve used it in my Violininn My Saxophone Concerto was composed in early but who was sufÀciently trained to be able to sit Concerto, in City Noir and in my piano concertoto Century Rolls. It begins with one long Àrst partaart 2013, the Àrst work to follow the huge, three- in the middle of a modern symphony orchestra hour oratorio, The Gospel According to the Other was a difÀcult assignment. But fortunately I met combining a fast movement with a slow, lyricalall one. This is followed by a shorter second part, a Mary. One would normally be hard put to draw Tim McAllister, who is quite likely the reigning lines between two such disparate creations. One master of the classical saxophone, an artist species of funk-rondo with a fast, driving pulse.e. deals with such matters as cruciÀxion, raising who while rigorously trained is also aware of the The concerto lasts roughly thirty-two minutes,es,, the dead and the trials of battered women. The jazz tradition. making it an unusually expansive statement foror other has as its source my life-long exposure to an instrument that is still looking for its rightfulfull the great jazz saxophonists, from the swing era When one evening during a dinner conversation place in the symphonic repertory. through the likes of Coltrane, Eric Dolphy and Tim mentioned that during high school he had Wayne Shorter. Nonetheless there are peculiar been a champion stunt bicycle rider, I knew that —John Adamsmss afÀnities shared by both works, particularly in I must compose a concerto for this fearless The Saxophone Concerto was commissioneded the use of modal scales and the way they color musician and risk-taker. His exceptional musical by the Sydney Symphony Orchestra, St. Louisuis the emotional atmosphere of the music. Both personality had been the key ingredient in Symphony Orchestra, Baltimore Symphonynyy works are launched by a series of ascending performances and recordings of City Noir, and I Orchestra, and Sinfonica Do Estado De Sãoão scales that energetically bounce back and forth felt that I’d only begun to scratch the surface of Paulo. It was premiered on August 23, 2013,3, among various modal harmonies. his capacities with that work. at the Sydney Opera House with Timothyhhyy American audiences know the saxophone A composer writing a violin or piano concerto McAllister and the Sydney Symphony Orchestra,ra, almost exclusively via its use in jazz, soul and can access a gigantic repository of past models conducted by John Adams. pop music. The instances of the saxophone in for reference, inspiration or even cautionary Recommended Recording: St. Louis Symphonyny the classical repertory are rare, and the most models. But there are precious few worthy with soloist Timothy McAllister, conducted bbyy famous appearances amount to only a handful concertos for saxophone, and the extant ones David Robertson. Nonesuch 541356. of solos in works by Ravel (his Bolero and his did not especially speak to me. But I knew many orchestration of Mussorgsky’s Pictures at an great recordings from the jazz past that could Exhibition), by ProkoÀev (Lieutenant Kijé Suite form a basis for my compositional thinking, and Romeo and Juliet), Milhaud (La Création among them Focus, a 1961 album by Stan continued on page 59 CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 5757 5858 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC continued from page 57

Fire Music (2011) Whilst the 2009 Àres obviously had utterly In Àrst discussions with Graeme, he disastrous consequences, Àre can also cleanse stressed to me that he wasn’t planning a Brett Dean (b. 1961) and replenish; these thoughts, as well as narrative ballet and didn’t want its dance [U.S. Premiere] its use in ritual, informed aspects of my Fire use to inÁuence how the work might unfold. Music, especially in the slow middle section. This was liberating as choreographers often Brett Dean was born in Brisbane, Australia The material which developed even included come to composers with very speciÀc ideas and graduated from the Queensland speciÀc musical evocations of the event; for of subject matter and even timings. The Conservatorium, where he studied violin and example, the extended electric guitar solo about accompanying thought that the music I viola. In 1985, he was appointed a viola player half way through the piece evolved as a musical was writing was destined to determine the in the Berlin Philharmonic, a post he held until interpretation of the momentous, dizzying unfolding of a new ballet and its language 1999. He began arranging and writing music heat that greeted Victorians on the morning of of movement helped shape and inform for Àlm and radio before establishing himself as February 7th, 2009. Fire Music’s energy Áow and dramaturgical a major composer when his clarinet concerto nature. Arial’s Music (1995) received an award from the As the composition progressed I moved beyond UNESCO International Rostrum of Composers. the original trajectory of the Àre itself and the The orchestration affects the entire space He has subsequently been commissioned by piece started to follow its own internal, music- of the hall: in addition to the orchestra on Carnegie Hall, the Los Angeles Philharmonic, based logic. Nevertheless, the character of the the podium, there are three satellite groups the Chicago Symphony, and other leading force of destruction and ultimately rebirth that of musicians placed around the hall, in ensembles and presenters, and his violin comes from such a Àre remained the energetic order to let the audience be swept into the concerto The Lost Art of Letter Writing won the source of material. It’s not an uncommon soundscape of Fire Music. Grawemeyer Award in 2009. He is active as a working process for me; strong extra-musical — Brett Dean conductor and a chamber musician, and has ideas, after providing an initial stimulus, then performed his own viola concerto with major recede into the background as the piece Fire Music was commissioned by the Royal orchestras around the world. evolves in purely musical terms. The remnants Stockholm Philharmonic Orchestra, the BBC of original ‘programmatic’ ideas become a point Symphony Orchestra, and the Australian Fire Music was written in response to the of reference only. Ballet. It was premiered on November 10, disastrous “Black Saturday” bushÀres of 2009. 2011 at the Konserthuset in Stockholm As part of my background reading while writing the From the onset, I knew that Fire Music would with the Royal Stockholm Philharmonic piece, I studied the uses and restorative power of also be choreographed. I was approached Orchestra conducted by Sakari Oramo. Àre in Australian and other indigenous traditions. almost simultaneously by both the Royal Fire was (and still is) used in Australia not only Stockholm Philharmonic for a new orchestral Not recorded for land management purposes (controlled work (co-commissioned by the BBCSO) and the burning), and as an agricultural technique (Àre- Australian Ballet for a new score for Australian stick farming) but also as a signiÀcant part of master-choreographer Graeme Murphy as part indigenous ceremonial and cultural life, such as of the company’s 50th anniversary celebrations in Aboriginal smoking ceremonies. in 2012. It was my suggestion to combine these two projects into one. Real Local Banking Financial tools to help you focus on what matters most. Visit us at www.bayfed.com.

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CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 5959 Music@Menlo chamber music festival and institute David Finckel & Wu Han, Artistic Directors

EXPLORE WORLD-CLASS CHAMBER MUSIC July 18–August 9, 2014 Menlo Park /Atherton, CA Music@Menlo—the Bay Area’s premier chamber music festival—offers an incomparable musical experience: world-class concerts in intimate venues, innovative programs performed by a cadre of the world’s great musicians, and numerous free opportunities to engage with artists and explore classical music.

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60 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SUNDAY AUGUST 10 MISSION SAN JUAN BAUTISTA

Just a half an hour outside of the tangle of traffic and time, lies a town filled with the simplicity of another era. San Juan Bautista, perched on the edge of the San Juan Valley, is as elemental as the stones, oaks and adobe that form its buildings. Here you are free of billboards and traffic lights— here, history is alive.

or two centuries, the Mission at San Juan Bautista has welcomed pilgrims into its cool F sanctuary. Within its walls, in the presence of candlelight and frescos, you can feel yourself releasing the frazzle of modern life, and simply being with the spirits in the tranquility of the Mission. For forty years this has been the setting for the Cabrillo Festival’s grand finale concerts. The music threads through arches and soars past the brilliantly painted main altar as it did for Padre Estaban Tapis when he retired to a life of music here in the 1800s, earning the Mission its name, “Mission of Music.”

You’re invited to bring a basket and bask with friends and other picnickers in the olive grove beside the Church between concerts.

Strolling in the town has its own pleasures too: from antique stores where you might find your grandmother’s china pattern, to a quiet meander through well-kept gardens and shade trees. This year, as in the past, between-concert picnicking is generously sponsored by Sorensen’s Resort in the Sierra Nevada.

The Festival owes the start of its treasured tradition at the Mission to Manuel Santana, who launched the idea in 1974 when he was President of the Festival’s board of directors. The Santana Family, Angelina and Valentin, will once again make the San Juan Day experience complete by welcoming the Festival audience and musicians to their enchanting Jardines de San Juan Restaurant in the heart of downtown San Juan Bautista. Their exquisite garden setting, superb food and unparalleled hospitality, have made Jardines part of the magic and allure of Cabrillo Festival’s popular San Juan Day. You are invited to experience the festivities following the evening’s final performance.

San Juan Day is supported by:

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 61 6262 CABRILLOCCAABRILLO FEFESTIVALSTIVAL OOFF COCONTEMPORARYNTEMPORARY MUMUSICSIC SUNDAY AUGUST 1100 4 & 7:30PM MISSION SAN JUAN BAUTISTA

Today’s performances are made possible through generous support in memory of BILL LOCKE-PADDON and in honor of the Borina Foundation and by PAUL and SYLVIA LORTON

Marin Alsop

Cabrillo Festival Orchestra conducted by MARIN ALSOP

Thunderwalker (1999) Stacy Garrop Clarice Assad Stacy Garrop (b. 1969) Invoking the Gods Ritual Summoned Dreamscapes for solo violin and strings (2009)

Clarice Assad (b. 1978) MichaelMichael DaughertyDaugherty Detlev Glanert Nadja Salerno-Sonnenberg, violin Fallingwater for solo violin and strings (2013, rev. 2014) Michael Daugherty (b. 1954) Nadja Salerno-Sonnenberg, violin I. Nightrain II. On the Level III. Prairie Psalm IV. Ahead of the Curve INTERMISSION

Drei Gesänge ohne Wortee (Three Songs without Words)ds) (rev. 2009) Detlev Glanert (b. 1960) [United States Premiere] Erster Gesang: Andante Zweiter Gesang: Allegro molto Media Spoonsor: Dritter Gesang: Adagio

This concert will be broadcast on Friday, Augustt 22, 8pm on KUSP 88.9 FM, and webcast on KUSP.org..org. Nadja Salerno-Sonnenberg 63 Join us for our 47th Season!

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6464 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Thunderwalker (1999) Dreamscapes (2009) yet again. This time struggle between the self and unconscious occurs in a Àerce manner, Stacy Garrop (b. 1969) Clarice Assad (b. 1978) eventually leading to a sequence of horriÀc events, similar to what one experiences during Thunderwalker is built on two overlapping Dreamscapes is a musical depiction of what a nightmare. ediÀces. The Àrst encompasses the form of happens during a dream from the moment one each movement: the Àrst movement is a fugue, falls asleep, until fully awake. Its form is loosely Dreamscapes relies highly on visual imagery the second is a ground bass (passacaglia), based upon my research on the subject of rapid as it draws from emotional content which is and the third is a scherzo-trio. The second eye movement (REM) and lucid dreaming. Both rich in contrasting ideas and recurring themes abstract structure is derived from what the give the piece a sectional but solid structure, that appear in abrupt or subtle forms. The most title suggested to me. I see a thunderwalker as divided by phases and segments. The human important notion to keep in mind is that the a huge god-like Àgure who lives in the sky and aspect of Dreamscapes is that it follows a self represents peacefulness, harmony and whose footsteps fall loudly among the clouds. If storyline which I developed by taking notes of beauty while the unconscious is always forcing I were a member of a pre-modern earth society my own dreams. While this was a fantastic new negative scenarios. and wanted to get the god-like Àgure’s attention, experience for me, it also presented quite a few —Clarice Assad I would go through a ritual cleansing ceremony challenges, such as how to organize all of these (movement 1), then invoke him over and over imageries, abstract thoughts, and sensations Dreamscapes was commissioned by the New again (movement 2) until I had summoned him into a cohesive piece of music. Century Chamber Orchestra and was premiered (movement 3). on May 14, 2009, at First Congregational Fortunately, the solution presented itself once Church in Berkeley, CA, with Nadja Salerno- These two structures complement each other: I realized that most of the time while I dreamt, Sonnenberg, music director and soloist. a fugue is a ritual of sorts (it follows a set of I was always present, either as myself or as procedures, much like what one might do in a an observer, and my main desire was often Recommended Recording: From A to Z: 21st cleansing ceremony). Passacaglias, by their to have a pleasant dreaming experience at all Century Concertos. New Century Chamber very nature, repeat themselves endlessly (like costs. However, once deeply into the dream, I Orchestra with music director and soloist one lost in chanting invocations). This particular would always Ànd myself drifting away from Nadja Salerno-Sonnenberg, NSS Music passacaglia is interrupted after each repetitive pleasant sensations to whatever else my 853376001054. cycle by chaotic, grumbling noises (as if the god unconscious suggested, which was for the most is awakening in the skies). The character of a part Àlled with negativity. Not surprisingly, since Fallingwater (2013) scherzo-trio can range from light and quick to we are bombarded everyday with bad news: Michael Daugherty (b. 1954) sinister or macabre (I imagine if a god were war headlines, economic crisis and harmful summoned down to earth, he would appear thoughts which stay in our subconscious This 22-minute concerto is a musical tribute good to some, sinister to others, and he would without our awareness. In several occasions I to the visionary American architect, Frank move swiftly along the earth’s surface). caught myself Àghting to go back to nice feelings Lloyd Wright (1867-1959). The inspiration to of contentment but more often than not, I would compose my second violin concerto came to The entire work was spun from the opening lose the battle and completely surrender to the me when I visited Taliesin, the 600-acre estate fugue motive. The Àrst movement focuses on power of these suggestions. developing the fugue materials, particularly a that Wright began to build in 1911, nestled minor 3rd/tritone interval pattern. The second This notion of awareness vs. unconsciousness into the rolling hills of Wisconsin. For over 40 movement takes a nine-note pitch pattern is what motivated me to apply different roles years, Taliesin was his primary residence, that was introduced in the Àrst movement to the instruments within the orchestra. The studio, sanctuary, farm, school of architecture, (the pattern consists of a repeating interval solo violin represents self-awareness, while the and artistic statement to the world. In the main of a minor 2nd, followed by a minor 2nd, then orchestra represents the unconscious mind, living hall, his third wife organized soirees for by a major 2nd) and turns it into a nine-chord providing the scenario changes throughout the family, apprentices and renowned guests. As I pattern (each statement of this pattern equals piece. Dreamscapes begins with a series of stood in the center of this magniÀcent space, one complete cycle of the passacaglia). Finally, colorful effects that symbolize the moments I noticed a large circular music stand made of the third movement mutates the nine-note prior to falling asleep, when the dreamer is still wood, designed by Wright himself, with four pitch pattern into an eight-note pitch pattern conscious enough to have power over their own sides for use by string quartets. I began to hear consisting of alternating minor 2nds and major thoughts—then, a slow theme is introduced, a composition for strings in four movements, as 2nds, which is known as an octatonic scale. symbolizing the dream which the self wishes to an emotional, spiritual, and musical exploration of Wright’s aesthetic of “organic architecture.” —Stacy Garrop have. However, the theme is gradually dispersed as the dreamer goes deeper into sleep, losing Inspired by four of Frank Lloyd Wright’s most consciousness and power. After the Àrst REM Thunderwalker was premiered on May 3, 2000, admired buildings—Taliesin, Fallingwater, Unity has been fully completed the dreamer has again at Orchestra Hall in Chicago, IL, by the Civic Temple and the Guggenheim Museum—I explore the power to take control over their own dream Orchestra of Chicago, conducted by Cliff Colnot. various dimensions of the string orchestra in and eventually is able to fulÀll that desire. This each movement of Fallingwater: Not recorded happens with the recurrence of the slow theme once again, but this time a new ‘individual’ is The Àrst movement, Night Rain, is a nocturne introduced into the dream (represented by a that evokes the natural beauty of Wright’s solo cello melodic line). The solo cello and violin beloved Taliesin (Welsh for “shining brow”). The then have a passionate encounter which is lost plucking of strings, reverberating like drops of abruptly as the unconscious mind takes over water falling softly at night, gradually transforms

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6666 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC continued from page 65 into a soaring lyrical theme Àrst uttered by Center for the Performing Arts in Mountain View, the tempo slackens a little for a conversation the solo violin. Hearkening back to Wright’s CA, with Nadja Salerno-Sonnenberg, music between clarinet and violas. Eventually the cor Welsh ancestry, this theme grows organically director and soloist. anglais seems to Ànd a deÀnitive shape for and contrapuntally into a Àeld of tonal cluster the melodic signature that has been winding chords, played by the entire string ensemble. Recommended Recording: From A to Z: 21st through the music, at which point the noisy Century Concertos. New Century Chamber swirls come back brieÁy, and the solo viola. On the Level, the second movement, is a scherzo Orchestra with music director and soloist Then, in a passage of considerable passion, the inspired by Wright’s fanciful masterpiece, Nadja Salerno-Sonnenberg, NSS Music full strings take over the thread, leading to an Fallingwater. Designed for the Kaufmann family 853376001054. evaporation from which the viola emerges again and built between 1936 and 1939, this famous to close the movement. house is dramatically positioned over a waterfall Three Songs without Words in rural Pennsylvania. For this movement, I Next comes what is unashamedly a dance construct musical motives in rising and falling (Drei Gesänge ohne Worte) song, playing for about Àve minutes and locked lines, creating multiple layers in various canons (2008/09) almost throughout to the same rhythmic pattern and tempos, like the daring cantilevers of Detlev Glanert (b. 1960) moving through changing melodic shapes and Wright’s architectural structure. [U.S. Premiere] orchestral colourings. Song now has to struggle to free itself from eternal rotation in the driving The third movement, Prairie Psalm, is my musical The Leipzig Gewandhaus Orchestra, which dance. The carnival is only brieÁy interrupted for meditation on the Unity Temple in Chicago, a sumptuously rising song from divided strings; completed in 1909 when Wright was founding Mendelssohn conducted for almost a dozen years in the latter part of his life, chose to mark his then it resumes as before, but now to reach a the Prairie School of architectural design. His violent climax followed by a dissolve. architecture sought to unite people, buildings bicentenary by commissioning a new work from Detlev Glanert, one of the most distinguished and nature in spatial and spiritual harmony. “I As long as these Àrst two movements put among present-day German composers. believe in God, only I spell it Nature,” he wrote. In together, the Ànale starts with a kind of deÁation Glanert duly acknowledged the occasion in the this movement, I compose a space for reÁection that one might think should come later in a big title of his work, and took seriously the notion and repose through gradual development of adagio, and indeed, as this movement continues of song being shaped by purely musical forces meditative melody and heavenly harmonies. so it goes on bringing forward elements of — by the push and pull of local harmony, and by I also reÁect on a passage from Ralph Waldo Romantic rhetoric in a new continuity, events the larger requirements of form — independently Emerson, often quoted by Wright: “Every spirit coming as if too soon, or not having the of words. That, however, is far as the homage builds itself a house; and beyond its house, a consequences expected, or being immediately goes. Glanert writes for a large orchestra, and world; and beyond its world, a heaven.” repeated. Out of the initial collapse arrives the makes no attempt at stylistic reference to the principal viola again, now with a slowly lifting early nineteenth century. The mirages that swim Ahead of the Curve, the fourth movement, motif that will provide the movement’s main in his score’s richly evocative outer movements is inspired by the Guggenheim Museum, idea, taken up by different groups in different belong, rather, to later times: Mahler, Berg, which was designed by Wright as his last ways. After a few minutes the music, conÀned Bartók and early Stravinsky, perhaps, to which masterpiece. Opening to great acclaim in New to the strings, gradually thins down almost the vivid Latin American centrepiece offers a York in 1959, six months after his death, this to nothing, and the violas—now all of them— complete contrast. virtuosic building was a dramatic Ànale to a reprise the lifting motif to open a second phase. long life of success, scandal, exile, tragedy, Moreover, where Mendelssohn’s songs Signals from the Àrst reappear, but now within and perseverance. Wright struggled against a watery musical environment, and when the his critics of the Guggenheim Museum, many without words, being for piano, often suggest arrangements of lieder with the voice part music thins down this time, it does so to leave of whom considered him out of step with their two solo violins in the extremest high register, “modernist” aesthetic. But Wright proved to taken by the pianist’s right hand, Glanert’s have no obvious vocal prototype. His work’s melodic a song going on far beyond the limits of human be ahead of the curve, reconÀguring space to voices. The quiet close comes soon after. bring art and people together in new ways. In phrases may often possess a singing quality, composing the fourth movement, I recreate the but they are indissolubly associated with the —Paul GrifÀths feeling of walking through the spiraling design instruments that sing them in this ravishingly of the museum, with the solo violin always one scored work. That may make the absence of Three Songs Without Words was commissioned step ahead of the ensemble. While the violin words, now lost beyond recall, more poignant. by the Leipzig Gewandhaus Orchestra and was plays in harmony with the strings in the previous And there is another absence, in that a melody premiered on August 21, 2009, at the Großer three movements, in the Ànale I reconÀgure the rarely Ànds its end. Instead it will hang open, Saal of the Leipzig Gewandhaus, conducted by acoustic space and create a virtuosic struggle often to be replaced by another melody that is Markus Stenz. between the soloist and the string orchestra. already moving forward, a different instrument’s Not recorded Like the Guggenheim Museum and the city song. surrounding it, my music is in perpetual motion, The Àrst movement is introduced by a solitary ahead of the curve. viola, cued by percussion and moving from —Michael Daugherty gestures of lament to upward swirls that are imitated by the full orchestra before the main, Fallingwater was commissioned by the New songful part of the seven-minute movement Century Chamber Orchestra and was premiered begins. Beautiful melodies are brought forward on November 20, 2013, at the Mountain View and reconsidered by woodwind soloists, and

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 6767 IN MEMORIAM The Festival bids a fond farewell to many dear friends who have left us this year. All will be missed and in our thoughts throughout the season.

RUTH & LAMAR ALSOP MARY KATE MOOSER LEZIN Earlier this year, Marin Alsop (1925-2013) lost both of her extraordinary parents—unimaginably, Mary Kate Mooser Lezin didn’t do things half way, and, with her within two weeks of one leadership and participation, her generation established the cultural another. Lamar and Ruth and service organizations that deÀne Santa Cruz today. She was were each accomplished president of the Cabrillo Music Festival from 1987-88, chair of professional musicians who the SC County Arts Commission for nine years, and a founding encouraged their daughter member of the McPherson Museum of Art and History. Over the to follow her dreams. They course of decades, she served as a board member for a multitude of arts and social service organizations in our community. In 1961 Mary Kate founded Kay/Hubbard & were Marin’s unfailing Associates, and for thirty years the agency created successful advertising campaigns champions throughout her for local businesses. Mary Kate was passionate about art—music, the ballet, a museum life, and they came to the exhibit, and the opera—from a world-class production in Italy to a compelling street Cabrillo Festival on several occasions to proudly cheer performer in a New York subway. And she was always up for an adventure. In her mid- her on. With their boundless energy and open spirit, they eighties she and her husband Norman trotted off to Antarctica “because it sounded like fostered friendships and made a lasting impression on all fun.” It was that sense of discovery, curiosity, and social engagement that endeared the who met them here in Santa Cruz. Cabrillo Festival to Mary, and, in turn, Mary to the Festival community. Her warm smile Ruth Alsop (1931-2014) passed away on January 23, and enthusiasm on Opening Night will be sincerely missed. surrounded by her family in Saratoga Springs, New York. Memorial gifts made in honor of Mary Kate Lezin were received by the Festival from Judy & A cellist, Ruth performed with the New York City Ballet Ray Cameron, Diane & Donald Cooley, Hila & Jacob Michaelsen, Jo Ann Mooser, Joan Osborne, Orchestra for more than 50 years. She also played with the Earleen Overend & Wayne Palmer, Ellen Primack & Eric Schmidt, Rowland & Patricia Rebele, Radio City Music Hall orchestra and taught music at Brooklyn Ernest Rideout & Nancy Silsby, and Linda Wilshusen & Rock Pfotenhauer. College and the State University of New York at Potsdam. HARRIET DECK When the Statue of Liberty reopened, she played with Frank (1935-2014) Sinatra at the ceremonies. Ruth had a spirited personality and many interests and talents; she was an accomplished There is no wonder that Harriet Deck was drawn to the Cabrillo ceramicist and weaver, and owned an antique shop, among Festival! She had a boundless curiosity and passion for life. She other things for which she will be fondly remembered. was born in NY City in 1935, and at 17 ventured “west” to Antioch Lamar Alsop (1928-2014) began his career at 17 years old College in Yellow Springs, Ohio, where the school’s pioneering in the Utah Symphony Orchestra, and went on to serve for work-study program offered her a diverse array of life experiences. more than three decades as concertmaster of the New York Those adventures led to more adventures, such as assisting on City Ballet Orchestra. He was also an active studio violinist, creativity research projects with Frank Barron at UC Berkeley, dealing cards at Harrah’s a member of several prominent chamber ensembles and a Lake Tahoe, and making fringed vests in San Francisco for Sly and the Family Stone! In professional whistler. Among his many skills and passions, 1956 Harriet met the love of her life, writer John Deck, at the Co-Existence Bagel Shop he was also a woodworker, builder and craftsman, and in SF. They were married in 1959, had two daughters, and went on to live in Puerto Rico furnished Marin with handmade batons early in her career. and Spain. But when they arrived in Santa Cruz in the early 1970s, Harriet had found He died on February 3 in Baltimore, Maryland. her true home. She practiced real estate here for more than forty years. Harriet served on many civic organizations and in 1990 was named Santa Cruz Woman of the Year for Memorial gifts made in honor of Ruth and Lamar Alsop were her pivotal role in organizing the temporary tent pavilions in downtown Santa Cruz after received by the Festival from Diane Craddock & Dave Hogye, the earthquake. She loved travel and the outdoors; she and John and her dog Pearl Liza Culick & Geri Miglielicz, Richard Fabrikant & Marty Finn, could be seen most mornings walking along West Cliff. Harriet loved art and music and Fran Fisher, Margaret Gordon, Dina & Tony Hoffman, Richard regularly attended the SC County Symphony, Shakespeare Santa Cruz, and, of course, & Diane Klein, Nancy Loshkajian, Bruce & Linda Nicholson, the Cabrillo Festival. As a host, donor, and enthusiastic audience member, she will be Earleen Overend & Wayne Palmer, Jim & Beth Petersen, Ellen sorely missed at the Festival, this year and always. Primack & Eric Schmidt, Michel Protti & Casey Coonerty Protti, and Marcia & Fred Smith. BRUCE ROSENBLUM (1926-2014)

At UCSC since 1966, Bruce Rosenblum served at various times as Chair of the Physics Department, Acting Provost of Stevenson College, Acting Dean of Science, and Chair of the Academic Senate. His research there varied widely and included superconductivity, theoretical studies of magneto-reception in animals, and the foundations of quantum mechanics. He was an organizer and Associate Director of the UCSC Center for Innovation and Entrepreneurial Development (CIED) and co-taught courses on entrepreneurship in UCSC’s Economics Department, while continuing his physics teaching. Bruce was active in Democratic politics and participated in several political campaigns in Santa Cruz. In 1982, Bruce married Phyllis Arozena, and happily accompanied her to music performances throughout our community as she pursued her passion for music and music writing.

Alsop family, Mission San Juan Bautista 2004. We were sorry to lose other longtime audience members and donors Alabelle Hueter and Henry Hilgard this past year. 68 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC MAKING A LEGACY GIFT: THE NEW MUSIC FOREVER ENDEAVOR An Opportunity to Have a Lasting Impact

Now is a perfect time to join the growing list of supporters whose legacy gifts will secure the Festival long into the future. We’re getting ever closer to our goal of 50! If you have already With deep appreciation, included Cabrillo Festival in your estate plans, please let us know so that we can count your we invite you add your name gift toward our ambitious goal, even if you wish to remain anonymous. If you are considering to this list of legacies! creating or changing your estate plans, there are many ways to include charitable giving while realizing significant benefits for yourself. REALIZED BEQUESTS Ellen Schuck YOU DON’T NEED TO HAVE A LARGE Joan Cook ESTATE TO MAKE A MEANINGFUL Caroline “Carrie” Hansen LEGACY GIFT TO THE CABRILLO The Lawrence Kristian Mikkelsen Trust FESTIVAL! Mildred Larsen Trust

INTENDED BEQUESTS YOU WILL HAVE A PROFOUND EFFECT! Joan and Joe Akers Just like Joan Cook, Carrie Hansen and Richard and Leslie Andrews Ellen Schuck… Sandra Cohen Fran Fisher Ellen Schuck was a joyous, enthusiastic booster Margaret Gordon of the Festival orchestra for decades. In June Bette and Joseph Hirsch 2005, the Festival received the largest legacy Dina Hoffman gift in its history from Ellen’s estate, which more Paul and Sheri Howe than doubled our Artistic Initiative Reserve Fund. Pamela Kangas and Benjamin Post When two dear and devoted Festival friends— David E. Kaun Joan Cook and Carrie Hansen—passed away, Diane and Richard Klein they, too, left an enduring legacy by bolstering Bud Kretschmer the Festival’s reserve funds and making sure we Kathryn Lawhun and Mark Shinbrot would be on surer footing in their absence. We Josephine Little recognize that designating the Cabrillo Festival Nancy V. Loshkajian in your estate plans is a powerful statement of Hila Michaelsen support, and we thank all our legacy donors for Earleen Overend their trust and conÀdence in the Festival and in Ellen Primack and Eric Schmidt the importance of our work. Leslie Stewart and Wes Kenney Marion Taylor Dee Vogel and Lin Marelick AN EASY PLAN OF ACTION: Ruth and Jerry Vurek Whether you’ve created a comprehensive Lana Weeks estate plan or not, you can take action Anonymous (4) now by naming the Cabrillo Festival of Contemporary Music as a beneficiary of an ANY GIFT, NO MATTER HOW IRA account or Life Insurance policy. Often LARGE OR SMALL, CAN HAVE this can be accomplished online! A LASTING IMPACT ON THE CABRILLO FESTIVAL’S FUTURE. You can also name the Festival in a bequest in your will, or name us the beneÀciary of life insurance policies, retirement plans, charitable remainder trusts, and other arrangements. The Festival wants to help interested donors explore FREQUENTLY ASKED QUESTIONS: all their possibilities. What is the Festival’s Legal Name? Can you provide sample bequest language? Please call or email Cabrillo Festival of Contemporary Music I hereby bequeath to the Cabrillo Festival of Ellen Primack, Executive Director at Contemporary Music located in Santa Cruz, What is Festival’s Federal Tax I.D.? 831.426.6966 or [email protected]. California, the sum of $_____ dollars (or 94-6123298 alternatively, %_____ of my residuary estate).

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 6969 GRANTMAKERS What we do at Cabrillo would not be possible without the support the Festival receives from public and private grantmakers. We invite you to read a little about each of them and the important role they each play.

THE JAMES IRVINE FOUNDATION, ARTS to improve our home venue, the Santa Cruz to become a classical singer. Given his personal REGIONAL INITIATIVE—CENTRAL COAST Civic Auditorium. Recently, the Foundation passion for music, it should be no surprise that Created in 2006, the Arts Regional Initiative provided support to the Festival for the initial the Foundation he established is a major funder made grants to arts organizations to help them phase of planning for a major renovation of of performing arts and cultural organizations build operating capacity, improve Ànancial the Civic Auditorium as a performing arts and throughout California, as well as nationally. The sustainability, reÀne artistic products, diversify cultural center; and, through its Organizational Foundation has been a consistent supporter of audiences and strengthen management and Effectiveness Program, has provided technical the Cabrillo Festival since 1999, offering much- board governance. In 2009, the Cabrillo Festival assistance in support of our upcoming strategic appreciated support for our general operating of Contemporary Music was given a tremendous planning process. It is with special appreciation needs. vote of conÀdence by the Foundation when it was that we invite you to join us in thanking The selected to participate in ARI Phase 1–Central David and Lucile Packard Foundation for also COMMUNITY FOUNDATION Coast. From 2009–2011, Irvine invested in a renewing its support of the Festival’s core SANTA CRUZ COUNTY very targeted capacity building plan designed to programs and outreach activities with a two- Community Foundation Santa Cruz County strengthen Cabrillo’s leadership in the Àeld. In year grant that spans the 2014 and 2015 is a public, nonproÀt organization created as 2012, Irvine invited Cabrillo to take part in ARI seasons. a permanent resource for the county. The Phase 2, which is now leveraging the expanded Foundation provides grants and management capacity of Phase 1 to broaden audiences THE AARON COPLAND FUND assistance to nonproÀt organizations, public regionally and nationally, and increase FOR MUSIC, INC. sector agencies, and community groups, and, Cabrillo’s Artistic Initiative Reserve Fund, both In keeping with his lifelong devotion to the music the Cabrillo Festival is grateful to have received needed to sustain the Festival’s ambitious of America, Aaron Copland, the quintessential a grant of general operating support this season. vision. The signiÀcance of these ARI grants American composer, created the Fund for Music The Community Foundation also provides a and the consecutive three-year plans that they and bequeathed to it a large part of his estate. simple, safe, and efÀcient way for individuals, support cannot be overstated. They challenge The Fund’s purpose is to encourage and improve families and businesses to invest in Santa the Festival to not only secure its long-term public knowledge of contemporary American Cruz County through donor advised funds. This organizational health, but to make signiÀcant music. Cabrillo Festival has been honored with season, the Festival is pleased to acknowledge advances in the Àeld of modern symphonic a grant in every year since the Fund’s creation the receipt of grants from the Altman Donor- music during the grant period and beyond! in 1992. Copland Fund support has closely Advised Fund, David Kaun and Abigail Kaun paralleled the tenure of Maestra Marin Alsop Fund, Ellen B. Kimmel Donor-Advised Fund, THE WILLIAM AND FLORA HEWLETT and has been critical to the artistic growth Porter Fund, Stocker Family Fund, and the Hawley FOUNDATION and development of the Festival under her Family Fund, which has generously made a three- For more than forty years, the Hewlett leadership. This year’s Performing Ensembles year commitment in Foundation’s Performing Arts Program has Program grant is dedicated to the fourteen living support of our Free played a leading role in the arts and culture of composers whose works are on our main stage Family Concerts. the San Francisco Bay Area. What began with concert series. In addition, a Supplemental a commitment to classical music has expanded Program grant was awarded to the Festival ARTS COUNCIL SANTA CRUZ COUNTY into a diversiÀed program with a core belief in in support of our Conductors/Composers Envisioning a vibrant Santa Cruz County, where the power of art to imbue life with meaning, Workshop, and honors the three early career individual and collective artistic expression value, and pleasure. Hewlett Foundation’s composers who will receive premieres of their thrives and where the Arts are a valued part of support of the Cabrillo Festival dates back to latest works during the 2014 Cabrillo Festival all aspects of our diverse culture, economy, and 1980, and since 1992 has helped Marin Alsop season. everyday life, Arts Council Santa Cruz County give the Festival her distinctive artistic imprint has supported and advanced our cultural and raise its proÀle as a center for new music THE NATIONAL ENDOWMENT community since 1976. Formerly known as for orchestra in America. We are currently in the FOR THE ARTS the Cultural Council, it has recently developed third year of a three-year Hewlett Foundation An award of funding from the National a major new strategic plan in service of its grant for general operating support that Endowment for the Arts is a great artistic mission to “promote, connect, and invest in the provides much needed resources for the day- honor that results from a highly competitive arts in order to stimulate creativity and vibrancy to-day operations as we work to sustain the application process overseen by a panel of in Santa Cruz County.” In 2014, the Festival’s emergence as a major creative force. experts in the Àeld. This year’s increased award Festival received a Sponsor Grant, supports the broad activities of the Festival and which provides operating funds “to THE DAVID AND LUCILE PACKARD our commitment to engaging our communities– help support arts organizations FOUNDATION of both audiences and artists. The award that create and present artistically For nearly Àve decades, the Packard Foundation recognizes and supports the Festival’s unique excellent and culturally signiÀcant has supported a wide array of nonproÀt role as an incubator for new music, and its vital work in Santa Cruz County.” organizations in geographic areas that are contribution to the growth and signiÀcant to the Packard family. These include development of symphonic THE KENNETH T. AND EILEEN L. NORRIS the Àve California counties that surround the music in America. FOUNDATION Foundation’s headquarters, as well as Pueblo, Family-founded through economic freedom, Colorado, the birthplace of David Packard. ANN AND GORDON GETTY FOUNDATION the Norris Foundation supports programs The Foundation has shown great commitment The Ann and Gordon Getty Foundation was that advance better health and intellectual and support for the Cabrillo Festival, including established by Gordon Getty, son of J. Paul enlightenment through education, cultivation ongoing general operating funding since 1996 Getty, the founder of Getty Oil. Among his many of the arts, individual responsibility, freedom as well as major grants for technical upgrades pursuits in business and philanthropy, Gordon and dignity. The Norris Foundation has provided Getty is also a composer and trained seriously the Cabrillo Festival with continuing support

70 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC since 1998. The current grant helps support the Conductors/Composers Workshops. In has been honored to receive support from BMI the 2014 Festival and the outreach activities recognition of the signiÀcance of this grant, and Foundation Inc. in recognition of the Festival’s that give the entire community access to its importance to the Àeld and to the conductors commitment to contemporary American music, every aspect of modern music making and selected, we have named these awards the to engaging and sustaining new audiences, to the living arts. These include open rehearsals “Bruno Walter Conducting Scholarships.” These training young conductors and composers, and daily; free lectures and discussions; the Free scholarships allow us to recruit the brightest to premiering new works. Family Concert; the Creativity Tent for Kids; talent, regardless of economic means, and our Student Staff work/study program; the give Marin Alsop the freedom to work with Church Street Stage showcasing locally based conductors whose career development she performing arts groups; and In the Works, the wants to help advance, encourage, and support. culminating concert of the Festival’s prestigious GRANTMAKERS THE AMPHION FOUNDATION, INC. Conductors/Composers Workshop. Please join us in thanking these Established in 1987 by composer Elliott Carter generous grantors. MONTEREY PENINSULA FOUNDATION and his wife Helen, the purpose of the Amphion YOUTH FUND Foundation is to encourage the performance $50,000 AND ABOVE The Monterey Peninsula Foundation Youth of contemporary concert music, particularly The James Irvine Foundation Fund, formerly known as the AT&T Pebble Beach by American composers, through support The William and Flora Hewlett Foundation National Pro-Am Youth Fund, has awarded to performing and presenting organizations The David and Lucile Packard Foundation grants to select youth-oriented organizations in that have demonstrated sustained artistic Monterey and Santa Cruz counties since 1954. excellence, in addition to service organizations. $20,000 TO $49,999 The Monterey Peninsula Foundation’s principal Their grant to the Festival this season supports The Aaron Copland Fund for Music, Inc. source of funds is the AT&T Pebble Beach the performance of works by fourteen living National Endowment for the Arts National Pro-Am golf tournament. The net composers, ten of them American. The $10,000 TO $19,999 proceeds from this premiere golf tournament ongoing support of the Amphion Foundation Ann and Gordon Getty Foundation have long been dedicated to beneÀting youth since 2005 has helped the Festival sustain Community Foundation Santa Cruz County programs in the Monterey Bay Area. The focus quality programming, maintain high levels of Arts Council Santa Cruz County on youth came from the guidelines set down community participation, and expand audiences The Kenneth T. and Eileen L. Norris Foundation by Bing Crosby himself, the originator of this regionally and nationally. Amphion support also Monterey Peninsula Foundation Youth Fund celebrity golf classic. Youth Fund Support of the helps the Festival meet the challenge of its The Betty R. and Ralph Sheffer Foundation Festival’s programs dates back to 1977. Since expanding role in the symphonic music sector 1992, the Youth Fund has provided essential as the originator of new works for orchestra and UP TO $10,000 funding for Cabrillo Festival’s innovative Free adds importantly to the strength of the Festival Bruno Walter Memorial Foundation Family Concerts and, since 2001, funding has and its mission. PaciÀc Harmony Foundation been enhanced to include our Creativity Tent for The Amphion Foundation, Inc. PACIFIC HARMONY FOUNDATION Kids. The grant helps make certain that these BMI Foundation, Inc. unique cultural opportunities are available to Founded in 2013, the PaciÀc Harmony The Hawley Family Fund all children in our community, regardless of Foundation was established by composer John Omega Nu of Santa Cruz economic means. Adams and his wife Deborah O’Grady. The League of American Orchestras purpose of the PaciÀc Harmony Foundation is ASCAP Award for Adventurous Programming THE BETTY R. AND RALPH SHEFFER to provide support for the creation, presentation, FOUNDATION and understanding of contemporary arts, with The Betty R. and Ralph Sheffer Foundation was special emphasis on music, music composition, created in 1992, as one of three successor and young composers. To that end, the foundations to the Tudor Foundation, which Foundation has established a commissioning had been started by Aaron Rabinowitz. Initially series at the Cabrillo Festival, giving one in memory of Betty Rabinowitz Sheffer (1922- young composer each year the opportunity 1977) and then Ralph Sheffer (1913-2006) to write a piece for large orchestra. In 2014 the Foundation has sought to honor their the Foundation’s support makes possible the interest in the arts, education, and community. commission and world premiere of Gabriella The Foundation’s grant in 2014 supports Smith’s Tumblebird Contrails. the commission and world premiere of The Conference of the Birds, written by Jonathan BMI FOUNDATION, INC. Sheffer, Betty and Ralph’s son. The purpose of the BMI Foundation’s grants program is to further the creation, performance BRUNO WALTER MEMORIAL FOUNDATION and study of contemporary music. There is an Established in 1963 by the estate of the world- emphasis on classical, jazz, and the musical famous conductor, Bruno Walter, the Memorial theatre genres and a preference for programs Foundation supports projects that help the that directly involve living American composers. career development of orchestral conductors. Funding decisions are made with the aid of In December 2009, the Cabrillo Festival was the distinguished songwriters, composers awarded a 10-year grant to support Marin and publishers who serve as the Foundation’s Alsop and her work with young conductors in Advisory Panel. Since 1995, Cabrillo Festival

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 7171 ARTISTIC INITIATIVE RESERVE FUND

While risk is an essential part of Cabrillo’s mission to bring audiences the innovative, the unexpected, and the new, the level of risk we can take is directly proportional to the size of our Artistic Initiative Reserve Fund. Established in 1999 with a special gift from an anonymous donor, the fund enables us to pursue special ventures; it was boosted most recently by a campaign in honor of the Festival’s 50th anniversary that raised $50,000, and again by two bequests in 2013 totaling another $50,000.

The many donors honored below for their cumulative giving to this special fund understand the importance of underpinning the Festival’s annual budget with additional reserves. The force of their belief and conviction has helped the fund grow to more than $275,000, providing a needed buffer against the uncertainties of each season. Please consider joining these visionary donors with a gift of any amount. You can make a lasting impact and help secure our future!

KEYSTONE PARTNERS Jacqueline Hartman Nicholas and Ruth Royal Joan Cook In memory of Celia Hartman Fred Sampson Diane and Donald Cooley Christopher Harder Susan Schlievert Caroline “Carrie” Hansen Simon and Rosemary Hayward Jim and Marie Sikora Ellen Schuck Edward Hearn and Linda Arnold Christine Sodt Anonymous Patrick HosÀeld Dolores Speidel Gina Ing Cherrill Spencer VENTURE PARTNERS Russ Irwin Connie and Tom Unsicker Richard and Leslie Andrews Robert Kraft Mary Wells Alex Darocy Kathryn Lawhun and Mark Shinbrot Anonymous In memory of Colette King Darocy William Lokke In honor of Joe and Bette Hirsch Richard Fabrikant and Marty Finn Patrick McCabe Richard Faggioli Marian Metson ADVOCATES Michael Good and JoAnn Close Dr. Lester and Martha Miller Elizabeth Alpert and Ken Friedenbach Margaret Gordon Ann-Marie Mitroff and Norman Groner Lizz Hodgin Anderson Howard Hansen Betty Molloy Music Together/MusicalMe, Inc. Mary James and George Cook Marc Murai Lorraine Azevedo David E. Kaun Misha Petkevich Anne Marie Callahan Josie Little Michel Protti and Casey Coonerty Protti Angeleen Campra Paul and Sylvia Lorton, Jr. George and Mary Reynolds Faye Crosby Earleen Overend and Wayne Palmer Jean C. and Kay E. Rigg Karen DeMello Jim and Beth Petersen Clarence William Row Sheila Flodberg Bruce and Phyllis Rosenblum Gayle and Scott Spencer Jon and Ellen Florey Marcia and Fred Smith Frank and Rosemary Steinmueller Diane and Harry Greenberg Sue Struck Marion Taylor Jeanne Hansen Michael and Lesley Tierra Mary Anne Trause Valerie Hayes Ruth and Jerry Vurek Stephen and Patricia West In honor of Jenny Rebecca Hayes Anonymous (2) Linda Wilshusen and Rock Pfotenhauer Lenore Hindin and Joseph Shearer Richard and Jill Wilson Marie and Kent Imai FUTURISTS Virginia Wright and Tom Fredericks Barbara Jirsa Diane Craddock and Dave Hogye Stephan Kessler Marshall Dinowitz CREATIVES Deanna and Elroy Kursh Bette and Joseph Hirsch Rolf S. Augustine In honor of Bette Hirsch George Hopkins Sharon Barett Rabbi Rick and Nancy Litvak Sarah L. Howell Nancy Bertossa and Robert Van Dale Guy Neenan Eleanor Littman and Robert Goff Rena Cochlin Derek Shuman Wendy and Mike Kirst Sabrina Eastwood Alan and Peggy Spool Ellen Primack and Eric Schmidt Christine and William Green Robert Stewart Michael and Sarah Ray Sara and Cliff Friedlander Laura Tindall Alan Ritch Jessica Frye and David Stein Carolyn Roberts William Patrick Gallagher Ann Rogers Paul and Laurel Henderson Melodye Serino Harold and Dorothy Hyde Audrey Stanley Ronald and Linda Israel In memory of Sidney Jowers In honor of Jonathan Miller In memory of Carolyn Wanenmacher Daniel P. Johnson Anonymous Beverly Karp Carole and Henry Klyce INNOVATORS Margaret and Damon Kvamme John and Betty Ann Altman Scott Lewis Prue Ashurst Dr. & Mr. Todd Lockwood Chris and Dale Attias Elizabeth and Blair Looney Mona Baroudi Luciana Lombardi David and Judy Beech Robert McKim Vicki Carlisle Terry Murphy Thomas Clark In memory of Celia Hartman Kathleen Cohen and Mark Foote Petr Olmer John and Harriet Deck Surale Phillips Tom Ellison and Larry Friedman Gunnar Proppe Jack and Iris Farr Joanne Ratcliffe Fran Fisher Pamela and William Richter Betty Fredericks Diana Rothman 72 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC LEADERSHIP SUPPORT

Cabrillo Festival wishes to thank Mary Solari, Jerry and Ruth Vurek, Diane and Donald Cooley, Paul and Sylvia Lorton, and two anonymous donors for Leadership Support of the 2014 Cabrillo Festival of Contemporary Music.

MARY SOLARI JERRY AND RUTH VUREK Sponsor of Opening Night PLAY Sponsors of IN THE BLUE ROOM with Time for Three Mary Solari has always taken the lead in bringing the Festival to new heights, providing Jerry and Ruth Vurek represent a second leadership support for some of our most generation of passion and generosity toward ambitious projects. She was sponsor of two the Cabrillo Festival and its mission. In 2007, of the Festival opera productions, Philip Glass’ The Photographer in 2001 the Vurek Family (Ruth, Jerry, and Jerry’s and Mark Adamo’s Little Women in 2002. In 2006 her lead gift made mother Helen) initiated a fund to assist early career composers premiering possible the commissioning and world premiere of a score by Philip Glass their works at the Festival. Ruth and Jerry have sponsored extraordinary for photographer Frans Lanting’s multimedia work Life: A journey Through soloists like cellist Alisa Weilerstein who performed Osvaldo Golijov’s Time, and in 2007 she was a co-commissioner of Christopher Rouse’s Azul in 2008; they have been lead concert sponsors including in 2010 Concerto for Orchestra. She has sponsored a major concert every year with a gift in honor of Helen’s 100th birthday; and they were among the since, and in 2012 she commissioned one of the centerpieces of the co-commissioners of the monumental 50th anniversary project Hidden Festival’s historic 50th anniversary season, James MacMillan’s Woman World of Girls. This season Ruth and Jerry Vurek are sponsors of our of the Apocalypse. We want to express our heartfelt appreciation to Mary special Sunday night benefit recital, In the Blue Room featuring the string Solari for continuing her extraordinary support by generously sponsoring trio Time for Three, and the Festival remains grateful for their enduring the Cabrillo Festival’s 2014 Opening Night program. friendship and commitment.

DIANE AND DONALD COOLEY PAUL AND SYLVIA Co-Sponsors of Music at the Mission LORTON, JR. Co-Sponsors of Diane and Don Cooley have long supported Music at the Mission the Festival as both donors and enthusiastic audience members. There is probably no Paul and Sylvia Lorton initially better “unofficial” spokesperson for the found their way to the Cabrillo Festival than Diane Cooley. She understands in a profound way the role Festival because of their deep the Festival and our musicians play in the advancement of our modern love of opera and of Philip Glass’ music. It was the Festival’s production of symphonic heritage. As a demonstration of this trust in our mission, Diane Philip Glass’ The Photographer in 2001 that won their attention, and they and Don made the first leadership gift in our 50th anniversary campaign have been stalwart fans and supporters ever since! They have become to bolster the Festival’s Artistic Initiative Reserve Fund; and they have long increasingly committed to the Festival’s unique programming and vital been co-sponsors of our Music at the Mission grand finale performances role in the music world, and their generous contributions to the Cabrillo at Mission San Juan Bautista. The Cabrillo Festival is grateful for their Festival have helped Maestra Alsop pursue our greatest ambitions by family’s continued generosity and the key role they have played in helping bringing the world’s finest composers and performers to Santa Cruz each us advance and thrive. year.

ANONYMOUS ADDITIONAL LEADERSHIP SUPPORT PROVIDED BY: In support of the Conductors/Composers Workshop

The generosity of our donors really does make the Cabrillo Festival possible, and multi-year pledges have the added benefit of enabling us to plan ahead and allocate time to pursue the much-needed funding required each year. The Festival is extremely honored and grateful to a new donor who has made a ten-year commitment of a major annual gift in general support of our prestigious Conductors/Composers Workshop. Their trust and recognition of Marin Alsop and the Cabrillo Festival’s JOSIE LITTLE MARIN ALSOP commitment to the next generation of musical talent is a great tribute.

ANONYMOUS Sponsor of Open Rehearsals

We would like to acknowledge the generosity of an anonymous donor who has made an ongoing leadership gift in support of our Open Rehearsals. It is a joy for the Orchestra to invite the community into the creative process in this special way, and we so appreciate that a member of our community has made a five year pledge to help support the costs of making this possible!

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 7373 DONORS MAKE THE DIFFERENCE Our donors mean the world to us. They are our foundation; our lifeblood; our angels. They stretch their own resources every year to make their donations, and we in turn stretch our resources to produce a Festival that makes the entire community proud.

Please join us in thanking the hundreds of donors whose generosity has helped bring the 2014 Festival to life. We would like to call atten- tion to those donors indicated by a star ( ), who have either increased their annual gift, become donors for the first time, or returned after a hiatus. The strength provided by these donors’ general support gifts enables the Festival to thrive and grow season after season. Thank you!

Concert Sponsors Bruce and Linda Nicholson (left) and Josie Little (front) with composers Mason Bates, Sean Friar (rear) and Thomas Newman (right), Conductor Carolyn Kuan, composer Kevin Puts, Earleen Overend, Mary Solari, Larry Friedman, conductor Carolyn Kuan and David Harrington of commissioners Bette & Joe Hirsch, and flute soloist Tom Ellison, and Linda Nicholson, 2014 Winter Kronos Quartet, 2013. Adam Walker, 2013. Donor Event.

NEW ERA $10,000+ CREATORS CIRCLE ($2,500–$4,999) COMPOSERS CIRCLE ($1,500-$2,499) As the world’s foremost festival for contemporary At Cabrillo, the guest artists who join our orchestra The Composers Circle is dedicated to the artists symphonic music, the Cabrillo Festival aspires to each season demonstrate their commitment who author the music of our time. Composers provide living composers everything they need to to the demanding task of being co-creators in are at the center of the Festival experience; this create the future of the art form, give audience the performance of music that is innovative and summer we have nine composers in residence to access at all levels to the creative process, fresh. This season, the Creators Circle recognizes participate in the rehearsal, performance, and and provide mentorship and support for the the extraordinary commitment and caliber of this discussion of their work. season’s guest artists. next generation of conductors and composers. Richard and Leslie Andrews The donors listed below provide the exemplary Jack and Peggy Baskin Richard Fabrikant and Marty Finn leadership and support necessary to bring these Richard Faggioli Michael Good and JoAnn Close ambitious aspirations to life! Margaret Gordon HULA’S ISLAND GRILL Josie Little Marilyn and Tim Groves Ian McRae and Leslie Conner Mary Solari Through the Marilyn and Tim Groves Fund Ellen Kimmel Ruth and Jerry Vurek at the Los Altos Community Foundation Through the Ellen B. Kimmel Fund at the Anonymous (2) THE HANSON GROUP – Morgan Stanley Community Foundation Santa Cruz County Erik Hanson, CFP® – Financial Advisor Carole and Henry Klyce CONDUCTORS CIRCLE ($5,000–$9,999) Susan R. Malloy Nancy V. Loshkajian Conductors are the stewards of our symphonic Earleen Overend and Wayne Palmer Dr. Lester and Martha Miller heritage. They guide the programming decisions for Jim and Beth Petersen Ellen Primack and Eric Schmidt orchestras and provide the leadership needed for REDTREE PARTNERS, L.P. Rowland and Patricia Rebele orchestras to perform contemporary music at the Alan Ritch Marcia and Fred Smith highest level. Contributors to the Conductors Circle Phyllis Rosenblum Sue Struck play a prominent role in the Festival’s mission, which SANTA CRUZ COUNTY BANK Marion Taylor is to be a leader in the creation and presentation of Richard and Jill Wilson contemporary music for orchestra, and to promote Jill G. Wilson, Attorney at Law, ORCHESTRA CIRCLE ($1,000-$1,499) the understanding and enjoyment of new symphonic Estate Planning and Probate Long-time Festival observer and music critic works locally, regionally, and globally. Anonymous Janos Gereben once wrote, “most importantly Diane and Donald Cooley and memorably, there was a consistently brilliant Through the Porter Fund at the Community performance by the Festival Orchestra…[they] have Foundation of Santa Cruz County become an ensemble that would make any opera Michèle Beigel Corash and Laurence Corash house or concert hall proud.” Our players have Margaret Dorfman earned Cabrillo an uncompromised and prestigious Howard Hansen reputation as America’s preeminent contemporary Bette and Joseph Hirsch music festival. Gifts by members of the Orchestra David E. Kaun Circle are dedicated to these extraordinary Through the David Kaun and Abigail Kaun Fund musicians. at Community Foundation Santa Cruz County BAY PHOTO LAB Paul and Sylvia Lorton Bud and Rebecca Colligan Bruce and Linda Nicholson Diane Craddock and Dave Hogye CRUZIO Liza Culick and Geri Migielicz 2013 In the Works composers with sponsor Peggy Dorfman. FEAST FOR A KING

Donors indicated by a star have either increased their support, become donors for the first time, or are returning after a hiatus. 74 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC DONOR

Liza Culick, Jackie Heald, Geri Migielicz, 2014

Ron and Linda Israel with Marin Alsop, 2014 Eric Hanson, Birgit Weskamp, and Eric Schmidt, 2014 Winter Donor Event. Winter Donor Event Winter Donor Event. RECOGNITION

Fran Fisher, C.P.A. PALO ALTO MEDICAL FOUNDATION PALACE ART & OFFICE SUPPLY Aviva Garrett and David Doshay, Sage Doshay SANTA CRUZ Richard and Susan Robbins Ann & Jim Gordon, Holter Graham, Mary Polo Ronald and Phyllis Schmidt and Neela Vaswani Michel Protti and Casey Coonerty Protti Charles Singer In memory of Harold Gordon, one of the “good Michael and Sarah Ray Gayle and Scott Spencer guys” and a strong supporter of the arts Jean C. and Kay E. Rigg Gabrielle Stocker Nancy Harper Carolyn Roberts Through the Stocker Family Fund at Community In memory of Paul Johnson SANTACRUZTICKETS.COM Foundation Santa Cruz County Sallie Johnson Claire Schneeberger and Joshua Salesin Linda Werner and Charles McDowell Barry and Diane Lamé SORENSEN’S RESORT Stephen and Patricia West Eleanor Littman and Robert Goff Birgit Weskamp and Robert Lee Kilpatrick Harold Widom and Linda Larkin James Morrison Linda Wilshusen and Rock Pfotenhauer Harvey and Judy Nickelson CONTEMPORARY ($250-$499) Bob and Doris Witte Alan Rabinowitz The Cabrillo Festival is about access to the Deborah and Jeff Roisman artists and music of our times. For the community NEW CENTURY ($100-$249) Michael and Lesley Tierra members and musicians who come together Cabrillo Festival has dedicated more than half a at Cabrillo, the Festival is a combination of century to ensuring that living composers can THE LEADING EDGE ($500-$999) informality and intensity. The San Jose Mercury be appreciated by audiences eager to hear their Since the creation of the League of American News has described “the friendliness at Cabrillo” work. New Century donors are forward looking. Orchestras’ National ASCAP (American Society for as “legendary…there is a jaunty reveling here in They care about the discovery and nurturing of Composers, Authors, and Publishers) Awards in programs of the 20th (now 21st) Century music that musical genius. Contributions in this category are 1982, Cabrillo has been honored every year with a would terrify marketing directors at many big-city dedicated to the next generation of composers prize for excellence in adventurous programming of orchestras.” Donations at the Contemporary level whose voices are just beginning to be heard. contemporary music. In 2008, the Festival received recognize that we are all revelers in modern music Sandra Allen the ultimate ASCAP award, the John S. Edwards making at the Festival. Elizabeth Alpert and Ken Friedenbach Award for Strongest Commitment to New American Music! Leading Edge contributions are dedicated Joan and Joe Akers Lorraine Azevedo to excellence in contemporary programming at Lesley Carlson Mona Baroudi Cabrillo, a world leader in new symphonic music. Robert and Judith Chinello Wesley Bartera Jennifer J. Choate, M.D. and Sheila and Murray Baumgarten John and Betty Ann Altman Woody Wood BAUER PIANO SERVICE Prue Ashurst Ceil Cirillo Dr. and Mrs. Robert L. Black Rolf S. Augustine James Clifford and Judith Aissen Cara Bradbury Faye Crosby Frank Fredericks Roberta Bristol Alex Darocy Christopher Harder Laurel H. Brobst Daryl Dichek Ian Hinchliffe Scotty Brookie Marshall Dinowitz Dina and Tony Hoffman Angela and Richard Chandler The Lawrence Kristian Mikkelsen Trust Sarah L. Howell Lawrence Chew Jack and Iris Farr Judith Husted Thomas Clark Betty Fredericks Harold and Dorothy Hyde Elizabeth Gordon Gina Ing Jeanne Hansen Wendy and Mike Kirst Edward Hearn and Linda Arnold Robert Kraft Patrick Hosfield Norman Lezin Ronald and Linda Israel Elizabeth Lill, Elizabeth Wright, Jim Wright, Richard and Diane Klein Chuck Wright, Glenn & Rose Ash, and Kathryn Lawhun and Mark Shinbrot David & Jeanne Hueter Barbara J. Lawrence In memory of Alabelle Hueter Patrick McCabe Joan Lowden Jacob B. and Hila F. Michaelsen Ron and Marylou McNay Jo Ann Mooser John Mead NEW LEAF COMMUNITY MARKETS Composer Anna Clyne with sponsor Alan Ritch, Fane and Corie Opperman Mission San Juan, 2013.

CABRILLO FESTIVAL OF CONTEMPORARY MUSIC 75 Marjorie Perlin Daniel P. Johnson Misha Petkevich Colleen B. Kramer Martha Rabinowitz Dave Lake Pamela and William Richter Joel Leivick and Terry Hogan Ann Rogers Dr. and Mr. Todd Lockwood Diana Rothman David and Susanna Margulies Nicholas and Ruth Royal George and Lucy Mattingly Erika and Dieter Scherer Sheila Namir and Helene Moglen Susan Schlievert Gary and Marilyn Patton Donors sit Inside the Orchestra, 2013. Neal Shorstein Nick Pavlina Jacob Sidman and Kris Sidman-Gale Jim and Marion Rector Rena Cochlin Douglas Smith Paul and Maureen Roskoph Bill and Cloy Codiga Cherrill Spencer In honor of Joe Hirsch Sandra Cohen Alan and Peggy Spool Clarence William Row In honor of Len Jackel Audrey Stanley Diane Russell Kathleen Cohen and Mark Foote Frank and Rosemary Steinmueller Brigitta Ryle Cindy Collins Robert Stewart Fred Sampson Lauren Crux Mary Anne Trause Kathleen Shaeffer Eric Cummins Mary Wells Dolores Speidel Dr. Jerome and Sylvia Deck Richard Wilson Connie and Tom Unsicker John and Harriet Deck Dr. and Mrs. William Winchell Ethel S. Worn Bob & Carol Dressler Danielle Wohl Judy Yarbrough In honor of Joe and Bette Hirsch Vina Woodland Robert and Antonette Zeiss Sabrina Eastwood Robert and Suzanne Young William A. Zschaler Eve Eden Anonymous (2) Anonymous (2) Marc Eldridge Tom Ellison and Larry Friedman FESTIVAL FELLOW ($50-$99) David R. Falconer At the Cabrillo Festival, the enthusiasm of Richard Flower audiences, the generosity of donors, the DONATIONS Tom Fredericks and Virginia Wright responsiveness of musicians, composers and MAY BE MADE: Sara and Cliff Friedlander guest artists, and the embrace of the community ONLINE AT Rhea Giroux are all totally unique. Festival Fellow donations are In memory of Joseph Giroux dedicated to a place where composers, players, Peter Haas audiences, and the entire community interact, and Richard and De Anne Hart where everyone contributes in some way to the cabrillomusic.org (click on Support Us) Roberta Heimark process of modern music-making. Galen Hilgard Bruce C. Bangert OR BY MAIL TO In memory of Henry Hilgard Sharon Barett CABRILLO FESTIVAL Chuck and Kathleen Hilger Judy and Ray Cameron Hilda and Don Hodges Jack Carter 147 S. River Street, Suite 232 Marie and Kent Imai Rosella Crawford-Bathurst Santa Cruz, CA 95060 Pamela Kangas and Benjamin Post Richard Dawson To make gifts of stock or other property, Ruth and David Koffman Stephen B. and Nancy J. Dudley or for information regarding In honor of Bette Hirsch Margaret and Damon Kvamme estate planning, please contact Allan J. Dyson and Susan C. Cooper Barbara Lambert Executive Director Speed and Connie Leas Jim and Suzanne Ellmore Ellen Primack at Nancy Lenz James M. Engelman, M.D. Barbara Schatan and Richard Linzer Joyce K. Feldman 831.426.6966 Jon and Ellen Florey Rabbi Richard and Nancy Litvak [email protected] William Lokke Carol Freeman Scott and Judy MacClelland Linda Friar Please remember the Cabrillo Festival Gerry Mandel Jessica Frye & David Stein in your future plans! Laura Martin Shirley and Allen Ginzburg For more information, see page 69. Rhonda K. Martyn and Joe Novello Diane and Harry Greenberg The Festival’s legal name is: Cynthia and Bill Mathews Donovan and Sally Greene Cabrillo Festival of Contemporary Music Gretchen and Richard McCann Kristin Hayward Marian Metson Paul and Laurel Henderson And we are a 501(c)3 tax-exempt nonproÀt, Marlene Mirassou & Stephen Houlihan John Hillyer EIN 94-6123298 Ellen and John Morrison Lenore Hindin & Joseph Shearer Marc Murai Inga and George Hoffman

Donors indicated by a star have either increased their support, become donors for the first time, or are returning after a hiatus.

76 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Please join us in expressing our appreciation to the Cabrillo Festival’s 2014 Community Sponsors! Each is partnering with us in a specific way to broaden the reach of the Festival and its unique programs.

SPONSOR OF THE CHURCH STREET STAGE SPONSOR OF SPONSOR OF PHOTOGRAPHER MUSIC IN THE MOUNTAINS IN RESIDENCE

MAHALO MONDAYS SPONSOR OF MUSIC IN THE MOUNTAINS PICNICKING IN THE GROVE HOST AT MISSION SAN JUAN BAUTISTA

CO-SPONSOR OF THE CO-SPONSOR OF THE CREATIVITY TENT FOR KIDS SUPPORT FOR THE CREATIVITY TENT FOR KIDS AND FESTIVAL VISUAL DISPLAYS CHURCH STREET STAGE

SANTACRUZTICKETS.COM CO-SPONSOR OF THE CREATIVITY TENT FOR KIDS SUPPORT FOR THE FREE FAMILY CONCERT

MEDIA SPONSOR OF MEDIA SPONSOR OF HOPE OPENING NIGHT MEDIA SPONSOR OF PLAY FIRE

MEDIA SPONSOR OF THE MEDIA SPONSOR OF MEDIA SPONSOR OF CHURCH STREET STAGE THE FREE FAMILY CONCERT MUSIC AT THE MISSION

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 7777 Each season, the Festival calls upon a myriad of supporters from throughout our community for resources and support. We would like to express our sincere appreciation to the community as a whole, to area businesses, and to individuals for helping make it all come together! We offer particular thanks to the following:

PUBLICATIONS SUPPORT PRODUCTION SUPPORT SPECIAL EVENTS SUPPORT

2014 Season Graphic Design: Special thanks to members of I.A.T.S.E. Annual Beer & Pizza Party: Salal Moon Rinaldo & Jessica Frye Local 611 and Business Representative Supported by Upper Crust Pizza & Pasta Glenn Owen artwork used by permission of Patrick Fitzsimmons. Erik Owen. “A Taste of Summer” Season Audio Recording Support: Announcement Party & Concert: 2014 Program Book Design and Production: Josephson Engineering Featured performances by Quartet San Elise A. Huffman Francisco; Rebecca Jackson; and Student Staff Stage and Orchestra Equipment: Co-Directors Louie Johnston and Jay Arms. Print Production: We owe a debt of gratitude to these colleagues Wines poured by Burrell School Vineyards & Community Printers, Santa Cruz— who lend their remarkable support: Galen Winery, Equinox, MJA Vineyard, and Storrs Ross Newport, Dave Bossie and crew Lemmon, California State University Chico Winery; food donated by Gayle’s Bakery, Kelly’s Performing Arts Department, San Jose State French Bakery, The French Patisserie, Bette S.C. CIVIC AUDITORIUM University Music and Dance Department, and Hirsch, and Ellen Primack. Handmade and Santa Cruz County Symphony. With additional hand-selected rafÁe prizes donated by the Administration: thanks to California Percussion and Audio Festival board, staff, and their families. Special thanks to Andrea Botsford, Vicki Production Group. Venue and sound provided by Kuumbwa Jazz Allyn, and the entire Civic Auditorium staff for Center, and event lighting by OM Gallery. their kindness and support in this ongoing Piano Tuning and Maintenance: John Bauer partnership Winter Donor Event: Flowers: Santa Cruz Floral Catered by Eat Right At Home Box Office: —Chef Jonathan Miller. Lobby: To Shannon Toombs, and everyone involved Hosted at the home of Ron and Linda Israel. with SantaCruzTickets.com for their continued Pots from PotStop at Little Baja, Moss commitment to providing Landing —Bob Goode & Polly Joseph Opening Night Dinner: a community box ofÀce! Catered by Feast for a King —Kimberly Santia Dunn. Maintenance: Event support by Nancy Bertossa. To all the hardworking crew members who Opening Night Donor Reception: make the Civic “home” to the Festival each Catered by Lifestyle Culinary Arts, dessert season—we couldn’t do it without you! by Buttercup Cakes, sparkling wine from Equinox. Event support by Nancy Bertossa. Civic Auditorium Renovation Plan: Special thanks to Principal Percussionist Galen Special thanks to the David and Lucile Packard Lemmon for generously providing the massive Dessert Reception: arsenal of percussion instruments used by the Foundation; to Project Manager Jim Brown Festival each season! The Buttery Bakery—Janet Platin; Martinelli & and Leadership Team members: Dannettee Company. Event support by Nancy Bertossa. Shoemaker, SC City Parks & Rec; Crystal Birns, ARTISTS’ SUPPORT Ceil Cirillo, Christina Cuevas, Jan Derecho, Jardines de San Juan Reception: Santana Family—Angelina and Valentin Mark Ellis, J Guerara, Greg Handberg, Nancy Musicians’ Breakfasts: Santana; Event Coordinator Cassandra Loshkajian, Ellen Primack, Michelle Williams, generously provided by The Bagelry, The Copland; and staff and Dick Wilson; and advisor Kelley Lindquist. Buttery, Emily’s Bakery, Hoffman’s Bistro and Patisserie, and Watsonville Coast Produce; PROMOTIONAL SUPPORT and lovingly prepared by Sandra L. Cohen, Len Jackel, Kathryn Heth, Karen Hildebrand, Public Relations: Carol Merrell, John Louis Koenig, Larry Mona Baroudi Public Relations Friedman, Judy Geer, Virginia Draper (and Media and Website Support: Grace), and Mamiche Young. Web development by Vertical Rail—Melissa Additional Artist Hospitality from: Smith; Lynette Rota; George Gabrelian Annieglass, PaciÀc Cookie Company, Videography: Rosie McCann’s Irish Pub & Restaurant, Sasha Friedlander, Karla Hutton and Pure Water of Santa Cruz Photography: Artist Transportation: R.R. Jones, Adriane White Leslie Andrews; George Reynolds; Alan Ritch, Internet services: 2013 Scullery Crew, led by Captain Sandra Cohen. and members of the Cabrillo Festival Board. Generously supplied by Cruzio

78 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC FESTIVAL HOSTS

The Cabrillo Festival sends a very special thank you to all our Festival Hosts! At the time of printing, there were over 70 Festival Hosts who have opened their hearts and homes to accommodate our out-of-town artists. The value of their hospitality, kindness and good will is incalculable. They are an indispensable part Additional Promotional Support: of the Cabrillo experience. Some musicians return every year to their same host Colette DeDonato and have become friends for life! Thank you again to each and every Festival Host Downtown Association—Chip! and Kiosk Staff for the wonderful reflection of Santa Cruz that you give to visiting artists each and every year. Your generosity of spirit makes what we do possible! Downtown Trolley—Kathleen McBurney Bruce Frye Joan and Joe Akers Barbara Levine Fiona Frye Leslie and Richard Andrews Eleanor Littman and Robert Goff Nickelodeon Theatres—Lane Jouvet Eleanor Angel Joan Lowden Rittenhouse Building—Louie Rittenhouse and Cheryl Bentley Tom Manheim and Nancy Shanfeld Sylvia Manson; Kevin Melrose Roberta Bristol Cynthia and Bill Mathews Paul Parsons Claudia Brown Robin McDuff and Leslie Karst Pedaler’s Express David and Lori Camner Susan Merritt and Larry Ford Angela and Richard Chandler Hila and Jacob Michaelsen ADMINISTRATIVE SUPPORT Lawrence Chew Gary Milburn Angie and Jim Christmann Kathy Miles Financial accounting and reporting: Christopher Connery and Mary Scott Wendy Molin Fran Fisher, C.P.A. Diane Craddock and Dave Hogye Heather Morris Mailing, Printing and Data Services: Jennifer DeToy Bruce and Linda Nicholson Complete Mailing Service — John Dickinson and Nancy Van Natta Joyce Nicholson Martha McCambridge and crew Hilda Diel Gary and Ruth Owen HR: Tom Ellison and Larry Friedman Bill Peters and Sarah Albertson Rita Casey, Ph.D. Nora Frimann and Daniel McFadden Jim and Beth Petersen Use of Community Board Room: Cori Gerlach Michel Protti and Casey Coonerty Protti Santa Cruz County Bank—Chris MafÀa Shirley and Allen Ginzburg Elbina RaÀzadeh Additional Administrative Support: Kathy Haber Helen Ratico Marty Finn; Joan Lowden; Jay Olson; Florence Meg and Don Harlor Dixie Rees Orenstein; Dolores Speidel; Birgit Weskamp; TCC George and Mary Reynolds Group—Nadia Gomes and Amelia Korangy Richard and De Anne Hart Melessa Hemler Pamela and William Richter Hotel Partners: Rebbie and Creighton Higgins Phyllis Rosenblum Beach Street Inn and Suites—Chris Ferrante Hilda and Don Hodges Maya Sapper Dream Inn—Dan Smart Hotel Paradox—Kelly Nestlen Denise and Al Holbert Charlie and Susan Selvidge Henry Hooker and Janine Roeth Dean Silvers and Ira Schwartz Additional (Heartfelt) Thanks To: Becky Hunt Susanne Teichmann and Ron Slack Arts Council Santa Cruz County— Michelle Williams and Jim Brown Len Jackel Tom Wages Mary James and George Cook Helen Wallis Mariposa’s Art—Sarah Brothers and Emma Garcia Walnut Commons Homeowners New Music Works—Philip Collins Martha Keeler Santa Cruz County Symphony—Jan Derecho Patrice Keet Linda Werner and Charlie McDowell Santa Cruz Shakespeare—Aimee Zygmonski and Lorri Kershner Matthew Werner and Michelle Whizin Lydia BushÀeld Ellen Kimmel Donald Wiberg And the families of our administrative staff who Richard and Diane Klein Lois Widom pitch in repeatedly and support the Festival in so Carole and Henry Klyce Daniella Woolf many unseen ways! Many thanks. Irene Lennox

Special thanks to fearless Housing Coordinator Valerie Hayes! Interested in learning more about our Host Program? We are especially in need of homes near downtown Santa Cruz! Email [email protected], Festival Hosts Susan and Charlie Selvidge with their or call 831-426-6966. 2013 Ushers, led by House Manager Jennifah Chard. guest musician, bassoonist Steve Vacchi (center).

CABRILLO FESTIVAL OF CONTEMPORARY MUSICSIC 7979 Please support these businesses that CABRILLO FESTIVAL PLANS A MAJOR COMMISSION support the Festival! 36 Annieglass estival audiences were captivated 18 Arts Council Santa Cruz County—Open Studios Anna Clyne’s by revelatory work 8 The Bagelry F <the Proms by the BBC Symphony Orchestra under 46 Gateway School Marin Alsop; other commissions include works for the American Composers 6 Gayle’s Bakery Orchestra, Carnegie Hall, Houston Ballet, London Sinfonietta, Los Angeles 10 Good Times Weekly 38 Greenspace Philharmonic, Metropolis Ensemble, Orpheus Chamber Orchestra and the

OS OS 32 Hill Guitar Southbank Centre, among others. 44 Hindquarter Bar & Grille 36 Hoffman’s Bistro & Patisserie You can be an important part of the creation of Clyne’s new symphonic IFC Homeless Garden Project co- work here at Cabrillo. The Festival is seeking up to eight families as 46 Hula’s Island Grill commissioners with a special gift of $6,000 each to make this commission 24 Josephson Engineering and world premiere performance possible. We are pleased to announce that, 54 KAZU Radio since last season, several donors have already enthusiastically committed to 34 KUSP Radio participate in this important project, giving the Festival great conÀdence and 36 Kuumbwa Jazz Center a much-needed foundation upon which to build! We’re grateful that Michael 32 Lifestyle Culinary Arts Good and JoAnn Close, Cherrill Spencer, and an anonymous donor have 56 Lou Harrison Poetry Book already joined us. Please consider lending your support and helping to sustain 62 Monterey County Weekly the Cabrillo Festival as a place where the voices of young composers, such as 64 Salal Moon Rinaldo Design 60 Music@Menlo the profoundly talented Anna Clyne, can be heard and appreciated! BC New Leaf Community Market For more information, please contact Executive Director Ellen Primack at 38 New Music Works 39 Nickelodeon/Del Mar Theatres 831-426-6966 or [email protected]. 6 Om Gallery 56 PaciÀc Trading Co. 64 Performing Arts Monterey Bay 48 Pot Stop 80 The Print Gallery 58 Hairstylist Rebecca Sutton/Rumours 38 Ristorante Avanti 56 Rosie McCann’s Irish Pub 38 RR Jones Photography 58 SF Contemporary Music Players 64 Sandy Kurz 46 Santa Cruz Ballet Theatre 58 Santa Cruz Civic Auditorium/SC Tickets 4 Santa Cruz Waldorf School 60 Santa Cruz Shakespeare 8 Schooner Realty 60 Specialized Auto 48 Structural Harmonics 6 Sunset Center 32 Talmadge Construction 46 Upper Crust Pizza 4 Well Within Spa

80 CABRILLO FESTIVAL OF CONTEMPORARY MUSIC

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