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Home , Become Ocean, Dark Waves (composition), John Luther Adams

Miller Theatre at Columbia University 2015-16 | 27th Season

2015 William Schuman Award honoring JACK Quartet International Contemporary Ensemble Steven Schick, conductor

Wednesday, October 7, 8:00 p.m. Friday, October 9, 8:00 p.m. Saturday, October 10, 8:00 p.m. From the Executive Director

This week we celebrate John Luther Adams, powerhouse composer and winner of the 2015 William Schuman Award. John is immensely deserving of this incredible accolade. I’ve been looking for an opportunity to work with him again since collaborating to bring Inuksuit to Morningside Park in 2011. Upon hearing that he was chosen for this award, I jumped at the chance to bring these three beautiful works to New York audiences for the first time.

Next week, on October 14th and 16th, we welcome the Orlando Consort for the North American premiere of The Passion of Joan of Arc, a project I’ve been following for a long time. Carl Theodor Dreyer’s La Passion de Jeanne d’Arc, largely considered one of the greatest silent films of all time, will be paired with a score of medieval music devised and performed by the Orlando Consort. I am blown away by the artistry of Carl Theodor Dreyer’s film and the depth that Donald Greig’s score, comprised entirely of music composed in Joan’s lifetime, adds to it. He and the Orlando Consort have done a beautiful job crafting a score to accompany this truly epic silent film.

Rounding out October is another large-scale project I’m very proud of: the residency of acclaimed cellist Matt Haimovitz. Matt will be joining us from October 21st, playing a total of eight—yes, eight—concerts with us. He will be performing six spontaneous concerts in various locations around the Columbia campus in his and Miller’s joint effort to bring music to new audiences, wherever they may be. He will be pairing the six Bach suites with six overtures that he commissioned from contemporary composers such as , Vijay Iyer, and Philip Glass. The project comes together in two evening-length concerts here at Miller Theatre.

Thank you for joining us tonight to celebrate the work of a masterful composer. I hope to see you again soon for the wonderful offerings on the horizon. Melissa Smey Executive Director

Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. Miller Theatre is ADA accessible. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. Miller Theatre at Columbia University 2015-16 | 27th Season

New York Premiere Wednesday, October 7, 8:00 p.m. Clouds of Forgetting, Clouds of Unknowing International Contemporary Ensemble Steven Schick, conductor

Clouds of Forgetting, Clouds of Unknowing (1991-95) John Luther Adams for chamber (b. 1953) Minor Seconds, Rising Clouds Of Mixed Sounds Major Seconds, Rising Clouds of Seconds And Thirds Diminished Bells Clouds of Mixed Thirds Forgotten Triads Lost Chorales Clouds of Perfect Fourths Turbulent Changes Clouds of Perfect Fifths Chorales Return Triads, Remembered Clouds Of Mixed Sixths . . . And Bells, Again . . . Clouds Of Sixths And Sevenths Minor Sevenths, Rising Clouds Of Mixed Sevenths Major Sevenths, Rising

This program runs approximately 1 hour and 15 minutes with no intermission. New York Premiere Friday, October 9, 8:00 p.m. for Lou Harrison JACK Quartet International Contemporary Ensemble Steven Schick, conductor

for Lou Harrison (2003) John Luther Adams for string quartet, two , and strings (b. 1953) Beginning Measure 93 Letter H Measure 315 Letter P Measure 537 Letter X Measure 759 Letter Ff

This program runs approximately 1 hour and 15 minutes with no intermission. New York Premiere Saturday, October 10, 8:00 p.m. In the White Silence JACK Quartet International Contemporary Ensemble Steven Schick, conductor

In the White Silence (1998) John Luther Adams for celeste, harp, string quartet, two , and strings (b. 1953) Beginning Letter B Letter C Letter D Letter E Letter F Letter G Letter H Letter I Letter J Letter K Letter L Letter M Letter N Letter O Letter P Letter Q Letter R Letter S

This program runs approximately 1 hour and 30 minutes with no intermission. About the Award

The William Schuman Award of Columbia University was established in 1981. It was awarded to its namesake, composer William Schuman, on the occasion of his 70th birthday for his achievements and contributions in the field of music.

William Schuman (1910-1992) was an American composer and an alumnus of Columbia University Teachers College. He was the first to receive the Pulitzer Prize in Music­—another prestigious award administered by Columbia University—in 1943 for his piece Secular Cantata No. 2, A Free Song. He also served as president of The Juilliard School and was appointed the first president of for the Performing Arts.

The William Schuman Award is granted every several years by Columbia University School of the Arts in recognition of the lifetime achievement of an American composer whose works are widely performed and of lasting significance. The award, which takes the form of an unrestricted $50,000 grant, is one of the largest of its kind to be given to an American composer. John Luther Adams is the ninth composer to receive the William Schuman Award.

Recipients of the William Schuman Award:

1981: William Schuman 1985: David Diamond 1989: Gunther Schuller 1992: Milton Babbitt 1995: Hugo Weisgall 2000: Steve Reich 2007: John Zorn 2010: Pauline Oliveros 2015: John Luther Adams About the Program

Extraordinary Listening: A John Luther Adams Trilogy

“Music is not what I do. Music is how I live. It’s not how I express myself. It’s how I understand the world.” —John Luther Adams

One among many moments of dazzling clarity in the writings and reflections of John Luther Adams, this artistic credo points to a composer deeply rooted in the American maverick tradition of figures like Lou Harrison, John Cage, and Morton Feldman: figures who have operated outside the business-as-usual conventions of making and thinking about music.

It’s only in the past few years that the music of the 62-year-old Adams—long­ a cherished secret among his loyal aficionados—has begun to gain more widespread recognition. His vast orchestral canvas from 2014, , won both the Pulitzer Prize in Music and a Grammy Award, and a larger public continues to be exposed to his unique musical philosophy through immersive performances of his recent outdoor epics: Sila (premiered last year at Lincoln Center) and the expanded, “urban” version of Inuksuit, which was presented at Morningside Park by Miller Theatre in 2011.

This three-concert series devoted to Adams pays tribute to the 2015 recipient of Columbia University’s William Schuman Award by focusing on a trilogy of works from a crucial transition period in his development. Each of these works can be appreciated either independently or as part of a trilogy; the latter presentation, in turn, does not require performance in the chronological order of creation. Whether viewed as discrete, self-contained compositions or in the larger context of the trilogy, these pieces offer a fascinating window into a transformational creative period for a musical thinker with whom the world finally seems eager to catch up.

Notwithstanding the recent wave of recognition, Adams has always regarded himself as outside the mainstream — a restless but patient seeker who believes the composer’s task is “to follow the music wherever it may want to lead me.” By the mid-1970s it had led the Meridian, Mississippi-born Adams from his student years at the California Institute of the Arts, where he studied with and , to the vastness of Alaska. In the great northern wilderness, says Adams, he was “just lucky enough to stumble onto something large enough, vague enough, deep enough to encompass a whole lifetime of work.” Referring to the obsession with natural place that is both a tangible and metaphorical key to his musical philosophy, Adams regards Alaska as his spiritual home — even though he and his wife, Cynthia, currently triangulate their time in a Morningside Park apartment and a home in the Sonoran Desert. Alaska is also where Adams’s earlier musical career as a percussionist converged with his increasing environmental consciousness, forging a composer, as he puts it, “in search of an ecology of music.”

The belated recognition that has come to Adams has largely centered attention on such recent works as Sila and Become Ocean. In these, the composer has notably altered his vision from the great breakthrough compositions of the 1990s and early 2000s: Clouds of Forgetting, Clouds of Unknowing, In the White Silence, and for Lou Harrison. Adams points out that these three works — spanning the years from 1991 to 2003 — constitute a trilogy he didn’t realize he was creating “until after the fact.” On one level, all three are memorial works honoring the composer’s father (Clouds of Forgetting, Clouds of Unknowing), his mother (In the White Silence), and an artistic “parent” (for Lou Harrison). All three take the form of concert-length pieces for comparable forces—“big works for smallish ”—and all three define a specific period in Adams’s work, as evidenced by their similar approaches to form and even at times shared textures. These Miller Theatre concerts not only present their New York premieres but offer the first-ever opportunity to experience them as a trilogy.

Their position as “transitional” should by no means be construed to imply “less important,” Adams stresses. In fact, he regards these compositions as “among the most significant works in my catalogue. Each one is a singular piece and stands on its own terms.” The transition in question marks a change in the composer’s larger understanding of music’s capacity to “become itself more fully: music that is no longer about place or landscape, with a protagonist slowly moving through it, but that is place, allowing the listener to become the protagonist.”

Here Adams found himself turning away from the narrative pattern of his earlier music toward something more abstract. Although the works in the trilogy still trace an essential narrative structure and still betray his obsession with a specific sense of place—“these are very much products of my life and work in Alaska”—the composer describes “a sense of maturing, of wanting to move beyond place and inching toward music that is more fully itself.”

What prompted the transition at this point in his career? Adams cites a complex of factors involving artistic, philosophical, and personal influences. But it was also a sense of loss that led Adams to begin following a new direction in Clouds of Forgetting, beginning with the death of his father in 1991—setting the pattern for the series of memorials embodied by each part of the trilogy. Along with the loss of people close to the composer, he refers to the “loss of a certain Romanticism or idealism about Alaska as a world apart. This happened when I started realizing Alaska was inextricably, inescapably tied to the rest of the world.” Yet another reason for the shift in direction is simply “the natural progression of an artist’s life and work over time, as you assimilate influences and find yourself creating from within the work itself.” On a conscious level, Adams says he had already been striving for a long time “to leave the story behind to get to this primary experience of listening, where it is no longer about what the composer is telling you: you are in the musical wilderness and need to find your own way. But that turned out to be more difficult than I had imagined.”

As found in the works of the trilogy, the transition toward this new outlook gradually took shape as a winnowing down of surface textures—again, a strategy Adams came to understand only in retrospect, after following his intuition. He summarizes this as a drive toward working with just one texture in such compositions as The Light That Fills the World, , and Become Ocean. In contrast, Clouds of Forgetting, Clouds of Unknowing juxtaposes four textures across its span, while In the White Silence and for Lou Harrison reduce that number to three and two, respectively. This paring down of texture, however, is not to be equated with overall simplification of the compositional thought. All three subject the material to several complex layers of algorithmic processing; indeed, Adams’s more recent oeuvre displays an even higher level of complexity.

Clouds of Forgetting, Clouds of Unknowing (1991-95)

Not surprisingly, this ground-breaking first part of the trilogy proved the most difficult to birth. Adams began writing the piece in 1991, the year of his father’s death, but put it aside and completed the bulk of the composition between 1994 and 1995. For the final version of the score, Adams radically cut what had expanded to some 90 minutes by nearly a third. “It had become too regular and predictable, so I introduced a negative template in the form of silences to subvert the regularity.” Note that merely chopping off sections was not an option: he would have considered this easy way out to be “cheating.” One signature of Adams’s compositional method throughout the trilogy is the rigorous application of predetermined formal processes: in Clouds, for example, these are framed by a progressive exploration of the spectrum of equal-tempered chromatic intervals from minor seconds through major sevenths.

As with Bach in the Well-Tempered Clavier, such severe rationalism is only one dimension and cannot—must not—be divorced from the emotional and sensuous reality of the sounds that are produced. The paradox of these works is that, in subjecting himself to impersonal processes, to schematic, “dry” discipline, Adams creates structures that exert a remarkable sonic allure. “I want to write music that combines both rigorous formalism and the unabashedly sensual,” declares the composer. “I want my music to be intellectually, mathematically airtight and beautifully constructed, but then why can’t it be sensual and ravishingly beautiful at the same time?”

About the Program The title is taken from an anonymous fourteenth-century mystical text which envisions entering into a state of mindfulness: to achieve communion with the transcendent reality we must hover timelessly between heaven and earth, separated from God by a “cloud of unknowing” our reason cannot penetrate, and from the earth by a “cloud of forgetting,” abandoning the desires and consciousness that pull us earthward. The mystical text’s image of being suspended in the sky seemed analogous to the “auroral clouds I would see every night in the Alaskan sky while walking back from my studio,” Adams explains.

Four kinds of musical textures alternate in the continuous movement of Clouds: the exploration of progressively increasing intervallic relationships, the shimmering, cluster-like sonorities of the pulseless “clouds,” melodic ideas framed by silences, and percussion- textures Adams labels “bells.” Overall, Clouds attempts to lose the worldly perspective of “self-expression” through its distribution of these textures across an intensely chromatic canvas. Adams says the rich ambiguity that results “may have something to do with the unresolved complexity of my relationship with my father.” But the piece’s “unrelenting chromaticism” eventually reaches closure with “the perfect clarity of octaves.” for Lou Harrison (2003-2004)

The last work in the trilogy to be written and, like the other two works, cast in a single continuous span, for Lou Harrison is comparable in duration to Clouds. Adams wrote the piece not on a commission, but out of an inner compulsion to pay tribute to this pioneering composer. Harrison (1917-2003) became a lifelong mentor to Adams after the latter won second prize in an organ composition contest for which Harrison had been one of the judges. “Amid the daunting realities of today’s world,” writes Adams, “Lou Harrison and his joyful ecumenical life and music seem more vital and more pertinent than ever.”

In a dream soon after Harrison’s death, Adams imagined he had written a piece for chorus and gamelan and initially considered scoring his tribute for precisely those forces. On further reflection he decided it would be presumptuous to undertake his first attempt at a gamelan composition as an homage to the master of the American gamelan and decided to score it for string quartet, string orchestra, and two pianos. Even so—with a pleasing irony Harrison would have relished—Adams came to realize that despite himself, the piece ends up sounding uncannily like a gamelan in certain moments.

The two principal textural elements here— that ascend joyfully above “harmonic clouds” and a more “processional” texture in which solo lines are foregrounded—alternate to generate a readily discernible structure of nine interlinked sections. But, as throughout the trilogy, other processes simultaneously obey patterns of their own, including harmonic transformations (which vary for each of the nine sections) and four distinct layers of tempo. Overall, this ensures that despite recurring formal structures, the music continually yields a harvest of unpredictability and surprise.

The sheer joy of sonic lushness in for Lou Harrison is unmistakable, but so is the sense of longing embedded in this music. Adams suggests a point of reference for such dualism in a choral-instrumental work Harrison wrote for a group of nuns: A Joyous Procession, and a Solemn Procession. “It occurred to me after the fact that for Lou Harrison itself is a sequence of joyous processions and solemn processions—and it ends with joy.”

In the White Silence (1998)

Remarkably, while the same musical gestures recur through all three pieces in the trilogy, each evokes a distinctive emotional aura related to the context and timbral coloration Adams has devised. In contrast to the saturated complexity of Clouds and the alternating joy and solemnity of for Lou Harrison, In the White Silence sustains a state of still contemplation throughout its “single breath.” Scored for string quartet, harp, celeste, tuned percussion, and string orchestra, it also expands the large-scale architecture of its companion pieces even further, to some 75 minutes.

Adams describes the formal and harmonic mechanisms that drive In the White Silence as “like a white-note version of Clouds, that is, with no accidentals.” Within each of its five sections, a sequence of two types of texture alternates in a palindrome (simplified as ABA), while a third texture featuring sinuous solos serves to connect each section to the next. Such “perturbations in texture,” according to the composer, “produce whites of varying opacity.” As in Clouds, the piece proceeds by gradually expanding the intervals, which are here restricted to the diatonic intervals of the base C, and ends with a short coda section.

The result, in the words of longtime Adams advocate and performer Steven Schick, is “an open and uncluttered soundscape in which rising and falling melodies of a small group of soloists play against the backdrop of the smooth mirrored surface of an ensemble of strings. It is a study in the nuances of consonance, in the sensuous beauty of sound itself, and, metaphorically, in the reach of man-made art within the great spaces of the natural world.”

Program notes by Thomas May memeteria.com

About the Program About the Artists

Percussionist, conductor, and author JACK Quartet Steven Schick was born in Iowa and Christopher Otto, raised in a farming family. For forty Ari Streisfeld, violin years he has championed contemporary John Pickford Richards, music by commissioning or premiering Kevin McFarland, cello more than one hundred-fifty new works. Schick is music director of the The JACK Quartet electrifies audiences La Jolla Symphony and Chorus and worldwide with “explosive virtuosity” artistic director of the San Francisco (Boston Globe) and “viscerally exciting Contemporary Music Players. He performances” (The New York Times). was music director of the 2015 Ojai The recipient of Lincoln Center’s Martin Festival. He maintains a lively schedule E. Segal Award, New Music USA’s of guest conducting including recent Trailblazer Award, and the CMA/ASCAP appearances with the BBC Scottish Award for Adventurous Programming, Symphony Orchestra, the Saint Paul JACK has performed to critical acclaim Chamber Orchestra, Ensemble Modern at venues such as Carnegie Hall (USA), and the Asko/Schönberg Ensemble. Lincoln Center (USA), Wigmore Hall Among his acclaimed publications (United Kingdom), Suntory Hall (Japan), include a book, “The Percussionist’s Salle Pleyel (France), La Biennale di Art: Same Bed, Different Dreams,” and Venezia (Italy), the Lucerne Festival numerous recordings of contemporary (Switzerland), Bali Arts Festival percussion music including a 3 CD set (Indonesia), and the Wittener Tage für of the complete percussion music of neue Kammermusik (Germany). Iannis Xenakis (Mode) and a companion recording of the early percussion music of Comprising violinists Christopher Otto Karlheinz Stockhausen in 2014 (Mode). and Ari Streisfeld, violist John Pickford Steven Schick is Distinguished Professor Richards, and cellist Kevin McFarland, of Music and holds the Reed Family JACK is focused on commissioning Presidential Chair at the University of and performancing new works, leading California, San Diego. them to work closely with composers John Luther Adams, Chaya Czernowin, James Dillon, Brian Ferneyhough, Beat Furrer, Vijay Iyer, György Kurtág, Helmut Lachenmann, Steve Mackey, Matthias Nick Revel, viola Pintscher, Steve Reich, Roger Reynolds, Kivie Cahn-Lipman, cello Wolfgang Rihm, Salvatore Sciarrino, Chris Gross, cello and John Zorn. Upcoming and recent Randy Zigler, bass premieres include works by Wolfgang Tony Flynt, bass von Schweinitz, Toby Twining, Georg Bridget Kibbey, harp Friedrich Haas, Simon Holt, Kevin Ernste, Dustin Donahue, percussion & and Simon Bainbridge. Ross Karre, percussion & vibraphone Jacob Greenberg, piano The members of the quartet met while Cory Smythe, piano & celeste attending the Eastman School of Music and studied closely with the Arditti The International Contemporary En- Quartet, Kronos Quartet, Muir String semble (ICE), described by the New York Quartet, and members of the Ensemble Times as “one of the most accomplished Intercontemporain. and adventurous groups in new music,” is dedicated to reshaping the way music is Previous appearances at Miller Theatre created and experienced. With a modular include Opening Night: Run Time Error makeup of 35 leading instrumentalists, (2015-16), Composer Portraits of performing in forces ranging from solos Enno Poppe (2012-13) and Helmut to large ensembles, ICE functions as Lachenmann (2009-10), the SONiC performer, presenter, and educator, Festival (2011-12), and Pop-Up Concerts. advancing the music of our time by developing innovative new works and International Contemporary new strategies for audience engagement. Ensemble (ICE) ICE redefines concert music as it brings Alice Teyssier, together new work and new listeners in Alex Sopp, flute the 21st century. Read more at iceorg.org. Joshua Rubin, Liam Kinson, clarinet David Byrd-Marrow, horn Michael Atkinson, horn Sam Jones, Michael Lormand, Esther Noh, violin Elizabeth Derham, violin Miki Cloud, violin Adda Kridler, violin Kallie Ciechomski, viola

About the Artists About Miller Theatre

Miller Theatre at Columbia University is the leading presenter of new music in New York City and one of the most vital forces nationwide for innovative programming. In partnership with Columbia University School of the Arts, Miller is dedicated to producing and presenting unique events, with a focus on contemporary and early music, jazz, and multimedia. Founded in 1988, Miller has helped launch the careers of myriad composers and ensembles, serving as an incubator for emerging artists and a champion of those not yet well known in the U.S. A four- time recipient of the ASCAP/Chamber Music America Award for Adventurous Programming, Miller continues to meet the high expectations set forth by its founders—to present innovative programs, support new work, and connect creative artists with adventurous audiences.

Advisory Committee Marcella Tarozzi Goldsmith Linda Nochlin Regula Aregger Karen Hagberg Margo Viscusi Mercedes I. Armillas Mark Jackson Marian M. Warden Rima Ayas Eric Johnson Cecille Wasserman Paul D. Carter Fred Lerdahl Janet Waterhouse Mary Sharp Cronson George Lewis Elke Weber Stephanie French Philip V. Mindlin Columbia University Trustees Jonathan D. Schiller, Chair Andrew F. Barth Marc Holliday A’Lelia Bundles, Vice Chair Lee C. Bollinger, Benjamin Horowitz Lisa Carnoy, Vice Chair President of the University Ann F. Kaplan Noam Gottesman, Vice Chair William V. Campbell, Charles Li Mark E. Kingdon, Vice Chair Chair Emeritus Paul J. Maddon Esta Stecher, Vice Chair Kenneth Forde Vikram Pandit Jonathan Lavine, Vice Chair Joseph A. Greenaway, Jr. Michael B. Rothfeld Rolando T. Acosta James Harden Claire Shipman Armen A. Avanessians Kyriakos Tsakopoulos Columbia University School of the Arts Carol Becker Dean of Faculty Jana Hart Wright Dean of Academic Administration Miller Theatre Staff Melissa Smey Executive Director Charlotte Levitt Director of Marketing & Outreach Brenna St. George Jones Director of Production James Hirschfeld Business Manager Jen Gushue Marketing & Communications Associate Megan Harrold Audience Services Manager Katherine Bergstrom Artistic Administrator Taylor Riccio Production Coordinator Rhiannon McClintock Executive Assistant

Aleba & Co. Public Relations The Heads of State Graphic Design Thanks to Our Donors Miller Theatre acknowledges with deep appreciation and gratitude the following organizations, individuals, and government agencies whose extraordinary support makes our programming possible.

$25,000 and above Francis Goelet Charitable Lead Trusts Dow Jones Foundation National Endowment for the Arts Ernst von Siemens Foundation

$10,000 - $24,999 The Aaron Copland Fund for Music The Gladys Krieble Delmas Foundation Margo and Anthony Viscusi Mary Sharp Cronson New York State Council on the Arts Fritz Reiner Center for Contemporary Music The Fan Fox and Leslie R. Samuels Foundation at Columbia University The Evelyn Sharp Foundation

$5,000 - $9,999 The Amphion Foundation Karen Hagberg and Mark Jackson H.F. (Gerry) Lenfest Ann and Gordon Getty Foundation CLC Kramer Foundation Craig Silverstein

$1,000 - $4,999 Regula Aregger Christine and Thomas Griesa Christopher Rothko Barbara Batcheler Donella and David Held J.P. Sullivan Susan Boynton Roger Lehecka Cecille Wasserman Paul D. Carter Philip Mindlin Janet C. Waterhouse Consolate General of Denmark in New York Linda Nochlin Elke Weber and Eric Johnson Hester Diamond Jeanine and Roland Plottel Anonymous R.H. Rackstraw Downes Jessie and Charles Price Marcella Tarozzi Goldsmith Peter Pohly $500 - $999 Oliver Allen Stephanie French Paul J. Maddon Mercedes Armillas Claude Ghez Marian M. Warden Fund of the Foundation ASCAP Carol Avery Haber / Haber Family for Enhancing Communities Rima Ayas Charitable Fund Katharina Pistor Elaine S. Bernstein James P. Hanbury James Sharp Cedomir Crnkovic / Cavali Foundation John Kander Cia Toscanini Kristine and Joseph Delfausse Mark Kempson and Janet Greenberg Kathryn Yatrakis

$100 - $499 Gail and James Addiss June O. Goldberg Caroline and Anthony Lukaszewski Qais Al-Awqati, M.D. Gordon Gould James Mandel Edward Albee Richard Gray Mary and Andrew Pinkowitz Roger Bagnall Barbara Harris Edmée B. Reit Jim Boorstein Bernard Hoffer William Ryall Elizabeth and Ralph Brown Frances and Raymond Hoobler James Schamus and Nancy Kricorian Caplan Family Foundation Alan Houston and Lisa DeLange Elliot Schwartz Rashmy Chatterjee Frank Immler and Andrew Tunick Timothy C. Shepard and Andra Georges Ginger Chinn and Reggie Spooner Sandra and Malcolm Jones Gilbert Spitzer and Janet Glaser Spitzer Gregory D. Cokorinos William Josephson Rand Steiger and Rebecca Jo Plant Norma Cote L. Wilson Kidd, Jr. Peter Strauss David Demnitz Janice Landrum Jim Strawhorn Vishakha Desai and Robert Oxnam Barbara and Kenneth Leish Larry Wehr Pamela Drexel Arthur S. Leonard Seymour Weingarten Peter and Joan Faber Richard H. Levy and Lorraine Gallard Ila and Dennis Weiss Ruth Gallo Peter C. Lincoln William C. Zifchak Marc Gilman Sarah Lowengard Anonymous

as of September 23, 2015 Upcoming Events

Wednesday, October 14, 8:00 p.m. & Friday, October 16, 8:00 p.m. EARLY MUSIC The Passion of Joan of Arc Orlando Consort

Thursday, October 22, 8:00 p.m. HAIMOVITZ PLAYS BACH Cello Suites III, IV & V

Saturday, October 24, 8:00 p.m. HAIMOVITZ PLAYS BACH Cello Suites I, II & VI

Tuesday, October 27 doors at 5:30 p.m., music at 6:00 p.m. POP-UP CONCERTS Ensemble Signal

Saturday, November 7, 8:00 p.m. JAZZ Anat Cohen Quartet: Celebrando Brazil

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