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Sunday, February 14, 2016, 7pm Hertz Hall eighth blackbird Nathalie Joachim, flutes Michael Maccaferri, clarinets MingHuan Xu, violin Nicholas Photinos, cello Matthew Duvall, percussion Lisa Kaplan, piano

PROGRAM Hand Eye (2015) Christopher CERRONE (b. 1984) South Catalina (2015) Andrew NORMAN (b. 1979) Mine, Mime, Meme (2015) Robert HONSTEIN (b. 1980) Conduit (2015) I. Touch II. Pulse III. Send

INTERMISSION

Timo ANDRES (b. 1985) Checkered Shade Ted HEARNE (b. 1982) By-By Huey Jacob COOPER (b. 1980) Cast

Matthew Ozawa, Stage Direction

Hand Eye was commissioned by the Maxine and Stuart Frankel Foundation for the Great Lakes Chamber Music Festival and by Carnegie Hall.

This performance is made possible, in part, by Patron Sponsors Greg and Liz Lutz. Cal Performances’ '%&(–'%&) season is sponsored by Wells Fargo.

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Hand Eye is a collection inspired by a collec - Andrew Norman, Mine, Mime, Meme tion. Each of the six composers of Sleeping Giant chose a work belonging to the Maxine Mine, Mime, Meme was inspired by rAndom and Stuart Frankel Foundation for Art to use International’s installation piece Audience , in as motivation for their own musical contri - which a field of small, mirrored machines ro - bution to Hand Eye . Some composers chose tates to follow the movements of any viewer to recreate or aurally represent their chosen that steps into their midst. In my three short artist’s process, while others responded more pieces, the cellist finds himself in a sonic broadly to the work’s subject matter or char - space where everything he does is mimicked acter. Heard as a continuous whole, Hand Eye by the five other instrumentalists. As the is an audio tour through a stunning collection music progresses through various moods and of contemporary art, and a testament to the modes of expression, the followers get better power of dialogue across artistic disciplines. and better at predicting the cellist’s moves, eventually subsuming the cellist into their Below are program notes from the composers collective motions and then fighting amongst themselves: themselves for supremacy.

Christopher Cerrone, South Catalina Robert Honstein, Conduit

South Catalina draws its inspiration from two Conduit takes its cue from an interactive sources. Swarm , an interactive sculpture by sculpture by digital artists Zigelbaum and the London-based collective, rAndom Inter - Coelho. In their 640 by 480 the human body national, responds to sounds with a blast of merges with computational process, facilitat - beautifully asynchronous lights. The first ing simple copy/paste operations between time I saw the work, which is at the entrance sculptural elements. Set in three movements— to the gallery, I immediately had the idea for Touch, Pulse, Send —Conduit evokes this man/ a piece of music in which sharp and loud machine synthesis. As bright waves of color attacks in the piano and percussion would explode from repeated sonic bursts, Touch inspire a flurry of wild and improvisatory ges - compulsively repeats the gesture so funda - tures from the rest of the ensemble. mental to how we interact with our devices. In Pulse long lines in the flute and cello move When I lived in Los Angeles in the fall of through a cloud of asynchronous repeated 2013, I was struck by its quality of light. Every notes, evoking the instantaneous moment day in Southern California was unfailingly when data passes from finger to screen. bright, and while this can be initially en - Finally, Send completes the transfer. Action chanting for an East Coaster used to gray follows as the music energizes and accelerates, winters, it can also feel oppressively out of moving briskly to a wild conclusion. sync with one’s mood. South Catalina draws on both of these sensations, with driving op - Timo Andres, Checkered Shade timism but also relentless and unforgiving forward movement. South Catalina depicts The patterned pen-and-ink abstractions of two successive days, with their unrelenting Astrid Bowlby—and by association, the work brightness, and the divergent path that each of Edward Gorey—inspired the textures of one takes. Checked Shade . The piece is structured as a gradual zoom outward; tiny fragments of re - peated material resolve into larger patterns,

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PROGRAM NOTES

which, at the urging of the violin, eventually music that forces the other instruments to fol - coalesce into an expressive chorale. low or be left behind, but its strings are muted for much of the piece, leaving its voice muz - Ted Hearne, By-By Huey zled and growling.

Robert Arneson’s painting By-By Huey P . is a Jacob Cooper, Cast portrait of 24-year-old Tyrone “Double R” Robinson, who murdered Huey P. Newton Cast draws inspiration from Leonardo Drew’s (co-founder of the Black Panther Party) in paper casts of everyday objects like dolls, trin - 1989. Robinson, a member of the Black kets, and kitchenware. It aims to reflect the Guerrilla Family, is painted with a giant pray - sense of absence and nostalgia evoked by ing mantis superimposed over his face, its Drew’s work, and to provide an aural ana - wings circling Robinson’s bloodshot eyes. logue to his artistic process. I incrementally When I saw this work at the Frankel Gallery, build a “cast” of disparate and self-contained my guide told me Arneson included the man - instrumental gestures (a detuned clarinet tis in the portrait because “they eat their own.” arpeggio, an isolated flute multiphonic, a brush across the violin bridge) around a cen - Like Arneson’s painting, my piece By-By Huey tral “object” (a gentle monolithic vibraphone memorializes the (self-)destructive. The line). I then gradually remove the “object,” piano leads, with aggressive and unhinged leaving only the sonic encasement. 02-14 Insert 1.qxp_Layout 1 1/27/16 1:18 PM Page 18

ABOUT THE ARTISTS

EIGHTH BLACKBIRD ’s “super-musicians” ensem ble served as Music Director of the Ojai (Los Angeles Times ) combine the finesse of a Music Festival (2009), enjoyed a three-year string quartet, the energy of a rock band, and residency at the Curtis Institute of Music, and the audacity of a storefront theater company. holds ongoing Ensemble-in-Residence posi - The Chicago-based, three-time Grammy tions at the University of Richmond and the Award-winning sextet has provoked and im - University of Chicago. The 2015-16 season pressed audiences for 20 years across the brings a lively residency at Chicago’s Museum country and around the world with impecca - of Contemporary Art, featuring open re - ble precision and a signature style. hearsals, an interactive gallery installation, performances, and public talks. The group One of the industry’s most formidable en - makes its debut in Poland, and with the sembles, eighth blackbird began in 1996 as Philadelphia Chamber Music Society this sea - a group of six entrepreneurial Oberlin son, and returns to Carnegie’s Zankel Hall, the Conservatory students. Over the course of Kennedy Center, the Philharmonic Society of two decades, the ensemble has commissioned Orange County, Vancouver New Music, UT and premiered hundreds of works by dozens Austin, and UC Berkeley. of composers including David T. Little, Steven Mackey, Missy Mazzoli, and Steve eighth blackbird’s members hail from the Reich, whose commissioned work, Double Great Lakes, Keystone, Golden, Empire, and Sextet , went on to win the Pulitzer Prize Bay states. The name “eighth blackbird” de - (2009). A long-term relationship with rives from the eighth stanza of Wallace Chicago’s Cedille Records has produced six Stevens’ evocative, aphoristic poem, Thirteen acclaimed recordings, including three Ways of Looking at a Blackbird (1917). For Grammy Awards for strange imaginary ani - more info, visit www.eighthblackbird.org. mals (2008), Lonely Motel: Music from Slide (2011) and Meanwhile (2013). Guest violinist MingHuan Xu , who appears in place of Yvonne Lam while on maternity leave, The group’s mission extends beyond per - has performed extensively as a concerto formance to curation and education. The soloist, duo recitalist, chamber musician, and

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orchestral member throughout five continents. Oregon Shakespeare Festival, Canadian Opera Recent appearances include Weill Recital Hall, Company, San Francisco Opera, Santa Fe Merkin Hall, Symphony Space, the Library of Opera, the Macau International Festival, and Congress, and the Smithsonian Institute. An Opera Siam. He has collaborated with world- accomplished and devoted teacher, Xu taught renowned artists including Peter Sellars, at Grand Valley State University before mov - Francesca Zambello, Rob Ashford, Meredith ing to Chicago, where she is now an Artist- Monk, and Isaac Mizrahi. Recent directing Faculty member at Roosevelt University’s credits include: Arizona Lady (American pre - Chicago College of Performing Arts. miere, Arizona Opera), Matt Aucoin’s Second Nature (world premiere, Lyric Unlimited), eighth blackbird is ensemble-in-residence with Tsuru (world premiere, Houston Ballet / Asia Contempo at the University of Chicago, and artist- Society), Porcelain (Prologue Theatre in-residence at the Museum of Contemporary Art Company), and Snow Dragon (world pre - Chicago for the 2015-16 season. Michael J. miere, Skylight Music Theater/ Opera Siam). Maccaferri is a D’Addario Woodwinds Artist. Matthew Duvall proudly endorses Pearl Drums Upcoming directing credits include Nabucco and Adams Musical Instruments, Vic Firth (Lyric Opera of Chicago) and The Root of the Sticks and Mallets, Zildjian Cymbals, and Black Wind is Water (Houston Grand Opera). Swamp Percussion Accessories. Lisa Kaplan is Among Ozawa’s numerous awards are a 2007 a Steinway Artist. directing and a 2008 dramaturgy fellowship with Oregon Shakespeare Festival, and the Stage Director Matthew Ozawa has an inter - James S. McLaughlin Memorial Prize in national career spanning all artistic disci - Theater for his work at Oberlin. He is founder plines, having worked for companies and artistic director of the performing arts world wide including Lyric Opera of Chicago, company Mozawa.

Sleeping Giant is a composer collect ive of six has composed a diverse body of music that “talented guys” ( the New Yorker ) who are prizes vitality and diversity over a rigid aes - “rapidly gaining notice for their daring inno - thetic. The composers’ works have appeared vations, stylistic range and acute attention to in concert halls and clubs throughout the U.S. instrumental nuance” ( WQXR ). The collective and Europe, from Carnegie Hall and the 02-14 Insert 1.qxp_Layout 1 1/27/16 1:18 PM Page 20

ABOUT THE ARTISTS

Kennedy Center to Wigmore Hall and the Prize, Christopher Cerrone ’s (b. 1984) com - Concertgebouw, in performances by the positional voice is characterized by pro foundly Berlin Philharmonic Foundation, the Los expressive lyricism, ringing clarity, and a Angeles Philharmonic, the Los Angeles deep literary fluency. His opera Invisible Chamber Orchestra, the Minnesota Cities , based on Italo Calvino’s classic surre - Orchestra, the Orpheus Chamber Orchestra, alist novelist, was a finalist for the 2014 New York City Opera, Jack Quartet, and the Pulitzer Prize. Recent and upcoming com - New York Youth Symphony. missions include works for soprano Hila Plitmann and the Los Angeles Philharmonic; Current projects include a two-year Music Rachel Lee Priday and David Kaplan; the Los Alive residency with the Albany Symphony Angeles Chamber Orchestra; Present Music; and a collaborative work for cellist Ashley pianist Vicky Chow; Third Coast Percussion Bathgate. The collective has presented sold- and Sandbox Percussion; and live original out concerts at New York’s (Le) Poisson scores for installations at the New Museum Rouge, Brooklyn’s Littlefield, and at John and the Time Warner Center by artist and Zorn’s The Stone. In 2011 the composers col - filmmaker Marco Brambilla. laborated on Histories , a Stravinsky-inspired work for Ensemble ACJW and the Deviant Jacob Cooper (b. 1980) has been lauded as Septet, commissioned by Carnegie Hall. “richly talented” ( New York Times ) and “a maverick electronic song composer” ( The Sleeping Giant is: New Yorker ). Nonesuch Records released Jacob’s song cycle Silver Threads in April 2014 Timo Andres (b. 1985) is a composer and pi - to critical acclaim, and Timberbrit , his “gutsy anist who grew up in rural Connecticut, stud - opera” ( Time Out NY ) about a fictional re - ied at Yale University, and lives in Brooklyn, union between Britney Spears and Justin NY. A Nonesuch Records artist, his 2015 –16 Timberlake, has been featured on NPR’s All season includes Carnegie Hall commissions Things Considered . Upcoming projects in - for the Takács Quartet, and for a work to be clude a commission for Theo Bleckmann and performed in a duo concert with his frequent the Los Angeles Philharmonic Association, a collaborator, Gabriel Kahane. Other recent commission for cellist Ashley Bathgate, and commissions include the Orpheus Chamber a new work for Mobius Percussion funded by Orchestra, the Los Angeles Chamber a Chamber Music America commissioning Orchestra, and a piano quintet for Jonathan grant. Jacob is an Assistant Professor of Music Biss and the Elias String Quartet. Andres has at West Chester University. performed solo recitals for Lincoln Center, Wigmore Hall, the Phillips Collection, Composer, singer, and bandleader Ted (le) Poisson Rouge, and San Francisco Hearne (b. 1982) draws on a wide breadth of Performances. He has performed the Philip influences ranging across music’s full terrain, Glass complete Etudes (alongside the com - to create intense, personal and multi-dimen - poser) at BAM, San Francisco Performances, sional works. The New York Times included the National Concert Hall in Dublin, and the Hearne’s oratorio The Source on its list of the Barbican in London. For more information, best classical vocal performances of 2014, head to www.andres.com. noting that the work “offers a fresh model of how opera and musical theater can tackle Hailed as “a rising star” by the New Yorker contemporary issues: not with documentary and winner of the 2015 Samuel Barber Rome realism, but with ambiguity, obliquity and

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even sheer confusion.” Law of Mosaics , his 30- album, a collaboration with the Sebastians, minute piece for string orchestra, was named was released on Soundspells Productions in one of the New Yorker ’s most notable albums 2015. Upcoming projects include commis - of 2014 by Alex Ross, and has recently been sions from cellist Ashley Bathgate, percus - performed by the San Francisco Symphony sionist Doug Perkins, and a string quartet for and Chicago Symphony Orchestra. His most Music at Edens Edge. recent collaboration paired him with leg - endary musician Erykah Badu. Hearne is the Andrew Norman (b. 1979 ) is a Los Angeles – recipient of the Gaudeamus Prize in compo - based composer of orchestra, chamber, and sition and the New Voices Residency from vocal music. His distinctive, often frag - Boosey and Hawkes. He recently joined the mented and highly energetic voice has been composition faculty at the University of cited in the New York Times for its “daring Southern California. juxtapositions and dazzling colors,” in the Boston Globe for its “staggering imagina- Celebrated for his “roiling, insistent orchestral tion,” and in the Los Angeles Times for its figuration” ( New York Times ) and “glittery, “Chaplinesque” wit. Andrew’s symphonic percussive pieces” ( Toronto Globe and Mail) , and chamber works have been performed by Robert Honstein (b. 1980) is a composer of leading ensembles worldwide, and his 30- orchestral, chamber, and vocal music. Robert minute string trio The Companion Guide to co-founded Fast Forward Austin, an annual Rome was named a finalist for the 2012 marathon new music festival in Austin, TX. Pulitzer Prize in Music. Andrew joined the His debut album RE: You was released by New faculty of the University of Southern Focus Recordings in 2014 and his second California in 2013. 02-14 Insert 1.qxp_Layout 1 1/27/16 1:18 PM Page 22

Wednesday, February 10, 2016, 8pm Zellerbach Hall

Eric Schmidt

In Conversation with Chancellor Nicholas B. Dirks

Cal Performances’ '%&(–'%&) season is sponsored by Wells Fargo.

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ABOUT THE SPEAKERS

BERKELEY TALKS is a new series of conversations that bring together international thought leaders, public scholars, creators, and innovators to examine the distinctive issues of our time. These luminaries will engage in dialogue at the sometimes surprising nexus between their area of expertise and the University’s core mission, celebrating the Chancellor’s vision of a vibrant, engaged, and forward-looking campus culture.

ERIC SCHMIDT is the executive chairman of NICHOLAS B. DIRKS Alphabet Inc. He is responsible for the external became the tenth chan - matters of all of the holding company’s busi - cellor of the University nesses, including Google Inc., advising their of California, Berkeley, CEOs and leadership on business and policy on June 1, 2013. An in - issues. Prior to the establishment of Alphabet, ternationally renowned Eric was the chairman of Google Inc. for four historian and anthropol - years. From 2001 –11 Eric served as Google’s ogist, he is a leader in chief executive officer, overseeing the com - higher education and pany’s technical and business strategy along - well-known for his commitment to and advo - side founders Sergey Brin and Larry Page. cacy for accessible, high-quality undergradu - Under his leadership, Google dramatically ate education in the liberal arts and sciences, scaled its infrastructure and diversified its to the globalization of the university, and to product offerings while maintaining a strong innovation across the disciplines as well as in culture of innovation, growing from a Silicon applied and basic fields. Valley startup to a global leader in technology. Before coming to Berkeley, he was the ex - Prior to joining Google, Eric was the chairman ecutive vice president for the arts and sci - and CEO of Novell and chief technology offi - ences and dean of the faculty at Columbia cer at Sun Microsystems, Inc. Previously, he University, where, in addition to his work on served on the research staff at Xerox Palo Alto behalf of undergraduate programs, he im - Research Center (PARC), Bell Laboratories, proved and diversified the faculty, putting and Zilog. He holds a Bachelor’s degree in elec - special emphasis on interdisciplinary and in - trical engineering from Princeton University ternational initiatives. The Franz Boas as well as a Master’s degree and Ph.D. in com - Professor of Anthropology and History, puter science from the University of Chancellor Dirks joined Columbia in 1997 as California, Berkeley. chair of the anthropology department. Prior Eric is a member of the President’s Council to his appointment at Columbia, he was a of Advisors on Science. He was elected to the professor of history and anthropology at the National Academy of Engineering in 2006 and University of Michigan for ten years, before inducted into the American Academy of Arts which he taught Asian history and civiliza - and Sciences as a fellow in 2007. He also chairs tion at the California Institute of Technology. the board of the New America Foundation, and Chancellor Dirks has held numerous fel - since 2008 has been a trustee of the Institute for lowships and scholarships and received sev - Advanced Study in Princeton, New Jersey. eral scholarly honors, including a MacArthur Since 2012, Eric has been on the board of the Foundation residential fellowship at the Broad Institute and the Mayo Clinic. In 2013 Institute for Advanced Study at Princeton, a he and Jared Cohen co-authored the New York Guggenheim Fellowship, and the Lionel Times bestselling book, The New Digital Age: Trilling Award for his book Castes of Mind . Transforming Nations, Businesses, and Our He serves on numerous national and inter - Lives . In September 2014, Eric published his national bodies, as adviser or member of the second New York Times best seller, How Google board, and is a Fellow at the Council on Works , which he and Jonathan Rosenberg co- Foreign Relations. authored with Alan Eagle. 02-14 Insert 1.qxp_Layout 1 1/27/16 1:18 PM Page 24

Sunday, February 21, 2016, 3pm Hertz Hall Takács Quartet Edward Dusinberre, violin Károly Schranz, violin Geraldine Walther, viola András Fejér, cello

PROGRAM HAYDN (1732 –1809) String Quartet in G Minor, Op. 74, No. 3 “The Rider ” (1793) Allegro Largo assai Menuetto. Allegro—Trio Allegro con brio

Timo ANDRES (b. 1985) Strong Language (2015) Middens Origin Story Gentle Cycling

INTERMISSION

BRAHMS (1833–1897) String Quartet No. 3 in B-flat Major, Op. 67 (1875 –1876) Vivace Andante Agitato (Allegretto non troppo)— Trio—Coda Poco Allegretto con Variazioni

This performance is made possible, in part, by Patron Sponsor Carol Jackson Upshaw. Cal Performances’ '%&(–'%&) season is sponsored by Wells Fargo.

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String Quartet in G minor, Op. 74, No. 3, principal concert-giving organization. The six “The Rider” quartets, divided into two sets as Op. 71 and JOSEPH HAYDN (1732–1809) Op. 74 when they were published in London Composed in 1793. in 1795, were dedicated to Apponyi. Salomon had played them to great acclaim at his Haydn’s first triumph in London ended in Hanover Square Rooms concerts the preced - July 1792, and it took little effort for the ven - ing year. ture’s impresario, Johann Peter Salomon, to The quartets, Op. 71 and 74 occupy an im - exact a promise from the lionized composer portant niche in the history of chamber music to return for another series of performances as the first such works written expressly for several months hence. The sixty-year-old public performance. Haydn, who was always Haydn spent the intervening time at home in sensitive to accommodating his audiences, Vienna, recouping his strength after the rig - made the quartets suitable for the concert hall ors of the London trip, composing, teaching a by providing them with ample dramatic con - few pupils (including Beethoven), and at - trasts, basing them on easily memorable the - tending to domestic matters, most pressingly matic material, allowing a certain virtuosity seeing to the demand for new quarters of his to the first violinist in the fast movements (to shrewish wife (whom he referred to, privately, show off Salomon’s considerable skills), and as the “House-Dragon”). Anna Maria had dis - giving them an almost symphonic breadth of covered a house in the Viennese suburb of expression. (In her study of the composer, Gumpendorf that she thought would be just Rosemary Hughes noted, “It is as if Haydn perfect, she explained to her husband, when were pushing open a door through which she was a widow. Haydn was understandably Beethoven was to pass.”) reluctant to see the place, but he found it The most popular of the six quartets is the pleasing and bought it the next year. It was the Op. 74, No. 3 in G minor, known as “The home in which, in 1809, a decade after Anna Rider” because of the galloping rhythms in its Maria, he died. outer movements. The piece was a special fa - One of the greatest successes of Haydn’s vorite of Haydn—he signed the autograph London venture was the performance of sev - books of several English admirers with the eral of his string quartets by Salomon, whose opening measures of the Largo —and it was abilities as an impresario were matched by his one of the great successes of his 1794 London virtuosity on the violin. Such public presen - season. A gruff unison introduction opens tations of chamber works were still novel at the work. The cello initiates the dark-hued the time, and their enthusiastic reception main subject, which is taken up by the other made it easy for Salomon to convince Haydn instruments before acquiring the galloping to create a half-dozen additional quartets for triplet rhythm that energizes much of the his projected visit in 1794 –95. Though com - movement. The second theme, a dance-like posed for Salomon’s concerts, the new quar - strain reminiscent of the Polish mazurka , tets were formally commissioned by Count turns to brighter harmonic regions. The de - Anton Apponyi, who had come to know velopment section treats motives from the in - Haydn and his music when he married one of troduction and the second subject. A full the scions of the Esterházy clan, the com - recapitulation of the exposition’s themes poser’s employer for a half-century. Apponyi rounds out the movement. The hymnal Largo was an active patron of the arts in Vienna (he is simple in form— A (major) – B (minor) – was a subscriber to Beethoven’s Op. 1 Piano A (decorated) —but profound in expression, Trios), owner of a fine collection of paintings, “one of Haydn’s most solemn utterances,” ac - a good violinist, and a founder and president cording to his biographer Rosemary Hughes. of the Gesellschaft der Musikfreunde , the city’s This music found considerable favor among 02-14 Insert 1.qxp_Layout 1 1/27/16 1:18 PM Page 26

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the composer’s contemporaries, and it ap - Arts and Letters, BMI, ASCAP, Meet the peared in at least five piano arrangements Composer, American Music Center, and during his lifetime. The cheerful elegance of Copland Fund. the Menuet is balanced formally and expres - Andres composed Strong Language in sively by the movement’s somber minor- spring 2015 for the Takács Quartet, who pre - mode central trio. The sonata-form finale, miered it in Baltimore on November 15, 2015 filled with rushing figurations at Shriver Hall on the campus of Johns Hopkins University. The composer wrote, Strong Language for String Quartet “I’ve been increasingly obsessed with the idea TIMO ANDRES (b. 1985) that longer pieces can actually be made out Composed in 2015. of less stuff as a way of supporting the weight Premiered on November 15, 2015, at Shriver of their structures. By ‘stuff’ I don’t mean Hall of Johns Hopkins University in Baltimore, narrative drama—a lot can happen in 25 Maryland by the Takács Quartet. minutes—but actual musical ideas. Strong Language has three movements and exactly Timo Andres was born in 1985 in Palo Alto, three musical ideas. California, grew up in rural Connecticut, “Middens starts with a simple, undulating studied composition at Juilliard’s Pre-College melody, played unaccompanied. Sonic detri - Division during high school, and earned tus [a ‘midden’ is a refuse heap and often im - Bachelor’s and Master’s degrees at Yale as a portant cultural evidence for archeologists] student of Martin Bresnick, Ingram D. gradually accrues underneath each pile of Marshall, Chris Theofanidis, and Aaron Jay notes. With each repetition of the melody, the Kernis; he also studied piano with Eleanor piles grow taller. Marshall and Frederic Chiu. Andres’ compo - “Origin Story ventures outward from a sitions, almost entirely for instrumental static D minor triad: first in recalcitrant half- chamber ensembles and for piano, have steps and little by little further afield. As the been commissioned by the Los Angeles instruments gain confidence with repetition, Philharmonic, Wigmore Hall (London), they coagulate into an unstoppable melodic Carnegie Hall, Concertgebouw Amsterdam, sequence. Each time it is played, the sequence San Francisco Performances, Gilmore shrinks a bar, cramming ever-increasing con - Foundation, Third Coast Percussion, Library trapuntal complexity into a smaller and of Congress, and other performers and smaller space. organizations. As a solo pianist, he has ap - “Gentle Cycling reverses the process of peared at such notable venues as Columbia Middens , coaxing an expressive viola and University’s Miller Theater, Lincoln Center, cello duet from a spectral landscape.” (le) Poisson Rouge, and Wigmore Hall, in works by contemporary composers as well as String Quartet No. 3 in B-flat major, Op. 67 those of Ives and Mozart. As with many of his JOHANNES BRAHMS (1833–1897) creative colleagues, a wide range of music in - Composed in 1875-1876. forms Andres’ works, from such traditional Premiered on October 30, 1876, in Berlin by composers as Brahms, Mozart, and Schuman the Joachim Quartet. to Brian Eno, Radiohead, and the Icelandic band Sigur Rós—he has written a companion In 1872 Brahms was appointed conductor of piano suite to Schumann’s Kreisleriana and the Vienna Gesellschaft der Musikfreunde , “re-composed” the left-hand part and caden - succeeding the estimable Johann Herbeck as zas for Mozart’s “Coronation” Concerto. its director and inheriting a flourishing or - Timo Andres’ distinctions include awards ganization of 300 singers and nearly 100 in - and grants from the American Academy of strumentalists. He led the ensemble’s concerts

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for three years, presenting important recent Vienna, Brahms composed in Ziegelhausen, works by Schumann, Berlioz, Joachim, him - working there on the Third Piano Quartet self and others, and championing such mas - (Op. 60), Third String Quartet (Op. 67) and terworks of earlier generations as Handel’s some duets (Op. 66) and lieder (Op. 70). Dettingen Te Deum , Bach’s St. Matthew Despite the productivity of his German so - Passion, and Beethoven’s Missa Solemnis , as journ, Brahms referred to those pieces in his well as examples of the 16th-century a cap - wonted self-deprecating manner as “useless pella music of Palestrina and Lassus that he trifles, to avoid facing the serious countenance loved so dearly. Despite the gratifications of of a symphony,” a reference to the still-gestat - the job, however, Brahms came to realize that ing Symphony No. 1, which he had been he was not temperamentally suited to organi - sketching on-and-off since at least 1855, and zational life, so he announced his resignation. which he needed yet another year to complete, He gave his last concert with the Gesellschaft not finishing the score until September 1876, on April 18, 1875 (the soloist was the multi- when it was assigned the next opus number talented singer George Henschel, who six available after the String Quartet, 68. The quar - years later was named the first Music Director tet was largely sketched by the time he re - of the Boston Symphony Orchestra), and turned to Vienna in the fall of 1875, but its thereafter never held another regular posi - finishing touches were not applied until the tion, conducting only on occasion and always following summer, when Brahms was vaca - his own music. To celebrate his new-found tioning at Sassnitz on the island of Rügen as independence, he accepted an invitation from a guest of George Henschel; Fritz Simrock the painter Anselm Feuerbach to spend an published the score later that year. The new extended holiday at Ziegelhausen in a house piece was dedicated to Professor Theodor nicely fronting on the right bank of the Engelmann, who had been the composer’s host Neckar River, not far from Heidelberg. on his visit to Utrecht during his concert tour Brahms wrote from there to his stepmother of Holland in 1876, and whose wife, the pianist in Hamburg that he was installed in “ab - Emma Brandes, had particularly pleased solutely fascinating” quarters, and then went Brahms with her renditions of his keyboard on to announce his contentment: “I am de - music. Brahms’ old friend and champion, the lightfully lodged and pass my time delight - violinist Joseph Joachim, led his quartet in the fully. Only too well, with Heidelberg, work’s premiere in Berlin on October 30, 1876. Mannheim and Karlsruhe all close at hand. The B-flat Quartet, conceived under the You know the country, people and inns of beneficent influence of Brahms’ Ziegelhausen Baden and can sing their praise…. In short, holiday, is the most lyrical in expression and life is really quite happy.” He met eagerly with halcyon in mood of his three examples of the friends old and new in his rooms and in genre, more closely related in spirit and form neighboring towns and taverns, and enjoyed to the sunny Classical chamber works of the company of the Ziegelhausen villagers— Mozart and Haydn than to the transcendent he discovered that the cook at the local inn, instrumental romanticisms of Beethoven’s for example, a woman named Bertha whose last years. The opening sonata-form move - girth was ample testimony to the quality of ment incorporates three thematic elements: a her work, made a particularly delicious vari - hunting-horn motive given immediately by ety of pancake, for which he rewarded her the second violin and viola; a complementary with a lively improvised waltz. “When he melody initiated by the middle instruments played, you couldn’t even see his hands,” below rustling figurations in the first violin; Bertha marveled for years after the encounter. and a peasant-dance strain that juxtaposes its As was his custom during his summer duple-meter rhythms with the galloping 6/8 country retreats from the dust and heat of phrases of the preceding music. The two 02-14 Insert 1.qxp_Layout 1 1/27/16 1:18 PM Page 28

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meters are briefly superimposed to serve as music arises from its unusual sound palette, the bridge to the development section, in in which the lead is taken throughout by the which each of the three motives is given a husky-voiced (unmuted) viola while the vio - hearty working-out. A full recapitulation of lins and cello surround it with their veiled, the themes rounds out the movement. The muted sonorities. The finale is a set of eight Andante , disposed in a simple three-part variations and coda based on the curious form, is lyrical and rather luxuriant in its theme (curious because it seems to end two outer sections and somewhat more rambunc - measures early) announced at the beginning tious in its mid-parts. The following Agitato by the violin. Brahms’ masterful ingenuity in is cast in the structure of a scherzo, but is re - variations technique is displayed by the sev - ally more like a nostalgic intermezzo in its enth variation, where the hunting-horn wistful expression. (Brahms told Henschel, melody from the first movement is threaded perhaps not in jest, that it was “the tenderest through the formal and harmonic supports of and most impassioned movement I have ever the finale’s theme. written.”) Much of the autumnal effect of this ©2016 Dr. Richard E. Rodda

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Recognized as one of the world’s great en - Takács first violinist Edward Dusinberre’s sembles, the Takács Quartet plays with a book, Beethoven for a Later Age: The Journey unique blend of drama, warmth and humor, of a String Quartet , will be published by the combining four distinct musical personalities University of Chicago Press in May 2016. to bring fresh insights to the string quartet The Takács became the first string quartet repertoire. For 32 years the ensemble has to win the Wigmore Hall Medal in May, 2014. been in residence at the University of In 2012 Gramophone announced that the Colorado, Boulder. Takács was the only string quartet to be in - In 2015 –16 the Takács returns to Carnegie ducted into its first Hall of Fame, along with Hall for two programs, one featuring a new such legendary artists as Jascha Heifetz, work by composer Timo Andres, commis - Leonard Bernstein and Dame Janet Baker. sioned by Carnegie Hall, and one with pianist The ensemble also won the 2011 Award for Garrick Ohlsson. They also perform with Chamber Music and Song presented by the Mr. Ohlsson at Stanford, the University of Royal Philharmonic Society in London. Richmond, Spivey Hall in Atlanta, and at the The members of the Takács Quartet are University of Florida. For the first time in many Christoffersen Faculty Fellows at the years the Takács will perform in Santiago, University of Colorado Boulder. The Quartet Chile, Sao Paulo and Rio de Janeiro, Brazil. has helped to develop a string program with a In addition to their annual Wigmore Hall special emphasis on chamber music, where series in London, where the quartet are students work in a nurturing environment de - Associate Artists, other European engage - signed to help them develop their artistry. ments in 2015 –16 include performances in The Quartet’s commitment to teaching is en - Oslo, Amsterdam, Budapest, Hamburg, hanced by summer residencies at the Aspen Hannover, Brussels, Bilbao and a concert at Festival and at the Music Academy of the the Schubertiade in Hohenems, Austria. West, Santa Barbara. The members of the During the 2016 –17 season the ensemble Takács are Visiting Fellows at the Guildhall will perform complete six-concert Beethoven School of Music and Drama, London. quartet cycles at the Wigmore Hall, The Quartet’s award-winning recordings in - Princeton, the University of Michigan, and at clude the complete Beethoven Cycle on the UC Berkeley. In advance of these cycles Decca label. In 2005 The Late Beethoven 02-14 Insert 1.qxp_Layout 1 1/27/16 1:18 PM Page 30

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Quartets won Disc of the Year and Chamber six Bartók String Quartets received the 1998 Award from BBC Music Magazine, a Gramophone Award for chamber music and, Gramophone Award, Album of the Year at the in 1999, was nominated for a Grammy. Brit Awards and a Japanese Record Academy The Takács Quartet was formed in 1975 at Award. Their recordings of the early and mid - the Franz Liszt Academy in Budapest by dle Beethoven quartets collected a Grammy, Gabor Takács-Nagy, Károly Schranz, Gabor another Gramophone Award, a Chamber Ormai and András Fejér, while all four were Music of America Award and two further students. It first received international atten - awards from the Japanese Recording Academy. tion in 1977, winning First Prize and the In 2006 the Takács Quartet made their first Critics’ Prize at the International String recording for Hyperion Records, of Schubert’s Quartet Competition in Evian, France. The D.804 and D.810. Subsequent recordings for Quartet also won the Gold Medal at the 1978 Hyperion include Brahms’ Piano Quintet Portsmouth and Bordeaux Competitions and with Stephen Hough (Grammy nomination), First Prizes at the Budapest International Brahms’ Quartets Op. 51 and Op. 67, String Quartet Competition in 1978 and the Schumann’s Piano Quintet with Marc-Andre Bratislava Competition in 1981. The Quartet Hamelin, the complete Haydn “Apponyi” made its North American debut tour in 1982. Quartets, Op. 71 and 74 and the Schubert Violinist Edward Dusinberre joined the Quintet D956 with Ralph Kirshbaum. The Quartet in 1993 and violist Roger Tapping in three Britten Quartets were released in 2013, 1995. Violist Geraldine Walther replaced Mr. followed by the Brahms Viola Quintets with Tapping in 2005. In 2001 the Takács Quartet Lawrence Power, viola, and the Shostakovich was awarded the Order of Merit of the Piano Quintet with Mr. Hamelin. Upcoming Knight’s Cross of the Republic of Hungary, Hyperion recordings include the two Janacek and in March of 2011 each member of the Quartets and Smetana’s “From My Life”, the Quartet was awarded the Order of Merit Debussy Quartet and the Franck Piano Commander’s Cross by the President of the Quintet, again with Marc-Andre Hamelin, Republic of Hungary. the Dvorak Op. 105 Quartet and his Viola Quintet Op. 97 with Lawrence Power, viola. The Takács Quartet appears by arrangement with The Quartet has also made 16 recordings Seldy Cramer Artists, and records for Hyperion for the Decca label since 1988 of works by and Decca/London Records. Beethoven, Bartók, Borodin, Brahms, The Takács Quartet is Quartet-in-Residence at Chausson, Dvořák, Haydn, Mozart, Schubert, the University of Colorado in Boulder and are and Smetana. The ensemble’s recording of the Associate Artists at Wigmore Hall, London.

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Friday, February 26, 2016, 8pm First Congregational Church

Berkeley RADICAL: The Natural World Jordi Savall , viol Frank McGuire , bodhrán

MAN & NATURE MUSICAL HUMORS & LANDSCAPES In the English, Irish, Scottish and American traditions

PROGRAM

The Caledonia Set The Humours of Scariff Traditional Irish Archibald MacDonald of Keppoch Traditional Irish The Musical Priest / Scotch Mary Captain Simon Fraser (1816 Collection) Caledonia’s Wail for Niel Gow Traditional Irish Sackow’s Jig (Treble Viol)

The Musicall Humors Tobias Hume, 1605 A Souldiers March Captaine Hume’s Pavin A Souldiers Galliard Harke, harke Good againe A Souldiers Resolution (Bass Viol, the Lute Tunning)

Flowers of Edinburg Traditional Scottish Lady Mary Hay’s Scots Measure Shetland Tune Da Slockit Light Reel The Flowers of Edinburg Niel Gow (1727–1807) Lament for the Death of his Second Wife Fisher’s Hornpipe Tomas Anderson Peter’s Peerie Boat (Treble Viol)

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The Bells Alfonso Ferrabosco II Coranto Thomas Ford Why not here John Playford La Cloche & Saraband (Bass Viol, Lyra way, the First tuning)

The Donegal Set Traditional Irish The Tuttle’s Reel Turlough O’Carolan Planxty Irwin O’Neill, Chicago 1903 Alexander’s Hornpipe Jimmy Holme’s Favorite Donegal tradition Gusty’s Frolics (Treble Viol)

THE LORD MOIRA’S SET Ryan’s Collection (Boston, 1883) Regents Rant Crabs in the Skillet—Slow jig The Sword dance Lord Moira Lord Moira’s Hornpipe (Bass Viol Lyra-way: the Bagpipes tuning)

IRISH LANDSCAPES The Morning Dew The Hills of Ireland Apples in the Winter The Rocky Road to Dublin The Kid on the Mountain Morrison’s Jig (Treble Viol)

This performance is made possible, in part, by Patron Sponsors Will and Linda Schieber. Cal Performances’ '%&(–'%&) season is sponsored by Wells Fargo.

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THE CELTIC VIOL 19th cen tury in Germany, mainly in bourgeois In praise of transmission circles. The phenomenon of written music has allowed a formidable development of musical The man that hath no music in himself, forms and instruments, but at the same time it Nor is not moved with concord of sweet sounds, has contributed to the neglect and relegation Is fit for treasons, stratagems, and spoils; to a second-class category of all those forms The motions of his spirit are dull as the night, of living music which have traditionally ac - And the affections dark as Erebus companied the daily lives of the vast majority: Let no such man be trusted. Mark the music. in other words, popular music. That is why Celtic music for the fiddle in —William Shakespeare The Merchant of Scotland and Ireland (as well as the music of Venice , Act V, Scene 1 the communities who emigrated from those countries and settled in North America) con - If the face is the mirror of the soul, a people’s stitutes a unique exception in Western Europe music is the reflection of the spirit of its iden - and is one of the richest and most beautiful tity, individual in origin but taking shape over legacies of all the living musical traditions of time as the collective image of a cultural space our time. The thousands of Airs , Pastorals , which is unique and specific to that people. Laments, Hornpipes, Reels, Rants, Jigs, etc., All music passed on and preserved by the oral which have been preserved by the various tradition is the result of a felicitous survival oral traditions, lovingly and perseveringly following a long process of selection and syn - passed on from parents to their children, thesis. Unlike some Oriental cultures which from one generation to the next, are true mu - have evolved chiefly within an oral tradition, sical survivors, music which has had the priv - in the West only those types of music com - ilege and, as far as we are concerned, the good monly known as traditional, popular or folk luck to survive the inevitable and constant music have been preserved thanks to unwrit - cultural amnesia, as well as the globalizing ten means of transmission. folly, of humanity. The invention of musical notation, a phe - Just as I was charmed and fascinated in nomenon very often linked to literary social 1965 by the forgotten voice of the viola da circles, has allowed some cultures, such as gamba , we decided, back in 1975, from our those of China, Korea, Japan, and Western very first concerts and recordings with Europe, to develop from ancient times many Montserrat Figueras and Hespèrion XX, to in - systems of notation which have been used in clude alongside the repertoire of Court and quite different situations. In other cultures, Church music the wonderful music of the however, such as those of the Middle East (ex - Spanish Jews (brutally expelled in 1492), cept Turkey) and South and Southwest Asia, it which for more than five centuries has been is only in the last hundred years or so that such preserved by the oral traditions of the various systems have evolved to any significant extent. Sephardic communities who settled around In the “serious” music of Western Europe, mu - the Mediterranean. It should be remembered sical communication based on the unwritten that, barring a few exceptions (Falla, Bartók, form survived until the end of the 17th cen - Villa-Lobos, Kodály, etc.), the misguided un - tury, but only in musical practices associated derestimation of this so-called “popular” or with improvisation and accompaniment on “folk” music has inevitably confined it to its the bass continuo, and until somewhat later own separate world, where it has had little in music-making circles linked to the spiri - communication with and, above all, little re - tual and temporal powers of the Church and spect from the world of so-called “classical” the Court. It survived beyond the 17th cen - music. Moreover, the terrible amnesia caused tury in England and especially during the by our loss of knowledge of ancient musical 02-14 Insert 1.qxp_Layout 1 1/27/16 1:18 PM Page 34

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practice has often prevented us from appreci - recorded many works for solo viol and viol ating the true worth of this music, even in the consort by composers from Christopher Tye case of works by such renowned musicians as to Henry Purcell, including Tobias Hume, O’Carolan and others, of which only the Alfonso Ferrabosco, William Corkine, melodic line has survived. Thus, the major William Brade, John Dowland, William Byrd, dictionaries of music say of O’Carolan’s com - Thomas Ford, Orlando Gibbons, John Jenkins, positions that “unfortunately most are only in William Lawes, John Playford, and Matthew single line form, so that it is not definitely Locke, as well as anonymous Elizabethan and known how he harmonized or accompanied Jacobean composers. But it was the discovery his melodies.” Of course, it is a pity that we do of manuscripts such as the Manchester Gamba not know exactly how the accompaniment for Book , containing more than 30 different tun - any given piece was played, but it should also ings or scordatura tunings for the viol, and in be remembered that, in many of these pieces, particular the bagpipe tunings, which made such is the beauty and emotion of the melody me realize that the viol also had a very real that nothing else is required. Moreover, in the connection with an ancient Celtic tradition case of pieces requiring accompaniment, which had been forgotten, just as the very ex - enough is now known about the practice of istence of the instrument had sunk into obliv - improvised accompaniment in the 17th and ion after the death of the last violists such as 18th centuries to be able to reconstitute artis - K.F. Abel, who in his lifetime astonished audi - tically satisfying versions. Similar reasoning ences with the beauty and expressiveness of his led to J.S. Bach’s six suites for unaccompanied improvisations on the viola da gamba . Charles cello being “completed” during the 19th cen - Burney writes of him as follows: “I have heard tury with a piano accompaniment, the work him modulate in private on his six-stringed remaining neglected by performers as music base with such practical readiness and depth fit for the concert hall for more than two hun - of science, as astonished the late Lord Kelly dred years. It was not until the end of the 19th and Bach, as much as myself.” century that they were rediscovered—in In recent years, I first set about studying 1890!—by a young Pablo Casals who, some the 17th century collections containing ten years later, around 1900, began to intro - Scottish and Irish music, and then I discov - duce them to concert-goers all over the world. ered the extraordinary richness of the princi - My first acquaintance with Celtic music pal collections of Celtic music, such as goes back to 1977–78, when we visited George Farquhar Graham’s The Songs of Kilkenny to give a concert with Hespèrion Scotland (Edinburgh, 1848); George Petrie’s XX. During the Festival the streets, squares Complete Irish Music (London, 1852, re- and pubs were teeming with all kinds of mu - edited in 1902-1905); William Bradbury sicians (fiddlers, flute-players…) performing Ryan’s Mammoth Collection (Boston, 1883); non-stop solo or accompanied (on a guitar or O’Neill Music Of Ireland (New York, 1903) a small harp). What incredible vitality! And it and The Dance Music Of Ireland (New York, was magical to see so many musicians living 1907 ); P.W. Joyce’s Old Irish Folk Music and their music with that degree of intensity and Songs (London, 1909); James Hunter’s emotion! I also got to know the music by lis - The Fiddle Music of Scotland (Edinburgh, tening to historic recordings from the 1920s, 1979); Alastair J. Hardie’s The Caledonian including those by the brilliant James Schott Companion (Edinburgh, 1981); and Aloys Skinner and Joe MacLean, as well as concerts Fleischmann’s Sources of Irish Traditional by groups such as the Chieftains and others. Music, c. 1600 –1855 (New York and London, Over the last 30 years I have also been ab - 1997), among others. solutely fascinated by the British repertory for I was immediately surprised to find that the viol, and I have studied, performed, and there was such an abundance of documented

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historical material. Altogether, these collec - this program is above all a fervent tribute to tions contain more than 10,000 pieces, all of the art of transmission, to the talent of all the great artistic quality! I was also very interested musicians who have created this wonderful to discover that certain Celtic melodies con - legacy, and also to all those who, no less im - tained figures, or background phrases, very portantly, have passed it on from generation similar to those occurring in old Catalan to generation and so kept it vibrantly alive. songs, for example, those we find in “El testa - Music expresses and prolongs what words ment d’Amèlia” and “Màiri Bhàn Òg.” The cannot say, and time acts as a filter, distilling most difficult task has been to limit the selec - these orally transmitted melodies and paring tion of music on this program to about 30 of them down to the truly essential. And that is the most representative pieces of different ori - how all these pieces, in the majority of cases gins and periods, as well as to choose the var - by anonymous authors, thanks to their vital - ious tunings adapted to each type of music. I ity, beauty, emotion and charm, have become have combined Nicolas Chappuy’s 1750 treble an indispensable part of the celebration of the viol and Barak Norman’s 1697 lyra-viol with most significant moments in the different its powerful, warm sound (in the pieces from stages of our daily life. Songs to dispel sadness the Manchester manuscript and Ryan’s Boston or celebrate good news, dances to express Collection). I have selected 30 pieces, grouped moments of happiness and joy, laments to in suites or sets according to their key. We take overcome the loss of a loved one or the mem - a deliberately sober approach in order to show ory of an unhappy event… All these wonder - that the music, through the force and magic ful yet fragile works represent the sensitive of its musical discourse, contains within itself and most intimately personal contribution of all the essential ingredients. I am also very often marginalized or persecuted cultures to aware of the possibly huge distance between the history of musical creation. They remain the playing of a musician who was born to this and will continue to remain in our hearts as kind of music and another who has had to the true voices and the essential spirit of a civ - spend several years learning it and knows that ilization which has succeeded in staying alive, he still has much to learn. I only hope that my thanks to music—the memory and soul of its experience with Renaissance and Baroque historical identity. music has enabled me to offer an interpreta - —Jordi Savall tion, which is different from the interpreta - tions heard in the modern traditions. Finally, Translated by Jacqueline Minett 02-14 Insert 1.qxp_Layout 1 1/27/16 1:18 PM Page 36

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founded with Montserrat Figueras in 1998, Jordi Savall has proved not only that early music does not have to be elitist, but that it can appeal to increasingly diverse and nu - merous audiences of all ages. As the critic Allan Kozinn wrote in the New York Times , his vast concert and recording career can be described as “not simply a matter of revival, but of imaginative reanimation.” Savall has recorded and released more than 230 albums covering the Medieval, Renaissance, Baroque, and Classical music repertories, with a special focus on the Hispanic and Mediterranean musical her - itage, receiving many awards and distinctions such as the Midem Classical Award, the International Classical Music Award and the Grammy Award. His concert programs have made music an instrument of mediation to achieve understanding and peace between different and sometimes warring peoples and cultures. Accordingly, guest artists appearing with his ensembles include Arab, Israeli, For more than 50 years, Jordi Savall , one of Turkish, Greek, Armenian, Afghan, Mexican, the most versatile musical personalities of his and North American musicians. In 2008 Jordi generation, has rescued musical gems from Savall was appointed European Union the obscurity of neglect and oblivion and Ambassador for intercultural dialogue and, given them back for all to enjoy. A tireless re - together with Montserrat Figueras, was searcher into early music, he interprets and named “Artist for Peace” under the UNESCO performs the repertory both as a gambist and Goodwill Ambassadors program. a conductor. His activities as a concert per - He has played a seminal role in the redis - former, teacher, researcher, and creator of covery and performance of Una cosa new musical and cultural projects have made rara and Il burbero di buon cuore by the him a leading figure in the reappraisal of his - composer Vincent Martín i Soler. He has also torical music. Together with Montserrat conducted Le Concert des Nations and Figueras, he founded the ensembles La Capella Reial de Catalunya in perform - Hespèrion XXI (1974), La Capella Reial de ances of Monteverdi’s L’Orfeo , Vivaldi’s Catalunya (1987), and Le Concert des Farnace , Fux’s Orfeo ed Euridice and Nations (1989), with whom he explores and Vivaldi’s Il Teuzzone . creates a world of emotion and beauty shared Jordi Savall’s prolific musical career has with millions of early music enthusiasts brought him the highest national and inter - around the world. national distinctions, including honorary Through his essential contribution to Alain doctorates from the Universities of Evora Corneau’s film Tous les Matins du Monde , (Portugal), Barcelona (Catalonia), Louvain which won a César for the best soundtrack, (Belgium), and Basel (Switzerland), the order his busy concert schedule (140 concerts per of Chevalier de la Légion d’Honneur year), his recordings (six albums per year), (France), the Praetorius Music Prize awarded and his own record label, Alia Vox, which he by the Ministry of Culture and Science of

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Lower Saxony, the Gold Medal of the of Radio Nan Gael from the Irish Embassy in Generalitat of Catalonia, and the prestigious Moscow with Sean O’Rourke and Maggie Léonie Sonning Prize, which is considered Macinnes. In 2001 he formed Lyra Celtica with the Nobel prize of the music world. “Jordi Sean O’Rourke and Chuck Flemming, the trio Savall testifies to a common cultural inheri - was later joined by Lynn Tocker. McGuire has tance of infinite variety. He is a man for our spent years studying many styles of percussion time” ( The Guardian ). and percussion instruments, and has per - formed with outstanding musicians from the Frank McGuire worlds of folk, blues, old-time Americana, has been playing bluegrass, soul, gospel and classical music. In music since he 2007 he was invited as a guest of honor to the was old enough to Kremlin, to the first-ever Kremlin Zoria (the hold an instru - Russian equivalent of the Edinburgh Tattoo). ment. His father He has performed many times at Celtic and grandfather Connections with banjo maestro Alison both played tradi - Brown. And recently, he has been working tional music; he with American singer Lea Gilmour on the played in pipe project Umoja Gaelic , which will tour the UK bands and later and United States. In 2010 McGuire recorded began playing tra - with the legendary viol de gamba player and ditional music as composer Jordi Savall and harpist Andrew well. In the early part of his career, McGuire Lawrence King, for the album Celtic Viol played in various bands, and then formed Vol. 1. The record received one of the highest Gaelum with Kevin Allison from Hot Toddy. awards in music: The Premio De la Musica, For many years, he played and taught in Russia, judged by members of the Spanish Academy playing in festivals and appearing on television of Music, Arts and Knowledge, Academia De and radio, including the first ever live broad cast Las Artes Y Las Ciencias De La Musica.