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Kronos Quartet Cal Performances Presents Sunday, February 1, 2009, 7pm Hertz Hall Kronos Quartet David Harrington, violin John Sherba, violin Hank Dutt, viola Jeffrey Zeigler, cello Laurence Neff, Lighting Designer Scott Fraser, Sound Designer PROGRAM Aviya Kopelman (b. 1978) Widows & Lovers (2007) (West Coast premiere) * I. White Widow II. Lovers III. Black Widow Kaija Saariaho (b. 1952) Nymphéa (1987) * Hanna Kulenty (b. 1961) String Quartet No. 4 (A Cradle Song) (2007) (West Coast premiere) * INTERMISSION Aleksandra Vrebalov (b. 1970) …hold me, neighbor, in this storm… (2007) * * Written for Kronos. Program is subject to change. The Kronos Quartet records exclusively for Nonesuch Records. Cal Performances’ 2008–2009 season is sponsored by Wells Fargo. CAL PERFORMANCES 5 Program Notes Program Notes Aviya Kopelman (b. 1978) the sonic universe that surrounds me, ex- Her major works include a violin concerto, of the work, a poem by Arseniy Tarkovsky Widows & Lovers (2007) ploring and using the numerous technical Graal théâtre, written for Gidon Kremer; two (English translation by Kitty Hunter- possibilities for live performance offered works dedicated to Dawn Upshaw (Château de Blair), the lines of which are delivered in Aviya Kopelman was selected as the recipient by Kronos Quartet, but without forsaking l’âme, which premiered at the Salzburg Festival, a whisper by the players through the me- of the fourth commission offered through the the strength of the strings as I perceive it: and Lonh, premiered at the Wien Modern dium of microphones wired up to a sound Kronos: Under 30 Project. Begun in 2003, the a warm, living, breathing and deeply ex- Festival); Oltra mar, premiered by the New York sampler. Tarkovsky’s melancholic verse, Kronos: Under 30 Project is a commissioning and pressive sound, which echoes in the heart Philharmonic; Orion for the Cleveland Orchestra; which describes man’s desire to reach for residency program for composers under 30 years over centuries. and Quatre Instants, written for Karita Mattila. the unknown, begins with the words: of age, created to acknowledge the 30th anniver- The position of an amplified string Her first opera, L’Amour de loin, libretto by Amin Now summer is gone sary of the founding of the Kronos Quartet. The quartet was another issue to be examined. Maalouf and staging by Peter Sellars, premiered And might never have been. program supports the creation of new work by Technically, nothing inhibits a string quar- at the Salzburg Festival and won the Grawemeyer In the sunshine it’s warm, young artists, and helps Kronos cultivate stronger tet from performing in a concert hall as Award. Her second opera, Adriana Mater, also on But there has to be more. connections with young composers in order to well as in a club. This allows for different a libretto by Amin Maalouf and staged by Peter A second extra-musical echo is in the develop lasting artistic relationships with the next listening experience and a different audi- Sellars, appeared at Opéra Bastille. A vast orato- title of the work, which takes our thoughts creative generation. ence. While writing this piece, I imagined rio, La Passion de Simone, was commissioned by to Claude Monet’s lily pads, although I Ms. Kopelman was born in Moscow in 1978 it in both contexts. the Wien Festival, the Los Angeles Philharmonic, suspect the composer herself was more and immigrated to Israel in 1987. She began tak- Widows & Lovers developed out of a and the Barbican and Lincoln centers. Among conscious of the water lily as a physical ob- ing piano lessons at her own initiative at the age of game of free associations, and moves be- the many awards and prizes she has received are ject, when she writes: 12. She graduated from the Rubin Music Academy tween who I am and who I wish to be, the Prix Italia, the Musical Award of the North “One or two ideas were going around in in Jerusalem, where she studied composition with between Kronos Quartet and myself, be- Council, the Nemmers Composition Prize and my mind as I was writing the piece: an im- Professor Tzvi Avni. In 2000, she was commis- tween classical chamber music and con- Musical America Composer of the Year in 2008. age of the symmetrical structure of the lily, sioned by composer Michael Wolpe to write a string temporary life. About Nymphéa, Risto Nieminen writes: bending and taking new shape in the rock- quartet for the Sounds in the Desert Festival, and ing motion of the waves. Interpretations of Aviya Kopelman’s Widows & Lovers was com- The string quartet, of all the musical genres since then her works have been performed regu- the same image in different dimensions; on missioned for the Kronos Quartet as part of Kronos: the most closely bound to its 200-year his- larly in Israel and abroad by the Israel Chamber the one hand a one-dimensional surface of Under 30 Project / #4 by the Carnegie Hall tory, is perhaps a surprising discovery in Orchestra, the Israel Camerata, Tel Aviv Chamber colors and forms; on the other the differ- Corporation, Cal Performances and the Kronos Kaija Saariaho’s list of published works. Choir, Conjunto Iberico Octet, Ensemble de la ent materials state, and dimensions to be Performing Arts Association. Additional support Then again, the ensemble of four string Paix, Les Solistes de Waterloo and the Jerusalem sensed and experienced.” was provided by the National Endowment for the instruments does offer a host of differ- Trio, among others. Last year, she was commis- Arts, the William and Flora Hewlett Foundation, ent ways of producing sound, from noise Kaija Saariaho’s Nymphéa was commissioned sioned to write an obligatory work for the 12th the San Francisco Foundation, Stephen K. Cassidy, to pure flageolet harmonics. At the same for the Kronos Quartet by Lincoln Center for the Arthur Rubinstein International Piano Master and the Sally and Don Lucas Artists Programs at time, Nymphéa formed a natural supple- Performing Arts. Competition. She has worked with and been in- Montalvo Arts Center. ment to the experiments with various Program note excerpted from the liner note of fluenced by such composers as Andre Hajdu, Loop programming by Roy Yarkoni and string techniques found in Lichtbogen and Kronos’s recording of Nymphéa on Ondine Records. Oded Zehavi and Ronen Shapira. Ms. Kopelman Ms. Kopelman. Io from 1985–1987. teaches composition at the Hed College for Music The basis of the harmonic world inhab- in Tel Aviv and at the Rimon School of Jazz and ited by Nymphéa lies in the rich spectra of Hanna Kulenty (b. 1961) Contemporary Music. Kaija Saariaho (b. 1952) the cellos sounds, which the composer has String Quartet No. 4 (A Cradle Song) (2007) About Widows & Lovers, Ms. Kopelman writes: Nymphéa (1987) analyzed on the computer, using the struc- Widows & Lovers consists of three parts: tures that were revealed as a framework for Hanna Kulenty, born in Bialystok, Poland, stud- “White Widow,” a potent and rare spe- Born in Finland, Kaija Saariaho lived a child- the harmonies. This also helps to account ied composition with Wlodzimierz Kotonski at the cies of marijuana; “Lovers”; and “Black hood embedded in music, playing several instru- for the subtitle Jardin secret III, which re- Chopin Music Academy (Warsaw) and with Louis Widow,” a species of spider whose female ments. At the Sibelius Academy in Helsinki, she fers us to Kaija Saariaho’s computer soft- Andriessen at the Royal Conservatory of Music consumes the male directly after mating. studied composition with Paavo Heininen, and ware developed at IRCAM and applied in (The Hague). She participated in several summer It was crucial for me to question the later in Darmstadt and in Fribourg with Brian the two previous works in the series. courses in Kazimierz and Darmstadt, where she relevance of such a homogeneous ensemble Ferneyhough and Klaus Huber. Her research of Naturally, Saariaho goes on to expand studied with Iannis Xenakis, Witold Lutosławski, as a string quartet in a time when elec- new timbres led to the study of new instrumental her harmonic world with electronic effects. Thomas Kessler and François Bernard Mâche. tronic music has stretched the limits of or- and computer techniques, which she worked on at Another semantic ingredient in the mix of She has been composer-in-residence with chestration and sound. I wanted to address IRCAM in Paris, starting in 1982. sounds is the text to be heard at the close Het Gelders Orkest (The Netherlands), lectured 6 CAL PERFORMANCES CAL PERFORMANCES 7 Program Notes Program Notes at the Other Minds Festival (San Francisco) and Last year, when I started writing my 30-minute television biography of Ms. Vrebalov. energy. Peaceful passages of the work grew at Soundstreams Canada 2005, and was guest fourth string quartet, again I couldn’t That year, she also worked on the score forSleeping out of the delicately curved, elusive, often professor at the Escola Superior de Música de avoid using this melody. In this instru- Beauty, an experimental film introduced at New microtonal melodies of prayers, as well as Catalunya (Barcelona). She has served on juries for mentation, timing and sound I wanted to York City’s Anthology Film Archives. escapist tavern songs from the region, as the Munich Biennale, International Gaudeamus give new energy and to see this song in a About …hold me, neighbor, in this storm…, my grandmother remembers them. Music Week, the International New Chamber new light. To me, String Quartet No. 4 (A Ms. Vrebalov writes: For me, …hold me, neighbor… is a way Opera Competition Orpheus-Luciano Berio Cradle Song) again has a different mean- to bring together the sounds of the church The Balkans, with its multitude of cultural 2003–2004, and the International Competition of ing.
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