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LUDOVIC MORLOT BERIO SINFONIA ROOMFUL OF TEETH BOULEZ NOTATIONS I–IV RAVEL LA VALSE LUCIANO BERIO Sinfonia for Eight Voices and Orchestra I...... 6:46 II. “O King”...... 5:22 III. In ruhig fließender Bewegung (“With quietly flowing movement”)...... 11:20 IV...... 3:10 V...... 7:59 Roomful of Teeth, vocal ensemble Notations I–IV for Orchestra I. Modéré—Fantasque...... 3:09 IV. Rythmique...... 2:08 III. Très modéré...... 4:03 II. Très vif. Strident...... 1:57 MAURICE RAVEL La valse ...... 12:21 TOTAL TIME...... 58:20

SEATTLESYMPHONY.ORG � & © 2018 Symphony Media. All rights reserved. Unauthorized copying, hiring, lending, public performance and broadcasting of this record prohibited without prior written permission from the . Benaroya Hall, 200 University Street, Seattle, WA 98101 MADE IN USA Symphony Media. accolades. In2014 theSymphony launcheditsin-house recordinglabel,Seattle Grammy Awards, 23Grammy nominations,twoEmmy Awards andnumerous other season. Theorchestrahasmade nearly150recordingsandhasreceivedthree commitment tonewmusic,commissioning manyworksbylivingcomposerseach reach over65,000 childrenandadults each year. TheSeattleSymphony hasadeep downtown Seattle. Its extensiveeducationandcommunityengagementprograms modern concerthallsinthe world —theacousticallysuperbBenaroyaHallin through liveperformancesandradiobroadcasts.Itperforms inoneofthefinest the Symphony isheardfromSeptemberthroughJulybymorethan500,000 people history. UndertheleadershipofMusicDirectorLudovicMorlotsinceSeptember 2011, internationally acclaimedforitsinnovativeprogramming andextensiverecording The SeattleSymphony isoneofAmerica's leadingsymphonyorchestrasandis SEATTLE

SYMPHONY

Photo: James Holt Photo: Lisa-Marie Mazzucco Orchestral Conducting Studies atthe Universityof Washington School ofMusic. Music in2014 in recognitionofhissignificant contributionstomusic. He isChairof Mar Conducting Fellowship. Morlotwas electedaFellowoftheRoyal Academy of in LondonandthenattheRoyal CollegeofMusicasrecipienttheNormandel Trained asaviolinist,MorlotstudiedconductingattheRoyal Academy ofMusic Tokyo PhilharmonicOrchestra,Tonhalle-Orchester Zürichandthe Vienna Symphony. de France, Royal ConcertgebouwOrchestra,Rundfunk-Sinfonieorchester Berlin, Orchestra, CzechPhilharmonic,LondonPhilharmonic OrchestreNational Additionally, he hasconductedtheBerlinerPhilharmoniker, BudapestFestival New YorkPhilharmonic,PhiladelphiaOrchestraandPittsburgh Symphony. Symphony Orchestra,ClevelandSymphony Orchestra,LosAngelesPhilharmonic, In theU.S., LudovicMorlothasconductedtheBostonSymphony Orchestra,Chicago La Monnaie, oneofEurope’s mostprestigiousopera houses. community collaboration.From2012to2014Morlotwas alsoChiefConductorof for hisdeeplymusicalinterpretations,innovativeprogrammingandfocuson extraordinary enthusiasmbymusiciansandaudiencesalike, whohavepraisedhim As theSeattleSymphony’s MusicDirector, LudovicMorlothasbeenreceivedwith , CONDUCTOR

Photo: Bonica Ayala

ROOMFUL OF TEETH, VOCAL ENSEMBLE

Roomful of Teeth is a Grammy-winning vocal project dedicated to reimagining the expressive potential of the human voice. Through study with masters from vocal traditions the world over, the eight-voice ensemble continually expands its vocabulary of singing techniques and, through an ongoing commissioning process, forges a new repertoire without borders. Founded in 2009 by Brad Wells, Roomful of Teeth gathers annually at the Massachusetts Museum of Contemporary Art (MASS MoCA) in North Adams, Massachusetts, where they’ve studied with some of the world’s top performers and teachers in Tuvan throat singing, yodeling, Broadway belting, Inuit throat singing, Korean P’ansori, Georgian singing, Sardinian cantu a tenore, Hindustani music, Persian classical singing and Death Metal singing. Collaborators include Rinde Eckert, Fred Hersch, Glenn Kotche, Merrill Garbus (of tUnE-yArDs), William Brittelle, ACME (American Contemporary Music Ensemble), Nick Zammuto (of The Books), Toby Twining, ICE (International Contemporary Ensemble), Ted Hearne, Silk Road Ensemble and Ambrose Akinmusire, among many others.

Brad Wells, artistic director

Estelí Gomez, soprano Eric Dudley, tenor Martha Cluver, soprano Avery Griffin, baritone Caroline Shaw, alto Dashon Burton, bass-baritone Virginia Warnken, alto Cameron Beauchamp, bass , Principal Guest Conductor Judy Washburn Kriewall SAXOPHONE David Lawrence Ritt PERSONNEL MANAGER SEATTLE SYMPHONY Jeff Tyzik, Principal Pops Conductor Zartouhi Dombourian-Eby Michael Brockman • Stephen Fissel Scott Wilson Joseph Crnko, Associate Conductor for Choral Activities Robin Peery • Fred Winkler • Carson Keeble • Stilian Kirov, Pablo Rus Broseta, Douglas F. King Associate Conductor Marisela Sager ◊• ASSISTANT PERSONNEL LUDOVIC MORLOT Wesley Schulz, Ruth Reinhardt, Conducting Fellows BASSOON BASS TROMBONE MANAGER The Harriet Overton Stimson Music Director , Rebecca & Jack Benaroya Conductor Laureate PICCOLO Seth Krimsky Stephen Fissel Keith Higgins Zartouhi Dombourian-Eby Principal Robert & Clodagh Ash Paul Rafanelli TUBA LIBRARY FIRST VIOLIN SECOND VIOLIN Mara Gearman Rowena Hammill • Piccolo Mike Gamburg Christopher Olka Patricia Takahashi- Elisa Barston ^ Timothy Hale • Alexander Velinzon Chuck Jacot Edward Burns • Principal Blayney Principal • David & Amy Fulton Vincent Comer Rajan Krishnaswami OBOE Francine Peterson • Principal Librarian Concertmaster Supported by Jean Penelope Crane John Michel • Mary Lynch TIMPANI Robert Olivia Emma McGrath E. McTavish Wes Anderson Dyring Principal CONTRABASSOON Michael Crusoe Associate Librarian BASS Principal Clowes Family Associate Michael Miropolsky ° Sayaka Kokubo Ben Hausmann ▲ Mike Gamburg Jeanne Case Jordan Anderson Concertmaster John & Carmen Delo Rachel Swerdlow Associate Principal Librarian Mr. & Mrs. Harold H. Heath HORN PERCUSSION John Weller, Cordula Merks Assistant Principal Julie Whitton Chengwen Winnie Lai Michael A. Werner Rachel Swerdlow, Second Violin Sue Jane Bryant • Principal String Bass Stefan Farkas Jeffrey Fair Ron Johnson † Assistant Concertmaster Joseph Kaufman Charles Simonyi Principal Kathleen Boyer Tim Christie • Selina Greso • Michael Clark Assistant Librarian Simon James Assistant Principal Principal Horn Gennady Filimonov Allison Farkas • Ron Johnson † Second Assistant Ted Botsford ENGLISH HORN Mark Robbins TECHNICAL DIRECTOR Evan Anderson Ken Freed • Matthew Decker • Concertmaster Jonathan Burnstein Stefan Farkas Associate Principal Joseph E. Cook Natasha Bazhanov Joseph Gottesman • Matt Drumm • Jennifer Bai Jennifer Godfrey Jonathan Karschney Brittany Boulding Breeden Laura Renz • CLARINET Paul Hansen • ARTIST IN ASSOCIATION Mariel Bailey Travis Gore Assistant Principal Stephen Bryant Christopher Sereque ▲, Blaine Inafuku • Dale Chihuly Cecilia Poellein Buss CELLO Jonathan Green Adam Iascone Linda Cole Benjamin Lulich Matt Kocmieroski • Ayako Gamo Efe Baltacıgil Nancy Page Griffin John Turman Xiao-po Fei Mr. & Mrs. Paul R. Smith Dan Morris • HONORARY MEMBER Timothy Garland Sande Gillette Marks Family Foundation Chris Burns • Cara Kizer * Cyril M. Harris † Principal Clarinet • Rob Tucker • Leonid Keylin Artur Girsky Principal Cello Nathan Farrington • Matthew Berliner Laura DeLuca + Resident Mae Lin Andrew Yeung Meeka Quan DiLorenzo Brian Johnson • HARP Eric Jacobs TRUMPET † In Memoriam Mikhail Shmidt Blayne Barnes • Assistant Principal Matt McGrath • Valerie Muzzolini Gordon Larey McDaniel David Gordon ^ Concertmaster on Clark Story Brian Fox • Theresa Benshoof Stephen Swanson • Principal Jeff Brooks• The Boeing Company Sinfonia John Weller Kimberly Houglum • Assistant Principal Supported by Eliza Flug, Jennifer Nelson • Principal Trumpet ° Principal on Sinfonia Jeannie Wells Yablonsky Adrianna Hulscher • Eric Han FLUTE in memory of Martin Flug Sean Osborne • Alexander White, ▲ Principal on Notations Arthur Zadinsky Victoria Parker • Bruce Bailey Demarre McGill ++ Sophie Baird-Daniel • Ralph Skiano ◊• James Ross ◊ Principal on La valse Anait Arutunian • Rachel Pearson • Roberta Hansen Downey Principal Catherine Case • Assistant Principal * Temporary Musician • Walter Gray Supported by David J. E-FLAT CLARINET Ruth Mar • Jennifer Caine Geoffrey Bergler ++ On Leave Emily Cole • VIOLA Vivian Gu and Shelley Hovind Laura DeLuca • ▲ Tony DiLorenzo KEYBOARD • Extra Musician for • Susan Gulkis Assadi Joy Payton-Stevens Christie Reside * Kelly Farris BASS CLARINET Kimberly Russ, piano + This Recording PONCHO Principal Viola David Sabee Principal TROMBONE Arie Schächter Jeffrey Barker◊ Larey McDaniel Joseph Adam, organ + Eric Gaenslen • Ko-ichiro Yamamoto • Assistant Principal Associate Principal Eric Jacobs Principal Cristina Valdés, piano Photo: Brandon Patoc Photo: Brandon Patoc THE SEATTLE SYMPHONY'S AND ORCHESTRA PERFORMANCE OF WITH ROOMFUL OFTEETH ONFEBRUARY 4,2016. BERIO'S

SINFONIA FOR EIGHTVOICES

themselves. Moreover, Berio’s artistic outlook was deeply influenced by some of the major modern writers, including James Joyce, Samuel Beckett, E.E. Cummings, Umberto Eco and Italo Calvino. Their work suggested to him, among other things, an aesthetic that revels in ambiguity, multiple meanings, fractured syntax and stream-of- One of the popularly cherished notions about musical genius is that its consciousness. products spring sui generis from the minds of composers. Originality is, to be sure, an important quality in nearly any compositional masterpiece. But as the Berio’s innovative approach to instrumental and vocal sounds, as well as his use of accumulated trove of Western art music has grown over time, its substance spoken language, coalesced in Sinfonia. The work originated with a musical tribute and traditions have provided rich stimulus to composers’ imaginations. Each of to Martin Luther King, Jr., composed in the wake of his assassination in April 1968. the three compositions recorded here entails, among other things, an ingenious This became the second of four movements that formed an initial version of Sinfonia. transformation of pre-existing musical material or styles. Berio added a fifth movement in 1969, thereby creating a five-part design in an arch- like shape. The first and last movements are similar in character, texture and material, BERIO SINFONIA as are the second and fourth movements. The third movement, the most substantial portion of the composition, forms the capstone. The major Italian composer of the post-World War II period, Luciano Berio (1925– 2003) stood in the vanguard of European music throughout the second half of the Words, either sung or spoken, are an integral part of the sonic fabric in all five 20th century. He was one of the first composers to create significant pieces using movements. That they are often unintelligible — they sound in several languages, electronic sounds, and he drew novel sounds from instruments and voices. usually consist of fragmentary phrases or syllables, and frequently are masked by orchestral music — is very much by design. What meaning may be gleaned from them Berio also explored relationships between verbal texts and music. This interest is allusive at best and often swept away in the next moment. extended beyond just setting words to music. Rather, it included the use of language as compositional material, the rhythm, inflection, different sorts of articulation and The experience of hearing but not quite understanding spoken words is established in other sonic properties inherent in spoken words as musical elements in the opening movement, whose text comes chiefly from a treatise by the anthropologist Claude Lévi-Strauss. Beginning and ending with amorphous clouds of (This is, among other things, the source for the injunction “Keep going!,” heard sound, this initial portion of the piece evolves into a complex and active fantasy, with repeatedly throughout the movement.) The Mahler scherzo, the succession of musical a brilliant percussion toccata at its center. The second movement, “O King,” is the quotations and the spoken-word fragments combine to create a dizzying, and quite composer’s tribute to the slain civil rights leader. It reduces his name to elemental exhilarating, stream-of-consciousness experience. sounds that gradually expand until, in the final moments, we hear clearly “Martin Luther King.” In the fourth movement, Berio begins a process of retracing his steps. The textures and harmonic complexion of the music are close to those of “O King,” while the The third movement, in every way the heart of the composition, is built on the text consists of syllables drawn from phrases heard in earlier movements. scherzo movement of ’s Second Symphony, which serves as the basis This process continues in the finale, where larger fragments of text from the initial for an extraordinary musical collage. Over and around this symphonic movement, movement are set amid virtuoso instrumental writing that also recalls the opening Berio layers an array of instrumental music and spoken text, the profusion of these portion of the composition. interpolations sometimes obscuring the Mahlerian background. “If I were asked to explain the presence of Mahler’s scherzo in Sinfonia,” Berio observed, “the image that would naturally spring to mind would be that of a river running through a constantly changing landscape, disappearing from time to time underground, only to emerge later totally transformed. Its course is at times perfectly apparent, at others hard to perceive; sometimes it takes on a totally recognizable form, at others it is made up of a multitude of tiny details lost in the surrounding forest of musical presences.”

Those “musical presences” include quotations from a number of familiar compositions. We hear fragments of Debussy’s La mer, Ravel’s La valse, Beethoven’s “Pastoral” Symphony and other works. To these Berio added a welter of spoken-word fragments, drawn mainly from Samuel Beckett’s 1953 monologue The Unnameable. BOULEZ NOTATIONS to complement the keyboard version, which Boulez reclaimed and allowed to be published. Berio’s exact contemporary, Pierre Boulez (1925–2016) was another composer who proposed fundamental changes to musical form and syntax during the middle Unlike the piano version, whose twelve movements follow a set sequence, the decades of the 20th century. Dense and bracingly complex, his music reconciles the orchestral Notations may be played in any order. Boulez directs, however, that they traditional French predilection for luminous and sensual sonority with an intellectual be arranged for maximum contrast and suggests a sequence of I, IV, III, II for the first rigor generally associated with 20th-century Austro-German composition. four. That order is observed in this recording.

Boulez’s questing intellect prompted him to rethink and refine his music over While all four of these pieces partake of the essential Boulez style — with its high the course of his career. Most of his works were written, performed, published, level of dissonance and melodic abstraction, its intricately interlocking motifs, its withdrawn, rewritten, performed again, in some cases through several cycles. rhythmic complexities and extensive use of percussion — each is distinct in character. Notations for Orchestra exemplifies the mutability in Boulez’s work. The composer The first is mercurial, with myriad variations of a few motifs woven to form a fluid, initially wrote it in 1945, while still a student at the Paris Conservatoire, scoring it iridescent musical fabric. Notation IV evinces Boulez’s lifelong fascination with the for piano and casting it as a set of 12 movements of nearly aphoristic brevity. But sound of percussion instruments, and its almost mechanical rhythms suggest the the rapid evolution of his musical thinking at that time soon prompted Boulez to influence of his teacher, Olivier Messiaen. Notation III is mostly lyrical and elegiac, repudiate Notations and his other early pieces. It was not until 1978 that a while a ferocious energy marks Notation II. commission from the Orchestre de Paris prompted the composer to resurrect Notations and adapt the first four pieces in the set as movements for large orchestra. This process involved more than just transcribing his work from one instrumental medium to another.

Instead, Boulez revised the pieces considerably, expanding and updating their compositional ideas. The resultant music is intended not to replace but RAVEL LA VALSE Ravel described La valse as an “apotheosis of the Viennese waltz, which was linked in my mind with an impression of a fantastic whirl of destiny leading to death.” It is Notations embodies, in abstruse form, a reveling in orchestral aural colors and doubtful that this conception was part of Ravel’s initial idea for the work. But the textures that has long been a defining feature of French music. No composers years between his initial sketches and the finished score had seen the collapse of the developed that quality more exquisitely than Maurice Ravel (1875–1937). Surprisingly, Hapsburg Empire in Austria and the pleasure-loving aristocracies of other nations, this this quintessentially French musician was strongly drawn to the Viennese waltz, an in a war that had left the youth of Europe gassed and bleeding in trenches, fields and attraction that found expression in several compositions, principally his tone poem forests across the continent. The innocence of Old Vienna was gone forever. A new La valse. age of anxiety had dawned, and Ravel’s waltz proclaimed its arrival as surely as the most stridently modern works of its day. Ravel made sketches for this work in 1906, but he set them aside and did not Liner notes © 2018 Paul Schiavo complete the composition until 1920. At one time he thought the music might accompany a ballet, and he gave it the subtitle “choreographic poem.” But it is as a concert piece that La valse has become one of Ravel’s most popular works.

The music’s first stirring is tentative, little more than a rustling in the low strings. Gradually there appear bright melodic figures, fragments of waltz themes that coalesce into a succession of brilliantly orchestrated episodes. At length, an initial climax brings back the low murmurings that opened the work, but this return to the music’s point of departure signals a change in character. The brass figures now are menacing, the whirring of the flute seems ghostly. Melodies begin to crowd each other indecorously, strange harmonic dislocations appear and the music begins to assume the character of a danse macabre. Growing increasingly frenzied, it finally reaches a disturbing climax marked by angry growls and trills. The Seattle Symphony is grateful to Joan Watjen for her generous support of SEATTLE SYMPHONY MEDIA CDs in memory of her husband Craig.

Recorded in the S. Mark Taper Foundation Auditorium, Benaroya Hall, Seattle, Washington. Berio’s Sinfonia was recorded live in concert on February 4 and 6, 2016. Boulez’s Notations I–IV was recorded live in concert on November 7 and 9, 2013. Ravel’s La valse was recorded live in concert on February 5, 7 and 8, 2015. The performances of Berio’s Sinfonia, Boulez’s Notations I–IV and Ravel’s La valse were presented as part of the Delta Air Lines Masterworks Season. Additional support for Sinfonia was provided by Microsoft, and for La valse by the Nesholm Family Foundation. Sinfonia – © 1968, Universal Edition Notations I–IV – © 1945, Universal Edition La valse – © 1921, Durand Salabert Eschig Producer: Dmitriy Lipay Engineers: Dmitriy Lipay & Alexander Lipay Executive Producers: Rosalie Contreras & Elena Dubinets Art Direction and Design: Jessica Forsythe

� & © 2018 Seattle Symphony Media. All rights reserved. Unauthorized copying, hiring, lending, public performance and broadcasting of this record prohibited without prior written permission from the Seattle Symphony. Benaroya Hall, 200 University Street, Seattle, WA 98101

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