1 Dark Queen Mantra ()  I. Vizcaino  :  II. Goya with Wings  :  III. Dark Queen Mantra :  With Gyan Riley, guitar

Stefano Scodanibbio Mas Lugares (su Madrigali di Monteverdi) ()  I. Allegro  :  II. Io mi son giovinetta  :  III. Largo  :  IV. Quell’augellin, che canta  :  V. Che se tu se’ ‘l cor mio  :

Terry Riley  The Wheel & Mythic Birds Waltz (8) : 

2 We meet in town. Growing up, I learned take home. Terry is a Maybe because they that when you visit, tall man and needs need to go in for you bring something to stoop for the cellar groceries anyhow. from the garden. I door — “watch your Maybe because have some homemade heads, this door helps out-of-towners have pomegranate jelly to keep you humble.” a hard time finding and Kathryn has Other visits we will the way. Or maybe roasted some coffee. pick blackberries, Benjamin Kreith because Terry hasn’t It’s still early season sample his neighbor’s quite decided if he in the foothills so the wine, and enjoy big Rick Shinozaki wants to show us tomatoes haven’t breakfasts on the violin the ranch. When we ripened yet. Terry back deck. The back Charlton Lee follow his truck to Sri opens a mason jar deck has an electric Moonshine, it winds of salsa from last wire because a bear Kathryn Bates between blackberry year’s peppers and has been hanging out bushes, pines and tomatoes. We all love there. It’s next to the madrones along the chiles and the next apple tree and Terry’s Yuba River. half-hour is devoted alright with the bear to discussion of ghost eating the apple crop Around the same peppers, Carolina but you don’t want years that Terry and reapers, habaneros. the bear too close to Ann moved up to Also the best taco the house. Another Moonshine Ranch, my trucks along the drive animal visitor, “my parents were leaving to San Francisco. student,” is a wild the city to plant Later we all go down turkey who stops by their own garden in to the root cellar for every morning just as Northern . extra jars of salsa to Terry starts his day by

3 singing his morning and Day. Also scores, ear. Somehow Spike Terry Riley horizon, it seemed raga, a practice he records and CDs — Jones gets mentioned Dark Queen Mantra a perfect time to maintains from years at first glance Bach, and Terry grins, aware Like Beethoven or commission a new as a disciple of Pandit classic Jazz, and Henri that isn’t the expected Shostakovich, Terry piece for all of us to Pran Nath. The turkey Dutilleux by the stereo. role model. Charlton Riley is a real “quartet play together.” sits up the hillside We all huddle around asks if the story about composer.” His collab- Dark Queen Mantra to watch and listen the computer to look John Cage visiting the orations with Kronos begins brightly with through the studio over the first sketches Redding High School yielded “Vizcaino,” named for window. The stairway that will become the football team is true. music that redefined the hotel in Algeciras to the studio has a new quintet. The lean “Parts of it,” replies and reinvigorated where Terry first sign “please remove forthright Spanish-fla- Terry. the genre. Another stayed on arrival in your shoes” but Terry vored opening, the —Benjamin Kreith longtime focus for Spain. The distinc- says that is no longer delicate ornamen- Terry is guitar music tively Spanish opening a strict rule. We take tation of “Goya with – mostly created for, motive plays with our shoes off anyway. Wings,” and the gently or with, his son, Gyan. shifting groupings The studio has a throbbing groove of But combining guitar and irregular accents. Mason & Hamlin grand “Dark Queen Mantra” with string quartet Terry started writing piano, a mind-blow- are already taking was the suggestion the second movement ingly detailed Balinese shape. Terry says of Del Sol violist with Francisco Goya’s woodcarving depicting that as a student he Charlton Lee. “I’d been paintings in mind. scenes from the never was a great wanting to find more Then the music began Ramayana, and a music-reader and felt opportunities to work to take flight and grew glistening psyche- more comfortable with Gyan ever since fast and fluttery — delic Ray Ginghofer improvising. His early we met,” Charlton “Goya with Wings” painting of two hands music education came explains. “With Terry’s he called it. The final holding the 1950s from listening to the 80th birthday on the movement explores girlie magazine Night radio and playing by

4 a heavier and more Stefano Scodanibbio above the low, Terry Riley Quartet in Campton- insistent groove. As Mas Lugares earthy fundamental The Wheel & Mythic ville, California, Terry says, “it gets (su Madrigali di pitches. Even the Birds Waltz he surprised us by dark.” Monteverdi) notation of these explaining that the Mythic Birds Waltz natural harmonics birds he imagined Dark Queen Mantra “Mas Lugares” never actually breaks (hollow diamond- came from Anagorika was commissioned transports Monteverdi into a waltz. Instead, shaped note-heads) Govinda’s account of for the Del Sol String to other lands, Terry views an Indian visually evokes an Tibetan Buddhism in Quartet by the Del new places where tabla rhythm through ethereal and esoteric The Way of the White Sol Performing Arts madrigals are refracted a kaleidoscope of sound-world. These Clouds. He had been Organization, with through the lens of possibilities, gently hollow note-heads are reading the book and the generous support Stefano Scodan- shifting the meter to like windows through wanted to give the of the Clarence E. ibbio’s prodigious set it dancing in new Monteverdi’s music birds a dance to do. Heller Charitable timbral imagination. ways. Sometimes to its photographic Foundation, the Phyllis Anyone who had the music surges The Wheel, the slow negative. “Mas C. Wattis Foundation, the good fortune to forward with sweeping jazz ballad that opens Lugares” is dedicated and the Fleishhacker hear Scodanibbio melodies, sometimes the quartet, reappears to Luciano Berio, Foundation. perform will recognize it lingers looping in in different guises himself a master the tactile sense of eddies. and meters — and of orchestration, virtuosity. As a bass eventually provides a transcription and If there’s no waltz in player, this often melancholy coda. re-invention of past Mythic Birds Waltz, meant exploring the music. then what about the upper reaches of the birds? Terry evaded instrument — high the question until, harmonics that float, unexpectedly, at like a Renaissance a preconcert talk depiction of heaven, with the Del Sol

5 DEL SOL STRING QUARTET Hailed by Gramophone Johnston’s microtonal composers represent Scrapyard Exotica (Sculthorpe: The as “masters of all Americana at the a diverse range of (2016, DSL-92193), Complete String musical things Library of Congress, contemporary voices, on the GRAMMY® Quartets with they survey” and exploring Andean including Terry Award-winning Sono Didjeridu, DSL-92181); two-time winner of soundscapes Riley, Mason Bates, Luminus label: “See if reveled in musical the top Chamber with Gabriela Frederic Rzewski, Ben your foot can stay still languages from Peru, Music America/ Lena Frank and Johnston, Gabriela once you put on this Turkey, Spain, Iran ASCAP Award traditional musicians, Lena Frank, Chinary funky disc of rhythmi- and Uzbekistan (Zia, for Adventurous deconstructing Ung, Tania León, cally infectious… DSL-92164); featured Programming, the Ruth Crawford’s Ken Ueno, Peter music played by the composers from the Del Sol String Quartet radical experimental Sculthorpe, Reza Vali, adventurous Del Pacific Rim (Ring of shares living music processes with East Mohammed Fairouz Sol String Quartet.” Fire); illuminated the with an ever-growing Bay schoolchildren, or and Per Nørgård. BBC Music Magazine string quartets of community of rocking Mason Bates’ lauded this “beauti- George Antheil, Marc Many of these adventurous listeners. techno grooves in his fully performed disc… Blitzstein and Robert works are included San Francisco club featur[ing] three new Erickson; and created Fascinated by the in Del Sol’s eclectic dance party. works which reimagine a vibrant dialogue feedback loop discography — eight, the string quartet between 20th century between social Recognized as a critically-acclaimed, genre in contrasting, masters and young change, technology, “vigorous champion full-length albums that colourful and composers from the and artistic innovation, of living composers,” reflect the ensemble’s intriguing ways.” Americas (Tear). the San Francis- Del Sol has premiered fascination with co-based ensemble well over 100 works the intersection of Other Del Sol The Quartet has is a leading force in through its extensive place and culture. recordings have performed at presti- 21st century chamber commissioning The New York Times explored the “hypnotic gious venues around music — whether and innovative praised Del Sol’s most sound world” of the world, including introducing Ben performances. The recent recording, Peter Sculthorpe the Kennedy Center,

6 Library of Congress, Festival, Montgomery, and Hirzenberg Music workshops, coaching Mellon, University of Smithsonian Museum AL; Hobby Center Festivals in Switzerland; and residencies. The New Mexico, University and National Gallery for the Performing and the Chengdu Quartet members of California at Berkeley, of Art in Washington Arts, Houston; Festival of Contem- also have worked San Diego, and Santa DC; Symphony Space Santa Fe Opera in porary Music in China. closely with student Cruz, Chapman, in New York City; NM; Chautauqua composers, musicians Augustana, Illinois With its deep Other Minds Festival Institution, Chautauqua, and faculty artists at State, the Peabody commitment to of New Music in San NY; Candlelight universities across Institute, the Manhattan education, Del Sol has Francisco; Cabrillo Concerts, Columbia, the country, including School of Music and reached thousands Festival of Contem- MD; University of Dartmouth, MIT, San Francisco Conser- of K-12 students porary Music, Santa Vermont Lane Series in Brandeis, Northeastern, vatory of Music. through inventive Cruz, CA; Clefworks Burlington, VT; Davos Georgetown, Carnegie school performances,

7 TERRY RILEY Composer and performer Terry Riley is one of the founders of music’s minimalist movement. His early works, notably “In C,” pioneered a form in Western music based on structured interlocking repetitive patterns. The influence of Riley’s hypnotic, multilayered, polymetric, brightly orchestrated Eastern-flavored improvisations and compositions is heard across the span of contemporary and popular music.

Performers who have commissioned and/or played his works include the , Rova Saxophone Quartet, ARTE Quartet, Array Music, Zeitgeist, Steven Scott’s Bowed Piano Ensemble, John Zorn, pianist Sarah Cahill, California E.A.R. Unit, guitarist David Tanenbaum, electric violinist Tracy Silverman, drummer George Marsh, bassist Bill Douglass, Assad Brothers, cello octet Conjunto Ibérico, Crash Ensemble, Abel-Steinberg-Winant Trio, pianist Werner group, playwright Ken Dewey, and trumpeter Chet Baker. Bartschi, pianist Gloria Cheng, Calder Quartet, Arditti In 1965, he moved to New York and joined Young’s Theatre Quartet, Quartet, Alter Ego, Paul Dresher, singer of Eternal Music. Two years later, he gave his first all-night Amelia Cuni, and Bang on a Can All-Stars. concert at the Philadelphia College of Art and began collabo- rating with visual artist Robert Benson. An influential teacher Born in Colfax, California, Riley studied at Shasta College, was Pandit Pran Nath, a master of Indian classical voice San Francisco State University, and the San Francisco with whom Riley appeared in concert as tanpura, tabla, and Conservatory of Music before earning a master’s in vocal accompanist for more than 25 years. Riley continues composition at the University of California, Berkeley, where to perform in concerts of his music and of Indian classical he studied with Seymour Shifrin and Robert Erickson. At music, as well as conducting raga-singing seminars. He UC Berkeley, he met La Monte Young; together they worked also appears in concerts with Indian sitarist Krishna Bhatt, with dancer Anna Halprin. During a sojourn to Europe saxophonist George Brooks, and guitarist Gyan Riley. (1962–1964), he collaborated with members of the Fluxus

8 Riley joined the Mills College faculty in 1971. It was there that he met David Harrington of the Kronos Quartet. Their long association led to 13 string quartets; the concerto The Sands (1990); the multimedia choral work commissioned by NASA, Sun Rings (2003); and The Cusp of Magic (2004) with pipa. The Kronos recording of his epic five-quartet cycle, Salome Dances for Peace, was selected as the Classical Album of the Year by USA Today and was nominated for a GRAMMY® Award in 1989.

“The Palmian Chord Ryddle,” a concerto, was premiered in May 2012 by electric violinist Tracy Silverman and the Nashville Symphony led by conductor Giancarlo Guerrero. Other recent works include “Transylvanian Horn Courtship” (2008) for string quartet doubling on Stroh instruments; “Universal Bridge” (2008) for pipe organ; the violin concerto “Zephir” (2009); and “SwarAmant” (2012) for violin, guitar, and tabla.

9 STEFANO SCODANIBBIO Stefano Scodan- Scodanibbio” in the I was invited to an that Stefano must plan. What followed ibbio was a brilliant score of Prometeo. art gallery in Los be playing with a was a fresh and inventor of new He composed over Angeles to hear a solo chamber group. I exciting landscape musical possibilities, fifty works, principally string bass recital was amazed when I where spontaneous virtuoso performer, for strings. With the by Stefano. I arrived entered the gallery to melodic and harmonic and phenomenal encouragement of late and the concert find Stefano all alone interplay emanated improviser. He came Luciano Berio, Scodan- was in progress. I playing his bass. It was from the mutual effect to prominence in the ibbio prepared his was walking down then that I realized it our playing was having 1980s, premiering own version of Berio’s a series of concrete would be an exhila- on one another. solo contrabass works “Sequenza” for solo halls to reach the rating experience to —Terry Riley, 1997 by Brian Ferney- cello, now known as gallery chamber work together. And hough, Iannis Xenakis, “Sequenza XIVb” for where the music was indeed it was! Salvatore Sciarrino, contrabass. Scodan- taking place. In the A few years later when Giacinto Scelsi, Gerard ibbio’s collabora- distance I could hear Stefano visited me Grisey and others. tions with Terry Riley the sounds of French at the Sri Moonshine His bass technique include the recordings horns, trombones, Ranch, we tuned was so inventive A Lazy Afternoon strings and brass all up the bass and that Luigi Nono used among the Crocodiles mixing in a beautiful the synthesizer and the indication “arco and Diamond Fiddle modal ensemble and began to play without mobile à la Stefano Language. at the time I thought discussing a game

10 GYAN RILEY Gyan Riley won his vatory. Gyan’s diverse Forum, and the New composer/pianist/ duo Probosci, the trio first guitar in a raffle work now focuses on York Guitar Festival. vocalist Terry Riley. Eviyan, and the electric when he was 12 his own compositions, He has performed with Various tours have guitar quartet Dither. years old. Shortly improvisation, and Zakir Hussain, Lou taken him throughout Gyan has four solo after learning all contemporary classical Reed, John Zorn, the Europe, Canada, CD titles and many of the songs in his repertoire. Gyan Kronos Quartet, Iva Latin America and ensemble/collabo- cassette collection has been commis- Bittova, the Bang on a the US, both as a rative recordings, most by ear, he became sioned by the Kronos Can All-Stars, the San soloist and in various recently working with the first full-schol- Quartet, New Music Francisco Symphony, ensembles. Gyan the Tzadik Records arship graduate guitar USA, the Carnegie the Philadelphia resides in New York label in New York. student at the San Hall Corporation, the Chamber Orchestra, City and frequently Francisco Conser- American Composers and his father, the performs with the

11 DEL SOL STRING QUARTET DARK QUEEN MANTRA DSL-92215 Producer: Dan Merceruio Recording, Mixing & Mastering Engineer: Daniel Shores Recording Technician: David Angell Editing Engineer: Dan Merceruio Cover Artwork: Theresa Currie Photography: RJ Muna (p. 7), Stuart Brinin (p. 8), Alfredo Tabocchini (p. 10), Scott Crowley (p. 11), Graphic Design: Caleb Nei Program Notes: Benjamin Kreith Executive Producer: Collin J. Rae

Recorded at Sono Luminus Studios, Boyce, Virginia — February 22-26, 2016 sonoluminusstudios.com

Recorded with Merging Technologies Horus. Mastered with Merging Technologies Hapi. Recorded in DXD at 24 bit, 352.8kHz in Auro-3D 9.1 Immersive Audio.

Mixed and mastered on Legacy Audio speakers. legacyaudio.com

p & m 2017 Sono Luminus, LLC. All rights reserved. PO Box 227, Boyce, VA 22620, USA sonoluminus.com • sonoluminusstudios.com • [email protected] WARNING: Unauthorized reproduction is prohibited by law and will result in criminal prosecution.

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