Peter Evans, Lover’s War Igor Stravinsky, L’Histoire du Soldat

February 17, 2017 Herbst Theatre

on STAGE Series San Francisco Contemporary Music Players

The San Francisco Contemporary Music Players (SFCMP), a 24-member ensemble of highly skilled musicians, performs innovative contemporary based out of the San Francisco Bay Area.

SFCMP aims to nourish the creation and dissemination of new works through high-quality musical performances, commissions, education and community outreach. SFCMP promotes the music of composers from across cultures and stylistic traditions who are creating a vast and vital 21st-century musical language. SFCMP seeks to share these experiences with as many people as possible, both in and outside of traditional concert settings.

Our weekend festival : A Centennial Celebration is part of SFCMP’s At the Crossroads Series, which celebrates the work of legacy composers alongside cutting-edge composers from across generations: By meeting at the crossroads of generations we reveal how the latest works are grounded in timeless questions. San Francisco Contemporary Music Players • 3 SFCMP Artistic Director Steven Schick

Percussionist, conductor, and author Steven Schick was born in Iowa and raised in a farming family. For forty years he has championed contemporary music by commissioning or premiering more than one hundred- fifty new works. He was the founding percussionist of the All- Stars (1992-2002) and served as Artistic Director of the Centre International de Percussion de Genève (2000-2005). Schick is founder and Artistic Director of the percussion group, “red fish blue fish.” Currently he is Music Director of the La Jolla Symphony and Chorus and Artistic Director of the San Francisco Contemporary Music Players. Scottish Symphony Orchestra, the In 2012 he became the first Artist- Saint Paul Chamber Orchestra, the in-Residence with the International Nova Chamber Ensemble and the Contemporary Ensemble (ICE). Schick Asko/Schönberg Ensemble. Among founded and is currently Artistic his acclaimed publications are a book, Director of “Roots and Rhizomes,” “The Percussionist’s Art: Same Bed, a summer course on contemporary Different Dreams,” and numerous percussion music held at the Banff recordings of contemporary percussion Centre for the Arts. He maintains a music. Steven Schick is Distinguished lively schedule of guest conducting Professor of Music at the University of including appearances with the BBC California, San Diego.

4 • San Francisco Contemporary Music Players Message from Steven Schick

Our At the Crossroads festival proposes musical encounters, some real and others imagined, among composers of different generations. Each year, we’ll anchor At the Crossroads in performances of a “legacy” composer—this year the great Lou Harrison, in his centennial year—and counterpoise them with performances of living composers at various points in their careers. We’re after how these composers encounter one another, how they speak to each other across the boundaries of generations. What does Lou Harrison say to Jimmy Lopez and Annie Gosfield about questions such as instrument choice or interpretative latitude? Or, how will the music of an emerging master, Natacha Perspective perhaps. An overly devout Diels, sound next to that of Roger reading of the “new” in “new music” Kim, Michelle Zheng, or Ben Zucker, often causes us to miss the richness the young composers chosen in our of cross-generational encounters. We inaugural SF Search process? We’ll tend to hear the most recent music as arrange the musical conversations and though it were born ex nihilo and by let you eavesdrop! the same token often consign older music (as old as the last century!) to an What do we hope to gain from this historical—read, secondary—role. We cross-generational mix? hope by meeting “at the crossroads” San Francisco Contemporary Music Players • 5 of generations that we might be able But most of all we will honor how to cross-wire our perceptions and the great spirit of Lou Harrison understand that the very latest work is thrives in the minds and hearts of often grounded in timeless questions, living composers. Sometimes the while in established work one still finds connections will be obvious, and ideas of breathtaking freshness. at other times less so. Michelle Zheng grew up in Aptos, not far We also hope to pay homage to a from Harrison’s home, and speaks shared legacy. Fittingly, at the center eloquently about the shifting light and of our inaugural At the Crossroads changing tides that inspired them both. festival is Lou Harrison: musical Ben Zucker is a musical polymath, polyglot and visionary; common man in Harrison’s image, and talks of his and uncommon intellect. Many of us indebtedness to both Harrison’s in the San Francisco Contemporary fascination with the Gamelan and Music Players (and I regret that I am with his iconic experimentalism. And not among them) knew Harrison though Roger Kim’s music may not well and worked closely with him. sound very much like Lou Harrison’s, Our performances therefore will it features the same quiet beauty and be simultaneously acts of love and generous space for his interpreters. remembrance, and the closest thing There are similar points of connection we can find to authentic Harrison with Natacha Diels, Annie Gosfield, and performance practice. But which Jimmy Lopez, and in large and small Harrison are we celebrating? The ways when we listen to them, we also instrument maker? The musician of the hear Lou. world? The grandfather of modern- day intonation geeks? The unashamed I do not have a personal Lou Harrison melodicist in a world of modernists? story. But I do feel a personal resonance every time I walk by the We celebrate all of them! Palace Hotel on New Montgomery Street, where Harrison worked briefly

6 • San Francisco Contemporary Music Players as a floral arranger. The Palace was The SFCMP Players no center of culture or academia, but for a time a young artist with one of Hrabba Altadottir, violin the most fertile minds this nation has Jeff Anderle, clarinet ever produced, worked there and turned over in his imagination ideas of Tod Brody, flute profound beauty and lasting impact. Kyle Bruckmann, oboe And for someone who is now much Kate Campbell, piano closer to old than to young, it makes Susan Freier, violin me happy to think that there are other Chris Froh, percussion artists, young, unknown, and working Karen Gottlieb, harp far from the centers of culture and academia, in whose minds and souls Stephen Harrison, cello similar notions of beauty, impact, and Graeme Jennings, violin truth live on. Peter Josheff, clarinet Bill Kalinkos, clarinet Steven Schick ~ Adam Luftman, trumpet Loren Mach, percussion Roy Malan, violin Sarah Rathke, oboe Nanci Severance, viola David Tanenbaum, guitar Peter Wahrhaftig, tuba , percussion Nick Woodbury, percussion Richard Worn, contrabass

San Francisco Contemporary Music Players • 7 Lou Harrison: A Centennial Celebration Program for Friday, April 21, 2017

FILM SCREENING, “Lou Harrison: A World of Music” by Eva Soltes

6:30PM Reception | 8 PM Film

An exquisitely crafted, in-depth and deeply moving look at the life and work of beloved composer Lou Harrison.

Created with footage collected from over two decades by documentary filmmaker and music producer Eva Soltes, who was closely associated with Lou Harrison during his lifetime.

There will be a cash bar before the C a l i g r p h y & T e f c b L o u H s n

show, and doors open at 6:30pm for pre-film reception www.harrisondocumentary.com

“The film is beautiful and lyrical...” MiCHaeL TiLson THoMas Running time: 92 min. “...it's a wonderful portrait." Mark Morris

8 • San Francisco Contemporary Music Players Lou Harrison: A Centennial Celebration Program for Saturday, April 22, 2017

CONCERT #1: Works by SF Search 2016-17 Winners (11 a.m.)

Roger Kim Quartet with One Theme (2017) (5’) Bill Kalinkos, clarinet; Kate Campbell, piano; Roy Malan, violin; Stephen Harrison, cello

With his focus on the openness of Harrison’s melodies and the lushness of microtonal harmonies, Roger Kim has constructed a piece of quiet beauty and generous space for the performer.

Michelle Zheng Rift (2017) (6’) Bill Kalinkos, clarinet; Kate Campbell, piano; Roy Malan, violin; Stephen Harrison, cello

From her childhood, near Lou Harrison’s Aptos home, Michelle Zheng experienced firsthand the unique qualities of the light and cultural blends along the mid-Californian coast. In her work, full of musical contrast and shifting emotions, she captures this mixture with grace and skill.

Benjamin Zucker Sarabandisms (2016) (6’) Bill Kalinkos, clarinet; Kate Campbell, piano; Roy Malan, violin; Stephen Harrison, cello

Benjamin Zucker explores the dual personality of Lou Harrison, as an American composer indebted to the musical language of the gamelan, and as an American experimentalist. Through an unusual notational and musical scheme, Zucker captures both

San Francisco Contemporary Music Players • 9 Lou Harrison: A Centennial Celebration Program for April 22, 2017 (continued)

COMPOSER TALK, How Music Is Made, with Jimmy Lopez and Natacha Diels (12:30 - 1:30 pm)

In our How Music is Made series, composers reveal their motivation behind the notes, and together we discover the inspiration and narrative behind each piece. This How Music Is Made talk with Lopez and Diels will be facilitated by SFCMP Artisti Director Steven Schick.

Artisanal pizza provided for first 50 people. A cash bar serving alcoholic and non-alcoholic beverages will be available.

10 • San Francisco Contemporary Music Players Lou Harrison: A Centennial Celebration Program for April 22, 2017 (continued)

CONCERT #2: Works by Harrison, Lopez, and Gosfield (2:30 pm)

Lou Harrison Canticle #3 (1942) (15’) Jeff Anderle, ocarina; David Tanenbaum, guitar; percussionists Jim Kassis, William Winant, Haruka Fujii, Stan Muncy, Loren Mach

Composer conversation with Jimmy Lopez

Jimmy Lopez Ccantu (2007) (6’) Kate Campbell, piano

Lou Harrison Varied Trio (1986) (16’) Roy Malan, violin; William Winant, percussion, Kate Campbell, piano Written for SFCMP percussionist, William Winant, Julie Steinberg and David Abel

Annie Gosfield Daughters of the Industrial Revolution (2011) (9’) Loren Mach, percussion; Stephen Harrison, cello

San Francisco Contemporary Music Players • 11 Lou Harrison: A Centennial Celebration Program for April 22, 2017 (continued)

“KNOWING LOU” (6:30 pm)

Steven Schick in conversation with David Tanenbaum, William Winant and Karen Gottlieb, SFCMP Ensemble members and friends of Lou Harrison.

A cash bar serving alcoholic and non-alcoholic beverages is available.

12 • San Francisco Contemporary Music Players Lou Harrison: A Centennial Celebration Program for April 22, 2017 (continued)

CONCERT #3: Works by Harrison, Razaz, and Diels (7:30 pm)

Lou Harrison Suite for Cello and Harp (1949) (12’) Stephen Harrison, cello; Karen Gottlieb, harp

Lou Harrison Scenes from Nek Chand (2001/2) (11’) (National Steel Guitar Solo) David Tanenbaum, guitar Mr. Harrison’s last piece, dedicated to SFCMP guitarist David Tanenbaum and Carol Law and Charles Amirkhanian

Gity Razaz Shadow Lines (2014) (10’) Stephen Harrison, cello Jeremy Wagner, technical assistant

Composer conversation with Natacha Diels

Natacha Diels The Colors Don’t Match (2014)* (11’) *west coast premiere Amy Foote, voice; Stacey Pelinka, piccolo; Bill Kalinkos, clarinet;; Loren Mach, percussion; Kate Campbell, sampler, Roy Malan, violin; Jeremy Wagner, technical assistant

San Francisco Contemporary Music Players • 13 Lou Harrison Biography and Program Notes for Concerts #2 and #3, by Robert Kirzinger

Lou Harrison (1917-2003) has been more practical and audible impact. held up as the very epitome of the Coming from diverse backgrounds, California composer, but that’s kind of the composers sharing these two a pity; Harrison is arguably the most programs with Harrison show their wholly American among the great kinship with their great predecessor composers of our nation’s history. not only with their concentration The reasons for this are manifold, on pattern and percussion but in and that’s the point: Harrison was a their delight in sheer inventiveness, manifold artist, his radical diversity exuberant individuality, and musical reflecting the worldwide cultural gregariousness. inclusiveness that is at the heart of the American experience. Although Lou Harrison was born in Portland, political and social commentary Oregon, and the family moved to wasn’t the main point of his music, his the Bay Area in 1926. A precocious awareness of the power of music to performer, he was a child actor at the bring about changes in attitude or to age of three and seriously studied highlight injustice was an important dance, a pursuit he maintained into and abiding facet of his life. The adulthood and which fundamentally fundamental humanity of his work, its shaped his artistic life. His studies roots in natural phenomena, and its in the mid-1930s with Henry Cowell basis in expressive experimentation had a seismic impact on many levels, devoid of ideological tyrannies and through Cowell he met John have offered three generations of Cage and began investigating Charles successors a philosophical template Ives’s music. During a period teaching for their own artistic excursions, dance students at UCLA, he enrolled while the sonic details of his music, in Arnold Schoenberg’s composition particularly his ultra-refined command seminar. In the mid-1940s he lived of the percussion family, have had a in New York City and worked as a

14 • San Francisco Contemporary Music Players critic, primarily under Virgil Thomson E. Miller and Fredric Lieberman’s at the New York Herald-Tribune. He Composing a World: Lou Harrison, edited pieces in the messy Ives catalog, Musical Wayfarer (University of Illinois and in 1946 conducted the premiere Press, 2004). of Ives’s Third Symphony, leading to that work being given the Pulitzer Canticle No. 3 (2:30 concert), written Prize, the $500 award for which Ives in 1942, was first performed in San split with Harrison. After suffering Francisco as part of Harrison and from a nervous breakdown and just Cage’s percussion concerts. Harrison prior to returning to California for notated pitched instruments in good in 1953, he spent two fruitful percussion staves, specifying the rise years at Black Mountain College in and fall of contour rather than specific North Carolina. In 1972 he built, with pitch. The ocarina (or flute) part is five his partner William Colvig, the first unspecified pitches, though Harrison of his gamelans, “Old Granddad,” a prefers a familiar pentatonic scale characteristically personal response (e.g., the black keys on the piano). to the Indonesian music that had This, and the timbral variety of the influenced his work since the 1930s. percussion and guitar, are designed to clarify complex rhythmic canons, Harrison’s reputation as an iconoclast made up of rhythmic cells Harrison belies the esteem he enjoyed among calls “rhythmicles.” (Their melodic both progressive and traditional counterparts are “melodicles.”) musicians and his success in the Harrison wrote Varied Trio for violin, mainstream. He taught extensively, percussion, and piano (2:30 concert) and his music has been performed in 1986-87; the definitive version was by all the major orchestras of the premiered by the Abel-Steinberg- U.S. Dozens of his works have been Winant Trio at Mills College in May recorded, including all of his works 1987. “Gending” refers to a cyclical on these concerts. The substantial melodic/rhythmic structure in gamelan biography of the composer is Leta music. “Bowl Bells” makes use of eight

San Francisco Contemporary Music Players • 15 specifically pitched rice bowls in a we hear throughout Harrison’s music. similarly Indonesian style. “Elegy,” The Chorale serves as both first and highlighting the violin, presents an last movements; this and the Pastorale expressive melody expanding from have touches of Stravinsky. a four-pitch motif eventually to encompass all twelve chromatic pitches Written for David Tanenbaum in at movement’s end. The lovely, diatonic 2001-02, Scenes from Nek Chand “Rondeau in honor of Fragonard” (the (7:30 concert) reflects Harrison’s 18th-century French painter) omits preoccupation with Just Intonation for percussion altogether. The finale, much of his career. Just Intonation is a “Dance,” uses a major-minor melodicle tuning system in which the harmonic shared in unison much of the time by intervals are “non-beating”—that violin and piano. The scale and its use is, “pure”—unlike the compromise are similar to certain Indian ragas, and intervals of the equal-tempered the drone-pitch of the piano underlines system, codified in the 17th- and this kinship. 18th-centuries and the basis for most music in the West, including that of The Suite for Cello and Harp (7:30 the Classical tradition. Much world concert) dates from 1949, although its music, however, uses tuning systems fourth movement, Aria, is a reworking closer to the Just model. Harrison of the “Song” section of the Scherzo wrote Scenes for a metal-bodied from Symphony on G (1947). That National Reso-Phonic resonator guitar. movement, with hints of Messiaen Tanenbaum premiered the piece in in its textures and chromaticism, March 2002 at the Other Minds Festival speaks to the transitional period of in San Francisco’s Palace of Fine Arts the Suite, written at a time when Theatre. Nek Chand Saini was an Indian Harrison frequently used twelve-tone artist known for his extraordinary procedures. The other movements Rock Garden of Chandigarh, which are far more diatonic, but with the supplied Harrison with his suite’s three same kinds of cyclic motivic figures movement titles. In “The Leaning Lady”

16 • San Francisco Contemporary Music Players the performer uses bottleneck slide to reviews. articulate the melody, a recollection of Hawaiian slack-key guitar Harrison Born in Lima, Peru, López studied at heard on the radio as a child. “The the National Conservatory there, at the Rock Garden” is a lively dance with Sibelius Academy in Helsinki, and at the feel of a Hindustani alap. “The the University of California, Berkeley, Sinuous Arcade with Swings in the where he earned his Ph.D. working with Arches” uses the same melodic mode Edmund Campion. Peruvian conductor in a more stately fashion, emulating Miguel Harth-Bedoya has been a the pendulum motion of the swings. stalwart supporter: he commissioned Scenes from Nek Chand is dedicated to López’s Perú Negro and the flute Charles Amirkhanian and Carol Lewis Lago de Lágrimas for the Fort and David Tanenbaum. Worth Symphony and the orchestral work Fiesta! for the centennial of the Lima Philharmonic Society. Harth- Jimmy López: Ccantu Bedoya also recorded an album of for solo piano (2:30 concert) his works with the Norwegian Radio Orchestra. He has also received The public profile of composer commissions from Radio France, the Jimmy López (b.1978) received an National Orchestra of Spain (for his extraordinary boost in 2012 when he symphony Los Trabajos de Persiles y was chosen as composer for the opera Sigismunda, 2016), and many others. Bel Canto, based on Ann Patchett’s López’s work often bears a distinctive novel, as part of the high-profile Renée Peruvian stamp, but he commands a Fleming Initiative to spearhead new wide range approaches both traditional opera productions. Bel Canto was and avant-garde, with an excellent ear written in collaboration with Pulitzer for ensemble color and gesture. The Prize-winning playwright Nilo Cruz, opera Bel Canto demonstrates these and was premiered by Lyric Opera of qualities along with a strong lyrical Chicago in December 2015 to excellent bent. His orchestral music is brilliantly

San Francisco Contemporary Music Players • 17 orchestrated, especially in its use of embody the living energy that emerges percussion. from below the surface and into the culminating stage of flower growth. López wrote Ccantu in 2011 at the At the peak, the piano is heard in its request of a Swedish pianist who highest, lowest and medium register ultimately chose not to premiere it; it representing the bush of Cantuta in full was first performed, instead, by the bloom. Its flower, however, is short- young Peruvian pianist Priscila Navarro lived and after dispersing its seeds in her Carnegie Hall debut. The piece, (sparse chords on the piano) it dies the composer writes, “pays homage away, ready to start the cycle of life to the fleeting beauty of the Cantuta, anew.” the national flower of Peru…. I chose to use its original name in Quechua, the language of pre-Hispanic Peru.... Annie Gosfield: Daughters of the The piece progresses according to Industrial Revolution (2:30 concert) the stages of flower growth.... Short- lived phrases and arpreggiated chords Annie Gosfield (b. 1960), as both represent the docile awakening of performer and composer, has created the seed from a world still devoid of an innovative body of work that light, to the first rays of sun. The next blurs and sometimes obliterates the stage, growth, is symbolized by a more boundaries among genres, using both agitated texture. Its growth is not electronic and acoustic media and linear; instead, it pulses, sometimes notated and improvised approaches. growing quickly, sometimes somewhat She studied music at North Texas State slowly and quietly. Its climatic stage, University and at USC, and for the past flowering, is here symbolized by a slow twenty-five years has been based in moving theme treated in a fugue-like New York City, where she has been manner. Its continuous ascending associated with the Festival curve carries us along by means of of Radical Jewish Culture and Bang on fast figurations on the left hand, which a Can. Zorn’s Tzadik label has released

18 • San Francisco Contemporary Music Players four albums of her music. In 2012 the details of her musical textures Gosfield was awarded a Berlin Prize, are consistently multifaceted, with resulting in performances by the Berlin steady beats assembled from highly Philharmonic’s Scharoun Ensemble, varied and layered sound-complexes. and she has also been composer-in- Repetition in her music evokes residence at the American Academy machinery but also ritual. in Rome. She has taught at Princeton, the Eastman School, California Daughters of the Industrial Revolution Institute of the Arts, and Mills (2011) is a 45-minute suite for guitar, College, and has worked extensively sampler, drums, percussion, and cello. with choreographers and dance The premiere of the complete work companies. Gosfield’s music has been took place at the Kitchen in New York performed throughout the world by City in March 2011. The composer such musicians and ensembles as the writes of the cycle, “Daughters of the JACK and Flux string quartets, pianists Industrial Revolution is inspired by my Kathleen Supové and Lisa Moore, the immigrant grandfather, a junk dealer So , the Athelas on the Lower East Side who recycled Sinfonietta, among many others. scrap metal and other byproducts of the industrial revolution, and Daughters of the Industrial Revolution my grandmother, who worked in for cello and percussion displays sweatshops in the Lower East Side Gosfield’s use of and reference to when she was a young girl. I am a third sounds from urban landscapes; she has generation daughter of the industrial a particular tendency to create beauty revolution, linked to this history, not from entropy, the castoffs of memory, only genetically and geographically, and industrial decay, as in EWA7 and but as a composer who often uses raw Flying Sparks and Heavy Machinery, materials and transforms them into based on the sounds of factory activity something new. In this piece, the raw in Nuremburg, Germany. Rock music materials often take the form of factory is another source of energy, but sounds and machine rhythms played

San Francisco Contemporary Music Players • 19 on acoustic, electric, and electronic professions. She began formal instruments, appropriate to a piece composition studies after moving to so focused on a time of sweeping the U.S. at age fifteen, and attended technological changes. ... I played with the University of Houston as both doublings and literal repetition much pre-med and music student. She then more than I normally do, inspired attended the Juilliard School on a full by the repetitive, insistent nature scholarship to focus on music, working of machine sounds, and the subtly there with Robert Beaser; she has changing repeats heard in factories.” also studied with Samuel Adler, John Corigliano, and Robert Nelson. She is The work is structured in segments that the recipient of Juilliard’s Palmer Dixon recombine its instruments into various Award, a Copland House residency, possibilities, of which the present piece and two ASCAP Morton Gould awards, is a 12-minute duo. The two players are among others. She was composer-in- often in unison, merging into mutli- residence of the Brooklyn performance timbred meta-instrument. The cello’s space National Sawdust for the 2015- limited pitch language, with constant 16 season, for which she received an reference to the open G and C strings, American Composers Forum JFund lends the piece further groundedness grant to compose the 35-minute song and solidity. cycle The Call Across the Valley of Not-Knowing, setting poems of Galway Kinnell. Her cello-and-electronics work Gity Razaz: Shadow Lines Legend of Sigh, incorporating video for solo cello and electronics (7:30 by Carmen Kordas, was premiered by concert) Inbal Segev. Her work has otherwise been performed by such groups as Originally from Iran, Gity Razaz the Metropolis Ensemble, New York (b.1986) took piano lessons and was Virtuoso Singers, Milwaukee Symphony a self-taught composer as a child; her Orchestra, and Albany Symphony family was involved in the medical Orchestra. She is the 2017 composer-

20 • San Francisco Contemporary Music Players in-residence of the Chautauqua Opera aria-like opening becomes a duo and Company, for which she is writing three moves to a more rhythmically steady commissioned works, and in June 2017 section. undergirded with looped a new hour-long ballet receives its ostinatos. The final section layers short premiere by the Moscow Theatre Ballet melodic fragments in warm harmonies, in Moscow. combined with fast, exuberant flights.

Gity Razaz’s Shadow Lines was commissioned by VisionIntoArt for Natacha Diels: The Colors Don’t former Kronos Quartet cellist Jeffrey Match (7:30 concert) Ziegler, who premiered it on the Ferus Festival 2014. She says of the piece Flutist and composer Natacha Diels “Shadow Lines is an abstract aural recently joined the faculty of the representation of the formation of a University of California, San Diego, visual phenomenon: double vision. as a teacher of composition and Scored for cello, pre-recorded cello, electronic music. She founded the New and electronics, [it is] in three distinct York City-based collective Ensemble sections...highlighting the lyrical, Pamplemousse, with which she works rhythmic, and harmonic capacities of as both composer and performer. Diels the cello. Through the use of delay earned her Ph.D. in composition from effects as well as live looping of the , studying with cello lines, a musical take on double George Lewis and . Prior vision is portrayed within each section.” to that she studied flute performance The piece begins with rhapsodic and digital media at New York freedom, glissandi and tremolos University. Along with Pamplemousse matching the rhythmic flexibility of co-founder Jessie Marino, she formed the cello while the electronics creates the experimental soundart duo a sparkling sheen. The cello’s line On Structure. Her work has been expands and clarifies into an aria-like performed by such other ensembles line, harmonized by electronics. The as Talea, for which she wrote Princess

San Francisco Contemporary Music Players • 21 Nightmare Moon for premiere at to power. This analogy extends to the Darmstadt summer festival; the piece in the vocalized misnaming Ensemble Dal Niente, ensemble of notes by ensemble members, and GAME for Denmark’s SPOR Festival, through the deliberate near-unison the JACK quartet, ICE, and many scored throughout. This reflects my others. Her use of DIY electronics and own personal frustration with the unexpected requirements of musicians narrow path of classical performance gives much of her work a sense of practice, and my own attempts to playfulness, notwithstanding the break free through the development complexity and intricacy of the sonic of my own personal artistic practice. event. Theatricality and performance By repurposing the extraordinary skill choreography are also significant set possessed by trained musicians factors in her work, adding to the idea to perform physical gestures and of obsessive process and ritual that noninstrumental sounds, I attempt to suffuses her pieces. move the field in a direction inspired by joy, creativity, and experimentation.” Diels wrote The Colors Don’t Match for Using a large variety of small sounds, the NYC-based TAK ensemble, which Diels creates a pointillistic texture premiered it in December 2014 at of bark-like speech, speech-song, the Issue Project Room. “The title for humming, hotel bells and other bells, this work comes from my inability to sandpaper, tiny pitched or unpitched make sense of an electronic circuit if sounds on piccolo, violin, clarinet. The the colors don’t line up. For example, singer’s announcement of note-names if a green alligator clip is connected (in no way corresponding to pitches) to ground, and that is connected seems like shouted instructions that to a red wire that is connected to never get carried out, resulting in little a microcontroller, my brain will not pockets of active frustration. Eventually permit me to re-color the red wire to there is a confluence. green in my mind and I will almost certainly eventually connect ground ~ Robert Kirzinger

22 • San Francisco Contemporary Music Players Composer Biography - Jimmy Lopez

JIMMY LOPEZ (b. 1978) is an award- winning composer considered to be “one of the most interesting young composers anywhere today” (Chicago Sun-Times). His works have been performed by leading orchestras around the world, and his music has been heard in prestigious venues such as Carnegie Hall, Sydney Opera House, Gewandhaus Leipzig, and during the Youth Olympic Games in Singapore.

López received the TUMI USA Award 2016 and was designated Musician of the Year 2015 by Opera Peru, among many other awards. Hämeenniemi from 2000-2007 at the López is a founding member and Sibelius Academy in Helsinki, from Vice President of kohoBeat Musical where he obtained his Master of Music Association in Finland. An album Degree. He completed his PhD in dedicated entirely to his orchestral Music at the University of California- works was released on August 14, 2015 Berkeley in May of 2012 with Edmund under the Harmonia Mundi label. Campion.

López studied with Enrique Iturriaga López is published by Filarmonika from 1998-2000 at the National Music Publishing. Conservatory of Music in Lima, and with Veli-Matti Puumala and Eero San Francisco Contemporary Music Players • 23 Composer Biography - Natacha Diels

As composer, she has been featured at international festivals such as Darmstadt International Summer Institute (DE), SPOR Festival (DK), Borealis Festival (NO), Mostly Mozart at Lincoln Center (NYC), Maerz Musik (DE), among others.

Natacha founded the experimental music collective Ensemble Pamplemousse in 2003 and continues to be its director and flautist. Pamplemousse specializes in unique aspects of composition and new music, NATACHA DIELS’ work combines ritual, from complex virtuosic instrumental improvisation, traditional instrumen- performance to experimental theatre tal practice, and cynical play to create to electronic and robotic performance. worlds of curiosity and unease. With a Natacha has taught courses in focus on choreographed movement, electronic and computer music at traditional instrumental technique, Columbia University and Parson’s and a wide array of DIY electronics, School of Design. She holds degrees Natacha’s compositions have been in flute performance and integrated described as “a fairy tale for a fractured digital media from NYU, in music world” (Music We Care About) and composition from Columbia University, “fantastic playful modern chamber mu- and currently teaches composition and sic full of magic and wit” (Vital Weekly). computer music at the University of California, San Diego.

24 • San Francisco Contemporary Music Players Composer Biography - Roger Kim

ROGER KIM is a guitarist and composer text based scores and pieces featuring and leader of the experimental combinations of free and harmonically chamber ensemble Portrait Maker. based improvisation.

At UC Berkeley, Roger studied Kim plays in various groups ranging composition and improvisation with from jazz to experimental to funk Myra Melford, and jazz guitar with throughout the San Francisco bay area. Brian Pardo. He graduated with honors for a thesis composition that featured

San Francisco Contemporary Music Players • 25 Composer Biography - Michelle Zheng

MICHELLE ZHENG is a software engineer for sustainability by day, and composer by night. A recent graduate of Brown University, she studied Computer Science and Economics with a focus on environmental applications, but spent much of her spare time in the music department, singing all four years in the chorus, serving as a piano accompanist, and formally studying composition after years of dabbling in choral writing. Inspired by a wonderfully supportive mentor and the thrill of her experience as a composer so far, she hopes to soon devote more than just all her spare time to pursuing music. Originally from Aptos, CA, she now lives just a short hop away in San Carlos, CA.

26 • San Francisco Contemporary Music Players Composer Biography - Benjamin Zucker

Interested in the possibilities of musical relationality among people, objects, and histories, BENJAMIN ZUCKER’s work seeks to cross and intentionally play with genre and discipline. It has been performed by the Mivos Quartet, Apartment House, the New York Virtuoso Singers, Distractfold Ensemble, and Rinde Eckert, which has led to recognition as a “New Composer Talent” by the International Audio Branding Academy, and selection for the LA Percussion Quartet’s Next Wave Commission.

Additionally, he maintains an active career as a vocalist, trumpeter, pianist, and percussionist. Ben received a BA in music and critical theory at Wesleyan University, where he received the Leavell Memorial Prize for “outstanding work in music”, and recently completed postgraduate studies at Brunel University London with Jennifer Walshe and Christopher Fox. Currently, he resides and teaches in Lafayette, California.

San Francisco Contemporary Music Players • 27 This Weekend’s SFCMP Players

Jeff Anderle is a pioneer in the world Hailed as a “brilliant pianist” (Finan- of low reeds, helping to popularize the cial Times), Kate Campbell performs role of the modern clarinet and bass frequently as a soloist and chamber clarinet through his innovative and musician specializing in 20th and 21st diverse performances, ensembles, and century music. She is at home with commissions. styles ranging from thorny modernism, to “sleek and spirited” minimalism, to He is a founding member of both indie classical. Splinter Reeds and REDSHIFT con- temporary music ensemble, as well as In addition to her work with SFCMP, a member of the San Francisco Con- Kate is the co-founder and pianist of temporary Music Players and the Paul the interdisciplinary duo KATES, which Dresher Electro/Acoustic Band. He is intertwines new solo piano music with half of the bass clarinet duo Sqwonk new dance. The duo has been featured and a member of the virtuosic, heavy at NYSoundCircuit, Dance Conversa- metal bass clarinet quartet Edmund tions Festival at the Flea Theater in New Welles. In addition, he makes regular York, and Omaha Under the Radar. As guest appearances with a wide range the pianist in the contemporary ensem- of music institutions from orchestras to ble REDSHIFT, this year she will contin- diverse ensembles. ue a guest artist residency at California State University East Bay, premiering Jeff is a founding co-director of Switch- works by faculty and student compos- board Music, and serves on the faculty ers. Having recently relocated to the of the San Francisco Conservatory of Bay Area, current freelance projects Music where he teaches clarinet, cham- include performances with New Keys, ber music and entrepreneurship. Hot Air, the Garrett+Moulton Dance www.jeffanderle.com Company, and Switchboard Music

28 • San Francisco Contemporary Music Players Festival. She is also proud to be on the Recording Symphony orchestra and team of organizers for Omaha Under subbed with both San Francisco Opera the Radar Festival, featuring new music, & Ballet orchestras. dance, and theater in her hometown. She can be heard on New Amsterdam Ms. Gottlieb received her Bachelors Records. www.katecampbellpiano.com at University of Washington, Seattle and her Masters in Performance from the Cleveland Institute of Music. She Karen Gottlieb has performed with teaches harp at SF State University, the San Francisco Symphony as second Mills College and privately. As a certi- harpist for more than 25 years. She fied harp technician for Lyon & Healy performed extensively with them on and Salvi Harps, Ms. Gottlieb main- their USA, European and Asian tours as tains and repairs harps locally, on the well as on their many grammy award west coast and Mexico. She is an avid winning recordings and DVDs. For 20 traveller, gardener and cook. You can years she served as principal harpist find her favorite recipes on her website, with the California Symphony and also www.kgharp.com. She joined SFCMP as a member of the SF Symphony- in 1990. ‘AIM’ ensembles including 4 Sounds, Strings & Things, THAT! Group and Silver & Gold, Plus. A very active cellist in the Bay Area and beyond, Stephen Harrison is a Ms. Gottlieb is the harpist for the San founding member (with his wife, Susan Francisco Contemporary Music Play- Freier) of the Ives Quartet (formerly ers & Opera Parallele and appears known as Stanford String Quartet) and regularly with other new music groups a member of the faculty at Stanford such as Earplay, Empyrean & Left University. Formerly principal cellist of Coast Ensembles. She has recorded the Chamber Symphony of San Francis- multiple major film, TV and video co, the Opera Company of Boston, and game soundtracks with the Skywalker the New England Chamber Orchestra,

San Francisco Contemporary Music Players • 29 Harrison has performed on National the Washington Post as a “notable Public Radio, the BBC, and on both contemporary music specialist,” he German State Radio and the Nether- has been fortunate enough to work lands State Radio. Stephen has toured with and premiere pieces by many internationally and recorded on the renowned composers. As an orchestral Delos, CRI, New Albion and Newport player, Bill is the principal clarinetist Classics labels. Harrison has been on of the Oakland East Bay Symphony, a the faculty of the Pacific Music Festival member of both IRIS Orchestra and the and is currently an artist/faculty mem- New Hampshire Music Festival Orches- ber of the Rocky Ridge Music Center. tra, and he has performed with The Philadelphia Orchestra and The Cleve- Most recently he has served as princi- land Orchestra. pal cellist of the Mendocino Music Fes- tival, coached at the San Diego Cham- Prior to his appointment as Visiting ber Music Workshop and performed at Assistant Professor of Clarinet at the the Telluride Chamber Music Festival. University of Missouri - Columbia for He earned his degrees at Oberlin 2014-15, Bill served on the faculty of College and Boston University, where the University of California at Santa he received the Award for Distinction Cruz and Berkeley. As a recording art- in Graduate Performance. He joined ist, he can be heard on the Cantaloupe, SFCMP in 1984. Nonesuch, Euroarts, Naxos, Mode, Orange Mountain, Albany Records, and Deutsche Gramophon labels., Bill Clarinetist Bill Kalinkos enjoys a joined SFCMP in 2012. diverse musical career as a member of critically acclaimed groups such as Loren Mach (percussionist) is pas- Alarm Will Sound, Ensemble Signal, sionate about 21st-Century music. A Deviant Septet, San Francisco Contem- graduate of the Oberlin and Cincin- porary Music Players, Eco Ensemble, nati Conservatories, he has premiered and Splinter Reeds. Recognized by countless solo, chamber, and orches-

30 • San Francisco Contemporary Music Players tral works. He teaches at the University cyclist, he cherishes time spent outside of California, Berkeley and is principal as an integral part of being alive. percussionist of eco ensemble, principal timpanist of San Francisco Chamber Roy Malan serves as solo violinist with Orchestra, and co-founder of Rootstock the California Symphony and Opera Percussion. Mach often performs with Parallèle and was the longtime concert- the San Francisco Symphony and other master and solo violinist for the San local orchestras, but he prefers more Francisco Ballet. The founding director intimate projects with groups like Em- of the Telluride Chamber Music Festival, pyrean, Left Coast Chamber Ensemble, he has an extensive career of perfor- Opera Parallel, Earplay, and sfSound. mance domestically as well as in Cana- da, Mexico, Europe, Australia, and Africa In recent summers he has performed at to his credit. He is also widely recorded the Ojai Music Festival, the Cabrillo Fes- on the Genesis, Orion, and other labels, tival of Contemporary Music, and Music in the Mountains. Mach was awarded Roy was formerly a member of Porter a 2011 Investing in Artists grant from Quartet, Stanford String Quartet, Ives the Center for Cultural Innovation. He Quartet, and the San Francisco Piano appeared in two full-length concerts at Trio, among others. Educated at Lon- the 2014 Venice Biennale with eco en- don’s Royal Academy of Music under semble, including a special performance Yehudi Menuhin, he also attended of Nagoya Marimbas for Golden Lion Juilliard and the Curtis Institute, where lifetime achievement honoree, Steve he was a student of Ivan Galamian and Reich. Efrem Zimbalist (he authored the latter’s biography). Mach’s other passions involve our fun- damental relationship to food as a form Roy currently serves on the faculty of of communion with others and our in- the University of California, Santa Cruz, terconnectedness with the natural world and plays locally with a string quartet, around us. An avid hiker, climber and piano trio, and music festival engage-

San Francisco Contemporary Music Players • 31 ments. He has been a member of guitar works of Sofia Gubaidulina for SFCMP since 1976. Naxos. Chair of the San Francisco Con- servatory’s Guitar department, David David Tanenbaum has performed as joined SFCMP in 2008. a solo guitarist throughout the US, Canada, Mexico, Europe, Asia, and Australia. Solo performances over the Grammy-nominated percussionist Wil- course of his career have included the liam Winant is internationally regard- Philharmonic, San Fran- ed as a leading performer of avant- cisco Symphony, Minnesota Orches- garde music. In 2014, he received a tra, London Sinfonietta, Vienna’s ORF Grammy nomination for his recording orchestra, and elsewhere, under the of ’s historic solo work, 27’ baton of such eminent conductors as 10.554” for a percussionist, on Micro Esa-Pekka Salonen, Kent Nagano and Fest Records. . Over the course of his career, William Many of our most distinguished and has collaborated with legends of 20th interesting composers have written and 21st century music, from Iannis Xe- solos for David, including Hans Wer- nakis to and Yo-Yo Ma, and ner Henze’s guitar concerto An Eine from Merce Cunningham to Kronos Äolsharfe, ’s first guitar piece Quartet and Sonic Youth. Composers Ascención, four works by Aaron Jay who have written for Willie include Kernis, and the last completed work by John Cage, Lou Harrison, John Zorn, Lou Harrison. Peter Garland, Larry Polansky, Gordon Mumma, Alvin Lucier, Terry Riley, Fred Tanenbaum has toured extensively with Frith, Somei Satoh, and Wadada Leo Steve Reich and Musicians, in Japan Smith. He is the percussionist with the withToru Takemitsu, and has had a long avant-rock band Mr. Bungle, and per- association with Ensemble Modern. forms locally with his own ensemble, He is currently recording the complete the William Winant Percussion Group.

32 • San Francisco Contemporary Music Players A member of the instrumental faculty Tonight’s Guest Musicians at the University of California at Berke- ley and Mills College, and a Visiting Please join us in applauding the Lecturer at University of California, following guest musicians on today’s Santa Cruz. Winant has made over two program: hundred recordings covering a wide variety of music, including the revered La Koro recording of Lou Harrison’s Amy Foote, voice Sutro and the 2013 release of Five American Percussion Pieces . Haruka Fujii, percussion

In 2016, Winant was awarded a pres- Jim Kassis, percussion tigious grant from the Foundation of Contemporary Arts in recognition for Stan Muncy, percussion his groundbreaking work as a contem- porary percussionist. William Winant Stacey Pelinka, piccolo joined SFCMP in 1988. williamwinant. com

San Francisco Contemporary Music Players • 33 Friends of SFCMP San Francisco Contemporary Music Players gratefully acknowledges the following supporters who have made one or more donations between December 31, 2014 to the present, resulting in gift totals within the following categories. These generous gifts help the ensemble to reach new heights in presenting outstanding, adventurous concerts at affordable prices; educating young musicians, commissioning new works, and breaking down the barriers to understanding new music through our How Music is Made program.

We apologize for any errors or omissions; for corrections please contact director@ sfcmp.org.

Artistic Director’s Circle ($10,000 + ) Producers’ Circle ($2,500-$4,999) George H. Bosworth Mark and Sharon Gottlieb C. Michael Richards Richard and Patricia Taylor Lee Erik Neuenschwander and Sonya Anne and Robert Baldwin Chang Steven and Brenda Schick Dianne Ellsworth Karen Gottlieb Susan and Harry Hartzell Margaret Dorfman Jerome and Linda Elkind Margot Golding and Michael Powers Founders’ Circle ($1,000-$2,499) Holly Hartley and Oscar Anderson Players’ Circle ($5,000-$9,999) Claire and Kendall Allphin Karen Gottlieb Mark Applebaum and Joan Friedman Eunice Childs in Memory of Dr. Alfred Lorraine Honig W. Childs Michael McGinley Melanie Johnson James C. Hormel Donald Blais Lubert and Andrea Stryer Timothy L. Bridge

34 • San Francisco Contemporary Music Players Gene Nakajima and Howard Rubin Robert Shumaker and Janet Garvin Karl Pribram and Sweta Arora David Parker Mary Lorey Olly and Elouise Wilson Patti Noel Deuter Tim Savinar and Patricia Unterman

Guest Artists’ Circle ($500-$999) Supporter ($100-$199) Jill Hunter Matichak John Gilbert Kit Sharma and Wei Tsai Edward Oberholtzer and Karen Wolf Adam Frey Seth Meisler Stephen Harrison and Susan Freier Barbara Imbrie Bud and Fran Johns Gerald Klein Robert Warnock Herbert and Claire Lindenberger Jean and George Dowdall James Simmons JoAnn and Jack Bertges Thomas Koster Lawrence Daressa Zachariah and Susan Spellman Paul Asplund Dexter and Jean Dawes Steven Horowitz and Keesje Fischer Diana Goldstein Lisa Oman Sponsor ($200-$499) Maureen Knoll Lee Sevey Nancy Gilbert Thomas and Nancy Fiene Donald and Ethel Worn Paul R. Griffin Gretchen B. Guard Charles Boone and Josefa Vaughan Herbert Bielawa and Sandra Soderlund David and Christine Spring John and Mary Caris Katherine Saux and Paul Brandes Larry Ragent Toby and Jerry Levine Laurie San Martin and Sam Nichols Jim Newman Leslie Morelli Jonathan Ballard Patricia Skillman Robert Kirzinger Ruth A. Felt Suzanne Pfeffer Susan York

San Francisco Contemporary Music Players • 35 Tod Brody In addition to the many generous in- Tonia and Kenneth Baker dividual contributors, ticket-buyers and season subscribers, our season Patron ($59-$99) concerts and events were made Paul and Celia Concus possible in part by recent grants Caroline Pincus and Esther Landau from the following foundations and Charles Amirkhanian and Carol Law agencies: James Bovee John Richardson American Music Project John W. Hillyer Ann and Gordon Getty Foundation Kenneth Bruckmeier Clarence E. Heller Foundation Patrick Woodbury James Irvine Foundation National Endowment for the Arts Friend ($1-$49) Phyllis C. Wattis Foundation Lauren Hallinan San Francisco Grants for the Arts David Tanenbaum The Aaron Copland Fund for Music, Inc. Jonathan Russell The Alice M. Ditson Fund of Columbia Michael Petrelis University Elsa Cheng The Amphion Foundation Laura Simpson The Bernard Osher Foundation The Ross McKee Foundation Major In-kind Supporters William and Flora Hewlett Foundation Cooper White Cooper, LLP Wells Fargo Foundation Hung Liu Zellerbach Family Foundation Donald Blais Terry McKelvey Susan and Harry Hartzell Jerry and Linda Elkind Ridge Winery

36 • San Francisco Contemporary Music Players Legacy Circle

THE HAROLD WOLLACK LEGACY CIRCLE

A former subscriber, Harold Wollack, left the first bequest to help underwrite the ensemble’s concerts and programs. More recently, the ensemble has received a generous bequest from the estate of C. Michael Richards and George Bosworth.

Your bequest to the San Francisco Contemporary Music Players Legacy Circle will ensure the future of our music for lifetimes ahead. We thank the following indi- viduals, who have arranged bequests to help support the ensemble’s future work:

Anne Baldwin Ruth Caron Jacobs* Donald Blais Roy C. (Bud) Johns George Bosworth* Renate Kay* Priscilla Brown Jane LeRoux* Eunice Childs, in memory of Dr. Jean-Louis LeRoux* Alfred W.Childs Terry McKelvey Adam L. Frey A.Robin Orden Margot Golding C. Michael Richards* Paul R. Griffin Victor and Esta Wolfram Dr. Claire Harrison* Harold Wollack* Holly Hartley Susan & Harry Hartzell *deceased Jacqueline Hoefer*

To leave your own legacy gift to the ensemble, please contact Lisa Oman, Executive Director (415) 278-9566 or [email protected]

San Francisco Contemporary Music Players • 37 Monthly Giving Join our Monthly Giving Circle

By providing a small recurring donation each month, you give us the confidence to plan our next large-scale work and commit to innovative projects that bring the best of contemporary classical music to the Bay Area. Monthly donations start at $5 per month.

Monthly Giving Circle Member Benefits

- VIP invitations to SFCMP donor and community events - Eligible for Monthly Giving Circle discount on annual season subscriptions - Satisfaction of knowing that you are responsible for putting on some of the best contemporary classical music in the Bay Area - Your contributions are tax deductible

How to Join

Visit us online at SFCMP.org/monthly-giving-circle/

38 • San Francisco Contemporary Music Players Leadership and Staff Board of Directors Pamela Rosenberg Marcella DeCray (1974-1988) Donald Blais, President Donald Runnicles Kit Sharma, Vice President Helgi Tomasson Current Team Melanie Johnson, Ph.D., Trea- Steven Schick, Artistic Director surer Advisory Council Lisa Oman, Executive Director Dianne Ellsworth, Secretary Anne Baldwin Cheryl Steets, Marketing and Margot Golding Timothy Bridge Communications Director Karen Gottlieb Tod Brody Amadeus Regucera, Artistic Stephen Harrison Caroline Crawford Production Director Susan Hartzell Didier de Fontaine John Jaworski, Production As- Ken Ueno Paul Griffin sistant Erik Neuenschwander Roy C. (Bud) Johns Kassidy Koyama, Intern Kate Campbell Richard Diebold Lee Steve Horowitz T. William Melis Business Partners Olly Wilson Robert Kirzinger, Writer Board Presidents William Wohlmacher Gary Preiser, Inc., Accounting Richard Diebold Lee (2009- Robert Schumaker, Audio 2013) Past Artistic Directors Engineer Susan Hartzell (2005-2009) David Milnes (2002-2009) David Donnenfield, Video Anne Baldwin (2002-2005) Jean-Louis LeRoux* (2001- Jeremy Wagner, Technical Roy C. (Bud) Johns (2000- 2002) Assistant 2001) Donald Palma (1998-2000) T. William Melis (1996-2000) Stephen L. Mosko (1988- Volunteers Paul R. Griffin (1986-1996) 1997) Artistic Planning Committee Jane Roos (1978-1986) Jean-Louis LeRoux (1974- Members 1988) Aaron Gervais Founding Directors Charles Boone (1971-1973) Russ Irwin Charles Boone Gene Nakajima Marcella DeCray Past Executive Directors Jean-Louis LeRoux Rozella Kennedy (2012-2015) Investment Officer Carrie Blanding (2010-2012) Terry McKelvey Honorary Committee Christopher Honett (2009- John Adams 2010) Ruth Felt Adam Frey (1991-2009) Patricia Lee Susan Munn (1988-1991)

San Francisco Contemporary Music Players • 39 Upcoming Events from our Arts Partners

40 • San Francisco Contemporary Music Players These events were made possible in part

by grants from

The Ross McKee Foundation

American Music Project

The National Endowment for the Arts

San Francisco Contemporary Music Players • 41 Tonight’s piano provided by

Steinway & Sons, San Francisco

42 • San Francisco Contemporary Music Players Hung Liu Dirge, 2010

Archival pigment prints, 18×18, in silkscreened folio

Limited Edition series of 45 prints $1,400 plus tax

SF Contemporary Music Payers is dedicated to performing innovative new music of exceptional interest and to nourishing the creation and dissemination of new work through commissioning, recording and outreach.

Proceeds from this sale benefit the San Francisco Contemporary Music Players.

Contact us to purchase (415) 278-9566

San Francisco Contemporary Music Players • 43 Composer Nicole Mitchell

Composer Carolyn Chen

Composer Hans Abrahamsen

Composer Pauline Composer Oliveros John Zorn

2017-18 Season Highlights Subscribe today! Artistic Director, Steven Schick

Enjoy the richest experience of SFCMP’s full season—at the lowest cost per ticket. Become a season subscriber and join us regularly for the best of contemporary classical music in the Bay Area.

http://sfcmp.org/subscribe-now/

44 • San Francisco Contemporary Music Players