Photo: Armen Elliott

International Saturday, Contemporary Ensemble October 6, 2012 Correspondence: Cage and Boulez

Edlis Neeson Theater Correspondance: Cage and Boulez

Steven Schick, conductor

Jessica Aszodi, voice

International Contemporary Ensemble Eric Lamb, flutes Maiya Papach, viola Daniel Lippel, guitar Nathan Davis, percussion Ross Karre, percussion Matthew Gold, percussion Photo: Erin Baiano Support for this project is All Boulez compositions from Boulez: “Bourreaux de generously provided by the Le marteau sans maître (1954) solitude,” for voice, alto flute, National Endowment for the Arts percussion, guitar, and viola Pierre Boulez: Avant "l'artisanat furieux," for alto Cage: Radio Music, for eight flute, percussion, guitar, radios (1956) and viola Boulez: Après “lʼartisanat : Music for two, for furieux,” for alto flute, ICE’s 2012/13 residency at MCA John Cage Chicago is additionally supported flute and viola, from Music percussion, and guitar by the MacArthur Fund for Arts For ______(1984–87) and Culture at the Richard H. : Solo for flute, from Driehaus Foundation, the Amphion Cage Foundation, the Gaylord and Boulez: Commentaire I de Concert for Piano (1958) Dorothy Donnelley Foundation, the “bourreaux de solitude,” for Elizabeth F. Cheney Foundation, alto flute, percussion, : Commentaire III de the Illinois Arts Council, a Boulez state agency, and through a and viola “bourreaux de solitude,” for CityArts Program 2 Grant from alto flute and percussion the City of Chicago Department of Cage: Amores, Mvt. II, for Cultural Affairs. tom-toms (1943) Cage: Atlas Eclipticalis, for ensemble (1961–62) Boulez: “Lʼartisanat furieux,” for voice and alto flute Boulez: “Bel édifice et les presentiments,” version II, Cage: Aria, for voice (1942) for voice, alto flute, percussion, guitar, and viola Boulez: Commentaire II de “bourreaux de solitude,” for Cage: Amores, Mvt. III for percussion, guitar, and viola woodblocks (1943)

Cage: 59 and 1/2” for a string This performance runs player, for viola (1953) approximately 70 minutes without intermission. Boulez: “Bel édifice et les presentiments,” version I, for voice, alto flute, guitar, and viola

Cage: 4ʼ 33” (1960) Dance Music Martin Creed Work No. 1020 (Ballet) Nov 15 & 16, 2012

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Work No. 1020 music. Photo: Hugo Glendinning, courtesy of the artist and Gavin Brown’s enterprise, New York The residency

Today’s concert is the first of three distinct MCA DNA: John Cage: performances you’ll hear this season by ICE On view through March 3, 2013 (International Contemporary Ensemble), the ensemble in residence at MCA Stage. Today’s performance by ICE was inspired by and aims to illuminate the exhibition MCA DNA: John In 2010 ICE and MCA Stage embarked Cage. In the exhibition, curator Lynne Warren on a shared three-year commitment to an traces the fruitful and decades-long relationship entrepreneurial approach to music by originating that MCA Chicago enjoyed with John Cage. The work and devising its rehearsal and concert MCA supported Cage from the very beginning, performance in ways that actively engage inviting him to perform a work with fellow Fluxus composers, and by opening the process to the collaborators Dick Higgins and Allison Knowles public in myriad settings. The residency is also as part of the October 1967 opening celebration distinguished by the nontraditional formats, of the museum’s inaugural exhibition, Pictures to intimate settings, and popular technology that be Read/Poetry to be Seen. Over the years Cage shape most of the public offerings. We invite returned numerous times to Chicago, where he you to come along for this captivating musical lived in the early 1940s, often stopping at the adventure. MCA to execute various projects or see friends.

Additional performances by ICE at MCA Stage Perhaps his best-known project associated with the MCA was part of the 1982 New Music Carla Kihlstedt and Phyllis Chen America festival. For this pioneering music Saturday, February 16, 2013 festival, administered by the MCA, Cage realized The winter concert is a finely textured double A Dip in the Lake: Ten Quicksteps, Sixty-two portrait of young composers who worked closely Waltzes, and Fifty-six Marches for Chicago with ICE to write the commissioned works and and Vicinity (1978), a score created on a map who also perform in this program. of Chicago. Materials demonstrating how to interpret the score of this important work, which David Lang: The Whisper Opera later entered the MCA Collection, are on view Thursday–Sunday, May 30–June 2, 2013 along with scores and books drawn from the The audience joins the musicians on stage for more than eighty items associated with Cage in this world premiere of Lang’s chamber opera, the MCA Artists’ Books Collection. Ephemeral written for ICE and based on inspiring visits he materials, such as letters written to MCA staff made to small opera houses in rural Italy. and other historical documents that trace Cage’s puppet’s own volition and autonomy. legacy at the MCA, are also displayed. , 2009. Theater show including ballet, talk, and

Work No. 1020 music. Photo: Hugo Glendinning, courtesy of the artist and Gavin Brown’s enterprise, New York From the conductor

Legend has it that around 1950 the thirty-eight- was art. This may have been a symptom, but year-old John Cage and the twenty-five-year- it couldn’t have been the cause. old Pierre Boulez became good friends. Each saw in the other a kindred spirit, and for The Boulez-Cage correspondence is a several years they exchanged letters that testify series of letters, written mostly in French, to a close even intimate rapport. But as their starting in the late 1940s and ending in 1954 friendship grew so did fundamental differences about the time that Boulez was hard at of opinion about music and the creative work on Le marteau sans maître, the work process. Boulez was developing complex and that forms the spine of tonight’s concert. disciplined compositional strategies while Cage sought to release himself from dogma They are at times generous and warm, often full and structure. Eventually friction became of wonky composition talk, occasionally tending greater than fluency and their relationship toward the banal. They tell us a lot about how ground to a halt. Like other famous flawed different life was for young composers in the friendships—Morton Feldman and Philip early 1950s (letters addressed to hotels along Guston, who quarreled over the value of the tours rather than as texts or e-mail), and they perfected object in art; John Lennon and Paul show some commonalties (how to get a new McCartney, who fought about whether music piece played for a receptive audience). They needed to reach beyond itself to embrace reinforce that Cage was by far the older and the real world—Cage and Boulez became more experienced composer (see Boulez’s another object lesson in aesthetic compatibility. innocent question when Cage invited him to Apparently opposites do not attract. It’s best to teach at Middleboro: “You will blush at my stick with a like-minded cohort. ignorance . . . where is Vermont?”)

That’s the legend. But I don’t buy it. But what the letters do not show is much serious disagreement about the fundamental Mind you, I don’t have even the slightest actual musical issues facing them. Each articulated insight into the Boulez-Cage friendship other the need for a highly constructed compositional than having read their famous correspondence. methodology that tied the surface of music to deep structures. Each was suspicious of But I do know their scores from this period, the conventional expressive markers of and the myth that Boulez was the serious emotion and intuition in musical composition defender of musical rigor while Cage was and performance. the all-inclusive Zen master doesn’t pass the sniff test. In fact looking at their letters in combination with their scores leads this Betty Freeman, the great doyenne of writer to imagine that their friendship contemporary music, once told me that their faltered not because their philosophies friendship failed because Boulez couldn’t were so different but precisely because accept Cage’s assertion that eating mushrooms they were so similar. Revolutions are celebrated when they are There is nothing we need to do that isn't no longer dangerous. dangerous. —Pierre Boulez —John Cage

They had remarkably similar goals, of formal the Cage-Boulez friendship is embedded in and interpretative purity, but their strategies for this concert, the juxtaposition of these two realizing them differed substantially. Boulez pieces represents its most intimate apogee. endeavored to extend the rational project of Anton Webern and the rhythmic one of From here the gulf widens. “Bourreaux” is fol- Olivier Messiaen—in essence rephrasing lowed by the noise of an ensemble of radios; the past—whereas Cage, equally rigorously, the second “Commentaire” by the star chart of had embarked on the search for new chance Atlas Eclipticalis. Finally there is the “double” structures rooted in the ontology of the unknown version of “Bel édifice,” a study in memory and thereby to divorce himself from the past. where the disparate threads of musical materi- One of them wanted to remember and the other als and René Char’s atomized verse are drawn to forget. together in symbiosis. In Le marteau the past has been remembered and reformulated; the We seek to capture the flavor if not the voice has become an instrument; the apparent particulars of their rapport by interposing similarities between Le marteau sans maître short pieces by Cage between the and Pierrot Lunaire have been made evident. movements of Le marteau. But the last word is given to the third movement of Amores. This is music nearly without prec- We’ll hear the pulsating multi-cultural edent—as simple a statement of formal intent percussion writing in Boulez’s Commentaire I de rendered with as simple a set of sounds as has “Bourreaux de solitude” followed by its prequel been heard since Guillaume de Machaut. from 1943 in the Chinese tom-toms of Cage’s Amores. The angularity of Avant l’Artisanat Our aim is not to be didactic; we were simply Furieux is mirrored by its indeterminate twin curious. As products of a dichotomous musical Music For ______. education in which modernism and experimen- talism were often falsely pitted against one At the mid-point of our concert each composer another, we wondered whether two of the most deploys his most formidable weaponry. profiled representatives of those schools were Featuring his first use of the full ensemble and really antithetical to one another. Might Cage full array of harmonic strategies, “Bourreaux and Boulez continue to correspond even today de solitude” is Boulez’s essay on musical through their music? We’ll leave final observa- saturation, more indebted in terms of texture to tions to you. But as we celebrate Cage’s hun- Maurice Ravel than to Darmstadt. In the Cagian dredth birthday this year it’s worth returning to universe saturation is represented in its purest a letter Boulez wrote to Cage on his seventi- form by silence. eth birthday, in 1982. “If you had not existed,” Boulez wrote, “history would have had to invent Directly preceding “Bourreaux” is 4’33”— you. Fortunately for us, though, you had the possibly the purest (and perhaps most genius to invent yourself.”—Steven Schick beautiful) musical statement of the twentieth century. To the extent that the narrative of Le marteau sans maître

“L'artisanat furieux” “The furious craftsmanship” La roulotte rouge au bord du clou Et cadavre The red caravan on the edge of the nail dans le panier Et chevaux de labours dans And corpse in the basket And plowhorses in le fer à cheval Je rêve la tête sur la pointe the horseshoe I dream the head on the point de mon couteau le Pérou. of my knife Peru.

“Bourreaux de solitude” “Hangmen of solitude” Le pas s'est éloigné le marcheur s'est tu The step has gone away, the walker has fallen Sur le cadran de l'Imitation Le Balancier silent On the dial of Imitation The Pendulum lance sa charge de granit réflexe. throws its instinctive load of granite.

“Bel édifice et les presentiments” “Stately building and presentiments” J'écoute marcher dans mes jambes La mer I hear marching in my legs The dead sea morte vagues par dessus tête Enfant la waves overhead Child the wild seaside jetée promenade sauvage Homme l'illusion pier Man the imitated illusion Pure eyes imitée Des yeux purs dans les bois Cherchent in the woods Are searching in tears for en pleurant la tête habitable. a habitable head.

From the 1934 poem by René Char (French, 1907–88) Nov 30,2012 Tacit Group

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Music

Photo: Sangwoo Park About the Artists

John Cage (1912–92) Europeras 1 & 2 for the Frankfurt Opera was born in Los Angeles and studied with in 1987. Europeras 3 & 4 followed in 1990, Richard Buhlig, Henry Cowell, Adolph Weiss, commissioned by the Almeida Music Festival and Arnold Schoenberg. In 1940 he invented and Modus Vivandi Foundation. the prepared piano, a piano with objects placed between the strings to create a percussion Cage’s many awards and honors include a orchestra. The prepared piano was the first Guggenheim Fellowship and an Honorary of many innovations in nonstandard use of Doctorate of Performing Arts from the instruments, including electroacoustic music, California Institute of the Arts. He is a member such as his rigorous assembly of the tape music of the American Academy of Arts and Sciences work Williams Mix. and the fifty-member American Academy of Arts and Letters and a Commander of the For many years, Cage composed works Order of Arts and Letters in France. using chance operations based on the I Ching, exploring non-intention and ambient Pierre Boulez (b. 1925) sound. Perhaps Cage’s most influential theory, was born in Montbrison, France, and initially indeterminacy, emerged at this time, first trained in mathematics. He pursued studies through a chance-based composition process, in piano, composition, and choral conducting as in Music of Changes. Cage went on to leave at the Paris Conservatory, where his teachers much to chance in not only composition but included Olivier Messiaen and René Leibowitz. also performance, as in his Variations series, His numerous compositions are considered composed "for any number of players and hugely influential and are widely performed, any sound producing means," such that no including Pli selon pli, three piano sonatas, Le two performances are alike. His most famous visage nuptial, Répons, . . . explosante-fixe . . . composition, 4ʼ33”, is four minutes and thirty- and Notations. His compositions significantly three seconds of the performer not playing, such contribribute to serialism, controlled chance, that only unintentional noise is heard. and electronic music. His 1954 landmark composition, Le marteau sans maître, for From the early 1940s, Cage was associated ensemble and voice, synthesizes disparate with the Merce Cunningham Dance Company, movements in modern music, combining where musical indeterminacy expanded into structured serialism with small, local uses of choreography, and a fruitful collaboration chance, as well as incorporating non-Western radically innovated both musical and influences. choreographic compositions. In their works, Cunningham’s choreography and Cage’s A tireless advocate for new music, he founded, composition are coexistent rather than in 1954, the Concerts du Petit Marigny, one of codependent, a concept Cage expanded in his the first concert series entirely dedicated to Europeras. Invited by Heinz Klaus Metzger and the performance of modern music, and which Rainer Riehn with the assistance of Andrew later became the Domaine Musical series. His Culver, Cage wrote, designed, and directed difference of opinion about state intervention in the arts in France, as espoused by André Steven Schick Malraux, led Boulez into voluntary exile for was born in Iowa and raised in a farming family. several years. He returned in 1974, when the For the past thirty years he has championed government under President Georges Pompidou contemporary percussion music as a performer decided to build a music research center at and teacher, by commissioning and premiering the Pompidou Centre and invited Boulez to more than one hundred new works for be its creator and director. From the Institut percussion. He was the percussionist of the de Recherche et de Coordination Acoustique/ Bang on a Can All-Stars of New York City from Musique (IRCAM) sprang the creation of a 1992 to 2002, and from 2000 to 2004 served as major and permanent instrumental group, the Artistic Director of the Centre International de Ensemble Intercontemporain, one of the world’s Percussion de Genève in Geneva, Switzerland. finest contemporary music ensembles, which Schick is founder and Artistic Director of the Boulez has conducted in France as well as on percussion group red fish blue fish. In 2007 he extended tours abroad. was named Music Director and conductor of the La Jolla Symphony and Chorus. Schick Boulez began his conducting career in 1958 with founded and is currently artistic director of the Südwestfunk Orchestra in Baden-Baden, “Roots and Rhizomes,” an annual summer Germany, and in 1965 with the Cleveland course on contemporary percussion music held Orchestra. In 1971, he became chief conductor at the Banff Centre for the Arts. In 2011 he was of the BBC Symphony Orchestra, and that same named Artistic Director of the San Francisco year he became music director of the New Contemporary Music Players. York Philharmonic, garnering him a reputation as a foremost interpreter of music by Berg, His recent publications include a book on solo Webern, and Schoenberg as well as Debussy, percussion music, The Percussionist’s Art: Ravel, Stravinsky, and Wagner. In 2006, he was Same Bed, Different Dreams; a three CD set appointed the Chicago Symphony Orchestra’s of the complete percussion music of Iannis Helen Regenstein Conductor Emeritus. Xenakis (Mode); and a 2012 DVD release of the early percussion music of Karlheinz His many awards and honors include honorary Stockhausen. Schick is Distinguished Professor doctorates from Leeds, Cambridge, Basel, and of Music at the University of California, San Oxford universities, among others; Commander Diego. In 2012 he became the first ever Artist in of the British Empire; and Knight of the Order Residence with the International Contemporary of Merit of the Federal Republic of Germany. In Ensemble. 2009 he was awarded the Inamori Foundation’s 25th Annual Kyoto Prize for Lifetime Achieve- Jessica Aszodi ment in Arts and Philosophy. He also received is from Melbourne, Australia. Her performance the 1999 award for Best Classical Contemporary practice encompasses opera, chamber Composition for his Répons, recorded with the music, experimental, conventional, and Ensemble Intercontemporain. He has won twen- contemporary-classical music. She is an ty-six Grammy Awards since 1967. alumna of the Victorian Opera Company’s Artist Development Program, where she presenter, and educator, advancing the studied opera performance in 2008–09. She music of our time by developing innovative later gained a Master of Contemporary Music new works and new strategies for audience Performance degree from the University of engagement. ICE redefines concert music as California. Aszodi has sung roles for Victorian it brings together new work and new listeners Opera including Mozart’s Elvira (Don Giovanni ); in the twenty-first century. Since its founding Richard Strauss’s Echo (Ariadne auf Naxos); in 2001, ICE has premiered more than 500 Walton’s Popova (The Bear); Elliot Carter’s compositions, the majority of these new works Rose (What Next?); Handel’s Atalanta (Serse); by emerging composers, in venues ranging and Sesto (Guilio Cesare), for which she was from alternate spaces to concert halls around nominated for a Greenroom Award. Her roles the world. The ensemble received the American for other companies include Stockhausen’s Music Center’s Trailblazer Award in 2010 Eve (Dienstag aus Licht), Menotti’s Monica for its contributions to the field, and received (The medium), Mozart’s Aminta (Il re pastore) the ASCAP/Chamber Music America Award and the title role in Satie’s Socrates. Aszodi for Adventurous Programming in 2005 and has performed with the Melbourne Symphony in 2010. ICE is Ensemble in Residence at the Orchestra, the Center for Contemporary Opera Museum of Contemporary Art Chicago through New York, Speak Percussion, the La Jolla 2013. The ICE musicians also serve as Artists Symphony, the Royal Melbourne Philharmonic in Residence at the Mostly Mozart Festival Orchestra, Astra Chamber Music Society, Bang of Lincoln Center through 2013, curating and on a Can, and eighth blackbird. She has sung performing chamber music programs that at the Aldeburgh Festival (UK); the Macau juxtapose new and old music. International Music Festival (China); Music X (Switzerland); and the Melbourne International ICE has released acclaimed albums on the Biennale of Exploratory Music, Melbourne Nonesuch, Kairos, Bridge, Naxos, Tzadik, New International Arts Festival, and Vivid Sydney Focus and New Amsterdam labels, with several Festival (Australia). Upcoming projects include forthcoming releases on Mode Records. Recent performing works by Percy Grainger with Sir and upcoming highlights include headline Colin Davis and the Melbourne Symphony performances at the Lincoln Center Festival Orchestra. Aszodi is co-director of the vocal (New York), Musica Nova Helsinki (Finland), ensemble Aria Co. She has received grants Wien Modern (Austria), Acht Brücken Music from the Australia Council for the Arts, the City for Cologne (Germany), La Cite de la Musique of Melbourne and Arts Victoria. (Paris) and tours of Japan, Brazil and France. ICE has worked closely with conductors Ludovic ICE (International Contemporary Ensemble) Morlot, Matthias Pintscher, John Adams, and is dedicated to reshaping the way music is Susanna Malkki. created and experienced. With a modular makeup of thirty-three leading instrumentalists With leading support from The Andrew W. performing in forces ranging from solos to Mellon Foundation, ICE launched ICElab large ensembles, ICE functions as performer, in early 2011. The program places teams of ICE musicians in close collaboration with six graphic notation, ICE musicians lead students emerging composers each year to develop in the creation of new musical works, nurturing works that push the boundaries of musical collaborative creative skills and building an exploration. ICElab projects are featured in more appreciation for musical experimentation. than one hundred performances from 2011–14 Read more at www.iceorg.org. and documented online through DigitICE, a new online venue. International Contemporary Ensemble Staff Claire Chase, Artistic Director ICE’s commitment to build a diverse, engaged Joshua Rubin, Program Director audience for the music of our time has inspired Rose Bellini, Director of Development The Listening Room, a new educational Jonathan Harris, Business Manager initiative for public schools without in-house arts Jacob Greenberg, Education Director curricula. Using team-based composition and Photo: Bill Dean Become a Friend of the MCA Stage Support groundbreaking performances that bring you up close to the voices and visions of artists now. Become a Friend of the MCA Stage and receive exclusive benefits such as recognition in MCA Stage program notes, special ticket offers, invitations to receptions with the artists, and access to behind-the-scenes rehearsals.

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