CAL PERFORMANCES PRESENTS PROGRAM

Sunday, October 2, 2011, 3pm Franz Liszt (1811–1886) Petrarch Sonnet No. 123 (I’ vidi in terra angelici Hertz Hall costumi) from Années de Pèlerinage, Deuxième Année: Italie for (1845)

Calder Quartet Adès The Four Quarters for (2010) Nightfalls Benjamin Jacobson Serenade: Morning Dew Andrew Bulbrook violin Days Jonathan Moerschel The Twenty-fifth Hour Eric Byers

with Adès Quintet for Piano and String Quartet, Thomas Adès, piano Op. 20 (2000)

PROGRAM Cal Performances’ 2011–2012 season is sponsored by Wells Fargo.

Igor Stravinsky (1882–1971) Three Pieces for String Quartet (1914) Dance: Quarter note = 126 Eccentric: Quarter note = 76 Canticle: Half note = 40

Thomas Adès (b. 1971) Mazurkas for Piano, Op. 27 (2009) Moderato, molto rubato Prestissimo molto espressivo Grave, maestoso

Adès for String Quartet (1994) Venezia notturna Das klinget so herrlich, das klinget so schön Auf dem Wasser zu singen Et... (tango mortale) L’Embarquement O Albion Lethe

INTERMISSION

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Igor Stravinsky (1882–1971) music at the time. He later explained the move- prominence—the piano solos Still Sorrowing American premiere at Santa Fe Opera in July Three Pieces for String Quartet ment’s inspiration in an interview with Robert and Darknesse Visible, the song cycles Five Eliot 2006 and has been announced for the 2012– Craft: “I had been fascinated by the movements Landscapes and Life Story, Catch and 2013 Metropolitan Opera season. Composed in 1914. Premiered on November 8, of Little Tich, whom I had seen in London in for chamber —and in 1993 he was ap- The distinguished critic Andrew Porter 1915, in Chicago by the Flonzaley Quartet. 1914, and the jerky, spastic movement, the ups pointed Composer-in-Association to the Hallé wrote of Adès’s creative personality, “In work and downs, the rhythm—even the mood or joke Orchestra; he composed These Premises Are after work—non-repeating, non-formulaic, In April 1914, to recover from the rigors of of the music—which I later called Eccentric, Alarmed in 1996 for the Hallé’s inaugural con- untainted by ‘hype,’ each score an excited new supervising the premiere in Paris of his opera was suggested by the art of this great clown.” In cert in the new Bridgewater Hall in Manchester. adventure—he has created personal sounds and Le Rossignol (“The Nightingale”), Stravinsky 1930, Stravinsky transformed a phrase from this His opera , based on the story forms while generously and gratefully embrac- sketched a tiny piece for string quartet, his Piece into the subject for the instrumental fugue of the uninhibited Duchess of Argyll, created an ing sonic and technical inspiration suggested first composition for chamber ensemble, in in the of Psalms. The openingDance , international sensation when it was premiered by masters from Couperin and Mussorgsky to the style of a Russian folk dance. Ever since while more conventional in its folk-based idiom, at the Cheltenham Festival in 1995, and it has Ligeti and Kurtág.... The old basics are freshly he had taken the musical world by storm with was also prophetic of several important Russia- since been heard in London, Berkeley, Aspen, heard and ordered: the clash or consonance of his Rite of Spring the year before, his creative inspired works of the following years, notably Magdeburg (New York), Helsinki, Brisbane and note against note; the force of an intervallic leap; work had been closely monitored, and even The Soldier’s Tale and Les Noces. The third Piece Aldeburgh. In 1997, Adès was appointed Britten ticking time against time disordered; tradition- this little morceau for quartet did not escape (later titled Canticle) is a solemn processional Professor of Composition at the Royal Academy al timbres invaded and challenged by strange notice. Alfred Pochon, second violinist of the evocative of ancient Church rites whose almost of Music; he has also served as Artistic Director sounds never made before.... Thomas Adès is the Flonzaley Quartet, wrote to the composer ask- static harmonic motion Stravinsky used in Mass, of the Aldeburgh Festival and Music Director of bright new star of British music.” ing about the veracity of the Parisian rumor that of Wind Instruments, Symphony of the Birmingham Contemporary Music Group. The mazurka originated sometime during he had just written a “Scherzo” for quartet, and Psalms and other compositions to create a sense He was Resident Composer with the Los the 17th century in Frédéric Chopin’s home expressed an interest in taking such a piece on of suspended time and rapt ecstasy. Angeles Philharmonic from 2005 to 2007, and district of Mazovia, in central Poland. Rather the Quartet’s American tour the following year. held the Richard and Barbara Debs Composer a family of related musical forms than a single The composer’s friend and champion the con- Chair at Carnegie Hall in 2007–2008. He set type, the mazurka could be sung or danced, ductor Ernest Ansermet was assigned the task of Thomas Adès (b. 1971) is also active as a pianist and conductor, with performed fast or languidly and, when danced, negotiating the commission with the Flonzaley Mazurkas for Piano, Op. 27 many concert and broadcast performances in given many variations on the few basic steps (the score was dedicated to him in apprecia- Europe, America and Japan. Adès’s quickly of the pattern. By the 18th and 19th centuries, tion), and Stravinsky added two more short Composed in 2009. Premiered on February 10, accumulating list of distinctions includes the when its popularity spread throughout Europe, movements in July to round out this set of Three 2010, in New York by Emanuel Ax. Paris Rostrum (1994, for Living Toys, judged the mazurka was characterized by its triple me- Pieces for String Quartet. The Flonzaley played the best piece by a composer under 30), 1997 ter, frequent use of unusual scales (often giving the premiere in Chicago on November 8, 1915. Not since the youthful days of Benjamin Royal Philharmonic Society Prize (for ), the music a slightly Oriental quality), variety Stravinsky originally issued the Three Pieces as Britten has a young British composer created Elise L. Stoeger Prize from the of moods and rhythmic syncopations. G. C. pure, abstract music, giving them no titles or such excitement as Thomas Adès. Adès, born in Society of (1998, for Arcadiana), Ashton Jonson wrote of Chopin’s 56 Mazurkas even tempo markings, but when he arranged London on March 1, 1971, studied piano with Salzburg Easter Festival Prize (1999), Munich in his study of the composer’s piano works, “In them as the first three of the Four Studies for Paul Berkowitz and composition with Robert Ernst von Siemens Prize for Young Composers his hands, the mazurka ceased to be an actual Orchestra in 1914–1918, he called them Dance, Saxton at the Guildhall School of Music before (1999), a 1999 Mercury Prize nomination (for the dance tune, and became a tone poem, a mir- Eccentric and Canticle. first coming to notice when he won the Second recording of Asyla on EMI), 2000 Grawemeyer ror of moods, an epitome of human emotions, The small scale of the Three Pieces belies the Piano Prize in the BBC Young Musician of Prize (for Asyla, the youngest composer to re- joy and sadness, love and hate, tenderness and crucial juncture that they occupy in Stravinsky’s the Year Competition in 1989. That same year ceive that prestigious award, the largest interna- defiance, coquetry and passion.” Thomas Adès stylistic evolution, since they were his first works he entered King’s College, Cambridge, where tional prize for composition, since its inception took up the genre in his Mazurkas for Piano to move away from the opulence and enormous his principal teachers included Hugh Wood, in 1985), and an honorary doctorate from the of 2009, composed on a joint commission performing forces of the early ballets toward Alexander Goehr and Robin Holloway, and he University of Essex (2004); in November 2010, from the Barbican Centre (London), Carnegie the economical, emotionally detached “Neo- began establishing his reputation as a composer he was named Musical America’s “Composer of Hall (New York), Philharmonic Classical” language of his later works. This when the BBC Philharmonic under Mathias the Year.” London’s Barbican Centre staged a Association, San Francisco Symphony and the forward-looking quality is most evident in the Bamert played his Chamber Symphony at retrospective festival of Adès’s work in 2007. His Concertgebouw (Amsterdam). Emanuel Ax, second movement, which is in a brittle, poin- the Cambridge Festival in 1990; he graduated most recent opera, , commissioned who gave the work’s premiere in tillistic idiom usually associated with Anton from Cambridge in 1992 with highest honors. by House, Covent Garden, was on February 10, 2010, commented that “these Webern’s compositions, though Stravinsky Other works of sharply defined but greatly greeted with great acclaim upon its premiere in three pieces are inspired by various Chopin ma- claimed that he knew none of that composer’s varied character quickly brought Adès to wide London in February 2004; the work received its zurkas. Each contains three or four different

8 CAL PERFORMANCES CAL PERFORMANCES 9 PROGRAM NOTES PROGRAM NOTES elements that may be recognizable by listeners, Adès Franz Liszt (1811–1886) and images: “I saw on earth figures of angelic or may not. They obviously don’t sound like Arcadiana for String Quartet Petrarch Sonnet No. 123 from Années de grace…no leaf stirred on the bough, and all was Chopin, but they do sound like mazurkas. The Pèlerinage, Deuxième Année: Italie celestial harmony.” specific Chopin connections are perhaps more Composed in 1994. Premiered on November 16, (“Years of Pilgrimage, Second Year, Italy”) gestural than harmonic. And since Adès is a fan- 1994, in Cambridge, England, by the Endellion Quartet. tastic pianist himself, these are extremely chal- After a dazzling series of concerts in Paris in the Adès lenging to play.” Of Arcadiana, composed in 1994 for the spring of 1837, Liszt and his long-time mistress, The Four Quarters for String Quartet Adès refracted many of the typical charac- Endellion Quartet and premiered on Countess Marie d’Agoult, spent the summer teristics of Chopin’s mazurkas—their angular November 16 at that year’s Cambridge Elgar with George Sand at her villa in Nohant before Composed in 2010. Premiered on March 12, 2011, melodies, snapping decorations, rhythmic plas- Festival, Thomas Adès wrote in a preface to the visiting their daughter in Switzerland and then at Carnegie Hall in New York City by the Emerson ticity, sectional form—through the prism of his score, “Each of the seven titles which comprise descending upon Milan in September. As the String Quartet. distinctly 21st-century sensibility in the First Arcadiana evokes an image associated with birth of their second child became imminent, Mazurka. “Rubato”—the “robbing” or small ideas of the idyll, vanishing, vanished or imagi- they retreated to Lake Como, where Cosima Thomas Adès composed The Four Quarters variations of pulse of a strict tempo to enhance nary. The odd‑numbered movements are all (later the wife of conductor-pianist Hans von in 2010 on a commission from Carnegie Hall the expression of individual phrases—is one aquatic, and would be musically continuous if Bülow before she was stolen away by Richard for the , which pre- of the fundamental techniques of musical per- played consecutively. Movement I [Venezia not- Wagner) was born on Christmas Eve. They re- miered the work on March 12, 2011, in Stern formance. It was described as applied to vocal turna] suggests an ethereal Venetian barcarolle. mained in Italy for the next year-and-a-half, Auditorium. The title of The Four Quarters, as performance in the early 17th century by the Movement III [Auf dem Wasser zu singen] al- making extended visits for performances in with many of Adès’s instrumental compositions, Italian composer and theorist Pier Francesco ludes to the eponymous Schubert Lied. The title Venice, Genoa, Milan, Florence and Bologna is suggestive but not programmatic, this one de- Tosi: “When the bass goes at an exactly regular of movement V [L’Embarquement] derives from before settling early in 1839 in Rome, where rived from traditional uses of the term to indi- pace, the other part retards or anticipates in a Watteau’s painting The Embarkation from the Daniel Liszt was born on May 9. Liszt’s guide cate divisions of time—quarter-hour, quarter of singular manner, for the sake of expression, but Island of Cythera in the Louvre. Movement VII to the artistic riches of the Eternal City was the the year (as for financial dealings), quarter of a after that returns to its exactness, to be guided [Lethe] bears the name of the mythical River of famed painter Jean Auguste Dominique Ingres, lunar month, quarter of an athletic contest, the by the bass.” This non-aligningrubato was still Oblivion. The second Das[ klinget so herrlich, das then director of the French Academy at the Villa old English concept of quarter of a twelve-hour known during Chopin’s day (though it was soon klinget so schön] and sixth movements [O Albion] Medici; Liszt was particularly impressed with night—to imply the cycle of a day. The fleeting to be replaced by the modern type that coordi- inhabit pastoral Arcadias, respectively Mozart’s the works of Raphael and Michelangelo and the sounds, firefly sparks and momentary outbursts nates all the lines), and Adès’s Second Mazurka ‘Kingdom of Night’ [i.e., recalling the enchanted music of the Sistine Chapel. He took home as a of the first movement, Nightfalls, evoke the works a fascinating (although reversed) experi- bells by which Papageno calms Monostatos and souvenir of his Roman holiday the now-famous meditative hours of darkness. Eugene Drucker, ment around the earlier concept of rubato by his slaves in the Act I finale of The Magic Flute] drawing that Ingres did of him and inscribed to violinist and founding member of the Emerson playing a steady but elaborately ornamented and more local fields [i.e, the elegiac Nimrod Mme. d’Agoult. Liszt’s Italian travels were the String Quartet, said that Serenade: Morning and intricately syncopated right-hand melody movement of Elgar’s Enigma Variations]. At the inspiration for the series of seven luminous pi- Dew “is almost entirely pizzicato, with many ex- against a left-hand accompaniment that slips in dead centre is the fourth movement [Et... (tango ano pieces that he composed between 1837 and plosive chords interspersed with quieter pluck- and out of metric regularity. The closing move- mortale)], bearing part of the Latin inscription 1849, and gathered together as Book II of his ing. One could imagine that the pizzicato explo- ment, hushed throughout (its gliding center on a tomb which Poussin depicts being discov- Années de Pèlerinage (“Years of Pilgrimage”) for sions are like drops of dew on blades of grass, section is marked “lontano”—“as if from a dis- ered by shepherds: Et in Arcadia ego (‘Even in publication in 1858. scintillating as they catch the sunlight.” Days is tance”), is a dream of a mazurka, with widely Arcady am I’).” The Three Sonnets of Petrarch that occupy built around a repeating rhythmic murmur in spaced melodic leaps that seem intent on escap- the heart of the second set of the Années de the second violin that may suggest the steady ing the confines of the keyboard for some other Pèlerinage began as settings for high tenor voice flow of the hours or even of the days, one to the musical dimension. of verses by that hallowed 14th-century poet next. The other instruments wind slow-moving which Liszt composed in Italy in 1838–1839. harmonies around this ostinato figure before it Liszt transcribed these songs for piano solo in passes to the viola when the first violin begins 1845, and published them the following year. a long, chromatic ascent that climaxes with the Ten years later, he created extended fantasias on unanimous proclamation of the ostinato rhythm the songs’ materials for inclusion in the Années. by the full ensemble. The intensity subsides, the His last version of the songs was a revision for unanimity dissolves, and the movement comes low voice done in 1864. The dreamy mood of to an uneasy, dying close. The Twenty-fifth Hour the Sonnet No. 123 (I’ vidi in terra angelici cos- broaches the surreal not just in its metaphysi- tumi) evokes perfectly Petrarch’s gracious words cal title but also in its oxymoronic performance

10 CAL PERFORMANCES CAL PERFORMANCES 11 PROGRAM NOTES PROGRAM NOTES instruction—Alla marcia, dolcissimo (“in the The Quintet’s “main theme,” a simple, step- increasingly compresses the work’s materials into manner of a march, sweetly”)—and its improb- wise melody that is essentially tonal but slightly what Guardian music critic called able time signature—25/16, parceled out in askew, is given at the outset by the violin and “a metaphor for transformation as well as return. regular groupings of 4+4+3 and 4+4+3+3. “Adès’s then taken up by piano and the other strings; The themes may be the same, but they become invention, his humor and his inscrutability are the “second theme,” constructed around a jag- actors in a new, epic drama. In re-staging the to be marveled at,” wrote Mark Swed in his re- ged, leaping, two-note motive, arrives at the challenges of sonata form, the view of the Emerson’s performance of The Four crest of the work’s first climax. Much of what does not just articulate a contemporary creative Quarters in Los Angeles in March 2011. follows is built from transformations of these perspective: it represents a vivid re-imagination elemental musical building blocks—steps and of the musical past.” leaps—whose cumulative effect is guided by the Adès same dynamic force that the esteemed English Quintet for Piano and String Quartet, Op. 20 musicologist identified in the opening move- © 2011 Dr. Richard E. Rodda ment of Beethoven’s Fifth Symphony, whose Composed in 2000. Premiered on October 29, 2001, power derives not from the mere statement and in Melbourne, Australia, by the variations of its thematic atoms but from the with the composer as pianist. “long sentences” that are built from them. The flow of tension-and-release in the Piano Quintet Thomas Adès composed his Piano Quintet in is constant. Some examples in the “exposition”: 2000 for the Melbourne Festival and gave the strings and piano are held in opposition, rather work’s premiere with the Arditti Quartet on like two musical tectonic plates sliding across October 29, 2001. The work’s form, like its title each other; the rhythms rarely align, though and instrumentation, is conventional—sonata- their effect is more like non-synchronous plan- allegro—but its treatment is not. Rather than etary orbits within a solar system than outright simply a 21st-century analogue of Classical, bal- aggression; the tonal ambivalence is occasion- anced, late–18th-century “textbook” exposition– ally resolved with a few common chords; a re- development–recapitulation sonata form (though markable “going-over-the-waterfall-in-a-barrel” the textbook in which it was fully codified was passage lands on two hammered notes (derived not written until the 1820s), Adès’s work, like from the second theme) whose performance in- those of Beethoven’s last years, is concerned dication is “molto con slancio” (from the Italian with the fundamental principle of musical struc- verb, “to hurl, fling”). The exposition is marked ture—the creation of emotional and intellectual to be repeated, as in the 18th-century model. effect by organized sound across a defined pe- The “development” section creates enor- riod of time. Conventional musical forms deal mous tension through the forceful opposition with this requirement in a variety of ways; so- of strings and piano rhythmically, thematically nata form, instrumental music’s most powerful and harmonically, but this episode suddenly col- structural tool, satisfies the demand through lapses into an enervated sustained chord. A long, its apparently endlessly fecund progression of quiet, ethereal, almost forlorn passage follows in presentation of contrasting thematic material which the strings and then the piano seem to (exposition), exploitation of the themes to create seek, if not resolution, at least direction. (This tension (development), and balance and resolu- is precisely the function of the transition to the tion (recapitulation). Mr. Adès’s Piano Quintet recapitulation in traditional sonata form.) The comprises an exposition (which occupies twelve strings finally recall the main theme, which they of the work’s 20 minutes), development and play somewhat hesitantly in strummed notes recapitulation, but these components are trans- to create what the score calls a “lute effect,” formed into a new structural and expressive agreeing in metric structure with the piano for entity that attests to the old form’s continuing the first time in the work. The leaping second viability—and Adès’s creative brilliance. theme returns and the rest of the recapitulation

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Tonight Show with Conan O’Brien, Late Night School of Music and the Colburn Conservatory New York Philharmonic, and he made his con- with Jimmy Kimmel and The Late Late Show with of Music with Ronald Leonard, and at the ducting debut with the Royal Concertgebouw Craig Ferguson. , where they received the Artist Orchestra. He also made a welcome return to The group has longstanding relationships Diploma in Chamber Music Studies as the the , with whom he with composers and Christopher Juilliard Graduate Resident String Quartet. has developed a particularly close relationship, Rouse. The Quartet first met Riley when they They have also studied with Professor Eberhard for Aspects of Adés, an extensive series of concerts. shared a concert as part of the Los Angeles Feltz at the Hochschule für Musik Hanns Eisler Thomas Adès is a renowned interpreter of a Philharmonic’s Minimalist Jukebox Festival in in Berlin, and collaborated with such notable range of other composers’s music, and his perfor- 2006 and recently released a limited edition vi- performers as Menahem Pressler and Joseph mances and recordings of Beethoven, Schubert, nyl release of Riley’s Trio and Quartet in com- Kalichstein. The regularly con- Schumann, Tchaikovsky, Nancarrow, Kurtág, memoration of the composer’s 75th birthday. ducts master classes and are the quartet-in-resi- Ruders and Barry have been critically acclaimed. The Calder is also the first quartet in two de- dence at the Colburn Conservatory. he has conducted include City of Tyler Boye cades to have a work written for them by com- Birmingham Symphony, the Chamber Orchestra eemed “superb” by The New York Times, poser Christopher Rouse. Carnegie Hall, New Renowned as both a of Europe, the Philharmonia Orchestra, the Dthe Calder Quartet continues to expand Haven’s International Festival of Arts and Ideas, composer and a per- Los Angeles Philharmonic, Mariinsky Theatre its unique array of projects by performing tra- La Jolla Music Society and Santa Fe Chamber former, Thomas Adès Orchestra, London Symphony, the Royal ditional quartet repertoire as well as partnering Music Festival co-commissioned Rouse to write (piano) works regularly Stockholm Philharmonic, the BBC, Finnish with innovative modern composers, emerging a new quartet for the Calder, which premiered with the world’s lead- and Danish radio symphonies, and ensembles musicians and performers across genres. Inspired at the New Haven Festival of Arts and Ideas in ing orchestras, opera including Birmingham Contemporary Music by innovative American artist Alexander Calder, June 2010. The quartet’s album of Christopher companies and festi- Group (whose Music Director he was between the group was awarded the 2009 ASCAP Rouse works, Transfiguration, was also released vals. Appointed to the 1998 and 2000), the London Sinfonietta, Adventurous Programming Award in recogni- that year. Richard and Barbara Ensemble Modern and the Athelas Ensemble. tion of its programming and collaborations. The In 2008, the Quartet released its first album, Debs Composer Chair Several international festivals have chosen to Quartet has worked with and performed with which features the music of Adès, Mozart and at Carnegie Hall for present special focuses on his music. Among such pivotal modern composers as Terry Riley, Ravel. They were able to expand their relation- 2007–2008, he was Foxall Maurice these were Helsinki’s Musica Nova (1999), the Christopher Rouse and Thomas Adès, as well as ship with Mr. Adès by working directly with featured as composer, conductor and pianist Salzburg Easter Festival (2004), Radio France’s such bands as , Vampire the composer on a performance of Arcadiana as throughout that season. Mr. Adès’s most recent Festival Présences (2007), the Barbican’s Traced Weekend and party rocker Andrew W.K. part of the Green Umbrella Series at the Walt works include a “ with moving Overhead (2007), the Mariinsky Theatre’s New Recent highlights for the Calder Quartet Disney Concert Hall in May 2008, as well as image” entitled , a collaboration Horizons Festival in St. Petersburg (2007) and include performances at Walt Disney Concert in concert with the composer in Stockholm at with video artist , commissioned by the Royal Stockholm Philharmonic’s composer Hall; the in Knoxville; New the Stockholm Philharmonic’s Konserthuset in the Los Angeles Philharmonic and London’s festival (2009). Haven’s International Festival of Arts and November 2009. South Bank Centre, and Lieux Retrouvés, a work Born in London in 1971, Thomas Adès Ideas; La Jolla Summerfest; and in concert The Calder Quartet continues its relation- for cello and piano written for studied piano and composition at the Guildhall with Grammy Award-winning pianist Gloria ship with the Carlsbad Music Festival, an alter- and commissioned by the Aldeburgh Festival School of Music and Drama, and read music at Cheng at the Orange County Performing Arts native festival, which the group and the Wigmore Hall. King’s College, Cambridge. Between 1993 and Center and at Le Poisson Rouge in New York. co-founded with composer Matt McBane in Recent engagements include 1995 he was Composer in Association with the Performance highlights in the 2010–2011 sea- 2004. The festival presents concerts in both productions of The Rake’s Progress at the Royal Hallé Orchestra, which resulted in The Origin of son included the group’s Carnegie Hall debut, San Diego and Los Angeles as well as outreach Opera House in London and the Zurich the Harp (1994) and These Premises Are Alarmed the Washington Performing Arts Society, the programs and a composer-commissioning com- Opera and, in fall 2009, the Royal Stockholm for the opening of the Bridgewater Hall in 1996. 2010 Melbourne Festival with Thomas Adès as petition. Commissioned works for the Calder Philharmonic featured Mr. Adès as compos- Asyla (1997) was a Feeney Trust commission for pianist, and the world premiere of a new work by Quartet through the festival include a piece by er and performer in a major artist focus. In Sir and the CBSO, who toured it composer Andrew Norman for the University of Tristan Perich incorporating one-bit electronics spring 2010, a piano recital tour that included together and performed it at Symphony Hall in Southern ’s Presidential Inauguration. and a piece by using ro- Carnegie Hall and London’s Barbican Centre August 1998 in Mr. Rattle’s last concert as Music The Quartet toured North America with botic instruments. At this time, there are twelve featured the premiere of his new piano work, Director. Mr. Rattle subsequently programmed Andrew W.K. and the Airborne Toxic Event this original quartets commissioned for the Calder Concert Paraphrase from Powder Her Face. In Asyla in his opening concert as Music Director past year, and was featured on KCRW’s Morning by the Carlsbad Music Festival. 2010–2011 Mr. Adés returned to Australia as an of the in September 2002. Becomes Eclectic, The Late Show with David The Calder Quartet studied together at the artist-in-residence at the Melbourne Festival. As Mr. Adès’s first opera, Powder Her Face (com- Letterman, The Tonight Show with Jay Leno, The University of Southern California’s Thornton pianist, he appeared with Alan Gilbert and the missioned by Almeida Opera for the Cheltenham

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Festival in 1995), has been performed all round recently awarded the prestigious Diapason d’Or the world, was televised by Channel Four, and de l’Année and the 2010 Classical Brit Award is available on a DVD as well as an EMI CD. for Composer of the Year. In September 2005 Most of the composer’s music has been recorded his , Concentric Paths, written by EMI, with whom Mr. Adès has a contract for Anthony Marwood, was premiered at the as composer, pianist and conductor. Mr. Adès’s Berliner Festspiele and the BBC Proms, with the second opera, The Tempest, was commissioned Chamber Orchestra of Europe under his baton. by the Royal Opera House and was premiered His second orchestral work for Simon Rattle, under the baton of the composer to great criti- (2007), was commissioned by the Berliner cal acclaim in February 2004. It was revived at Philharmoniker and Carnegie Hall. Mr. Adès’s Covent Garden in 2007—again with the com- music has attracted numerous awards and poser conducting, and to a sold-out house— prizes, including the prestigious Grawemeyer and has also been performed in Copenhagen, Award (in 2000, for Asyla), of which he is the Strasbourg and Santa Fe. Recently released to youngest recipient in the history of the award. outstanding reviews, The Tempest is also avail- From 1999–2008 he was Artistic Director of the able on an EMI CD, and in France, the disc was Aldeburgh Festival.

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