2014 Festival of Contemporary Music Has Been Endowed in Perpetuity by the Generosity of Dr
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TANGLEWOOD MUSIC CENTER an activity of the Boston Symphony Orchestra Andris Nelsons, Ray and Maria Stata Music Director Designate Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Tanglewood Music Center Staff Library Anna Doane John Perkel Mary Murray Karen Leopardi Melissa Steinberg TMC Resident Assistants Associate Director for Faculty Orchestra Librarians Ellie Rutledge and Guest Artists Audrey Dunne Residential Office Assistant Michael Nock Head Librarian, Copland Associate Director for Library Audio Department Student Affairs Carlos Garcia Tim Martyn, Gary Wallen Assistant Librarian, Technical Director/Chief Associate Director for Copland Library Engineer Scheduling and Production Douglas McKinnie Production Audio Engineer, Head of Live Sound 2013 SUMMER STAFF John Morin Stage Manager, Seiji Ozawa Charlie Post Chief Audio Engineer, Administrative Hall Benjamin Honeycutt Ozawa Hall Ryland Bennett Assistant Stage Manager, Nicholas Squire Personnel Manager Seiji Ozawa Hall Audio Engineer and Kristie Chan Matt Costa Assistant Radio Engineer Artist Assistant/Driver Mike Martin Joel Watts Sonya Knussen Andrew Maskiell Associate Audio Engineer Office Coordinator Ryan Mix Meghan Ryan Stage Assistants, Seiji Ozawa Piano Programs and Scheduling Hall Assistant Steve Carver Chief Piano Technician Hannah Scott Residential Front Desk Assistant Barbara Renner Peter Lillpopp Chief Piano Technician TMC Residential Director Mike Janes Assistant Piano Technician 2014 BOSTON SYMPHONY ORCHESTRA FACULTY Members of the Boston Bonnie Bewick Valeria Kuchment Richard Sebring* Symphony Orchestra partici- Marshall Burlingame Stephen Lange Todd Seeber* pate in the daily activities of Glen Cherry Alexandre Lecarme Robert Sheena the Tanglewood Music Center, Rachel Childers Julianne Lee Thomas Siders giving master and repertoire Wesley Collins Ronan Lefkowitz* Tamara Smirnova classes, performing with our James Cooke Ben Levy Jason Snider orchestra, leading sectional Blaise Déjardin Malcolm Lowe James Sommerville rehearsals, and coaching Tatiana Dimitriades Jim Markey John Stovall chamber music. The follow- John Ferrillo* Michael Martin Richard Svoboda* ing players will be working Shiela Fiekowsky Thomas Martin* Thomas van Dyck with the TMC during the 2014 Clint Foreman Kazuko Matsusaka Keisuke Wakao season (faculty confirmed as Catherine French Mark McEwen Michael Wayne of 6/1/14). Edward Gazouleas* Cynthia Meyers Michael Winter Tim Genis Suzanne Nelsen Lawrence Wolfe The Instrumental and Rebecca Gitter Toby Oft* Benjamin Wright Orchestral Studies Program Gregg Henegar Wendy Putnam Owen Young Steven Ansell J. William Hudgins* Richard Ranti Michael Zaretsky Martha Babcock William R. Hudgins Thomas Rolfs* Jessica Zhou* Edwin Barker Mihail Jojatu Elizabeth Rowe* Cathy Basrak Mickey Katz Dennis Roy Daniel Bauch Sato Knudsen* Mike Roylance* * indicates section representative 2014 FESTIVAL OF CONTEMPORARY MUSIC Thursday, July 17, through Monday, July 21, 2014 John Harbison and Michael Gandolfi, Festival Directors Sponsored by the TANGLEWOOD MUSIC CENTER Works presented at this year’s Festival of Contemporary Music were prepared under the guidance of the following Tanglewood Music Center Faculty and guests: Stefan Asbury J. William Hudgins Ronan Lefkowitz Daniel Bauch John Harbison Michael Martin James Cooke Kayo Iwama Sanford Sylvan Stephen Drury Andrew Jennings Dawn Upshaw Norman Fischer Mihail Jojatu Howard Watkins Steve Rosen The 2014 Festival of Contemporary Music has been endowed in perpetuity by the generosity of Dr. Raymond H. and Mrs. Hannah H. Schneider, with additional support from the Aaron Copland Fund for Music, the Fromm Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund. is the exclusive provider of pianos for Tanglewood. The Tanglewood Music Center gratefully acknowledges The Studley Press, Inc., Dalton, MA, for printing this program. 2014 FESTIVAL OF CONTEMPORARY MUSIC Festival Overview 4 Festival Directors John Harbison and Michael Gandolfi 5 Thursday, July 17, at 8, Ozawa Hall 6 TMC Fellows and Guests Music of Jacob Druckman, John Harbison, Fred Lerdahl, James Matheson, Seung-Ah Oh, and Anna Weesner Friday, July 18, at 2:30, Ozawa Hall 14 TMC Composers Piece-a-Day Project TMC Fellows Music of TMC Fellows YiYiing Chen, Arne Gieshoff, David Hertzberg, Andrew Hsu, and Elizabeth Kelly Saturday, July 19, at 2:30, Ozawa Hall 16 TMC Fellows and Guests Music of Anthony Cheung, David Dzubay, Hannah Lash, Keeril Makan, Eric Nathan, and George Perle Sunday, July 20, at 10am, Ozawa Hall 26 TMC Fellows and Guests Music of Martin Boykan, Michael Gandolfi, Bernard Rands (world premiere), and Benjamin Scheuer (world premiere) Sunday, July 20, at 8, Ozawa Hall 32 TMC Fellows and Guests Music by Kate Soper and Andrew Waggoner Monday, July 21, at 8, Ozawa Hall 37 Tanglewood Music Center Orchestra, Stefan Asbury, Karina Canellakis, and Daniel Cohen, conductors Music of Roger Sessions, Steven Mackey, Charlotte Bray, and John Adams Annotators: Christian Carey, Frank J. Oteri, Zoe Kemmerling, Robert Kirzinger, Jean-Pascal Vachon Program copyright ©2014 Boston Symphony Orchestra, Inc. Program notes are copyright ©2014 to the individual authors. All rights reserved. 3 Tanglewood Festival of Contemporary Music 2014 by FCM Co-director John Harbison As we approach next year’s (re-)celebration of Tanglewood’s 75th Anniversary (this time the inception of the Berkshire Institute, the music academy within the Tanglewood Festival), we in the Composition wing are both celebrating and taking stock. It is a great time to think about what we have been doing and how we can do it even better. Highlighting one aspect of this summer’s Festival of Contemporary Music is a focus on music by former Fellows. This is probably the most concentrated presence of that kind in the history of this event. Especially noticeable will be the presence of very recent Fellows. Ever since we began this string of ten summers together at Tanglewood, we have taken seriously the tracking, and when appropriate, the encouraging of our alumni. We have learned how difficult it is to predict their progress, or to guess where they will wind up. In essence, we are trying to learn if their way-station with us has helped them on their journey. When we began this phase of composition at Tanglewood a decade ago, we listened carefully to Ellen Highstein’s conviction that the experience not be another form of conservatory or university, but something more intense, practi- cal, unpredictable, and if necessary even remedial. The composer-summer that has evolved blends older Tanglewood opportunities—theater, dance and occasionally film composition, Sunday morning high quality performances on programs with established classics—with onsite short writing projects. These include our notorious piece a day sequence (about this more later); pairings with voice-piano duos for a new piece possibly coached by such as Dawn Upshaw, Lucy Shelton, Shulamit Ran, and even guest-poet authors of the texts; pieces to be conducted by the com- poser-conductors themselves (finished only days before). This last project recently got a helpful new twist by asking each of the composers to conduct in both rehearsal and performance one of the other composers’ pieces as well. We encourage the composers to widen their skills, prepare for a world that will ask unexpected things from them. We try to guide them very lightly through their hardest passage, the time in between school and their real life, when too many voices are still coaching into their ears. We stress that we are not there to add more of those voices. We are there to encourage them to care less about all that—what their teachers and colleagues and neighbors want from them. We want them to be heard. At the same time we try help them to present themselves, with work on giving talks, coaching performers, even offer a much beloved class in taking a bow. Back to piece a day, in some ways our flagship moment, exemplifying our philosophy: roll up your sleeves, find your hidden best where you least expect it. In three contiguous 24-hour periods, three pieces for a not previously divulged combination of instruments, one day for revision, performance a week later. The hope—that in a near breakdown state some truths emerge, about what the composer REALLY wants to write. Comradeship is enhanced. Composition as a deed, not a calculation. Recent Fellows remember those days, and many other days, as encounters with the gritty priceless realities of their vocation. This summer we can represent only a small group from the many who have achieved distinction. And among those appearing here, some have already moved in new directions since these pieces, as is natural, as is desirable if we have succeeded in staying out of their way. **** Former Tanglewood Music Center Composition Fellows represented in this year’s FCM: John Adams (1974), Martin Boykan (1949-50), Charlotte Bray (2008), Anthony Cheung (2005), Jacob Druckman (1949-50), David Dzubay (1990), Michael Gandolfi (1986), John Harbison (1959), Hannah Lash (2005), Fred Lerdahl (1964/66), Steven Mackey (1984), Eric Nathan (2010), Seung-Ah Oh (2006), Benjamin Scheuer (2012), and Kate Soper (2006). 4 John Harbison has been a Tanglewood Music Center composition faculty member since 2006, in addition to having been director of the Festival of Contemporary Music in 2005 and 1992