1970 - s·oo

lAUD 0 tUM

ae Ze e Orvis AUditorium

Monday, June 29, 1970 8:00 P.M.

HE JUILLIARD E SE L

D IS U ELL D VIE, C n uc or

Anne Diener, fluteJoel Marangello, oboeVi gil Blackwell, clarinetCharles ussbaum bassoonRonald Romm, trumpetDavid Jolley, French hornGarrett List, tromboneRichard Fitz, percussion

William S orandt, perc ssionMax Lifchitz, pOanoRomuald Teco, violiKaren Phillip ,vio aFred Sherry, cel 0

Donald Palma, do bl ba sKathleen Bride, r

ro m

E gard Varese

oji Yua a

eil cKay

o ton Feldman

nton Weber

a(o Davido sky

Jacob Druc man

Octandre (1924)(For flu e, clarinet, a soon, h r, rumpe,rombone, contra-bas )

First Performance in Ha ali

P ojection for Violoncello d p. 0 (1 67

Fir t Performance in Hawaii

Tr"o for Harp, Flute and Viola (1954)Andante - AllegroLentoAllegro vi ace

Fir t Performance in Hawaii

Durations I (1 60)For a to lute, piano, vio In, cello)

Durations IV (1961)(For violin, cello vibraphone)Durations V (1961)(For horn, cele te, iano, harp, vibrap one, violin,cello)Fir t Performance in Hawaii

Concerto, 0 .24 (c. 1935)(F r lute, oboe, clarine, horn, r mp , trom 0

viol" ,viola, piano)First Performance in Ha aii

Synchr i m II (1968(For io i , ce 10, u e, c ar"net, ape)First Performance in Hawaii

Incenter (1968)(For flute, oboe, clari et bassoon, or, trumpe,rombone, violin, viola, cello, double bass, iano, elec­

tric orga , percussion)First Performance in Ha aii

o VIO..""...", ..

was ritten with he idea of making a contribu ion to t e ra he limitedrepertoire for this co bin tion of instruments. The harp shares in the prese a ion anddevelopment of musical mat rial and is not merely an accompanying instrume t. Struc­turally, the ovemen a uccess·vely ·n sonata, ternary and rondo forms . .. . c.

r are five pieces "n the ser"es called "Synchro isms," abo twhich Davidovs y no es at "they belo goa series of 5 or pieces herein conven-iona ins r me ts are ed i conjunction ith e ectronic sou s. The a tempt here as

bee ma e 0 preserve t e ty cia characteristics of the con entiona ins ru ents ando the elect 0 ic medium respecfvely-yet to achieve i teg a ion of bo h into a coherent

sical texture." "In the planning a d realization of these pieces," r. Dav"dovskyno es that, "t 0 ma·n problems arise-namely prope synchronization (a) of rhy hm and(b) of pitch. During he orter episodes where bo h electronic and conventional instru­me ts are playi g, rather s r"ct fming is adhered to. Ho ever, in the more ex ended epi­sodes of h's ype, a elemen of c a ce is introduced to allow for he inevitable fmedi crepanc"es tha devel p bet een the live performer(s) and he consta t speed taperecorder.

ach"e e pitch coh re ce bet een e conventional i s ruments ich use theI e chroma ic cale and e el ctronic medi m ich is non- empered, se is

rna e nal occurr c of very h·gh densi y-manifes e for examp e by aery ighspe d s c '"'" f a ae ,po ·ble a Iy in he electronic medium. Thus, in suc in-tances- a e nigh ee and ho dura ion of separate tones, it "s impossibe

for he ear to perceive he pure pitch a ue of each separate event; though in reac ing, itdoes trace, 0 to pea, a a i 'cal curve of the den ity. 0 Iy in a ery few instanceshave tern e ed e ec ronic itche been e ployed in he Sync ronisms. Th oughou all

iece , a e recorde h been ed a an i tegra ar of the instr me tal fabr"c."... D.

C a circle, or a pyra id ith·n aphere; e La" in-

cenere, eave charms orspe Is. he brass domina e, and t ey e in motion each chain of musica eve ts by up­setting the equirbrium es ablished y the other inst uments. These states of equilibriumderive from static, symmetrical chords who e ultimate, unli ely source is Boris Godou­nov! The ae ual Coronafon ce e cords are uoted shorty befo e theinal section' 0

over app·ng bloc s 0 ound. T e no ation·s ometime prec"se, some imes p oportion­al so hat e players relate 0 eac a he free y or at the co ductor's wh'm, the result·s fie ibi i Y i hin a ca ful y true re form ... J.D.

About he Arti t

I YUASA was born in Koriyama in 1929. During his undergraduate study as a medi­cal student at Keio University, Mr. Yuasa became interested i musical crea ivity andeventually devoted all of his time to corral !osition stu y'n 0 yo's famed ExperimentalWorkshop (Jikken Kobo) where he was associated with Toru Ta emitsu one of Japan'smost distinguished composers. He has won the Grand P ize of e Japan Art Festivaland the Golden Lion Award of the Venice Film Festival as ell as numerous ot erawards for his radio, television and film compositions. As a 1968 apan Society Fellow­ship grantee, Mr. Yuasa traveled and lectured throughout the United ates and Europe.In 1969 he was selected as a composer and organizer for the 1969 Japa Cross TalkFestival which featured multi-media projections by Japanese-American creative artists.Mr. Yuasa has recently completed two major commissioned works for the Communica­tions and Textile Pavilions of Expo '70.

ElL cKAY was born in Brifsh Columbia, Canada, in 1924. After two years of serviceas clarinetist with the Canadian Navy Band, he worked in Canadian radio as arrangerand conductor. He was educated at the University of Western Ontario (B.A) and theEastman School of Music (M.A., Ph.D.) He has been teaching in the United States forthirteen years, for the past five years as teacher of theory, orchestration, and composi­tion at the University of Hawaii. McKay's compositions have been heard in the UnitedSta es, Canada, Europe, and South America. They include orchestral and band works,chamber music, choral and piano music, and comic opera. Several works have beenpublished and recorded.

ORTO FELD A was born on January 12 1926, in New York Ci y. He began hisstudy of mu ic at the age of twelve with Madam Maurina-Press; at fifteen, he was a com­position and counterpoint student of Wallingford Riegger; and later, at eighteen, he waspursuing informal studies with Stefan Wolpe. In 1950 he met and became friends withJohn Cage, whom he admired as one of the grea experimentalists of our time. ThroughCage he met the pain ers Guston, de Kooning, Pollock, and Kline as well as the musi­cians Henry Cowell, Virgil Thomson, Earle Brown, and Pierre Boulez. The complete listof Feldman's composi ions is long and includes music for orchestra, chamber ensem­ble, chorus, solo voice with instruments, keyboard, magnetic tape, and incidental u­sic for rim. Feldman is pUblished by C. F. Peters, and his works have been recorded byColumbia, Odyssey, and Time Records.

o D IDOVSKY was born in Buenos Aires, Argentina in 1934. A resident of theUni ed States since 1958, he has won ma y major awards which include: Two Guggen­heim Fellowships, grants from the Rockefeller Foundation and the Koussevitsky Foun­dation, and a Fromm Foundation Commission for Synchronisms II. Most of his import­ant works have been connected with the Columbia-Princeton Electronic usic Center.

JACOB DRUCKMAN was born in Philadelphia in 1928. He earned the B.S. and M.S. incomposition at Juilliard where he has been a member of the iterature and Materialsof Music faculty since 1958. His honors have included: Tw Guggen eim Fellowships(1957 and 1968); a grant (1969) from the American Academy of Arts and Letters and theNational Institute of Arts and Letters; an award (1967) from the Soci ty or Publicationof American Music for Dark Upon the Harp (recorded by C.R..) Hi commissioned worksinclude: String Quarters NO.2 by Lado for the Juilliard Quartet 1966); The Sound of Time,1964 by the Naumberg Foundation; Ballet Music for Jose Limon by Juil lard (1960); ViolinConcerto by the Berkshire Music Festival at Tanglewood.

The J IL ARD E SEM LE was founded by Luciano Berio for the purpose of perform­ing on the highest possible level the new music of our times. Under co-directors LucianoBerio and Dennis Russell Da ies, the Ensemble has, since early 1968, pre ented concertsin Copenhagen, Rome, Perugia and London. During the 1968 sum er, the Ensemblewas in residence at the Festival of Two Worlds 'n Spoletto, Italy, and' he 1969 springthey gave three concerts at the Sixth International Festival of Contemporary Music inRoyan, France. The Ensemble has recorded for the West German Radio, the Da. i hState Radio, the British Broadcasting Corporation and the National E ucational Telev'­sian Network in the United States. Commercial recordings conducte by Serio andDavies have been released by Philips. In the 1970-1971 season the Ensemble will pre­sent four concert at Alice Tully Hall in Lincoln Center and will become the contem­porary music group in residence at the center.

DE NIS RUSSELL DAVIES, co-director with Luciano Berio of the J illiard Ensemble,holds degrees in piano performance and orchestral conducting. He is also the conduc­tor of the Juilliard Repertory Orchestra and teache orchestral condu ting. He has beeninvolved with many performances of new works inc uding first Ameri an performancesof uciano Serio's Passaggio, Laborintus and Chemins 1/, and the pre iere of Eric Salz­man's Verses and Cantos. Mr. Dav'es has recently completed a sue essful season asconductor of the Norwalk Symphony Orchestra and the Juilliard Re ertory Orchestra.The world premiere of Luciano Berio's Opera at the Sante Fe Opera Company will beconducted by Mr. Davies on August 12 and 4, 1970.

Ac 0 ledgemen 5:

Program Comm'ttee:ell McKay, chairman

Arma d RussellRicardo TrimillosEdwar iga stude representative