{October twenty8th–thirty1st
, 20ten}
M adn e ss an d Music Fe stivalR o b e r t a n d M ar g r it M o n d av i c e n t e r f o r t h e P e r f o r m i n g ar t s
Oc tOb e R 28–31, 2010P r e s e n t e d by t h e
MO n davi ce nte R a n d t h e u c davis de Pa RtM e nt O F Music
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Welcome to the UC Davis Madness and Music Festival, presented in conjunction with the Mondavi Center for the Performing Arts and the UC Davis Department of Music. We are delighted that you are joining us as we explore the ways music can serve as a refuge, a statement of joy, and a means of survival for the composer, the performer, and the audience member. In particular, our festival celebrates the 200th anniversary of Robert Schumann and juxtaposes his music with that of several modern composers, including our composer-in-residence Lee Hyla, UC Davis faculty members Christian Baldini and Pablo Ortiz, and our eight exceptionally gifted composer fellows.
A variety of different musicians will perform six exciting concerts, which will include the ensembles Alarm Will Sound, the UC Davis Symphony Orchestra, the Empyrean Ensemble, and soloists Hrabba Atladottir, Chris Froh, Susan Lamb Cook, Sara Gartland, Ellen Ruth Rose, and Eric Zivian. The festival is not limited to composers and performers, but includes musicologists and other scholars: Anna Maria Busse Berger and D. Kern Holoman have written new essays specifically for this program booklet, and they will be joined by Christopher Reynolds, Jessie Ann Owens, Dean Simonton of the UC Davis Department of Psychology, and Mitchell Morris (UCLA) in a panel discussion. This in-depth discussion will focus on the nineteenth-century concept of madness, and how the Romantic conception of the creative mind has been transformed in contemporary culture.
So sit back, enjoy the offerings of the next several days, and welcome to Madness and Music. We hope you enjoy the festival!
Christian Baldini • Sam Nichols • Mika Pelo • Kurt Rohde • Laurie San Martin —Madness and Music Festival co-organizers
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Schedule of EventsNote: Program notes follow each concert’s program and appear in performance order.
Thursday, October 28 12:05PM NoonConcert•YochaDeheGrandLobby . . . . . . . . . . . . . . . . 7–8
1:00PM Reception•YochaDeheGrandLobby
1:30PM MusicologyPanelDiscussion•VanderhoefStudioTheatre . . . . . . . . 4
7:00PM ElectronicMusicConcert•VanderhoefStudioTheatre . . . . . . . . . . 9–10
Friday, October 296:00PM Pre-ConcertLecture•YochaDeheGrandLobby
7:00PM EmpyreanEnsemblePerformance•VanderhoefStudioTheatre . . . . . . 11–13
Saturday, October 30 7:00PM Pre-ConcertLecture•JacksonHall
8:00PM AlarmWillSoundPerformance•JacksonHall . . . . . . . . . . . . . . 14–16
10:30PM EricZivianPerformance•VanderhoefStudioTheatre . . . . . . . . . . . 16
Sunday October 31 10:00AM AlarmWillSoundReadingSession,PartI•VanderhoefStudioTheatre
2:45PM AlarmWillSoundReadingSession,PartII•VanderhoefStudioTheatre
7:00PM UCDavisSymphonyOrchestraPerformance•JacksonHall . . . . . . . 17–19
Essays, EtceteraAboutComposer-in-ResidenceLeeHyla . . . . . . . . . . . . . . . . . . . . . . . . 4
Schumann TodaybyD.KernHoloman . . . . . . . . . . . . . . . . . . . . . . . . . 5
In Memoriam: John DaveriobyAnnaMariaBusseBerger . . . . . . . . . . . . . . . . 6
UCDavisSymphonyOrchestraEndowment . . . . . . . . . . . . . . . . . . . . . 22
AbouttheFestival’sArtistsandComposers . . . . . . . . . . . . . . . . . . . . . . 23–30
EmpyreanEnsembleFundandEndowment . . . . . . . . . . . . . . . . . . . . . . 31
SpecialThanks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
TheRecitalHallFund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
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L ee Hyla, composer-in-residence,wasborninNiagaraFalls,NewYork,andgrewupinGreencastle,Indiana.HehaswrittenfornumerousperformersincludingtheOrpheusChamberOrchestra,theKronosQuartet(withAllenGinsberg),the
ChamberMusicSocietyofLincolnCenter,SpeculumMusicae,theBostonModernOrchestraProject,theLydianStringQuartet,TripleHelix,TimSmith,TimBerne,LauraFrautschi,RhondaRider,StephenDrury,MiaChung,JudithGordon,MaryNessinger,andBostonMusicaViva.
HehasreceivedcommissionsfromtheKoussevitzky,Fromm,Barlow,andNaumburgFoundations,theMaryFlaglerCareyCharitableTrust,ConcertArtist’sGuild,threecommissionsfromChamberMusicAmericaandtwoMeettheComposer/Reader’s
DigestConsortiumcommissions.HehasalsobeentherecipientoftheStoegerPrizefromtheChamberMusicSocietyofLincolnCenter,aGuggenheimfellowship,twoNationalEndowmentfortheArtsfellowships,theGoddardLiebersonAwardfromtheAmericanAcademyofArtsandLetters,theSt.BotolphClubAward,andtheRomePrize.
CurrentcommissionsincludeasoloviolinpieceforMidoriandVadimRepin,fromtheMidori/Repincommissioningproject;aConcertoforOrchestrafortheSt.PaulChamberOrchestra,fromMeettheComposer;andapiecebasedonPolishfolksongs,forBostonMusicaViva.
HismusichasbeenrecordedonNonesuch,NewWorld,Avant,Tzadik,andC.R.I.,anditispublishedexclusivelybyCarlFischer.AnewCDofchambermusic,includingWilson’sIvory-bill, StringQuartetNo.4,The Dream of Innocent III,andAmnesia ReduxforpianotrioisforthcomingonTzadik.Infallof2004hewasresidentcomposerattheAmericanAcademyinRome,andinthewinterandspringof2005hewasacompositionfellowattheCamargoFoundationinCassis,France.LeeHylalivesinChicagowhereheistheWyattChairofMusicCompositionatNorthwesternUniversity.
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1:30 pmVanderhoef Studio Theatre
Panel Discussion
Anin-depthdiscussionregardingtheconceptofmadnessinthe1800sandtoday,howtheRomanticidealofthecreativemindwascompatibleinmanywayswithmentalillness,andhowthishaschangedincontemporaryculture.
ProfessorAnnaMariaBusseBerger,moderator
Panel Members
MitchellMorris•DepartmentofMusic,UCLAJessieAnnOwens•Dean,HARCSDivision,CollegeofLettersandScience,UCDavis
ChristopherReynolds•Chair,DepartmentofMusic,UCDavisDeanSimonton•DepartmentofPsychology,UCDavis
This Panel Discussion is made possible in part by a grant from the Davis Humanities Institute.
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Schumann TodayD.KernHoloman
A ssigningattributestothesaintsgoesbacknearlytwothousandyears.St.Peterhashiskeys;St.CatherineofSiena,herlily;St.Sebastian,hisarrows.GreatleaderslikeJoanofArcandRichardtheLion-Heartedhaveuniversallyrecognizedheraldic
emblems.TheRomanticcomposersandespeciallytheirchroniclersreveledinpsychiatricattributes:Beethoven,justthengoingdeaf,rippedawaythetitlepageofhisNapoleonicsymphonyandinsteadcalledit“Eroica.”Schubertcouldn’tfinishhissymphony.Berlioz,atleastaccordingtoLeonardBernstein,famouslyself-medicatedandthen“tookatrip”
offantastichallucinations.Lisztslepthiswaytothetop;Tchaikovskycouldn’tdecidewheretosleep.AndSchumannleaptoffabridge,wentmad,anddiedinaninsaneasylumwhilehisstudentBrahmscourtedhiswifeClara.
Titleslike“MadnessandMusic”haveanintriguingringtothem.Theyurgeourfocusonthemostdifficulttruthsofmusicalart:theagonyofdiscoveringnewbeauty,theartist’softendesperateloneliness,andtheuncertaintyofthepointwhereartistictemperamentamountstocomingunglued.ThedistinguishedUniversityofCaliforniapsychiatristandprofessorPeterOstwald(1928–96)establishedabranchofmoderninquiryinhisSchumann: The Inner Voices of a Musical Genius(NortheasternUniversityPress,1985).Thenhewentontotreattwootherremarkablecasesin Vaslav Nijinsky: A Leap into Madness(CarolPublishingGroup,1991)andGlenn Gould: The Ecstasy and Tragedy of Genius(W.W.Norton,1997).Inrecentyears,thiskindofworkhascontinuedwith,forinstance,theworkofWilliamA.FroschoftheCornellMedicalCenter:“Moods,Madness,andMusic,”thesecondinstallmentofwhichasksustoconsiderthequestion“WasHandelinsane?”OliverSacks’sMusicophilia(AlfredA.Knopf,2007)includesinits2008paperbackeditionsubstantialrewritingandretitlingofthechapter“Lamentations:Music,Madness,andMelancholia.”Schumann’sinnerworldis,moreover,welldocumentedinhisowndiaries.Alreadyattheageoftwenty-threeheissubjectto“theworstfearamancanhave,theworstpunishmentHeavencaninflict—thefearoflosingone’sreason.”Shortlyafterwardherecords,simply,“Iwasobsessedwiththethoughtofgoingmad.”
Butontheoccasionofthe200thanniversaryofhisbirth,itmakessensetocelebrateothercriticaladvancestoo.Agenerationago,Schumann’sworkwasnearlyasmyth-boundasBerlioz’s.LikeBerliozwithhis“flawed”basslines,itwasoftenthought(andtaught)thatSchumann’sorchestrationwasdefective.Now,thankstosimpleattentiontoearlyRomanticorchestralsizeanddeployment,andtosuchbreathtakingaccountsasthatofthe“Rhenish”SymphonywithMichaelTilsonThomasandtheSanFranciscoSymphonyhereintheMondaviCentertwoseasonsago,thequestionofSchumann’sorchestralprowesshardlybearsaskingatall.Asolidbodyofmusicologicalscholarship,ledbyscholarsJohnDaverio,LindaCorrellRoesner,JohnWorthen,andUCprofessorsAnthonyNewcombandChristopherReynolds,hashelpedtoidentifyandcontextualizethemanydetailsofcompositionalpracticeandbiographicalcircumstancethatdemonstratethecriticalbridgeSchumannprovidesfromtheClassicaltothelateRomanticidioms—andhowSchumannhimselflinksLeipzigandthentheRhinelandtoParis,London,Vienna,andbeyond.
MeanwhileProfessorOstwald’swidow,LiseDeschampsOstwald,hasgainedfirstaccesstotherecordsattheasyluminEndenich,addinganewchaptertotheexpandededitionofInner Voices for2010.AllthisandmoreprovidethelandscapeforRethinking Schumann, ed.Roe-MinKokandLauraTunbridge(OxfordUniversityPress,2010),toappearjustasourfestivalgetsunderway.Schumann’svoice,alwaysamongthemostlyricandinventiveofhiscentury,seems—twocenturieslater—morecompellingthanever.
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In Memoriam: John DaverioAnnaMariaBusseBerger
J ohnDaverio(1954–2003)wasaleadingexpertonGermanRomanticismandabelovedprofessorofmusicologyatBostonUniversity,whereweweregraduatestudentstogetherinthelate1970sandearly80s.WithoutadoubtoneofthebestyoungviolinistsintheBoston
area,hecouldhaveeasilymadeacareerasaprofessionalmusician.Buthelovedresearch,anditwasquicklyclearthatviolinperformancewasnotenoughforhim,soheswitchedfromtheviolinprogramtomusicology.AfteradissertationonBaroquetriosonatas,accomplishedinrecordtime,nineteenth-centuryRomanticismbecamethefocusofhisinterests.HebeganwithabrilliantarticleonSchumann’sFantasie, op.17(winningtheAmericanMusicologicalSociety’sAlfredEinsteinAwardin1988),whichwasfollowedinsuccessionbythreeimportantbooks:Nineteenth-Century Music and the German Romantic Ideology(1993),Robert Schumann: Herald of a “New Poetic Age” (1997),andCrossing Paths: Schubert, Schumann, and Brahms (2002).ProbablythemostimportantoftheseistheSchumannbiography;itrehabilitatesthecomposer’slate-periodworks,previouslymisunderstoodandunderestimated.DaverioshowshowSchumann’sbipolardisorderinfluencedhiscompositionaloutputthroughouthislife.Thereareilluminatingdiscussionsofthelateworks,includingScenes of Goethe’s Faust andtheoperaGenoveva—popularinthenineteenthcenturybutnearlyforgottenuntilLeonBotstein,likelyinspiredbyDaverio’sbook,conductedthematBardCollege’ssummerfestivalsin2006and2010.
Daverio’sbooksonSchumannandhiscontemporariesareimpressivebecauseheimmersedhimselfinthesubjectsofnineteenth-centuryliteratureandphilosophy.DuringourtimeatBostonUniversity,wewoulddiscussnovelsbySchumann’sfavoritewriter,JeanPaul,unavailableinEnglishtranslation.HeprovedasimilarknowledgeofthevisualartsbyshowingmereproductionsofpaintingsbyPhilippOttoRungeandCasparDavidFriedrich,thenlittleknowninthiscountry.
Johnmusthavehadaphotographicmemory.Whenwepreparedforthedoctoralqualifyingexaminations,hesomehowalreadykneweverythingtherewastobelearned,andhebecameanexcellentsourceofinformationforme.Hewasasuperbteacherandpubliclecturer,regularlyspeakingatBostonSymphonyHall.WemanagedtoinvitehimtogiveseverallecturesatUCDavis.HetalkedaboutClaraandRobertSchumanninmyundergraduatemusichistorysurveyclass,andthestudentsweremesmerized.
Johndiedattheageofforty-eight.HewasfoundintheCharlesRiveramonthafterhedisappeared.Thepoliceestablishedthattherewasnofoulplay.AsInowthinkbackonmylastconversationswithhim,Irealizethathewasutterlyexhaustedanddepressed.HehadbeentheDirectoroftheSchoolofMusicatBU,chairofthedepartment,anddidnotknowhowtocareforhisfrailparents,whomheloveddearly.Itseemshewasnotabletoreachoutforhelp.Eventhoughhediedsevenyearsago,IcanhonestlysaythatadaydoesnotpasswhenIdon’tthinkofhim.HewasmyfirstfriendinAmerica,andheintroducedmetocountlesscompositionsandbooks.WheneverIhadnewideasforresearchIwouldcallhimanddiscussthemwithhim;whateverIwroteIsenttohim.Mychildrenadoredhim.Onecouldnotwishforamoreloyalfriend.
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12:05 pmYocha Dehe Grand Lobby, Mondavi center
Shinkoskey Noon concertEric Zivian, piano
andHrabba Atladottir, violin
Program
Six Melodies forViolinandKeyboard(1950) JohnCageMovementI (1912–92)
Third Party forSoloPiano(1998) LeeHyla (b.1952)
Six Melodies CageMovementII
Thema mit Variationen inE-flatMajor,WoO24 RobertSchumann(“Geistervariationen”)forSoloPiano(1854) (1810–56)
Six Melodies CageMovementIII
Glitch forSoloPiano(2010) RamteenSazegari (b.1983)
Six Melodies CageMovementIV
Tre pezzi forViolinandPiano(1993) GyörgyKurtágÖd und traurig (b.1926)VivoAus der Ferne
Six Melodies CageMovementVMovementVI
reception to FollowPlease join us for a brief reception in the lobby following the performance.
We ask that you be courteous to your fellow audience members and the performers. Please turn off your cell phones and refrain from texting. Audience members who are distracting to their neighbors or the performers in any way may be asked to leave at any time.
Also, this performance is being professionally recorded for the university archive. Photography, audio, or audiovisual recording is prohibited during the performance.
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Six MelodiesforViolinandKeyboard(1950)wascomposedwhileJohnCage(1912–92)sufferedaperiodofemotionallyintenseself-examinationandself-
negation.In1942Cageandhiswife,XeniaKashevaroffCage,haddecidedtomovetoNewYorkCityinpursuitoffuturefortune.HisreacquaintancetherewithMerceCunninghamunexpectedlykindledhisaffection,andsoonafterCageterminatedhisten-yearmarriage.HissexualreorientationandthebreakupwithXeniadrovehimintoastateofself-denialandemotionalinstability.OntheadviceofseveralfriendsheconsultedaJungiananalyst.Whenthisfailedtohelphim,heturnedtoIndianandChinesephilosophy,concentratingonZenandBuddhism.Consequently,“orientalphilosophy,”inCage’swords,“tooktheplaceformeofpsychoanalysis.”Thepsychologicalconflictbetween,ontheonehand,thewishtotranscendintoNirvanaand,ontheother,savoringthedesireforcontrolinahumanworld,isthemainideaofthispiece.Theenthusiasmforthestateofvoid—thatis,thenegationoftheearthyworldandthemergingwiththedivine—isrepresentedinthecomposition’satmosphereofstillnessandquietness.Cageaskstheviolinisttoplaywithoutvibratoandwithminimumweightonthebow,tocreateadetached,yetverybeautifulsound.Ontheotherhand,ahumancravingforcontrolisreflectedinhischoiceofthestructureofthepiece,organizedbyarhythmicdurationalstructureof31/2,31/2,4,4,3,4.Thereisaconceptualrelationshipbetweenthisworkand4’33”,hismostwell-knownwork,whichpremieredtwoyearslater.In 4’33”hefullygivesupcontrolofmusicalcontentandstructure,creatingarhythmicalandstructuralemptinessperhapsclosertohisidealstate.
—ChiaWeiLin
Third PartywascommissionedbyJudithGordonspecificallyasaset-uppieceforLiszt’sB-MinorSonata,whichsheperformedinarecitalinMay1998.Although
therearenodirectquotationsfromLiszt’sSonata,IattemptedinahighlycompressedwaytoalludetothestrongcontrastsheardintheSonata.Third Partyisabriefbutactivepiecethattakesitsintroductorymaterialthroughthreecontrastingepisodes;eachoftheseismarkedbyadifferentapproachtotheinstrument.Thefirstisalargelydiatonicsectioncharacterizedbytheuseof“stopped”notesinsidethepiano(providingsometimbralvarietyandanadditionallevelofrhythm);thesecondasomewhatathleticvariantcoveringawideregistralrange;andthethirdanintrospectivepassagewithreferencesbacktothefirst.Thepieceendswithmusicthathaspreviouslybeenheardastransitionalmaterialbetweenthesections,nowresolvingintoaC-majortriad.
—LeeHyla
N eartheendofhislife,composerRobertSchumann(1810–56)spenttwoandahalfyearsinanasyluminEndenich,asuburbofBonn,Germany,athis
ownbehest.Schumannstruggledwithseveredepressionthroughouthislife,andin1854developedseverepsychosis,leadingtoasteadydeclineinhismentalhealth.Thesesymptomswerelikelytheresultsofaninflictionofsyphiliscontractedin1832.Theseailmentsmayalsobeexplainedthroughmercurypoisoning,acommontreatmentforsyphilisatthetime.Schumann’swife,Clara,hadlargelybeenpreventedfromseeingSchumannthroughouthisstayinEndenich,asthiswastheconventionoftheasylumdirector.Sadly,asaresult,SchumanndiedaloneonJuly29,1856.
H ebegancomposinghisThema mit Variationen, or “Geistervariationen”(GhostVariations)in1854afterhearingathemethatheconsideredtobebroughtby
anangelicvision.HewouldtellClarathatthisangelwasthespiritofeitherFelixMendelssohnorFranzSchubert.Alas,thethemethatSchumannthoughtwasanotherworldlygiftwasareiterationofoneofhisownpriormelodies,usedpreviouslyinhisStringQuartet,op.41,no.2(1842)andtheslowmovementofhisViolinConcerto,WoO23(1853).HecomposedthefirstfourvariationsjustpriortoanabortedsuicideattemptinFebruary,whenhejumpedfromabridgeintotheRiverRhine.Hewasrescuedandthencomposedthefinalandfifthvariationoftheset.TheentireworklastsbetweennineandtenminutesandismusicallyamoremodestworkwhencomparedwithSchumann’spreviouscompositionsforsolopiano.ThevariationsareconsideredSchumann’sswansong,inthattheyrepresenthisfinalcompletedoriginalwork,thoughhewouldcontinuetoeditearlierworksandtranscriptionsuntilhisdeath.JohannesBrahmspublishedthe“Geistervariationen”andwoulduseSchumann’sthemeforhisownVariationsforPiano,FourHands,op.23.
—PeterHill
I ncomposingthispiece,Glitch, Iwishedtocommunicatetherhythmicprofilesofbothmodernelectronicandclassicalmusicwhileincorporatingaharmoniclanguage
thatismercurialinnatureyetcontextuallyrelevant.Manyofmyelectroniccompositionscontainanelementthatstutters,hesitates,andconstantlychanges.Itisforthesesuddeninterruptionsthatthepieceearnsitstitle,Glitch. Whenconsideringtheharmonictexture,IchosetohaveonlyonenoteattackatatimetoexemplifythethinandpointillisticnatureofthepopularelectronicmusicIhavebeensocloseto.Althoughtheharmonicmotionproceedsveryquickly,itdoessowithoutthesupportofdenseverticalsonorities.Inplaceofsimultaneousharmonicstructures,Iimposedanumberofcontrastinggesturalideas,i.e.,canonicimitation,rapidlyrepeatednotes,andareasofstarkrhythmicactivity.
—RamteenSazegari
B orninRomania,composerGyörgy Kurtág(b.1926)movedtoHungaryin1946.AlthoughapupilofVeress,Farkas,Milhaud,andMessiaen,hewas
profoundlyinfluencedbythemusicofBartók.MostofKurtág’scompositionsareminiatures,andTre pezzi per violino e pianoforteisnoexception;itconsistsofthreeconcise,ingenious movements: Öd und traurig; Vivo; Aus der Ferne.ThepieceishighlycondensedandreminiscentofWebern’smusic.Kurtágchoosesafewnotes,butmakesgooduseofeachone.Thus,eachnotehasgreatermeaningbyallowingasinglenotetobemoreexpressivethaniftherewerenumerousnotes.ThemusicalideasofthethreemovementsarecharacteristicofKurtág’smusic:thesinglegestureforthefirstpieceisfollowedbythedramaticsecondmovementandendswithacalmandlyricalthirdmovement.Offeringaspecialworldoftimeandspace,Tre pezzicreatesamysterioussenseoftimbre.Forexample,theviolinpartplayswiththemutethroughout.Inthefinalmovement,Aus der Ferne,theviolinplayssul tasto (overthefingerboard),whilethepianousestheuna corda pedal,playingextremelysoftandatmospheric.AstheviolinplaysmanyslowornamentationsaroundthepitchB,amoodyhesitationbuildswhilethemusicbidsthelistenersfarewell.
—Ching-YiWang
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7:00 pmVanderhoef Studio Theatre, Mondavi center
andYocha Dehe Grand Lobby, Mondavi center
Electronic Music / Mixed Media concert
Program
Silver Streetcar for the Orchestra (1988) AlvinLucier (b.1931)
ChrisFroh,amplifiedtriangleVanderhoefStudioTheatre
Rainforest IV (1973) DavidTudor (1926–96)
YochaDeheGrandLobby
Rainforest IV Performers
ThisgroupofundergraduatespreparedthisrealizationofRainforest IV inSamNichols’sMusic198classduringthespringof2010.SpecialthankstoJesseDrewoftheTechnoculturalStudiesProgram,whose
“ElectronicsforArtists”classwasaninvaluableresource.
SharmiBasuJohnBrumleyAaronCooperMichaelDorrityCodyDuncanGarethEwing
AlejandroGonzalezPatrickLanghamAdamMoralesDakotaSalazarDanielScrivano
We ask that you be courteous to your fellow audience members and the performers. Please turn off your cell phones and refrain from texting. Audience members who are distracting to their neighbors or the performers in any way may be asked to leave at any time.
Also, this performance is being professionally recorded for the university archive. Photography, audio, or audiovisual recording is prohibited during the performance.
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A lvinLucier’s1988compositionSilver Streetcar for the Orchestrafollowsinaseriesofpiecesthatexplorethesoniccapabilitiesofasingleacousticinstrument.The
instrumentoffocusinSilver Streetcar for the Orchestra isthetriangle.Confrontingtheaudiencewiththesteadytoneoftheinstrument,Lucierforcesthelistenertofindsubtletieswithinthesound.Astheperformeraffectsthesoundthroughdampeningsectionsofthetriangleandvaryingthespeedwithwhichhestrikestheinstrument,subtlechangesbecomedramaticeventsthatwouldotherwisehavebeenoverlooked.Thetriangleiswellsuitedforsuchexplorationasitswiderangeofovertonescanbeisolatedanddampenedbymanipulatingpointsofvibrationalongthesurfaceoftheinstrument.Andmuchinthewaythatarepetitivemelodyorrhythmcauseslistenerstoadjusttheirearstosmallchangesbetweeniterations,asteadytoneortimbrewillbecomefamiliartothepointthattheslightestdeviationreceivesattention.Itisfurtherimportanttostressspatialimportanceoftheperformancespacetothelisteningexperience,asLucierhasexploredextensivelyintheworksVespers(1968)orI am Sitting in a room(1970).Becausethesizeandshapeofaroom,alongwiththematerialsusedinthewallsandeventhenumberofpeopleoccupyingtheroom,canhaveaneffectonthetransmittedandreflectedsoundsandtheirintermingling,theperformancecandrasticallychangefromseattoseatandateveryconcertperformance.Thisisnotsomuchaworkfortriangleasitisanexplorationofthesoniccapabilitiesofthetrianglebytheperformerandaudiencemember.Thepiecerequiresconcentrationandthoughtfulnesstotrulyarriveatabetterunderstandingoftheintricaciesandcapacitiesofthisseeminglysimpleinstrument.
—JohnBrumley
D avidTudor(1926–96)beganhismusicalcareerasaconcertpianist.Throughoutthe1950sheperformedpiecesbymanyoftheleadingavant-gardecomposers
ofthetime(Boulez,Stockhausen,Cage),thoughhebecamemuchmoreinvolvedwithcompositionandcollaborationswithJohnCageandtheMerceCunninghamDanceCompanyfromthe1960son.Hisfascinationwithexperimentationandelectronicsledhimtodevisemodularelectronicsystemsthatcouldbereworkedfromperformancetoperformance.Byusingsuchadaptablesetups,hispieceRainforestevolvedfornearlytenyearsduringthelate60sandearlytomid-70s,movingthroughthreedifferentversionsbeforesettlingon Rainforest IV.OtherthanofferingguidelinesastohowtheRainforest apparatusisconstructed,Tudordidnotcomposeanofficialscoreforthepiece.Itsopenformallowsforwidevariationfromproductiontoproductiondependingonthegroup,theperformancespace,andtheavailableobjects.Theperformancespaceisfilledwithresonatingobjectsthathavesoundpumpedintotheminmuchofthesamewaythatspeakersaredriven,howeverallobjectsandsoundsdrivingtheobjectsarelefttotheperformers(thoughTudorasksthattheperformernotusepre-composedmaterialasasoundsource).Possibleobjectscanvarywidely,andmuchoftheexperimentationinthepiececomesfromselectingobjectsthatresonateanddeterminingwhichsoundsworkwellinresonatingeachobject.Allowingpeopletoexploretheresonatingobjects,walkingthrough
objects,listeningtothemfromdifferentangles,touchingthemtofeelvibrations,andpressingone’seartoanobjectareallencouraged.Theperformersalsoactascuratorsoftheperformanceandshouldbeaskedquestionsaboutwhatisgoingon,andhowtheobjectsareaffectingthesounds.Discoveringtheindividualsoundsandcharacteristicsoftheobjects,justastheperformershaddonepriortotheconcert,isuptotheaudienceduringtheperformance.Theamountthatyoutakefromthepieceisdirectlyrelatedtohowmuchyouphysicallyinteractwithit.
—JohnBrumley
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O c TO b E r 29, 20 10
7:00 pmVanderhoef Studio Theatre, Mondavi center
Empyrean EnsembleMika Pelo and Kurt rohde, co-directors
Program
The Island (2009) MoonYoungHa (b.1980)
PeterJosheff,clarinetHrabbaAtladottir,violin•ThaliaMoore,cello
Scritch (2010) MelindaWagner (b.1957)
TomNugent,oboeAnnaPreslerandHrabbaAtladottir,violinsPhyllisKamrin,viola•LeightonFong,cello
— A Meet the Composer Commissioning Music/USA Commission —
Märchenerzählungen, op.132(1853) RobertSchumannLebhaft, nicht zu schnell (1810–56)Lebhaft und sehr markirtRuhiges Tempo, mit zartem AusdruckLebhaft, sehr markirt
PeterJosheff,clarinetEllenRuthRose,viola•MichaelSethOrland,piano
Hommage à Robert Schumann, op.15d(1990) GyörgyKurtágMerkwürdige pirouetten des Kapellmeisters Johannes (b.1926)Der begrenzte Kreis . . .Und wieder zuckt es schmerzlich F. um die LippenFelho Valék, Már Süt A Nap . . . Töredék-TöredékIn der Nacht (Presto)Abschied Meister Raro entdeckt Guillaume de Machaut
PeterJosheff,clarinetEllenRuthRose,viola•MichaelSethOrland,piano
Intermission
Ciao, Manhattan (1990) LeeHyla (b.1952)
TodBrody,flute•EllenRuthRose,violaThaliaMoore,cello•MichaelSethOrland,piano
Nok-du-kkot (2010) EunYoungLee (b.1967)
EllenRuthRose,soloviolaTodBrody,flute•PeterJosheff,clarinet
HrabbaAtladottir,violin•ThaliaMoore,celloMichaelSethOrland,piano•LorenMach,percussion
MatildaHofman,conductor
We ask that you be courteous to your fellow audience members and the performers. Please turn off your cell phones and refrain from texting. Audience members who are distracting to their neighbors or the performers in any way may be asked to leave at any time.
Also, this performance is being professionally recorded for the university archive. Photography, audio, or audiovisual recording is prohibited during the performance.
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ScritchwasjointlycommissionedbytheLeftCoastChamberEnsembleandtheEmpyreanEnsembleas
partofanationalseriesofworksfromMeettheComposer’sCommissioningMusic/USAprogram,whichismadepossiblebygeneroussupportfromtheFordFoundation,theRockefellerBrothersFund,theNationalEndowmentfortheArts,theFrancisGoelettrust,theHelenF.WhitakerFund,Target,theWilliamandFloraHewlettFoundation,NewYorkStateCouncilontheArts,andPennsylvaniaCouncilontheArts.
R ecentlymyworkshavebeeninspiredbypersonalexperiences.WhenIstartedcomposingthispieceThe Island,IranintosomeoneIhadmettwoyearsago.
Sincethen,IneverthoughtthatIwouldmeetthepersonagain,butithappened.Probably,tomostpeople,thisdoesnotsoundveryspecial.However,thishappeninggavemeachancetorememberthelasttwoyearsofmylife,andthispieceisbasedonthatremembrance.
—MoonYoungHa
ItwasmyinitialplantocomposeacompanionpieceforSchubert’s“Trout”Quintet,performedlastJune.Ultimately,severalschedule-relatedtrainwrecks(allmine),alongwithpressingfamilyissues,causedasignificantmetamorphosis.Alongtheway,itwassuggestedthatImightcomposeacompanionpieceforBritten’sPhantasy.WiththispieceandMarioDavidovsky’smarvelousQuartetto No. 2inmind,Isetabouttowriteaworkforoboeandstrings,whichbecameScritch. Inthehandsofafineplayer,theoboeissoagile—yet,itisalsocapableofproducingsustainedlinesofmelancholicbeauty.Iwantedtoshowcasetheseattributes.Theresultingpieceiscertainlyavehicleforvirtuosicoboeplaying,whilebeingnolesstrickyforthestrings!Itconsistsofaseriesofepisodes—skittering,playful,sometimesagitatedrhythmicpassagessharplycontrastedwithscarilyslowchoraletextures.Whilethepieceissectionalinthisway,Itriedtomaintainakindofnarrativethroughout;thatis,Iwantedtoplacethebuildingblocksofcontrastingtexturessecurelywithinthecontextofmyowndevelopmentalstyle.AndIwantedeachofthefivepartsto“fit”andworktogether,asifslippingintothefingersofaglove.
—MelindaWagner
C omposedOctober9–11,1853,andpublishedthefollowingyear,Märchenerzählungen, op.132,wasSchumann’sfinalpieceofchambermusic.Atthetime,
SchumannwasenjoyingasuccessfulstintasthemusicdirectorinDüsseldorfandhadrecentlywelcomedtheyoungcomposerJohannesBrahmsasaprivilegedvisitor.PerhapsdueinparttotheinspirationhefoundinthetalentedandpromisingBrahms,Schumannsettoworkonthisfour-movementtrioforclarinet(orviolin),viola,andpiano.
Märchenerzählungen canbetranslatedas“fairytales,”andalthoughthetitleimpliessomesortofnonmusicalprogram,
Schumannneverrevealedwhatitmayhavebeen,iftherewasoneatall.Asidefromthetitle,theprimaryreasonlistenerstendtoidentifyaprogrammaticnatureinthepieceisSchumann’streatmentofthemainmotif.Muchlike Carnaval,op.9,Schumannunitesamultimovementworkbydevelopingamotifthroughout.ThemotiffirstappearsintheviolainthelivelyopeningmovementinB-flatmajor—itisthebrief,staccatodescentattheendoftheviola’srising,legatoentrance.
Therestofthemovementdevelopsthemotifbetweentheclarinetandviola.ThepassionatesecondmovementturnstotherelativekeyofGminorwhoseturbulenceistemporarilyoffsetbyanexpressiveshiftinthemiddlesectiontoE-flatmajor.ThisdramabeautifullypreparesthetenderthirdmovementinGmajor.HereSchumannabandonstheantiphonalrelationshipbetweentheinstrumentsinfavorofconjoiningtheclarinetandviolainalyricalfashionabovethepersistentpiano.ThefinalmovementreturnstoB-flatmajorandoffersanemphaticconclusiontothismusicaltale.
—GarrettShatzer
K urtág’sHommage à Robert Schumann,forclarinet,viola,andpiano,op.15d,wascomposedbetweentheyears1975and1990.Inhiscustomary“fragmentary”
manner,KurtágnamesRobertSchumannastheobjectofhishomage.Schumannisanotablecaseofthecreativepowersvs.psychologicalproblems,asmanifestinhisbipolardisorder.Heoftenimaginedtwomusicalpersonalities:FlorestanandEusebius.Thesecontrastingcharactersareakintothetwopolesofmoodswingsheencounteredduringhisbipolarepisodes.Florestanwasimpulsive,Eusebiuswasdreamy.Thecomposerusedadditionalliterarypersonaetoilluminatehiscriticalandaestheticperspectivesinthe Neue Zeitschrift für Musik.
AttheoutsetofKurtág’spieceisthemovementtitle:the Marvelous Pirouettes of the Conductor Johannes Kreisler. KreislerisadoublereferencetotheworkKreisleriana bySchumannandthecharacterinE.T.A.Hoffmann’sfictionalstory The Tales of Hoffmann. Kurtágpresentsshort,sporadicmusicalmaterialhere.Theclarinetplaysasubtlyhowling-up-and-downmotivefollowedbysomepercussiveproddinginthepiano,creatingasonicemblemofboththeimaginedconductor’smovementsandthepsychologicalstateofSchumann.Theimageofadancingnightadventurer(Florestan)settingoffwithacouplefriendsisinterspersedthroughout.
Thenextmovement,Eusebius: The Closed Circle, hasamoreabstractsonicimage.Quasi-canonicstructuresofthe Closed Circle,whichdoesnotactuallyclose, alludetotheworkofKafka.Hence,wehaveanimaginingofthemusicalmaterialbywayofastrict,nearlybureaucraticprocedureinspiredthroughthelensofadreamymusicalcharacter.Thethirdmovement,and Again Florestan’s Lips Quiver Painfully,drawsusbacktothemoreimpulsiveworld.Severalquickoutburstsoffragmentarymaterialderivedfromthefirstmovementdissolveintoacanonicpassageofharmonicsintheviolafollowedbythepiano.Whatseemstobedevelopingisa
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dialecticofmoodsandmusicalshapes.InthenextmovementwehearareturntotheEusebianmood.Thetitletranslates:I was a cloud, now the sun shines.Themusicalmaterial,asinthesecondmovement,isagainaconvolutionoftheinitialthemeofthefirstmovement.Thefifthmovement(In the night)drawsupfromawindyclimbinginthepianotoamadstorm.Herewefindsometrulydarkhumor.ItisdifficultnottohearthedroppingmotionofthefinalcadenceincollusionwithSchumann’ssuicideattempt.ThefinalmovementisahorrendoussynthesisofthedualqualitiesofSchumann’spersonae.Itstitle,Abschied,meansfarewellandthesubtitleis Master Raro Discovers Guillaume de Machaut. Herequasi-isorhythmicandmedievalproceduresabound,andweareleftwithasenseofeternalregression.KurtághascompletelydrawnusintothescenarioofSchumann’slastdaysoflife.
—ScottPerry
Ciao, Manhattanisabrief,quiet,andintrospectivepiecethatwaswritteninNewYorkCityandRomeinthesummerof1990.Thepiecebeginsinaconfined
registralspaceandexpandsslowly;theseexpansionsaremarkedbyvariationsonatunefirstpassedbetweenaltofluteandviolaverynearthebeginning.Afteraseriesofthesevariations,thelastofwhichisaduoforviolaandcellowithanactivepianoaccompaniment,elementsoftheearlieraccompanimentareprofiled.Afterthetexturenearlydissolves,thepianoleadsthepieceintoabriefclimacticsectionthat,inturn,isfollowedbyafinalvariationontheopeningtune.Ciao, ManhattanwascommissionedbytheMeettheComposer/Reader’sDigestConsortiumCommissioningProgramandwaswrittenfortheDinosaurAnnexEnsembleofBoston.
—LeeHyla
T hisMin-yo(folksong)isgenerallyconsideredtorefertoBong-JunJeon(1854–95),whowascalledGeneralMung-Bean.
Nok-du-kkot (Mung-beanflower)Bird, bird, blue bird,do not sit on the Mung-bean tree.If the Mung-bean flower sheds too soon,the green jelly peddler leaves weeping.
HeconvertedtoChristianityaftertheDonghakpeasantrevolution.TheGeneraldefendedthecommonKoreanpeopleagainstcorruptpoliticiansinthe1890sandfoughtagainstJapanaftertheFirstSino-JapaneseWar.Idedicatethispiecetoallvictimsofwarandoppression.Ihopethat,althoughone’sindividualcircumstancesmaybeagonizing,ourdesireforgenuinejusticewillstandfirmandstrong,andthattogetherwewillbeabletoworktowardrealpeace.
—EunYoungLee
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8:00 pmJackson Hall, Mondavi center
Alarm Will SoundAlan Pierson, Artistic Director
Program
Cock/ver 10 AphexTwin(b.1971)
arr.StefanFreund
Introduzione all’oscuro Salvatore Sciarrino (b.1947)
Pre-Pulse Suspended LeeHyla (b.1952)
Intermission
Le voci sottovetro SciarrinoGagliarda del Pincipe di VenosaTu m’uccidi, o crudeleCanzon francese del PrincipeMoro, lasso
Carmen Arcadiae Mechanicae Perpetuum SirHarrisonBirtwistle (b.1934)
Omgyjya Switch 7 AphexTwin
Dowland Remix JohnOrfe (b.1976)
We ask that you be courteous to your fellow audience members and the performers. Please turn off your cell phones and refrain from texting. Photography, audio, or audiovisual recording is prohibited during the performance.
Cock/ver 10 wasoneofthefirstpiecesofAphexTwin’selectronicaarrangedforAlarmWillSound’sAcoustica project.Ichosetoarrangethisparticularpiecefor
chamberorchestrabecauseofitsradicaltexturalcontrastsandintenserhythmicvitality.WhileworkingonthepieceIwasintriguedbyitsseductivetunes,disruptiveeffects,andfunkybasslines. Inordertoreplicatethebreakneckdrumtracks,twodrumsetplayersareused;onewithatraditionalset,andanotherwithamountedbassdrumandkickdrum.Thisallowsthesedrumstobeplayedwithmallets,allowingforgreaterprecisionandquickness.Useofextremeregisters,extendedtechniques,andsecundalharmoniescreateathornyatmospherethatisanythingbutreminiscentofatraditionalchamberorchestra. ThoughIwantedtoremainfaithfultoportrayingthesoundoftheoriginal,thearrangementcontainsseveralofmyownorchestrationalsignaturesincludinghockets,reinforcement,mixedarticulations,andlotsofdoublings.
—StefanFreund
C omposedfortwelveinstruments,Introduzione all’oscuro (1981),isdescribedbyitsItaliancomposer,SalvatoreSciarrino:“Musicreversestherelationship
betweenabsenceandpresence,acceleratesorslowsthepulseandappearsregularlyasamysteriousatmosphere.”
W rittenfortwelveinstrumentsandfirstperformedonSeptember29,1984,atTanglewood,Pre-Pulse SuspendedwascommissionedbytheFromm
FoundationinassociationwiththeBerkshireMusicCenter.
T ranscribedfromGesualdo’svocalandinstrumentalworks,thiscollection,Le voci sottovetro(itstitlemeans“voicesbehindglass”)rescoresthesixteenth-
centurymadrigalswiththevoicetreatedasthoughitisoneoftheinstruments.Thepurposeofthesetranscriptionsistoillustratethebeliefthat“oldmusicischangingandcanbefilledwithnewlifewhentouchedbythespiritofmodernity.”
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Carmen Arcadiae Mechanicae Perpetuum isbywayofhomagetoPaulKlee,andthetitleisonehecouldhaveinvented.Itconsistsofsixmechanismsthatare
juxtaposedmanytimeswithoutanyformoftransition.Thedynamicsofthepiecehaveatime-scaleindependentofthatofthemechanisms,creatinganindependentdynamiclifeoftheirown.Thisprocessisalsoappliedtotheregistersofthepiece.
—HarrisonBirtwistle
Omgyjya Switch 7 isincrediblydense,fast,andpercussive.ItwasoneofthelasttracksonAlarmWillSound’sAcousticaprojecttobearranged,andI
welcomedthechallenge.Atfirst,Ithoughtitwouldhavebeenbettersuitedforalargepercussionensemblethanachamberorchestra.Indeed,myfinalversionusesthreeverybusypercussionists,withothermembersoftheensembleplayingpercussioninadditiontotheirowninstruments.Thewindandstringinstrumentsareoftenusedinapercussivewayaswell.
Myfirstapproachtothetrackwastotransformitintoanoriginal,twenty-first-centurycontemporarychamberorchestrapiece.AlanPiersonopenedthefloodgatesforme,encouragingmetowritewhatIreallyheardasspecificallyaspossible,andnottobeconcernedwithhowthesoundwouldbemadeorwiththetechnicalchallengesofmaking
it.Therehearsalphasewasluxurious.Ijoinedtheensembleandworkedwiththemforaweek,refiningideasdayandnight.Thefruitsofoneday’sexperimentationwereturnedintonotatedmusicthenextmorning.Weexhaustedeveryresource.Ievenwheeledashoppingcartdownfromanartclassroomtodemonstrateapercussiveeffectthateventuallyendedupunused.OtherideasIwouldneverhavethoughtofturnedouttobeideal:wefoundaduckcallandanengravingtoollyingaroundwhichendedupbeingthebestchoicesforthefinalraucouspassage.
—EvanHause
Dowland RemixisaraverecompositionofJohnDowland’sLacrimae (“FlowMyTeares”).Itwasliterallythecomposer’ssignaturesong(hesigned
as“Jo.DolandideLachrimae”).Publishedin1596inhisSecond Book of Songs,theLacrimaebecameoneofthefavoriteimprovisationalthemesofthesixteenthandseventeenthcenturies;over100manuscriptandprintedarrangementsexist.Atechno/industrialsettingoftheLacrimaeforemo,rave,andgothaudiencesseemedappropriate,ifnotoverdue.WrittenforAlarmWillSound,Dowland RemixwaspremieredinJuly2009at(le)PoissonRougeinNewYorkCity.
—JohnOrfe
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A L A r M W I L L S O u N D
AlanPierson,ArtisticDirector,conductorGavinChuck,ManagingDirectorJasonVarvaro,ProductionManager
ErinLesser–flute,altoflute,piccoloChristaRobinson–oboe,Englishhorn,
BillKalinkos,clarinetElisabethStimpert–clarinet,bassclarinetLynnHileman–bassoon,contrabassoon
MattMarks–hornJasonPrice–trumpet
MichaelClayville–tromboneChrisThompson–percussionChrisFroh–percussionLorenMach–percussion
JohnOrfe–pianoCalebBurhans–violin,electricguitar
CarolineShaw–violin,voiceJohnPickfordRichards–viola,accordion
StefanFreund–celloMilesBrown–bass,electricbass
Alarm Will Sound’s season is made possible by foundation support from the Amphion Foundation, the BMI Foundation and Meet the Composer, Inc.
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10:30 pmVanderhoef Studio Theatre, Mondavi center
Eric Zivian, piano
Program
FantasyforPiano(2010) EricZivian (b.1968)
Colori notturni (2006) ChristianBaldini (b.1978)
Mercurial (2010) ChristianBaldini
Fantasie inCMajor,op.17(1836) RobertSchumann (1810–56)
We ask that you be courteous to your fellow audience members and the performers. Please turn off your cell phones and refrain from texting. Audience members who are distracting to their neighbors or the performers in any way may be asked to leave at any time.
Also, this performance is being professionally recorded for the university archive. Photography, audio, or audiovisual recording is prohibited during the performance.
M yFantasyforPianoislooselybasedontheopeningmovementofSchumann’sFantasie inCMajor,inbothsomeofitstextures(the
initialtextureamongothers)anditsstructure(thoughmypieceisquiteabitshorter).Therearenodirectquotations:rather,IusedSchumann’sFantasieasakindofinspirationorspringing-Zoffpoint.
—EricZivian
Colori notturniwaswrittenfouryearsagoasaresponsetomyloveforthemusicofRobertSchumannandLucianoBerio,andforpianistJacobGreenbergof
theInternationalContemporaryEnsembleasasingle,prelude-likepiece.Itisverydelicateinnatureandexploresdifferentgradationsofsonoritieswithinarathermotionless,yetlyricalcontext.TheseedsofColori notturni areextractedfromBerio’sEncoresandfromSchumann’s“Geistervariationen,”thelastcompositionhewrote—supposedlydictatedtohimbytheangels.
E clecticenergy,power,stamina,andvirtuosity—bothphysicalandintellectual—arethecentralelementsofthisworkMercurial.Indeepcontrast,amiddlesection
presentsachildren’stunethatmysonDanteadores,partlybecausehisgrandmasingsittohim.Itcomesintomypieceasanaturalconsequenceofasummerspentwithmychildren,atimewhenIlearnfromthemhowtobecomeabetterfatherandabettermusician.MercurialisdedicatedtoEricZivian,asasymboloffriendshipandadmiration.
—ChristianBaldini
S chumann’stemporaryrecoveryfrommanicdepressionin1834marksthebeginningofthesecondstageofhiscareerduringwhichsomeofhisgreatestpianocompositionswere
written,includingCarnaval,op.9,Faschingsschwank aus Wien, op . 26,andtheFantasie,op.17.Duringtheconceptualstageofthepiece,theoriginaltitleofSchumann’sFantasie was“SonataforBeethoven.”Schumanncomposedhisworkin1836asatributetoBeethovenforthededicationofhisstatueinBonn,thecityofBeethoven’sbirth.EventhoughadmirationforBeethovenisexplicitinmanyofSchumann’scompositions,theFantasie is notasovertlydescriptiveasin,forexample,certainmovementsofCarnaval,whichaestheticallyreflectsthemusicalcharactersofselectedcomposersforanimaginarymaskedball,inwhichBeethovenisoneoftheparticipants.
ApparentintheFantasieisSchumann’smasterfultreatmentofrhythmatalevelcomparabletothemusicofBeethoven,Berlioz,andBrahms.Inadditiontorhythmicdisplacementandpolyrhythms,oneperceivesanintrinsicandvitalcomponentinthemultiplelayersofpulsemovingsimultaneouslythroughoutthework.Differentlayersofregularlyrecurringaccents,bothdynamicandrhythmic,arejuxtaposedagainstoneanother,generatingamusicalsurfaceinaconstantstateofinteraction.ThisinteractionismadeallthemoresubstantialbySchumann’sbrilliantsenseofpacingintheharmony,producinganadditionalmusicallayer.Schumann’sFantasie is consideredoneofthegreatestofallhisworksforpianosolo,representingacompositionalpeakofwhichhewaskeenlyaware.InMay1839SchumannagreedwiththemusiccriticHermannHirschbachthathehadattainedthezenithofhiscreativepowersinthefirstmovementoftheFantasie .
—HendelAlmétus
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O c TO b E r 31 , 20 10
10:00 am and 2:45 pmVanderhoef Studio Theatre, Mondavi center
Alarm Will Sound reading Sessions
Part I10:00 am
AlarmWillSoundwillreadpiecesbythefollowingMadnessandMusicFestivalComposerFellows:MatthewBarnson
AndreiaPintoCorrieaKarenPowerGreggWramage
Part II2:45 pm
AlarmWillSoundwillreadpiecesbythefollowingUCDavisDepartmentofMusicgraduatestudents:HendelAlmétusScottPerry
Ching-YiWang
7:00 pmJackson Hall, Mondavi center
uc Davis Symphony Orchestrachristian baldini, music director and conductor
Program
Sensemayá (1938) SilvestreRevueltas (1899–1940)
Lu-lu, Lu-lu (2008) JeanAhn (b.1976)
Four Hardy Songs (2010) PabloOrtizHenley Regatta (b.1956)A Beauty’s SoliloquyWithout CeremonyHer Secret
SaraGartland,soprano
Intermission
CelloConcertoinAMinor,op.129(1850) RobertSchumannNicht zu schnell (1810–56)LangsamSehr lebhaft
SusanLambCook,cello
We ask that you be courteous to your fellow audience members and the performers. Please turn off your cell phones and refrain from texting. Audience members who are distracting to their neighbors or the performers in any way may be asked to leave at any time.
Also, this performance is being professionally recorded for the university archive. Photography, audio, or audiovisual recording is prohibited during the performance.
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S ilvestreRevueltaswasbornonNewYear’sEve,1899,anddiedofpneumoniaandexhaustioncomplicatedbyalcoholinOctober1940.Duringhisshortlife,Revueltas,
alongwithhisclosefriendandcomposerCarlosChavez,becamecentraltothepromotionofMexicancontemporarymusicearlyinthetwentiethcentury.Stylistically,heisoftencomparedtoStravinskyanddevelopedhisownindividualuseofostinati,octatonicharmonies,andthematicprimitivism.HiscreativevoicecombinesMexicanfolkcultureandtwentieth-centuryEuropeancontemporarymusic.
Sensemayá: a Chant for Killing a Snakewascomposedin1938andisbasedonapoembytheCubanpoetNicolásGuillén.ThedramaticunfoldingofRevueltas’sseven-minuteorchestralcompositionisalmostentirelygeneratedbypronouncedrhythmicfiguresandareflectionofthestructureandthematicinterplayfoundinthepoem.Thepoemisconstructedoftwoalternatingsections:onewitharepeatedchantofincantation,followedbynarrativesectionsdescribingthesnakeandthesacrificialritual.Inthefinalstanzaofthepoem,thechantandthenarrationarecombinedtocreateafeelingofincreasingintensityasthethemesfallintodirectjuxtaposition.
Revueltas’spiecefollowsthesameprocessofdevelopment.Theseeminglycomplexrhythmsheardintheostinatiandmelodiesareactuallyderivedfromthepoem’swords.Intheopeninggesture,a7/8ostinatointhelowstrings,bassoons,andpercussion,onecanlistenfortherepeatedword“Sensemayá”withthe“á”accentedbytheclavesonthefinaleighthnoteofeachmeasure.Anotherauralroadsignisthedramaticentranceofthehighstringswiththeirunmistakablerepeatedutterancesofthechantedrefrain:“Mayombe-bombe-mayombe!”Thenarrativesectionsofthepoemaredepictedbyserpentineoctatonicandpentatonicmelodiesinthewindsandbrassthatgrowoutwardfromtheopeningtubasolo.Thesemelodieseventuallycollidewiththechantthemeinthethrillingclimaxofthisorchestralroller-coaster.
—LiamWade
Lu-lu, Lu-luwasoriginallycomposedfortheUnderConstructionopenreadingwiththeBerkeleySymphony.WhentheBerkeleySymphonygavemethe
themeof“thelongestnight,”myfirstthoughtwas:“Whatelsewouldbethelongestnighttoamom,thanonewhenherbabywon’tfallasleep?”Thatisthelongestnightforsure.FirstIstartedwithaKoreanlullaby,averysimpletunewithfourrepetitivenotes.EventuallyIrealizedthatIwasactuallycreatinganarrativedepictionofbedtime.Itstartswithacalm,warmatmosphere,whereitisdarkwiththeintermittenttwitteringofbirdsandcrickets.Mommyrocksthelittleonetosootheher.Isthebabysleepingyet?No.Suddenlythebabyopenshereyeswideandisstartledbysomething...atinynoiseorastraystrandoflightfromtheneighbors.Ohno!Butmommywilltryagainwiththosefournotes.Adrowsywarmingfournotes.Overandover.Afterthelong,longsinging,thebabyfallsasleepwiththemostpeacefulsmileonherface.Mommywhispersthetuneandendswithalovelygoodnightkiss.
Idedicatethispiecetomysonandmydaughterwhoaremissingtheirmommy’ssoothingvoicetodaywhileIsharetheirspeciallullabywithallofyou.
—JeanAhn
I havebeenwritingsongs(andchoralpieces)settotextsbyThomasHardyforquiteawhile.Iamfascinatedbyhispoetry.Thetextsdepictdifferentformsofmadness,
causedbytheabsenceoflove,byoldage,orbythedeathordisappearanceoflovedones.AttherequestofPaulHillier,IwroteachamberversionoftheseFour Hardy Songsforviolin,cello,andsoprano,includedinalargerwork.Thisversion,forstringorchestraandsoprano,waswrittenfortheUCDSO,specificallyforthisfestival.ThetitlealludestoRichardStrauss’sFour Last Songs,andthesongstyleisemotionalanddirect,andsomewhatRomanticinsensibility.
—PabloOrtiz
Four Hardy SongsThomasHardy(1840–1928)Henley regatta Shelooksfromthewindow:still,itpoursdowndirely, Andtheavenuedrips.Shecannotgo,shefears; AndtheRegattawillbespoiltentirely; Andsheshedshalf-crazedtears. RegattaDayandraincomeontogether Againyearsafter.Gutterstrickleloud; ButNancycaresnot.Sheknowsnotofweather, OroftheHenleycrowd:
She’saRegattaquiteherown.InanelyShelaughsintheasylumasshefloats Withinawater-tub,whichshecalls“Henley,” Herlittlepaperboats.
A beauty’s SoliloquyToolate,toolate!Ididnotknowmyfairness Wouldcatchtheworld’skeeneyesso!Howthemenlookatme!Myradiantrareness Ideemednottheywouldprizeso! ThatIwasapeachforanyman’spossessionWhydidnotsomeonesayBeforeIleasedmyselfinanhour’sobsession Tothisdullmateforaye! Hisdaysaremine.Iamonewhocannotstealher Aheadofhisploddingpace:Asheis,soamI.Onedoomedtofeelher Awastedformandface!
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Iwassoblind!Itdidsometimesjuststrikeme AllgirlswerenotasI.But,dwellingmuchalone,howfewwerelikeme Icouldnotwelldescry; Till,atthisGrandHotel,alllooksbendonme InhomageasIpassTotakemyseatatbreakfast,dinner,—onme aspoorlyspoused,alas! Iwastooyoung.Idwelttoomuchonduty: IfIhadguessedmypowersWheremighthavesailedthiscargoofchoicebeauty Initsunanchoredhours! Well,husband,poorplainman;I’velostlife’sbattle!— Come—letthemlookatme.Odamn,don’tshowinyourlooksthatI’myourchattelQuitesoemphatically!
Without ceremonyItwasyourway,mydear, Tobegonewithoutaword Whencallers,friends,orkin Hadleft,andIhastenedin Torejoinyou,asIinferred. Andwhenyou’damindtocareer Offanywhere—saytotown—Youwereallonasuddengone BeforeIhadthoughtthereon, Ornoticedyourtrunksweredown. So,nowthatyoudisappear foreverinthatswiftstyle, Yourmeaningseemstome Justasitusedtobe: “Good-byeisnotworthwhile!”
Her SecretThatlove’sdullsmartdistressedmyheart Heshrewdlylearnttosee, ButthatIwasinlovewithadeadman Neversuspectedhe. Hesearchedforthetraceofapicturedface, Hewatchedeachmissivecome, Andanotethatseemedlikealove-line Madehimlookfrozenandglum. Hedoggedmyfeettothecitystreet, Hefollowedmetothesea, Butnottotheneighbouringchurchyard Didhedreamoffollowingme.
I nSeptember1850,RobertSchumannmovedwithhiswifeandsixchildrenfromDresdentoDüsseldorfwherehehadacceptedapostasmunicipalmusicdirector.
Duringthisyearofremarkableproductivity,hecomposedinagenrethathadreceivedlittleattentionforseveraldecades:thecelloconcerto.Schumanndraftedhisnewworkinfivedays,completedtheorchestrationinanothereight,andtitleditConcertPieceforVioloncellowithOrchestralAccompaniment,nowsimplyknownasthecello concerto in A Minor.Thecomposertriedwithnosuccesstointerestacellistinperformingtheconcerto.Turneddownbytwopublishers,theworkwasfinallyacceptedbyBreitkopfandHärtel,butSchumannneverhearditperformed.HemadethefinalcorrectionstothepublicationjustdaysbeforehissuicideattemptintheRhineRiverin1854.
Seamlessinmanyrespects,themusicmakesnopausebetweenmovements.TheslowmiddlemovementinFmajorisshortenoughtofeellikeacontemplativeinterludebetweenthefirstandfinalmovements.DissatisfiedwithSchumann’sorchestration,thecellistMstislavRostropovichcommissionedShostakovichtoreorchestratethepiecein1963.MaestroBaldiniandtheUCDSOpresentSchumann’soriginalorchestrationwithcellistSusanLambCookplayingthe“accompaniedcadenza”thatSchumannwroteforthefinalmovement.
SchumannabandonedhisprofessionaldutiesinDüsseldorfin1853duetoincreasingattacksofrheumatism,nervousagitation,andtinnitus:symptomsofthesyphilisthathecontractedintheearly1830s.HeenteredthetertiarystageoftheillnessastheCelloConcertowasbeingcompleted.DeborahHayden,authorofPox: Genius, Madness and the Mysteries of Syphilis,describesaflareof“syphiliticgenius,”whichoftenprecedesthefinalstageofmadnessinthedisease.Episodesofcreativeeuphoria,joyousenergy,anddazzlinginsightofferafinal“Faustianbargain”forthepainanddespairthediseasehaswrought.ThemelodicrichnessandformalinventivenessoftheCelloConcertomaybethefruitsofjustsuchabargaininSchumann’slastperiodoflucidity.
—ChantalFrankenbach
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ChristianBaldini,musicdirectorandconductor
MargauxKreitman,manager
AbbyGreen,librarian
Names appear in seating order.
Violin IShawyonMalek-Salehi, concertmaster *DrewCylinder *HewettLan *WilliamLiu *AlexMilgramSophieTsoRaphaelMoore *JonathanChanYeChenKarisYiVanessaRashbrookClaireleeBulkley *MeghanTeagueVictoriaWu
Violin IICynthiaBates, principal *MargauxKreitman, co-principal *SharonInkelasEmilyCrottyMorganMcMahonRachelFerrisTulinGurerJasonLeeFranciscoOrtegaChristinaMaoKathrynAzarvandStephanieHartfield
ViolaAndyTan, principal *CaitlinMurray, assistant principal *MeredithPowell, assistant principal *GiulianaContiAndrewBensonMatthewSlaughterMichaelaDuyarNikkiTang
celloIsaacPastor-Chermak, principal *StephenHudson *CarolynAnderson*Han-ahSumner*RachelBaekJimmyYoChrisAllenPaulPhillipsTobiasMünch
bassMelissaZerofsky, principal *ThomasMykytynDavidSachsFayeLuThomasAdams-FalconerAlexKeeve
FluteSusanMonticello, principal *AbbyGreen, principal *AnnaThomaChrisBrownEdithYuh
OboeSunainaKale, principal *StaceyHabroun,co-principalBritneySatowRussellEisenman
clarinetAlBona, principal *RobertBrosnan, co-principalAaronHillThomasIvyJohnPark
bassoonAdamTaylor, principal *DianeRoyaltyAllisonPeeryMattWong, co-principal and contrabassoon
HornBobbyOlsen, principal *SarahMeyerpeterAdamMorales, co-principalKatherineMcLain
TrumpetAndrewNeish, principal *AngelicaCortez, co-principalDillonTostadoBenHiebert
TromboneEthanRosenberg, principal *SeanRaley *NicoleTanner
bass TromboneJeffreyBuscheck *
TubaAdamBrover *
PercussionWyattHarmon, section leader *DanEisenbergVictorNavaKevinBarrLienDo
HarpEmilyRicks *
PianoPeterKim *
celestaChiaWeiLin
* Indicates holder of an endowed seat
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E N D OW E D S E AT SMade possible by gifts of $10,000 or more.
Shawyon Malek-Salehi – Cynthia Bates concertmaster PresentedbyDebraHorney,M.D.
Drew cylinder – Damian Ting assistant concertmaster PresentedbyDamianSiuMingTing
clairelee Leiser bulkley – Clairelee Leiser Bulkley violin I PresentedbyClaireleeLeiserBulkely&RalphE.Bulkley
Hewett Lan – Francis Dubois violin I PresentedbyNancyDubois
raphael Moore – Raphael S. Moore violin IPresentedbyJolantaMooreinmemoryofDr.IrenaAnnaHenner
William Liu – Ralph and Judy Riggs violin I
cynthia bates – Fawzi S. Haimor principal violin II PresentedbyBarbaraK.Jackson
Margaux Kreitman – Shari Benard-Gueffroyassistant principal violin II
Andy Tan – Jocelyn Morris principal viola PresentedbyJames&JocelynMorris
caitlin Murray and Meredith Powell – Bakos Family assistant principal viola
PresentedbyJohnT.Bakos,M.D.,Ph.D.,inmemoryofDr.JohnandGraceBakos
Isaac Pastor-chermak – Herman Phaff principal cello PresentedbyHerman&DianePhaff
Stephen Hudson – Tracy McCarthy cello PresentedbyBrian&LouanneHorsfield
carolyn Anderson – Eldridge Moores cello PresentedbyEldridge&JudithMoores
Han-ah Sumner – Louise McNary cello PresentedbyDonMcNary
Melissa Zerofsky – Barbara K. Jackson principal bass
Susan Monticello – principal flute Presentedby“Babs”Sandeen&MartySwingle
Abby Green – Phyllis & Thomas Farver flute / piccolo
Sunaina Kale – Wilson and Kathryn Smith principal oboe
Al bona – W. Jeffery Alfriend, DVM, principal clarinet PresentedbyVickiGumm&theKlingFamilyFoundation
Adam Taylor – Kling Family Foundation principal bassoon PresentedbyVickiGumm&theKlingFamilyFoundation
bobby Olsen – Kristin N. Simpson and David R. Simpsonprincipal horn
PresentedbyRichard&GayleSimpson
Andrew Neish – Andrew Mollner principal trumpet PresentedbyJosephDeanMollner&AndrewMollner
Ethan rosenberg – Rebecca A. Brover principal trombone
Sean raley – Michael J. Malone trombone PresentedbyBrianMcCurdy&CarolAnneMuncaster
Jeffrey buscheck – Brian McCurdy bass trombone PresentedbyBarbaraK.Jackson
Adam brover – Robert B. Rucker Tuba PresentedbyRobert&MargaretRucker
Wyatt Harmon – Friedman Family principal percussion PresentedbyMarvin&SusanFriedman
Emily ricks – Calvin B. Arnason principal harp PresentedbyBenjamin&LynetteHart
Peter Kim – Gary C. Matteson orchestral piano PresentedbyJane,Dwayne,&DonaldMatteson
TheWilson & Kathryn Smith conductor’s podium waspresentedinhonorofD.KernHoloman.
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MitziS.AguirrePriscillaAlexanderW.JefferyAlfriend,DVM**ThomasandPatriciaAllenDavidM.Ashkenaze,M.D.*RobertandJoanBall*CynthiaBates*MatthewandShariBenard-Gueffroy**
RobertBiggsandDianeCarlsonOscarandShulaBlumenthalRebeccaA.Brover**RobertandHilaryBrover**GregoryA.BruckerRalphE.BulkleyandClaireleeLeiserBulkley**
WalterandMarijaBunter*RayandMaryCabral*LynnandRobertCampbellDonandDoloresChakerian*TerryandMarybethCookElizabethCorbettAllanandJoanCrow*MarthaDickman*NancyDuBois*JonathanandMickeyElkusThomasandPhyllisFarver**RonFisherTylerT.Fong*MarvinandSusanFriedman**EdwinandSevgiFriedrichAnneGray*VickiGummandKlingFamilyFoundation**
Prof.andMrs.SaidHaimor*BenjaminandLynetteHart**LorenaHerrig*BarbaraD.HoermannProf.andMrs.D.KernHoloman**
DebraA.Horney,M.D.**BrianandLouanneHorsfield**IliaHoward*MargaretE.Hoyt*
Dr.andMrs.DanielR.Hrdy*SharonInkelasBarbaraK.Jackson**Prof.JosephE.KiskisJr.*WinstonandKatyKoFamilyofNormanLamb*Dr.RichardLevine*PaulandLoisLimSusanLinzMelissaLyansandAndreasJ.Albrecht,Ph.D.*
NatalieandMalcolmMacKenzie*DouglasW.MacphersonandGlayolSabha,M.D.*
MarjorieMarch*J.A.MartinGaryandJaneMatteson**KatherineMawdsleyandWilliamF.McCoy*
ScottandCarolineMayfieldGregandJudyMcCall*TracyH.andBrendanJ.McCarthy
UllaandGeraldMcDanielDonandLouMcNary*AlbertJ.andHelenMcNeil*SharonMenke,esq.MaureenMillerAndrewMollner**JosephDeanMollner**EileenandOleMols*GeorgeMooreJolantaMoore**RaphaelS.andNetaniaMoore*EldridgeandJudithMoores**JamesandJocelynMorris**MaryAnnMorris*KenT.Murai*RussellandAliceOlsonJessieAnnOwensPaulandLindaParsons*HermanandDiannePhaff**MarjoriePhillipsandRobertRice
JamesandFelicityPineJimandNancyPollockAnn PrestonEugeneandElizabethRenkin*RalphandJudyRiggs**SusanneRockwellandBrianSway
JeromeandSylviaRosen*DonRothRobertandMargaretRucker**TraceyRudnickBeverly“Babs”SandeenandMartySwingle**
E.N.Sassenrath*NeilandCarolineSchore*Prof.andMrs.CalvinSchwabe*BarbaraL.SheldonEllenSherman*RichardandGayleSimpson**WilsonandKathrynSmith**LoisSpafford*ShermanandHannahSteinDr.andMrs.RoydonSteinkeThomasSturges*JoelandSusanSwift*RichardSwift*AliceTackett*StevenD.Tallman*DamianSiuMingTing**RoseannaF.TorrettoRosalieandLarryVanderhoef*ShipleyandDickWalters*BarbaraD.and GradyL.Webster
MaryaWelch*
ArthurAndersenLLPFoundation*
BankofAmericaFoundationOfficeoftheProvost**TheSwiftFundfortheArts*UCDavisSymphonyOrchestra1992–93,1993–94**
Weyerhaeuser
In honor ofBenjaminHartRandolphHuntbyBenjaminandLynetteHart*
UllaMcDanielJeromeandSylviaRosen*
In memory ofSusanPylmanAkinWilliamR.AlbrechtRonaldJ.AlexanderHilaryBroverRobertM.CelloKarenAileenDettlingClareM.DriverJohn“Al”DriverElizabethElkusCarlFlowersDr.IrenaAnnaHennerKatherineH.HolomanNormanE.LambLorenLeMaitreVernaFournesLeMaitreMichelleMantayDorothyDodgeMillerJohnMouberMelOlsonHermanPhaffKeithRiddickWalterH.RockJr.WalterH.RockSr.DorothyJ.ShielyRichardandDorothySwiftWilliamE.ValenteWimvanMuyden,MDBodilWennberg
* = $1,000 or more ** = $10,000 or more
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A l a r m W i l l S o u n d isatwenty-memberbandcommittedtoinnovativeperformancesandrecordingsoftoday’smusic.Theyhaveestablishedareputationforperformingdemandingmusicwithenergeticskill.Theirperformanceshavebeendescribedas“equalpartsexuberance,nonchalance,andvirtuosity”bytheLondon Financial Times andas“atriumphofensembleplaying”bytheSan Francisco Chronicle . TheNew York TimessaysthatAlarmWillSoundis“oneofthemostvitalandoriginalensemblesontheAmericanmusicscene.”
TheversatilityofAlarmWillSoundallowsittotakeonmusicfromawidevarietyofstyles.ItsrepertoirerangesfromEuropeantoAmericanworks,fromthearch-modernisttothepop-influenced.AlarmWillSoundhasbeenassociatedsinceitsinceptionwithcomposersattheforefrontofcontemporarymusic,premieringpiecesbyJohnAdams,SteveReich,DavidLang,MichaelGordon,SirHarrisonBirtwistle,AaronJayKernis,AugustaReadThomas,DerekBermel,BenedictMason,WolfgangRihm,StefanFreund,PaytonMacDonald,GavinChuck,CalebBurhans,andDennisDeSantis,amongothers.Thegroupitselfincludesmanycomposer-performers,whichallowsforanunusualdegreeofinsightintothecreationandperformanceofnewwork.
In2010thegroupdevelopedandperformedtheDirtyProjectors’The Getty AddressinitsnewidentityasaliveperformancepieceattheLincolnCenter,DisneyHall,andtheBarbican.MusicthatDirtyProjectorsfront-manDavidLongstrethcreatedonacomputerbymeticulousandcomplicatedsampling,looping,andlayeringistranslatedandarrangedbyMattMarks,AlanPierson,andChrisThompsonfortwenty-threemusiciansofbothbands.Formoreinformation,visitAlarmWillSound’sWebsiteatwww.alarmwillsound.com.
Je a n A h n (FestivalCompositionFellow)recentlyfinishedherPh.D.atUCBerkeley.ShewasborninKoreaandreceivedherB.A.andM.M.fromSeoulNationalUniversityinKorea.Hermusichasbeenplayedbyvariousensembles,includingtheVoltichamberchoir,EastCoastContemporaryEnsemble,pianistLisaMoore,EnsembleSurplus,AspenNewMusicEnsemble,ArizonaContemporaryMusicEnsemble,
KoreanNationalChamberMusicPlayers,theBerkeleyUniversitySymphony,BerkeleyContemporaryChamberPlayers,BeijingConservatoryNewMusicPlayers(IAWMBeijingCongress),andVeritasEnsemble,amongothers.
RecentawardsandcommissionsforhercompositionsincludefirstprizefromtheReneeB.FisherCompetition,acommissionfromSanFranciscoArtsCommission,agrantfromtheZellerbachFamilyFoundation,afellowshiptoAspen,KoreanNationalMusicComposersAward,firstprizefromSejongKoreanMusicCompetition,DeLorenzoPrize(Berkeley),andthePanMusicFestivalAward.Jeanhasalsostudiedelectronic/computermusicatCNMAT(CenterforNewMusicandAudioTechnologies),andhermusicwasplayedattheSparkFestival,MusicofJapan2007,NewYorkElectronicMusicFestival,amongothers.SheiscurrentlyworkingonamultimediapieceforOngDanceCompanyandisteachingattheUniversityofPacificinStockton.
H e n d e l A l m é t u s isathirdyearPh.D.studentincompositionatUCDavis.BorninHaiti,hebeganhismusicaltrainingattheageoftwelve.HeearnedaB.M.incompositionfromHoustonBaptistUniversityandanM.A.incompositionfromtheEastmanSchoolofMusic.AtEastmanhedevelopedaninterestincomputermusicandhassincethenusedvarioussoundsynthesissoftwareforsome
ofhiscompositions.Atthe2008ImageMovementandSoundfestivalinNewYork,hecollaboratedwithafilmmakerandachoreographerinamultimediawork“Polarity,”performedattheRochesterInstituteofTechnology.Hehaswrittenforensemblesthatoccasionallyincludeelectronics.HismusichasbeenperformedbytheEmpyreanEnsemble,ScholaCantorum,andvariousensemblesfromtheEastmanSchoolofMusic.
IcelandicviolinistH ra b b a At l ad o t t i r studiedinBerlin,Germany,withAxelGerhardtandinKlagenfurt,Austria,withHelfriedFister.Afterfinishingherstudies,sheworkedasafreelancingviolinistinBerlinforfiveyears,regularlyplayingwiththeBerlinPhilharmonicOrchestra,DeutscheOper,andDeutscheSymphonieOrchester.AtladottiralsoparticipatedinaworldtourwithpopartistBjörkanda
GermantourwithviolinistNigelKennedy.In2004shemovedtoNewYorkandcontinuedtofreelance,performingonaregularbasiswiththeMetropolitanOpera,theNewYorkCityOpera,theOrchestraofSt.Luke’s,andtheNewJerseySymphonyOrchestra,amongothergroups.Sheperformsagreatdealofnewmusic,mostrecentlywiththeEither/OrensembleinNewYorkinconnectionwiththeirHelmutLachenmannfestival.
ThedynamicworkofC h r i s t i a n B a ld i n i (FestivalCo-Organizer),conductorandcomposer,hastakenhimaroundtheworld,asguestconductoroftheBuenosAiresPhilharmonic,theSanFranciscoContemporaryMusicPlayers,operafortheAldeburghFestival,andasafeaturedcomposerattheAcanthesFestivalinFrance.AfterconductingtheSaoPauloSymphonyOrchestra,criticArthur
NestrovskifromtheFolhadeSaoPaulopraisedthis“charismaticyoungconductor”who“conductedbyheartBrahms’sFirstSymphony,lavishinghismusicalityandleavingsighsalloverthehallandtherowsoftheorchestra.”
Baldini’smusichasbeenperformedbyorchestrasandensemblesincludingtheOrchestreNationaldeLorraine(France),SouthbankSinfonia(London),NewYorkNewMusicEnsemble,MemphisSymphonyOrchestra,DaeguChamberOrchestra(SouthKorea),ChronophonieEnsemble(Freiburg),andtheInternationalEnsembleModern(Frankfurt).HismusicappearsonthePretalLabelandhasbeenbroadcastonSWR(GermanRadio)aswellasintheNationalClassicalMusicRadioofArgentina.HehasalsoconductedandrecordedcontemporaryItalianmusicfortheRAITradelabel.
Baldini’sworkhasreceivedawardsinseveralcompetitionsincludingthetopprizeattheSeoulInternationalCompetitionforComposers(SouthKorea,2005),theTribuneofMusic(UNESCO,2005),theOssia
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InternationalCompetition(Rochester,NY,2008),theDaeguChamberOrchestraInternationalCompetition(SouthKorea,2008),andtheSaoPauloOrchestraInternationalConductingCompetition(Brazil,2006).HehasbeenanassistantconductorwiththeBritten-PearsOrchestra(England)andacoverconductorwiththeNationalSymphonyOrchestra(Washington,DC).AfterteachingandconductingattheSUNYinBuffalo,BaldiniisanassistantprofessoratUCDavisandservesasthemusicdirectoroftheUCDavisSymphonyOrchestra.HeregularlyappearsasaguestconductorwithensemblesandorchestrasthroughoutSouthAmericaandEurope.FutureengagementsincludeperformanceswiththeIsraelContemporaryPlayersandEnsemblePlural(Spain),andconductingrehearsalswiththeBBCSymphonyOrchestrainLondononaprogramdedicatedentirelytothemusicofBrianFerneyhough.
ThemusicofM at t h e w B a r n s o n (FestivalCompositionFellow)hasbeencelebratedinternationallyandhasbeenfeaturedattheISCMWorldNewMusicDaysinStuttgartandNewYork’sMATAFestival.HeattendedtheAspenMusicFestival,theCentreAcanthes,OstravaDays,andJuneinBuffalo.HeistheyoungestrecipientofaBarlowCommission.Otherhonorsincludethe
HowardHansonScholarship,theCharlesIvesScholarship,theVirgilThomsonScholarship,theBenjaminFranklinFellowship,andtheAaronCoplandPrize.HestudiedattheEastmanSchoolofMusic(withChristopherRouse,JosephSchwantner,StevenStucky,andAugustaReadThomas),theUniversityofPennsylvania(AnnaWeezner,JamesPrimrosch),andYaleUniversity(MartinBresnick,IngramMarshall,andDavidLang).HisvocalworkshavebeenperformedbyErinMorley,IanHowell,andNicoleCabell,SeraphicFire,andtheNewYorkVirtuosoSingers.PeterEötvös,SarahHicks,andJacqueMercierhaveconductedhisinstrumentalmusic;theArdittiQuartetplayedhisfirsttwostringquartets;andThirdCoastPercussioncommissionedhisfirstquartetforpercussionensemble.Newcompositionsincludeaneworchestralwork,anewworkfortheJACKstringquartet,andapianopieceforDustinGledhill,tobepremieredatWigmoreHall.
To d B r o dy, flute,hasenjoyedacareerofgreatvariety.HewasamemberoftheSacramentoSymphonyformanyyears,wherehewasafrequentsoloistonbothfluteandpiccolo.HeteachesfluteandchambermusicatUCDavis,whereheperformswiththeEmpyreanEnsemble.AsamemberofEmpyrean,Earplay,andtheSanFranciscoContemporaryMusicPlayers,Brodyhasparticipatedinmany
worldpremieresandhasbeenrecordedontheArabesque,Capstone,Centaur,CRI,Magnon,andNewWorldlabels.Whennotperformingcontemporarymusic,heoftencanbefoundintheorchestrasoftheSanFranciscoOperaandtheSanFranciscoBallet,andinotherchamberandorchestralsettingsthroughoutNorthernCalifornia.Inadditiontohisactivitiesasaperformerandteacher,BrodyisthedirectoroftheSanFranciscoBayAreachapteroftheAmericanComposersForum,anorganizationdedicatedtolinkingcommunities,composers,andperformers,encouragingthemaking,playing,andenjoymentofnewmusic.
A n n a M a r i a B u s s e B e r g e r (PanelDiscussionModerator)isprofessorofmedievalandrenaissancehistoryandtheoryintheDepartmentofMusic.In2005–06shewastheLehmanVisitingProfessoratVillaITatti.BusseBergerhaspublishedarticlesandbooksonnotation,mensurationandproportionsigns,musicandmemory,mathematicsandmusic,andhistoriography.WinneroftheAmerican
MusicologicalSociety’sAlfredEinsteinAwardforbestarticlebyayoungscholar,shehasheldfellowshipsattheHarvardUniversityCenterforItalianRenaissanceStudies,VillaITatti,Florence,theGuggenheimFoundation,theNationalEndowmentforHumanities,theStanfordHumanitiesCenter.HerbookMedieval Music and the Art of MemorywontheASCAP-DeemsTaylorAwardandtheWallaceBerryAwardfromtheSocietyofMusicTheoryin2006.
ArtistaffiliateincelloandchambermusicatUCDavis,S u s a n L a m b Co o k isanactiveperformerandeducatorinthecapitolregion.HersoloandchambermusicrecitalshavebeenbroadcastonCapitolPublicRadio,andsheperformsregularlywiththeSacramentoPhilharmonicOrchestra,theSacramentoOpera,andtheSacramentoChoralSocietyandOrchestra.SheservesasprincipalcellistfortheClassicalMusic
FestivalinEisenstadt,Austria,andisonfacultyfortheViandenInternationalMusicFestivalandSchoolinLuxembourg.HerrecordingsincludeWorks for Cello and Piano by Rachmaninoff,The Gold Coast Trio – Works by Beethoven, Beach, Bernstein and Piazolla, andLa Commedia,chambermusicbyAmericancomposerDanielKingmanforInnovaRecordings.WithGoldCoastTrio,shehasperformedasartist-in-residenceatXiamenUniversityinChinaandtheClassicalMusicFestivalinEisenstadt,Austria,andgivenmasterclassesatSanFranciscoStateUniversity,ScrippsCollege,andHarveyMuddCollege.Thetrio’s2006performanceattheLisztConcertHallinRaiding,Austria,wasfeaturedonAustrianNationalTelevision,andtheirperformanceoftheBeethovenTripleConcertowiththeLakeTahoeMusicFestivalreceivedcriticalacclaim.TheGoldCoastTrioreturnedtoXiamen,China,inJune2010toperformtheBeethovenTripleConcertowiththeXiamenPhilharmonicOrchestra.
Asapedagogue,Cookishighlyregardedasacellistandchambermusician,andherstudentsperformregularlyforcompetitionsandpublicconcerts.SheisanactivememberoftheCaliforniaAssociationofProfessionalMusicTeachersandtheAmericanStringTeachersAssociation,andiscoauthoroftheGuide to Teaching Strings.Herfocusonmusiceducationhastakenhertopublicschoolclassroomsaroundtheregion.Sheappearedasartist-in-residencefortheEspartoSchoolDistrict.HerworkdevelopingtheSacramentoYouthSymphony’sChamberMusicWorkshophasreceivedrecognitionfromtheNewYork-basedorganizationChamberMusicAmericaandtheAmateurChamberMusicPlayers.
BorninLisbon,Portugal,A n d r e i a P i nt o Co r r e i a (FestivalCompositionFellow)startedhermusicalstudiesinhernativecountryattheAcademiadeAmadoresdeMúsicaandiscurrentlyadoctoralcandidateincompositionattheNewEnglandConservatory,Boston,studyingwithMichaelGandolfi.ShereceivedherMasterofMusicdegreewithacademic
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honorsinjazzcompositionasastudentofBobBrookmeyer.SheholdscommissionsfromtheTanglewoodMusicCenter,EuropeanUnionPresidency,DinosaurAnnexEnsemble,OrchestrUtópica,DrummingGP,AvianMusicEnsemble,Antena2/RTP(Portugal’sNationalBroadcast),tubavirtuososSérgioCarolino(SoloistOportoNationalOrchestra)andAnneJelleVisser(SoloistOperaofZurich),MachinaMundi,MiquelBernat,DuoMusagete,theAREnsemble,theFestivaldoTeatroS.Luíz,CâmaraMunicipaldaTrofa,andtheOrquestradeJazzdeMatosinhos.HerConcertoforTwoTubashasbeenrecentlyannouncedasafinalistforthe2010HarveyG.PhillipsAwardforExcellenceinComposition;otherawardsinclude:2010ValparaisoFoundationResidency(Spain),2010and2009HonorableMentionbytheMinnesotaSymphonyOrchestra,2009TanglewoodMusicCenterFellowship,2009EarShot/MemphisSymphonyOrchestraFellowship,2009HonorableMentioninACOReadings,the2009and2008NECContemporaryEnsembleCompositionAward,the2008ToruTakemitsuAwardbytheJapanSociety,2008ComposersConferenceFellowship,2008OrquestradolgarveFellowship,2007/2009Luso-AmericanFoundationScholarship,severalNECMeritAwards,andASCAPLUSAwards.Pinto-Correia’sbrassmusicispublishedbyEditionsBIM/TheBrassPress(Switzerland).
L e ig ht o n F o n g, cello,isalongtimememberoftheLeftCoastChamberEnsembleandalsoservesasprincipalcellowiththeCaliforniaSymphony.HeplaysregularlywiththeBerkeleyContemporaryChamberPlayersandtheEmpyreanEnsembleandisanactivefreelancerintheBayArea.HehastaughtatUCBerkeleysince1997.FongstudiedattheSanFranciscoConservatory,theNewEngland
Conservatory,theBernConservatoryinSwitzerland,andtheRoyalDanishConservatoryinCopenhagen.HejoinedtheSanFranciscoContemporaryMusicPlayersin2006.
Principallycommittedtoinfluencingandexpandingtherepertoireforsolopercussionthroughcommissionsandpremieres,C h r i s Fr o h , percussion,isamemberoftheSanFranciscoContemporaryMusicPlayers,theSanFranciscoChamberOrchestra,andtheEmpyreanEnsembleatUCDavis.KnownforenergizedperformanceshailedbytheSan Francisco Chronicle as“tremendous”
andSan Francisco Classical Voiceas“mesmerizing,”hissoloappearancesstretchfromRometoTokyotoSanFrancisco.HiscriticallyacclaimedsolorecordingscanbeheardontheAlbany,Bridge,Equilibrium,andInnovalabels.Afrequentcollaboratorwithleadingcomposersfromacrosstheglobe,Frohhaspremieredworksbydozensofcomposers,includingJohnAdams,ChayaCzernowin,LizaLim,DavidLang,KeikoAbe,andFrancoisParis.HetoursJapanwithmarimbistMayumiHamaandwithhisformerteacher,marimbapioneerKeikoAbe.SolofestivalappearancesincludetheFestivalNuoviSpaziMusicali(Rome),theFestivalofNewAmericanMusic,PacificRim,andOtherMinds.Activeinmusicfortheateranddance,FrohhasrecordedscoresforAmericanConservatoryTheater,performedasasoloistwiththeBerkeleyRepertoryTheater,andcomposedoriginalmusicforOakland-basedDanceElixir.
AnativeofMinnesota,S a ra G a r t l a n d is anAdlerFellowwiththeSanFranciscoOpera.SheearnedfavorablenoticeslastsummerasAlexandraBlitzstein’sRegina,forwhichOpera Newscomplimentedthe“lovelyquality”ofhervoice,andOpera-L.orgreportedthat“SaraGartland,anapprenticeartist,wasexcellentintheroleofRegina’sdaughterAlexandra.Itisafullmelodiousvoicewithpowerandstamina.”Shesang
thesamerolefortheUtahOperathispastJanuary.Lastsummer,sheappearedwiththeSanFranciscoOperaCenterasSuzelinL’amico FritzasaMerolaOperamember.OtherrecentengagementsincludeperformanceswithOperaIowaasNorinainDon Pasquale,AtlantaLyricTheaterasEmmaCarewinJekyll and Hyde,theOhioLightOperaasElizabethBennetintheworldpremiereofPride and Prejudice, ValencienneinThe Merry Widow,andasMarianneinThe New Moon,andattheUniversityofColorado(Boulder)asSusannainLe nozze di Figaro, GretelinHansel and Gretel,LaurettainGianni Schicchi,andthetitleroleofSemele.ShehasappearedontheconcertstagewiththeElmhurstSymphonyinBeethoven’sSymphonyNo.9,CheyenneSymphonyinCarmina Burana,CentralCityOpera,andColoradoUniversity’sBoulderWindSymphonyin“FourMarylandSongs.”GartlandearnedamasterofmusicfromtheUniversityofColoradoBoulderandabachelorofmusicfromtheUniversityofWisconsin,Madison.ShewasafinalistintheeasternregionattheMetropolitanOperaNationalCouncilandfourthplaceintheDenverLyricOperaGuild.
M o o n Yo u n g H a (FestivalCompositionFellow)combinesclassicalinstruments,video,andelectronicstocreatecontemporaryconcertmusic.HismusichasbeeninfluencedbymulticulturalmusicalbackgroundincludingWesternandnon-Westernclassics,jazz,andpopmusic.HisworkhasbeenpresentedatfestivalsandconcertsinFrance,theNetherlands,theUnitedKingdom,Serbia,
Lithuania,Spain,Canada,Sweden,andtheUnitedStates.Hehascollaboratedwithvisualartist/composerDennisMiller,andhismusichasbeenperformedbyAlarmWillSound,ensembles21,LOOSensemble,orkestdeereprijs,EastCoastContemporaryEnsemble,DuquesneContemporaryEnsemble,MercuryQuartet,R&RElectronics,EricMandat,FloridaInternationalUniversitySymphonyOrchestra,andtheUniversityofIllinoisNewMusicEnsemble.Heisfounder,artisticdirector,andfrequentconductorofMEANS,acontemporarymusicensemblethatwasformedforthepurposeofperformingnewmusicbyyoungcomposers.Heearnedhisbachelor’sandmaster’sdegreesinmusiccompositionattheUniversityofIllinoisatUrbana-Champaign,andiscurrentlyaPh.D.studentatNewYorkUniversity,GraduateSchoolofArtsandScience.
M at i ld a H o f m a n’s workasaconductorrangeswidelyfromoperaandthesymphonicrepertoiretoherkeeninterestincontemporarymusic.SheconductsregularlyintheUnitedStates,Canada,andtheUnitedKingdom.NextsummershewillbesecondconductorforLuigiNono’sPrometeo attheSalzburgFestivalandtheBerlinFestspiele.HofmanhasconductedtheWinnipegSymphonyOrchestra(NewMusic
Festival,broadcastonCBCradio),theRochesterPhilharmonic,andBBC
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Philharmonic,amongothers.Sheispassionateaboutbringingmusictounderprivilegedcommunitiesandhasdevelopedamentoringprogramwitheducationconcertsandside-by-sidesattheinner-citySchooloftheArtsinRochesterwhilestudyingattheEastmanSchoolofMusic.HofmanalsostudiedatCambridgeUniversityandtheRoyalAcademyofMusic.ConductingmentorshaveincludedSirColinDavis,DavidZinman,JoAnnFalletta,NeilVaron,IngoMetzmacher,andKurtMasur.
EducatedatDukeandPrincetonUniversities,D. K e r n H olo m a n joinedthefacultyofUCDavisin1973,andhastaughtmusichistoryandorchestralperformancethereeversince.HewasfoundingDeanofHumanities,ArtsandCulturalStudiesatUCDavis;thefirstBarbaraK.JacksonProfessorofOrchestralConducting;andthefourthconductoroftheUCDavisSymphonyOrchestra,1977–2009.
AmongHoloman’sscholarlybooksandarticlesaretheCatalogue of the Works of Hector Berlioz(Bärenreiter,1987),Berlioz(HarvardUP,1989;Faber&Faber,1990),theSociété des Concerts du Conservatoire, 1828–1967 (UCPress,2007),andtheforthcomingCharles Munch (OxfordUP,2011).HisbooksforstudentsandthegeneralpublicincludeEvenings with the Orchestra: A Norton Guide for Concertgoers (Norton,1992), Masterworks,amultimediatextbookpackage(PrenticeHall/Simon&Schuster,1998;e-book,2010),Writing about Music(UCPress,1988;rev.2nded.2008),andThe Orchestra: A Very Short Introduction(OxfordUP,2011).FortheAmericanMusicologicalSociety,heservedaschairofboththeAMS50andOPUScapitalcampaigns,separatedbytwenty-fiveyears.HeservedontheinternationalcommissionBerlioz2003andwasacoauthorofitsseveralpublications.HewasnamedachevalieroftheFrenchOrdredesArtsetdesLettresin1989andanofficier in 1999 . In1995hewonthecovetedUCDavisPrizeforTeachingandResearch.
L e e Hyl a , composer-in-residence,seepage4.
P e t e r Jo s h e f f , clarinet,haspremieredhundredsofsoloandchamberworksbyawiderangeofcomposers,andhashadnumerouspiecescomposedforhim.Hehasappearedonmanyrecordings,concertseries,andfestivals,bothnationallyandinternationally.HeperformswithEarplay,thePaulDresherEnsemble,theEmpyreanEnsemble,theBerkeleyContemporaryChamberPlayers,andtheSanFrancisco
ContemporaryMusicPlayers.Alsoactiveasacomposer,JosheffhasbeeninresidenceattheMacDowellColonyandhasbeentherecipientofgrantsfromtheAmericanComposersForum,MeettheComposer,andtheZellerbachFamilyFund.HismostrecentcompositionshavegrownoutofadecadeofcollaborationwithBayAreapoetJaimeRobles,includingMemento (2001),Diary (2002),3 Hands (2003),andHouse and Garden Tales (2005).ThelatterwaspremieredbyEarplayattheHerbstTheaterinSanFranciscoandfeaturedbass-baritoneJeremyGalyon.Viola and Mallets (2007)wascommissionedbytheEmpyreanEnsembleandpremieredbytheminApril2007.Josheff’smostrecentwork,Inferno (2008),achamberopera,wasproducedbytheSanFranciscoCabaretOperainJune2009.
Phyl l i s K a m r i n , violin,receivedherB.M.fromtheCurtisInstituteandherM.M.fromtheNewEnglandConservatory.SheisamemberofthestringquartetwithintheLeftCoastChamberEnsemble,andoftheAlmaDuo,anensemblewithguitar.ShehasplayedwiththeSierraStringQuartet,winnersoftheDuisbergPrize,theNewCenturyChamberOrchestra,andPhilharmonia
Baroque.KamrincanbeheardontheKameleon,VQS,andHarmoniaMundilabels.
Eu n Yo u n g L e e (FestivalCompositionFellow) receivedthefirstprizeatTsang-HoueiHsuInternationalMusicCompositionAward;the2008MaxDiJulioPrizeattheNevadaEncountersofNewMusic(N.E.O.N.)Festival;wontheSCI/ASCAPstudentcompositioncommission(2006,2009,2010);arecipientoftheMacDowellColonyFellowship2010,GeraldOshitaMemorialFellowshipforthe
2010DjerassiResidentArtistProgram,andVirginiaCenterfortheCreativeArtsFellowship.HermusicischosenforbroadcaststhroughArtoftheStates,EBUandKBSandisfeaturedintheSCIJournalofMusicScores(vol.41)andCDseries(No.23).Prominentensembles—includingNewYorkNewMusicEnsemble,eighthblackbird,PacificaStringQuartet,ALEAIII,TimetablePercussion—haveperformedhermusic.Hermusicisfeaturedinfestivals/concertsinmanycountries.SheisaPh.D.candidateattheUniversityofChicagowhereherteachersincludeShulamitRan,MartaPtaszynska,JanRadzynski,BernardRands,andcomputermusicwithHowardSandroffandKotokaSuzuki.
L o r e n M ac h , percussion,ispassionateabouttheartsastheyrelatetoourtwenty-first-centuryworldandallwhoinhabitit.AgraduateoftheOberlinandCincinnatiConservatoriesofMusic,hehaspremieredcountlessmarimbaandpercussionsolosaswellaschamberandorchestralworks.MachisamemberofADORNOensemble,theSanFranciscoChamberOrchestra,andtheWornChamberEnsemble.Hehas
appearedwiththeSanFranciscoSymphony,theSanFranciscoContemporaryMusicPlayers,theEmpyreanEnsemble,sfSound,theBerkeleyContemporaryChamberPlayers,andmostofthearea’smanyregionalsymphonyandoperaorchestras.HehasperformedattheCabrilloFestivalofContemporaryMusicandwasguestartistwithDawnUpshawandeighthblackbirdatthe2006OjaiMusicFestival.MachhasenjoyedrecentcollaborationswithLucyShelton,GinoRobair,andDavidTanenbaum.
T h a l i a M o o r e , cello,isanativeofWashington,D.C.ShebeganhercellostudieswithRobertHofmeklerandafteronlyfiveyearsofstudyappearedassoloistwiththeNationalSymphonyOrchestraofWashingtonattheKennedyCenterConcertHall.SheattendedtheJuilliardSchoolofMusicasascholarshipstudentofLynnHarrellandreceivedherbachelor’sandmaster’sdegreesin1979and1980.Whileat
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Juilliard,shewastherecipientoftheWalterandElsieNaumbergScholarshipandwonfirstprizeintheNationalArtsandLettersStringCompetition.Since1982,MoorehasbeenassociateprincipalcellistoftheSanFranciscoOperaOrchestra.In1989shejoinedthecellosectionoftheSanFranciscoBalletOrchestra.Shehascontinuedtoconcertizeextensively,appearingassoloistatAveryFisherHall,CarnegieRecitalHall,KennedyCenterTerraceTheater,HerbstTheater,andSanFranciscoLegionofHonor.ShehasalsoperformedasguestartistattheOlympicMusicFestivalinSeattleandtheLakeTahoeSummerMusicFestival.
M it c h e l l M o r r i s teachesintheDepartmentsofMusic,Musicology,andWomen’sStudiesatUCLA.Amonghismanyresearchinterestsaremusicat(theprevious)fin-de-siècle;RussianandSovietcomposers;issuesofmusic,gender,andsexuality;problemsofmusicalethics;andmusicalecocriticism.Hehasalsospokenextensivelyonmusic’srelationshiptopsychoanalysisinbothmusicaland
psychoanalyticvenues.Anoutspokenadvocateofpublicmusicology,hehasalsocollaboratedextensivelyonprojectswiththeLosAngelesOperaforthelastdecade.Hisessayshaveappearedinnumerouspopularandscholarlypublications.
S a m N ic hol s (FestivalCo-Organizer)isacomposerwholivesandworksinNorthernCalifornia.HismusichasbeenperformedbyEarplay,eighthblackbird,theEmpyreanEnsemble,andtheLeftCoastChamberEnsemble,amongothergroups.RecentprojectsincludetwocommissionsfromBayAreagroups:Refuge,astringquartetwrittenfortheLeftCoastChamberEnsemble,andUnnamed, Jr. atrioforEarplay.Upcomingprojects
includenewsoloworksforpercussionistChrisFrohandcellistDavidRussell.HeisalsocurrentlyworkingonThe Metamorphosis,achamberoperaforGuerillaOpera.AnongoingcollaborationwithsculptorRobinHillhasproducedtwomultimediainstallations.Oneofthese,Kardex,wasfeaturedattheMondaviCenterforthePerformingArts.HeattendedVassarCollegeandBrandeisUniversity.HeworksasalecturerintheUCDavisDepartmentofMusic;healsoteachesincollaborationwiththeTechnoculturalStudiesProgram.
T ho m a s N u g e nt , oboe,graduatedfromtheSanFranciscoConservatoryofMusicwherehestudiedwithMarcLifschey.NugentisprincipaloboewiththeSacramentoPhilharmonicOrchestra,afoundingmemberoftheLeftCoastChamberEnsemble,andisamemberofthePacificArtsWoodwindQuintet.HehasperformedwiththeSanFranciscoSymphony,SanFranciscoOpera,San
FranciscoBallet,SanJoseSymphony,OaklandSymphony,MarinSymphony,SantaRosaSymphony,CaliforniaSymphony,SanFranciscoContemporaryMusicPlayers,SacramentoChamberMusicSociety,SierraChamberSociety,SanFranciscoCamerata,MendocinoMusicFestival,BearValleyMusicFestival,TanglewoodMusicCenter,SpoletoFestival,andtheColoradoPhilharmonic.HehasperformedasasoloistwiththeSacramentoPhilharmonic,BearValleyFestivalOrchestra,MendocinoFestivalOrchestra,DiabloBallet,San
FranciscoChoralArtists,andfortheAmericanGuildofOrganists.Nugenthasperformedontelevisioncommercials,video,andPBSsoundtracks.RecentrecordingprojectsincludetheSanFranciscoContemporaryMusicPlayers,Centering,theMusicofEarleBrown,andCarlosFranzetti’snewopera,Corpus Evita, withtheSanFranciscoCamerata.HeisonthefacultyoftheUniversityofthePacificConservatoryofMusicandatMillsCollege.
M ic h ae l S e t h O rl a n d , piano, hasappearedextensivelyintheBayAreaasachambermusician,playingwiththeSanFranciscoContemporaryMusicPlayers,Earplay,theBerkeleyContemporaryChamberPlayers,NewMusicTheater,theEmpyreanEnsemble,andOtherMindsandintheSanFranciscoSymphony’sNewandUnusualMusicseries.HehasperformedmodernworksthroughoutCalifornia,
includingUCcampusesatSanDiego,Davis,andSantaCruz;atSacramentoStateUniversity;andatCalArts.OrlandmaybeheardonrecordingsofcontemporarymusicreleasedbyCRI,Centaur,andCapstone.Inadditiontofrequentappearancesasafreelancesymphonymusician,OrlandhasaccompaniedmanyvocalrecitalsandvocalmasterclassesgivenontheUCBerkeleycampusbyFredericavonStadeandSanfordSylvan.OrlandisonthemusicfacultyatUCBerkeleyandteachesthereintheYoungMusiciansProgram.OrlandstudiedpianowithMargaretKohnandisagraduateoftheUCBerkeleymusicdepartment,wherehestudiedcompositionwithGérardGrisey.HelatercontinuedhisstudyofcompositionwithDavidSheinfeld.
Pa blo O r t i z isaprofessorofcompositionatUCDavis.Hetaughtcompositionandwasco-directoroftheElectronicMusicStudioattheUniversityofPittsburghfrom1990to1994.AmongthosewhohaveperformedhiscompositionsaretheBuenosAiresPhilarmonic,theArdittiStringQuartet,theEnsembleContrechampsofGeneva,MusicMobile,Continuum,Les
PercussionsdeStrasbourg,andtheTheatreofVoices.HismusichasbeenheardatinternationalfestivalsinSalzburg(Aspekte),Geneva(Extasis),Strasbourg(Musica),Havana,Frankfurt,Zurich,SaoPaulo,andMexicoCity.HewascommissionedbytheFrommFoundationin1992,andin1993receivedaGuggenheimFellowship,andin1996aCharlesIvesFellowshipfromtheAmericanAcademyofArtsandLetters.Ortizwascommissionedtowritetwochamberoperas,Parodia andUna voz en el viento,bytheCentroExperimentalTeatroColoninBuenosAires,andtowriteRaya en el mar,bytheKoussevitzkyFoundationfortheSanFranciscoContemporaryMusicPlayers.Hewasawardedagrantin2000fromFideicomisoparalaculturaMexico-U.S.towritechildren’ssongs.TheGerbodeFoundationcommissionedOscuro forChanticleerandtheSanFranciscoContemporaryMusicPlayers(2004),andhereceivedanAcademyAwardfromtheAmericanAcademyofArtsandLettersin2008.RecentpremieresincludeHeat Wave,writtenforJoelSachsandtheNewJuilliardEnsemble,Suomalainen tangofororchestrabytheOrquestraNacionaldeCatalunya,andTrois tangos en margebytheKovacik,Dann,KarttunenTrioattheMuseoNacionalReinaSofiainMadrid.HecurrentlyisworkingonaballetwithchoreographerDianaTheocharidisfortheTeatroMunicipalGeneralSanMartininBuenosAires.
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Je s s ie A n n O we n s isdeanoftheDivisionofHumanities,ArtsandCulturalStudiesintheCollegeofLettersandScience,andprofessorofmusic.ShecametoUCDavisinJuly2006.Trainedasaclassicist,shedescribesherjunior-yearexperienceattheIntercollegiateCenterforClassicalStudiesinRomeastransformational.AFulbrightyearinParmadeepenedherpassionforItalyand
Italianculture.Anorganistandchoralsinger,Owenscombinedherloveofmusicwithherinterestinhistory,receivingherM.F.A.andPh.D.fromPrincetonUniversity.Sheistheeditorofthethirty-volumeseriesTheSixteenth-CenturyMadrigal.HerbookComposers at Work: The Craft of Musical Composition 1450–1600(1998ASCAP-DeemsTaylorAward)wasthefirstsystematicinvestigationofcomposers’autographmanuscriptsfrombefore1600.
OwenshastaughtattheEastmanSchoolofMusicandColumbiaUniversityasaMellonFellowintheSocietyofFellowsintheHumanities,wasalong-termfellowattheFolgerShakespeareLibraryin1998–99,andavisitingfellowatAllSoulsCollege,Oxford,in2006.SheservedaspresidentoftheAmericanMusicologicalSociety,2000–02,andaspresidentoftheRenaissanceSocietyofAmerica,2002–04.In2003shewaselectedFellowoftheAmericanAcademyofArtsandSciences,andin2008,HonoraryMemberoftheAmericanMusicologicalSociety.
SwedishcomposerM i k a P e lo (FestivalCo-Organizer)writesmusicforsoloists,chamberensembles,andorchestras.AfterfinishingstudiesinStockholm,PelomovedtoNewYorktopursueadoctoraldegreeincompositionatColumbiaUniversityunderthesupervisionofFrenchcomposerTristanMurail.Lastfall,PelojoinedthemusicfacultyatUCDavisandisco-directingtheEmpyreanEnsemblewithfellowfaculty
membersandcomposersLaurieSanMartinandKurtRohde.PelogainedinternationalattentionwiththestringorchestrapieceApparition, whichwasnominatedfortheGaudeamusPrizeinHollandin2000andperformedbytheDutchRadioChamberOrchestraunderthesupervisionofPeterEötvös.Pelo’smusicisperformedonbothsidesoftheAtlantic,includingrecentperformancesbytheSerbianRadioOrchestraandtheManhattanSinfoniettainMay2009.HisnewstringquartetwillbeperformedinPragueandthenreleasedonCDwiththeSwedishstringquartetNyaStenhammarkvartetten.Pelo’smusicispublishedbyEditionPeters(Germany).
S c o t t P e r r y likestositaroundand“thinknon-thinking.”HeiscurrentlyattendinggraduateschoolatUCDavis.HeholdsaB.A.fromUCSB(CCS)andanM.F.A.fromtheCaliforniaInstituteoftheArts.HisteachersincludeBeverlyGrigsby,JeremyHaladyna,KurtRohde,WolfgangvonSchweinitz,UlrichKrieger,andDavidRosenboom.HewasaprincipalparticipantinamasterclasswithRogerReynolds.IntensiveshortencounterswithcomposersincludeMarioDavidovsky,JulioEstrada,andPaulineOliveros.
A l a n P ie r s o n (ArtisticDirector,AlarmWillSound)hasbeenpraisedas“ayoungconductorofmonstrousskill”byNewsday, “commanding”bytheNew York Times,and“giftedandelectrifying”bytheBoston Globe . InadditiontohisworkasartisticdirectorofAlarmWillSound,heisprincipalconductoroftheDublin-basedCrashEnsembleandhasappearedasaguestconductorwiththeLondonSinfonietta,the
SteveReichEnsemble,theOrchestraofSt.Luke’s,CarnegieHall’sEnsembleACJW,theTanglewoodMusicCenterOrchestra,theNewWorldSymphony,andtheSilkRoadProject.HealsoservedasavisitingfacultyconductorattheIndianaUniversityJacobsSchoolofMusic.Piersonhascollaboratedwithmajorcomposersandperformers,includingYo-YoMa,SteveReich,DawnUpshaw,OsvaldoGolijov,JohnAdams,AugustaReadThomas,DavidLang,MichaelGordon,LaMonteYoung,andchoreographersChristopherWheeldon,AkramKhan,andElliotFeld.PiersonhasrecordedforNonesuchRecords,CantaloupeMusic,SonyClassical,andSweetspotDVD.
K a r e n P owe r (FestivalCompositionFellow)completedherPh.D.inacousticandelectro-acousticcompositionin2009,attheSonicArtsResearchCentre,Belfast,withMichaelAlcorn.HerinitialinterestincompositionbeganduringherundergraduatedegreeinUniversityCollegeCork(UCC).ShecompletedanM.A.inCompositioninUCCin2000andiscurrentlyworkingasamusictechnicianin
MaryImmaculateCollege,UniversityofLimerick.Until2004,hercompositionaloutputwaspredominantlyinstrumental,butPowerisexploringelectro-acousticcomposition,sound-art,andliveelectronics.HermusicisperformedthroughoutEurope.Herrecentwork,“YouMe,”receiveditspremiereinSerbiaandanelectro-acoustictapepiece“friedrice,curriedchipandadietcoke”wasafinalistatthe2009ASCAP/SEAMUS(SocietyofElectroAcousticMusicintheU.S.)StudentCommissionAwardintheUnitedStates,herorchestralpiece“onepieceofchocolateperbar”hadanhonorablementionattheInternationalAllianceforWomeninMusic28thIAWM(2009)SearchforNewMusicbyWomenComposers,andherensembleandtapepiece“squeezebirdstoimproveyourgarden’splantvariety”wasselectedforperformanceontheannualconcertoftheInternationalAllianceforWomeninMusic(IAWM)bytheNOVAEnsemble,directedbyElizabethMcNutt.SheisalsoanactivememberoftheAIC(AssociationofIrishComposers)theSPNM(SocietyforthePromotionofNewMusic),theIWMA(InternationalWomeninMusicAssociation),SEAMUS(SocietyforElectroAcousticMusicintheU.S.),andaformermemberoftheICC(IrishComposer’sCollective).
A n n a P r e s le r, violin,isartisticdirectoroftheLeftCoastChamberEnsembleandhasplayedwiththemforoveradecade.AfacultymemberatSacramentoStateUniversity,sheperformswiththeensemble-in-residence,theSunQuartet.SheisalsoamemberoftheNewCenturyChamberOrchestra.PreslerhasparticipatedinprogramsattheBanffArtCenter,theInternationalMusicSeminar
atCornwall,andtheTanglewoodMusicCenter.SheholdsadegreeinhistoryfromYaleUniversityandstudiedmusicattheSanFranciscoConservatoryofMusicandtheNorthCarolinaSchooloftheArts.
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ChairoftheDepartmentandProfessorofMusicology,C h r i s t o p h e r R ey nold s (Ph.D.,PrincetonUniversity)hasheldvisitingprofessorshipsatYale,Stanford,andUCBerkeley,andinGermanyattheUniversityofHeidelbergandtheUniversityofGoettingen.HewasarecipientoftheUCDavisAcademicSenateDistinguishedTeachingAward(2000–01).Reynoldsistheauthoroftwo
books:Papal Patronage and the Music of St. Peter’s, 1380–1513(UCPress,1995),andMotives for Allusion: Context and Content in Nineteenth-Century Music(finalistfortheOttoKinkeldeyAwardbytheAmericanMusicologicalSociety,2004).HeiswritingabookonWagnerandBeethoven’sNinthSymphony.HisresearchhasbeensupportedbyfellowshipsfromtheACLS,theNEH(twice),AlexandervonHumboldtFoundation,andtworesidenciesattheVillaITattiinFlorence.HeisafoundingeditorofthejournalBeethoven Forum .
Hisarticle“PorgyandBess:AnAmericanWozzeck”wasfirsthonoredbytheAmericanMusicologicalSociety(AMS)withtheH.ColinSlimAward(2008)formostdistinguishedarticleoftheyearbyanestablishedscholar.ItalsoreceivedtheKurtWeillPrizefromtheKurtWeillFoundationasthebestarticleonmusicaltheaterpublishedduringtheyears2007and2008.Reynoldsisintheprocessofdonatinghiscollectionof3,000songscomposedbywomentotheuniversitylibrary,whereitishousedinspecialcollectionsastheChristopherA.ReynoldsCollectionofWomen’sSong,1850–1950.HealsoservesaseditoroftheAMSStudiesinMusicbookseriespublishedwithOxfordUniversityPress.
Composerandviolist K u r t R o h d e (FestivalCo-Organizer)livesinSanFranciscowithhispartnerTimAllenandlabradoodleRipley.OriginallyfromNewYork,KurtattendedthePeabodyConservatory,theCurtisInstitute,andSUNYStonyBrook.HeistherecipientoftheAmericanAcademyinRome’sElliotCarterFellowshipinMusicComposition,theBerlinPrize,aGuggenheim
Fellowship,awardsfromtheAmericanAcademyofArtsandLetters,andcommissionsfromtheFromm,Koussevitzky,Hanson,andBarlowFoundationsandtheNationalEndowmentfortheArts.AmemberoftheNewCenturyChamberOrchestraandtheLeftCoastChamberEnsemble,heisalsoanassociateprofessorofcompositionatUCDavis.Hisrecentprojectsincludeaworkforpuppettheatre,aviolinconcertoforAxelStrauss,alargeensembleworkforSouthwestChamberMusic,apianoconcertoforSaraLaimonandensembleSequitur,andaworkforspeakingpianistforGenevieveLee(performedherebyMs.LeeinOctober2009).
Violist E l le n R ut h R o s e isamemberoftheEmpyreanEnsembleandEarplayandperformsregularlywiththeSanFranciscoContemporaryMusicPlayers,theLeftCoastEnsemble,SantaCruzNewMusicWorks,andtheBerkeleyContemporaryChamberPlayers.ShehasworkedthroughoutEuropewithFrankfurt’sEnsembleModernandtheCologneexperimentalensemblesMusikFabrikand
ThürmchenEnsembleandhasperformedassoloistwiththeWestGermanRadioChorus,theSanFranciscoContemporaryMusicPlayers,andSantaCruzNewMusicWorks,attheSanFranciscoOtherMinds
andOjaiMusicfestivals,andatMondayEveningConcertsinLosAngeles.ShehaspremierednumerousworksbynorthernCaliforniacomposers,includingKurtRohde(Double Trouble, adouble-violachamberconcerto),UCDavisfacultycomposerPabloOrtiz(Le vrai tango argentin),SteedCowart(Zephyr),EdmundCampion(Melt me with thy delicious numbers),AaronEinbond(Beside Oneself),CindyCox(Turner),WilliamBeck(Aquarium),RobertCoburn(Fragile Horizons 2007),andLindaBouchard(4LN).RoseholdsdegreesinperformancefromtheJuilliardSchoolandtheNorthwestGermanMusicAcademyinDetmold,abachelor’sdegreewithhonorsinEnglishandAmericanhistoryfromHarvardUniversity.HerteachershaveincludedHeidiCastleman,NobukoImai,MarcusThompson,andKarenTuttle.SheisontheinstrumentalfacultiesatUCDavisandUCBerkeley.
L au r ie S a n M a r t i n (FestivalCo-Organizer)isacomposer,teacher,andanoccasionalclarinetistandconductor.SheteachesmusictheoryandcompositionatUCDavisandwasco-directoroftheEmpyreanEnsemblefrom2001to2009.LauriegrewupinBerkeleyinamusicalhousehold,andstudiedviolin,clarinetandpiano.SheattendedUCDavis,UCBerkeley,andBrandeisUniversitywhereshestudied
composition,clarinet,andconductingunderLuisBaez,RossBauer,MartinBoykan,EricChasalow,Jung-HoPak,DeborahPittman,DavidRakowski,DavidSchneider,OllyWilsonandYehudiWyner.SheholdsaPh.D.fromBrandeisintheoryandcomposition.
Shewritesconcertmusicforchamberensembleandorchestraandincidentalmusicfortheater,dance,andvideo.Thisspring,gayageumvirtuosoYiJi-YoungandtheLydianStringQuartetwillpremiereanewworkatthePacificRimFestivalinBoston,SantaCruz,andKorea,andshewillhavefirstperformancesinNewYorkbySequiturandtheWashingtonSquareContemporaryMusicSociety.HermusichasbeenperformedbySpeculumMusicae,eighthblackbird,EARPLAY,theWarebrookContemporaryMusicFestival,theLeftCoastChamberEnsemble,andtheSanFranciscoContemporaryMusicPlayers.ShehasreceivedawardsfromtheLeagueofComposers-ISCM,theInternationalAllianceforWomeninMusic,theMargaretBlackwellMemorialPrizeinComposition,theAmericanAcademyofArtsandLetters,andtheASCAPMortonGouldYoungComposer’sAwards.Asacompositionfellow,shehasattendedtheMacDowellColony,Yaddo,AtlanticCenterfortheArts,NorfolkContemporaryChamberMusicFestival,andtheComposersConferenceatWellesleyCollege.HermusiccanbefoundontheLeftCoastChamberEnsemble’s“SanFranciscoPremieres”CD(2005).HerpianotangoisincludedonaforthcomingCDperformedbyAmyBriggs.
R a mt e e n S a z e g a r i (FestivalCompositionFellow)isacomposercurrentlyresidinginChicago,Illinois.HeearnedhisundergraduatedegreeinmusiccompositionandEnglishliteratureatUCDavis,wherehisprimarycompositionteacherwasKurtRohde.HealsostudiedcompositionwithYu-HuiChang,AndrewFrank,andSamNichols.Hismusichasbeenperformedatstudentcomposer
concertswhilehewasanundergraduate,andhehadapiecepremieredbytheUCDavisSymphonyOrchestraayearafterhisgraduation.Hewasawardedthe2006–07OlgaBroseValenteMemorialPrizeforExcellenceinMusicCompositionandwasafinalistinthe2010DuoSoloEmergingComposerCompetition.Heearnedhismaster’sdegreeinmusiccompositionfromIllinoisStateUniversity,wherehisprimary
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compositionteacherswereMarthaHorstandCarlSchimmel.Asagraduatestudent,hismusicwasperformedatanumberofconcertswhilehetaughtcoursesinmusictoundergraduatestudents.
UCDavisDistinguishedProfessorofPsychologyD e a n K e it h S i m o nt o n (Ph.D.,HarvardUniversity,1975)haspublishedmorethan400publicationsconcerninggenius,creativity,leadership,andtalent.HisbooksincludeGenius, Creativity, and Leadership(HarvardUP,1984),Psychology, Science, and History(YaleUP,1990),Greatness(Guilford,1994),Origins of Genius(OxfordUP,1999),Great
Psychologists(AmericanPsychologicalAssociation,2002),Creativity in Science(CambridgeUP,2004),Genius 101(Springer,2009),andGreat Flicks(Oxford,2011).AmonghishonorsaretheWilliamJamesBookAward,theSirFrancisGaltonAwardforOutstandingContributionstotheStudyofCreativity,theRudolfArnheimAwardforOutstandingContributionstoPsychologyandtheArts,theGeorgeA.MillerOutstandingArticleAward,theTheoreticalInnovationPrizeinPersonalityandSocialPsychology,thePresident’sAwardfromtheNationalAssociationforGiftedChildren,twoMensaAwardsforExcellenceinResearch,andtheRobertS.DanielAwardforFour-YearCollege/UniversityTeaching.In1985hebecamePresidentoftheSocietyforAesthetics,Creativity,andtheArts,in2000PresidentoftheInternationalAssociationforEmpiricalAesthetics,andiscurrentlyPresident-ElectoftheSocietyforGeneralPsychology(Division1,AmericanPsychologicalAssociation).Simontonreceivedthe1994UCDavisPrizeforTeachingandScholarlyAchievement.
C h i n g -Y i Wa n g isadoctoralcandidateintheoryandcompositionatUCDavis.Shebeganhermusictraininginpianoattheageoffiveandstartedtakingcompositionlessonsattwelve.SheearnedabachelorandmasteroffineartsdegreesintheoryandcompositionfromTaipeiNationalUniversityoftheArtsinTaiwan(TNUA)andiscurrentlystudyingcompositionwithMikaPeloandhasstudiedwithPabloOrtiz,Ross
Bauer,andKurtRohde.Hermusiccomposition“YuLinLing”wasawardedtheTuneinTaiwanin2002.Ms.WanghastaughtatTainanNationalUniversityoftheArtsandisateachingassistantatUCDavis.ThisspringanewworkwillbepremieredatthePacificRimFestivalinBoston,SantaCruz,andKorea.HermusiccanbefoundontheTaiwanComposerLeague’s“TaiwanContemporaryComposersI:ChamberMusic”CD,releasedin2007.
G r e g g W ra m ag e (FestivalCompositionFellow)wasrecentlyawardedacommissionfromtheBarlowEndowmenttocomposeanewchamberconcertofortheviolistBrettDeubner.Hisorchestralwork,La Tristesse Durera,receivedboththe2007CoplandHouseSylviaGoldsteinAwardandthe2008internationalEAMAPrize—a$10,000award.MillenniumSymphony’srecordingofLa Tristesse
Durerawasreleasedin2008,onthefirstvolumeofERMMedia’sMadeintheAmericasCDSeries.
North/SouthConsonanceChamberOrchestrapremieredWramage’sfirstsymphonyinNewYorkin2008,andhismusichasalsobeenperformedbyperformedbyAspenSinfonia,eighthblackbird,CollageNewMusic,NewJerseySymphony,CabrilloFestivalOrchestra,FriendsandEnemiesofNewMusic,AmericanComposersOrchestra,MinnesotaOrchestra,AmericanOperaProjects,ThirdMillenniumEnsemble,andpianistsBruceLevingston(LincolnCenter)andCarineGutlerner(WeillRecitalHallandinParis).HehasbeenafellowatYaddo,CoplandHouse,theWurlitzerFoundation,theMacDowellColony,VirginiaCenterfortheCreativeArts,andAtlanticCenterfortheArts;hehasreceivedtheNMYEJosefAlexanderAward,theDeliusFestivalAward,theStarerPrize,theKatzCompositionPrize,theDruckmanPrize,andaNewJerseyStateArtsCouncilIndividualArtistGrant.HismusichasbeenrecordedonCapstoneRecordsandpublishedbySouthernMusic.
E r ic Z iv i a n , pianistandcomposer,isagraduateoftheCurtisInstitute,theJuilliardSchool,andYaleSchoolofMusic.HestudiedcompositionwithNedRorem,JacobDruckman,andMartinBresnick,andpianowithGaryGraffmanandPeterSerkin.ZivianhasperformednewmusicwithAlternateCurrents,Earplay,andtheEmpyreanEnsemble,andBeethovenandMozartwiththeSantaRosaSymphonyand
theTorontoSymphony.HeisamemberoftheZivian-TomkinsDuo.HeattendedtheTanglewoodCenterasbothaperformerandcomposer.ZivianisalsoafrequentguestartistontheSanFranciscoConservatory’sfacultychambermusicseries.
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S P EcI A L T H A N K S
RussIrwin DonRoth,JeremyGanter,ErinPalmer,andtherestofthestaffoftheMondaviCenter
ChristopherReynolds,Chair,DepartmentofMusicFacultyandstaffoftheDepartmentofMusic
DepartmentofMusicProductionStaffChristinaAcosta,editor
PhilDaley,publicitymanagerRudyGaribay,graphicdesigner
NoahMcGee,audioandcomputertechnicianJoshPaterson,productionmanager
LiamWade,EmpyreanEnsembleteachingassistantDanielWebster,EmpyreanEnsembleintern
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PleaseconsidersupportingtheEmpyreanEnsemble.Ourfutureperformances,recording,commissions,andeducationalprogramscanberealizedandexpandedonlythroughyourgenerouscontributions.Yourfullytax-deductibledonationisgreatlyappreciated.Wealsoencouragematchinggrants.Pleasesendyourchecks,payableto“UCRegents,”specifying“EmpyreanEnsembleFund”inthememofield,toEmpyreanEnsembleFund,DepartmentofMusic,OneShieldsAvenue,UCDavis,Davis,CA95616.Thankyouagainforyoursupport.
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AnonymousTimothyAllenRossBauer*SimonBauerBillBeck&Yu-HuiChangAnnaMariaBusseBergerHayesBiggsMartinBoykanRichardMix&AnnCallawayEricandBarbaraChasalowMaryChunJonathan&MickeyElkusAdamFreyPattieGlennon&EdJacobsKarenGottliebPaulGrantUdoGreinacherAnneM.GuzzoMarkHaiman&EllenRuthRoseEllenHarrisonD.KernandElizabethHoloman*MarthaCallisonHorst
BrendaHutchinsonAndrew&BarbaraImbrieNormanJonesCaraleeKahnLouisandJulieKarchinMarcia&KurtKeithMayaKunkelGarrettaLamoreGeraldandUllaMcDanielHilaryandHaroldMeltzerDr.MariaA.NeiderbergerJohnandPhoebeNicholsPabloOrtizandAnaPeluffoJessieAnnOwens&AnneHoffmanCanOzbalandTeresaWrightStaceyPelinkaandJanLustigWaynePetersonDavidRakowski&BethWiemannSheilaRanganath&JimFessendenKurtRohdeJoanandArtRoseJeromeW.&SylviaRosen*
KarenRosenak*MarianneRyanMarilynSanMartinMichaelSanMartinDanScharlinDavidE.SchneiderAllenShearerEllenSherman*MagenSolomonHenrySpiller&MichaelOrlandSherman&HannahSteinLarryandRosalieVanderhoef*Prof.andMrs.OllyWilsonYehudiWyner
BankofAmerica*AaronCoplandFundforMusic*AliceM.DitsonFund,ColumbiaUniversity**ForrestsMusicAnnandGordonGettyFoundation**
*=$1,000ormore**=$5,000ormore
ThemostimportantendeavoroftheDepartmentofMusictodayistobuildthenewMusicPerformanceBuildingandRecitalHall—amuchneededmidsize(300–500seats)concertvenuethatwillservethecampusandtheregion.Anefforttoraise$5.5millioninprivatefundingtoaugmentstateandcampusfundsfortheprojectisunderway.ForinformationabouttheRecital
Hallandhowtosupportit,pleasevisittheDepartmentofMusicWebsite(music.ucdavis.edu)orcallDebbieWilson,DirectorofDevelopmentfortheDivisionofHumanities,Arts&CulturalStudiesintheCollegeofLetters&Science,at530.754.2221.
S E A T S A N D S T O N E SRecognized by gifts of $1,000 or more
Founders ($350K and higher)BarbaraK.JacksonGraceandGrantNoda
Directors ($50K and higher)JohnandLoisCrowe
Patrons ($25K and higher) WayneandJacqueBartholomewRalphandClaireleeLeiserBulkleyLorenaJ.HerrigD.KernandElizabethHolomanAlbertMcNeilMaryAnnMorris
JessieAnnOwensand AnneL.Hoffmann
WilsonandKathrynSmithRichardandShipleyWaltersEdandElenWitterIn Memory ofKennethN.MacKenzieNatalieandMalcolmMacKenzie
r E c I T A L H A L L S O c I E T YRecognized by gifts of $25,000 or more
AguirreFamilyAngeloD.AriasandFamilyRobertandJoanBallCynthiaBatesRossBauer,Ph.D.KathrynCaulfieldMarthaDickmanDonnaM.DiGraziaNancyDuBoisRichardandVeraHarrisPaulW.Hiss,M.D.JuliaandRichardKulmannCharleneR.KunitzKatherineand WilliamLandschulz
BethE.LevyCraigM.MachadoDeborahand HughMcDevitt
MaureenMillerGailM.OttesonChristopherReynoldsandAlessaJohns
KurtRohdeand TimothyAllen
JeromeandSylviaRosenSchoreFamilyThomasand KarenSlabaugh
HenrySpillerand MichaelOrland
HannahandShermanSteinHenryandAnnStuderLynneSwantandFamilyUwateFamilyLarryand RosalieVanderhoef
MaryaWelchCarlaWilson
UC Davis Music FacultyChristianBaldiniand MatildaHofman
DavidandHelenNutterPabloOrtizMikaPeloand HrabbaAtladottir
LaurieSanMartinand SamNichols
JeffreyThomas
Seth Singers, Alumni 1994–2008SethArnopoleJohnBakerDavidBenjaminPennBrimberryJoshuaEichornStephenFaselKatherineIvanjackEricandJacqueLeaverJoshuaandSaraMargulisElizabethParksEllenProulxKeithandJenniferRodeStevenRosenauAsaSternStephanieSuganoThomasWilberg
In Memory of Kenneth N. MacKenzieClydeandRuthBowmanElizabethBradfordKarenandIrvingBroidoPaulandNancyCaffo
LauraCameronBruceandMaryCarswellLintonand CarolCorruccini
MaryandGeorgeDahlgrenAllenand MaryLouDobbins
Johnand CatherineDuniway
Robertand AnnEdmondson
AndrewandJudithGaborGovernment AffairsConsulting
PaulandJuneGulyassyCharleneR.KunitzRusselland SuzanneHansen
JohnandMaryleeHardieBenjaminand LynetteHart
JohnandPatriciaHershberger
BetteGabbardHintonDirkandSharonHudsonJamesand PatriciaHutchinson
BarbaraK.JacksonJerryandTeresaKanekoKitandBonitaLamRuthLawrenceJerryand MargueriteLewis
Frederickand LucindaMarch
TheresaMauerRobertand MargaretMcDonald
JohnandNormaMeyerMaureenMiller
TeresaPaglieroniSarahand ThomasPattison
Philipand ShirleyPenland
DavidandDairRauschElizabethand EugeneRenkin
G.Thomasand JoanSallee
KatherineSchimkeMaxineSchmalenbergerJ.Tracyand SallySchreiber
RoyandPollySheffieldSuzetteSmithRonaldandRosieSoohooJoeandBettyTupinLauraand RichardVanNostrand
ElisabettaVivodaRichardand ShipleyWalters
NoelandPamelaWarnerRobertand ChristineWendin
DebbieB.WilsonRobertandJoyceWisnerDonaldandDianeWoods
St.Helena HospitalFoundation
– r E c I TA L H A L L –
Orlando by G.F. Handel November 19 & 21, 2010Sacramento Community Center Theater
When does Love become an Obsession and
Obsession become Madness?
Photo: Chicago Opera Theatre/Liz Lauren
For Tickets call 916.808.5181, or online at Tickets.Com
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