Luke Martin, 2016 Steven Rothenberg Internship Fellow

We are thrilled to announce Luke Martin as the 2016 Steven Rothenberg Internship Fellow. Luke is a composer pursuing his M.F.A. at CalArts and was first an intern at the 2015 Festival. The Rothenberg Fellow and Festival Internship Program are made possible by the generous support of Fred and Ila Rothenberg, in memory of their son Steven Rothenberg.

lukeLuke Martin (b. 1992) is an experimental composer, musician, and poet currently living in Valencia, CA. His work focuses on the concepts of liminality, neutrality, and fragility and is primarily interested in exploring limits of perception. More specifically, he is interested in the use of silence, listening, text, and sound as equally considered elements in the compositional practice; for instance, the composer’s task is not only to consider the parameters of determined sound making (both text and instrumental), but also the parameters of how we listen, and how we may interact with and frame silence. The composer, then, seeks to create situations of possible events which the audience, performer(s), and composer all experience concurrently. Further, Luke considers the social and political disposition of a performance a very connected aspect of his work: how can one critically think about the hierarchical roles and power relations at work in a given performance, and then potentially subvert or support them. Recently inspired by David Dunn’s notations for listening and Lasse Thoresen’s spectromorphological analysis of electronic music and sound, Luke is in the beginning stages of developing a notation for silence (i.e., incidental sounds, contingency).

Among his many influences, Luke is particularly inspired by the work of Samuel Beckett, John Cage, Morton Feldman, Peter Ablinger, Luigi Nono, the Wandelweiser Collective, and Gertrude Stein. He is currently in his final year of the M.F.A. music composition program at California Institute of the Arts, studying with Michael Pisaro. Originally from Massachusetts, Luke received his B.A. in English and Music from Colby College in Maine, graduating magna cum laude, phi beta kappa, and with honors in music composition/theory. He has received awards ranging from a Kennedy Center Award for Music Composition to the Mollie Seltzer Yett Prize for Music Academics. Aside from composing, Luke performs in a noise/no-input feedback duo ‘sinecure,’ plays tennis, guitar in both jazz and experimental music settings, enjoys canoeing with family and friends in Maine, and always appreciates a good game of cribbage.

Learn more about the Festival Internship Program >>

Flutes Across The World In The Philippines

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For over 30 years, the Ojai Music Festival’s BRAVO program has been enhancing the existing public school music curriculum by offering interdisciplinary music lessons. The goal is to help make music an integral, enjoyable, and exciting part of the everyday learning process while providing critical music education opportunities for Ojai Valley students. John Zeretzke is part of the BRAVO Artist Residency program.

Founder and director of the non-profit organization and NGO, “FLUTES ACROSS THE WORLD”, Mr. Zeretzke is holding music workshops in the Philippines, where children will be receiving free hand-decorated flutes made by children in America, including Ojai. He will be distributing flutes to students in poor schools in the Philippines that are built on dumpsites, refugee children from tribal conflicts in remote jungle areas, a school for the blind, tribal schools on the edge of inner Mindanao wilderness areas and more.

This week, he will be leading music instruction and personally delivering the flutes. The stories of these children and their lives are hard to believe, but we reach out to them through this program.

He is joined by a supporter in Manila, Ramon Moreno, who is a Commander with the Philippines Coast Guard Auxiliary and works with the Starkey Hearing Foundation. Also in partnership are the St. Vincent de Paul organizations in California and the Philippines, and other Filipino organizations for humanitarian outreach.

Workshops for local students will continue this winter and spring, made possible by the BRAVO Education program of the Ojai Music Festival. Our students should be very proud of the work they have done to make this possible. Our local children are working to spread the joy of music to others throughout the world. This is a powerful way to help share the vision of peace, joy and connection in a world today that needs just this kind of outreach to help create a better future for tomorrow.

Laura Walter, January 2016

Pierre Boulez Photo Gallery

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Ojai Festivals Womens Committee prepares for Pierre's arrival (1967)

1967 Women's Committee

Ojai Festivals Womens Committee prepares for Pierre's arrival (1967)

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Pierre conducts at the 1967 Ojai Music Festival

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Pierre Boulez and Lawrence Morton (1970)

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Pierre in Los Angeles (Jim Farber)

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Pierre conducts at the 1989 Ojai Music Festival

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Pierre Boulez and Mitsuko Uchida at the 1996 Festival

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Pierre conducts at the 1992 Ojai Music Festival (Betty Freeman)

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Pierre Boulez and Peter Sellars at the 1992 Ojai Music Festival

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Pierre conducts at the 1996 Ojai Music Festival

Boulez 2003 by Frank Bott

Pierre Boulez in 2003

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Pierre conducts the LA Phil at the 2003 Ojai Music Festival

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Betty Freeman and Pierre at the 2003 Festival

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Pierre reading in Libbey Bowl (2003)

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Pierre conducts at the 2003 Ojai Music Festival

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Pierre Boulez, Betty Freeman, and Ara Guzelimian relax in Libbey Bowl after a concert (2003)

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Pierre conducts 'Sur Incises' at the 2003 Festival

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Thomas W. Morris, Pierre Boulez, Ernest Fleischmann, and Ara Guzelimian (Robert Millard)

Ojai Music Festival - "Boulez at 90" 6/10/15 Libby Bowl, Ojai

2015 Ojai Music Festival celebrates Pierre's 90th Birthday (David Bazemore)

Ojai Music Festival - "Boulez at 90" 6/10/15 Libby Bowl, Ojai

2015 Ojai Music Festival celebrates Pierre's 90th Birthday (David Bazemore)

Ojai Music Festival - "Boulez at 90" 6/10/15 Libby Bowl, Ojai

2015 Ojai Music Festival celebrates Pierre's 90th Birthday (David Bazemore)

Ojai Music Festival - "Boulez at 90" 6/10/15 Libby Bowl, Ojai

2015 Ojai Music Festival celebrates Pierre's 90th Birthday (David Bazemore)

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Artistic Director Thomas W. Morris – Remembering Our Dear Friend Pierre Boulez

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Dear Ojai Festival Friends:

We are all saddened by the news this morning of Pierre Boulez’s death at the age of 90. He passed away peacefully and quietly in his sleep last night.

That Pierre was one of the seminal thinkers and musical intellects of our time goes without saying, his legacy as a composer is unquestioned, and his setting of standards as a conductor and programmer are unparalleled.

My deepest thoughts this morning go to Pierre Boulez as friend and mentor. He was relentless in forging close and long-lasting relationships with organizations and individuals with whom he felt the common bond of beliefs and commitment. One of those was the Ojai Music Festival, which he considered as one of his important artistic homes. He holds the record for the most times as music director in the Festival’s history – seven times between 1967 and 2003, spanning over half of the Festival’s history and over half of his life. He had close personal creative relationships with four of the Festival’s artistic directors – Lawrence Morton, Ara Guzelimian, Ernest Fleischmann, and myself, which means his ties to Ojai reach back as far as 1954. I am so proud that we appropriately celebrated his 90th birthday last June.

Knowing and working with Pierre through the years fundamentally influenced my own sense of programming and love of musical adventure. While ill health curtailed his performing and traveling over the last four years, he always expressed, in my frequent visits to him in Baden Baden, a profound interest in what was happening at Ojai, and was always misty-eyed with the recollection of his first visit to Ojai in 1967 in Lawrence Morton’s convertible and of the wall of pungent orange blossom scent as he crested the Upper Ojai Valley. The fact that Ojai thrives today with its fearless embrace of the new, its stellar heritage of innovative artists, and its lively and engaged audiences is a tribute to Boulez’s beliefs, his considerable commitment as a conductor/composer/collaborator, and his deep abiding love of Ojai.

Thank you with all my heart, dear Pierre.

Thomas W. Morris
January 6, 2016

Learn more:
View photos of Pierre from our archives >>
See a timeline of Pierre’s Festivals in Ojai >>

View The Schedule for the 70th Ojai Music Festival, June 9-12, 2016

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70th Ojai Music Festival | June 9-12, 2016
Peter Sellars, music director

Click on a date below to view the full schedule for that day

Download PDF >>

Thursday | June 9, 2016


Ojai Talks | 2:00-4:30pm
Ojai Valley Community Church (907 El Centro St)

Music Director Peter Sellars and composer Kaija Saariaho in conversation with Ojai Talks director Ara Guzelimian


Thursday Evening Talk & Concert
7:30-10:00pm | Libbey Bowl

Transformation Talks: Light Into Dark Dark Into Light
with Peter Sellars and guests

KAIJA SAARIAHO: La Passion de Simone
2013 version for soprano, small chorus and chamber orchestra – American Premiere
Text by Amin Maalouf | Staged by Peter Sellars

Julia Bullock, soprano | ICE | Roomful of Teeth | Joana Carneiro, conductor
Frank Rossi, electronics | Ben Zamora, lighting


Friday | June 10, 2016


Morning Meditation
9:00-10:00am | Meditation Mount (10340 Reeves Rd)
Ojai Member Event

PAULINE OLIVEROS: Sonic Meditations

ICE


Friday Afternoon Concert
Part I: 1:00-2:15pm | Part II: 3:00-4:15pm
Libbey Bowl

Part I – KAIJA SAARIAHO Chamber Music I
Kesäpäivä mvt 1 – “Daybreak”
Terrestre mvt 1 – “Oiseau dansant”
Kesäpäivä mvt 2 – “Work”
Light and Matter
Kesäpäivä mvt 3 – “The Hour of Longing”
Adjö
Kesäpäivä mvt 4 – “The Mystic Hour”
Grammaire des rêves
Kesäpäivä
mvt 5 – “Twilight”
Terrestre mvt 2 – “L’Oiseau, un satellite infime”

ICE | Roomful of Teeth

Part II – The Mystic Hour
CAROLINE SHAW: Partita for 8 Voices
CARLA KIHLSTEDT: At Night We Walk in Circles and Are Consumed by Fire

ICE | Roomful of Teeth | Carla Kihlstedt, vocals & violin

** One ticket for both parts **


Friday Evening Talk & Concert
7:30-10:00pm | Libbey Bowl

Transformation Talks: Light Into Dark Dark Into Light
with Peter Sellars and guests

Dina El Wedidi and Band – The Sounds of Tahrir Square, Cairo


SPECIAL EVENT: Friday Night Noh Play
11:00-11:50pm | Ojai Valley School Upper Campus Amphitheatre (10820 Reeves Rd)

KAIJA SAARIAHO: Only the Sound Remains: “Always Strong” – American Premiere
Text by: Ezra Pound | Staged by: Peter Sellars

Anthony Roth Costanzo, countertenor | Davone Tines, baritone | Roomful of Teeth | Calder Quartet | Camilla Hoitenga, flute | Eija Kankaanranta, kantele | Dustin Donahue, percussion | Laurel Jenkins, dancer | tba, conductor | Franck Rossi, electronics

Bus transportation will be provided


 

Saturday | June 11, 2016


SPECIAL EVENT: Saturday Morning Noh Play
9:00-10am | Ojai Valley School Upper Campus Amphitheatre (10820 Reeves Rd)
KAIJA SAARIAHO: Only the Sound Remains: “Feather Mantle” – American Premiere
Text by: Ezra Pound | Staged by: Peter Sellars

Anthony Roth Costanzo, countertenor | Davone Tines, baritone | Roomful of Teeth | Calder Quartet | Camilla Hoitenga, flute | Eija Kankaanranta, kantele | Dustin Donahue, percussion | Laurel Jenkins, dancer | tba, conductor | Franck Rossi, electronics

Bus transportation will be provided


Saturday Afternoon Concert
Part I: 1:00-2:15pm | Part II: 3:00-4:15pm
Libbey Bowl

Part I – KAIJA SAARIAHO Chamber Music II
Nymphéa
Solar
Sombre

ICE | Calder Quartet | Franck Rossi, electronics | Davone Tines, baritone | Camilla Hoitenga, bass flute

Part II – The Mystic Hour
CAROLINE SHAW: Don’t Let Me Be Lonely – World Premiere of commissioned work
DU YUN: An Empty Garlic for bass flute and electronics

ICE | Roomful of Teeth | Claire Chase, flute

** One ticket for both parts **


Saturday Evening Talk & Concerts
Part I: 7:30-10pm | Part II: 10:30-11:30pm
Libbey Bowl

Transformation Talks: Light Into Dark Dark Into Light
with Peter Sellars and guests

Part I – Aruna Sairam and Ensemble
South Indian Vocal Music

Part II: Josephine Baker: A Personal Portrait – World Premiere
Arrangements and music by Tyshawn Sorey
Text by: Claudia Rankine

Julia Bullock, soprano |Tyshawn Sorey, drums | ICE

** One ticket for both parts **


 

Sunday | June 12, 2016


Morning Meditation
9:00-10:00am | Meditation Mount (10340 Reeves Rd)
Ojai Member Event

PAULINE OLIVEROS: Sonic Meditations

ICE


Children’s Concert
11:30am-12:30pm | Ojai Art Center (113 S Montgomery St)
FREE – RESERVATIONS REQUIRED (reservations open in Spring 2016)

Toy Piano Mania – featuring Phyllis Chen


Family Concert
1:00-2:00pm | Libbey Bowl
FREE – RESERVATIONS REQUIRED (reservations open in Spring 2016)

TANIA LEÓN: New work TBA – World Premiere
SHARON HURVITZ: New work TBA – World Premiere

ICE | Youth Orchestra LA (YOLA) | tba, conductor


Afternoon Concert
3:00-4:15pm | Libbey Bowl

CLAUDE VIVIER: Kopernikus – American Premiere

ICE | Roomful of Teeth | Eric Dudley, conductor


Free Community Event
6:00-8:30pm | Main Street, Santa Paula

Street party with Festival artists

Dina El Wedidi and Band
| ICE | Aruna Sairam | Roomful of Teeth | Other artists TBA

Programs and artists are subject to change
Photo Credit: Michael McFadden For Ojai Visitors Bureau

Music Director Peter Sellars Statement on the 2016 Festival

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“The Ojai Valley has long been recognized as a rare and beautiful natural site that invites retreat, renewal, and regeneration, from Chumash ceremonial life to Krishnamurti’s legendary talks under the trees. The valley has both a grandeur and a human scale that inspire and allow the deepest human questions to resonate, and create a setting for the most personal search for answers. The magical play of light across the canyon and the heady aroma of orange blossoms bring the senses to life, awaken the mind, and create a profound aura of openness and well-being.

Music incites many of the same thoughts and emotions, with similar immensity and intimacy and awe. The 70th Ojai Music Festival will gather this powerful energy and spirit of inquiry and reflection into a weekend of peak experiences and secret revelations.

KAIJA_SAARIAHO_06web1-smallFor the first time the composer Kaija Saariaho will come to Ojai. We will feature two of her most potent and visionary works. Her new chamber version of The Passion of Simone, a meditation on the life of the courageous French philosopher Simone Weil, written to a wise and humane text by Amin Maalouf, will receive its American premiere with the extraordinary young soprano Julia Bullock. It is a work of startling integrity and permanent challenge in dark times, with a flame of hope that burns brightly and intensely in the darkness. The fierce commitment and brilliance of that flame will be embodied by ICE and Roomful of Teeth, conducted by Joana Carneiro.

Kaija Saariho’s newest operatic creation is a sequence of two Japanese Noh plays in versions by Ezra Pound, entitled Only the Sound Remains. Again Ojai will offer the American premiere. These two plays will be performed in the tradition of Japanese Takigi Noh, outdoors, lightly held in the gentle grasp of a protective arroyo under a radiant early morning sky for Feather Mantle, a play of illumination, transcendence and evanescence, and just before midnight under an intense starlit sky for Always Strong, the harrowing and haunted story of a young warrior’s spirit struggling to return to life on earth.

This year’s festival will have its rituals. Mornings will begin with liberating and exhilarating Sonic Meditations by Pauline Oliveros realized by the glorious and willing musicians of ICE. At mid-day there will be concerts of the kaleidoscopic and more rarely performed chamber works of Kaija Saariaho. The later afternoons will offer music of longing and consolation. Caroline Shaw’s works will be paired with Carla Kihlstedt’s phosphorescent exploration of dream worlds, At Night We Walk in Circles and Are Consumed by Fire, and Du Yun’s peeling away the surface of the world in An Empty Garlic.

From Tahrir Square in Cairo, Dina El Wedidi and her band come to America to present a new song cycle that paints a personal picture of the realities, aspirations, disappointments, and determination of the Egyptian revolution. Dina El Wedidi epitomizes the new Egyptian women of a rising generation, her gorgeous and unmistakable voice alive with courage, allure, and the breath of freedom. Her band includes traditional Egyptian and modern electronic instruments, and for these performances she will bring three extraordinary older women from the Egyptian zār tradition who are singing in full-throated solidarity with the activism and vision of Dina and her generation.

We are thrilled to welcome to Ojai one of the most revered, beloved, surprising, and progressive stars of South Indian music. Aruna Sairam traces her artistic and spiritual lineages from some of the great gurus of the female vocal tradition, both within her own family and across multiple strands of Indian music. She also collaborates with folk artists, electronic ensembles, and pioneering jazz musicians such as Vijay Iyer. This is a woman who lives and moves in many worlds and holds them all magically on the breath. South Indian music is itself a spiritual quest, a philosophical journey, and an evolving state of ecstasy, rapture, and atonement. Aruna Sairam is one of the masters whose long, sinuous vocal line delineates a past that rises spontaneously in her breath as the future.

Julia BullockBullock2(Steiner)_small will also be the center of a unique and poignant evening honoring the brilliance, daring, public courage, and private tragedies of Josephine Baker, the black icon who created a singing, dancing declaration of independence with her black body, and blazed a trail of irresistible challenge and charm in France in the same years that Simone Weil pursued her feminist vigil on behalf of a larger humanity. Our Ojai evening will be a very personal portrait of Josephine as a fearless fighter for civil rights and a visionary who paid dearly for every forward step. Musical arrangements and original music for the evening will be crafted by the brilliant multi-instrumentalist/composer Tyshawn Sorey, with new poems by one of America’s great poets, Claudia Rankine, providing a quietly shocking meta-narrative that frames Miss Baker’s epic passage through the world.

Claudia Rankine’s seminal book, Don’t Let Me Be Lonely, inspires another Ojai commission, a new vocal work by Caroline Shaw. Intensely personal, under the skin states of emotion, memory, and hope emerge in Caroline Shaw’s body of work as well as in her body – Caroline Shaw’s music is drawn from her voice, from her throat, from her heart, her pulse, and her blood. Her new work will once again be composed for the ensemble Roomful of Teeth who will also be reprising her Pulitzer Prize winning Partita for 8 Voices for Ojai.

The final Sunday of the 2016 Festival will shift into an exuberant children’s festival for the first half of the day, featuring music written and performed by, with, and for children and anyone who is ready to listen to the world with fresh ears. The doyenne of the toy piano, Phyllis Chen, will compose, perform, and trigger a participatory cascade of toy piano mania and magnificence. Next, YOLA, the Los Angeles Philharmonic’s essential and ebullient Youth Orchestra of Los Angeles comes up to Ojai to join forces with ICE in performing a newly commissioned work by the celebrated and sensational Cuban-born composer Tania León, followed by a second world premiere of a new work written by Los Angeles teenager Sharon Hurvitz.

On Sunday afternoon the Festival presents an extremely rarified and demanding US premiere, Claude Vivier’s uncategorizable, genre-defying opera/ritual Kopernikus. The posthumous discovery and rediscovery of Vivier’s clairvoyant, tragic, and otherworldly music has brought the dawning realization that the world lost a great composer with his appalling and premature death in 1983. A generation later, his music speaks with a fresh and searing clarity that transcends time – it is medieval and it is modern, it is bizarre and it is Balinese, it is carnal and it is Canadian. And it remains just beyond our earthly sphere. Seven instruments and seven vocalists portray Agni the Hindu God of Fire, Lewis Carroll, Merlin, the Queen of the Night, a blind prophet, an old monk, Tristan and Isolde, Mozart, the Master of the High Seas, Copernicus, and Copernicus’ mother. Claude Vivier’s project is to: “start again at the beginning, really put the world to rights, rediscover sensitivity.” To quote Copernicus’ mother, “the world is getting ready for a huge change, would you like to participate?”

The 70th Ojai Festival will then expand and flow into a huge street party in the adjacent town of Santa Paula, culminating in the sheer communal pleasure of the joy of improvisation, increasingly wild juxtapositions, spontaneous jam sessions, and very, very good times.

In addition to music, talks and lectures that illuminate and amplify current events with cultural, historical, and philosophical perspectives will alternate with sessions focused on spiritual thinkers offering quieter moments of contemplation and peace across the days.

The Ojai Valley sunrises and sunsets will do the rest.”

— Peter Sellars
December 7, 2015

View the 2016 Festival schedule >>
Purchase Series Passes: Online | Order Form | 805 646 2053

Apply To Be A 2016 Festival Intern!

The Festival is currently accepting applications for its 2016 Internship program. Each year, the Ojai Music Festival Arts Management Internship Program welcomes 12-14recent undergraduate and graduate students to go behind the scenes of a renowned summer music festival. Interns work closely with the staff and production team, providing critical support and gaining invaluable hands-on experience and skills for their future careers.

Click here to learn more and download an application >>

Thank You For Joining Us At The Holiday Home Look In!

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Thank you to everyone who joined us this past weekend for the Holiday Home Look In and Marketplace! We’re so glad you were able to attend and hope to see you next November. Thank you to all the volunteers, musicians, and home owners who helped to make the home tour and marketplace so special. And an extra special thank you to the Ojai Festivals Women’s Committee for all their tireless work to put on such a spectacular event.

You Make It Happen – Make A Contribution In Support Of The Festival

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Since its founding in 1947 the Ojai Music Festival has been a place where ideas take root and grow into tangibility. Made possible by dedicated volunteers and generous supporters, the Festival’s pioneering spirit lives on 70 years later in the Ojai experience that draws audiences year after year – in the intimacy of the musical performances and the tranquility of the surroundings. In the intrepid audiences and artists who are committed to exploring the new – and to exploring the familiar in new ways. In the conversations and friendships that continue throughout the weekend and across the years…

You make it happen. Our journey has been possible because of committed supporters who believe in the Festival’s vision and the artists who carry it out each June.

Join us in celebrating our landmark 70th anniversary with a contribution. Click here to donate online or call Anna Wagner at 805 646 2094 ext. 105.

Every gift is meaningful to the Festival. We truly cannot do it without you!

Make a donation online or call Anna Wagner at 805 646 2094 ext. 105.

Meet The 2015 Holiday Home Look In Designers

Each year the Holiday Home Look In welcomes local designers and florists, each of whom are assigned a home on the tour and tasked with bringing their own vision of décor and the holidays to life. This year, designers Digs Floral and Botanical Designs, Angela’s Flowers, Kitty Bartholomew, and Teri Formanek and Sandy Sylslack will be showcased. And if you haven’t yet purchased your tickets, you can do so online here >>


The Digs design team returns by popular demand to embellish Blue Heron, a beautiful home in Rancho Matilija – this time with an array of multicultural holiday décor. When asked which holiday they would like to focus on, Digs’ designers agreed that they are truly inspired by them all. The florals throughout the home will honor several holiday traditions, some of which have roots in other parts of the world. The homeowner’s travels, experiences and interior design aesthetic have also inspired the floral décor.

 


Angela’s Flowers
has been a local institution since 1978, providing Ojai and Ventura residents with fresh and original floral arrangements for every occasion. Irma C. Murillo is the current owner and this year will take charge of decorating Rancho Sunset for the tour. She first started working at Angela’s while a sophomore in high school. It was her first job and honestly believes it will be her last – she loves what she does so much it doesn’t seem like work, and has been with the business for more than 20 years.

 

Kitty Bartholomew launched her television decorating career on ABC’s “The Home Show,” which she followed with hosting her own “Kitty Bartholomew: You’re Home” on HGTV for eight years. A frequent guest on “Oprah” she authored two books, Decorating Style and Designer Knitting. Now blissfully living in Ojai, Kitty volunteers as prop master for local theater productions. You can find her at yard sales on Saturdays and refurbishing items to sell in her window space at Treasures of Ojai. She’ll be adding her design touches to Rising Sun.

 


Sisters Sandy (left) and Teri (right) are part of the family collaboration that resulted in Oak View Sanctuary. Everything from the tiling, to the lighting, to a hand-carved headboard has been specially chosen and/or created for the house by the family. The house and its décor is truly a testament to artistic vision and the boundless potential of collaboration – especially with members of your own family!

 

Purchase Holiday Home Look In Tickets online >>
Or, if you’re in Ojai stop by a ticket outlet at Attitude Adjustment, Flora Gardens, Kava Home, or Rains.

2015 Holiday Home Look In Musician Schedule

SATURDAY, NOVEMBER 14

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Oak View Sanctuary
10am – David Henderson, piano
12pm – Fern Barishman, piano and vocal
2pm – Ray Powers, keyboard

Rancho Sunset
10am – Rachel Holdt, vocal and ukelele
11am – Smitty and Julija, piano and vocal
1pm – David Cosby, guitar
3pm – Hatter’s Tea, guitar and vocal

Ray with Guitar Small
Blue Heron

10am – Ray Sullivan, guitar
12pm – Bonnie Griffin, flute
2pm – Audrey McPherson and Dori Riggs, flute duet

Rising Sun
10am – Emily Sommermann, violin
12pm – Madrigali, Ojai’s own Madrigal Ensemble
2pm – Raine and Eden Detmer, cello duet


SUNDAY, NOVEMBER 15

Oak View Sanctuary
10am – Ray Powers, keyboard
12pm – Fern Barishman, piano and vocal
2pm – David Henderson, piano

smittyRancho Sunset
10am – Jeong-ah Ryu, piano
11:30am – Smitty and Julija, piano and vocal
1pm – Lyra Quartet – Barbershop-style quartet
2pm – Rachel Holdt, vocal and ukulele
3pm – Hatter’s Tea, guitar and vocal

Blue Heron
10am – Ray Sullivan, guitar
12pm – David Cosby, guitar
2pm – Laura Walter, flute

Celtic TunesRising Sun
10am – Laura Walter, flute
12pm – Celtic Tunes with the Byle Family
2pm – Nancy Mathison and Chad Cullins, clarinet duet
3pm – David Gorospe, piano and vocal

Artists and schedule subject to change

Team Digs At Work

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Lynn Malone and the design team at Digs Floral and Botanic Designs in Ojai is thrilled to once again put their talents and imagination to work for the Holiday Home Look In.  New to the tour last year, Digs went all out to create masterful holiday floral designs for a Rancho Matilija home. This year, the Digs design team returns by popular demand, to embellish  Blue Heron, another beautiful home in Rancho Matilija – this time with an array of multicultural holiday decor. When asked which holiday they would like to focus on, Digs’ designers agreed that they are truly inspired by them all. The florals throughout the home will honor several holiday traditions, some of which have roots in other parts of the world. The homeowner’s travels, experiences and interior design aesthetic have also inspired the floral décor.

Once again, Digs designers hope to inspire guests with unique decorating ideas for the upcoming holidays. And, if DIY is not your idea of holiday fun, their designers are always happy to be of assistance. Some of the creations you’ll see on the tour will be available at Digs throughout the Holiday Season.

Purchase tickets to the 19th Holiday Home Look In >>

Learn more about the houses featured on the tour >>

Welcome Back Party with Peter Sellars Photo Gallery

Thank you to everyone who attended our ‘Welcome Back’ party with 2016 Music Director Peter Sellars. It was wonderful to see so many of you again – and to meet a few new faces as well! Special thanks to hosts Fred Fisher and Jennie Prebor for their warm hospitality. Below are a few photos from the event, taken by Louis Almaraz. If you would like a copy of any, email awagner@ojaifestival.org.

Welcome Laura Walter – New Education Coordinator

The Festival warmly welcomes Laura Walter as our new Education Coordinator. Laura is taking over duties from Andy Radford, who has headed BRAVO for the past 12 years. Andy will remain as the Festival’s Intern Coordinator and Laura take charge of planning, organizing, and scheduling BRAVO’s activities in local classrooms and the Ojai community.

walterLaura writes, “What an honor to be involved with the Ojai Music Festival as the new Education Coordinator! Andy Radford has done a wonderful job of enriching the lives of the community, and I look forward to continuing his good work. Through the avenues of singing, percussion, flutes, and learning about the music of the Chumash culture, the BRAVO program acts as an important voice, bringing many enriching experiences of music to the people of the Ojai Valley and Ventura County. I’m so excited to be able to contribute! Music helps us feel a larger whole, a part of something bigger than ourselves. When beauty is created through feeling and thinking, an elevation occurs, a greater awareness and appreciation. Our world is better for it.”

No stranger to Ojai’s schools Laura is a longtime BRAVO Artist in Residence, leading workshops in ETM (Education Through Music) for K-3 students. She also teaches at Westmont College and performs regularly with the Santa Barbara Symphony, Opera Santa Barbara, and other chamber groups in the Santa Barbara and Los Angeles area.

Laura has recorded over a dozen CD’s with various artists. She has arranged several flute choir pieces and composed an etude book published by Alry Publications. She has also performed with Henry Mancini, Doc Severinsen, Yanni, and Steve Allen, among others. Recently, she was featured on a recording of J.S. Bach’s Mass in B Minor with the Santa Barbara Master Chorale, and locally premiered Cut.Pieces with performance artist Ursula Gallenkamp.

The former Executive Director of The Richards Institute of Education and Research, a non‐profit group, Laura continues working with teachers and children, especially at‐risk youth, using the experience of interactive play to develop song, movement, motivation, intelligence, literacy, emotional stability, and beauty. She is the regional coordinator of Education Through Music (ETM) and leads workshops for teachers to incorporate the arts into the current STEAM philosophy, integrating song, movement and play into daily activities for an integrated and more effective classroom. She continues working with children across the nation at annual Fine Arts Family camps and workshops.

Children in ETM classes create beauty, which leads to empathy and hope, embracing the important contribution of arts education. Teachers often say, “ETM has taught these children to be kind and respectful by creating beautiful music with each other.”

Read more about BRAVO and ETM >>

2016 Festival Update from Artistic Director Thomas W. Morris

Kaija Saariaho, Paris, den 12.05.09 Copyright: Priska Ketterer Luzern

This past week, Artistic Director Thomas W. Morris met with 2016 Music Director Peter Sellars and soprano Julia Bullock as they rehearsed Kaija Saariaho’s La Passion de Simone. He wrote us a brief update on the project, its history, and the plans for Ojai…

Kaija Saariaho’s great work La Passion de Simone was written in 2006 for large symphony orchestra, large chorus and soprano soloist. Its first performances, with Dawn Upshaw, were staged by Peter Sellars in numerous cities around the world. In 2014, Saariaho, as a centerpiece of the Festival Saint-Denis in Paris, made a new version of the piece for an ensemble of nineteen players, a small chorus of four to eight singers, and soprano soloist. The work, conceived as a “Musical Journey in Fifteen Stations”, assumes the form of a contemporary passion play, interpreting the life and thought of the French philosopher Simone Weil. The original libretto by French author Amin Maalouf constitutes the majority of the oratorio’s text, supplemented by spoken fragments from Weil’s work.

It is this new chamber version that will receive its American premiere to open the 2016 Ojai Music Festival on June 9, 2016. Peter Sellars, the Ojai Music Director for 2016, directs a new staging of the work in a production being co-produced by the Berlin Philharmonic, the Ojai Music Festival and Cal Performances at Berkeley. Mr. Sellars, artist-in-residence at the Berlin Philharmonic this coming season, will direct the world premiere of the production in November 2015 in Berlin. This is Ojai’s first collaboration with the Berlin Philharmonic.

The soprano role will be sung by the sensational young American soprano, Julia Bullock. Julia appeared previously in Ojai in 2011 in the public singer master class led by Dawn Upshaw, one of Julia’s teachers at Bard College. Since then, Julia has become one of the most sought after young singers, appearing in The Julliard School’s production of Massenet’s Cendrillon in February 2014, and in Peter Sellars’ staging of Purcell’s The Indian Queen at the English National Opera in February 2015. She recently appeared as soloist with the New York Philharmonic in Santa Barbara as part of that orchestra’s ongoing collaboration with the Music Academy of the West.

As preparation for the Berlin and Ojai performances of La Passion, Julia, Peter, dancer/choreographer Michael Schumacher and a pianist have been in fifteen days of staging rehearsals at New York’s Park Avenue Armory. These rehearsals, which I had the privilege of attending August 12, take place in the ornate and intimate Company E Reception Room at the Armory. Julia is simply amazing – she already truly owns the piece. Her glorious singing, rapturous presence, and expressive acting are breathtaking. I watched Peter’s painstakingly exacting and moving work in staging one of the fifteen stations, and already, I can tell Ojai is in for one of the great musical and stage experiences. Peter’s deep understanding of and passion for the myriad meanings and subtexts of the libretto was so evident in his exacting direction of Julia. Her singing and acting were wonders to behold.

Stay tuned for further updates on this exciting project…

 

August 13, 2015

Save The Date! 2015 Holiday Home Look In & Marketplace: Nov 14-15

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Celebrate the festive seasons at the 19th Annual Holiday Home Look In & Marketplace
November 14 & 15, 2015 | 10am to 4pm

The Ojai Festivals Women’s Committee invites guests on a tour of four distinctive Ojai Valley homes celebrating the art of living and joy of the holidays. The 19th Holiday Home Look In, November 14 and 15, is known for highlighting architectural contrasts within the Ojai Valley, a unique feature compared to other home tours in the area.

In addition, the annual Holiday Marketplace takes places the same weekend at the Matilija Junior High School Gymnasium (701 El Paseo Road) with more than 40 vendors and artisans. Admission to the marketplace is free.

The tour and marketplace benefit the Ojai Music Festival and its BRAVO music education and community programs, which offer free workshops and performances to Ojai Valley public schools and the community.

Become a Holiday Home Look In Sponsor >>

Tickets on sale in the fall – call 805 646 2094 or email info@ojaifestival.org for more information.


Many thanks to our Media Partners

OQ new logo

Edible Ojai

 

OVN hi res flag

 

 

 

2015 Audience Survey Results

The Festival, a place for experimentation and discovery, looks for feedback from our audience after our time together in June. This year, we sent out an electronic audience survey to 1,013 ticket buyers who attended this past Festival, and we received an overwhelming 40% response. For those who participated, we thank you for making the time to share such thoughtful evaluations about your experience.

As we continue to comb through the results and comments, we would like to share some initial findings. Please see below for responses to our survey. We will keep you posted as additional 2016 Festival details become available, and look forward to welcoming you back to Ojai once again.

In the meantime, and to address one area of concern that was raised by many of you, we will be including more space in next year’s Festival schedule for meals, reflection, and connection.


Where audience members are coming from:Respondent Geographic Origin

 

Ages of survey respondents:
Respondent Age

 

What type of tickets did you purchase?
Respondent Tickets

 

Is this your first year at the Festival?
Respondent New and Returning

 

If you are new, how did you hear about the Festival?Learning About the Festival

 

If you are returning, which past Festivals have you attended?
Returning Festivals Attended

 

Why do you donate to the Festival?
Reasons for Support

 

Please rate your Festival experience: Festival Experience

 

Will you be returning for the 2016 Festival with Music Director Peter Sellars?
Returning in 2016

 


MEMORABLE MOMENTS…

Survey respondents also shared their memorable moments from the 2015 Festival. Here is a selection from both returning and new ticket buyers. Thank you for participating in our survey!

“…the late afternoon ambiance and the final musical piece of two pianos and two percussionists…soothing to the soul.”

“As first-timers, we anticipated adventure and found it at every event that we attended, however, the free performance of Sila was easily the most memorable of the Festival and among the most memorable of our lifetimes.”

“Conversations with new friends seating next to me, we shared emotions and discoveries.”

“No one thing, just old friends, new music, familiar music in fresh presentations, and walking the trail to the bowl.”

“In the Sunday morning concert, the piece Sulvasutra really got intense – almost like a good Grateful Dead Jam.”

“The John Luther Adams experience in the park on Thursday afternoon was stunning, to be enveloped in the sounds.”

“We don’t resonate to all of contemporary music, but we don’t mind being stretched. What Ojai does provide is many special moments of musical intimacy between the listener and artist such as Messiaen’s Visions de l’amen, Schick’s energetic display of the art of percussion and all of Wu Man’s performances.”

“The whole experience is fascinating and mind expanding, so it’s not any one performance or part, but the whole.”

 


Relive the Festival with our live streaming >>
Take a refresher course with OjaiU >>
Read the 2015 reviews >>
Purchase your 2016 series passes >>

You Make It Happen – Support The Festival Today

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Music enthusiasts from across the globe gathered in Ojai last week for performances that critics applauded as “sensational,” “magisterial,” and “beyond-flabbergasting.”

Thanks to an open-minded community of audience members and dedicated volunteers, the Festival achieved an atmosphere of musical adventure highlighted by:

  • Music Director Steven Schick’s boundless energy and incredible versatility, performing in and conducting almost in a dozen concerts over the course of five days
  • An audience for live streamed events of more than 5,800 viewers from 74 countries
  • Close to 3,000 people attended free community events and late night concerts, including the mesmerizing West Coast premiere of John Luther Adam’s Sila: The Breath of the World in Libbey Park

All of this is made possible by contributions from generous people like you, who believe in the power of music to transform a community into a refuge from our daily concerns, where extraordinary experiences are shared by artists and audiences.

Please consider making a gift by July 31st, the final date of our 69th season. Your commitment is what keeps the Festival strong and makes it possible for us to continue to stake a claim for the new, the curious, the visionary and the path breaking.

gift button

 

2016 Music Director Peter Sellars Frames Programming for 70th Festival

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The Ojai Music Festival marks its 70th year in 2016 and to curate this milestone, Artistic Director Thomas W. Morris has invited opera and theater director Peter Sellars to serve as Music Director. For the 2016 Festival, Peter Sellars is shaping a program deeply rooted in the cultures of Ojai, starting new traditions and setting out fresh agendas for the 70 years to come. The Festival will take place June 9-12, 2016.

As the 69th Ojai Music Festival opens this week (June 10-14, 2015) with Music Director Steven Schick, the Festival’s 2016 Music Director Peter Sellars shares thoughts on his distinctive approach to programming the Festival:

The Ojai Valley has long been recognized as a rare and beautiful natural site that invites retreat, renewal, and regeneration, from Chumash ceremonial life to Krishnamurti’s legendary talks under the trees. The valley has both grandeur and a human scale that inspire and allow the deepest human questions to resonate, and create a setting for the most personal search for answers. The magical play of light across the canyon and the heady aroma of orange blossoms bring the senses to life, awaken the mind, and create a profound aura of openness and well-being.

Music incites many of the same thoughts and emotions, with similar immensity and intimacy and awe. The 70th Ojai Music Festival will gather this powerful energy and spirit of inquiry and reflection into a weekend of peak experiences and secret revelations.

For the first time the composer Kaija Saariaho will come to Ojai. We will feature two of her most potent and visionary works. Her new chamber version of ‘The Passion of Simone’, a meditation on the life of the courageous French philosopher Simone Weil, written to a wise and humane text by Amin Maalouf, will receive its American premiere with the extraordinary young soprano Julia Bullock. It is a work of startling integrity and permanent challenge in dark times, with a flame of hope that burns brightly and intensely in the darkness.

Kaija Saariaho’s newest operatic creation is a sequence of two Japanese Noh plays in English versions by Ezra Pound, entitled ‘Only the Sound Remains’. Again Ojai will offer the American premiere. These two plays will be performed in the tradition of Japanese Takigi Noh in the amphitheater at the Ojai Valley School Upper Campus, lightly held in the gentle grasp of a protective arroyo under a radiant early morning sky for ‘The Feather Mantle’, a play of illumination, transcendence and evanescence, and just before midnight under an intense starlit sky for ‘Always Strong’, the harrowing and haunted story of a young warrior’s spirit struggling to return to life on earth.

From Tahrir Square in Cairo, Dina El Wedidi and her band come to America to present a new song cycle that paints a personal picture of the realities, aspirations, disappointments, and determination of the Egyptian revolution. Dina El Wedidi epitomizes the new Egyptian women of a rising generation, her gorgeous and unmistakable voice alive with courage, allure, and the breath of freedom. Her band includes traditional Egyptian and modern electronic instruments, and for these performances she will bring three extraordinary older women from the Egyptian zār tradition who are singing in full-throated solidarity with the activism and vision of Dina and her generation.

Julia Bullock will also be the center of a unique and poignant evening honoring the brilliance, daring, public courage, and private tragedies of Josephine Baker, the black icon who created a declaration of independence with her black body, and blazed a trail of irresistible challenge and charm in France in the same years that Simone Weil pursued her feminist vigil on behalf of a larger humanity. Our Ojai evening will be a very personal portrait of a fearless civil rights pioneer and visionary who paid dearly for every forward step. And kept stepping.

The final Sunday of the 2016 festival will shift into an exuberant children’s festival for the first part of the day, featuring music written and performed by, with, and for children and anyone who is ready to listen to the world with fresh ears. Those programs will then expand and flow into a huge street party culminating in sheer communal pleasure, the joy of improvisation, increasingly wild juxtapositions, spontaneous jam sessions and very, very good times.

Among the featured artists at the 70th edition of the Ojai Music Festival, we are extremely pleased and proud to welcome, in addition to ICE (International Contemporary Ensemble), Roomful of Teeth, the path breaking vocal collective, participating in the Kaija Saariaho premieres and surprising new works written for and developed by the group. Classical Indian music will be performed in breathtaking settings at specific times of day to reflect the shifting of the light, and films will be screened during those times when we crave the dark. Talks and lectures that illuminate and amplify our current history with cultural and philosophical perspectives will alternate with sessions focused on spiritual thinkers offering quieter moments of contemplation and peace.

The Ojai Valley sunrises and sunsets will do the rest.

–2016 Music Director Peter Sellars

Mr. Morris said, “Peter Sellars, no stranger to Ojai, is a true visionary, and I can think of no better person to lead the Festival’s 70th anniversary. Peter has devised a truly distinctive festival that embraces his vast knowledge and deep commitment to social issues of our time, along with his deep love of Ojai. It will be an audacious experience that includes thrilling music in unusual settings, the greatest of artists, contextual discussions to frame and amplify the music, and provocative films to further enrich our mutual adventure.”

Mr. Sellars is one of the most innovative and powerful forces in the arts, both in America and abroad. His partnership with Ojai dates back to 1992 when he directed a daring version of Stravinsky’s Histoire du soldat with that Festival’s Music Director Pierre Boulez. Mr. Sellars returned to Ojai in 2011, with Music Director Dawn Upshaw, to direct the critically acclaimed world premiere of the staged production of George Crumb’s The Winds of Destiny.

Read Peter Sellar’s bio >>
Read Artist bios >>
Read the full press release >>

Purchase 2016 series passes online >>
Download the 2016 order form >>

2015 Festival Reviews

S Schick

The Ojai Music Festival was a colorful and continuous mix of music, conversation, gatherings, and surprises — a total of more than 32 offerings, which added up to one unforgettable Festival.

You can relive the 2015 Festival anytime by watching our archive live streaming concerts, Ojai Talks, and interview intermissions online. Click here >>

Read excerpts of reviews below. We will add more as they come in!
Or download a pdf version here >>


 

Feeling the sonic rush at the Ojai Music Festival
Schick did not go so far as to propose compatibility and cohabitation as a festival theme. But by packing the 69th Ojai festival into marathon days of concerts from dawn (and before!) until midnight, he, in fact, turned the five-day festival into a de-facto Davos of musical diplomacy. No model society emerged, but there were helpful hints of how we might proceed.

– Los Angeles Times

Read more >>


The Ojai Music Festival Marches to a New Beat
Bending and melding genres is an Ojai tradition, but rarely have they been stretched so far.

– Wall Street Journal

Read more >>


Schick happens in Ojai
The Ojai Music Festival has always been friendly to influences from outside the Western tradition, but this year’s edition took things a step further by ushering in so much of the so-called “outside” as to render the distinction temporarily invalid.

– Santa Barbara Independent

Read more >>


Percussionist Steven Schick makes Ojai Music Festival his own
he [Steven Schick] turned in what will certainly be one of the 69th annual event’s defining concerts, a solo percussion recital as the sun went down and the cool night air rolled into Libbey Bowl.

– Orange County Register

Read more >>


Ojai Music Festival shows off its percussion power
The 69th Ojai Music Festival, which runs through Sunday under the inspired leadership of percussionist/composer/educator Steven Schick, is making a widespread and deep impression exploring the musical potential of sounds

– Ventura County Star


Morning Glories at Ojai Music Festival
One of the delights of an event like the Ojai Music Festival, with its myriad performances of 20th and 21st century music, is encountering surprises, especially early in the morning.

– The San Diego Union-Tribune

Read more >>


Ojai Music Festival celebrates icon Pierre Boulez’s 90th birthday
The Ojai Music Festival is a different story. Although Boulez has had a major presence in the U.S., notably as music director of the New York Philharmonic in the 1970s, Ojai served as his most consistent American musical and spiritual haven. He was music director seven times between 1967 and 2003.

– Los Angeles Times

Read more >>


Ojai Festival, Not for the Faint of Heart
Morris called this year’s five-day festival an “immersive experience,” but new- music boot camp might be more accurate. Of the 49 composers represented, 28 were new to Ojai, including Arab-American composer Mohammed Fairouz and Julia Wolfe, who in April won the Pulitzer Prize for her oratorio, Anthracite Fields. That’s a lot of ground to cover.

– Musical America


The director also drums
It was a tall, wide, sleep- and dinner-challenged order of a task, but Mr. Schick and company worked wonders here, in what was one of the smartest, edgiest and funnest Ojai Music Festival programs in the past decade.

– Santa Barbara News Press


Outsiders – The Ojai Music Festival
To attend Ojai is to enter a happily topsy-turvy world where longtime patrons are as avid for new music as they are for classic repertory. Works are sometimes criticized for being too accessible . . .  What is different about Ojai? It has to do, I think, simply with the power of consistency: the festival stuck to its mission, year after year, decade after decade, until, at some point, its ideal audience became the real one.
– Alex Ross for The New Yorker

Read more >>


 

Relive the 2015 Festival through our photo gallery

Thank you for joining us for an incredibly memorable week of adventurous music making and community. Relive the moments with our 2015 Festival photo galleries of concerts and scenes from around Libbey Bowl – click a thumbnail below to view larger versions.

 

Festival Concerts

 

Around the 2015 Festival

 

2016 Festival

70thimage1500px

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2016 Music Director Peter Sellars
frames programming for 70th Ojai Music Festival
June 9-12, 2016

The Ojai Music Festival marks its 70th year in 2016 and to curate this milestone, Artistic Director Thomas W. Morris has invited opera and theater director Peter Sellars to serve as Music Director. For the 2016 Festival, Peter Sellars is shaping a program deeply rooted in the cultures of Ojai, starting new traditions and setting out fresh agendas for the 70 years to come. The Festival will take place June 9-12, 2016.

As the 69th Ojai Music Festival opens this week (June 10-14, 2015) with Music Director Steven Schick, the Festival’s 2016 Music Director Peter Sellars shares thoughts on his distinctive approach to programming the Festival:

The Ojai Valley has long been recognized as a rare and beautiful natural site that invites retreat, renewal, and regeneration, from Chumash ceremonial life to Krishnamurti’s legendary talks under the trees. The valley has both grandeur and a human scale that inspire and allow the deepest human questions to resonate, and create a setting for the most personal search for answers. The magical play of light across the canyon and the heady aroma of orange blossoms bring the senses to life, awaken the mind, and create a profound aura of openness and well-being.

Music incites many of the same thoughts and emotions, with similar immensity and intimacy and awe. The 70th Ojai Music Festival will gather this powerful energy and spirit of inquiry and reflection into a weekend of peak experiences and secret revelations.

For the first time the composer Kaija Saariaho will come to Ojai. We will feature two of her most potent and visionary works. Her new chamber version of ‘The Passion of Simone’, a meditation on the life of the courageous French philosopher Simone Weil, written to a wise and humane text by Amin Maalouf, will receive its American premiere with the extraordinary young soprano Julia Bullock. It is a work of startling integrity and permanent challenge in dark times, with a flame of hope that burns brightly and intensely in the darkness.

Kaija Saariaho’s newest operatic creation is a sequence of two Japanese Noh plays in English versions by Ezra Pound, entitled ‘Only the Sound Remains’. Again Ojai will offer the American premiere. These two plays will be performed in the tradition of Japanese Takigi Noh in the amphitheater at the Ojai Valley School Upper Campus, lightly held in the gentle grasp of a protective arroyo under a radiant early morning sky for ‘The Feather Mantle’, a play of illumination, transcendence and evanescence, and just before midnight under an intense starlit sky for ‘Always Strong’, the harrowing and haunted story of a young warrior’s spirit struggling to return to life on earth.

From Tahrir Square in Cairo, Dina El Wedidi and her band come to America to present a new song cycle that paints a personal picture of the realities, aspirations, disappointments, and determination of the Egyptian revolution. Dina El Wedidi epitomizes the new Egyptian women of a rising generation, her gorgeous and unmistakable voice alive with courage, allure, and the breath of freedom. Her band includes traditional Egyptian and modern electronic instruments, and for these performances she will bring three extraordinary older women from the Egyptian zār tradition who are singing in full-throated solidarity with the activism and vision of Dina and her generation.

Julia Bullock will also be the center of a unique and poignant evening honoring the brilliance, daring, public courage, and private tragedies of Josephine Baker, the black icon who created a declaration of independence with her black body, and blazed a trail of irresistible challenge and charm in France in the same years that Simone Weil pursued her feminist vigil on behalf of a larger humanity. Our Ojai evening will be a very personal portrait of a fearless civil rights pioneer and visionary who paid dearly for every forward step. And kept stepping.

The final Sunday of the 2016 festival will shift into an exuberant children’s festival for the first part of the day, featuring music written and performed by, with, and for children and anyone who is ready to listen to the world with fresh ears. Those programs will then expand and flow into a huge street party culminating in sheer communal pleasure, the joy of improvisation, increasingly wild juxtapositions, spontaneous jam sessions and very, very good times.

Among the featured artists at the 70th edition of the Ojai Music Festival, we are extremely pleased and proud to welcome, in addition to ICE (International Contemporary Ensemble), Roomful of Teeth, the path breaking vocal collective, participating in the Kaija Saariaho premieres and surprising new works written for and developed by the group. Classical Indian music will be performed in breathtaking settings at specific times of day to reflect the shifting of the light, and films will be screened during those times when we crave the dark. Talks and lectures that illuminate and amplify our current history with cultural and philosophical perspectives will alternate with sessions focused on spiritual thinkers offering quieter moments of contemplation and peace.

The Ojai Valley sunrises and sunsets will do the rest.

–2016 Music Director Peter Sellars

Mr. Morris said, “Peter Sellars, no stranger to Ojai, is a true visionary, and I can think of no better person to lead the Festival’s 70th anniversary. Peter has devised a truly distinctive festival that embraces his vast knowledge and deep commitment to social issues of our time, along with his deep love of Ojai. It will be an audacious experience that includes thrilling music in unusual settings, the greatest of artists, contextual discussions to frame and amplify the music, and provocative films to further enrich our mutual adventure.”

Mr. Sellars is one of the most innovative and powerful forces in the arts, both in America and abroad. His partnership with Ojai dates back to 1992 when he directed a daring version of Stravinsky’s Histoire du soldat with that Festival’s Music Director Pierre Boulez. Mr. Sellars returned to Ojai in 2011, with Music Director Dawn Upshaw, to direct the critically acclaimed world premiere of the staged production of George Crumb’s The Winds of Destiny.

Read Peter Sellar’s bio >>

Purchase 2016 series passes >>

Ojai Music Festival and WQXR’s Q2 Music Launch Partnership

Q2_400x400Q2 Music and the Ojai Music Festival are partnering to bring you on-demand audio from past Festivals, as well as a five-part series of festival concert audio hosted by noted choreographer and 2013 Ojai music director Mark Morris.

Listen to episodes from the series, hosted by Mark Morris, below and hear full recordings from the Festival here >>

Learn more about the Festival’s partnership with Q2 >>

Q2 Music is WQXR’s online music station dedicated to contemporary classical composers, innovative ensembles, and vibrant, live webcasts from New York City’s leading new-music venues. Q2 Music programming includes immersive festivals, insightful commentary from hosts including composer Phil Kline and vocalist Helga Davis, full-length album streams, exclusive concert audio from local and national venues, and special events in front of live audiences at The Greene Space at WQXR. Q2 Music produces ‘Meet the Composer’ with host Nadia Sirota, a podcast which mines the brains of today’s leading composers. Q2 Music lives online at www.wqxr.org/q2music, where one can find a 24/7 stream of the best in late 20th and 21st century classical music, playlist information, and on-demand audio. WQXR, the nation’s most listened-to classical music station, also makes Q2 Music available via the free WQXR App.

Listen to KUSC’s 2015 Festival Preview with Gail Eichenthal & Artistic Director Thomas W. Morris

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With only days to go before the Festival begins, get ready by listening to the Festival Preview podcast from KUSC. Featuring host Gail Eichenthal and Festival Artistic Director Thomas W. Morris, learn about the Festival’s very first percussionist Music Director and what he has in store for audiences.

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Listen online here >>

John Luther Adams on “Sila: The Breath of the World”

Besant Hill JLA

John Luther Adams at the 2013 performance of ‘Strange and Sacred Noise’ at Besant Hill School.

Composer John Luther Adams is no stranger to Ojai, with performances of his works in 2012 and 2013, including the ‘Inuksuit‘, featuring musicians placed throughout Libbey Park. Adams returns to Ojai this year for the West Coast Premiere of his new work ‘Sila: The Breath of the World’. Here he discusses the genesis of the piece and the significant differences in pieces written to be performed and heard outdoors.

“Songs are thoughts which are sung out with the breath when people let
themselves be moved by a great force…”
– Orpingalik, a Netsilik elder

In Inuit tradition the spirit that animates all things is sila, the breath of
the world. Sila is the wind and the weather, the forces of nature. But
it’s also something more. Sila is intelligence. It’s consciousness. It’s
our awareness of the world around us, and the world’s awareness of
us.

Over the past four decades most of my music has been inspired by the
outdoors, but heard indoors. With Inuksuit – for nine to ninety-nine
percussionists – I finally composed music intended from the start to be
performed and heard outdoors. In Sila: The Breath of the World, I
continue this exploration with a full orchestral palette.

Listening to music indoors, we usually try to ignore the outside world,
focusing our listening on a limited range of sounds. Listening outdoors
we’re challenged to expand our attention to encompass a multiplicity
of sounds. We’re invited to receive messages not only from the
composer and the performers, but also from the larger world around
us.

In Sila the musicians are dispersed widely throughout a large
performance space. Listeners, too, are free to move around and
discover their own individual listening points. Listening carefully to the
counterpoint between the composed music of Sila and the never-ending
music of the performance site, we transform seemingly empty
space into more fully experienced place.

Sila is intended for performance outdoors by 16 to 80 musicians, or
more. The performance materials include scores and parts for five
different ensembles of woodwinds, brass, percussion, strings and
voices. These five ensembles may perform Sila in any combination,
successively or simultaneously, in the same space or separate spaces.
At Ojai, for the West Coast premiere, we present the full orchestral
version of the piece.

Sila comes out of the earth and rises to the sky. The piece traverses
sixteen harmonic clouds, grounded on the first sixteen harmonics of a
low B-flat. All the other tones in the music fall “between the cracks” of
the piano keyboard – off the grid of twelve-tone equal temperament.
Like the tuning, the flow of musical time in Sila is also off the grid.
There is no conductor. Each musician is a soloist who plays or sings a
unique part at her or his own pace. The sequence of musical events is
composed, but the length of each event is flexible. The music
breathes.

A performance of Sila lasts approximately 70 minutes. There is no
clearly demarcated ending. As the music of the performance gradually
dissolves into the larger sonic landscape, the musicians join the
audience in listening to the continuing music of the place.

John Luther Adams

Join us for the West Coast Premiere of Sila: The Breath of the World
Thursday, June 11 | 3:30-4:45pm – Libbey Park
Free Community Event

Hear John Luther Adams’ Become River at the Saturday Late Night Concert
Saturday, June 13 | 10:30pm – Libbey Bowl
Free – Tickets required

Ojai & Site-Determination by Ross Karre, ICE percussionist and Director of Production

ice--site

ICE’s Phyllis Chen and Ross Karre organized a site-determined version of Alvin Lucier’s Opera for Objects against the backdrop of the arctic horizon near Ilulissat, Greenland. The metronomic rhythm served as an arresting reminder of the ticking timer of arctic glaciers, currently melting at unprecedented rates.

Site-specificity is a common term in art production circles. I think most artists and audiences have a basic understanding of what it means. But I find site-specificity to be a glorification of a process which is required of all good art. Nothing is created in a vacuum. Nothing is presented in a vacuum. The site/context matters. All works are site specific by default but the process of creatively optimizing a work via its context can be the difference between a good realization and a bad one. A performance can either attempt to beat its head against the boundaries of a context or it can ask a simple question, “What changes do I make to this piece to transcribe it for this place?”

It’s a question we’ve been asking from the very first brainstorming sessions for the Ojai Festival programming and production. Whether it’s the Libbey Bowl presentations of intricate sequences of Boulez, Varèse, and Xenakis or the works of John Luther Adams in the park, every program must ask the question.

The answers aren’t always obvious. And some works lend themselves to subtle (or drastic) changes to create a symbiotic relationship between piece and place. In Pauline Oliveros’ works, space and sound are codependent variables. The scores are open and flexible enough to allow extemporaneous performance decisions which are guided by the space: its reverberations, its noise floor, and its general ambiance. From one interpretation to the next, a space may have a more profound impact on a performance than the instrumentation itself! (Note the radical differences in each performance of George Lewis’ Artificial Life on digitice.org, ICE’s digital media library.)

For Anna Thorvaldsdóttir’s In the Light of Air, ICE specifically encouraged Anna to make a piece which would be redefined in each new space. In Ojai, we will install her work in the intimate Zalk Theater such that its doors which overlook the valley become a dramatic lighting design element. It will be a sublime juxtaposition of piece and place!

But it is in John Luther Adams works where I find I have the greatest curiosity about this relationship. In 2009 I had the great fortune of working with John on the premiere of his Inuksuit in the Banff National Forest. On the heels of his experiences with Rob Esler in sites in the southern California desert and the Alaskan Tundra, Steven Schick asked John to create an outdoor percussion work which has since been performed and recorded in dozens of sites around the world–from the Park Avenue Armory to Australia. While at Banff, John lead numerous discussions about the opportunities and perils of site-specific work. He even coined (or introduced to me) a term which I have since used to represent this type of context-based interpretation: site-determined work. I like that term because it implies that the nature of the work itself will be determined by site at hand and successive performance sites. In the case of Inuksuit and Sila, the site fundamentally determines two of the most important parameters in the piece: the distribution of the performers and the resulting balances of visual and auditory stimulus.

But non-traditional site determination comes with doubts and pitfalls. To those in the sonic vicinity of the performance who are unaware of the event’s existence, how do they distinguish between John’s carefully crafted sonic phenomena and noise pollution? For the hiker enjoying the Banff National Park, how are they to know that the hand crank sirens aren’t a signal for the end of days? I guess the answer to both of these questions is, “they don’t.” And that’s a problem. But a bigger problem is humanity’s inability to garner an awareness, respect, and appreciation for their natural surroundings. For those experiencing these monumental works on the periphery of Ojai’s parks or the trails in Banff, the magic occurs as the works fade to reveal (and draw stark attention to) the greatest site-specific work ever created: nature and our ecosystem. It is in this reveal that John creates the greatest advocacy for the environment he loves so deeply. My own appreciation of nature has never been more intensely brought to the fore than in the moment when glockenspiel bird calls cross-faded with native Banff birds. I look forward to finding out what Sila will reveal about the central coast of California and the magic of the site of Ojai.

– Ross Karre, ICE percussionist and Director of Production

Happy Anniversary HumanArts!

The Ojai Music Festival is fortunate to be part of a strong community of residents and businesses supporting the arts in the Ojai Valley. One of our longtime friends is HumanArts Gallery located in the downtown Arcade. Owners Hallie and Stan Katz share their story of how intertwined the Festival is with their move to Ojai.

Running_Ridge_GroupIt was May 30, 1975 and most of the action was in Libbey Park where Michael Tilson Thomas was preparing to conduct the Ojai Music Festival. In a much smaller venue across the street there was another buzz happening — a new gallery in town was hosting its grand opening –- it was one of the only galleries in town at that time! Three couples, fairly new to town, decided to show an eclectic mix of pottery, jewelry, paintings, and sculpture, some of which they themselves made.

Truly one of the first places dedicated to contemporary fine craft in Southern California, it was known then as Running Ridge Gallery. The original partners were Bob and Barbara Grabowski, Bob’s sister Ruth Farnham and her husband John, and Jett and Sharon Spencer. Bob, Jett, and Sharon made jewelry; Ruth was a painter; and John was a sculptor. Barbara was the business manager.

RR Early Interior#1Ojai and the patrons of the Music Festival that year welcomed the new little gallery and it hummed along nicely for five years until the Spencers wanted to leave Ojai.   Good friends of the partners from LA, Hallie and Stan Katz, were asked if they would like to move to Ojai and join in this endeavor, taking the Spencers’ place. Hallie and Stan owned a jewelry school and gallery on Ventura Boulevard in Studio City, and they were ready for a quieter life style with more focus on the gallery business and designing their own jewelry. So this was a good move, as it gave them more freedom to exhibit in shows around the country, taking turns with partners to run the shop.

Gallery Counter #15It was a very successful partnership for ten more years, and then the Grabowski’s wanted to move to Idaho. Ruth and John were ready to get out of the ‘retail’ game. So Hallie and Stan bought out the partners in 1990, and changed the name to HumanArts Gallery. The rest is history, as they say.

Fast forward to the present – it’s coming up on June 2015 and Hallie and Stan are celebrating the 40th year of the gallery’s presence on Ojai Avenue, the anniversary falling at the same time as the Ojai Music Festival kicks off each year. The Gallery resided in its original building on the Arcade walk-through until 2008, when it moved to a much bigger space eight doors west, directly across from Libbey Park. Incorporating handmade furniture and home accessories, Stan and Hallie now represent about 150 artists from all over the U.S., including 20 who are local.

H & S,New Cabinets #16HumanArts has become an arts destination for many loyal fans, the first stop for many when they arrive in town. It’s also on the radar for local supporters when they need a gift or an especially artful treat for themselves. Hallie continues to make custom jewelry, mostly unique wedding rings, and Stan oversees the running of the shop. You can still find them there on the weekends to welcome you and tell stories about the many wonderful artists they represent and how Ojai is still the same paradise they discovered all those years ago.

Human Arts Gallery 
246 E. Ojai Ave. Ojai, CA 93023
805 646-1525

Ojai Music Festival Artistic Director Thomas W. Morris Announces Future Music Directors

Peter Sellars: 70th Festival June 9-12, 2016 | Vijay Iyer: 71st Festival June 8-11, 2017 | Esa-Pekka Salonen: 72nd Festival June 7-10, 2018

Over almost seven decades, the Ojai Music Festival has had a reputation as a creative laboratory for both artists and audiences. Deeply committed to nurturing experiences that can only be rendered through innovation, creativity and risk-taking in its programming, Ojai is an intense, involving and immersive weekend of music, discussion, and community, all in the sublime setting of Ojai. Peter Sellars, Vijay Iyer and Esa-Pekka Salonen are the perfect musical visionaries to propel Ojai into its next 70 years. – Thomas W. Morris, Artistic Director

(April 14, 2015, Ojai, California) — As the Ojai Music Festival anticipates the upcoming 69th Festival (June 10-14) with Music Director Steven Schick, Artistic Director Thomas W. Morris announced the artists who will serve as Music Directors in the coming years: Peter Sellars (June 9-12, 2016), Vijay Iyer (June 8-11, 2017), and Esa-Pekka Salonen (June 7-10, 2018). Since the late 1940’s, the Ojai Music Festival’s tradition has been to welcome a new Music Director each year to ensure vitality and diversity in programming across Festivals.

The Ojai Music Festival marks its 70th year in 2016, and to curate this milestone, Mr. Morris has invited opera and theater director Peter Sellars to serve as Music Director. Mr. Sellars’ partnership with Ojai dates back to 1992 when he directed a daring version of Stravinsky’s Histoire du soldat with Music
Director Pierre Boulez. He returned to Ojai in 2011 to direct the critically acclaimed world premiere of the staged production of George Crumb’s The Winds of Destiny with Music Director Dawn Upshaw.

For the 2016 Festival, Peter Sellars is shaping a program that is deeply rooted in the cultures of Ojai, starting some new traditions and setting out some fresh agendas for the 70 years to come. Mr. Sellars is one of the most innovative and powerful forces in the arts, both in America and abroad. A visionary, he is known for ground-breaking interpretations of classic works. Whether Mozart, Handel, Shakespeare, Sophocles, or the 16th-century Chinese playwright Tang Xianzu, he strikes a universal chord with audiences, engaging and illuminating contemporary social and political issues. Mr. Sellars has staged operas in major opera houses throughout the world and has established a reputation for bringing 20th-century and contemporary operas to the stage. He has also led several major arts festivals, including the 1990 and 1993 Los Angeles Festivals. Initial plans for the 2016 Festival will be announced in May 2015.

The 2017 Festival introduces composer-pianist Vijay Iyer (pronounced “VID-jay EYE-yer”) as Music Director. Mr. Iyer, a Grammy nominated polymath whose career has spanned the arts, the humanities, and the sciences, was named Downbeat magazine’s 2014 Pianist of the Year, a 2013 MacArthur Fellow, and a 2012 Doris Duke Performing Artist. As The New York Times observed, “There’s probably no frame wide enough to encompass the creative output of the pianist Vijay Iyer.” Mr. Iyer is the Franklin D. and Florence Rosenblatt Professor of the Arts in the Department of Music at Harvard University, and the director of the Banff International Workshop in Jazz and Creative Music. As a composer he has had works commissioned and premiered by Arturo O’Farrill’s Afro Latin Jazz Orchestra, American Composers Orchestra, Bang on a Can All-Stars, Brentano Quartet, Brooklyn Rider, Imani Winds, International Contemporary Ensemble, violinist Jennifer Koh, and Yo-Yo Ma’s Silk Road Ensemble. Publisher Schott Music has said, “Vijay Iyer is a polymath in the truest sense of the word. He is a leader across a wide range of disciplines, but his extraordinary talent as a pianist and composer has caught the world’s attention and led to an impressive array of creative collaborations with filmmakers, choreographers, orchestras, chamber and new music ensembles.”

Conductor and composer Esa-Pekka Salonen returns to Ojai in 2018 as Music Director. (This information has been updated from a previously announced plan that showed Mr. Salonen returning to Ojai in 2017.) One of today’s foremost artists, Mr. Salonen made his Ojai debut as Music Director in 1999 with composer-in-residence Magnus Lindberg in a program dedicated to Finnish music, and later returned in 2001 to serve again as music director. Mr. Salonen is currently the principal conductor and artistic advisor for London’s Philharmonia Orchestra, the conductor laureate for the Los Angeles Philharmonic, where he served as music director for 17 years, and the first-ever creative chair at the Tonhalle Orchestra in Zurich. Through his unwavering dedication to new music and technology, he is a revitalizing force, striving to bring the symphony orchestra into the 21st century. His compositions move freely between contemporary idioms, combining intricacy and technical virtuosity with playful rhythmic and melodic innovations. Mr. Salonen’s Floof and LA Variations have become modern classics, and his newest compositions are performed around the globe. It was recently announced that Mr. Salonen will serve as composer-in-residence of the New York Philharmonic for the next three seasons.

Thomas W. Morris, Artistic Director
Thomas W. Morris was appointed Artistic Director of the Ojai Music Festival starting with the 2004

Festival and will provide artistic direction through the 75th Festival in 2021. Mr. Morris is recognized as one of the most innovative leaders in the orchestra industry and served as the long-time chief executive of both The Cleveland Orchestra and the Boston Symphony Orchestra. He is currently active nationally and internationally as a consultant, lecturer, teacher, and writer.

As Artistic Director of the 69-year-old Festival, Mr. Morris is responsible for artistic planning and each year appoints a music director with whom he collaborates on shaping the Festival’s programming.

During his decade-long tenure, audiences have increased and the scope of the Festival has expanded, most recently to include a collaborative partnership, Ojai at Berkeley, with Cal Performances at UC Berkeley.

Mr. Morris was a founding director of Spring for Music and served as the project’s artistic director. He currently serves as a member of the Board of Trustees of the Curtis Institute of Music and as chair of its Board of Overseers, and is a member of the Board of Directors of the Interlochen Center for the Arts. He is also an accomplished percussionist.

Ojai Music Festival
From its founding in 1947, the Ojai Music Festival has created a place for groundbreaking musical experiences, bringing together innovative artists and curious audiences in an intimate, idyllic setting 80 miles northwest of Los Angeles. The Festival presents broad-ranging programs in unusual ways with an eclectic mix of rarely performed music, refreshing juxtapositions of musical styles, and music by today’s composers. The four-day festival is a complete immersive experience with concerts, free community events, symposia, film screenings, and gatherings. Considered a highlight of the summer season, Ojai has remained a leader in the classical music landscape.

The Ojai Music Festival attracts the world’s greatest musical artists. Through its unique structure of the Artistic Director appointing an annual Music Director, Ojai has presented a “who’s who” of music including: Aaron Copland, Igor Stravinsky, Olivier Messiaen, Michael Tilson Thomas, Kent Nagano, Pierre Boulez, John Adams, Esa-Pekka Salonen, Robert Spano, Pierre-Laurent Aimard, David Robertson, eighth blackbird, George Benjamin, Dawn Upshaw, Leif Ove Andsnes, Mark Morris, Jeremy Denk, and Steven Schick.

Participation in the 2015 Ojai Music Festival
The Ojai Music Festival continues to draw thousands of curious and engaged music enthusiasts from across the country and has had record sell-out concerts over the last three years. As tickets remain in high demand, Ojai now includes virtual opportunities to participate in the Festival experience through live video streaming of concerts. The Festival promotes year-round participation and deeper engagement through its free online courses, OjaiU, which launched in May 2013 and remains active via archives on the Festival website. OjaiU returns on May 11 with four online sessions led by 2015 Music Director Steven Schick. To register, visit OjaiU.org.
Single Tickets
2015 Ojai Music Festival single tickets are now on sale online at OjaiFestival.org or by calling (805) 646-2053. Tickets start at $40 for reserved seating, lawn tickets at $15, and $45 for Ojai Talks.
Directions to Ojai and Libbey Bowl, as well as information about lodging, concierge services for visitors and other Ojai activities, are also available on the Festival website. Follow Festival updates at
OjaiFestival.org, Facebook (Facebook.com/ojaifestival), and Twitter (@ojaifestivals).

 

Happy 90th Birthday Pierre Boulez!

Boulez 2003 by Frank Bott

Boulez in Ojai (2003). Photo credit: Frank Bott

 

Happy 90th Birthday to Pierre Boulez! We’re kicking off our celebrations by unveiling our Boulez In Ojai timeline – it’s a work in progress and we’ll be adding new photos and material in the coming weeks. Don’t forget to get your tickets to the Wednesday, June 10th Boulez At 90 event, featuring the West Coast Premiere of Beyond the Score® A Pierre Dream: A Portrait of Pierre Boulez.

View the Boulez in Ojai timeline here >>

Read more on Boulez At 90 >>

2015 Ojai Eats Schedule And Tickets


omf_supper_022

An important part of the Festival experience is mingling and dining with other Festival guests. With the concentration of concerts, talks, and events, we’ve created various opportunities for you to enjoy. View the menu for suppers in the park below and see the full schedule here >>

SUPPERS IN THE PARK

Between the evening concert parts, enjoy a family-style supper in Libbey Park, catered by The Simple Gourmet Kitchen. Order your gourmet boxed dinner online when you purchase your tickets. Meal includes dinner, dessert, and wine from Ojai Vineyard. $40/person per night.

Friday, June 12 Supper Menu
Grilled Ginger-Marinated Salmon with Fresh Mint Chutney
Pearl Couscous with Honey Roasted Carrots and Toasted Almonds
Marinated Cucumber Salad with Feta & Herbs
Brownies with Dark Chocolate Chips

Vegan Option
Grilled Ginger-Marinated Tofu with Fresh Mint Chutney
Pearl Couscous with Honey Roasted Carrots and Toasted Almonds
Marinated Cucumber Salad with Feta & Herbs
Vegan Coconut Pudding Cup

Gluten-Free Option
Grilled Ginger-Marinated Salmon with Fresh Mint Chutney
Quinoa with Honey Roasted Carrots and Toasted Almonds
Marinated Cucumber Salad with Feta & Herbs
Gluten-Free Dark Chocolate Sea Salt Brownies

Saturday, June 13 Supper Menu
Coconut-Lime Thai Noodles with Chicken and Herbs
Miso-Honey Roast Sweet Potatoes
Sesame Slaw with Edamame, Scallions, Carrots & Cucumber
Olive Oil Spice Cake with Citrus Glaze

Vegan Option
Coconut-Lime Thai Noodles with Tamari Roast Mushrooms & Herbs
Miso-Honey Roast Sweet Potatoes
Sesame Slaw with Edamame, Scallions, Carrots & Cucumber
Vegan Molasses Spice Cookie

Gluten-Free Option
Coconut-Lime Thai Rice Noodles with Chicken and Herbs
Miso-Honey Roast Sweet Potatoes
Sesame Slaw with Edamame, Scallions, Carrots & Cucumber
Gluten Free Olive Oil Spice Cake with Citrus Glaze

Order suppers online here >>

Read more about Ojai Eats and view participating area restaurants >>

April is Ojai Pixie Tangerine Month – Celebrate With A Unique Ojai Activity!

OVB_PixieMonthLogo_2014Final_WebApril is Pixie Tangerine Month and there are a host of happenings dedicated to the sweet and seedless tangerine that are unique to the Ojai Valley. Pixies are small, sweet, and easy to eat – a local favorite for young and old alike. First grown in Ojai in the 1960’s, today there are over 25,000 pixie trees tended by more than 40 tangerine growers.

The Ojai Music Festival is celebrating with a special Pixie Pass: Get 10% off when you buy 2 concerts. Buy online and use promo code PIXIE10

Pixie-Pass-Coupon

From special pixie themed meals to orchard and bicycle tours, celebrate Pixie Tangerine Month with a unique Ojai activity, a Pixie-inspired meal, spa treatments, shopping discounts, and special lodging packages:

ACTIVITIES

  • Celebrate Pixie Season with Cloud Climber Jeep Tours (805 646 3200) – See exclusive vistas and a birds-eye view of the beautiful patchwork of Ojai’s citrus groves. Tour the Regalo Estate and sample a variety of citrus-flavored vinegars and local olive oils. All from a custom, open-air, canopy-covered Jeep led by a professional local driver and guide.
    Tours offered in April 2015, Wednesday – Sunday (based on availability) | $350 per jeep (up to 6 passengers)
  • Pixie Tours at Friends Ranch (15150 Maricopa Hwy | 805 646 2871) – Tour a local Pixie Orchard – learn about the growing of Pixies and visit the packing house.
    April 1, 4, and 18th, 2015 | $8 (children), $12 (adults)
    Packing house also open Tues – Fri, 7am-12pm
  • Ojai Pixie Squeeze Cooking Class at Lavender Inn (210 E Matilija St | 805 646 6635) – Learn how to incorporate Ojai Pixies into every course in a meal using simple recipes at the Ojai Pixie Squeeze Cooking Class. Includes a five-course meal.
    April 12, 2015: 1-2pm
  • Celebrate Ojai Pixie Month with Ojai Music Festival (201 S. Signal St | 805 646 2053) – Purchase tickets to any two concerts for the Ojai Music Festival (June 10-14, 2015), and receive 10% off your total order.
    Use promo code PIXIE10 online at www.OjaiFestival.org or by calling 805 646 2053. Offer valid April 1 – April 30, 2015.
  • Ojai Tennis Tournament (805 646 7241) – The 115th Ojai Tournament (April 22-26, 2015) will give away Pixies to spectators and have them on display throughout Libbey Park.
  • Third Fridays at OVA Arts (108 B N. Signal St | 805 646 5682) – OVA Arts invites guests to celebrate Ojai Pixie month at their Third Fridays event. During the evening, there will be an art contest for local artists, a raffle, small bites, wine, and live music.
    April 17, 2015
  • Pixie Orchard Tours with The Mob Shop (110 W Ojai Ave | 805 272 8102) – The Mob Shop, a full-service bike shop in Ojai, will offer scenic bike rides throughout Ojai’s Pixie orchards, electric bikes are available upon request.
    For more information on guided bike rides during Ojai Pixie Month, please call: (805) 272-8102
  • “Pix-ology” Cocktail Class at Ojai Valley Inn & Spa (905 Country Club Rd. | 855 697 8780) – Ojai Valley Inn & Spa’s popular mixology classes will take a Pixie theme during Ojai Pixie Month. Led by the award-winning bartending team at Jimmy’s Pub, the class includes a sampling of two cocktails, and a guided demonstration of creating
    Pixie cocktails.
    Every Friday in April: 4:30-5pm | $25 per person
  • Pixie Cooking Demonstration at Ojai Valley Inn & Spa (905 Country Club Rd. | 855 697 8780) – Chef de Cuisine Jaison Burke and Chef Tournant Dana Francisco, are teaming up for an unforgettable evening to showcase creative ways to cook with Pixies. The evening includes a cooking demonstration, a three-course meal with wine
    pairings, and a Champagne reception.
    April 25, 2015: 6-8pm | $90 per person
  • Pixie Art Contest at Porch Gallery (310 E. Ojai Ave | 805 620 7589) – Porch Gallery will hold an art contest for local artists called, “Ojai Pixies: What do they mean to you?” Works of photography, painting, illustration and print-making will be juried, and the winning piece will be available for sale at Porch Gallery.
    Submissions will be accepted from March 26 -March 28, 2015; the contest winner will be announced on March 29, 2015.

CULINARY

  • Azu Restaurant (457 E. Ojai Ave. | 805 640 7987) – Throughout the month of April, Azu will feature a Pixie Fizz cocktail and other hand-crafted cocktails. Fresh Pixie marmalade will be available to enjoy at breakfast
  • Agave Maria’s Restaurant & Cantina (106 S. Montgomery Ave | 805 646 6353) – A special Pixie Margarita will be served throughout Ojai Pixie Month.
  • Bliss Frozen Yogurt (451 E. Ojai Ave) – Enjoy Pixie-flavored yogurt for the month of April.
  • Farmer and the Cook (339 W El Roblar | 805 640 9608) – An all-organic cafe and grocery, Farmer and the Cook will offe Pixie Marmalade scones throughout April. Pixie-inspired desserts will also be offered at the Farm Café on Friday and Saturday nights during the month.
  • Feast Bistro (254 E. Ojai Ave | 805 640 9260) – A local favorite, Feast Bistro, will feature a wide variety of Pixie-inspired culinary offerings throughout April.
  • KNEAD Baking Co (469 E. Ojai Ave | 310 770 3282) – During Ojai Pixie Month, KNEAD will offer their famous citrus syrup cakes soaked with fresh Pixie juice. Individual sizes will be available in-store and larger ones available by advance order.
  • Marché Gourmet Deli (133 E. Ojai Ave | 805 646 1133) – This popular deli will offer Pixie Kumquat marmalade and cupcakes throughout the month of April.
  • NoSo Vita (205 N. Signal St | 805 646 1540) – NoSo Vita will offer a special dish throughout the month featuring Ojai Pixie Golden Pomodoro Sauce served over pasta with fresh mozzarella.
  • Ojai Café Emporium (108 S Montgomery St | 805 646 2723) – Throughout Ojai Pixie Month, Café Emporium will offer special Pixie Mimosas.
  • Ojai Retreat (160 Besant Rd | 805 646 2536) – The Ojai Retreat will feature additions to the traditional breakfast fare including Pixie salad, Pixie muffins, Pixie cheesecake, and a Pixie fruit salad. Breakfast is included for guests and is offered to visitors for $15.
  • Ojai Valley Inn & Spa (905 Country Club Rd. | 855 697 8780) – The resort’s culinary outlets will feature Pixie-inspired menu items and cocktails throughout the month.
  • Suzanne’s Cuisine (502 W. Ojai Ave | 805 640 1961) – Suzanne’s will feature special menu items highlighting Pixies, as well as a special Pixie Cosmopolitan.
  • The Oaks at Ojai (122 E. Ojai Ave | 805 646 5573) – The Oaks will offer Pixie popsicles for guests, as well as Pixie-infused lunch and dessert items throughout the month. The Oaks’ boutique, The Nest will carry a special dark chocolate bar infused with Pixie essence. Cooking demos throughout the month will also feature Pixies.
  • Tipple & Ramble (315 N Montgomery St | 805 319 9496) – Tipple & Ramble will offer fresh Pixie Prosecco Sangria to shoppers throughout the month of April.

LODGING PACKAGES

  • Emerald Iguana Inn and Blue Iguana Inn (805 646 5277) – Offering a special Pixie Package: gift baskets filled with Pixie Tangerines, a bottle of Casa Barranca wine, Zhena’s tea, a jar of local honey, and signature gourmet Pixie flavored chocolates. In addition, the package includes a $50 coupon to local restaurants Feast Bistro or Azu, a 25% off coupon to Ojai’s Love Heals Jewelry, and a special Iguana Pixie Seasonal Facial. The Pixie Package is available April 1 – 30, 2015.
  • Lavender Inn (210 E Matilija St | 805 646 6635) – A historic bed & breakfast, Lavendar Inn will offer Pixie muffins for guests every morning, Pixie Tangerine mimosas during Sunday brunch, and fresh Pixie Mojitos at their nightly Tapas & Wine Hour. The Inn will also host a “Farm to Fork” breakfast, including a selection of housemade Pixie dishes every Sunday during the month.
  • Ojai Valley Inn & Spa (905 Country Club Rd. | 855 697 8780) – Offering the Pixie Hotel Package, which includes accommodations in a graciously appointed guest room, a special Pixie Tangerine amenity upon arrival, a 50 minute Pixie body treatment at Spa Ojai, and a Pixie-inspired breakfast for two at The Oak (up to $60 value). The Golf Club will offer limited-edition, bright orange Pixie season golf balls. The package is available March 1 – May 31, 2015.
  • Su Nido (301 N. Montgomery St | 805 646 7080) and Casa Ojai Inn (1302 E. Ojai Ave | 805-646-8175) – Guests will enjoy a 25% discount when booking with promo code “PIXIE” and will enjoy fresh Pixies throughout their stay. Available April 1 – 30, 2015.
  • The Oaks at Ojai (122 E. Ojai Ave | 805 646 5573) – Special five-night Pixie Lodging Package includes an exclusive Pixie seasonal scrub. Also available are Pixie Pedicures, restaurant and cooking demos throughout the month featuring Pixies, and fresh Pixies for guests. Available April 1 – 30, 2015.

SHOPPING

  • deKor&Co. (105 S. Montgomery St | 805 272 8675) – deKor&Co. will offer a selection of Pixie-themed gift-boxes including a cosmetics duo of lip and nail color from FACE Stockholm and a citrus candle and bath salts along with fresh local Pixies. deKor&Co. will also partner with Olive & June for a special orange manicure pop-up featuring Ojai Sugar products and FACE Stockholm. For more information on the event please visit www.dekorandco.com.
  • Made in Ojai (323 E. Matilija St, Suite 101 | 805 646 2400) – Offering wares from Ojai resident artisans, Made in Ojai will feature Pixie
    merchandise and specifically crafted Pixie art from April 1-30, 2015.
  • Tartaglia Fine Art (307 E. Ojai Ave | 805 646 0967) – Gallery guests will enjoy fresh Pixies throughout April
  • The Oaks at Ojai (122 E. Ojai Ave | 805 646 5573) – The Oak’s boutique, The Nest, will offer discounted orange colored clothing and beauty products
  • Summer Camp (1020 W. Ojai Ave | 805 861 7109) – Limited-edition Ojai Pixie candle, handcrafted locally from the highest quality essential oils, will be available and offered at a discounted price
  • Treasures of Ojai (110 N. Signal St) – “Find the Pixie” on the price tag and receive 20% discount on that item
  • White Sparrow Boutique (305 E. Ojai Ave | 805 646 5051) – Offering discounts on all items with labeled Pixie tag

SPA

  • Lavender Inn (210 E Matilija St | 805 646 6635) – Lavender Inn will offer a 10% discount on the Orange Blossom Aromatherapy Massage during the month of April.
  • New Leaf Skin Care (321 E Ojai Ave | 805 640 9911) – New Leaf Skin Care will offer a 10% discount on all Pixie Tangerine skin and spa products, including a Pixie Organic Facial.
  • Ojai Valley Inn & Spa (905 Country Club Rd. | 855 697 8780) – Throughout April Spa Ojai offers a 20% discount on the Ojai Pixie Tangerine Body Polish Spa Treatment, as well as an Ojai Pixie Tangerine Manicure & Pedicure and a special Pixie Body Scrub available for purchase at the Spa Ojai Boutique.
  • Summer’s Dawn (439 W El Roblar | 805 746 6476) – Summer’s Dawn will offer Pixie Blossoms Spa Manicure, Ojai Pixie Custard Fresh Spa Pedicure, Ojai Dreamsicle Spa Massage, and an Ojai Pixie Facial for Pixie Month. Select retail will be 10% off. The Spa will also host a special Pixie Spa Event on April 25, 2015 where guests can indulge in mini Pixie-inspired spa treatments while sipping Pixie cocktails and enjoying small bites.
  • The Day Spa of Ojai (1434 E. Ojai Ave | 805 640 1100) – Relax and rejuvenate at The Day Spa of Ojai with a Pixie-Lavender Salt Glow Treatment, available throughout April.

 

Christina McPhee: How Ojai Inspires Me As An Artist

The audience members of the Ojai Music Festival are as eclectic, imaginative and passionate as the music performed and the artists who are engaged in the creative process. Once such patron is Christina McPhee, visual artist from the Central Coast, who shared her work with us inspired by the 2014 Festival. 

Naphthol Red - Tree of Fire

Christina McPhee, Naphthol Red – Tree of Fire, 2014, 65 x 39 x 2.5 inches. Image courtesy the artist http://christinamcphee.net

The Muslin-Drum // Ligeti Iterations :
As a child, I found sanctuary in piano practice. Each evening the required hour came with the delight of the fall of the keys, the fascination of synaesthesia’s colors with chromatic chords, and escape from external pressures. For no audience but my own brain, my ears connected with digits, and with structures of flight. Later I sought to materialize this experience in painting.

With my partner I built canvasses in translucent muslin, coated in clear, slightly crystalline rabbit skin glue, with taut surface like a drum. From the first the support and surface conditions set up a performance situation around color-shapes, linear thresholds and tensions of the stretched canvas. Interacting with these constraints set me into a graphic predictive process, to ramify lines from sound. The delicate surfaces pinged as the graphite slides across the rabbit skin. Dyes threw across the slightly glittering crystals of rabbit-skin embedded in the glue ground. The soft swish of liner brush extended murmur and glissando. Tcherepnin, Varese, Cage and Harrison crossed through this matrix. None stayed as long as Ligeti. Hundreds of repeats, listening to the cd of György Ligeti’s Piano Etudes, Books 1 and 2, as performed by Jeremy Denk in a Nonesuch recording of 2012, cast the studies into iterative material abstractions. Then I heard Denk play them live in concert at the Ojai Music Festival, in June 2014. An indelible impression, almost, a neurologic imprint…Elements of surprise, hurling passages, glissandos, rushes and stillnesses, darknesses leaching into light, shapes tumbling and subsisting in secret rhythms— these formal and performance incidents translate a code for a kinetic action through the instrument of the body onto the radiant surface.

Transliteration of painting about painting via the percussive: as the piano resonates sound by the striking of keys, so may these paintings record and store the memory of the percussive touch.

Painting as percussion…Skin-like layers articulate thresholds of shape via drawing in oil pigment, stand oil, linseed oil, spray enamel, dye and ink. The object as it’s made is in the process of depleting layers. As a conveyance for shards, or flaying skin, the surface is scar tissue. Occlusions, jams and glitch make up the scars. Scar edges refer lines, as thresholds. Shapes tumble and transgress boundaries of mapping functions. Elements refine to illuminated clarity at minute points. Ricochets touch on translucent ground. The ground remains exposed in fragments. The paintings start as oil sketch on a shop table, and finish, with glaze, on studio walls. Sometimes the work names itself early, in the first graphites; sometime late, up against the wall.

The devices of title play for and against the abstract=/-material. Drawing’s relative dialects with scoring—-allusions to landscape or possible elementals—-surrealist presences litter the paths. Ligeti’s titles refer to the sorcerer’s apprentice, the rainbow, or autumn in Warsaw. I have stolen a few. Associative logics let fly. Structural cuts ramify scores. Is performance for terrain, is the terrain for the performance? Lines of flight…

Learn more about Christine and her work >>

10 Questions with John Luther Adams

Written by M. Sean Ryan with permission from BMI.

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John Luther Adams. Photo by Kris Serafin

In writing or analyzing a piece of music, the notion of space is both multifaceted and unavoidable. For John Luther Adams, it is the root. His environmentally-minded compositions aren’t just inspired by geography and places he finds meaningful. Sometimes their performance demands musicians forgo the stage, scattering strategically instead around vast indoor and outdoor venues.

In this way, Adams has garnered a reputation for highlighting how we fit in to the world around us, musical or not. Pieces like “Inuksuit,” or, more recently, “Sila,” continue to redefine the immediate environment in which they’re performed, while his titanic opus “Become Ocean” has earned him two GRAMMY nominations as well as last year’s Pulitzer Prize in music. In addition to these prestigious honors, Columbia University’s School of the Arts recently announced that Adams will be awarded their $50,000 William Schuman Award this fall. The award recognizes “the lifetime achievement of an American composer whose works have been widely performed and generally acknowledged to be of lasting significance.”

On a recent call from New York City, the 62-year-old Adams opened up about the road that’s led him to his current standing as a world-renowned composer.

How did your relationship with BMI begin?
It would go back to the 1980s. I was a young composer thinking about affiliating with a performing rights organization, and ultimately what persuaded me — what did it was Ralph Jackson. A couple of years ago I wrote a piece on Ralph’s retirement singing his praises and talking about who he is and the difference he has made, not only in my life but in the lives of so many other composers.

In the larger musical landscape of new music, classical music, contemporary concert music — whatever you call this stuff that I’m involved with — Ralph is truly a force of nature. Now Deirdre Chadwick has taken over and like Ralph she’s an oboist. And like Ralph she’s a strong personality who cares passionately about this music. I feel really lucky to be working with her now.

In that stage of your career, when you moved to Alaska in the late ‘70s, your focus was political. Was music on the backburner?
Nothing took a backseat to anything else. I thought I could do it all: I thought I could be a full time environmental crusader; I thought I could live like Henry David Thoreau in the woods; I thought I could be a working composer, and I thought I could have a serious personal relationship and also play in the Fairbank Symphony. It took me a decade or so to realize that I had to make some choices. It was a very heady time. To be young and idealistic in Alaska in the late ‘70s and then into the early ‘80s — I wouldn’t trade it for anything.

But you’ve described that period as “lost years.” Did you mean that artistically more so than personally?
What suffered, or so I thought, was my health and also my music. I felt like I wasn’t doing as much composing as I wanted to do. I was living in the woods without running water, a mile and a half from the road. I was still working a day job. I was trying to have a family life but not living with them. It was hard on everyone, and I thought that, among other things, my music suffered. I finally quit my day job in 1989 and never looked back.

So although I didn’t compose a lot during the ‘80s, that’s when it was all coming together for me. It didn’t feel like it at the time. It was a mess, and so was I, but it was necessary in so many ways for me to go through that — not just emotionally and personally but also creatively, intellectually, artistically. I don’t really understand how that worked. All I know is that it did work — that when I thought I was wasting prime creative time, it turned out that the work was going on anyway.

Do you find that applies to your composing — that you have to step away and trust that a kind of subconscious process is still occurring?
I experience that all the time when I’m working on a specific piece, and sometimes it seems like an eternity: it might be a week; it might be a month; it might be a year or two that I’m struggling with something. And I know now just to trust that and go with it.

But I was younger, and this was a whole damn decade! [laughs] — That’s a long gestation period. I like to say that I made all the wrong choices: I didn’t go to graduate school; I didn’t win the right prizes; I didn’t study with the right people; I didn’t pursue a career…and of course over the long run they turned out to be all of the right choices.

When you were making those decisions, would you say it was a conscious effort on your part to avoid the conventional route whenever you saw two options?
I think it was this mixture of kind of purposeful defiance, but also, you know — you’re made a certain way. You have a certain temperament or constitution, and you’re obsessed with a certain vision of how your life is supposed to be and how your art is supposed to be, and you just can’t do anything else. I say I made all the wrong choices. Really, I didn’t have a choice.

What advice would you give to composers in a similar point in their artistic career?
Don’t do what I did! Make your own mistakes. Find your own private Alaska, and do that — whatever it may be, wherever it may be. You’ve got to follow that passion, that thing that you feel most deeply drawn to do.

Again, this idea of ‘the lost decade’: I’m realizing even as I’m talking, not only was it unconventional; it was difficult. To be carrying water and chopping wood, and living in an extreme climate, and trying to maintain multiple lives at once. And I didn’t realize how difficult it was until after the fact. But I think that’s why it took longer for things to come together for me, creatively, personally and professionally, because my path was a little more—[laughs] off-road.

Were there other “Alaskas” for you before? Either a place or moment that inspired you or opened you up in some new way?
There were little epiphanies like that along the way. The Beatles on Ed Sullivan in 1964. Frank Zappa introducing us to Edgard Varèse in the late ‘60s. There was my buddy Dennis Keeley, the photographer, telling me that, no, I wasn’t going to Columbia; I was going to this brand new, experimental school in Southern California, the California Institute of the Arts, and thank God I listened to him. There was reading Walden at the age of 15, having my whole view of life and the world and our place in the world challenged.

But the defining moment was when I first set foot on the ground in Alaska. It was the place itself, the wilderness and these vast seemingly untouched landscapes beyond which I couldn’t imagine. But it was also my community, or dare I say, my family: first and foremost my wife, Cynthia, who has been my soul mate and my life companion for 37-going-on 38 years now; then my two dearest friends, Gordon Wright, the conductor of the Fairbanks Symphony and the Arctic Chamber Orchestra, who was my next-door neighbor and my camping buddy; and also John Haines, Alaska’s great poet, who homesteaded up there in the late ‘40s and lived the life you and I can only imagine, and wrote poetry like no one else.

I just can’t imagine where I would be without them. Both Gordon and John are gone now. But the four of us shared a certain experience of the North: not just as a big pristine landscape but also as a place to begin again, and maybe demonstrate a different relationship between the human animal and the places we lived, to imagine a new culture if that doesn’t sound too grandiose.

A review of “Sila” describes an exchange in which you say you’re still learning the score to that piece. Can you explain what you meant?
I was in that moment where the notes were all on the page but I didn’t know whether it was going to work, or how, because “Sila,” like many of my works, is a pretty experimental piece. And although everything is written down, you don’t necessarily know what’s going to be happening at any given moment. You can say, generally, how things flow. It’s kind of an adrenaline or endorphin high to be on that edge.

It was such a big piece, in such a high profile venue, and I was right down to the wire with it. Being outside is even more problematic. We didn’t actually get to hear the piece before the day of the premiere — we had one indoor rehearsal and it was necessary and useful, but it was painful because you can’t really hear a piece like that indoors; it’s too big for even the largest indoor space. So I didn’t know until two or three hours before the first performance that we actually had a piece. That was kind of terrifying, but right where I want to be.

You’re also involved in education. How does that complement your creativity when composing?
Teaching has been an occasional thing for me. I do a lot of short-term residencies where I’ll go in for a few days or a week or two, give lectures, coach performances and critique work of student composers. And I really love that. There are a number of young composers and performing musicians that I’ve known as students who are out there in the world doing wonderful things. And that’s so gratifying, to watch them go out and make their marks in the art. I think if you’re a good teacher, you learn more than you teach.

I’ve decided it’s an important part of my calling, but it’s not a central part of my calling. I feel music is worthy of a lifetime of devotion, because music always knows more than I do. Music is always ahead of me, and my job is to follow it. It’s a process of trying to ask the right questions and not be too attached to the answers. I find that if I ask the right questions and keep refining the questions, making them more specific, and more and more clear, that the answers take care of themselves. People sometimes ask me, ‘What’s your favorite piece that you’ve done?’ And my answer is: the one I’m working on now, or the one I haven’t written yet, because there’s just such a thrill in the asking of the questions, the following of the flow of the music and the process of the discovery.

What are you working on now for 2015?
I’ve just released another disc on Cold Blue, the little label in Los Angeles that I’ve worked with for years. It’s called The Wind in High Places, and it features the JACK Quartet and also an orchestra of 48 cellos, which is an amazing sound.

And I’m in the process of writing a book, which will be a memoir of life and work, almost forty years in Alaska. I want to do another concert-length orchestral work to complete the set: there is “Become River,” there is “Become Ocean,” and I want to compose “Become Desert.” I imagine that piece as a large orchestra scattered all around the space and a complete concert unto itself.

Then “Sila” is just beginning its life. We’re actually going to do several performances in several different locations in Washington, D.C. We’re talking about doing a brass-woodwinds-percussion version of the piece on the steps between the Lincoln Memorial and Reflecting Pond. The 80-plus version will, I hope, be in the National Building Museum…this cavernous space. These performances will be in conjunction with the U.S. Air Force Band. The west coast premiere will be the Ojai festival in California in June, and it’ll be followed by a performance in Berkeley. Then next fall we will open up the new music building at Northwestern University — we’re going to consecrate the house. And we’re going to celebrate the 100th anniversary of Balboa Park in San Diego with another performance of “Sila.” So that piece is going to have a busy year!

View The 69th Festival Schedule For June 10-14, 2015

7.11.13Percussionists are different. Their musical world has no fixed boundaries; there is no limit to the instruments they play and the sounds they make. There are no pretentious barriers between nature and artifice, no strictures on performing indoors or out. Their precursors reach back to the dawn of time and members of their guild are found in every culture. Hand a percussionist a random rock or the most exquisitely forged gong and he or she will make it speak, sometimes with breathtaking virtuosity born of the simplest gestures by which we interact, though touch, with our material world. So what does it mean that Ojai’s 2015 music director is a percussionist? Quite a lot if that percussionist is Steven Schick.

No one has done more to champion, interpret, and expand the repertory of contemporary percussion music than Steven Schick. Not only has he mastered the entire solo repertory – and more than doubled its size through commissions – but as a conductor, educator, and author he has deepened our understanding of the role of percussion in music’s past, present, and future. More importantly, as an artist of broad interests and deep convictions he has explored cultural issues well beyond the already boundless frontiers of his chosen specialization.

To a percussionist’s ear music begins with rhythm, color, and gesture and these are the elements that form the nexus of the diverse works and decidedly international array of composers of this all 20th– and 21st-century festival. Naturally, we’ll hear Steven Schick perform classics of the solo percussion repertory – compositions by Stockhausen, Xenakis, and Globokar, as well as more recent compositions by David Lang and Kaija Saariaho, and the American premiere of Roland Auzet’s staging of Kurt Schwitter’s Dadist masterpiece, Ursonate. But Steve will also conduct ICE (International Contemporary Ensemble), red fish blue fish, Renga, and musicians from CalArts, groups with which he is closely identified, in a broad array of ensemble works of varied scorings, including the West Coast premiere of John Luther Adams’ Sila. Among the distinguished soloists is cellist Maya Beiser playing pieces by Osvaldo Golijov, Michael Harrison, and Chinary Ung.

Other highlights are a sunrise performance of Morton Feldman’s For Philip Guston in which Steve is joined by flutist Claire Chase and pianist Sarah Rothenberg, Lou Harrison’s Concerto for Pipa featuring Wu Man, and Messiaen’s Vision de l’amen with pianists Gloria Cheng and Vicki Ray. This year’s “old timers” include Copland, Chavez, Ginastera, and Varèse, all with scores new to Ojai, save one late-night chestnut: Appalachian Spring.

2015 marks the beginning of a three-year celebration of Ojai’s roots in Southern California, where open exploration and cross-cultural dialogue are written into the DNA. It is therefore especially apt that this festival opens with a Wednesday night multimedia tribute to Pierre Boulez, seven-time festival director, on the occasion of his 90th birthday. Four concerts are devoted to his music, each in creative juxtaposition with works by Béla Bartók: the six string quartets and, as the finale, the Sonata for Two Pianos and Percussion. This means Steven Schick will have the last word: a snare drum diminuendo with which he ushers us across the fluid borders of his imagination into silence.

– Christopher Hailey

Christopher Hailey is a music historian specializing in new music. He is the Ojai Music Festival’s longtime annotator and host of Concert Insights, the Festival’s in-depth discussions held before each concert.

Listen and view Steven Schick’s playlist >>

View the complete 2015 Schedule >>

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Ojai Music Festival Receives New Music USA Project Grants Award

Download PDF version of the press release >>

(Ojai CA) — The Ojai Music Festival has received a project grants award from New Music USA in support of the 69th Festival, June 10 to 14, 2015, led by Music Director Steven Schick. Together with Artistic Director Thomas W. Morris, Mr. Schick has curated an explosive and immensely playful program celebrating music from the 20th and 21st centuries and the music and influences of Pierre Boulez on the occasion of his 90th birthday in the spring.

“New Music USA’s generous support helps to ensure the Ojai Music Festival’s commitment to innovative and adventurous programming and our vision to reach wider audiences,” said Executive Director Janneke Straub. “It affirms our collective vision of expanding new music landscapes.“

The 2015 Festival welcomes Ojai alumni artist, percussionist, conductor, teacher, and author Steven Schick as music director. He will be joined by artistic colleagues making their Ojai debuts, including ICE (International Contemporary Ensemble), flutist Claire Chase, pipa artist Wu Man, cellist Maya Beiser, the Calder Quartet, and San Diego-based string ensemble Renga. Returning to Ojai will be pianists Gloria Cheng and Vicki Ray, mezzo-soprano Peabody Southwell, and percussion ensemble red fish blue fish.

Awards for New Music USA’s third round of project grants total $284,250 support artistic work involving a wide range of new American music. The program recognizes and supports the multiple roles composers and contemporary music practitioners play in the artistic landscape and responds to the creative spirit of collaboration between artists from multiple disciplines. The 62 awarded projects include concerts and recordings as well as dance, film, theater, opera, and more, all involving contemporary music as an essential element.

In response to feedback from artists who were surveyed last summer following the two inaugural rounds of the program, the third round grants included a special focus on requests of $3,000 and below. Approximately 65% of grants awarded were in this category. The next round of project grants will open for requests in March 2015, and decisions will be announced in June 2015.

Including the awards announced today, New Music USA’s project grants program, launched in October 2013, has now distributed $932,250 in support of 179 projects. Seventy-four of the project grants awardees are first-time recipients of grants from New Music USA and its legacy organizations Meet The Composer and the American Music Center. Awarded projects from all three rounds can be discovered, explored and followed by the public via their media rich project pages at https://www.newmusicusa.org/all-projects. The public-facing gallery of projects and the ability for artists to update their progress and interact with followers is an important promotional tool that extends the program’s service to artists beyond financial support. The overarching goal of project grants is to reach and aggregate the communities of new music enthusiasts, irrespective of genre preferences, and allow the public to discover new artistic work.

Ed Harsh, president and CEO, comments: “We want to give artists money, but we want to give artists more than money. We want to give them a way to spread the experience of their work to a wide world of people eager to engage with it.”

ABOUT THE OJAI MUSIC FESTIVAL
From its founding in 1947, the Ojai Music Festival has created a place for groundbreaking musical experiences, bringing together innovative artists and curious audiences in an intimate, idyllic setting 80 miles northwest of Los Angeles. The Festival presents broad-ranging programs in unusual ways with an eclectic mix of rarely performed music, refreshing juxtapositions of musical styles, and music by today’s composers. The four-day festival is a complete immersive experience with concerts, free community events, symposia, film screenings, and social gatherings. Considered a highlight of the summer season, Ojai has remained a leader in the classical music landscape.

The Ojai Music Festival attracts the world’s greatest musical artists. Through its unique structure of the Artistic Director appointing an annual music director, Ojai has presented a “who’s who” of music including: Aaron Copland, Igor Stravinsky, Olivier Messiaen, Michael Tilson Thomas, Kent Nagano, Pierre Boulez, John Adams, Esa-Pekka Salonen, Robert Spano, Pierre-Laurent Aimard, David Robertson, eighth blackbird, George Benjamin, Dawn Upshaw, Leif Ove Andsnes, Mark Morris, and Jeremy Denk. For more information on the Ojai Music Festival and the 69th season, visit OjaiFestival.org (http://www.OjaiFestival.org).

NEW MUSIC USA
New Music USA (https://www.newmusicusa.org/) formed in November 2011 from the merger of the American Music Center and Meet The Composer with a mandate to increase the audience for new American music. New Music USA’s endowments include an $11.25 million corpus for grant making supplemented by support from a number of generous annual funders. The approach to consolidating five of the legacy organizations’ grant making programs was driven by two core convictions. First, that the best way to serve new music is to ask practitioners what they need rather than tell them what they should want. Second, that the process for requesting financial support should be simple and should help artists and audiences connect.  New Music USA is devoted to fostering the creation, dissemination, and enjoyment of new American music. New Music USA places special emphasis on broadening the public community for the music and musicians whom we serve.

Advocacy in the broadest sense is at the heart of all of New Music USA’s work. It is inherent in the work of the online magazine NewMusicBox (http://www.newmusicbox.org/) and radio station Counterstream (https://www.newmusicusa.org/counterstream-radio/), in all of New Music USA’s grant making activity—which distributes more than one million dollars each year to the field—and in New Music USA’s role as a key voice in the national and international scenes.

ROUND THREE AWARDED PROJECTS
Paradigm Lost • 2015 Ojai Music Festival • New Works for the OpenICE Initiative • American notes – Engaging new Communities • The Snow Falls in the Winter • Featured Composer Residency with Derek Bermel • Edmar Castaneda Performance and “Meet the Artist” Event* • Inquisitive – A New Work for Cantus and High School Choir • Iron Shoes • Written in Water • Black Mountain Songs • Capriccio • Interaction of Color • STEVE COLEMAN: SYNOVIAL JOINTS RECORDING PROJECT* • The Brain Piece • 95 RITUALS (for Anna Halprin) • The Black Rose • PATIENT(CE)* • TRIBE* • A Piano Party for Terry Riley at 80 • Wild Rumps: In Time • American Composers Orchestra Premiers Motormouth for Chamber Orchestra at Carnegie Hall • A Debut CD: The Music of Eric Nathan • Recording “Letting Time Circle Through” • Brass Band Blastoff • Choreographing LeWitt* • Walk to the Beat* • Talujon’s Pocket Gamelan • Man Forever with TIGUE – Percussion and Vocal Canons* • Sympathetic Magic* • Synth Nights: Morton Subotnick • SOUNDIAL* • Alternative Guitar Summit • Water, Water, Everywhere • Intimate Instruments Workshop: Building the Linguaphone of Tremulous Communion • 2015 New York City Electroacoustic Music Festival • Duo Damiana Debut Recording: Adventurous Repertoire for Flute and Guitar* • CAUGHT IN THE TREETOPS* • Along These Lines • Contemporaneous Presents Self-Portrait, a Fifth Anniversary Celebration* • Radiant Child Voice Recording • Face Resection* • RighteousGIRLS* • Luminous Etudes: Visions of the Black Madonna of Montserrat • Record original jazz/classical works for piano* • Sowah Mensah Commission* • SOLI: Experience • Kettle Corn New Music 2014-15: Sandbox Percussion and Lisa Moore* • Commercial Recording Featuring Solo Piano Works by Timo Andres and Phil Young • Old Text Woven New* • Lisa Renee Coons in Residence at 2015 Women Composers Festival in Hartford • Meehan/Perkins Duo Records New American Percussion Works • 3 Singers* • TRAFFIC JAM* • Babbling • flux-mirror for saxophone and electronics* • A New work for Flute and Electronics written for Flutist Carla Rees* • Matana Roberts: COIN COIN • Tonecycle for Blues (2014) Base 30 Hz, 2:3:7 Vocal Version with 3:4 and 6:7.

*indicates first time awardee

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Apply To Be A 2015 Festival Intern

interns

Just as the Festival nurtures emerging artistic talent on the stage and cultivates interest in music in Ojai Valley public schools, it is also committed to training the next generation of music and arts management students through its internship program.

Each year, the Ojai Music Festival Arts Management Internship Program welcomes 12-14 college students and recent graduates to go behind the scenes of a renowned summer music festival. Interns work closely with the staff and production team, providing critical support and gaining invaluable hands-on experience and skills for their future careers. Each intern receives during their 2-3 week internship:

  • An immersive experience in the world of a festival and inside knowledge into the many different pieces that come together for a successful weekend of concerts
  • Training for their areas of responsibility from staff and leaders in the field
  • Free and discounted tickets to Festival concerts (depending on work schedule and availability)
  • Housing and/or homestay in the beautiful Ojai Valley and most meals during the Festival
  • Stipend

The Festival invites interested students from all fields of study to apply for an internship. The program is ideally suited for curious, motivated individuals who are interested in the diversity of possible careers in the arts, events, and the nonprofit world. Festival interns have gone on to have successful careers in both the nonprofit and for-profit sectors – those who have gone on to work in the arts have done so at organizations across the country, including Pacific Symphony, Early Music Guild of Seattle, and Voices of Change, as well as forged new paths as entrepreneurial performing artists and composers.

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Q & A With Festival Producer Elaine Martone

Elaine and Grammy

Elaine Martone with Michael Bishop at the 2010 Grammy Award Show, winning for Best Surround Sound Album for “Transmigration.”

Congratulations to Festival Producer Elaine Martone for her Grammy nomination for Producer of the Year in the classical music category!

Elaine was brought on as the Festival producer in 2012. Prior to joining us, she was executive vice president of production at Telarc Records for 29 years. As a key executive in planning and creative decision-making, she managed more than 1,500 projects and was accountable for more than $6 million annually in production costs. A world-class producer, she is a five-time Grammy Award winner in both Classical and Jazz.

Born in Rochester, New York, Elaine moved to Cleveland to study oboe with aspirations of playing with a symphony orchestra. A graduate of Ithaca College with a Bachelor of Music degree, she was taught the basics of the industry by Telarc founders Robert Woods and Jack Renner, quickly grasping what determined the famed Telarc sound and becoming an accomplished editor and an integral part of the management team. Elaine has served as producer on more than 200 recordings, both classical and jazz, including those by the Atlanta Symphony Orchestra with Robert Spano and Robert Shaw, The Cleveland Orchestra with Franz Welser-Möst, the Philharmonia Orchestra with Ben Zander and jazz greats Ray Brown, Dave Brubeck, Oscar Peterson, Tierney Sutton, and McCoy Tyner to name a few.

Elaine was executive director of Spring for Music produced at Carnegie Hall with founding directors Thomas W. Morris, David V. Foster and Mary Lou Falcone, music industry legends.

With her husband, Robert Woods, she has formed a music enterprise, Sonarc Music, and is pursuing her passion, producing great music and musicians, as well as working with talented young people. She was a founding board member of Red {An Orchestra}, which completed seven seasons in Cleveland, Ohio.


Elaine in Studio

Literally, a behind the scene photo of the recording of the Vaughan Williams CD with Elaine Martone.

How did you become interested in sound recording?
It wasn’t sound recording I was interested in but more it was musical performance and what made a performance great. So I started at Telarc out of college (Ithaca College) with a degree in oboe performance. I was hired to do production at then fledging Telarc Records; I first did quality control of metal parts used to make vinyl records (back in the day) and then progressed to learning how to edit on the first digital music editing systems. Those experiences helped me understand Telarc’s philosophy of how a recording should sound. I went on from there to assistant producer and finally as producer in the hot seat!

 

What is the most fulfilling part of your job as a CD producer, and as the Festival producer?
I love when I can make a contribution to the world and music is my way of doing that. I love our funny, weird, lovely world of artists and creating stuff!

Elaine and Spano

Elaine and Conductor Robert Spano enjoying some “down time” during a recording session.

What is the most unusual recordings that you have been involved with in your career?
Most unusual – PDQ Bach recording: Classical Talkity Talk Radio when we were recording the Pachelbel Canon and we needed a bass drum. We looked up in the ceiling of the Harm’s Theatre we were recording in in New Jersey, and up there was a beaten up bass drum. We had a snare drum beater but no bass drum beater. Someone had brought a bushel of apples— we stuck an apple on the snare drum stick and that was the bass drum beater.

What is one of your most favorite CD recordings of all time?
Rachmaninoff Vespers with Robert Shaw and Robert Shaw Festival Singers recorded in The Quercy region of France in July 1989…. It was magical.

What do you like to do in your spare time?
In my spare time I take ballroom dance lessons and sometimes do competitive ballroom dancing. I just started learning Argentine tango, and ballet. I love gardening, reading, and hanging out with my family and friends.

 

 

 

“In The Ojai Spirit” by Christopher Hailey

old-bowl

For nearly 70 years, the Ojai Music Festival has been a laboratory for the special chemistry that results from combining insatiable curiosity with unbounded creativity. The formula is simple: Each year a music director is given the freedom and resources to imagine four days of musical brainstorming. Some have approached their task with caution, fearing that Ojai might be like other places. But, of course, it’s not. More often this unique blend of enchanted setting and an audience voracious in its appetite for challenge and discovery has inspired a distinguished series of conductors, performers, composers to push at boundaries and stretch limits.

At its inception in 1947, under the guidance of Festival founder John Bauer and conductor Thor Johnson, the Festival featured a balance of classics and more contemporary fare. By the time Lawrence Morton took over as Artistic Director in 1954 the emphasis had shifted to new music and Ojai soon became the showcase as well as a home-away-from-home for such 20th century giants as Luciano Berio, Pierre Boulez, Elliott Carter, Aaron Copland, Lou Harrison, and Olivier Messiaen, not to mention two Southern California “locals”: Arnold Schoenberg and Igor Stravinsky. It was Morton who established the tradition of rotating Music Directors and with this innovation each year’s Festival became the reflection of a succession of larger-than-life personalities, including Robert Craft (joined in 1955 and 1956 by Stravinsky), Copland, Ingolf Dahl, the late Lukas Foss, Boulez, Peter Maxwell-Davies, as well as such rising stars as Michael Tilson Thomas, Calvin Simmons, Kent Nagano, John Adams, Esa-Pekka Salonen, Pierre-Laurent Aimard, and David Robertson. Through the years Ojai’s Music Directors have invited distinguished soloists, first-rate chamber ensembles, and world-class orchestras to join them in exploring the intersection between new music and everything from jazz and improvisation to electronics and computers; dance, theater, and experimental staging to social and political issues, not to mention repertory that might go back to the Middle Ages or reach across the globe.

Looking back, it would be difficult to identify any overarching aesthetic premise, though from year to year there has been no shortage of agendas. Rather, the thread running through these past decades has been this Festival’s consistency in promoting creativity and innovation. Here in Ojai hallowed masterpieces and in-your-face experiments can be uneasy bedfellows sharing a berth that is a pedestal of repose for one, a trampoline for the other. And that rumble you hear? It is the steady grumbling from an audience whose outspoken views on any and every subject are the entitlement of its loyalty. Its passion is the true barometer of the health of this Festival. No smugness here; no indifference, either. This is a place for enthusiasms, often excessive, and opinions, sometimes vociferous, and a hunger for shared discovery that reaffirms, year after year, why music matters in the first place.

Christopher Hailey

Festival Music Directors >>
Festival Milestones >>
Festival Fact Sheet >>

 

Make A Gift And Support Groundbreaking Musical Experiences

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When you make a gift to the Ojai Music Festival, you help to create a place for groundbreaking musical experiences where artists are encouraged to take risks; where audiences feel deeply connected to the music and to each other; and where the community is welcomed with free performances and year-round education programs – all in the beautiful setting of the Ojai Valley.

We invite you to invest in the Festival’s creative process by becoming a member, bringing projects to life through our special funds, or simply making a donation.

Thank you for supporting the Ojai Music Festival!

Thank You For Attending The 2015 Launch Party

Launch Party

Thank you to everyone who joined us at our 2015 Launch Party on November 22. We had a wonderful time meeting Festival enthusiasts from Ojai, Ventura, Santa Barbara, Los Angeles…and beyond!

Artistic Director Thomas W. Morris went through the schedule for 2015, highlighting artists and overarching programmatic themes that emerged over the course of planning the Festival with Music Director Steven Schick. As Tom said, “You can look at the Festival flow in this way: Day 1 – a sonic spectacular; Day 2 – introducing Steven Schick, percussionist; Day 3 – introducing all the artists; Day 4 – mixing everyone up. And cutting across everything is the celebration of Pierre Boulez.”

We also showed clips from the world premiere of A Pierre Dream: A Portrait of Pierre Boulez, which will be presented on June 10, and of John Luther Adams discussing Sila: The Breath of the World, which will be performed on June 11. If you were unable to attend, you can view both clips below.

See the full 2015 Festival schedule >>

 

Sign Up Today For OjaiU 2015 – Launching In The Spring

OjaiUlogo1080x87OjaiU 2015 will be a “history of the world according to percussion”, as told by Steven Schick. Rather than simply a history of percussion or a series of demonstrations, the three-session class will explore the history and relationship between percussion and culture, and the wider world around us. Using demonstrations from Steven, clips from percussive sounds found in everyday life, and more, OjaiU 2015 will explore fundamental questions of how our notions of sound, rhythm, and music are related to the culture around it and how these things reflect and influence the world around us.

OjaiU is a series of free courses designed to help audiences “listen smarter” and enable them to gain deeper insight into music. Far from being simply “program notes,” OjaiU is built around the ideas that animate the thinking behind a Festival like Ojai, featuring observations by artists, critics, and experts.

OjaiU starts in spring 2015, sign up below!
Read about and revisit OjaiU 2013 >>

 

 

 

Thank You For A Successful Holiday Home Look In & Marketplace!

Thank you to all the attendees, homeowners, designers, volunteers, and vendors for helping to make this year’s Holiday Home Look In and Marketplace a success! With perfect weather, beautiful homes, and the tireless cheer of the Women’s Committee, we couldn’t have asked for a better weekend. We hope to see you again next year!

We’re still getting together photos, but check out a few we managed to grab in between shuttles…

 

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This Weekend: Tickets Available For The Holiday Home Look In

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Explore beautiful Ojai Valley homes spruced up with festive inspirations for you to enjoy!Saturday & Sunday, November 15 and 16  |  10am to 4pm

$30/per person (advance price) | Prices increase to $35 during tour weekend
Buy tickets or pick up tickets:
  • Our will call box office will be at the Holiday Marketplace, located at the Matilija Junior High School Gym (703 El Paseo Road)
  • Need tickets? You can purchase at the Holiday Marketplace, or at one of our ticket outlets – Attitude Adjustment, Down Home Furnishings, Kava Gifts, or Rains Department Store. Prices increase to $35 per person. Download a $5 off coupon here >> 
  • Call our box office at 805 646 2094. Tickets over the phone will be placed in our will call box office

Plan your weekend:

  • Stop by the Holiday Marketplace (703 El Paseo Road) and enjoy more than 40 curated vendors! Admission is free and open to the public. For more information click here >>
  • Weather reports are predicting beautiful clear skies for the weekend.
  • Homes will be given decorative holiday sprucing provided by Ojai Valley designers.
  • Wear comfortable, closed-toe shoes. The homes also have beautiful outdoor grounds to stroll
  • Children under 12 will not be admitted in the homes
  • There will be complimentary shuttles to take you to Las Piedras, and it will be worth the trip to see this amazing property! Catch the shuttle at San Antonio School (650 Carne Road)
  • Take the time to enjoy a great meal at one of Ojai’s restaurants. There are many to choose from – Osteria Monte Grappa to Suzanne’s Cuisine, to Marche Gourmet and Feast Bistro. View a list of eateries here >>
    For more information please call us at 805 646 2094

2015 Music Director Steven Schick Announces Programs For The 69th Festival: June 10-14, 2015

The 2015 Festival is a celebration of 20th and 21st century composers with works by seventeen new to Ojai including Alberto Ginastera, Michael Gordon, Julia Wolfe, David Lang, Pauline Oliveros, as well as by emerging composers including Anna Thorvaldsdottir and Lei Liang

The Festival marks the occasion of Pierre Boulez’s 90th birthday with a special event, A Pierre Dream: A Portrait of Pierre Boulez, the West Coast premiere of the Chicago Symphony’s Beyond the Score production on Wednesday, June 10, plus five concerts pairing the music of Boulez with works by Bartók, Messiaen, and Ravel

Program features the West Coast premiere of Pulitzer Prize-winning composer John Luther Adams’ Sila: The Breath of the World and the American premiere of Roland Auzet’s staging of Kurt Schwitters’ Dadaist masterpiece Ursonate

Cal Performances’ Ojai at Berkeley slated for June 18-20 after the Ojai Music Festival

“As a percussionist I spend my days searching for new sounds and new places to experience them. I often think of myself as a pilgrim in the land of new noises. For me, then, the Ojai Festival is paradise: it’s the perfect combination of provocative new sounds, great music and a magical place.”  – Steven Schick, Music Director

Download PDF version of the press release >>

OJAI, CA (November 13, 2014) — The 69th Ojai Music Festival (June 10-14, 2015) with Music Director Steven Schick focuses on 20th and 21st century composers. With Artistic Director Thomas W. Morris, Mr. Schick has curated an explosive festival featuring music by more than 30 composers, half of whom are new to Ojai. Highlights also include the West Coast premiere of John Luther Adams’ Sila: The Breath of the World and the celebration of Pierre Boulez’s 90th birthday with a special event on Wednesday, June 10, and throughout the Festival, with five concerts devoted to his music and musical influences.

The 2015 Festival welcomes Ojai alumni artist, percussionist, conductor, teacher, and author Steven Schick as music director. He will be joined by artistic colleagues making their Ojai debuts, including ICE (International Contemporary Ensemble), flutist Claire Chase, pipa artist Wu Man, cellist Maya Beiser, the Calder Quartet, and San Diego-based string ensemble Renga. Returning to Ojai will be pianists Gloria Cheng and Vicki Ray, mezzo-soprano Peabody Southwell, and percussion ensemble red fish blue fish.

No one has done more to champion, interpret, and expand the repertoire of contemporary percussion music than Steven Schick. Not only has he mastered the entire solo repertory – and more than doubled its size through commissions – but as a conductor, educator, and author he has deepened the understanding of the role of percussion in music’s past, present, and future. More importantly, as an artist of broad interests and deep convictions, he has explored cultural issues well beyond the already boundless frontiers of his chosen specialization.

To a percussionist’s ear music begins with rhythm, color, and gesture and these are the elements that form the nexus of the diverse works and decidedly international array of composers of this all 20th- and 21st-century festival. Mr. Schick will perform classics of the solo percussion repertory — compositions by Karl Stockhausen, Iannis Xenakis, and Vinko Globokar — as well as more recent works by David Lang and Kaija Saariaho. Mr. Schick will tackle Globokar’s theatrical works Toucher, in which he is called on to recite Brecht while confronting an array of percussion sounds, and ?Corporel, where he performs body percussion bare-chested and barefoot. He will also perform the American premiere of Roland Auzet’s staging of Kurt Schwitters’ Dadaist masterpiece, Ursonate.

Mr. Schick will also conduct ICE, red fish blue fish, and Renga – groups with which he is closely identified – in a broad array of ensemble works of varied scorings.

Five Festival concerts are devoted to Pierre Boulez’s music and musical influences, four in juxtaposition with works by Béla Bartók — the six string quartets performed by the Calder Quartet, and as the Festival finale, the Sonata for Two Pianos and Percussion with pianists Gloria Cheng and Vicki Ray and percussionists Steven Schick and Los Angeles Philharmonic’s Joseph Pereira. Another concert will pair Boulez’s works with the music of Maurice Ravel and Olivier Messiaen.

Among the distinguished soloists joining Mr. Schick are cellist Maya Beiser playing pieces by Osvaldo Golijov, Michael Harrison, Bright Sheng, and Chinary Ung; virtuoso pipa player Wu Man performing Lou Harrison’s Concerto for Pipa; and mezzo-soprano Peabody Southwell singing Ravel’s Trois poèmes de Stéphane Mallarmé. Other highlights are a sunrise performance of Morton Feldman’s hypnotic 4-1/2 hour marathon, For Philip Guston, in which Mr. Schick will be joined by flutist Claire Chase and pianist Sarah Rothenberg, and Ms. Cheng and Ms. Ray performing Messiaen’s mystical work Visions de l’amen. This year’s program will also include works by Alberto Ginastera, whose music is new to Ojai, Carlos Chavez and Edgard Varèse, as well as one late-night chestnut, Aaron Copland’s Appalachian Spring, in the composer’s arrangement for 13 players.

A Pierre Dream: A Portrait of Pierre Boulez
The Ojai Music Festival honors Pierre Boulez on the occasion of his 90th birthday with four concerts featuring Boulez’s music paired with the music of Béla Bartók. In addition, on Wednesday, June 10, Ojai will present the West Coast premiere of A Pierre Dream: A Portrait of Pierre Boulez, a kaleidoscope of recorded and live music, words, and imagery of Maestro Boulez. A Pierre Dream is one of Chicago Symphony’s Beyond the Score programs and features an original set design by celebrated architect Frank Gehry. The performance will be preceded by a special panel discussion with Boulez’s friends and colleagues entitled “Boulez in Ojai.” Pierre Boulez has served as music director seven times since he first curated the Festival in 1967. He was most recently music director in 2003.

The Ojai performance of A Pierre Dream will be performed by ICE and mezzo-soprano Peabody Southwell, conducted by Steven Schick. It will include projections of rare documentary footage of Pierre Boulez from the 1960s to the present day. At the core of the projected material will be footage from very recent 2013 interviews with Boulez conducted in his home in Baden-Baden, Germany, specially made for this project, the development of which he has supported from the beginning.

“Pierre Boulez is not only one of the seminal figures of our time but a prominent figure in Ojai’s history having made Ojai debut in 1967. He has been music director seven times. It is only fitting that we celebrate this master and friend on this milestone,” commented Artistic Director Thomas W. Morris.

Sila: The Breath of the World
Festival collaborator and recent Pulitzer Prize-winning composer John Luther Adams returns to Ojai with the West Coast premiere of Sila: The Breath of the World, to be performed at a free community event throughout Libbey Park. This new work for an ensemble of 80 musicians received its first performances last July at the Lincoln Center Out of Doors Festival. In the Inuit tradition, sila is the spirit that animates all things – the wind, the weather, and all forces of nature. In Sila: The Breath of the World, composed specifically to be heard outdoors, musicians and listeners alike are encouraged to move about the performance space freely. The Ojai performance will include musicians from CalArts, ICE, and red fish blue fish. Mr. Adams’ music was first heard at the 2009 Festival, and again in 2012 with a performance of Inuksuit in Libbey Park. The 2013 Festival featured performances of his For Lou Harrison, Strange and Sacred Noise, and songbirdsongs.

Community Concerts
The Festival’s tradition of free community concerts and Ojai Late Nights for Festival attendees and the public continues. 2015 highlights include a work by percussionist/composer Glenn Kotche making his Ojai debut; Evan Ziporyn’s arrangements of rock music by Led Zepplin, Pink Floyd, Jimi Hendrix, and others; and music by emerging composers of the ICElab program. Ojai Films will be announced in the spring.

Ojai Talks
Ojai Talks with host Ara Guzelimian, former Festival Artistic Director and Dean of The Juilliard School, begin on Thursday, June 11, with Mr. Guzelimian in conversation with John Luther Adams and Steven Schick. This discussion is followed by a second session, “The World of Percussion” with Mr. Schick. On Friday, June 12, Mr. Guzelimian will lead conversations with Festival artists Claire Chase and Wu Man.

Ojai North is now Ojai at Berkeley
Marking the fifth year of artistic partnership, Ojai at Berkeley celebrates the dynamic nature of the Ojai Music Festival and of Cal Performances. As two distinct communities with similar values, Ojai and Berkeley are known for intrepid artistic discovery, spirited intellect, and enduring engagement in the arts. Inaugurated in 2011, Ojai at Berkeley follows the 2015 Ojai Music Festival, taking place from June 18 to 20 in Berkeley, CA. Ojai at Berkeley creates a joint force that enables co-commissions and co-productions and allows artists to achieve more than could be imagined by each organization separately. 2015 Ojai at Berkeley will announce its program schedule on November 18. For more information visit CalPerformances.org.

Steven Schick, Music Director
No stranger to Ojai, percussionist, conductor, and author Steven Schick collaborated on the 2011 Festival’s production of George Crumb’s Winds of Destiny (Dawn Upshaw, music director), as well as the 2012 Festival (Leif Ove Andsnes, music director) in John Luther Adams’ Inuksuit. Mr. Schick was born in Iowa and raised in a farming family. For 35 years he has championed contemporary music by commissioning and premiering more than 150 new works. He was the founding percussionist of the Bang on a Can All-Stars (1992-2002) and served as Artistic Director of the Centre International de Percussion de Genève (2000-2005). Mr. Schick is founder and Artistic Director of the percussion group, red fish blue fish. Currently, he is Music Director of the La Jolla Symphony and Chorus and Artistic Director of the San Francisco Contemporary Music Players. In 2012 he became the first Artist-in-Residence with the International Contemporary Ensemble (ICE). He also maintains a lively schedule of guest conducting including appearances with the BBC Scottish Symphony Orchestra and the Saint Paul Chamber Orchestra. Mr. Schick founded and is currently Artistic Director of “Roots and Rhizomes,” a summer course on contemporary percussion music held at the Banff Centre for the Arts. Among his acclaimed publications is a book, The Percussionist’s Art: Same Bed, Different Dreams, and numerous recordings of contemporary percussion music including a three CD set of the complete percussion music of Iannis Xenakis (Mode). Steven Schick is Distinguished Professor of Music at the University of California, San Diego.

For more artist bios, visit OjaiFestival.org

Thomas W. Morris, Artistic Director
Thomas W. Morris was appointed artistic director of the Ojai Music Festival starting with the 2004 Festival and will provide artistic direction through the 75th Festival in 2021. Mr. Morris is recognized as one of the most innovative leaders in the orchestra industry and served as the long-time chief executive of both The Cleveland Orchestra and the Boston Symphony Orchestra. Mr. Morris is currently active nationally and internationally as a consultant, lecturer, teacher, and writer.

As artistic director of the 69-year-old Festival, Mr. Morris is responsible for artistic planning, and each year appoints a music director with whom he collaborates on shaping the Festival’s programming. During his decade-long tenure, audiences have increased and the scope of the Festival has expanded, most recently to include a collaborative partnership, Ojai at Berkeley, with Cal Performances in Berkeley.

Mr. Morris was a founding director of Spring for Music, and served as the project’s artistic director. He currently serves as a member of the Board of Trustees of the Curtis Institute of Music and as chair of its Board of Overseers, and is a member of the Board of Directors of the Interlochen Center for the Arts. He is also an accomplished percussionist.

About the Ojai Music Festival
From its founding in 1947, the Ojai Music Festival has created a place for groundbreaking musical experiences, bringing together innovative artists and curious audiences in an intimate, idyllic setting 80 miles northwest of Los Angeles. The Festival presents broad-ranging programs in unusual ways with an eclectic mix of rarely performed music, refreshing juxtapositions of musical styles, and music by today’s composers. The four-day festival is a complete immersive experience with concerts, free community events, symposia, film screenings, and gatherings. Considered a highlight of the summer season, Ojai has remained a leader in the classical music landscape.

The Ojai Music Festival attracts the world’s greatest musical artists. Through its unique structure of the Artistic Director appointing an annual music director, Ojai has presented a “who’s who” of music including: Aaron Copland, Igor Stravinsky, Olivier Messiaen, Michael Tilson Thomas, Kent Nagano, Pierre Boulez, John Adams, Esa-Pekka Salonen, Robert Spano, Pierre-Laurent Aimard, David Robertson, eighth blackbird, George Benjamin, Dawn Upshaw, Leif Ove Andsnes, Mark Morris, and Jeremy Denk.

Participation in the 2015 Ojai Music Festival
The Ojai Music Festival continues to draw thousands of curious and engaged music enthusiasts from across the country and has had record sell-out concerts over the last three years. As 2011 Music Director Dawn Upshaw commented, “There is a very special spirit of collaboration here [Ojai], fostered in part by the gorgeous natural setting and also by the friendly engagement of everyone involved.”

As tickets remain in high demand, Ojai now includes virtual opportunities to participate in the Festival experience through live video streaming of concerts. The Festival promotes year-round participation and deeper engagement through its free online courses, OjaiU, which launched in May 2013 and remains active via archives on the Festival website at www.OjaiFestival.org and on the OjaiU website at www.OjaiU.org. OjaiU returns next spring with a class of three online sessions exploring the history and world of percussion as told by 2015 Music Director Steven Schick. The free sessions will explore the history of the relationship between percussion and the culture at large. To register, visit www.OjaiFestival.org.

Festival series passes are available for the 2015 Festival and may be purchased online at OjaiFestival.org or by calling (805) 646-2053. 2015 Ojai Music Festival series passes range from $110 to $730 for reserved seating and lawn series passes start at $55. Single concert passes will be available in spring 2015. Directions to Ojai, as well as information about lodging, concierge services for visitors and other Ojai activities, are also available on the Ojai web site.

Follow Festival updates at OjaiFestival.org, Facebook (Facebook.com/ojaifestival), and Twitter (@ojaifestivals).

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Invitation to Members of the Press: For information on press passes and lodging options, please contact Gina Gutierrez at ggutierrez@ojaifestival.org.

For photos, visit the press page >>

Download 2015 Ojai Music Festival Schedule >>

 

Thomas W. Morris Continues To Shape Ojai Music Festival Artistic Direction Through Festival’s 75th Anniversary in 2021

My artistic job in building a festival comes down to two overriding goals: To build on the Ojai aesthetic of discovery, adventure, and involvement, and to provide each music director a forum to explore and experiment melding his/her musical personality with the rich heritage of this glorious festival and sublimely beautiful place. It is irresistible, exhilarating and enormous fun. Thomas W. Morris, Artistic Director

Download PDF version of press release >>

OJAI, CA November 4, 2014 — Ojai Music Festival Board President David Nygren announced that artistic director Thomas W. Morris will extend his contract through July 2021, the Festival’s 75th anniversary season. Mr. Morris was named artistic director in 2004.

Under Mr. Morris’ leadership the Festival has remained a touchstone of artistic innovation and groundbreaking exploration for leading artists and curious music enthusiasts from around the world. During his tenure, he has expanded the festival into a vibrant four-day immersive experience with more concerts performed at the Libbey Bowl and throughout the Ojai Valley, free community events, symposia, and films. Artists selected by Mr. Morris as music directors are all deeply committed to musical discovery. In 2014, he announced future music directors percussionist Steven Schick (2015), director Peter Sellars (2016) and composer/conductor Esa-Pekka Salonen (2017). Also tapped by Mr. Morris as past music directors have been eighth blackbird, Pierre-Laurent Aimard, Leif Ove Andsnes, George Benjamin, Oliver Knussen, Mark Morris, Kent Nagano, David Robertson, Robert Spano, Dawn Upshaw, and most recently, Jeremy Denk. With this contract extension, Mr. Morris will continue long-term visionary artistic planning for the organization.

Prior to Mr. Morris, previous artistic directors have included John Bauer (as managing director, 1957-1954), Lawrence Morton (1954–1970, 1981–1987), Ara Guzelimian (1992-1997), and Ernest Fleischmann (1998 to 2003).

“We are thrilled that Tom has committed to the Festival through 2021. With Tom’s artistic brilliance in continuing to create a new and imaginative experience year after year, he has an innate ability to create an environment of inclusiveness for both the experienced music festival attendee and the first time attendee. Tom nurtures the creativity of each music director, blending their artistic sensibilities with the unique and beautiful setting of the Ojai Music Festival,” said Board President David Nygren. “Under Tom’s strong leadership and innovative approach, the Festival has gained international recognition and reach. He has been successful in creating community engagement events during the Festival that showcase musical artists from all over the world, creating opportunities for music lovers of all ages to participate in the festival.”

Mr. Morris said, “Working in Ojai continues to be a rich and rewarding creative experience, in not only working with artists who perform here but in building off of the incredibly active role the audience plays. They do not just sit and receive; they provide much of the artistic energy and vitality. In fact all the artists speak of the attentiveness and energy of the audience. And the possibilities of what you can do are far broader than I could have imagined. I learned that the further afield you go from the traditional concert experience (not just in repertoire, but in the concert structures and the total experience itself) the better it works.”

Artists who have served or will serve as music directors are quick to recognize the immense value and fun they experience throughout the process of imagining their Festival with Mr. Morris.

Robert Spano (2006): “There is no better time to be had than coming up with programs with Tom Morris. His encyclopedic knowledge, remarkable inventiveness, and creativity are matched only by his fantastic sense of humor. Ojai has been made an even richer place with his tenure.”

eighth blackbird (2009): “Tom was always willing to step outside the Festival’s comfort zone….He knew his audience at Ojai in minute detail, and could assess exactly how much to push their buttons, to provoke them, to give them candy as well as greens.”

Steven Schick (2015): “Tom Morris is the absolute gold standard when it comes to being an artistic partner. And the process this year in anticipation of 2015 has lived up to every expectation. It’s all about the conversations. Our conversations about music have been far-ranging and provocative. And they are always flavored with a keen awareness of the environment and traditions of the Ojai Music Festival. The result is a set of concerts that neither of us would have programmed individually but which, taken together, represent a communal view of how great music can find a home in a great festival.”

Peter Sellars (2016): “Tom Morris figured out a long time ago that the first step in being adventurous is being astute….Tom has held major establishment posts, but has always operated within them with a certain flair, a certain knack, a certain curiosity, and a certain predilection for innovation, for surprise, for change, and for a better idea….He loves to make things happen — the thrill and subtle and far-reaching shifts in organizations, programming, and new encounters with audiences is irresistible to him.”

2015 Ojai Music Festival
Ojai enthusiastically welcomes percussionist, conductor, teacher, and author Steven Schick as Music Director for the 69th Ojai Music Festival, June 11 to 14, 2015. With Mr. Morris, Mr. Schick has created an involving festival focused on 20th and 21st century composers with an abundance of music from early morning to late night. Joining him will be long-time colleagues including the International Contemporary Ensemble (“ICE”), the San Diego string ensemble Renga, pipa artist Wu Man, flutist Claire Chase, and virtuoso cellist Maya Beiser.

The Festival program will highlight music by 30 composers, half of whom are new to Ojai; the West Coast premiere of Pulitzer-prize winner John Luther Adam’s Sila: The Breath of the World; and a pre-festival celebration of the 90th birthday of Pierre Boulez on Wednesday June 10 with the west coast premiere of A Pierre Dream: A Portrait of Pierre Boulez, a multi-media kaleidoscope production with narration, archive films clips, live music, and stage sets by Frank Gehry, a part of the Chicago Symphony Orchestra’s Beyond the Score series.

Thomas W. Morris, Artistic Director
Thomas W. Morris was appointed artistic director of the Ojai Music Festival starting with the 2004 Festival. Recognized as one of the most innovative leaders in the orchestra industry, he has served as the long-time chief executive of both The Cleveland Orchestra and the Boston Symphony Orchestra. Mr. Morris is currently active nationally and internationally as a consultant, lecturer, teacher, and writer.

As artistic director of the 69-year-old Festival, Mr. Morris is responsible for artistic planning, and each year appoints a music director with whom he collaborates on shaping the Festival’s programming. During his decade-long tenure, audiences have increased and the scope of the Festival has expanded, including Ojai at Berkeley, a collaborative partnership with Cal Performances.

Mr. Morris was a founding director of Spring for Music, and served as the project’s artistic director. He currently serves as a member of the Board of Trustees of the Curtis Institute of Music and as chair of its Board of Overseers, and is a member of the Board of Directors of the Interlochen Center for the Arts. He is also an accomplished percussionist.

The Ojai Music Festival
From its founding in 1947, the Ojai Music Festival has created a place for groundbreaking musical experiences, bringing together innovative artists and curious audiences in an intimate, idyllic setting 80 miles northwest of Los Angeles. The Festival presents broad-ranging programs in unusual ways, giving patrons a fresh perspective on the works they hear. The four-day festival is a complete immersion experience with main concerts, free community events, symposia, film screenings, and gatherings. Considered a highlight of the summer season, Ojai has remained a leader in the classical music landscape.

The Ojai Music Festival attracts the world’s greatest musical artists. Through its unique structure of the Artistic Director appointing an annual Music Director, Ojai has presented a “who’s who” of music including: Aaron Copland, Igor Stravinsky, Olivier Messiaen, Michael Tilson Thomas, Kent Nagano, Pierre Boulez, John Adams, Esa-Pekka Salonen, Robert Spano, Pierre-Laurent Aimard, David Robertson, eighth blackbird, George Benjamin, Dawn Upshaw, Leif Ove Andsnes, Mark Morris, and Jeremy Denk.

The Festival has also recently announced music directors for 2015–2017: Steven Schick, percussionist, for 2015; Peter Sellars, director, for 2016; and Esa-Pekka Salonen, composer/conductor, for 2017.

Series passes for the 69th Ojai Music Festival – June 11 to 14, 2015 – are on sale now. Series passes range from $730 to $120 reserved section and $90 to $55 lawn area. Tickets for the pre-festival special event celebrating the 90th birthday of Pierre Boulez are $90 for reserved section and $40 for general admission. For more information visit OjaiFestival.org or call 805 646 2094.

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Thomas W. Morris A Decade of Innovative Programming >>

Ojai Music Festival Roster of Music Directors >>

contact:
Gina Gutierrez, 805 646 2094, ggutierrez@ojaifestival.org
Nikki Scandalios, (704) 340-4094, nikki@scandaliospr.com

2014 Holiday Home Look In Entertainment Schedule

Each year, the Holiday Home Look In is enhanced by live music performed by local professional and student musicians. Check the schedule below to find your favorite area performers – and discover some new ones! 

Saturday, November 15.                                                                       

Buena Robles
10am: Saville Bloxham & Emily Gilman
12pm: Andi Starr & Bob Bishop, guitar and vocals
2pm: Hatters Tea, guitar and vocals
3pm: Caitlin Sexton, violin

Smitty and Julija

Smitty and Julija


Ojai Masonic Lodge
11am: Smitty and Julija, vocals and keyboard
1pm: David Henderson, piano
3pm: Rachel Holdt, vocals and ukelele

Las Piedras
10am: Ray Sullivan, guitar
12pm: Bonnie Griffen, flute
2pm: Audrey McPherson and Terry Wolff, flutes

 

 

Madrigali

Madrigali


Schmidt Mediterranean

10am: Charletta Erb, fiddle
12pm: Madrigali, Ojai’s own Madrigal Ensemble
2pm: George Lemire, vocals and guitar

 

 

 


Sunday, November 16

The Byle Family

The Byle Family


Buena Robles
10am: The Bassoons of Thacher
12pm: Celtic Nut, The Byle Family
2pm: Hatters Tea, guitar and vocals
3pm: Billy Russo, guitar and vocals

 

 

 

David Henderson

David Henderson


Ojai Masonic Lodge
10am: Judy Vander, piano
11:30am: Smitty and Julija, vocals and keyboard
1pm: David Henderson, piano
3pm: Rachel Holdt, vocals and ukelele

 

 

 

Ray with Guitar Small

Ray Sullivan


Las Piedras
10am: Ray Sullivan, guitar
12pm: The Adelman Family, vocals, strings and more
2pm: David Gorospe, keyboard and vocals

Schmidt Mediterranean
10am: Eliana and Elizabeth Van Renterghem, flutes
12pm: George Lemire, guitar and vocals
2pm: Caitlin Sexton, violin