Concert Notes

STEVE REICH (b. 1936) 
Drumming (1971) 

A Concert for Ojai: Pulses and Patterns 

The 2020 Ojai Music Festival programs designed by Matthias Pintscher have alluded to numerous threads and connections, bridges and transitions — all resulting in the enticingly varied menu of today’s scene. We’ve encountered a mixture of leading European and American composers, reflected on Pierre Boulez and his ties to the natural setting of Ojai, and sampled from the legacy of figures from the post-Boulez generation like Olga Neuwirth, Unsuk Chin, and Pintscher himself. The music of Steve Reich completes this summer of creative juxtapositions — and fills in a missing link between the realms of European and American musical innovation. 

But first, we turn to a pair of pieces by two other contemporary composers to start off this Concert for Ojai. Based in her native Mexico City, where she grew up in a family devoted to the traditions of Mexican folk music, Gabriela Ortiz explores intersections between the realms of avant-garde, jazz, and folk. Her opera Camelia La Tejana: Only the Truth was presented by Long Beach Opera in 2013. Written to celebrate the 30th anniversary of the Cuarteto Latinoamericano, Lío de 4 is a brief and playful piece that focuses on the potential of rhythmic elegance and vitality. 

A generation younger and a native of Puerto Rico, Brooklyn-based Angélica Negrón is a composer and multi-instrumentalist who has received accolades for her idiosyncratic use of toys, electronics, and robotic instruments. One of her current projects, for National Sawdust, is Chimera, a work-in-progress she describes as “a lip sync opera for drag queen performers and chamber ensemble exploring the ideas of fantasy and illusion as well as the intricacies and complexities of identity.” 

Triste Silencio Programático (2002) is one of Negrón’s first compositions and was inspired by the 1920 silent film The Cabinet of Dr. Caligari as well as by the aesthetic of German Expressionist cinema. Directed by Robert Wiene and written by Hans Janowitz and Carl Mayer, Dr. Caligari involves “an insane hypnotist [who] uses a somnambulist to commit a series of crimes,” the composer explains. “At that time, I played violin and Celtic harp in a band called Sinestesia and one of our earliest gigs was to compose and perform a live score to go along with this film.”  

Triste Silencio Programático draws on some of the themes she wrote for this score. “The first movement focuses on the dark mood of the film as well as the visual style with its unusual angles and distorted sets,” writes Negrón. “The second movement examines the dramatic contrast between light and shadow, while the third movement explores the destabilized characters and their inner mind with their complex psychological states. Triste Silencio Programático is a piece of music in black and white.” 

It was during the 1966 Summer Festival (programmed by Ingolf Dahl) that Steve Reich’s music made its Ojai debut: Michael Tilson Thomas played his Two Fugues for Piano. By an ironic coincidence, Boulez paid his first visit to Ojai that same year. His inaugural season as music director followed in 1967, and Boulez would return over the span of nearly four decades as music director at Ojai more often than any other artist. Yet he had a blind spot for major contemporary American composers. Dismissive of Minimalism in general, he never programmed any Reich. Yet the Ensemble intercontemporain, founded by Boulez himself, would later commission Reich and won his admiration for its precision perfection in interpreting his music.  

Completed in 1971 after a year of work, Drumming is one of the acknowledged early masterpieces of Minimalism and a pivotal work in Reich’s development. On the surface, it must have seemed far removed from the concerns of Boulez and his fellow avant-gardists in Western Europe — with the exception of György Ligeti. Reich once referred to Ligeti as “the European composer who has best understood both American and non-Western music.”  

Reich’s teenage love of jazz — in particular, Kenny Clark’s artists with the Modern Jazz Quartet — led him to take up percussion and form his own band. In 1970, a few years after his breakthrough experiment with phase music [see sidebar], Reich traveled to Ghana to study the indigenous drumming traditions of the Ewe people. Ligeti would follow his lead in the next decade, similarly drawing inspiration from African sources.  

Through close study with a master drummer of the Ewe tribe in Accra and his daily recording of lessons, Reich familiarized himself with the patterns and structures of African drumming. The most important influence of his stay in Africa, according to the composer, is that “it confirmed my intuition that acoustic instruments could be used to produce music that was genuinely richer in sound than that produced with electronic instruments.” Upon his return to the United States, he composed Drumming, which was premiered by the Steve Reich Ensemble at the Museum of Modern Art (in the film theater) in New York City in 1971.  

Depending on the number of repeats that are played in performance, Drumming lasts between 55 and 75 minutes and is Reich’s longest composition. His unusual scoring calls for four tuned bongo drums, three marimbas, three glockenspiels, and piccolo, plus an alto and a soprano; whistling is also part of the soundscape, contributed by one of the singers or a percussionist. Reich recalls that the long decay of the marimba is what suggested the idea of incorporating women’s voices, which sing the “sub-patterns” that result acoustically from this resonance. He also compares the vocal patterns to Ella Fitzgerald’s style of scat singing, which he listened to often while exploring jazz in his early years. A similar process results in the whistling and piccolo patterns in the glockenspiel and final ensemble sections.  

Notice the absence of bass instruments — in fact, the first three parts of the four-part work spiral successively upward in timbre until all of the forces join together in the fourth and final part. The whole work is shaped from a single core pattern. As Reich describes it: “Drumming begins with two drummers building up the basic rhythmic pattern of the entire piece from a single drum beat, played in a cycle of twelve beats with rests on all the other beats. Gradually, additional drumbeats are substituted for the rests, one at a time, until the pattern is completed. The reduction process is simply the reverse, where rests are gradually substituted for the beats, one at a time, until only a section leads to a build-up for the drums, marimbas, and glockenspiels simultaneously.” 

 —Thomas May  

[SIDEBAR] Phase Music  

In the mid-1960s, Reich experimented with material he taped from an African American San Francisco street preacher named Brother Walter. He lined up identical loops taped live from Brother Walter’s fire-and-brimstone speech-song commentary on Noah and the Flood and played them back on two cheap machines. By accident, the machines grew slightly out of sync with each other as they continued playing from the same starting point. This overlapping echo created fascinating rhythmic patterns in which the identical strands slowly separated as they went out of phase and then came together again in cycles. By manipulating the phasing — multiplying the individual strands and so forth — Reich found that he could build a dense web that acquires a hallucinatory quality as it lifts the listener outside ordinary time. 

STEVE REICH (b. 1936) 
Tehillim (1981)

Spotify Playlist
Apple Music

Fire, Metal, and Praise   

A Hebrew title graces Tehillim, a landmark composition in Steve Reich’s long career. “Western music before 1750 and from Debussy onwards, as well as jazz and non-Western music, are the sources from which I’ve drawn almost everything,” Steve Reich once observed. Within the rich spectrum of those non-Western musical sources can be found Ghanaian drumming, Balinese gamelan, and the Sephardic music he encountered in the mid-1970s in Israel.  

The last involved a fresh encounter with Reich’s own roots and has born fruit in numerous compositions that reflect on the meaning of Jewish tradition and philosophy. Tehillim, composed in 1980, is the first of these — and Reich’s first piece incorporating voices since the mid-1960s, when he experimented with taped material. Here, he scores for four female voices plus chamber ensemble (with voices, winds, and strings amplified). 

Referring to the Biblical Psalms attributed to David, Tehillim literally means “praises,” Reich explains, adding that the word derives from the same three-letter Hebrew root as does “Hallelujah.” The work is divided into four parts based, respectively on these Psalms (Hebrew sources are followed by the equivalent Christian translations shown in parentheses): 19:2-5 (19:1-4), 34:13-15 (34:12-14), 18:26-27 (18:25-26), and 150:4-6. 

“One of the reasons I chose to set Psalms as opposed to parts of the Torah or Prophets,” according to Reich, “is that the oral tradition among Jews in the West for singing Psalms has been lost. (It has been maintained by Yemenite Jews.) This meant that I was free to compose the melodies for Tehillim without a living oral tradition to either imitate or ignore.” Handclapping, rattles, tuned tambourines without jingles, and small pitched cymbals are the closest analogues he uses to instruments that would have made music in the Biblical period. “Beyond this, there is no musicological content to Tehillim. No Jewish themes were used for any of the melodic materials.” The rhythms of the texts suggest the musical rhythms. 

For the first text, Reich implements a sequence of canons leading up to all four voices in canon on each of the text’s four verses. A transition on the drum leads to two- or three-voice harmony for Psalm 34, with English horn, clarinet, drums, and clapping interwoven into the texture. The attention to melody here is inspired by Reich’s experiences of Sephardic cantillation.  

The third part (Psalm 18), a slow movement, is unusually chromatic and begins as a duet between two of the voices. Ending with Psalm 150, Reich recapitulates ideas from the first three parts, returning to the opening tempo, and ends with full ensemble for a setting of Halleluyah. 

—Thomas May 

Program Book

 

Artist Bios

Steve Reich, Composer

Steve Reich was recently called  “our greatest living composer” (The New York Times), “America’s greatest living composer.” (The Village VOICE), “…the most original musical thinker of our time” (The New Yorker) and “…among the great composers of the century” (The New York Times).. From his early taped speech pieces It’s Gonna Rain (1965) and Come Out (1966) to his and video artist Beryl Korot’s digital video opera Three Tales (2002), Mr. Reich’s path has embraced not only aspects of Western Classical music, but the structures, harmonies, and rhythms of non-Western and American vernacular music, particularly jazz. “There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them,” states The Guardian (London).

In April 2009 Steve Reich was awarded the Pulitzer prize in Music for his composition ‘Double Sextet’.

Performing organizations around the world marked Steve Reich’s 70th- birthday year, 2006, with festivals and special concerts. In the composer’s hometown of New York, the Brooklyn Academy of Music (BAM), Carnegie Hall, and Lincoln Center joined forces to present complementary programs of his music, and in London, the Barbican mounted a major retrospective. Concerts were also presented in Amsterdam, Athens, Brussels, Baden-Baden, Barcelona, Birmingham, Budapest, Chicago, Cologne, Copenhagen, Denver, Dublin, Freiburg, Graz, Helsinki, Los Angeles, Paris, Porto, Vancouver, Vienna and Vilnius among others. In addition, Nonesuch Records released its second box set of Steve Reich’s works, Phases: A Nonesuch Retrospective, in September 2006. The five-CD collection comprises fourteen of the composer’s best-known pieces, spanning the 20 years of his time on the label.

In October 2006 in Tokyo, Mr. Reich was awarded the Preamium Imperial award in Music. This important international award is in areas in the arts not covered by the Nobel Prize. Former winners of the prize in various fields include Pierre Boulez, Lucian Berio, Gyorgy Ligeti, Willem de Kooning, Jasper Johns, Richard Serra and Stephen Sondheim.

In May 2007 Mr. Reich was awarded The Polar Prize from the Royal Swedish Academy of music. The prize was presented by His Majesty King Carl XVI Gustaf of Sweden. The Swedish Academy said: “…Steve Reich has transferred questions of faith, society and philosophy into a hypnotic sounding music that has inspired musicians and composers of all genres.” Former winners of the Polar Prize have included Pierre Boulez, Bob Dylan, Gyorgi Ligeti and Sir Paul McCartney.

In December 2006 Mr. Reich was awarded membership in the Franz Liszt Academy in Budapest and in April 2007 he was awarded the Chubb Fellowship at Yale University. In May 2008 he was elected to the Royal Swedish Academy of Music.

Born in New York and raised there and in California, Mr. Reich graduated with honors in philosophy from Cornell University in 1957. For the next two years, he studied composition with Hall Overton, and from 1958 to 1961 he studied at the Juilliard School of Music with William Bergsma and Vincent Persichetti. Mr. Reich received his M.A. in Music from Mills College in 1963, where he worked with Luciano Berio and Darius Milhaud.

During the summer of 1970, with the help of a grant from the Institute for International Education, Mr. Reich studied drumming at the Institute for African Studies at the University of Ghana in Accra. In 1973 and 1974 he studied Balinese Gamelan Semar Pegulingan and Gamelan Gambang at the American Society for Eastern Arts in Seattle and Berkeley, California. From 1976 to 1977 he studied the traditional forms of cantillation (chanting) of the Hebrew scriptures in New York and Jerusalem.

In 1966 Steve Reich founded his own ensemble of three musicians, which rapidly grew to 18 members or more. Since 1971, Steve Reich and Musicians have frequently toured the world, and have the distinction of performing to sold-out houses at venues as diverse as Carnegie Hall and the Bottom Line Cabaret.

Mr. Reich’s 1988 piece, Different Trains, marked a new compositional method, rooted in It’s Gonna Rain and Come Out, in which speech recordings generate the musical material for musical instruments. The New York Times hailed Different Trains as “a work of such astonishing originality that breakthrough seems the only possible description….possesses an absolutely harrowing emotional impact.” In 1990, Mr. Reich received a Grammy Award for Best Contemporary Composition for Different Trains as recorded by the Kronos Quartet on the Nonesuch label.

In June 1997, in celebration of Mr. Reich’s 60th birthday, Nonesuch released a 10-CD retrospective box set of Mr. Reich’s compositions, featuring several newly-recorded and re-mastered works. He won a second Grammy award in 1999 for his piece Music for 18 Musicians, also on the Nonesuch label. In July 1999 a major retrospective of Mr. Reich’s work was presented by the Lincoln Center Festival. Earlier, in 1988, the South Bank Centre in London, mounted a similar series of retrospective concerts.

In 2000 he was awarded the Schuman Prize from Columbia University, the Montgomery Fellowship from Dartmouth College, the Regent’s Lectureship at the University of California at Berkeley, an honorary doctorate from the California Institute of the Arts and was named Composer of the Year by Musical America magazine.

The Cave, Steve Reich and Beryl Korot’s music theater video piece exploring the Biblical story of Abraham, Sarah, Hagar, Ishmael and Isaac, was hailed by Time Magazine as “a fascinating glimpse of what opera might be like in the 21st century.” Of the Chicago premiere, John von Rhein of the Chicago Tribune wrote, “The techniques embraced by this work have the potential to enrich opera as living art a thousandfold….The Cave impresses, ultimately, as a powerful and imaginative work of high-tech music theater that brings the troubled present into resonant dialogue with the ancient past, and invites all of us to consider anew our shared cultural heritage.”

Three Tales, a three-part digital documentary video opera, is a second collaborative work by Steve Reich and Beryl Korot about three well known events from the twentieth century, reflecting on the growth and implications of technology in the 20th century: Hindenburg, on the crash of the German zeppelin in New Jersey in 1937; Bikini, on the Atom bomb tests at Bikini atoll in 1946-1954; and Dolly, the sheep cloned in 1997, on the issues of genetic engineering and robotics. Three Tales is a three act music theater work in which historical film and video footage, video taped interviews, photographs, text, and specially constructed stills are recreated on computer, transferred to video tape and projected on one large screen. Musicians and singers take their places on stage along with the screen, presenting the debate about the physical, ethical and religious nature of technological development. Three Tales was premiered at the Vienna Festival in 2002 and subsequently toured all over Europe, America, Australia and Hong Kong. Nonesuch is releasing a DVD/CD of the piece in fall 2003.

Over the years, Steve Reich has received commissions from the Barbican Centre London, the Holland Festival; San Francisco Symphony; the Rothko Chapel; Vienna Festival, Hebbel Theater, Berlin, the Brooklyn Academy of Music for guitarist Pat Metheny; Spoleto Festival USA, West German Radio, Cologne; Settembre Musica, Torino, the Fromm Music Foundation for clarinetist Richard Stoltzman; the Saint Louis Symphony Orchestra; Betty Freeman for the Kronos Quartet; and the Festival d’Automne, Paris, for the 200th anniversary of the French Revolution.

Steve Reich’s music has been performed by major orchestras and ensembles around the world, including the London Symphony Orchestra conducted by Michael Tilson Thomas, New York Philharmonic conducted by Zubin Mehta; the San Francisco Symphony conducted by Michael Tilson Thomas; The Ensemble Modern conducted by Bradley Lubman, The Ensemble Intercontemporain conducted by David Robertson, the London Sinfonietta conducted by Markus Stenz and Martyn Brabbins, the Theater of Voices conducted by Paul Hillier, the Schoenberg Ensemble conducted by Reinbert de Leeuw, the Brooklyn Philharmonic Orchestra conducted by Robert Spano; the Saint Louis Symphony conducted by Leonard Slatkin; the Los Angeles Philharmonic conducted by Neal Stulberg; the BBC Symphony conducted by Peter Eötvös; and the Boston Symphony Orchestra conducted by Michael Tilson Thomas.

Several noted choreographers have created dances to Steve Reich’s music, including Anne Teresa de Keersmaeker (“Fase,” 1983, set to four early works as well as”Drumming,”1998 and “Rain” set to “Music for 18 Musicians”), Jirí Kylían (“Falling Angels,” set to “Drumming Part I”), Jerome Robbins for the New York City Ballet (“Eight Lines”) and Laura Dean, who commissioned “Sextet”. That ballet, entitled “Impact,” was premiered at the Brooklyn Academy of Music’s Next Wave Festival, and earned Steve Reich and Laura Dean a Bessie Award in 1986. Other major choreographers using Mr. Reich’s music include Eliot Feld, Alvin Ailey, Lar Lubovitch, Maurice Bejart, Lucinda Childs, Siobhan Davies and Richard Alston.

In 1994 Steve Reich was elected to the American Academy of Arts and Letters, to the Bavarian Academy of Fine Arts in 1995, and, in 1999, awarded Commandeur de l’ordre des Arts et Lettres.

Sunday Playlist

Sunday, June 14, 2020 | 8:30-9:30am 
Libbey Bowl 

MATTHIAS PINTSCHER        4° quartetto d’archi (“Ritratto di Gesualdo”)          
                                                                                                          Calder Quartet  

SALVATORE SCIARRINO     Gesualdo senza parole (a 400 anni dalla morte) 
                                                                                                I. Libro III: XI. “Non t’amo“
                                                                                                II. Libro XIV: XI. “Sparge la morte”
                                                                                                III. Libro VI: I. “Se la mia morte brami”
                                                                                                IV. Libro VI: II. “Beltà poi che t’assenti”  
                                                                                                          Ensemble intercontemporain (EIC) 
                                                                                                          Matthias Pintscher conductor  

J.S. BACH    Contrapunctus Nos. 1, 3, 4, and 9 from The Art of the Fugue, BWV 1080           
                                                                                                         Calder Quartet  

PIERRE BOULEZ    Mémoriale (…explosante-fixe… Originel) 
                                                                                                         EIC 
                                                                                                         Matthias Pintscher conductor 

Sunday, June 14, 2020 | 11:00am-12:30pm 
Libbey Bowl 

EDGARD VARÈSE    Octandre 
                                                      I. Assez lent 
                                                      II. Trèsvif et nerveux 
                                                      III. Grave-Animé et jubilatoire 
                                                                                                        Ensemble intercontemporain (EIC) 

FRANK ZAPPA    The Perfect Stranger  
                                                                                                        EIC  
                                                                                                        Matthias Pintscher conductor 

GUSTAV MAHLER Das Lied von der Erde (arr. Glenn Cortese)
                                                      Das Trinklied vom Jammer der Erde” (“The Drinking Song of Earth’s Sorrow”) 
                                                      Der Einsame im Herbst (“The Solitary One in Autumn”) 
                                                      Von der Jugend (“Of Youth”) 
                                                      Von der Schönheit (“Of Beauty”) 
                                                      Der Trunkene im Frühling (“The Drunkard in Spring”) 
                                                      Der Abschied (“The Farewell”) 
                                                                                                        Tamara Mumford mezzo-soprano 
                                                                                                        Andrew Staples tenor   
                                                                                                        EIC  
                                                                                                        Matthias Pintscher conductor 

GABRIELA ORTIZ    Lío de 4   

ANGÉLICA NEGRÓN      Triste Silencio Programático 
                                                                                                        Calder Quartet  

STEVE REICH        Tehillim 
(Spotify Playlist)
(Apple Music)
                                                                                                        LA Phil New Music Group 
                                                                                                        Paolo Bortolameolli conductor  

STEVE REICH        Drumming 
                                                                                                        Percussion All Stars  

Concert Notes

JOHN CAGE (1912-1992) 
String Quartet in Four Parts (1950) 

Seasons of the Sublime  

 In 1946, just one year before the Ojai Music Festival was founded, John Cage had a life-changing encounter with the Indian singer and tabla player Gita Sarabhai. “She was concerned about the influence Western music was having on traditional Indian music, and she’d decided to study Western music for six months with several teachers and then return to India to do what she could to preserve the Indian traditions,” Cage wrote. He offered to teach her for free if she would in turn help him understand Indian music. 

 The mutual exchange left a profound mark on Cage, who was coping with personal crisis during these years. When Sarabhai introduced him to the Gospel of Sri Ramakrishna, the effect was so powerful that it “took the place of psychoanalysis,” he remarked. Cage recalled that from Sarabhai he learned that “the purpose of music is to sober and quiet the mind, thus making it susceptible to divine influences.” Along with aesthetic and metaphysical ideas from Hinduism, Cage also continued to explore his ongoing interest in Zen Buddhism and its concepts of silence and mindfulness.  

 The Sonatas and Interludes for prepared piano explored what Cage called the “‘permanent emotions’ of Indian tradition … and their common tendency toward tranquility.” He turned to the Hindu understanding of the annual cycle in  his 1947 ballet The Seasons (with Lou Harrison contributing his efforts as an orchestrator). In String Quartet in Four Parts, composed between 1949 and 1950 and dedicated to Harrison, Cage again used the cycle of seasons as understood in Hinduism as a framework, tracing the phases of creation, preservation, destruction, and quiescence (which are associated with spring, summer, fall, winter, respectively).  

 Cage traveled to Europe in 1949 — where he met and was initially championed by Pierre Boulez — and started composing the quartet while in Paris during the summer: hence, the work begins with the season of “preservation.” The tempo seems to slow down gradually to near stasis for the third part (winter) and then suddenly quickens for the season of creative renewal, spring.  

 But within this familiar, four-movement context, Cage’s sound world is alien and often bewildering. The material comprises a kind of palette (Cage called it a “gamut”) of previously organized, fixed sonorities, each of which remains unchanged each time it recurs. The light touch and lack of vibrato he requests result in a weirdly archaic, not-quite-early-music sound.  

 If such austere melodies generate an aura of calm illumination, Matthias Pintscher’s Uriel is “about resonances, about the inward and outward givens of existence, about life itself,” as he observes. Hebrew titles are found throughout his oeuvre — as with bereshit and nur, both of which would have already been performed at this year’s Festival — though Uriel is also recognized in English as one of the principal figures in the hierarchy of angels — described by Milton as the “sharpest sighted spirit in all of Heaven” and cast as a tenor narrator in Haydn’s Creation.  

 The Hebrew word itself means “light of God.” The archangel Uriel is additionally associated with “God’s fire,” the sun, illumination, and artistic inspiration. Pintscher wrote Uriel in 2011-12 but later made it the final panel in a chamber triptych he calls Profiles of Light. The cycle begins with Now I, a work for solo piano in homage to his great mentor Pierre Boulez on his 90th birthday, and Now II for solo cello (both from 2015).  

 The names of all three pieces derive from the work of the American abstract expressionist Barnett Newman. His essay The Sublime Is Now points to the ways in which American abstract artists “free from the weight of European culture” (in 1947) reassert the “natural desire for the exalted.”  

 Pintscher, an avid collector of visual art, was especially drawn to the essence Newman distills in his painting Uriel (1955): “The closer Newman got to death, the more luminous his work became,” he says. Pintscher chose the cello as a highly suitable instrument for depicting such existential conditions” — mediating between the inward and outward illumination signified by the angel. 

 Following Cage’s elate stasis and Pinscher’s exquisite, visionary dialogue between cello and piano, Charles Ives’s Second String Quartet stages a stunning range of confrontations. The composer supplied a terse program of his own: “Four men — who converse, discuss, argue (in re ‘Politick’), fight, shake hands, shut up — then walk up the mountainside to view the firmament.” Along the way, their discourse is a far remove from Goethe’s “conversation between four reasonable, intelligent people.”  

 Annoyed by what he perceived as the affected refinement of the classical European tradition of quartet playing, Ives produced one of his most challenging, most maverick creations in the Second Quartet. He composed it between 1911 and 1913 but drew on earlier material; the work was not premiered until 1946 at Juilliard.  

 Woven into the score as expected with Ives, is an abundance of musical quotations, both vernacular American tunes and the flotsam of Old World tradition (Beethoven’s “Ode to Joy”) — all set against a sinewy atonal background. The final, transcendent movement in particular sets a snippet from Tchaikovsky’s Pathétique against “Nearer My God to Thee.” 

 —Thomas May  

Program Book

 

Artist Bios

Calder Quartet

Benjamin Jacobson, violin
Tereza Stanislav, violin
Jonathan Moerschel, viola
Eric Byers, cello

Hailed as “Superb” and “imaginative, skillful creators” by the New York Times, the Calder Quartet captivates audiences exploring a broad spectrum of repertoire, always striving to fulfill the composer’s vision in their performances. The group’s distinctive artistry is exemplified by a musical curiosity brought to everything they perform and has led them to be called “one of America’s most satisfying – and most enterprising – quartets”. (Los Angeles Times)

Winners of the prestigious 2014 Avery Fisher Career Grant, they are widely known for the discovery, commissioning, recording and mentoring of some of today’s best emerging composers. In addition to performances of the complete Beethoven and Bartok quartets, the Calder Quartet’s dedication to commissioning new works has given rise to premieres of dozens of string quartets by established and up-and-coming composers including Peter Eötvös, Andrew Norman, Christopher Rouse, Ted Hearne and Christopher Cerrone. Inspired by innovative American artist Alexander Calder, the Calder Quartet’s desire to bring immediacy and context to the works they perform creates an artfully crafted musical experience.

Recent highlights include Carnegie Hall, Kennedy Center, Disney Hall, Lincoln Center, Metropolitan Museum of Art, multiple performances at Wigmore Hall, Barbican, Salzburg Festival, Donaueschingen Festival, Frankfurt Alte Oper, Tonhalle Zurich, IRCAM Paris, Hamburg’s Elbphilharmonie and the Sydney Opera House. They have performed as soloists with the Cleveland Orchestra and LA Philharmonic and have collaborated with musicians such as Thomas Adès, Peter

Eötvös, Anders Hillborg, Daniel Bjarnasson, Andrew Norman, Audrey Luna, Johannes Moser, Joshua Bell, Menahem Pressler, Joseph Kalechstein, Paul Neubauer, Iva Bittová and Edgar Meyer. In 2017, the Calder Quartet signed an exclusive, multi-disc record deal with Pentatone with their debut recording featuring Beethoven scheduled for release in Fall 2018.

The quartet has signed an exclusive, multi-disc record deal with Pentatone records. Their debut recording features the music of Beethoven and Swedish composer Anders Hillborg. Previously the quartet has appeared on Signum Classics, BMC records, Bridge Records and E1 recording the quartets of Peter Eötvös with Audrey Luna, Thomas Adès’ chamber music with the composer at the piano, early works of Terry Riley, the chamber music of Christopher Rouse, Mozart Piano concertos with Anne-Marie McDermott, and Ravel and Mozart quartets.

As a side project, the quartet has collaborated with acts such as Andrew WK, Lord Huron, Vampire Weekend, and The National. Television appearances include the Late Show with David Letterman, Tonight Show with Jay Leno, Tonight Show with Conan O’Brien, Late Night with Jimmy Kimmel, and the Late Late Show with Craig Ferguson as well as radio appearances on KCRW’s Morning Becomes Eclectic, Performance Today, WQXR New York, KUSC Los Angeles, Colorado Public Radio, and NPR.

In 2011 the Calder Quartet launched a non-profit dedicated to furthering its efforts in commissioning, presenting, recording, and education, collaborating with

the Getty Museum, Segerstrom Center for the Arts, and the Barbican Centre in London. The Calder Quartet formed at the University of Southern California’s Thornton School of Music and continued studies at the Colburn Conservatory of Music with Ronald Leonard, and at the Juilliard School, receiving the Artist Diploma in Chamber Music Studies as the Juilliard Graduate Resident String Quartet. The quartet regularly conducts master classes and has taught at the Colburn School, the Oberlin School the Juilliard School, Cleveland Institute of Music, University of Cincinnati College Conservatory and USC Thornton School of Music.

Saturday Playlist

Saturday, June 13, 2020 | 8:00-9:15am 
Zalk Theater, Besant Hill School  

JOHN CAGE                          String Quartet in Four Parts 
                                                                                                  1. Quietly Flowing Along
                                                                                                  2. Slowly Rocking
                                                                                                  3. Nearly Stationary
                                                                                                  4. Quodlibet
                                                                                                  Calder Quartet  

 MATTHIAS PINTSCHER      Uriel  
                                                                                                  Eric Byers cello 
                                                                                                  Kevin Kwan Loucks piano 

 CHARLES IVES                       String Quartet No. 2 (Calder) 
                                                                                                  1. Discussions (Andante moderato-Andante con
                                                                                                       spirito-Adagio molto)
                                                                                                  2. Arguments (Allegro con spirito)
                                                                                                  3. The Call of the Mountains (Adagio-Andante-Adagio)
                                                                                                  Calder Quartet  

Saturday, June 13, 2020, 2020 | 11:00am – 12:30pm 
Libbey Bowl 

GYÖRGY LIGETI                    Concerto for Piano and Orchestra  
                                                                                                   Ensemble intercontemporain (EIC) 
                                                                                                   Hidéki Nagano piano  
                                                                                                   Matthias Pintscher conductor  

J.S. BACH                               Brandenburg Concerto No. 4 in G Major, BWV 1049  
                                                                                                   Ojai Music Festival Ensemble 

Saturday, June 13, 2020 | 7:30-8:00pm 
Libbey Bowl  

WOLFGANG AMADEUS MOZART  Serenade in B-flat Major, K. 361/370a (“Gran Partita”)                       
                                                                                                   Members of the Los Angeles Philharmonic  

Concert Notes

OLGA NEUWIRTH (b. 1968) 
Eleanor (2014-15) 

The creative act of imagining beginnings can also take a critical turn, driven by the urge to call attention to what has gone wrong. The legacy Eleanora Harris Fagan (professionally known as Billie Holiday) has been enshrouded in romanticizing myth that blots out memories of the racism she endured and that countless others still endure. Olga Neuwirth looks back to the reality she faced, as an African-American artist and woman. Her suffering is bridged by the unacceptable truth that more than 50 years after the assassination of Martin Luther King, Jr. (in 1968, the year in which Neuwirth was born),  the “shameful conditions” that King denounced in his final speech have persisted.  

 Eleanor, writes Neuwirth “is a tribute to all those who have dared and still dare to voice criticism despite social and political opposition. In our oh-so-worldly times, when even faint dissent is seen as a threat, fingers are scandalously quick to pull triggers. Eleanor would, however, especially like to pay tribute to courageous women — which explains the woman’s name in the title. Here the spotlight is on the many forgotten female African-American jazz musicians from the era ‘when men ruled the beat.’” 

 Neuwirth’s encounters with racism and sexism during her various stays in the United States forced her to confront the intense contradictions at the root of American society. Its vibrant cultural pluralism — a signature of Eleanor and of Neuwirth’s music in general — attracted her: even as a youngster studying trumpet back in her native Austria, Neuwirth dreamed of following in the footsteps of Miles Davis. Her father was, in fact, a jazz pianist. In 2006, in pre-Obama America, she embarked on American Lulu, a radical new take on Alban Berg’s unfinished opera Lulu. Neuwirth set the story in the Civil Rights era, incorporating speeches from King as well as the poetry of June Jordan to dramatize the courage of those resisting systemic racism and discrimination against women. 

 Eleanor, commissioned by the Salzburg Festival, premiered in 2015, with Della Miles creating the title role as “blues singer” and Tyshawn Sorey on percussion. Neuwirth adapted material from the third act of American Lulu for Eleanor, which, as the composer explains, “tries to mount a kind of accusation from the standpoint of one person alone. Without giving the perpetrators a voice, Neuwirth develops a structure in which “the woman’s voice is surrounded and symbolically encouraged” by narrations from King’s speeches and Jordan’s poetry. The drum-kit player also becomes her “ally.”  Neuwirth provides further commentary: 

 “Beginning in child, [Eleanor/Billie Holiday’s] life was marked by abuse, which left deep wounds. Wounds that made it difficult to live. Her great talent and the enormity of her soul and spirit were thus constantly fighting a sense of emptiness. Nothing was able to dull her profound nihilism.  

 Which is why I have replaced the cultivated aura of classical song with the directness of the blues. Eleanor insists on the irrevocability of pain and her own subjectivity. She struggles for freedom, treading a difficult path, yet one she has chosen. Despite the abuse, she self-confidently seeks her own form of expression, her own identity. Music and text have been conceived to unleash an unrelenting maelstrom. The musical form should exude a spontaneity that is not, as so often in ‘contemporary classical’ music, obstructed by structural limitations. Eleanor begins like a review of old blues records in the tradition of Williams, Lambert and Hendricks: with quasi instrumental jazz vocals — transformed by means of percussion, electric piano, and electric guitar into an illusory now. 

 Eleanor was a spontaneous expression of my helplessness and outrage at the racist violence and bloodshed committed in the editorial offices of Charlie Hebdo. I could not and did not want to remain silent. After the initial shock, the time had come to find the courage to reflect. The piece was already almost finished, but I did not want to let the heat of that moment dissipate, because doing so would not, as we have so often been told, lead automatically to a more balanced truth. I wanted to react right away and not later, when everything had ‘settled’ down.  

OLGA NEUWIRTH (b. 1968) 
Aello – ballet mécanomorphe (2017) 

Swerving in and out of Time 

 In a beautiful obituary she wrote for Pierre Boulez in 2016, Olga Neuwirth recalls being captivated by his “musical personality” while still a teenager growing up in the Austrian provinces. She found inspiration not only in his music but in Boulez’s “uttermost conviction that we are living in the here and now and that we must think and write music accordingly, while countering cynicism and indifference.”  

 How does the endeavor to write music that acknowledges our “living in the here and now” play out in a context that’s as self-conscious about traditions and historical connections as classical music? The program Matthias Pintscher has designed for this concert presents examples both by Neuwirth and by György Ligeti, another leading figure of the Boulez generation whose music shares her spirit of unpredictable imagination and fondness for what the absurd can disclose. The idea of the concerto itself, around which this program revolves, ranks among the most enduring genre conventions in classical art music — and has proved to be inexhaustible precisely through the innovations, the infusion of the “here and now,” by composers such as Neuwirth and Ligeti.  

 In the wake of his sole opera Le Grand Macabre (he called it an “anti-anti-opera”), which premiered in 1978, Ligeti — always skeptical of dogma and systematic approaches — endured a creative dry spell during which he struggled with finding his way forward. The Jewish-Hungarian composer ceased to produce any significant new works, though he continued making, as he put it, “hundreds of sketches, only to abandon them.” During this period, he was hard at work on a commission for a piano concerto. Its genesis cost enormous creative toil — and opened the way to a way out of his dilemma.   

 By the 1980s, the postwar avant-garde’s utopian idealism had mostly faded, while the emerging ideology of post-modernism seemed, to Ligeti, to encourage a reactionary if not cynical stance of bad faith: this was the past recuperated as commodity. Ligeti did refocus his lens on the past, but with characteristic originality and quirkiness, in ways that are thrillingly unsettling. His Horn Trio of 1982, for example, is an explicit homage to the template Brahms created, while at the same time a creative swerving from the source (to borrow the literary critic Harold Bloom’s term).  

 Ligeti meanwhile persevered in several stages with the Piano Concerto. After unveiling his first version in the traditional three-movement format in 1986, he concluded that it “demanded continuation” and added two more movements, with the fourth now serving as the conceptual center of the whole work. This final version was first performed in 1988. Ligeti considered the result no less than a statement of his “artistic credo” showing his “independence from criteria of the traditional avant–garde, as well as the fashionable postmodernism.”  

 The Piano Concerto realizes what Ligeti called “new concepts of harmony and rhythm.” One of his students, the Puerto Rican composer Roberto Sierra, sparked his fascination with different kinds of rhythmic complexity from Latin American and African cultures. These impulses set the stage in the opening movement, in which Ligeti splits the ensemble into two parts, each playing a different meter. The Concerto exploits “illusory rhythmics and illusory melody,” as Ligeti defines the trompe l’oreille effects of individual layers that, in concert, cause us to hear patterns that are not actually written in the score. Similarly, Ligeti is fond of tricking the ear with counterintuitive instrumentation (high instruments playing in low register and vice versa) and unexpected sounds from the ocarina and slide whistle. 

 Still another inspiration comes from the ground shared between science and art — which is the case for Neuwirth as well. Ligeti delighted in computer simulations of the Julia and Mandelbrot fractal sets. The fourth movement emulates such “self-similar” structures on a poetic level — becoming a metaphor for the general principle of remaking and renewing the past, what is given, in the here and now: “always new but however of the same,” per Ligeti. Overall, the Piano Concerto represents his “main intention as a composer”: to convey “the spell of time, the enduring its passing by, closing it in a moment of the present.” 

 Olga Neuwirth’s Aello – ballet mécanomorphe originated as part of the “Bach Brandenburg Project” commissioned by the Swedish Chamber Orchestra and the Danish conductor Thomas Dausgaard. The project set out to present a contemporary counterpart to the group of six concertos that J.S. Bach presented in 1721 to the Margrave of Brandenburg-Schwedt (half-brother of Friedrich I of Prussia). Neuwirth was assigned to respond to Brandenburg Concerto No. 4. (The other five composers include Uri Caine, Brett Dean, Anders Hillborg, Steven Mackey, and Mark Anthony Turnage.)  

 Bach’s revered collection was apparently never even heard by their namesake, who lacked the richly varied musical resources and virtuoso musicians needed to realize them. Familiar as they have become, the Brandenburg Concertos themselves subvert and interrogate the conventions that had grown up around what was then the still-young genre of the Baroque concerto in three movements (fast-slow-fast). While the concertmaster had emerged as the expected virtuoso soloist for a concerto, “a whole concerto is now to be dominated by two violas, or two flutes, or even by the harpsichord,” notes Dausgaard. “Hierarchy has been dissolved and an alternative world-order presented.” 

 No. 4 in G Major is scored for strings and continuo and three soloists: violin and a pair of fiauti dolci or flauti d’echo (possibly treble recorders) —  a much-debated phrase whose interpretation played a key role in Neuwirth’s choice of instrumentation for her new work. The outer movements behave like a chamber violin concerto, as Bach assigns much virtuosity to the solo violin, with its two wind companions offering encouragement. 

 Premiered in 2018, Aello – ballet mécanomorphe at first suggests a direct bridge between the musical past and the “here and now” — Brandenburg Concerto No. 4 is, after all, its model, formally and thematically as well as in terms of instrumentation. Yet Neuwirth “swerves” from all of these parameters in wonderfully unexpected ways. Investigating what Bach may have meant by fiauti d’echo, she found a strange double-pipe instrument that led to the idea of using a pair of muted trumpets — one regular, one piccolo. (The trumpet was Neuwirth’s instrument growing up.) In another identity transformation, she turns the violin, with its leading role, into a “super-flute,” originally tailored to the virtuosa and new music champion Claire Chase. The part, which calls for flute and, in the final movement, brass flute, involves a repertoire of unusual tone productions, attacks, and even jet whistling.  

 Neuwirth also transforms the soundscape of the continuo, whose function in Bach is to provide harmonic scaffolding. Intrigued by a phrase (attributed to the French writer Colette) that Bach sounds like “a celestial sewing machine,” she makes the harpsichord into a multiple-personality small band of its own comprising a subtly amplified, classic Olivetti Lettera 22 typewriter, a reception bell, a water-filled glass, a mechanical milk frother, and a synthesizer.  

 These “modern mechanicals” in turn are evoked by the Dadaist subtitle (worthy of Ligeti), a “ballet in the form of a machine.” Aello, by contrast, is a mythic-poetic allusion to one of the three ancient Greek Harpies associated with storms, who would torment victims while leading them to the Underworld. That, however, is her reputation from a biased male perspective. In Neuwirth’s view, Aello is “someone sent by the gods to restore peace, if necessary with force, and to exact punishment for crimes.” Similarly, the “macho” personae of Baroque trumpets is tamed and, well, Dada-fied through muting. The entire ensemble and trio of soloists, meanwhile, are tuned to four different pitches. 

 While echoes of the Bach source clearly emerge, they do so in the way dreams are recalled. What may sound at one point like carnivalesque parody suddenly swerves into the “celestial” and mysterious — and the uncanny. The flute-goddess walks a tightrope, leading us along a path that touches on childhood memories, cultural ambiguity, and fresh-eyed wonder. 

Eleanor is my way of showing solidarity and protesting artistically against the daily pressures to conform, and against external and internal repression. 

Eleanor Text

Musicians: Start running cuz this life is hell!

Eleanor: I’ll run so fast till someone wakes me up cuz evil spirits are all around my legs.

I was looking out at the rain: 
Why did you wanna do all these mean things to me? 
Why did you wanna do, 
Why did you wanna do all these things to me?

I began to fall so low –
I didn’t have a friend and no place to go

Nobody knows you 
When you’re down and out.

Am not like a turtle, can’t hide underneath a hard shell.

Peace for my heart!

Born under a bad sign
I’ve been blue since I remember
I feel so low
cuz nobody wants me around their door

So: ev’ry day I’ve the Blues. 

Bad luck and trouble is my only friend
I’ve been on my own since I was twelve
And my whole life has been one big fight.

I wish I could see cuz am so sick and tired of being in misery.

Now listen to my tale which, sadly, is true:

They’ve destroyed my dignity.
All they said never meant a thing. I remember the promises they’ve made me.

They played with me on purpose. Hence I feel so low. 
Well, I’m not pliable enough, I see. 
Too bad words seemed so logical. – 
Like always, no reaction.
Power depersonalizes ev’rything, claiming experiences are universal-
But: we all think differently.
I don’t think we are capable of tolerance, but rather full of hate, contempt and hypocrisy.
My openness only fuels misunderstandings, cuz you all find me repulsive.
Why can’t you just be honest? – 

But you all can’t kill my free spirit! I’ve had it since I was young. Even wrote my own songs
back then. True I’m a strange person, but I never denied myself totally.
I’ve finally found myself again. But: I’ll never forget what you have done.

Samples:

Sample 2 
June Jordan: First section of “Rape Is Not a Poem”. In: Passion: New Poems (1977-1980)

One day she saw them coming into the garden
where the flowers live.
The found the colors beautiful and 
they discovered the sweet smell
that the flowers held
so they stamped upon and tore apart
the garden
just because (they said)
those flowers?
They were asking for it.

Sample 4:
June Jordan

There is nothing left but drippings 
of power and 
a consummate wreck of tenderness
I want to know:
Is this what you call
Only Natural?

Sample 5
Martin Luther King Jr. : Adapted and abridged from “The Rising Tide of Racial Consciousness” (1960)

One of the sure signs of maturity is the ability to rise to the point of self-criticism. Some of us have become cynical and disillusioned. Some have so conditioned themselves to the system of segregation that they have lost that creative something called initiative. Many of us live above our means, spend money on non-essentials and frivolities, and fail to give to serious causes, organizations, and education institutions that so desperately need funds. Therefore there is a pressing need to develop a positive program through which these standards can be improved. 

Sample 6
Martin Luther King Jr. : Adapted and abridged from “The Only Road to Freedom” (1966)

There is no easy way to create a world where men and women live together, where each has his own job and house and where children receive as much education as their minds can absorb. If such a world is created in our lifetime, it will be done by people of good will.

It will be done through massive protest and by rejecting the racism, materialism and violence that has characterized Western civilization and especially by working toward a world of brotherhood, cooperation and peace.

Sample 7
Martin Luther King Jr.

Love MUST be at the forefront of our movement if it is to be a successful movement. And when we speak of love, we speak of understanding, good will toward ALL men. In struggling for human dignity we must not succumb to the temptation of becoming bitter or indulging in hate campaigns. We have learned through the grim realities of life and history that hate and violence solve nothing. At the end it is only destructive for everybody. 

Sample 8
Martin Luther King Jr. : Adapted and abridged from “The Current Crisis in Race Relations” (1958)

We also revolt against what I often call the myth of time. There are those who say wait for time and time will solve the problem. The people who argue this do not themselves realize that time is neutral, that it can be used constructively or destructively. This movement is based on hope. But before the victory is won, some will lose jobs, some will be called communists, and reds, merely because they believe in brotherhood. Some will be dismissed as dangerous rabble rousers and agitators merely because they’re standing up for what is right, but we shall overcome.

Sample 9
Martin Luther King Jr. : Adapted and abridged from “The Current Crisis in Race Relations” (1958)

But there are some things in our social system to which all of us ought to be maladjusted. I never intend to adjust myself to the viciousness of mob rule. I never intend to adjust myself to the evils of segregation and the crippling effects of discrimination. I never intend to adjust myself to the inequalities of an economic system which takes necessities from the masses to give luxuries to the classes. I never intend to become adjusted to the madness of militarism and the self-defeating method of physical violence. The world is in desperate need of such maladjustments to bring a daybreak of freedom and justice. 

Sample 10
Martin Luther King Jr. : Adapted and abridged from his last speech, “I See the Promised Land” (1968)

That’s what the whole movement is about: we aren’t engaged in any negative protest and in any negative argument with anybody. We are saying that we are determined to be men. We are determined to be people/ We are saying that we are God’s children. And that we don’t have to live like we are forced to live.

I don’t know what will happen now. I’m happy, tonight. I’m not worried about anything. I’m not fearing any man. Now we’re going to march again, and we’ve got to march again, in order to put issue where it is supposed to be.
–
”Let justice roll down like waters and righteousness light a mighty stream”.

Remembering the vision, courage and lasting endurance of Martin Luther Kink and in memoriam Elsa Cayat

Program Book

 

Artist Bios

Olga Neuwirth, Composer

Olga Neuwirth was born in Graz, Austria, in 1968.

She studied at the Academy of Music in Vienna and the San Francisco Conservatory of Music. During her stay in the States she also attended an art college, where she studied painting and film. Her private teachers in composition included Adriana Hölszky, Tristan Murail and Luigi Nono. She first burst onto the international scene in 1991, at the age of 22, when two of her mini-operas were performed at the Wiener Festwochen. Ever since her works have been presented worldwide.

In 1998 she was featured in two portrait concerts at the Salzburg Festival within the framework of the Next Generation series. The following year, her music theatre work Bahlamms Fest, with a libretto by Elfriede Jelinek, premiered at the Wiener Festwochen and won the Ernst Krenek prize. A year later, she wrote Clinamen/Nodus for Pierre Boulez and the London Symphony Orchestra tour. In 2002 Olga was appointed composer-in–residence at the Lucerne Festival.

With Nobel Prize winning novelist Elfriede Jelinek she has created two radio plays and three operas.
Her opera Lost Highway, based on the film by David Lynch, premiered in 2003 and won a South Bank Show Award for the production presented by English National Opera at the Young Vic in 2008.

Since Olga Neuwirth was a teenager, she has also been interested in film, literature, architecture and the visual arts. Aside from composing, she also realises sound installations, art exhibitions and short films and has written several articles and a book; one of her multi-media installations was presented at the documenta 12 in Kassel in 2007.

Olga Neuwirth’s works are multi-layered and multi-sensory. Some pieces also draw on the full range of effects of both electronic and orchestral instruments as well as video, which she began integrating into some of her works in the late 1980’s. The listener is struck by the immediacy of her music, which is often dramatic and expressive as she is particularly interested in emotions and how they relate to the brain and memory.

Many recordings of her music have been released on the label Kairos.

In 2008 she was awarded the Heidelberg Artist Prize. In 2010, as the first woman ever in the category of music, she received the Grand Austrian State Prize as well as the Louis Spohr Prize of the City of Braunschweig

In 2012 Olga Neuwirth completed two new operas while living in NYC: The Outcast on Hermann Melville, and American Lulu, a version of Alban Berg’s Lulu which was premiered in Berlin and subsequently given a new production in Bregenz, Edinburgh and London in 2013 and then in Vienna in 2014. In early 2015 she completed a film score for a silent film and a feature film by Franz/Fiala, and the orchestral work Masaot/Clocks without hands for the Vienna Philharmonic Orchestra. It was premiered in Koeln and Vienna in May and had it’s US premiere in February 2016 at Carnegie Hall under the baton of Valerij Gergjev.

At the Salzburg Festival her Eleanor Suite for Bluessinger, drum-kit-player and ensemble was premiered in August 2015. Her 80 minutes electronic/space/ensemble piece Le Encantadas based on the acoustics of a venetian church received its premiere at Donaueschingen and at the Festival d’Automne à Paris with further performances in 2016 and 2017. She received the prestigious Roche Commission for the Lucerne Festival in 2016 for her percussion concerto Trurliade–Zone Zero and was composer-in-residence at the festival for the second time.

In march 2017 her 3D sound-installation in collaboration with IRCAM was inaugurated at Centre Pompidou in Paris for it’s 40th anniversary.

In 2017 she has collaborated with architect Peter Zumthor and Asymptote Architects.

Beside several concerts for her 50th anniversary in 2018, Lost Highway and The Outcast can be seen in new productions. Lost Highway under the direction of Yuval Sharon and The Outcast under Netia Jones.

Her new opera Orlando premiered at the Wiener Staatsoper in 2019.

 

Matthias Pintscher, Music Director

Friday Playlist

Ojai Dawns 
Friday, June 12, 2020 | 8:00-9:30am 
Zalk Theater, Besant Hill School

OLGA NEUWIRTH            Eleanor  
                                                                                                EIC 
                                                                                                Matthias Pintscher conductor
                                                                                                Lucas Niggli, percussion  
                                                                                                Della Miles, vocalist  

OLGA NEUWIRTH             Aello – ballet mécanomorphe 
                                                                                                EIC 
                                                                                                Matthias Pintscher conductor 

OLGA NEUWIRTH           in the realms of the unreal 

FRANZ SCHUBERT         String Quartet in G Major, D. 887 
                                                                                                Calder Quartet 

Friday, June 12, 2020 | 11:00am-12:30pm 
Libbey Bowl 

GENESIS CYCLE               US Premiere 

CHAYA CZERNOWIN On the Face of the Deep (First Day) 
MARKO NIKODIJEVIC dies secundus (Second Day) 
FRANCK BEDROSSIAN Vayehi erev vayehi boker (Third Day ) 
ANNA THORVALDSDOTTIR Illumine (Fourth Day) 
JOAN MAGRANÉ FIGUERA Marines i boscatges (Fifth Day) 
STEFANO GERVASONI Eufaunique (Sixth Day) 
MARK ANDRE riss 1 (Seventh Day) 
TOSHIO HOSOKAWA The Flood (Eighth Day)  

World Premiere and co-commissioned by the Ensemble intercontemporain and the Ojai Music Festival  
                                                                                                 Ensemble intercontemporain (EIC) 
                                                                                                 Matthias Pintscher conductor 

Friday, June 12, 2020 | 7:30-9:00pm 
Libbey Bowl 

FELIX MENDELSSOHN   Octet in E-flat Major, Op. 20 
                                                                                                  Allegro moderato ma con fuoco 
                                                                                                  Andante 
                                                                                                  Scherzo: Allegro leggierissimo 
                                                                                                  Presto  

                                                                                                  Calder Quartet 
                                                                                                  Nathan Cole violin 
                                                                                                  Akiko Tarumoto violin 
                                                                                                  Ben Ullery viola 
                                                                                                  Dahae Kim cello 

MATTHIAS PINTSCHER     Nur 
                                                                                                 Ensemble Intercontemporain (EIC) 
                                                                                                 Matthias Pintscher conductor

Concert Notes

PIERRE BOULEZ (1925-2016) 
sur Incises (1995-98) 

MATTHIAS PINTSCHER (b. 1971) 
bereshit (2012) 

 

In Search of Beginning 

sur Incises — written specifically for the musicians of EIC — occupies a lofty position in the Boulez canon. A prime exemplar of the composer’s labyrinthine creativity, it proliferated from a brief, occasional work: Incises for solo piano, which was written for the contestants in  the 1994 Umberto Micheli Piano Competition in Milan. Boulez defined “Incise” as “a rhythmic unit of several notes analogous to a motif.” In 1996 he expanded to Incises as a birthday gift for the music patron Paul Sacher’s 90th birthday. The labyrinth is never linear: in fact, Incises itself adapted a musical idea spelling Sacher’s name (as transcribed into the notes E-flat—A—C—B—E—D), which Boulez had introduced in Messagesquisse for his 70th birthday in 1976.  

 sur Incises went through various expansions and revisions into the vast, scintillating structure we hear for an ensemble of nine musicians. The composer continued to refer to it as a “work-in-progress.” 

 The number three plays a determinative role, beginning with three groups of three players each: three pianos, three harps, and three percussionists playing tuned instruments. Boulez initially had in mind “a kind of piano concerto” for Maurizio Pollini “although without reference to the traditional form,” he recalled. Stravinsky’s use of four percussive pianos in Les noces was among his sonic models.  

 A good deal of the work’s fascination lies in Boulez’s endlessly inventive combinations and juxtapositions of texture. The instrumental cast of characters dramatizes a kind of deconstruction of the piano as sound-producing object, which is then “reassembled,” as the musicologist Wolfgang Fink observes: “the harps represent the piano strings, while the resonators of the bells, vibraphone, and marimba represent its soundboard” and the steel drums evoke “a prepared piano.” Boulez also uses strategic spatial positioning of the players to highlight the shifting textures: as the music ricochets between groups, “you see what you hear.” 

 The percussion instruments and harps, explains the composer, “are at times completely integrated and sometimes play only a minor role.” In one section, “the pianos play an elaborate ostinato passage, thus a very strict compositional structural form while the percussionists simultaneously play very free figures. But you also find moments when this role play is divided up, such that one piano and one percussionist play the free structures while the other pianos and percussionists must follow the strict ostinato movement … Another attractive aspect is that at times you encounter very quick changes followed by sections of continuous instrumental combinations.” 

 Wanting to do away with “the idea of compartments in a work,” Boulez refers to the example of Proust, “where you find that the narration is continuous.” Even though Proust’s great novel is divided into chapters, “the work has to be read in one go. That is one of my main goals in music (for large works). I don’t want any breaks in the music, but you can introduce new ideas and abandon some other ideas, like the characters in a novel.”  

 The blank page holds terror — and endless possibility. For there is no single right beginning, but as many beginnings as can be imagined. Matthias Pintscher dramatizes the act of creation by boldly linking it with the myth of cosmogony with which the Bible begins. bereshit, the very first word of the Hebrew Torah (and of what is more widely known as the Book of Genesis), reminds us of how slippery our putatively fixed points of origin actually are.  

 That the first word of divine revelation should begin not with aleph but with the second letter of the alphabet is a matter of much discussion in Jewish teaching, as is the inaccuracy of the familiar translation “in the beginning” (there is no definite article in the construction bereshit). Properly, the phrase means “in a beginning.” Deeply fascinated by the bridges between spoken and musical language, Pintscher — who learned Hebrew while living in Israel during his 20s — remarks that “words [in Hebrew] are like islands, like energy sources” because so much is derived from “short root words” — such as the root rosh (“head”) in bereshit. Elsewhere, Pintscher likens the piece to “a great river.” 

 EIC premiered bereshit in Paris early in 2012; later that year, Pintscher introduced his two-part Chute d’Étoiles (“Falling Stars”), which similarly addresses the theme of cosmic beginnings — here, conceptualized as the Big Bang and paying homage to a sculptural installation by Anselm Kiefer.  

The musical point of departure in bereshit is also a psychological one: “as if you woke up in a strange room in the pitch darkness of night, realizing your whereabouts only after a few seconds,” according to the composer. “In this state, you attempt to make out the shapes of the space. It is a beginning of a beginning from absolute darkness and shapelessness. Very cautiously and gradually, particles disentangle and then condense, fitting together in shapes.”  

The initial sound, emerging from silence, is an incredibly soft, flutelike, sustained F in the highest register of a solo double bass. Pintscher likens the note F to a “horizon” that stretches across the composition. It gives way to percussive sounds “from which elements then detach and condense.” He describes the music as “highly organic,” the material “developing slowly, in quasi-chronological fashion.” Overall, bereshit “arose from the idea of liberating an entire compendium of sounds, gestures, rhythms, and orchestral combinations from a primordial state of sound.” Within Pintscher’s body of work, bereshit‘s concept of sound and space “ventures far beyond the chamber music-like dimension of ensemble forces.” 

—Thomas May 

Program Book

 

Artist Bios

Matthias Pintscher, Music Director

Thursday Playlist

UNSUK CHIN                    Gougalōn 
                                                             Ensemble intercontemporain (EIC) 
                                                             Matthias Pintscher conductor  

MATTHIAS PINTSCHER  bereshit  
                                                             EIC  
                                                             Matthias Pintscher conductor       

PIERRE BOULEZ               sur Incises  
                                                             Ensemble intercontemporain (EIC) 

Introduction

The Festival’s BRAVO music education and community proudly presents Song & Play Thursday, led by Laura Walter, the Festival’s education coordinator.

Based on the nationally well-regarded curriculum of Education Through Music, the short videos will provide children and families a language based music program in which song, movement and interactive play promote emotional, social, cognitive and musical development. Each week, the videos and curriculum notes will be available for free on the Festival’s website.

These song experience games are designed to improve listening skills, memory, and critical thinking. Singing releases endorphins. Play increases intelligence. These video sessions are an extension of what the Ojai Music Festival’s BRAVO program offers in all of the Ojai classrooms with Transitional Kindergarten through 3rd grade during the school year.

BENEFITS OF SONG & PLAY

• Develop eye contact
• Enrich functional vocabulary and language skills
• Interpret the written symbols in music helps with reading skills
• Activities are designed to be so fun that children are not only excited to get a turn, but equally excited when someone else gets a turn
• Work our memory and our visual and movement centers
• Connects brain centers — imagination, sequencing, and spatial memory

Ours is a program based on play, defined as the psychological state of flow or creativity. We get absorbed in what we are doing, and can’t wait to try it again. Our failures are seen as part of the fun. We sing partner songs and in canon, creating beautiful sounds ourselves. The children always ask if we can do that again! Community is so important for emotional growth, and these activities, help us stay connected.

Special Thanks to

Meet Ms. Laura!

My name is Laura Walter and I am the Bravo Coordinator for the Ojai Music Festival. We are excited about our new, online videos. We’ll explore some secret songs, solfegge using hand signs, rhythmic patterns, and ideas for you to play with your own family. These song experience games of Education Through Music improve listening skills, memory, and critical thinking. Singing releases endorphins. Play increases intelligence.

These video sessions are an extension of what I have played in all of the Ojai classrooms with Transitional Kindergarten through 3^rd grade. We use a lot of eye contact. Giggling happens. And then it’s so interesting; our singing becomes stronger!

We move a lot. Our learning is active. We sing folk songs, which enrich functional vocabulary and language skills. Interpreting the written symbols in music helps children with reading skills.

Community is so important for emotional growth. When we make music together, we improve self-regulation. Activities are designed to be so fun that children are not only excited to get a turn, but equally excited when someone else gets a turn!

When we puzzle over a secret song, our brains are looking for an auditory match, working our memory and our visual and movement centers. You will notice how good it feels to try to hear a secret song, after you know the answer. That’s because the activity connects brain centers—imagination, sequencing and spatial memory.

Ours is a program based on play, defined as the psychological state of flow or creativity. We get absorbed in what we are doing, and can’t wait to try it again. Our failures are seen as part of the fun. We sing partner songs and in canon, creating beautiful sounds ourselves. The children always ask if we can do that again!

Lesson 1, 4/16/20

Study the rhyming structure of this song and then make up your own. For instance, notice the underlined rhyming words below:
There’s a penny in my hand
It will travel through the land 
Is it here, is it there?
It will travel everywhere.

To keep this rhyming scheme you might sing:
There’s a penny on this pier
It will travel without fear
Is it slim, can it swim?
It will travel on a whim. 

If you email your own verses to us, I will sing them!
Send your verses to: [email protected]

These are some great student verses of Kitty Casket that we have sung and played in class. I appreciate the rhyming ideas! In class we looked at the difference between rhyming (end of the words sounding alike) and alliteration (words starting with like sounds). These are critical tools in fluency of reading. 

Kitty Casket—the game. Pure delight! See how many you can get to join in!

Special Thanks To

Lesson 2, 4/23/20

We start with connecting and gathering our attention. The secret song represents the rhythm to a song the children have sung and played many times. By having the rhythm prompt, and then adding clues, we are causing the auditory system to look for a match in our memory. Penny is such a great song for playfulness, and being okay with not getting everything correct, which is so important for life success. Grab a penny and play! Feel free to print the rhythm page and follow, or add the words.

 

 

 

This childhood staple by Mozart is great fun to sing and play. Notice the clues that I give are concrete and words that they know; words that will spark a picture in their minds. This increases memory retrieval skills. When we play in the classroom, all eyes are closed while one child hides the star, leaving just one part visible. We must keep hope alive! They then choose a classmate to go look for it while we sing the song. They must be back by the end of the song. This skill of predicting when the song will end, (while being busy looking for it), is vital to reading fluency. They then pick a friend to go with them. This continues until the star is found. Some days the whole class has gone to look and they all have to be back by the end of the song. The song informs their behavior in this way, and they are completely self-monitoring without need of adults telling them what to do. The failure to find the star is never seen as a failure by the child, but rather as further effort, approached through play, and adding their friends. It’s really wonderful to see.

 

 

 

Local 3^rd graders have been learning this cup song, and pairing it with the song of Uncle Joe. We have played the game of Uncle Joe for 4 months or so before I bring the cups out. The game is so enjoyable in itself, that to add the cups definitely has a *wow* factor!

 

 

 

Want to see a group of children engaged and happy to play cooperatively? Want to see the importance of movement in learning? Want to hear a group of 6 year-olds all singing in tune? Here they are! Every one of them has a sense of belonging and purpose in this class. Playing I Wrote a Letter encourages them to grow the social skill of being happy for someone else to get a turn. This is directly responsible for the strength of their singing, and their eventual synchronization of sound without any specific instruction about singing together from the teacher. 
“I wrote a letter to my love and on the way I lost it.
A little doggie picked it up and put it in his pocket.
Oh, he won’t bite me and he won’t bite you, he’ll bite the one who’s got it.
So drop it, so drop it, it must be dropped by now.”

 

Lesson 3, 4/30/20

Children often know this song from singing around the campfire. The notes of the scale have corresponding hand signs: do, re, mi, fa, so, la and ti. These hand signs were developed by Sarah Glover in the 1700’s in England to help her choir members learn to read music. John Curwen popularized them, and Kodaly also integrated them into his teaching method. Often when we sing the songs, we use the hand signs to indicate the notes. We are learning about pitch relationships.

 

If you have family members at home, have them sit in a circle and if you want more, use some stuffed animals also! You can jump or skip together. This game has been around for generations. It’s a hoot to have a whole group skipping together. It gets the whole class excited. Because the song chooses their partner (when we sing the word “partner”), the students are always surprised with who they get. We are making our social circle bigger. When we sing this at the Gables of Ojai Senior Living, the residents remember this from their own childhoods, saying, “We are so happy that children still sing this song.” The proprioceptive experience gained from skipping with a partner aids in brain development, and crossing the midline aids in the bi-hemispheric learning of the brain.

 

This song is often the first experience children have playing on an instrument. We approach this folk song through a story. Why did people not make signs to advertise what they were selling? How did people sweeten their food 1,000 years ago? What was the importance of singing in the streets? We also add the hand signs for the music notes.

 

In our classrooms, we use children to stand in for the sun, the moon, and the chimney pot. We challenge ourselves to skip around them. Sometimes they are sneaky and change positions. We also try to get back to our spot by the end of the song; the “boom”. As our actions and movements line up with the beginning and ending of the song, we are practicing the reading skill of paying attention to the points of enclosure. Actions and sounds coincide and lead us to meaning.

Lesson 4, 5/7/20

This week we take a look at learning to read notes, singing our names to study rhythm, and looking at some children’s maps. We also include a video showing the engagement of children from Day 1.

Our first music class of the year. This is how I meet the children, by finding out their names and asking for their ideas. Listen to the enthusiasm of their singing right from the first day! Notice the kindness used as guidance for self-control.

 

Knowing each other’s names is one of the most honoring actions that we can take. We sing about our names! We study the rhythm and accents of the names. This is a musical skill, as well as a reading skill. Having a strong auditory system is important for reading, music, and listening.

 

Once we have played the game and gotten our bodies moving and involved, we take a look at the Tracks for Reading which includes different verses. The melody stays the same. This helps immensely in reading, because the beginning reader can still follow along on the map. New words overlay the same tune, making it familiar. The grammar also retains the same structure and helps with comprehension. It’s a wonderful way to boost reading skills! These books can be found online at the Richards Institute of Education and Research.

We really enjoy making our own maps of the songs. The children create their own abstract representation of the song. We notice patterns together. We practice drawing in the air first. Any pattern is correct because it is that person’s version of the song. This toggling back and forth between abstract and concrete is not only healthy for the brain, the students are delighted and completely absorbed in doing it. Singing the song is concrete, drawing in the air is abstract, putting it on paper makes it concrete with abstract ideas, singing it from their map makes it concrete again, following someone else’s map is abstract until it is concrete again. This is the process of reading music, which is, after all, an abstract representation of sound.

 

We love matching our note of the day to the scale above and trying to find the note’s name. We pretend it’s an amazing secret, which cracks us all up while everyone wants to make a guess, so they whisper it!

Lesson 5, 5/14/20

Lesson 6, 5/21/20

Today we look at the importance of memory in learning, and the importance of play in building intelligence.

Secret song Haircut + Rhythm Page

After the students have sung and played this game, so much that it is internalized and accessed automatically, we present it as a secret song. We don’t want to ask the brain to do this too soon, but only after lots of play and sensory experience. Then the secret part of puzzling over it is enjoyable, and do-able. The brain starts searching its memory banks for a match. When the memory is engaged, learning is happening. We easily translate the song into its rhythms. Since we have the melody, we can now learn the solfegge syllables (do, re, mi, etc.) as well. Going back and forth between words, rhythm, and solfegge keeps the brain hopping and the kids love doing this!

Haircut Videos

In music, we want to build 3 habits in children: cooperation, participation, and the habit of singing. Here are some at-home examples of families playing Johnny Get Your Haircut.

Bluebird

We have birds and windows all over the place. We can have windows made out of our legs, and birds trying to navigate through and under. This sensory experience of the song is stored in more brain areas for easier retrieval. We want our learning to be multi-modal: auditory, visual, kinesthetic, and tactile. A robust memory aids in the development of intelligence.

Note of the Day—C

The challenge grows as we rely on our shortcut and don’t have the “scale” up for reference anymore!         

Lesson 7, 5/28/20

There are many different methods of symbolizing sound. The process of interpreting symbols, semiotic function, is important for reading, math, and music. This week we also notice how we build resiliency—the balance between challenge and skill, always with an eye towards pro-social behaviors of inclusivity, kindness, taking turns, and the opportunity to be moved by shared experience instead of external rewards.

Video 4:53 One Little Elephant

Here we have elephants balancing on a spider web. We symbolize the song by representing elephants ourselves. When the children join me, it’s pretty exciting! We build the spider web together, and then gather our elephants by asking the person closest to us at the end of the song to join. Socially, this promotes children choosing new friends and being inclusive. We also have to stay on the web and balance. Spatial awareness lives mostly in the right brain hemisphere. Keeping track of the sequence and number of elephants lives mostly in the left. By playing and moving, we are integrating brain function. And then, of course, the math gets so complex, and the students love this part! The joy of resiliency!

Bluebird Form and Map

It is quite enjoyable to match up a written symbol with a corresponding sound. Noticing patterns is what the brain loves to do! Here we take a look at the beat and the various ways to explore that. We can have a slow, medium, or fast beat while the tempo of the song stays the same. These form books are available through the Richards Institute of Education and Research.

Frog 

When I have the room set up for Frog’s in the Meadow, the children walk in and instantly know what song game we are going to play. I hear squeals of delight! One child becomes the frog and does the hiding while everyone sings. I change the starting pitches often, which provides ear training without stress. Their voices automatically adjust to singing in tune this way. In older grades we have up to 5 frogs hiding at once. Finding the frogs relies on deductive reasoning and memory. As guesses are made, we get to keep track of where there are no frogs. The play here is many-faceted. The brain is wired to explore playing with object permanence in both sound (music) and vision (art). Having a shared puzzle, trying to find the frogs, increases bonding, attachment, and belonging.

Secret Song Letter

Another way to play with the symbols of a song is to put some notes into our hands and sing the solfege, but the rest of the words in English. This great challenge is enjoyable because it is almost achievable—this is the aspect of play called perceived competency; I think I can get it if I try one more time. We then have internal motivation and participation that comes from inside the person. No rewards are used other than the experience itself. We are symbolizing the sound in two distinct languages by toggling back and forth quickly!

Note of the Day

One reason music education is so important to the brain is that learning to read music adds a layer of abstract symbolization. In learning to read the printed word in a language, the brain is required to connect what it sees with a sound it has heard before. And in order to have meaning, this sound must represent something concrete that has been experienced (the letters, c, a , t, how they sound when combined, and what a cat is). In learning to read music, we see the note “D”, we know what it is called and perhaps can play it on an instrument, but it doesn’t represent a concrete thing besides the sounding of itself. It gains meaning when combined with notes that surround it, making a melody.

Lesson 8, 6/5/20

Bombalalom

Our Bombalalom place is where we feel peaceful. As we sing this song, we reflect on how important it is to listen to each other, that we cooperate with each other, that we accept each other. There are times when we feel bad, and it’s okay to feel that way. We ask each other “how can we help?” We want to use our voice to make the future, and the present, better. Let us listen deeply.

Elephant in 3s

Aesthetics show up in many forms—visual art, sounds in music, the beauty of communication, or joy of movement. Here we have the aesthetic of thinking. Students brighten up when faced with this challenge. By providing a variety of aesthetic experiences, we really do reach all children through including them by invitation.

Mozart Canon 

Here are some fun facts about Mozart! We have been learning this Canon (a piece of music that is repeated at different intervals to create harmony) all year long. Bravo students love coming up to try their hands at leading this. I ask them if they want it with me or without me. They get very brave! Then they want it harder, and I start on a different part. It just gets better and better!

Secret Song

One way the brain builds the ability to empathize, is through mirror neurons. These are activated when we are united in song, or moving together. What looks from the outside to be a minor challenge, is actually doing some deeper tissue work in helping children become more empathetic and therefore, compassionate.

Oats Peas Beans-nouns and verbs

We take a look at language through singing, exploring nouns and verbs in a playful way. The children love discovering a secret song, so I thought I would give them this added challenge—where is that song? Feel free to print it out and try to follow it yourself! This is a song about planting, and the summer is a wonderful time to get outside and plant things. Get your hands in the dirt. It’s very nurturing.